This week I counted up the albums that were most often listen on the posted Best of 2025 lists. I'm playing the top 10 on this episode.

But I'm posting every album that ended up on 10 or more of those 'best of' charts. Here they are--with the number of lists they were on beside them. I ended up finding 108 lists that were all accessible to the public (with no paywalls or required subscriptions). The top album ended up on 32 of them....which is a little less than 1/3.

If you want me to send you a list of every album and the number of votes it received, just email me at flsaidman@gmail.com, and I'll attach my list of albums to my reply. And please....I'd appreciate a review and rating on whatever site you get your podcasts. Thanks.

Tally of Top Critic's Choices. (10 and over responses) As of January 17, 2025

Mary Halvorson: About Ghosts (32)

Ambrose Akinmusire: Honey From a Winter Stone (22)

Branford Marsalis: Belonging (21)

Patricia Brennan: Of the Near and Far (21)

Linda May Han Oh, Ambrose Akinmusire, Tyshawn Sorey:  Stranger Heavens (20)

James Brandon Lewis Quartet: Abstraction is Deliverance (18)

Yazz Ahmed: A Paradise in the Hold (16)

Fieldwork: Thereupon (#1 in PopMatters) (15)

MAPL Webber/Morris Bigband: Unseparate (15)

Brandee Younger: Gadabout Season (14)

Charles Lloyd: Figure in Blue (13)

Brad Mehldau: Ride Into the Sun (13)

Joshua Redman: Words Fall Short (13)

Steve Lehman Trio + Mark Turner: The Music of Anthony Braxton (13)

Nels Cline: Consentrik Quartet (13)

Sylvie Courvoisier, Mary Halvorson: Bone Bells (12) (#1 on Jazzwise)

Amina Claudine Myers: Solace of the Mind (11)

Sullivan Fortner: Southern Nights (11)

Kenny Dorham Quartet: Blue Bossa in the Bronx, Live From the Blue Morocco (11)

Cecile McLorin Salvant: Oh Snap! (11)

Kassa Overall Quartet: Cream (10)

Anouar Brahem: After the Last Sky (10)

I listened to this podcast right after I put it together, and really dug it. But of course, I'm biased. But it is my favourite episode of 2026 (last week's was my 2nd favourite).

These are tracks from some of the albums that critics (could be one critic, could be 30) have put on their 'best of' lists for 2025. And all of them I play this week are from albums that I listened to and decided were worth hearing again.

My favourite? Well it keeps changing. But right at the moment I'm thinking John Zorn's Bagatelles as played by the Mary Halvoson Quartet with Miles Ozaki joining Halvorson on guitar.

But the more I listen to the title track from Miguel Zenon's Vanguard Subterranea, the more I like it. I'll have to listen to the rest of the album again.

And Kenny Barron has put out his first 'vocal' album, even though he's not doing the singing. But lots of other different people are. Some of the best singers in today's jazz.

There are a couple classically inspired albums in this episode. You've probably never heard of Tryptique. They are a Canadian 'jass infused chamber music' group out of Toronto. Scott Yanow put in on one his best of 2025 lists which you can find on the JazzWorld site on facebook. The other classically inspired piece is by Austrian guitarist Wolfgang Muthspiel, with Scott Colley and Brian Blade.

Then there's a very famous (although I wasn't familiar with her) soul singer named Ledisi who is doing a tribute to Dinah Washington. On this album she's doing some of my favourite songs that Dinah Washington made famous. Don't tell any Dinah fans, but I think she does them better than Dinah. The one I include in this epsode is a duet she did with Brook Benton....but here Ledisi duets with none other than Gregory Porter.

A new talent you've probably never heard of (unless you go to The Yardbird Suite in Edmonton) is bassist Aretha Tillotson. Here she teams up with the famous Jensen sister (Christine and Ingrid) with an album influenced by Sonny Rollins "Way Out West". She calls hers "Kinda Out West".

Then there's Brad Mehldau sounding like he's never sounded before, and a tribute to the late singer-songwriter, Elliot Smith.

Last but not least are the two Emma's: Emma Smith and Emma Jean Thackray. And that doesn't even include the 3rd Emma who I'm sure to play on one of my soon to come future episodes---Emma Rawlicz.

Part 2 of The Best of 2025 According To Jazz Reviewers and other jazz lovers. I select a few albums (often randomly) that have been rated by one or more reviewers as one of the year's best. Then, of the ones I seem to like at first listen, I play a track for you.

And usually try to throw a short tidbit of information about it

This episode includes a track from the following albums:

ARTEMIS: Arboresque ERIC ALEXANDER: Chicago to New York KEITH JARRETT: New Vienna VENNA: Malik DEE DEE BRIDGEWATER and BILL CHARLAP: Elemental EMMA RAWLICZ: Inkyra THE SPANNER BIG BAND: A Load of Old Toot HIROMI'S SONIC WONDER: Out There SYLVIE COURVOSIER & MARY HALVORSON: Bone Bells CURTIS NOWOSAD: I Am Doing My Best MARSHALL ALLEN (a 101 year old who just put out his first album last year): New Dawn

This is the start of a multi-part series where I listen to albums from 2025 that jazz reviewers and other aficianados say are some of the best of the year. I'm still compiling the lists and at some point I'll let you know which ones received that most votes. But for now I'm selecting a few at random, listening to them, and---if I like them---I play a track from it.

This week I play something by Mary Halvorson, Mulatu Astatke, Tyreek McDole, a couple tracks from the new Cecile McLorin Salvant album, and introduce you to Ryan Truesdell playing those amazing Gil Evans arrangements. As well you'll hear Holly Cole doing a jazz-swing version of a lesser known Elvis Presley recording. Also some Sullivan Fortner, Nick Hemptom and Cory Weeds, Amina Claudine Myers;, and another new discovery for me---a pianist named Dave Bass.

Looking forward to the next four episodes as well where I make more discoveries.

-Larry

Thought I'd send this episode a couple days early so you can enjoy it as you prepare for Christmas, celebrate Hannukkah, or enjoy the snow (if you're in one of those December snow-bound countries).

Because I don't resonate with the "all I want for Christmas is You" type of song, the celebration of shopping, Santa Claus, or any of those songs I keep hearing in shopping malls--- wanted to make sure that everything I play in this episode is interesting and of high quality. You can be the judge as to whether I succeeded.

All these tunes are from albums released (or sometimes re-released) in 2025. Except for the one from a live New York concert last December.

Hope you enjoy it.. And have a great holiday, whichever one(s) you celebrate. I'll be back next week starting with a month of The Best Jazz of 2025---According To The Experts. I'm not one of those experts, but I'll also be focusing on records that I've listened to and like.

-Larry

I put together an episode of some of the finest jazz Christmas and other winter holiday recordings from this year. But then before I could load it, my computer crashed, and I've lost all my files! Fortunately I had backups up to March, 2024. Hopefully I can find a way to get my files back so I can give you my new Christmas, Hannukah, and Winter music from this year.

In the meantime, here's an old one from the archives, from 2022.

You'll hear some great seasonal jazz. From the likes of vibraphonist Warren Wolff and Joey Alexander to the Jazzrausch Big Band. And great vocalists like Rebecca Kilgore, Laila Biali, and Jamie Cullum. And lots more! Even a couple recordings from Nordic artists.

Some very interesting music, ranging from Gabriela Martina to Christof Lauer & Jens Thomas. I also play recent tracks from albums by Canadian artists Rich Brown (solo bass), Kate Wyatt, Saku Mantere with Bohdanna Novak, Noah Lemish, Aretha Tillotson, and Joaquin Nunez with Habana Safari. You'll also hear something from an eclectic hip-hop oriented group called Up Bustle and Out. And you'll thrill to Rosanna Vitro's version of Freedom Jazz Dance.

I've also been exposed to Thelonious Monk's 1965 "Solo Monk" album, and I play a track from that which got my attention when I heard it played on the Yardbird Suite sound system.

Some tracks from cd's I've had in my collection plus ones I recently obtained. Includes
-two of the last recordings of Miles Davis (one of them being from his very last concert), -an obscure pianist and soundtrack composer who played with John McLaughlin and made a record with Larry Coryell -some underrated Canadian writers and musicians, -A modern and very fast moving 'stride' pianist -Two Canadian born folkies venturing into the jazz world, thanks to Herbie Hancock and Larry Goldings

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More unique jazz from Finland.

I will spell out all the recorded jazz I play this episode so you can see how these names are spelled (at least in English).

1. Towards Dark Light by pianist Alex Tuomarilla. With Mats Eilertsen and Olavi Louihivuori.

2. New Life by Kannaste4, with Jussi Kannaste on tenor sax, Tomi Nikku-trumpet, Peter Eldh-bass, and Joonas riippa-drums.

3. Judy, by Anni Kiviniemi. The album is called Eir, with Eero Tikkanen on bass and Hans Hulbaekmo-drums.

4. Happy Xmas War is Over by Liro Rantala.

5. Muista Minua--translates as Remember Me. Written byToivo Karki, played by Christian Garrick-violin, David Gordon-piano, Jarmo Julkunen-ukulel, and Jani Pensola- bass,.

6. Cyclops Dance by Oiling Boiling, led by a drummer named Matti Oiling.

7. Pinch by Verneri Pohjola (trumpet). Music written by Pekka Pohjola. Players are Verneri Pohjola on trumpet, Tuomo Prättälä-Fender Rhodes; Teemu Viinikainen: guitar; Mika Kallio: drums; and Antti Lötjönen: bass.

8. Time by Saku Mantere. With his Helsinki Nonet. Includes: Jukka Eskola - Trumpet, Flugelhorn Mikko “Gunu” Karjalainen - Trumpet Petri Puolitaival - Alto Saxophone, Flute Jussi Kannaste - Tenor Saxophone Markus Holkko - Baritone Saxophone Heikki Tuhkanen - Trombone Riitta Paakki - Piano Ville Herrala - Bass Teppo Mäkynen - Drums

9. The Arctic is Burning by Iro Haarla electric Band.

10. Nuuksio, by Joel Jeschke with Brendan McGrath-piano, Aretha Tillotson-bass, and Brett Hansen-guitar.

From Sibelius to Selma Savolainen. Finnish Jazz Part 1

I play music from the early days of Jazz in Finland up until today. And quote from Jukka Perko about what makes jazz Finnish.

Because a lot of Finnish names are long and their pronunciation is often quite different from what we English speakers might expect, I've no doubt butchered some of the names in trying to pronounce them (even though I truly did some research in trying to pronounce some of them). So to compensate, I'll write down the spelling (at least the English spelling) of most of the names of the musicians who play on this podcast. I'l also spell the names of the tunes.

Here goes: from the first selection to the last:

1. Excerpt from Finlandia, written by Jean Sibelius.

2. Lapin äidin kehtolaulu ((translation: Lullaby From a Lapland Mother) by Santu Manterre. Written by a composer named Hamalainen. The musicians are all Canadian---and I think I pronounced them correctly.

3. Vetoketju, by Georg Malmstem and the Dallapé Orchestra.

4. Transient, by Jussi Reijonen. From an album called Tolme Toista (Three Seconds).

5. Like Father Like Son, by Jukka Perko. With Jarmo Saari and Teemu Viinikainen.

6. Severi Pyysalo, with drummer Jussi Lehtonen and bassist Timo Hirvonen. (playing their verson of If I Should Lose You)

7. Linda Fredriksson. Tune is Juniper. With Tuomor Prattala-fender rhodes and synthesizer, Olavi Louivuori-drums, Mikael Saastamoinen-double bass and effects, Minna Koivist-moog and modular synthesizer.

8. Haunted by Selma savolainen. From debut album called Horror Vacui. Musicians include Tomi Nikku, Max Zenger, Toomas Kesi-Santti, Eero Tikkanen, and Okko Saastamoinen.

9. Jens Thomas with Verneri Pohjola. Performing a tune bye AC/DC.

10. Party in THe Attic by Verneri Pohjola, My apologies for not crediting the other musicians. They are Jasper Høiby-bass, Kit Downes-piano, and Olavi Louhivuori-drums.

11. Innoccent Questions by Pekka Pohjola. Musicians are (again I neglected to mention them on the podcast) are: - Markku Kanerva / guitar

- Seppo Kantonen / keyboards - Jukka Pohjola / 1st violin ( - Susanne Helasvuo / 2nd violin - Teemu Kupiainen / viola - Matti Pohjola / cello - Anssi Nykänen / drums

Get ready for Part 2 next week.

And if you like this podcast, please give me a review on whatever site you get your podcasts (Apple Music or Itunes works really well!). Thanks.

Some more great recordings of (mostly) tunes that I've discovered from Chuck Sher's "Standards Real Book". They include (not in order):

1. On a Clear Day You Can See Forever (played by Howard Roberts and crew)
2. Hey There (a beautiful version by pianist Tommy Banks and singer Big Miller---both from Edmonton)
3. If I Should Lose You (a lovely standard played and sung by Sweden's Ellas Kapell...featuring the amazing guitar of Manne Skavenstedt)
4. Wheelers and Dealers (a very timely Dave Frishberg song, here sung by Kelly Eisenhour with Bob Minter on sax)
5. (not in standards real book) Duke Ellington/Billy Strayhorn Medly, played by Greg Burrows big band (Ed Bonoff arrangement).
6. Christmas Time Is Here (yeah I know its not yet), played by guitarist Mike Rud with pianist John Stetch.
7. The Man I Love (What a version by Don Shirley....and his trio of cello and bass. ten minutes long, and never boring!)
8. Sunny, written by Bobby Hebb. Here played by Oscar Peterson on hammond organ, with Joe Pass and Ray Brown
9. Meditation, by the composer, Antonio Carlos Jobim, with vocal by Frank Sinatra).
10. That Sunday That Summer, played by pianist Beegie Adair and her trio.
11. Red Clay, by Freddie Hubbard...here played by The Ed Vedzinho Hiptet. (how many in a hiptet? Answer: as many as you want)

Songs you'll hear are:

All My Tomorrows

Bluesette

I Left My Heart in San Francisco

Good Bait

(How Little It Matters) How Little We Know

The Days of Wine and Roses

The Slow Hot Wind (aka Lujon)

'Tis Autumn

Night and Day

A House is Not a Home

And here are the musicians and singers I'm playing. Guess who is singing or playing which song?

Tony Bennett, Lenny Breau, Bob Dorough, Sarah Vaughan with Jimmy Rowles, Emmett Cohen w. Houston Person, Nina Simone, Mose Allison, Dizzy Gillespie, Joshua Redman w. Gabrielle Cavassa, Robi Botos, Frank Sinatra, Ted Nash.

Focusing more on the song than the artist---tunes in The Standards Real Book. I've taken some of the songs I've tried to play on the piano....and listened to some different versions of them. I'm playing for you some of the best versions of some of my favourites. The tunes for this week are:

-The Summer Knows (written by Michel Legrand): a guitar version by George Benson -Agua De Beber (Jobim), as performed by Vancouver's Jennifer Scott, with Cory Weeds on saxophone - A wild version of Indian Summer, featuring the jazz french horn of Tom Varner - Two different versions of Neal Hefti's "Cute". And you'll hear a great segue from Sullivan Fortner's solo piano version to the original by Count Basie. - Blackberry Winter, and a beautiful version by Kate Baker and the late guitarist, Vic Juris. - Cole Porter's So In Love. K.D. Lang does a great interpretation! - Forest Flower:Sunrise, and the original Charles Lloyd recording from the Forest Flower album. - I'm All Smiles: a rather weird tune from The Yearling. Lots of people have performed it, including Dave Young & Renee Rosnes. - Deep Purple by, believe it or not, Art Tatum.

If you like this episode (or, for that matter, any of my episodes), please leave feedback in whatever site you get this podcast. Or you won't go wrong if you post it in Apple Music/Itunes.

Thanks.

-Larry

Once again I play a few recordings that I found myself listening to and enjoying over the summer. Some of them are new releases, a couple aren't. Six of the nine tracks are by Canadian artists, one is from Havana, and two are American.

Yes, we're into Autumn. And as much as I love the Fall season, it's hard to let summer go. So I'm playing some favourite recordings that I've been playing over the summer---most of them new cd's and many of them by Canadian jazz artists.

1. I start with an album by Joaquin Nunez and Habana Safari, featuring Joanna Majoko.
2. A brand new discovery and his first album. Originally from Finland, his name is Saku Manterre. He is a professor of strategy and organization---and a philosopher with so many publications, as well as a singer and songwriter. The album's called Divine Apology.
3. A big band arrangement of a John Coltrane tune by New Orleans orchestrator David Bode.
4. A brand new release by a soul ensemble from Vancouver who go by the name of Motivation.
5. Ernesto Cervini--the man who send me many of the cd's played in this and next week's episode, thanks to Orange Grove Publicity. From Ernesto Cervini's Turboprop album, "A Canadian Songbook", I play a William Carn composition with Carn on trombone.
6. I went to the Edmonton Folk Festival this summer and reviewed it for Roots Music Canada. I discovered the most amazing singer-- Danielle Ponder. This is her version (with added lyrics) of Radiohead's "Creep". Like good jazz, she takes something familiar and makes it new.
7. Another one from Allen Lowe & The Constant Sorrow Orchestra's "Louis Armstrong's America". This one's a salute to Bud Powell.
8. Did you know that novelist Kazuo Ishiguro (he wrote The Remains of The Day) is also a lyricist, thanks to his connection with singer Stacey Kent?
9. David Occhipinti's new chamber jazz album and a track inspired by Homer's "The Odyssey".

Part 2 of my two part series where a jazz artist plays it again---sometimes some years after they originally recorded that tune, and other times just a few months later.

You'll hear two renditions of the same tune by Thelonious Monk, Miles Davis, Noah Haidu, George Crotty, Joe Sample, and Louis Armstrong.

If you want to hear some of the many different renditions that Fats Waller recorded of his tune**, Ain't Misbehavin',** this is the show for you.

And if you are fascinated by So What by Miles Davis---again, I recommend you listen to this podcast. That's because between the two them, it takes up half this episode.

The episode is called "Play it Again Sam", inspired by the quote (that was never said, by the way) from the classic film, Casa Blanca. And more directly related to that film, I play two different versions of the tune that Sam was supposed to play 'again'---As Time Goes By. These are versions by the great jazz violinist, Stepane Grappelli.

The episode starts with the much under-recorded Canadian pianist, Steve Holt, and a composition that he wrote and first recorded 42 years ago as a piano solo---and this year re-recorded it with Toronto's finest jazz musicians. And it's a beautiful tune.

Rounding off the show are two dramatically different Frank Sinatra renditions of an old standard.

1. Starts with a later trio led by Oscar Peterson, with Joe Pass and Neils Henning Orsted Pedersen.

2. That's followed by a delightful trio of Sarah Vaughan, Mundell Lowe, and George Duvivier.

3. The third selection is by Kenny Wheeler with Bill Frisell, Lee Konitz, and Dave Holland from a 1997 album.
4. From a seven cd set of the duo of Stan Getz and Kenny Barron, I play you 'Gone With the Wind'
5. A delightful little ditty from clarinetist/saxophonist Jimmy Giuffre called The Train And The River.
6. Life Goes On and On by Carla Bley. Unfortunately it didn't, as she left us a couple years after "Life Goes On" was released.
7. Benny Green with Russell Malone and Christian McBride
8. Ever hear of saxophonist Christof Lauer and Jens Thomas from Germany? They have an album where the play the music of Sting.
9. Don Shirley's second album was with Richard Davis on bass. Hear them play "I Can't Give You Anything But Love".
10. Chick Corea and Gary Burton play Todd Dameron's 'Hot House'.
11. The final selection is by Lucky Thompson and Oscar Pettiford from 1956. And I introduce a new word: tricrotism.

Some great swinging jazz; jazz that doesn't require a drummer.

You'll hear recordings by Edmonton saxophonist and clarinetist PJ Perry and so many others. Includes a delightful track by the late Sheila Jordon, a duet of Bill Evans and Jim Hall, and the new release by Toronto guitarist David Occhipinti. Some great music all the way around!

More East Meets West and more interesting recorded jazz. With a few details about each selection.

For many of these artists I struggle with the pronunciation of their names. So to make them more accessible to you (and to me), I'm going to write down a few of the players as I give you the 'set list' of recordings I'm using for this episode.

1. The Persian Jazz Fusion Ensemble. Does anybody know the name of this tune? Musicians in the group are: Sini Partovi- percussionist and leader; Arash Eyvazi-bass guitar; Taha Mazaherei-gutar; Amirhossein Tavasoli-oud

2. The Veil--Jussi Reijonen. from album called Kolme Toista (translates as Three Seconds). With Reijonen on fretless guitar, Jason Palmer-trumpet, Utar Artun-piano, Kyle Miles-bass, Bulut Gulen- trombone, Naseem Alatrash- cello, Keita Ogawa- percussion,Vancil Cooper-drums.

3. Tourist Point of View-Duke Ellington. From The Far East Suite, written by Ellington and Billy Strayhorn. Features Paul Gonsalves on tenor sax. I also hear some of that wild trumpet playing of William "Cat" Anderson. Also Mercer Ellington – trumpet, flugelhorn, Herbie Jones – trumpet, flugelhorn, Cootie Williams – trumpet, Lawrence Brown – trombone, Buster Cooper – trombone, Chuck Connors – bass trombone Johnny Hodges – alto saxophone, Russell Procope – alto saxophone, clarinet, Jimmy Hamilton – tenor saxophone, clarinet, Harry Carney – baritone saxophone, John Lamb – double bass, Rufus Jones – drums.

4. Bandish by George Crotty (Canadian Cellist) , from Heart Music (2025). The lydian modPe is referred to as Raag Yaman in Northern Indian classical music. With John Murchison-bass and Jeremy Smith-percussion.

5. Paint it Black by Gabor Szabo, from Jazz Raga. With Bob Bushnell-guitar, Johnny Gregg-bass, Bernard Purdie-drums, and Szabo himsel on sitar and overdubbed guitar.

6. The Three Faces of Balal from Eastern Sounds by Yusef Lateef. With Lateef on flute, Barry Harris-piano, Ernie Farrow-double bass, and LEs Humphries-drums.

7. Crossing The River of Grace by Jihye Lee, from an album called Infinite Connections. From 2025. Features David Smith on trumpet and fluegelhorn.

8. We Live in Brooklyn Baby (Roy Ayers) by Chien Chien Lu. From The Path. With the funk bass guitar of Richie Goods, Shedrick Mitechll on pano, Quinton Zoto-guitar.

9. Precipice--Rajna Swaminathan. From her 2023 album, Apertures. With Utsav Lal-piano, Miles Okazaki-guitar, Stephan Crumb-bass, Adam O'Farrill-trumpet, Anna Webber-tenor sax, and vocal assistance from Ganavya.

10. Is Not All One by Tony Scott, from 1964's Music for Zen Meditation. With Sinici Yuize-koto, and Hazan Yamamoto-shakuhachi.

Music from Asia and The Middle East combined with Afro-American Jazz. And Western jazzartists incorporating Asian and Middle Eastern scales and rhythms.

Here is a list of what you'll hear in this episode:

1. Joshua Banks: From My Shores To Yours (from Para Sayo, 2025). An Edmonton based jazz pianist with Philippine heritage.
2. Annie Chen: Her reinterpretation of the theme from Rosemary's Baby. Incorporates Chinese, Polish, and North American music. From her 2024 album, Guardians.
3. Ahmad Moneka: Traditional Iraqui Sufi music. I play a traditional Tunisian"ecstatic trance song" called Sidi Masure.
4. Shelly Manne, from a 1962 album called "My Son The Jazz Drummer. Title of the tune is "Bokrei Lachish".
5. Kojo No Tsuki, aka Japanese Folk Song. From Thelonious Monk's Straight No Chaser (1966). The full version.
6. Dahaoudatou by the late Algerian singer Kadda Cherif Hadria. From the Diri Kitabi album of 1995.
7. Mahya Hamedi, an Iranian singer, pianist, and composer. With oud player Bahar Badieitabar. Tune is called 'Deng'.

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From the archives, originally posted November, 2020. This episode explores the boundaries of the category of jazz---what defines jazz, and at what point it no longer makes sense to call a piece of music 'jazz'.

A fascinating mix of musical artists---as diverse as Louis Armstrong, Annie Lennox, The Modern Jazz Quartet, Wu Tang-clan, Herbie Hancock, Jennifer Scott & Miles Black, The Bad Plus, Al HIrt, Hank Mobley, Jane Bunnett and Maqueque, and a medley of 'smooth jazz' recordings from 2020.

I hope that it helps you to solidify your own understanding of 'jazz', as well as provide you with a great (and diverse) listening experience.

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Taking a short break, and posting a few favourite episodes from my Discovering Jazz archives.

This week it's one from June of 2020--another one from when I was living in Victoria, B.C.

It starts with a song called "Late Bloomers", and ends with guitarist Wes Montgomery, who at age 19 when training to become a welder heard Charlie Christian. Bye bye welding, hello jazz legend! And between all this---many others, including one who didn't become known until age 51 due to spending much of his earlier life in prison.

Once again, lots of great recorded jazz and interesting information about its 'makers'.

I'm taking a few weeks off from posting new podcasts and re-posting some favourites from the past. This one is Episode 108, originally posted in May of 2020 when I was living in Victoria, B.C.

Here I play music personally recommended by people whose opinion I respect. And I chose some recordings or artists that most interested me. You'll hear:

Herbert Rostain and his Sextette Chet Baker Richie Cole Alan Pasqua Mike Murley, Ed Bickert, and Steve Wallace Paul Jost Grant Simpson Bill Frisell Renee Rosnes Trio

I did a fast perusal of few records on the Jazzweek chart over the past couple weeks. And I made some great discoveries. Some resonated with me and some didn't. But all 10 of the tracks I play on this episode stood out--at least after a quick listen.

What gems did I discover? Here's a list:

1. Tyreen McDole...what a voice! His debut album called Open Up Your Senses.
2. Antonio Adolfo and an album called "Carnival, The Songs Were So Beautiful, where he plays tunes that have graced this Brazilian festival over the years. The tune I play from that album is from 1909 and its called "Vassourinhas". And I think I pronounce it correctly, because I looked it up :)
3. Another pianist, Noah Haidu and this third Standards album. I've played tracks from the first two on previous episodes. I'm not sure why his music appeals to me so much.
4. Dee Dee Bridgwater and Bill Charlap. A delightful duet album.
5. Alan Broadbent and his new album called Threads of Time has just been released and his moving rapidly up the charts. It has been described as "cool tempered hard bop".
6. Benny Benack III, with his trumpet, vocal, and great band do an extended version of the rarely played by jazz artists "Sound of Music". Can you even imagine how somebody could spend 10 minutes with that tune and not bore you? Well Benny and friends do it!
7. Ali Bello and the Charanga Syndicate. A violinist leads the group, and he employs special guest Arturo O'Farrill on keyboards.
8. Toronto saxophonist acob Chung and his latest album called Live at Frankie's Jazz Club (in Vancouver). Here they play a Bud Powell Composition.
9. Veteran drummer Joe Farnsworth, from his newest album, The Big Room. A duet with vibraphonist Joel Ross.
10. One of my favourites: From Manitoba, Canada---percussionist Curtis Nowosad, here with Joanna Majoko and Joey Landreth helping him out. The album is called I'm Doing My Best.

If you're looking for interesting recorded jazz with just enough talk to enhance your appreciation, you'll love this podcast. And this episode.

-Larry Saidman

I'm looking through the recordings that are being played on North American jazz radio and listening to tracks from some of the albums by Canadian artists. Some great music! I've found 10 that I decided to play for this episode.

The artists you'll hear include:

-Cory Weeds & Nick Hempton -Artemis -George Crotty Trio -Steve Holt Jazz Impact Quintet -William Carn -Jon Bentley -Rachel Therrien -The Toronto Jazz Collective with Norma Winstone & Joe Labarbera -Brad Turner -Joaquin Nuñez

Definitely a few here that might be considered on the 'fringes of the genre'. Three of them are by artists who will be appearing at the Edmonton Folk Festival early August. The artists here are Taj Mahal (playing a Duke Ellington classic), BALTHVS from Colombia, and Haitian Canadian Wesli.

I also play three tracks from jazz guitarist Mike Rud and his latest (and delightful) album called The Paranormal Adventures of Uncle Mike. Also the latest offering by one of my favourite modern singers---Switzerland's Gabriela Martina, here singing as a duo with Ukranian pianist Maxim Lubarsky.

Then there's a great track from a new album by trombonist William Carn.

In terms of your more 'classic' jazz, you'll hear Cyrus Chestnut, Tadd Dameron & Fats Navarro, and one of the greatest recordings ever from The Count Basie Orchestra.

This one starts and ends with the great Brazilian composer, Antonio Carlos Jobim. One tune that may have been influenced by a classic Miles Davis recording, and another inspired by Chopin.

And speaking of Miles Davis, I also play a track from a fairly modern album that is a re-imagining of one of his Birth of The Cool sessions. It's by Winnipeg trombonist and arranger, Jeff Preslaff.

You'll also hear two very similar Benny Golson compositions, one played by Buddy Emmons with Lenny Breau, and the other by Bobby Hutcherson.

Then there's what I think may be one of the most played songs at jazz jam sessions---and the Broadway musical that may have been inspired by that delightful composition.

Then I play three segments of tunes (originally from Broadway musicals)---which I don't normally do. But these are songs that you hear someone playing and then, risk mis-identifying it as one of the other two.

And I close with a touch of Frank. I mean, why not? From an album he did with Antonio Carlos Jobim.

On feedspot's 100 Best Jazz Podcasts You Must Follow in 2025, Discovering Jazz has toggled between #33 and #35. At one time we were #7.

You can also find some other great jazz podcasts through that site. https://podcast.feedspot.com/jazz_podcasts/

This week's Discovering Jazz Podcast again introduces you to a few songs that, at least to my way of thinking, have similarities to other songs. I play a recording of a tune, then another tune that sounds similar.

You'll hear music by a host of great jazz artists: Chet Baker, Goldings-Bernstein-Stewart, Art Blakey and the Jazz Messengers, McCoy Tyner, Bill Evans, Louis Armstrong, and Oscar Peterson.

-Four tunes that have influenced others are: Let's Get Lost, Penelope, La Cucaracha, , and So What. - The Influencees? Lets get Lots, El Gaucho, Call Me, Impressions, and Moanin' (although that's probably the influencer rather than the influencee).

This is another lots of music and not so much talk episode.

Sometimes one tune may be influenced by an earlier one, and other times it's pure coincidence. But we find ourselves 'reminded' of another song.

In this episode I play a recording of either a well-known or not so well known jazz tune, then follow it with another recording of a totally different tune---but one that tune might remind us of. Or, it may not. It could be that it's just 'me'! But either way....you'll hear lots of great music in this episode, and not too much talk.

And for my fellow Canadian listeners---and lovers of Canada: Happy Canada Day!

This is the last episode of my series on resilient musicians who thrived (at least for awhile) despite mental and/or physical challenges.

The podcast starts with something fun....a Bud Freeman and Katie Lee project called Songs of Couch and Consultation, satirizing psychoanalysis and psychiatric jargon.

Then we get serious, moving right to Charlie Mingus and an album that was inspired by his time in a psychiatric ward.

And speaking of psychiatric wards, the great pianist, Phineas Newborn ended up spending some time in one.

Neurodivergence is no longer thought of as being a psychiatric disorder.....and some people, such as broken beat/P Funk/spiritual jazz/hip-hop artist Emma-Jean Thackray embraces the challenge of ADHD and being on the autidm spectrum. The album is called "Weirdo".

Drummer Phil Haynes almost retired due to a regenerative joint malady, COVID, and depression---but instead re-committed himself to compiling his music of five decades and even putting together some new ones,

Then there is Canadian singer Shannon Butcher who refuses to allow epilepsy to stymy her career---despite once having a seizure in the middle of a live concert.

Chris Gage from Vancouver may have been one of the world's best unknown jazz pianists---revered by Oscar Peterson. He only made one commercial recording.....and I play it for you here.

Saxophonist and prolific composer Allen Lowe made it through the depression that came with his struggle with cancer by writing a series of great compositions called "I Should Have Stayed Dead". Here I play one of them. And if its possible for a banjo to be depressing....

Billie Holiday when she was at her worst health, near the end of her life, made an album called Lady In Satin that some say was the best thing she ever did. I play the opening track.

Then there's Edmonton based P.J. Perry who was on a quest to show that you do NOT play better on drugs. The tune I play by him is called agoraphobia.

And last but certainly not least, I revisit the feature jazz guitarist from last week's episode: Pat Martino. He made it into a 2014 case study reported in 'World Neurosurgery'. It was believed to have been "the first clinical observation of a patient who exhibited complete recovery from a profound amnesia and regained his previous virtuoso status". To celebrate I play one of my favourite Pat Martino recordings.

The amazing guitarist, Pat Martino, while he was recovering from his near fatal seizure in the mid 1970's met with a highschooll junior, David K. Israel. They ended up recording a duet album together that was never released.

Israel is now a world famous composer author, screenwriter, director, and producer---and a couple months ago this long lost tape of their duets turned up. It involved Martino improvising over Israel's synthesizer tracks.

The world premiere of one of these tracks is featured in this episode, along with an interview David Israel did specifically for Discovering Jazz. Here he shares with us how this recording came about, his relationship with Pat Martino, as well as his own story of resilience.

I also play some great recordings by Pat Martino, as well as some of the latest offerings from David K. Israel.

For Part 2 of this 4-part series, I talk about the following artists and play 10 musical selections.

You'll learn something about:

-Bud Powell -Lakecia Benjamin -John Coltrane -Brian Barley -Claude Ranger -Michael Wolff -Kate Hammet-Vaughan -Angela Verbrugge -Art Pepper -Frank London and The Elders

And you'll hear 10 great recordings.

This is a start of a series where I play and talk about the resilience of jazz musicians facing challenges that would have stopped others in their tracks.

Musicians in general have been shown to have the highest level of job satisfaction, but also the highest level of physical ailments and sleep disturbances . They are also five times as likely to suffer from mental illness than the general population. The relationship between creativity and such challenges is a complex one. Does being a musician cause this? Or do these challenges contribute to their creativity? Or are there other factors that contribute to both a high level of creativity as well as some of those mental and physical difficulties?

For Part 1 of this series, you'll hear music by Michel Petrucciani, Fred Hersch and Esperanza Spalding, Thelonious Monk, Tom Harrell, Charlie Parker, and Phil Dwyer. I also share part of a talk by Phil Dwyer where he tells his story.....and how he was able to eventually thrive despite his addiction and bipolar disorder. He is now a practicing lawyer, and recipient of the Order of Canada, and one of Canada's best known jazz musicians.

Part two of my two part series on Sonny Rollins, inspired by Saxophon Colossus by Aidan Levy.

I play and introduce eight selections, ranging from 1951 up to his last studio album in 2006. It includes two of his first recordings, a recording where he played on a Thelonious Monk album, a selection from his 2001 grammy winning album, and two collaborations with non-jazz stars: Leonard Cohen and The Rolling Stones.

And the episode starts with one of his compositions that has become a jazz standard, playing with Clifford Brown, Richie Powell, George Morrow, and Max Roach.

I also throw in some of Sonny Rollins' beliefs about the 'tradition' of jazz.

Great listening, entertaining stories, and lots of interesting information.

This episode was inspired by my reading Saxophone Colossus: The Life and Music of Sonny Rollins. Thanks to Mark Vasey for giving me this book.

For these two episodes I focus more on the music than on his life....although both are fascinating. Starting with his first recording in 1951, with Miles Davis, I play tracks from some of his 46 + classic albums. You'll also hear something from his Sonny Meets Hawk album of 1963, where he teamed up with his idol, Coleman Hawkins.

At the time of recording this episode, Sonny Rollins is still alive and retired.

I listened to this podcast after recording it and really enjoyed it. I think you will too! It consists of tracks from cd's that I acquired over the past month, with some explanation as to why I acquired them.

Artists include:

-Wynton Marsalis with J.J. Johnson and again with Willie Nelson. Listening to the latter I get a sense as to why each new Willie Nelson album gets played on some jazz radio stations.

-A Swiss yodeller named Gabriela Martina. Here she does interesting things with a Wayne Shorter composition.

-Two albums sent to me by a 'new show in town'---a jazz promotion company set up by Toronto drummer Ernesto Cervini. One is by Steve Holt playing with Toronto's finest musicians. The other is an Edmonton man (Joshua Banks) and his first cd, celebrating his Filipino roots.

-The great Ahmad Jamal, Live In Paris, 1992.

-A duet with Coleman Hawkins and Sonny Rollins....with Canadian born pianist Paul Bley and bassist Henry Grimes

-Two reissued tracks from a label put down by the Music Heritage Society. One is by guitarist Jim Hall, and the other by vibraphonist Lionel Hampton.

-A track from Thelonious Monk Plays Duke Ellington.

Two of these albums I bought at Edmonton's jazz club, The Yardbird Suite, with the money going to their Littlebirds program geared to turn talented children and youth into inspired jazz musicians. You can contribute to this worthwhile charitable fund by going to Yardbirdsuite.com/donate.

-

The last in this series where I talk about the 'meaning' or (sometimes) lack of meaning behind the titles of certain jazz compositions.

In this episode I play:

Think of One-Thelonious Monk

Salt Peanuts--Charlie Parker w. Dizzy Gillespie

Elbow Grease--Niacin

When Charlotte Osgood Mason Dances the Africane--Allen Lowe and the Constant Sorrow Orchestra

Work Song--Nat Adderley with Wes Montgomery

First Steps--Kris Davis

Wheatland--Oscar Peterson

Double Double Toil and Treble (Victor Eijkout)--Thomas Dawkins leading 4 treble recorders

Crystal Silence--Billy Childs

Party in the Attic--Verneri Pohjola

Jitterbug Waltz--Fats Waller

Frack---Hutchinson/Andrew Trio.

Along with some great music, I explore some of the difference between jazz titles that are "programmatic" vs those that are more "impressionistic". And then there are those that seem to have nothing to do with the actual music.

Compositions I play this week include Well You Needn't (Monk), Original Faubus Fables (Mingus), Lester Lopes In (Allen Lowe), Disco Inferred (Chas Smith), Unconscious (Sandro Dominelli), and Daybreak/Sunbeam (Stu Goldberg),

And then there's a fascinating incident where two of Miles Davis's most popular tunes on his most popular album just might have been mixed up, title wise. If there is anybody out there who has access to Oxford Academic's Musical Quarterly Volume 95 Issue 1, Spring 2012 and an article called "The Naming of Names: Flamenco Sketches or All Blues", l'd love it if you could send it to me. Or at least clue me in on why Boston University music professor, Jeremy Yudkin, thought that those titles were reversed, and that 'Flamenco Sketches' is the correct name for the tune we know as 'All Blues", and that 'All Blues' is the correct title for the last track that we know as 'Flamenco Sketches'.

Ever wonder how (and why) jazz composers decide on a particular title for their compositions? I try to answer that question. Sometimes I just have to guess. And other times I'll get some hints from the composers or from jazz scholars. At times the title is a pretty good reflection of the music. And at other times it just seems random.

In this episode I play 11 compositions, and speculate as to why it is called what it is called.

In one instance the title was changed. I'm referring to a Thelonious Monk composition that was originally called "Fly Rite". And I also talk about the origin of another Thelonious Monk tune...called Evidence.

Then there are some really weird titles like "The Devil is On the Loose and Dancin' With a Monkey", and "Hello Dali". The latter title is from an album by Allen Lowe and The Constant Sorrow Orchestra called Louis Armstrong's America. That four cd set is what inspired this series of programs, so you'll hear a few tracks from that ensemble.

I'm taking a bit of a break and posting a couple episodes from my archives. This is from 2020 when I was living in Victoria. I listened to a few of them in order to find those that would speak to me. And here they are! I also talk a bit about who sent them to me.

Hope you enjoy them as much as I did.

From the archives, a program originally published May 2020. Six compositions jazz players like to play, with tidbits of information about each one.

Some of the recordings I play are by Ben Braum and his vocal quartet, Alan Pasqua, Tony Bennett w. Nora Jones, Kurt Weill (singing), Barney Bigard, Ed Graham, Miles Davis, Chuck Wayne, Hisatsugu Suzuki Trio, Anita O'Day, Jim Hall, Lenny Breau, Robi Botos.

And some of the tidbits of information? Let me make it an informal contest....see which of the tunes apply to the information given:

1. Which of those tunes is about addiction?
2. Which one was written by a famous silent film star?
3. The lyrics of which song was written by the poet known for great works such as ""If called by a panther, don't anther"
4. Who sold his tune for $25?
5. What was the composition that was discovered on an acetate by another musician 8 years before the supposed author wrote it?
6. A beautiful and oft played tune originally written for a horror movie.

As I type this description, I'm listening to this episode and so enjoying it! The music is both interesting AND accessible.

I'll give you a list of the album's I'm playing here:

1. Lisa Hilton: Lucky All Along
2. Don Moretti and Brazilia: Live at the Pumphouse Celebrating Wayne Shorter
3. Malfada Minnozzi w. Paul Ricci: Riofonic
4. Dave Stryker With Strings: Strings Goes To The Movies
5. Willie Morris: Unbound Inner
6. Jacob Wutzke: You Better Bet
7. Nanami Haruta: The Vibe
8. Judy Wexler: No Wonder
9. Oz Noy: Fun One
10. Tord Gustavsen Trio: Opening (this album has since left the jazz charts....but was on when I put this program together).

