2119 avsnitt • Längd: 60 min • Dagligen
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On The Jake Feinberg Show (radio) and in Facebook Lives, Jake Feinberg has now conducted over 2,000 interviews with “The Cats”—popular musicians across the spectrum from rock to jazz, R&B to folk, pop to country, bluegrass to fusion. Jake’s unique interviewing style puts musicians at their ease and inspires them to reflect candidly on topics familiar or unexpected.
The Cats tell little stories, muse about life, uncover aspects of the music business, dig deep into overcoming adversity, revel in camaraderie, and open their souls. You will never see musicians in the same light again….
The podcast The Jake Feinberg Show is created by Jake Feinberg. The podcast and the artwork on this page are embedded on this page using the public podcast feed (RSS).
Warren Smith was born in 1934 and moved to New York In 1957. He along with Ken McIntyre opened the first black-ethos music school at SUNY Westbury. He became the first black to be part of an orchestra and was the drummer for the last seven years of the original New York run of West Side Story on Broadway. He was also part of Max Roach's percussion project MBOOM. Sessions, lofts and education followed. Another legend.
JF
Drummer from Santa Barbara talks about growing up under the tutelage of Ike Jenkins and connecting at USC with Jaden Lehman.
Ferocious drummer talks about setting the foundation for intoxicating deliberate grooves in the band Sqwerv.
Brilliant saxophonist talks about the mentors in his career that helped him stretch his vocabulary and get out of musical corners on the bandstand.
Sublime young drummer talks about developing his own character on the ride cymbal and the opportunities that lie ahead for him in his career.
Unique and authoritative pianist talks about his musical journeys.
Brilliant sarod player talks about his late father (Ali Akbar Khan) and his own musical excursions including playing with Charles Lloyd and Shanti.
Prolific rhythm maker and innovator talks about the cats who helped shape his musical point of view.
Ubiquitous guitarist talks about how he has learned to be himself on the bandstand with iconic RnB and rap artists as well as his own band The RUFF PACK.
My guests on Tuesday were Mary and Alam Khan, wife and son of the classical Indian musician Ali Akbar Khan. Ali Akbar Khan was the kind of leader our society so desperately needs today. He was a genius but entirely understated. He believed in equal opportunity and access to an affordable education. He understood why the arts were integral to the depth of a society as they are the pillars of our society. This is why people gravitated to this man. It is not mere coincidence that a great many bands from the Bay Area played benefit concerts to raise money for his music college. The work of Ali spans many decades and consist of compositions, writings, songs, pictures and other material that needs to be preserved and archived. As an aside I should also mention that his records have provided me great comfort during times of great pressure or imbalance in my life and have allowed my mind to open and be free of anxiety. Therefore this is part I of my homage to the Ali Akbar Khan School of Music in an effort to raise awareness and funds to uphold the sanctity of all his works.
Dynamic multi-instrumentalist and producer talks his early development in The Greyboy Allstars and how he cultivates music for TV and film soundtracks.
Stellar guitarist and producer talk's about how he found his own voice on the guitar through a myriad of musical influences.
Dynamic young bassist talks about letting go of control on the bandstand and entering an altered state of consciousness.
Divine Sufi healer talks about getting on the path early in her life and how that mindfulness has carried her aura and light to this day.
Drummer and father talks about the crooked path of a musician and his upcoming tour with Kelly Finnigan.
Conversation with a great percussionist and drummer before his gig with House Band from Permanent Records Roadhouse in Los Angeles from November 2024
Prolific young guitarist and bassist talks about filling the groove with Bush League and how he will carry on Phil Lesh' legacy through his playing.
Dutch drummer talks about playing with masters of the great American art form known as jazz and the lessons he has learned on the bandstand.
Young guitar warrior talks about his journey to find his own individual sound and what he has learned on and off the bandstand from cats like Steve Kimock and Oteil Burbridge.
Impresario and musician talks about his days promoting concerts at Oberlin College and what he does now to keep Keystone Baltimore humming along.
String bassist and trumpeter talks about coming of age with Dave Baker at Indiana University, establishing himself in Chicago and giving back to the Tucson music community by playing and teaching at the Tucson Jazz Institute.
Profound NYC drummer and singer talks about his crooked but profound path towards musical enlightenment.
Conducted in the studios of 89.1 FM in Tucson in 2014
Brilliant multi-dimensional artist and doula talks about forgiving herself for prior trauma, forgiving herself and reentering her physical body after years of resistance.
Genius drummer from Alameda talks about making a musical connection with Lou Sarrica in high school and how that carried over to Cookin' Mama.
Boogaloo Lou talks about playing the blues in the ghetto and being a mentor to younger jazz cats.
Gifted poet and player talks about how meditation and musical co-creation has led her through the darkness and onto a path of unfoldment and purpose.
Iranian musician and drummer talks about how he works within the confines of the studio as a hired gun and his teaching techniques to get the best out of his students.
Wide ranging musician and producer talks about being in Jersey rock bands with John Ginty and Neal Casal. Where The Wait Isn't Long - homage to the Highway Butterfly and mental health awareness.
Prolific keyboardist/organist talks about being the musical director for Gregg Allman and his roots in the early seventy's blues psych band known as Cookin' Mama.
Titanic session guitarist talks about working at Muscle Shoals and with Bob Marley, The Rolling Stones and Leon Russell.
Young saxophonist and keys player from Flagstaff talks about the importance of playing in a band (Bush League) and writing original tunes.
Transcendent producer, beat maker and trumpeter talks about his musical point of view as it relates to recording, live playing and blowing his horn.
Bassist, trumpeter and singer from Costa Rica talks about moving to New Orleans and connecting with Johnny Vidacovich, Al Hirt and Charlie Brent.
Divine singer/songwriter talks about her intentions for sharing her music with the world.
Transcendent keyboard player talks about his musical roots growing up in Philadelphia and the cosmic opportunities to collaborate with Dave Chappelle and Josef Leimberg.
Devotional drummer talks about growing up and playing double drums with Desmond New in Tucson and where he is today in his musical journey.
Guitarist from Flagstaff who now lives in Tucson talks about the various tributaries of his musical existence including the band Bush League.
Light healer, DJ, Doula and Thai Massage Therapist talks about her journey from ideology to infinite wisdom through vulnerability and self-inquiry.
Master of Ceremonies and host at The Century Room talks about his artistic passions and how he has gotten to where he is today.
Coming off the road The JFS had a relatively quiet week behind the mic. Cosmically I did connect with Arash Moghaddam and his story is one of the most compelling I have heard in 2,000+ interviews. Born in Iran left as a very young baby Arash immigrated to Maryland at the age of 2. At 13 he moved to Turkey for 8 months and then to Norway for three years. Right before his 16th birthday his parents took him back to Iran for a “vacation.” After the government "lost their papers" his family wound up spending the next couple of decades in the country. At that time Arash was obsessed with listening to music and skateboarding. Music was outlawed in Iran at that time so Arash was relegated to acquiring cassettes of Metallica on the black market and showing off his skate moves to culturally starved people. There were no drum kits available commercially in Iran because music was forbidden so he took a 13-hour drive to Tehran to find instrument stores. When he did a gentlemen opened a sliding wall and dozens of antiquated kits - from before the revolution - reveled themselves. The only problem was they cost 3x as much as a car so Arash returned to his hometown and with that help of a friend built his own kit.
What followed were gigs in wedding bands and shedding in his room being careful not too play too loud so as to alert the neighbors. In dealing with family strife his father taught him to pray. Arash managed to create his own version of allegiance to god and never fell into the doctrinaire pit of conformity and group think. Instead he held true to the principles of his faith while incorporating the mystical side of Islam known as Sufism. He also began to read the philosophical works of cats like Maurice Maeterlinck as well as Cabalistic texts which broadened his ability to alter states of consciousness while praying and receiving messages that only became clear in their meaning as he got older.
Arash now lives in Sacramento and is a decorated teacher, player and international inspiration. His story is one of perseverance, getting knocked down and starting from scratch. He and his friends created improvisational musical games w/o having any formal training and over time his ears became bigger to contain all music. Suffice it to say we still have at least one more installment to do but I highly recommend listening to this interview. If nothing else to gain some perspective on how we are all connected by the universal vibration and through that frequency we are all one. Link in bio
Continued discussion about the philosophic complexities of authentic recording in the studio and
Legendary keyboardist from Florida talks about his musical relationships and collaborations with Berry Oakley, Boz Scaggs and Joe Bonamassa.
Pianist and big band arranger talks about the regional music scene of Tuscaloosa and playing with legends like Cleveland Eaton and Norbert Putnam. Highly Recommended.
Multi-faceted percussionist and sonic expander talks about being exposed to all the heavy German jazzers that came before him and how he adapted his drum work in the studio the fast-changing technology that was developed at the end of the 20th Century.
Fearless musician and composer talks about how her tune construction has changed over time, her current musical projects and the timeless experience of playing live with Paul Motian.
Titanic entertainer and leader of his Bayou Gypsy Band talks about the many chapters of his magical musical life.
Electric bassist who has helped redefine the instrument talks about his musical and spiritual philosophies that have propelled him on a path of constant creation.
Jazz Messenger and music stalwart talks about the nuances of creating spiritual music on the bandstand.
Continued discussion surrounding the balance between external knowledge (theory) and internal honest expression on your apparatus.
Intrepid musician and seeker talks about his collaborations in the studio with Bill Laswell.
Profound discussion of how God has worked in Alex's life on the bandstand, in the studio and most importantly with his family.
Continued philosophical discussion on the sacred path of being a musician and being unabashed about playing with the deepest cats and following the creative muse.
Musician steeped in soundscapes talks about his early punk and metal influences growing up in San Diego and how that sound has influenced his current synthesizer-based projects.
Multi-dimensional singer and musician talks about finding her way in the world of New Orleans jazz and spiritual music with cats like Earl Turbington and Dunc's honky tonks.
Dynamic Texas drummer talks about learning to play the shuffle and grooving in life.
Singular and inventive guitarist talks about the brotherhood of musicians he has played with including Lenny White, Curtis Fuller, Bill Goodwin and Joe Henderson.
Prolific bassist talks about lessons he has learned along the way from Richard Davis, Bill Laswell and his ability to find his way inside non-native grooves on the bandstand.
Trombonist from rural Massachusetts talks about his early musical leanings and lessons learned from Jaki Byard.
Decorated pianist and producer talks about his work with James "D-Train" Williams, Reggie Lucas, Mtume and his latest album dedicated to his father.
Mid-week rejuvenation after interviewing a great drummer and student of music - all good things in all good time as this conversation takes us inside the mind of AD - which cats he sought out to learn under before he became a leader - the divine timing of being welcomed into the Baptist church (to play) - his philosophy as it relates to having music on the bandstand and a Deitch Academy breakdown of the 3 T’s - #touch #tone #timefee
Israeli born pianist talks about his Iraqi blood line and middle eastern influences in his playing. Come back to Tucson soon....
Profound discussion with a drummer who grew up in the Bay Area at a time when musical vocabulary was expanding in part to the wide-open rhythmic landscape. Highly recommended....
Bay Area musician talks about gravitating to heavy rock drumming in the mid-seventies, playing at Different Fur Studios and his time with Gregg Allman & Friends.
Songwriter and singer talks about the spiritual inclinations of her songs and their messages.
Continued discussion of becoming part of The Range, the antics of drummer John Molo and his musical relationship with John "Drumbo" French.
Philosophic musician speaks about his unique yearning for instrumental improvisational music before he even knew what these terms meant. A continued discussion about the significance of live music within our culture.
Humble genius talks about his rhythmic roles as a drummer in Frank Zappa's band as well as Genesis.
Bassist and composer talks about his musical relationships with bandmates of all ages and how he works within the rhythm section to move the groove.
Guitarist and band leader talks about his approach to playing music on the bandstand and in the woodshed. A heartfelt discussion about realizing your highest individualistic sound.
Blazing guitarist talks about soul crushing moments in his music career, losing an opportunity to play with Genesis because he told the truth and his musical connection to Narada Michael Walden.
Glorious hang with a pianist and composer who is still bringing it to the people.
Keyboardist and singer from Kokomo and 10cc talks about overcoming addiction and his chance encounter with Bob Dylan during the making of Desire.
Expansive discussion about his introduction to Reggae music through Soul Syndicate and how the Blue Riddim' Band infused that groove in their own sound.
Profound drummer talks about growing up in Baltimore and playing with O'Donel Levy. Essential listening for all seekers....
Peruvian drummer and percussionist talks about his collaborations with Don Alias, Louie Bellson and Jaco Pastorius.
One of the Young Rascals and proponent of Transcendental Meditation talks about the magic ride of his musical life.
Seminal guitarist talks about the great players who influenced him growing up in the Bay Area and the stunning stories of his career on the bandstand.
Keyboardist and producer talks about working with Captain Beefheart, finding his way into the Southern California studio scene and his long unvarnished trip with Bruce Hornsby.
Iconic singer/songwriter talks about being a man of the people through his music and actions. A tip of the cap to Pete Seeger. Onward.
Brilliant drummer and percussionist talks about growing up learning music from his father and five brothers, joining Perez Prado in Las Vegas in 1964 and his relationship with Joe Zawinul in Weather Report and beyond. All Timer...
Iconic jazz drummer talks about the smooth ride he provided for Stanley Turrentine and Horace Silver among others.
Powerful young drummer talks about how he has learned to serve the song behind the drum kit.
Musician and spiritualist discusses his journeys on and off the bandstand.
Original drummer from Sly and the Family Stone talks about the early studio recordings/demos the band made at CBS in New York and Columbus Recorders in SF.
A master is someone who teaches, a master is someone who sacrifices and loves themselves. To master is knowing how to access your native gifts.
As far as my guest is concerned that translates out to being one of the most in demand, highly respected, versatile bassists in the world.
He was raised by his musical elders like Richard Davis who had been a guest twice on this show. The Pisces swimming upstream downstream always adapting, always churning, overcoming.
Astrology aside my guest has played with The Queen of Soul Aretha Franklin for the last 50 years. That was in between studying and watching Mingus dual with Dolphy in some mob run club. Lock the groove, play free, play a blues before the word funk even came into the lexicon.
He's played and recorded with King Curtis, Jim Pepper, Duane and Gregg Allman, Eddie Harris, Gil Scott Heron, The Voices of East Harlem and Shirley Scott.
A master gives back like Ali Akbar Kahn and Jerry Wexler and Dizzy Gillespie. Knowing their instrument, knowing their strengths like Chuck Rainey or Bernard Purdie or the late great Richard Tee.......my guest today is giving back on multiple levels including mixing live iconic music with youth baseball. Something only Jackie Robinson would have dreamed off....
Jerry Jemmott welcome to the JFS
Brilliant bandleader and composer talks about improvisation, working with Spike Lee and his upcoming show at the Tucson Jazz Festival.
Pianist and singer from the band Kokomo talks about his early musical experiences in Ireland and how the band Arrival got its start at Ronnie Scott's.
In person interview with a profound musical avatar.
Musician and curator of Healing Force of the Universe in Pasadena talks about the modern-day dilemma of finding time to create art and foster a community through cultivation of a music venue/record store.
Guitarist and mentor talk's about the pros and cons of putting his own imprint on different styles of music of American music and how he cultivated his individual sound.
Transitions are part of Life. You move in and out of collaborations with artists, lovers, and job opportunities. But the genesis of transition stems from the beginning. The fruitful years of hearing new sounds and adding your own accent. The roots of creativity, work ethic and brotherhood.
Part of the goal of the Jake Feinberg Show is to reconnect those who played together in the beginning with a shared conception and goal. The idea of being dedicated to their instruments and holding obligation to nothing else. But through transitions and opportunities these individuals have not connected on any level for sometime. Maybe a chance airport run in but with no real time to reacquaint.
A state of being @ the Same time. Roy Ayers and Carl Burnett....glad to be the bridge. JF
A fascinating life story and one that could only be found in America. Hat's off to Jimmy Lyons, Lester Young and the Monterey Jazz Festival.
Musician and provocateur from Watertown, MA talks about how his generation uses music as a medium to impact the social construct.
Pianist and composer talks about the inner urge of creating music on the bandstand with different generations of masters.
Italian born drummer talks about coming to New York and learning to sing for his supper in a myriad of different musical settings.
Poet and bandleader who sings in the spirit and walks in love doing the delicate dance of staying true to her creative singularity while singing for her supper by sliding between the concentric circles of popular American music. A firecracker of humanity who wants to do everything to the max Alicia is a troubadour who is always looking for a creative edge to increase inspiration. I can only hope our spontaneous improvisational conversation can provoke further wisdom and insight for her moving forward. Love always, JF
Unheralded trumpeter talks about the nuanced qualities of playing improvised music.
Music promoter and advocate talks about his vaunted music store Soundscapes in Tucson and how he continues to organize and cultivate music festivals around Tucson.
Multi-Instrumentalist and producer talks about staying open to creative projects and people in all musical worlds.
Profound composer, musician and thinker talks about following the universal muse on and off the bandstand.
Gospel infused keyboardist and composer talks about his journey inward to find his own voice in the musical conversation.
Drummer and percussionist talks about finding the groove with Vampire Weekend and integrating his soul into the music.
Blazing guitairst talks about weaving in and out of the groove in his full-time musical existence.
Brooklyn based drummer and percussionist talks about his early training grounds in India, Israel and Spain and how he has brought those concepts to the bandstand to make the music feel good on a trap set.
Drummer and producer talks about being bitten by the music bug and following his inner muse even when those around him discouraged his pursuit as a professional musician.
Free spirited guitarist talks about her creative sensibilities and the calling of music throughout various chapters of her life.
Vibe raising musician talks about his musical life on the road with Circles Around The Sun or at home in Catskill, NY. Let the body dance.
Epic transmission with an iconic drummer at his apartment on the upper west side of New York from June 2024
Dynamic musician and band leader talks about the subtle nuances of creating music in the modern era with Big Search.
Intuitive and improvisational bassist talks about the birth of Groove Collective at Giant Step in the mid 1990's and his desire to create an immersive musical experience for the audience.
Artist, drummer and human being talks about his intention for releasing Drums of Compassion at this time.
Musician from Jersey City talks about his concept of the word "jazz" and how he has tried to tell his own life story within his various collaborations.
Contemplative guitarist talks about getting out of his own way in order to be a conduit for the music on and off the bandstand.
Profound prodigal drummer talks about being thrown into many different musical settings as a young girl and how that has helped her make a living doing something she can't live with out.
Humble and introspective drummer talks about the role his faith has played in musical performance both live and in the studio.
Profound drummer and human being talks about the impact that John Lennon, George Harrison and Ringo Starr had on his musicality, spirit and faith.
Fiery singer songwriter from Eastern Washington talks about letting go of her perception of perfection on the bandstand and being her authentic self in the studio.
Profound musical artist from rural Michigan talks about her early connections to source in nature and her relentless pursuit of authenticity in the recording studio.
*photo by Mikael Kennedy
Incredible drummer talks about playing with McCoy Tyner and being responsible for passing on the essential lineage of this music.
British born pedal steel player talks about the burgeoning young musician scene in Nashville and playing in a Dead cover band all over Europe.
Cuban born dancer and painter talks about taking up the drums when he was seventeen and inspiring his parents to see the value in playing live spiritual music in Cancun and America.
Master drummer from New Orleans talks about playing spiritual music with his brothers and sisters.
World percussionist and ethnomusicologist talks about learning from his elders and applying that knowledge to his own sound.
Off the cuff hang at Rocco's Pizzeria in Tucson, AZ from May 2024
Cosmic French bassist talks about becoming ensconced in the studio scene in Paris and connecting with Chick Corea through Patrick Moraz ultimately bringing him to the states for the remainder of his career.
Singer songwriter with a singular voice talks about how she has grown as a musician and how she finds balance within her existence in this life.
Norwegian born singer and band leader talks about the messages in her music and how she differentiates between other musicians in Americana music.
Cosmic pianist and composer talks about playing the Gulf Coast circuit with his father growing up in SE Louisiana. Part of his new album drops tomorrow!
Ukrainian jazzer talks about discovering John Coltrane through Kenny Garrett and leaning the language of spiritual music. Ukraine for the win.
Dynamic musician and old soul talks about her latest creation - Floreana - and how she is learning to get out of her own way to be a conduit for the music to come through her.
Bass player and producer talks about the greatest lesson he received at Berklee and his dedication to making good feeing music with his friends.
Unheralded musician and band leader talks about playing the Fillmore District with King Pleasure and Merl Saunders.
Profound pianist talks about his days studying with Allaudin Mathieu and how he found his singular voice playing for interpretive dance and ballet.
Fiery young keyboardist talks about living with his bandmates in LA and playing music beyond genre.
Dynamic flowing drummer talks about her life on the road with Color Green.
Profound multi-instrumentalist and producer talks about growing up in a musical household and how he has carved out his own path on the bandstand and in the studio.
Once there was a band called the Blue Velvets. Saul Zantz didn't like the name and made them change it. They eventually settled on Creedence Clearwater and the Fantasy label hit gold. Ed Bogas was hired soon there after and became one of the lead producer and arrangers for all the jazz cats under contract. The funny thing was that he knew next to nothing about jazz. He attributes much of his success to Cal Tjader who had recently resigned with the label. Cal led him by the hand and eventually they sang lines back to each other. A true baptism by fire and some great stories.....
Last Bolero in Berkeley,
JF
Long time buddy of the GD keyboardist talks about the late great man he knew.
Longtime friend of the Grateful Dead keyboardist talks about their friendship before and after the GD.
Dynamic Chicago drummer talks about learning to develop grooves and rhythm patterns that he learned from his heroes and make them his own.
Keyboardist and drummer talks about his current musical projects and what inspires him to remain on the seekers path.
Wife of the late Stan Getz talks about her recollections of their cosmic and at times turbulent existence.
Discussion with a master musician about the phenomena of sound and his album Solar Eclipse.
Profound musician from Nigeria talks about his introduction to rhythm in the Celestial Church and making his mark as an Alternative Afro-Beat band leader.
Mystical singer and spiritual guide talks about overcoming adversities in her life, her musical journey and finding ultimate inner happiness through her spiritual practices.
Meditation guide and healer talks about the regenerative qualities of a mindfulness practice and how this has anchored her during difficult times.
More at;
jessvmeditation.com
Jamaican bassist with deep roots in all styles of music talks about his willingness to record with no typical studio conventions and the genuine relationships he has built over his still young yet expansive career.
Bop Vibraphonist talks about his musical encounters with the giants.
Versatile wind player talks jamming with Dyke & The Blazers in Phoenix, at The Experience with Jimi Hendrix and the band Pollution.
Venerable and selfless band leader talks about moving to Santa Cruz with his band (from Detroit) and playing with Steve Marriott.
Versatile and dynamic bass player talks about the impact The Grateful Dead had on his musical POV. A modern-day conversation about a musician who hustles in order to sing for his supper.
Dynamic and versatile drummer talks about staying sharp during COVID, playing with Phil Lesh and the road ahead for authentic creatives.
Heavy bop and post bop trombonist talks about swinging the night away with That Jones, Mel Lewis and Herbie Hancock.
Inspired musician talks about spontaneous composition and learning in all musical settings and the subtle genius of Bill Keith.
Singer songwriter from a musical family talks about recording with Jason Abraham Roberts in Joshua Tree right before full lockdown.
Jazz entrepreneur and promoter talks about the comradery of the musicians that contributed to spiritual live performances in the studio and on the bandstand.
Rugged bluesy singer and bandleader talks about being raised by Ma and Pa Hodge and making a name for himself in Detroit as a topflight entertainer.
Brilliant French multi-instrumentalist talks about the myriad of different musical settings he has played in both in France and Tucson.
Legendary blues entertainer talks about working with Willie Banks & The Messengers and learning from Billy Davis.
Brilliant gulf coast drummer who wound up in Nashville talks about incorporating drums into country and folk rock settings.
Road dog musician from Chelsea, MI talks about playing and listening within the group context and his intentions for going on tour with Chirp.
Incendiary trumpeter talks about making a living as a musician in 2024 and how he is learning to be himself on the bandstand.
Soaking and conversing in rays of sunshine with bandleader of The Tyde. Heal Thyself....
Stellar singer talks about finding his own voice in a thriving record based industry.
Monster musician talks about his early playing days with Dizzy Gillespie and leading the Woody Herman Band.
Heavy horn player talks about playing with jam bands like Ratdog and Dave Mathews.
Fluid and versatile pianist talks about finding a flow state on the bandstand and what he learned from Andrew Hill.
Modern Day Griot talks about his upbringing in a musical family and how the Griot remains a storyteller and problem solver in many communities throughout Africa.
Legendary Idaho musician talks about how he and his brothers were raised in a musical household and how that has carried over to many bands and even more memories.
Monster saxophonist talks about being raised in a musical family in Cleveland, connecting with Joe Lovano, and his own trio known as The Fringe.
Legendary drummer from Lynard Skynyrd talks about his early playing experiences with members of The Marshall Tucker Band, Charlie Daniels and his own project Next Voice.
Interview with Dawg prior to his appearance at The Musical Instrument Museum In Phoenix, AZ 09/2018
Young hungry musician talks about the bandstand experience he has had at this point in his career and how he will approach the dogma associated with the academy.
Legendary drummer talks about learning from and playing with Sonny Rollins, Benny Goodman and Joe Hunt.
Bandleader from Boise talks about finding her community in LA and where she wants to take her music.
Cosmic drummer talks about getting the gig with Kenny Loggins, adjusting to in-ear monitors with Chicago and his own original group known as Honk.
I have two children both of whom love music. Not because I play contemporary child's music but because of my love of all musics. In fact I have struggled to find any real substantive children's music until I strolled into Desert Industrials and came across Getting to Know Myself and Homemade Band two of the definitive children's albums made by my guest during the fertile landscape of the early 1970's.
This music swings and while not an all out funk fest these albums open kids minds to create their own homemade instruments. Be it string, paper towel dispensers, sticks its a homemade band.
Then I come to find out that my guest was the originator of combining music with movement for kids. It's the rhythm, the bouncy buoyant infectious energy that makes you want to dance.
It's nice to welcome Hap Palmer to the Jake Feinberg Show
Session guitarist from Jamaica talks about making iconic records with Fully Fullwood and Carlton "Santa" Davis.
Live from Casa Finnigan from March 2018 - RIP to a legend.
Badass pianist talks about working with Henry Grimes, Dee Dee Bridgewater and being part of this great American musical lineage.
Most people associate Jerry Garcia with the Grateful Dead. And rightfully so, they were the longest touring band in Modern American History. And because they have been dubbed a psychedelic rock band that's what many associate with Jerry's guitar style and sound.
However a closer look reveals that Jerry was a curious student who made periodic stops along the way to increase his playing vocabulary. Jam sessions @ the Matrix that Bluegrass with OAITW and TGAMB, Funky Blues with Merl and Legion of Mary, a return to his gospel and soul roots with his own band and a dip into fusion with Reconstruction. Today we will listen to some of Jerry's peers and musicians who collaborated with the Fat man outside of the Dead who all contributed to his style and sound.
At the core Jerry Garcia was a bluegrass picker. He was a legend of the California circuit back when Los Angeles was a hotbed of bluegrass activity in the mid sixties. It was an infatuation with the Father of Bluegrass Bill Monroe and the Ash Grove Fiddler Scottie Stoneman that led to this new breed of players who burned. As the great violinist Richard Greene told me "we bowed at the feet of Monroe, he was our Jesus Christ." By March of '74 the Great American Music Band was gigging and having fun. Here is a clip of My interview with David Dawg Grisman about the first time he met Garcia. We'll pick it up with Sweet Georgia Brown....
Iconic drummer from Three Dog Night talks about life in the fast lane playing the Canadian circuit with Tommy Chong.
Band leader and multi-instrumentalist talks about navigating the muse to create compositions that can be both highly arranged and open to improvisation without intention.
Cosmic multi-instrumentalist and bandleader talks about the journeys that have kept him in the musical stratosphere.
Independent singer songwriter talks about having her identity ripped from her by Interscope Records and how she deals with the all-consuming legal battle to seek justice for her and others.
Young front of house sound mixer talks about his roots in mixing live reggae shows and his cosmic crossover with Grateful Shred and Circles Around The Sun.
Legendary bassist from The Monkeys and Canned Heat talks about getting an education on the bandstand and swinging his butt off.
Leaning into the void with a deep spirit and musician. The ambiguous shift on and off the bandstand as a female leader in the music world.
Authentic musician who marinated in the Marin County music scene of the early 70's and how he continues to follow the muse today.
Dynamic leader and guitarist talks about taking the seeking path in music and surrendering to the muse.
Gifted bassist talks about how his elders and peers have shaped his musical point of view.
Decorated engineer and musician talks about working with The Section and the Mizell Brothers.
Legendary multi-instrumentalist talks about coming of age with his brothers in Monroe, LA and playing with iconic bands like Buster Brown and Uncle Rainbow.
Jake, you got me going into a deep recall. I first met Henry Franklin when he was with Willie Bobo and I was with Mongo Santamaria.
Art moves in a strange kind of way. We’re in another kind of reality today as far as the art is concerned. There’s something else that’s kind of in front of everything and is kind of futuristic - electronics, lasers and bright lights and all that kind of stuff. There’s art in there as well, but I’m not necessarily seeing the imagination and the creativity that was in the arts or that’s in the arts.
The music we’re speaking of I call “spontaneous improvisation.” The word “jazz” is associated with a time period, but it doesn’t necessarily speak to the mind set of the individuals, and the people, and the theme of what the music that is associated with jazz.
The music I am interested in is spontaneous improvisational music, with a theme. Free with order as opposed to just flying all over the place. One of the phenomenon's out there in this existence, in all of this chaos is that there absolutely appears to be some order. Since man has been asking (we’re still asking), we’re still trying to figure out, what is that? What is this order? “Alphie what is it all about?”
I think if the mind continues to embrace it, it (this music) will survive. The creativity is probably the essence and that will continue in spite of. It may get a smaller audience, but I don’t think that will have any impact on the creativity of it all because art kind of works in a strange kind of way
Transcendent singer/songwriter talks about accessing her true nature on the bandstand when she can get out of her own way.
Pianist and organist talks about being on the bandstand with Frank Rosolino at 21 a harrowing encounter with Ike Turner and his early studio work with Earthquire.
I have long sought after Chester Thompson. The guy moved from Ok. City to San Francisco to live the gypsy life. After night gigs at "Jack's on Sutter" and the Fillmore District he was back in a San Francisco bank singing "Your Still A Young Man," which he late busted out with East Bay Funk outfit Tower of Power. He lived among the people and saw how Bill Graham would weave these tremendous multi-racial concerts (Malo, Black Jazz, Jefferson Airplane). You had Chicano, Blacks and Whites all showing up to the same gig. It was a positive Sly and the Family Stone attitude. Hunting and still Open.......
"The struggle was actually the Jewel"....
Enjoy this Treasure and thank you Chester,
The foundations of a human being begin within their home.
The education, the adherence to a craft and not overcompensating with blind faith. My guest today had a bed rock in his home and it is because of his mother that he is where he is today.
Part of The JFS is to promote inclusivity as it relates to parents and their relationships with their kids.
I do this by talking to musicians like my guest who under the tutelage Erma gained an education thorough world experience, world sound and melodic invention.
My guest was enlightened to the creator and their impact on this earth by an apparatus. A horn that emits sequences of ideas and streams of knowledge that is at the core of true music.
The ability to heal and dance. To settle disputes through universal communication. To build a bridge to a new era after they themselves reached the bottom of the pit.
What started with his mom led to Raymond Pounds, Elvin Jones and McCoy Tyner who like Van Morrison and Bob Marley played music that transcended this orbit.
McCoy's band was tight knit- My guest, Joonie Booth and Alphonse Mouzon who he plays with today in Southern California with two other sages in spirit Theo Saunders and The Skipper Henry Franklin.
I witnessed my guest playing at the RG club in Venice and The Sea Bird Chicken and Waffles establishment in Long Beach.
I rocked back and forth to the undulating rhythms while my guest danced around the African JuJu with long improvisational riffs that make you think and think even more when you don't want to think.
He has bands on both coasts and seems to be rising on the burning shore before we all check out.
Quoting my guest, if you win one battle over yourself that's how you can experience growth.
Azar Lawerence welcome to the JFS
Acclaimed drummer, pianist and band leader talks about his career on the bandstand.
Wishin and Hopin'
The sanctified churches in the south lent themselves to a Afro-Centric form of appreciation for their deity. The first modified drum kits were in the sanctified churches with sticks and tambourines and maybe even an electric guitar.
The gospel hymns were infectious and spoke of celebration, hope and spirit. The preachers were often pugnacious and speaking to a congregation that wanted the truth, not the warmed over Anglo/Protestant messages coming from the other side of town.
These preachers found places like Eufala, AL untenable and took their families to the Midwest where car companies and industry roared with commerce jobs and a hot bed of cross fertilized music.
My guest today is a superstar soul singer. She has been striving for elevated consciousness and individualism since she broke on the scene over five decades ago. Born the daughter of a preacher man my guest was immersed in Detroit's Metropolitan church and choir. She was also privy to the hottest nightclub scene in America where jazz was being played in Soul clubs and Blues was being played in the jazz clubs or on the streets.
There were no jazz schools and learning came in the form of the street, finding like minded singers and accompanists because it didn't matter what you wear just as long as you are there.
My guest had been the undisputed truth of Motown. Her southern guy bucket approach was heavier and funkier then many of her contemporaries. Her songs had hooks rarely scene for the time that allowed audiences of all colors to hip sway in the night on TV shows, dances and studio demos.
She became an instant sensation and the testament to her longevity is that her tunes are still recognizable today by a new generation of Americans. One that is less white, more multiethnic but maybe less sure of their roots.
My guests roots were with Della Reese who's name she incorporated into her trio known as "The Vandellas." She learned how to project on the bandstand and entertain as well as swing.
When Motown went west she stayed in Detroit and became a purveyor of social justice while continuing her performing career on RCA/Arista and Fantasy.
Nowhere to run, Martha Reeves welcome to the JFS.
Decorated blues guitarist talks about his early lessons with Tommy Bolin in Boulder, Co and his touring experiences with Kingfish.
My Brain is on a Subway as I head into the vortex of living the live…..do you practice what you preach on stage? Do you remember the cats who accompanied you into battle when the album is credited, or because of insecurity do you take all the credit?
These are obviously things that each musician has to deal with in his or her own individual way. My guest today is someone who has gone up against it in his musical life. He played with the Temps and was fortunate enough to be around when the chitlin circuit was hoppin’ the floorboards were shakin and all the fingerpoppin daddies were having a ball.
Bud Light didn’t sponsor everything with a streamed lined approach that saps the individuality away with pole tested focus groups……to find you must seek, which is what my guest has been doing of late with the release of his latest CD Faces which is deadicated to the late Tom Donlinger who was one heck of a gravity adjuster along with Boz Scaggs, Steve Miller, Ben Sidran and all the other crazy cats.
My guests albums have become cult classics all over the world and his recent international fame as prompted him to put together his own YouTube Clip showing off his cosmic keys. Howard Wales, welcome back to the JFS…..
Radiant healer steeped in wisdom and cosmic consciousness talks about her fortunes in life and how she considers everyone a teacher.
Cosmic drummer and artist talks about being a team player in the modern music era to stay in the game and thrive as a human.
Indelible Tulsa drummer talks about his early musical influences and the evolution of the band Teegarden and Van Winkle.
Stellar pianist and band leader talks about finding his own individual sound as a jazzer on the bandstand.
Aphrodisiacs
By Stanley Clarke
"When I got into Scientology I was very close to becoming a serious drug addict. I could always get a jump on things when things were going a little to the left. Since I was very young I was always someone who would pull the plug on something before it went over the line.
I was not at a good place. I was not feeling good physically and I was too young not to be feeling good physically. I recognized that so when I got into the rehab program my drug thing got handled and I never ever went back after that.
Than I started getting into Dianetics which is a different portion of Scientology. I had to get myself a little straight.
I grew up with a fairly normal life for a kid. I had issues with lots of things, music, rascism, poverty, family stuff. Normal stuff that a black kid or African American Kid would have if he's really going to inspect his life and how he's growing up.
I got into Scientology and that took care of everything for me. Lots of times a person may have a lot of problems but when you really look at them their specific and specific subjects and sometimes it's difficult to deal with specific subjects that bother you as specifics. Usually by the time it gets you it feels like you got a damn elephant on your shoulders. They all converge together and you have this big pile of mud in your universe. What is it? I feel so bad. Maybe it's this, maybe it's that. Am I playing good?
There was a time when I was really shy. It was something I wasn't really happy with because I had thoughts and feelings and I wanted those things to come out. I wanted people to understand what is in my head.
Through the work I did in Scientology I was able to talk to people about these other things. If your ability to communicate is down it's a little difficult. We as humans we don't really have the ESP thing down that strong yet.
There are much higher planes to reach that are outside the realm of physicality. Anything that's physical is physical, sex, drugs, eating a sandwich. There are other states of being that one can reach that have nothing to do with physical things and the physical universe.
I used to experience this with RTF. The first RTF with Chick, Myself, Flora, Airto, Joe Farrell. I had out of body experiences with that band. It was amazing.....
We started out with that first band, me and Chick. You couldn't get any more honest than that. No one cared about us really. We were trying and surviving. Trying to take our message to people.
We were playing music that was really heartfelt. Chick wrote some beautiful, beautiful stuff. We were all really compatible. When you play music like that with people that you really feel a connection. It's not only music, you could have been a conversation with four people that are really together and they leave space for the other guy. In normal conversation when your with people with a high amount of respect for each other. There's a high degree of acknowledgment of each other. When you play music like that it's the easiest way to leave the physical plane. If your fortunate enough to have a musical experience where everything is just going right. For some reason everybody's tracking and there's a degree of spirituality that's there that's connected with music that you can't get with anything. There's no drug, no amount of money, there's no sexual favor all the Aphrodisiacs on couldn't match that."
Brilliant and ethereal pianist talks about her psychic and telepathic abilities on the bandstand.
Explosive and highly inventive guitarist talks about his philosophies as they relate to playing improvisational music and what he learned from gigging with cats like Alan Dawson and Miles Davis
Saxophonist talks about his journey towards musical salvation with his peers and as a teacher.
Resilient and boundless musicians talks about his days as a hang gliding instructor and his musical bond with Little Steven Van Zandt.
Discussion revolving around songwriting, meeting Cass Elliott and the ebbs and flows on and off the bandstand.
Musical director of the Saturday Night Live house band and original Blues Brother talks about his musical upbringings in South Carolina and his constant pursuit of greatness in composition, arranging and playing.
Unheralded musician talks about the long and winding road of his melodic existence, trusting in the pull of the universe and his relationships with equally cosmic cats on and off the bandstand.
"Saved My Life"
By Carmine Appice
"I played a few burlesque houses but our manager was connected to the Mafia. Those guys you see in the movie Goodfellas, we used to know Henry Hill. We used to know Paulie (The Don). They all used to go to my managers club.
In the movie the club that was burned down was my managers club, "The Action House." They burned it down to collect insurance and then rebuilt it. It just so happens my managers club had a fire there.
Music probably saved my life. A lot of my friends went on to join the Mafia and being in the gangs. As kids we belonged to a gang to be safe. For me I could have ended up like a bunch of my friends who wound up doing hard time (multiple life terms). A couple of other guys got killed. Music might have saved my life because I was headed in the wrong direction."
Multi-dimensional guitarist talks about the different musical worlds he dwells and thrives in.
Print journalist originally from Kansas talks about her own career and how the newspaper industry has changed over the last half century.
Show Tunes
by Steve Kimock
When I arrived in California, there were people around who made comparisons between my playing and Jerry’s playing. I just wasn’t that familiar with his playing. I was doing my best to sound somewhere in between Roy Buchanan and Steve Howe. I didn’t relate to “the Garcia thing” as an influence until much later, when I realized how much influence in certain areas we shared. That’s when I said, “I get it: that’s what you’re hearing.”
I had friends who were into the Grateful Dead back in the day, and they would tell me about it and I didn’t really care. I had no idea and was completely clueless. I came to the game late, which didn’t help.
For me all of that stuff falls under the category of small-group improvisation. I’m OK if I’m listening to Miles Davis or The Meters or The Grateful Dead: anybody who’s setting up and playing in real time, playing together as a unit. The musicians are going to be working off each other. If you’re working off the musicians and you’re playing for an audience and you’re working off the audience, that’s what’s setting the table for the energy that happens. Everything else is detail.
A lot of my favorite Garcia songwriting is very much Tin Pan Alley or Broadway show tunes. The introduction to “Mission in the Rain”: it doesn’t get much more Broadway than that. That’s a classic Broadway intro.
Legendary trumpeter who made his name in the Chicago studios talks about his development as a player and his close personal and professional relationship with Tony Bennett.
Continued conversation about the art of rhythm in different musical contexts..........
Drummer talks about finding another J.C. - John Coltrane - and how fate that led him to Max Roach and Archie Shepp.
Spiritual jazz master talks about accessing his multi-dimensional self on the bandstand and learning under cats like Lonnie Smith and Jack McDuff.
Beyond genre musician and songwriter talks about this that and the other with cumulative results.
Brilliant pianist talks about becoming band leader and harnessing his own individual sound.
Dynamic singer talks about making iconic albums and being on the doorstep of worldwide fame.
Former director of the Albert Hofmann Foundation talks about how LSD is linked to the origins of man's religion and how he found his purpose in life through psychedelic experiences.
Tulsa drummer talks about his will to swing a band growing up under the tutelage of his father David. I plan to stay a believer...
Bandleader and multi-instrumentalist talks about her deep family musical lineage and the way she finds peace and satisfaction playing music with cats she locks in with immediately. Another Midnight Ramble..
Decorated singer from a long lineage of musicians and songwriters talks about how she has found her own voice on the bandstand.
Master drummer talks about working with his new endeavors and harkens back to days of Holy Moses and Glory River.
Mardi Gras Indian from NOLA talks about what he learned from his father and how he passes that knowledge down to young maskers.
Multi-instrumentalist talks about producing mercurial jazz/folk artists on Racoon Records.
Wife of the late great tenor player talks about how Stan's greatest strengths were also his greatest weaknesses.
Fluid and multi-faceted pianist talks about being raised by his musical elders on the bandstand.
Profound musician and thinker talks about the essence and healing powers of the Banyan Tree and how music can bring peace on a global level.
Decorated writer and researcher talks about the work he did with the late electrical engineer Willis Harman involving psychedelics and creative problem solving in the late 1950's and early 60's.
Musician and singer talks about his transition from the bandstand to music journalist to management of early speed metal bands like Testament.
Brilliant and dexterous pianist talks about locking into straight ahead jazz and all of its ancestral roots like Afro Cuban and blues and passing on this tradition orally or in the academy.
Drummer who grew up in Detroit talks about grooving at the upper deck of The Rooster Tail and cutting records with Savage Grace.
Young hungry musician talks about the keys to being in the band business and learning to improvise off of themes.
Emotive singer and cofounder of The Youngbloods talks about his musical and personal connection to Lightnin' Hopkins and producer Bobby Scott.
Detroit based guitarist from a musical family, talks about his Grandma killing snakes in Kentucky and surrounding himself with guys he can make spiritual music with and have fun.
Legendary broadcaster talks about the unpredictable and brilliant Rick Barry.
Drummer talks about playing with the saxophonist at the Montreux Summit in 1976.
In demand bassist from Chicago talks about carving out a path as a professional musician.
Jamaican dancehall singer and DJ talks about assimilating to America and having something declarative to say about the human race.
Drummer and teacher talks about learning to swing north of the border and playing with Dizzy Gillespie.
Melodic and tasteful drummer talks about his rock inclinations in music before meeting Joe Lovano and his father in Cleveland. A dance with life itself.
Producer and A&R man at Muse and HighNote Records talks about how he cultivated the label through artist selection and individual sound.
Legendary promoter of classic jazz and the current curator at Baltimore's Keystone Korner talks about the genius and unpredictability of Stan Getz
Gifted multi-instrumentalist talks about his intuitive approach to playing the bass with Guava Tree and other musical outfits in Logan, UT
Transcendent bassist talks about the highs and lows of being in a famous band.
One master saxophonist talks about another in reverential terms.
Inspiring drummer who was part of the Mime Troupe talks about the music he plays and how he fits into the conversation.
Legendary entertainer and bandleader talks about how he and his brothers climbed the ladder in the highly competitive musical community of New Orleans.
Gifted drummer talks about creating a good feeling groove in his different musical projects.
Mill Valley musician talks about playing with Harold Jones and Bill Vitt.
Heavy world percussionist and educator talks about learning different rhythms and incorporating them into studio and live musical settings.
Leader of the Golden Eagles, a Mardi Gras Indian tribe of New Orleans, Louisiana talks about the indigenous regional rhythms of his community.
Multi-instrumentalist with a bent towards western swing talks about building a career as a musician.
Legendary band leader from a legendary New Orleans musical family talks about creating "funk/rock" with his brothers and playing football against King Floyd.
Bandleader and pianist talks about growing up next door to Milt Jackson in Yonkers and his early trips into Manny's Music in New York City.
Profound musical artist talks about honoring this country as a defense contractor and "freedom fighter" with Ultimate Spinach, Tim Buckley and Steely Dan. Rikki Don't Lose That Number...
Renown bassist and producer talks about stepping into the void for Government Mule after the passing of Allen Woody and the infinite wisdom he learned from Colonel Bruce Hampton.
Profound southern musician producer and arranger talks about working with Ray Charles, Elvis Presley and all the great studio cats in Nashville and beyond.
Decorated engineer and musician talks about the early recording scene in Boise and how he met Pinto Bennett and Muzzy Braun.
Musical drummer and composer talks about never playing the same song the same way once and being on the bandstand at nine years old with his father David Batiste & The Gladiators.
Children's author and illustrator talks about what it means to be human, his relentless touring schedule and why Paul Horn is considered, by some, to be the grandfather of new age music. Whale Song.....
Charismatic healer talks about being a playful leader within the band construct.
Keyboardist and melodic inventor talk's about his evolution as a player and person.
New Orleans drummer talks about playing with Phamous Lambert, Ellis Marsalis and the legendary Ray Charles. Keep swinging.....
Long form discussion on his rhythmic roots and personal and professional relationships with Vince Guaraldi and Cal Tjader.
Blue eyed soul singer talks about playing black music for black audiences in Flint, MI and the formation of RJ Fox.
Legendary jazz guitarist talks about meeting Wes Montgomery on the streets of New York and playing penuckle with Dizzy.
Rudiments are key and experience is key but learning how to dance on your instrument is true liberation.
Brilliant saxophonist and bandleader talks about singing through her instrument and touching people's souls.
Manager for David Grisman talks about originally meeting the gang from Old & In The Way and his roots as a jazz drummer.
My interview with a master teacher of meditation prior to his three year isolated retreat on Diamond Mountain. It also happened to be my first interview ever as a rogue journalist. So many roads.
Spiritual trombonist and producer talks about how he sings for his supper in the music racket.
Funky session bass player talks about grooving with Richard Holmes and Ramon Morris.
Music writer and author talks about the churning milieu of the Grateful Dead.
Renown bassist talks about cutting 45s with is dad and touring with David Crosby.
Multi-dimensional keyboardist talks about playing with Philly legends Tyrone Brown and Pat Martino.
Soul singer talks about the spiritual qualities of music and his belief that love through rhythm is essential. Life is a constant journey home.
Gifted guitarist and singer talks about learning to get out of his own way on the bandstand so as to be a part of the musical conversation with his peers and elders.
Cosmic young guitarist talks about expressing the lord's messages through his guitar.
Transcendent singer talks about creating space with his brother Johnny to allow the music, musicians and devotees to appear naturally.
General Surgeon in New York City talks about his personal and professional connection to Stan Getz.
Doctor of traditional Chinese medicine talks about the concoctions he created to treat Stan Getz' cancer in the mid 1980's.
Singer songwriter talks about his band RJ Fox and its cosmic connection to David Crosby.
Brilliant harpist talks about integrating hip hop samples into her different musical collaborations.
Cosmic fiddler and bandleader talks about developing a sound authentic to himself within his own project, Forecast.
Picking blueberries and talking Merry Pranksters at his home in Scapoose, OR from July 2023
A man who lives his purpose to its fullest through a devotional practice of meditation and inspiration.
Lead singer for the band Bolero talks about how the pieces have come into place for a regional band with a San Francisco sound.
Riffing on the intuitive groove with a prolific bassist.
Private practice MD. specializing in pain addiction talks about how he got connected with the Grateful Dead and specifically Bill Kreutzmann.
Deep communication with a profound musician and thinker.
Blazing electric bassist talks about the free-spirited family he grew up with in Mill Valley, CA.
Discussion about making the song feel good with a musical drummer.
Burning rhythm maker talks about how the landscape of the music business has changed in the last half century and his New Orleans roots.
Modern day sound scientist talks about his introduction to improvisatory ambient music at Penn State and the fertile sonic stomping grounds of Seattle.
Brazilian musician and entertainer talks about memorable experiences on the street corner and the bandstand.
Decorated singer talks about finding her voice on the bandstand with the help of her husband David Freiberg.
Profound pianist talks about embracing all music's as a way to sing for his supper and his recent trio tour with Buster Williams and Lenny White.
Stalwart vibes player talks about how he grew his musical vocabulary over his storied career.
Transcendent musician talks about his deep relationships with the musicians and how that manifests itself in love on the bandstand.
Monster horn man and poet talks about learning on the bandstand in Richmond, Va to the Hollywood Bowl.
Ubiquitous musician and songwriter talks about gaining inspiration in his life creating real music with his peers.
Photo credit - Sam Hall
Transcendent spirit and musician talks about being a source of inspiration for his band Guava Tree and the greater Utah community at large.
