Billy Cobham's Glass Menagerie - New Haven 1982 (No Label)
Toad's Place, New Haven, Connecticut May 9, 1982.
Everyday I Have the Blues Live at SFJAZZ, October 2017.
Phil Lesh & Friends "Unbroken Chain" Atlantic City, NJ 12/9/05
We fondly remember, and with sadness, the founder of The Grateful Dead, bassist, Phil Lesh, who has passed away, onto the next life. Lesh anchored the band on bass and vocals, along with Jerry Garcia on guitar and vocals, Bob Weir, on guitar and vocals, Ron "Pigpen" McKernan, on keyboards, and drummers Bill Kreutzmann and Mickey Hart. Rest In Peace, Phil Lesh. You will be missed.
A music video for the latest single from Joe Bonamassa. The song is titled "Better The Devil You Know".
Another Sunday Special this week.
The Bob James Trio relive the magic of this enduring jazz-funk masterpiece, filmed in splendid 4K and recorded in HiRes audio.
Featuring Bob James (Keys), Michael Palazzolo (Bass) and Billy Kilson (Drums).
Joe Bonamassa, Eric Gales and John McLaughlin perform "Breaking Up Somebody's Home" at the 2023 Crossroads Guitar Festival. RHINO and Eric Clapton will release the new live album and concert film Eric Clapton’s Crossroads Guitar Festival 2023 on November 29, 2024. It will be available in various configurations, including 4CD/2Blu-Ray, 6LP Vinyl, 2DVD, and Digital (streaming & Dolby ATMOS mix).
Again, watch for the release date, in about a month. November 29th.
Aurex Jazz Fest '80, Budokan, Tokyo, Japan, Sept. 2, 1980.
From Bret "Jazz Video Guy" Primack.
Claire Daly was a baritone saxophonist and composer. Clair began to play jazz as a teen after hearing a big band perform at a community center in Westchester County, New York, where she grew up. She attended Berklee College of Music. She taught at Jazz at Lincoln Center's middle school jazz program for 10 years. Daly won the Down Beat Critics' Poll "Talent Deserving Wider Recognition" six times and in 2018, 2017 and 2005 won the Jazz Journalists Association's "Baritone Saxophonist of the Year". Video from Jazz Video Guy Live, May 25, 2020
Billy Cobham's Glass Menagerie - New Haven 1982 (No Label)
Toad's Place, New Haven, Connecticut May 9, 1982.
From a live performance at the Greek Theater in Los Angeles, California, here is Joe Bonamassa and His Band performing "I Get Evil" featuring Reese Wynans on Hammond organ.
Live at Carnegie Hall in New York, Joe Bonamassa performs an old folk song that is still relevant a century later in our current times of inflation and economic ills. This tune is "How Can a Poor Man Stand Such Times and Live?" originally written and recorded by Blind Alfred Reed on the violin.
This week's Sunday Special.
Live in Bern.
Satin Doll - Joey DeFrancesco, Bobby Durham, Massimo Farao.
Hey, everybody, here's a bonus for you. A Full Concert Saturday this week. Singer-pianist Blossom Dearie joined forces with Billy Taylor for this 1985 half-hour TV special. Check this out. This is cool. Thanks to discovering Billy Taylor, I have also discovered Blossom Dearie. A couple of great musicians. Billy Taylor and Blossom Dearie are both phenomenal pianists. Plus, there is the aspect of Blossom Dearie's singing and songwriting that adds to this whole show. It's hip. Dig it.
Another Full Concert Friday this week. The title of the video post says it all. The late, great Michael Brecker, playing a solo concert at AVO Session Basel in 2001.
From 'Black Omnibus TV show', taped in Hollywood, California, 1972 or January 1973.
From 'Black Omnibus TV show', taped in Hollywood, California, 1972 or January 1973.
From a 1968 performance at the Cafe au Go Go in New York, New York, here is B.B. King with the medley of "Sweet Sixteen" "I Don't Want You Cuttin' Off Your Hair", as requested by an audience member.
From Bret "Jazz Video Guy" Primack.
We don't get to write our final chapter. I'm so sorry that Michael endured so much hardship in his last years. The truth is, life often lacks fairness. Yet, his legacy will forever be impactful, which is truly significant. One aspect of growing older that I find difficult is the loss of friends. As time passes, these losses seem to happen more frequently, and the uncertainty of life becomes more apparent. Eventually, everything comes full circle. Had it not been for my recent medical intervention, I might be facing my departure from this life. Now, I am committed to making the most of each day. Michael's dedication and professionalism continue to inspire me.