If you like this program, I'd appreciate you putting a review and rating wherever you get your podcasts. Thanks.

And I encourage you to buy any of these albums that resonate with you.

-Larry

I was interested in listening to a few of the albums that jazz radio are featuring so far in 2025, and playing a few that stood out for me.

This week you'll hear tracks by Eugenie Jones, Scott Hamilton, Joe Alterman with Houston Person, Renee Rosnes, Ben Patterson, Yellowjackets, Artemis, Claire Martin, Ben Paterson, and a saxophone blowing session with Nick Hampton and Cory Weeds.

Part 3 of pianists described by Robert Doerschuk in his book 88-The Giants of Jazz Piano.

I start by talking about Art Tatum who is " by consensus the greatest jazz pianist who ever lived".

Then I move on to the man that Tatum himself considered his 'heir apparent'. Montreal's Oscar Peterson.

Then the recently desceased Geri Allen, with her 'bracing rhythmic interactions'. Her ability to separate her left and right hands was astounding!

Lastly....a pianist considered to be one of the most important pianists of his generation: Brad Mehldau. And, given the upcoming change in seasons, the tune of his to finish off this episode seems quite appropriate.

Four more pianists as described by Robert L. Doerschuk in his book 88: The Giants of Jazz Piano.

You'll hear two tracks from Jelly Roll Morton and what to look for as you listen to them.

Then I play 3 1/2 tracks from Thelonious Monk, including a couple from very early in his musical career when he was just developing his style.

I talk about and play three recordings from Mary Lou Williams--who was described as a "gifted and delicate appreciator who distills what affects her in the work of other pianists....", where "the grapes are others, the wine is her own".

The episode finishes with one of my all time favourites---Ahmad Jamal. Don't miss his sensational performance of Make Someone Happy from the 1985 Montreal Jazz Festival.

One final thing: this podcast is ranked #35 in the 100 best Jazz Podcasts by Feedspot. You can explore various jazz podcasts through https://podcast.feedspot.com/jazz_podcasts/. And if you enjoy this podcast and want to see it rise, you can always give it a rating and review on the apple podcasts or itunes site----and maybe that can help it rise up the charts.

Thanks.

-Larry

"An outstanding example of freedom built on form and of the possibilities suggested when romanticism and abstraction find each other". Guess what pianist is being described here? And what do you think that description might actually sound like?

Or how about this one: "tantalizing interruptions of the rhythmic flow in the improvised line and his dissonant leaps twisting the melody into a moonscape of peaks and valleys". To what piano player might that description be refferring?

This is Part 1 of a series of episodes inspired by Robert L. Doerschuk's 2001 book "88 Of the Giants of Jazz Piano". Here I play music by Bud Powell, Barry Harris, Cedar Walton, and Paul Bley. Doerschuk describes some of the recordings of each of these giants---and I get to play them for you. The goal? To help me (and you) get a sense of each pianist's style, and be able to identify each one when you hear them. A rather ambitious goal, I realize.

But even if we don't attain it, for sure you will hear some great music!

It's important to remember, especially during Black History Month, that jazz is music born of the African American experience---and it is now played and listened to all over the world. To quote Randall Cline, Artistic Director of SF Jazz: "The birth of jazz, and its evolution is rooted in black artists fighting against systemic oppression. Jazz musicians have always been on the front lines of change".

So in this episode, originally posted and presented 4 years ago, I play music celebrating that fight.

You'll hear recordings by Art Blakey's Jazz Messengers, Archie Shepp, A Tribe Called Red, Nina Simone, and others. And some very revealing stories.

Also trumpeter Terence Blanchard, and his "Breathless" album from 2015. I neglected to mention who was playing on the album, so here it is: Donald Ramsey – bass Oscar Seaton – drums Charles Altura – guitar Fabian Almazan – piano, synth

And as an aside, this podcast, Discovering Jazz, is currently #36 on Feedspot's list of the world's best jazz podcasts. You can find their listing through https://podcast.feedspot.com/jazz_podcasts/.

Taking a couple weeks off and posting programs from the archives.

This week it's Jazz and Black History Month....originally posted February of 2020. Now, despite the efforts of certain racist politicians to eliminate our honouring black history, this episode is in honour of that history.

I play music by James Reese Europe and his Paragons Ragtime Orchestra, Jellyroll Morton, Louis Armstrong, Oscar Peterson & Harry Sweets Edison, Charles Mingus, Joe Williams, Louise Rose (from Victoria, B.C.), Ramsey Lewis, Wynton Marsalis, and The Modern Jazz Quartet. And I talk about this music---focusing on its roots, including Buddy Bolden (who, unfortunately, never recorded).

To conclude what has turned out to be an 8 part series on The Best of 2024---I've randomly selected some albums that were chosen by one or more 'experts'.

There are a lot of artists of whom I was totally unfamiliar...and randomly selecting a few certainly aids my own jazz 'discovery' process, and I hope it will also aid yours. By concidence it turns out that three of these have a Latin (Spanish or Portuguese) flavour. Then there's one artist from Italy, one from England, one 'historical' album from one of America's greatest trumpeters, two from Canada, and a couple from the U.S. (including Portland, Oregon).

Some great music!

Of the albums that reviewers and jazz aficianados placed on their "Best of 2024" list---here are what I feel right now are my nine favourites.

Kenny Barron: Beyond This Place Danae Olano: Children's Corner Bria Skonberg: What It Means Matt Wilson's Good Trouble: Good Trouble Alex Tuomarilla Trio: Departing The Wasteland Verneri Pohjola: Monkey Mind Oded Tzur Quartet: My Prophet Jeremy Ledbetter Trio: Gravity.

And my all-time favourite: A 4 cd set (with booklet) by Allen Lowe called Louis Armstrong's America.

Next week I'm playing what I've selected as being my 9 favourite jazz albums of 2024. (At least of those I was able to listen to).

This week, I'm playing records that I wanted on my top 9....but I just couldn't fit them in. And as I listen to this episode now, there is at least one that really should be in that personl 'best of' list. That's the album I start and end with.

Here is the list of 8 amazing albums I'm featuring this week:

1. Stream, by Fergus McCreadie. This Scottish pianist specializes in melodies that sound like they should be British folk songs. But they aren't! And this particular album conveys a sense of a stream or river in all its many manifestations. And what phenomenal piano work! Those notes truly flow.

2. Time and Place by Joel Jeschke, a drummer and composer from where I live---Edmonton, Alberta, Canada.

3. As I Travel by pianist Donald vega. Melodic and rhythmic tunes with Vega, bassist John Patittuci, Lewis Nash on drums, and a deligtful percussionist named Luisito Quintero. The album traces Vega's travel experiences right from his fleeing of Nicaragua as a young boy.

4. Blues Blood by Immanuel Wilkins. This is where jazz saxophone is going! He has two previous albums out, and this is the first one to employ vocals.

5. Jamie Saft Trio Plays Monk. What can I say? This pianist is a Monk scholar, who has studied Monk, his tunes, and his style so closely.

6. All Species Parade, by Jenny Scheinman. A violinist! Full of amazing energy. And on this track you hear two of today's most loved guitarists, Bill Frisell and Julien Lage.

7. Crossing Paths by Renee Rosnes, originally from Vancouver, now based in New York, I believe. And the path she is crossing is the one that goes far South, as it is an album of Latin music, written by some of the most highly rated Brazilian composers.

8. Standards II by Noah Haidu. What a trio---of Haidu, Buster Williams, and Billy Hart. I like this album even better than Standards I---which was also a favourite of mine.

9. Another track from the first album....12 and a half minutes of Fergus McCreadie.

Next week: my official "top 9 jazz albums of 2024". For what its worth :)

A lot of music that celebratess the body. I play 12 great tracks from more albums from the past year that jazz aficianados rave about!

You'll hear:

-Robert Glasper (with MMYYKK) -Hamilton De Holanda & Gonzalo Rubalcaba -Julian Lage -Joel Ross -Meshell Ndegeocello -Montuno West -Ezra Collective -Too Many Zooz -Christine Jensen (with her sister, Ingrid) -Immanuel Wilkins -Kurt Elling & Sullivan Fortner and a delightful version of a tune by Wayne Shorter--with lyrics by Tessa Souter.

It's all put together in a way that makes sense; a combination of variety and coherence.

And I would so appreciate it if any of you who enjoy this show would leave a rating and/or review on Apple Podcasts.

Thank you.

-Larry

I've been busy since mid-November going through the "Best Of" lists of 123 jazz critics, reviewers, jazz internet sites, etc. I've tabulated all the jazz albums mentioned (1,023 at last count)....and put a tick beside each one when someone puts it as one of their top albums.

This week, I play a track from 11 of the 13 albums chosen by the greatest number of 'experts', plus the Canadian album that most reviewers have mentioned. And with some I give some brief quotes from some of the reviews.

Later I will post on this page the names and artists of the albums most chosen and the number of 'votes' each received. And I'm also hoping to create a sort of 'newsletter' where I list ALL 1000 or so of the albums and the number of jazz aficianados choosing them.

But for now....just listen to the show and be surprised!

-Larry

Addendum, Jan 16/2024

I looked at a total of 123 lists,and listed all 1,066 albums that made at least one of those lists.

Here is the tally of all the albums that ended up being placed on 10 or more lists.

ALBUMS ON THE MOST 'BEST OF' LISTS

Vijay Iyer, Linda May Han Oh, Tyshawn Sorey: Compassion 41 lists Charles Lloyd: The Sky Will Still Be There Tomorrow 37 lists Patricia Brennan: Breaking Stretch 30

Nala Sinephro: Endlessness 26 Nubya Garcia: Odyssey 24 Shabaka: Perceive Its Beauty, Acknowledge Its Grace 23 Mary Halvorson: Cloudward 21 Samara Joy: Portrait 21

Amaro Freitas: Y'Y 20
Immanuel Wilkins: Blues Blood 20

Kamasi Washington: Fearless Movement 19 Milton Nascimento and Esperanza Spalding: Milton & Esperanza 19 Ezra Collective: Dance, No One's Watching 19

Arooj Aftab: Night Reign (grammy nom) 18
Wadada Leo Smith, Amina Claudine Myers:Central Parks Mosaic... 18 *MAPL Kris Davis Trio: Run the Gauntlet 17 Julian Lage: Speak To Me 16

Tyshawn Sorey Trio: The Susceptible Now(w. Aaron Diehl) 15 The Messthetics & James Brandon Lewis: 15 Bill Frisell: Orchestra s 14

Alice Coltrane: The Carnegie Hall Concert 13 Jeff Parker ETA IVtet: The Way Out of Easy 13 Kenny Barron: Beyond This Place 13 David Murray Quartet: Francesca 13

Matthew Shipp Trio: New Concepts in Piano Jazz 12 Chris Potter, Mehldau, Patittuci, Blade: Eagle's Point 12 Keith Jarrett: The old country, Live at the deer Head Inn 12 Joel Ross: NuBlues 11

Fred Hersch: Silent Listening 10 Tomeka Reid Quartet 3+3: 10 Meshell Ndegeocello: No More Water: The Gospel of James Baldwin 10 Jasmine Myra: Rising 10 Oded Tzur: My Prophet 10

I have found close to 1000 jazz lp's that have been rated by about 120 critics, reviewers, and jazz lovers and posted online. Of these 1000 I've listened to a small fraction, and picked out a few that have so far stood out for me. And I'm playing you tracks from those albums and talking a bit about them.

Here are the albums I'm featuring this episode.

1. Galliano: Halfway Somewhere
2. EABS: Reflections of Purple Sun (and also including an excerpt from the original Purple Sun by Tomasz Stanko)
3. Etienne Charles Creole Orchestra
4. Charles McPherson: Reverence
5. Danael Olano: The Children's Corner
6. Alexi Tuomarila Trio: Departing the Wasteland
7. Monty Alexander: D-Day
8. Matt Wilson's Good Trouble
9. Andrea Whiting: The Illiminality of Her

I'm in the process of tabulating all the choices of 'best albums' as selected by jazz critics and jazz aficianados and posted online. Then I play a track from some of those albums on this 5 part series.

This week: tracks from current recordings by this year's Grammy nominees Kenny Barron and Samara Joy. And from critically heralded albums by Bill Frisell, Michael Mayo, Kris Davis, Andy Milne, Fabiano do Nascimento & Sam Gendel, Jennie Scheinman, Modern Jazz & Folk Ensemble, Emmet Cohen, and Verneri Pohjola.

Posting this episode a few hours earlier than usual----so you have more time to savour these delightful Christmas, Chanukah, Yuletide, New Years, and Winter tunes played by some of today's finest jazz artists. I also talk a bit about the history of some of the tunes. But not so much talk and lots of music.

Very different from the seasonal music you hear in the stores.

This podcast originally started as a Trent Radio program in 2016. It became a podcast in 2017. The original goal was to discover more about jaz, answering questions like what is jazz, what isn't jazz, how has it developed, do you have to understand it to like it, and what can someone new to jazz look for. I still don't know the answers to those questions even after 8 years....so I guess I have to continue doing it.

For this 300th episode I play an eclectic array with the only commonality being that they are all recordings I feel like playing right now.

It includes tracks by Vince Guaraldi, Ellas Kapell, Gene (Eugene) McDaniels, Count Basie, Stu Goldberg, George Russell, Susan Alcorn, Sandro Dominelli, Wayne Shorter, and ---believe it or not---Lou Christie.

And hopefully they are presented in a way that the whole program feels cohesive.

Feedback is always appreciated....please post it on whatever podcast site from which you get your podcasts. Thanks.

-Larry

It's a different kind of review because rather than reviewing the different topics I've put forward over the years, I'm doing a random review of some of the records I played. What you hear this week (and last) I picked out of a table of random numbers. And everything turned out to be either excellent---or at least very good.

I even unintentionally selected two recordings that are strictly blues.....and pretty classic blues. One from 1927, and the other from 1981.

The ending tune is the one that introduced Afro Cuban jazz to New York.

Two Canadian artists selected are both from Victoria B.C., where I lived for about three years.

And one selection ended up being very appropriate for the winter holiday season (I don't say "Christmas" because it's not actually a Christmas song).

Lots more, too. A total of 13 great jazz or jazz oriented selections.

I take a random sample of music I've played since I first started this podcast in 2017. And here's what came up! (Don't read this if you want to be as surprised as I was re. what's on this episode).

1. Showtime--Jim Head (Edmonton guitarist)
2. Ne Me Quitte Pas--Nina Simone
3. Koff Drops--Moe Koffman (the closing theme to CBC Radio's "As It Happens")
4. Body and Soul---Ellas Kapell (an interesting Swedish group)
5. Nashon--Masada (originally suggested---and beautifully described---by Peter Waddell of Northern Ireland)
6. Aman--Ahmed Moneka (Afro-Iraqui Sufi Music).
7. Just Because We're Kids--Paul Horn and Lynn Blessing (jazz version of Dr. Seuss and Friedrich Hollander tune)
8. Take Five: Stop The Violence--Warren B. Cooper
9. Speak to Me--Julian Lage
10. No Moon at All---Diana Krall
11. In My Life--Tuck & Patti (such a beautiful rendition of this Beatles classic).

The vinyl are some great albums that I found at a garage sale this past month. The Shellac are some 78rpm records that were at my local Goodwill Store. Did you know that 78rpm records are some of the 'greenest' technology ever invented? Infinitely recycleable.

Great music by the likes of Nat King Cole Trio, Coleman Hawkins, Hazel Scott, Gerry Mulligan, Horace Silver, Johnny Pate Quintet, Blossom Dearie, Otis Williams and the Charms, Ziggy Elman, and even Guy Lombardo. And don't forget Skinnay Ennis. Have you ever heard of him? What a fascinating voice.

People make fun of them. But when I researched jazz accordionists I found so many great ones that it was a challenge to 'squeeze-box' them into one episode.

Names like Ben Rosenblum, Art Van Damme, Tommy Gumina, Richard Galliano, Mat Mathews, and David Lange are heralded musicians who play great jazz. And on this episode I also play a few who are 'far-out there'---like Joelle Leandre, and Bube Sapravie.

Then there are some fine Canadian acordionist s like Tom Sczesniac, Adrian Dolan, Gordie Fleming,

This is an episode that accordion fans---and those willing to 'explore' the instrument's many possibilities---shouldn't miss.

Addendum: You can now follow my posts on Bluesky (an alternative to twitter or 'x' to which many people are turning). @larrytheradioguy.bsky.social

Last week I played a few Canadian jazz albums that I either really like or have made the Jazzweek charts---or, in most cases, both!

Three of these albums are led by musicians who play regularly at The Yardbird Suite in Edmonton, where I live. They include records by Joel Jeschke, Brett Hansen,and The Way Back Whens.

Also featured are new recordings by Noah Abrahamse (a great Latin album), two tracks from the latest Caity Gyorgy album, Neil Swainson with Renee Rosnes and Quincy Davis, Ernesto Cervini's Turboprop, Holly Cole, and guitarist extraordinaire Jocelyn Gould.

I've noticed a lot of albums by Canadians on this year's JazzWeek charts. And there are some new ones that, surprisingly, haven't made those charts. I've taken some time to listen to some of those albums and play tracks that stand out for me. And what a variety! Enought great quality recordings for two episodes.

Some of the artists you'll hear this week include:

-Jeremy Ledbetter Trio

-Bria Skonberg (with Gabrielle Cavassa)

-Brasstactics

-Kris Davis

-Angela Verbrugge

-John Lee

-Aretha Tillotson

-Christopher Parnis

-Nick Adema

-Sahil Chugh.

This episode includes some great versions of ridiculous television themes and some crazier versions of great ones! A lot of it is pretty weird But the jazz is all first rate.

Some of what you'll hear:

-Did you know that Sun Ra did an early album on a children's label? From that you'll hear a very familiar theme.

-A theme where one of the criteria for it's composition was that it must be "the supidest song ever written".

-Gary Burton Quartet doing what I thought was one of the most ridiculous tv themes.

-A Canadian mystery/comedy program that has been on the air for 18 seasons.

-Ornette Coleman and Charlie Haden playing a theme from a soap opera satire.

-Mickey Mouse theme sung on an album called "Nice Girls Don't Stay for Breakfast"

-The original and a fascinating jazz version of The Six Million Dollar Man

-The Spiderman theme played by a group led by a jazz banjoist/

-Lots more!

Lot of great jazz renditions of Television themes in this episode. I talk about the very first tv program I ever remember watching---the first day television came to Edmonton, Alberta. And I play interesting jazz renditions of the Jack Benny theme (a medley of Love in Bloom and Hooray for Hollywood).

You'll also hear music by three of the great tv theme writers---Henry Mancini, Lalo Schifrin, and Quincy Jones. The themes are Mission: Impossible, Mannix, Peter Gunn, Pink Panther, Mr. Lucky, Sandford & Sons, and Ironside.

Rounding out the episode is Bob James theme from Taxi (a tune called Angela), Mort Stevens' Hawaii-Five O theme, and 77 Sunset Strip.

Television themes have been a popular musical genre for jazz interpretation.

For Part 1 of this 3 part series I talk briefly about the following programs, play excerpts from the original themes of some of them, then find some jazz oriented recordings of each one.

The TV series featured in this episode are Dragnet, Ben Casey, Dr. Kildare, Game of Thrones, I Love Lucy, The Flintstones, Curb Your Enthusiasm, Route 66, Star Trek, Peter Gunn, Barretta, Barney Miller, and M-Squad.

Performers include Count Basie Orchestra, Richie Cole, Peter Appleyard, Julio Gutierrez, Nelson Riddle, Jacob Collier, Pete Rugolo, Bobby Vega, Earl Klugh w. Dave Grusin, Maynard Ferguson, Post Modern Jukebox w. Dave Koz, Betty Carter, Shelly Manne & His Men, and the Melbourne Ska Orchestra.

Part 3 of some of the best albums from 2017-2023. This one truly illustrates the versatility of this musical genre we call 'jazz'.

It turns out that most of the ones I play are from last year--2023. And wow! They are all so listenable and so interesting. You'll hear:

1. a track from the Charles Lloyd album that was the #1 selection on this year's Critic's Poll from Downbeat Magazine.
2. The soulful singing and spectacular jazz backing from Billy Valentine and The Universal Truth
3. Edmar Casteneda World Ensemble.
4. Susan Alcorn and an album called Canto---which is like nothing you've ever heard.

I also play

1. Jussi Reijonen and his Kolme Toista (Three Seconds) album from 2022
2. Sons of Kemet, featuring Shabaka Hutchings, from 2021.
3. Ambrose Akinmusire from On The Tender Spot of Every Calloused Moment (2020)
4. Terri Lyne Carrington with Social Science and Kokayi, from the Waiting Game album of 2019
5. Dominique Fils-Aime, from 2019, and a Juno Award winning album from 2019. A great title for the selection: "Big Man Do Cry".
6. Diana Krall from 2018, and her Turn Up THe Quiet album. Love her piano playing on "No Moon at All".

Part 2 of albums that caught my attention over the past 7 years---as well as the attention of some critics and reviewers.

This episode includes three tracks that are generally too long to be played on most jazz radio stations. They are by:

1. Martin Kuchen's Angles--an eight piece group out of Sweden.
2. Wayne Shorter's last album--a triple disc where he arranged, wrote, and performed part of it with a full orchestra.
3. Kris Davis and Diatom Ribbons. Canada's most acclaimed living pianist.

Also tracks from Edmonton's Rubim de Toledo, Joshua Redman w. Gabrielle Cavassa, Okan, Jazzmeia Horn, and Ted Nash.

I'm starting a three part series going through some albums that I had noted over the past seven years. These are also albums that various reviewers (sometimes several, sometimes one) put on their lists of favourites from that particular year.

For this episode there end up being lots of piano led ensembles. They include Vijay Iyer, Billy CHilds, Robi Botos, Carla Bley, and Fergus McCreadie. Also a great solo piano interpretation of Thelonious Monk's "Reflections" by Kenny Barron. Rounding out the program are Chelsea McBride and her Socialist Night School (featuring Alex Samaras), Ellas Kapell, and Veronica Swift.

I've re-discovered a few old mix cassette tapes I made over the years. And I'm playing them.

This episode was inspired by one tape of mostly jazz vocalists--and mostly female, which I put together in 1988. What I realized in listening to it many years later is that it wasn't just the singing and even the song that made me want to record it onto the tape---but the terrific musicians who were backing the singer.

I'll make a list, in order, of the musicians playing on each track. Which isn't to say that the singers aren't also great; but so often those backup musicians go unhearalded. And I noticed the vast majority of these are on Mercury records.

1. Hank Jones, Ray Brown, and drummer Jimmie Smith.
2. Trumpet greats Clark Terry, Maynard Ferguson, and Clifford Brown---each taking a short solo. Along with Max Roach's drums.
3. Oscar Peterson and his trio with Herb Ellis and Ray Brown. And you'll be surprised who the singer is they are backing.
4. The Bill Evans Trio with Larry Bunker and a fine bass solo by Chuck Israels.
5. Charles Williams bass guitar really drives this one, as part of the Kirk Stuart Trio
6. Vancouverite Miles Black on piano and some great guitar from, I believe, Nanaimo's Pat Coleman
7. Acapella Vocals that sound like instruments backing up some lead vocalists on a Stevie Wonder tune
8. The smooth and flawless guitar work of Tuck Andress
9. Some unknown musicians for a rather obscure singer....about whom I can find virtually no information. 4
10. Count Basie Orchestra
11. Mundell Lowe's guitar and Blossom Dearie's piano, with Ray Brown (again) on bass and Ed Thigpen-drums
12. A self-taught Dutch guitarist name Wim Overgaauw. Also Pim Jacobs,Ruud Jacobs, and Kenny Clarke.
13. Shirley Horn on piano, with an orchestra led by Jimmy Jones
14. A Gil Evans arrangement, with a fine trombone solo by Jimmy Cleveland.

Singers include (not in any particular order) the likes of Dinah Washington, Blossom Dearie, Sarah Vaughan, Patti Cathcart, Ernestine Anderson, Christine Duncan, Helen Merrill, The Real Group. Oscar Peterson, Thelma Grayson, Monica Zetterlund, Joe Williams, Rita Reys, and Shirley Horn.

For the concluding episode of this series, I play recordings of more tunes that I so often hear at the jazz jams at Edmonton's Yardbird Suite. I also reveal some of my own struggles in trying to follow them without getting lost. Some are a lot harder than others.

I talk about two of the most simple tunes that get played. And also one of the most complex. And the two that are played more than any others---not just at this jam session but at most jazz jams.

The selections in this episode are:

-Black Orpheus Theme (aka Morning Of the Carnival) -In Walked Bud -Autumn Leaves -All The Things You Are -Solar -A Night in Tunisia -Red Clay -Nardis -Mr. P.C.

And you'll hear performances by Keith Jarrett and The Standards Trio, Pat Metheny, Laila Biali, Miles Davis, Frank Kimbrough, Mark Murphy, Bill Evans Trio, Dave Young and Terry Promane Octet, Hank Crawford & Jimmy McGriff

-

I've selected six tunes that I commonly hear at the Tuesday night jam sessions at Edmonton's Yardbird Suite jazz club. And I've added one that I wish would get played---as it's the only tune in the oft use Real Book Vol. 1 Sixth Edition written by a woman. And one of the very few written by a Canadian.

So here they are:

Dexterity

In A Mellotone (sometimes spelled 'Mellow Tone')

Bye Bye Blackbird

Oleo

Impressions

Straight No Chaser.

And the one written by a Canadian female? I'll Never Smile Again.

I play recordings by Oscar Peterson & Dave Young, Django Reinhardt, Frank Sinatra w. Tommy Dorsey, Charlie Parker, Miles Davis, Rachel Caswell, Bjorn Johansen, Dave McMurdo Jazz Orchestra, McCoy Tyner, and Duke Ellington., and a bit from The Harmonizers.

I play different versions of tunes I keep hearing at jam sessions I go to at The Yardbird Suite in Edmonton.

On Part 1 of this 3-part series you'll hear Alone Together, Ornithology, The Days of Wine and Roses, Tenor Madnes (aka Rue Chaptal), Softly As In a Morning Sunrise, and I'll Remember April.

Artists performing them include Bud Powell, Michael Dease, Noah Haidu, Oscar Peterson, John Coltrane with McCoy Tyner, Kenny Clarke, Bobby Darin, Jennifer Scott, Charlie Parker, and Lucie Horsch (playing the recorder). Once again, a great variety of stellar jazz. Plus we might all get a bit of insight as to why these tunes are so popular with jammers.

This is the last of my three part series all about Cole Porter and his music---and why jazz musicians love him.

I was inspired for this episode by Ted Gioa's delightful boook, The Jazz Standards, where he gives us stories behind the songs and recommends some of the most interesting versions.

You'll hear:

1. All Of You, by Miles Davis.
2. You'd Be So Easy to Love, by Edmonton's P.J. Perry with Kenny Barron
3. Just One Of Those Things, by Ella Fitzgerald
4. Just One Of Those Things, by Coleman Hawkins with Teddy Wilson
5. Ev'ry Time We Say Goodbye, by Theo Bleckmann and Ben Monder
6. I Love You, by Mike Stern
7. Miss Otis Regrets, by Gregory Porter
8. Love For Sale, by Billie Holiday with Oscar Peterson
9. You'd Be So Nice To Come Home To, by Cecil Taylor
10. You'd Be So Nice To Come Home To, by Suzannah Adams (from Victoria, B.C.)

You'll also hear how he had determined that one of those tunes was going to be a "Jewish song". And another one came from a musical where Igor Stravinsky wrote the ballet music. And another he wrote at a party after he heard a cowboy's lament song on the radio and wanted to parody it.

Saxophone legend Charlie Parker's last recording session was an album of Cole Porter tunes. I start this episode with two tracks from that great album.

Other great players playing Cole Porter tunes include Dizzy Gillespie, Matthew Shipp, Toronto guitarist Jocelyn Gould, and trumpeter Tom Harrell. Harrell plays with singer Mark Murphy and their dramatic rendition of a song that is already dramatic thanks to its natural arc is probably the highlight of this episode.

Other great singers I play today include Frank Sinatra, Aretha Franklin, Eartha Kitt, Julie London, Peggy Lee, and the Susie Arioli Swing Band.

Some of my favourite songs, whether played by jazz or non-jazz musicians, turn out to be Cole Porter compositions. What makes those songs so great, and so amenable to jazz improvisation and reharmonization?

I talk a bit about Cole Porter's life. Did you know that he wrote a complete operetta--words and music---at age 10?

And for this episode I play recordings of Begin the Beguine, Night and Day, Anything Goes, So In Love, I Love You, Too Darn Hot, and Down in The Depths of the 90th Floor. Jazz players represented include Dave Brubeck, Art Pepper, Sergio Mendes, Chick Corea, french hornist Tom Varner, Artie Shaw, and Oscar Peterson, Singers include Lani Hall, Bob Dorough, K.D. Lang, Mel Torme, and Fred Astaire.

On this episode I play and talk about:

-Joe Locke (vibraphone solo) -Hagood Hardy, playing vibes on a Herbie Mann classic) -Montreal's Jean Vanesse and Miroslav Vitous (spectacular!) -Two tracks from The Red Norvo Trio with Charles Mingus and Tal Farlow -26 year old Sasha Berliner -Marjorie Hyams with Mary Lou Williams -Toronto's Michael Davidson playing with Joe Chambers -Cal Tjader -Johnny Lytle -Stefon Haris with Steve Turre and Jason Moran

I talk about Charles Waring's list of the 25 best vibraphonists, play music by a few of them, and add some others. They range in eras from Lionel Hampton to Chris Dingman. And lots inbetween.

This is the last of my New Aquisitions series----lp's and cd's I recently found.

It include three artists from my hometown, Edmonton, Alberta, Canada. They are: -Saxophonist PJ Perry playing with the #1 jazz pianist according to Downbeat critics' polls---Kenny Barron. -The Edmonton Jazz Ensemble from 1989, led by Sean McNally, performing a fascinating arrangement of John Lewis's Django. -The late guitarist Bobby Cairns and his rendition of the oft played standard, Beautiful Love.

I also include a fascinating 'contest' for you on this listener. Guess what emotion or human quality is being portrayed in a particular track off Lynne Arriale's "Being Human" cd.

Then there's my re-discovery of the music of the great Count Basie, especially his smaller ensembles. And also something from a classic album he did with Frank Sinatra.

Then there's one of my all-time favourites. Bob Dorough. He exudes sponaneity and playfulness.

I play some classic Miles Davis from a remastered version of his "Relaxin" album.

Then there are a couple artists you don't normally associate with jazz. But these tracks are solidly within the jazz genre. Firstly, there's Richard Greene playing Ornette Coleman. Then we have pop-soul group Bob Kuban and The In-Men (remember The Cheater?) with organist Greg Hoetzel as influenced by Jimmy Smith.

The hilight for me on this week's podcast is a brand new cd (their first) by Moneka Arabic Jazz---led by Toronto's (via Iraq) Ahmed Moneka. I play two tracks from that album.

I also play some more typical jazz recordings---with outstanding playing! Three of them are on the Pablo lable recorded in the mid 1970's. They include:

-a track from the Quadrant album by Joe Pass, Milt jackson, Mickey Roker, and Ray Brown. -Oscar Peterson playing Bobby Hebb's 'Sunny' on the organ, with Joe Pass and Ray Brown. -A terrific Basie Jam of 'I Surrender Dear'.

Then there's two tracks from a Tony Bennett album with Ruby Braff's trumpet and guitarist George Barnes. Barnes is considered by some to be the very first electric guitarist. I wonder if that's true?

I play a track from an early album by Trumpeter Nicholas Payton, dueting with Wynton Marsalis.

Then there's another duet: Yukon pianist Daniel Janke and Montreal clarinetist Francois Houle.

Some boogie woogie piano from 1939 by Albert Ammons

Then there's the group that ended up putting out my favourite jazz album of 2023---Sweden's Ellas Kapell. Some spectacular piano work by Manne Skafvenstedt and fine tenor sax work by Magnus Lindgren on Cheek to cheek.

There were over five weeks where my podcast was out of commission due to the host having disappeared. Now I have a new host and I've been posting some new Discovering Jazz programs.

During that no-activity period I was still buying cd's and records---waiting the time I could play some of them on my show. Well folks! That time has come!

Most of these vinyl albums and cd's were found in thrift and second hand stores. A few were purchased online or from the artist's themselves at concerts I attended. Some were sent to me by promoters. In the next three episodes I plan to play tracks from the ones that have most resonated with tme.

Part 1 features three artists whose cd's I received thanks to Braithwaite and Katz who are promoters for some of the most interesting and often 'edgy' current jazz artists. I play tracks from recent albums by Ches Smith, Gabriela Martina, and Noah Haidu.

Some second hand lp's that I quite like are by The Alex Dean Quartet, Oscar Peterson Big 6, and Ella and Louis.

Last but not least---two cd's: one from my local thrift store and the other from one of the few remaining stores in Edmonton that sell new cd's. The first is by a guitarist and I've been playing the recording a lot lately. His name is Lorne Lofsky....and it's truly wonderful! Especially his version of Yesterdays. The second is from an arranger, composer, pianist, big band leader who I was told I must listen to if I wanted to truly understand jazz harmony. His name is Clare Fischer.

I hope you can appreciate this music as much as I do.

IMPORTANT NOTE, Aug 30, 2024: A loyal listener alerted me to the fact that the link for this episode is incorrect. So I've corrected it. So please give it another try. Thanks Stephane!

I like to 'prepare' to go to Jazz Festival concerts (even if I don't actually go to many of them) as an excuse to 'discover' new jazz artists. And there are some great ones playing at this year's Edmonton Jazz Fest going on this week (June 25-30). And many of them are also on tour playing elsewhere in Western and Eastern Canada and the U.S., as well as Europe.

I don't know how many concerts my time and budget will allow me to see and hear. Probably Norbert Kael and his Jazzical Trio and Moneka Arabic Jazz. Then there's Ulysses Owens Jr and Generation Y, Veronia Swift, Lakecia Benjamin, Cory Henry, Lorraine Klaasen, and Pasquale Grasso. I also play some great tracks in this episode from local artists: Joe Semple and the Licorice Sticks (a clarinet group), Sahil Chugh, and guitarist Jim Head.

More great recent recordings utilizing bebop, hardbop, and swing as selected by soul/jazz singer and pianist, Cliff Beach.

We start again with a great Duke Ellington composition from Cliff's latest album, You Showed Me The Way. And follow it with Ella Fitzgerald singing that same Duke Ellington song with what Cliff describes as a "James Brown sound". You'll also hear Monty Alexander, John Scofield doing some Bob Dylan, vibraphonist Joel Ross, Monty Alexander, Kurt Elling, Jose James, and Stacy Kent. And one Canadian artist I introduced to Cliff---Caity Gyorgy (pronounced George).

Ella Fitzgerald representing jazz fusion? You have to be kidding! Well, just give a listen to the opening track of this episode where Los Angeles jazz/soul singer Cliff Beach introduces to a later 'funky' Ella!

Somone said that if Ella Fitzgerald and Stevie Wonder had a love child, it would be Cliff! You can hear this influence on his latest album called "You Show Me The Way".

Cliff has found a lot of great fusion recordings---old and new. Some of them are from the 'magical year of fusion. We play and Cliff talks about:

-Chaka Khan and her medley of bebop tunes.
-from Japan, Casiopeia. With David Sanborn. -Nancy Wilson -Jeff Lorber -Jamie Cullum -Minnie Riperton and Stevie Wonder together -Jordan Rakei from Australia and New Zealand -Prince -Cliff Beach--The Gift of The Blues from his latest album, You Showed Me The Way -I introduce Cliff to Jane Bunnett and Maqueque. A rather different kind of 'fusion'.

As well as enjoying this music, I think you'll be impressed with Cliff's reflections and insights about the songs and the artists.

Cliff Beach's latest album is called You Showed Me The Way. He credits Ella Fitzgerald with showing him the way through traditional sgin and bebop and through the path of modern jazz.

On this episode we play some Ella, as well as an outstanding track from Cliff's latest album. Then Cliff talks about how the more traditional swing, bebop, and blues forms of jazz have never died....but had been 'paved over'. And if you listen closely to most modern jazz you'll find that those elements are still there, even though they are fused with so many other musical forms.

Some of the great music you'll hear this week include the likes of Emmett Cohen w. Houston Person, Nubya Garcia, Brandon Sanders with Jazzmeia Horn, Billy Childs, Saje w. Jacob Collier, Christian McBride and Edgar Meyer, and the great Samara Joy, And I introduce a new artist to Cliff who typifies that amalgalm of traditional and modern. His name is Sahil Chugh, a pianist/composer from Edmonton, who has just put out his first album.

I think you will treasure Cliff Beach's insights as we listen to these great recordings together.

The podcasts are back! Thanks to the assistance of Maxime at FeedPress.

After posting three new episodes on what makes a great jazz solo (Episodes 269-271), I thought I'd go into the archives and also include the original ones I put together a few year ago. These were inspired by a Jazz Times article where a number of famous jazz musicians and writers were asked to talk about their favourite solos.

This episode features amazing solos by Bill Evans, Charlie Parker, Jaco Pastorius, Freddie Hubbard, Ella Fitzgerald, and Toronto's Robi Botos. Plus one solo that was described as being not so amazing.

I'm hoping that hearing these six episodes on The Jazz Solo--with explanations by experts as to 'why'--- gives some idea as to the criternia for defining a solo as great. Although I'm sure its a topic that can benefit from continuous exploration.

I'm hoping to start downloading new programs starting Tuesday!

I explore the controversies related to Tommy Flanagan's solo on Coltrane's Giant steps, plus Cannonball Adderley's solo in Milestones.

One jazz writer stated "With Giant steps Coltrane supplanted Cherokee as the litmus test for aspiring improvisers, packing so many harmonic substitutions into one progression that at first blush, consummate pianist Tommy Flanagan could barely eke his way through the changes". So how bad was Flanagans's solo? And was Coltrane's solo so powerful that it could cause us to experience vertigo (as one reviewer suggested).

Then there's that controversy around Cannonball Adderley's solo in Miles (aka Milestones). Fred Hersch said it 'shone'. Another writer said he 'struggled' because he tried to play it like bebop rather than like modal music. You be the judge.

Other solos featured are by Elvin Jones, McCoy Tyner, Guido Basso, Ornette Coleman, Sarah Vaughan, Clifford Brown, and Charlie Christian.

You just finished listening to Part 4, 5, and 6 of The Jazz Solo. Now as I take a bit of a break, let's go back five years and hear Parts 1, 2, and 3.

In part 1 you'll learn why we don't all say 'so what' to Miles Davis's most highly renowned jazz solo. Or to the other great solos in that piece of work as well.

Then there's Louis Armstrong's and Johnny Dodd's solos in Potato Head Blues.

I also play rave about solos by Paul Bley, Oliver Nelson, John Coltrane, and Israel Crosby.

Lots of great music once again from Miles Davis McCoy Tyner, Herbie Hancock (with Freddie Hubbard), Dave Brubeck, Ellas Kapell (w. manne Skafvenstedt), Jeff Johnston Trio, Coleman Hawkins, and Hank Mobley.

This week I start with a solo by Charlie Parker---talking about what has been termed "the famous alto break".

Then I move onto John Coltrane--and playing that sounds like its either "all composed or all improvised".

The episode ends with Jaco Pastorius and his bass and percussion recording of Donna Lee, followed by a Sonny Stitt and Sonny Rollins 'cutting contest' with Dizzy Gillespie also getting into the fray.

Then there's Chick Corea with a solo described as "a perfect example of motivic development and story telling".

Other well-known solos include Cannonball Adderley playing I Can't Get Started.

There are also a couple lesser known solos. From 1997 there is guitarist David Occhipinti along with David Restivo and Jim Vivian. And one of my favourites---Victoria's Kelby McNayr with a soft, subtle, but creative drums solo that sounds too understated to be a solo. But it is!

Part 4, you ask? But where are Parts 1, 2, and 3?

Answer: Way back five years to Episodes 52 to 54. The goal? To get a greater sense of the difference between a jazz solo that is considered 'great' versus solos that are just 'good'...and sometimes not even that. I reach out to 'experts to get some opinions. And I play some of tha tmusic with those recommended solos.

You'll hear raved about solos by Paul Gonsalves, Frank Rosolino, Mike Murley, Herbie Hancock, Pat Metheny, Kevin Turcotte, and of course, Louis Armstrong.

There are other solow too---and some of them you might like even better than those ones the experts are talking about.

I start by talking about and playing a great track by Wes Montgomery and Wynton Kelly--fraom newly discovered recordings released last year. And I finish with the great Rashaan Roland Kirk--focusing on hs amazing resilience as he kept playing despite a debilitating stroke.

Another amazingly resilient musicians who arried on despited physical difficulties was Michel Petrucciani.

Other musicians and singers I play this week are Chet Baker with Paul Bley, Fats waller, Bessie Smith, Eric Dolphy w. a bunch of jazz superstars (including drummer Tony Williams), drummer Karen Carpenter (really!), and Amy Winehouse.

And as a special treat, a Vancouver pianist who made only one commercial recording, but was raved about by Oscar Peterson. His name was Chris Gage.

One ended up being murdered on the bandstand. Others simply disappeared. But most important is the great music they made.

I've heard and read many stories of jazz artists who have left us due to drugs, violence, and sudden accidents. The next 3 episodes talk about some of them. But rather than just focusing on their deaths, I talk about how they lived and how they inspired us. And most importantly, I play their music!