Probing multi-instrumentalist talks about moving to New York and learning under the tutelage of Jason Loughlin and John Lee Shannon.
Cosmic drummer from rural Ohio talks about his early connection with drums and how his ears have grown on the bandstand.
Multifaceted drummer and band leader talks about the various ways he sings for his supper in the greater Phoenix region. Ride the Lovetrain.
Singer and guitarist turned bassist talks about the growth of Ultraviolet Communication.
Taking another ride on the Vidacovich sonic starship. So many roads.....
Transcendent musician talks about following the muse, seeing through spiritual dogma and accessing the intergalactic on the bandstand.
Nasty angular hired gun talks about his early exposure to metal and the abyss that is spiritual music.
Drummer and composer talks about the European touring circuit, his appreciation for all music's and learning from masters like Ed Thigpen.
Rhythmic human being talks about playing in the cracks of life.
Mandolin player talks about crossing over genres in his musical career and having the opportunity to play with the late great Buddy Jones.
Inventor of the "Mutantrumpet" talks about his need to increase sonic expansion in a myriad of different settings.
Humble groove-based keyboardist talks about marinating in all forms of music with all different types of cats.
New Orleans drummer talks about the ways in which music is created in the Cresent City.
Stalwart session musician and jazz cat talks about the ebbs and flows of life and its illusions.
Divine inventive pianist from a musical family talks about the balance between learning in the academy and on the bandstand.
Hungry young cat ready to prowl the clubs of Fresno with his own music.
Continued discussion with a cosmic musician and human being.
Stellar singer/songwriter talks about being in cahoots with Delbert McClinton.
Co-leader of Color Green talks about getting into the zone with his bandmates through various methods.
Great conversation with a titanic musician.
Gifted musician and music lover talks about his room for growth in all areas of music and life.
Folk musician talks about the different tributaries of his musical existence.
Musician and songwriter talks about his psychedelic experiences and how that opened his heart to creating original spiritual music with Color Green.
Dynamic singer and vocal coach talks about her time in the Jerry Garcia Band and the upcoming Vault Release of 6/18/82 Cape Cod.
Pioneer songwriter and producer talks about staying on the bright side in the face of adversity.
Profound multi-instrumentalist talks about the contributions made towards fusing what was known as traditional folk music with hillbilly music.
Musician, producer and lawyer talks about the evolution of Sha Na Na to prominence in over-night fashion.
New Yorker writer and reporter talks about cultivating his craft as a writer/journalist and his pivotal live experiences at Grateful Dead shows in the mid 1980's.
Music producer at Capitol Records and a hit maker in the band business. Threw a no-no against West Point using the knuckler....
Divine singer songwriter talks about staying vulnerable to love on and off the bandstand.
Folk musician talks about interweaving the different styles of music he witnessed in his living room as a kid and how it came out in his own collaborations.
Chicago horn player talks about being called up on stage by Buddy Guy at 15 years old and how he joined the progressive rock band The Flock.
Healing through care, purpose and intent with a master storyteller.
Dynamic singer/songwriter and performer talks about the need for cats to NOT settle for the low hanging fruit and seek wisdom through authentic experience.
Bass player who has become an institution in the New Orleans music scene over the last 60 years.
Blazing multi-faceted guitarist talks about the evolution of his playing style and a move towards intention and emotion over chops in his bandstand storytelling.
Committed rhythmist talks about keeping his soul focused directly on the music and how that has led to his longevity and Sunday gigs in Los Angeles.
Decorated sound engineer talks about his early days at Angel City Studios working under Tom Wilson and then later at MVP Studios with Freddie Perrin.
Open minded trumpeter talks about playing jazz with Ray Charles and the drum solos of Danny Richmond.
Musical healer of Haitian descent discusses her ancestral roots and bringing those messages to her music.
Continued discussion about working with Malcolm Cecil, Jim Keltner and the challenges facing young accompanists today.
Another conversation about life on the bandstand with a young lion.
Born in Cuba and immigrated to Miami when he was 11 years old. Became a first call drummer and producer for so many iconic labels like TK and Glades along with developing what we now know as the Miami Sound Machine.
Indelible English guitarist talks about his early exposure to great jazz luminaries through is father and his life in music collaborating with many icons.
Multi-dimensional healer talks about her road towards peace, individuality and persistence as a woman of color.
Iconic Detroit bassist talks about gigging with Earl Klugh growing up and the unpredictable genius of Stevie Wonder.
Iconic baritone saxophonist for the Count Basie Band talks about growing up and witnessing jazz legends like Lionel Hampton and Stan Kenton come through the deeply segregated state of South Carolina.
Indelible double bassist talks about holding it down with Billy Strings and the opportunities he's had to play with trap drummers.
Unheralded jazz drummer talks about the late great Ahmad Jamal and his drummer Vernel Fournier.
Drummer, singer and multi-dimensional artist talks about creating improvisational music in San Francisco in the early 1960's.
Prolific double bassist talks about the opportunities he had to grow into the musician he is today. Blackbyrds 50th anniversary tour....
Celebrating 50 years of The Blackbyrds with their drummer. Do It Fluid....
Prolific bass player talks about his own unique path towards musical sustainability and relevancy.
Burning guitar player talks about his unique personal and musical relationships with both peers and elders.
Ubiquitous rhythm maker talks about all his musical influences and how he has integrated his style into all the bands he has played in, including Butcher Brown.
Prolific producer and musician talks about the finer points of leading in the studio and getting the best out of the musicians he works with.
Multi-dimensional artist talks about different ways he reaches the flow state in music.
Sublime multi-instrumentalist and band leader talks about staying open to spontaneous creation on the bandstand with a myriad of different cats.
German vibes and harp player talks about his upbringing in Hamburg and how his musical vocabulary grew after connecting with Brazilian musicians.
Drummer and statesman talks about his musical existence within the sound current.
Monster drummer and producer talks about what he learned from his elders and how he has applied that towards creating communal spiritual music on the bandstand.
Dynamic natural born drummer talks about creating with his peers on the bandstand.
Rock guitarist from Long Island talks about becoming submerged in sonic grease at Berkeley High and The Longbranch.
Funky blues bassist talks about his early years with Jesse Winchester, the gravy years with The Amazing Rhythm Aces and the greasy years with Charles "Wig" Walker.
Aspiring drummer talks about The Kape, a band he formed with his brother Doc.
Keyboardist for The Amazing Rhythm Aces talks about how the significance of music has changed in our culture.
Bay Area bluegrass/folk musician talks about the evolution of the psychedelic music movement that spawned in San Francisco.
One of the finest woodwind repairmen in the world talks about his relationship with Stan Getz.
Continued discussion of her involvement and cultivation in husband Stan Getz' career.
Going beyond with the Captain of rhythm and metaphysics. Breaking up time, form and fear instilled in our culture.
Superstar bassist and singer talks about working with Al Jarreau and other band leaders with versatile rhythm sections. RIP.
Cosmic musician and producer talks about luck, timing and showing up in this life.
Transcendent horn man talks about getting put on the spot by his high school band teacher Sue Johnson and paying tribute to Albert Ayler in his various projects.
Documentary film maker, author and musical artist talks about tapping into her family lineage, specifically her grandfather, and applying that to her multi-faceted work as a content creator.
Profound multi-instrumentalist and band leader talks about the road he travels in music with an open heart, homage to brother Johnny and having fun.
Gifted and original producer/musician talks about making cosmic connections and translating that into both pop and experimental music.
Musical storyteller talks about living in the void, finding god and creating timeless music.
Profound guitarist and educator talks about developing bandstand prowess with his peers and elders and the evolution of his school, The Music Factory.
Incredible drummer on the scene over the last 50 years talks about working with Charles Lloyd, Gary Burton and younger jazzers.
Organist/pianist with the Amazing Rhythm Aces talks about touring with legendary blues musicians from Nashville and Memphis with Jeff "Stick" Davis.
Mind bending musician and composer talks about opening for Circles Around The Sun and his philosophy as it relates to time space and place on the bandstand.
Profound multi-instrumentalist and producer talks about his family's musical acumen and how that carried over in both content and success in the industry.
Seeking young musician talks about playing with and learning from Bruce Hornsby and developing his own ensemble in Nashville.
I am joined by drummer Pete Magadini who spent time in North India under the direction of Manaparush Misra learning the complexities of polyrhythms via the tabla. Pete came back and made some stunning albums in the mid-seventies with the likes of Don Menza and George Duke incorporating these simultaneous differentiated drumming patterns to great appeal. During the mid-seventies Pete also held down a local jazz gig in the Phoenix Metro Area (gone are the days!)
Pete continues to teach drumming in the Bay Area and plays locally 3 nights a week at Harris's Restaurant with the Susan Chen Trio. He is highly recognized in the music arena and now gets a chance to tell us his story this Saturday at 3pm only on the Jake Feinberg Show.
Dynamic multi-instrumentalist talks about the areas she needs to grow in as a musician in order to fulfill the cicle of artistic authenticity.
Deva Mahal is part of my generation. A generation that grew up better than their parents and had accessibility to see and hear and access more information then ever before.
In some respects if your an artist from our generation, because of this access, you tend to emulate and try and sound like this guy or that, sing like him or her, get a nose job and sing about the shallow hipsters who are now using hair on their body to fill in their patchy beards.
Deva, like myself, is trending towards the authentic individualism of pure music with her band Fredrick's Brown. When she gets up on stage, like her dad, she exudes the music from all her pours. She sings, plays percussion and tries to borrow from the soul/gospel acts that came before her while finding her own unique voice that creates identity.
Identity in the digital age with a inflexible music industry leaves only one thing left. The Soul.
The soul inside everyone who is seeking their true nature. Be it Jake Feinberg behind the mic or Deva Mahal performing in front of family, friends or 12,000 of her best friends. She exudes soul and is not so far in the forest. She can look at each individual tree and appreciate what came before her while challenging the conformist system that is the 21st Century.
She likes to hang and play music in New Zealand, the home of Alan Broadbent and Stephanie Brown her bandmate in Fredericks Brown. Nobody knows what the future holds Gary Bartz but the shadow of doubt that creeps into everyone's mind is crushed by that persons desire to transcend and forever create. Deva Mahal welcome to the JFS.
Legendary record store owner and radio DJ talks about being part of the rich Boston area music scene and cultivating his record shop in Cambridge, MA.
Deep philosophical discussion about the intertwining of music and life.
Children's author, illustrator and music fanatic talks about finding his purpose in life at a young age and interacting with jazz heavyweights like Elvin Jones, Yusef Lateef and McCoy Tyner when he worked at the San Francisco Jazz Festival.
Versatile musician and singer talks about connecting and working with Ry Cooder and Warren Zevon. City Music.....
Legendary band leader, songwriter and producer talks about working with Bob Dylan on Highway 61 and discovering and producing Lynyrd Skynyrd.
Multi-instrumentalist and singer talks about coming to New York (from Puerto Rico) and then Los Angeles culminating in his own albums as a leader and working with icons like Warren Zevon, David Lindley and Ry Cooder.
Double bassist talks about his exposure to both classical and jazz music growing up as well as his experience with Chico Hamiton.
Singer/songwriter from Northern Louisiana talks about making a cosmic connection with Fred Carter Jr. and living a musical life.
Singer and actress talks about coming from a long line of creatives, working the club scene in Japan in the early 1960's and working at the ETC club with Paul Humphrey.
Wide ranging conversation about tapping into the creative source in the studio, his experience with Phish 1.0 and his latest project House Band.
Versatile blues and soul guitarist talks about his magical connection with bassist Doug Rauch, going to Africa with the Voices of East Harlem and finding his own sound on the bandstand.
Heavyweight pianist and composer talks about being a conduit for the music from an early age and how he surrendered to his god, Jesus Christ, to become more selfless in all phases of his life.
Synthesizer wizard talks about the voice within him and the space between the music. A thorough breakdown of the didgeridoo explosion in Tucson, AZ in the late 1980's.
Timeless rhythm maker talks about how younger cats can absorb humbling experiences in the modern music world in order to grow as an artist.
Explosive saxophonist and producer talks about singing for his supper playing original blues music at one time on the lower west side of New York.
Titanic saxophonist talks about striking the balance between masculine and feminine energy when playing music.
Progressive percussionist and band leader out of Chicago talks about his polyrhythmic approach to his iconic albums on RCA and Ovation from the 1950's and 60's.
Multi-instrumentalist and member of Little Feat talks about going to Birdland when he was ten years old and enhancing the sessions of Glen Campbell, Jimmy Webb and Dennis Wilson with his unique guitar licks.
Original guitarist and bandleader talks about collaborating with his wife on the bandstand with cats like Steve Earle and Shooter Jennings.
Magical character and musicians talks about the current growth spurt he is experiencing and the journey he has taken trying advocate for himself and not cope with family trauma.
Folk singer/songwriter talks about the tributaries of his musical existence.
Wife and advocate for the late saxophonist Stan Getz talks about their time in Sweden interacting with all the masters of this music.
“Universal Truth
By Laurie Buckley
The beauty of “His Lordship” (Buckley) is that he started with Aesop’s fables because he loved the message of cause and effect, and what we learn from experience. He had a way of speaking where he didn’t put everybody down, but he would introduce them to the conversation, in a way where you would recognize their position or their non-positioning.
He found a way, using his amazing vocal talents, his consciousness, his verbiage, his language, to get to the issues of what’s really going on. Everything/Everyone that people want to blame is so common, it’s been done throughout history, when there’s chaos they (demagogues) blame the lower class and they blame the people they don’t understand. The people that follow these “leaders” have been mislead and misplaced in a way, that neither serves them or us.
His Lordship would focus on love and the power of humanity, and the beauty of working together, so he could pull their eyes away from something that was not true, and welcome them into a universal truth of awareness, kindness, compassion, the things that make change happen in a positive way. It’s what I call “universal mind,” he would feed that to you. I believe he had a way, and still does today, that words spoken in perfect order
can create a dynamic effect on people. The trouble today is we’re not hearing that message quite so clearly.
Lord Buckley could recognize the symptoms. He could take those symptoms and evolve them into a more positive area. That was his gift, that’s where he found his words. That’s where he found the courage to speak up for the underdog.
Blazing multi-faceted guitarist talks about his days at the Heliport in Sausalito, CA playing with all the cats.
Band leader and accompanist talks about integrating his music into the Mexico City weave and his new journey with The Black Crowes.
Percussionist and groove maker talks about operating on a clear frequency when in rhythmic conversation on the bandstand.
Bass player and teacher talks about taking what he has learned from his elders, incorporating that into his own sound and passing it on to younger cats.
Profound feel player talks about his non-linear approach to the electric bass in all musical settings.
Transcendent saxophonist talks about learning the secret tribal culture of New Orleans from his father and being taken in and raised by his musical elders like Roy Haynes when he first moved to New York.
Decorated actor and photographer talks about finding his voice on stage and behind the camera. His indelible band shot from The Concert for Bangladesh is celebrating its 50th year and will hopefully find a loving home. All proceeds will benefit the Food Forward Food Bank of Los Angeles.
Prolific electric bass player talks about the way he teaches his students to read and find their own individual voice on the instrument.
Prolific double bassist talks about his experiences playing spiritual music with his elders and peers over the last 50 years.
Optometrist and musician talks about being an advocate for the musicians through Sweet Relief.
Prolific father/son duo play and talk about the effect music has on their lives and souls.
Journalist and radio host talks about his love of music and disseminating it to the masses.
A cat who was born and raised in Mississippi and wound up working his way up at Atlantic Records in the most fertile time of music in our country's history. Still chasing The 'Trane.
Melodic and adventurous drummer talks about learning to find his own sound in the woodshed and on the bandstand with Jacob Fred Jazz Odessey.
Author and Prankster talks about continuing the lineage of The Furthur Path with George Walker. Cowboy Neal at the wheel....
A couple of surrogate uncles play and talk music in The Powertalk 1210 AM Studios in Tucson, AZ.
Relentless drummer talks about becoming a businessman and integrating acoustic jazz and funk into a set.
Versatile multi-instrumentalist talks about coming up playing bluegrass in Los Angeles and eventually settling into a new regional hotbed of music in Austin with Michael Martin Murphey and Jerry Jeff Walker.
In dialogue with master keyboardist and band leader about playing harpsichord with The Yardbirds and finding out that cats on the south side of Chicago were line dancing to "Bumpin' on Sunset."
Multi-instrumentalist and bass player for Cold Blood, Holly Near, The Sons of Champlin and the Swingin' Deacons talks about his different musical existences.
Multi-instrumentalist and graphic artist talks about the many meaning of music and the correlation between spiritual living and soulful art.
Born: Panama Canal Zone 1956
Hometown: Sierra Vista, AZ
Occupation: Career Musician, Organ/keyboards, Entertainer, Composer, Recording Artist, Studio Engineer
Experience: 40 years Self Taught
Lamont Arthur has been playing, composing and teaching jazz in Tucson for the last three decades. Born in Panama, the son of an army soldier, Lamont found himself growing up at Ft. Huachuca in Southern Arizona. At the age of 12 he became aware of his passion for music. He learned to play the Glockenspiel from his 6th grade music teacher Mrs. Smith.
He turned his musical attention to the Hammond B-3 organ and played in mixed-ethnic rock and country groups at places like the Blue Room and Carr Canyon Corral in Sierra Vista. By the late seventies he had moved to Tucson and began playing with groups like Street Pajama, Rapid Transit, Bloolyte, Bondavi and legendary blues-man Sam Taylor to name just a few. He began playing gigs at many of the clubs in Tucson; the Pirates Den, Fun Factory, Bobby McGee's, The Doubletree, Nino's, Gentle Ben's and Merlin's. The scene was very open and loose at that time and his ability to play the Hammond B-3 allowed him to crossover as well and play blues, reggae, latin and gospel.
His love for jazz music prompted him to take the jazz improvisation class at Pima Community College under the tutelage of sax man Mike Kuhn and he was asked to assist him with some of the more novice musicians. This, was the turning point for what would become his passion to be a mentor and a better jazz musician. Not only as a keyboardist but as a jazz scat vocalist as well..
For a 7 year stint ('93-2000) he played in a keyboard/guitar duo with Phil Davis named L.A.P.D. at Sakura Japanese Restaurant. They reached a cult status with their penchant for playing standards and uptempo barn-burners then turning things right around to play cumbias or R&B dance tunes. Legions of Tucson-ans flocked to Sakura for their performances.
During his career Lamont has tried to give back to the community through his gift of music. He has performed for the Tucson Jazz Society, the Oro Valley Jazz Festival, the Jazz Guild of Tucson, and the Rising Star Baptist Church.. He has collaborated with Tucson Jazz fixtures such as pianist Dan "Sly" Slipetsky, trumpeter Tony Frank, trombonist Rob Boone, bassist Elliot "Kirk" Kuykendal and drummer Gil Rodriguez. He has also been involved in many recording endeavors and has a gospel/Christian CD of all original songs on itunes entitled: "It's Time For Knowing".
Over the last several years he has been mentoring a stable of young musicians. One is currently enrolled at the Arizona Jazz Academy. Often he will get a student who is classically trained and Lamont puts it on himself to get them to "get off the sheet" and use their hearts and ears to bring out the music that dwells within them. He has also mentored many musicians within the church. Having not been mentored himself as a young music- ian he feels that being a mentor is a great way to give the younger musicians a head start and leave a continuing musical legacy especially for the future "serious jazz musicians".
Lamont had to move back to Sierra Vista to be closer to his mother. He has been an unsung hero in the Tucson Jazz Community and the JJA for 2012 would be a fitting way to acknowledge his humble persona and love of music.
Beyond the Music;
Jake
Cosmic keyboardist and composer talk's about playing with his big band at The Five Spot in New York and being discovered by the late great Creed Taylor. Beyond CTI and the ozone!!
Gregarious guitar store owner talks about the many relationships he has cultivated over the years.
Elastic and versatile multi-instrumentalist talks about leaning into the dark and light of all music and how he was affected by spiritual drummers like Steve McCall and Michael Carvin.
My guest today survives in the world of music because of his open mindedness when it comes to musical settings.
In an early time he probably would have been picked up by one of the Titans and caravan around the world playing 3 sets a night at some club. His identity would be one known by the records he did as an accompanist and the photos. His identity would be his unique sound that would enable him to live comfortably in some urban Mecca taking in the foghorns of the bay or the Sun striking the mountain tops high above Morrison where some mushroom addled youth would be on the other side of Abbey Road.
But my guest is living during this age of empowerment. He is unable to peg or pigeon hole because he deftly moves across the musical spectrum which now consists of Aakash Mittal, Greg Harris' funky vibe quintet, the Colorado Symphony Orchestra, Duos and Trios within the milieu of constant pleasures and pains.
The great mandolin player David Grisman said, "if you want to have a band then you need to have a gig." In today's world a band is an expensive proposition so my guest consistently reintroduces himself to audiences at schools, universities and Sunday @ Vic's.
Owner of Norman's Rare Guitars talks about his relationship with Johnny and his role in putting the right axe in his hands.
Podcast dedicated to an unsung funk/jazz guitarist who came up in South Florida with Norm Harris.
Musician and owner of Norman's Rare Guitars talks about his life on the bandstand and the magical memories that continue today.
Brilliant keyboardist and arranger talk's about breaking into the New York City studio scene.
Brilliant pianist, composer and arranger talks about connecting with the Godfather of Soul James Brown and making his own iconic record on People.
Third stream pianist talks about taking music to a spiritual level within the group context.
Brilliant composer and pianist talks about his philosophy and point of view as it relates to the form of a song and the subsequent conversation amongst the band.
Decorated sound engineer and inventor for the Grateful Dead talks about his life as a working musician and then becoming a "translator" for a band known for the live performances.
Double bassist and teacher talks about learning under masters like Bob Cranshaw and transferring that wisdom into his own playing in all musical settings.
Melodic and inventive trumpeter talks about the different musical tributaries which led to a career as a sound seeker.
All-encompassing drummer talks about learning under masters Joe Morello and Mel Lewis and taking that wisdom and incorporating it into his own musical point of view.
Location: Winter Count, AZ
The true nature reveals itself all the time. It is the process by which you are able to look in the mirror and not look back except to promote the values of Elvin Jones, Colin Walcott and my guest.
To swing was never s question for my guest as well. It just mattered that it feels good. Music of Another Present era is finding your true nature in the music of Oregon a band that continues today and reaches into the breach of classical music with jazz changes using world instruments or maybe Ralph Towner on Ringmodulator.
My guest was born and raised in Portland and at an early age connected with Native American Jim Pepper who's free spirit is in the same vein as Leon Thomas, Carmen MCrae and rasa an Roland Kirk.
The records I own in which guest is featured allow me to expand consciousness and be more at peace to discover my true nature.
Oregon is a band that features Polyrhythms and Odd Time they were an acoustic counterpoint to the electronic development of Mahavishnu in the early seventies.
The ability to express yourself in a non verbal fashion enhances your perception of man and the music. At times the music takes over, the player knowing that it comes from another space or place and trusting in that sincerity.
I sit here today in Winter Count, AZ with my guest in a true desert oasis. A camp of the earth and the indigenous. To remain connected to the cosmos then you must remained grounded to the earth knowing that if you don't practice the wood upright bass will humble you.
Burning guitarist talks about being mentored by black blues players in Chicago and carrying that over to bands like Illinois Speed Press and Fabulous Rhinestones.
Humble multi-instrumentalist and band leader talks about growing up playing in his father's local group and fostering those subtle attitudes to impact his own work in Buffalo Killers, The Gabbard Brothers and The Black Keys.
Fluid drummer talks about being a Quiet Riot fanatic as a young boy in Columbia, playing with Dan Horne, and how he sings for his supper in Mexico City.
Keyboard savant talks about the ebbs and flows of his creative spirit and how that intertwined with his interpretation of A Rainbow In Curved Air.
Natural healer talks about finding inner peace within the construct embedded trauma and habitual stories, how she has found closure with these stories and taking a leap of faith with her Tendril Apothecary.
Live from Dexter, OR with an original Merry Prankster
Sublime bassist and album designer talks about finding his own individual voice through musical journeys with John Lennon, Ringo Starr and George Harrison.
Funk/Rock bassist talks about feeling his way through musical settings early in his life and later with David Blue, Batdorf & Rodney and Bob Weir.
Dynamic singer songwriter talks about crafting songs that touch the heart.
Mandolin player who enjoys a more angular approach to blue grass music while relying on the tenants of masters like John Hartford and Sam Bush to continue on her journey as a healer.
Singer/songwriter and new member of Grateful Shred talks about the most gratifying moments of road dogging and finding inspiration as he and his family leave Brooklyn at least for the moment.
Voracious journalist and author talks about the many lifetimes he has led in writing about Sly Stone, Crosby Stills & Nash and Hollywood High among others.
To lose yourself or see yourself from the outside looking in. Not worried about being micromanaged, playing free and escaping whatever's going on in your life.
How hard is that? It can be very unless you consistently surround yourself with people who never put themselves above the music. Learning to converse improvisationally and going off into space is not something every musician can contribute all the time. My guest is an example of a musician who does it most of the time. Ask Pharoah Sanders or the timeless Tisziji Munoz.
What my guest has in common with these masters is that he feels completely at peace when he's playing. He might be churning out patterns of hyperbolic rhythms but he is in his yogic state. Even with the physical movements of the arms and the legs and the feat he is sleeping. He is at peace.
Life is not always peaceful especially if your a professional artists. You have to know your instrument, hone your sound, be a leader and a teammate at the same time and find places to play that believe in the profession of music.
That it's not a pay to play game, that music is to be felt and is not for pacification, that you need to burn and go beyond the atmosphere because we will be leaving this planet for other worlds. The Harmony of The Underworld, being friends with the Devil and realizing the Devil is just alright with me. Playing music of the soul is not for the faint of heart and my guess is still working on his individual growth.
He is not content with being static. He knows if you don't swing the band and stay warm you might get frostbite in those cold Canadian Winters.
Franklyn Kiermyer welcome to the JFS....
Dynamic world percussionist and drummer talks about spontaneous creation of music and the next chapter of his musical life after sixteen years with Krishna Das.
Singer/songwriter from Eternity's Children and Starbuck talks about his career on the bandstand and in the studio writing and playing hit tunes.
Inspiring musician and bandleader talks about his musical and artistic influences along with the legacy he would like to leave behind.
Decorated singer and band leader with The Gentry's and later The High Steppers talks about his magical musical existence which continues to this day.
Transcendent pianist talks about learning to channel the spirit in his playing and taking on the role of a bandleader here in the OP.
Versatile multi-instrumentalist talks about learning how to create deep rhythmic grooves with early bandstand opportunities in Burlington, VT and beyond.
Taiwanese drummer talks about her love of rhythm and groove and how that has translated into a music career in the United States.
Burning guitarist talks about learning to develop his own sound in a myriad of different bands.
Bass player emanating from La Canada High who finds his groove with cats exhibiting similar frequencies on and off the bandstand.
All's fair when the colors are green and grey. You're not judged but included, you're seen for what you bring to the weigh room with DD and JD and Maz Madorsky......
My guest today was a perennial weight room activist. But he was a leader way before then as the son of a kosher butcher who could afford to send his three suns to camp under a Rhinecliff Moon.
My guest was the eldest of the three brothers and the person who changed my outlook on Scatico for the last nine years of my career.
The more I think about it it was my emergence into Jake Feinberg that was occurring only to be cultivated by my guest.
He have me jobs within activities, he allowed me to get comfortable with my voice reenacting the Rocky soundtracks as Jack played the part of Carl Weathers.
His even keeled temperament lent itself to a rag tag but fiercely individualistic division. He found a way to put a roof over all of our heads and turn us into the 1c posse. Where Shaun Locke would come and blow bubbles in your face @ 3 in the morning.
We hoped he never would leave but our summer was his final summer. Leaving a group to carry the upper hill while he headed off to Cornell.
His brothers flourished in different ways then he but again we connect with the lineage of life and blood. We are all different yet the same. We are all free yet entrapped in the idea that camp made us who we are today
DP welcome to the JFS.....
Profound double bassist talks about creating art that is true to his soul and still being able to sing for his supper.
A rogue journalist and two master musicians in dialogue about raising consciousness through melodic invention.
Legendary session trumpeter talks about his journey as a musician and music lover.
Multi-reed instrumentalist talks about his musical roots that grew on the bandstand and the Detroit studio scene.
Pioneers of big band psychedelia talks about finding their niche in a new world of music.
Unheralded multi-instrumentalist talks about playing music with The Sons of Champlin.
George had a notable and stellar career playing the Saxophone, Flute and Clarinet. He was inducted into the Savannah Coastal Jazz Association Hall of Fame in September, 2005 . Born in Savannah, Georgia he is both a composer and an arranger as well as a performer.
George has performed with Clayton Hamilton Jazz Orchestra, Ray Charles, Curtis Fuller, Herbie Hancock, Hubert Laws, Luckman Jazz Orchestra, Jimmy Smith, Bobby Caldwel, Jimmy Cleveland, Barbara Morrison, Billy Higgins, Eric Heed, Harold Land Jr., Phil Ranelin, Buddy Ranelin, Buddy Childers, LaMont Johnson, Henry Franklin, Louie Spears, Kevin O’Neal and More. George has also performed for various schools in the LA Unified School District leading, the George Harper Ensemble, and featuring Jazz styles from Dixie Land to Contemporary. The National GRAMMY Concert Series for Children featured “The George Harper Saxophone Quartet” at Elementary schools in the LA Unified School District. The program included music and composers of various musical styles from Classical to Jazz.
Female instrumentalist and singer talks about earning credibility on the bandstand with Frank Zappa, Jerry Garcia and Mississippi John Hurt and fronting her own Snake Band with the late great Bob Jones.
Discussion with master musician around apprenticeship, breaking bad habits and developing your own sound.
Blazing and unique guitar player talks about getting baptized by C.L. Franklin, backing up Berry Gordy's artists before Motown, mentoring Jimi Hendrix and playing for three decades with Hank Ballard & The Midnighters.
Installation artist talks about how her creations reflect the traumas and triumphs of many humans, including herself.
Gospel singer who worked with Andrae Crouch and The Imperials talks about the undervalued nature of gospel music in our culture and the long musical road he has traveled. Soon Coming....
Self-taught musician talks about learning to feel rhythm and incorporate that into different musical contexts.
Burgeoning bass player with a strong sense of feel and danceable grooves. A discussion of human evolution through music in isolation and collaboration.
Genius double bassist and producer talks about creating parts for hit records first in Muscle Shoals and later in Nashville with David Briggs and Jerry Carrigan among others.
My guest today on the JFS was the equivalent of a five tool player in baseball; meaning that he can throw, hit, catch, run, and hit for power. In the case of Ramon Banda it is spelled out in rhythms and instruments. Tex/Mex Polka, Cha Cha Cha, Mambo, Swing, Bossa, Psychadelic Rock, Organ/grinder, blues and Free Jazz. In terms of instruments it’s the drum kit, timbales, fuzz electric guitar, and the bearded gourds. He has teamed up with his brother Tony to form one of the most formidable bands on the west coast. When he’s not gigging with the family he holds down the beat with "The Skipper" Henry Franklin who refers to Ramon as an animal. He recently came off a multi-city, multi-state tour with B-3 legend Joey Defrancesco.
Music is Life, Enjoy it.
JF
Bobby Cochran is one of the most technically gifted guitarists ever. Bobby also has the heart of a lion. He breaths life through a combination of spirituality, love and music. Put the chops with the soul and you have a legend. Bobby was kind enough to spend sometime with me late in the Nashville Night and allowed me to perseverate about the Bob Weir Band, Bobby and the Midnights and Dancing on the Tables.
Lets hope we hear from Alphonso, Billy and Bobby real soon.....its time for a reunion.
we'll see y'all later,
JF
Southern Arizona's Representative in the House talks about the crisis' affecting our country including immigration and cultural bias.
Multi-reed improvisational artist talks about feel over facility.
Dynamic sound healer and yogic practitioner talks about finding her purpose in life.
The life of a life musical performer playing Syncretic Music or Melodically improvising or playing your ass off its all music.
My guest today has continually put himself out there for the world to see either in metrics, instrumentation, cultural authenticity and peppering audiences with notes channeling his true nature with Dizzy Gillespie and Dee Dee Bridgewater.
And while being brought in and closed out of different scenes my guest strove for individual sound in both music and research.
He has written authoritative material on the impact and influence of Big Bands during their heyday continuing that tradition today here in Burlington working with a band part Dixie Swing Part Classical Part Blues.
He has written on the origins of Afro-Beat. The pulsating rhythms fused by James Brown and Fela Kuti and to a lesser extent Hugh Masekela and Roy Ayers. Tony Allen holding it down with Fela vamping with that Gallop.
I sit with my guest today in his office at The University of Vermont hoping that my guests realizes the bravery and individuality he has exhibited through the years. To speak your mind on the bandstand and in the classroom and all over the world is legacy. The divine is love and love is leadership, love and life.
Alex Stewart Welcome to the Jake Feinberg Show
Double bassist talks about his early career in Tucson, AZ and his enduring relationship with Linda Ronstadt.
The names Hawkins, Webster, Benny Carter, Fitzgerald, Peterson, Gillespie are ones that are associated with the deepest traditions in jazz. They played and continually evolved to stay current or ahead of the curve. They were the founding mothers and fathers of jazz and paved the way for future leaders in the improvisational music world. There legacy lives on in large part to their playing and the promotion that comes with that. If you don't have a forum or an advocate for your art what good is it really. For these legends they had the strongest advocate in Norman Granz. Granz was a tireless promoter, critic and transformational figure in jazz. He owned record labels, made sure that his concerts in the south were desegregated, stood up to racial prejudices at home and abroad, and in his own idiosyncratic way endeared himself to legions of jazz fans because he promoted the music and the people behind the music. Money was not supreme for Norman Granz- the music was. Today I was joined by Tad Hershorn an archivist at the institute of jazz studies at Rutgers University and author of the new book Norman Granz - The man who used Jazz For Justice
Stellar bassist talks about singing for his supper on the bandstand.
Folks welcome to the JFS. My guest today is a first rate drummer who has enhanced countless studio and live musical sessions.
He has gigged with jazz vocalists, played in both acoustic and electric settings and is not just a whiz on the kit but has a profound understanding of percussive instruments as well.
He came up during a time when idioms were present but it was in conjunction with an adherence to developing his own unique sound.
Individual sound interwoven within bossa rhythms or Afro Cuban rhythms or electronica or straight ahead bop and beyond.
Still swinging in the big apple Bruce Ditmas welcome to the JFS.
Multi-instrumentalist for Nashville West, The Byrds and The Flying Burrito Brothers talks about his magical life in music.
Bass guru talks about finding his muse as a Dreams fanatic when he was gigging in Miami and subsequently making his way into the New York jingle scene and beyond.
Gifted and melodic fiddler and singer talks about learning to dance in her own body.
Inspiring harpist and singer talks about finding her niche pursuing original bandstand creation.
Profound musical spirit and yogi talks about overcoming coronavirus and continuing to look inward for inspiration and guidance.
World class drummer talks about lessons learned and acquired wisdom on the bandstand.
Unheralded musician and producer talks about transitions and points of departure in music.
Composer and pianist talks about developing his own shapes in musical form and the validation he received from Gunther Schuller and Oscar Peterson along the way.
Young sound seeker talks about cosmic experiences on the bandstand playing through time and space with comrades.
Mississippi guitarist and band leader talks about his infatuation with The Beatles and how that manifested in his own career early on touring with The Animals.
Pianist and composer talks about being herself when playing with titans of music.
Double bassist talks about finding a way to have an impact in exploratory improvisational settings and crafting his own music.
Dynamic singer and dancer talks about overcoming adversity early in her life to ascend to a land of funk and love with "Bootsy."
Monster guitarist talks about how he plays with drummers like David Garibaldi and Bill Kreutzmann.
Singer songwriter talks about the up and down nature of her musical existence and how divine timing has given her faith in taking the insecure path.
Spiritual musician and Taoist talks about his path towards unfoldment on and off the bandstand.
Drummer and thinker talks about the life of a musician and how that plays within the group dynamic on and off the bandstand.
Regal bass player talks about the trials and inspiration of the various musical projects he is part of.
Performance from Varsity Hall in Baton Rouge, LA from May 2019
Intuitive drummer and singer talks about the formation of Pacific Range and his dedication to playing spiritual music as a life purpose.
Musical drummer and singer talks about how he learned to play with dynamics and the art of collective improvisation on the bandstand.
Folk singer talks about his early roots in Tucson and how he branched out into the Northeast coffee house circuit staying true to the words of Pete Seeger.
Gifted multi-instrumentalist and singer songwriter talks about how the Bahai faith helped lead him and Jim Seals into musical nirvana as The Champs, The Dawn Breakers and ultimately Seals & Crofts.
Fearless and prolific sousaphone and tuba player talks about finding his groove in different musical settings while pontificating about how much creative control he has in different projects.
Unquantiable drummer talks about swinging the Stan Kenton Band, steering the pulse of the music and how he likes his drum kit mic'd.
Emotive poet and songwriter talks about her upbringing and close affinity to her late father.
Soulful and profound bass player and thinker talks about working in free jazz settings with Sunny King and improv with Ken Kesey.
Dynamic big band and ensemble drummer talks about the nuances of becoming a consummate player within the group conversation.
Venerable drummer talks about incorporating electronic sounds into his drum parts on television shows and being able to play complex music by ear.
Guitarist and songwriter talks about his evolution as a player and person.
Intergalactic artist and creator talks about channeling her life force into her various crafts while still remaining vulnerable to collaboration and loving herself.
Iconic guitarist talks about playing in odd meters and his musical relationships with Warren Haynes and Phil Lesh.
Poet and statesman talks about how his incarceration as a young man was the biggest blessing that ever happened to him. An original Last Poet who continues on today with Gratitude and fountains of knowledge.
Intuitive bassist talks about his role in various musical landscapes and a look ahead for his current projects.
Cosmic medicine woman talks about reclaiming witch-hood which is the term for a female shaman.
Divine life coach and dancer talks about her creative outlets and how a necessary balance of these must occur to achieve stillness.
Divine yogic practitioner talks about her daily disciplines that lead towards alignment with spiritual attunement.
Inventive and burning guitarist talks about being on the bandstand at age 12 and eventually playing with masters like Lionel Hampton, Gerry Mulligan and Miles Davis.
Divine world musician and songwriter talks about her improvisational organic musical point of view and how that view widens when playing with the cats.
Prolific and fearless bass player talks about the highest forms of conversation on the bandstand and how to bring it about.
Divine healer talks about the essence of non-duality in a society that is constantly pitting us against each other and how to focus on the universal truth of love and human connection.
Next level conversation about working with bands in the studio, accessing the primordial gut on the bandstand and living a life of continual learning.
Dynamic musician talks about the art of creating music for film and finding creative freedom in all his live musical endeavors.
Divine yogi talks about the birth of her career as a healer and guide.
Dynamic and explosive drummer talks about his dogged attempts to track down his heroes and play with them.
Iconic singer songwriter talks about growing up and gigging with Merl Saunders and later on his path towards relevancy in popular music.
Divine healer talks about her trail into tattoo's and body art along with her passion for encountering sentient beings in her vulnerable and authentic self.
Cosmic guitarist and healer talks about the nuances of creating spiritual music in all contexts.
Multi-dimensional musician and healer talks about the ebbs and flows of spiritual life in a generated world.
Profound musician and producer talks about cultivating the Athens music scene and spiraling out from there with Widespread Panic.
Psychedelic pioneer author and educator talks about the benefits of psylocibin and LSD in a human's ability to coexist with nature, family and grace. A testament to Perry Lane, Ken Kesey and Ram Dass.
Kindred spirit talks about finding a groove on and off the bandstand as his own person in voice and songwriting. Onward into the light....
Authentic creative musician talks about feeling his way through the Southern California music scene and his need to get stuff out of his system on the bandstand.
Divine intergalactic healer talks about finding her own connection to God consciousness through different forms of asana and bhakti yoga.
Pianist from Boston revisits the early New York folk/rock scene that was burgeoning in 1967. Learning how to improvise on standard tunes and playing with the cats.
In the hopes of building a temple for Baba in Nepal. Eternally Yours, JF
https://gofund.me/1ba8727d
Meteoric drummer talks about how his rich musical palette combined with life experiences shaped his career.
Music publisher and Sat Nam Rasayan practitioner talks about his psychedelicized and magical life while remaining innocent.
Gifted double bassist talks about swinging the band in all musical forms.
Electric music composer and innovator talks about creating spontaneously with environmental sounds and tape.
Pianist from Western, PA talks about getting lessons on the blues from his elders and how he tries to keep the lineage alive with his students at the University of Arizona.
Flowers and Wounds. A cosmic trip. Carry his spirit with you as you inspire others.
Legendary jazz/funk guitarist talks about his upbringing in Omaha, NE and his legendary albums on the Black Jazz label.
Life coach and healer talks about the balance of the masculine and feminine in herself and the subtle ways in which she wants to grow her practice through mere presence, grace and authentic journey.
Preeminent Afro-Cuban bass player talks about cooking the groove with Mongo and Ray Mantilla.
Griot talks about the stories she translates through dance, voice and song.
Radio City Rockett talks about her own creative existence and that of her husband, the late great drummer Shelly Manne.
Never forget Michael Tebbs Nunn. RIP.
Natural born musician talks the Tulsa scene past and present as well as the subtle multi-dimensional aspects of spiritual communal music.
Dynamic and soulful drummer talks about his musical roots and the hard knocks that come from playing with masters.
Saxophonist and composter talks about the different tributaries of his musical existence.
Stride pianist and record producer talks about the early improvisational musical form cultivated by Art Tatum and Willie "The Lion" Smith as well as his experiences producing fusion records for RCA.
Singer songwriter talks about breaking loose from a conformist musical mindset and finding liberation.
Legendary painter and jazz connoisseur talks about hanging with William Steig and all his drummer sons.
Divine yogi and intuitive healer talks about her journey to connect with God-consciousness.
Fiery yoga teacher and healer talks about unshrouding dogma and hooping her way into the dance of light.
Divine conduit talks about accessing her true nature through ecstatic dance and how women are equipped to handle the birth/sacrifice of a new day for all of us.
Legendary pianist/drummer and composer talks about his influences in free form conversational timeless music.
Former president of the Portland Trail Blazers and CEO of G2 Strategic sports marketing and consulting business talks about writing his own story.
Singer songwriter from psychedelic/folk era talks about finding her own voice and cutting records on 20th Century.
Radiant light healer talks about remaining vulnerable to receiving authentic love.
Drummer for Don Ellis and Frank Zappa talks about experiences that shaped his musical point of view.
Decorated rhythmist pays tribute to his mentor Chuck Brown who's spirit lives on. Happy Birthday.
Divine yogic healer talks about the death of her brother and how that catapulted her into an intergalactic realm that has allowed her to access her multi-dimensional self and inspire others.
Radio friendly singer/songwriter talks about his life in music and beyond.
Prolific and humble session guitarist talks about getting into the studio scene in LA and the subtle nuances to producing hit records.
Independent photo and print journalist talks about overcoming adversity in his life and finding his own voice as an authentic creative.
Calling all unsung heroes. That's right, you over there who can read music and write compositions with something to say.
Unsung heroes have been prevalent on the JFS, Guys who oozed the cosmic plasma of listening to each other. When everyone is listening then and only then can magic occur.
My guest today is a listener, singer, song writer and individualist. He could have chosen the route of Studio City, playing sessions, getting union scale and an identity.
He chose not to do this rather making a big imprint on the musical landscape during the days that mixed race bands had crossover appeal because they could play at some upholstered sewer in Cape Cod for a week two weeks- a month. His imprint is also attributable to the fact that people like Arif Mardin, Jerry Wexler, Norman Granz and Saul Zaentz were business men who understood the musicians craft. They saw the bigger picture, both sonically and sociologically. They wanted to make money but they understood the lineage that exists in music and when those links are missing.
You see when links are missing it begins to dilute our cultural heritage, music serves to pacify instead of elevate consciousness. When the individual supersedes the music then no one is listening and no magic can occur. Trust me, Mingus, Roach and Dizzy are convulsing in their graves.
My guest plays with his band in Marin County these days for fun. What a concept? How do you think real music is made?
Recently he has been writing some songs with former bandmate and collaborator Mike Finnegan who continues to use my guests tunes on his own albums.
Calling all unsung heroes Lane Tietgen welcome to the JFS
He Didn’t Have Control
by David Garland
When Bigfoot opened up for the Dead in 1968, it was bizarre. They were telling us, “When you walk down the staircase, don’t put your hand on the rail.” We liked LSD, but we figured it was best if we didn’t go out and play on that stuff. That was the big time for us. I had never met Bobby Weir until then.
Eventually I had an opportunity to get involved with Weir, who I just love. Being in that band was the most fun time of my life ever. Weir let us all profit-share.
Bobby Cochran was my friend. When Brent Mydland decided he didn’t want to play with the Midnites, I got the opportunity.
I showed up at rehearsal and they said, “OK, you’re in.” Eventually meeting Alphonso Johnson, Billy Cobham, and Kenny Gradney was amazing. They’re all great players.
I have really good musical instincts. What I lacked in technique I just shut my eyes and went for it. With Bobby I would jump into the jams without any preconceived idea of what I was going to do. He’d have fragments of tunes, and we’d put them together. That’s the beauty of jazz and that’s the way jazz should be played.
That band wasn’t like the Dead, because of all the strong personalities. Bobby Weir didn’t have control over that band.
My guest is an example of industrious musician. He grew up in Utah will music all around him. His father was a prolific multiple-instrumentalist who would not let his son play his trumpet because he thought his son would blow "bad-air" into the horn. Well what did my guest do? He created a makeshift trumpet that he used to serenade girls and it worked.
His first live musical exhibition was. In the traveling Jewkes family band playing in the mountain west in front of native americans and farmers.
At a certain point he believed that in order to grow musically he had to move to the bay area and stretch out. What followed and continues today is a musician who has broaden people's beliefs in spontaneity, orchestration, amalgamations and smelling the roses.
He has played with Jon Hendricks, Jerry Hahn, Ron Stallings, Michael Bloomfield, Ed Neumeister, Jack DeJohnette. He has been instrumental in creating jazz workshops and educating a younger cadre of musicians to swing.
So much to talk about with bay area saxophonist Noel Jewkes welcome to the JFS
Divine sound yogi and kirtan chanter talks about her path up the mountain of faith and pure Bakhti.
Elastic jazzer talks about learning on the bandstand with James Moody and Art Blakey.
Peace building poet and healer talks about her own life experiences that led her to a purpose driven life.
Humble poet and writer talks about peace as a collective healing force in a savage world.
Drummer from Big Brother & The Holding Company talks about overcoming his insecurities on the bandstand.
Singer/songwriter talks about her spiritual realizations in life and music. In memory of Larry Coryell whose spirit lives on in all forms.
Multi-dimensional drummer talks about keeping tempo and time in his life and on the bandstand.
Authentic creative talks about weaving a line between the soul and heart through her compositions and musical presence.
Divine intergalactic warrior goddess talks about her path towards radiance and yogic healing.
Vocal coach and healer talks about accessing the spirit mind on the bandstand.
Piano rocker from Gainesville, FL talks the eternal dance and swing in all music's and how the Tao has kept him on the river towards true nature.
Powerful sitar player and guru talks about accessing higher forms of intelligence like cosmic consciousness and continually seeing life through the eyes of a child.
Divine and humble yogi talks about her own personal growth through grace, contemplation and keeping her heart open to receiving love.
Berkeley bassist talks about coping with the pandemic and how he creates lines that serve the song.
Life coach and advisor talks about overcoming adversity and leading with her heart.
Timeless guide and protector talks about forgiveness being at the core of her healing journey.
Original singer/songwriter talks about his path on the forever journey of music and sound.
Wrapping up the calendar year with an ordained musician. Its not an easy life but worth it! Ride on in 2022.....
Sound yogi talks about how his parents made him the musician and spokesman he is today.
Brilliant pianist talks about his early days in New York playing with iconic figures of jazz and pop music.
Soul singer talks about getting herself back on the bandstand.
Intergalactic healer talks about her philosophies related to the human psyche and its interactions with the material world.
Humble genius talks about playing on countless crossover hits and his philosophies about working, relationships and knowing the language.
Double bassist talks about learning the language of bebop and playing with giants like Albert King and Jackie & Roy.
Melodic improvisor talks about his musical and personal relationships with the cats.
Versatile and musical drummer talks about what allows him able to fit into different musical settings and offer his own voice to the music.
Iconic drummer talks about his life on the bandstand and in the studio with Judy Collins, James Brown, Peter Gabriel and Maggie Bell among others.
Versatile and grounded drummer talks about learning the language of melodic improvisation.
Chicago based music writer talks about the intermeshing of the jazz and blues scenes in the Windy City.
Liner note writer and author talks about keeping stories alive from the sessions he witnessed and critiqued.
Brilliant and versatile pianist talks about life on the bandstand.
Live from his home in Toluca Lake, CA from 2012 with Rafael Otto.
Mexican American who grew up in the Mission District of SF and became a phenomenal middle eastern percussionist working with Harry Partch and Mickey Hart among others.
Heavy instrumentalist talks about being forced into the moment after brain surgery.
More philosophy and wisdom from a master musician and great human being.
Gifted producer and singer talks about growing up in the 5th Ward in Houston, going to New York to work with Chuck Jackson and living a magical life.
Legendary singer/songwriter talks about how he developed his own individual voice and the Tao of Bluegrass.
Excellent guitarist and singer talks about his making his own music in the fertile Bay Area scene during the 1970's.
The Phantom Ship
by Peter Rowan
I started the psychedelic folk band Earth Opera with David Grisman. We did the band Muleskinner for Warner Brothers. Another band, Seatrain, recorded two albums for Capitol Records. That was all within five years of leaving Bill Monroe and The Bluegrass Boys.