This week's Sunday Special.
From Bret "Jazz Video Guy" Primack.
Willard Jenkins—recipient of the 2024 A.B. Spellman NEA Jazz Masters Fellowship for Jazz Advocacy—has been involved in jazz as a writer, broadcaster, educator, historian, artistic director and arts consultant since the 1970s and is one of the major voices in promulgating the music and its importance to American culture. Currently the artistic director of the DC Jazz Festival as well as the host of the Ancient/Future program on DC’s WPFW radio station, the only jazz station in the nation’s capital, Jenkins is an authority on the local as well as national jazz scene. Jenkins was born in Pittsburgh, Pennsylvania, and grew up in Cleveland, Ohio, in a household that was overflowing with jazz music. He cultivated his own love of the music first through his father’s record collection, then through local jazz radio station WCUY. While at Kent State University earning a BA degree in sociology, Jenkins joined Omega Psi Phi and began writing about jazz for the Black student newspaper and then became a regular contributor to the Cleveland Plain Dealer after graduating. He subsequently contributed to local, regional, national, and international publications with contributions appearing in JazzTimes, Inside Arts, DownBeat, Jazz Forum, and numerous other publications and online sites, as well as providing liner notes for jazz recordings. In 1977, he founded the Northeast Ohio Jazz Society as a concert presenter. From 1979 until 1984, Jenkins taught jazz history at Cleveland State University, and continued his teaching through an online course, Jazz Imagines Africa, for Kent State University, which he taught starting in 2005. In 1983, Jenkins conducted a regional needs assessment/research and feasibility study on jazz in the Midwest, which led to the development of the nation’s first regional jazz service program at Arts Midwest. He went on to work at Arts Midwest until 1989, publishing the quarterly Jazzletter, developing the first regional jazz database, and writing a series of how-to technical assistance booklets for musicians, presenters, educators, and organizations. At Arts Midwest, he also produced the first jazz media conference, which led to development of the Jazz Journalist Association. From 1989 until 1994, Jenkins was executive director of the National Jazz Service Organization in Washington, DC. In 1990, he was an architect of the Lila Wallace-Reader’s Digest National Jazz Network, which received an initial funding allocation of $3.4 million to develop a network of presenting organizations and regional arts organizations. Over the arc of his career, Jenkins has also served as 18-year artistic director of Tri-C JazzFest, BeanTown Jazz Festival, Tribeca Performing Arts Center, and as artistic consultant to the Mid-Atlantic Jazz Festival, 651 Arts, Harlem Stage/Aaron Davis, and the Smithsonian Institution. He also conducted in-depth oral history interviews for the Smithsonian Institution, the Rhythm and Blues Foundation, and Weeksville Heritage Center. In addition to WPFW, Jenkins has served as program host and producer at WWOZ in New Orleans, KFAI in Minneapolis, and BET Jazz. In 2010, he worked with Randy Weston on his highly praised as-told-to autobiography, arranging the material in the book. He writes and edits a blog, The Independent Ear, on his website openskyjazz.com and recently used a collection of interviews he conducted on the blog with Black music critics for his new book, Ain’t But a Few of Us: Black Music Writers Tell Their Story, that was released in late 2022. He also produces and hosts a biweekly online jazz trivia contest called Jazzology for the website Savage Content, for whom he wrote a 13-episode biographical podcast on Billie Holiday, No Regrets.
From Bret "Jazz Video Guy" Primack.
From 2008 interview with Mulgrew Miller. Here, he offers his thoughts on fellow pianist John Hicks. Then, a John Hicks solo, from a Pharoah Sanders gig, with bassist Walter Booker and drummer Idris Muhammad. They play a John Hicks composition, Yemenja.
Full Concert Friday this week, featuring jazz guitar virtuoso Stanley Jordan in a performance at the 1987 North Sea Jazz Festival, on July 11th, 1987.
Stanley Jordan (born July 31, 1959) is an outstanding American jazz guitarist whose technique involves tapping his fingers on the fretboard of the guitar with both hands.
Jordan's touch technique is an advanced form of two-handed tapping. The guitarist produces a note using only one finger by quickly tapping (or hammering) his finger down behind the appropriate fret.