The first episodes starts off with later-life John Coltrane. You'll also hear and hear about Eddie Jefferson, Nat King Cole, Chano Pozo, Jaco Pastorius, Wardell Gray, Lenny Breau, Emily Remler, Esbjorn Svensson, Tommy Dorsey, Clifford Jordan, and Sarah Vaughan.

Re-releases, remastered recordings, or newly discovered vintage recordings released in 2023. From Bill Evans Trio to Nina Simone. Also features a live Dave Brubeck Quartet track recorded four months before the legendary Time Out album. You'll also hear Ahmad Jamal, Art Ensemble of Chicago, Geri Allen & Kurt Rosenwinkel, Don Thompson and Rob Piltch, and Charles Mingus.

You'll hear a track from John Zorn: Homenaje A Remedios Varo, just one of 14 releases Zorn put out in 2023.

And something from pianist Noah Haidu's Standards album. He has another Standards album coming out in 2024.

Benny Benack II, trumpeter and singer's 3rd album called Third Time's The Charm.

Audrey Ochoa, Edmonton trombonist, and Head of a Mouse.

Then there's Darcy James Argue's Secret Society with Dynamic Maximum Tension. The track is a tribute to Alan Turning and hs role as 'codebreaker'. What are the words and numbers the opening intro is tapping out?

More Canadian artisits with the Newfoundland duo of Florian Hoefner and Dani Oore.

Ellas Kapell, For All We Know---from my favourite album of 2023. A very different rendition of Harry Warren and Al Dubin's 'How Could You'.

I play something from Ricki Lee Jones current jazz album, Pieces of Treasure.

Then there is Avishai Cohen and Abraham Rodriguez, and Iroko. This album features musicians from a number of different countries. Lots of Afro-Caribbean rhythms.

Ryuchi Sakamoto and an album that this great soundtrack writer (Last Emperor, Merry Christmas Mr. Lawrence) put toggehter as he was dying of cancer.

Lastly, drummer Jonathan Blake and Passage. Made a few reviewer's best of 2023 lists. With David Virelles, Joel Ross, Immanuel Wilkins, and Dezron Douglas.

This is Part 6 of my 8 part series of the Best of 2023 according to jazz aficionados. And I take the liberty for this episode of playing tracks from 9 of my own personal favourites.

And it turns out that one of the albums is even a 2024 grammy winner. Who’d have thought?

I’m interested in hearing how any of them resonate with you, the listener.

I also invite those of you who enjoy this podcast to post a review on itunes, or wherever you listen to your podcasts. Thank you!

-Larry

Last week I played tracks from the albums that were chosen for the ‘best of 2023’ lists by the most reviewers. This week I’ve picked few albums chosen by only one or two reviewers. But they are ones that were definitely worth my time and energy!I talk about and play a track from the following great jazz albums:

-Thunder by Stephan Micus

=The Senator: A Tribute to Tommy Banks by the Hutchinson/Andrew Trio (featuring Mallory Chipman)

-Bossa 65 by Antonio Adolfo

-Apertures by Rajna Swaminathan

-Cry Me a River by Hilario Duran

-Life and Umbrella by Javier Red’s Imagery Converter

-Rags and Ragas by Chara Suri

-Master Legacy Series #5 by Emmet Cohen and Houston Person

-Beboptical Illusion by the Gaz Hughes Trio

-Acrobats by Jo Lawry.

–

For this 4th episode of the Best of 2023 According to Experts, I’m posting the titles of 27 albums that were selected by the most reviewers as part of their top albums of last year. And I’ll do a countdown of sorts—finishing with the album that was selected by the greatest number of reviewers.

If you want to be surprised, don’t read the rest of this right now until you’ve heard the podcast.

The most selected album by far was the latest (and the last) recording by trumpeter Jaimie Branch.

Here they are–all the albums that got eight votes or more— listed in order of the numbers of reviewers selecting them. Most of them are new releases, but you’ll notice that two are newly discovered archives.

MOST SELECTED JAZZ ALBUMS BY REVIEWERS, MUSICIANS & RADIO STATIONS.

Jaimie Branch: Fly or Die Fly or Die Fly or Die (World War) (29)

Matana Roberts: Coin Coin Chapter Five: In the Garden (20)

Cecile McLorin Salvant: Melusine 20

Meshell Ndegeocello: The Omnichord Real Book (19)

Irreversible Entanglements: Protect Your Light (17)

Yussef Dayes: Black Classical Music (17)

James Brandon Lewis & Red Lily Quartet: For Mahalia With Love (15)

Lakecia Benjamin: Phoenix (15)

MAPL Kris Davis: Diatom Ribbons, Live at the Village Vanguard (14)

Arooj Aftab, Vijay Iyer, & Shahazad Ismaily: Love in Exile (14)

John Coltrane w. Eric Dolphy: Evenings at The Village Gate (14)

MAPL Darcy James Argue’s Secret Society:Dynamic Maximum Tension (13)

Steve Lehman & Orchestre National de Jazz: Ex Machina (12)

Johnathan Blake: Passage (11)

The Necks: Travel (10)

Fred Hersch & Esperanza Spalding: Alive at the Village Vanguard (10)

MAPL Artemis: In Real Time 10

Alfa Mist: Variables (9)

Henry Threadgill Ensemble: The Other One (9)

Brandee Younger: Brand New Life (9)

Fire! Orchestra: Echoes (8)

London Brew: London Brew (8)

Natural Information Society: Since Time is Gravity (8)

Brad Mehldau: Your Mother Should Know 8

Tyshawn Sorey: Continuing 8

Ahmad Jamal: Emerald City Nights Live at the Penthouse 1966-68 8

Chris Potter: Got the Keys To The Kingdom 8

This is Part 3 of some of the jazz albums that critics and reviewers believe are worth our attention. And I do too—for the ones I’m choosing to spotlight on this series of podcasts. You’ll hear a track from the latest recordings of the following great artists:

Shakti (w. John McLaughlin)

Billy Valentine

Joshua Redman with Gabrielle CavassaAline Homzy

Joey Alexander

Espen Eriksen with Andy Sheppard

Darcy James Argue’s Secret Society

Arturo O’Farrill

Florian Arbenz w. Nils Wogram

Arbenz, Krijger, and Osby

Definitely an antidote to that oft stated complaint that only the old stuff is worth listening to.

One skill we can develop when putting together radio shows, podcasts, or ‘mix-tapes’ is a way of allowing the energy to build. I think that, just like a great jazz solo, this episode seems to have a nice ‘arc’. It starts fairly low key and builds up in speed and intensity….ending with a sort of sweet sadness.

Here are ten albums that have been on the ‘best of 2023″ lists of a number of reviewers. I play a track from the following albums (here stated in random order):

Fred Hersch & Esperenza Spalding: Alive at the Village Vanguard

Kris Davis and Diatom Ribbons: Live At the Village Vanguard

Jason Moran: From the Dancehall to the Battlefield

Johnathan Blake: Passage

Aaron Diehl and the Knights: Zodiac Suite (by Mary Lou Williams)

Allison Miller: Zodiac Suite

Noah Haidu: Standards

Laila Biali: Your Requests

Go Go Penguin: Everything is Going to Be Ok

This is the second of what will turn out to be eight episodes of selected records of last year that at least one critic chose.

It was a busy December! I searched for all the ‘best jazz of 2023’ articles online and tried to listen to at least part of many of the albums. And there were lots! In fact, so far, I’ve found 85 different lists. And a total of 573 albums. And that doesn’t even include the historical albums and re-releases.

I picked and chose which ones to listen to….and of those, picked a few that resonated with me. This series of 8 episodes will feature them….including one that ranks them in order of the number of critics and reviewers who chose them. And another will feature some of those re-issues and historical recordings.

This episode: I’ll play you a track from Ricky Lee Jones, Lakecia Benjamin, The Monika Roscher Big Band, and a vocal by Sy Smith. That’s just the women! The rest include Billy Childs; Colin Stetson; Orrin Evans; Yusef Dayes; Greg Foat & Gigi Masin; Sissoko,Segal,Pereani & Parisien; and the Canadian Jazz Collective.

Some truly wonderful recordings! If you are one of those many fans who believe that only the jazz masters of old are worth listening to, I can guarantee that listening to this series of podcasts will change your mind!

This is a podcast I put together in 2020 when living in Victoria. It’s NOT Christmas music (although it starts with one of my favourite Christmas songs). It celebrates a few winter holidays: Kwanzaa, Diwali, Channukah, Winter Solstice, New Years, Lohri, Mardi-Gras, and Posada.

Lots of very interesting music—different from what you’d normally hear in this podcast, but maintains a jazz ‘consciousness’ throughout. Enjoy!

And I really do mean the greats! There are the ones you all know like Louis Armstrong, John Coltrane, Bill Evans, Diana Krall, Dave Brubeck, Oscar Peterson, Sarah Vaughan Artie Shaw, Phil Woods, Earl Hines, and Tony Bennett. But I also include Toronto pianist Robi Botos, and the wonderful jazz couple of singer Jennifer Scott and bassist Rene Worst.

Christmas music at it’s best.

Next week since there are so many holidays to be celebrated as well as Christmas (and Christmas will be over) …I’ll be repeating a podcast where I play Winter holiday music. Some fascinating stuff.

This week the recordings I play with awesome intros are:

-Nardis, by the 1980 version of the Bill Evans Trio, recorded shortly before Evans died.

-Jeanine by the Dave Young Terry Promane Octet out of Toronto.

-All The Things You Are, where I play a version that uses BOTH the Rachmaninoff inspired Charlie Parker intro and the original ‘verse’ introduction.

-East St. Louis Toodle-o by Duke Ellington with what was described as “the perfect mysterious sounding set-up, complete with cymbal crash, for Bubber Miley’s plunger mute entrance.

-A great ‘scat’ beginning of I Am What I Am by Veronica Swift.

-Steve Wallace’s extended bass intro on Fishers of Men by The David Braid Sextet.

In terms of extros:

-Cascades by Oliver Nelson, From Blues and the Abstract Truth.

-Aos Pes Da Cruz by Miles Davis and Gil Evans.

And with all of them I play the whole tune….not just the beginning and ending. That way you get an idea as to how the intro and/or extro ‘fits into the whole! As well as to enjoy some great music.

We are approaching the end of one year and the beginning of a next. That’s a good time to talk about beginnings and endings of jazz recordings.

I asked for ideas from a few jazz sites, and received great response from jazz fans and musicians from JAzzWorld and Canadian Jazz Recordings. In this episode I play some of their suggestions. Some have remarkable intros. Others have interesting extros. Some have both!

It starts with Louis Armstrong and ends with Phil Woods and Ritchie Cole. Inbetween are tracks by Bud Powell, Bill Evans, John Stetch, Thelonious Monk, Dizzy Gillespie, Clifford Brown/Max Roach, Rob McConnell’s Big Brass Band, and David Occhipinti.

I play one very popular tune where the best known intro was originally the extro of a different recording. Guess which tune?

This week I play tracks from:

=Bill Evans classic Sunday At the Village Vanguard. Two compositions by Scott Lafaro.

-Jane Bunnett’s first album, In Dew Time—the title referring to the presence of the great tenor saxophonist, Dewey Redman.

-Paul Winter Consort. The Icarus album. Ralph Towner’s Sunwheel.

-The amazing accordionist, Art Van Damme.

-a Wayne Shorter composition from Weather Reports “Heavy Weather”‘ album.

-Teresa Brewer with Shelly Manne.

-George Hall and his Taft Hotel Orchestra, and track from the album by Dolly Dawn (an under-rated singer) and Her Dawn Patrol Boys.

-Midnight Light album, Contemporary Music From The Yukon, by John Steins and Scott Sheerin

-Richie Cole and his Hollywood Madness abum

-Billy Storm singing up a storm with his rendition of God Bless The Child.

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Modern Jazz Quartet, Julie London, Teddy Wilson, Erroll Garner, Nina Simone, Nellie Lutcher, Lalo Schifrin, Paul Horn, Gene Bertoncini w. Michael Moore, Jim McHarg w. Lonnie Johnson.

Those are records I dug from my storage locker: great albums I played for myself this week.. And I found at least one track from each I wanted to play for you!

I also share a personal story or two about each album, and the occasional tidbit about the artist(s) behind the record.

Will you like everything? Probably not…even though I do. It’s quite the variety of music that we call ‘jazz’.

I haven’t had much chance over the past few years to play many of the lp records I have stored in my storage locker. This series of episodes remedies some of that. I’m listening to a few of them and digitalizing some favoured cuts so I can play them on this podcast.

This week’s episodes starts and ends with Sarah Vaughan and some amazing vocals with the backing of Count Basie’s Orchestra (minus the Count). Between those tracks you’ll hear Phil Woods, Lennie Tristano, Buddy DeFranco (playing a rare George Russell composition) and accordio-organ player, Tommy Gumina.. There’s also a bit of Oscar Peterson with Stephane Grappelli . And Toronto’s UZEB with guest Michael Brecker.

Then there are two great but rarely heard vocalists: Lee Wiley, and Gene (Eugene) McDaniels,

Last but not least an improvisation on Norwegian Wood, with the ‘W” turned upside down—-and entitled “Norwegian Mood”. That’s by guitarist Peter Walker.

More on the Edmonton Jazz scene, including a call out to CKUA radio. Also more on the thriving Yardbird Suite jazz club, including Marc Vasey’s story of how he discovered and secured their current venue.

Great music too! You’ll hear Rubim de Toledo, J.J. Johnson, Pepper Adams Quartet, Bill Frisell, Doug Organ, Audrey Ochoa, Sheila Jordan, and John Handy. These are all musicians who have played at The Yardbird Suite. And a touch of The Guess Who (who have, as far as I know, never played the Yardbird).

It’s located at the gateway to Northern Alberta, Canada—the city of Edmonton. And it’s been billed as Canada’s longest running volunteer-run jazz club, having first started in 1957.

This episode explores its history, and features recordings by some of the great artists who have played there.

Along with interviews with Marc Vasey, Todd Crawshaw, and Francis Remedios, you’ll hear some great clips from a documentary film that was made about this club. And a story about David Bowie and his trip to The Yardbird. And then there’s music by international stars like The Ted Heath Orchestra, guitarist Lenny Breau, Charles Tolliver, Courtney Pine, Daniel Karlsson Trio, and Marius Vandenbrink. You’ll also hear clips and music from Edmonton’s most famous saxophonist, P.J. Perry.

I really love listening to this podcast—even if I did put it together myself. I went through a few of the albums currently (as of Oct 12, 2023) on the Jazz Week Charts. Those charts reflect albums on the playlists of various jazz radio stations in North America. And I played a track from some of the albums that personally stood out for me.

One of the most outstanding ones, to my way of thinking, were Joshua Redman and Gabrille Cassava’s interpretation of By The Time I Get to Phoenix….with interesting updated lyrics to reflect cellphones rather than landline phones hanging on the wall. Such beautiful playing—and singing. That’s an album I plan to purchase.

Other hilights: Cuban/Toronto pianist Hilario Duran with Elizabeth Rodriguez doing amazing things to Cry Me A River—Cuban style! There are exciting tracks from two albums led by drummers: Richard Baratta and Brandon Sanders. Quite a bit of trumpet as well, thanks to Benny Benack II, Bria Skonberg, Eddie Henderson, and Terell Stafford (although actually the latter is playing flugelhorn). Then there’s a delightful tune by guitarist Diego Figueredo. Pianists Miki Yamanka and Harold Lopez Nussa round things out giving us a combination of gin and hope.

Having just heard the news of the passing of one of my favourite jazz musicians, pianist and composer Carla Bley, I thought I’d re-visit a past podcast from 2021.

Last week I talked about modes used in jazz. Modes are really nothing more than a scale. This week I’ll talk about some other scales, and play tunes that illustrate that scale.

I talk about the bebop scale, diminished scale, various minor scales, the blues scale, and the whole tone scale. And play tunes by Cannonball Adderley, Horace Silver with Bill Henderson, John Coltrane, Karen Plato, Sonny Rollins, John Stetch, David Baker,, Charlie Parker, and JJ Johnson.

I usually try to avoid talking about jazz theory in this podcast. That’s partly because of it’s complexity, as well as my own limited knowledge. I do believe its possible to love a piece of jazz without understanding the theory behind it.

At the same time, if we have a sense of some of the different scales or ‘modes’ used, it can enhance our ability to make sense of it.

In this episode I talk briefly about the seven major key ‘modes’–the Ionian, Dorian, Phrygian, Lydian, Mixylidian, Aeolian, and Locrian. Then I play a jazz recording that utilizes each mode.

You’ll hear great recordings by John Coltrane, Bill Evans, Herbie Hancock, Sarah Vaughan, Gil Evans, Woody Shaw, and the recently deceased Richard Davis with Junior Mance,.

Oh! And don’t take the title of this podcast too literally.. It’s a mnemonic that helps me to remember the modes.

“Tis Autumn! There have been some wonderful jazz, big band, broadway, and even ‘folk’ oriented tunes written about the Fall season. In this episode I play a version of ten of my favourites.

They range from Paul Bley to Frank Sinatra—and I even throw in something by early Joni Mitchell. You’ll also hear Woody Herman, Ahmad Jamal, Bob Dorough, Hartman & Coltrane, Jennifer Scott w. Peter Bernstein and Cory Weeds, and Dave McKenna & Buddy DeFranco,

Still lots of cd’s I need to listen to and file, discard, or listen to again. I played a few last week….and this week I have a few more. Some are old some are new.

Some of the compact discs I’m playing and from which I’ll include a track on this podcast are:

Charles Lloyd: Lift Every voice (double album)

Monk’estra Plays John Beasley

Ivan Lins: My Heart Speaks

Shelly Manne: Steps To The Desert (aka My Son the Drummer)

The Hutchinson Andrew Trio: Tribute to Tommy Banks. W Mallory Chipman, PJ Perry, and Al Muirhead

Oliver Jones: From Lush to Lively

Brandon Seabrook’s Epic Proportions: BrutalLoveChamp

Lee Ritenour: Stolen Moments.

Time to listen to and sort out some of the cd’s that are surrounding me right now. And I’ll play some tracks from the most enjoyable—or at least the most interesting–ones.

How did North America’s first International Jazz festival get established in Edmonton, Alberta? Why Edmonton? And who is the Kansas City Bluesman, Big Miller, after whom a park in this city has been named? And lastly…what famous jazz musician left town in the middle of his concert, absconding with his band’s pay?

More from an interview with Jazz City founder and artistic director, Marc Vasey. Plus some great music by Dizzy Gillespie, P.J. Perry, Franco D’Andrea, Stan Getz, Pepper Adams with Tommy Banks, Freddy Redd, and Big Miller,

IMPORTANT NOTE: Two corrections. The first one is that Marc Vasey did NOT sell those archival tapes such as The Pepper Adams Concert at Room At The Top to Cory Weeds, but gave them to him. He states: ”   “I gave him all of the tapes  in the hope that for posterities sake they would survive.  No money changed hands”.

The second correction is in the account of how Big Miller came to Edmonton. The ‘promoter’ who abandoned him by taking the money and running after they played in Vancouver was Jon Hendricks….who, at the time, had a cocaine addiction.

It’s been claimed to be North America’s first International Jazz Festival. In a city of only half a million. Festival founder Marc Vasey talks about how Edmonton, Alberta, Canada became known as ‘jazz city’. And he talks about some of the challenges and inspiring moments from those early years of 1980 to 1983. Some of the stories include:

-How Chet Baker had to be locked into his hotel room.

-How an opening night disaster was transformed into an amazing beginning for the festival.

-How playing in a circus tent affected John McLaughlin’s mood.

-A surprise from Etta James.

I also play some great music by some of the the amazing artists who came to that festival. You’ll hear Sonny Rollins, James Blood Ulmer, Joe Pass, John McLaughlin, Chet Baker, Kenny Wheeler, McCoy Tyner, and Etta James.

And the photo? Could be entitled “LarryTheRadioGuy gives John McLaughlin some guitar tuning tips :). Photo by Patrick Hinely., 1982.

IMPORTANT NOTE: A couple corrections:

(1) Marc advised that Joe Pass did NOT put together the ensemble who replaced Oscar Peterson due to his cancellation….although he was a part of it. More information on that concert and the first Jazz City festival in Episode 252.

(2) The piano player who was part of the band that was abandoned and ripped off by Stan Getz at the 1984 festival was NOT Jim McNeeley. Marc remembers it being a man named George from Chicago.

This is the last of my 4 part series on folk songs ‘jazzified’. I also introduce you to some Western Swing—which combines so many different genres.

I play jazz recordings by The Stanley Clarke Trio with Hiromi, John Coltrane, Vince Guaraldi, Big Miller with Jon Hendricks, Seattle’s Floyd Standifer, and the wonderful Icelandic pianist Sunna Gunnlaugs.

Western Swing recordings are by Bob Wills & The Texas Playboys and Al Bernard.

The Coltrane tune is Song of The Underground Railroad, taken from Follow The Drinking Gourd. You’ll hear Eric Bibb singing the latter.

I close off the program with a re-imagining of a French Canadian folk song (J’entends Le Moulin) by Vancouver orchestrator Daniel Hersog.

This has been one of my favourite series of episodes on Discovering Jazz. I hope you’ve enjoyed listening to it as much as I’ve enjoyed putting it together.

The first 12 minutes of this podcast takes you to Sweden. Three tracks with Swedish jazz musicians playing folk music from Russia, U,S,A,, and Hungary.That’s followed by Django Reinhardt playing a traditional Russian tune.

Then we have more jazz interpretations of Spirituals by Nina Simone, Bevely-Glenn Copeland, Ramsay Lewis, Don Shirley, and Albert Ayler.

I think the most exciting track in this episode is Clifford Jordan’s jazz interpretation of Goodnight Irene. Although Shelly Manne playing Hava Nagila is also pretty wild. I also like Oscar Peterson’s version of Greensleeves.

I also play one recording that I don’t particularly like…..but it’s by an excellent and much heralded jazz saxophonist and the album (that tries to ‘swing’ tunes that to me just aren’t swingable) and it did get some great reviews and high ratings. You’ll have to listen to the podcast to hear what it is….and I’m curious if you agree with me.

One more episode of jazzified folk music to go!

-Larry

Did you know that Sonny Rollins didn’t actually write “St. Thomas”. And that Randy Weston recorded this traditional folk song before Rollins, but under the name of “Fire Down There”?And another piece of information: Thelonious Monk’s “Japanese Folk Song” wasn’t really a folk song—as the writer was known. But it has entered an oral tradition within Japan.

In this episode you’ll also hear jazz versions of three spirituals: Deep River, Sometimes I Feel Like a Motherless Child, and Glory Glory. Other traditional tunes are Tiramakhan from Gambia (as interpreted by Daniel Janke), Danny Boy by Chris Botti, and Shelly Manne’s wonderful rendition of Tzena Tzena!One more tune from that delightful new Fergus McCreadie album, too. It’s not folk, but you’d swear it was a Scottish or Irish Folk tune.

A lot of folk songs—and I’m talking mostly about traditional tunes—have been adapted into jazz. And in a lot of cases the results have been spectacular!

Right from the earliest years of jazz when Louis Armstrong with Earl Hines had the 1929 hit of St. James Infirmary.

And today, 94 years later, we have the Daniel Hersog Orchestra from Vancouver and their “Folk Songs Reimagined” album. You can hear what they do with Red River Valley.

Lots more, too. Even some Flatt and Scruggs style bluegrass jazzified. Then there’s something called DAWG music. And the traditional Swedish song arranged and retitled by Stan Getz that has become a Miles Davis ‘standard’.

The program is rounded out with selections by John Sccofield, Patrick Boyle, Cecille McClorin Salvant with Aaron Diehl, and Carol Welsman with a bit of a ‘twinkle’ in her eye.

The highlight, to me, isn’t even a folk song—but you’d swear it was. It’s by Scottish pianist Fergus McCreadie who was much influenced by the folk ballads of the British Isles.

I’m back with new episodes after a three week break.

There have been many well-deserved tributes to Tony Bennett, who we lost July 21st of this year. Here is another one, focusing mostly on his ‘jazz’ side.

A number of great jazz musicians played with and respected Tony Bennett, and I feature a few of what I think are the best recordings. The players include Count Basie, Dizzy Gillespie, Dave Brubeck, Stan Getz, Herbie Hancock, Ron Carter, Elvin Jones, Bill Evans, Phil Woods, and a few others. And, of course, his long-time accompanist and music director, Ralph Sharon.

I also tell a few stories about him and some of the songs he popularized—some of which you may have heard before, and others not.

This program, originally posted January of 2019, features tracks from 2018 albums that Downbeat Magazine reviewers–and a few others–raved about.

You’ll hear:

-singer Stacey Kent

-Polish bassist Wojtek Masolewski and his Quintet

– Canadian trumpet player Ingrid Jensen

-More trumpet from Ambrose Akinmusire

-Downbeat Hall of Fame pianist Kenny Barron

-Guitarist Steve Tibbets

-London’s Sons of Kemet featuring Shabaka Hutchings

-Cuban/Canadian all female group, Jane Bunnett & Maqueque.

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More from my archives of old programs while I take a bit of a summer break.

IMPORTANT NOTE: Because this program had been recorded directly off a feed from Trent Radio, the sound quality isn’t up to my usual Discovering Jazz podcast standards. But the music’s great…and I hope you’ll find some of the information enlightening. Forgive the slight buzz during the talking.

I like to buy records at thrift stores and pawn shops, and it’s hard to find good jazz records at an affordable price. But while living in Peterborough, Ontario in 2017 I found a few…and I played a track from each one on this show. Some were definite keepers, and others, possibly not. But I’m sure you’ll find something in that pile of records that fits your taste.

You’ll hear tracks from albums by:

Pat Martino

Mel Torme

Gene Roland & Swingin’ Friends

Thelonious Monk & John Coltrane

Carmen McRae

George Benson

Buddy Spicher& Lenny Breau

Tete Montoliu

Manteca

Chuck Wayne & Joe Puma

This is the Trent Radio program that spawned the Discovering Jazz podcast. In February 2016 my partner and I had recently moved to Peterborough, Ontario and I decided I wanted to do a program on Trent Radio, Call letters CFFF-the community and university radio station. Since they didn’t have a jazz program and I was interested in learning more about jazz I applied to do one. I called it “Discovering Jazz”, as it was (and still is) a discovery process for me.

The following year, on a whim, I entered one of my episodes for the 36th NCRC (National Campus and Community Radio Conference). I didn’t tell anybody I’d entered. And it won the award for best music program in Canada. It came as a shock to those from the station who attended the conference as they went up to accept the trophy.

So I figured that maybe I should make this show into a podcast—and I did.! The first episode was September, 2017. I also made that prize winning episode from October of 2016 into a podcast—and here it is.

Since then I’ve moved to Victoria B.C., and now Edmonton, Alberta (where I was born and raised). And the podcast now emanates from Edmonton, aka “Jazz City”.

In this episode, I play recordings by

-Miles Davis,

-French horn player Mark Taylor,

-Penticton’s Darylectones, t

-the great Gene McDaniels,

-NOJO from Toronto,

-Sarah Vaughan,

Oscar Lopez,

Jane Bunnett (pronounced Bun NET…not BUN net as I say on the podcast)

Sonny Rollins

One correction, though. I refer to Sonny Rollins as the composer of “St. Thomas” melody. In fact, he didn’t compose it, but took it from a traditional melody. And that melody had previously been recorded in a jazz form by pianist Randy Weston under the title of “Fire Down There”.

Some more New Discoveries from The Real Book. Some are songs written by jazz musicians, others are Broadway ‘standards. I play music by artists as diverse as Bing Crosby and Roland Kirk. I also try to look at what exactly is a “Charlie Parker Blues”. And for many of those tunes, I play an original version, then a later one. But I think that even people who aren’t huge jazz fans will find the music in this episode to be pleasant as well as stimulating.

And feel free to share it.

As I go through this ‘jazz bible’ for students and jammers, I keep discovering new tunes. This leads me to listen to some versions of them. And this week and next I’m sharing some of my ‘discoveries’.

I start the podcast with two different versions of Wayne Shorter’s Beauty and The Beast (including a great vocal interpretation)_ You’ll also hear two different versions of Afternoon in Paris, and Gypsy In My Soul.

The great jazz singer, Veronica Swift, (who is now touring with Chris Botti and will be at this week’s Edmonton Jazz Festival) sings a great version of that latter tune. I also play her singing the Miles Davis jazz standard ‘Four’.

Also played on this episode are the classic recording of Milton Sealey’s “Black Diamond”, and Wayne Shorter’s Ana Maria as interpreted by pianist Noah Haidu. And I give a short ‘review’ of the new Noah Haidu ‘Standards’ album.

The last of my series on the upcoming Edmonton Jazz Festival. This week I explore some history—touching on the fore-runner of this festival, Jazz City. That festival became Canada’s first Internationally renowned Jazz Festival….beginning in 1980.

I also explore the attempt being made to attract youth to this festival. Many of the artists are young, and efforts are being made to attract a youthful audience. After all if young people don’t listen to jazz and us oldies die out (which we eventually will), there will no longer be an audience.

And last, but not least, women are becoming more and more a predominant part of this festival. I play tracks by Endea Owens, Caity Gyorgy, Kate Blechinger, Karimah (with the Rubim de Toledo Global Jazz Project), and the Mary Ancheta Quartet.

You’ll also hear on this episode the fascinating piano of Mboya Nicholson, and Arlo Maverick w. Oozela—all part of this year’s festival.

In terms of history, there’s three artists who were here in 1981: Tal Farlow, Bobby McFerrin (well before he became a jazz superstar), and Art Blakey and The Jazz Messengers with the Marsalis Brothers.

Today’s podcast starts with an amazing ‘jam’ led by pianist Emmet Cohen. Other jazz artists featured this week are The Leon Phal Quartet from France, flautist Naissam Jalal, The Ostara Project of Canadian women ‘superstars’, Edmonton trombonist Audrey Ochoa, and Polish bassist Piotr Lemanczyk.

And more on the ‘fringes’ of jazz, you’ll hear Nik West with Orianthi and The Mbira Renaissance Band playing music of Zimbabwe.

These are all artists who will be at the jazz festival in Edmonton, Alberta June 28 to July 2nd. Many of them will also be touching down on other festivals this summer.

There are some great artists coming to the Edmonton Jazz Festival, June 28 to July 02nd. And many of them are touring and going to other festivals as well….so hopefully many of you will get a chance to hear and see them.

This three part series features some of the players.

I start out with one that I’m most excited about; that’s John Beasley’s MONK’estra, who are opening the evening concerts.

Or, one could go and see Australia’s Brekky Boy playing around the same time at Edmonton’s Chateau Lacombe.

The second night includes grammy winning trumpet player Chris Botti and the very much transformed “The Bad Plus”. Opening for them is an Edmonton raised L.A. session drummer named Efajemue Etoramo Jr. Between those two concerts, overlapping each of them, is an impressionistic chamber ensemble from Nova Scotia who call themselves New Hermitage.

You’ll hear tracks by all of those artists on this podcast.

Also I play a couple tracks by some of Edmonton’s great local artists. The first night you can hear Edmonton drummer Joel Jeschke and his quartet. And the second night, quite the contrast, with Chandelle Rimmer and Tom Van Seters.

Next week: I’ll talk more about the 3rd and 4th nights and play the music of some of those artists.

I’m one of these people that like to touch and see whatever music I’m playing. So I prefer cd’s and lp’s to downloads. I especially like them when I order them by mail or browse through one of those rapidly dwindling cd and record stores. Others I like to be surprised when I find them in a thrift store.

This week I’m playing a few recent acquisitions.

For me the highlight is a 9 1/2 minute rendition of Autumn Leaves by the great harmonica virtuoso Toots Thielmans, along with piano genius Fred Hersch.

Then there’s the amazing guitar of Wes Montgomery playing Four On Six (how did it get that title anyway?) with the Wynton Kelly Trio.

You’ll also hear John Pizzarelli with the Clayton-Hamilton Jazz Orchestra, Hank Mobley from Soul Station, Havana’s Roberto Fonseca, and trumpeter Chris Botti with Shawn Colvin,

One other highlight is from an album not yet released….but I’ve ordered my physical copy. In the meantime I had to make do with a download. It’s by pianist Noah Haidu, and it’s his standards trio’s version of A Beautiful Friendship.

Last but not least: two great Canadian cd’s. One is the new Jane Bunnett and Maqueque, The other is the great Edmonton saxophonist PJ Perry playing with legendary drummer Claude Ranger.

Some great music for your late Spring listening pleasure.

And next week: some artists who are touring this summer and will be at the Edmonton Jazz Festival.

I’ve started listening to some of the new music that artists and publicists have been sending me, and have made some great discoveries. In this episode I share with you a few of them.

The episode starts with a trumpet player from Vancouver (Daniel Hersog) and his 17 piece jazz orchestra. And it ends with a 9-piece group led by saxophonist Brian McCarthy.

Between those you’ll hear old-style swing, modern Latin, electronic-jazz fusion, bebop (including some with a Cuban touch), part of a symphonic suite of Stardust, and at least one that is totally unclassifiable.

This is the final program of this four=part series where I play records that have been rated as being good ones to turn a jazz ‘newbie’ into a fan.

This week you’ll hear a track from 8 albums. They are:

Mingus Ah Um, where I also talk about why that’s such a clever title. Hank Mobley: Soul Station, with Wynton Kelly on pianoJohn Coltrane: A Love Supreme. Do you find it ‘majestic and compelling’ or ‘interminable and pretentious’?Wayne Shorter: Speak No Evil. A composition from when he was thinking about misty landscapes and wild flowers.Ella Fitzgerald and Louis Armstrong: Ella & Louis Again.Art Blakey & The Jazz Messengers: Moanin’The Crusaders: Chain ReactionChick Corea & Return to Forever: (1st album)

The highlight of this week’s episode is the great pianist Bill Evans and his trio from the late 50’s. What is it about that trio and his playing that makes it stand out? I give a few hints….and you can hear it in the two tracks I play from that first trio album, Portrait in Jazz.

Other albums that jazz aficionados say will convince you that jazz is worth your time? I play a track from The Blues and The Abstract Truth by Oliver Nelson. Then, also on Bluenote records is Lee Morgan’s The Sidewinder album, and Coltrane’s Blue Train.

And there’s more! Like the great Sarah Vaughan singing with Clifford Brown. And the classic Getz/Gilberto album that introduced North America to Bossa Nova. I play one Canadian album with a bunch of all-stars from the late era Bennie Goodman orchestra, here led by vibes player Peter Appleyard. And the program ends with the ‘King of The Tenors’—Ben Webster

Part 2 of essential jazz albums for those of us still in the beginner ‘discovery’ process. Which, I suspect, most of us are—considering the wealth of amazing jazz recordings out there!

This week, I start off with a track from Dave Brubeck’s ‘Time Out’ album. And query whether The Beatles might have been listening to this album before writing one of their most famous songs.

You’ll also hear classic albums by Cannonball Adderley, Louis Armstrong, Oscar Peterson, Herbie Hancock, and Thelonious Monk.

And one website called ‘The 20 Best Jazz Albums for Beginners’ introduces us to a forerunner of rock ‘n roll (Louis Jordan), and the list ends with Seattle’s Aaron Parks. You’ll get a taste of each as you listen to this podcast.

What you’ll be hearing is tracks from great jazz albums. I’m continually being introduced to jazz, even though I’ve been doing this podcast for over five years. So, here I am again being a ‘newbie’ and listening to (or re-listening in some cases) to albums that jazz bloggers say are essential listening for beginners.

This week, you’ll hear tracks by Miles Davis, Chet Baker, Duke Ellington & John Coltrane (together), Clifford Brown & Max Roach, Count Basie, The Quintet (w. Charlie Chan aka Charlie Parker), and the recently departed Ahmad Jamal. And as a surprise (to me and probably to you)….Kurt Rosenwinkel.

All of these have been rated by at least somebody in the know as being classic jazz albums designed to initiate the previously uninitiated. But, really, it’s great listening for anybody and everybody!

Although most of my episodes of this podcast seem to have themes, sometimes I like the flexibility of not having any theme whatsoever.

This week I’m playing a few recordings that have come into my consciousness recently. Most are new discoveries and a few aren’t. Some are cd’s, one came originally from an lp, and the rest I’ve downloaded.

To welcome Spring, I’ve included two vocal versions of Clifford Brown’s Joy Spring….and I talk a bit about the two different sets of lyrics written. And the writer of the lyrics that have been most often recorded rarely gets the credit for them. Which led me on an internet chase to find out more about the lyricist, Jezra Kaye.

I also play two older recordings of standards…one by Thelonious Monk, the other Cannonball Adderley. Both are terrific!

A black Canadian jazz singer named Eleanor Collins was recently commemorated on a Canada Post stamp. Good luck trying to find any commercial recordings by her. But I found one. Listen to her sing I’ll Never Smile Again—a tune written by another Canadian (Ruth Lowe).

I end the program with another hard to find recording—the last record put out by the late great Eugene McDaniels, where he invites an English Horn to scat along with him.

Between all that are three newer recordings. Two of them feature the great Cuban pianist, David Virelles (whose name I try to pronounce correctly), including one where he plays on a cd by Toronto’s Roberto Occhipinti. Then there’s one that will be released in May–it’s by guitarist and banjoist, Brandon Seabrook.

It’s often really difficult for a podcaster, interviewer, or mc to know how to pronounce a particular jazz artist’s name. Sometimes the artist themselves might even ‘change’ the pronunciation to accommodate the more ‘common’ pronunciations.

I’ve done a lot of research on a few names. I’ve listened to interviews, concert videos (where they introduce themselves), and utilized other people’s research. In this episode and last weeks I give what I believe is the ‘correct’ pronunciation for a number of familiar and not so familiar jazz artists.

And I play great recordings by some of them. You’ll hear

-Sheila Jordan and Harvie Swartz

-Allison Au

-Bob Dorough

-Karrin Allyson

Trish Clowes

-Jimmy Giuffre

-Phineas Newborn Jr.

-Jan Garbarek and Palle Danielsson playing with Keith Jarrett

-Sinatra with Antonio Carlos Jobim

-Joe Zawinul and Jaco Pastorious as part of Weather Report.

And you’ll hear some proper pronunciations and mis-pronunciations.

This week’s and next week’s episode focuses on right and wrong ways to pronounce the names of certain jazz artists. I demonstrate lots of mis-pronunciations, then try to correct them.

And it gives me an excuse to play some great music, by the likes of Paul Motian,Delfaeo Marsalis, Jackie McLean, Gerry Beaudoin (w. Duke Robillard & J. Geils), Brian Auger & The Trinity, Laurindo Almeida with Charlie Byrd, and Sunna Gunnlaugs with Verneri Pohjola. Some of the great music is by Canadian artists: Doug Riley w. Claude Ranger, Caity Gyorgy, and Jane Bunnett & Maqueque.

Also, in case you fear you’re going to be ‘shamed’ for your mispronunciations, I talk a lot about my own embarrassing mispronunciation moments.

This is the last of my three part series on great new historical releases. I start off with a previously unreleased Miles Davis performance from the Montreal Jazz Festival, 1983. Then follow it with some Miles Davis alumni—Bill Evans and John Coltrane.

The Coltrane track is a previously unissued take of Moments Notice: but, strangely enough, with Coltrane’s solo edited out!

Also featured are Frank Kimbrough, Roy Hargrove & Mulgrew Miller, Joe Harriot, Oscar Peterson, and some free jazz from Masahikoo Togashi w. Don Cherry and Charlie Haden.

The recording quality of some of the live performances that have been recently unearthed, restored, and enhanced is incredible!

Two of the best are from The Charles Mingus Lost Album from Ronnie Scott’s, and Dave Brubeck Trio (sans Paul Desmond) Live from Vienna 1967.

Other new discoveries I feature in this episode are Chick Corea from the Montreaux Jazz Festival 1993 and Swedish pianist Esjborn Svennson’s recording just three weeks before he died in a scuba diving accident. Then there’s Ella Fitzgerald, At The Hollywood Bowl: The Irving Berlin Songbook.

Rounding out this episode are some reissues. Three of them are from the 11 cd compilation from Black and White Records. I start this episode with Jack McVea and “Open the Door Richard”, followed by some very early Ernestine Anderson. And a highlight is a seven piece all-female instrumental group from 1945 called “The Hip Chicks”.

Another reissue isn’t really a reissue, because it’s a track that never made it onto the album. I’m referring to Gil Evans Orchestra “Out of The Cool”. Hear their version of Horace Silver’s Sister Sadie.

The episode ends with a Donald Byrd album that BlueNote never released after recording it in 1973. It’s called “Live Cookin’ With BlueNote at Montreaux.

New Discoveries and re-releases are represented in this three part series. Some have been recently ‘unearthed’…and new technology used to make the tapes sound so good! Others have been reissued and remastered.

For Part 1, you’ll hear

-a recording by Art Blakey and The Jazz Messsengers (with an excerpt from an interview by Wayne Shorter talking about how blown away he was by the way the group were received in Japan!).

-Sheila Jordan’s first album that was never released before; and Sheila Jordan couldn’t even remember recording it.

-Ahmad Jamal from the two volumes of newfound recordings from a Seattle club from the early 60’s.

-Elvin Jones preceded by a description of his drumming style by Victoria B.C. drummer and educator, Kelby McNayr.

-Speaking of Victoria, B.C., a re-release of an album by Victoria native, bassist Neil Swainson. He was able to land Woody Shaw and Joe Henderson to play with him on this hard to find album, one of the last recordings made by Woody Shaw.