After Seatrain, I left to reconnect in the most personal way with my brothers Chris and Lorin. David Grisman had been producing them for Columbia Records. Jerry Garcia lived up the hill, and I would just wake up in the morning living this shiftless Hippie life. Not even put shoes on, just walk through the sand dunes. It was the end of the trail. There was a 7-Eleven, Ed’s Superette, a post office, and a kind of “live-and-let-live” attitude. We just gravitated there. Stinson Beach wasn’t con-sidered a spiritual capital. In fact, the myth of the time was that when the earthquake comes it’s going to break off at Stinson Beach and we were going out to sea.
You were away from all the traffic and all the busyness over the hill. You were in this utopia and close to the elements. You had the bird-fly zone: all kinds of migrating birds coming through there. The changes in the weather. That part of the coast didn’t have a fog bank; further up in Tomales Bay they have a fog bank. Stinson would have these incredible sparkling days.
I’d bring my guitar to David’s house and wake him up. We’d have a “little refreshment” to wake ourselves up and we’d pick. We’d already done Earth Opera, so we weren’t exploring new ground if we played any of that materiel. We were just picking bluegrass and coming back to those roots. One day he remarked, very shortly after getting together, “You know Garcia lives up the hill, and he likes to pick.” I replied, “Let’s go, man.” I had met Jerry on one of my previous West Coast trips. Super nice guy.
We went up to his house, and there was a sign over the entrance that said “Sans Souci,” which means “without a care.” We walked into his yard and there he was, “Spud Boy,” playing the five- string banjo. He came out of the house playing; it was a joyful get together. We rehearsed and played without doing a live gig for a couple of months. Then we had John Hartford play with us; Richard Greene played with us. We played some local places with those guys on fiddle. We did some gigs, just the four of us; John Kahn on bass.
Sam Cutler was living around that area, and the Grateful Dead hired him to do bookings. He said, “I got you some gigs, boys. You want to go on the road?” We were like, “Yea, OK, sounds good.” We were starting to make money playing bluegrass. That’s a novelty in itself. That was because of Jerry’s popularity. You talk about the aura of that time. It was one of weird magic. “Weird” meant good in those days. “Hey, far out!”
The Dead itself was enough to deal with in terms of touring and logistics. Then to have another band that was going to be just like that didn’t appeal to him. Jerry wanted it to be fun. He didn’t want it to become work.
Mountain Girl told me, even though she wasn’t with Jerry at that time, “It’s very important to Garcia to have this bluegrass band.” I didn’t realize how much it meant for Jerry. To have an outlet that he wasn’t responsible for that could provide him some happiness.
Ubiquitous singer/songwriter talks about his new album, how to disseminate to the masses and his upcoming 2022 tour with Son Little.
Explosive rock drummer from The Allman Brothers talks about playing psychedelic dungeons in Florida and his relationship with Duane Allman.
Singer/songwriter and producer talks about learning to fall apart on the bandstand and the production techniques that make him a sought after record maker.
Instrument maker talks about how he crafts the basses he makes and the musicians he makes them for.
Incredible jazz and studio pianist talks about playing in Harlem and all the iconic studios in an age of human generated music.
Singer/songwriter talks about being an authentic creative in an time of conformity.
World musician and singer talks about singing for her supper on the bandstand.
Venerable bassist talks about making the scene back in the 1960's.
Remembering the great John Perry Barlow.....
World musician from Turkey talks about the universal conversation of music and leading a spirit based life.
Original Merry Prankster talks about Perry Lane and painting the bus at Kesey's pad in La Honda.
indefatigable double bassist talks about what keeps him playing after nearly 60 years on the bandstand.
Dynamic singer and daughter of Buddy Rich talks about finding her groove on the bandstand.
Manager of Canned Heat sits down in the studio with The JFS on Powertalk 1210 AM in Tucson.
Head of the jazz music department at Stanford University talks about his program and his collaborations with Professor Stan Getz.
Member of the Even Dozen Jug Band, The Blues Project, Blood Sweat & Tears & American Flyer talks about how lucky he is to still play music for people.
Soaring sax man talks about getting comfortable on the bandstand and becoming a mainstay in the studios for decades.
A beautiful discussion about Mathematics and Love. Long live Sonship Woodrow Theus. Transcending Spirits......
The first true professional musician I ever met was Mitch Hampton. Some 15 years later I'm sure glad I did because his creativity and common affection for musical interpretation has helped propel me to where I am today.
In loving memory of Don Cornelius.
Freedom Riders, the classic Art Blakey album, honoring those who were brave enough to go into the deepest pockets of Racism and Bigotry in our country for a cause. The equal rights that each of of us has in this country.
In mother Africa this is not the case and in recent years progress has been made by artistic expressions from my guest who has sought to cleverly and nimbly traverse the ethnic musical fabric of his native land and the West. Cross collaborations
Rhythms of Resistance.....
They are fearful of the positive impact it could have on younger more open minded generations of South Africans.
We take freedom for granted in the states and often forget that true repression and savagery exists only in perceiving that you are less fortunate rather then seizing on these opportunities. Real Dharma, true nature comes from inside those who are unafraid to educate, advocate and communicate in live musicals settings where my guest has gained lots of experience finding his own voice and developing his own sound.
Not nativist but a combination of Zimbabwe and Great Britain, More Roll than Rock building on experiential learning and an understanding growing up of the fallibility of all human beings.
He's coming to perform here in Tucson on May 7th @ The Fox Theatre.
Johnny Clegg welcome to the JFS
Saxophonist from The Pyramids talks about playing spiritual music and developing new musical vocabulary on the bandstand.
John Santos is a great Latin percussionist. More importantly he is a leading advocate and spokesman for multi-ethnic music. A 5 time Grammy award winner John has boycotted the Grammy's and their sponsors this year because they have removed the categories for Latin Jazz, Traditional R&B, Contemporary Jazz, World Music, Native American, Cajun/Zydeco, Hawaiian, Contemporary Jazz, Instrumental Rock, Traditional Blues, Gospel, Mexican and other ethnic and instrumental categories:
Oh yea John decided to become a musician because of the scene in the bay area circa '73.
Una Mas,
JF
Legendary vocalist talks about playing with George Duke at the Half Note in San Francisco and how the arts can bring people closer together.
RnB singer talks about coming up in the age of sweet soul music and getting signed to ABC Records.
Original Merry Prankster and painter of the Furthur Bus talks about an alternative path towards peace and existence.
Iconic roots singer talks about her upbringing with a father who was a Baptist preacher and a mother who was Cherokee Indian.
Great folk/rock bassist talks about finding his own voice on the instrument with brother Bernie and Tom Petty.
Vocalist and band leader talks about her willingness to make herself vulnerable on the bandstand in order to find her own voice.
Divine singer and bandleader talks about finding her own voice amidst a sea of other vocalists.
Brilliant session and live drummer talks about the nuances of science and spirit within the context of spiritual music.
Ira Gitler is one of those transcendental figures in the history of music. He grew up with Dizzy and Charlie Parker and was writing linear notes for Bob Weinstock's fledgling record label - Prestige Records. He also co-authored The Encyclopedia of Jazz with Leonard Feather. His devotion to the music and the soul's of the musicians always outweighed his own art and this selfless promotion of information ingratiated himself to the jazz community and has made him a massive contributor to a true American art form.
Authentic musician and songwriter talks about the challenges of breaking through in an age when artist development is non-existent.
World musician and yogic practitioner talks about finding her voice through sacred mantra and authentic expression on the bandstand or in theatre.
Venerable folk/rock drummer talks the intuitive groove.
Humble guitarist talks about his musical existence during COVID.
Guitarist from Dub Syndicate and Black Uhuru talks about finding the groove in reggae music.
Freddie Hubbard, Joe Henderson, Son of Skydive, Ralph Penland, Junior Cook, Kent Brinkley
The Jake Feinberg Show
Fender Rhodes, Jazz Samaritans, Slugs, The New School, Park Slope,
The Jake Feinberg Show
Late reed player talks about the venerable Berkeley jazz club which has since resurfaced in Baltimore.
Ever heard of Jug? Gene Ammons along with Sonny Stitt? Maybe Willis Jackson or Red Holloway. These cats were mercenaries on the band stand counting off Cherokee at some ridiculous tempo that would separate the common artist from the professional.
Take a trip down to Jim and Andy's and you just might see my guest with Al McKibbon or Cal Tjader playing Afro Cuban melodies with Ray Barretto, or Stomping at the Savoy with mainstay Kenny Burrell.
Jazz is really black blues and for a long time a jazzers education was on the streets up the corner and round block from Chess Studios where cats like Ramsey Lewis and Ahmad Jamal paved the way for younger minority improvisers to develop an identity.
My guest is as accomplished a player as those listed above. He whistles while he works playing chromatic hypnotic chords to tunes like Afro Blue, mas Ritmo Caliente and Along Came Betty.
He came of age in the old school back in the game when albums were being written about the Tender Gender, melodic invention with no words just sounds- mainly acoustic with drummers like Joe Dukes, Idris Muhammad, Elvin Jones, Dick Birk, the aforementioned Tjader, Joe Morello and Art Blakey.
These cats were messengers of music with an understanding of their significance to pass the music along to those who were younger, educate them on the history the technique the looseness and unique sound that would ultimately pave the way for their own careers.
His collaborations are noteworthy because he got his shot with the masters. Rasa an Roland Kirk, another free king in Charles Mingus, Roy Haynes and Frank Foster.
God Bless The Child Richard Wyands welcome to the JFS
Brilliant banjo player talks about making it in the Southern California live music and studio scenes.
The guitar, the apparatus, the mode of communication chosen by my guests. One of them came from over seas after cutting his teeth, honing his chops and getting lit in the progressive music scene of England. The other growing up in suburban Long Island which at the time was veritable cow country compared to today's population explosion.
Both my guests came of age before interconnection, when individual sound was considered vogue and confidence in that individual sound was built through steady gigs in a band with Stephane Grapelli, or David Dawg Grisman playing riffs and chords integrated within the gypsy swing.
These gentleman on my program today played alongside their heroes like Barney Kessel and Bucky Pizzerelli
Keeping the roots music alive through acoustic vibrato in any and all musical settings carrying the torch for those since departed like Joe Pass, Wes Montgomery and Django Reinhardt.
Some audiences are more bluesy, some more classical, some are digital. My guests along with their counterparts Vinny Raniolo and Peppino D'Agostino will attempt to engage their audience because Along Came Betty with A Waltz For Debby.
But like most artists neither of these cats has had an easy journey. They have suffered from musical traumas, in one case nearly walking away from the instrument all together. It's inspirational that both my guests are headlining the Acoustic Super Group Great Guitars who open up at Yoshii's in Oakland tomorrow night!
Slide trumpeter talks about creating and innovating in the moment on the bandstand and the many elders he has learned from.
Explosive fusion drummer talks about playing with Barry Miles and Pat Martino.
Avant-garde drummer talks about his involvement in the New York City art and music scene in the 1970's and 80's.
Brilliant jazz pianist talks about her musical and personal relationship with Stan Getz.
Incredible arranger and musician talks about creating parts on the fly as a part of Fantasy Records.
Engineer at Wally Heider Studios in San Francisco talks about his prowess in the studio with Cal Tjader, Tom Fogerty and other seminal artists.
Continual conversation about collaborating with melodic genius'.
Legendary Broadway contractor and musician talks about Stan Getz and his own magical career.
Dazzling pianist talks about life on the bandstand.
As Branch Rickey said,"Luck Is The Residue of Design." If that's the case then this host walked ass backwards into Lucky Thompsonville exploring the players who created regional music in this country prior to full interconnection. Cosmic Cowboys who played with Hugh Masekela, Blue Mitchell, Dave Brubeck, Cleveland Eaton, Donald Duck Dunn, James Brown, Randy Weston, Allah Raka and Bill Monroe.
These cats were street scholars coming out of heterogeneous neighborhoods with Jewish families bordering on Italian Neighborhoods which bordered on the Black Neighborhoods where the messages of Sam Cooke, Curtis Mayfield, Wilson Pickett OC Smith and Johnny Nash permeated elaborate high school bands, opportunities in burgeoning studio scenes, game shows, commercials, strip clubs, 2nd cities intermeshing live stand up by Alan Arkin, followed by improvisation from the ghost opera in a brave new world where I lead a life, you lead a life and constant creation is paramount to further evolution as a human being.
My guest figured this out early in his career deftly navigating relationships with Blue Eyed Soul Singers and Tripped out Drummers who swung the band to wash away the dust of everyday life.
That was the purpose of the live music event. When there was light, a middle class and cats who wanted to be links in the chain for younger generations of musicians who were looking to be the straw that stirred the drink - maybe it was a sissy drink concocted by the late great Herb Wong or a beer with two shots of Bourbon in it made famous by Butterfield and Bishop playing all night gigs on the South side of Chicago. Or even better late night care packages from Bob Krasnow and Tommy LiPuma who knew they were dealing with crazed hipsters like my guest who has continued to be resourceful- using what he has around him, not in excess but rather letting the music come through him. Like a wise man once told me "you don't chose music it chooses you."
Ben Sidran welcome back to the JFS
Bay Area horn man talks about playing in all different musical settings.
Inspirational musician and song writer talks about his work in various outfits and expressing himself on the bandstand.
Angular vibraphonist talks about his musical point of view and his collaborations with Luciano Berio and Tim Buckley.
Iconic studio drummer talks about growing up in the musical bastion of Buffalo, NY and the many influences he used to create his own landmark grooves.
Gut bucket musician and advocate talks about raising frequencies in a live musical context.
Expounding on her life before, during and after the Grateful Dead.
Unheralded Texas drummer talks about playing the regional rhythms of the gulf coast.
Drummer and family man talks about the groove and making a living behind the kit.
Savvy lyricist and musician talks about his relationship with Tim Buckley.
Music critic and author talks about the class of Hollywood High in 1958 and his latest book on a magical period of artistic creation in Southern California.
Decorated pop singer talks about thriving in a record based music industry in the 1960's.
A drummer who is related to Miles Davis.
Venerable studio percussionist and trap drummer talks about the many roads his musical life has taken.
Heavy cat talks about singing for his supper in a new world.
Musician and record producer talks about the Contemporary label and its lineage within his family.
Midwestern touring circuit veteran talks about playing spiritual music.
Prolific Jamaican hand drummer talks about swinging a band with congas.....
Dazzling pianist talks about her life on the bandstand.
Multi-dimensional artist talks about his musical upbringing under the Grateful Dead and his concept of rhythm.
Gifted melodic drummer talks about breaking up time and form with masters of music.
Groove drummer from Malo talks about learning from teachers like George Marsh and applying those skills with Jorge Santana.
Bova Land
In Bova Land there are prisms of colors rays of Hammond organs with deep purple gel tabs going off a cliff in super funk rock jazz amalgamations.
He comes from Old Greenwich, CT where the echoes of Clifford Brown and Blue Mitchell resonated deep inside Bova Land.
Soon the man from Bova land went flying to an island of fusion mixing traditional classical instruments in a blues based setting with odd metered songs leaning on his B-3 while the drums of Bill Bacon swirl within the whispering pines of the Vermont hideaways and New England festival my guest has played in.
He is a Grammy award winning keyboardist, composer, arranger and record producer but for this host my guest came from off the grid because two sages of mine here in Tucson Abbott Taylor a proud sponsor of the JFS and Chuck Goldschmidt grew up in the afore mentioned Ole Greenwich.
My guest has reached several musical mountain tops, finding good work because of versatility in an industry that went from analog to digital, acoustic to electric, be-bop to hard bop to post bop to future shock with an ARP chroma burning layers of melodic goo deep inside the soul of my guest.
Jeff Bova, welcome to the JFS...
Mercurial bass player and producer talks about his musical affinity to folk and blues music.
Avant-garde jazz bassist talks about playing with his brother Michael and all the cats at Glide Memorial Church.
Cosmic drummer talks about playing with Count Basie and John Pierce.
Sports writer and author talks about his career in the real time.
Intrepid author and music journalist riffs on the ability to write about a healing art form and its many histories.....
Powerful world drummer talks about the vibrational energies that can heal regular peeps.
Austin based drummer talks about cooking the groove within all genres of music.
Decorated pianist talks about playing with Stan Getz.
Burning upright bassist talks about grooving within the energy of the ensemble. Highly recommended.
Bad jazz is when people are playing real hard and nobodies listening.
Lagos used to call it "Bar Mitzvah Jazz."
No matter what kind of music you play people kind of expect a show. There's so much offer on cable, concerts are huge and the magic of ensemble playing which is people who can play even if there just playing chords behind somebody else. Even when it's a singer it can be smokin" if its ensemble playing and people are listening to each other.
Don't get me wrong, we practiced for hours. It's not a question of practicing, what it is a question of is hearing the other person. Getting off on backing up, you don't have to take a solo to get off. It's not like watching a porn movie. Your part of it. If your playing rhythm guitar behind Sugarcane, your part of it.
Paul (Lagos) knew so much. He used to study Joseph Schillinger compositions. He and Cane used to play duets that would just fly off, you can hear that on the recordings but we did that all the time. Sometimes that's shit would last 15 minutes. We do the intro to the song, Don would sing a couple of versus, he'd take a solo, sing another verse. The bass player and I would stop and he and Paul would play for 15 minutes. When we came back in it was knowing when to come back in. This isn't to say that Victor and I were so brilliant we just came in at the right time. No one ever said, "I needed you cats to come in later or early because their was no later/earlier it was just so obvious from the ensemble playing that we were doing. We would bring it down to a certain level and come back in and that's called music."
Pianist educator and writer talks about his musical point of view and how it shapes him.
Gifted percussionist and trap drummer talks about his musical adventures in a life of rhythm.
Dynamic saxophonist talks about the lineage of his peoples music and how it has morphed and grown as an international language.
Gifted singer/songwriter talks about being able to find her groove in all musical settings. A beneficiary of a record based industry.
One of the things I have done over the last 4 years is connect the dots on different amalgamations of musicians and their actions within a period of time in music when you could find work as a session player, play gigs @ strip clubs and the multitude of venues in every urban center in this country.
These amalgamations were everywhere but the cities I have most heavily explored and where these amalgamations seemed to grow off and out of each other have been New York, Chicago, Nashville, Muscle Shoals San Francisco and Los Angeles.
My guest is a drummer from Southern California who's laid back style fit perfectly into the white boy blues that washed up In sun splashed LA. He could play folk, ballads with David Blue, bluegrass with Sneaky Pete, and blue eyed soul with Jackson Browne.
My guest has a great reputation which is why when Bob Weir came to LA to find a working rhythm section he found one with my guest and Rick Carlos and Brent Mydland on the heels of Silver and Batdorf and Rodney. This unit sparkled and was a great fit for Bobby as he tried to step out of the shadow of the Grateful Dead. Playing a bouncing Poison Ivy that my daughters listen to on the way to school.
My guest has seen the industry change. The near impossibility of keeping a unit together is almost unheard of unless you can sell out 30000 seat rock palaces. The values in music and performance reflect that of our society. One of imbalance. My guest still swings the band but provides marriage counseling to help offset this imbalance.
A&R man and tour manager for Just Sunshine talks about working with an unknown Billy Joel.
Jamaican roots musician talks about the intersection of spirit and culture.
Florida born guitarist and band leader talks about his own inner time feel and how that shaped many of his records.
Monster German horn man talks about his musical journey through improvisational music.
Decorated producer and sanctified musician talks about putting the people in place to create good radio friendly music.
The Business of Creativity
Studio musicians were always paid very well to create and make someone else look good. The only time we did receive something for ourselves was when we wrote something, which is the case for the music business, anyway. If you don’t write it, if you don’t produce it, you don’t get paid. If you just play the session, that’s a certain fee. I will say for me, I have been rewarded for most of my work because I was not only the musician but also the businessman, and I always made sure that I got paid. Whatever was due to me, I always made sure that I got it. If there was a royalty due to me, I got it. If there were points due me in any situation, I made sure I got them. There were only a couple of situations where someone beat me, and in order to beat me he had to bankrupt his company. More often than not I got paid.
This is a business. Creativity is creativity. But the business of creativity is the business of creativity. So, you have to always ensure that when you’re creating, you’re going to be rewarded for your creativity. I don’t want to give it away. You know, I never wanted to be one of those musicians who wanted to go down in history as a poor, broke, starving genius. I never wanted to look at it that way. I wanted to be paid for what I did. That’s just common business; it’s music, but it’s business. I always looked at it from the business perspective. I don’t think the industry did me an injustice. I don’t think I got ripped off. I made enough noise to make sure I got compensated.
The mystic inside the all seeing eye across the Atlantic to the burning shores of Venice Beach and The Drum Circles at Griffith Park
Where Papa Dee Allan was playing his conga Drumz and Jimmy Witherspoon was playing a police union benefit with my guest.
I've had a few harp players on the program. Matt Kelly played with John Lee Hooker, haven't gotten to Toots but today I talk to a mystic. A visionary of sorts musically speaking finding his own individual sound within the ranks of the West Coast Afro-Soul Contingent War.
The loosest funkiest group in LA staying with the groove even as Jerry Goldsmith was screaming
Just like Jan Hammer from praque and Larry Vucavich from Yugoslavia or Airto from Brazil my guest immigrated to this country from Denmark and he found his brotherhood.
Singer songwriter talks about his musical existence.
Percussionist talks about healing through counterpoint rhythm and the necessity of spiritual communal music for universal peace.
Singer/songwriter talks about learning to find his own voice in a world full of folk singers.
Drummer from the Nitty Gritty Dirt Band talks about finding the groove in an iconic folk/rock outfit and life before and after meditation.
Sublime musician and teacher of Transcendental Meditation talks about his journey to bliss on and off the bandstand.
Stalwart pitcher for the Dodgers and Pirates talks about the grit that it takes to make it in the major leagues.
Brilliant bi-racial pianist talks about the mentors she's had and how she has learned to find her voice in the hotbed of musical activity known as New York City.
Divine pianist and band leader talks about getting out of her own way to become a vessel for spontaneous creation on the bandstand.
Integral member of Bill Graham Presents talks about what he learned from the greatest impresario of our time.
Elastic and formidable time keeper talks about playing with the Green Leaf Rustlers.
Iconic drummer and musical elder talks about working with Wah Wah Watson and other iconic studio musicians.
Divine poet and social advocate talks about growing up during the cultural revolution, finding her individual voice through poetry and the willingness to travel the insecure path.
Unheralded guitarist and bassist talks about growing up under the tutelage of his father, playing the casino circuits and becoming connected to the extended GD family including Billy Kreutzmann and Dan Healy.
Gifted drummer from Mexico talks about growing up on American music and becoming the drummer for the iconic blues rock contingent Canned Heat.
Stealth keyboardist and synth programmer talks about bringing his voice to Larry Graham, Herbie Hancock and Bill Kreutzmann.
Divine yogi and spiritual teacher talks about cultivating the roots of her connection to source.
Accessing indigenous wisdom with an authentic yogi and divine spirit.
Drummer and educator talks about being raised by his elders on the bandstand and how those experiences have shaped his outlook on life.
Entrepreneurial empath and yogic practitioner talks about her journey towards stillness and dialogue in a manic world.
Intergalactic musician talks about finding her purpose in life as an innovator and healer.
Spiritual musician and dharmic practitioner talks about the cosmic relevance of our true nature.
Fiery singer and bandleader talks about his philosophies as it relates to putting together a band, raising consciousness and staying musically relevant.
Divine yogic practitioner talks about her evolutionary development in this life and how she has discovered her purpose in service to God.
Interstellar keyboardist and organ grinder talks about the limitless possibilities of doing things in your own way.
Ebullient trumpet and saxophonist talks about the different chapters of his musical life.
Continual discussion related to the sacred path of becoming a full time musician.
Generous drummer talks about being high on life and rhythm.
Multi-instrumentalist and producer talks about his earliest musical experiences and accepting god in order to save his life. Open Door Mission.....
Ferocious funk and jazz pianist talks about his journey to peace through music.
Venerable New Orleans drummer and chef talks about fitting into any musical setting and playing what the song requires.
Composer and founder of The Tape Music Center in San Francisco talks about integrating tape music performance into the psychedelic milieu of the Bay Area.
Musician and rabble-rouser talks about stirring the pot on the bandstand and in the streets. Colt 40.
Authentic creative and upright bass player talks about the forever journey of music and the intertwining of spirit and purpose.
Decorated newspaper columnist and author talks about distilling the truth in the psychedelicized Bay Area milieu of music and culture.
Die-hard Scaticonian talks about how camp and music have shaped his life.
String instruments of the old Appalachian hootenanny. The banjo, the fiddle, the mandolin an upright bass and the hammered dulcimer.
A stringed musical instrument with the strings stretched over a trapezoidal sounding board.
The player uses mallet hammers to strike the strings on the dulcimer in combination with the zither or oud in the timeless countries of Iran and China.
My guest today has redefined the settings in which a hammered dulcimer can be played in. An old folkie from Western Maryland he is as versed in country bluegrass as he is with Celtic Tunes as he is with jazz.
He comes from a hill where there is common ground. A place around the mason Dixon line where Peter Rowan and David Dawg Grisman, Steven Stills and other revivalists go to spread the language of music. Playing in tongues, moving beyond the spoken language and forming a unit whose collective spiritual mantra is to support each other.
You gotta go fishing once and awhile and my guest does mentoring younger cats and being able to relate to the poverty, abuse and neglect that many performers carry. Especially those who have recently come back from serving our country. Coming back after two tours overseas and being deported.....not given real meaningful opportunities to combat PTSD.
My guest knows the poverty of Appalachia and the traumas of younger war veterans and gives back to his country by helping cross sections of our people get back on their feet and grow through the arts.
His 100lbs hammered dulcimer vibrates with an improvisational ring swinging from one octave to another just like ringing a bell with those mallets acting as the percussive driver of soul music.
My guest today is the founder of "Common Ground On The Hill," in Maryland which over the last twenty years has sought to bring together artists, writers, journalists, dancers and singers to perform and teach kids. He is a virtuoso of the hammered dulcimer performing at the Winter Olympics, Presidential ceremonies, The Tonight Show, Tennessee Fiddle Competitions and the coal camps near the Blue Ridge Mountains.
He is resident artist @ McDaniel College and knows that any movements around social change are spurred on by finding common ground through the arts and culture.
Walt Michaels welcome to the JFS
Legendary New Orleans musician and statesman talks about the blues life. RIP.
Sometimes I feel like a Little Red Rooster, too lazy to crow for days. It takes a Cosmic Dweller to bounce you back to where you need to be. Thanks Amo. Jake out.
The truth reveals itself.....it's revealed in the body of work that you put out there to the masses.
For musicians Before interconnection this was done via vinyl records, regional radio and lots of late night jam sessions with musicians who thrived on individuality, unique sound and authentic presentation.
Their bodies weren't decorated with
Company logos nor was there much discussion of monies. If music is to be played then play it with unabashed power and glory with an emphasis on being yourself and knowing that the cream always rises to the top.
If your not a doer you judge and there's not much worse in this world then judgement being rendered by those who are not doers. Their vantage point is flawed from the beginning because they themselves are just insecure, afraid to put themselves out there and lead for the sake of swinging the band....their sitting on their balls critiquing those who chose to stand up and stir the drink of music and magic.
My guest today is a doer, always has been, collaborating with the likes of Llew Mathews, Bobby Christian, Phil Upchurch, Cleveland Eaton, George Marsh and Mel Graves.
He might be playing a ghost opera by day and then a big band gig at night. Blowing ideas in a sequence that borrows from Coleman and Bird and
Getz but has the inner light of a prophet guided by sight unseen or heard.
His career has encompassed the last 1/2 century with stints in the hottest beds of regional American Music. He has played in front of 5 people 500 people, 5000 people and now he gets to talk to Jake Feinberg. Welcome Rich Fudoli...
Queen, no backbeat, straight ahead."
Love Always,
JF
Lee Charlton and Shelly Manne were friends and after I invented the water phone Lee called Shelly and told him to come up and take a look at this instrument because it might be something he could use on those soundtracks he was working on in Hollywood. He did come and bought several and that opened up the door to Hollywood, Emil Richards came up as well so that started my business right there. At one point Emil Richards said, "hey man come on down here and I'll hook you up with everybody. I made more money on that one trip to Los Angeles then the entire previous year painting and a little bit of sculpture I was selling. It changed my profession because I was no longer a painter I was an instrument builder.
That was an unusual tonal quality when you hook up water with an instrument that could be percussive. There's an awful lot of sympathy in those Rods and that bottom band carries a wide range of sounds. When you start bending tones by moving water around on the bottom it does modify the sound. It's not a conventional sounding instrument which is why Hollywood uses it in Zombie Movies and Sci Fi.
In really thankful that I invented an instrument that people like and I sell enough of them so I can keep on eating and buying gasoline for my car I appreciate that.
RIP Tom Dondelinger and Chuck Day.....Gravity Adjusters Expanding Minds.......
Divine healer and meditation guide talks about her path towards metaphysical transformation and wholeness through yogic cultivation.
Dynamic jazz drummer talks about swinging a big band with Richie Cole.
As previously stated on this program the San Francisco Bay Area sound was as distinctive as any regional sound in our countries history.
When you look back at the roots of this sound it's clear manifestation started with the Trips festivals that were spear headed by local pols, promoters and musicians. There was a fascination with fusing pure psychedelics with masses of humanity in dance halls saturated with wood brass and steel.
My guest today was the leader of the Loading Zone. One of these bay area incarnations whose sound crossed over several musical idioms.
My guest had jazz leanings but knew as a pianist that he needed to expand sound with the blues and rock drenched make-up of the region. He also wanted to grab some of the east bay grease that combined soul and funk/punk lyrics and rhythms.
This desire led to a serendipitous connection with Linda Tillery whose gut bucket style and swagger helped catapult the Band to commercial relevance.
The Loading Zone was one of the original test cases of the Bay Area Psychedelic Movement. They were often times on the same bills as many of the more recognizable acts such as Big Brother, Country Joe, GD, Sly and the Family Stone and the Airplane. They played winterland and the Fillmore West the Family Dogg and the Louisiana House.
After the original group disbanded my guest put the Zone back together with legendary drummer George marsh for a second album entitled one for all. This new amalgamation at times fronted two drummers and increased their polyrhythmic qualities all the while staying true to the regional appetite for improvisational jamming.
Fauerso so good... Paul Fauerso welcome to the JFS.....
People know of the Heath Brothers and the Montgomery Brothers but here is the first of another trio of musical blood brethren.
Canadian double bassist talks about cooking the groove with his brothers in the states and north of the border.
While Charlie often will deflect attention to his brothers this cat has kept music alive in Southern California as well. Little bit of late start but that's how they do things in LA.
*Please note the first 30 minutes of the program is an interview I did with another so cal studio warrior - Max Bennett.
Candid and Accurate. Proud to be part of the brotherhood. JF
Sound pioneer and MIDI wizard talks about his musical relationships with Stevie Wonder and the Grateful Dead.
Blazing multi-reed instrumentalist talks about bringing a sense of fire and urgency to the bandstand.
Ray Mantilla was born in the South Bronx in 1934. He was going to the Palladium and catching Machito and Tito Puente blister the crowds with dizzying arrays of Salsa. Ray eventually got his chance at the Congo and was a vital part of the Herbie Mann quintet along with Chief Bey, Ray Barretto where they sought to annihilate drums on a nightly basis. Ray was lucky enough to be at the epicenter of the fusion of Latin rhythms and jazz in the late fifties and sixties. This urban strut played out with Joe Farrell, Art Blakey, Jeremy Steig and Max Roach.
The Nuyorican Conguero,
Mike Wolff joined Cal Tjader's band at 19 years old. His second gig was at the Monterey Jazz Festival with Dizzy, Clark Terry and Al McKibbon. He than joined Cannonball's band and was an integral part to the Fantasy/Milestone/Bezerkely scene of the 70s. Since moving to New York he played with Nancy Wilson and was the musical director for Arsenio Hall. He still plays gigs all over the world with Badal Roy and Mike Clark among others. You can catch him at the Knickerbocker on most weekends.
Keyboardist from The Blackbyrds talks about his journey towards musical and spiritual enlightenment.
Pioneers were prevalent in the 50s and 60s. Guys that built up their chops to be able to play at the spur of the moment in any setting with any players. This pioneer mentality was helped by venues, multiple venues in every major city so accessibility was not a problem. The pioneers of music were unafraid of pursuing odd rhythms and combining instruments that wouldn't necessarily be commonplace in a square setting. My guest was one such pioneer, with Charles Lloyd they became the first American Jazz outfit to perform in the Soviet Union, he was a favorite of Joe Henderson in a group that featured the likes of Woody Shaw, George Cables and Lenny White. He was also one of the founding members of the eclectic group the fourth way with Mike Nock, Michael White and legendary Bay Area drummer Eddie Marshall. He has been an educator at the Berkelee School of music and LIU and is a continual force in the field of music. Ron McClure it's a pleasure to welcome you to the Jake Feinberg Show.
Folks-
Tony Saunders grew up playing bass under the tutelage of John Kahn and Jack Cassidy. The stories he tells about Garcia and Merl and the Jam sessions are keepers. The interview revolves around Merl and his contributions to the early Bay Area Music scene of the 60s and 70s. I was quite elevated throughout the interview.
Now I'm in.....
Hammond organ player talks about his intentions for getting into music and creating hits with Chaka Khan.
Texas blues/rock drummer talks about the paths he has taken in his many musical lives.
Back when "The Skipper" Henry Franklin and I were mulling over pianists to play at The tribute concert to Gene Russell Henry said, "what about Bobby Pierce? I couldn't believe Bobby was living in LA and was still gigging. He was the first stop on our soon to be chronicled "Week in La La Land."
Bless you Bobby,
Blair Jackson was the editor of BAM magazine in the late seventies and wrote the definitive biography on Jerry Garcia.
To have him on my program puts me one step closer to the pre-coma years that I covet so much. Blair was a great sport putting up with my eccentric questions related to Garcia's physical appearance in '84, how to tell what year a particular Shakedown Street was played and how the band traveled from Burlington to Rochester.
Slight tape warble at the 8:00 min. mark!
Have at it!
JF
Bobby Cochran is one of the most technically gifted guitarists ever. Bobby also has the heart of a lion. He breaths life through a combination of spirituality, love and music. Put the chops with the soul and you have a legend. Bobby was kind enough to spend sometime with me late in the Nashville Night and allowed me to perseverate about the Bob Weir Band, Bobby and the Midnights and Dancing on the Tables.
Lets hope we hear from Alphonso, Billy and Bobby real soon.....its time for a reunion.
we'll see y'all later,
JF
Continued discussion with a decorated engineer about the golden era of modern American recorded music.
When stationed at Fort Huachuca Vince Lateano used to play at supper clubs in Tucson to keep his chops up.
After he got out of the army he wound up in the Bay Area (where else) and wound up gigging with Vince Guaraldi, Mark Murphy, Flip Nunez, George Muribus and the late great Cal Tjader. I was like a kid in a candy store on this one.....
Bassist for The Jazz Crusaders talks about that spiritual gulf coast sound and creating a groove.
Conversation with the late drummer about swinging a band.
Interview with the late drummer from July 2017
"Close your Eyes and Open your Ears," says Don Menza. Don is a non-conformist - a man who was raised by Italian Farmers and grew up in the gutbucket of Buffalo, NY. (Upstate NY was a haven for jazz cats like Nistico and Noto)
He is interested in people who think for themselves. When a student asks "what books should I bring," he says "None!" He is tired of the assembly line manufacturing that has occurred in music schools/industry over the last 30 years.
He loves Sonny and Dizzy and Wade Leggy. All guys who had something to say and actually said it. As a wise philosopher once said; "you know, a lot of people have ideas although most never follow through." Don Menza will follow through for eternity.
A highlight occurs at the outset of Part II. At the time we were breaking in a new board op and he was still learning the transitions. When he fails to bring up Don's sound at the beginning the host has a slight meltdown.
Dig,
Mike Longo sat at a restaurant in Ft. Lauderdale, Fl with his father and Cannonball Adderley in the early 1950s. At this point Cannon had been playing in Mike's father's band in what was the first de-segregated band in Ft. Lauderdale. At one point a member of the staff approached them and said; "you all can eat here but the negro has to eat in the kitchen." Mike's dad stood up and said, "if he has to eat in the kitchen than we're going with him."
The Stars Fell on Alabama that night as well.
*I had the privilege of meeting Mike in person and did an interview with him at his upper west side apartment. The next day en route to the east village the recorder I was using fell out of my pocket. Talk with the Spirits.
Enjoy and Share
Seeker of authentic music and culture talks about finding her people and fronting George Is Lord.
Conversation with an amazing musician and drummer spanning rhythm, reverence for the music and the space/time continuum.
I sit here today again in the studios of PowerTalk 1210 totally humbled and awed. Awed by my adherence to the musician and those who produce it and cultivate the music.
Much of the focus of my show I now realize is on the ability to have people in a room all at the Same time making music. Seems simple but in these times it's not.
Those who know how to mic a set of Michael Shrieve or Billy Kreutzman drums being able to remember his name because it's on the inside gatefold along with about a dozen other heady individualists hell bent on creating music.
This music comes out if their instruments but it's that sound of the record that provides space and time displacement. The Erie Jews harp trying to get traction in the rain.
That's where my guests launching point was and he has continued into the digital age with timeless artists like David Crosby and New Riders of a different age. Larry Graham coming in right on time in the Valley of The Moon.
My guest deftly made his way in and around the weeds with Brewer and Shipley. Carving paths of Kama Sutra while Bill Vitt and John Kahn laid down rhythm tracks or building a custom designed studio in Bob Weir's Mill Valley.
My guest is not awed by the digital age. In fact he's thrived in it because of the relationships he built when music came out of communities.
Deeds not words, Stephen Barncard welcome to the JFS..
Soundtrack arranger and conductor talks about putting music to film in a hip way.
Live At The Marin Rod & Gun Club from 03/2018
Legendary organist talks about playing with Ike Cole and Rahsaan Roland Kirk. A long and storied career that continues today.....
Teacher of stillness/meditation and lavender farmer talks about life off the grid.
I normally do long poetry monologues leading up to introducing my guest. Today is really about explaining how my guest helped me in my journey.
He is a teacher of pure heart, how to handle your emotional balance in a wave of psycho-spiritual narratives that are not always verbalized but pondered in isolation in a man made chateau with his lovely partner just 1/2 a block down the red rock road of Diamond Mountain.
When I met my guest I met him at the rabbit ranch. A bonfire of the vanities communal house that connected me with Neil Diamente. My guest was happy and challenging himself teaching and finding his yogic state in that hut next to his hut that would cook on a hot August day. I was on my journey, letting all the side paneling fall off and be truer to myself.
I've interviewed over 400 artists on The Jake Feinberg Show. My guest was the first interview I did before he left for retreat and over that time I found my point of view and my voice gutting it out with these mentors who opened their hearts to me to tell the truth or the closest thing to it. Over the 3+ years my guest was in retreat this host ascended to his full capacities by finding my true nature.
As I meandered through the different tributaries I often thought of my guest. Dwelling somewhere in a mountain of Diamonds where eagles fill the sky which turns crimson at a certain time every day while my guest found ways of being resourceful living as he describes it an "incredibly sane existence."
Now as he settles back in to Disney Land without keys to the exit he has been working at a manic pace and trying to be patient in a sea of humanity.
Vibraphonist and percussionist talks about finding his way into the studios and playing with Buddy Rich.
Part of the legendary Kesey tribe talks about his relationship with Neal Cassady and going Furthur.
Singer/songwriter talks about her influences and ultimately finding her own voice on the bandstand.
Decorated violinist talks about playing free jazz to nobody in the clubs of France and being discovered by John Lewis who hipped Frank Zappa to him.
Legendary NOLA drummer talks about the finer points of creating soundscapes on the drums.
Singer songwriter from the folk era talks about his early days on the circuit and collaborating with Ken Kesey.
Divine healer and yogic practitioner talks about overcoming adversity and finding her individual voice.
Prolific drummer and historian talks about the growth in musical vocabulary over the years as well as dispelling age old canards.....
Ebullient drummer and motivational speaker talks about his love of rhythm.
Incredible singer talks about working with the Fairfax Street Choir and Jerry Garcia Band.
Burning authentic road dog musician talks about finding ways of staying inspired musically and spiritually.
Original member of the band CARP with Gary Busey talks about their journey to Los Angeles and the cumulative results of music.
Dynamic drummer and producer talks how music reflects life.
Multi-dimensional artist and cabinet maker talks about his path towards grace and eternal spirit.
Pianist and bandleader talks about the ebbs and flows of the last 18 months, playing live and channeling the muse.
Master drummer and soundscape artist talks about playing with Ornette.
No Mind No Spirit - Tisziji Munoz on the love continuum and going beyond thought on the bandstand.
Angular and funky keyboardist talks about all the ways he makes music in the modern era before during and after Covid.
Exceptional live and studio drummer talks about the paths he has taken in his musical journey.
In my continual pursuit of primary source archival interviews relating to our personal heritage I present the Gary Bartz Interview.
Its time to be quiet and listen.
Jazz writer, producer and archivist talks about his magical life.
A continual discussion about the aesthetics of spiritual music.
Double bassist talks about learning the ropes on the bandstand with the likes of Freddie Hubbard.
Plant based and earth focused leader talks about what it will take to shift universal consciousness to save the planet and the people who dwell here.
Decorated percussionist and educator talks about the language of the drum and his own path towards accessing his multi-dimensional self through rhythm.
Singer/songwriter talks about her relentless pursuit towards individuality and authenticity on the bandstand and how she continues to stay inspired through her relationship with the divine.
Charismatic and versatile pianist/band leader talks about the existential magic that exits in the live musical setting and finding ways of staying inspired during Covid.
Brilliant songwriter and session cat talks about his musical lives and the love he has for his wife Karen.
Profound musician and philosopher talks about humanity's current state of perfection and how to incorporate music into that milieu to create a vibrational renaissance.
Stealth session guitarist and producer talks about modern day Immediate Family and the different roles he has played within that.
Gifted guitarist and band leader talks about his early beginnings in Portland, OR, moving to New York and ultimately joining Dan Hicks.
Blazing rock guitarist talks about his early roots in the Motor City and eventually playing with David Margen and Bill Kreutzmann.
Boogaloo guitarist talks about the bevy of projects and bands that he is a part of in the Pacific Northwest.
Versatile and unique guitarist talks about how he developed his own sound and how modern day musicians can adapt to the current imbalance of technology and culture.
Fiery and explosive trance guitarist talks about creating tension in the music and operating on a spiritual plane at all costs.
Ebullient artist and cabinet maker talks about finding his spiritual path and purpose in this life.
Bay Area drummer talks about learning under the tutelage of Jerry Granelli and the forever journey that is music.
World class jazz drummer talks about staying inspired and humble on the bandstand.
Trumpeter tells stories of Mel Lewis, Lionel Hampton and Buddy Rich....
Musician and healer talks about getting comfortable being herself on the bandstand and moving away from the secure path of modeling.
Iconic studio drummer talks about laying down the funkiest grooves for Chaka Khan and Michael Jackson among others.
Dynamic sound seeking drummer talks about carving a path towards salvation in a 21st century musical paradigm.
Twin brother fusion duo talk about their improvisational influences and how they blend all music into their live performances.
Live broadcast from her home in Koreatown (LA) from June 2019
Singer songwriter talks about letting the body dance and being herself on the bandstand.
Member of the Ace of Cups talks about her formative years of creation and developing an individual sound.
Divine musician and actress talks about the life of a performer and how she uses alternative means (micro dosing) to access a more peaceful world.
Singer/songwriter discusses the muse and how he follows that on his musical journey.
Poet/conduit to divine information and grace talks about her purpose in life.
Iconic musician in a continual musical dance with all of life.
Filmmaker and music enthusiast talks about growing up in a more innocent psychedelicized America.
Multi-faceted musician and composer talks about being ensconced in bebop, folk and world music.
Fearless musician and motorcycle enthusiast talks about overcoming adversity to find peace her multi-dimensional existence.
Iconic classical and jazz bassist talks about creating a legacy through individual sound.
Shamanic Healer and Yogic Practitioner Live From Her Home In Laurel Canyon, CA from March 2018
Member of The National Reserve talks about his road towards musical authenticity and independence.
Funk and Jazz based guitarist talks about his humble upbringings in Chicago and how he has carved a path towards musical authenticity.
Cosmic singer/songwriter talks about the life of a creative musician and the path towards peace and enlightenment.
All aboard America, All Aboard Amtrack. Stumbling in to grace.....
Versatile drummer from a strong musical lineage talks about meeting and playing with his heroes.
Lead singer from Cold Blood and a Bay Area soul stalwart talks about finding her voice on the bandstand.
Iconic bass player breaking it down from his home in Arivaca, AZ from 2019
Live In Arivaca, AZ from 7/2018
Off the wall B-3 organist talks about his magical life in the groove.
Fiery British singer and bandleader talks about the origins of his career as a leader.
Shaman Horn Player Interviewed From His Home In North Hollywood, CA From November 2018
Decorated double bass player talks about the aesthetics of the music he loves and plays with a perspective that spans the last 70 years.
Shaman drummer at the Musicians Union in Nashville, TN from October 2018
Multifaceted fiddle player talks about bringing the instrument into electrified rock settings.
Divine goddess of music talks about finding her own voice and owning her truth through her songs and performance.
Transcendent singer songwriter talks about getting our of her own way on the bandstand to become a conduit for spiritual music.
Legendary songwriter and session keyboardist talks about his upbringing and gateway into the iconic studio scenes in Muscle Shoals and Los Angeles.
Iconic blues guitarist talks about throwing himself into authentic music at an impressionable age and coming out on the other side with his own voice and point of view.
Elastic and melodic drummer talks about creating original music with his peers.
Versatile guitarist and bandleader talks about what he learned in the academy and how he found his individual voice on the bandstand.
Bassist and brother of Bernie Leadon talks about growing up playing psychedelic dungeons with Tom Petty and later on in Silver with Brent Mydland.
Fearless lead electric bass player talks about redefining the apparatus.
Bombastic bassist talks about his musical existence as a sideman and band leader.
Career bandmate and session man talks about his musical life and compensating for what he doesn't have.
Throwback banjo cat talks about being a street scholar of music and playing on Broadway.
Cosmic musician and human talks about Osmunda Nights and the Earthstar Creation Center.
Multi-dimensional guitarist and composer talks about finding the spirit in the music and letting the body dance naturally.
Singer songwriter talks about the constant ebb and flow of creative impatience and learning to balance parenthood with a desire to inspire on the bandstand.
Unheralded multi-instrumentalist talks about the different tributaries of his musical existence.
Indelible singer/songwriter talks about his motivations for getting into music and finding his individual voice amongst the folk/rock collective.
The First Bouzouki
I was a fan of classical Indian music from my dad’s record collection. He had Yehudi Menuhin records. He bought Ravi Shankar’s first album on World Pacific, Ragas & Talas. My dad was very hip about all kinds of stuff. He would listen to stuff that was really pretty serious. He was a corporation lawyer for 20th Century Fox. He played piano and loved different kinds of music from all over the world.
The first bouzouki playing I ever heard was a soundtrack to some film. He loved the film because of the traditional Greek music, Rembetika. I had never heard anything like that. I asked him, “What is that instrument?” He said, “It’s kind of like a mandolin with a long neck.” There was a picture of it, and I noted, “Oh, one of those.”
The wheels started turning, and there were some great players in those days, too. Because of that, I went into playing different kinds of folk music. Playing bluegrass, I had been listening to Earl Scruggs and Don Reno. I had also been listening to Sabicas, the Flamenco guitarist.
Soundcheck from the Blue Nile in New Orleans from November 2018
Preeminent bassist and cellist talks about his time working with Stan Getz.
A Beat to Everything
by George Walker
I’ve been doing Neal Cassady reading performances this year [2017], and the reason I’m able to do that is I know the rhythm. Neal listened to jazz from the time he was a teenager, so he had those rhythms in his head. His speech had those rhythms. He’d be talking and there’d be this syncopation, there’d be a beat to everything he was saying. He wouldn’t just be talking, talking, talking. It would be this and then this, and you’d get this sense of a rhythmic flow. He’d be moving to it, too. It was kinetic, and he was driving a car, and it was all rhythmic. There was a jazz beat behind all this stuff, because that was in his head.
The reason I’m able to do this now is because I know those rhythms. I listened to that music. And listening to Neal and being around him so much, I could see that rhythm in what he was doing: that’s what made it effective.
Legendary drummer pontificating on all things music from his home in Los Angeles from 2012
Cosmic angel talks about her families roots in Spain and Mexico, her love of music and rhythm and the telepathic relationship she has with her sister.
Iconic bop and post-bop drummer talks about playing with Cannonball Adderley and adjusting to the zeitgeist with Oscar Peterson. A rhythm hero......
Drummer with flair for individuality talks about driving the band.
Sonic expander at Earthstar Creation Center talks about the cosmic journey in the musical milky way.
Multi-dimensional drummer talks about John Penny and the conception of the band Solstice.
Interview with Ace Of Cups Band Leader From July 2018
Legendary trombone player talks about playing with Frank Zappa, Les Elgart, Gil Evans and Levon Helm.
From The Saturday Night Live Band to Levon Helm to Fania Recordings to The Blues Brother this 'bone player has done it all. Great to hang with him in Tucson, AZ
Stalwart bop and funk drummer talks about his pursuit of individual sound on the bandstand.
Master rhythmist talks about applying his craft and feeling to all different musical settings.
Versatile timekeeper talks about life on the bandstand.
Divine Russian pianist talks about developing a name for herself in the American music world.
A continued discussion about the spiritual aesthetics of the live music experience.
Stunning pianist and composer talks about the influence her father had on her and how she has blazed her own trail on the bandstand.