He was the first artist signed to the Blue Note label started by Bruce Lundvall in 1985. Blue Note released his album Magic Touch, which sat at No.1 on Billboard 's jazz chart for 51 weeks, setting a record.
Stanley Jordan played with Quincy Jones, Benny Carter, Dizzy Gillespie, The Dave Matthews Band, and numerous other artists.
This outstanding solo recording was made during Stanley Jordan’s first visit to the North Sea Jazz Festival in the Congress Building, The Hague, The Netherlands on 11 July 1987.
From Bret "Jazz Video Guy" Primack. The Gods of Yoruba from the African Ascension Suite, Part 1 (Silver) from the Umbria Jazz Festival, 1985. Horace Silver, piano; Brian Lynch, trumpet; Ralph Moore, tenor saxophone; Luther Hughes, bass and Carl Burnett on drums. The original recording of this composition appeared on Silver ’N Percussion.
The title track to Robert John & The Wreck's latest record called "Red Moon Rising". Check it out.
From Warren Haynes' latest record "Million Voices Whisper" and featuring backing vocals from Jamey Johnson and Lukas Nelson, this is "Day of Reckoning", uniting the world in positivity and hope, if that is possible for humanity at large.
• Written by Randy Brecker • Recorded at Sound Media, NY • Remastered by Kouji Suzuki at Sony Studio, Shinano-machi Tokyo, Japan — Steve Khan: electric guitar — Jeff Mironov: electric guitar — David Sanborn: alto saxophone — Michael Brecker: tenor saxophone — Randy Brecker: trumpet — Don Grolnick: Fender Rhodes piano, acoustic piano — Will Lee: electric bass — Steve Gadd: drums — Ralph MacDonald: percussion • Cover painting by Jean-Michel Folon • CD: "Steve Khan: The Blue Man" - Columbia (496853 2) - Europe 1998 (?) • Original LP: "Steve Khan: The Blue Man" - Columbia (JC 35539) - US 1978 ( http://www.discogs.com/Steve-Khan-The... )
Continuing to pay tribute to the late, great jazz tenor saxophonist Benny Golson, with his tribute to vibraphonist Milt Jackson, "Bag's Groove" is this week's Sunday Special, via Bret "Jazz Video Guy" Primack.
Bag's Groove - (Jackson) Benny Golson - tenor saxophone; Roy Hargrove - trumpet; Curtis Fuller - trombone; Stefon Harris - vibraphone; Mulgrew Miller - piano; Dan Berglund - bass; Magnus Öström - drums. Große Konzertscheune, Jazzbaltica, Salzau, Germany, 13th June 2000.
From Bret "Jazz Video Guy" Primack. We continue honoring the memory and the legacy of jazz saxophone great, Benny Golson.
Saxophonist Patrick Bartley's Tribute to Benny Golson. Stablemates (Golson) The Patrick Bartley Trio, captured live on November 19, 2023 at No Room For Squares in Tokyo, Japan. Patrick Bartley - Alto Sax; Yuji Ito - Bass; and Hiro Kimura - Drums Benny Golson is a highly influential jazz saxophonist, composer, and arranger, known for his rich contributions to hard bop and modern jazz. He composed many jazz standards, including "I Remember Clifford," "Killer Joe," and "Whisper Not." Golson was a key figure in bands like Art Blakey's Jazz Messengers and worked with legends like John Coltrane and Dizzy Gillespie. His ability to blend lyrical melodies with sophisticated harmonies made him stand out as both a performer and a composer, leaving a lasting mark on jazz history.
From Bret "Jazz Video Guy" Primack.
Große Konzertscheune, Jazzbaltica, Salzau, Germany, 13th June 2000
This number is called "Ain't Nobody's Business" sung by Jimmy Witherspoon. This recording from July 12, 1981, is a very special evening, the sequel of the movie: The Last of the Blue Devils playing in the PWA zaal NSJF. A very special occasion where superstar soloists came together in one band, to play for the NSJF audience. On trumpet Joe Newman, Harry ‘Sweets’ Edison, Waymon Reed and Snooky Young. On trombone - Benny Powel, Al Grey and John Gordon. On sax Frank Foster, Chris Woods. On tenor sax Buddy Tate. On alto sax Marshall Royal. On piano - Nat Pierce. On bass Eddie Jones. On drums Gus Johnson. And with Clark Terry. The Count Basie Alumni Big Band, inspired by the enduring legacy of the legendary jazz pianist and bandleader William "Count" Basie, pays homage to the swing era and the iconic Count Basie Orchestra. Although there isn't a single, continuous alumni big band affiliated directly with Count Basie, various ensembles have emerged over the years, featuring former members of Basie's orchestra. Count Basie, a trailblazer in the big band and swing jazz movements, established his initial big band in the late 1930s. Renowned for its tight, rhythmic style and influential soloists, the orchestra saw the passage of numerous talented musicians. These alumni bands function as a living tribute to Count Basie.