-Tracks from an 11 cd set from 78′ rpm records originally recorded on Black and White records. Some Barney Bigard Sextet with Art Tatum, as well as a post-retirement Ivie Anderson record.

-Ornette Coleman before he became known for ‘free jazz’.

We lost a true jazz great March 2nd: composer and saxophonist Wayne Shorter. In this episode I play music from his earliest to his latest years, with a few clips from fans, other musicians, and one from Mr. Shorter himself.

For this episode I play some music from some modern big bands: You’ll hear The Clayton Hamilton Jazz Orchestra with John Pizzarelli, The Brian Setzer Orchestra, and Kansas Smitty’s. One somewhat older big band too–Maynard Ferguson Orchestra from 1964. Closing off with something really weird from Martin Kuchen’s Angles.

I also talk about how, when jazz musicians play Brazilian music, they have to be vigilant to ensure the ‘bebop virus’ doesn’t get in there. Oscar Peterson’s Trio has some success in doing that in their two version’s of Antonio Carlos Jobim’s ‘Triste’. Both recorded live the same year, with different bassist and drummer—and are they ever different from each other!

Lots of great suggestions from the Jazz World facebook site for this topic. One person suggested I explore something called “Electro Swing”. So I did. You’ll hear at least part of Aron Chupa with Little Sis Nora, Yolanda Be Cool and DCUP, and Dimie Cat.

And interesting episode with lots of variety.

What if Bebop never happened? And ‘swing’ evolved into something very different from the swing of the 30’s, 40’s, and even 50’s?

That’s the question I asked of jazz musicians and aficionados who frequent the JazzWorld site on facebook. And I received some great responses!

My favourite was a questioning of the question: “bit like if ancient ape-like creatures did not evolve into humans what might they have become that was more ape-like”

But I received some great ideas for this week’s and next week’s episodes.

I play recordings that demonstrate how big band music evolved from Benny Goodman to Duke Ellington—and all the way to Don Ellis. And throw in some 3rd Stream Music a la Sketches of Spain, Cuban music thanks to Roberto Fonseca, and some Gypsy jazz of Django Reinhardt.

I also explore some of the evolution from Louis Jordan to hip-hop and pop-rock via Post Modern Jukebox and Victoria’s “Downtown Mischief”,

And we can’t forget The WDR Big Band (and their evolution), Woody Herman, and Gordon Goodwin’s Big Phat Band.

Bebop, Part 2, tells you more about what it is, why it happened, and why it ‘took over’ jazz—despite it never really catching on with the public.

I play older bebop recordings by Charlie Parker, Bob Dorough, Ornette Coleman, John Coltrane, Theonious Monk, Dizzy Gillespie, and The Paul Bley Trio. Also a newer recording from guitarist Pasquale Grasso with grammy award winning singer, Samara Joy.

Many original bebop tunes came from improvisations made up when playing some old ‘standards’. To illustrate this I play the famous “Donna Lee” as well as the tune from which it took it’s chord sequence: Indiana, here performed by Lester Young w. The Oscar Peterson Trio.

Bebop was the ‘modern jazz’ of the early to mid 1940’s. And it’s still considered ‘modern jazz’. It is a genre that has lasted! And developed….with most new recordings being described as ‘post bop’ or ‘hard bop’.

When many people claim to dislike jazz, they are often referring to the complex harmonies and rhythms of bebop.

But listening to this episode will help you understand and appreciate this art form.

I talk about Bebop and play some classic and later recordings. I also throw in a couple earlier ones that may have influenced that music, as well as a rap album that was influenced by bebop.

I’ve discovered a lot of great music over the past two months—thanks to those top 10 lists compiled by 97 reviewers and critics.

A handful of those albums would probably go on my own Top 10 list, were I to make one.

In this episode I play tracks from 9 great albums from the past year. Some are pretty obscure, and some aren’t.

This is the last episode of five programs on the best jazz albums of 2022, according to jazz reviewers and critics. Over the next few weeks you’ll hear some bebop and learn some of it’s history, as well as some great historical albums. And who knows what else in terms of both older and newer jazz.

I’ve tabulated the results of 97 reviewers and their top 10 albums lists for 2022. Here are the albums followed by the number of votes each one received.

Mary Halvorson: Amaryllis (also Belladonna…not quite so often) 31Cecille McLorin Salvant: Ghost Songs 28Immanuel Wilkins: Seventh Hand 26Makaya McCraven: In these Times 23Tyshawn Sorey Trio: Mesmerism 15Charles Lloyd: trio of Trios–Chapel 15Redman, Mehldau, McBride, Blade: Long Gone 14Samara Joy: Linger While 14Nduduzo Makhatini: In the Spirit of Ntu 13Terri Lyne Carrington: New Standards Vol. 1 13Melissa Aldana: 12 Stars 10Binker & Moses: Feeding the Machine 9Keith Jarrett: Bordeaux Concert 9Joel Ross: Parable of The Poet 9William Parker: Universal Tonality 8Sun Ra Arkestra: Living Sky 8Jeff Parker: Mondays at the Enfield Tennis Academy 8The Comet is Coming: Hyper Dimensional…. 8Myra Melford: For The Love of Fire and Water 8Avishai Cohen Trio: Shifting Sands 8Charles Mingus: Lost Album from Ronnie Scott’s 8Ahmad Jamal: Emerald City Nights 8Miles Davis Bootleg Series 8–That’s What Happened. 8

On this episode I play a track from eight of the top 10 ranked albums, plus two Canadian albums that were mentioned on some ‘top 10’ lists. The Canadian albums are The Ostara Project, and Neil Swainson’s ‘Fire in the West’.

There have been a total of 480 albums that 97 reviewers placed on their top 10 lists. That’s a lot! Wish I could listen to them all.

But here’s a few I did listen to—at least in part—and want to play for you. This way you and I are making these ‘discoveries’ together. Although I suspect some of you are more familiar with many of them than I am.

Near the beginning you’ll hear two versions of the same tune–Eddie Harris’s Freedom Jazz Dance. They’re both played by the same drummer/leader (Florian Arbenz) recorded a few months apart, but with different instrument combinations. And very different arrangements. To me that epitomizes ‘jazz’.

Other artists are Ethan Iverson, Matthew Shipp Trio, Tom Skinner, Kate Baker & Vic Juris, Mali Obamsawin, Sun Ra Arkestra featuring 98 year old Marshall Allen, and Al Foster. As for historical releases—you must listen to this ‘discovery’ of a 1972 concert by Pepper Adams with The Tommy Banks Trio.

More great variety! And we call it ‘jazz’.

Just a quick addendum: Just prior to uploading this episode I noticed that the previous episode, Part 2, had over 700 hits. Usually within a week a typical episode gets about 400. So it’s encouraging to know that you are enjoying this series on the best albums of 2022. Thank you for your support! And if you feel motivated, a review and rating on the itunes podcast site would be so appreciated! -Larry

Part two of a five part series focusing on albums from 2022 that jazz reviewers and critics have put on their ‘top 10’ lists. This week you’ll hear two Canadian ensembles–one from Vancouver called the Cookers Quintet led by Bernie Senensky, and another led by Calgary trombonist Carsten Rubeling.

I also play two different artists who put out albums with the same title: British saxophonist Trish Clowes and American guitarist, Julian Lage.

Then there’s Ron Carter with Jon Batiste, Marta Sanchez, Str4ta, and the great reunion of Cuba’s Chuchu Valdez and Paquito D’Rivera.

I also include one classic album—a previously unreleased recordings of Miles Davis from his You’re Under Arrest sessions.

And the highlight? I think it’s Finnish guitarist and composer Jussi Reijonen and his Kolme Toista (Three Seconds) album.

Such an amazing variety of music that goes under the ‘jazz’ rubric.

Beginning a five part series talking about and playing some of last year’s recordings about which jazz aficionados are raving.

I’m jotting down every record placed in any of the ‘top 10’ (or so) jazz albums of 2022 lists. Then putting a check mark everytime somebody chooses it. Mary Halvorson’s Amaryllis albums seems to be everybody’s favourite,,,,at least so far.

In episode 4 I’ll give you a ‘countdown’ of the top choices. In the meantime, I’ll just play a track from each album that seems to resonate with me. Of course, with 433 different albums from 78 different reviewers, it’s often a matter of chance as to which ones I discover. Just like life, I guess.

Besides the a/m Ms. Halverson, you’ll hear in this first episode Brandon Coleman, Patricia Brennan (good vibes), Melissa Styliano w. Gene Bertoncini, Oscar Peterson (historical release), Charles Lloyd w. Bill Frisell, Abel Selaocoe (try pronouncing that name!), Redman-Mehldau-Mcbride-Blade, and Reuben James,

No particular theme for this last podcast of 2022. But here are a few new and a couple older recordings that I’ve discovered recently—and am enjoying.

In terms of newer recordings, You’ll hear Emmet Cohen, Billy Drummond and Freedom of Ideas, JD Allen, The Comet is Coming, Samara Joy w Pasquale Grosso, and the Alvin Queen Trio. From my new home of Edmonton, there’s Mallory Chipman and drummer Sandro Dominelli. (Lots of drummer led combos here).

Somewhat older recordings are by Richie Cole, and Havana’s Roberto Fonseca. The oldest one—but one I just purchased—is an LP from someone I’d never heard of before. Her name is Jean Turner and her singing is backed by the Stan Kenton Orchestra.

A lot of focus on how playing jazz (as well as listening to it) helps us. It starts with a short clip from Victoria musician Brian Tate about improvising as ‘saying yes’….sort of like a going with the flow.

Lots of ‘flow’ in this episode. You’ll hear Wayne Shorter with some of the other greatest jazz musicians of all time. Then there’s Sonny Rollins, Michel Petrucciani, and Lambert, Hendricks, & Ross. I also play three great vocalists: June Christy, Angela Verbrugge (from Victoria), and Stacy Kent..

Also from Victoria is altop saxophonist Roy Styffe and a wonderful healing poem that he has very cleverly set to music—with the help of Kelby McNayr and Scott White.

Kenny Werner has written two great books about the interplay between our own empowerment and how we play (and listen to ) jazz. In this episode you actually hear him play thanks to a track from one of his earlier albums.

And last but not least, “Healing Power” by a trio of Steve Cardenas, Ben Allison, and Ted Nash.

The therapy might be in the lyrics, the music, or the inspiration from the player’s journey.

I play recordings by Ben Webster, Nina Simone, Tony Kofi, Ruth Brown, Duke Ellington, and Charlie Parker.

From France, you’ll hear trumpeter and singer Jerome Etcheberry and his delightful rendition of Sometimes I’m Happy (Sometimes I’m Blue). And from England, a new discovery–Fiona Ross–as she tackles that therapeutic dilemma of wondering if I’m “good enough”.

There are also a couple tunes from some great jazz singers from Victoria, B.C. Lorraine Nygaard has put her sentiments into concrete action through delivering tokens of love during the height of COVID. And Edie Daponte does a beautiful rendition of Abbey Lincoln’s “Throw It Away”.

And that’s just part 1. Next week I’ll post Part 2.

Here I play recordings I like that have been made very recently Lots of great Christmas and Winter tunes (both known and unknown). Played and sung by some of the best modern recording artists.

My favourite? Ever hear Julie Christie’s “Hang Them On The Tree”. It’s something you can do with all the negativity and overwhelm in your life….to turn it into something positive, I play a version of the tune by June Bisantz and the John Burr Sextet.

Lots of music, not much talk.

This episode features jazz tunes where there is some contention about who actually wrote it.

For example, I put the writer of Nature Boy, Eden Ahbez on trial. Did he plagiarize the melody of Nature Boy from Herman Yablonskoff? He did end up paying Yablonskoff 25,000 dollars. Did he have to? Or did he just do it because he wasn’t in the mood for a legal battle?

Much more clear was Jimmy Page stealing Jake Holmes “Dazed and Confused”. I play a terrific jazz interpretation of that tune that combines the Led Zeppelin and the Jake Holmes version.

I also spend a lot of time talking about some of the tunes that Miles Davis copyrighted under his own name, even though somebody else was the primary creator. But Miles Davis may have also had a tune he wrote credited to somebody else—and that tune is one of the most played tunes by jazz saxophonists at jazz jams.

And there’s more examples of tunes that originated from somewhere other than the person who is credited as the composer.

Since I just moved from Victoria B.C. to Edmonton Alberta—-in the midst of the wind and snow—I thought it would be a good idea to explore the Alberta jazz scene.

I guarantee you’ll hear some great music in this episode! Some of them are jazz legends who came from Alberta, and others are local heroes. Some are up and coming.

Some famous jazz artists will also leave their mark in this episode. You’ll hear Jaco Pastorious, Herbie Hancock, Wayne Shorter, Jim Hall, Red Mirxhell, and Plas Johnson.

Alberta artists I play include Big Miller, P.J. Perry, Bob Tildsley, Joni Mitchell, Edmonton Jazz Ensemble w. Sean McAnaly, Joel Gray, Tommy Banks, Bobby Cairns, Jan Randall, Al Muirhead, Mike Rud, and Mallory Chipman.

My own jazz roots are very different from that of most jazz fans. I explored them in Episode 100, This episode is a further exploration.

Warning! The music isn’t all jazz. But they all have some connection with jazz…at least for me.

Many of these recordings and artists came to my attention thanks to two Edmonton, Alberta radio stations—CJCA (Top 93 station) and CKUA (alternative/educational) as well as the University of Alberta Student Radio Station (now called CJSR). They include Bill Evans, Don Shirley, Tony Bennett, Ray Charles, Andrew Hill, Stan Getz and Charlie Byrd, and The Viscounts).

You’ll also hear singer-pianist Buddy Greco, Amy Winehouse (singing with Tony Bennett), Bob Wills & The Texas Playboys, The Memphis JugBand, finishing off with a great Bach..ian practicing lesson from Mike Rud.

As fo that featured photo. It’s from 1981, courtesy of jazz photographer, Patrick Hinely. That’s me and another volunteer at jazz city leading the Four Great Guitarists (from left to right—Tal Farlow, Barney Kessel, Herb Ellis and Charlie Byrd) down Jasper Avenue in Edmonton to the jazz festival office. I’m the one carrying Charlie Byrd’s ovation guitar.

Still in the midst of moving to Edmonton—one or two more ‘archives’, then some more new episodes.

But the good news is that the archived programs I’m posting are really good! This one includes six jazz tunes—or tunes often played by jazz artists. They are:

-East of the Sun (West of the Moon)

-Desifinado

-Airegin

-Spring Can Really Hang You Up the Most

-Hey There

-There is No Greater Love.

One of them is played by the late great Lee Konitz, demonstrating a saxophone style that has been described as somebody “thinking out loud”.

And did you know that Dizzy Gillespie recorded Desifinado before Stan Getz?

Lots of interesting trivia about some of these tunes and about some of these performances.

Birds and bird calls have been quite the inspiration for a lot of jazz as well as classical compositions. You’ll hear a few of those inspired recordings plus the calls of some of the birds who inspired them. Also a bit of Bird—the nickname for Charlie Parker, who also wrote a lot of tunes inspired by birds.

As I relocate my residence from Victoria to Edmonton, I need to take a few weeks off. So I have a few more episodes from the ‘archives’ before I start with some very interesting and entertaining new episodes.

This is Part 2 of Jazz Drumming, with Victoria drummer, composer, and educator Kelby McNayr. You’ll hear some of the ‘roots’ of today’s drumming. We talk about Art Blakey and why he’s so distinctive. Then move onto Jack Dejohnette and what makes him such an innovator.

I glommed onto Fred Hersch’s drummer—Eric McPherson. Then invited Kelby to talk about the relationship between drums and melody. Did you know that most great drummers are also pianists?

We end with a talk about jazz fusion, and Kelby’s tribute to the great Canadian drummer, Claude Ranger.

I’ve lived many places, but never came across a city with as many amazing musicians–especially jazz musicians—as I have here in Victoria, B.C.

Much of it is thanks to Hermann’s Jazz Club, which began 40 years ago. It started because Hermann Nieweler was convinced to book a jazz trio led by clarinetist/saxophonist Al Pease at his Inn. The purpose? To bring “a better class of people” to his lounge.

Al Pease is still around today, as is another original player at Hermann’s, Tom Vickery. You’ll hear a track by each of them.

Other Vancouver Island musicians and singers I play in this tribute to an amazing city and jazz club? Ashley Wey, John Lee, Pablo Cardenas, Leif Bradshaw, Fraser MacPherson, Angela Verbrugge, Lloyd Arntzen, Heather Ferguson, Joey Smith, Damian Graham, Jan Stirling, Miguelito Valdes, Kelby McNayr, Phill Dwyer, Daniel Lapp, Louise Rose, and Karel Roessingh.

I have to move from beautiful Victoria…..but will be continuing this podcast from my new home in Edmonton, Alberta.

Hello! In this episode I’m playing a few favourite recordings—lp’s and cd’s mostly. They are mostly ones I purchased at used record stores and thrift stores, as well as online, this past summer.

Here’s the ‘lineup’.

P.J. Perry Quintet with Bob Tildsley. They Kept Bach’s Head Alive. A really fascinating way to start the podcast. Andre Previn, who many don’t think of when they think of jazz. From a 1960 album called “Give My Records to Broadway”.The Crusaders, featuring the funk bass of Marcus Miller. A Joe Sample composition. One of my favourite Victoria artists, Wes Carroll. From his latest cd. David Kikoski and Eric Alexander teaming up for a rollicking version of John Coltrane’s “Lazy Bird”. Nothing Lazy about that one!More from the Sunna Gunnlaugs Trio. And the bass player whose name I can’t pronounce is Þorgrimur Jónsson.Christof Lauer and Jens Thomas reinterpret Sting’s “Every Breath You Take”.The fastest version I think I’ve heard of I’ve Got Rhythm. The George Coleman Quintet. Emmett Cohen and the Future Stride album.

Playing a few selected recordings of artists who were highly rated on the latest Downbeat Critics poll. It starts with three tracks from the latest entry into the Jazz Hall of Fame. It finishes with the ‘best historical album’.

Between you’ll hear someone who is both #1 jazz and #1 non-jazz artist (Quantum physics or a parallel universe maybe?).

Then there’s the winner of the Jazz Album of the Year category.

And a Canadian jazz pianist who ‘graduated’ from the rising star list. She is now #1 on the rankings for jazz pianist of the year.

Then there’s the Rising Star Large Ensemble Category won by Ulysses Owens Jr. Big Band.

The group Artemis, as well as being highly rated in the Jazz Group category also features women who are rated high in other categories—such as tenor saxophone, trumpet, piano, and clarinet.

And speaking of clarinet….there’s that jazz clarinetist who ranks way above the others.

Some great music, as usual, in this episode.

More music from jazz musicians who I enoyed seeing and hearing live this past summer.

I play four selections where pianist Sullivan Fortner is featured. The first one’s by Cecile McLorin-Salvant, the second from trumpeter Giveton Gelin, and the third is from an album under his own name. The fourth is a surprise—not an artist that you would normally think would be featuring Fortner’s piano.

You’ll also hear a fourteen minute composition by a young drummer named Aaron Blewett. Aaron was interviewed in one of my very first Discovering Jazz programs. At that time he was still in high-school and contemplating further studies in jazz.

One of the ‘draws’ for this past year’s Victoria Jazz Fest was Gregory Porter, I play an old standard that demonstrates the amazing beauty of his voice.

You’ll also hear Edmonton trombonist Audrey Ochoa. I finish this episode with more from my two favourite performers from the summer: saxophonist Immanuel Wilkins and Icelandic pianist Sunna Gunnlaugs.,

You heard those last two in last week’s episode. That episode (#200) also included pianist Micah Thomas, drummer Kelby McNayr, Malike Tirolean, and guitarist Dan Wilson.

I’ve had a great summer for music, mostly thanks to the Victoria Jazz Festival. For this first episode of the new season, I’m playing recordings by some of those artists I had the pleasure of seeing and hearing and who most inspired me.

Eight great selections are featured this week.

In this episode, Victoria B.C. jazz drummer, composer, and educator, Kelby McNayr talks about the role of percussion in jazz. His thesis that while drumming has changed, it hasn’t necessarily ‘evolved’ is an interesting one. He demonstrates it through recordings over many eras of jazz.

We talk about Baby Dodds, Zutty Singleton, Art Blakey, Philly Jo Jones, Elvin Jones, Vernell Fournier, and Ed Thigpen. You’ll hear lots of great ensemble work where the drums play such an important role.

I love hearing interesting stories about the history of certain songs, including how they became popular. In this episode I explore five different songs that have been performed frequently by jazz artists.

The first one, Scotch and Soda, nobody knows who really wrote it. The last one, Goodbye Pork Pie Hat came from an improvisation sparked by grief. And all the other musicians had to learn it by ear.

And guess who gets the royalties everytime someone plays Autumn Leaves?

What was the ‘test piece’ for jazz musicians in the 1940’s and 50’s?

Lots of interesting information and great music.

For this episode one of the highlights is a John Coltrane tune that has been described as a sort of ‘training wheels’ for Giant Steps.

I also play recordings by Freddie Hubbard, Ornette Coleman, a Wes Montgomery tune by Christian McBride’s Big Band, and a J.J. Johnson tune recorded by Miles Davis.

I play two Canadian tracks: a version of Chick Corea’s Crystal Silence by Teresa Doyle and Doug Riley, and Hilario Duran and friends with Billy Strayhorn’s UMMG.

And perhaps my favourite of all….a haunting tune from the film The Yearling with a version by George Cables and a vocal version by Lana Cantrell.

This is part 3 of a 4 part series on some lesser played or heard tunes from the Real Book 6th Edition—a ‘bible’ for jazz students.

This episode includes some obscure and some maybe not-so-obscure tunes from the point of view of the jazz player. You’ll hear some of the greatest jazz players and singers performing standards such as All of You, If You Never Come To Me, and Chega de Saudade (No More Blues). And some players’ favourites such as Wayne Shorter’s Deluge, and another of his classic compositions called Dolores (which he plays with Miles Davis). Also you’ll hear Herb Ellis and Detour Ahead, Mingus’ with Ecclusiastics, and Kenny Burrell’s Chitlins Con Carne. And the most obscure piece is probably Steve Swallow’s “Arise Her Eyes”.

I also play a clip of Ron Drotos talking about Wayne Shorter.

I had subscribed, from 1978 to 1983 to a series of 3-disk albums by Time Life Records called The Giants of Jazz”. A new one would be delivered to my door every month. They each contained a very detailed booklet including descriptions each recording on the six sides.

I featured these albums on a series of 5 podcasts late in 2019. For this year’s summer reruns I’m playing the last one—Part 5.

It features three recordings by the great saxophonist, Johnny Hodges…and talks about how he got the nick name ‘rabbit’. I also play recordings by Red Norvo, Fats Waller, James P. Johnson, Teddy Wilson, Henry Red Allen, and Lester Young. And I talk about each of them.

On each episode I depart from the Giants of Jazz series and play something by a Canadian jazz ‘giant’. For this week’s episode it was William Eckstein—a ragtime and jazz pianist/composer who was one of the first Canadians to play live on Radio (1919) as well as to make records on the burgeoning Canadian record industry. In fact, I start the program with him. Somebody I suspect most of you have never heard of.

A jazz bassist from Peterborough, Ontario, Craig Paterson talks about the music that ‘formed’ him, turning him into a jazz fan. He selected 10 albums, and in this episode he talks about five of them. And we play parts of them for you.

At the same time Craig does a great job dissecting what it is about those recordings that made them so interesting to him.

I also asked him to select a Canadian album that excites him—and he chose an album with a band fronted by saxophonist P.J. Perry.

If you like what you are hearing and want to hear the rest of his selections, go to Episode 49 and give a listen!

From the Archives, some 78rpm records from my collection. 78’s were popular from the turn of the century up into the late 1950’s.

One unique thing about 78’s is that you could eat them.   Technically at least! 

As well as some great music, you’ll hear Alex Campagnolo, a researcher in Sustainability Studies–a man who focuses on the sustainability of recorded music—talk about why 78’s are good for the environment.

As for the great music:  I play three tracks by the father of cool and free jazz, Lennie Tristano.   From 1949, believe it or not.   Also some Gene Krupa, Jon Hendricks, Ellington and Basie (of course), Red Norvo Trio with Tal Farlow and Charles Mingus, Lionel Hampton, and so much more!

And lots of surface noise.  We love surface noise!

Continuing with my summer re-runs of some of the best from past podcasts.

Today, Part 4 of a series on Jazz and Politics. It’s mostly music—featuring a few long tracks, such as the whole Freedom Suite by Sonny Rollins.

A lot of this music is about freedom and the struggle for equality: for blacks and also for female artists. There is also a selection from an album inspired by conspiracy theories.

The program finishes with a jazz protest tune that became a huge hit!

A few years ago I put together a series of four Discovering Jazz Podcasts on jazz musicians who played on pop recordings. For these archives, I’m posting Part 3, Episode 26. (You may want to also listen to Episodes 24, 25 and 27 if you like this one).

You’ll hear guitarist Louis Shelton and his connection with The Monkees. Then Wayne Shorter and Steve Gadd—and their connection to Steely Dan. Andy Milne played with Bruce Cockburn. And then there’s the Chet Baker and Elvis Costello relationship.

A fun series! You’ll hear pop recordings, but also real jazz recordings of these great musicians.

This week, as part of my ‘summer re-runs’, I feature Beatles tunes that have been adapted to jazz. Most are exquisitely done; some maybe not so much.

And not only that I interview John Lennon. Okay—not really! What it is is interesting clips from an interview I did with Michael Gagliano, who starred as John Lennon in a London, England tribute show called Let It Be.

Some of the great jazz artists you’ll hear in this podcast are Chick Corea and Hiromi, Duke Ellington, Count Basie, Larry Coryell, Herbie Hancock, Interactivo, Jaco Pastorius, Shawn and the Wolf, and Django Bates. And one highlight for me is the beautiful rendition the Canadian folkie Kim Dun does of Blackbird—with a lovely reharmonization of the tune.

A program from January of 2018.

A lot of real jazz lovers express a rather loud indifference—bordering on contempt—for the role of ‘vocals’ in jazz. Comments like ‘cheesy lounge singers’, ‘they keep the instrumental soloists from truly stretching out’, they make jazz musicians into accompanists, etc. come up.

Yet for many of us—-myself included—the vocalist can sometimes help ‘translate’ what the jazz musician or composer is doing into something I can understand. And a really great jazz vocalist does more than that. They can be an instrument unto themselves, convey a story in a way that is less ‘abstract’ than what the instrumentalists can do, and during the best of times, they function as one of the instruments……enhancing the development of the composition in the same way that any other soloist does.

Here you’ll hear some great vocalists: Nina Simone, Eddie Jefferson, Lambert Hendricks & Ross, Dee Dee Bridgewater, Gene McDaniels, Julie London, Buddy Greco, Tony Bennett, Alex Samaras, Jennifer Scott, and Betty Carter. I also talk a bit about what makes somebody a ‘torch’ singer (at least from my perspective).

For my final podcast of the season (but don’t worry—I’ll be posting ones from the archives weekly), I play more artists performing at this year’s Victoria Jazz Fest, 2022.

Lots of music this episode, and not much talk.

You’ll hear (in order):

Ghost Song–Cecile McLorin Salvant

The Preacher–Taurey Butler

Ranky Tanky–Ranky Tanky

Chrome Beauty–Joy Lapps and Larnell Lewis

La Sopa–Mazacote

Night Song–Wes Carroll Confabulation

Stardust–Samara Joy

Summertime–David Santana Quartet

Reconstruction Beat–Dan Wilson Quartet

Lovers in a Dangerous Time–Es:Mo

Mile High–Astrocolor

Ancestry–Sunna Gunnlaugs Trio with Verneri Pohjola

I’ll have some new podcasts ready to go for September. I have lots of interesting ideas for themes, and some terrific possible guests. And, of course, some of the best music (old and new) that fits somewhere within the category of ‘jazz’.

Putting together these three episodes allows me to find the time to listen to a bit of every performer coming to the upcoming Victoria Jazz Fest, Jun 24th to July 3rd (2022).

And what a stellar line-up!

In terms of straight jazz—this episode includes The Brubeck Brothers (two of Dave Brubeck’s sons), Ashley Wey from Victoria, trumpeter Giveton Gelin and his Quintet, and a great vibes player named Joel M. Ross.

More on the soulful side are Gregory Porter, Malika Tirolien, and Lisa Fischer.

And on the fringes of the genre, there is Ghost-Note (an off-shoot of Snarky Puppy), and a traditional group from Niger called Les Filles de Illighadad,

Jazz is best enjoyed live! Watching musicians interacting with each other on stage, as well as with their instrument can be quite exciting.

Coming up is The Victoria Jazz Festival June 24th to July 3rd. My plan is to listen to recordings of all the performers….so I can decide which concerts to see (and hear). And I’ll share what I ‘discover’ as I listen to these recordings—playing some of the ones that stand out for me.

For part 1 of this series, the tracks you’ll hear are:

Atomized—GoGo PenguinBlues is Alive and Well–Buddy Guy (who has unfortunately cancelled due to health concerns. Hoping he recovers fully.Low Interest Rate–Audrey Ochoa (trombonist)Recuerdos–Hilario Duran (w. Brenda Navarette)Unpredictable—Laura Deviato with Pablo CardenasIt’s Alright With Me–Jocelyn GouldFebruary–Sunna Gaunlaugs Trio with Verneri Pohjola (trumpet)My People–Cha WaWarriors–Immanuel WilkinsAtlantic Limited–Julian Lage

Jazz has continuously evolved as a result of freeing itself from constraints. According to Steve Haines, jazz bassist and director of the Miles Davis Jazz studies program at the university of North Carolina, jazz as taught in music institutions today is being ‘whitewashed and creativity is being strangled. He says “we need to be singing what’s inside of our soul”.

In this episode we play music that well illustrates the freedom that is such an integral part of jazz. You’ll hear historical recordings by Charles Mingus, Charlie Haden & The Liberation Orchestra, Duke Ellington, and Billie Holiday.

I also play more modern music. These include recordings by Mike Murley, Joe Chambers, and Simona Smirnova—a Lithuanian Kankles player. As well, you’ll enjoy the track from one of Steve Haines’ four albums under his own name, which he describes as “a silly little melody where the improvisers get to choose which tempo to play on every chorus”.

Then there’s that gospel track from 1928 by Arizona Dranes that sounds so free—despite a rather constraining title.

Some of the greatest jazz has been made thanks to people not allowing their limitations to stop them. Steve Haines talks about how Billie Holiday and Charlie Haden are the classic examples of that kind of freedom.

Steve Haines, professor and interim director of the Miles Davis Jazz Studies program at University of North Carolina talks about what he sees as the most essential elements of jazz. And we play music to illustrate some of those elements.

What are the essential elements? They include the expected ones—blues and swing. But just as important are gospel, repetition, precedent (attending to what came before), and especially—freedom. Also essential is inclusion—something he feels has been lacking in the jazz world.

As usual, you’ll hear a lot of great music this episode. Includes recordings by Steve Haines himself with Peter Bernstein, plus tracks by Cannonball Adderley, Ma Rainey, Oscar Peterson, Arizona Dranes (who, you ask?), Count Basie, Louis Armstrong, Roy Hargrove, and Hazel Scott.

If somebody asks you if you like jazz, how can you answer? There are so many sub-genres of jazz around today: hard-bop, be-bop, swing, fusion, Bossa Nova or Latin, funk, free jazz, Cool jazz, Afro-Cuban, world jazz, smooth jazz, astral jazz, etc. etc. etc.

Today’s episode explores a few of those. You’ll even hear a bit of one very familiar melody played in some of those styles. And lots of complete selections too illustrating some of those genres.

Some of the music in this week’s episode is new, a lot of it’s old; they are from lp records, cd’s, and downloads that I’ve recently acquired. Or, in some cases, about to acquire.

The lp tracks are by Marian McPartland, H.B. Barnum, and Woody Hermann & Four Others. The cd’s include Angela Verbrurgge, Joey De Francesco, Wayne Shorter, and Jens Thomas w. Verneri Pohjola (doing another AC/DC reinterpretation). Downloads, soon to be cd purchases, include tracks from the newest best-selling album by Tom Keenlyside, plus Jazzmeia Horn and Victoria pianist Ashley Wey.

And I really like that Ashley Wey composition, Sterioso. How does it resonate with you?

I’m always on the look out for music that inspires me. I may find it through going into thrift stores, perusing emails and facebook mesages from friends and Discovering Jazz listeners, and even by looking at current jazz releases. It might be vinyl record, a cd, a youtube video, or whatever.

For this episode and next weeks’ I play a few selections that made their way into my universe. Sometimes the impression they make on me lasts a brief moment, other times a life time. Who can predict?

This week’s music includes selections by Jens Thomas, Christof Lauer, Jon Batiste, Vince Guaraldi, Amanda Tosfoff, Herbie Hancock, and Verneri Pohjola.

Two of the most unusual discoveries come from CBC Radio or television recordings of two Vancouver jazz artists. They are pianist Chris Gage (who was raved about by Oscar Peterson) and Eleanor Collins (who has been commemorated on a Canada Post stamp). Neither made any commercial recordings.

Oh! And just for fun I throw in a touch of AC/DC. Why would I do this on a jazz podcast? I guess you’ll have to listen to find out.

Oscar Peterson is described by one of his former students, Victoria’s Louise Rose, as being “driven”…yet still “without ego”. And in the 1972 documentary about him called In the Key Of Oscar, he expressed mixed feelings about the driven-ness, some of which was influenced by a desire to meet his father’s high expectations.

There is also the theme of racial prejudice which affected him deeply.. Louise Rose also talks about that and how it got in the way of her becoming a classical pianist.

I play lots of Oscar Peterson in this episode, as well as Louise Rose interpreting his music….illustrating how Oscar Peterson taught her to “play like yourself”, not like him.

And there was a contemporary of Oscar Peterson’s who lived and played in Vancouver—a pianist named Chris Gage. Oscar Peterson thought he was amazing and definitely a musical rival. But he never recorded. I play a recording of his amazing piano from a CBC broadcast.

Here in Victoria we are blessed with having a marvellous pianist, singer, and arranger teaching and giving delightful concerts. Her name is Louise Rose, and she studied composition and arranging with the great Duke Ellington.

This week’s I present part of an interview with Louise about her experience with Duke, and what she learned from him. It includes information that is personal and not available in books that have been written about and by him.

I play great Ellington recordings, as well as the playing and singing of Louise Rose.

You’ll also hear an interpretation of an Ellington standard by Sarah Vaughan, as well as Kelby McNayr and the Great American Songbook trio.

Part 1 was about its invention and the 9 different types of saxophones. Part 2 was it’s evolution in jazz as well as its use in classical, r’n’b, and rock ‘n roll. This episodes features more great jazz saxophonists, plus the instrument in modern classical and ‘art’ music.

You’ll first hear how a tenor sax can sound so different–depending on whether you’re listening to Archie Shepp or the likes of Ben Webster , Lester Young, or Paul Desmond.

I also play two wonderful tracks by Wayne Shorter—one of the most prolific composers of our era.

Some great modern players that I include in this episode are Chet Doxas, Melissa, Aldana, and Jane Bunnett.

And last but not least, I have a brief chat with Al Baggs from Peterborough as he talks about how the ‘hated saxophone graciously merged from its old habitat and onto the respectable musical stage’. I follow that with a saxophone driven modern classical composition by Raymond Ricker.

Lots of interesting music in this, the last of my three part series on the saxophone.

This is Part 2 of my three part series on the saxophone. I take you through the early days of jazz, then talk about how Coleman Hawkins transformed the tenor sax from “mooing and rubbery belches” into a purveyor of musical art.

I also touch on the use of the saxophone in classical music, and raconteur and music historian, Al Baggs, from Peterborough, Ontario expounds on that.

Then you’ll also hear a bit of rhythm and blues, rock’n roll, and, of course the next step in jazz’s evolution—Charlie Parker, Sonny Rollins, John Coltrane, and bebop. .

Then I close with some beautiful soprano sax played by Victoria’s Roy Styffe.

Here is what you’ll hear in this week’s episode.

-Harrison Birtwhistle’s Panic for Saxophone, drum kit, and Orchestra (part)

-Cake Walking Babies from Home–Red Onion Jazz Band with Sidney Bechet.

-Song of Songs–Sidney Bechet Quartet

-Singin’ the Blues–Frankie Trumbauer

-One Hour–Mount City Blue Blowers feat. Coleman Hawkins

-Body and Soul-Coleman Hawkins and his Orchestra

-Scaramouche (1st movement) by Darius Milhaud w. Sean Miller on alto sax

-That is Rock and Roll–THe Coasters (featuring King Curtis)

-Side WInder–Wes Dakus and THe Rebels featuring Ron Park on saxophone.

-The Bird Gets the Worm–Charlie Parker

-Tenor Madness–Sonny Rollins and John Coltrane

-Hope—Roy Styffe and George McFetridge.

Beginning a 3 part series on the saxophone…it’s development and use in jazz and other forms of music. In this first episode I play recordings featuring each of the 9 saxophones–from the highest pitched sopranino to the lowest pitched sub contrabass. In-between you’ll hear lots of tenor, alto, baritone, and soprano sax played by the masters.

You’ll also hear what happens when tenor saxophonist Stan Getz and Baritone saxophonist Gerry Mulligan switch instruments.

It’s mostly from my jazz section…but not all. Some you might call ‘world music’, some ‘gospel’, a bit of funk, and one ‘pop; vocalist. But it’s all pretty good, I think (except for maybe the last one). And lots of real jazz!

As I say in my introduction to the podcast, I do play lots of ‘jazz’ that is on the fringes of the genre. A lot of those can be found in my record collection. This week and next I’ve dipped into that collection and I’m spinning a few tunes. You’ll hear

-DAWG music (some call it’ progressive bluegrass), j

-jazz oriented world music,

-a swinging version of Franz Liszt,

-a few vocalists that some might call ‘middle of the road’,

-a bit of Gypsy jazz (but with Oscar Peterson),

-a political song from the 70’s that’s just as relevant today.

-two straight-ahead jazz performances

-a track from my favourite Sarah Vaughan album.

I played some records by some great female instrumental jazz artists last week….and this week I have some more (plus a vocalist or two).

I remember only a few years ago when people so often spoke about the dearth of women in the jazz world. And just within five years there numbers have blossomed. Just look at the critics and jazz fans polls in the various jazz magazines.

One highlight of this week’s episode is a Vancouver based singer who was recently honoured by Canada Post by having her picture on a new stamp. Her name is Eleanor Collins, and she never put out a commercial recording. With one exception! A single track on an album by a Vancouver B.C. based jazz combo honouring compositions by Canadian women.

Another highlight is the great Alice Coltrane—before she became Alice Coltrane.

Actually they are all highlights. You’ll hear Toronto saxophonist Allison Au, pianists Renee Rosnes, Marian McPartland, Helen Sung, and Geri Allen. There’s a jazz cellist named Tomeika Reid who plays on a recording with award winning guitarist Mary Halvorson. Trumpeter Bria Skonberg does a great combination of Duke Ellington and Paul McCartney.

Then there is pianist/arranger/writer/orchestrator Toshiko Akiyoshi. And have you heard Esperanza Spaulding’s new album? You’ll hear a track here.

March 8 is International Women’s Day. It falls on a Tuesday–the same day I upload these podcasts. It turned out to be so easy to find great female jazz instrumentalists; much easier than when I did a similar podcast four years ago.

And the instruments? There’s piano, guitar, Pedal Harp, Trumpet, clarinet, tenor sax, bass, drums, orchestra arranger, and alto sax. And, of course, some vocals.

Some are very familiar names, some of them I’ve heard and heard of for the first time. Some of the performers are from the early days of jazz. Some are brand new. Many are in-between. And one of them collaborates with David Bowie.

From solo bass to bass in a big band. From free jazz to Gypsy Jazz. And lots more.

You’ll hear more bassists in this episode. They include Christian McBride, Victoria’s Joey Smith, Eberhard Weber, Stanley Clarke, Charlie Haden, Ron Carter, Brandi Disterheft, Dave Holland, Tiny Grimes, and two by George Duvivier.

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, I play some Chares Mingus and talk about his influences. Also, Paul Chambers and his bass bowing. And the Sam Jones Big Band (where you also hear some soloing from pianist Fred Hersch early in his career).

There’s an interesting educational piece too, where another Victoria B.C. bassist, Louis Rudner, talks about how he will sometimes use a ‘template’ for a bass solo as used by master bassist Oscar Pettiford. I follow that with Oscar Pettiford demonstrating exactly what Louis is talking about. And you’ll hear some great bass work with Louis backing up Vancouver singer Maya Ray.

This episode is part 1 of a three part series on bass players in the world of jazz. I begin with the tuba—which, along with the bass saxophone, was the primary bass instrument in turn of the century New Orleans Jazz.

They couldn’t use a string bass because you couldn’t hear it….as there were no microphones. But there was an exception! I play a recording by a group led by a string bassist who had been playing it as early as 1900.

You’ll also hear Walter Page, Toronto’s Steve Wallace, Norman Bates, a bit of Ron Carter, Ray Brown, and Percy Heath.

I talk about (and play) two of the greatest innovators of jazz bass, Jimmy Blanton and Scott Lafaro, both who died in their mid 20’s. But there influence was incredible.