Present in Me
On Bitches Brew and Jack Johnson, I had an advantage. It was the guy with the trumpet pointing at people. His aura was that strong that you knew when to play and when not to play. What was special about Miles was that I could add that aura to my musical palette. Take direction from him in body language, so to speak. Contribute where I felt it was necessary.
We would only play what we thought was necessary to give the music life. It wasn’t about how many notes we played, or how advanced we were on our instruments, individually. It was about the real picture that was put forward and how that personality would be instilled in the minds that would listen.
When you left the studio and the record came out, people would know all the lines exactly. I knew the guys on the sessions from reputation, but I had never played with any of them. I found the first thing I needed to do was “not” play. Show restraint. Not because I couldn’t, but because I wanted to understand the direction in which the music was going.
Miles was a very special person. I say “was”— is, because he’s still very present in me and I believe in many of my con-temporaries.
Multi-faceted bassist and photographer talks about the different tributaries of his life.
Live from Federal Way, Washington April 2019
Live from Santa Fe, NM in 2018
Olympian drummer talks about his musical dreams that became realities through perseverance and heart.
Free jazz drummer and creator talks about intermixing lights and sound before anyone else.....
Old school musician talks about the studio scene for string players and how music was made in real time.
Fiery harmonica player from WAR talks about coming to the United States to make a home in music.
Live performance from Brent's early years at the Seattle Coliseum.
Serenade To A Soul Sister and a great singer/songwriter.
Blazing guitarist talks about finding his groove and separating himself from the pack.
A continued to conversation with a master musician and human being.
Hall of Fame record engineer, producer and conductor talks about playing live in the studios of Detroit.
Drummer from New Orleans talks about his own career and family lineage.
Russian pianist talks about playing on the razors edge.
Versatile sound expander talks about elevating consciousness and accessing one's multi-dimensional nature(s) on the bandstand.
Badass producer from his studio in Ventura, CA 2018
Legendary bop drummer marinating his element behind the set.
Versatile horn player talks about burning the blues and circular breathing back in Harlem.
Hammond B-3 organist talks about life on the bandstand and stretching out with luminaries and peers alike.
Like an Oreo Cookie
By Michael Shrieve
Gene Ammons did an album called Brother Jug! and on it there was a tune called “Jungle Strut,” with Bernard Purdie playing on it. I was being influenced by David Garibaldi, who studied with Purdie. I thought “Jungle Strut” would be good for the Santana band, so we recorded that song and put it out. The record was very successful.
Gene was playing The Both/And club in San Francisco. I went to see him and I tried to go back stage and tell him that I was the one that brought the song to the band. He wouldn’t even let me in the dressing room. It was old-school prejudice. I was thinking, “Wow, man, aside from me being just an out-and-out fan of your music and your sound, I made you a lot of money. You’re not going to let me in the room ’cause I’m white?”
I was hanging out with Ike Turner in Accra, Ghana doing a film called Soul to Soul. I was hanging around with Ike and we went to Wilson Pickett’s room, and Pickett wouldn’t let me in.
I know this is old-school stuff and I understand it, but it’s painful that they have to feel that way. Even then it was old-school, because people were opening up to all kinds of music at that time, and I think it’s that way now.
On the flight back from Africa, I sat in between Mavis Staples and Roberta Flack listening to my tape of female vocalists that I just adored. They were both on there, so we had long discussions about female singers.
Later on when they made a DVD of Soul to Soul, there were “extras,” in which Mavis even said, “Yep, there we were, Roberta and me, with Mike Shrieve sitting right in between us like an Oreo cookie, talking about female singers.”
I grew up in the suburbs (Redwood City), but a lot of the musicians I played with were African American. I was the only white kid in a club in East Palo Alto in the house band, so it wasn’t like I was unfamiliar with African Americans. It was that I was beyond that thinking, and most African Americans were, too. Yet I realized Ammons and Pickett were holding a resentment that they had every right to hold.
Try to Be Magical
by Mason Williams
The two people I met in my life who I thought were great men were Pete Seeger and Ken Kesey. Not only were they clever and could write great songs and great books, they were able to embrace all of humanity—warts and all, I guess you might say.
All kinds of people would come by Ken’s place and visit and talk, and they were welcome. Pete Seeger was always trying to improve the welfare of the common man. He had a broad love of humanity.
One thing I learned from my friend Kesey: he used to say, “Almost everybody can be clever, but what you really want to do is be magical.” He was part of my Of Time and Rivers Flowing. He told me, “I like your river show, because not only is it very entertaining musically, it’s about history and conservation of natural waterways. Those three elements make it magical.”
I had a place up in Oak Ridge, and Ken lived in Pleasant Hill. I knew about him from his books, which I had read. I found out where he lived, and one day I stopped by just to introduce myself. We sat outside, and he had a parrot who was chewing wood off the side of his house. We had a couple of swigs of whiskey. I told him, “In the River Show that I am doing, since I play guitar and it’s mic’d, I’m stuck behind the microphone. What I need is somebody who could be more like an actor, someone who could be on stage and move around and have some motion. Also I need comedy bits that I could engineer for him to do.”
Ken was my man. He said he wanted to be an actor more than a writer. He used to act on paper. Ken had a big room upstairs in his house. Zane and Sunshine told me you could hear him talking to himself. In actuality he was being these characters he was writing about. He was thinking about what they might say to each other, moving around up there and acting out what wound up being on paper.
I would write ideas for Ken the same way I wrote for The Smothers Brothers. “Here’s a structure; beginning, middle, and end. You can improvise in the middle of it, any way you want to.”
I wrote one piece, Shall We Gather at the River. There was a section of hymns. I said, “Ken, I want you to be the preacher and I’m going to call you Ken ‘For God’s Sake’ Kesey.” He used my lines as a structure, but then had some great lines of his own that he added, just as The Smothers Brothers did.
Legendary funk brother and guitar pioneer talks about working at Golden World and Motown in Detroit.
Blazing session guitar player talks about his legendary career.
An integral part of The Youngbloods, Banana takes us inside the minds eye of a creative musician.
Interview Conducted In The Family Home In Mill Valley, CA 03/2018
Impacted the World
by Chez Rey Sewell
The Pranksters were instrumental in changing the landscape from black-and-white to color in 1964 on their first journey out. It made people wake up and pay attention: “Wait a minute, there’s a lot more going on here to life.” On the heels of that, there were people like The Warlocks, who I saw in 1965 at The Cinnamon Tree teen club in San Carlos. They were, in a lot of ways, right in step with that whole movement that The Pranksters had pushed out there: this free-thinking kind of energy and this change up from what had to be to what can be? It just exploded into the possibilities, and they were endless and remain endless.
The Warlocks went from the button-down look of American Bandstand’s bands to the free-flowing “Hair starts growing, so why am I cutting it, for you or for me?”
All these statements are what The Pranksters had let out of the bag. They allowed people to start questioning things. What is really for me in this life, and what is really just for you in order to accept me? That became a pretty big door that opened up. God willing, it will remain open. These are times in history that need to be cherished and studied.
When the Grateful Dead were The Warlocks, they were tight in a different sense. They were really fun. It was already an experience, because the look was different, and we were different at the same time. We were already enjoying the spoils of the new generation. It was a harmonious evolution that took place. They evolved with their capability; and as the experience evolved, they evolved within it and so did the audience. Everybody grew together: it wasn’t that they took off and left everyone else behind. That’s why it got so big. It was a movement in the same vein as The Prankster movement. It was a movement in the country that impacted the world.
Winemaker and renaissance man talks about the forever journey.
Drummer from Red Bone talks about his jazz influences growing up and how he incorporated those rhythms into Native American music.
Neal Casal - Guitar
Dan Horne - Bass
Adam MacDougall - Keyboards
Mark Levy - Drums
Timeless trio at Made In New York Jazz Club in Park Slope Brooklyn from 2020
In house performance by members of The Immediate Family Band from 03/2018
Interview with the legendary guitarist from his home in Oakland CA from March 2018
Artist manager and drummer talks about rising above the fray in the music racket.
Cosmic musician talks about the magic doors that open and close as you traverse the bandstand.
Broadcast from San Ramon, CA in 2018
*with Billy Kreutzmann on drums
**John Kahn was delayed due to fog on the drive up from San Francisco so Dave Torbert played bass in the first set.
Iconic session pianist and arranger talks about how sweet it is!
Incredible session guitarist talks about his musical relationships with Bob Dylan, Lowell George and Jimmy Webb.
Incredible country blues bassist talks about playing music with Taj Mahal and Delbert McClinton.
Legendary New Orleans bassist joins me at B.B. Kings to talk about his musical life in the Big Easy and beyond....
From Dunbar Pavilion In Tucson, AZ from October 2017 -
Legendary pianist and songwriter talks about his baptism by fire on the bandstand with Elvin Jones back in Detroit.
Legendary keyboardist and sonic expander live from his home in California from 2018
In advance of The Weedcon Cup I sat down and sampled various strains with one of the judges - actress and casting director - along with her musically inclined husband.
Legendary New Orleans band playing a concert at Snug Harbor from 2018 Astral Project Tony Dagradi - Saxaphones James Singleton - Bass Johnny Vidacovich - Drums Steve Masakowski - Guitar
Legendary bass player being interviewed at The Rialto Theater in Tucson, AZ January 2017
Performing at a concert celebrating the life of Neal Casal
Live from Pomona, Ca June 2018
Legendary guitarist with his organ trio at The Musical Instrument Museum In Phoenix, AZ
Live show from the House Of Blues In New Orleans from May 2019
Jerry Cortez-lead guitar, vocals
Alex Ligterwood-guitar, vocals
Brent Mydland -keyboards, vocals
David Margen-bass
Bill Kreutzmann-drums
Broadcast from his apartment on the upper west side of Manhattan from August 2018
Live broadcast from Alameda, CA from 2018
05/28/82
Moscone Center - San Francisco, CA
Set 1:
Alabama Getaway
Greatest Story Ever Told
Althea
Little Red Rooster
Tennessee Jed
Truckin'
Drums
Goin' Down The Road Feeling Bad
Not Fade Away
Set 2:
Walkin' Blues
A Mind To Give Up Livin'
Turn On Your Love Light
Encore:
Johnny B. Goode
Legendary drummer at his studio in Sonoma from 2019
Impromptu Jam at Walt Dixon's House From May 2019
RIP Neal Casal
Spiritual gypsy musician talks about her intentions for doing music and art and her need to bring people together through the commonality of authentic love.
Spiritual drummer talks about his inner time feel and how to incorporate that into all different musical settings.
Live Broadcast From The Herman House In Englewood, NJ
Phil Ranelin grew up in Indianapolis and developed a deep musical friendship with Freddie Hubbard. After a brief stint in New York he moved to Detroit and began playing with Sam Sanders, Marcus Belgrave among others. In 1973 he and Wendell Harrison created "The Tribe Label" which was one of several independent jazz labels along with Strata East and Black Jazz. He cut two albums on this label all the while continuing his mission of raising black consciousness and education. In 1976 he received the key to the city with Donald Byrd.
Phil is a great spirit and a beautiful person. He continues to raise awareness most recently heading up the "Eric Dolphy Roots Project" in Panama. Perseverance baby......
Singer/songwriter talks about being raised in a musical family and how she found her individual voice on the bandstand with her sister Liz.
Live Broadcast from DeKalb, GA from 2018
Divine musician and model talks about her programs to give young women of color a chance at finding their purpose in life.
Live performance from New Orleans Jazz Fest 2019
Original 'Stuff' Drummer Live from Mid Town Manhattan 01/2018
Live interview from his home in Tucson from September 2018
Burning sextet show from Freight & Salvage.
Live broadcast from Koreatown (LA) from August 2018
Prior to their performance at The Mesa Performing Arts Center from July 2018
DAN HEALY - GUITAR, VOCALS
RICHARD TREECE - GUITAR, VOCALS
JOHN CIPOLLINA - GUITARS
LARRY KLEIN - BASS
BILL KREUTZMANN - DRUMS
Afternoon concert for attendees of Billy Cobham's Art Of The Rhythm Section retreat from July 2018
Burning NOLA drummer talks about the rhythms of his life.
Live Interview prior to his performance at Topa Mountain Winery from July 2018
Live broadcast from Queens New York from June 2019
Live Interview from Suspect Studios in San Jose California from January 2018
Interview conducted in Studio City, CA from September 2018
Interview with the legendary saxophonist from 2018 in Loganville, GA
Josh Adams' first show with Grateful Shred 8-10-82
Burning through the ozone with Freddie, Billy Childs (p), Larry Klein (b), Carl Burnett (d), Hadley Caliman (tenor sax)
Burning trio performance from The Side Bar In New Orleans from November 2019
Interview from his home in Fairfax, CA from 2018
Live broadcast from his home in Wallkill, NY from November 2017 with Rafael Otto
Live Interview from his home in Uptown New Orleans from 2018
Celebrating Wavy Gravy's birthday in Ardmore with his All-Stars from May 2019
Live From Santa Fe, NM August 2018
Live interview from his home in Eugene, OR from December 2017
Ageless Duo In Studio Live From Fairfax, CA March 2018
Interview from his home in Emeryville, CA from April 2019
Broadcast from Seraphina's Italian Restaurant In NYC from June 2017
Live Show at Fernwood Resort 09/2018
Iconic Tucson drummer breaking it down in studio!
Hanging with Buzz at his studio in LA, from 12/2018
Live interview from Powertalk Studios in Tucson, AZ from 2018
Underrated singer/songwriter talks of about his willingness to seek as a musician.
Gifted reiki healer talks about the alignment of mind, body and soul.
Abstract blues guitar pioneer talks about the forever journey of music and its intersection with life.
Except They’re Real Life
by Lori M. Walton
I love Ken Babbs; he’s the cutest. The Pranksters are a big reason why the scene happened at all. They are such over-the-top, unique, and totally cool humans that it’s as if they are amazing made-up characters from a book. We are so lucky that they are actual people we can hang with, learn from, and be healed.
I was talking to Mountain Girl, and she said about the 60s, “Back then we were big on reading.” You can tell. They’re all so smart and knowledgeable and incredibly open-minded.
They’re larger-than-life people, but so grounded and really kind. When you go to shows and people put stickers on you that say, “Are you kind?” All the Pranksters, to this day, all walk the walk. To them kindness is what’s most important.
Soul philanthropist talks about the kinds of causes and people she advocates for.
Interview at Stephen's house in Lake Balboa, CA from 04/2018
Incredible guitarist and songwriter talks about his cosmic musical life from its origins in Little Rock, AR to Oklahoma City to LA.
Heroic musician and spiritualist talks about riding the crest of a musical wave and recognizing the talent of other young cats.
Slashing musician and band leader of Howlin' Rain talks about the art of timing, luck and talent as a creative artist.
Blazing guitarist talks about working in Shelly Manne's group and being an in demand studio shark.
Poet and musician talks about his creative point of view and his relationship with Tim Buckley.
Part II of my conversation with a master drummer and beautiful human being.
Interview conducted at Kevin's home in Kingston, NY 08/2018
Decorated singer talks about developing her own voice and her late half brother Paul Jackson.
Lecture from guruji Aashish Khan at Cal Arts 2018
Partial set from Mesa, AZ Art of the Rhythm Section July 2018
Digging it Right with You
By Bob Dorough
When I went to North Texas, I ran across a very good little jazz band, and I was dumbfounded because they were much more advanced than I was. They had an excellent clarinetist, a trombonist, and bass, drums, piano. They were more like Jack Teagarden’s group than anything else. They knocked me out, of course, and every time they played I would dig them and try to pick up some ideas and tricks. That was the beginning of my jazz life.
Teagarden was a great singer and a wonderful trombonist. I never heard him in person, but I heard these guys and it knocked me out. I liked that jazz combo. Teagarden did some duets with Louis Armstrong. He was a down-home singer.
I discovered Thelonious Monk at North Texas. All the other students thought he was weird, but of course he was right. All along he was the right composer. He had off-the-wall melodies and what would look like a primitive kind of piano playing. It was so skilled, you didn’t realize it until you listened carefully. At first, it was just a completely different style of playing the piano and writing the tunes. They made a superficial judgement that he was weird and laughed at me having ordered his records through Downbeat ads.
I learned a lot about show business from Louis Armstrong and Nat King Cole: they were really my big heroes. I learned that you needed to make contact with the audience: sing a song in such a way that they’re completely wrapped up in it and hear every word. They let you do it your way and they’re digging it right with you. To get the audience is a special knack that Louis had.
Drummer from Loggins & Messina talks about learning to accept his individual sound and not compare himself with others.
Founding member of Buffalo Springfield and then Poco talks about what he learned from his mentors on the bandstand and in the studio.
Dynamic Texas drummer talks about the early days of the LA studio pop/rock scene and his lifelong brother Bobby Ramirez.
Gigs Don’t Start Early
by Jimmy Jacobs
Jerry didn’t want another guitar player in his band. He already had that with The Dead. He thought he would try the “two-keyboard thing.” I think he loved the idea that Melvin Seals was from the church, so it could get a little gospely with organ.
We showed up at Club Front, and John Kahn had lead sheets that he passed out to everyone. We ran through this song and that song. After a couple of hours, Jerry said, “Can everybody be here tomorrow at 4 pm?” I realized I passed the audition. I don’t know if he and John had already decided on what they were doing. I said, “Yea, I’ll come back,” because I had fun.
Jerry liked to play the song, play the melody, then we’d “go for it.” I wasn’t really a Deadhead and didn’t know much about their organization. But eventually they said, “We’re going to start playing some gigs around.”
The first gig was Keystone Berkeley in January 1981, and they just told me which night. I went over there and showed up at 9:00 or 9:30. Nobody was there. Steve Parish wasn’t there. I went up to the club and I said, “I’m supposed to play with Garcia tonight.” The guy at the front was like, “Yea, right.” I paid to get in, and the rest of the guys showed up about an hour and a half later. Once they told Parish, he gave the front man a really hard time. I learned my lesson. Garcia’s gigs don’t start early. Rock Scully was the road manager, but if you ask me it was Parish who kept it all together.
Legendary Tulsa drummer talks about playing with JJ Cale and Leon Russell.
Legendary pianist being interviewed at his home in Brooklyn, NY from January 2018
Stone jazzer and iconic studio musician talks about overcoming adversity early in his life that helped shape who he became as a person and player.
Funky Hammond B-3 player talks about the opportunities to carve out an identity in a record based industry.
“Congratulations, You’ve Practiced A Lot”
By Cris Jacobs
I took a few lessons when I first started out, with some guys who spun me up and sent me on my way. After that I did lots of shedding in the bedroom and lots of listening. I’ve never been one to shun away from the theory, and the language and learning, but I was never a music school guy.
From the beginning I was drawn to the improvisational aspect of music. I knew that I was going to need to learn - and you can read all the books in the world and gain as much knowledge about things as you want - but nobody wants to listen to somebody whose just regurgitating other peoples information, without lending something positive to the conversation.
‘Congratulations, you’ve practiced a lot.’
That doesn’t do it for me, you need to take it a step beyond. I’ve always kept that in mind and wanted to use technique as a means to an end, rather than the end itself. I came to that realization early on, luckily.
Not going to music school as well, and coming at it from the songwriter side of things, I never saw myself being the most dazzling guitar player on the planet, or really wanting to be that. I just wanted to be able to be good enough to have my own voice. Then developing that voice is the journey, and the chops and technique are the maintenance of that journey.
Drummer and leader talks about overcoming adversity in his life to become a stronger person and player.
Legendary bassist and human being talks about all the different paths of his muscial life.
Soul searching singer talks about his distinguished professional music career.
Original member of Country Joe & The Fish talks about life on the bandstand when music dictated our culture.
Dynamic Bay Area soul singer talks about coming up at a time of regional musical growth in Oakland and beyond.
Freddie Hubbard - tpt; Bill Watrous - tbn; Hubert Laws - fl; Sonny Rollins - ts; Rahsaan Roland Kirk -ts, manzello; McCoy Tyner - pno; Chick Corea - keybds; George Benson - gtr; Stanley Clarke - bs; Lenny White - dr; Airto -perc, Weather Report
Drummer for Peter Tosh and Bob Marley talks about his responsibilities as a time keeper.
Versatile drummer talks about making all the records he played on feel good.
Double Drums Space Jam From Jazz Fest In New Orleans From May 2019
Guitarist, bandleader and music aficionado talks about the different tributaries of his musical journey.
Bandleader talks about the ebbs and flows of life during Covid and his musical philosophies as it relates to making his latest record.
Blazing guitarist in the Sons of Champlin talks about his peers like John Cipollina and Jerry Miller.
Blazing horn player talks about the impact black musicians had on his playing.
Preserving and promoting the iconic music festival 50 years later with two drummers who performed there. Live from The Brava Theater in San Francisco from July 2019
Drums interlude from a live Grateful Dead performance at the Rockpalast in Germany.
3/28/81
Interview on early incarnation of MTV.
Part of Us
by Ray Neapolitan
In the music community I was involved in, there was no discrimination, there were no barriers. I don’t remember playing an event or with a band where there were a lot of social comments.
We looked up to the black musicians; they were always a part of us. Especially growing up in Chicago—those guys were my idols. We never held fear or prejudice in our neighborhoods, or our families or our schools. Obviously there was a lot going on, but not in my Italian/Black/Jewish neigh-borhood. They were just part of us.
For a small period of time, Bill Goodwin and I worked with The Treniers, a totally black Chitlin’ Circuit band. They were twin brothers: Cliff and Claude. It had that Louis Prima kind of vibe.
We traveled a lot with one of the family members named Milt through the South. We’d stay in people’s homes. In 1958 there were separate bathrooms. Bill and I did have to go into certain places to get sandwiches for everybody.
When we played in front of an all-black audience, they accepted Bill and me. Sometimes Danny Long was with us, so it would be a white trio behind this black band. We never felt any discrimination. It was wonderful.
How Can You Turn Us Down?
by Bob Barsotti
In 1985 we went to Ventura County Fairgrounds with The Dead. There were a lot of people outside the show that didn’t have tickets, and that caused a bunch of problems. A bunch of condo owners had people sneaking naked into their swimming pools. They wanted to stop it and there was a general consensus in town that there were too many drugs and they should ban the concerts there.
The Ventura Fairgrounds bowed to the public pressure and they banned the Grateful Dead. They didn’t even tell us; they just announced it and then called me. So there had been a public statement that the GD had been banned, which was not good for business.
We decided we had to fight this. We went down to the next board meeting in Ventura and we put out the word to the Deadheads, “Come to this meeting.” We packed the place with people that were positive. We got the Chamber of Commerce to give us a big thumbs up, because all the businesses were making a lot of money from all the people coming in from out of town.
We went to the Board and said, “You have some disgruntled neighbors. Some Heads left some garbage at their pool and broke a chaise longue. Well, I paid them for the chaise longue and I told them we’ll have a security crew and a cleanup crew over there the next time we come in. The issues that created their problem have been dealt with, and look at all the rest of this community who are in support of us. How can you turn us down?”
They said, “OK, we rescind our ban, and you’re welcome to come back.” That was done because we had the power of the Grateful Dead and one of the hugest audiences in the world on our side.
But we knew our time was really done in Ventura. The problems were going to keep occurring because we had outgrown the place, but we didn’t want to have this stain on our reputation. Once we got the approval to come back, we made them announce that we had the approval, so the world would know the ban was no longer in effect. We waited about a month and then told them, “We feel we’ve outgrown your facility, and to be responsible entertainers we’re going to go to a place that can handle a larger crowd.” That’s when we split and moved over to Irvine Meadows.
Roots music singer/songwriter talks about her need for liberation on the bandstand.
Cosmic Merry Prankster talks about the open road of life with Ken Kesey and Ken Babbs.
Prolific double bassist talks about his career from the clubs of Chicago to the studios of Los Angeles.
Blazing electric guitarist talks about working in the studios in Chicago with The Soulful Strings.
Prolific Chicago studio drummer talks about his affiliations with Dick Schory and Ovation Records.
Incredible funk and rhythm guitarist talks about playing with luminaries like John Scofield.
Blazing guitarist talks about the challenges and benefits of being a leader on the bandstand.
Gifted singer songwriter talks about following the muse and creating songs that speak to a higher purpose and power.
Prolific session guitarist and live player talks about his late father Allyn and the pioneer that he was in the world of music.
Charismatic and talented bandleader talks about the state of her music and musicality in a psychedelicized universe.
Divine Yogic Goddess talks about her daily practice and trying to inspire others through her devotion.
Documentary film maker and producer and curator talks about the making of the Bob Weir doc Long Strange Trip.
Rock Doctor revisits the music and the musicians that nearly took him over the edge.
Capricorn studio musician/producer talks about working with the late great Johnny Sandlin.
Graceful and burning multi-reed player talks about playing this art form known as "jazz."
Brilliant pianist talks about working with his brothers and sisters at a very different time in our musical landscape.
Street performer and folk/rock musician talks about her pathway towards individualism and singularity as a musician.
Movie producer talks about crafting documentaries around iconic 60's era bands like The Doors and the Grateful Dead.
Singer and songwriter talks about his musical journeys in this magical life.
Life coach discusses the supernatural forces of the universe happening all around her when she is open and vulnerable.
Blazing session bassist talks about the anarchy of the 1970's studio scene in LA.
Burning guitarist from famed Batdorf and Rodney talks about growing up around the icons of jazz like his father Red.
Exceptional time keeper and feel drummer talks about being raised by Art Blakey and the jazz community that existed in this country at one time.
Blazing guitarist defying odds on the bandstand nightly.
Burning pedal steel guitarist talks about fitting into all different kinds of musical settings.
Master horn man and spiritual conduit on the bandstand talks about his singular journey as his own Neville Brother.
Known as the "Nigerian Nightmare" Christian Okoye talks of his accomplishments on and off the field.
Blazing guitarist talks about cut sessions at the Carousel Ballroom with Terry Haggerty and Peter Green.
Amazing trombone and tubist talks about his days working with Howard Johnson and the band Gravity and Blood Sweat & Tears.
Indispensable big band and studio drummer talks about playing with Nelson Riddle and the Butts Band.
World Percussionist and rhythmic healer talks about finding oneness in all of life through mantras, meditation and music.
Music writer and purveyor of the arts talks about finding his voice as an objective journalist and reporter.
Psychedelic Storm Chasers
by Steve Brown
The scene was a very psychedelic scene. A psychedelic scene has to deal with not just the adventure but that when you walked in you didn’t know what would happen. You didn’t know if you were ever going to come down, you didn’t know if you were going to get busted, you didn’t know if you were going to die (’cause that did happen on tour). At the same time, for those of us who made it through the door, it changed our lives forever.
The Grateful Dead were never about “just the music.” The Grateful Dead were always about collective consciousness. Ken Kesey and Wavy Gravy are also about collective consciousness. It means that “we are us.” Back in the day, if you were to go to a Dead show, the show started when you hit the parking lot. There were the drum circles, the disco bus, the vendors. We were psychedelic storm chasers that, both internally and externally, had a self-sufficient community that went from place to place. Music was not only a soundtrack. The Grateful Dead at their peak were able to channel the energy from the crowd, absorb it, and give it back. That didn’t necessarily translate into music all the time. Sometimes that translated into weird space sounds. Sometimes that translated into a dark jam, but they were able to relate with what was going on in the scene and then reflect it and translate it back to us. At the same time that we were absorbing that energy, we were dancing; we were reflecting and sending that energy back to them. It was one big group mind. That was the magic of The Grateful Dead. Even though Jerry’s health started to suffer from the overall scene, that collective community—that’s really what it was all about.
I was very fortunate that I got to tour with The Grateful Dead for almost a decade. That somehow landed me here in the Northwest. We were completely surrounded by freaks from all generations. I live near Eugene, Oregon, a town where nobody really ever grows up. The Hippies are still the Hippies, the Punks are still the Punks, the New Agers are still the New Agers.
Drive-in Movie
by Katherine Wilson
Ken Kesey was a 3-D artist. He was somebody who wanted to create worlds. He didn’t want to just write the book: he saw who was acting in it, the locations. He was a filmmaker.
That incredible grant that he got to go to Stanford, then he wrote One Flew Over the Cuckoo’s Nest. He went to Hollywood for a year to write screenplays, then he got this grant and wrote that novel. The film of it wound up winning more Academy Awards than any film in history except one, 47 years ago.
Kesey was so cinematic. He was a great cinematic writer. We were always making films. He was part of Gus Van Sant making a film. He was everywhere films were being made
Ken met with Michael Douglas during the making of Cuckoo’s Nest. Michael idolized Kesey. Michael was living on a compound in Santa Barbara. He wanted Ken to be part of the production.
Animal House was set in 1962. The screenplay was so bad that I didn’t want to work on it. At first it was going to be set in November 1963, the day before John F. Kennedy got shot. If you look at Animal House, there’s a float with Jackie Kennedy on it wearing her pink hat and a giant sculpture of Kennedy’s face. All the universities turned it down, and that was probably why they changed it to 1962, before the world changed in 1963. The Kingsmen’s hit version of “Louie Louie” came out that year.
Animal House was supposed to be a drive-in movie; it had a drive-in movie budget. The University of Oregon said yes to it. I’m in film and people would ask me, “Why do you think The University of Oregon would say ‘yes’?” I answered, “Because it’s the home of the Merry Pranksters.” A lot of the Pranksters were celebrated Oregon alumni: Mike Hagen, Jackie Springer, and George Walker.
What blew the producers away was that all of these “Kesey Filmmakers” had skills they needed for the film. They hired all of us. Hagen had run off to LA.
We were working on Animal House, and the whole community showed up. All these people helped make the movie look like a million bucks. Universal said, “Hey, we’ve got to put more money into it, but before we do, you’re going to need to have a star.” The directors and the producers said to themselves, “Hey, well let’s see. We’re on a one-million-dollar budget right now. We’ll have like two million if we can get a star. Who do we know that’s a star?”
John Belushi goes, “Well, all these filmmakers around here are referring to Ken Kesey and he’d be a great professor, right? He actually was one once.” John Landis and Belushi drove out to Ken’s house and within 15 minutes Kesey had made up his mind. He was not interested; he was not an actor. Then Belushi mimicked Del Close, this guy who taught him improv in Chicago. Kesey fell on the floor laughing, because it was so spot on.
Guitarist and owner of The Write-Off Room talks about the cultivation of the live music experience on the bandstand and as a impresario.
Electric singer and producer talks about his magical journey in his musical life.
Master pianist and songwriter talks about playing with his elders and leaning to develop his own sound.
Incredible blues and rock drummer talks about incorporating jazz aesthetics
Band leader and road dog talks about surviving as a touring musician pre-Covid.
Guitarist and singer from Midnight North talks about learning from his father and carving his own path towards individual freedom on the bandstand.
Multi-instrumentalist and bandleader talks about playing with titans of music and how he tries to implore that universal knowledge on younger cats.
Divine mother and entrepreneur talks about the home birthing process and the discrimination that still lies at the surface in western society
Divine lawyer and altruistic leader talks about her philosophies as it relates to following the muse and leading with her heart.
Legendary session bass player talks about playing with Jesse Ed Davis and the late great Don Heffington.
Legendary session guitarist talks about his work with Marvin Gaye and Cannonball Adderley.
Singer songwriter and road dog talks about birthing his first book during Covid.
Iconic bop, big band and studio drummer talks about the forever journey in music.
Continuation of a discussion about leadership, love, overcoming adversity and the lineage of all music.
Electric musician talks about his love of all music's and his ability to fit into any musical setting.
Trumpeter and horn arranger talks about his life in music.
Legendary funk bassist and producer talks about how the music business has changed since he was thriving with Freddy Stewart.
Producer and session cat talks about the current state of live music in Australia and pre-production magic with Seals & Crofts.
Guitarist and band leader talks about finding his groove as an independent musician.
Gifted singer songwriter talks about working as a staff writer at Sigma Sound and the elemental components of healing music.
Blazing inventive guitarist from The Meters talks about the ebbs and flows of his musical career.
Opening for Circles Around The Sun on the last domestic tour before Covid.
Dynamic healer and life coach talks about the essence of her soul and life force.
Prolific bassist talks about continuing to grow as a musician and find her individual voice.
Young creative guitarist talks about surviving as a road dog in modern American music.
Road Manager for Stax' west coast operation talks about working with Pops Staples and Isaac Hayes.
Jerry had recognized Brent on a JGB tour with Bob Weir Band. He and Bobby both felt that Brent could be a good fit for the band. After this jam the rest is history. Easy To Love You.
4/16/79 San Rafael, CA
Drums 4:32
Jam 4:14
Passenger 7:01
Jam 10:39
Scarlet 7:36
Fire 13:06
Jam 10:48
Jam 16:48
Jack Straw
Master studio drummer and live player talks about his musical life and career.
Brilliant singer from The 5th Dimension talks about his magical life.
Guitarist and band leader talks about the winding road to become a viable name in jazz and find his own individual sound.
Decorated drummer talks about his life on the bandstand and being resourceful in the age of Covid.
Roslyn, NY
Interview with Garcia, Weir, Kreutzmann, Hart conducted by Tom Snyder.
hosted by Tom Snyder. A couple of Merry Pranksters.
Guitarist and singer from The Mother Hips and Green Leaf Rustlers talks about surviving and thriving as a creative touring musician.
Founder of Studio Instrument Rentals (SIR) talks about his involvement in music and the musicians.
Completely individual drummer talks about his musical point of view and how he is the drum.
Decorated singer and keyboardist talks about the societal ills that continue to hamper our country and the world because of inequality.
Electrifying soul groove guitarist talks about the different bands he leads and how to give back to the music community at large.
Prolific drummer talks about finding the groove with Brian Auger and Tom Petty.
Decorated guitarist and bandleader talks about getting comfortable finding his own individual sound and what he learned from the masters like Dizzy and Henry Threadgill.
Divine healer and life coach talks about her island upbringing and how she learned to love herself.
Singer songwriter and producer talks about clearing his head and approaching any musical situation with vulnerability.
Sonically expanding pianist and keyboardist talks about his journey to trust in the moment when making love on the bandstand.
Electric guitarist and guitar maker talks about his magical life.
Singer from The Checkmates talks about singing for white audiences in a black band.
HOF player and coach talks about life on the hardwood.
Decorated engineer talks about becoming a first call sound man.
Leader of the Mother Hips talks about his musical point of view and bandstand experiences.
Legendary RnB and Bop trombonist talks about longevity and individuality in music.
Multi-Instrumentalist and musical savant talks about his many musical journeys.....
Burning fiddler talks about finding ways of incorporating an acoustic instrument into all musical settings.
Groove and funk drummer from Bogalusa, LA talks about getting his start in music and playing with Weather Report.
Brilliant studio and live player talks about being raised by his musical brothers on the west coast which helped him find his niche as a first call guitarist on the east coast.
Iconic bassist talks his father dealing with the Klan growing up in Texas and then moving the family out to a more tolerant, inclusive Southern, Ca. The rest is history.....
Jazz/funk drummer from San Jose talks about playing on the bandstand with John Lee Hooker, Mel Brown and Tower of Power.
Band leader and activist talks about keeping the lineage of the Mardi Gras Indians intact down in the Bayou.
Ophthalmologist and culture vulture talks about his love of music and the musicians.
Decorated saxophonist and band leader talks about being raised by his musical forefathers like Miles Davis, Elvin Jones and Pete LaRoca.
Divine spirit talks about the offerings she makes to the world through her understanding of love and true nature.
A continued discussion about the balance of mind body and spirit through music.
Kirtan leader and spiritual guide talks about cultivating a heart full of soul.
Blues based singer songwriter talks about the tightrope required to live a musical life.
Versatile and inventive trombonist talks about working on the bandstand and in the academy.
Blazing guitarist talks about being raised by his musical fathers like Paul Butterfield and Gene Dinwiddie
Cosmic hang with a great drummer. Neal Casal For Life.....
Tenacious and vibrant yogic healer talks about her journey towards enlightenment and salvation in a dogmatic world. Go your own way.....
Decorated Bay Area soul/jazz singer talks about the path to finding her own voice.
Savant pianist from Australia talks about his journey to the United States and being embraced by black musicians.
Brazilian pianist and bandleader talks about his magical journey in music.
Iconic New Orleans bass player talks about feeling the funk all the time.
Gifted bop and spiritual pianist talks about her career alongside her husband Elmo Hope.
Innovative and fluent jazz guitarist talks about his musical life.
Dynamic videographer and team member of Circles Around The Sun comes at it from her point of view.
Gifted studio and live guitarist talks about the collaborations and connections he's made in music.
Actress and intergalactic being talks about finding her own voice on the stage and her healing journey to India.
Divine celestial goddess talks about channeling her true nature to become a vessel for information and enlightenment.
Legendary bassist from Omaha, NE talks about playing with Jimi Hendrix and Buddy Miles.
Finding the Feel
I love what Ringo said when drum machines were invented: “I’m the drum machine!” Keltner and I have talked about Ringo. He gets criticized because of his technique, but it’s the feel. For drummers the space between one beat and the next is the whole deal. If you push it, you’re playing military marching band stuff. If you wait till the last second to play the next beat, you’re playing the blues.
That’s a huge thing to us. When The Doors started, we jammed on the blues. But when we got into our originals, Ray and I were finding the feel. Jim’s words gave it to me. It was appropriate for those songs. Thank God we felt the thing the same.
South African jazz trumpeter talks about coming to the United States and acclimating to the New York music scene. A frank discussion about the deep seeded racism that confounds the world. RIP.
Jazz/funk drummer talks about his musical collaborations and publications about drumming technique.
Sublime trumpeter and band leader talks about the experiences that shaped his musical point of view.
Stellar keyboardist talks about life on the streets and in the studio....
Moog Czar talks about his ability to apply his innate talents to the musical palette.
Stalwart Bay Area band leader and entertainer talks about his musical life.
Poster artist and co-founder of Deadbase (Song Lists for the Grateful Dead) talks about his own artistic development and how the culture of San Francisco impacted the music and society at large.
Explosive young drummer talks about his educational upbringing under his father Steve.
Singer songwriter and co-leader of Mapache talks about his gratitude to the music and the community that has rallied together during the pandemic.
Singer songwriter talks about his life on the bandstand.
Great producer and musician talks about the early days of the Los Angeles studio and music scene.....
Legendary session bassist talks about staying in the groove in the studio and on the bandstand.
Titanic bassist and band leader talks about the road ahead for CATS following the loss of Neal Casal.
Multi-instrumentalist talks about finding his own percussive voice and road-dogging it with bands like Billy Goat and Nolatet.
Funk/Jazz guitarist talks about surviving and thriving as a musician in the 21st Century.
Drummer and Casanova talks about the rhythms of music and life.
Texas, Hampton Hawes, Steve Gadd, Gary Katz, Donald Fagan, Everett Barksdale, Bernard Purdie, Spider Webb, David Clayton Thomas, Practice, Practice, Practice, Tuba, Drugs, Slop Jar, Paul Humphrey
The Jake Feinberg Show
In the weeks leading up to our conversation at AZPM Chuck and I did nearly three hours of woodshedding regarding life as a musician. So much great insight about longevity, practice, resiliency, paralysis, hard times, perseverance and native spirit. Love Always, JF
Legendary singer and band leader talks about growing up around the beats and jazzers like Stan Getz.
Legendary STAX guitarist talks about his growth as a musician and human being.
Profound radio host and ethnomusicologist talks about Black Wall Street and the music of Tulsa.
Multi-dimensional guitarist talks about surviving as a musician during the pandemic, his musical roots and possibilities for the road ahead.
Iconic double bass player talks about his humble upbringing and his deep jazz roots. (RIP)
A people's history of music continued.
Decorated bassist and technician talks about his growth as a musician and artist.
Legendary singer and part of the trifecta known as The Rowan Brothers talks about navigating a sustainable life in music.
Nasty trombonist and singer talks about his life on the bandstand.
Brilliant vocalist talks about how the significance of music has changed in our culture and why she continues to strive for individual sound.
Gifted rock and pop drummer talks about working with iconic musical figures and giving them what they want.
Dynamic saxophonist and band leader talks about his rich beginnings in the fertile bastion of Oakland, CA
War's drummer talks about his magical life in music.
Dedicated percussionist and sound healer talks about her musical experiments and need for sonic expansion....
Incomparable drummer talks about the pandemic blues and different states of consciousness on the bandstand.
House drummer for Late Night Conan O'Brian talks about his deep musical roots and how he joined the E-Street Band.
Iconic electric bassist talks about how music has fed his soul for so many years.
Continual conversation with legendary drummer about his different musical experiences.
Cosmic drummer talks about his personal and professional relationships with Elvin Jones, Rick Danko and Paul McCartney.
Iconic drummer talks about seeking out the authentic artists and making love on the bandstand.
Legendary Canadian string bassist talks about learning to find his own sound on the bandstand.
Throw back drummer talks about his soul jazz influences and his collaborations with Steven Van Zandt's Rock and Roll Forever Foundation
Part of the legendary soul outfit known as The Chambers Brothers, Lester talks being raised by dharma bums playing congas on the beach and the ills of money and family.
Humble and devout musician talks about experiences that shaped his musical and spiritual philosophies.
Multi-faceted singer songwriter and record producer talks about being saturated in mediocrity and keeping his artistic integrity a cut above both on the bandstand and in the studio.
Cosmic singer/songwriter talks about walking away from a life of conformity and group think and accessing her multi-dimensional self through the delicate balance of art and entertainment.
Versatile and unique keyboardist talks about making a career on the bandstand as a creative musician.
Roots music singer/songwriter looking to stay in the moment and create honest music.
My guest today is an Afro-American musical wizard. He developed his chops on the bandstand growing up at the tale end of swing and developing his own style within the bebop language.
My guest understands the African roots of his music and merged this with the blues of Chicago which were coming up the Mississippi Delta.
He found the groove in bars and nightclubs, ballrooms and burlesque houses. Could have been the London House or the Regal Theatre swinging his band and merging two different tunes by raising the hand and showing one finger or two.
My guest has an entrepreneurial spirit. He never plays the same song once, preferring the improvisational melodies that make real jazz what it is. He has done this before during and after the record industry helped create an identity for cats like Dizzy Gillespie, Ramsey Lewis, Randy Weston, Horace Silver and Milt Jackson.
He's toured the world playing late into the evening at "Oil Can Harry's." A club in Vancouver with the venerable Calvin Keys and fellow steel city bassist John Heard. He's cut albums and soundtracks on Argo and Chess, Catalyst and 20th Century.
Today we live in the 21st century where labels have stratified music. This has led to a rigid radio structure and a shrinking record business. Throw in the fact that six night a week gigs are non existent and the music community faces a supply and demand crisis.
How do you create your own individual sound in academia? How do you get more secure on the bandstand without the consistent live engagements? How can you develop an identity in a business that values twitter followers and looks as opposed to burning music you can feel in your gut.
Looking for answers with a legend, Ahmad Jamal welcome to the JFS.
Guitarist and producer talks about his life in music and forging a path towards individuality.
Cosmic musical enforcer talks about creating art within the construct of a band and experiences that shaped his point of view.
Chicago drummer talks about the musical and personal experiences that made him who he is today.
Iconic Scaticonian talks about his life at camp and overcoming adversity in his personal life.
Brilliant pianist and composter talks about his musical upbringing and education on the bandstand.
Blues and gospel guitarist talks about the Open Door Mission in Oklahoma City, OK and bringing light and music to people through music.
Cosmic Vedic Dweller talks about the common era of offense taken by people and how to study yourself to change your habitual nature.
Double bassist talks about finding the groove in all musical settings.
Gifted and versatile drummer talks about his musical collaborations with Phil Lesh, Bruce Hornsby and John Fogerty.
Master drummer.
Legendary electric bassist talks about his magical life on and off the bandstand.
My guest today is traversing the United States in a bus with The Preservation Hall Jazz Band. That's New Orleans but so is the salty blues and the Afro jazz that Ellis Marsalis and Harold Batiste have been playing for decades.
My guest came of age when labels began to define music. Race records>R&B but when Elvis started singing that music it became rock. My guest had to learn how to advocate in a metropolitan center, a gumbo of odd Meters and Native Americans playing funky beats, pulsating rhythms that echo with the sounds of Congo Square.
Sea-Side Records became the operation headquarters as my guest reaped the treasure brought in by younger bands playing his tunes. I think of Lowell George and Little Feat, Levon Helm and The Band and old Medicine Show buddy Mac Rebenack playing at The Blue Cat where the strippers would dance to Duke Ellington tunes.....@/)
His understanding of the industry allowed him to expand his musical repertoire and become a leader of Love Life and Faith. Those are two of the L's of the Jake Feinberg Show.
Albums on Reprise spoke of the Strut, hand to mouth relationships that some of us know. to sweet Louisiana soul from the bogs and swamps and fried alligator gumbo stew of The Big Easy with the Meters as his rhythm section playing a center of the universe boogie with danceable Southern Night after Night after Night.....
He has witnessed the music industry shrink into a small business, he's seen the infiltration of click tracks and the elimination of bleed through radio channels, shrinking live music venues and a new generation of musicians raised on electronic beats to pacify rather than inspire. Messages that denigrate as opposed to uplift. From the Sanctified Churches to the Mega Church.....it all rolls into one.
I'll Take A Melody Allan Toussaint welcome to the JFS
Houston is the city where the shuffle beat came from. When you play the shuffle with a back beat or a double back beat, that’s what I grew up playing.
Houston also created a great tenor-sax sound. We came out of marching bands and we had to learn how to project our sound. We’re not talking sound, we’re talking projection, which is a difference. In Texas everybody had a strong sound, so they could play slower notes. Horn players today don’t work with those long tones. If you don’t have long tones, then you have to play a lot of notes. That’s why The Crusaders had that open sound. They were spreading sound over the rhythm.
What I loved about growing up in Texas in the late 1940s and early 50s was the love. There was so much love, so there was so much music. I would lie in my yard at night and stare up at the big sky. I would dream about what was around the world and I would tell my parents, “One day I’m going to go around the world.”
My uncle was Don Robey, who managed Jesse Belvin and Bobby “Blue” Bland. He had Sam Cooke when he was singing gospel with Lou Rawls and Isaac Hayes singing background. My father was the studio drummer.
When I heard Bobby’s “In the Ghetto,” that to me was bebop. It was the sound of his voice and how his voice would ride the rhythm like a wind blowing across the Texas plain.
Music is understanding the space of the beats, letting it breathe. Bird didn’t let the music breathe, so if I’d listened to him, I would have killed myself, because I couldn’t take a breath. It was moving too fast and it didn’t touch me, because it didn’t have earth connected to it.
I hadn’t seen New York then and I didn’t realize that New York was cement and steel and little vegetation, so there was no oxygen. You had to move fast or you’d suffocate.
Singer/songwriter from Mapache talks about his ability to keep balance of mind, body and spirit during the pandemic.
Incredible double bassist talks about how music saved him from gang life.
Gifted saxophonist talks about his musical collaborations with Michael Shrieve and Miles Davis.
Heroic and versatile drummer talks about his life on the bandstand.
Founding member of The Lost Poets talks about the other half of American history, the power of the drum and spoken word.
Legendary session pianist talks about his career on the bandstand and in the studio.
Blazing tenor saxophonist talks about connecting and playing with Freddie Hubbard and Dizzy Gillespie and how the application of music education has changed since he was coming up.
Versatile and elastic drummer talks about his career on the bandstand.
Brilliant singer songwriter talks about his career and the ups and downs of the music business.
Brilliant pedal steel player and founding member of Poco talks about his journeys in a musical life.
The King of Oakland funk talks about the real history of the Fillmore District.
Cosmic bassist talks about the mystical qualities of music and how she has integrated her yogic practices into different modalities.
Brilliant musician, composer and arranger talks about finding his original sound on the bandstand.
Master saxophonist talks about increasing vocabulary in music.
Prolific younger drummer talks about his approach to rhythm and driving a band by keeping time and dancing on the kit.
An in-depth discussion about the organization Psychedelic Sangha and the unique vibe needed to inspire cats to drop into a sacred space. Sounds From Bardo.....
Funky bass player talks about his humble roots and playing with Levon Helm....
Iconic singer/songwriter talks about the jazz aesthetics in his own music and staying inspired to create during Covid.
Cosmic guitarist and song writer talks about life as a musician and following the muse.
Dynamic New Orleans drummer talks about finding his own sound and playing through time on the bandstand.
Legendary musician talks about his musical journeys.....
Versatile and talented multi-instrumentalist talks about his life on the bandstand.
Cosmic guitarist and band leader talks about the beginnings of the San Francisco scene.
Divine singer/songwriter talks about her musical upbringing and being on the bandstand with Jerry Garcia
Pianist and composer talks about the essence of spiritual music.
Funky guitarist/bassist and owner of Fat Jimmy Amplifiers talks about his life in the musical world.
Legendary electric bass player talks about learning from his mentors like Bobby Durham and Charles Mingus.
Blazing acoustic and electric player talks about his journey in the musical world.
Cosmic drummer talks about finding the groove and melting into any musical situation.
Legendary human being....
Trumpeter talks about his musical relationships with Billy Harper, John Kahn and Mike Bloomfield
Polyrhythmic jazz drummer talks about the influence of Mahapurush Misra and playing the Half Note in San Francisco with Al Jarreau and George Duke.
New Orleans guitarist talks about learning to find his own sound and how his father taught him to be a force on the bandstand.
Unheralded and versatile drummer talks about learning his craft and applying that on the bandstand.
Grateful Dead sound pioneer talks about his role as producer and engineer.
Continued conversation with a master sound engineer and musician,
Percussionist and deep listener talks about her path towards peace through rhythm and environmental sound.
Sonic wizard, musician and engineer talks about his improbable journey with the Grateful Dead and beyond.
Elegant and divine singer songwriter talks about staying humble and crafting authentic music and song that is aligned with her spirit and multi-dimensional self.
*Photo by Benjamin Kim
Dynamic young reiki healer and empath talks about breaking away from the confines of societies rules in college and how that has put her on a path towards her purpose in this life.
