Strictly Jazz Sounds-SJS

Episode 31-Jaleel Shaw: Painting the Invisibility in Jazz Jazz for Philadelphia native and alto saxophonist Jaleel Shaw is a soulful, boundary-pushing journey. His impressive collaborations include NEA Jazz Masters Roy Haynes and Terri Lyne Carrington, Grammy Award-winning artists: bassists Dave Holland and Christian McBride, and pianists Kris Davis, Robert Glasper, and Jason Moran. Shaw's musical story emerges from his mother's insistence on raising her son in a household where diverse music was heard throughout his young years, leading to lessons on multiple instruments-piano, the drums, clarinet, violin and alto saxophone. Jaleel Shaw's mother and the rich tapestry of Philadelphia's jazz scene, where early guidance from teachers like Dennis Sandole and Lovett Hines and mentorship from legends like Roy Haynes shaped his improvisational voice and stage presence. Shaw often recalls lessons learned in dim-lit clubs and crowded rehearsals, experiences that have fueled his growth across two decades in the spotlight. It's through learning about African American history that Jaleel Shaw has been able to feel the pride of being a Black man and convey it in his music. This has enabled him to dive deeper into composing music that speaks to his emotions and the Black condition in this country. Shaw's first album in 13 years showcases an all-star quartet—Lawrence Fields (piano), Ben Street (bass), Joe Dyson (drums)—and guests Sasha Berliner (vibraphone) and Lage Lund (guitar). The project pays tribute to ancestors and victims like Tamir Rice and Breonna Taylor, addressing invisibility, grief, and community, while reflecting Shaw's advocacy against book bans and erasure of "woke" narratives. As Shaw navigates both his artistry and fatherhood, his music becomes a living testament to resilience and hope. Through "Painter of the Invisible," listeners witness not only Shaw's technical brilliance but also his deep commitment to social justice and personal storytelling. Each note and lyric echoes the journey of a musician determined to bring unseen stories and marginalized voices into the spotlight, creating a legacy that intertwines family, community, and creative exploration. Thanks to Changu Records, there are three featured tracks from Painter of the Invisible (2025) are: "Gina's Ascent, Featuring Sasha Berline-vibraphone, 9:32," "Tamir (For Tamir Rice), 10:53" and "The Invisible Man, Featuring Lage Lund, 9:32." Thank you for choosing Strictly Jazz Sounds. Photo by Yusuke Yamanouchi. #jaleelshaw #strictlyjazzsounds