And somewhere in there you hear a bit of vocalese from Lambert, Hendricks, and Ross, conjuring up the spirit of Paul Chambers, Charles Mingus, Percy Heath, Ray Brown, and Oscar Pettiford.

But it all starts with the tuba—and Chink Martin even gets a little solo.

Twelve more recordings voted by jazz critics and radio stations as being the best of 2021. I start with Los Angeles pianist Cameron Graves and end with Tony Bennett & Lady Gaga. And between those selections are a variety of straight-ahead and ‘out there’ jazz.

From New York, there’s drummer/percussionist Ches Smith and The We All Break.

I play a few great collaborations, such as clarinetist Ben Goldberg with guitarist Mary Halvorson. Then there’s Whiterock B.C. native Amanda Tosoff collaborating with Laila Biali and Alex Samaras. And don’t forget Portuguese vocalist Sara Serpa getting together with Nigerian writer Emmanuel Iduma. Then there’s the great bassist Esperenza Spalding NOT playing bass and trombonist Corey King NOT playing trombone.

Others from ‘best of’ or jazz charts lists include Nelson Riveros, Emma Jean Thackray, Dr. Lonnie Smith, and Renee Rosnes.

Only one album is reprised from Part 1 of this series. That’s Veronica Swift’s ‘This Bitter Earth’. From the album I play a delightful Dave Frishberg composition about the only news you can really trust these days (at least according to Frishberg).

From perusing a number of ‘best of’ lists, filled with choices of top albums of 2021 by jazz fans and critics, I present tracks from 9 more albums. Some of it is more ‘modern’ sounding–such as Wadada Leo Smith, Floating Points, Kurt Elling’s new album, BadBadNotGood, Patricia Brennan, and Kenny Garrett. Then there’s a few more ‘traditional’ sounding jazz albums by Antonio Adolfo, Brandi Disterherft, and Vincent Herring. But it’s all high quality music.

This week I play two versions of the tune that students and professional jazz players say is a ‘must learn’ if you’re going to any kind of a jazz jam. I also list other tunes that people from the Jazz World site mentioned when I asked them what tunes one must know.

And you’ll hear great recordings of some of these tunes by the likes of Miles Davis, Joe Henderson and Kenny Dorham, Oliver Jones, Charlie Parker, Pat Coil, Gene McDaniels, Wynton Kelly, and Emilie Claire-Barlow, And for me, the highlight of this week’s episode is a gorgeous version of Body and Soul as interpreted by Pat Martino and Gil Goldstein.

You’ve been invited to an informal jam session and you want to make sure you are familiar with the tunes likely to be played or ‘called out’. Which ones do you need to know? I asked this question on a facebook site (The Jazz World) populated by jazz musicians and students.

The #1 thing they said you need to know are what is called ‘rhythm changes’. Just as important are the three different kinds of blues progressions.

They also chose a number of different tunes that are ‘must learns’.

On this episode I play great recordings of tunes with those needed changes and/or progressions, and some of the songs suggested.

For instance, I play a classic version of The Flintstones Theme by some of the world’s finest jazz players. How does that fit into this topic? Listen to find out.

Various websites and magazines put out their ‘best of’ lists for 2021. I chose the first six that came up on Google, and also looked at the summary of the albums most played by jazz radio stations (mostly American) for the year. I listened to a bit of everything, then chose a few that interested me. And I’m presenting tracks from those albums in this 4-part series.

This week you’ll hear the Chick Corea Akoustic Band, Allan Harris, George Cables, The Baylor Project, James Brandon Lewis, Julian Lage, Gerry Gibbs, Nala Sinephro (playing a pedal harp), Artemis, Bell Orchestre (from Montreal), and Sam Gendel & Sam Wilkes.

When I searched for ‘the best jazz albums of 2021’ in mid December, I found six sites that listed or ranked their favourites. Some of them were compilations of different critics or fans responses; others I don’t know how they compiled them. But what I noticed is that all the lists were dramatically different from each other—very few repetitions.

I also looked at the ‘running 52 week jazz chart’ from Jazz Week, which ranked them according to number of plays on various jazz radio stations—mostly in the U.S., I believe.

I then listened to at least a track (or part of a track) from each of them, and decided which ones I wanted to play in this 4-part series. Some great stuff, I must say!

For Part 1, you’ll hear a couple tracks by Sons of Kemet and the Black to the Future album–which was the one that the most sites placed on their best of list. I also play music by Emmet Cohen, Cory Weeds, Damon Locks and Black Monument Ensemble, Eric Reed, Charles Lloyd and the Marvels, Vijay Iyer, and Veronica Swift. And one of my biggest surprises (for me) was the delightful track from Pat Metheny’s latest album.

Lots of great music to choose from…..much of it very different from what we used to call ‘jazz’ when I was a youth.

A great variety of interesting and excellent music that I’ve downloaded sometime between 2017 and now. Some of it is what we all know as ‘jazz’, including Karryn Allison, Bill Evans Trio, Kenny Washington, Kelly Eisenhour, Billy Childs, Cunliffe Patitucci & Colaiuta. There are also two great Victoria jazz artists, singer Angela Verbrugge and trumpeter Patrick Boyle. Then there’s New Orleans r’n’b singer and pianist, the late Dr. John. You’ll also hear a bit of fusion jazz to start off the episode with violinist Zbignew Seifert. And lastly, there’s the melding of hip-hop, jazz, and polka thanks to Kormac.

Some great listening to take you into the new year.

This week I play Christmas and winter holiday music by some of the greatest jazz players and singers of all time. You’ll hear Oscar Peterson, Sarah Vaughan, Arti Shaw, Toronto’s Robi Botos, Diana Krall, Dave Brubeck, Louis Armstrong, John Coltrane, Phil Woods, Tony Bennett, and Earl Hines.

One very unusual highlight is the legendary pianist Bill Evans singing.

Vancouver’s Jennifer Scott and Rene Worst top off this Christmas special with two tunes recorded live in their home.

A jazz fan, Peter Waddell, who says he is not a musician. He once again selects some amazing records and talks about why these particular tracks give him joy. Lots of modern recordings and two historical gems.

Since he has commended me for playing on these podcasts “global giants and local joys”, I present him with a ‘local joy’—an obscure but now defunct jazz-fusion group from the Canadian Okanagan called “The Mammals”. You probably won’t find any of their recordings online.

Thanks to Peter, I also play Fergus McCreadie (from Scotland), Polar Bear, The Partisans, The Brad Mehldau Trio, Trifecta, Esbjorn Svensson. And speaking of ‘global giants’, John Coltrane and The Buena Vista Social Club.

A reviewer wrote about my podcast: “Larry shares the findings of his ongoing journey with enthusiasm: …..innovators and perfectors from a century of creative expression; global giants and local joys’ the old and the new’ influences on and influences by; the easy and the challenging”

Wow! I love that description. This Discovering Jazz fan lives in Ulster in Northern Ireland, and I invited him to share some of his favourite discoveries and to talk about them. Some wonderful recordings, and I thank you, Peter Waddell, for sharing these.

This episode and the next one shares Peter’s favourites and some delightful insights about these recordings.

It also gives some great tips as to how even a ‘non-musician’ can truly appreciate jazz.

And in the course of this, you get to hear some wonderful music.

After Miles Davis’ Kind of Blue took the jazz world by storm, jazz musicians and fans expressed much excitement about what has been termed ‘modal jazz’. This is a sub-genre that uses long passages of unchanging harmony based on different scales rather than a series of chords.

In this podcast I talk about the history of modal jazz, including some of the music that influenced Miles Davis in putting together this amazing recording.

Some say it goes back to 1936—with Juan Tizol’s Caravan. And drummer Max Roach claimed that Benny Goodman was an earlier contributor to modal jazz. On this program I play one of his solos that illustrates that.

Then there is the connection between rock music and modal jazz, and how they influenced each other.

You’ll hear lots of great music and get some of what I hope you’ll find to be interesting information.

This episode was inspired by finding three jazz magazines in a Little Library outside of jazz singer Susannah Adam’s home in Victoria, B.C. There were a bunch of articles on jazz vocalists, including one where Luciana Souza chose some recordings with ‘wordless vocals’. Some amazing stuff by the likes of Milton Nascimento, Toninho Horta, and Luciana herself,.

Then another article involved The New York Voices being given a blindfold test of recordings by various singers. There was Bill Henderson with Oscar Peterson, Double Six of Paris (with Night in Tunisia showing it’s possible to sing in French and Vocalese at the same time), Theo Bleckmann and Kate McGarry, Ian Shaw singing Joni Mitchell, Rosemary Clooney with The Hi-Lo’s (unbelievable!), and The New York Voices themselves.

To top it all off, this podcast starts with a lovely performance by Susannah Adams, and ends up with Nina Simone followed by her daughter, Lisa, and a song about their relationship.

A podcast I’ve listened to twice, and I really enjoyed it both times.

Five songs and the stories behind them.

I talk about and play different versions of Round Midnight (aka Round About Midnight), In a Mellow Tone (aka In a Mellotone), Night Train, My One and Only Love, and You Don’t Know What Love Is.

And all five of these have interesting stories behind them.

Hey! This week’s episode of selected downloads are even better than last week’s. At least it felt that way as I was listening to this latest episode.

I start it off with a gorgeous version of Autumn Leaves with Laila Biali and a host of some of Toronto’s best players. And I finish it off with another pianist–Russian born Eldar Djangirov…who is described as “blisteringly electric one moment, tender and thoughtful the next”. Between those two you’ll hear Jeff Parker and The New Breed, Joe Pass & accordionist Tommy Gumina,

Then there is the amazing bassist Sam Jones playing with Joe Zawinul and a touch of Cannonball Adderley. And we can’t forget the powerful and emotion-packed voice of Brazil’s Elza Soares. Also some of one of the latest hot pianists playing a tune written in 1919—Emmet Cohen. And Jeff Goldblum.

Two more Canadians too, One is Nancy Ruth who now lives in Spain, and the other is Peterborough’s #1 piano player, Rob Phillips with some great clarinet from Kevin Goss.

I’ ve already presented episodes playing some favourite lp’s, cd’s, and even some 78’s. Now its time for some downloads. Some are old recordings, some fairly new.

I play Marlena Shaw, Chet Baker, Duke Ellington with Mingus and Roach, Roberto Fonseca and Faroumata Diawara, Melissa Aldana, Sting with Jo Lawry, The Brooks, Rowan Farintosh Quartet, Ori Dagan, the surf-jazz of Ben Rogers, and grammy nominated Pancho Sanchez.

I’m picking out a few tunes from a few favourite cd’s. Lots of music, not too much talk for this episode.

You’ll hear a few familiar favourites such as Tony Bennett and Bill Evans, Miles Davis, Dave McKenna and Buddy DeFranco, Stanley Clarke and Friends (with Billy Cobham and Najee), Bob Dorough. I also play a few artists with whom most of you probably aren’t familiar: Carri Coltrane, Eugene McDaniels, Bill Coon & Ron Peters, and Paul Novotny & Robi Botos.

But I can assure you that every track is excellent—or at least interesting.

Part two features some more of the musicians rated in the 69th Annual Jazz Poll from Downbeat Magazine.

This week I start out with Kris Davis (with Nels Cline), and follow it with the vocal-less Nels Cline Singers. You’ll also hear Freddy Cole, Laila Biali, Sinne Eeg, Aaron Diehl, and Charles Lloyd and The Marvels.

There are a few interesting combinations of great musicians. There is Redman,Meldhau,McBride,and Blade, and all four of them have individually been ranked high. And one of my favourites is a trio of Bill Cunliffe, Vinnie Colaiuta, and John Patitucci on a brand new label called LaCoq records.

Bassist Marcus Miller and a recording he made of one his compositions with Miles Davis is also featured.

The results of Downbeat’s 69th Annual Critics Poll inspired me to discover and listen to a few artists. And to re-listen to a few others.

You’ll hear some of what I discovered on this episode.

I start with some new members placed into the ‘hall of fame. This year it was Kenny Barron. And the jazz ‘veterans’ committee made another choice: somebody I’d never heard of, a trumpeter who died in 1961 at the age of 23. Anybody familiar with Booker Little?

I also play selections from the Big Band category, male vocal, and some so-called ‘rising stars’.

Quite a few Canadian jazz artists made the critics lists as well, and I play something by two of them: both women.

Carla Bley, at the age of 85, was just voted onto Downbeat Magazine’s Hall of Fame. There is an article in the August 2021 issue where she talks about having found her ‘voice’—a voice that has endured through all the twists and turns.

In this episode we explore that voice, playing recordings from 1957 to 2020. She is a prolific composer and arranger, as well as a fine pianist.

I play some of her compositions as interpreted by Canadian pianist Paull Bley, Gary Burton, The Liberation Music Orchestra, The George Russell Quintet, and Toronto’s Jane Bunnett. There are also a few by groups she leads, as well as a bit of her jazz opera, Escalator Over The Hill. That opera, by the way, was released on a 6-sided album, and Stylus Magazine referred to it as “the greatest record ever made”.

This week I go to my cd collection and pick out a few with which I was familiar at one time, and give them another spin. The recordings span the years 1955 all the way to 2021.

Included are three Canadian cd’s. One is by Dave McMurdo out of Toronto. The second is vibraphonist Peter Appleyard with some of the most famous jazz players ever. And last but not least, an amazing and obscure cd (you won’t find it anywhere online) by a Penticton/Kelowna B.C. jazz-funk groups called The Mammals.

Going from oldest to newest, I play Chet Baker, Thelonious Monk with Coleman Hawkins, Peter Appleyard with Benny Goodman’s Jazz Giants, french hornist Tom Bacon, Dee Dee Bridgewater, Dave McMurdo, The Mammals, Patricia Barber, Betty Carter and DJ Spinna, Sweden’s Aaly Trio with Ken Vandermark, and Anthony Joseph with Shabaka Hutchings.

To start off the 2021-2022 season of Discovering Jazz, I thought I’d play some familiar (and a few not so familiar) tunes from my lp collection. I play a few ‘regulars’ whose music has appeared on this program over the years: Don Shirley, Vince Guaraldi, Sounds Orchestral (Johnny Pearson), Fraser MacPherson, Peggy Lee, Tony Bennett & Bill Evans, and Bob Dorough. You’ll aso hear cuts from albums by Eddie Cano, Franco D’Andrea, Mel Torme with Rob McConnell and the Boss Brass, Buddy DeFranco and Tommy Gumina, and Sergio Mendes and Brazil 66.

I have lots more lp’s that I want to revisit. I look forward to playing them on future programs. But next week I’m going to dip into my cd’s.

This is an episode that is near and dear to my heart. Absolute Pitch (sometimes inaccurately called ‘perfect’ pitch) is something I had, then lost. And its something that people who don’t have it can never understand. When you have it, it seems as ‘normal’ as being able to identify the colour of your socks….and it’s a mystery why others aren’t able to do that.

In this episode I talk about my own experience. But it’s mostly about various musicians who have or had it, and how it affected them. And, like all my episodes, I play recordings by some of these musicians.

Only about one in 10,000 people are said to have it…..and it’s generally considered something you are born with….or at least learned at a very early age. It’s not something you can learn to have as an adult—despite certain online courses that claim to teach absolute pitch.

It’s very different from relative pitch—which we need to learn (even if you have absolute pitch). I talk about that difference.

Next week my summer reruns will end and I’ll begin posting new episodes for the 2021-2022 season.

You go to a jazz jam session with students or amateurs. One of the most common musical guides that almost every player uses is The Real Book, 6th Edition, Volume 1.

The original Real Book was put together in the mid 1970’s by some Berklee College of Music music students in Boston, partly as a way to make some money and probably also so they could have some standard melodies and chords to use during jazz jams. No royalties were paid.

In 2004, Hal Leonard obtained the rights to most of the tunes in the real book. He deleted some, added others, and that’s how the Real Book 6th Edition came into being.

I’ve gone through that Real Book a few times. Here are a few tunes that are relatively obscure. Some of them I’ve selected because I really like. Others are just curiosities.

I’ll play a commercially recorded version of 9 of them. They are: Equipoise, Las Vegas Tango, Chelsea Bridge, Como En Vietnam, Yes and No, Blue Room, Unity Village, Django, and Duke Ellington’s beautiful “African Flower”.

This is an episode I posted November, 2019…..before my guest, Angela Verbrugge, won the listener’s poll in Jazz Times magazine for favourite female vocalist.

Angela sent me (upon my request) some recordings from jazz singers I probably never heard of.   These recordings are the subject of this week’s and next week’s podcast.

I make it an exchange by presenting one or two to her that she’s probably never heard of.

This week you and I will discover the delightful singing of Lucy Yeghizaryan, Gabrielle Stravelli, Greta Matassa, Camille Thurman, Susannah McCorkle, and Dave Tull.   Recordings I chose to present to Angela are by Lorraine Nygaard, Alex Samaras (with Chelsea McBride’s Socialist Night School), and …….Angela Verbrugge.

Hearing some of Angela’s insights about these artists and about these recordings is definitely a highlight of this Discovering Jazz episode.

I invite any of you who are interested in reviewing this program to go to the itunes or Apple site, click the ‘ratings and reviews’ tab, and post a comment.  It would be much appreciated

One of my favourite Discovering Jazz podcasts. I used to play French Horn and tried to play blues on it. Even used it in a rock-blues group, with questionable success.

But there is quite the tradition of truly great jazz french hornists, and I’ve discovered a few of them. I play some of them on this program. It’s all great jazz…..I assure you.

According to Wikipedia, Jan Randall, a Canadian composer, pianist, and arranger, has made a career of composing soundtracks for films, theatre, radio, and television.  He combines playing by ear with his formal classical and jazz training.  And he teaches jazz appreciation courses through UVic and is a faculty member of the Victoria Conservatory of Music.

For this week’s program, Jan talks about a jazz appreciation course he has taught over the years. His objective is to help everybody expand their minds.  And he expanded mine!  Never before had I thought about jazz’s “Chopin roots”.

His audience? “People who are severely allergic to technical jargon”.

Enjoy Jan’s inspiring commentary, his positive energy,  and some great music!  From Louis Armstrong, through Art Tatum, Count Basie, Duke Ellington, Joe Pass & Herb Ellis, and up to The Yellow Jackets.  Plus one very fine original Jan Randall composition, and he demonstrates his creative process in putting it together

Shortly before I moved from Peterborough, Ontario to Victoria, B.C., I spoke with Peterborough jazz guitarist, Mike Graham. I asked him for his thoughts on the future of jazz. He had lots of interesting things to say….and on this episode I play part of that interview.

What is the future of jazz?   Will everything change when the Miles Davis generation dies out?  Who will replace them?

In this program, I discuss with Mike what jazz might look like in the future—-as well as what it won’t be.  Of course, to predict the future, we need to know the past.  What past areas of jazz will flourish and develop?  What role will modern classical style compositions have?  How about hip-hop and sampling? Bebop?  Swing?

Just as important, who will be listening to jazz?  Will it just be ‘students’?  Or will it be so much ‘fun’ that it’s popularity grows and it’s listening base expands?

You’ll hear quite a variety of music today, some of which you might also hear tomorrow and the next day, and some you might never hear again, as it disappears into the ether.   Some of it, too, is definitely NOT jazz.  But the line between jazz and ‘not-jazz’ is expected to be blurred even more in the future

While many of those jazz tunes jazz artists like to play are from films or Broadway, many are written by jazz musicians. For this episode, from 2019, I feature seven tunes that have become ‘standards’. Two of them were written for films, and the other five specifically to be played by jazz ensembles.

I play tunes written by Horace Silver, Charlie Parker, Sonny Rollins, Bernie Miller (for Gerry Mulligan), and Wayne Shorter. And the two film tunes are from Alice in Wonderland and A Hole In The Head.

You’ll hear a couple renditions of some of them.

They’re all great tunes.

This is a program originally aired on Trent Radio and placed on my podcast site in November, 2017.

Inspired by a jazz instruction blog & podcast , LearnJazzStandards.com, hosted by guitarist Brent Vaarstra, and his post called “92 Modern Jazz Albums You Need to Listen To”. ‘Modern’ was defined as being anything after the year 2000. 

I went through the first few, and also found (elsewhere) a couple Canadian jazz albums……and decided to play a track from a few of them.  Vaarstra recommended albums are by Anna Maria Jopek & Gonzalo Rubalcaba, Tarek Yamani, Larry Goldings and Peter Bernstein, Poncho Sanchez & Terence Blanchard, Bruce Forman, David Kikoski w. Christian McBride, John Abercrombie, and Eldar Djangirov. 

Paul Novotny and Robi Botos, and trumpeter/singer Bria Skonberg are the two Canadian artists I discovered.

I’ve truly learned a lot since I started putting together these podcasts four years ago. That’s why the program is “Discovering Jazz”. I keep discovering new things about jazz and about jazz compositions. That being said, a lot of my earlier programs are still pretty good.

While Episodes 1 and 2 seem to have a lot of listeners, for some reason Episode 3 hasn’t. I don’t know why. There’s some great music!

The last two tracks are by a well-known trumpet player from the 1930’s who saxophonist Flip Phillips once said was “probably the greatest alto saxophone player alive”. Guess who?

And speaking of saxes you’ll also hear a duet of Stan Getz and Gerry Mulligan–including one where they switch saxes and Getz plays baritone and Mulligan tenor.

I also play some more modern tracks by Sweden’s Linda Svantesson, Toronto’s Robi Botos, Havana’s Interactivo, Peterborough’s Sean Hully, and Vancouver’s Jennifer Scott.

Rounding it all out are selections by Frank Sinatra (where Daniel Levitin raves about his phrasing), and Bill Evans & Jim Hall.

Some great music here!

I’ve listened to a track or two from each of the albums nominated in the jazz and world music categories for this year’s Junos. I’m playing something from the winner in four categories, plus a handful of jazz nominees.

This is the last podcast of the season as I take a short summer break. But don’t despair! You’ll get some summer ‘reruns’—some of my favourite podcasts from the archives. So still lots of great music to be heard.

Last week I spoke about how Miles Davis could be considered to be the most predominant jazz ‘bellwether’. This was related to his role in contributing to particular tunes becoming ‘standards’, even influencing how other musicians played them.

This week I advance that ‘thesis’ even further. I show how changes he made to a Dave Brubeck composition then became the way future musicians played the tune. I also talk about his contribution to what has been called ‘third stream music’, as well as the role that trombonist JJ Johnson played.

There are other nominees for bellwether too. For example, Ahmad Jamal very much influenced Miles in terms of song choice and arrangement. Argument could also be made to support Frank Sinatra and Louis Armstrong for their bellwether role.

A bellwether is the sheep in the flock who has the greatest influence on when and how the flock moves. And it isn’t always the sheep who goes first. The inspiration here came from science fiction writer, Connie Willis, and her book “Bellwether” where a social scientist is solving the mystery of how certain fads became so popular.

I play some great music on this program by Miles Davis, Ahmad Jamal, JJ Johnson, Louis Armstrong, Phil Woods Quartet, Renee Rosnes, Frank Sinatra & Antonio Carlos Jobim, and even a bit of folk singer Ed McCurdy.

This was inspired by a book by my favourite science fiction writer: Connie Willis, called “Bellwether”. In a flock of sheep, there is one sheep that, for some unexplained reason, influences all the others in terms of when and where they move. That sheep is referred to as a bellwether. The bellwether isn’t necessarily the first to take action….and it can be a challenge trying to discover what sheep is actually the ‘bellwether.

My interest here is why certain tunes get selected by jazz musicians to become jazz ‘standards’, while others are ignored. Might it be that there is a bellwether who has a role to play here?

Often they become standards because a particular musician just happened to start playing it….and others followed. Many of the most recorded tunes in jazz were at one time recorded by Miles Davis.

The podcast starts off with Dear Old Stockholm, and how this Swedish folksong ended up becoming a jazz standard.

I also talk about and play a version of All of You, So What, I Loves You Porgy (mentioning the very important Gil Evans connection), Solar, and two versions of Well You Needn’t. As well, I talk about and play a Cyndi Lauper tune that Miles Davis transformed from a run of the mill pop tune and to something that jazz people now play.

This episode was inspired by somebody, when I played and sang “How Deep Is The Ocean?” asking me if I was playing ‘jazz chords’. So this episode tries to discover, using the same Socratic method as in the lyrics to that tune, what exactly is a ‘jazz chord’. I play some great music, as usual.

You’ll hear recordings ranging from Les Paul and Mary Ford all the way to the amazing piano intricacies of Adam Makowicz. And between that….Frank Sinatra, Bill Evans, Jennifer Scott & Miles Black, Peggy Lee, Miles Davis, Duke Ellington, Sarah Vaughan, Carol Welsman, and ending with a very jazzy British rock group from the mid 1960’s.

Oh! We can’t forget the jazz version of Twinkle Twinkle Little Star.

This week I dig into my record collection again and pull out a few favourites. You’ll hear tracks from:

-Toronto’s Archie Alleyne with the Frank Wright Quartet,

-Lalo Schifrin,

-Zoot Sims w. Jimmy Rowles,

-Shelly Manne,

-Lenny Breau,

-Stan Getz & Charlie Byrd,

-Milt Bernhart Brass Ensemble,

Julie London,

Eddie Jefferson,

Serge Chaloff, and

Skywalk (from Vancouver), featuring Tom Keenlyside.

This week I went through my jazz lp’s and selected a few familiar favourites. Well, at least familiar to me.

I play some Rahsaan Roland Kirk, Bobby Hutcherson w. Eugene McDaniels, Shorty Rogers, Mose Allison, Buddy Emmons w. Lenny Breau, Big Miller, Nina Simone, David Amram, Charles Lloyd, and Tete Montoliu.

This week I play blues, gospel, jazz, and world music employing instruments you don’t usually hear that often in that context. You’ll hear two bagpipes, and six tubas (but all on the same tune). I also play some recordings featuring a kora, accordion, tar, chromatic harmonica, bassoon, a sarrusophone, and ukulele. Then I end off with a Charles Mingus tune played on a didgeridoo plus some instruments invented by Harry Partch.

This is the first of a couple programs where I play jazz recordings that feature instruments not commonly associated with jazz. This time round you’ll hear some harp, steel guitar, five string banjo, pipa, Euphonium, Steel Pan, and French Horn.

And did you know that there was an album released in 2017 of Thelonious Monk tunes played on a pipa….solo? It’s called Monk, Mao, and Me, by Min Xiao-Fen. I play one track from that album.

Five more great songs with interesting stories behind them. And I play different versions of each one, ranging from Nat King Cole to Sam Gendal. And in-between, you’ll hear Wayne Shorter, Xavier Thollard, Teresa Doyle & Doug Riley, Antonio Adolfo, Sonny Rollins, Randy Weston, Jack Teagarden, Victoria’s own Maureen Washington, Duke Ellington, and Gene McDaniels.

\Two of the tunes, by the way are ‘traditional’….meaning author unknown.

And if you want to remember the pentatonic scale? This episode will tell you how.

Once again I’m talking about some timeless great melodies and lyrics and some of the ways they get reinterpreted by jazz artists.

I start with some great (and one not-so-great) recordings of Skylark, written by Hoagy Carmichae and Johnny Mercer, for a musical that never happened. And the melody was based on a Bix Beiderbecke improvisation.

Someday My Prince Will Come was written by the same person who wrote Who’s Afraid Of The Big Bad Wolf. I play two great versions fully and just a snatch of the ‘original’ as well as a bit of the first jazz recording.

Liza (All The Clouds’ll Roll Away) was first sung by an audience member in a musical. Mind you, the audience member was Al Jolson and it was probably a gimmick. I play an amazingly fast version by Bill Charlap, as well as an interpretation by Oscar Peterson.

Central Park West is a John Coltrane composition that only recently has found some lyrics. Two different sets. And another sung version by Lakecia Benjamin and Jazzmeia Horn has no lyrics. I play all three versions plus the original, and each one is so different—so you won’t get tired of it. I assure you!

As I go down the JazzWeek chart, I find I’m enjoying what I’m listening to more and more. But I’ve always tended to love the ‘hits’ at the bottom end of the charts more than the top end. Even as a kid listening to the pop Top 93 on a local radio station.

This week I start out with a track from the new Charles Lloyd album which, surprisingly hasn’t yet hit the play lists of most jazz radio stations. Same with the Sue Maskeleris record—although the ‘roots’ music stations seem to like it. I also play a track by The Yellow Jackets, Dan Bonsanti the 14 jazz Orchestra, Jacqui Naylor, and The Henry Robinett Quartet.

Two Canadian artists are also presented with two brand new releases. They are, from Victoria B.C., Ashley Wey, and The Code Quartet from Montreal.

And two very interesting additions are new records by one group 34 years after their previous (and first) one, and other musician who waited 65 years to put out his second album. They are, respectively, The Jazz Worms and Vinnie Riccitelli.

A fascinating, informative, and, most importantly, fun to listen to program.

More music from recordings released this year, as I pick and choose from a few records that interest me.

One of my favourites is through a new label called Le Coq records, and it features Bill Cunlifee, John Patitucci, and Vinnie Colaiuta. That same label also has one simply called “Presents the Jazz All Stars”, and I play an interesting ‘funky’ version of Caravan, sung by Andy James.

Two Canadian recordings are also included, one by Vancouver’s Cory Weeds and the other by Juno award winning singer from Montreal, Dominique Fils-Aime.

You’ll also hear

-trombonist Michael Dease,

-a reissue of the first album by Roseanne Vitro,

-Leon Lee Dorsey with the last recording by Harold Mabern,

-a beautiful solo guitar piece by Diego Figueiredo,

A Bob Dorough composition by Mark Winkler and David Benoit,

-David Kikoski with Boris Kazlov,

-Eric Reed, and

-The Steve Feifke Big Band with Veronica Swift on vocal.

For this episode and the next two, I’m exploring current jazz. Using the JazzWeek Charts, I’m picking out a few newer releases that appeal to me, and playing a track from each of them.

This week, you’ll hear Santi Diabro, Greg Murphy, Dr. Lonnie Smith (with Iggy Pop),Lorne Lofsky, Brandi Disterheft with George Coleman, Joe Chambers, Emmet Cohen, Veronica Swift, Dave Stryker, Nelson Riveros, and Greg Murphy.

This is the last episode of a tune within a tune. And I thank jazz fans from the JazzWord site for many of these ideas for bits of songs that jazz musicians put into their solos.

The quotes you’ll hear include Donna Lee, Pavane (Morton Gould), Slow Boat to China, Laura, Them There Eyes, How Long Has This Been Going On, Tea For Two, Work Song, Come Sunday, Giant Steps—-and a whole bunch more, A lot that ‘whole bunch more’ comes from Ella Fitzgerald.

And yes, you’ll hear some Ella, as well as Count Basie with Wardell Gray, Dexter Gordon, Jimmy Smith, Miles Davis, Thelonious MOnk, Ahmad Jamal, Joris Teepe Quartet, and even a hard rock group called Coney Hatch who surprise you with a quote from a well known jazz tune in their lead guitar solo.

This podcast, as well as playing some great jazz recordings with ‘quotes’ of other tunes coming from various soloists, explores the purpose of these quotes.

It’s not just jazz musicians who put quotes into their songs. There is a bird (yes…a real bird…one that flies) who does a variety of quotes, and you’ll hear that bird singing other bird’s songs. And an ornithologist very briefly explains how its function might be to impress potential mates by showing that they’ve ‘been around’.

You’ll hear music by Miles Davis, a long and amazing Jaco Pastoriious bass solo, the late Fraser MacPherson (from Victoria, B.C.), Charlie Parker, Peggy Lee, Lester Young & Nat King Cole, Gerry Mulligan and the Concert Jazz Band, Nina Simone, and Mark Eisenman.

Also a bit of The Sound of Music, Fascinating Rhythm, Parade of the Wooden Soldiers, The Woody Woodpecker Theme, Bye Bye Blackbird, and Good King Wenceslas.

I found one well-known tune played in the midst of five different jazz recordings. And I’m sure it’s present in a lot more. Guess what the tune is? In this episode I play all five of them.

Then there is Mary Had A Little Lamb, which I found in two different jazz solos.

You’ll also hear Nature Boy, Mack The Knife, and in just one two minute tune, a number of different classical compositions.

This is Part 1 of Quotes in Jazz solos. A quote is simply a situation where a musician throws in a touch of a tune in the middle of another tune.

I had a lot of fun finding them. I think you’ll have some fun finding them too. Not only that, you’ll get to hear some great recordings by Billy Taylor, Charlie Parker, Miles Davis, Jane Bunnett & Maqueque, Mike Rud & Peter Bernstein, Erroll Garner, Julio Padron, Jackie McLean, and Rashaan Roland Kirk.

The first 20 minutes of this week’s podcast is dedicated to the piano styles of Nat King Cole and Oscar Peterson. I explore similarities and differences, plus a ‘story’ that is told about why one stopped singing and the other stopped playing piano.

The podcast ends with McCoy Tyner and something called ‘quartal voicings’.

In the middle you’ll hear three other pianists who have some commonalities. They are Nina Simone, Don Shirley, and Aaron Diehl.

One way of understanding what any modern (or ancient) jazz pianist is doing is to know the ‘roots’ of what they are playing. Even the wildest jazz is influenced by what came before.

So this episode, to get more clarity about different piano styles, I’m exploring some history. From ragtime up to free-jazz.

I’ll take you from Scott Joplin to Paul Bley, and between I’ll cover a bit of Jellly Roll Morton, James P. Johnson, Earl Hines, Count Basie, Art Tatum, Meade Lux Lewis, Nat King Cole, Bud Powell, John Lewis, and Bill Evans. I also throw in something by a Toronto pianist named Ron Davis who mixes be-bop and stride……and maybe a couple other subgenres as well.

I was always amazed by those Blindfold Tests in Downbeat Magazine where Leonard Feather would challenge various jazz musicians by playing certain pieces of music—and have them guess who was playing. Musicians would rate the selection and talk about why. What amazed me was how they so often knew who was playing—even if they had never heard the piece before.

So this week, I’m trying to figure it out how somebody really attuned to jazz can be so good at distinguishing one player from another. Specifically, I’ve narrowed it down to pianists. I’m exploring which pianists I think I can pick out if I were given such a blindfold test.

I start the program by talking about Ahmad Jamal, and the four things that seem to characterize his playing. One recording is from 1958—and it contains all four of those stylistic elements. The other is from 2020—and while he’s changed a lot, some of what characterizes his style remains.

I also feature five other pianists—-some of whom I have a lot of familiarity, and two of them who I’m in the process of discovering.

Why the waffling between five or six songs? Well, it has to do with a new song that was created out of a saxophone solo used in I’m In The Mood for Love. Is Moody Mood For Love a new tune or a variation of an old one?

And those interpretations of I’m In The Mood For Love led to a whole new jazz vocal style called jazz vocalese. It also takes a detour into the old Our Gang (aka The Little Rascals) short films from the 30’s that I saw many years later on television.

On this week’s program you’ll also hear interesting renditions of (and stories about) two Duke Ellington tunes (It Don’t Mean a Thing if It Ain’t Got That Swing and I Let A Song Go Out of My Heart). The last two tunes I feature are One O’Clock Jump (including a bebop version), and Body and Soul)

One last comment: re. that version of Moody Mood for Love by King Pleasure that I play. There’s a female vocalist who comes in. Who is it? Apparently it’s Blossom Dearie. I just found that out. I should also mention (since I forgot to point it out on the podcast) that those lyrics were written by Eddie Jefferson.

This episode focuses on five great songs. I’ll play two or three different versions of each one. You’ll hear some stories about either the song or the performance of it,

You’ll hear Tony Bennett (twice—once with Buddy Rich), Renee Rosnes w Dave Young, Bobby Wellins, Sergio Armaroli & Billy Lester, Duke Ellington (twice), Wynona Carr, Erroll Garner, Oliver Jones w. Neil Swainson, Charlie Parker w. an unusual pianist, and Barbra Streisand,

This past week we lost a musical giant: one of the most eclectic pianists ever. Chick Corea. There have been many well deserved tributes online. This one will focus more on some of his great compositions. Most of them are played by Chick Corea himself, but I also include a great Canadian vocalist and another one of his well-known tunes played on bassoon and accordion,

The other recordings include one from his latest album—which is up for a Grammy this year, and something from his first album under his own name. And lots in between.

Have you ever noticed that sometimes meals taste even better the next day when they become ‘leftovers’?

Here on what is actually Part 6 of my Best of 2020 Series According To Experts, I’m mostly playing selections that have been ‘left over’ because I couldn’t fit them in during the first 5 podcasts. Three of the selections are from albums nominated for Grammy’s (and you’ll find out who wins March 14). Two of them were selected because they are on at least somebody’s ‘best of’ list. And two of them are Canadian recordings—-on some Canadian jazz lovers lists. Two I can’t find on any lists…..but they were on last year’s JazzWeek charts and I really liked what I heard.

And last, but certainly not least, is something from an album released a couple years ago—but she was the surprise winner this year in Jazz Time’s reader’s poll for Top female vocalist. She’s a delightful soul and an amazing lyricist as well as a fine singer. She lives in Victoria, B.C. (where I live)….and her name is Angela Verbrugge.

And before we finish, I want to remind everyone that February is Black History month. I posted a program last February celebrating black history and I want to encourage you to listen to it. And if you already have, listen again. It’s Episode 95 and it’s #7 in the rankings of my most listened to programs. Let’s see if we can use this month to move it up higher.

In this episode I play a few tracks from some of the Canadian albums selected by some ‘best of’ lists. You’ll hear some great music from artists whose origins span the length of the country—from Victoria to Nova Scotia!

Artists featured include John Stetch, Mike Rud, Patrick Boyle, Emie R. Roussel Trio, Laila Biali, The Doxas Brothers, The Joe Bowden Project, Brandi Disterheft, and Kevin Goss.

Added Note: The grammy’s were slated for Jan 31st but I was just advised that they have been put back to March 14 due to an added spike in COVID cases in Los Angeles.

I’ve never been much for award shows—and rarely watch them. I probably won’t watch the Grammy’s either. But I did look at some of the great jazz artists and recordings that have been nominated, and played a few selections. Some of the ones that ‘stood out’ for me I’m playing on this podcast.

You’ll hear Christian Scott A Tunde Adjuah, Gerald Clayton, Kenny Washington, Somi, Ambrose Akinmusire, Chick Corea w. Christian McBride and Brian Blade, and Arturo O’Farill and the Afro-Latin Jazz Orchestra.

So this is, in actuality, Part 4 of The Best of 2020.

Since there are no Canadian nominees (at least that I’m aware of), I thought I’d end the podcast with a Canadian violinist. From Toronto, its Drew Jurecka, who engineered, mixed, and played all the stringed instruments for a ‘Record of the Year’ nominee.

And next week I’ll go 100% Canadian, with Part 5 of The Best of 2020.

This week’s podcast starts off with a 1 1/2 minute ditty meant to describe 2020. And he recorded it in January of that year. How did Dan Rosenboom know what was coming?

I play a few tracks from albums that various critics think are the best of 2020, plus one that might be in somebody’s list for next year (maybe mine). That one is by Sue Maskaleris and her intriguing album called Love is The Key.

I also play a track from an historical album….a previously unreleased recording session from Art Blakey’s Jazz Messengers, featuring Hank Mobley.

The other 2020 albums are by

-Aaron Diehl,

-Poncho Sanchez,

-Artemis,

-Montreal’s Jean-Pierre Zanella,

-John Beasley and his Monk’estra,

-Irreversible Entanglements,

-Sharel Cassity

-Gregoire Maret, Romain Collin, and Bill Frisell.

By going through various critics lists, I’m discovering that here really is interesting jazz still being produced!

Next week: a jazz preview to the Grammys.

Today I play a few tracks from records that Scott Yanow, Downbeat Magazine, CBC, Stereogum, and Bandcamp say are among 2020’s best.

The range of styles is pretty extreme! From the most basic New orleans style jazz to what youtube classifies as dance/electonic. The highlights for me are 12 minutes of a recently discovered Thelonious Monk concert and the title track from 81 year old Carla Bley’s latest: Life Goes On. And so it does!

Yes….you thought you’d escaped 2020. But despite it’s difficulties, you have to agree that some great recordings were made……maybe because musicians had time to stay home and create rather than do what they had to do to make a living. Because I don’t usually listen to that much new jazz, I decided to leave it to the experts and I went through a few ‘best of’ lists. It was overwhelming. Then I had to select albums and tracks that I felt like playing. I’m not sure what the criteria was….but I do like a variety.

On this first program of the series, you’ll hear Ambrose Akinmusire, Aaroh Diehl (his polar opposite musically), Mary Halvorson’s Code Girl, Laila Biali, Peter and Will Anderson Featuring (the late) Jimmy Cobb, Dr. John and the WDR Big Band, Joachim Mencel, and Roots Magic.

It’s a show where I really like everything I play on it. Honest!

As we emerge into the dawn of 2021 we tearfully bid goodbye to 2020. (Just kidding). But I am presenting a summary of some of the past year’s podcasts, and playing a few favourite selections from them.

I’m taking a break for a week…..and posting a program of jazz oriented Christmas and other winter holiday tunes from three years ago.

I wish you all a Merry Christmas, Happy Chanukah, Ramadan, Diwali, Epiphany (or Three Kings Day), New Year, Las Posadas, Mardi Gras, Lori, Winter Solstice, Kwanzaa, Chalica, or whatever holiday you want to celebrate. What is Chalica, you ask? Well, you’ll have to hear this podcast to find out. :),

-Larry

Last week I had jazz for all the winter holidays. This week I focus on Christmas. You’ll hear traditional carols, songs written by jazz artisits that people like to play during this season, a couple old standards, and one brand new tune.