Spiritual saxophonist talks about playing music from the heavens.
Part II with a master musician....
Bop trombonist talks about his early days in Chicago playing with Sun Ra all the way through MWANDISHI and beyond.....
Bay Area soul singer talks about her collaborations with Larry Bradford and her tenure with the Jerry Garcia Band
Multi-dimensional pianist talks about playing with Shaman musicians and the current state of live playing in America. The Sword of Discernment now more than ever.....
Multi-dimensional transpersonal psychotherapist talks about her evolution in this lifetime.
Conversation revolving around The Church of God, Altadena and authenticity in recorded music.
Entertainment lawyer and advocate talks about her love of music, the musicians and the need for a sustainable touring circuit.
Gifted Hindustani slide guitar player talks about his magical journey in music.
Melodic and explosive session guitarist talks about riding the musical rollercoaster of life.
Master studio and live multi-instrumentalist talks about doing something no one else did! (RIP)
Musical healer talks about her roots in the motherland and how she has brought that lineage into the universal language of music.
Legendary guitarist talks about his musical and personal relationship with Gregg Allman
Cosmic guitarist talks about growing up overseas and coming of age as a blues player in the vibrant blues bastion of San Francisco.
Divine psychic hermit talks about innervisions and the spirit voices that come through her radiance.
Master session player talks about the musical ride of life....
Blazing session guitarist talks about finding his own sound in the studio and on the bandstand.
Divine yogic priestess talks about the balance between the divine feminine and divine masculine within each of us.
Legendary Bronx drummer talks about finding his own sound on the bandstand.
Legendary jazz and soul drummer from Omaha talks about his life on the bandstand.
Divine shaman and healer talks about overcoming adversity in her early years and how that drive and strength has helped her harness her true nature as a yogic teacher.
Heroic double bassist talks about his musical journeys in life.....
Divine teacher and author talks about the evolution of her spiritual life.
Musical and artistic curator talks about forming relationships and putting on independently run concerts with a collective of like minded patron saints. Folk Yourself.....
*photo by Neal Casal
Iconic bop string bassist talks about working with Stan Getz and Dizzy Gillespie.
Canadian singer and bandleader talks about finding his niche in the world of music.
Famed Canadian drummer talks about the mountain of musical history he has been a part of.
Avant garde folk/psych singer/songwriter talks about what drives him to be a creative musician.
Divine priestess talks about her initiation to source, her yogic lineage and the appropriate roles of the divine masculine and feminine in union.
Natural born priestess...
Individualism is key in all art. To be individualistic you must borrow from others which means you have to get inside their world and become more secure because of the insecurity. You are humbled not by the money or name recognition but because of the genuine article. The good Reverand Gary Davis who sits somewhere high stop the Fur Peace Rance drinkin whiskey smoking a cigar and mentoring my guest.
About how to handle yourself in live settings even if your playing in a bar... in front of five people with a combined total of 3 teeth. How to carry yourself, to be yourself and forever create.
Expanding sound has always been on of my guests priorities. He uses a finger pick technique that creates a Rosen scented Oz of skin to string. The direct physical contact without any accoutrements. These acoustic performances blend folk with blues and the remnants of legal LSD which was the Crown of Creation in the Bay Area. My guest was a member of Jefferson Airplane which was a band that mushroomed out of the melting pot movements of the late sixties. They amplified sound out of speakers at the old Fillmore all While being immersed with peers who also had large sonic palettes like Santana, Garcia, and Papa John Creach. My guest learned to sing his mind verse after verse after verse and then extrapolate off of that with Jack Casady and one Hot Tuna seared medium rare with a side power trio that has the proficiency but also the love needed to make authentic music.
Recently my guest found his groove @ Levon Helm's recording studio and performance venue where he recorded his CD River of Time as the weeping willows cast their shadows on the banks green edge.
Hot Tuna and Leon Russell will be @ the Rialto theatre Jan 24th here in Tucson. Jorma Kaukonen welcome to the JFS
Divine healer talks about her own upbringing in nature and being humbled by the cruelties of the outside world and how she has learned to cultivate her own spirit and life force to inspire her clients and herself.
Incredible session guitarist talks about his life in the studio and on the bandstand.
Legendary engineer and producer talks about his love of music and getting the right sound for each session.
Yogic practitioner talks about coming to peace with her sisters tragic death by communicating with her through dreams and spirit messaging. Healing mantras provided by divine conduit in a dystopic time for humanity.
Dynamic drummer talks about cultivating his sound as a creative on the kit while still holding it down with Vince Guaraldi, Mike Nock and his brother in The Loading Zone. A testament to the human spirit.
Gifted double bassist talks about learning under the masters growing up in Berkeley and how he has learned to find his own sound and time feel in an age of musical homogenization.
The rhythm that fits, the driving pulsating force that lent itself to hip hugging bootie shaking boogie music. 10 minutes in a Cold Sweat just give some bread and I'll be straight.
My guest is a rhythm king. Being able to swing the band and play the blues and funk and jazz. Choppy rhythms that he taught himself growing up in Chattanooga. He took in the sounds of industrial America. The steam engines of the little engine that could, chugging along with no formal training. Just a feel and a willingness to go there will JB. Elevating his tunes to popular tunes throughout the world.
His beats have been sampled relentlessly by my generation in a very different musical environment. I am more inspired by my guest longevity, still doing it after 50 years, his leadership of knowing when things were a good fit and when things had gotten stale. His love of all peoples because after all we are one race, the human race and the language of the drums is never to be discounted when trying to reach a spiritual apex. His love also permutes to the legions of younger trap drummers he has mentored taught and influenced.
Clyde Stubblefield welcome to the JFS
Prodigious pianist and composer talks about finding his own original sound and bringing it to the bandstand in a myriad of settings.
Conguero talks about what makes a good leader and how he gives back to our society to enhance our culture.
Ubiquitous guitarist talks about learning to play across the entire musical spectrum with Oregon, John Abercrombie and his own collectives.
Master improviser and multi-instrumentalist talks about his musical journey to bliss.
Life, Liberty and the pursuit of the great American Fish.
Iconic singer songwriter talks about his early folk days in Los Angeles that ultimately culminated in Country Joe & The Fish, a solo career and another chapter as a defense attorney.
Devoted polyrhythmic healer talks about healing herself and others through ragas and beyond.
Legendary baritone sax player talks about his musical life with Tower Of Power
Legendary multi-instrumentalist talks about his life as a musician and Merry Prankster.
Divine priestess talks about her life in stages: First with Rock Skully and The Grateful Dead and then finding her purpose as a healer with her own lineage.
Iconic trumpeter talks about his generation of musicians who have continued to adhere to the traditions of America's only true art form all the while expanding the language as well.
Scatico stalwart talks about camp and how his life has moved beyond the green and white.
Upper echelon guitarist talks about being influenced by all the greats and how he eventually found his own voice.
English bandleader and guitarist talks about his musical upbringing and coming to the states to play with the Cats!
Inspirational pianist and composer talks about his concepts of free music and improvisation with Ken Kesey
Theatrical Merry Prankster talks about his collaborations with Ken and Chuck Kesey. Ode to Skypilot and Walker. Furthur...
Blazing multi-faceted guitarist talks about his existence in music and life.
Professional drummer talks about his evolution in recognizing intention without expectation in music and in life.
Divine conduit talks about the revival that set her on a course towards her true nature as a leader, advocate and objective voice for those looking to transcend the thinking mind and access the spirit mind.
Blazing electric bassist talks about pushing the envelope on the bandstand and her longing to merge the spiritual with the technical to create new musical vocabulary.
Fiery and ubiquitous musician talks about using her violin and voice in union to access her multi-dimensional self.
Titanic drummer talks about playing for JFK, with Basie and Tony Bennett.
Original singer and songwriter talks about her wide range of musical apptiude and experience with Jerry Garcia to McFadden & Whitehead.
Cosmic keyboard wizard and programmer talks about the unquantifiable nature of spiritual music and how it has healed him time and again.
A continual discussion of leadership, love, life and lineage.
Iconic bass player talks about getting picked up at Mt. Tam High School to go on tour with Stoneground. Legendary musician from a legendary family.....
Prolific guitarist talks about surviving and singing for his supper as a musician in the 21st century.
A continual discussion of love, devotion, surrender.
Teacher of Tibetan Buddhism and folk guitar legend talks about merging the spirituality of music and source.
Philadelphia born drummer talks about breaking up time and form with the masters of music.
Dynamic and self-taught guitar player for WAR talks about his life on the bandstand.
Panamanian artist talks about playing spiritual music was Mandrill.
Heavenly singer talks about the divine nature of spiritual music.
Iconic bass player talks about his influences in the states and playing with Peter Tosh.
Ethnic percussionist talks about aligning mind, body and spirit through communal healing music.
Filthy blues guitarist and singer talks about learning to be himself on the bandstand and the correlation of urgency and spirituality in a band and team sports.
Iconic Gen X Scaticonian talks about his career and life and how camp prepared him for the world at large.
Prolific drummer and producer talks about singing for his supper as a creative in the Big Apple.
Funky ebullient bassist talks about letting the body dance on the bandstand.
Iconic bass player talks about playing with is brother Freddie King.
Versatile and thoughtful musician talks about singing for his supper in the city of angels.
Humble and highly conscious keyboardist and composer talks about making a life of music in the the 21st century.....
Modern day expander of musical vocabulary talks about how music is a portal to peace and clear thinking.
Spiritual saxophonist talks about learning to play with John Coltrane in Philly.
Legendary crossover guitarist talks about developing his own sound and serving the song during session work.
Cosmic New Hampshire Cowboy talks about his musical faith through the prism of artist, human and father.
Singer/songwriter talks about feeding her soul through music and her need to create on and off the bandstand.
I have know Ben Vereen for close to 50 years now and this was by far the VERY BEST interview I have ever heard him respond to … You truely brought the most important part of his soul front & center – Thanks for posting this to his FB site.
Barbara Moore
A frank look at the current psychological state of the JFS conducted by a decorated clinical therapist and healer.
Sanctified soul singer talks about giving love and getting it back!
Cosmic rhythm guitarist for the Grateful Dead talks about leadership, love, life and the lineage of all music.
Freddie Roulette Really enjoyed your interview..Thank you Jake, it took his mind off his problems for awhile..
Tony Silva
Pianist and composer talks about his collaborative relationship with spirit brother Gil Scott-Heron.
Continued discussion about the spiritual elements of music and life.
Versatile and free bassist talks about his life on the bandstand.
Prolific folk/blues guitarist talks about growing up as a real hippie in Berkeley, Ca.
Percussionist and ethnomusicologist talks about the roots of the drum in this country.
Manager for The Grateful Dead talks about the ups downs and everything in between.
Wise and prolific horn man talks about his musical adventures....
Unheralded drummer who played with Don Ellis and Indian Puddin' & Pipe!
Moog pioneer talks about his musical journey....
Dawg's Groove.
Jah Guide. Truth from Brother Moses.
Genius sax player and Merry Prankster.
The time keeper of eternity. Ballads, Blues, Dixieland and The Kansas City Shuffle.
There's more to it than that obviously but my guests roots are deep in the blues. He developed his chops in after hours clubs in St. Louis and later on in LA.
He became one of the most sot after drummers for Soul and the newly invented word in the American Lexicon. Funk, my guest along with Harvey Mason, Mike Clark, David Garibaldi and a handful of other cats created that word funk because they blended jazz beats with soul and blues. My guest did this with Dennis Coffey, Dyke & The Blazers, The Watts 103rd street rhythm band and countless other artists.
He has been an accompanist his whole life. Backing up stars who get all the recognition but wouldn't have the hits without my guest.
James Gadson welcome to the JFS.....
Master composer and pianist talks about the musical roller coaster of life.
Legendary conguero talks about growing up in the Mission District of SF and joining the Carlos Santana Blues Band.
How was music taught to my guest. He studied music as Prestigious institutions but the music was in the streets and on the bandstand. New a Rules were being created by my guests heroes who were stretching the sonic boundaries playing African Juju Music with acoustic instruments. Playing thesaurus' of scales and free form with a little Kama Sutra mixed in. Melodic improvisation must be swung by the drum in 4 in 7 in 9, 11. Keeping time in polyrhythmic progressions of idas spilling out of my guest on his Starship with a big Buddha at the helm.
Norman Connors welcome to the JFS
My guest today hails from a bastion of regional arts and entertainment. Berkeley California grew out of the Kerouac and Ginsberg beats whose howling gave way to a mindset of creativity by embracing all cultures to form one race, the human race.
My guest developed his chops as a Bass player through playing on the bandstand with Salsa De Berkeley and other gigs at Andre's or Jimbo's Bop city or The Record Plant with Mingo Lewis. Mixing a slapping bass style with Latin impulses funk rock. Locking the groove with Carlos Santana when time stood still as my guest traveled the world during the age of guitar hero. He listens, he collaborates he continues to be fed by the music.
In the early 1980s my guest merged with Grateful Dead drummer Billy Kreutzmann to form one of the most stealth Berkeley bands that eventually turned into "Go Ahead" with Brent Mydland and Alex Ligertwood partying and playing Sweaty bars and clubs. He continues to play music in his band today or head up to his cabin in the hills to clear his head.
David Margen welcome to the JFS
Musical Arkansas talk about growing up on the bandstand with Levon Helm.
Just this past week a buddy of mine gave me a snare drum and a tambourine. I get to go home and play that drum to music good or bad. For a few seconds or maybe a minute I begin to dance, eyes closed in my head knowing that if I start to think about Hangups that it's rhythm interrupted. Still I hold on to that previous time and get a taste of how special being a master professional drummer truly is.
My guest today was born in Kalamazoo Michigan where my parents met while in school in the late sixties. He became plugged into transcendent music immediately connecting with the guru Sri Chimnoy and Mahavishnu John McLaughlin. He played in an Orchestra where dynamics were an essential component to the raging apocalyptic forces ricocheting all around. To stay focused on the dance with Will Lee and Whitney Houston. It seldom turns out the way it does in the song.
My guest has tremendous technique but needed to seek peace in his mind to feel the music. He didn't pay to play or learn music in academia. He burns till this day making seminal soundtracks for movies and cultivating one of the headiest music operations in the world, Tarpan Studios.
But he has also played music at a time when music itself has undergone a transformation from the human to an over reliance on the digital. He has played music when bands could stay together and hone their spiritual sound to the branding of one individual. From one or two week engagements to a night here a night there, a night everywhere. As in life, things are constantly changing. Hopefully the heart stays true. Narda Michael Walden welcome to the JFS...
Wollamaloo and tigger to. To the days of swagger and shipwrecks and sound expansion. Stretching peoples minds instead of shrinking them.
My guest was at the forefront of Australian Kool swing be it with a piano, tennis balls, mallets or a 7 inch reel box. Joining forces with cats like George Shearing and Miles Davis to reintroduce the world to peace after World War II. And that music swung just like it swung for my guest in the Australian Jazz Quintet with Jim Gannon who was a venerable bass player with Stan Kenton.
Or it might have been with the Gravity Adjusters like Lee Charlton and Tom Dondlinger fitting in, hopping melodies in low notes, coming over the crest of a wave touching the Pacific connecting Australia with The Bay.
Could have been Ron Dewer or mouth organ madness with Les Thompson, playing outside or in the pocket. A career that has spanned the last 50 years Bryce Rhode welcome to the JFS.
Versatile and timeless drummer talks about his musical life.
Running down the funk with one of its foundations - George Porter.
During the military dictatorship that engulfed Brazil in the 60s my guest today left the beautiful city of Rio to immigrate to the United States.
He grew up with the rhythms that have come to be known as "Bossa Nova" and that craze crept into our national consciousness and the record industry at roughly the same time he came to the US.
He was an autodidact and from an early age his ears were never locked. He wanted to learn how to play every key in every scale. Scoresheet, notepads, melodies and harmonies dancing around in his head as the Coo Coo Birds tried to talk with him through the whirlwind of assimilating.
It didn't take long what with the likes of Luis Bonfa, Frank Sinatra and Creed Taylor there. They recognized his writing, arranging and playing genius. Stretching sound sonically playing asymmetric music with tube drives.
Bug squishing keyboards and Organ that carved out a niche market for him during the last years of free form radio.
His legacy is on full display today as he continues performing with his own groups and collaborating on projects with younger cats as he provides a bridge to future children and their hopes of understanding of how to fuse traditional world rhythms inside Americas only true art form known as Jazz.
Eumir Deodato welcome to the JFS
So many amazing interviews – thank you so much. I think the two Keltner interviews are among my favorites. Lots of appreciation from me here in London for what you are doing.
John Kieffer
My guests are sound creators of the highest order. They both have been extrapolating off the grid for the last 50 years. One got noticed and appreciated by John Hammond which sparked a career on Columbia. The other was playing with JJ Johnson & an unknown Barbara Streisand @ Champagne Urbana.
Both of my guests came to San Francisco in the middle part of the 1960s. They were established jazz musicians who could play funk or pop or blues or free music for a living. They were mentors for a whole crop of young pianists and percussionists who wanted to play outside the box.
They played quite a bit together in a trio setting with the late great Mel Graves or in larger units with the venerable Ratzo Harris playing Syzygy @ The venerable Arch Studios.
Like a scarf in the wind their music dances, at times frenetically like a manic patient seeking cognitive therapy my guests go deep inside the cranial membrane to extract new ideas and sequence them in free form music that is comprised of multiple keyboards, tom toms, synths, high hats, Cungas and grand stein ways. The music they play represents an amalgamation of their experiences traveling through Moab Utah or the City Winery or the spiritual holy lands of Australia.
In this hosts mind my guests continue to collaborate because of love. One love that they feel in a sweaty pool of inspiration on those Sunday afternoons when they get to improvise for several hours and leave exhausted yet cleansed from their other worlds of academia and private practice.
Still Riding The Moment Dr. Denny Zeitlin and George Marsh welcome to the JFS
Hosted By Michael Shrieve
Ubiquitous drummer talks about developing feel on the bandstand in a variety of different musical settings.
My guest today is a woman of the church. A congregation that was not afraid to own the blues which is where that music hails from.
Gospel Music when intermeshed with blues creates soul and today we present a serenade to a soul sister who is deeply connected to the spiritual oasis of playing with Jerry Garcia.
She came aboard in 1983 during a transitional time for both the band and Jerry. Relentless touring in the Spring, Summer and Fall which didn't include the keystone Gigs in Berkeley or Palo Alto or a quick jump to the Pacific NW in January.
Sure Jerry loved to play but he was also feeding an addiction that my guest never subscribed to.
But unlike in today's era of rigid uniform group think. My guest played in a band until the Midnight Moonlight not because she looked like everybody else, not because it was the biggest money making endeavor but because it had soul and it felt good. The Way you do the things you do, you got a smile so bright that I saw it even though I never saw the JGB play a single note.
The music holds up as well if not better today than it did back than. It's rich and full throated like my guest who according to David Kemper never sang out of key.
The problem is the greed that has been left in Jerry's wake. A greed so pervasive that it is unbecoming to anyone who ever collaborated with Jerry because the whole mind set is antithetical to what he stood for.
My guest is one of those cats down under the stars who gives it her all on the bandstand. She knows the struggles her people face. The unfair disadvantaged playing field that is being played out in North Philly and Baltimore and any old dilapidated city near you. She knows she can't change the world, just her world by taking a Melody from a simple C to G.
Feeling Brand New About It Jackie La Branch welcome to the JFS
The unincorporated land of Louisiana. Where the native Americans of of all descents were Unencumbered by cultural biases and norms. These were small communes of different peoples who were bombastic and playing regional
Music of the swamps.
My guest plays Cajun Fiddle in myriads of settings and his musicianship and entertaining capacities are in the same class as Professor Longhair and Bill Monroe, Dolly Parton and John Lee Hooker.
He grooves and growls playing live aid benefits for the farmers who toiled that unincorporated land where my guest dwelled with Louisiana Woman and Merle Haggard and Johnny Cash.
My guest came of age when the music industry was regionally based with different sounds that emanated from the swamps and the bogs and the mountains and the parks and the urban squaller.
However you square it, my guest has all these elements in his music which is why it is such a treat to have him with us live....Doug Kershaw welcome to the JFS...
Significant west coast avant-bop drummer of the early 1960's
Doing it to death, the relentless pouring of sweat and grit to hold it down and be an accompanist for the greatest self-expressionist of our time.
My guest kept the beat and played the rhythms that helped James Brown reach international stardom. He would play the same groove for 15 minutes while Jimmy Brown carried on and drove those rhythms Stone Soul Lyrics captured from all the urban venues that existed at one time in this country.
My guest still is secure enough to play out and pass the peas or dish on The Revolution of the Mind. He made love music with Fred Thomas, Fred Wesley, double drums with Clyde Stubblefield who along with my guest is the most sampled drummer in modern electronic beats.
It's not music because there's no real people playing the music. A real person like my guest would have to keep the beat while James would riff for 18 minutes asking The aforementioned Wesley to take a jazz solo in the same vein as JJ Johnson.
My guest feels the groove. He along with Bernard Purdie, Idris Muhammad and and Zigaboo Modeliste helped fuse Gulf Coast Blues with Jazz and Gospel bringing in Funk. The kind of funk that Lyn Collins or Bobby Byrd felt.
It continues today with a beat as strong as ever playing in different amalgamations of The JBs and locally @ The Red Bar in Mobile Alabama.
John Jab'o Starks welcome to the JFS
Still very active, still very strong. Leading the way without being the leader. Years of giving back making wine and playing their butts off. It started sometime ago when My two guests found their way to Sacramento at a time when the city was buzzing with night Life @ Dave's Soul Kitchen where my guests learned how to play funky soul grooves and against the time.
They played off each other taking the late show and than the late late show while parishioners were heading off to church my guests were going home to grab some shut eye before waking up and swinging all over again.
One of my guests played for Don Costa and with Edyie Gorme the other with Bobby Hutcherson Herbie Hancock and Vince Guaraldi. Both held it down with Jerry Garcia.
And unlike other musicians who may have had a great run for 3 or 5 or 10 years both my guests today still have the chops to play in all different musical settings with all different musicians.
Mike Clark and Bill Vitt welcome to the JFS
The Doctor is in this week checking up on patients who have been sonically altered. His synthesizers became beams of light, always light bouncing of the Electronic Music in the late 60s.
My guest is a heavyweight musician. He had gotten to leave this planet with Charles Eariand and burn hot melodic chordal mosaics of sound in a "Sextant" with Herbie Hancock or Love Love with Julian Priester or playing free music with Woody Shaw and Michael Howell.
He came from The Bay. The San Francisco Bay Area with Different Fur that paved the way for classic soundtracks like "Apocalypse Now" and journeys to enlightenment and realization with Eddie Henderson. That fantastic journey from death to life as my guest outs an electronic score together for The Tibetan Book of The Dead.
He has presence in his music, a mood as paranoid as Nam or galactic, tense neurotic blending with Woody Shaw and Michael Howell getting it together with the San Francisco Express.
Every once in awhile the universe provides us with a glimpse of the all seeing eye. One that is not myopic but sees the possibilities in how machines work, how instruments play, how people think and how to articulate this in various languages.
Jerry Garcia left us 20 years ago and similar to when he had both feet on the ground his persona, point of view intelligence and art are as precinct today as they were when he was alive.
Jerry sought an uncluttered life, one where he could explore with unbridled freedom be it going on a cross country pilgrimage to see Bill Monroe and eventually forming Old and In The Way with David Grisman Peter Rowan Vassar Clements and John Kahn.
He felt free to explore blues scales and jazz scales with his buddy Merl Saunders which fed into a deep well of exploration in LOM or Reconstruction with Ron Stallings and Gaylord Birch.
Ultimately Jerry Garcia' hyper intensive need to play, his inventive guitar lines that fused his blue grass leanings with blues based Rock coalesced into psychedelic rock and a band beyond description known as the Grateful Dead.
All the living members of The GD have gone on to have prolific solo careers but none of them could have sustained that band for 40 years.
Jerry Garcia was the only person that could do this. He was carefree and serious at the same time. He was diplomatic in almost all situations. Treating the blue collar cats the way he would anybody else because Jerry came from the working class. He respected people and nature, he had so much to express that when the Dead came off a 3 week run of grueling shows he was back out on the road with his own band playing originals and covers that reflected his love of rhythm and blues and soul.
In the late 1970s Jerry met my guest in Chicago. They had a completely cosmic relationship and she inspired him to draw and paint. She was part of a traveling community that got to see the band when they were still playing 500 seat theaters like the Uptown in Chicago, or The Agora Ballroom in Cleveland and college gyms like The University of Vermont and Frost Amphitheater in Palo Alto.
They fell in love and remained very close during a transitional period within both of his bands. Jerry needed the shelter of someone's arms and my guest was a resilient source of love for Jerry during some of his more internal contemplative years.
When his lifestyle caught up Jerry found himself taking a long nap in a hospital bed. He woke up 3 weeks later and that bond that existed between my guest and Jerry swelled into a union of marriage.
Seeing opportunities not losing them, letting go of the burdens of trying to please everybody and recognizing his incredible stardom without judging it or trying to live up to it. Seizing on new life.....
Fly through the night.....Manasha Garcia welcome to the JFS...
Many of us have gifts and if we begin to access our true nature those gifts become accentuated.
How did you do that? Did it matter? does it now? If you don't put yourself out there then those gifts can not be acted on and your true nature will remain unrefined.
My guest has been putting himself out there his whole life. Northern Exposure in swampy jersey Bars or the Bitter End with Terry Silverlight or at Berklee School of Music.
He's stayed in a few splendid hotels in his day shredding on his axe as he kissed away the electric and brought in the acoustic guitar to play flamenco and jazz and blues and a Friday night in San Francisco that remains a standard bearer in interweaving guitars sharing learning and loving.
He understood early on in his career about the spiritual qualities of music playing with Lenny White and Stanley Clarke. Leaving his physical body and operating on a frequency equivalent to the zone. It feels so good that you don't want to leave it.
He's got his hang ups and his problems but gets on the road to play and get stuff out if his system the way any Romantic Warrior or Elegant Gypsy might do. He has learned to trust himself and actualized his true nature by putting himself out there....
Al Dimeola welcome to the JFS
Dynamic drummer and advocate talks about life on the bandstand.
Iconic drummer live at the Doubletree with me in Tucson, AZ
Sitting in Limbo with The Wizard of Oz.
Mindblowing multi-reed player talks about inventing sound on the bandstand.
Legendary keyboardist talks about life in the musical fast lane....
My guest today is an icon of show business entertainment.
He has no qualms with this considering the hard scrabble life that he ascended from. He came out of the functional dysfunction of Hell's Kitchen where you needed to be a street scholar- learning what to do and what not to do. He grew up with street gangs that were much more ruthless than West Side Story would depict along with the Puerto Rican rhythms that his mother brought state side. The ability to swing, the Cha Cha Cha, when music was danse music. Not electronic beats that have been forced into the ears of younger generations.
Eventually his family moved to New Jersey which is the size of Israel. A Mecca of individual artistic expression sandwiched in between the Big Apple and Sigma Sound in Philadelphia.
My guest was content to walk away from the stage. He was already a known musical entity when he decided to be a producer which he did in 1969 until Candida came a calling and a resurgence ensued.
He found his groove as a master live performer intoxicating the audiences with stage presence, individual sound, eccentric leadership qualities and the smokey soul sound of Stax/Motown that made The Dawn of a New Day.
He knows fame and fortune and he knows the hardships that come with it. The relationships that come and go, trying to find equilibrium after coming off the road and readjusting to domestic life, continually reinventing yourself to stay relevant, building a legacy outside of being one of the slickest entertainers the world has ever known.
As he looks at The Ozarks and the sun begins to set he recognizes the bravery of our veterans. Often underserved and never calling fanfare to themselves my guest has put it upon himself to raise the profiles of military men and woman and their families.
They don't decide why we should go to war even if there is no reason. They are thrust into foreign territories and come back maimed and psychologically fractured. With love from my guest and collaborations with other free thinking artists he has forged a path to relevancy in the digital age. Still knocking Michael Anthony Orlando Cassavites welcome to the JFS
My guest today is a torch bearer of melodic improvisation.
A master of melodies, chromatic modal patterns of improvisation that open space for drummers like Eddie Marshall and Joe Chambers who say "Hello to the Wind."
My guest came of age under the iron man sweetheart Eric Dolphy when he went by the more formal Robert. But his endearing nature, positive path of constant creation created love amongst his bandmates so soon he was known as Bobby.
His impact on the east coast jazz scene was heavy. He showed up and Rudy Van Gelders studio with Bob Cranshaw and Al Harewood playing solos on Grant Green records that my generation perseveration over.
The crisp Angular feeling of the music from hard bop to post bop with a mix of avant garde more rhythm based solos. More rooted in the blues.
The music was evolving organically and my guest was a Sage and spirit to many young jazz fanatics like Jack Fulks and session drummer Jim Keltner who would sit in the front row of some swampy bar to watch my guest and Charles Lloyd give literal interpretations of themselves with a little Milt Jackson and Jimmy Lunceford mixed in.
My show is about lineage. Tracing the roots of music on this continent to its origins. The birthplace of modern jazz is The Americas and it spread out to the west coast to clubs like The Keystone Korner where my other guest found a home for himself nestled in between a police station and the Inflated Tear of "Change" sung so poignantly by Eugene McDaniels in the opening clip.
My guests humbleness and groundedness is what makes him a transcendent figure much like my other guest who played keyboards for awhile and than became an impresario running the most elastic, flexible, swinging jazz club in the Bay Area. It was the greatest because he diversified the music, it felt like a home with the cornbread and the continual appearances from my guest and Harold Land, Sonship Woody Theus Woody Shaw and thousands of other Eulipian characters.
Both my guests have a deep affection for one another and it runs decades deep as they have taken the roller coaster of life which they are still on. Keeping the world safe for bebop, re-bop and all other contiguous orbital love Bobby Hutcherson and Todd Barkan, welcome to the JFS.
"Carlos (Santana) and I were meant to be together because we have the same sort of searching mentality. Always searching for the right note, right tone and he is a master of melody. He's like an encyclopedia of melodies and still Carlos' musical roots are deep, it's a deep well that he draws on because he listens to so much music from around the world. He's like a sponge so he's got a real sense of melody. That melody combined with his intensity. I loved playing music behind it, being the drummer behind it.
The reason I look the way I do when I play is not because of the drums it's because of the melody. I get to be on this river behind it keeping the rhythm. I love melodies so Carlos always brought that and we always shared an intensity in our listening habits. We we're all over the place and he and I found in each other someone they could share that intensity and that hunger and that thirst for what was going on and what was coming out when Miles was doing "Bitches Brew," we were all over it. Everything that was happening at that time, we loved and we soaked up. We also turned each other on to other kinds of things. We were big fans of the work Sergio Mendes was doing back than. All kinds of gems of albums.
We would take little bits of of those things and we would put them in our live show as a transitional piece. As this or that and it made for a very colorful tapestry and a weave of a live set musically.
He still moves me when he plays. I love that he loves and is so committed to the music. He brought that to me and it was really kind of a recognition. Like a soul recognition....."
To be an impresario takes guts. You are a fan sometimes rapid fan and need to find a way to turn a profit. In today's touring circuit it's Tom Waits warmed over covered in corporate sponsors in a sea of digital music that has been forces into peoples ears do the last two decades.
My guest today was a chance taker before full interconnection. He came up when college universities had resources to fund the arts and the brainchild of the touring circuit began.
My guest is a passionate music lover. He leans Rock and rolls with reggae and Soul to sooth the inner angst of relationships young and old. Springsteen, Mussina, Zappa, Leon Russell, Willie Nelson John McLaughlin, Kenny Gradney.
Some were Jersey natives and others were barnstorming the country when hotbeds of regional radio and regional music created an elasticity within people ears. Broader palates in Lawerenceville, and Kean College and Caldwell College.
My guest saw opportunity and inner faith and wisdom and a young age and invested in the Capitol Theatre in Passaic, NJ. A smut house by day in the buccholic city the same as the Tower Theatre in Upper Darby, and The Stanley Theatre and the old Uptown Theatre in Chicago.
These vaudeville houses had a warm cozy feel where mushroom addled audiences listened to my guest introduce Jorma Kaukonen, little feat, hot tuna, the burrito brothers Vassar Clements, Billy Cobham and Steve Miller.
In the early eighties my guest became the go to impresario and the newly Christened Brendan Byrne Arena where huge bombs from Phil Lesh tested the structural integrity of a building that had great acoustics prior and after MIDI- Technology.
One of another kind John Scher welcome to the JFS
I have reached out to musicians from a different era on this radio escapade. Cats that could be my dad or uncle. Not that I didn't have a great Dad and Uncle but in many ways tapping into these brothers and sisters has been self sustaining finding those in their glory years. Still productive, still active still, feeling alive.
As with the musicians I am carving a similar path up that deli trail to Camp Scatico talking in the ears of my elders because let's face it, they've put in more time on planet earth than me or my generation.
The stories they continue to share illuminate a place that emphasized getting into an activity. Getting into it....that means going there. As a counselor at Scatico that meant making a perfunctory game of blind newcum and creating mass hysteria to the point where every camper has forgotten time and place as they dwell in a space that is timeless.
My guest today again fills the criteria of an inter generational camp leader in the 70s and 80s. A Time of unbridled freedom for cats at Scatico. He has always been a thinker and a lover and leader which is really the litmus test. He found his sea legs at Camp
Being able to think about who you are being able to love your bunkmates even if they weren't the best athletes or the coolest cats. Leading with a wholistic approach that he learned from his counselors in both their energy and enthusiasm that they brought no matter what kind of hard days night it might have been.
He was a mentor for many of my counselors who thrived in a less litigious, less image obsessed less interconnected society. My guest would often consult with the campers about the meaning of life.
He maintains an east west spiritual center taking yogic retreats in Vermont to help wash away the dust of everyday life.
Billy Goldner welcome to the JFS
I have reached out to musicians from a different era on this radio escapade. Cats that could be my dad or uncle. Not that I didn't have a great Dad and Uncle but in many ways tapping into these brothers and sisters has been self sustaining finding those in their glory years. Still productive, still active still, feeling alive.
As with the musicians I am carving a similar path up that deli trail to Camp Scatico talking in the ears of my elders because let's face it, they've put in more time on planet earth than me or my generation.
The stories they continue to share illuminate a place that emphasized getting into an activity. Getting into it....that means going there. As a counselor at Scatico that meant making a perfunctory game of blind newcum and creating mass hysteria to the point where every camper has forgotten time and place as they dwell in a space that is timeless.
My guest today again fills the criteria of an inter generational camp leader in the 70s and 80s. A Time of unbridled freedom for cats at Scatico. He has always been a thinker and a lover and leader which is really the litmus test. He found his sea legs at Camp
Being able to think about who you are being able to love your bunkmates even if they weren't the best athletes or the coolest cats. Leading with a wholistic approach that he learned from his counselors in both their energy and enthusiasm that they brought no matter what kind of hard days night it might have been.
He was a mentor for many of my counselors who thrived in a less litigious, less image obsessed less interconnected society. My guest would often consult with the campers about the meaning of life.
He maintains an east west spiritual center taking yogic retreats in Vermont to help wash away the dust of everyday life.
Billy Goldner welcome to the JFS
The culture of jazz is clearly built around the music but the culture only exists because of enlightened cats who were reared in the presence of greatness. Artistic greatness and in a humanitarian sense as well.
My guest is one of the cats I speak off. He took advantage of his early childhood connections and used his native gifts to help explain transcendent music.
Music that was played By Bird and Wade Legge John Coltrane and my guests babysitter Papa Jo Jones.
It's was an accessible community of artistic purists like Jaki Byard who could play a tune in all twelve keys and make his students do that on the piano until they fell apart.
My guest has been a bridge to a new age. Conveying messages as a radio host and coming of age during the advent of free form radio, individual sound seekers and being surrounded by the original masters like Dizzy and Louie and The Duke.
There's two types of music - good and bad and my guest has pontificated and promoted jazz. But what does that term really mean? Has a slang term become so intellectualized that it no longer swings?
My guest has channelled that swing feel throughout his career as an impresario. Could have been the Basie band with John Heard or watching the real time fusing of Afro Bop with Machito and Latin music with Tito. The music survives today in part because of contributions of my guest who plays Charlie Parker records every morning on Columbia's WKCR @ Columbia University.
Phil Schaap welcome to the JFS
Dig the bass. The east bay grease that was hopin' in and out of Vietnamese Restaurants in Oakland as my guest plays a reality fender. Locking the groove like Bob Cranshaw, helping swing the band with David Garibaldi whose big band background helped drive the Tower of Power.
Of coarse it's deeper than that. It always is and my guest is too modest to call attention to himself. If anything he encourages cats to play their own bass lines rather than coming his. Be yourself and don't change horses in midstream because you got cats like Kuptka blowing over the top of low end bass grooves by my guest whose worked was frequented quite often by radio host Voco or on the vaunted San Francisco label.
When I started listening to music closely around the turn of the century the first melodic groove music that attracted me was the band TOP. They symbolized music that came out of the community and was supported by the community.
As companies discovered how to monetize music they sucked the soul right out of it. My guest still tours with the great tower but in two weeks they might play 14 different venues. Those are the transient times we live in.
Rocco Prestia welcome to the JFS
Last time I spoke with my guest he hipped me to Herbie Nicholas, Village Music and the album Bass Ball which I still haven't found.
Since that time I Have been Woodshedding in many different regions of the country. Talking to Charlie Daniels about his bluegrass upbringings in Appalachia, or maybe Bill Keith who is a master of the banjo. It Could have been talking with Peter Rowan before a concert I promoted for him in Sahuarita where he talked about why the outlaws migrated from Texas to Stinson Beach.
Dawg Music is dawg grass, dawg jazz, fluid improvisational melodic invention it's not a bastion of hard bop like Horace Silver or Art Blakey but it has the swing element thanks to the drumming of George Marsh at City Winery not the Jabberwocky, where Richard Greene almost dislodged Herb Pedersons eye ball with an up bow.
My guest has forged relationships with so many artists from so many spectrums that there is no label to define his music. Acousticity is a big part of it, the plucking of the strings playing a Milt Jackson tune or Klezmer music with Hal Blaine at the Tucson Jewish Community Center.
That lifestyle catches up with some, the road can eat you up so you have to constantly retool, reinvent and look towards the light.
He's a grandfather now with incentive to teach his grand kids about good rhythm, good syncopation and letting the music breath.
When he was winning the Union Grove Fiddlers Convention in 1964 the original masters of bluegrass were still thriving Father Bill, Vassar, Chubby, Lamar, Tex. The same way it was in jazz with Dizzy and Duke, Trane and Miles, the same in soul with Ray Charles and Sam Cooke.
Those cats have long since left the bandstand and the baton has been handed off to people like my guest. He knows he is a link in the chain for future generations of musicians and music enthusiasts. He thumbed his nose at the record business and has made a living playing music that is true to him with the trusty Bob Schumaker at the helm @ 1750 Arch Records.
Back at it again David Grisman welcome to the JFS
My guest today is the drummer for one of the most recognized psychedelic rock bands in our countries history. The band was already intact when a young woman named Janice Joplin came aboard from Texas with an unpretentious style in the same mold as Ron McKernan, Jorma Kaukonen and David Bromberg.
Her style was unique and she gravitated to the Bay Area where the folk rock scene was burgeoning with open minded musicians who were drinking bathtubs full of LSD. The whole vibe was less uptight than the New York Folk scene that reeked of uniformity and hierarchy starting with Van Ronk, Von Schmidt and a certain way to play the music.
My guest came from the east coast and was already expressing himself through painting. He was steeped in spiritual Native American drumming that focused on rhythm patterns of transcendence as the peyote soaked their veins while Jim Pepper played Whitchy-Tai-Toe.
My guest was also a first rate jazz drummer idolizing the work of Larry Bunker, Hal Blaine, Emil Richards and Milt Holland. He brought these chops into the Holding Company who's instrumental sound became a progressive mix of folk, psych, Rock and soul.
His painting remained as he used his brushes the way Elvin Jones or Philly Joe might use them. Swing the band like David Garibaldi or Greg Errico, Billy Kreutzmann, Michael Shrieve, Lenny White, George Marsh, Mike Clark, Jerry Granelli and Gaylord Birch.
Just another whistle stop Dave Getz welcome to the JFS
Preserving American Folk Music with the Dawg!
Gifted musician and producer talks about his debut solo EP and the necessary adaptability of musicians in the age of COVID.
San Francisco, back again my friend to the days of wine and roses -Cal Tjader, Bayete, Armando Peraza, Eddie Marshall Ron Stallings, and the rest of the Mill Valley Gang which included David "What are their names" Crosby.
San Francisco was a beautiful artistic enclave before anybody knew it was great. It was an incubator of Latin Funk mixed with Psychedelic Rock and 1st generation blues players like a John Lee Hooker. Marin City was filled with the sounds of Wes Montgomery and Bola Sete.
My guest hails from The Bay and is a blur of movement and magic. Lightning fast when he is in that trance. The one he found himself in again and again in his garage Woodshedding for hours. Being ready for the live moment in front of audiences at Andres or The Poppycock or Woodstock. Relentless pursuit for those who chant with Carmelo Garcia and Victor Pantoja and Hadley Caliman.
My guest was the drummer for Carlos Santana during the most explosive growth of electronic music in our countries history. Sound expansion, playing seemingly simple patterns in complex polyrhythmic grooves exploring the thesaurus of scales the way Coltrane used to duke it out with Elvin Jones. Except it was my guest along with Doug Rauch and Michael Carabello with Tom Costner laying on the B-3.
He has played on the world stage with the heaviest cats like Neil Schon, Sammy Hagar and Steve Winwood challenging gravity with flurries of patterns while still holding it down. He is the same master drumming discussion as Jack DeJohnette, Billy Cobham, Billy Kreutzmann, Lenny White Greg Errico and Gaylord Birch.
When music came out of the community and was supported by the community.
Now that community looks somewhat different as we have fully become automatic men in the age of digitization. On this journey I have used technology to find my heroes in music. Once accessed these cats provide lessons in leadership, love, life and lineage. My guest does it by helping people dance, maybe even the teacher in the classroom because you want to enjoy the musical ride. Looking to set the rhythm straight in 2015 Michael Shrieve welcome to the JFS.
The just way It Had to Be....isn't that the old saying when you look back and ahead in the moment. It's teddy Edwards blowing some West Coast Southern California Hard Bop with the melodic percussive vibes of Milt Jackson playing bags groove keeping time with Ray Brown and the late great Dick Berk.
My guest today is from the island of Jamaica where jazz had come to the forefront because of contributions of Dizzy Gillespie, Bennie Golson, Big Black Clu J and The Blues Blasters Aubry Adams and my guest.
He loved it all pushing the limits and expansion. Playing tunes in all the keys until you fell apart and knew what you needed to work on.
It could have been Supper Clubs in Upstate New York with Eugene Wright locking Bags Groove or eventually becoming a leader of his own playing natural born grooves of Kingston where the ghosts of Marcus Garvey still look over all of us in the hopes we can appeal to the humanistic side of life. Charity yes, but more importantly justice for those who were enslaved and continue to be today....
My guest is an international phenomena combining his own indigenous music with Brazil and European Classical blues, funk, soul and swing.....it's called melodic improvisation....
He is currently in Florida getting set for a "Jam Cruise," and
Montgomery Bernard Alexander welcome to the JFS
Incredible vocalist talks about his humble upbringings backing up Ben E. King and other American blues artists and moving to the States and playing with Carlos Santana and Bill Kreutzmann.
My guest today is the greatest banjo player the world has ever seen. That could be because of the advent of air travel but probably not.
He was born in Boston, MA a city rich with history and prose and fiddling. This breadbasket of culture lent itself to my guest who was bubbling with an urge to play burning music- bluegrass music.
From the Ash Grove Fiddlers Convention to Farms in Appalachia my guest found himself playing with the father of bluegrass Bill Monroe. In time he recognized Monroe's expectation that he develop his own sound on the banjo, be inventive, lead don't follow, I'll take A Melody.
Which is what my guest did developing a style of playing that focused on the melody. Chromatic hits that required listening to his bandmates, taking chances and learning how to improvise melodically. Just like Ed Cassady and the Georgia Corn Stompers or Earl Skruggs or Bill Emerson.
With this new style of banjo playing Keith joined Muleskinner with a bunch of pranksters including Richard Greene, David Grisman, Peter Rowan and the late great Clarence White- another inventor.
My guest played in road worthy bands and was an in demand session player on both banjo and pedal steel. Might be Ian and Sylvia or a little Pottery Pie with Geoff Muldaur, relaxin his mind with Jim Rooney or playing on the back porch with Tony Trishka.
The dirt farmer, a cultivator of land in Arkansas. Toiling in the fields with a rhythm of his own. Unique, not like Gene Krupa or Buddy Rich or Earl Palmer but a pulsating percolating personification that set the dirt farmer apart from every other drummer.
My guest today is a guitar player with a unique and distinctive sound that roils in his hometown of Woodstock, NY. Unlike every long haired kid who showed up on a bus my guests roots are in Woodstock before Dave Holland and John Simon and Bernard Purdie, Chuck Rainey and John Sebastian moved up there. Even before the dirt farmer made it to big pink.
My guest percolates with multiple musical units going to the lush green of Maine and the urban jungle of Philly playing guitars, mandolins and dobros passing on traditional roots music to future generations of big eared people. Let the body dance be it in Nashville or Georgia singing for your supper with Vassar Clements, Hargus Pig Robbins, Jerry Carrigan and Tut Taylor.
He returned to Upstate New York in the early 1980s and connected with the dirt farmer who he had once known before. When that farmer was at big pink with fellow artists Rick Danko, Garth Hudson and Richard Manual who played the Getaway Inn in Saugerties or some small bar in Auburn because they want to connect with the audience. It makes no difference how many amalgamation a of The Band there were. The peaks and valleys, the brown album to a blaze of glory. My guest was part of a band that wanted to play music they wanted to play. Not trying to make a hit for the suits but knowing that from organic creative story telling the magic will reveal itself....the musics hot and you might have to stand - Jim Weider welcome to the JFS.
I have been marinating in different regional pockets of music for quite sometime.
The pockets of this country where unique music developed because of culture, heritage and a need for individuality. Of late the great state of Louisiana has been turning round inside as I have interviewed Ellis Marsalis, Allan Toussaint and last weekend Leo Nocentelli. Those cats call New Orleans home with all the beauty and bumps, they saw their individuality accentuated, they saw their families moving upward and they knew that the whole is always greater than the sum of its parts.
These are values instilled in my guests generation and harder to find In younger generations like my own. The deep sense of insecurity which is actually the path that drives to you to coalesce around a group of artists who are intent on understanding, listening and trusting in the transcendental musical experience where you leave your physical body.
My guest is from Baton Rouge Louisiana but for reasons I have yet to uncover wound up in the burgeoning LA studio scene playing bass with Delaney and Bonnie displaying the art of the rhythm section with Jim Keltner - he himself a transplant from Tulsa. This honky tonk soul outfit was spurred on by the original blues masters and liquid pure psychedelia which was legal at that time.
This culminated in The Festival Express. A steam locomotive rolling down the track with Rick Danko, Phil Lesh and my guest. He can be heard in this documentary of Tricksters as they careened across Canada.
My guest is a decorated bass player who is in the same master discussion as Leroy Vinnegar, Scott Lefaro and John Kahn. He has a really deep pocket that allows his bandmates to settle inside, develop different themes and sequence the ideas without being rushed.
When Bill Payne auditioned my guest for the band Little Feat he was blown away because everything the eclectic Payne threw at my guest he could handle. This jack of all trades mentality led to the greatest run in that bands history along with rhythm mate Richie Hayward. Again the art of the rhythm section at work. Swing the band and lock the groove while your waiting for Columbus.
My guest has been somewhat of a hired gun for blues rock amalgamations looking for those Cajun/Zydeco influences. Take Bobby Weir who brought in my guest in early '83 to play in the Midnights with rhythm mate Billy Cobham. He has worked with incredible unsung musicians his whole life striving to create real music with his own sound.
How did he acquire his own sound?
He did it on the bandstand playing with Paul Barrere and Bobby Cochran, Sam Clayton and Chico Hamilton.
He continues performing today in a new world that seems to want to dislodge from the gravity of the universe and unhinge itself. Freedom at its best and most frightening (conversely) is when there are no parameters. Throw away the charts cone up with a groove or a feel and see where it goes. Sometimes it won't go anywhere but when it does head out like Ornette Coleman, Lowell George or Jorma Kaukonen it is unexplainable and provides the concentric unison of the circle of magic and the circle of music.....
Knowing the sun rises and sets for all, Kenny Gradney welcome to the JFS.
My guest was born near the Mason-Dixon Line but was close enough to Rock Creek Park that he sucked in all the sounds of Mid-Atlantic America. The bluegrass of Chubby Wise and Bill Monroe, the baselines of Richard Davis, Paul Chambers and Jimmy Garrison, the soul sanctification of Wilson Pickett and Sam Cooke and the Chuck Berry, Little Richard Rock beat.
My guest studied and studied. By studying I mean on the bandstand. Getting comfortable expressing himself at times like a melodic instrument while still locking the groove.
He flew on an Airplane to Wally Heider Studios where they cranked out albums with the cagey Grace Slick singing pop/psych lyrics over the undulating bass of my guest. His Crown of Creation was jettisoning Jefferson and forming Hot Tuna with the biophile Jorma Kaukonen. They play duo's or in trios or at The Fur Peace Ranch just being themselves and staying as grounded as possible.
My guest is in the same master bass discussion as Leland Sklar, The Late Great Jack Bruce, Phil Lesh and Dave Holland.v
Live from The UK Jack Casady welcome to the JFS
This man gives me faith in human evolution. Rock on....