Bessie Smith and many more artists have performed this song. It was written in 1922 by Porter Grainger and Everett Robbins.
This number is called "Big Boss Man" sung by Jimmy Witherspoon. This recording from July 12, 1981 is a very special evening, the sequel of the movie: The Last of The Blue Devils playing in the PWA zaal NSJF. A very special occasion where superstar soloists came together in one band, to play for the NSJF audience. On trumpet Joe Newman, Harry ‘Sweets’ Edison, Waymon Reed and Snooky Young. On trombone - Benny Powel, Al Grey and John Gordon. On sax Frank Foster, Chris Woods. On tenor sax Buddy Tate. On alto sax Marshall Royal. On piano - Nat Pierce. On bass Eddie Jones. On drums Gus Johnson. And with Clark Terry. The Count Basie Alumni Big Band, inspired by the enduring legacy of the legendary jazz pianist and bandleader William "Count" Basie, pays homage to the swing era and the iconic Count Basie Orchestra. Although there isn't a single, continuous alumni big band affiliated directly with Count Basie, various ensembles have emerged over the years, featuring former members of Basie's orchestra. Count Basie, a trailblazer in the big band and swing jazz movements, established his initial big band in the late 1930s. Renowned for its tight, rhythmic style and influential soloists, the orchestra saw the passage of numerous talented musicians. These alumni bands function as a living tribute to Count Basie.
Incidentally, this song, "Big Boss Man" was first recorded by bluesman Jimmy Reed in 1960.
Remembering the late, great jazz saxophone legend, Benny Golson.
From Bret "Jazz Video Guy" Primack.
Stablemates (Golson). Benny Golson, tenor saxophone, Joan Monné, piano, Ignasi Gonzalez, bass, and Jo Krause drums. Benny Golson, the iconic tenor saxophonist and one of jazz’s most celebrated composers, passed away on September 21, 2024, at the age of 95. A towering figure in the world of jazz, Golson’s contributions as both a musician and a composer have left an indelible mark on the genre, shaping the sound and direction of jazz over multiple decades. Born on January 25, 1929, in Philadelphia, Pennsylvania, Golson rose to prominence in the 1950s as a key figure in the hard bop movement, blending bebop sophistication with blues and R&B influences. He played alongside jazz legends such as Dizzy Gillespie, Art Blakey, John Coltrane, and Lionel Hampton, earning a reputation for his lyrical tone and expressive playing. But it was Golson’s extraordinary talent as a composer that set him apart. His compositions have become jazz standards, recorded and performed by musicians around the world. Iconic pieces such as “I Remember Clifford,” written in memory of trumpeter Clifford Brown, "Whisper Not," "Killer Joe," "Stablemates," and "Along Came Betty" continue to define modern jazz and are beloved across generations of jazz enthusiasts. In addition to his work with Art Blakey’s Jazz Messengers, Golson co-founded the Jazztet with trumpeter Art Farmer in 1959. The group became a cornerstone of the hard bop sound and further established Golson’s influence as both a composer and performer. His contributions during this period helped to cement the hard bop style as a dominant force in jazz. Beyond the world of live performance, Golson's versatility extended to television and film, where he composed and arranged for shows like M*A*S*H and Mission: Impossible. His ability to seamlessly blend jazz with cinematic scores made him a sought-after talent in the entertainment industry. A revered educator, Golson also dedicated much of his life to sharing his deep knowledge of jazz history and technique. He mentored countless musicians and lectured extensively, leaving a lasting impact on future generations of jazz artists. His role as both a historian and creator of jazz ensured that his legacy would endure not only through his recordings but also through the students he inspired. Benny Golson’s influence on jazz is immeasurable. His music transcends time, embodying the soul, complexity, and beauty of the genre. As a performer, composer, and educator, his legacy will continue to inspire and shape the world of jazz for generations to come. He is survived by his family and a global community of musicians and fans who celebrate his life and music. Benny Golson’s spirit will forever echo in the melodies of the jazz standards he leaves behind.'