I play some Oscar Peterson Trio, Joe Pass, Vince Guaraldi, Vince Guaraldi’s drummer (Jerry Granelli), Jacob Collier, Tony Bennett & Bill Evans, Jen Hodge All Stars, Dexter Gordon, Carri Coltrane with Ted Brancato, and Wynton Marsalis & Ted Nash with the Jazz At The Lincoln Centre Orchestra.

Then I finish the podcast with a hopeful new tune written and sung by Vancouver’s Michelle Creber that takes us through the pandemic and toward a ‘new day’.

This is a podcast of music for the winter holidays: Christmas, New Year’s, Kwanzaa, Winter Solstice, Hanukkah (or Chanukkah), Las Posadas, Mardi Gras, Lohri, Diwalis, Epiphany, etc. Most of it is jazz or pretty close to jazz.

If you’re looking for familiar Christmas music by which to decorate your tree, this probably isn’t the podcast for you. But next week’s might be.

The highlight of the program? I think it’s saxophonist Samy Thiebault and his composition called ‘Diwali’. But there’s lots of other great music too…..some of it pretty high energy.

I explore some of the life and music of a few so-called ‘self-taught’ jazz musicians. None of them learned music in a ‘void’, any more than the formally trained musician is solely a product of the training.

As well as hearing music by these well-known artists, you’ll hear pianist Ron Drotos (keyboardimprov.com) talk about a specific technique he used to teach himself, as a youth, to play pieces that were way beyond his level.

Lots of music today and not too much talk.

From my online downloads you’ll hear Joe Henderson, Leslie Odom Jr., Wolff Clark Dorsey, and Gilson Perenzetta & Mauro Senise.

Canadian groups are Victoria’s Naden Band featuring Roy Styffe, Chelsea McBride & Her Socialist Night School, and Jane Bunnett & Maqueque.

Lastly, some random selections from my lp’s, where I play some Sarah Vaughan, Lenny Breau, and Earl Hines.

Last week I explored some of the ‘edges’ of the jazz genre. This week I unintentionally do the same simply by going through tunes I’ve downloaded into my mediamonkey music list and put in the ‘jazz’ category. Some are definitely more ‘jazzy’ than others. But it turns out to be a great show. Possibly because I have good taste in what I put in my huge list of songs. Or maybe I just got lucky with my random selections,.

Louis Armstrong once said that if you have to ask what jazz is, you’ll never know. But I wonder what he thought about some of the music that was categorized as ‘jazz’ today, or some of the artists headlining recent jazz festivals. For any category to be meaningful we have to have some idea as to what is not that category.

Here I explore some of the characteristics of jazz.

Wikipedia says it is “characterized by swing and blue notes, complex chords, call and response vocals, polyrhythms and improvisation. Jazz has roots in African cultural and musical expression and in African American traditions”. But a lot of ‘jazz’ has only some of those characteristics. Some have none. And other kinds of music share some of those.

In this program you’ll hear music that everybody agrees is jazz. You’ll also hear some music that not many would call jazz. And a bit of one of the most popular songs on the itunes jazz chart that has none of the characteristics of ‘jazz’.

I play selections from 9 of the top 10 albums on the October 26 JazzWeek chart, and talk a bit about them. Some great stuff!

This is the third episode where I play some top album’s on the current jazz charts as compiled by JazzWeek.

I start out with Chick Corea playing Chopin, and describe how Chopin may have been a ‘forerunner’ of modern jazz. Other great artist’s from whose albums I play a track are The Jeff Hamilton Trio, Bobby Watson, Diego Figueredo, Jose Rizo’s Mongorama, Maceo Parker, and John Fedchock NY Quintet.

And for some strange reason I also play a track from a 2016 recording by Toronto fusion group, Manteca. It seems like six radio stations suddenly added it to their play list this past month.

But the highlight for me is a pianist and composer named Billy Childs. I play two tracks from his current album, Acceptance, on the Mack Avenue label.

I’ve always loved charts. As a kid I’d wake up every Saturday morning and listen and write out CJCA Edmonton’s Top 93.

So I’m delighted to be exploring the current Jazz Charts—-even if it is for albums rather than singles. This is through Jazz Week….and they are, I believe, charts from U.S. radio stations.

But there is lots of international music on it. On this episode, I look at the top 40 playlists from Oct 12, 2020……focusing on #’s 21 to 32, as well as a Canadian artist who is high on the itunes (apple) charts.

The highlight, for me, is an International star: vibraphonist/classical percussionist Chien Chien Lu. I also play tracks by Theodross Avery, Joe Farnsworth, Diana Krall, Christian Sands, John Beasley, Michael Olatuja, Ray Mantilla, and The Spanish Harlem Orchestra.

Most of the jazz I play on this podcast tends to be the tried and true over the years. I’m changing that for the next four episodes and exploring the current jazz charts. These are albums on the playlists of U.S. jazz radio stations as listed through JazzWeek on their weekly top 100.

For this episode I looked at the charts for the end of September, and played a track from the albums rated numbers 31 to 40.

You’ll hear a great variety…..and it’s all ‘real jazz’. The highlight for me? Probably Artemis, the all-female international supergroup, with Canadian pianist Renee Rosnes directing.

I found a list of the most recorded tunes, thanks to a website called Second Hand Songs. They’re almost all songs that jazz musicians like to play. In this podcast I examine the top 15 (not counting Christmas songs) and play you a version of 10 of them.

You’ll hear recordings by:

Sergio Mendes & Brazil 66,

Charles Mingus,

Steven Riley,

Patricia Barber,

Tony Bennett & Amy Winehouse,

Gilson Peranzzetta & Mauro Senise,

The Jolly Tars (from The Naden Band),

Thelonious Monk,

Herbie Hancock & Stevie Wonder, Hoagy Carmichael,

Alex Pangman w. Bucky Pizzarelli,

Some of the versions are modern, and some are really old. But they’re all wonderful interpretations of great songs.

At a record store in Nanaimo B.C. called Fascinating Rhythm I bought about 19 78rpm records. I’ll play 13 of them for you that are jazz, r’nb’ or gospel.

The jazz records I play are by Coleman Hawkins, Woody Herman, Nellie Lutcher, Hazel Scott, Johnny Hodges, and Slam Stewart. And a jazz blues by Louis Jordan. I also play a very early record by the great soul singer, Jackie Wilson, with Billy Ward & The Dominos. Also the original version of Fever, as recorded by Little Willie John—–which leads to me talking about the origin of the term ‘cover version’.

Also some gospel by The Delta Rhythm Boys, and the theme of The Royal Canadian Navy, written by Johnny Mercer & Harold Arlen and recorded by Canada’s Mart Kenney and his Orchestra.

Some of them sound pretty scratchy, others sound great. But they are all directly recorded from the original 78rpm record.

For much of the summer there have been no live in-person music due to Covid. A lot of artists started posting concerts online, and this week I play some recordings of these concerts.

While the performers have generously made these recordings available to anyone, it’s important to help musicians sustain their art. So I encourage you if you hear anything you really like to either, via their website, pay for a download by that artist, make a donation, or buy cd’s if they happen to be available.

You’ll hear a few performances from the virtual International Jazz Day recorded April 30. They include John McLaughlin, Marcus Miller, Igor Butman and Evgeny Pobozhiy, Youn Sun Nah, and ELEW.

You’ll also hear Bandemic (Scofield, Medeski, Martin, and Murphy), Victoria’s Edia Daponte and Joey M. Smith, The Don Thompson Quartet from Toronto, Oscar Hernandez and Friends, Emmet Cohen Trio, and Prabhu Edouard & Renaud Garcia-Fons (a tabla/double bass duet).

Some great music!

Jelly Roll Morton claimed he invented jazz. Most other people claim he didn’t. But unlike some public figures who brag a lot, so many of the things he claimed he could do he actually did!

And there’s no doubt that he did create a style of jazz, and was the first to combine so many influences that form the roots of today’s jazz into some kind of ordered system.

Dave Brubeck once said, in the 1950’s, that you can’t call today’s jazz ‘progressive’ because Jelly Roll Morton was already doing it 30 years ago.

I’ve heard a lot of Jelly Roll Morton tunes played by ‘hot’ jazz bands that focus on duplicating the old style of playing. And I wondered, how have those compositions of his been adapted to today. Do players of ‘modern jazz’ ever play them?

The answer I got through going through a list of his tunes and looking at the “Second Hand Songs” website, was ‘not very often’. But I did find a few contemporary interpretations of some of his compositions.

On this program I play recordings of 8 Jelly Roll Morton tunes, plus one Mingus tune written in the ‘style’ of Jelly Roll. The recordings range on the weirdness scale from really weird (Sun Ra) to very traditional (Allen Toussaint). And there are lots in-between.

I also quote a few people who talk about Jelly Roll, and play some excerpts from the man himself from those library of congress recordings of Alan Lomax.

A fascinating program….and perhaps a refreshing change from the usual fare.

On this latest episode I play more records (78rpm’s and lp’s) and cd’s that I bought (or in one case picked up off the street) as I travelled around Vancouver Island.

The jazz you’ll hear is by Benny Goodman, Lee Ritenour, Manhattan Transfer, Hazel Scott, Skywalk (a B.C. fusion band), Duke Ellington, Ron Davis & Drew Birston (Eric Satie meets Henry Mancini), Thelonious Monk and (I guess) Chuck Mangione. Also a bit of non-jazz with some jazz sensibility: The Nice (w. Keith Emerson) and a smidgeon of Emilio Aragon trying to Cubanize Bach.

I stayed home mostly. But I did travel a bit up island and bought some records (including some 78rpm jazz records) and cd’s. On this episode, to introduce you to September and the new season, I’ll play some of the best ones for you.

The Lp’s are by Billy Taylor and Steve Khan. The cd is by Toronto’s Ron Davis with Drew Birston. And the 78’s from Bop City Records in Courtenay feature Pete Johnson & Albert Ammons, Duke Ellington, The Hometowners (a Victoria group from 1952), The Kansas City Gospel Singers, ,and Thurston Harris. And at the end I throw in tracks from a couple recent cd’s that I’ve been playing a lot this summer….by Bob Dorough & Friends, and Victoria’s Kelby McNayr.

A great way to start the new season.

One more thing: The Billy Taylor Album includes 17 minutes of his Suite for Jazz Piano and Orchestra, which he plays with his trio. This work is not available anywhere online.

It would also be great to get a couple more reviews and ratings for the program. (Thank you so much Matt Diamond for your delightful comments; so appreciated!). You can put the review on itunes (apple podcasts) or wherever you get your podcasts.

Thank you Peterborough Independent Podcasters for hosting this program.

-Larry

Most of the time my the new episodes of my podcasts generate 300-400 hits. Not viral……but I’m happy with that. But there was one that never made it over 100 hits for some reason. It’s episode 33, part 2 of my programs talking about Downbeat jazz magazine and featuring music talked about in the May and June 2018 issue. I just listened to it and I thought it was a pretty good program with some very interesting music.

Some of it might be a bit too ‘modern’ sounding for some people…..maybe a bit ‘free jazz’ like. But they are all great artists….critically acclaimed.

So I thought I’d re-post it and see what happens. I’ve no doubt it will get over 100 hits this time.

It features guitarist Mary Halvorson with trumpeter Ambrose Akinmusire and singer Amirtha Kidambi, Orquesta Akokan (from Havana), Danfis Prieto, Lina Allemano, Renee Rosnes, a touch of Greg Spero, Elio Villafranca,Francois Moutin & Kavita Shaw Duo, Fred Hersch, and more from John Coltrane (from A Love Supreme).

Next week I’ll start recording some new programs. So stay tuned.

On this program I play most of the entire Blue Train album of 1957 by John Coltrane. Why? well, most of those tunes are so often called out in jazz jams, and John Coltrane is certainly a jazz ‘legend’. As well as the fact that this is considered to be one of Coltrane’s most ‘accessible’ albums. Oh! And it’s great! (that’s another reason).

I start by talking about Coltrane’s amazing solo on the first track, comparing it with a less inspiring solo he did on an alternate take of that same track.

You’ll also hear some great playing by trumpeter Lee Morgan, pianist Kenny Drew, as well as Paul Chambers on bass and Philly Joe Jones on drums.

This is a great episode if you want to ‘discover’ John Coltrane, or even if you’ve already discovered him and just want to re-experience what you’ve discovered.

Since Toronto singer Micah Barnes has been doing a ‘virtual tour’ of his new album, I thought this would be a good time to re-post a podcast of an interview I did with him in 2017—-where he talked about some of his favourite jazz singers. The topic was ‘what makes a vocal a jazz vocal.

I also posted part of a conversation between my favourite singer, Gene (Eugene) McDaniels and pianist Tom Snow where Gene demonstrates jazz singing and talks about his own jazz roots.

You’ll hear selections by Bessie Smith, Billie Holiday, Aretha Franklin, Willie Nelson, Eileen Farrell (demonstrating what jazz singing is NOT), Sarah Vaughan, Ellen Doty, Nat King Cole, Amy Winehouse, and, of course, Micah Barnes himself.

Dipping really early into the archives—an episode from three years ago, where jazz saxophonist, guitarist, and singer, Sean Hully, from Peterborough, Ontario talked about how he learned to play and appreciate jazz.

We’ll also take you through a bit of jazz history. You’ll hear music by King Oliver, Louis Armstrong, Coleman Hawkins, Susie Arioli, Weather Report, Hank Mobley, Joe Henderson, Glenn Miller, and Sean Hully himself.

As well, Sean explains where those strange notes in be-bop and modern jazz come from. They’re not random, you now. (Except sometimes).

P.S. I need to apologize to those of you who tried my last podcast (57)—hoping to hear about Fidel Castro and how banning imperialist American jazz ended up helping to create a totally new form of music—that later spread all around the world. Those of you who tried to listen to it the first few days ended up with a repeat of my previous program. My mistake. It is now corrected. So feel free to go back to my previous program (from the archives) and give it another listen.

Hi folks! I accidentally posted the wrong episode….and I repeated Episode 56 rather than 57. Sorry about that. But I’ve corrected it. So give a listen to Episode 57—from the archives. A great show!

One more from the archives on Cuban jazz—-and this might be the best of the lot! You’ll hear how Castro’s disdain for anything American led him to ‘ban’ jazz, and how this led to a new and revolutionary form of music: timba. Chucho Valdes and Iraquere played quite a role in that development.

I also play excerpts of a conversation I had with Arturo O’Farrill in Havana, and two tracks from an album he did with Chucho Valdes.

You’ll also hear The Cuban Funk Machine, Okan, Bobby Carcassess, Sexto Sentido, and a young pianist who will blow you away: Jorge Luis Pacheco.

Another summer re-run of some of my best Discovering Jazz Programs. I think the whole 4 part series on Cuban Jazz is well worth listening to, with lots of information and great music.

Part 2 includes Geraldo Rubalcaba with Ron Carter, Ray Barretto, early diva Rita Montaner, David Amram, and many others.

You’ll learn more about claves and clave rhythms.

I play a fusion of jazz ‘Lucumi’ music—aka Yoruba or Santeria—thanks to Jane Bunnett with El Gato Gatel and Pancho Quinto. Then, staying with tributes to Yoruba Gods, you’ll hear the great Harold Lopez-Nussa and his tribute to the deity, Elegua.

Most people are aware of the whole Buena Vista Social Club phenomenon—a rebirth of traditional Cuban son music—that was believed to be instigated by Ry Cooder. In fact, the brainchild behind the whole project was Juan de Marcos, and it was he who decided to involve Ry Cooder. You’ll hear De Marcos and his Afro-Cuban All Stars, then a track by Buena Vista Club veteran, Ibrahim Ferrer.

And lastly…..I play a jazz-fusion group who will blow you away. You’ve never heard anything like them. They are called Interactivo.

This is a ‘re-run’ of one of my favourite and in terms of the information presented, probably one of my most ‘dense’ episodes. Afro-Cuban Jazz, while the musicians were exported from Havana, actually began in New York.

I’ll introduce you to some of the ‘founders’—-Mario Bauza, Chano Pozo, Dizzy Gillespie, flautist Alberto Soccoras, Nilo Menendez, Don Azpiazu, Antonio Machin, Rita Montaner, Xavier Cugat, and Machito’s Afro-Cubans.

You’ll also see some evidence that Rock ‘n Roll was invented by Cubans.

As well, I play a few more ‘modern’ recordings starting out with Harold Lopez-Nussa.

I just saw the list of jazz artists involved in this year’s Juno Awards for the best Canadian jazz albums of 2019, including the list of winners. I listened to some of each nominated record—and decided to play a track from some of them that resonated with me. Some of them weren’t even in the ‘jazz’ category—but I thought they were at least pretty close to jazz.

You’ll hear selections by Dominique Fils-Aime, Bill McBirnie with Bernie Senensky, Ernesto Cervini’s Turboprop, Dave Young Trio, Monkey House, Al Muirhead, Jane Bunnett & Maqueque, OKAN, Joel Miller, John Stetch, Jacque Kuba Seguin, and Djely Tapa.

Sorry I didn’t have room in a one hour podcast to play all the nominees.

Other musicians you’ll hear—those who were part of the ensembles featured—are Don Breithaupt, Mark Kelso, Pat Kilbride, Justin Abedin, Kelly Jefferson, Reg Schwager, Neil Swainson, Ted Warren, Steve Kortyka, Ben Tiberio, Philippe Lemm, Elizabeth Rodrigues, Madelys Savigne, Danae Olano, Tailin Marrero, Yissy Garcia, Mary Paz, Joanna Majoke, Larry Cramer, Kevin Turcotte, Tara Davidson, Joel Frahm, William Carn, Adrean Farrugia, and Dan Loomis. Whew! That’s a lot.

I moved from Peterborough, Ontario to Victoria B.C. on May 1st, 2019, and was able to become a volunteer for the TD Victoria International Jazz Festival. If COVID19 hadn’t stopped it in its tracks, I would have been involved in this year’s festival as well. And the festival would have just ended this past weekend.

Since I’ll be doing a lot of program re-runs this summer—shows from the archives—I thought I’d start with re-broadcasting the third program I put together last year on the Victoria Jazz Fest, which included some talks with the festival founder and artistic director, Daryl Mar.

I play some recordings by some of the international and local artists who were involved in last year’s festival.

You’ll hear Makaya Craven, Trio LSD (from Sweden), Eric Alexander, Jacob Collier, Davina & The Vagabonds, Melissa Aldana, Steve Smith and the Groove, plus Victoria locals Rowan Farintosh and the Attila Fias Quartet.

The program starts with a celebration of the festivals director’s roots.

Five more jazz standards today….with a few different versions of each and some interesting stories.

Hilights? I’d give the #1 highlight to Mitchell Ruff Trio’s version of Gypsy in My Soul. What an under-rated group! Vancouver’s Karin Plato sings a nice version too.

Then there’s that glorious contrast between that same time (which has the old ‘Heart and Soul’ chord sequence with Invitation—where each of the 12 tones of the scale is used at least once as the root of the chord. I play two great versions of the tune, one by Patricia Barber, the other by Lucky Thompson.

There are three versions of Tiger Rag, one being a ‘train wreck’, the other the opposite—one of the very first so-called jazz recordings ever made. The third version is a pleasant surprise thrown in at the end of the episode.

With How Insensitive you get a couple demonstrations of the influence of Chopin. In fact this whole episode starts with his Prelude in E Minor. Also versions by Stacey Kent, Joao Gilberto, and Gene Bertoncini.

I also play the classic Frank Sinatra recording of I Didn’t Know What Time It Was, as well as a recording by George Shearing with Toronto bassist, Don Thompson.

One request I have from any of you who enjoy these podcasts (no! It’s not money……I don’t want any financial compensation for the hard work I put into these programs). Could you just post a short review or give a rating on itunes/apple podcasts in whatever country from which you access them? It encourages me to keep these podcasts going. I have made the podcast charts at various periods in Denmark, Japan, Brazil, Hong Kong, Sweden, Korea, Canada, Spain, Turkey, Italy, New Zealand, Australia, and a few other places. So I know you’re out there! I’d love to hear from you. -Larry

This week I play a couple different versions of five different jazz standards.

The five are: I Want To Be Happy, Embraceable You, Milestones, God Bless the Child, and Impressions.

One of those tunes came about after another tune by the same name was recorded by the same artist. Guess which one.

Then there was the ‘happy’ lyricist who lived to the age of 101.

You’ll hear a free jazz exponent play Gershwin.

Then there’s the song that was written as a result of one of the writer’s being in a rage when her mother refused to loan her money.

And the last one illustrates the influence of a classical ‘symphonette’ on a well known jazz composition.

It was Eldridge Cleaver who was best known for saying “You either have to be part of the solution, or you’re going to be part of the problem”.

Jazz is music born of the African-American experience, and, in order to be part of the solutions, all of us who are involved in this music are ‘duty bound’ to recognize its origins. Jazz also has a long history of fighting oppression and violence against African Americans as well as other minorities, and have been (to quote Randall Cline, artistic director of SF Jazz) “on the front lines of change”.

This week’s program is my attempt to show support for African Americans and others who are fighting oppression.

You’ll hear some amazing music and lyrics by black artists, as well as something by an Aboriginal-Canadian group.

As well, I read out a few of my favourite posts social media that demonstrate that discrimination and violence, some of them posted by people who acknowedge their own ‘privilege’ as they expose systemic oppression. And such acknowledgment is an important first step.

Hopefully this week’s episode will help us all feel more connected. And at the same time, we can enjoy the great music.

You’ll hear selections by The Last Poets, Art Blakey’s Jazz Messengers, Eugene McDaniels, Terence Blanchard, A Tribe Called Red, Oscar Peterson, Archie Shepp, Nina Simone, Weather Report, and The Liberation Music Orchestra.

-Larry

This program features jazz artists who started playing their primary instrument relatively late in life. ‘Relatively’ might be anything later than early childhood (considering how many were child prodigies). Others started playing early but didn’t come into full bloom (whether in their careers or their skill) until later. Then there were a couple (Pat Martino, Frank Morgan) whose careers were interrupted for various reasons, then came back with a vengeance.

Some of the names that came up were Wes Montgomery, his brother Monk, Alan Holdsworth, Tal Farlow, Wilton Felder, Kate McGarry, Jeff Goldblum, Gregory Porter, CrazyDaisyDoo, Duke Ellington, Borah Berman, Joe Manelli, Wayne Shorter, Bobby McFerrin, Freddy Cole, Jane Bunnett, Bill Withers, Richard Whiteman (bass), Abbey Lincoln, Fuat Tuac. None of them were probably real ‘late bloomers’ in the sense of starting out in their more ‘senior’ years.

I’d be interested to hear if anybody knows any jazz musicians who did start out playing later in life.

In the meantime I’ll play you some great music by some of those artists mentioned above.

I find that with jazz, like any genre of music, there might be one to five percent of the music that truly resonates with me. With the posts that reach me through facebook or gmail, I end up having to listen to a lot of them in order to find that 1 to 5 %.

My discoveries over the past couple months are featured in this week’s episode. Most of the artist were familiar, but the particular recordings weren’t. And there are a few that are brand new to me. Jazz artists’ you’ll hear are:

Alan Pasqua (with Peter Erskine and Derak Oles)

Renee Rosnes Trio

Chet Baker

Paul Jost

Hubert Rostaing

Mike Murley, Ed Bickert, and Steve Wallace

Richie Cole (with Eddie Jefferson and Manhattan Transfer)

Bill Frisell.

For each tune I give a ‘shout-out’ to how I discovered it: the facebook or gmail friend who posted it.

I’m always on the lookout for new discoveries.

If you are enjoying these podcasts, please leave some feedback on the itunes site—or on whatever site on which you listen to podcasts. Thank you.

-Larry

I’ll tell you the stories—-and you can figure out which tune I’m talking about. Or, better yet, listen to the podcast and find out :).

1: The primary writer was a member of the National Association for The Advancement of Colored People (NAACP) and was put in jail for refusing to enlist in the U.S. army due to it’s racial segregation policies. Described as a ‘one hit wonder’, in fact, he later became a successful songwriter in France, penning hits for Maurice Chevalier and Josephine Baker.

2: The bridge of this particular tune used chord changes that later inspired what have been called “Coltrane Changes”—the ones he used in Giant Steps.

3: This may be the only song that can be considered a link between The Everly Brothers, Charlie Parker, and The Three Stooges.

4: One of the world’s most played jazz compositions, this instrumental was first recorded as a vocal by Sarah Vaughan under the name ‘Interlude’.

5: Fats Waller wrote it quickly, then promptly forgot it. Now it’s one of the world’s best known jazz standards.

6: A song written by a rarity in 1940’s songwriting success—a black female. She went under the name of Glenn Gibson to hide the fact that she was female.

I will tell you some of the artists you’ll hear in this episode of Discovering Jazz. You’ll hear Paul Bley, Ruth Brown, Charlie Parker, Billie Holiday, Bill Coon & Oliver Gannon, Steve Turre, Coleman Hawkins, Angela Verbrugge, Jason Moran, and Fats Waller, and a bit of James Edward Davis.

If you like this episode, ratings and comments on the itunes podcast site or on whatever site you listen to these podcasts are not just welcome but cherished.

Six more compositions jazz players like to play and a few tidbits of information about each one.

You’ll hear some of the famous Miles Davis composition, Solar, under the name “Sonny”—written and recorded on an acetate 8 years before Miles Davis claimed to have written it. This recording is NOT available anywhere on youtube. I also play a great modern version of the tune by Japanese saxophonist Hisatsugu Suzuki with organist Jun Miyakawa and bassist Dairiki Hara.

I also play two versions of Caravan—the original, and an 8 1/2 minute rendition by percussionist Ed Graham with the great Earl Hines.

Canadian jazz artists Lenny Breau and Robi Botos are featured in the two versions of The Days of Wine and Roses.

Kurt Weill and Ogden Nash wrote Speak Low—-and you get to hear Kurt Weill himself actually singing it. You’ll love his accent! Then I follow it with a duet by two very famous singers.

We begin the program with a Smile—first a wonderful acappella quartet, then a pianist named Alan Pasqua. Thanks to Ken Seidman for introducing me to his piano stylings.

The podcast ends with a tune written for a horror movie: The Uninvited, and an excerpt from the film where the tune is first introduced. A vocal version by Anita O’Day with Oscar Peterson, with the Jim Hall Trio takes us home.

You’ll hear anywhere from one to three versions of each of these 6 jazz compositions. Two of those recordings are also a tribute to two jazz artists who recently died as a result of COVID19: Lee Konitz and Wallace Roney.

The tunes are: East of the Sun (West of the Moon), There is No Greater Love, Spring Can Really Hang You Up the Most, Desafinado, Airegin, and Hey There.

P.S. Upon posting, I learned that Discovering Jazz made it up to #7 on the Hong Kong music podcast charts (it’s currently riding at #18). Hello to all the Hong Kong listeners. I’d love to hear from you.

Today is an exploration of my own jazz roots, a continuation of episode 100 where I first introduced you to some tunes that influenced me to discover more about this interesting musical genre.

Most of those ‘root’s are old ones. But I’m also growing new roots….as I keep ‘discovering’ new music. The newer jazz roots include Amy Winehouse and Canadian guitarist Mike Rud.

You’ll also hear recordings by Tony Bennett, Stan Getz & Charlie Byrd, Buddy Greco, The Memphis Jug Band, Bob Wills and the Texas Playboys, Bill Evans, Ray Charles, The Viscounts, Jimmy Forrest, Andrew Hill, and The Don Shirley Trio.

Even during the most trying times we deserve to have a bit of fun.

This week we’ll make the best of a bad situation and hear some music that relates to what we are going through.

I play recordings by the late Bucky Pizzarelli, as well as Karin Plato, Noel Acchote, Warren Vache Sr. & The Syncopatin’ Seven, Yusef Lateef, Eugene McDanels, Kelly Eisenhour, Bob Dorough & Donna Anotow, Wayne Shorter, Tete Montoliu, and Joe Henderson.

You’ll experience a nice combination of reality and hope, and some humour as well. A fun program to help you address and transcend the current situation.

A lot of jazz and classical music has been inspired by the singing of birds. Including a few Charlie ‘Yardbird’ Parker tunes.

Today’s episode includes music of the veery thrush, a song thrush, a loon, and a northern mockingbird. And how they inspired Jeff Silverbush and Victoria pianist Karel Rossingh.

Also I play recordings by Blossom Dearie, Charlie Parker, Herbie Hancock ( a Joni Mitchell composition), Bob Dorough, Louis Armstrong, Bobby Darin, Charles Mingus, Sheila Jordon, and Carmen McRae. I also throw in a few words from Paul Winter and a project called Flyways.

Starting with two drums and a fife providing the entertainment at New Orleans picnics and funerals, and finishing with Canadian drummer Claude Ranger.

We talk about the development of the drum, and Kelby McNayr takes us through some of the components of the drum set. We also play music by Art Blakey and the Jazz Messengers, talk about Jack Dejohnette and what to listen for as you listen to him playing with Charles Llloyd. I then spin a Fred Hersch Trio track with drummer Eric McPherson.

We then talk about why drummers and melody really is not an oxymoron, and demonstrate the amazing sense of melody that Kelby puts into his compositions.

We finish with a bit of jazz fusion. But, of course, all jazz is a fusion. The fusion that started in the mid 60’s was primarily a result of the technology—as have been many developments in all kinds of music. You’ll hear a short track by The Tony Williams Lifetime.

If you like this program, please leave a review or comment in the itunes podcast site. Thank you. -Larry

With a party! But maintaining distancing. I’m exploring my own jazz roots which I’m pretty sure are pretty different from how most jazz aficionados discovered jazz. It wasn’t the great works of Charlie Parker or Miles Davis that did it for me. Rather it was a lot of ‘b’ sides of 45’s, hits and non-hits from the 50’s and 60’s, and records handed down to me by my parents (who weren’t really into jazz).

You’ll hear some terrific recordings in this episode, and at least one that is much less than terrific. That one explains why nobody came to my parties.

Much of the music—old and new—helps me to sustain my interest in jazz. And hopefully it will do that for you as well.

I also provide an interesting illustration of the difference between an ‘easy listening’ version of a jazz tune and one that is, without a doubt, jazz.

Hope you have a good time! Don’t drink all the wine.

The great and legendary jazz pianist, known for his recordings with John Coltrane and his original compositions, died March 6th of this year. He had one of the most powerful left hands in jazz–but he actually gained a reputation as a composer even before he made his first record.

In this episode you’ll hear lots of music, and not that much talk. We’ll let McCoy Tyner’s playing do the talking.

I also play two compositions of his as interpreted by others. You’ll hear Tessa Souter with her interpretation of Contemplation (under the title “Ancestors”), and a great Toronto quartet playing Island Birdie.

This week I talk with amazing drummer, composer, and band leader, Kelby McNayr. Kelby has evolved into one of the most important ‘leaders’ in the Victoria jazz scene and is a first call drummer for virtually everybody!

This episode features music that employs some of our greatest jazz drummers. Kelby introduces us to each drummer by describing what to listen for, and uses great metaphors to make the music come alive. Each drummer develops his or her skill within a ‘context’. He describes the jazz rhythm section as a trio of three chefs, each one making a different course and needing to flavour and balance the flavours perfectly.

The drummers featured in this episode include Baby Dodds, Art Blakey, Zutty Singleton, Philly Joe Jones, Vernell Fournier, Ed Thigpen, Elvin Jones, and Kelby McNayr himself.

Investigating a ‘story’ about a song can take a lot of time and effort. I do that as I track the interconnection among three Duke Ellington compositions. And the jury is still out.

You’ll also hear three great Cole Porter songs, interpreted by Django Reinhardt, Tony Bennett with Art Blakey, Sarah Vaughan, and Makoto Ozone. Cole Porter does ‘build’ his songs—so it’s not surprising that he was inspired by an architect. As well as the Islamic call to prayer.

I also talk a bit about Jimmy Van Heusen and Johnny Mercer—and how they do and don’t ‘write what they know’.

You’ll hear a bit about how Johnny Green wrote Body and Soul, and hear Molly Johnson singing it. I also talk about how Thelonious Monk and came up with the title to one of his tunes, and play a version of it by Monk himself and by Wynton Marsalis.

Other musicians you’ll hear include Chelsea Reed and the Fair Weather Five, Peter Appleyard, and Fraser MacPherson.

Welcome to a series of “Discovering Jazz” episodes about compositions that jazz musicians play that seem to have an interesting story.

So what’s an example of an ‘interesting story’?. How about this one? Today when a new jazz musician to a band or jam session is being ‘tested’ for his or her chops, somebody will yell out “Giant Steps”—-a great tune to test to see if the musician knows it and can keep up. But before Giant Steps, what tune was most commonly used for those kind of ‘tests’?

(Listen to this program and you’ll find out).

For the first one, I play Scotch and Soda, another tune called Scotch and Soda, All the Things You Are, Autumn Leaves, Goodbye Porkpie Hat, and three versions of that ‘test the musician’ tune: one medium speed, one really slow, and one of them at 306 beats per minute.

The recordings you’ll hear are by Charlie Barnet (two), Gene Harris Quartet, The Kingston Trio, very early Frank Sinatra, Brad Mehldau Trio, Laila Biali, Rashaan Roland Kirk, and a British folk group called Pentangle.

February as Black History Month has its roots as early as 1915, thanks to being the birthdays of Frederick Douglass–an abolitionist, writer, and statesman who had escaped slavery, and president Abraham Lincoln. In Canada this year the theme is “Canadians of African Descent: Going Forward, Guided by the Past”.

This week’s program pays a tribute to the history of jazz, blues, and ragtime.

I’ll talk about some of the earliest roots of jazz in America and Europe—celebrating the music of JellyRoll Morton, Buddy Bolden, Louis Armstrong, and James Reese Europe.

You’ll also hear a lot from Victoria’s Louise Rose, and her recent tribute to Black History Month.

I play recordings by Oscar Peterson and Harry Sweets Edison, Charles Mingus, The Modern Jazz Quartet, Wynton Marsalis, Ramsey Lewis, and Joe Williams.

You’ll also hear about how jazz has historically always addressed social issues of racism and injustice. And how both playing and moving away from classic blues and spirituals is an expression of freedom, and can always be called ‘political’ when performed by enslaved people.

The last of this series of some of the best recordings of lesser known tunes found in the jazz student’s ‘bible’—The Real Book, 6th Edition.

Here is what you’ll hear today:

The Intrepid Fox by Freddie HubbardCentral Park West by John ColtraneI’m All Smiles by Lana CantrellI’m All Smiles by George Cables (w. Essiet Essiet on bass)Full House (Wes Montgomery) by Christian McBride’s Big BandCrystal Silence (Chick Corea) by P.E.I’s Teresa Doyle with Doug RileyBroadway Blues by Ornette ColemanUMMG (Billy Strayhorn) by Hilario Duran w. Jane BunnettKelo (JJ Johnson) by Miles Davis

This episode is probably my favourite of this 4-part series. Some great music, interesting and fun to listen to.

If you like it, please post a review on the itunes site.

The Real Book, 6th Edition, is commonly used by jazz musicians and students as a ‘guide’ for learning different well-known and not-so-well known jazz tunes. This current 4 part series focuses on the ‘not-so-well-known’.

Another great guide, I’ve discovered, is a website put together by pianist/teacher Ron Drotos, called keyboardimprov.com, and his youtube videos called “Journey Through the Real Book”….where he has taken on a project of playing each of the 400 tunes in the Real Book. In this episode, I introduce you to Ron’s introduction to an amazing saxophonist/composer named Wayne Shorter. I also play the original 1965 recording of his complex piece called ‘Deluge’ and one year later, his recording with Miles Davis of Dolores. This is all my attempt to understand Wayne Shorter’s music better—-and I hope that you’ll come along for the ride.

In this episode you’ll also hear a couple wonderful tunes by the great Antonio Carlos Jobim—-ones that are a little less known than Desifinado, Ipanema, Wave, and his other great ones.

I start off the program with two versions of a tune that people wonder why. Why is it even in both the original Real Book and the later edition? And why don’t more people play it? It’s a Steve Swallow tune called Arise Her Eyes, and I’ve discovered a very different rendition by Canadian guitarist Yvan Jacques.

Also in this program is a Herb Ellis tune called Detour Ahead, a fun gospel-ish composition by Charles Mingus, a fantastic rendition of Cole Porter’s ‘All of You’ by Paul Jost, and I take you home with a relaxing bit of blues by Kenny Burrell.

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One of the best ways to ‘discover’ jazz is to try playing it—on whatever instrument (including voice) that you feel most comfortable. I’ve been trying that with my keyboard and The Real Book, Sixth Edition. When I come up to the pieces that start with ‘g’, there are some real challenges. So here I am listening to (and presenting to you) some great recordings of some of those tunes.

The tunes you’ll hear on this episode are:

Gloria’s Step, performed by Michel Donato, Frank Lozano, Francois Bourassa, and Pierre Tanguay from Montreal.

John Guerin’s Good Evening Mr. and Mrs. America by Tom Scott and the L.A. Express—preceded by a Walter Winchell clip that inspired the piece.

Grand Central by Cannonball Adderley with John Coltrane.

Groovin’ High by Dizzy Gillespie with Charlie Parker

Grow Your Own by Keith Jarrett and Gary Burton

Guilty by Linda Carone from Toronto

Golden Lady: two versions. First the original Stevie Wonder, then a modern jazz adaptation by Robert Glasper.

Gemini by Jimmy Heath with Freddie Hubbard and some wonderful french horn from Julius Watkins

Giant Steps, slowed down and lyricized by Eugene McDaniels and entitled “Curious Traveler”. With Ted Brancato on piano.

The “Real Book”, Sixth Edition, is sort of like a ‘bible’ for beginning jazz students.  It consists of 400 jazz tunes, ranging from compositions written by jazz musicians to some of the great Broadway tunes that have become jazz standards.  It is the best selling jazz book of all time, and can be used by instrumentalists or singers looking for charts to provide their accompanists. Yet some of the tunes are pretty obscure—in the sense that not too many musicians and very few ‘audience’ members are familiar with them.    In this series I’m concentrating on those ones, playing either the ‘original’ recording of the tune, or a later version. As you listen to them, you’ll get an idea as to why some of the students who put together the original Real Book, or Hal Leonard, who did the latest revision, were inspired to include them. On today’s episode you’ll hear compositions by Stanley Cowell, Pat Metheny, Steve Swallow, Richard Rodgers, Wayne Shorter, John Lewis, Billy Strayhorn, Duke Ellington, and Gil Evans.    

I’ve taken some time to explore the 75 best albums of 2019 according to the British publication, Uncut, as well as their top 30 reissues and some top rated albums from the January 2020 issue. The purpose?  To see how much jazz one can find in some of the better quality music in the rock, alt country, Americana, and World music genres.   Interestingly, I find a lot.  Whether or not you call it jazz, I can’t really say, considering how fluid this genre is these days.  You be the judge.  But there does seem to be a lot of ‘jazz sensibility’.   And there is some real jazz as well. The real jazz is John Coltrane and Britain’s Tubby Hayes.  No dispute there! Just as ‘real’, from my perspective, are tracks from London, England’s The Comet is Coming (Shabaka Hutchings)  and Nerija, the former rated by Uncut as #4 in the best albums of 2019. More controversial—but still pretty ‘jazzy’ are Sessa, Sandro Perri, Brittany Howard, Van Morrison, Gruff Rhys, Solange, and Mappe Of (from Whitby, Ontario). But jazz or not, there is no question that you’ll hear a lot of great music on this episode.    

Today I’m playing a track from each of the seven albums that received a 5 star review in Downbeat Magazine in 2019.  As well, there is one album by a Canadian who The Ottawa Citizen jazz reviewer rated as not just the best Canadian jazz album of the year—but the best jazz album period!   Most of these artists are ‘new discoveries’ for me–and the jury is out as to whether it is music to which I want to give more time and attention.  Ask me next year. But I start the program with something with which I definitely resonate.  It’s from the new offering from Chelsea McBride’s Socialist Night School— a record I’ve been looking forward to hearing.      

Today you will learn a lot about absolute or ‘perfect’ pitch, and hear selections by jazz musicians who possess this faculty.  Also a demonstration from a child who has it, and some descriptions by musicians as to how it has been helpful as well as limiting.   As well, I’ll discuss how it differs from ‘relative’ pitch, and why the two so often end up being confused. You’ll hear music by Ryan Keberle, Bing Crosby and Joe Sullivan, Keith Jarrett, Oscar Peterson, Charlie Puth, Paul Shaffer w. Gil Parris, Ella Fitzgerald, Gary Burton, and Vancouver Island’s Adrian Dolan.   You’ll also hear Adrian talk about his absolute pitch. I get a chance to share my own experience with absolute pitch as well.

This is the last of the five part series on Time Life’s Giants of Jazz—28 three record sets with huge booklets featuring swing era musicians who helped define jazz. This week you’ll hear and hear about James P. Johnson, Fats Waller, Johnny Hodges, Lester Young, Henry Red Allen, Red Norvo, and more Teddy Wilson. In my quest to find any Canadian equivalents to these jazz giants, I’ve made a wonderful discovery: a Montreal based ragtime and jazz pianist/composer who helped introduce jazz to the Canadian recording industry and to live radio.   His name is William Eckstein.   I start off the program with a couple Eckstein tracks from 1919 and 1930.          