One of the 4Ls of the JFS is Lineage. The idea of a family tree, where unique sounds originated from
and where the sound spectrum lives in today's electronica world.
The father of Bluegrass was Bill Monroe, John Lee Hooker Champion Jack Dupree, Howlin Wolf and Muddy Waters, Michael Bloomfield, Nick Gravenites were fathers and sons somewhere in that mix. Sam Cooke and Ray Charles slow cooked soul music was real rhythm and blues along with Chuck Berry who could play in 7/4 it didn't bother him.
My guest today is someone who continues the legacy left by Jerry Garcia, Lowell George, Duane Allman and Jimi Hendrix. In unique sound yes, a sound he procured from hours of practice and understanding the rudiments. Once you do that you can play music where you can leave your physical body and feel that love. A love that Wayne Shorter describes as going to the store to get your grandma some milk.
My guest came out of the deluge of psychedelia and improvisational live music. From the Both And to the Keystone Korner to modern day Terrapin Crossroads my guest marinates in a sea of live improvisation.
It is all the more impressive that he is able to continue to tour in a climate such as this. There are no Bill Graham's or Ralph Gleasons today.
How to keep a band together and hone your sound? How to trust and get that feeling that Wayne's talking about when your Grandma asks you to go to the store to get you some milk.
My guest will be performing shows at Sweetwater Dec 5th-8th. Both electric and acoustic.
*w/ special guest Will Duncan
The cycle of birth and death. Who are you born to, what kind of family is it? Is it love or hate or both.
Love and Hate, Fear and Insecurity, Stone Genius one step forward 3 back 2 sideways. I'm Grateful for it all.
I'm grateful to be surrounded by people today who feel the emotions that drive the cycle of life and death. My guests today have been preparing themselves for peace in different ways. It could be through silent retreat for three years on a Mountain of Diamonds, it could be the resiliency of a Kid from NYC who was dreaming and connecting with his multi-dimensional self at as early as 5 years old- a prodigy drummer who hung in those parks in the Bronx banging the drum all day as the side paneling all fell off and he could find his true nature. He saw the worst of the human animal and became a beacon of light, inspiration and perspective without the need for adulation.
It could be a renaissance musician who was partially responsible for the rebirths and reincarnation of improvisational melodic soul in an acoustic trio setting. Playing old barns like The Sommerville Theatre or the Middle East with Ra-Kalamazoo Bob Moses playing free spirited music connecting with his multi-dimensional self. This host used to refer to it as "out of body" but in the cycle of birth and death you either check out or live.
You know you are alive if you feel pain when you are hurt or are the hurter. You know your alive When you have people floating in a see of liquid acid spinning wheels in a circus of sound in Maine and Vermont and Kentucky where the finest bourbon is made to numb you from being alive.
Because being alive means you have to accept who you are. As we have seen with icons they can toe that line of invincibility and than succumb to the lashings of public castration for secrets they may or may not have been hiding for years.
We are not infallible creatures which is why I have convened this panel. How to access your multi-dimensional being us essential to peace or getting as close to peace as you can. My show is about elevating the truths of leadership, how to love and not just be loved, when does the heart speak for itself, in my mind its when life is put in perspective by natural events it could be addiction, it could be the falling apart and repair of a ill fated trip, it could be the dissolution of a partnership or fatherhood.
My guests today have lived musical lives trying to balance between the elevated state of magic and the perfunctory realization of coming off the road to clean up dog droppings in the backyard. You are told over and over how good you are, how spiritual you are, how patient you are how do you do that?
The questions become exhausting because any multi-dimensional being knows they are struggling with the balance and need mentors to get closer to peace. To be satisfied with feelings and getting together to play when it feels right, play in a group and listen to each other, play melodies of the song that the bass and drums and guitar and piano or VOX organ can dance around that and begin to feel peace.
So much is promised very little is guaranteed. One guarantee is that I live for moments like this. Where we can celebrate getting closer to the truth while were putting in time on planet earth.
Tisziji Munoz, John Medeski and Will Duncan welcome to the JFS.
Brilliant Taiwanese pianist talks about her passion to teach and stretch out past her boundaries.
Burning guitarist and human being shares his musical tales.
I am where I am today as a broadcaster because of the music created by my guest.
Free form music with constant creation in the same vein as Sonship Woody Theus, George Marsh, Wilton Felder, Jim Keltner and Phil Upchurch.
His gravitational pull has been towards cosmic sources of energy with reams of sequential patterns asking why are you written your brothers off man? When we were lovers, Eruptions from Wolfgang Meltz or polyrhythmic drum duos with Carl Burnett.
I am climbing a mountain getting lifelines from my guest and centrifugal forces of pulse, feeling, magic and movement.
It started in Chicago with John Lee Hooker and Oscar Brashear. Cutting albums under the guidance of Leonard Chess and putting melodic invention in alternative clubs like The Ash Grove where Victor Feldman plays the cuica and some chick is moaning into the microphone while my guest peppers the audience with echoplex variations of Stan Getz and Charlie Parker and I begin to realize that this whole journey has been an open door that leads to 4 doors to 12 to 24 in prisms of light and love which is really what allows you to get blood from the sun.
John Klemmer welcome to the JFS
In a day in age when younger cats including myself feel a need to change the subject it has created a musical feel of anxiety and over reaching. The need to show off ones chops at the expense of real authentic music seems to have pervaded the universal language of communication.
My guest continues to play music that don't allow for attention deficit disorder. He grooves you with Sticky Stuff that if you don't get the first time, he'll do it again and again and again. It's not how many notes you play but rather sequencing ideas that are understandable to audiences who dig improvisational music.
My guest pours mathematics and love into his music being able to leave his physical body when creating. Growing up music was a communal event, a gathering of the vibes that meant more than pacification or having some manufactured beats forced into your ears. He is undeterred by distractions, of which there are many, by practicing his instruments and connecting with audiences in the most soulful way. He's coming back to the great state of AZ to perform in Scottsdale.
Master human being.....
Diaspora, the actual transfer of slaves from Africa to the middle islands was endemic of the cut throat policies that empires had and still have.
What kept the slaves together spirituality was the drum and the rhythms that came from the drum...let the body dance the mambo or the bolero or Afro Cuban or bebop.
My guest today is one of the most rhythmic percussive pianists in the world. His sound is unique and has been for the last 70 years. He came of age with Bird and Duke Basie and Ellington before cutting albums as a leader.
What does it take to be a good leader? Knowing the history of the music your playing and creating is being a good leader and my guest has always had major threads of his homeland in his music.
He has been traveling to Africa to listen and hear the chants of the natives along with the elephants and lions and scorched earth where all of man originated.
He plays the Niger Mambo with Big Black in the loft downtown along with Thelonious and Barry Harris and Ray Bryant. Catch up on some sleep, shake off the demons and get back on the bandstand.
My guest today is a rarified drummer that can vacillate effortlessly between the studio and a live setting.
It's not your typical live musical setting. Often there are beatniks and lifers who come to the shows to grab the essence of the live music experience. The one were time and place seem to stand still as even those with anticipatory tendencies are hanging on every note, lyric and fate. Doing this in Casino's and Community Colleges and renovated Cathedrals and Roller Rinks. Flying from LA to SF for a weekend at the Keystone in Palo Alto or the Paramount Theatre in Seattle....then it's back to the studio.....
Playing gospel sessions with Michael Omartian swinging the band on a White Horse, always trying to drive the music forward, studying and trusting.
Other sessions follow pre click track with Kinky Friedman, live touring with Brian Garofalo and Joan Armitrade and like Ed Greene and Ndugu Chancler, Jim Keltner, Earl Palmer and James Gadson he knew how to hold it down in all music because he came up not knowing anything about anybody else. He met people in person connected musically.
The lack of interconnection made it so that if you were hip to music you kept seeing the same cats. No emails or texts or tweets just the human connection- con alma. 2nd Chapter Acts or Linda Ronstadt or Larry Marshall.
PART II
There's no way for me to formally communicate with Jerry Garcia and John Kahn. They got up and exited this planet quite some time ago.
In 1982 The Jerry Garcia Band was looking to find a steady date. Kreutzman was filling in and so was Errico but they wanted someone a little more permanent.
Who's the hot guy in town Kahn asks to Michael Stewart. Why don't you look into my guest Stewart replies. He's busy. But still able to fly to Keystone Palo Alto where the irascible Steve Parrish is there to greet him with a Russian Lullaby and the best sounding drums this side of Kat Man Du:
My guest held the drum chair with The Jerry Garcia Band for 10 years. A period of time that featured missions in the rain and slouching towards Gomorrah, appearances and roller rinks in E. Setauket NY and 24 minute Shining Stars to younger audiences whose brains were addled with potent marijuana and psychedelia.
His drumming style is contagious and his connection with Garcia and Kahn is evident when there might be a lull my guest picks it up with some White Horse gallop that perks up Jerry and there is instant unanimity on stage.
He joined the band at the height of Jerry's drug addiction....some might say he would rather be high than on stage playing. My guest can attest to the fact that even in this precoma period Jerry gave it his all and enjoyed challenges from band mates....if you were going to challenge him you better be ready to get pushed back on....my guest did that time and time again until he got that call from the aforementioned Parish about where he wanted his drums sent. As quickly as the liftoff was was as abrupt as the landing.
But my guest just dusted himself off and continued on with Bob Dylan.
Señor David Kemper welcome back to the Jake Feinberg Show....
Badass jazz and funk drummer breaking it down....
In the late sixties and early seventies many of the cats who were playing improvisational music were trying to add on to the musical thesaurus that was John Coltrane.
A spinning wheel of scales and rudiments played within different scales and modalities. Expanding consciousness and spirituality in that people got to witness these performances live.
Maybe it was at a bar with 9 people but this music the music of Train and Dizzy, Miles and Charlie Parker affected every musician of the next generation. Rock players, blues players, southern Dixie - you knew if you could or could not play that kind of music but inherently the respect that was garnered across the board is a testimate to the authenticity of these players.
My guest today is one of the cats who borrowed from the masters and then added his own individual voice. For any pure jazz session my guest got the call, playing with Roland Haynes, Joe Henderson, Herbie Lewis, The Skipper Henry Franklin, Charlie Owens, Calvin Keys and Carl Burnett.
But reading of names and record dates does not do justice to my guest playing which comes through him. It is his ability to leave his physical body and transcend that allows the music to be spiritual. Like Randy Weston and Ellis Marsalis and Thelonius Monk my guest was closer to the source of the music and was able to gofarther back in the lineage to see where the music came from, how it was cultivated and where it had changed. He played with the great Yogi Rudolph Johnson and was smokin' with Roy Brooks in the Chet Baker Quintet.
The evolution of the blues written and performed by Jon Hendricks was a direct critique of where the blues emanated from. It was a reminder of the gospel tinged spirituals of the church and the preachers who slung a guitar over themselves to sing and pick and lament those lost days in the fields picking cotton in slavery.
Cats like the Reverend Gary Davis, John Lee Hooker,Indianola's own BB King, Muddy Waters, Blind Willie Johnson, Mississippi Fred McDowell epitomized this pan African struggle for basic human rights. They did this through the medium of records which gave these performers identities for younger white cats in Chicago and New York and Marin County who heard these sounds and then plugged in.
My guest today is part of this generation who not only got to hear their heroes on the radio, but saw them up close with no teeth and in some cases had to sight guide them to their various gigs. In some cases they got to perform with them because of the regionalized economic wizardry of Bill Graham and Chet Helms who catered to music events which spoke to music. Not stratified in some genre necessitated label making funny farm but rather saw to it that young white bands shared the stage with soul acts and gospel and blues heck even the preservation hall jazz band.
Bob Weir told me you can listen to these players but you really learn by playing with them. Relishing in their stage presence and eccentricities and calmness. Less is more, look beyond the surface and tell a story.
My guest has been weaving musical stories for the last 5 decades. He was one of the Sons of Bill Champlin who enjoyed going to the original Fillmore and catching Sam and Dave along with James Browm at the Cow Palace, tripping with Phil Lesh and playing hootenannies with Janice Joplin and Jorma Kaukonen. He grew up with the sounds of Barney Kessel, Tal Farlow and his pops. He is an original seeker of sound who was an inspiration to both Carlos Santana and Jerry Garcia.
The Sons were a sophisticated Mix of Blue Eyed Soul. They came out if the same school as Canned Heat, Boz Scaggs and Michael Bloomfield. The music has an Oakland funk flavor because of KSAN, Voco and the general creativity of a group of cats who expanded consciousness through legal LSD to see and feel how life really could be. Odd meters, hyperactive vocal harmonies and a bouncing melodic structure helped them stand out gain an identity and provide that essential link in the chain for modern day and future sound seekers....
Loosen Up Naturally. Terry Haggerty welcome to the JFS
Technique on the drum kit is essential but meaningless without the infusion of soul.
Cats have monster chops but sometimes you look up on the bandstand and they are not listening- they are thrashing trying to eek out some kind of ego maniacal communication that does nothing to elevate the music.
My guest today has serious chops and serious soul. It started back with Larry Harlow and Willie Colon and Ray Barretto and Joe Cuba playing drums and timbales on countless Fania albums. The Latin feel the clave beat the infectious cyclical propulsion.
His adherence to Afro-Cuban rhythms was evident in the modal driving McCoy Tyner quartet. Channeling Coltrane's thesaurus' of scales and expressing the deep emotive visceral fire of the African American experience in this country.
My guest was all over the New York Scene. Playing with folkies like Tim Hardin, Stoner Jazz with Jeremy Steig, Jazz Rock with Larry Coryell knowing that the 11th house comes after 10 but not before 12.
It's hard to see live music today. Most bass players and drummers can't sustain the hypnotic pocket. That is not the case with my guest who has to hold it down with Henry the Skipper Franklin locking the groove- or Klaus Doldinger or Brian Auger or Wayne Shorter or John Klemmer.
Alphonse Mouzon welcome to the JFS
Songs of the Unsung. RIP Brent. Love Always, JF
Legendary studio bassist talks about his musical life.
Esperanza Spalding, Gil Evans, Pat Metheny, Pat Martino, Jaco Pastorius
The Jake Feinberg Show
The upright bass. An instrument that elicits sounds large, round and phat. It could be in some messianic run of scales that culminate in a burning straight ahead tune or out in the ethos Dancing on the Puget Sound or Cannon Beach. Places that elicit the sea salt of the earth splashing rays of black saints like Dewey Redman, Hadley Caliman and Joe Henderson.
My guest today is a living Titan of the bass. He carves out grooves with his bow the same way Richard Greene does with his fiddle or Pat Martino does on the electric guitar or Steve Gadd does on the drums
He grew up in the Pacific North West with high timber and a marvelous fluid music scene that saw all the heavies pass through like Charles Mingus and jimmy Garrison and Sen. Eugene Wright all swinging away as they led their own bands, or locking the hypnotic horn of John Coltrane or the piano of Dave Brubeck.
This is the generation my guest learned from. He learned how to cultivate a sound and feeling that fit the imagery of the song and the players.
He has a committed bond to his music and the musicians.....going over waterfalls with John Stowell or dolphin dancing with Paul McCandless or raising his family the same way Glen Moore did and Henry the Skipper Franklin has. The Jake Feinberg Show is about life and the values you choose to live your life by.
My guest could have gone on the road and made a lot of money, basked in touring, fans and enticements. But, he chose a more wholistic approach. One that incorporated teaching, playing, imploring, writing, praying and loving.
David Friesen welcome to the JFS
The guitar for me had become a residence for me. I had been initially exposed to some incredibly efficient artists in jazz. Not only on the guitar, but many different instruments. This was a dream for me to be able to participate in this community with so many different facets that I was yet to learn in the near future.
Maybe if I would have known I would have turned in a completely different direction. I went to Harlem with definitive expectations and when I say definitive I say that through the lens of a child. Experiencing the ecstasy of a new opportunity. Not even knowing @ that stage of development what that outcome would be.
What was understood became a close friend and it resided within me.
There was always a misunderstanding coming from expectations of others saying, "your suppose to do this," or "your suppose to do that."
"Your suppose to use these strings, and your suppose to use a pick like this." That's the very same way of saying your suppose to worship god like this. Your suppose to wear these clothes, your never suppose to say what you just said.
It's the same thing with the instrument that I've happily resided in for so many years. Its an encasement. A vehicle that provided an opportunity to be mobile and access to different world markets and media. Keeping in mind that you are learning from these opportunities.
My guest today is one of the most highly decorated musicians in our countries history.
To him music has no idiomatic label- it's just music. This is evidenced by the list of musicians he has collaborated with over the years.
Greg Allman, Herbie Mann, The Staples Singers, LULU, Levon Helm, Bobby Womack, Lonnie Mack, Russell Smith, Willie Nelson and Millie Jackson.
I have covered studio cats who played MoTown and The Wrecking Crew in Southern California. Today I have an opportunity to continue my regional exploration of music that existed in this country. That being Muscle Schoals.
My guest was part of The Rhythm Section that Locked the groove for curious artists looking for a gulf coast feel. Along with Roger Hawkins and Barry Beckett my guest found his way in, out up and around the cosmic vortex of eccentric personalities, pentatonic scales and passion that makes music feel good.
David Hood welcome to the JFS
The hot banjo pickin that came before my guest. Country style picking by the likes of Bill Emerson and his Virginia Mountaineers whose fingers were on fire playing rainbow blues.
This music was cut in the moment, no multiple takes just burn and prey -it was and always will be that leap into the world of improvisation that led to my guest today who is another link in that chain.
A chain that consists Merle Watson who along with Doc toured this country with reckless abandon playing beer taverns and church picnics and the Telluride Bluegrass festival singing about the days of wine and roses with a Return to Forever and ever and Ever.
My guest has pierced through the modern labeling of music by continually putti g himself in unique musical settings- knowing that he might flub a few notes but create the highest creative art form which is "continual spontaneity" be with Dave Mathews or Zakir Hussain or Tony Trischka. Night in and Night out playing multiple chorus' like the fiddler Scottie Stoneman who ignored the 12 bars because he had something to say.
It's like Big Ben Banjo mastered by Rudy Van Gelder or Paul Whiteman or Eddie Peabody. How are you going to tell your story? How does your storytelling separate you from the 5 million of banjo Pickers out there.
My guest has many chapters and many stories in his career. Up till now he has played with everyone from Stanley Clarke to Jerry Garcia from Hobo Jim to his Flecktones. He has sought out new musical opportunities because music is the universal language- a cosmic exercise measuring the tenacity and spirit of both man and his maker.
BelaFleck welcome to the JFS
The iconic jazz clubs in our countries history stretch from coast to coast. There was The Both/And and Jazz Workshop in SF. The London House in Chicago, Lennie's on the Turnpike in Boston and Smalls Paradise in Harlem.
These clubs captured the essence of swing music, the lighting, the intimacy- that visceral feeling of collective unison between bandmates and their devoted patrons.
Slowly though in the age of rock palaces and the switch from acoustic to electric instruments these clubs faded away.
One though did not. It was in Southern California but not LA. You needed to drive out to the sandstone of Hermosa Beach to frequent this club and so many of the musicians from Henry the Skipper Franklin to Gene Perla to Kenny Burrell played at this venue. Cats like Buster Williams recorded with The Crusaders at this club - so did Elvin Jones and Grant Green and Joe Henderson.
Others like Ramon Banda would come as a veritable kid to watch Mongo Santamaria.
This club was the link from be-bop to post-bop. From Chet Baker to Sonny Rollins to Chico Hamilton. Loyalists, smack addicts playing three sets a night that left the audiences ears ringing as they headed out into the salty air of the Pacific.
My guest today was the artistic director of the Lighthouse All-Stars. It Started with Teddy Edwards and Hampton Hawes, passed on to Shelly Manne and Shorty Rogers and continued with Bud Shank and Max Roach. The fusing of these groups coincided with Lester Koenigs Contemporary Record Label which gave identities to those who played melodic invention before the digital age.
When improvisational swing began to fade in the early 1970s my guest took over Concerts by the Sea in Redondo Beach which carried on the traditions of the Lighthouse featuring Cal Tjader and Jim Horn, Woody Herman and Dizzy Gillespie.
My guest was born in 1917, is an accomplished pianist in his own right playing on albums with the aforementioned Baker, Stan Kenton and Miles Davis. He has seen, heard, felt and contributed to our countries cultural heritage by giving opportunities to those who wanted to further the connection between the known and the unknown.
Howard Rumsey, welcome to the JFS
We are given native gifts whether we chose to access them or not. If we access these gifts then it comes down to doing the right thing, timing and some old fashioned good luck.
My guest was one of the artists that put me on this path of interviewing musicians in the business of melodic invention. He started in upstate NY where he had the perfect balance of mathematics and love attending ESM and backing up Billy Holiday and Roy Eldridge. Stints in New Orleans was followed by a move to the left coast as he honed his chops with a west coast Titan in Harold Land and Leon Pettis and Donald Bailey and became a fixture in the percolating west coast scene where the clubs were flourishing and improvisational music was listened too.
He came from a brotherhood of musicians that craved an original sound, original rhythms and original music. My guest came from the school of Bird, Dizzy, Duke....swing the band and adapt...to electric instrumentation which my guest did with ease as he played the slick sly funky fender Rhodes with Gene Cherrico and Dick Birk, Sam Most and Don Alias. Somehow he also found time to play with Elvis for 3 years.
Right place and the right time with the right stuff Frank Strazzeri welcome to the JFS
"We live in a very very weird society here as far as art is concerned. Certainly when it comes to the art form of jazz.When I came to Baltimore with Jackie back in 1965 there was a very vibrant jazz community here. They had the North End Lounge and they had The Left Bank Jazz Society that was committed to carrying on the tradition of the music and have all kinds of musicians come in and play.
I played there with Nat Adderley and James Moody and these circumstances are no longer in existence.
As I think there is really only one jazz club here in Baltimore that has a consistent policy. Unfortunately it's located in a neighborhood that is very crime and drug ridden. It's just weird, in order to get into this club you have to be buzzed in which sends another kind of message about the safety of that area."
When I look at our society, the economic landscape and I relate it to jazz or music in general - our culture.
One of the things I have noticed is that our culture is continually being stifled. Culture is the underpinning and backbone of any society. When you see programs which are being pushed forward to nullify education, to take away someone's ability to even eat and clothe and house themselves when there is a push to deny the right to be healthy. This is at the underpinning and I am becoming more and more fearful of the move in that direction.
Hopefully I can count on the intelligence and sensitivity of American Society in General. But it's here and were going to have to deal with it. Otherwise we will have to endure negative consequences beyond belief.
Culture, Art and Music stimulate the human spirit and the human intellect. If these attitudes are allowed to move forward and exist they are going to deny and destroy that energy that society must have coming from its culture.
For example when I came along, if you were important in the Jazz Club you worked there at least 4 weeks period if not longer. It has been relegated to weekends now. The mere fact of having that time space limited to what it has become, in my view denies people access on a daily basis to things that fortify their spiritual life.
My big problem with all of this, I am fearful we will become spiritually dead here and when that happens anything can happen.
History has shown this happening before with Germany in the 1920s and 1930s and we all know all too well what that produced. We don't need another Holocaust, we don't need another Hitler."
Nat King Cole put his life on the line playing music. He was an inspiration to many a young pianist who saw the way to communicate musically. To break down all the barriers that people put in there way.
Nat King Cole and Oscar Peterson inspired cats like my guest who grew up in Chicago.....which was brimming with the baddest cats around Elliott Randall, Richard Evans, Morris Jennings, Cash McCall, Charles Stepney and an unlimited amount of Young/Holt. These cats contributed to my guests albums, movie soundtracks and live performances at the Lighthouse or the Jazz Workshop.
These melting pot of brethren thrived on commerce based record labels like Chess Cadet which fostered African American roots music like Ahmad Jamal and my guest.
It was a month at the London House growing up with those who were inspired by Monk and Blakey Playing with the late great Cedar Walton.
My guest is an ambassador of music taking his bands from Bahrain to Tucson. He has lived in the Windy City scene developing the groove, the feel keeping the African swing element into the music.....developing relationships within the urban community which fostered the community integral to melodic invention.
My guest has seven children and 14 grandchildren his legacy is cemented and now he will try to pour wisdom and faith into the younger brethren
Just a link in the chain Ramsey Lewis welcome to the JFS.
This week marked Holocaust Remembrance Day which was an historical event that saw the anguished cries of millions of Jewish people incinerated at the hands of the Nazi's.
Jewish musicians have always had a soft spot in my heart especially if they can swing like my guest who developed and identified with his black brothers who lived under oppression and slavery for years similar to the gulags that were strewn across Eastern Europe.
My guest played organ and piano and within the swirling confines of south side Chicago where the ChessBrothers owned a stationary spot which allowed them to promote Otis Rush and Muddy Waters, Ramsey Lewis. My guest also idolized Jack McDuff and Groove Holmes and Jimmy Smith. Cats who could lock the groove with their left hand and solo over the top with the right while Sam Lay or Harold Jones or Bernard Pretty Purdie held it down.
My guest came from a contingent of white authentics like Elvin Bishop, Michael Bloomfield, Nick Gravenites Harvey Mandel who sat at the feet of the titans, learning how to improvise on the fly and developing their own individual sound. They also always kept the blues in their muse.
Chicago was a bastion of blues and post bop when my guest headed west to Marin county with Michael Bloomfield wailing on Blues in Orbit while self medicating and surviving in a tough business that my guest found success in with the overlapping strands of Bob Dylan and Al Kooper, Harvey Brooks, Neal Merriweather and Charlie Musslewhite Marc Naftalin, Boz, Steve Miller and Boz Scaggs
Unlike cats like Kweskin and Muldaur my guest adopted the plug in and the electric mud that was being slung across hippies shoulders even if Muddy Waters couldn't stand it.
He continues his musical collaborations today with the same grey beards that looked up to and had opportunities to play with John Lee Hooker, The Reverend Gary Davis and Papa John Creach.
All good things in all good time Barry Goldberg welcome to the JFS....
The distinctive sound of the Bay Area came from individualistic drummers like my guest. My guest wound up in a psychedelic rock
Folk outfit known as Quicksilver Messenger Service. A group of Mavericks that combined a wide range of instruments into their music which allowed it to span multi-genres. You hear all the influences in their music and it starts with the drummer.
He could play hard driving rock or Bossa nova, he could play Afro Cuban rhythms or hold it down while a horn section led by Ron Taramina
Blew over the top.
His influences were his peers, Greg Errico, Bill Kreutzmann, Spencer Dryden, Eddie Moore, Eddie Marshall. His band mates were David Freiberg and John Cippolina
Paradiddles and polyrhythms with a new accent on the blues complete with very loose structure and a western psychedelic approach that helped swing the band.
"The sustainability of art is constant movement between modes and scales, lyrics, melodies, symmetry, odd meters and a fundamental believe in the huminality of music.
My guest today has been performing in Big Brass Bands the last 6 decades. He has been creating trends and staying on the productive side of the hill even as the fallibility and short comings of man are self-evident.
He was co founder of the A&M record label and was instrumental in fashioning music that appealed to a society that was going through a cultural revolution. Their ears were open to many different styles of music including West Coast jazzers like Pete Jolly, Chet Baker, Leroy Vinnegar and Shelly Manne.
He developed good working relationships with Quincy Jones Who was working on "You Got It Bad Girl" as The Girl from Impanima had come and gone and a newer slicker form of blues and jazz known as funk came into the American Lexicon.
My guest employed street cats like Tommy LiPuma and Nick DeCaro. My guest plays a varied mix of Western swing, Afro/Cuban/Mariachi Country/Pop. Before labels he was a musician who straddled all genres evident from his collaboration with South African Freedom Fighter, Hugh Masekela.
Since 1974 he has been collaborating with his wife Lani Hall forming a duo playing concert halls, hockey rinks, Film & TV shows, and in their own living room swinging their way through the day or into Tucson on the 26th for a gig @ The Fox Theatre.
Herb Alpert welcome to the JFS
The rock opera needs some good talent. The energy needs to rise and in order for that to happen you need to command the stage.
My guest was an integral part to one of the greatest touring live ensembles in the history of the western world. He joined Frank Zappa at the tail end of the seventies
He brought that stage presence and his unique styling to a true jazz band. Playing symmetric and asymmetric scales. Different modes and scales and harmonies and melodies within stanzas of the same tune.
My guest has had a prolific solo career of his own touring with different bands and playing music from his soul and getting stuff out of his system.
Ike Willis welcome to the JFS.
My guest today is an unheralded swamp bucket honk a Billie toe tapping entertainer. He was born in Arkansas and devoured all there was musically speaking. He toured the southeastern United States and when he was back home operated the Rockwood Club where the likes of Jerry Lee Lewis and Conway Twitty came to play.
He took that gospel infused rock n roll boogie woogie roots to Canada where he formed a band which included Robbie Robertson, Richard Manual, Garth Hudson and Fellow Razorback Levon Helm. This Mojo Man survived and thrived in the music industry by touring and cutting albums with cats like Duane Allman and Pat Travers. He barnstormed North America playing Maple Leaf Gardens and Madison Square Garden. From greasy strip joints to The Last Waltz on Thanksgiving @ Winterland.
Ronnie Hawkins welcome to the JFS
Grief counselor and yogic practitioner talks about overcoming the loss of her baby boy and how it has made her a empathetic teacher, healer, mother and wife.
There is no way I would be where I am today if it wasn't for a place my guest helped lead and cultivate.
He cultivated land in a town called Elizaville with but a deli, a fire station and a post office. Nothing for miles, space, Eternity, high skies and the Schain Shack.
What was built on this land in Elizaville is Camp Scatico. Call it a state of mind, I always looked at it as a place to find yourself. 14 summers I attended their and I missed the summer of '97 because my guest told me I was expendable.
He was right, I slept away most of that summer. But you learn early on not to underestimate my guest.
This is a Jewish Summer camp but the closest thing we came to observance was The Friday Night Sermon led by Squirrel who was coming off a counselor softball game at Pontiac and than it was off to the C court....the spiritual part of camp came from the lineage that existed within generations of Holmans, Poritsky's, Roses, Cami's, Strauss' that came through this outdoor synagogue of archery, hounds and hairs, apache relays and flies buzzing around my army blanket looking to get their mouths around some Easy Cheese and Cracker crumbs.
Yet the magic remains in part because of my guests approach. He came to my Grandparents apartment with his father Flick in 1986 and they presented Camp in a very matter of fact way on film if I remember. Going to visit Scatico for the first time I remember the green paint chipping off the lower hill bunks, egg water the ball fields and Joyous Lake.
The backboards on the A court during most of my time there were wooden which gave unusual bank shots while I was barking out the starting lineups for the NAT tournament.
My guest has had to reinvent the camp since a tragedy my last summer. One that happened 4 days in to camp. Nobody went home.......but we live in a different time with a new captain Cory Schwartz at the helm on Boys Side.
My guest always said That The Feinberg Family brought that essence to camp that was irreplaceable be it Shakey or Steady we learned how to relate to people both older and younger, lost weight every summer and came home in August with someone else' boxers, socks and mix tapes that kept us burning on the hot stove for the next 10 months.
Prove it all night, Dave Fleishner, welcome to the JFS...
As the sun settles over the whispering pines of Elizaville, NY a new summer is set to begin at Camp Scatico.
My guest today is one of the most fiery and inspirational characters I have ever come across who went to camp. He was making a name for himself long before I got there learning to be a leader under the tutelage of Oshatz and Johny Deutsch. This manifested in music appreciation, u13 championships, unsportsmanlike conduct, girls side, Friday night sermons and setting a tone for younger more impressionable campers.
He was my counselor during "The Fish Years" heading up to Lake George or SPAC on an off day and playing General for the Grey in 1988 as this host hit half hook after half hook over AJ Hoffman in a pre-lunch B-Hoops Day 4 color war matchup.
The reason my guest is inspirational is because in the summer of 2000 the red Qualye 2k Jeep drove through the gates of Scatico. After years as a camper and counselor, Ringing the bell at Hobart, Countless benders @ The Seagrape my guest decided to buck the trend, not give in to skeptics and come back to wave that flag wide and high for cats like myself and Cory Schwartz and the Rabbinical Sam Safrin.
He came with an unabashed curiosity and live Tom Petty/Dylan albums cranking after a return trip from the Rhinecliff Hotel and a long walk up the Deli Trail. He is part of the lineage that exists from Nat Holman to Bert Holman from Randy Goldstein to Sam Gold. He and his sister Pam spent multiple summers sporting the green and white.
He has contributed to our society 5 children of his own. Maybe someday they will grace the ballfields with their presence to continue the family tradition that makes Scatico what it is.
He is now a senior partner @ Crossroads Strategies and has been a prolific policy advocate for a host of American based industries including Expedia, Koch Industries Public Sector, Citizens for responsible energy solutions and The I-69 Mid-Continent Highway Coalition.
Part of the Greatest Story Ever Told Todd Weiss welcome to the JFS
There has always been ways of getting expression out. In the sixties I was in High School we had AM radio and FM radio. There was a show called "Morning Becomes Eclectic," that was on a station that played a little of anything. That had all kinds of music including free jazz. In the bigger cities like Los Angeles in the late sixties and early seventies they had everything. There wasn't a lot of country western actually, you had to drive up to Bakersfield to hear that.
When I first moved out to California The Whiskey A-Go-Go was in its heyday.
Taj was playing at the Whiskey A-Go-Go with Jesse Ed Davis. Jesse got off the stage and I went up on stage and said, "hey man you sound beautiful."
Paul introduced me to Don and Larry Taylor and we did a couple of gigs at The Troubadour. They were pretty well received and then Larry said, "man this ain't it, this is jaaassss...he wanted to do something else and he left. I brought in a friend of mine from Fresno named Victor Conte. Victor became famous for a couple of other things- he played with Tower of Power-he's a great, great bass player. I'm willing to bet that if he hasn't touched his bass in ten years he could pick it up and be as funky as anyone on the planet right now.
Bad jazz is when people are playing real hard and nobodies listening.
Lagos used to call it "Bar Mitzvah Jazz."
No matter what kind of music you play people kind of expect a show. There's so much offer on cable, concerts are huge and the magic of ensemble playing which is people who can play even if there just playing chords behind somebody else. Even when it's a singer it can be smokin" if its ensemble playing and people are listening to each other.
Don't get me wrong, we practiced for hours. It's not a question of practicing, what it is a question of is hearing the other person. Getting off on backing up, you don't have to take a solo to get off. It's not like watching a porn movie. Your part of it. If your playing rhythm guitar behind Sugarcane, your part of it.
Paul (Lagos) knew so much. He used to study Joseph Schillinger compositions. He and Cane used to play duets that would just fly off, you can hear that on the recordings but we did that all the time. Sometimes that's shit would last 15 minutes. We do the intro to the song, Don would sing a couple of versus, he'd take a solo, sing another verse. The bass player and I would stop and he and Paul would play for 15 minutes. When we came back in it was knowing when to come back in. This isn't to say that Victor and I were so brilliant we just came in at the right time. No one ever said, "I needed you cats to come in later or early because their was no later/earlier it was just so obvious from the ensemble playing that we were doing. We would bring it down to a certain level and come back in and that's called music."
Prior to full interconnection and the complete digitization of music mastering we had in this country pockets of eccentric engineers who more often then not wore more than one hat.
Rudy Van Gelder held down the fort in Englewood Cliffs while performing optometry in the daytime. Michael Cuscuna found his way to Woodstock engineering Bonnie Raitt all the while hosting free form radio programs and writing linear notes. Same for Marty Feldman and
Eddie Harris
Major cities in this country had venerable studios that cooked with music from across all musical spectrums. Chess Records in Chicago, Stax Records in Memphis, Muscle Shoals in Alabama, Sigma Sound in Philly, MoTown in Detroit and The Record Plant in LA.
Another major record creator was Fantasy records. My guest today was a major engineer during the gravy years of the studio after Max and Saul Weiss sold the shop to Saul Zaentz. But as with other engineers my guest wads jack of all trades. He was the rhythm and blues drummer for the label when they were still in Oakland playing with Ray Shanklin and Tower of Power singer Lenny Williams.
When he became the lead engineer at Fantasy he sought out and trained younger cats on how to create a warm room sound, when Fatansy expanded he was responsible for outfitting the studios and then hunkering down with a Heavy Axe and David Axelrod, Butterfly Dreaming with Flora Purim, Tambu with Cal Tjader and Charlie Byrd and the NTU Troop with Gary Bartz.
He was immersed with all types of musicians. Cats like Sonny Rollins who might come out to cut an album before heading to Japan to Country Joe and other Bay Area mainstays who helped liven up sessions just by being within the complex.
Put in a live audience for Joe Williams or Cannonball or work with Ed Bogas on arrangements for the Vibes of Truth.
This was coupled with a very open radio dial which played a lot of local area favorites like the aforementioned Tjader, Jerry Garcia and Merl Saunders and Bola Sete. It should be noted that without Born on the Biyou none of this might have ever happened.
You listen to the warmth that these records give off. The homey close knit quality and the musicians understanding of how special a place it was and you begin to see how regional music developed. Orrin Keepnews relocation to Berkeley and the acquisition of the Prestige catalog only furthered the eclecticism of the musicians. All of a sudden McCoy Tyner found a home there so did Larry and Fonce Mizell as well as Wayne Henderson and Woody Herman.
It was a family of Zen Tricksters who cared about the music and the musicians. Things were cut using analog tape so there was no way to put lipstick on a pig if Pleasure or The Vibes of Truth flubbed some lyrics. You couldn't fix crappy instrumental takes. The artists had to know their shit and so did the producers and the arrangers and the engineers. Everybody's craft was respected and because of the amount of effort put forth by the team often a good product came from that.
In the great lexicon of drummers some are often equipped with a lot to say. They know their primary job is to accompany and swing the band but it hard when they have their own thing to say.
Mose Allison once said that producers and A&R guys wanted drummers to play backbeat in order to make a hit song or record. While there is nothing wrong with backbeat it has in some ways has stilted what drummers think they can say with their trap set.
Of coarse drummers can overplay and get in the way of free form improvisation but like the late great George Muribus said a about my guest he is never stepping on his toes.
Born in Alabama my guest today has the New Orleans stomp and strut mentality. Instruments can be made from many objects and the transformative sounds they make fuel spiritual swinging melodic percussive sound. Just look @ the kinds of people he has played with. Ellis Marsalis, Tom Donlinger, George Marsh, Mike Nock, Mel Graves, Len Lasher, Richard Waters, the aforementioned Allison and Muribus and the celebrated Aussie Bryce Rhode.
He continues to gig in the Bay Area. Playing to people of all ages and all parts of the world. In many ways the music he contributed to some 40 years ago holds up well if not better in today's overly produced, machine reliant music landscape.
Always with something to say Lee Charlton welcome to the JFS
My show has been dedicated to entrepreneurs. Creators of percussive instruments that increase the sonic nature of music. The "Mark Tree" and the water phone, the Gravity Adjusters Expansion Band and New Music of the West.
My show has also been dedicated to the congero. The hand drum that was introduced to this country by Dizzy Gillespie when he brought Chano Pozo to the states. The same can be said for Armando Peraza who started with George Shearing then Cal Tjader and eventually his own career.
My show has also been dedicated to the original masters like Buddy Rich and Earl Palmer, Max Roach and Cozy Cole, Elvin Jones and Ron Tutt. Guys who played light but fierce. Using smaller sticks and playing less notes but finding a way t contribute to the session and elevate the music to a higher level.
My guest today fits into all three of these dedicated themes. He is a creator of rhythm using one hand to create the beat which frees up his other hand to add splashes of colors and polyrhythms to create space within the music. He has made many of his own drums out of barrels and clay.
My guest is a congero in his own right. He developed his chops seeing the world in the US Navy Band touring South America and other middle world continents where the intoxicating sounds of Mongo Santamaria pulsated my guests brain. He has used the cungas in non traditional country settings or bluegrass settings since settling down in Music City USA in 1970.
And like the original masters he can swing the band in an authentic fashion because of feel. He has enhanced countless sessions from Doc and Merle Watson to Ray Charles and Vassar Clements, from Tony Joe White to Billy Joe Shaver and Hargus Pig Robbins.
Here remains as active as ever in today's music business. Helping mentor younger musicians on the less technical aspects of swing- those being love, life, leadership and lineage.
Live from Nashville, TN- Kenny Malone welcome to the JFS.
Sicily is 17 miles from the coast of Africa which is where the origins of rhythm lie. The ancestral heritage of that country bled into the soul of my guests family who came to this country to play straight ahead, pulsating melodic invention, syncretic music engrained in New Orleans, supported by the mob and appreciated across the world.
My guest is a bone player who came up as an original left coast All-Star with Stan Levey and Conte Condoli, Leroy Vinnegarand Shelly Manne Gerald Wilson and Monk Montgomery.
Guys who pioneered blues music in the army. Driving pulsating rhythms into Europe and Asia and then bring it back to the states where clubs like Donte's and The Lighthouse and The Manne Hole supported the music night in and night out playing My guests charts and Emil Richards odd time signatures and Gabe Baltazars swinging saxophone.
My guest was doing it before I was born playing with his brother drawing a long lineage back to mother Africa where we all descend from.
Mike Barone Welcome To The Jake Feinberg Show
Iconic drummer and composer talks about the history of systemic cultural bias.
Spiritual horn player talks about his gravitational pull towards tribal burning music that makes the masses uncomfortable.
Most people think of the violin as a classical instrument. Most classical cats are pretty uptight. It takes someone with unbridled passion and bravery to step outside and swing down a lazy river road, through the heart of Memphis, or play rock with jazz asthetics.
Because when you play the blues you have to throw the book away. My guest came from an era when you could be an impoverished improviser. The tale end of the Beats were still around to expand consciousness and live their own way in a slowly conforming society.
Work at a bus station or play some timbales or do lots of conscious altering chemicals that pretty soon there's Thunder Rolling Across the plain swept prairies that my guest played @ with Bob Dylan.
It was Dylan who discovered my guest as she was on her way to a Latin Boogaloo on the Lower East Side of Manhatten. Can you really play? My guest had no time to think only rest on the past which she exhibited a selfless true nature that created Kharma over years that led to this unfolding Dharma tic collection of experiential learning.
Going from an literal feisty street hustler to cutting albums with Bernard Pretty Purdie and Dee Dee Bridgewater. If she had crossed seconds earlier the encounter never would have happened. Nothing is strange, only strangely familiar. Scarlet Rivera welcome to the JFS.
The success of Batdorf and Rodney was a confluence of factors. They came of age during free form radio. You might here The Flying Burrito Brothers followed by Cannonball followed by Buck Owens.
The jam circuit was alive and well for these seasoned woodsheders. They could go coast to coast have a week or more engagement building indigenous fan bases because you were in such close proximity to the band. Along the way they ran into other musicians that influenced their sound and maybe even joined the band.
Record companies had cats like Ahmad Ertegan who saw a place in the enclosing record industry for this acoustic electric duo. Let's get me down with the swampers in a Muscle Shoals with Barry Beckett playing vibes. Or back to LA with the likes of Jon Barbata Russ Kunkel and Brent Mydland heating up and cooling down all in sync.
These cats weren't playing Lydian scales rather honky blues lighting up movie theaters, playhouses and college campuses.
In these times of electronic music one way of coming back to a middle ground is by playing acoustic guitar, with great output but little amplification. The messages are relayed in stories unpackaged or uncorked slowly discriminating into danceable music.
Still doing it after 4 decades John Batdorf welcome to the JFS....
On Wolfgang (Bill Graham)
When I was in college I was real tight with a few of the guys from Pacific Gas and Electric (PG&E) which was a band that emanated out of the area. The whole spirit of that area was beautiful. I remember being on the Chitlin Circuit and we'd go up Mandrakes to play a gig.
We had a manager named Bruce Gladner who's company was Shady Management and my god if there ever was a name as prophetic this was it. He also had the band "Zephyr" which included Tommy Bolin.
Bruce had an affiliation with Bill Graham and so because "Wolfgang " (Sklar's Band) becoming closer to Bill and David Rubinson who was a major record producer up there. We cut a few demos that I have that have never seen the light of day. A few 45s.
Bill's real name was "Wolfgang," and we thought, "there's no better way to suck up to our new manager than to name our band after him."
It was about a year later that I met James Taylor and we did a lot of work at the Berkeley Community Theatre and suddenly I was involved with Bill on a much more regular basis. Plus we closed out the Fillmore East we were the next to last act. So I got to be real tight with Bill.
It brings me back to "why did he have to get in that helicopter?" Bill died in a helicopter crash. There was a car waiting to take him from Concord but he needed to get back. The weather got real bad and I think they hit power lines. What a loss.
When we played at The Greek Bill would always do the most outrageous back stage events. We'd show up and the spreads and the Hawaiian themes. He was a master of ceremonies just loved to be in the middle of everything.
Bill loved the musicians but he loved the audience more. I remember we went to a gig just to hang out and I won't mention the artists name but they had finished their set and the audience was just screaming going nuts wanting an encore. The band wasn't really acting on it they were sitting back digging themselves. I see Bill take them by the scruff of their neck and push them back out to the stage yelling, "get out there!" More than anything he wanted the crowd to have a great experience. He really believed in that relationship between artist and audience. He wouldn't tolerate any BS from anyone. You read stuff about people disparaging him. He was a task master in an incredibly positive way and his priority was always to make the show and the scene better."
Seasoned pol talks about advocating for human rights and liberties.
This journey has provided me with an education. The education has occurred because those who seek have always sought truth. In the case of my guest it was the stone truth of music and the musicians who made it.
The swing of Dixie and the marching bands. The Ed Bogas Soundtrack Machine and the clave beat of Cal Tjader. Boys turn to men because they believe they can play with the titans - no barriers, colorblind with the less said the better. Say it with your sticks.
More often as with my guest someone opened a door and he chose to walk through it. By walking through the door it opened a Gateway to new musical opportunities, gigs and tours. Being to loose to truck and sing for your supper.
My guest as with most from the Tribe did not forget the opportunities afforded to him by his mentors. He is the first one to recommend cats for gigs or cultivate the local music scene by hosting jam sessions in the Susquehanna Valley. He learned this from Joe Henderson and Vince Guaraldi, Van Morrison and Phil Lesh.
My guest can play standards or free form music. He can hold it down even when there is no time, wood shedding for hours and then putting his own individual stamp on the music. Still keeping the beat after some 50 years of creation, Steve Mitchell welcome to the JFS.
My guest today has been a band leader for over 60 years. He made his name playing the vibes which is this hosts favorite instrument.
It's a percussion instrument with a warm sound and can be played in a trio setting the way Red Norvo did with Tal Farlow and Mingus or in a Quintet setting like Cal Tjader did with Armando Peraza, Al mcKibbon and Dick Birk.
It fits into all types of musical settings and it was popularized by my guest by his virtuosic approach and an ability to create an output within the big band ensemble.
My guest today is a lover of people. He has an insatiable desire to play music you can tap your foot to. That's what Jack Kleinsinger told me about my guest. He's played on the east coast and west during the heyday of bebop and swing. His peers include Bill Holman and Chet Baker, Jimmy Rowles and Ray Brown, Milt Jackson and Harold Land.
These cats had to sing for their supper because if they didn't sing there would be nothing left to eat.
My guest was a relentless entertainer and musician. He created a following through his gesticulations and banter along with a Jitterbug Waltz when music was made for dancing. His collaborations with Steve Allen and Star Time increased his name recognition in the often obscure world of improvisational swing or melodic invention.
He continues to be a link in the chain
For younger musicians who are searching for something to say. There are no more live clubs on every corner of urban America, there are no longer 1 month residencies at the London House or Howard Rumsey's Lighthouse or Lord Chumleys and the barriers and stratification that have been put up in music hurt the ability for experimentation and chance taking because mega money has superseded quality art, pacification rules the day as opposed to the visceral culture that was visible on Market Street in Chicago or Harlem. Ultimately the ego has superseded the music in that individuals now project their own monster chops at the expense of the accompanists, the listening and the love.
This is why lessons in life from the old guard are key. It's why my guests son plays with venerable grey beards Ron Carter, Kenny Barron and Ron McClure......time for some good vibes. Terry Gibbs welcome to the JFS.
Iconic Bay Area drummer talks about the funk roots of Oakland and playing every night as if his life depended on it.
Too often in life we desire bigger things failing to see what we have in front of us. Unable to appreciate how far you and your bandmates have come. Can you see the growth and painstaking groans of a space bound child sent flying at a summer music festival or the Brooklyn Bowl.
Blue Eyed Soul was Boz Scaggs gig but my guest is doing the Blue Eyed Blues.... sticktuitiveness that resembles the gritty industrial ragtime of Kingston, NY that brought about folk trios emulating Peter Paul and Mary and produced offspring who are pissing on the constitution trying to stand out in the age of digitization.
Interconnectivity is good in the sense it can put your faces up with an article for all to see but what about feel? Isn't that what Leroy's music is all about. They have evolved from a standard lay den play it safe group to a close down beer tavern honky tonk bar band. Delta Blues with a Chicago Shuffle, a Southern Rock flair with a little bit of Hudson Valley gumption that carries the music and the spirits from town to town and city to city.
What do you have to say for yourself. You gonna be a cover band or your own band. Can you support your fellow comrades and reach that transcendental place as a collective unit? The more that happens the more the band will grow but that takes everyone willing to put themselves out there, taking chances they may not have taken before.
All good things in all good time Jason Gallagher welcome to the JFS.
Within the belly of the beast in this country lies the soul turnaround of African Preachers from the South. They need to be black because certain portions of blacks were enslaved and some say they still are. They have to be black because they need to have good rhythm.
They need to be from the south where Montgomery and Birmingham are seared into the minds of every kid who watched the black and white videos of (Police Cheif) hosing down innocent people. The south had the most overt Rascism and impoverishment so to come of age as a minister with the underclass you were them once and you know what it's like to walk in their shoes.