It's a challenge to describe bassist John Patitucci. He's a 2025 Jazz Journalists Association Award winner for Electric Bassist of the Year, and four-time Grammy Award winning artist, one of today's elite bassists, not just jazz but in all of music, but that's too limiting. John is a bassist with not only excellent rhythm but a complex, angular rhythmic style with dynamic and warm tones and a style that moves people emotionally as well as physically. No, that's too inadequate. John describes himself as, "a man of faith." But when I step back, I realize all the above pretty much sums it up. A Brooklyn, New York native, John Patitucci's musical history is, in his words, a "Cinderella story." At 25 years old, he was suddenly whisked away by iconic jazz pianist Chick Corea to join his new band, the Chick Corea Elektric Band and later the Akoustic Band where he played a large role in developing the sound of jazz fusion of the 1980s and 90s. It was Chick Corea who facilitated Patitucci's connection with GRP Records to make his first recordings and then tour the world, quickly becoming a global jazz figure. The story continues in 1986 when he was invited by saxophonist legend Maestro Wayne Shorter to contribute to his Columbia Records project Phantom Navigator. This led to Patitucci joining Wayne Shorter's 20-year four-time Grammy Award winning quartet, along with his good friends, pianist Danilo Perez and drummer Brian Blade. For John, this was the ultimate life. While Chick's band set John on a forward trajectory, it was in Wayne Shorter's band that he grew spiritually as well as technically. "The things that happened on stage are spiritual experiences for me. It's been transformative." It's this spiritual development that is the pinnacle component of our conversation. John's "faith" plays a large role in his music, his stage presence, and his relationships with key band members including saxophone giant Chris Potter and legendary drummer Brian Blade. His fondness for pianist Danilo Perez continues from their brotherhood in the Wayne Shorter Quartet. This conversation occurs just as John, Danilo Perez, and Brian Blade returned with iconic saxophonist Ravi Coltrane on the three-week Wayne Shorter Legacy Tour in Europe. We open the episode recounting the tour and the importance faith played in it. We spent time delving into his recent recording, Spirit Fall, laughing and enjoying ourselves describing the compositions that impressed us the most. The creation and emotional depth of Spirit Fall, recorded without rehearsals, is a focal point of the conversation, illustrating the trio's deep connection and improvisational synergy that's felt throughout the album. Thanks to Edition Records, there are three tracks to listen to on this episode. The John Patitucci Trio: John Patitucci-double bass/electric bass, Chris Potter-tenor saxophone/bass clarinet, and Brian Blade-drums/percussion. The playlist: Think Fast (6:51), Spirit Fall (6:18), and Lipi'm (7:40), all John Patitucci compositions and produced by John Patitucci. Thank you for listening to this podcast. I know you have many others to listen to, but you chose Strictly Jazz Sounds. When you subscribe you become one of the first to hear new episodes, read articles, see new photos, and learn of my annual "Best of" list. Soon, I will introduce a Patreon opportunity, your way of saying thanks to me for spending the more than 25 hours per episode to bring it to you. John Patitucci and I dove right into the conversation talking about one of his most cherished people, Brian Blade, and the impact their collaborations had on John's sound, particularly highlighting Brian Blade's dynamic drumming. Photo by Dave Stapleton.

Alto saxophonist Erena Terakubo, from Sapporo, Japan, began her recording career early, releasing her first album when she was only 15 years old. Inspired by a saxophone-playing M&M doll, Erena developed an interest in music that led her to become a notable figure in contemporary jazz. Her journey inclu0des playing in big bands in Sapporo and preferring jazz over classical music. In this episode, Erena Terakubo exuberantly shares her early influences, including J Fusion and musicians like Charlie Parker and David Sanborn. She shares insights into her life in the United States, cultural adjustments, and the challenges she encounters in New York City's jazz scene. With guidance from fellow alto sax player Vincent Herring, Erena navigated the business side of jazz. Erena talks about overcoming initial nervousness, gaining confidence, and arranging music for big band performances at Jazz at Lincoln Center. She highlights the significance of emotional expression in music and how her influences have shaped her improvisational style. Additionally, Erena discusses her experiences as a woman in the predominantly male jazz industry, her ongoing project, and her future goals. This episode delves in her story and explores various aspects of jazz. Erena acquired the nickname, North Bird. Find out at the end of this episode how she earned it. The discography for this 32-year-old saxophonist is impressive. Erena now has six recordings as a leader: Absolutely Live (King Records, 2019), Little Girl Power (King Records, 2018), A Time for Love (Cellar Live/King International, 2016), Erena Terakubo with Legends: Burkina (Eighty-Eight's, 2013), Erena Terakubo with Legends: New York Attitude, (King Records, 2011), and North Bird (King Records, 2011). What is more impressive are the personnel for her first three projects. Listen to this conversation to learn about this. Thanks to King Records, we will listen to three tracks from Erena's latest recording, Erena Terakubo: Absolutely Live! The quartet includes Erena Terakubo-Alto Saxophone, soprano saxophone; Mayuko Katakura-piano, Rhodes; Motoi Kanamori-bass; Shinnosuke Takahashi-drums, percussion. All compositions written by Erena Terakubo. 1. Little Girl Power 8:26), 2. A Crystal Path (6:54), 3. Be Nice (4:47) Thank you for listening. We appreciate your choice to listen to Strictly Jazz Sounds among numerous available podcasts. Photo by Yasuhisa Yoneda