Something from the Archives.  One from my favourite series of the past year—The Jazz Solo, Part 3.  I give examples of solos that have been considered by ‘experts’ to be exceptionally amazing.  And one by a great jazz artist that is considered to be not at all up to par. You’ll hear  solos by Bill Evans, Fredie Hubbard, Jaco Pastorious, Robi Botos, Charlie Parker, Ron Carter and Ella Fitzgerald.   Guess who botches theirs….at least according to some jazz critics? As well, I’ll play two different vocal solos from Ella Fitzgerald on the same tune, 13 years apart, and you’ll see how she really developed that particular solo. Next week,  I’ll record and post the final program in my Giants of Jazz series from Time-Life Records.  For 2020 I have lots of new and exciting ideas for Discovering Jazz programs I plan to record.

This is Part 4 of my five part series on Time Life’s Giants of Jazz.  Today you’ll hear Teddy Wilson, Earl Hines, Benny Carter, plus six tracks from one set called “The Guitarists”.   The latter includes six of the earliest jazz guitarists who pioneered the use of this instrument in dances and records.   You’ll hear recordings by Charlie Christian, Lonnie Johnson, Django Reinhardt, Oscar Aleman, Eddie Durham, and Eddie Lang. As usual, I add a Canadian entry, imagining what it might look like if there were a similar series on early Canadian jazz.  The nominee this week is Mart Kenney and the Western Gentlemen.

This is a program I put together two years ago…Episode 14—of holiday music.  Mostly Winter holidays: Christmas, Channukah, New Years, Chalica (you probably have no idea what that one is, eh?), one Spring holiday (Ramadan)—and quite a few just celebrating the joys of winter. Lots of music here, and not much talk.  You’ll hear Bill Evans, Ahmad Jamal, Ella Fitzgerald, Miles Davis, Bob Dorough, Carri Coltrane, Charlie Parker, Wesley Collett-Taylor, Dexter Gordon, Mike Rud, The Darylectones, Salah Ragab, Barbra Lica, Kenny Ellis, John Eidsvoog, and The Shuffle Demons. Have fun.

I asked Victoria vocalist and studier of ‘swing’ style jazz, Angela Verbrugge,  to send me names of some great jazz vocalist that would likely be new to me.   She did.   Thank you! This program, as well as last week’s, has me playing music by those singers and talking to her about the singers and the music. I also introduce to her my favourite vocalist, the late great Gene (aka Eugene) McDaniels.   I play three tracks by him showing three very distinctive phases of his jazz vocal and songwriting career, starting with a very obscure album from 2009.  And from the 1970’s, an album that introduced the world to Alphonse Mouzon and Mirislav Vitous—but it’s political content spurred interference from the American White House blocking it’s distribution. Other singers you’ll hear are Sarah McKenzie, Benny Benack III, Rebecca Kilgore, Tessa Souter, and three Canadian singers (Calgary’s Johnny Summers, the late Natasha D’agostino, and Angela Verbrugge).    

Special guest, singer and songwriter Angela Verbrugge, has sent me (upon my request) some recordings from jazz singers I probably never heard of.   These recordings are the subject of this week’s and next week’s podcast. I make it an exchange by presenting one or two to her that she’s probably never heard of. This week you and I will discover the delightful singing of Lucy Yeghizaryan, Gabrielle Stravelli, Greta Matassa, Camille Thurman, Susannah McCorkle, and Dave Tull.   Recordings I chose to present to Angela are by Lorraine Nygaard, Alex Samaras (with Chelsea McBride’s Socialist Night School), and …….Angela Verbrugge. Hearing some of Angela’s insights about these artists and about these recordings is definitely a highlight of this week’s Discovering Jazz episode. I invite any of you who are interested in reviewing this program to go to the itunes or Apple site, click the ‘ratings and reviews’ tab, and post a comment.  It would be much appreciated.   -Larry

Part 3 of Time-Life’s Giant’s of Jazz series, this time featuring Sidney Bechet, Coleman Hawkins, Jelly Roll Morton, Jack Teagarden, Ben Webster, plus Canadian born orchestrator Gil Evans. You’ll also hear Dizzy Gillespie’s first recorded jazz solo.  And How Art Tatum, at age 16, changed the course of jazz using Coleman Hawkins as a vehicle.  And a very famous jazz tune that was originally called “Blue Balls”.

More from that great Time-Life series, The Giants of Jazz, with such fascinating information about each of the 28 early jazz giants.   This episode features Bix Beiderbecke,  Art Tatum, Benny Goodman, Billie Holiday, Coleman Hawkins, and—surprisingly—the unorthodox clarinet of Frank Teschemaker.  I also explore the mystery as to why Teschemacher was included as one of the 27 jazz ‘giants’, especially when Artie Shaw stated that he wasn’t very good and had no influence on the development of jazz. In addition I play Clark Terry performing a Bix Beiderbecke composition.   And I add one Canadian who isn’t part of the series, but would have been if they had considered some more contemporary giants.   That’s Oscar Peterson—who as well as being an amazing pianist, was a fine singer.

This week I’m catching up on some cd’s that I recently acquired, many of which feature great piano playing.  One of them by Victoria pianist Tom Vickery includes a version of Manha de Carnaval (Black Orpheus), which inspired me to play a few versions of that great tune.   One of my favourites is by McCoy Tyner and Freddie Hubbard. You’ll also hear Renee Rosnes, Bellita, Kelley Johnson & John Hansen, Wes Carroll Confabulation, some amazing scat singing by Sarah Vaughan, and Fred Hersch.

Time-Life surveyed a number of jazz scholars and as a result put together 28 three-record album sets  dedicated to one jazz ‘giant’.  Each one includes a 30 to 40 something page booklet.  I subscribed to this series and would get one set each couple months in the late 1970’s to early 80’s. I’m now going back to those records and giving them another listen and the booklets another read, and will present a tune or two from each one in a series of Discovering Jazz programs.   They are virtually all from the beginnings of jazz—mostly from the swing era. I’m also going to take a detour and throw in one Canadian jazz artist each time (just because). This week, you’ll hear about Louis Armstrong, Duke Ellington, Bessie Smith, Joe Sullivan, Johnny Dodds, and Bunny Berrigan.  One of the tracks has been described as a ‘train wreck’. I’ll also talk a bit about the origins of the recording industry in Canada, and play the best known Canadian recording artist of the early 20th Century—even if nobody except for Louis Armstrong ever thought of him as really being “jazz”.

My 3-part series of programs on the jazz solo last year invoked a lot of positive response.   I already re-broadcast the first one on an earlier archives program, and now I’m going to present you with part 2.  This is for those of you who either missed it the first time, or want to hear it again. I start it out with John Coltrane’s classic solo on Giant Steps.  So many ways this solo has been described—and jazz critics are so good at finding wild words so they don’t keep having to say ‘it’s terrific’ or ‘I love it’. So you get words like what writer Aidan Levy uses when he tries to describe what Coltrane does in this piece of art. He talks about the ‘architectonics’ of Coltrane building a house in under five minutes. I had to google that one. And he refers to it as a “vertiginous solo”. It means a whirling or turning action that can cause vertigo—a dizziness that comes with heights. A great metaphor, I think. Keeping that word in mind allows you to discover if, at the height of Coltrane’s solo, you notice yourself getting dizzy. I also talk a bit about Tommy Flanagan’s piano solo, which has been described as being not so great, as the tune was thrown at him, had complex changes, and was played much faster than he expected.  Most say he struggled through it.  And while it pales in energy to what Coltrane did, my own untrained ears didn’t think it was so bad. Also in this program you’ll hear classic solos by Cannonball Adderley, Clifford Brown, Sarah Vaughan, Charlie Christian, McCoy Tyner,  Canadian Guido Basso on fluegelhorn, drummer Elvin Jones, and free-jazz saxophonist Ornette Coleman.

It seems to be increasingly hard to find good second hand vinyl jazz albums at low prices through thrift stores or used record stores.  But I found some, and I finished listening to them.   I play at least one track from each.   They include albums by Shorty Rogers, Pat Martino, Peggy Lee, Jeremy Steig, The Steve Kuhn/Sheila Jordan Band, Jack Teagarden, Moe Koffman, Uzeb, George Shearing with French Hornist Barry Tuckwell, and one album with 12 versions of a single jazz standard. I talk about why I bought some of them, and throw in a few interesting tidbits about each album or artist. If you like these programs I invite you to comment on my facebook “Discovering Jazz” page, or even better, write a review on the itunes site of whatever country from which you listen to these podcasts. -Larry    

Since we’re in the midst of a federal election here in Canada, I thought I could revisit part 1 of my four-part series from last year on the role of jazz in promoting social and political activism. I address topics of civil rights, diplomacy during the cold war, the interconnectedness between motherhood, mother earth, and social justice or the needs of the people.  Also Cuba, the domination of money over everything and the lack of empathy on the part of the powers that be for the population, are all explored here. You’ll hear music by Billie Holiday, Mose Allison, Oscar Peterson, Jazzmeia Horn, Yasek Monzano, and the Liberation Music Orchestra, plus a voice clip from Arturo O’Farrill talking about Cuban musicians who have betrayed Cuba.

Today I’m playing and talking about some jazz tracks that I recently discovered—some are new recordings, some are older.  And I’m letting them inspire me to create ideas for future podcasts. There appears to be quite the Peterborough-Victoria connection here, as I reflect on my wonderful years listening to (and occasionally playing) jazz in Peterborough, and now continue to discover new and amazing musicians and singers in Victoria.   Much of that is thanks to Hermann’s Jazz Club—a club that I’ll talk more about in future programs.   Hermann’s also hosts monthly themed UJAMS with this months theme being Music from Around the World.  So I’m going to try a French song that has been translated into English—-but I’m hoping to use the version by Quebec chanteuse Chantal Chamberland and Toronto musicians Robi Botos and Rob Piltch of La Mer to inspire me. From Peterborough I play an ‘exclusive’ sent to this podcast by a very young Peterborough saxophonist, Noah Abrahamse.  It also introduces us to the delicate piano stylings of Ian Webster. The Victoria connection is singer and songwriter Angela Verbrugge, who added delightful lyrics to a tune written by New York pianist Ray Gallon—who also plays on this recording. You’ll also hear one of the last recordings of Stan Getz, three months before he died of liver cancer.  Playing with pianist Kenny Barron. One more from pianist Fred Hersch and his critically acclaimed “Live in Europe” record from last year. I bought a cd at a thrift store by a Cuban pianist/singer named Bellita, released in 1997.  Wow!   I play one track from that. The program ends with a thought about bellweathers.  This is a term used to describe the behaviour of sheep—and how they end up making decisions.   The bellweather is a sort of leader who may not even know he or she is a leader.  They are the primary catalyst for any new trend (read Bellweather by Connie Willis) and are ‘leaders’, not because they are more brilliant or creative, but because they seem to have their finger on a ‘pulse’.   In jazz—it would be an artist who other jazz artists follow and record tunes or play in a style similar to theirs.   Who do you think would be one of the most prominent bellweathers in jazz?   (Someday I will do a whole program on bellweathers, as its such a fascinating concept).

Here is a rerun of the first of a 3 part series I recorded a few months ago on the jazz solo—trying to explore what makes a great one—-and why people ‘in the know’ consider them great. I also wonder how much of those solos are spontaneous and thought of in the moment, and how many might be a repeat of something they did before.  More and more I’m becoming a ‘believer’—-that the great solos truly are ‘in the moment’, even if they are capitalizing on the brilliance of their own playing, and the playing of their mentors. I have a list of what have been termed “Essential Solos” according to Jazz Times magazine, who asked some magazine contributors and some top musicians to give a list of 5-10 improvised jazz solos they consider to be their favourites—lines they’ve been humming for years. The magazine described 40 of them.  In this series I presented a few of them, usually playing the whole track or at least most of the track, since those solos don’t exist in a void. This archived program is Part 1 of the series.  You can hear the other parts by going to Episodes 53 and 54.  This episode starts with the one that had far more votes than any of the others.

When you think of jazz the vision is of saxophones, trumpets, crazy drum solos, guitarists moving all over the fretboard, hot piano, funky or walking bass players, etc.  You don’t envision french horns. This episode will change all that!     Some really amazing playing with solos by the likes of Tom Varner, Vincent Chancey, Giovanni Hoffer, John Graas, Willie Ruff, David Amram, Mark Taylor, and maybe the most astounding: John Clark.   You’ll also hear the roles that Miles Davis, Claude Thornhill, and Gunther Schuller played in turning the french horn into a jazz instrument.      

According to Wikipedia, Jan Randall, a Canadian composer, pianist, and arranger, has made a career of composing soundtracks for films, theatre, radio, and television.  He combines playing by ear with his formal classical and jazz training.  He is now teaching an Introduction to Jazz course at the University of Victoria. For this week’s program, Jan talks about that course, playing some of the music he plays in order to help everybody expand their minds.  And he expanded mine!  Never before had I thought about jazz’s “Chopin roots”. Enjoy Jan’s inspiring commentary, his positive energy,  and some great music!  From Louis Armstrong, through Art Tatum, Count Basie, Duke Ellington, Joe Pass & Herb Ellis, and up to The Yellow Jackets.  Plus one very fine original Jan Randall composition, and he demonstrates his creative process in putting it together.

This week, just a few jazz artists by whose name I put a check mark as I went through Downbeat Magazine’s 2019 Critics Poll. As a followup from last week’s podcast on internationally recognized Canadian jazz musicians, I play a track by Vancouver cellist Peggy Lee and one by B.C. violinist Jesse Zubot. I start the program with this year’s selection for the Jazz Hall of Fame—Nina Simone. Then, staying with veterans, 93 year old ‘snap crackle’ drummer, Roy Haynes is still going strong.  I play a 1986 recording he made of Charlie Parker’s “Bigfoot”. The number 1 trombonist—by a longshot—is Steve Turre, and here he plays with pianist Kenny Barron, bassist Ron Carter, and drummer Jimmy Cobb plus Javon Jackson on tenor sax. Robert Glasper has been a name that gets bandied about a lot, partly because of his foray into hip-hop and his role on Kendrick Lamar’s “To Pimp a  Butterfly”.  Here he employs Bilal and Jasmine Sullivan as guests. Ahmad Jamal—probably still my all time favourite jazz pianist—plays a fine rendition of a gospel tune from his latest album from 2016.  Another veteran still going strong. This is followed (an interesting transition, don’t you think?) with the duo of Chris Thile on mandolin and pianist Brad Meldhau. Bob Dorough’s last album (But for Now), even though he only died last year, made the Critics list for “Historical album”.  Weird.  But it was re-released, so I guess that counts. I end with a British group with lots of percussion and great sax playing by Shabaka Hutchings—Sons of Kemet.  

Every year 150 or so critics rank what they consider to be the top jazz artists in 63 categories, and this is presented in the August issue of Downbeat magazine. Sometimes Canadian jazz musicians are represented.  This year I found 9 who I knew to have Canadian roots.  I’m sure there are more but I don’t know that they are Canadian.  If you find some I’ve missed, please advise me through my “Discovering Jazz” facebook page. I play a track from seven Canadian artists, and with one of them, I even play two tracks.  And, interestingly, 4 of the 7 musicians are female. If you like this program, please review and rate it on the itunes site.   -Larry

Here is another favourite episode of mine that I thought would be more popular than it was.  Originally posted last November, this is all about new melodies that were written over chord sequences of another tune, and then became famous. Did you know, for example that 46 jazz tunes are listed in wikipedia as using the chords to “I Got Rhythm”?  It’s so common that in a jazz jam it’s not unusual for somebody to simply call out “rhythm changes”.  And everybody knows what they mean. Another one is Fats Waller’s Honeysuckle Rose—and one very famous jazz tune, Charlie Parker’s “Scrapple From the Apple” uses the changes to both Honeysuckle Rose AND I Got Rhythm, one in the chorus and the other in the bridge (middle part). Another famous Charlie Parker tune, Donna Lee,  is taken from an old standard called Indiana, and on this program I start out by playing both of those tunes so you can see how Donna Lee re-adapted that sequence.  Quite brilliant, actually. Then there is Irving Berlin’s “Blue Skies”—and here I play two versions of it, by two amazing pianists.  One is the great Art Tatum, and the other is a man who melded jazz, folk, popular, and classical into something truly masterful  That’s Don Shirley, who was portrayed in last year’s Academy Award winning film, Green Book.  And the contrafact?   It’s a Thelonious Monk tune.  You’ll hear a version of it by Monk himself with a vocal by Jon Hendricks. You’ll also hear Tony Bennett, Miles Davis and Sonny Rollins, a bit of Charles Mingus, Sarah Vaughan, and Toronto’s Mike Murley & David Occhipinti with “Nest of the Loon”.  (Guess which tune that chord sequence is taken from). One more thing while I have you on the line.  Toronto bassist and jazz musicologist, Steve Wallace, made a valiant attempt to take that pretentious term (‘contrafact’) out of the English language and replace it with a word he thought fit so much better—-‘Scrapple’.   I don’t think it worked.  But we can always hope.    

The Downbeat Jazz Critics poll, published in the magazine’s August issue, summarizes the assessments of some top jazz critics as to the ‘best’ in various categories.  One of those categories is the Jazz Album of the Year. This year’s picks truly stretch the boundaries of ‘what is jazz’. I play a track from six of the chosen ‘top 10’, as well as one from this year’s Juno winning album by Robi Botos.      

This episode, recorded the Spring of 2018,  features a discussion with Toronto voice coach and singer, Micah Barnes. Micah was a rock and soul singer who made the transition to jazz, and he talks about the differences.  I ask the question “what makes it jazz” in terms of vocals………..and he does a great job in trying to answer that.    We also play music by some of the singers who most inspired him. Micah talks about ‘breaking free of the melody’, and that leads nicely to a conversation between jazz singer Gene McDaniels and pianist Tom Snow, where Gene demonstrates the art of singing “inside the changes”. We also demonstrate why its easier for a country and western singer to learn to sing jazz than it is for a classical singer. A fascinating program.  One of my favourites, from the archives.    

A very knowledgeable jazz bassist from Peterborough named Craig Paterson sends regular emails of great jazz recordings, and on this program I play a few of them.   It helps me discover new and old music………and I’ll share some of those discoveries with you in this program. I also like to go back to some ‘original’ versions, and it helps me to understand more about the creative process used by great jazz musicians. This week, I start with Christian McBride and New Jawn transforming a very strange Thelonious Monk composition, and found that I was able to appreciate it more by also hearing the original Monk version. Then I move onto “All The Things You Are” by Brad Meldhau and Larry Grenadier, comparing it to the way Jerome Kern probably envisioned it, and the well-known Charlie Parker transformation. You’ll hear some Tommy Flanagan doing It Don’t Mean a Thing If It Ain’t Got That Swing, a beautiful Miles Davis rendition of Stella by Starlight, and finishing with a young Toronto drummer who just put out an album with a large band—which included trumpeter Lina Allemano. Thanks to Craig for sharing these.  

Continuing with re-issuing some programs from my archives every 2nd week, here is one on the great Bob Dorough who left us over a year ago. Here is a quote from one of my reviews on the itunes site (Canadian):  “I knew that I’d be hooked when I saw and heard your tribute to Bob Dorough (a personal favourite) and Thelonious Monk and the recent ‘solo’ shows.  I hope you continue to help us discover jazz for a long time to come.” Me too! Not many people have discovered Bob Dorough.  I discovered him in the late 1960’s when he was involved with some more pop oriented artists like Spanky and Our Gang, and Chad Mitchell.  But he is definitely jazz!  All the way!  He wrote some of my favourite jazz compositions (eg. Devil May Care, I’ve Got Just About Everything I Need) and was one of the few singers to do vocals on a Miles Davis record.   But he became best known for creating and playing the music behind “School House Rock”. Even if you don’t normally listen to much jazz, I think you’re going to be fascinated by this program.  Feedback always welcome!

This is actually Part 3 of a series looking at the cross fertilization of jazz and classical (aka ‘serious’)  music, featuring Al Baggs—a  Peterborough saxophonist and lover of jazz and classical music. This episode explores how each or those two genres can be enhanced by knowledge of the other, as well as at least one instance where trying to combine both ends up detracting from each. There is a lot of focus on ‘third stream music’, which brings jazz and classical together.  How does Dave Brubeck, Duke Ellington, Miles Davis, Gunther Schuller, Jim Hall,  John Lewis, Victor Davies, and even Dvorak fit into that category? And for those of you listening from my new home town of Victoria, B.C., you’ll hear a Victoria saxophonist and an incredible local big band playing what one might see as an illustration of that jazz-classical cross pollination.  

Another ‘archive’ program this week; for the summer I’ll have some of the best programs from the past two years of “Discovering Jazz” every 2nd week. This week is one of the two episodes of Beatles music transformed into jazz.  Many of these are relatively modern recordings, such as the version of You’ve Got to Hide Your Love Away by Bill Frisell, and Here Comes the Sun by Joel Harrison. Eleanor Rigby by Chick Corea and Gary Burton, and Elizabeth Shepherd’s and Michael Occhipinti’s beautiful rendition of Across the Universe. The program begins with some very early jazz-rock fusion, as saxophonist Steve Marcus does a bizarre rendition of an equally bizarre John Lennon tune–Rain.  I then play, from the same year, Roland Kirk and his interpretation of “And I Love Her”.  Then two versions of Yesterday—one by Oscar Peterson and another by Lee Morgan.  And then some more Lee Morgan as he plays trumpet on another version of Eleanor Rigby by a group led by organist Dr. Lonnie Smith. Many different sub-genres of jazz in this program, with very different interpretations of Beatles tunes. I invite you to make comments on either the itunes “ratings and review” link, or my facebook page entitled “Discovering Jazz”.

It’s Kind Of Blue by Miles Davis, first released in 1959.  It still sells more per year than any current jazz recordings.   Why?  And why do critics also rate it as one of the best albums of all time?  I quote a few critics and musicologists, play 4 of the 5 tracks, a couple other renditions of the tunes, and throw in a few pieces of irrelevant but interesting tidbits. Note:  This episode, due to copyright concerns,  is no longer available for listening via Apple podcasts.

Last year I recorded a 4-part series on Jazz and Politics.  Here is Part 3—probably my favourite of the four.  It explores a few different political issues relevant to jazz music, and I play lots of great music. If you consider ‘politics’ to be about power and influence, then Jazz was political right from the get-go in terms of the struggle for the black originators to gain recognition and wrest some of it away from the white artists who had the money, the power, and the influence to profit from the creativity and innovation of these black musicians.  I start this program with a 1917 recording by the white man (not Paul) who claimed to have invented jazz. Bassist and Vancouver native Brandi Disterheft records a tribute to Nelson Mandela while Wadada Leo Smith salutes Martin Luther King.  Joni Mitchell pays tribute Lester Young and Charles Mingus in Goodbye Porkpie hat, with lyrics that focus on the prejudice that Lester Young experienced.  Saxophonist Bobby Watson wrote what might be described as a ‘tone poem’ about black bicyclist Major Taylor who, in 1899, thwarted the attempts by white bystanders to stop him from winning a bicycle competition in Montreal. Other political issues: Toronto’s Elizabeth Shepherd plays and sings about the attempt in Quebec to ostracize veiled Muslim women.  Kurt Elling calls our attention to the rise of tribalism and fascism in the western world, singing Bob Dylan’s “A Hard Rain’s a Gonna Fall”.  Alex Samaras and the Queer Songbook Orchestra out of Toronto sing Bronski Beat’s Small Town Boy, about being gay in a world hostile to gays. If you like this program, give a listen to Episodes 38, 39, and 41, which are also about Jazz and Politics.

This is the last of three series of programs on the upcoming Victoria International Jazz fest (Jun 21-30).  I play music by some of the great jazz artists coming as well as interview the founder and artistic director, Darryl Mar.  If you’re thinking of taking in some of the festival, these programs are a great way to help you decide who to go see.   And if you can’t because you are too far away—you’ll still make some great discoveries of veteran and up and coming jazz and jazz-oriented musicians and singers. This episode features Makaya McCraven, Eric Alexander, Trio LSD (from Sweden), Attila Fias, Rowan Farintosh (with Chris Parnis), Davina & The Vagabonds, Melissa Aldana (from Chile), Steve Smith and The Groove (who is also a member of ‘Journey’), and the up and coming genius, Jacob Collier.  About Collier, Quincy Jones stated “I have never in my life seen a talent like this”.

This program starts off with the performer I’m most looking forward to seeing and hearing at this year’s Victoria Jazz festival, March 21-30—Pianist/singer, Patricia Barber.  An interesting rendition of a Beatles tune. You’ll also hear a couple emerging artists:  child prodigy Joey Alexander, and multi-instrumentalist from Victoria, John Lee. Festival organizer and founder, Darryl Mar, talks about the history of this festival bringing such emerging artists forward—-well before most people had ever heard of them. Lots of great local performers are featured at the festival, and Darryl talks with pride about how the city of Victoria has nurtured these great artists. You’ll also hear The Mark Atkinson Trio, Amina Figarova, the amazing Cuban pianist Pablo Cardenas, Jesse Cook, and Gregory Porter.    

This is the first episode since my move from Peterborough to Victoria—and as an introduction to the jazz world in Victoria, I’m putting together, over the next three weeks,  three one hour programs about the upcoming 36th edition of the Victoria Jazz Festival.  I play music by some of the artists (international, national  and local), and chat with the festival’s founder and artistic director, Darryl Mar. This week, you’ll hear some of the players featured on day 1 to day 4 of this 10 day festival.   It includes Laila Biali, Lionel Loueke, The Marquis Hill Blacktet, Jacqui Naylor, Dominique Fils Aime, The Suffers, Aaron Scoones, John Magnarelli Quartet, and The HeavyWeights Brass Band. Another highlight: Darryl talks about how he was inspired to start this festival. You’ll also get a slight taste of the sounds of Victoria, as I record the program outside of the townhouse where we’re staying for a couple months.    

As I settle in my new residence in Victoria, B.C., before I begin recording some brand new programs (probably next week), here is another one from the archives—-keeping my Peterborough, Ontario Connection. This was the first program featuring Al Baggs—a classical and jazz music buff and raconteur who also plays a mean baritone sax, as well as a few other instruments.   You can hear Al most Thursday nights at The Black Horse in Peterborough jamming with master pianist, Rob Phillips. Here Al reveals an even greater love for classical music than he has for jazz, and we play music by classical composers such as Ravel, Shostakovitch, Stravinksy, and Duke Ellington.  Yes!  Al says.  In the future Ellington will go down in history as a classical or ‘serious’ composer. The one area where jazz has a superiority over classical, Al thinks, is in jazz drumming.  He states that they are “well ahead of the pack–they seem fearless in launching themselves into deep mind blowing rhythmic space”.   I play part of a composition by a great Canadian drummer—Claude Ranger. You’ll also hear on this program music by Johnny Hodges, Alex Welsh Jazz Band, Moe Koffman, Charlie Parker, and the combination of Gerry Mulligan and Chet Baker.    

Continuing with programs from the Archives until I once again begin recording episodes. Here I talk about the 85 year old Jazz magazine that is still going strong, Downbeat.  You’ll hear a bit about its history, the first ‘review’ published, and their famous “Blindfold Test”.   I also share an anecdote about how I personally gave famous jazz critic (and host of the blindfold test), Leonard Feather, a blindfold test.  Also the tune that stumped him. I play music by Tia Fuller, Duke Ellington, Karen Souza, Ontario’s Nick Fraser, Kurt Elling, The Farr Brothers, Charles Lloyd with Lucinda Williams, Oscar Peterson, and Roberta Piket.   All of these are records heralded by Downbeat Magazine.

One of my favourite series of programs was the four episodes from last year that involved jazz musicians who have played a part in making music that isn’t jazz.  Sometimes they were studio musicians, or put a special ‘flair’ into a pop hit.  a way for jazz musicians to be rock and roll stars. Except their contribution rarely gets mentioned. This series, Episodes 24-27, aimed to rectify that. As I settle into my new home in Victoria, posting a few programs from my archives, I thought that one from this series was one deserving of a re-listen.   I chose Part 4, (Episode 27). You’ll hear Connie Kay and Richard Davis playing, first, some real jazz, followed by their contribution by one of the great classic rock albums of the 1960’s. Then I play a tenor saxophonist, Curtis Amy, who played on a number of rock and pop hits. Zoot Sims and Teddy Wilson both played on a single by Phoebe Snow. Sting used Branford Marsalis and percussionist Manu Katine on Englishman in New York.  And you’ll also hear a solo saxophone rendition of Stardust courtesy of Branford. And even Miles Davis got into the act! And one cannot forget the great guitarist, Nels Cline, who became an actual member of Wilco. Keeping my Peterborough connection, I talk about three of the Peterborough area’s  most spectacular pianists, and play a jazz track by one of them–Steve Holt.  Steve also sent me a recording of a track from a ‘pop’ album he made a few years ago, and he does a very interesting version of Stevie Winwood’s “Can’t Find My Way Home”. I invite you to listen to this program, and it might motivate you to check out the other programs from this series on “Jazzies’ Playing Outside the Genre”:  Episodes 24, 25, and 26. If you like them, submit a review on itunes.  It would be much appreciated?   -Larry    

While I’m settling in to my new home in Victoria (and apartment hunting), I’ll re-post some episodes from the archives.  This week, keeping some Peterborough connections, it’s resident ethnomusicologist/bassist and all round genius from Trent University, Michael Morse, talking about one of his most significant jazz influences—-Thelonious Monk.  He has a lot of interesting Monk related stories. You’ll hear some original Monk recordings, plus other versions of some of his great compositions.   One of those is by Canadian West Coast jazz players Brian Tate, Michael Creber, Rene Worst, and Tom Keenlyside.

The home base of Discovering Jazz is moving from Peterborough, Ontario to Victoria, B.C. Today…..due to doing a lot of preparation for our move, I’m just going to relax and listen to some great music. Of course it’s hard to keep myself from talking about the tunes I play…..but I’ll try keep it brief.. So lots of music and a little talk. Music by Cannonball Adderly and Bill Evans, Joanna Majoko, Miles Davis, Snow Owl, Sam Jones 12 Piece Band with Fred Hersch, Joe Pass & Tommy Gumina, Giovanni Hoffer, Roberto Fonseca w. Faroumata Diawara, Heavyweights Jazz Band, Nestor Torres, Charlie Parker. You’ll also hear musicologist Michael Morse briefly explain what he finds most interesting about Charlie Parker’s compositions.

Herbie Hancock, jazz pianist and UNESCO Goodwill Ambassador apparently came up with the idea of having April 30 as a day to highlight jazz and its roll of uniting people all over the world.   But there was an earlier inspiration—a unifier during the height of the cold war: Louis Armstrong. I start this program by playing something by each. The host city this year is Melbourne, Australia.   One of Australia’s most prominent jazz artists—who will be playing at that event— is James Morrison, and I play something by him from an album he recorded in 2018, Peterborough, Ontario has celebrated the weekend of International Jazz Day for five years, and I talk about this year’s celebration and play music by some of the great jazz artists who will be performing this year.  I include a track by Mike Francis, and an unofficial ‘live’ recording Biff Hannon and Michael Morse. Also a special ‘scoop’.  I’ll play a track from The Rob Phillips album that we’ve all heard about and haven’t heard. As an added treat, I interview Susheel Kurien—the director of a film called “Finding Carlton”, which was first screened at the United Nations for the very first International Jazz Day.  It’s all about jazz in India.  This film will be shown here in Peterborough Friday, April 26, and Susheel will be there to present it.    I also play a guitar medley by the main subject of the film, Carlton Kitto. Last but not least, the feature performance at this year’s International Jazz Day weekend in Peterborough is Jane Bunnett and Maqueque, with jazz flautist/soprano saxophonist Jane Bunnett and five (mostly) Cuban women who are all amazing singers and musicians.   I end off with a selection by them.    

What will jazz look like in the future?  Will it be the same as today?   Will it have some similarities to yesterday?   Will ‘hip-hop’, dance, free jazz, weirdo electronic music, etc. be incorporated?   Or will life (and jazz) be simple again? We also talk about the pluses and minuses of formal training in jazz, as well as some of the best ways to listen to it. More from Peterborough guitarist Mike Graham. I also play music by Kendrick Lamar, Flying Lotus, Derek Bailey, Dana Frauzel, Marcus Miller, and as well as Harold Lopez-Nussa, Jeremy Ledbetter, Robi Botos, and even (gasp) Charlie Parker and Dizzy Gillespie.

What is the future of jazz?   Will everything change when the Miles Davis generation dies out?  Who will replace them? In this program, I discuss with Peterborough guitarist, Mike Graham, what jazz might look like in the future—-as well as what it won’t be.  Of course, to predict the future, we need to know the past.  What past areas of jazz will flourish and develop?  What role will modern classical style compositions have?  How about hip-hop and sampling? Bebop?  Swing? Just as important, who will be listening to jazz?  Will it just be ‘students’?  Or will it be so much ‘fun’ that it’s popularity grows and it’s listening base expands? You’ll hear quite a variety of music today, some of which you might also hear tomorrow and the next day, and some you might never hear again, as it disappears into the ether.   Some of it, too, is definitely NOT jazz.  But the line between jazz and ‘not-jazz’ is expected to be blurred even more in the future.  

If you are an amateur or professional jazz musician taking part in a jazz jam, or someone who enjoys listening to those jams, at some point someone will call out tunes like “Moment’s Notice”, or “Lazy Bird”.   And, for sure, you’ll hear someone suggest they play “Blue Train”.   One thing all those tunes have in common is that they were written by John Coltrane, and, they are also from the same album.   The album was released in 1957 and was Coltrane’s only album on the famous Bluenote label. Blue Train was considered to be one of his most accessible albums, so I thought it was worth featuring it on today’s episode of Discovering Jazz.   Also included on the digital release of that classic album (the original lp sells for as high as $1000) are a couple alternate recordings. You’ll hear spectacular (and one not so spectacular) Coltrane solos, as well as great playing by trombonist Curtis Fuller, trumpeter Lee Morgan (19 years old at the time), Kenny Drew on piano (great solo he does on Lazy Bird), Paul Chambers-bass, and one of the world’s greatest drummers, Philly Joe Jones.

In a documentary called “Brownie Speaks”, all about trumpeter Clifford Brown, one unidentified jazz personality states “I can’t say that Miles was intimidated by Cliff, but Miles wouldn’t play when Cliff was there”. Clifford Brown was known for his fat smooth tone and a unique melodic genius with a warm round sound, consistent across the full range of the instrument.  He had the ability to articulate perfectly every note, even at the fastest tempos. He was clean living—no drugs, alcohol, or even cigarettes.  Unfortunately, he died in a car crash at the age of 25. Known as ‘Brownie’, he has become a jazz legend, with many thinking the course of jazz history might have been changed had he lived.  Part of his legend is through his many great compositions, the most famous being “Joy Spring”. In this program I will play a number of different recordings of Joy Spring, as well as two other Clifford Brown tunes.  You’ll also hear a beautiful tune that was written as a tribute to him, a couple other Clifford Brown recordings, and a recording by the trumpeter who most influenced him.

So many jazz tunes have been written about the seasons—and Spring is a big one!  We might even get one this year. This week’s program is nice and mellow….just to ease use gently into the new season.  Even if spring will be a little late this year.   Doesn’t that remind you of a song? You’ll also hear two jazz instruments you may never have heard before.  One is called an E.V.I.  The other is a teapot. I play some of the spring ‘standards’ like April in Paris (w. Ella and Louis), It Might As Well Be Spring, Spring Can Really Hang You Up the  Most, Up Jumped Spring, You Must Believe in Spring, and Spring is Here.   As well, I discovered two of the most ‘alive’ Spring songs ever that you may not have heard before.  One is by Antonio Carlos Jobim (he sings it), and the other by Nina Simone.   The latter is an amazing ‘healing’ song for seasonal affective disorder. And lastly…..Stravinsky’s ‘Rite of Spring’ has been interpreted by a number of jazz artists.  Here is a rendition by Don Sebesky.  

Some of these ‘standards’ are written by jazz artists.   Others are from popular music written by film and Broadway composers. I’m finding them as I go through The Just Real Jazz Book and the infamous “The Real Book 6th edition”.  These are also called ‘fake books’ as they have only the chords and the melody.   As I go through these books from A to Z (I’m only to letter “B”), I listen to a few of them that aren’t so familiar to me.   And I’m playing them on this program, even including a couple different versions of some of them. On this episode you’ll hear Airegin, Alice in Wonderland, Bernie’s Tune, Black Nile, Au Privave, and Nica’s Dream.   t The last one I’m playing as a salute to the amazing Canadian guitarist who left this earth February 28—Ed Bickert.        

This is the last episode of the Cuban Jazz series.  And I’ve decided to feature a Juno award winning Cuban-Canadian group of women. I play music from both their albums, as well as spotlight some of the individual musicians in the group—including Yissy Garcia, Melvis Santa, Danae Alano, and, of course, Jane Bunnett herself.   I also talk about former group member, Dayme Arocena, who has become an international star on her own. Jane Bunnett and Maqueque are on a world tour as we speak—and Peterborough, Ontario, is the ‘last leg’ of it.  So the group should be really hot when they play at International Jazz Day, April 28.  They’ll have already played several dates in Germany, as well as Austria, Switzerland, and Massachusetts. Addendum:  Two new members to the group.  On bass and vocals is Tailin Marrero.   And a spectacular new lead singer (originally from Zimbabwe) is Joanna Majoko, replacing Melvis Santa,   You can hear Joanna on Episode 66.

This week’s episode starts by talking about how resilient Cuban jazz musicians were able to forge a brand new style of music.  It was their way of making the best out of being told they weren’t allowed to play the music of “imperialist America”.  It evolved into Iraquere, and formed the basis of what people today call ‘salsa’. The leader of Iraquere, Chucho Valdez, is still playing amazing piano—and you’ll hear two tracks from the latest cd where he collaborates with Arturo O’Farrill and other family members. You’ll also hear Eliel Lazo and the Cuban Funk Machine, Okan (out of Toronto), Bobby Carcasses, Sexto Sentido, and the most unusual and creative jazz pianist you’ll ever hear—Jorge Luis Pacheco.

Some great Cuban jazz!   And a few interesting tidbits of information. You’ll hear music by David Amram (with Thad Jones, Pepper Adams, and others), Ray Barretto, Jane Bunnet, Harold Lopez-Nussa, Juan De Marcos and the Afro-Cuban All Stars,Rita Montaner, Ibrahim Ferrer, Interactivo, and Gonzalo Rubulcaba with Ron Carter and Alex Acuna. As for the ‘tidbits’?  The possible origin of the clave—a pair of hardwood wooden sticks.   Also you’ll hear about the man who was responsible for bringing back those old Buena Vista Social Club musicians—and giving them the opportunity for international stardom.   And the distinction between New York ‘salsa’ and Cuban ‘timba’.  (hint: it’s the difference between a debate and a riot). I’ll also introduce you to a couple of Lucumi (aka Santaria) Gods.  There is one with an enormous head who has one huge ear that can’t hear anything and a smaller one that can hear a leaf falling from a tree miles away.  And another God who owns all the roads. If you are interested in hearing more about Cuba—its music, culture, politics, and history–, about 4 years ago I put together a series of 60 half hour podcasts called “Cuba in Motion” for Peach City Radio in Penticton, B.C.   They can be heard through http://www.peachcityradio.org/programs/cubainmotion/   -larrytheradioguy.

In celebration of the coming of Maqueque—a group of five Cuban women plus flautist/soprano saxophonist Jane Bunnett–coming to Peterborough in April, I’m starting a three part series on Afro-Cuban Jazz. Today’s episode tracks its ‘modern’ history, from the 1920’s in New York.  Yup!  That was the birthplace of Afro-Cuban Jazz, not Havana or New Orleans. This episode starts off with a modern Afro-Cuban recording—the amazing Harold Lopez-Nussa.   Then I backtrack.  How did we get from there to here? Some of what you’ll hear in this informative and entertaining program?   The very first jazz flute solo recorded, thanks to a Cuban musician named Alex Soccaras.  And even in that solo from 1927 you’ll hear touches of those more complex Afro Cuban rhythms seeping into what sounds like a New Orleans style swing. You’ll also hear a bit of the first Cuban bolero to become an international hit.  And the first Cuban tune to ‘begin’ the era of Cuban jazz: three different versions of El Manisero.  Then I’ll talk a lot about Mario Bauza, Chano Pozo, Machito, and Dizzy Gillespie and the contributions they made to Afro-Cuban jazz. Did you know that it was a Cuban who ‘discovered’ Ella Fitzgerald? The following weeks will feature a program about Maqueque, as well as a program of some of the best of other modern Afro-Cuban jazz.  

So many great jazz solos….wish I could play them all!  I’m still trying to figure out what makes a great jazz solo, compared to one that isn’t so great.  Listening to some of these is giving me some ‘intuitive’ sense—-but probably couldn’t give you a list of all the criteria.  Sometimes it’s just some mysterious thing that comes from the ‘soul’.   And sometimes not. For this program I play 5 solos that five famous musicians have described as being “essential solos” to which any aspiring jazz musician (or appreciator) must listen. I also include one solo that has been cited as a great musician ‘gone bad’……at least in that particular solo.  Thanks to native Peterborough bassist ‘gone good’—Wesley Collett-Taylor—for suggesting that one. And as usual, one Canadian player.   This time one selected by another Peterborough bassist–Craig Paterson—and a wonderful solo by Toronto pianist Robi Botos. You’ll hear two Freddie Hubbard tracks today, two versions of Ella Fitzgerald scatting on the same tune 13 years apart (just to get an idea of the creative development of a solo over the years), Charlie Parker, Weather Report, Bill Evans, and a group of Canadian musicians led by American drummer Terri Lyne Carrington.  