Even when your flying high in the city of Angeles you still know what it's like to be in the poor mans shoes. You know how to talk to the bumpkin or the metal worker or the illiterate boy who impregnated your daughter because you know you can't be saved by two different saviors.
You have to be a preacher because you bleed charisma. You spend a full night partying on Saturday night, meeting with varied interest groups on Sunday morning and afternoon and then give a thunderous speech from the pulpit calling for each human being to find themselves, do it through relentless passion, fire and brimstone but also the cagey insights that keep a Rev. Cleage on your side or the adoring loyalty of Corretta Scott King.
My guest today wrote about this African American Preacher from the South. CL Franklin. Who Sang in Strange Lands like Memphis and Buffalo and Detroit. Franklin was part of the confluence of entertainment, politics religion and burgeoning soul music that led to a genuine cultural uprising. Franklin didn't have the IQ of Dr. king but he was a street scholar who didn't spend a lot of time not dealing in black and white. Ask his son who was not excited to go to Moorehouse but then received a stern choice from his dad who was a single parent who raised nearly all of his children. His first wife Barbara bailed back to Buffalo but CL stuck with it with the helps of maids, mistresses and the gumption to bring coalitions together. When tensions were at their highest CL was at his coolest.
While this host has primarily looked state side for hotbeds of regional music there were cities north of the border that were just as impressive.North of the motor city lies Toronto in Canada which was a mix of immigrants and hillbillies. Farmers and Fishers and Indians all there to seek independence from the culture of conformity. Cats from cabbage town or the rural country where pussywillows and cat tails abound.This independence was a testament to knowing the land and inherently survival in this land.."write the music, write the chords, don't rely on others be self reliant.
My guest today is a dreamer, a poet and performer. He uses a multi sensory physiological structure to craft songs, see the earth, be the earth. Don't be thrown off by the early morning rain because it might be the most peace your going to get all day.
He relies, on analog cassette tapes, like this host, to write down lyrics, thoughts and ideas. There is no stimulation that is digital. He remains committed to painting his legacy year after year after year knowing that his greatest songs were in conjunction with Moonshine and bottles of beer- something about that spontaneity.
He is from the same area that has produced Joni Mitchell and Neil Young. The same city that has given us Garth Hudson Richard Manuel David Clayton Thomas and the Shays...Lenny Breax.
Still driving motorcycles with Bob Dylan and the ghost of Rick Danko close behind he does not dwell on the past or obsess about the future. He stays in the moment and in music if your focus is there and your soul is there then that's when the intersection of music and magic occurs.
He's coming back to The Fox Theatre Feb. 8th Gordon Lighfoot a pleasure to welcome you to the JFS
In the live music experience the most important aspects that can be conveyed to the audience are authenticity and individuality. True nature and differentiation.
Not being a good rock star helps. You wear any old clothes and grab a hot meal not leaving on a jet plane but taking a bus.
The conundrum comes into play when a non-conformist becomes part of a mainstream sensation. Then the planes are waiting at SF International as my guest is ready to board to Japan because the trio is in high demand.
My guest today has lived as authentic a life as possible in both music and education. He grew up in Manhattan and spent summers in Woodstock before it was overrun with kids at the greyhound bus station with a guitar in one had and a painting cap in another. The seasons of Woodstock encompass the moods of any real human. These moods have all poured out of my guest....the raw winter wind off the Catskills, the burning embers of summer into fall as Puff the Magic Dragon floats in from the Hudson.
My guest is a master performer and an individual with a deep commitment to history and the ties that bind. Film canisters filled his house when John Simon was living in a land of Sunshine. It was not just Pontification it was the inquisition. The capturing of major events before interconnection. The music mixed with messages of social justice, racial equality and humanity.
It does not surprise me that my guest has devoted a large portion of his recent years to education. The idea that the non-perfect girl like Janis Joplin can come along and stamp out the material world. Don't get limited by choice. Seek and Discover and stand up for yourself as long as your visiting this planet.
Melodic invention- a word developed by another bass player named Putter Smith who defines this as European Swing coupled with African Rhythms. It doesn't really matter where it started because it was sprinkled with Dixieland in the south Harlem Soul in the north Blues in St Louis up the Mississippi Delta to Chicago. This fusing of music included a young farmer from the valleys of California who worked a farm by day and sock hops by night. He became a fixture of San Francisco melodic invention being partially responsible for desegregating the army with his mixed race bands like the guys he grew up with on the farm. His first group included my guest who like Al McKibbon and John Heard The Skipper Henry Franklin, and Scott Lafaro found his way through the European swing by using African Rhythms. His rhythm simpatico was Joe Morello who brought an additional element of 5/4 time and a Dixieland bouncy that further colored this mixed race band. He is the only living member of the classic quartet. After taking five my guest went on to collaborate with Billie Holiday, kenny Drew, Sonny Stitt, Cal Tjader and Monty Alexander. He has written books on bass and played the supper club circuit of upstate New York, he has toured the world bringing melodic invention to India and Japan and South America.
Master pianist talks about his career from upstate New York to the Big Easy to Ball St.
Runaway Bay you say? Sounds like a gong with the ghost of Marcus Garvey and the chants of the sugar shakers......
The drum is a language all of its own. The rhythms on the 1/3 instead of 2 and 4 set reggae apart as a modern music be it ska, calypso, dub rock steady. My guest is from Jamaica and was part of the regional music of that island with The Bush Doctor Peter Tosh, Brother Bob Marley, Monty Alexander Sly and Robbie and Ernest Rangelin keeping the sounds of diaspora within the new bass drum beat.
My guest is a bad cat so he came to the states and established himself as a go to percussionist for poets like Gil Scott Heron spoke of the oppressed and B-Movie operation that was happening states side.
The magic remains in the music when those with strong rudiments can leave their physical body to create transcendent music that keeps me together.
Decorated Scaticonian talks about leadership, love, life & lineage.
Bass player and poet talks about the nuances of organic music.
With the passing of Dave Brubeck this week it brought again to the forefront the idea of bold conceivers.
Those who can compose and arrange and orchestrate. Those who can read music and those who have that element of street music the swagger, the smoothness, the focus.
The ability to listen to the hip cake bass lines of Gary King. the opportunity to conduct and arrange big bands for movie soundtracks and national television programs and the occasional wah wah pedal parts for the old farmer Joe Beck.
My guest today is a bold conceiver who caught the eye of Quincy Jones at a music festival in Indiana. His trio in the mid-sixties was the most formidable in the mid west. Somewhere Dave is smiling!
My guest was a core component of Creed Taylor's stable of musicians. His music was the fusing of rock and jazz with the implementation of symphonic sound. It epitomized the early seventies and brought to prominence the classic breakbeat albums that crate diggers lust for.
It has continued to Blood Sweat and Tears to Earl Klugh to Harvey Mason to funk in a mason jar to Grover Washington in north Philadelphia wailing away with Richard Tee.
The visceral quality of music is evident everyday of my life. Its that place in music where you listen and hear. You can hear the intuitive senses to support, listen and lead. And you can listen to the endorphins popping as the collective unit reaches the height of the climax.
Bob James welcome to the JFS....
The Jewish musician, often an afterthought in melodic invention. Italians, Blacks, Latino's sure but prolific Judaic studio cats - get outta here.
Still when you immerse yourself within the musical tribe you find that the brothers come in all shapes and sizes, creeds and colors.
If you can keep time, play behind the beat or in front of it, hold it down While Harold Vick is blowing cosmic waves, lock the groove with James Brown or go cross country with Bob Mann then you begin to get an idea of my guests pedigree.
He swung himself through Lou Soloff's disco inferno and Melissa Manchesters mascara, he had a funky good time with Walter Bishop Jr, and snuck in through the back door with Robert Palmer.
He is a drummer who sees only two kinds of music just like Duke - good or bad. While this hosts obsesses about dexterity my guest is more consumed with the soul symphony of Mancini, Milhaud, The Temps, Limelighters, Skruggs and Cash.
He is in the same master drumming discussion as Hal Blaine, Ed Shaunessey, Harvey Mason, Dick Berk, Donald McDonald and Levon Helm.
He continues his prolific percussion work today with Big Dot Records and Deep Diner Music. Oh, and he got the memo about how vital his knowledge and wisdom has and will be for future generations.
Allan Schwartzberg welcome to the JFS
Just happy being myself so says the man who is held together by music. Music played with adherence to the world around us and the unique features of each enclave, village and Appalachian trailed that has been carved out by man.
Sometimes I will travel back to Taiwan where my wife is from and I see the indigenous people, the Native Soil and the organic nature of life the way my guest creates music. From the earth itself.....
His grunting, scrapin' tripping, to get inspired. Learning from his dad who was privy to the swing of Bird, Monk, Basie, live Basie.....his mom cooking peach cobbler and bringing a southern expectation and swagger to the table.
Music is the salt of the earth. The roots must have been deep because this cat chose to play music. When harvested, cared for and loved his music transcends this earth and takes the audience with him. Although he loves the earth, he's more interested in evolving on the blues which go back to Diaspora and the lineage of all brothers.
Tempo change no problem just not going to tell anyone. He's playing with guys like Bill Rich, Howard Johnson and John Simon, David Grisman and Ralph McDonald who have the musical vocabulary to swing to the center of the world.
He's coming to the fox theatre October 12th. Taj Mahal welcome to the Jake Feinberg Show.
When the spirits call they do so with the understanding that I understand that I am merely part of the wave of history and that if I am to do a decent job covering ethnomusicology in the states then it my job to push that boulder up the hill a little bit at a time until the next cat comes around to push it a little bit more.
I get to realizing that the real authenticity of my show is interviewing the guys who play for a tree of genies high above the clouds dropping radiant acoustic bombs at a black union house on a Sunday afternoon in Buffalo, NY with Wade Legey playing round midnight or the great drummer Frankie Dunlop scouting talent for the Aquarians.
Interviewing cats who fed off of a lifetime of Tony Williams and Art Blakey press roles and interwove their apparatus into an amalgamation of African rhythm and European swing.....melodic invention.
My guest is in the same master bass discussion as The Skipper Henry Franklin, Cecil McBee, Stafford James, Gene Perla Jamie Myritt, Earl May, Herbie Lewis and John Heard.
He has sought out different kinds of players because diversity in music and flow is that much more interesting. Be it Ohio, Pennsylvania, or the lower east side with Beaver Harris and Eddie Harris and Joe Chambers these brothers came of age at a time when there was no jazz curriculums in the schools.....if there were they were being made up by the students who were incorporating their sights and sounds from the bandstand, going five to a car and crisis crossing the country with the likes of McCoy Tyner Gary Bartz, Neal Creque ,Shelly Manne, Harold Land keeping time and the pocket but also advocating for odd time and songs of his fathers.
My guest knows his people and their music traditions. He remains steadfast in his approach to creationism believing that you create your own legacy....and that's the trick no matter how many different ways your name is has was will be spelled...
Juini Booth welcome to the JFS
On my program the Bay Area has been a major focus of my journey to a land before my time. The heliport, Denny Zeitlin, Vovo, Sly Stone, Jacks on Sutter, Jimbo's Bop City, Wally Heider Studios and so much more.
Yet, another part of the Golden Bay is San Jose which had it own regional music scene separate from San Francisco. East Side San Jose, the gospel and blues coming out of the church and night clubs churning notes that were Fixing to Die with Hamstrung Guitar and a Hammond Organ with the Leslie Speaker swirling goodness to the masses who could take in the music live and see the likes of John Lee Hooker, Mel Brown, Boz Scaggs, Steve Miller, Linda Tillery, B.B. King, John Turk, Cornelius Bumpus and Michael White.
Floating between genres my guest has always tried to convey a spirit of oneness, inclusiveness and sophistication. This has been in different neighborhoods, in different towns, different cities all over the world. When you combine His mind creation and soul creation you get a heart that beats in polyrhythms determined to pump energy and love to all those he comes across.
Clifford Coulter welcome to the JFS
Godfather of the East Bay and San Jose music collective. RIP to an iconic creator.
The latter portion of the sixties was a gymnasium of live venues which permeated sounds of acoustic instruments like Fritz Richmond's washtub base or Paul Harris' ivory for the evening. An even dozen sophisticated white musicians trying to play authentic roots music with their mentors.
Through these live venues you saw the visceral qualities of Tim Hardin, Sivuca, Odetta and my guest all in one week. The differentiation the non conformity in a non violent way all the while playing music that was made live and not manufactured.
My guest today was inducted into the rock and roll hall of fame at the turn of the century but he is more roll than rock. Sure he appreciated Beatle mania and some of the world culture they brought to the states but my guest wanted to plant the American flag in the heart of the country with a blending of Native American, folk, classical blue ridge mountains cooking burning instrumentals and singing his way out of prison in some back road Georgia town looking for Doc Watson or a Lovin Spoonful of the Tarzana Kid.
He has been able to maintain and stay true to his art which can be hard in the " biz." He is an old folkie like Dave Van RONK and a conveyer of authenticity like Bob Dylan.
He cares about community- he lives in an artist enclave that sells nostalgia t-shirts but still has a freshness from the Catskills, near the Berkshires because your a big boy now.
My guest is playing Friday November 17th at the Musical Instrument Museum in Phoenix and the show sold so fast they added the 18th as well.
John Sebastian welcome to the JFS
Do you know what SRP stands for, it's an acronym for a very sterile system of learning that leads to followers, copy cating, no individuality.....in music SRP stands for Standard Recording Procedure.
The way of confining musicians to make music they don't want to create. The ties that bind, the money the 3 record companies remaining in this land.....a squeamish representation of dosing Billy Eckstine with punch on the way down to Vanguard Studios.
My guest today is an authentic musician who is comfortable enough to be himself. This carries through the music, which because of the acoustic setup allows my guest's voice to become an instrument....there is no amplification! The output is done by the people themselves - whatever they had to give in front of five people in a barn with a combined total of 3 teeth or in a coffee house in Cambridge, MA which is across the Charles River from Boston University where myself and my guest both went.
My guest is unconventional, a jug band junkie when crossed with legal LSD made for a real groovy time. Fellow comrades Geoff Muldaur, who smoked his first joint at Sabino Canyon, Fritz Richmond, Bill Keith, Maria Muldaur and Blind Lemon Jefferson all providing peer and mentor support in an experiential way.....they weren't getting an education in the classroom.
This resurgence of regional American roots music was spurred on by independant record labels who saw transracial music as a good thing. This adherence to the acoustic itty by certain labels allowed this music to be heard by DJs who would mix in some Berry Gordy MoTown, Ray Charles from La La land and Tito Puente from the palladium.
Their education was faith based with a common understanding that helping others was good, communicating non-verbally is all encompassing and mind expansion is necessary for new art to come into existence. But make no mistake, it has to be authentic, the artist must have creative control and if those back in the game saw any fleeting hash tag of commerciality they ran from it like a wild horse with a relaxed mind.
Just back from NYC fresh off some gigs, Jim Kweskin welcome to the JFS.
Free your mind and your ass will follow so says the parliamentary head of funk while my guest is creating funk for your ass....
That southern fried home cookin....that homemade bread and biscuits and gravy and cobbler with a side of Harvey Mason or Jimmy Madison or Clyde Stubblefield going across 110th street and catching a big payback of marching bands and the gulf coast sound coming from the Crimson Tide and the southern home fried gumbo marinating inside my guests jukebox memories....
Of listening to Horace Silver and Curtis Fuller, getting on stage with the God Father of Soul at night and listening to Tyree Glenn and Count Basie- a self proclaimed jazz snob my guest was gonna be a milk man until he found out that Damn Right He Wanted To Be Somebody- rock in' Funky Water Gate with a date on Soul Train and knowing that George Bohanon had locked down all the studio work in Southern California.
My guest is one of the most gifted bone players of his generation- similar to Wayne Henderson he took that southern grit and boogie Woogie and combined them With his jazz sensibilities that he learned growing up watching big band after big band in his fathers living room. Seeing how these cats handled themselves and gaining a trust in his own individual sound - passing the peas with Maceo Parker, Pee Wee Ellis and Van Morrison.
He's kept his lips in good shape and now carries the torch with the new JBs fostering the legacy of the hottest back up band and promoting the magic gumbo that when stirred correctly can elicit the sounds of the church, the wards, the nightclub and the love.
Hit it Fred Wesley, welcome to the JFS....
I was still a Young Man When I was working @ tower records following a stint @ Boston University in the late nineties when I came across a compact disc of a band that seemed to fit inside the Jake Feinberg pocket.
Nice melodies, contrapuntal piano techniques, power horns and the funk drumming. It was harder soul then the Temps and more modal then the Brubeck/Desmond/Guaraldi Tjader Jazz across the Bay.
They had infectious hooks, polyrhythmic percussion and messages that spoke to the changing dynamic of cities and the soul circuit of music as a conduit to magic.
My guests drumming chops came from his work with Tower of Power but it also came in the form of Jacks on Sutter, The Vizedero, Jimbo's Bop City, The El Matador, the Black Saint and all his pocket trap buddies.....Eddie Moore, Gaylord Birch, Mike Clark, Eddie Marshall, Dick Berk Greg Errico and Jerry Granelli. Being able to play live for nights a time in Japan town with some sticky sake and udon noodles next to Chester Thompson ambidextrous organ, Greg Adams trumpet or Lenny Williams urban renewal of the Oakland Stroke.
San Fran gets all the pub but Oaktown is the gritty dirty scrappy step brother who over performs and out maneuvers it's more glitzy neighbor. Don't change horses in midstream because the hot bet is on the boogie down east bay grease that cooked that stew of Sly Stone, The Fillmore District and East Side San Jose and Barry Bonds.
My guest today is in the same master drumming discussion as the aforementioned cats as well as Mickey Roker, Lenny White, Bernard Purdie and Jim Keltner. He has the chops to play in any musical setting because he can feel and is sensitive to the bump city that might be on the 1/3 or the 2/4 or a quick hop skip over to the BART station to learn some drumming techniques from the birds on hippie hill.
He's open to playing if the music is good just like Taj Mahal or Sam Lay or Michael White. He's open to painting the rhythm and hue because let's face it- the books still being written...David Garibaldi welcome to the JFS......
So many now make up their own history. The economic, political and spiritual essence of this nation has been askew for quite sometime. I don't cry for no hipster.
Why should I?
This go it alone approach has not fostered but hindered the ability of bands to form a nucleus. A hard crusty nucleus like my guest today had with Clyde Stubblefield and Phil Upchurch or before that with The Ardells which was comprised of Boz Scaggs and Steve Miller.
I am not a hipster. I seek knowledge from those who were able to document the rhythms created during diaspora by primary source. The origins of the awkwardness, gentrification and racism and bigotry that still casts its ugly head in overt and covert ways
When Scaggs and Miller went to west Marin my guest decided to finish his degree and pursue a doctorate @ Sussex in England.
The regional music of The Midwest from Chicago to Detroit to Milwaukee. AB Skhye, the ability to uproot and relocate to a house boat and The Soul Turnaround of Blue Mitchell.
My guest has had a prolific career as a lead pianist and singer on his own records, found his way into Blue Thumb and recorded with Tony Williams.
But the Bums Rush came along so my guest has had to reinvent himself promoting the magic of writing books, performing for changing audiences as the urban grit disappeared and took the inner city funky blues with it.
The musician is the document," says Sidran. "He is the information himself. The impact of stored information is transmitted not through records or archives, but through the human response to life."
Putting In Time on Planet Earth Ben Sidran welcome to the JFS
"Ultimately in the big picture the best music happens live, I believe. In front of an audience where everyone is interacting and there's interplay. Everybody's playing at the same time the audience is playing @ the same time.
You may have preconceived notions before you hit the bandstand of what your going to do and how your going to do it- your going to get your favorite lick in here but magic happens when everyone is doing it together.
If you can capture some of that and at the same time you can hear everything real good and you got a great room sound and the detail is there then that is really a beautiful moment. As opposed to - we've all brought our hand held tape recorders to clubs if you really want to hear what the guitar player is playing or what the keyboard player is playing or what the singer has changed the lyric to that you really can't hear.
I have always been interested in creating some magic with the audio and try to capture the live performance vibe as much as possible.
Where to begin with my guest today. Maybe in the Cosmos dwelling in a lab suit concocting a keyboard that allows Dave Brubeck and Darius Milhaud to reincarnate themselves in a bastion of Hammond Pedals that's Pigpen brought over from Novato.
My guest has written many chapters on his ride through life. He was at the forefront of what was then considered "New Music." He was one of the avant garde composers who was expanding sound sonically - not just playing but listening to Phil Lesh who he met while studying Astronomy @ University of Cal Berekley. He happened to settle in an area with the likes of Lesh, Terry Riley and Steve Reich. Guys who were writing classical charts while world music was spinning all around them.
My guests relationship with Lesh led to a stint with the Grateful Dead which was after he dropped Acid and developed music in Military IBM frame computers.
During his time with the Dead he helped craft three albums and played on the same bills as Country Joe and the Fish, Miles Davis, Carlos Santana....the Fillmore had 6am jam sessions led by Merl Saunders and Wes Montgomery was playing the Both And.
Science, Space, The known the unknown, the mind expansion of legal LSD and collaborations with The MIDI wizard Bob Bralove.
Oh my guest received his PHD in music from Harvard University, has been inducted into the Rock and Roll hall of fame and continues to teach music theory today. Currently in long Beach for a gig this evening Tom Constanten welcome to the JFS
The Degradation of Love...
"To soon after birth, we are not allowed to come into the world and then be called to love. We come into the world as some egoic manifestation self serving extension of our ancestry. This is the first hurdle. How do we get over that? Now we're a Bobby. Now we're a Mary. It's just that, no more no less. Already subordinate to anyone larger then we are. So we are born into this madness and we are just kids! Kids have the potential of the divine. We are born out of and from the royalty of spirit. The culture doesn't see it that way."
We have a caste system. We have a racist system. Anything but life as a royal thing. We are talking about the materialism that has been in ingrained in us which is suppose to be good! But it serves a self defeating purpose. It makes people less. "Oh you have ears this size? You don't have hair like us. So the materialism then relative to appearance is misused and its been perverted to a degree where we have the kind of racism that's total nonsense. Where in the world does the heart enter the conversation. When does the heart get to speak for itself. We have self speaking for itself everywhere. What it perpetrates is more difference and less division amongst people and sadly conflict and destruction."
Playing the Drums.
I had a fever and it was intense. As a child I was snuck into the Palladium and met peeps like Mongo Santamaria. It actually was like coming home. Coming from a culture that on the weekends particularly we would be congregating in the park for these meditations these descongas as they were called or discharges. The people are from the islands and in the same manor that people would go to church, they would feel the rhythms to calm the body. Whatever the people could make of the music, you had several drummers, got some horn players anybody and everybody was welcomed into this particular healing. From that culture which is a beautiful culture. It was socially integrated and tribal and functional in a social way. Then I found the Palladium. These guys found me playing my five Conga drums in Brooklyn Heights and they said; "man check this kid out! Check this cat out." I felt at home but It wasn't meant for me to stay with these Latin Cats. My particular function was to appreciate my roots as sacred feeling power and tune into the rhythms of the cosmos.
"I didn't know what music is or was. I just played it."
The Gallop, the rhythm, the beat the pulse. A driving pulsating rhythm that makes the body move and the mind expand.
Music in Africa has always been used to alleviate the pain and suffering of the common folk. Held under the thumb of military governments, foreign oppressors and self inflicted wounds.
This music the Afro-Beat comes from the drum. An apparatus that has been used over centuries to communicate. It was used in Africa during colonial times. They were used during diaspora on the ships as the slaves were traded amongst the islands, they were used in Congo square when music was played outside and this non-verbal communication sparked an identity in these Americas.
My guest today is a world renown bass player and percussionist. He grew up in Nigeria, amidst the forests and animals and listened to countless hours of shortwave radio taking in jazz, blues, rock and other world music. It is no surprise that my guest was at the center of this blending of genres with Victor Olaiya , Fela Kuti and Joni Hastruup in Monomono. My guest plays hypnotic baselines. The kind that have you rocking back and forth, free of clutter and chatter and distractions. This vibration carries into your soul and naturally it emboldens you to be yourself.
He came to the states in 1985 with King Sunny Ade with intentions to preserve the rhythms of his people and promote a new generation of western players in the age of digitization. He now lives in the Bay Area and keeps the pocket with the
Afro Groove Connexion, West African Highlife Band and the Nigerian Brothers.
Baba Ken Okulolo welcome to the JFS
"I kept saying daddy, daddy I want some drums, so eventually he bought me some drums. I was a little girl maybe 4 or 5 years old. It was something innate that he wanted to cultivate.
When there's eight kids in the house and 10 people total you don't want to hear any drums or banging. It was an innate energy that we had. We were rhythm.
I was just doing a session and I was trying to get the choir to do a combination of rhythms. They weren't nailing it so I said; "look, y'all follow me because I am rhythm."
Stepping Into Tomorrow, Nolan Shaheed, Harold Johnson, The Voice, 17 Points to Longevity in Show Business, Sexual and Sexy, Percussion, Cuica, David T. Walker
The Jake Feinberg Show
Back when I was a junior in college I went to see my guest with John Medeski @ the Sommerville Theatre in the Cambridge area of Mass.
I say in the upper reaches of the venue a small vaudeville style place perfect for intimacy through improvisation.
My brain was addled with some kind of mushroom tea so as my guest thrashed, chanted, communicated and swung the band he was giving me a preview of a trip I did not know I was on.
His career has spanned the last four decades. He has been a drummer with Gary Burton, Dave Liebman, Jack DeJohnette, Harold Vick and (spiritual teacher).
He was at the forefront of the east fusion movement with Larry Corryell and the band (). Call is psychedelia mixed with vocals and jazz changes....today aside from his prolific playing schedule he also teaches @ the New England Conservatory of Music.
Gratitude is the Attitude
Ra-kalam Bob Moses welcome to the JFS
Oh the whispering pines.....the Appalachian trail carving out a pathway towards the Mississippi Delta. The old hickory BBQ and the bourbon and the blending of gospel, blues, Bayou boogie and Jayhawkin' through the cornfields.
My guest hails from the great state of Kansas. He has done and seen it all in music. Played at the Grand Ole Opry, local watering holes, Medicine Shows, Mafia laden clubs and lesbian joints. That's before during and after being a swing man on the Kansas Men's Basketball team taking a page out of Pistol Pete Maravich's play book.
But my guests career runs thick, with a fearlessness and security that still holds up today. He has played with Jimi Hendrix, Jerry Hahn, Richard Manuel, Mac Rebenack, George Marsh, Maria Muldaur and Mel Graves. He has awed people over the years with his propensity to lean on that Hammond B-3 and illicit the sounds of the church and the bay, and sittin on a dock in muscle schoals Alabama with a cowboy hat and a maverick attitude.
He has made albums as a leader and been a prolific sideman. He has always wanted to reflect in his music a genuine sense of originality and playing music- not the type that can be labeled, just music. That will be on full display today at the Early Bird Cafe.
Mike Finnegan welcome to the JFS
Behind the washtub basses and the fret less kind behind the Tuba's and any other instrument is the individual who engages with that apparatus.
The sound that emanates from this instrument can depend upon the proficiency of the player, there use of scales and notes. Mathematics are part of it....but ultimately to be in a band you need to have a gig. And to have a gig you need to have soul. A collectivist mentality that as an accompanist you are doing your job making the leader sound as good as possible.
My guest today came into his own when the musical spectrum was wide open. You had 1st generation blues players who were experimenting with electric mud, you had younger male and female artists who were looking to turn back the hands of time. Exploring jug band music and American Folk Music in a more modern setting.
My guest musical career seems to have spanned several lifetimes. From Maria Muldaur to Bonnie Raitt, from Buddy Guy to Amos Garrett. From the cabins in Woodstock to the concrete jungle of Los Angeles my guest has continually reinvented himself. Adapting to the times and the changing dynamics of conveying authentic live music.
He is a multi-instrumentalist, singer, songwriter and producer and its an honor to have him on the program
Did you ever feel lonesome? That high lonesome feeling of Appalachia. Where lush green hills and streams created the perfect environment for Bluegrass Music.
How then do you account for musicians who didn't grow up in this region but were still able to be authentic and true to American roots music.
Obviously it starts in the home. And my guests home was full of instruments and musicians. He understood the Alamo and how too beg steal or borrow two nickels or a dime to croon, yodel and sing be it Tex Mex, Bay State Boogie or the train of the sea.
Truly though my guest was always a performer. However he was one of these 2nd generation players who had the opportunity to learn @ the foot of the master Bill Monroe.
And what did he instill in my guest? How about the idea of cultivating your his own sound? "What do you have to say for yourself cause you sure sound a lot like me and that ain't good."
Be yourself and burn. Don't matter if its in front of 5 people with a total of 3 teeth in a barn in Eastern Kentucky. Don't worry about perfection. You need mathematics but you also need love, spirituality and urgency when you play this music. Otherwise it is sterile and nothing like the Blue Ridge Mountains.
My guest today is one of the most accomplished American musicians in his generation. Quality and sophistication, adaptability and appreciation of cultures. Inherently a kid from Boston who was as authentic in his delivery as Tex Logan or Red Allen, Winnie Winston and Ralph Rinsler.
He has collaborated for the better part of 4 decades with his peers David Dawg Grisman, Bill Keith, Jerry Garcia, John Kahn, Richard Greene, Warren Smith, Ozzie Ahlers, brothers Chris and Lorin. John Nagy, Billy Mundi, Herb Buschler and Bill Stevenson.
He shows no signs of slowing down even if he occasionally feels sorrow for the deeds he has done.
Still Old and in the Way Peter Rowan welcome to the JFS.
Art Blakey, Woody Shaw, NTU Troop, Contrabass, MBOOM, Joe Chambers, Mannes School, Howard King, Richard Davis
The Jake Feinberg Show
How is one elevated to the land of giants especially when it comes to music. For my guest today it had a lot to do with biding his time, forming deep collaborations and a selfless heart.
He has played spiritual burning music with a generation of musicians who were prolific in their writing, arranging and unapologetic viewpoint on the African roots of jazz. Donald Byrd, Billy Higgins, Clifford Jordan, John Coltrane, Blue Mitchell, Eric Kloss, David Williams, Freddie Hubbard and Wayne Shorter.
Like the organist Jimmy Smith my guest today wants you to feel what he's playing. Stick with a theme, do it again, make it apparent to the listener and player that he will be relentless in his pursuit of ideas that can permeate the mind and let you dig it.
My guest today is a messenger who has delivered soul bop and soul jazz to audiences around the world.
He left the university of Denver and came to NY where he became an instant mainstay @ the old Birdland. The tunes he has written have shared appeal among fellow collaborators like Art Blakey, the aforementioned Hubbard, Wayne Shorter and all the eastern revelers.
Today he is still as active as ever and it is a great privilege to have him on the program.
Cedar Walton welcome to the JFS
tuba, donald fagan, merl saunders, tony saunders, Ralph MacDonald, Bernard Purdie, Fantasy, Marlena Shaw, Larry Nash
The Jake Feinberg Show
This is a great interview of a fabulous musician who is not recognized .. unsung hero. Love him so much. On this great talking, Mundell could said that he can play with Frank Wess who is 91 years old too and still plays his ass off !!!
"BEETHOVEN" (REISSER JEAN-MICHEL)
The urban legend of Detroit is only for those generations who were not alive during the time when that city epitomized Asphalt Canyon Blues.
What we see today with the Motor City is a shell of what it was when my guest today was growing up there. A thriving car industry driven by a migration of blacks from the south after mechanized equipment replaced plantation workers. This combination of family, church and education brought about a generation of local musicians like no other. Barry Harris, Ron Carter, Tommy Flanagan, Elvin Jones Donald Byrd and my guest.
My guests roots are in Detroit but that was only the beginning of his journey. While @ Wayne St. he started recording with the late great Dizzy Gillespie. This was followed by stints with Oscar Peterson, John Coltrane, Jimmy Smith and Kenny Dorham. He has recorded as a leader on the heavy jazz and blues labels like Chess/Cadet, Pretige, Muse, Verve and Concord.
By the early 1970s on top of his busy playing schedule my guest started doing college seminars which included the first regular course held in the U. S. chronicling the music of composer, pianist and bandleader Duke Ellington.
His unpretentious and practical style has helped galvanize knowledge and wisdom for a generation of up and coming musicians who did not experience the breakfast sessions in Atlantic City, Mean Ole' Frisco or music before idiomatic breakdown. As Duke said music, "it's either good or bad.
Today my guest is the leader of the music and ethnomusicology department at UCLA. Perseverance, preservation and whistling' while he works, kenny Burrell welcome to the JFS
In The Land of Giants
JF
In the 21st century the so called digital age the role of a producer and a musician has devolved into a potpourri of inanimate objects, the # of records you sell, how to make a hit, the drum machine, and a shrinking more rigid music industry.
It's a far cry from when my guest first happened on the scene. From this hosts perspective idioms were less important then individuality. Enclaves of regional music crossed the great divide from Arkansas to Toronto. Leadership was defined as getting out of the way and letting the wolf howl, or letting the music play the band.
This thesis is backed up by the experimentation that went on within the record industry. My guest was involved as a producer and player with Bob Dylan, The Band, Big Brother, BS&T, Seals and Crofts, Taj Mahal and Paul Simon.
He came from a classical background with an understanding of how to fuse players who had chops to play across the entire musical spectrum. He did this as a producer, arranger, song writer and composer.
It was a Woodstock and post Woodstock mentality that led my guest to his own LPs that are a vexing mix of spoken word, riddles, swing and chance taking. A mix and match of local artists in residence and the hippest of NY studio cats.
I spent the entire Christmas Break dancing in a land of sunshine with no inclination to go.
My guests records have held up through the years and like strawberry wine have gotten better with age. I spent the entire Christmas Break dancing in a land of sunshine with no inclination to go.
he continues to create in his own way and is about to embark on a live tour including a trip to Ellenville, NY and then to Joe's Pub in NYC on April 25th.
King Harvest has surely come, John Simon welcome to the JFS.
he state of New Jersey is situated perfectly between two musical Meccas. The soul brotherhood of Philadelphia and the Big Apple. Musicians who were lucky enough to grow up in this state were privy to the sounds of Dionne Warwick, Sigma Sound Studios and the vibrant African Jazz foothold that was beginning to take root in New York.
My guest today took in this music and immediately began to cultivate his own sound. This individualistic streak was the catalyst for his Band The Wizards and Oz which evolved as a live playing band hitting the each coast college circuit.
My guest honed his chops on Stage and became comfortable as a singer and a multi-instrumentalist. After high school he found his way to Ithaca is gorges @ Cornell University where he formed another college circuit band called Oz and Ends. Utica, Rochester, Syracuse, Providence, Burlington you name it the Oz was there. Somehow he found time to complete his studies and graduate but not before he formed a new band called Glory River which was eventually signed to Jimi Hendrix' electric lady land label.
After experiencing the regional music scene of upstate, NY he headed west to California where he wound up working with two of the best vocalists in modern music - Van Morrison and Jesse Colin Young.
Stints with Peter Rowan and Gene Clark was followed by a collaboration with Robert Hunter and Comfort. It was @ this time that he caught the attention of John Kahn and Jerry Garcia who saw his electric keyboard wizardry as a new and fresh sound compared to the half dead acoustic player that Keith Godchaeux had become. My guest was part of the JGB quartet from late '79-1980. While it may not be the longest tenure of any keyboardist the power of the group and Jerry's adherence to some sobriety lent itself to some remarkable live performances that have been released commercially. Just in the last month March 1st 1980 in Passaic was sent into the digital processor for the masses to enjoy.
My guest has always tried to play across the musical spectrum. Be it reggae, jazz, new age, movie soundtracks or tv shows and his continued growth spawned a commercial DVD entitled keyboards made simple....living on the edge Ozzie Ahlers welcome to the JFS.
Philadelphia, Jackie McLean, Carl Burnett, Pat Martino, Chestnut Street, Mosaic Records, Todd Barkan, Tributaries
The Jake Feinberg Show
Scarf in the Wind, Arp Modulator, Mel Graves, John Hammond, George Marsh, SYGZY, Expanding Minds
Jake Feinberg Show
Sons of Champlin, Geoff Palmer, Commerce, Mike Finnegan, Oscar Peterson, Bill Vitt, Yoshi's,
The Jake Feinberg Show
Urban centers in this country used to swell with regional music. Go from Indianapolis>Chicago and Detroit you would get 3 different sounds.
Chicago was a lightning rod for amped up young musicians to come and cut their teeth. For those lucky enough to have grown up there it meant marinating in northern soul and elegant jass. The swirling organs no bass pedal, the psychedelics and the melodic vocal arrangements all fusing together in the shadow of Chess and Delmark Records.
My guest today lives in Nashville but his roots are Chicago through and through. His charisma and loneliness are authentic in his playing or writing. Maybe sitting behind a keyboard or a bass guitar my guest has been a part of American Music History as a writer, arranger and performer. His career includes stints with Rufus and Chaka Kahn, Glenn Frey, Chicago, The Bangor Flying Circus, Minnie Ripperton and Howard Wales.
Live from Nashvegas David Hawk Wolinski welcome
The San Francisco sound is more about a state of mind. One of independence, curiosity and experimentation. Psychedelics played a role but make no mistake it was a pleathearu of mavericks who made that SF Sound.
Guys who were looking to stir things up with late night jam sessions @ the Matrix. Loose open ended affairs with cats who played @ the Heliport and West Marin.
A 12 minute space funk jam with Bill Vitt flashing a style he cultivated @ Dave's soul kitchen and John Kahn a Bloomfield favorite who grew up wanting to be Scott Lafaro. There was also a guitarist named Jerry Garcia who was well schooled in bluegrass and psych rock but was a curious cat who desired to stretch his vocabulary. Garcia openly acknowledges that my guest did more for his ears then anyone else he came across.
My guest today is a keyboardist and Hammond Organ extrodinare who came from the Midwest and firmly laid his flag in that SF scene.
Before heading west he honed his chops working the southern RnB circuit working with Ronnie Hawkins, Little Anthony and the Imperials James Brown and Jimmy Hendrix. Upon arriving in the Bay Area he formed his own band known as AB Skye and found studio work with the Grateful Dead, Martin Fierro and Harvey Mandel. He also has laid claim to several albums under his own name such as Rendevoux with the Sun and The Monk in the Mansion. It's been a long time coming Howard Wales welcome to the JFS.
Happy New Year!
When this host looks at the mass of interviews that he has done and continues to do he realizes that the full impact of the stories, camaraderie, and spirituality may resonate years after I have left this life.
To be discovered or rediscovered is a mystifying and gratifying at the same time. My guest today has had a career full of starts, stops, punching bags, blue notes and love bugs.
He grew up in sunny southern California during the cool bop era and came of age with fellow luminaries like George Coleman, Grant Green and Mickey Roker.
His albums for blue note represented the soul jazz of it's time. The swirling organ lines, the fender bass and rapid fire melodic solos. Opportunities with Groove Merchant produced more electric groove music that epitomized the moody and jaunty 1970s.
Still my guest flew under as other organists like Charles Earland and Groove Holmes took up much of the space. However with the rebirth of soul jazz in the late eighties and early nineties my guests albums became highly coveted for music fanatics and crate diggers alike. All of a sudden my guest became a household name with a generation that wasn't even born when his albums were pressed. His infectious smile and earnest efforts have earned him solid acclaim with the music community and in the record books.
I can only hope that the interviews that I am doing have the staying power and sustenance that my guests music has had.
Reuben Wilson, welcome to the JFS
His career emanated across the border from Detroit in Toronto where he became engulfed in the myriad of live music and the traveling acts that came through.
His unique sound came in part from the Delta blues players who picked their way into Chicago and wound up with legions of younger white wannabes who heard, felt and plugged into the authenticity of Willie Dixon, Howlin Wolf and Muddy Waters.
As these aspiring musicians grew there names became part of one of the great pockets in our music history. Butterfield, Bishop, Mac Rebenak, Levon Helm, Geoff and Maria Muldaur, Jerry Garcia, David Grisman and Bob Dylan. Telling stories through lyrics, language and sound
Without Catalyst there would be no JFS. Thanks PB, JF
Pat Britt, Henry Franklin, Michael Howell, Norman Williams, Putter Smith, Vince Lateano, Billy Martin, You Run Like My Grandmother, Catalyst, Little Doubletoe,
The Jake Feinberg Show
Racism, Diaspora, Big Black, Englewood Cliffs, Leon Thomas, Bill Summers, Hippie Hill, Tin Palace, Van Morrison,
The Jake Feinberg Show
Everybody dreams, some dreams are narcissistic and petty, some have dreams so vivid that they almost seem real. Others dream and put those dreams into reality.
When you take the natural attributes that have been gifted to you, dedicate yourself to your craft and dream for the stars nothing can stop you.
This mantra is not easy to establish. Self doubt creeps in, barriers artificial or not arise like a hundred year old cactus in the desert. Remember when you throw a t onto can you get the word can't which can prove to be the biggest detriment.
My guest today vanquished his insecurities by diving head and shoulders into live entertainment. He was singing and dancing for opera companies in high school all the while being encouraged by his parents. He played the saxophone and flute in The marching band following in the same vein as Hadley Caliman, Sam Most and James Moody. He took the T off of can't and became a brother of invention.
His career has seen him cross paths with Frank Zappa, George Duke JLP, Roy Estrada, Chester Thompson Ike Willis and the Fowler Brothers.
His stage antics and personality brought a new dynamic to the already independent and percussive laiden Zappa band. He sang about real people and real places which allowed the audience to feel connected to the musicians.
He has performed in RnB and Gospel outfits and has put out albums of his own including the 2002 record "Balls" which was an opportunity for my guest to strut his stuff to legions of younger fans who may not have been around for bongo fury....
A great musician and even better person NMB welcome to the JFS...
Fearless and divine yogic practitioner talks about healing and loving herself and being able to inspire others to transcend their thinking mind and access the spirit mind through meditation and kundalini yoga.
Legendary rock manager talks about life in the fast lane....
Legendary manager of the Rolling Stones and Grateful Dead talks truth to power!
Multi-dimensional actor and railroad avatar talks about collaborating with theatre troupes in Eugene, OR and his roles in Shenandoah and Animal House. A fountain of youth and humor within the milieu of pranksterism.
Jake…I really enjoyed the interview. Glad to see you speaking to a lot of great musicians and documenting important bands.
Bill Cutler
Soulful timeless piano player who will never be forgotten....
Muscle Shoals, Levon Helm, Jeff Davis, Amazing Ryhthm Aces, Nashville, Lucretia,
The Jake Feinberg Show
You ever hear the expression, "you know this is really artistically appealing but not commercially viable."
If you have then you were probably pursuing an artistic endeavor that reeked of the truth, dripped with humanity and exposed the status quo.
My guest today heard this many times in his life as an actor, film maker, reporter, writer, astronomer, linguist and cable car grip man. He wanted to create black drama's that represented the Afro folk who he met everyday. Not some kabuki character who was artificially produced by the Hollywood Industrial Complex.
However, his films and point of view was anathema to behemoths like Columbia Which resulted in my guest paying out of his own pocket to get this media disseminated to the public even if his films might have only been shown in black porn theaters.
After spending time in the Bay Area he took his family to Europe to study astronomy, change his name to make it more Dutch became fluent in French wrote several short novels and interviewed Malcolm X.
He made some noise and came back to the States and wound up in the studio with jazz stalwarts Herb Buschler, Howard Johnson and Warren Smith. He made music that sang although he couldn't sing. He spoke of guts, determination and his frustrations with the American World View.
He personally funded "Sweetback's Badass Song" which portrays a black prostitute who seeks to punish those who are corruptive and engages in multiple sexual encounters with many a willing female.
He was at the forefront of Blaxploitation films and his pontification is considered a pre-cursor to rap music except that he actually had something to say. He was the first African American Investment Banker on Wallstreet
and his blood line is strong as his son Mario is a renowned actor.
Melvin Van Peebles welcome to the JFS.
Occasionally on the Journey I wonder why I pay homage to those players who I never met, or saw play. To know authenticity when you never experienced it.
I have interviewed Ira Gitler, Herb Wong and Nat Hentoff on this journey. Guys who produced records, wrote linear notes and filled in the human with the being.
I interviewed Fred Taylor who among other things ran the Jazz Workshop and Paul's Mall which was a duel musical outlet for psychedelia and jazz.
And now we get to North Beach circa '72. A gentlemen by the name of Todd Barkan takes over a club next to the police station called it the Keystone Korner. 750 villeo street...
He creates a club that provided accessibility to great leaders for anyone who appreciated authenticity and love. He was a musical match maker who cared about the musicians idiosyncrasies and how to fit personalities and make them work.
He charged $3.00 during the week to see Cannonball Adderley
$3.25 on the weekends. The entire club permeated with the warm home cooking of Ora Harris. For those who wanted to roast a joint there were ionizers on the ceiling that sucked the smoke right up so that it would not bother the people around them.
Now, this establishment was already stepped in psychedelic blues like Bloomfield and Nick Gravenites Jerry Garcia and Merl Saunders.
And now the wheels turn again. Merl's cousin was Eddie Moore who played in organ trios with Merl in the Fillmore District where Calvin Keys would sometimes play the breakfast set. Calvin Keys said "if you weren't playing the Keystone when you were in San Francisco then you weren't playin."
And Eddie Marshall came out because of the 4th way and started wearing his dashiki's with James Leary and Herbie Lewis guys who made up a rhythm section with vibist Bobby Hutcherson.
Carl Burnett would come in and smell Ora's banana bread when he played with George Cables and Freddie Hubbard.
Rasaan Roland Kirk (a boyhood friend of Barkan's) and Grover Washington Jr. Played benefit concerts in Oakland to raise money so the Keystone could obtain a liquor license.
Understanding true freedom of expression, a player in his own right and Someone who validates what this radio host so desires Todd Barkan welcome to the JFS.
Allan Toussaint, Taj Mahal, Kenny Gradney, Lowell George, Chico Hamilton, Jimi Hendrix, Mothers of Invention, Dennis McNally,
The Jake Feinberg Show
Titanic tenor player talks about his musical life; the ups downs and everything in between....
My guest today is an example of someone who was born in the right place at the right time.
He was raised in San Francisco and during his formative years when arguably the greatest music cultivation was occurring. The core group of Brubeck, Desmond and Tjader and Guaraldi spawned a new era in melodic jazz, never removing the street element but conjoining swing elements with Latin rhythms, bossa rhythms and African percussion.
At the same time Santana's Latin rock escapade was burgeoning as well as a bunch of Mavericks who were acclimating themselves to this fertile hotbed of cross music fertilization.
My guest got sticks in his hand and became part of it all. Bola Sete, Noel Jewkes, Jon Hendricks, Dr. Denny Zeitlin, the airplane, GD, the aforementioned mentioned Guaraldi, Benny Velarde and countless other gigs @ Jimbo's Bop City, the Both And, the Workshop
"I was lucky enough to be in contact with some good spirits!"
CM
The Jake Feinberg show started as a look deep inside the spiritualism of man and music from a certain period in our musical history. It was a time before labels and idioms dared to matter and linear notes were chewed up and thrown out with the bath water….if you actually had any running water.
As my show has evolved it has settled nicely into interviews with those who sought to creatively express their thoughts; they did this by breaking color barriers, reaching over these barriers and showing great strength and love in their playing and how they treated others.
Country boys have been few and far between on my program. However like all art that too is evolving. These farmers were high on the hog, noting corruption at the Piggly Wiggly Supermarkets and hearing the sounds of raspy blues originalists on the AM radio.
My guest today grew up in rural Iowa with no electricity or running water. When he was ten his family moved to Oklahoma where he began to hear the sounds of Howlin’ Wolf, Jimmy Reed on the radio. He traveled up the Mississippi on a scholarship and wound up traveling Market Street watching the blind dobro players strumming in Chicago.
It was in the Windy City that he met Paul Butterfield and formed the core of the most explosive and forward thinking blues band. As they played the blues circuit in Chicago my guest decided to head west and wound up where else? The Bay Area which was percolating with Jimi Hendrix, The Grateful Dead, and many other musicians who were experimenting with electric instruments and psychedelics and beautiful woman.
The raw blues playing of my guest forged an alliance with the rest of the cadre including John Mayall, John Kahn, Mark Naftalin, Phil Wilson, David Sanborn, Maria Muldaur, Steve Miller, Pinetop Perkins and Eric Clapton. And that is just the 1960s……
A lot to talk about with an American Music Icon, Elvin Bishop, Welcome to the JFS…..
Trinidad, African Messengers, Ron Carter, Eastman School of Music, Gap Magione, Cedar Walton, Jacob's Ladder, Woody Shaw, Art Pepper, The Blackbyrds, Roberta Flack, Donny Hathaway
The Jake Feinberg Show
i just loved hearing Gildo sharing his stories. have been a fan of his for many decades.
must add that the chicken and waffles place in NYC was Wells (Roscoe’s is in L.A.). that was actually where i first saw Sonny Rollins.
funny story about Prez calling out his own names for the tunes. what challenging times Gildo experienced.
loved hearing Gildo talk about Ozzie Cadena, whose wife Gloria still carries for her late husband in booking Sunday matinees at the Lighthouse in Hermosa Beach.
Gildo is obviously a treasure and so are you, Jake! next time i’d like to hear him talk about working with Lorez Alexandria. thank you so much for another great interview.
Valerie Bishop
Spirituality in Music comes from the intimacy between musicians. Letting go of control and allowing collaboration between humans. Taking chances and playing what you feel is also an inherent component to spiritual music.
Then we turn to the apparatus- the instrument itself. When you think of the violin it conjures up images of a classical setting very formal with improvisation limited to the whims of the conductor. It is truly the spiritual ones who can blend their soul and instrument to take it outside of the accustom idiom. To use the violin in conjunction with electric instruments like guitars, horns, keyboards and percussion. My guest has been doing just that for the better part of the last half century with the likes of John Handy, Jerry Hahn, Eddie Marshall, Kenneth Nash, Ron McClure, pharaoh Saunders John Lee Hooker and John Coltrane. Using the violin as a conduit to further improvisation Michael White welcome to the Jake Feinberg Show
Sly and the Family Stone, Humanity, Victor Pantoja, Jerry Garcia, Tim Bogert, Bobby Cochran, Don't Let Go, Joe Zawinul
The Jake Feinberg Show
To believe that you were part of real movement towards social progress is validation to some. For those who were actively involved in cultivating the spirits of the change is magical. When the involvement is through rhythm then the spirit transcends. My guest today came from one of the greatest regional hotbeds of local music - the San Francisco Bay Area. He was the drummer for Sly Stone and the Family which fashioned multiethnic multiracial bi-gender members intent of exposing the city by the bay as a place of experimentation, intellectualism and a down right fuck you to American conformity. My guest moved on from the Family and made stops along the way with Carlos Santana and played with some of the greatest Afro Cuban percussionists including Victor Pantoja Willie Bobo and Armando Peraza and Coke Eacovedo. Guys who were rooted in the rhythms made popular by Bay Area vibist Cal Tjader... From Latin Rock to Weather Report and the Boogie Woogie Waltz with Joe Zawinul. While dwelling in fusion he was also tied into the Novato scene. The barn with Mickey hart and Bill Kreutzman, Zakir Hussain. Maybe a trip over the Lee Charlton's to play with the gravity adjusters expansion band. Ultimately this paved the way for a connection with Jerry Garcia and John Kahn in this hosts favorite pocket of that band lifespan. I wish there was a riot going on! Greg Errico welcome to the JFS.
Hu Jake
Didn’t know Bob Jones, but do remember playing at the Trident with Larry Coryell and the great bassist Albert Stinson. I used to stay on a houseboat in Sausalito when I played at the Fillmore West in 68. Also Jim Pepper was a fan/friend of Noel Jewkes. It’s a huge universe but we are all more connected then we know. Yes?
Love Always
Hu Ra-Kalam
Entertainers need to be aware of what's happening all around them. The great entertainers are aware of all the best that's around them.
The best education, the best food and of coarse the best music. The kind of music that comes from your soul- or maybe even deeper.
Jimmy Smith laying on his B-3 or Willie Bobo playing congas in in Spanish Harlem. Monk Montgomery extending a hand while Big Black played the African room.
My guest today is a great entertainer. He is a comic, a purveyor of Social Issues and a doctor. Hid education @ Amherst helped galvanize the classic childrens program the Electric Company and also prompted the little Bill series that my daughter is holding as she sits next to me. From the streets of Philadelphia to the house that Jello built my guest never wavered in his love of music and the musicians.
He danced to it. He sang to it. He played keyboards, he played the drums like Max Roach.... my guest was Badfoot Brown.
Today we see a weakening of the nuclear family and a culture that seems to use people and love things. it's far different from the community that had a major influence on this entertainers life.
Bill Cosby its an honor to have you on the Jake Feinberg Show
Intimacy, Humanity, Accessibility and Music. At this point my greatest journalistic accomplishment. Keep Your Lovelight On, JF
Inner Drumming and Swing. Here's the all the mavericks out there! JF
Born in Havana, Cuba in 1921, Candido "officially" moved to New York in 1952 and is the first musician to bring the bongo into a North America musical setting. Today he continues to dazzle audiences all over the world and will be inducted into the Jazz Hall of Fame in Tulsa, Oklahoma next week.
On a breezy monsoon driven afternoon in the Old Pueblo I spend some time talking to "Black." I have been courting him in recent months because of his candor and ability to tell the stories of African Americans who kept rhythm alive stateside. Brew a few pots for this one.
Cheif Bey, Danny Ray, Georgia, Dizzy Gillespie, Coons, Jass, David Axelrod, Message To Our Ancestors, Paul Butterfield
The Jake Feinberg Show
Charlie Parker, Joe Sample, Tom Scott, Court and Spark, The Baked Potato, Frank Rosolino, Small Town in Iowa, South Side of Chicago, Stan Kenton,
The Jake Feinberg Show
he was a great person and a great drummer
James Gadson
Very often the sweetest moments in music history occur through a confluence of self expression. You have to have something to say. And it has to be a message that is sustained and built through other human beings. The late sixties and early seventies was one of those sweet moments in music history. You had a generation of African Americans coning of age on the left coast who were raised in households that taught them to be proud of their heritage. Some of these individuals came from the gulf coast and brought with them a soul rooted in gospel and blues. They were given opportunities to play with John Lee Hooker, BB King and Fred McDowell. Southern California was a melting pot of music at this time and my guest was right in the middle of it. He saw the progress made by his own people in civil rights. He saw his own heroes murdered by haters and fear mongers. Yet my guest and his brethren chose to respond with messages and music. The Sanctified Sound on full display with my guest today legendary keyboardist, singer, producer and collaborated Stu Gardner - welcome to the JFS.
wow!!! what a treat that was! i have known Toshiko since she was at Schillinger House in Boston in the mid-’50s but i still learned a lot from this interview! it was fabulous! thank you so much, Jake!
Valerie Bishop
Legendary drummer talks about working with Jimmy Smith and Carmell Jones.
Listening to your interview and your statement regarding them as THE world music group. Yes, they were the first (and I was there in the 70s in Marin County).
Please listen to Ancient Future and their album
“Planet Passion” and you will hear the new sound of east meets west.
Peace
Jeffrey Buchanan
Joe Pass, Hermosa Beach, John Guerin, Strawberry Wine, Mannekind, Gary Barone
The Jake Feinberg Show
Yaakov Levy
great to hear oscar interviewed.
i met him when i was at la city college around 81. he played a set w/harold land. i loved his playing. afterwards i asked him something about what do you practice to play like that..he said “play whatever you want”. and the way he said it, and looked at me, made a wonderful impression about individuality in music…. i used to wear a big kippah and one time he encouraged me to keep wearing it… in other words, what i felt from what he said was: continue to be yourself and affirm/express your cultural heritage.
i haven’t talked to him in awhile..it would be good to speak with him.
first time i saw him was when i saw gerald wilsons band at the ‘pilgrimage theatre’ probably around 76. i remembered his solo.
i was in high school at the time.
oscar, skipper, carl burnett, keman, higgins were all always very supportive and fortunately i got to play with them (not oscar, yet)… over the years.
thanks for doing these interviews
My guest today was rooted in his gospel upbringing.
Yet in a different period in our history when church music overlapped with soul and rnb my guest was in the right place with the right sound.
Originally discovered by Elvin Bishop my guest generated interest in the bay area as a Hammond B-3 specialist that could enhance the sound in country, acid rock, swing, jazz vocals.
Still it was the gospel organ that drew John Kahn to my guest. The Jerry Garcia Band was at a point musically where they had burned through a bevy of keyboardists and were looking for a sound that could bridge Roots Music with Motown and boogie woogie.
The swirling organ, the female vocals, the reggae pulsed rhythms. It was love in the afternoon for many years to come for all JGB fans. Melvin Seals welcome to the JFS.
Iconic double bass player talks about his musical life.
From time to time on my Transcendental Journey Towards Re-creation I do interviews that seem to get tucked away in the archives. This is one of the them, its actually an appendage to an earlier interview I did with Mike.
http://www.jakefeinbergshow.com/2011/09/jfs-se-the-mike-clark-interview-part-i/
Mike is in a great mood on this one as he travels from the Magic Bag in Detroit to his next show in the Midwest. We talk about playing with Jerry Garcia, Charlie Brown Soundtracks, Gee-Go-Goo and the band known as the Headhunters.
One from the Vaults!
Billy Cobham, Gene Perla, Ray Barretto, Spiritual Experience, Jeff Beck, Moog, Prague,
The Jake Feinberg Show
Charles Mingus, Ripping out Piano Strings, Evolution, Tribalism, Xanadu, Pat Martino, Don Patterson, From This Moment On!
The Jake Feinberg Show
Mind Expanding. A great history lesson. Tommy is a great example of someone in the “music biz” that has woderful taste in music. We seem to have lost that in music today.
Mike
Many Westerners are unfamiliar with the history and importance of the diaspora or the disambiguation of African Slaves to the Americans. Some went state side where they were saddled with slavery and abusive treatment. Another cross-section wound up in Cuba and the surrounding Caribbean islands. They created an enclave of traditional dance rhythms based off of the Cleve and what would be dubbed Afro-Cuban Rhythms.
My guest today is a product of the Bahamas where he was a professional jockey and drummer during his teenage years.He came to the united states and tried his hand in acting including the James Bond classic Thunderball. It was during this time that he met Julian "Cannonball" Adderley and his musical career took off. He became the in demand studio percussionist for Berry Gordy and Motown, you will also find him playing with Billy Preston, Charles Kynard, Dennis Coffey, the aforementioned mentioned Cannonball, Seals and Crofts and Neil Diamond. He was able to take the conga drum and fit into gypsy folk, rock, symphonic soul, disco and jazz. Even today I am digging through a record bin and I pull out a Bellamy Brothers record and I there's My man King Errisson on percussion. Welcome to the JFS.....
Those Southern Knights.....
Stix Hooper, Wilton Felder, Wayne Henderson, Texas Southern University, Chicago Blues, Hugh Masekela, Harold Land, Bobby Hutcherson, Practicing
The Jake Feinberg Show
Chico Hamilton, Charles Kynard, Norman Whitfield, Motown, Oscar Brashear,
The Jake Feinberg Show
From Horace to Max.....
Enjoy,
Eric Dolphy, Pete La Roca, Kenny Clarke, Medina, Joe Fields, Origins of Jazz, Napolean, Haiti, Max Roach, Horace Silver
The Jake Feinberg Show
Welcome to a special edition of the JFS. my guest today was part of the Band called the Jazz Crusaders. Unlike most bands that form through connections, serendipity and recommendations my guest today joined forces with guys in his neighborhood in Houston. He knew Joe Sample when he was six years old. He went to his mama's house for meals and Joe did the same. Around the same time he linked up with Wilton Felder and Stix Hooper. This group had southern roots, loyalty was paramount, evolution was assumed, and being yourself was an afterthought. My guest was a key component to the group as a prolific song writer, trombone player and a onstage spokesman. The Freedom Sound on full display today with Wayne Henderson, welcome to the JFS!
Sonship "Woody Theus"
His spirit superseded his own being. An individual steeped in scripture and creative energy. The two worked hand and hand. He would allow the light of his god to shine through him when he played.
He was a audacious performer, what with the knee high boots, multi-colored drum kit and masked marvel eye wear. He was not shy about his outward appearance and felt it was a necessary part of his transcendent spirit.
Sonship didn't party or chase woman like his cadre. He was apt to meditate and gain strength through self-reflection. This is the great spirit forging music with religion. The ability to ask his god objectively about the volume of his drums and whether he should turn them down because another great warrior told him to do that. "I'll have to prey on it and let you know," he would say. He was not one to feign ignorance or display passive aggressive tendencies. He played from his guts with a swing more roll than rock. He did not adjust the volume on his drums.
Sonship came of age when the likes of Harold Land, Charles Lloyd, Woody Shaw and others who had made names for themselves and were trying to open up opportunities for a younger generation of musicians who would further push music forward. The problem occurred when the industry yielded to loud FM caliber music that forced jazz to get louder and play in less intimate settings. The new generation of Faddis, Theus and Nash did not have the leadership to bridge the gap. The record companies shrank as did people's attention spans. Mental music became obsolete and the quintet and quartet became more of a liability when you could hire one guy to spin records.
Sonships true greatness for this journalist lies in the fact that his spirit is inside me. His unique personality and perspective has galvanized my own consciousness shift. Be yourself, be passionate about what you do, believe in your own god and live in the moment. Everyday I look at Finger Rock and thank Sonship for the journey that I am on. Not a journey he put me on but one that he continues to strike with the delicate balance of nature and nurture.
He is now a cosmic dweller but his presence is inside myself. I hope that through this article it will help others galvanize their own passions and be unafraid to express them without any hang ups. Be yourself, be accountable and prey on it.
82 year old Gabe Baltazar is the product of a Japanese mother and a Filipino father. He is also a jazz hero of the Hawaiian islands. As an American he served his country in war and after that wound up in Sunny LA where he gigged with Paul Togawa, Toshiko Akiyoshi and Charlie Mariano among others. After Lenny Neihaus left he wound up as the exclusive alto-sax man for the Stan Kenton Big Band starting in 1960. His career unfolded in many prolific ways with Dizzy and Moody and Oliver Nelson. He has kept his mind and spirit young and we are thankful for that.
For the Birds!
JF
Two-Headed Freep, The Playboy Club, CTI, Hubert Laws, Slugs, Pat Martino, Tyrone Brow
The Jake Feinberg Show
In relationships you have a first love and chances are you move on and marry someone for reasons other than true love. Once you are married you can't go back to your first love. Returning to your first love is possible in art. A multi-instrumentalist might return to the tenor saxophone after years of playing other wind instruments. A sculpture might return to the paint brush. My guest today is returning to his first true love- singing. After a storied career in Hollywood that spans 30 + playing characters such as the villain in goonies, and one of the greatest Bond villains of all time Franz Sanchez he is returning to his original craft. And he is not taking it lightly as evidenced by his latest CD Davi does Sinatra which is a conglomeration of sensual romantic ballads and up tempo toe-rappers that would make ole' blue eyes proud.
Robert Davi welcome to the JFS
In my continual search and discovery of all-time great musicians certain songs and albums have helped guide me towards these legends. Through these albums I have been able to put together configurations that made up these sessions. Some of the players have left us but many still remain active and playing. Such is the case with my guest today who played on more then a few albums that put me on this path towards affirmation. He has played w/ Charles Kynard, Phil Upchurch, James Jammerson, Stix Hooper, Joe Sample, Wilton Felder, Chuck Rainey, And Paul Humphrey to name a few. He is well-regarded for his blues licks but he also came of age during the time in music where there was a fusing of soul, rock, and jazz which made for a rollicking, grooving and experimental scene. Arthur Adams welcome to the JFS.
Exonerate the Flea....
Tribe, Tales of the Exonerated Flea, Kirk Lightsey, Max Roach, William Patterson College, Puppets
The Jake Feinberg Show
Englewood Cliffs, Happy Music, Mongo Santamaria, Donald Byrd, Fonce and Larry Mizell, Quincy Jones,
The Jake Feinberg Show
Cut Session, Steve Gadd, Joe Farrell, The Village Vanguard, Joe Chambers, Warren Smith, Con-Fusion Rock
The Jake Feinberg Show
Hi Jake,
It’s great irony that your interview with Eddie Henderson was
posted on my page on Facebook, I’m not sure by whom, but I
was glad because Eddie is a contemporary of mine. Though I
am so busy with little time to pay attention to social media I kept the posting there and today, 02-13-14, several weeks later, I came across to that again and clicked on it.
From the beginning of the interview I knew that I was going to
listen to it ‘til the end, don’t matter what else I had to do, and I did. Very interesting! I was right, interviewers like you are not around anymore, and someone like Eddie Henderson is hard to find. That inspired me to say that I know I am a proper subject for your program. Though I believe you know who I am, I’m sure you don’t know some aspects of my life that are relevant in similar ways to Eddie’s.
Here you are,
Let me know.
NOTE- YOU CAN FIND ME EVERYWHERE:
YOUTUBE, IMDB, MY SPACE, LINKEDIN,ALL ABOUT JAZ, FACEBOOK, GIANNINI GUITARS, ETC.
Mayuto Correa
My guest today is expanding the musical boundaries of the Jake Feinberg Show. He grew up studying classical music however the times were so progressive that he wound up deep in roots music playing with Bill Monroe the father of bluegrass.
Before the likes of Jean Luc Ponty he was the pioneer of incorporating the electric violin in jazz/rock settings.
This led to the formation of his folk rock conglomeration Seatrain and was followed by collaborations with old follies like Jerry Garcia and David Grisman in the Great American Music Band.
His prowess and authenticity as well as a constant yearning to improve and expand his sound has led to a vibrant career as an author, band leader, educator and producer of music well after the Turn of the Century. One of the original Kentucky Colonels Richard Greene welcome to the Jake Feinberg Show.
Bill Monroe, Jerry Garcia, David Grisman, Seatrain, Scottie Stoneman, New Acoustic, Old Acoustic, Turn of the Century
One of the soul cats!
AACM, Roscoe Mitchell, Bird, NEA, Muhal Richard Abrams, Sun Ra, Absence of the Black Media, Jackson, MI,
Brains on Fire!
Brains on Fire, Reggie Workman, Fugue II, Joe Farrell, Refugee Camp, Poland, Hungary
The Jake Feinberg Show
One of the all time greats! I wish that I could have experienced his performances more.
Jimmy Smith, Hampton Hawes, Black American Music, Judo Samba, High in the Sky, Muffin Man
The Jake Feinberg Show
Ed Neumeister is a gifted trombone player. He has played in symphonies and big band orchestras. He also had a chance to play with Jerry Garcia, John Kahn, Merl Saunders and Ron Stallings who made up the gut-bucket of San Francisco. He also played strip-clubs with Mark Levine in the Tenderloin late seventies. What a career that will never stop.
Enjoy and Share,
JF
Reconstruction, Fast Tone, John Kahn, Jerry Garcia, Ron Stallings, Strip-Clubs, Mark Levine, The Tenderloin
The Jake Feinberg Show
Tyrone Brown a distinguished double bassist and part of the Funkiest Band You've Never Heard of!
Philadelphia, Earle Theatre, Catalyst, Eddie Green, Sherman Ferguson, Pat Martino
The Jake Feinberg Show
I got to play with Gene once quite recently in Philadelphia. It was
a great experience…..that Steve Grossman band from the 70’s wow!
I will check out his interview later today….
Ron Thomas
My wife and I just spent probably the most enjoyable weekends we've had at The Mission Inn in Riverside, California, for our 17th. The highlight was Henry Franklin on bass in the Presidential Lounge both Friday and Saturday night, with two different pianists: Jimmy Dykes and Gary Matsumoto. Both nights featured jazz standards and classics--and a few of their own compositions.
Skip's solos display originality and technique while staying within an arm's reach of the melody and original rhythm. I never have the feeling that he's just winging it or noodling around in the outback somewhere. His bass produced a whole lot of sustain when he wanted it, such that his stopped notes rang just like his open strings, which I do not notice in all bassists. And this was only his back-up bass since his primary bass was at the luthiers. (Both have his characteristic lion's head scroll, though.)
Cha Cha Cha, Mambo, Watching My Sisters Dance, Mambo @ the M, Laredo, TX, Marlon Brando
The Jake Feinberg Show
Eloquent guitarist from Malta talks about his musical life
Johnny Smith, Brooklyn, The Playboy Club, Larry Willis, Dick Berk
The Jake Feinberg Show
My guest today is an old friend of the show. A spiritual sage of sorts who gave my archival tribute immediate gravitas with his appearance back in early April. At the time he told me "Jake, I am really excited about what's about to unfold." At the time I accepted the compliment but did not take it seriously. Now sitting here on the precipice of a new year, after over 100 interviews, using several of these interviews to help complete a book on Cal Tjader a tribute concert to Gene Russell, and finding a family I never knew existed I now know what he was referring too. My guest hasn't had a bad year himself. A recently published autobiography came out this year about my guest and his storied existence entitled the hear and now. Im quoting one review; "Who but Pat Martino could write a memoir that effortlessly moves from discussions of Zen and expanded consciousness to street descriptions of Harlem in the mid-60's.
Welcome back Pat...
Dave Brubeck helped shape my musical life. He was incredibly honest and fearless in his musical directions. A mixture of classical and jazz in his improvisations mixed with odd time signatures and a joyful and playful approach towards experimenting. His music was never boring and always accessible. Too hip to try to be hip. He taught me how to be myself by always being himself in his music. If you can find it, check out Stardust, recorded back in the 50’s on Fantasy Records.
Michael Howell's album, "In the Silence" was instrumental in the Jake Feinberg Show going from a fantasy to a reality. When I chose to go in the direction of jazz this was one of the albums that propelled me to track down the unsung heroes of the early 1970's. Bassist Henry Franklin gave instant credibility (by playing!) to the show that I promoted in South Central. Since than I have interviewed Ndugu and today I got my crack at Michael. It was well worth the wait.
Ebony King,
JF
Ebony King, Jack's on Sutter, Flip Nunez, Glen Howell, Henry Franklin, Ndugu, Orrin Keepnews, The Call, In the Silence, Bahaina, Dizzy
The Jake Feinberg Show
An opportunity to talk to an ethnic group of students about what they need to do in order to carve out their place in Western Society. This was one of the better "trips" I have had recently on this Roller Coaster ride called life. Thanks to JC and all the dirt farmers out there.
Frequent Flyer Miles, White Like Me, Summertime, Joe Beck, Song For Wounded Knee, Agnewistic,
The Jake Feinberg Show
This one's for my Uncle Larry. Be-bop and Roses.
Mike Clark is best known for his work with Herbie Hancock on the Headhunters. He and Paul Jackson roomed together in Oakland and turned into one of the most formidable rhythm sections in the world. Still, Mike is from the Art Blakey school of jazz and he loves to swing. So much so that continues to hold it down with the likes of Mike Wolff, Scott Hamilton and plays at clubs in Detroit like "The Magic Bag." Still Mike's formative years were in the Bay Area and during the early seventies so we are in the process of doing a 3-part interview on that time period, the music and what it meant.
Actual Proof
I left Tucson I did some great interviews with some Sennheiser 441s and an IPhone. One of these was with Ernie Watts who is one of the most legendary saxophonist's of our lifetime. He played with Oliver Nelson, Cannonball Adderley, Joe Henderson, Buddy Rich, Frank Zappa and Steely Dan. His move to Los Angeles coincided with Motown's move from Detroit to Southern California so he played a ton of Rn B sessions (The Mack) and on Hollywood soundtracks.
This interview is great because Ernie, in very elegant prose, talks at length about Coltrane's influence on him as a young boy, his musical experiences in Africa and how the music business has changed. (BTW, if you wanted to rent an apartment back in the early seventies and you were a musician in order to qualify you had to put musician/composer)
Daughter of Neal Cassady talks candidly about her dad, what is what like to live with him and how he always wanted to please mom. A true Merry Prankster
I sat down with Ndugu prior to my departure to LA. It was one of those conversations where I felt like as long as I set screens, boxed out and was in the right place Ndugu would get me the ball. His intellect is undeniable and his passion for creation and getting acknowledged for creativity is paramount. We talked about leadership, mentoring, collaboration, teamwork and "music as a meal." The back half of the interview really picks up - probably because I got my sea-legs.
Music is Life, Enjoy it,
Summer tour 2011 was similar to the '84 GD. At times erratic with work coming in prolific streaks followed by sustained periods of hibernation. Still the periods of hibernation sowed the seeds of dreams which were than executed and made believable.
My first guest upon returning to the Monsoon Laden desert was Lew Tabackin. Lew T grew up in the underprivileged side of Philadelphia. When in high school during a small band competition Lew was trying to sound like Trane while others were copying the sounds of west coast be-bop. He made his way to New York and became accustom to playing in front of many of his brothers who would sit and make comments about his playing within earshot. This is a story of trial by fire although the competition was good.
Lew played on both coasts and spent sometime in Los Angeles playing with the great Billy Higgins. They made an album together in 1978 called "Black and Tan Fantasy." It was on a small label originally issued under Lew's wife, the great pianist Toshiko AKiyoshi. Last month I saw their grandson make his debut on trumpet at Gil Goldstein's July 4th spectacular. Rebirth and Regeneration.
I was joined by the legendary drummer Dick Berk. We had a ball.
He was Billie Holiday's last drummer and his stories about how she took care of him when he was a seventeen hear old on the road are really stunning. Dick was also the drummer on the song "Manuel Deeghit" which we cranked really loud. Long live Cal Tjader......and
1/2 a mile from Tucson by the Morning Light
"Don't Categorize"
By Duke Ellington
by Nat Hentoff
My oldest friend in music, Charles Mingus, never used the word jazz. He said, I play "Mingus music." Duke Ellington who I got to know when I was quite young and was my mentor never used the word "jazz." He didn't like terminology.
He gave me a lesson when I was very young. He said, "don't categorize the music. Dont use terms like "cutting edge jazz and "old time jazz". You go to each musician and you open yourself to what that particular player is telling you in his music.
I used to know John Coltrane very well. He had the sense that his music and everything he was doing was a world music. He was in a world consciousness. He would listen for hours, not just Indian music he was listening to African Tribal Music way back which was recorded.
It all becomes part of the will to be yourself collectively and individually.
What I do on Linear Notes and have always done - where does the music come from? From the musician and himself, his life, what he wanted to say in the music. You talk to these people as if you were at a bar. So my linear notes like my books on music are what musicians tell me. So I'm not a critic, Im a reporter.
Max Roach:
I was privileged to be the A&R man for Max Roach's "Freedom Now Suites." That's just when the Freedom Rides were going down south. We were all in the studio and afterwards as soon as the record was released we were banned in South Africa so we figured we'd done something.
Duke Ellington used to say to me, "Im writing about my people in these songs." If you listen to the blues singers carefully, they were singing about what society was like @ that time as well as their own blues.
Jazz is an awakening form and what I call "the spirit of this country."
This is an historic landmark in the first quarter of Jake Feinberg's radio career.
79 year old Mickey Roker appeared on my show in a pre-recorded interview that will air 7/2/11.
He is one of the greatest jazz drummers of all time. He played with Duke Pearson on all those classic Blue Note Sessions, he was Dizzy's personal drummer throughout the seventies as well as the Pablo sessions. He funked out with Reuben Wilson and Mike Longo and up until it closed was the house drummer at "Ortlieb's" in the old city (Ben Franklin Bridge).
As Yaju and I drove to Phoenix listening to the interview I couldn't help but smile as I asked Mickey questions and he would harken back to the bible or his days working on the railroad. Mickey was in a great mood as he had just gotten back from Italy.
Microtonal Blues Band, Spirit of 1976, Frank Sinatra, 700 percussive instruments,
The Jake Feinberg Show
Pony Poindexter, Miles Davis, Jon Hendricks and the Blues, Stripping of the Arts
The Jake Feinberg Show
Master saxophonist talks about his musical roots in Dallas and becoming fully ensconced in the fertile Bay Area jazz scene.
Coming to America:
"I came here at the invitation of Tony Williams. Who even today, nobody plays like Tony. The closest drummer to Tony today is Cindy Blackman.
I'm over there in Europe. Lets not equate the European Jazz scene with the American Jazz Scene. Today there's a lot more balance between the two continents but in the sixties it was America. You have no idea, since I was fifteen all I dreamt about was going to New York, New York NEW YORK! Not only New York but Harlem! That was the heart of jazz, that's where jazz was born and that was my music.
First of all when I arrived in America I nearly kissed the ground. Tony met me at the airport and he was playing with Miles that night up in Harlem so the first day I'm in Harlem and I meet Miles and the next day I saw him again and he invited me to play on "In a Silent Way." How lucky can you get! It's like your dream coming true- literally.
I was really struggling to survive but Miles helped more then anyone. He put money in my pocket, he'd say, "make sure you eat. Get by and pay your rent."
Working with Tony in those days playing clubs we were making $20 a night. But I was welcome from an artistic music point of view.
Jazz has always been marginal. Miles made money, Coltrane made money they were the big jazz stars, not fortunes like the pop people never the less good earnings, records.
Surrender-
"No one ever said it was easy, man. To be a free spirit in the true sense of the word you have to surrender to just what happens around you. You cannot fight what is, the effort of trying to fight what is is a waste of time. The only thing we can change in my opinion is ourselves. The power of dedication, the power of perseverance are all related to how much you love what you do. How much you care about what you do and how much attention you give to that.
In a way what's outside is what it is. We cannot control what is going on outside. We have to surrender to life as its dealt us. You know what Im saying.
You don't know how many different jobs I had do you? Driving Trucks, selling instruments, repairing instruments, selling cameras, selling Caviar to a London Hotel. Any number of driving jobs I've had. This is the life of a jazz musician. I never drive a taxi though. I had a lot of jobs just to keep body and soul together.i don't regret it for a second. Whatever happens to us it's part of what should happen to us. If something happens to you, it sounds hard but you have to welcome it at some point. I've had a lot of rough things happen to me but people don't want to know what life was like before I became a public figure. They don't really care to tell you the truth. It's all about whether it makes you or whether it breaks you."
People talk about the British Invasion as "The Beatles..." That the Beatles encouraged original song writing and individuality. They also are given credit for introducing Indian Music and polyrhythms to our humble land.
But what about those who don't sing on McLemore Ave or croon like James Taylor but rather play melodic invention. The fusing of all genres of music before there was any idiomatic labeling.
These types of artists are mercurial - sometimes misunderstood like Miles Davis who hired my guest because he wanted him to be himself. Play what he felt because Miles knew he had to give creative freedom to his sidemen in order to get the Bitches Brew.
Or like the Lawerence of Newark Larry Young or Tony Williams or Ted Dunbar.
My guest grew into himself because he gave himself up to Sri Chimnoy with love, surrender and devotion to his craft, the god inside him and an inner mounting flame of angst that pushes him to the brink.
Let go of yourself, lose yourself and come back to find yourself.
Harness the ego, defend originality, and Breathe.
What's my guests philosophy? From my desert view it seems to be experimentation being able to see dreams envision them and then seize them. Keep pushing the boundaries of mortality in music.
He does this by surrounding himself with others who have a lot to convey. He is not afraid of the discussion, even if Jean Luc Ponty goes off for 15 min, my guest lets artists get stuff off their chest, mind.....he is not interested in stifling others. He learned this practicing Meditation and playing music with Brian Auger, Jack Bruce and Dave Holland. Fellow British invaders themselves.
Like his kids and mine he has learned to share, take turns and devote your prowess to opening minds through melodic invention. Even if its time out of mind.
His playing is prolific, he is deeply spiritual and instead of the spoken word he can reflect this spirituality through his music and all the cats he has collaborated with.
Cats from here cats from there cats from everywhere found there unique voice through playing with others. All day, @ Baggies or in some small loft on the lower west side of Manhattan not even aware that the sun has come and gone eating a couple of sandwiches with Billy Cobham.
Perpetual evolution through sequencing of ideas. Staying in the moment as the flame burns higher and higher and you learn to stop trying to control things. You surrender to your true nature, the spirit inside you which is transcendent and appreciated by legions of musicians and music fans.
Mahavishnu John McLaughlin, Happy Memorial Day and welcome to the JFS.
My guest today is a lover, leader and life giver of music. The decisions that he makes correlate to art and relationships because you must have intimate relationships with cats to make real music.
Cats like Dino Danelli who came up playing swing music with the likes of Lionel Hampton. My guest was part of The Rascals. A rock quarter that produced jukebox hits that the ladies could bob their heads too. The group was deeper then their pop hits. The messages within their music spoke of justice for all, seeing black musicians and Latin musicians being treated poorly, demanding integration at their concerts, knowing their limitations and winding up in some Orgy following a late set @ the Port Chester Theatre.
After the calliopes have left the circus you are left with your own island of real. Not the kind of island you see on TV. Commercials rather one where the animals walk freely amongst the bush and a swirling Hammond organ drum bands are burning there way from Las Vegas to Bearsville.
My guest has collaborated with the most visceral musicians on the planet. Play from your guts, leave it out in a dream with Steve Cropper or Chuck Rainey, Alice Coltrane and Buzzy Fieton. My guest understood the value of the accompanist and the session cats in order for the rascals to play world music.
I thought Blue Eyed Soul came from Boz Scaggs but in fact it was this group that fostered the name. A dainty polite way to say that these cats were most influenced by race records, African Roots Music and The Shea Stadium Scoreboard. They were not interested in competing with the British Invaders original material but rather leaned on their own experiences which are rooted in rhythm and blues and northern soul with a blend of symphonic
My guest adapted to changing times in both personnel and within the industry knowing the cats who could help the group sound full. He also took on the burgeoning use of technology using the moog and Arp to create cosmic waves of consciousness within the ears of the listener.
My guest channeled his intensity through meditation which most likely saved him from the webs of stardom. He knows its easy to kick a rock down 26 flights of stairs then to walk a boulder up from the bottom. To look yourself in the mirror and detest what you see but instead of wallowing in self pity you find little creases and crevices and family and soul to improve yourself and make that mirror become a Peaceful World.
efore interconnection and the mass marketing of music you had regional music. Music that was created in the real time with definitive characteristics of certain parts of the country and its rhythms. Some had urban feels like The Chicago Shuffle and the beat of Dixieland or the fact that a tuba played the baseline. My guest today is responsible for creating a piece of regional American Music. One of the slow cooked south with a B-3 jamming in a crowded bar with Levon Helm and Mac Rebennack and Howard Johnson, Stephen Stills, Willie Nelson and Bill Withers. Back to records my guest made with the iconic rhythm section of Steve Cropper Donald Duck Dunn and Al Jackson Jr. A gymnasium of finger poppin' soul jazz that has mesmerized audiences for years. The marinating of Al Green, Otis Redding, and James Brown all passing through and playing with the baddest cats in town in the black neighborhoods back when venues were accessible. The love and what you chose to do with that love are a testament to the music and the musician. He can't solve everybody's problems....he busy cutting LA Jazz Song or playing flute with Rita Coolidge or showing up at the MIM in Phoenix. Booker T. Jones welcome to the JFS...
In the context of the live music experience it is imperative that your focus remains on listening and improvising off your bandmates.
It's beyond the music, it's a focus that should be able to take those with small musical pallets and take them on a ride with their own sailin shoes through a journey of music of the Americas.
By that I mean Congo Square, Dixieland, Bayou Funk, Jam Based, roadhouse blues and melodic invention. Keeping the pocket with slanting rhythms and slide work around the guitar of Lowell George, the organ of Stu Gardner and the congas of Sam Clayton, the plaintiff wailing of Bonnie Raitt or just taking his time with Billy Kreutzman.
My guest today has made the most of experiential learning on the bandstand. Little Feat is a band that has seen many different iterations but always maintained the essence of a live musical extravaganza. Not many American Roots contingents can speak to this.....maybe Rick Danko and Richard Manuel, Levon Helm and The Band. Maybe Jerry Garcia the aforementioned BK and the Grateful Dead, or Leroy Vinegar Gerald Wilson and the big bands of Burbank and Shelly's Mannehole where Art Blakey's high hat work was hypnotic and pulsating similar to the sack of magic mushrooms that audience members would indulge prior to a Allen Toussaint laden Feat show @ Ebbots Field.
My guest today has been all around this world performing at a prodigious clip in the live music setting. He came of age when you could see Ravi Shankar jam with Elvin Jones and Milt Jackson ringing the vibes in an acoustic non amplified beer tavern. He saw his heroes up close, be it Mongo's Afro blue or the Crusaders talking Tough.
When he had learned his instrument he was able to speak in musical tounges, still in small clubs that might have Commander Cody on MT, Freddie Hubbard on WTH and a weekend of Dixie Chickens. This diversification is unique to my guests brotherhood. Influences of Ellington, Dizzy, John Lee Hooker, Bill Monroe and all the blind dobro players who played on Market Street in Chicago or in Queens, NY or a professor with long hair in Nawleans.
My guest has taken all that he has heard and seen and melded into his music and his ability to entertain. He continues to have something to say.
Like Lionel Hampton or Frank Zappa my guest would often put the crowd at ease with off the cuff remarks about being a canary in a coal mine or a riverboat gambler.....keeping things loose and creating space within the music.
He knows that if he doesn't stay active he might have dirt thrown on him.
Still Willin to put it all out there, Paul Barrere welcome to the JFS.
Why was the book written was to set the record straight? This is important because at one time post Jim Morrison there was a a harmony between Manzarek, Kreiger and my guest....like a spear they blazed through and became a band of melodic invention with studio cats like Ray Neopolitan Charles Lloyd, Bobbye Porter Hall and all the other ships with sails. Who do you think scouted this talent? Who do think was inside the Hollywood studios banging on vibes with Emil Richards or brought Harvey Brooks on a brief tour when Manzerek couldn't handle the bass lines ....my guest.
This unison was channeled in a metaphysical sense from Maharisi Maresh Yogi who helped youthful rebels like my guest elevate to transcendental consciousness.
He visited the states often, held seminars, was connected to his students in the most intimate fashion this with the spawning of legal LSD created by our government and lackadaisical music executives allowed for humanity to grow and the music to be full of all those spices. It operated in a free space, unencumbered by modern day pole testing and barrier laden music.
The book was written to show that people are corruptible, even people seemed saintly can become tainted with greed and lose the balance of craft, survival and soul. The maddening attempt to justify using the name The Doors to make millions of dollars so you can buy that 5th Lamborghini, the Mitt Romney La Cholla beach house even though Manzarek and Kreiger would have been kicked to the curb before the gig got started except for one Jim Morrison who created the poet warrior with an emphasis on art and not on the trolls whose double breasted suits reak of uniformity, elimination of humanity and authenticity. Team over the one.
You can do it all, you could before and it will be done again but not without insurgents like my guest providing a lineage parading through college towns touring his new book and old wisdom. How to advocate for yourself, how to swing the band and how to look a bottom line corporation in the face and say thanks but no thanks to your millions of dollars because my soul and Atma will be better off for it. Standing for principles can be like sticking your head in the sand.....but when someone stands up for the values of a long lost brother honoring the same principles infused in him by that brother there is only one way to describe it. The anti-greed gene....
He doesn't apologize for these personality traits. Some where embedded in his soul by others he learned along the way with Francisco Aquabellella, Shelly Manne, Keith Rucker and Michael Stull.......
What to make of Jim Morrison I just don't know. He passed before I started this program. So i cant talk to him. As a journalist and a historian instead of watching movies or reading biographies I prefer to do primary source excavation with those still visiting this planet.
John Densmore a high honor to welcome you to the JFS.....
Swing Your Ass Off, Bill Goodwin, Buddy Rich, RIOT, Thelonious Monk, Charlie Parker, Dizzy Gilespie
The Jake Feinberg Show
Stud drummer talks about defying the hands of time and still being able to pass along the timeless rhythmic knowledge he has gathered along the way.
Charlie Parker, Max Roach, Cymbals, I'm A Player, CFSD, Subbing, Ted Dunbar, Richard Davis
This program has been dedicated to the unsung. Those who lie below the surface waiting for the phone to ring and the calendar to fill up.
It's these unsung folks that made careers for the pop stars that most people are familiar with.
It's a quarter past 10 and my guest is disassembling his kit for the 4th time that day. He had a commercial in the morning, a game show in the afternoon, a bluegrass record date and then playing jazz for free in Larry Gales coffee house with the Afro Blues Quintet.....
My guest today is one of the most versatile drummers in the world. He adapted to the changing musical landscape using his first love of jazz to swing into the melting pot of the psychedelic era. He's been knocking on Heavens Door with Bob Dylan, female soul groups with Wilton Felder or burning gypsy music with Gabor Szabo. He was a Constant Pulse with John Klemmer and lives in the Material World with the late George Harrison while Ringo looks at the North Star peppering the high hat in the vaunted studio scene of LA. Soundtracks, Gospel, Funk, Folk, World, the Traveling Wilbury's, Booker T Jones and John Lennon.
His impact on music is unquantifiable. How many albums did he swing the band on like Mickey Roker or Elvin Jones. He is the same master drumming discussion as Bernard Purdie, Earl Palmer, Bill Lavorgna and Hal Blaine.
I believe that my guests heart is full of love. He tries to fit into each musical setting as an accompanist just like Emil Richards and Victor Feldman, Henry Franklin and Hal Gordon. He's not interested in showing off his monster chops because often times it's the space within the music that helps it transcend to a spiritual language of the cosmos, dripping with the poetry of Levon Helm, Leon Russell and Elvis Presley all the while helping average people wash away the dust of everyday life.
Jim Keltner welcome to the JFS.
Brilliant inventive guitarist talks about expanding his sonic pallet and collaborating with the late great Walter Becker
A further discussion about creating in the moment authentic song and dance, being hunted as a model and learning to love herself and trust in authentic musical collaboration.
Along the way on this bus to never never land The spirits have helped bring me closer to my native seed. The ability at @ 32 years old to begin to harness my passion for music with my broadcasting prowess.
This is not to say that the journey has not been winding, laborious and full of lessons. Still, there are moments when you realize what your doing is painting a picture of Americana.
Mexico is the country south of the United States. And it's in the biggest of cities, Mexico, that my guest started his life.
He was around the Cunga as the city itself was thriving amongst the mix of Afro Cuban, Bossa and Native Rhythms.
Upon returning to the states as a kid my guest wound up living one block away from Bob Weir. While they never played music as kids it was an initial connection that would be amplified later on.
Before Kingfish, the British Gigs and Partying with Brent Mydland my guest had to stand out. He had to get up at an all black club, the kind that this host fantasies about, and play his harmonica.
The blues leaders of the Day in the South Bay were the liked if Clifford Coulter, Johnny Carswell and Mel Brown.
One day in San Diego I walked into a record shop and noticed this Mel Brown LP and when I looked at the personnel there was my guest on Impulse late sixties and at that point the intersection had occurred.
Taking chances has been my guests whole life. Putting your best intentions forward willing to see a spark of creativity and also succumbing to the Harmony of the Underworld.
Gifted pianist talks about her formative trips to India discovering transcendental meditation and south Indian classical music.
What's happening in today's world is that everything is happening so quickly that the minute a good idea comes along it doesn't have a chance to drop root because we have already moved on to the next idea and then another idea and then another idea
You find people clamoring to sink into one and before they are really able to experience it and understand it and enjoy it they are thrown into another little pond. So I can see people narrowing their viewpoint. They are saying, "hey let me get used to this one before I move onto the next.
It's the rapidly changing nature of our cultural journey. The world has gotten smaller quite rapidly much faster then it needed to. To much is out there and too much is being thrown at everybody and they don't know how to react to it. You find people who enjoy rap fighting with people doing hip hop. "Hey rap is where it's at, no hip hops the best" when in fact both have similar ingredients.
With someone like Ali Akbar Kahn you have to say he made the ultimate sacrifice. He was @ the height of his professional career as a performer in the 60s. He was accepted as one of the greatest musicians of our time.
He said, "well if I have to pass on this knowledge I'm going to have to drop anchor and stay somewhere. Have students come to me and be available day in and day out. If that means I have to sacrifice my professional career as a musician then that's what's going to happen. So that's what he did. When you went to his class you felt like you were in a Temple, a place of worship. A place where the whole world was blocked out by something so Reverent and so strong that no negative energy could pierce it. There you were in that world learning from him with no distractions at all.
The one thing about him was that he was so spiritually at peace with himself. The idea of the material world, having great success and accolades did not matter. What mattered was preserving, nurturing and passing on the knowledge that he grew up with and the wondrous nature of it."
That kind of sacrifice is something only spiritual gods and sages are capable off."
Iconic string bass player talks about learning to keep time with Elvin and living a musical life.
My guest today relentlessly pursues individual sound. He knows the spirit inside him sings from an island shore in the middle of the world, a cotton field in New Madrid Missouri or at Smalls Paradise in Harlem where Jimmy Smith would groove that organ like a wailer.
My guest today is a conductor of major symphony orchestras in the US and Canada so he has roots in the classical idiom but when performing he likes to swing the band like Tony Williams except unlike polyrhythms my guest uses his voice polyphonic ally performing the main melody and accompanying parts of the song. He blends this with the soul of Bill Withers, Save Me Jesus in Grandmas hands with Gil Scott Heron and Leon Thomas.
Every time my guest performs he carries with him the burning spear of electricity. Being able to project with confidence and clairvoyance be it the Pink Panther or The PBS series This is Your Brain on Music or coming over the top of a Gil Goldstein accordion solo.
My guests individuality has led to 10 Grammy awards, invitations to play all over the world spreading his message of spirituality not religiosity and the conjoining of faith with the incandescent vocal as libs, beats, cuica's, and spoken word that make music the magic that it is.
Bobby McFerrin, welcome to the JFS
West Coast vibraphonist breaks down his life on the musical roller coaster of life. We Live In Brooklyn, baby.....
Legendary studio and live drummer talks about playing with Elvis Presley and Jerry Garcia.
Dynamic and explosive jazz and funk drummer talks about his days playing clubs in Detroit and road doggin' with King Curtis and Harry Belafonte.
Brilliant drummer talks about his life in the world of music.
Legendary Tuba player and multi-reed session talks about his life in music. RIP Levon Helm...
Unheralded singer talks about joining Pacific Range, her willingness to push herself out of her comfort zone and staying inspired in the age of COVID.
Yogic stalwart talks about his path towards enlightenment and recognizing that we as people have no "free will." A conversation about getting out of your own way and finding that small smile at the end of a long day.
Cosmic New England Cowboy talks about his latest album, how he found his own voice and his collaboration with the late grate Neal Casal.
Studio shark and award winning sax player talks about playing with George Duke, the sonic difference between small and large venues and leading a life of authentic music.
Cosmic pianist talks about her musical influences, her need to stretch out and how COVID has challenged her adaptability as a musical healer.
Epic hang with a young cat looking to impact hearts and minds on and off the bandstand.
Dynamic musician talks about playing music in the age of COVID, overcoming his own anxiety on and off the bandstand and the resilience of humanity in the midst of crisis.
Hammond B-3 organist talks about sitting in front of Chester Thompson's Leslie Speaker, his affinity for gospel music and the soul element of music.
Spiritual guide and teacher talks about the evolution of his soul in the western world.
Iconic double bassist talks about his musical life and career past, present and future.
Singer songwriter talks about accessing her multi-dimensional self on the bandstand, how to under-rehearse a band and the lineage of her family musical tree.
Part II with the first call session guitar player at Chess Records.
Legendary guitarist talks about his musical life in Chicago and beyond.
A double-bassist and bandstand tested musician talks about following the muse, stretching out and improvising and the spiritual healing of music.
Unique and ubiquitous pianist talks about musical composition and improvisation and his time in New York burning with the CATS!
Multi-instrumentalist talks of learning to improvise by ear, the value of communal music and expanding consciousness to the spirit mind.
Prolific guitarist talks about developing her own individual sound, dealing with the up and down emotions of a musicians life and recognizing that if she gets out of her own way she is a conduit for spiritual music.
Guitarist and band leader talks about his "aversion" to the Grateful Dead and how he learned to appreciate, recognize and contribute to their legacy as part of the iconic American song book.
Monster Hammond B-3 organist talks about his upbringing in Atlanta, playing fearless uncompromising music and the origination of Black Jazz Records.
One of the greatest drummers in music history talks about his concept of race and skin color, playing with Dizzy, Rahsaan
& Freddie and how new musical vocabulary will come about.
Maybe the first to blend his gospel roots with rnb and jazz. B-3 organ player who is uncompromising and brilliant.
Bass titan riffs on his family's tight knit Detroit roots and that racism is still alive and well in America.
For quite some time half a century ago only two schools in this country had jazz programs. One was N. Texas State and the other was the Berkeley School of Music in Boston.
My guest today is one of the earliest alumni's of a school that has produced the likes of Alan Broadbent, Ernie Watts, Gene Perla and Dick Berk and TOSHIKO Akiyoshi. When my guest went there it was a brotherhood of 300 men and woman who studied under the masters like Herb Pomeroy, Ray Santizzi, Alan Dawson and Jaki Byard and had opportunities to play live and get loose at venues like The Jazz Workshop, Lennie's on the Turnpike and Latin Salsa Dance Halls. In fact even if you didn't go to Berklee you could still sit in on lectures and jams.
My guest today is a guitar player who is prolific in melodic sequencing and ferocious output. He plays the electric guitar, mandolin and piano strumming his way to sublimation with Jack Dejohnette, Billy Cobham, Colin Walcott and George Marsh, Joe Beck, Tom Knific, Dave Holland Jan Hammer and Johnny Hammond Smith.
He plays music without regard to barriers. His generation makes music that feels good because they understand the balance between mathematics and soul. They also played live for weeks at a time at the same venue performing complex Gil Evans tunes developing their own sound and individuality that created their identities.
Still blazing new trails with his axe, JAbercrombie
Master drummer and percussionist breaks down his musical philosophies......
There are and have been great musicians in every era of every century. They find a way to use the elements around them to be industrious. Maybe it's building your own instrument, have a shack or two to practice in and a drive and closure from spirituality.
I do not know what the music scene is like in Jerusalem. But the real question is what it must have been like when my guest was coming into his own with industrious self assured cats who were increasing music sonically and not letting barriers get in the way.
I don't think I've had a guest who best epitomizes the elasticity and camaraderie then the bassist I have today.
Going from Coast to Coast finding production and studio time with Teo Macero and Miles Davis John Simon and Seals and Crofts. Then heading to west Marin connecting with Michael Bloomfield who brought the Chicago Blues to the Bay Area waving electric flags while dropping bombs in front of mushroom addled youth and more.
My guest literally experienced the shift from acoustic to electric instrumentation. He was positively forthright paving the way for Bob Dylan to gain foothold in the new sonic world. Playing with Robbie Robertson and Levon Helm maybe the Hawk Ronnie Hawkins. Seeing and experiencing the consciousness shift in both society and a music industry that treated my guest to a Soft Parade of gigs from White Lightning' to Bitches Brew. Playing the electric bass over under and around Dave Hollands acoustic.
I have met my guest several times at the 17th street market here in Tucson, AZ.
He had a band here and lived here for nearly two decades. I have a feeling that the mountains have him peace of mind but he's always been relaxed on the bandstand.
Today he has returned to the motherland to bring music to the Jewish People. Bedouin music I like to call it.
Live from Jerusalem Harvey Brooks welcome to the JFS
Iconic studio and live performer of the bass. RIP
A frank discussion about racism and its modernization in our society today with a master musician.
Thanks Richard
En liten tjänst av I'm With Friends. Finns även på engelska.