In this episode you’ll hear more of the solos that jazz musicians and writers say are ‘essential solos’. You’ll also hear words and phrases like ‘architectonics’, ‘vertiginous’, ‘eking’, ‘narrative structure’, ‘directional energy’, ‘wrong side of the beat’.  I don’t know what most of them mean, either, but real jazz aficionados seem to. You’ll hear -John Coltrane playing his greatest masterpiece. -Guido Basso playing a lovely fluegelhorn solo with Rob McConnell’s Boss Brass. -Cannonball Adderley’s solo on Miles (aka Milestones), and some differing opinions on it. -Charlie Christian’s solo on Swing to Bop -Clifford Brown and Sarah Vaughan together. -Ornette Coleman -McCoy Tyner -Larry Young, featuring an Elvin Jones drum solo.    

The ‘improvised’ solo is the heart of jazz. This series of programs looks at what have been termed ‘essential solos’, using an article from Jazz Times magazine, where jazz writers and musicians described the solos that have been their favourites over the years.  These are solos that they have been playing or humming to themselves over the years. And since these solos don’t exist in a void, I play all or most of the whole piece, but talk about why this solo resonates with so many jazz aficionados and players. I start the program with the solo that received more ‘votes’ from jazz scholars and players than any other, and is analyzed and taught in jazz schools throughout the world.  Without listening to the program—any guesses? You’ll hear tracks by John Coltrane, Ahmad Jamal (w. bassist Israel Crosby), Oliver Nelson, Miles Davis, Louis Armstrong, and Sonny Rollins & Coleman Hawkins.  The last one has an ‘essential’ solo by Canadian Paul Bley.   Thanks to Peterborough bassist Dan Fortin for pointing out that one.

Recorded live from the studios of Trent Radio in Peterborough, Ontario, this is an assortment of tracks from jazz albums I blindly selected from the station’s extensive jazz library of vinyl. It includes some of the ‘usual suspects’—Oscar Peterson, Dizzy Gillespie, Duke Ellington & Ray Brown, and Keith Jarrett.   You’ll also hear the very first version of In the Mood—and it wasn’t by the Glenn Miller Orchestra.   Then I play some lesser known artists—Randy Bernsen, Ted Nash, and Skyline (a fusion supergroup from Vancouver).

I play a track from eight different jazz albums—seven of them from 2018. They include five recordings that Downbeat Magazine, in their January 2019 issue, claim are the “Masterpiece Albums of 2018”.   They may or may not coincide with your tastes (or mine).   But part of the ‘discovery’ process is to hear out the ‘experts’—–and Downbeat reviewers listen to a lot of jazz.   So they must know something, eh? At least one of those ‘masterpieces’ resonate with me—-I’m thinking of the Polish bassist/composer, Wojtek Mazolewski, and I hope to hear more from him. Also on the program is an album that received a four star review (from all four reviewers) in that same issue of Downbeat.  Canadian trumpeter Ingrid Jensen (originally from Nanaimo), with saxophonist Steve Treseler, playing music of Canadian icon, Kenny Wheeler. One selection from Stingray music’s top 10 jazz albums of 2018 is also featured. Lastly, I go backwards and forwards.  Backward to 2017.  And forward to later this year…. a six piece group featuring five Cuban women who just might (as the rumour goes) be playing in Peterborough for International Jazz Day. I always appreciate feedback, and invite any listener to submit and itunes review of this program.   It would be much appreciated.   -Larry Saidman, aka Larry the Radio Guy.

Hello.   I’m taking a break from Discovering Jazz programs for a few weeks—but I’ll see you in 2019. If you want something to tide you over until the next program, give my last year’s holiday special a listen.  It was Episode 14. You’ll hear music for Christmas, for non-specified winter holidays, New years, Ramadan, Hannukah (Channukah), and one you’ve probably never heard of—-Chalica. Music by the likes of Charlie Parker, Bill Evans, Ella Fitzgerald, John Eidsvoog, Shuffle Demons, former Peterborough resident Wesley Collett-Taylor, Bob Dorough with Miles Davis, The Cairo Jazz Band, Kenny Ellis, Dexter Gordon, Barbra Lica, Mike Rud, Ahmad Jamal, and The Darylectones (from Penticton, B.C.). I also talk a bit about the chord that makes songs sound ‘Christmasy”.

Part 2 of the formative recordings of jazz musician, fan, and organizer, Craig Paterson.   You’ll hear some Miles, some Keith Jarrett, Wayne Shorter, John Coltrane, Liberation Music Orchestra, and Phil Dwyer.  Great music! And some great stories—-especially Craig’s description of a piano workshop led by Keith Jarrett that he attended.  And his delightful description of his mother’s reaction to Wayne Shorter’s rendition of Dindi.

Jazz bassist and concert organizer Craig Paterson talks about some of the albums that formed his excitement about jazz.   Craig also tells some great stories about those albums and the concerts those albums spawned. And I play a recommended track from each album.

Contrafact refers to a new melody written over the chord sequence of an older tune.  And there are a lot of very popular jazz tunes that have done just that! In this program I play a few of them. You’ll find out what old tune has had the most jazz tunes stealing its chord sequence.   If you’re a jazz player, you probably know the answer! On this program you’ll hear Charlie Parker, Miles Davis, Dave Brubeck, Susie Arioli, Django Reinhardt, Sonny Rollins, Thelonious Monk w. Jon Hendricks, Don Shirley, Tony Bennett, Sarah Vaughan, Mike Murley, and more.

Today was a day to catch up on some of my listening and play a few records, cd’s, and downloads that I came across over the last couple weeks.  Then I learned about the death of one of my favourite trumpeter/fluegelhornists, Roy Hargrove.  He was only 49. I start the program with him playing a lovely rendition of The Nearness of You. Then I listened to a download sent to me by Josh McLeod of a Montreal funk group (with nuggets of jazz) called The Brooks.   Great funk-soul can rattle your bones, and my were rattled enough to make this and another track I found online to be worth playing. Then there’s the under-rated saxophonist-flautist who, after becoming a ‘founder’ of what is called new-age music, moved from California to Vancouver. This is from when he was still a great jazz artist.  I’m talking about Paul Horn. An interesting Toronto group called Myriad3 which includes a Peterborough bassist, Dan Fortin, is next.  And a wonderful find at a library sale—-the only album Toronto drummer Archie Alleyne recorded under his name.  With the Frank Wright Quartet. That Roger Kellaway album I played music from a few episodes ago is still sitting by my turntable so I played another track today—what a combination of stride, bebop, and polyrhythms. Staying with keyboard—two tracks from Chick Corea, one of which features a 20 year old Al Dimeola. Last but not least, Brazilian guitarist and singer from Vancouver, Celso Machado.

The focus on today’s episode is the relationship between improvisation and spontaneity in life.  It all involves a willingness to say yes.   I start with a statement from Vancouver jazz writer, drummer, and choral director, Brian Tate, where he compares it to Theatre Sports. And also feature interviews with Paul L. Clark and James Seaborn,  two members of a Peterborough group called The Smirky Waters Band.   They talk about how saying ‘yes’ has assisted them in their collaboration.  I feature three examples of that collaboration from a release called The Secret Woodpile Sessions. Other music you’ll hear:  two Tony Bennett recordings 59 years apart;   a pianist (Harold Lopez-Nussa)  from an amazing Cuban jazz family;  Geof Bradfield and nine improvisers from and album called “Yes and”;  an alto saxophonist/composer who was inspired by rhythms of her father’s heart condition.  And last, but not least, you’ll hear some “Real Sick Sounds”—-which, to my ears, actually sound pretty healthy.    

I had another pre-recorded program I  was going to air on my October 22 Trent Radio program—and then I discovered that it didn’t all record onto my flashdrive.  So I had to run into the Trent Radio record library and quickly find some records to avoid several minutes of dead air. Here are some of the records I found.  Some delightful discoveries! The two biggest surprises were both Canadian artists.   Did you ever hear of a singer named Ivy Steel?   Apparently she was born in Peterborough, and did one gig with the great saxophonist Buddy Tate in Toronto.  This is her only album, from around 1980, called Reincarnation.  And does she ever sound like Billie Holiday!  I guess that’s why its called ‘reincarnation’. The other surprise is by a pianist named Steve Holt.  This is his debut album from 1983, nominated for a Juno award.  Today you can hear him at his natural food store in Warkworth, Ontario—-where he brings in special guests and every second Friday puts on an amazing jazz concert. Other albums I pulled out and played a track from are by Hubert Laws, Billy Cobham, Milt Jackson, and a supergroup of David Friesen, Paul Horn, Chick Corea, Airto, and Paul Motian.

Today, I play a few jazz 78rpm records from my collection.  78’s were popular from the turn of the century up into the late 1950’s. One unique thing about 78’s is that you could eat them.   Technically at least!  As well as some great music, you’ll hear Alex Campagnolo, a researcher in Sustainability Studies–a man who focuses on the sustainability of recorded music—talk about why 78’s are good for the environment. As for the great music:  I play three tracks by the father of cool and free jazz, Lennie Tristano.   From 1949, believe it or not.   Also some Gene Krupa, Jon Hendricks, Ellington and Basie (of course), Red Norvo Trio with Tal Farlow and Charles Mingus, Lionel Hampton, and so much more! And lots of surface noise.  We love surface noise!

Lots of discoveries over the summer.  Some of them records, some cd’s, and a lot of them being music posted by friends and friends of friends. And one discovery begats another….such as when Peterborough bassist  Craig Paterson posted something by the great singer Cecile McLorin Salvant—-and it led me to discover her pianist and his trio—Aaron Diehl. Also two versions of Hi Lili Hi-Lo—described as a ‘trite’ song, but performed beautifully by Paul Desmond and also by Bill Evans.  And its actually quite a well written song (though comparatively simple), composed by the same composer as On Green Dolphin Street and Invitation. Which leads me to play a version of On Green Dolphin Street—-by a bunch of musicians best known as bluegrass players.   But some pretty hot jazz. Wanting to play something Canadian, I open up a Rob McConnell album (he was quite the valve trombonist) and play his version of Body And Soul. Then I end up with some Chick Corea and his Return to Forever Band, as you hear Vulcan Worlds. Broadcast live on Trent Radio in Peterborough, Ontario, 92.7 on your FM dial.      

The first part of this episode addresses the inroads female jazz artists have made over the years, as I start with a track by the amazing trio of Geri Allen, Teri Lyne Carrington, and Esperanza Spalding,  followed by something from the new album by Molly Johnson. Then I play another Canadian: Vancouver born composer and bandleader, Darcy James Argue.  His album “Real Enemies” addresses the vicious circle of conspiracy theories. Then 19 minutes of Sonny Rollins, who composed one of the earliest Civil Rights composition—his 1958 “Freedom Suite”, with Max Roach on drums. And speaking of Max Roach, you’ll hear an improvised duet between Roach’s drums and the remarkable voice of Abbey Lincoln, tracing the parallels between slavery in America and the bondage of apartheid in South Africa. Lastly, from Les McCann and Eddie Harris, the great Eugene McDaniels composition of Compared to What.

Jazz has always been political in some form.  Right from its earliest beginnings, this African American music was taken over by the dominant American middle class ‘white’ culture with no credit going to the black originators.  That’s political—since politics is about power differentials.  Most of the money was made by white people taking over the music in the early years. Who was called the “King of Jazz?   Paul Whiteman!   And when an all white band made the first jazz recording (they called it ‘jass’), the leader, James Larocca. claimed to have ‘invented’ jazz.   In this program I play that recording. Ironically and unintentionally, I play mostly white artists in this episode.  Except for the great Wadada Leo Smith and his tribute to Martin Luther King.  And saxophonist Bobby Watson and his tribute to the black cyclist, Major Taylor who defied the odds and the effects of racial prejudice to win an international bicycling competition in Montreal in 1899. But rather than reinforcing the racial stereotypes and the white upper and middle class ‘establishment’, these white artists are doing their bit to try balance the unequal power distribution.  Joni Mitchell writes lyrics to the Charles Mingus composition, Goodbye Pork Pie Hat, celebrating how black tenor sax master Lester Young successfully avoided playing clubs that refused to admit black customers.   Brandi Disterheft plays her tribute to Nelson Mandela.  Toronto pianist and singer, Elizabeth Shepherd protests politicians who used prejudice against veiled Muslim women to reinforce their own political power.   Alex Samaras and The Queer Songbook Orchestra sing a Bronski Beat song about the struggles of growing up gay in a world hostile to gays.   And Kurt Elling sings Bob Dylan’s A Hard Rain’s a Gonna Fall.    

You’ll hear about the struggle of people of colour to be treated equally, as I start with music by Archie Shepp and Charles Mingus. Then you’ll hear Bessie Smith and the stance of economic independence black women were compelled to assume for their shear survival–even as early as 1923.   And later in the program, Nina Simone turns a song from ThreePenny Opera into a black power anthem. Then the ‘politics’ of the drum, as Arturo O’Farrill talks about how the drum has been used both as an instrument of oppression and liberation.   Then his Afro Latin Jazz Orchestra performs 11 1/2 minutes of “The Offense of the Drum”. Speaking of Cuba—some different viewpoints from the Cuban musical community in Toronto, as you’ll hear Maqueque (led by Jane Bunnett) and singer Luis Mario Ochoa. Last but not least—-The Revolution Will Not be Televised, by Gil Scott-Heron.

This is the beginning of a series illustrating the connection between jazz and social or political activism. On today’s episode I play and talk about the following:

 Oscar Peterson’s Hymn to Freedom, which has been embraced by people around the world as an anthem for the Civil Rights Movement.  I also talk briefly about Peterson’s own experience with racial prejudice both in the U.S. and in Canada. Louis Armstrong as a world ambassador.   His 1955 European tour at the height of the cold war did more to ease East-West tensions than the many conferences designed to directly address the conflicts.  That’s why they titled the album recorded from those concerts “Ambassador Satch”. A medley by Jazzmeia Horn, an amazing jazz singer, who parallels the thump of the child in her womb as its ‘hunger’ to change positions with the hunger for enlightenment in today’s world. Charlie Haden, one of the most recorded bassists in jazz history, started a very political project in 1970 called The Liberation Music Orchestra.  It is still going today, even after Haden’s death—-led by Carla Bley. An excerpt of pianist Arturo O’Farrill talking about how the right wing Cuban musicians who left Cuba are betraying their country.   He recommends a young Cuban trumpeter, Yasek Monzano.who he says “deserves a shot at correcting the betrayal the Arturo Sandoval has created”.   I play a composition by Monzano from 2018. It is said that Mose Allison was a social critic before Bob Dylan.   He protests the domination of money over everything.   “Everybody’s Crying Mercy, when they don’t know the meaning of the word”. The classic political song, by Billie Holiday.   You know the one.  Columbia records was afraid to release it, so they gave her a one session release from her contract so she could record it for an alternative jazz label.

   

The mathematical mind of Bach shares similarities with the mindset of great jazz composers and improvisers.   Peterborough Saxophonist Al Baggs talks about this—and also talks about music as ‘sonic energy’.   He then speculates (tongue in cheek I assume) how this could relate to prison reform and a potential research grant that could explore that possibility. You’ll also hear music by The Swingle Singers, Modern Jazz Quartet, Oscar Peterson, Glenn Gould, Jethro Tull, Dimitri Naiditch, Italian Saxophone Quartet (playing some Piazzolla), and Tiempo Libre. As for the red accordion?  It’s in there somewhere.    

Micah Barnes, Toronto jazz singer and voice teacher, talks about what makes a vocal a jazz vocal.  Also the late Gene McDaniels demonstrates singing ‘inside the changes’. You’ll hear some of the singers who inspired Micah Barnes. Also a non jazz singer with a jazz singer’s authenticity. I also play a couple tracks from Micah Barnes “New York Stories” cd. And finally, one example of an opera singer attempting to sing the blues.  Right!

I start by featuring Lonnie Johnson—who played the first guitar solo ever on record, in 1927.  And we hear him playing with a Toronto Dixieland band from 1965.   Plus two very early recordings with his guitar. I also talk about pianist McCoy Tyner, and play three tracks from a double album—–with guests Arthur Blythe, Bobby Hutcherson, and Freddie Hubbard. I also play more Freddie Hubbard, Phil Woods, Count Basie, and the later vancouver Tenor saxophonist, Fraser McPherson. And one tune that’s become almost a ‘standard’—called Star Eyes.  It sounds like jazz—especially when you hear Phil Woods play his Charlie Parker inspired rendition.  But it was written for a musical called I Dood It.  And you’ll hear how it used to sound in a version by Helen O’Connell—before it got jazzed up.  Barely recognizable!

I’ve discovered some wonderful cd’s and individual downloads over the past spring and summer—-and I want to play you some of the highlights. My favourite cd I’ve bought is by a 19 piece Toronto big band—Chelsea McBride’s Socialist Night School.   And one that is really growing on me is a very unusual Phil Woods record from 2009 where he set the poems of Winnie the Pooh author A.A. Milne to music–with vocals by Vickey Doney and Bob Dorough.  Another cd by one of the finest new jazz singers is Jazzmeia Horn’s Betty Carter influenced “A Social Call”—and she does a lovely version of the Jimmy Rowles composition, The Peacocks (A Timeless Place).     Then there’s a wild pianist I first discovered in my university years—Andrew Hill.  I just bought his first cd—one that many critics put in their ‘must own’ list.  With Kenny Dorham, Eric Dolphy, Joe Henderson, Richard Davis, and Tony Williams.   And I start the program with a track from an Ahmad Jamal digital release of two albums from 1969 and 1971. I complement those great cd’s with a couple digital downloads sent to me by jazz afficionado and master bassist, Craig Paterson.  One is by Herbie Hancock with Columbian singer Juanes.  The other is a very recently discovered John Coltrane track.   I end with another track Craig sent me by trumpeter Booker Little with Scott LaFaro, from 1960. Last but not least—-in my quest to find a Canadian male jazz vocalists who I like—I try out Ori Dagan and something from his tribute to Nat King Cole.  And with that favourite cd I mentioned at the beginning—-an expressive and smooth vocalist named Alex Samaras, from Toronto.

Mary Halvorson, Orquesta Akokan, Danfis Prieto, Lina Allemano’s Titanium Riot, Greg Spero (with an illustrarion of 17/16 metre), Elio Villafranca, Renee Rosnes, Francois Moutin & Kavita Shaw, and Fred Hersch.  All talked about in either the May and June, 2018 issues of Downbeat.  I also talk a bit about the Downbeat Critics Poll and play something from the very first “Album of the Year”—from 1965.    

Anybody who takes a major interest in jazz is probably familiar with Downbeat Magazine.  I talk a little bit about its early days, then focus on the May, 2018 edition.  I play some of the music referred to in this issue—at least the records that sound interesting to me.  All part of the ‘discovery’ of jazz. Who will you hear in today’s episode?  It ranges from Duke Ellington to Canadian percussionist, Nick Fraser. I also feature a piece of music played in one of the famous “Blindfold Tests”—–a part of Downbeat that I always associate with the late jazz critic, Leonard Feather.  I talk about the time that I gave Leonard Feather a blindfold test.  And one of the recordings that stumped him. Other musical highlights?  Saxophonist Tia Fuller, Cuban pianist Manuel Valera, Oscar Peterson with Singers Unlimited, and the Roberta Piket West Coast Trio. Taking us seemingly away from jazz—but not really–are Karen Souza singing Every Breath You Take, Kurt Elling singing Paul Simon, and Charles Lloyd with vocalist Lucinda Williams interpreting Bob Dylan. Don’t miss this action packed program. As I finish reading the magazine, I’ll have more! Part 2 in a couple weeks.

Songwriter, pianist, and singer, Bob Dorough, died April 23, 2018 at age 94.  He had become one of my favourite jazz artists, leaving a legacy of great tunes and great records.  He was the musical presence and songwriter for Schoolhouse Rock,  doing such seditious acts as setting the multiplication table to music.   This series of short children’s cartoon entertained and instructed ‘unsuspecting children’ from 1973-85, then for another 5 years in the 90’s. He was also one of the only vocalists to have ever recorded with Miles Davis. The program starts with one of the most ‘zen’ love songs ever written in jazz.  I’ve Got Just About Everything.  Its about seeking a relationship but letting go of attachment and craving. And the program ends with him singing and playing, with brilliant bassist, Bill Takas a Duke Ellington, Harry James, and Johnny Hodges standard. And in-between?  You’ll hear a lot of Bob Dorough’s voice and piano—but also some Miles Davis, Mel Torme, Diana Krall, Spanky and Our Gang, Chad Mitchell, and Marlena Shaw.  I’ll also talk about the ‘steps’ that were taken in my own discovery of the brilliance of this amazing artist.

Today’s podcast features eleven selections that I just felt like playing.  Most of them are records, cd’s, or downloads that are pretty recent, the only exception being Hoagy Carmichael’s piano solo version of Stardust. The other piano solo on this program is something by recently deceased free jazz pianist and composer, Cecil Taylor. Two songs are played in two different versions.   “Social Call” is a record from the mid 50’s from Betty Carter, and its also the title of a 2017 recording by Betty Carter reincarnated, Jazzmeia Horn.  I play the title tune as sung by each of them.   Both are truly great….and very different! Then there is an instrumental version of Embraceable You illustrating Toronto trumpeter/flugelhornist Chase Sanborn’s claim that a musician can improvise best if he or she knows the lyrics to the song as well as the melody.  I play one version by Chase Sanborn with pianist Mark Eisenman, and another by the late great vocalist, Gene McDaniels. The opening tune I should have put on one of my jazz Beatles special, as it is still active pianist Roger Kellaway and his 1965 rendition of  a Paul McCartney tune.  Kellaway recently put together and toured a whole suite called “Many Moods of McCartney”. Rounding off the program is a song and narration from Phil Woods Children’s Suite based on the poems of A.A. Milne, The Modern Jazz Quartet, Peter Appleyard with some of the best jazz musicians ever, and Thelonious Monk with John Coltrane. For the rest of the Spring and Summer these podcasts will be programs created specifically for the podcast, rather than those broadcast first on Trent Radio in Peterborough.

This is a ‘travel guide’ to Peterborough’s International Jazz Day weekend, April 28-29.   Even if you’re not from Peterborough and know you won’t be there that weekend—no problem.  Listen to this program anyway.  You’ll hear some great music by great artists. I take you first to one restaurant (Brio Gusto) where you can hear pianist Pete Woolidge and guitarist/composer Federico Pontani and enjoy an appetizer.  I play a tune by the Sean Hully Jazz Group featuring (and written by) Federico called, ironically, Summer is Back.   Then I take you to La Hacienda to hear Canada’s most famous bassist, Dave Young playing with piano master Steve Holt–and eat some great Mexican food.  And I play a beautiful composition by Steve Holt (with trumpeter Kevin Turcotte) and follow it with Bass Blues by Dave Young and Oliver Jones.   For dessert go to Curry Village and have an Indian sweet and hear Donna Collison and another amazing pianist, Biff Hannon.   I play a Sonny Rollins composition with the Maynard Ferguson band featuring a terrific piano solo by Biff Hannon. From 6:30 to 9:30 is Carrie Chesnutt playing and singing with Mike Graham and the legendary Dennis Pendrith.  I play some excerpts from Carrie.  As well as Mike Graham and the Funksters. Then we move to Sunday.  There will be a jazz combo workshop at Market Hall—free to participants and audience. Make sure you have tickets for the feature performance Sunday night—-and get there early at 6:30 for cocktails and  The PWB Band—3 teens who are truly the future of jazz. Brandi Disterheft Quartet is the feature, starting at 7:30.  Her quartet includes Vincent Herring on saxophone, and I play a 2004 track by him called Hopscotch.  Also part of the quartet is pianist Alex Minasian and drummer Carmen Intorre. The program ends with three tracks by Brandi Disterheft from he last two albums.  She plays bass on all of them, and sings on two of them.   Lovely voice, fine composer.

Special guest for this program is Al Baggs, a jazz saxophonist who is equally fascinated by ‘classical’ or what is often termed ‘serious’ music.  With his gems of information and droll British humour, you’ll get an idea of how classical and jazz cross pollinates or fertilizes each other.   Using a number of different musical selections, we illustrate the similarities and differences. Al, although being mostly a jazz musician, has a real appreciation for ‘classical’ or ‘serious’ music of all kinds—and isn’t convinced that jazz necessarily falls into that category.   Except for jazz drummers—and his comments about them lead me toward an appreciation I never really had before. I can only air a bit of what was almost two hours of chat…..so if you find it interesting, I can present more on that  topic.   Your comments are always appreciated.   P.S.  I recently (Feb 22/19)did a bit of a re-edit of this episode, correcting an embarrassing pronunciation of the name of the great Montreal drummer, Claude Ranger.

You’ll hear a couple of the jazz musicians recruited to play on Van Morrison’s classic “Astral Weeks” album.  And a jazz saxophonist who played with both Carole King and The Doors. Zoot Sims and Teddy Wilson back Phoebe Snow.  Branford Marsalis with Sting.  Just a touch of Miles.  A Warkworth resident who has won a Juno for his jazz piano—and also put out an ‘adult contemporary’ cd.   And last, but not least, a jazz guitarist who became a member of Wilco.

This week’s podcast starts with a guitarist who played on a couple Monkees hits.  I include a nice ‘smooth jazz’ recording by him.  Also some ‘smooth jazz’ from Chet Baker (followed by his soloing on an Elvis Costello track)  and Steely Dan. But that’s not all there is.  A recording by Wayne Shorter that received a grammy nomination for best sax solo is also featured, and I don’t think anybody would accuse this as being ‘smooth’.   Another jazz musician who played with Steely Dan is drummer Steve Gadd, and you’ll hear something from a recording from 2015—that also features organist Larry Goldings. Bruce Cockburn put out a jazz oriented album in 2003, and part of the jazz influence comes thanks to Canadian pianist, Andy Milne.  You’ll hear him do improvisations on a very familiar Bob Marley tune…..and I challenge you to recognize it. I’d really like to hear from any of you who listen to the program….either through the comments section on Peterborough Independent Podcasters, itunes, or email (larry@windsong.bc.ca).

What do Herman’s Hermits and ‘Mahavishnu’ John McLauglin have in common?  Listen and find out. This program introduces you to more jazz artists who have played on pop/rock, singer-songwriter, and even classical recordings. Some of the jazz artists featured today are Charles Mingus, John McLauglin, Wynton Marsalis, and Jaco Pastorius.   And a couple tracks from Joni Mitchell as well employing the services of some of those artists.  Ending off with The Beatles.   Why?   Again….you have to listen to find out.

This is part 1 a series of three, maybe four, programs featuring contributions made by jazz artists to non-jazz recordings—-mostly in the pop and rock genres. It may be a jazz musicians only success in becoming a ‘rock and roll star’.   Although ‘star’ doesn’t fit because their contribution rarely gets mentioned. The program starts with The Byrds and So You want to be A Rock and Roll Star, with “the father of South African Jazz”, Hugh Masekela—who played trumpet in that original 1967 recording.  A major part of the program features the late great alto sax player, Phil Woods playing one of my favourite jazz compositions, Stolen Moments, then featuring his cameos on two well known pop recordings. I play some Miles Davis—-but not because he would ever ‘stoop ‘ to doing studio work.  I play Freddie Freeloader from the best selling album of all time because the tune’s pianist–Wynton Kelly—along with the rest of the rhythm section, put out a ‘pop’ instrumental that received a bit of radio play in 1963. Who else?  You’ll learn how jazz pianist Neil Cowley became for a little while ‘the most listened to pianist on the planet’.  And a Vancouver drummer, Tom Foster, played on a folk/singer-songwriter album.  You’ll hear a track from that plus some more recent work he’s done with jazz pianist George McFetridge.

New York comes to Peterborough April 29, when Brandi Disterheft (originally from Vancouver) and her quartet perform for International Jazz Day.  This week’s Discovering Jazz program features her plus the three accomplished New York musicians she is bringing with her.

You’ll hear pianist Alex Minasian, in this track accompanying Mark Murphy. Drummer Carmen Intorre does a spectacular job keeping guitarist Pat Martino in the groove as he performs Seven Come Eleven. Saxophonist Vincent Herring, who has played with the likes of Art Blakey, Cedar Walton, Jack Dejohnette, Freddie Hubbard, Carla Bley, Dizzie Gillespie, and Phil Woods here duets with trumpeter Nat Adderley. Then there is Brandi Disterheft herself—a bassist Oscar Peterson compared to Ray Brown and critics have cited her Charles Mingus influence.   And she’s quite the songwriter and singer.  And I’m  told puts on a great show. I play a total of four tracks from two of her albums.

Also on this program I go back in time celebrating  musicians who played at the three previous International Jazz Day celebrations in Peterborough. I also do a call out to Herbie Hancock,  playing one of his best known compositions. Hancock,  in his role of Unesco’s Goodwill ambassador, suggested the idea of an international jazz day “to highlight jazz and its diplomatic role of uniting people in all four corners of the globe”.  (that’s hard to do on a globe…..where are the corners?) Since many local jazz musicians will also be involved playing in various restaurants the evening before, I found a track by an L.A. group called Auracle, which features the amazing electric keyboard of now Peterborough resident, Biff Hannon.

To help celebrate International Women’s Day on March 8 here is a program on Women in Jazz.  Yes…there are a lot of great female vocalists.   The most heralded jazz singers are women: Ella Fitzgerald, Billie Holiday, Sarah Vaughan, Sheila Jordan, Betty Carter, Nina Simone, and so many others.   But you may not be familiar with some of the great female instrumentalists.  Hopefully this episode will change that. Who are some of them?  I could mention ones I’m familiar with such as Lil Harden (Armstrong), Mary Lou Williams, Marian McPartland, Toshiko Akiyoshi, Brandi Disterheft, Chelsea McBride, Regina Carter, Melba Liston, Jane Bunnett, Melissa Aldana, Carla Bley, Deirdre Cartwright, Esperanza Spalding, Diana Krall, Jennifer Scott,  Yissy Garcia, Patricia Barber, Hiromi, Yusa.  Then there are ones I can’t recall right now.  And many more with whom I’m not yet familiar…..and hopefully will someday hear. Only some of them I can play on a one hour program.  I hope you enjoy the ones I selected.    

The feature this week is a 1972 jam session–18 1/2 minutes long– of Dizzy Gillespie’s Night in Tunisia, featuring Dizzy, Stan Getz, Mary Lou Williams, Percy Heath, Kenny Burrell, Milt Jackson and others.  Then you’ll hear two Ahmad Jamal tracks, with a 60 year gap between them.  Jimmy McGriff performs a tune that a fine Vancouver jazz saxophonist (Tom Keenlyside) said was one of the most perfectly constructed jazz tunes ever written.   And another highlight—Chelsea McBride’s Socialist Night School, a modern big band from Toronto.  I also play Bob Dorough interpreting Randy Newman, and a lovely Wayne Shorter track played by Johnny O’Neal, Dave Young, and Terry Clarke.

More interesting jazz arrangements of Beatles compositions. It begins with some very early jazz-fusion, and ends with some later jazz fusion. Inbetween…..two Latin jazz renditions of Yesterday, two tracks that feature the trumpet of Lee Morgan, and a simply gorgeous version of Across The Universe by some prominent Toronto musicians. And dont miss Kevin Turcottes trumpet solo. Youll also hear a duet of Eleanor Rigby with Chick Coreas piano and Gary Burton`s vibes, and some Bill Frisell and his tribute to John Lennon

Were The Beatles jazz artists?  Of course not!  But then neither were The Gershwins, or Cole Porter, Irving Berlin, Rodgers & Hammerstein, etc. who wrote those great tunes that have become ‘jazz standards’. Jazz musicians have quite enjoyed adapting many of those Beatles songs to jazz….re-harmonizing them, changing rhythms, or adding new textures.    In this program I play some of those adaptation. You’ll hear Chick Corea and Horomi, Shawn & The Wolf, Jaco Pastorious, Kim Dunn, Interactivo, Herbie Hancock, Duke Ellington, Count Basie, Django Bates, and Larry Coryell. And as a special treat you’ll get to hear some of my interview with John Lennon. Alright!  You just caught me in a lie.  Its not really John Lennon, but a tribute artist who recreates him—a star from the British touring cast of Let it Be: A Celebration of the Music of The Beatles.   This man, Michael Gagliano,  is a true Beatles enthusiast! If you like The Beatles and you like jazz……you really don’t want to miss this podcast.

Great vocals can actually be some of the purest forms of jazz….despite what some jazz snobs might think.  We all have some kind of voice…..and how we use it is a form of ‘improvisation’.  Vocals can also serve as a translator of what the composer and the instrumental soloists want to communicate. For this program I discovered a few newer vocalists—such as Gregory Porter, John Boutte, Jazzmeia Horn, and Becca Stevens (with Snarky Puppy).   Then there are the ‘veterans’—great singers that almost everyone agrees are great jazz vocalists: Sarah Vaughan, Billie Holiday, and, more recently, Patricia Barber. The latter singer, by the way, starts off the program with a jazz tune that many jazz musicians like to do, but feels inaccessible to many listeners because of its complexity.  But you listen to her sing it—-and its suddenly accessible. I also play a few more obscure singers.  The great Eugene McDaniels will blow you away with what he and Ted Brancato do to the old spiritual “Sometimes I Feel Like a Motherless Child”.  And Bob Dorough does something with an old Frank Sinatra hit from 1946 that is very un ‘Frank’ like. And have you ever heard of Nellie Lutcher?  Then there is Havana’s (and for a while, Toronto’s) Telmary Diaz—-integrating spoken word with jazz singing; the inflections in her voice even as she talks has such a ‘jazz-singer’ feel. And finally….I need to correct a serious mistake I made in this program..  I play the great Toronto singer Barbra Lica with the Roberto Rosenman Quartet.  Every ‘gypsy jazz’ lover knows that Roberto Rosenman is a fine guitarist in that style.  What do I do?  I refer to him as a violinist….just because there is a very fine violinist as part of his quartet.  Sorry about that…..I don’t know what I was thinking.  (I know I could go back and re-edit it but, hey!, to err is human, right?  So I figured its good to have a bit more humanity in this episode

Many real ‘jazzies’ express a rather loud ‘indifference’ to the jazz ‘singer’.  “Cheesy lounge singer”, “not needed”, “waters down the music”, “reduces the musician to role of ‘accompanist’: those are some of the comments I hear.  Yet I love great jazz vocals…..and relish the creativity that many great players have in playing with the singer. Today and next week I present some of my favourite vocalists—some of whom most will agree are truly ‘jazz’, and others where some might question whether they fit into the category of ‘jazz’. And I’m still searching for a truly great Canadian male jazz vocalist.   Any suggestions of whom I might discover?

I was asked to make a playlist of jazz songs for a non-jazz event—a ‘cabaret’ put on by Peterborough Podcasters, where podcasters are hilighted and their great work presented.  So the challenge is to both challenge and appease….some familiar tunes, but also interesting enough to command some attention from this intelligent and creative group of people. So I start out with the best selling jazz record of all time: Take Five with the Dave Brubeck Quartet with Paul Desmond.  Then from jazzes best selling album, Kind Of Blue, I play So What by Miles Davis.  Then some Summertime with Oscar Peterson, an obscure but wonderful Cuban group called Interactivo, then the ‘traditional’ St. Thomas performed by Ron Carter with Peter Bernstein and Larry Coryell.   And in that last number I correct an error I made in a previous program….the NCRA award winning episode. I finish off with The Juno award winning Allison Au Quartet, then a collaboration of Duke Ellington and Count Basie. The rest of the 80 minute jazz mix cd?   Maybe I’ll throw some of that in next week’s program.  Or maybe not.

Happy New Year to all of you!  I appreciate knowing there are some listeners out there in podcast land.  Comments, feedback, or questions is always welcome. I’m still making lots of ‘discoveries’ about jazz…..enjoying the fact that we all learn together. This week’s program includes a few selections from albums and jazz artists who sparked my curiosity because either Downbeat Magazine’s critics’ poll or CBC radio ranked them highly this year.   You’ll hear the man who was named jazz artist of the year from an album that was rated as Jazz Album of the Year.   Also a couple others from that Downbeat poll—-including Cecile McLorin Salvant. And there’s a saxophonist/flautist from the 70’s who seems to be mounting a huge comeback (although I don’t know if he was ever gone).  I play a tune from one of my favourite albums of his from the 1970’s. Also one of CBC radio’s picks: a Montreal pianist named Getiane Michaud-Gagnon, and the Getiane MG Trio. Did you Peterborough residents know that you have a master pianist living right in your town who spent years with the Maynard Ferguson Band…..as well as playing with Nancy Wilson and being a regular part of  the Doc Severinson band on The Tonight Show?    I play a Maynard Ferguson track featuring this Peterborough resident’s amazing piano work. Also on the program you’ll hear Mongo Santamaria, the Artie Shaw rendition of Stardust, and ending off with a really fine version of Angel Eyes by master guitarist, Howard Roberts.    

This last program of 2017 includes lots of Christmas and winter holiday music. Some great renditions of familiar and not so familiar tunes.  Also one for Ramadan, Hannukah, and Chalica (tune in to find out what the latter holiday is). You’ll hear: Charlie Parker, Bill Evans, Miles Davis with Bob Dorough, Ella Fitzgerald, John Eidsvoog, Shuffle Demons, Carri Coltrane, Salah Ragab and the Cairo Jazz Band, Kenny Ellis, Wesley Collett-Taylor, Dexter Gordon, Barbra Lica, The Darylectones, Mike Rud,, Ahmad Jamal. You’ll also hear the chord that journalist Adam Ragusea claims is used in most Christmas songs and makes them sound “Christmasy”.

Today’s program starts with B.B. King and Kenny Burrell playing together…..along with organist Jimmy Smith and a host of other great musicians. Then Emilie-Claire Barlow rhythmically transforms a Donovan tune into …what’s the time signature anyway?  More vocals from Mel Torme, Tony Bennett, Diana Krall, Roberta Flack, and Bob Dorough.  You just have to hear Dorough’s rendition (with bassist Bill Takas) of I’m Beginning to See The Light.   Then I throw in some Thelonious Monk and Bill Evans just for good measure. At the end I play my “Discovering Jazz” theme song from start to finish, but I don’t introduce it.   So consider this a contest.  The prize?  Well, you can be a ‘guest’ talking about any jazz related topic you want, on a 2018 episode of this program.  Or I could give you a couple jazz lp’s or cd’s.   The question?  What is the title and the artist of my theme song with which I end this week’s program?  

An illustration of how some people learn and learn about jazz.  We hear the perspective of Peterborough jazz saxophonist, Sean Hully.  Sean tracks the development of jazz, from King Oliver, Louis Armstrong, Coleman Hawkins and Charlie Parker.   He then moves on to how the playing of Wayne Shorter, Hank Mobley, and Joe Henderson inspired Sean.  He gives us an inside look at his own improvisation process.  We also hear about finding that balance between accessibility and creativity.  Then there is the difference between thinking ‘vertically’ and thinking ‘horizontally’: do you know it?  And, of course, lots of interesting music. Musical Artists You Will Hear: King Oliver, Louis Armstrong, Coleman Hawkins, Charlie Parker,  Susie Arioli, Weather Report, Sean Hully with Federico Pontani, Hank Mobley, Joe Henderson, Glenn Miller  

Live from Trent Radio Studios (92.7 fm in Peterborough, Ontario, Canada), more 2nd hand vinyl records I bought this fall.  You’ll hear some great vibes from a 1962 British film about jazz, Mel Torme with Janis Ian, an incredible trumpet blowout with Roy Eldridge and Dizzy Gillespie, the first black singer to sing regularly with a white band, some new age meets jazz-bluegrass-Roma-Caribbean, blues with Billy Eckstine and Dizzy, the mellowest tenor sax ever (guess who?), and a local jazz ensemble from the 90’s featuring Mark Davidson and Steve McCracken.

Today….from a live feed from Trent Radio in Peterborough….I play some 2nd hand jazz lp’s I bought at a pawn shop recently just to see which ones I’ll put in with my collection and which ones I’ll give away.  I’ll try out some Pat Martino, Mel Torme, Gene Roland w. Jimmy Knepper (great trombone!), George Benson, Buddy Spicher & Lenny Breau, Tete Montoliu, Manteca, and Chuck wayne & Joe Puma.  Plus a couple cd’s inspired by an earlier program on Thelonious Monk…..one of studio recordings with John Coltrane, and another of Carmen McRae singing Monk tunes. This podcast will sound a bit different from my other podcasts because instead of recording it in my home studio, this is recorded right from the radio broadcast.

There is a great jazz instruction blog and podcast called LearnJazzStandards.com, hosted by a guitarist named Brent Vaarstra.  One of his posts was called “92 Modern Jazz Albums You Need to Listen To”, with ‘modern’ being anything after the year 2000.  I went through the first few, and also found (elsewhere) a couple Canadian jazz albums……and decided to play a track from a few of them.  You’ll hear Anna Maria Jopek & Gonzalo Rubalcaba, Tarek Yamani, Larry Goldings and Peter Bernstein, Paul Novotny and Robi Botos, Poncho Sanchez & Terence Blanchard, Bruce Forman, David Kikoski w. Christian McBride, Bria Skonberg, John Abercrombie, and Eldar Djangirov.  Let me know if any of them ‘stand out’ for you.