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

In this episode, I spend time with Grammy Award-winning pianist and Berklee College of Music professor of Jazz Kris Davis on 'Strictly Jazz Sounds.' We do a deep dive into her latest project, Run the Gauntlet, dedicated to six influential women jazz pianists, which drops on September 27, 2024. A common thread is woven throughout the hour, mentoring. As a recipient of it herself, Kris Davis discusses the importance of fostering the next generation of jazz musicians. She also provides a detail description of her fascinating composition process. Kris Davis and I spend time discussing her label, Pyroclastic Records and how the non-profit organization is critical to creating adventurous improvisational jazz. Davis and Pyroclastic Records generously provide three compositions for this episode. The Kris Davis Trio is comprised of three highly accomplished, award-winning artists: Kris Davis-piano, Robert Hurst-bass, and Johnathan Blake-drums. The 23rd Episode opens with "Heavy-Footed" (6:00); at about 30 minutes you will hear "Dream State (4:55), and it closes with "Little Footsteps" (5:12). Kris Davis is a remarkable composer. She's brilliant in her work which reflects her dedication to learning and expanding her horizons. Subsequently, Kris has been recognized by DownBeat magazine and the Jazz Journalists Association as Pianist of the Year. She's a Doris Duke Foundation Artist, her work recognized by the New York Times and NPR-National Public Radio as number one. Since her debut album, Lifespan, which was released in 2003, Kris Davis is a leader/co-leader on 25 recordings. All these accolades are great but what matters most to Kris Davis, is expanding the music and assuring that the next generation of jazz artists is successful. Thank you for spending your time listening to this podcast. If you are a subscriber, wonderful! You are part of a fast-growing membership. If not, when you do subscribe, you become one of the first to learn of new episodes when they are published. Thank you for listening. Photo by Peter Gannushkin-DowntownMusic.net

Grammy-Award winning saxophonist Wayne Escoffery is my guest on the 21st episode of Strictly Jazz Sounds. What attracted me to Wayne was his prolific traveling, extensive performances and recordings with his own band (11 recordings), the Mingus Big Band (3 recordings, one a Grammy Award winner), the Black Art Jazz Collective (4 recordings), and as sideman with trumpeter Tom Harrell (7 recordings, co-producing 4) plus works with other notable jazz musicians. He is now a Harlem resident in the neighborhood where Sonny Rollins grew up, Sugar Hill, but he was born and spent his childhood years in London before he moved to the U.S. with his mother. Escoffery graduated summa cum laude with a bachelor's degree in jazz performance from the Hartt School at the University of Hartford, where he was a protégé of saxophone legend Jackie McLean. He earned a Master of Music degree from the Thelonious Monk Institute of Jazz Performance (now the Herbie Hancock Institute of Jazz) at the New England Conservatory, Escoffery today teaches at Yale University's School of Music where he emphasizes the value of real-world experience in teaching, reflecting on his own journey and influences, including his time with jazz greats like Jackie McLean and Ron Carter. We cover various topics such as the challenges facing musicians today, the lack of business education in jazz programs, and the exploitation of artists by the music industry. Escoffery also touches on the emotional therapeutic aspects of music, thoughts on mental health in the music industry. We take a deep dive into Wayne Escoffery's soon-to-be released recording, Alone. Thanks to Smoke Sessions Records for use of the tracks for this podcast. They are: Moments With You (6:32), Alone (8:08), and The Ice Queen (8:16). The episode opens with "Moments With You." You can hear "Alone" about half-way through the conversation, and then the show closes with "The Ice Queen." The conversation begins when Wayne Escoffery and I discuss the importance of real-world experience in teaching. You'll enjoy his thoughts about this topic among others regarding jazz artists getting ripped off by a recording industry that hardly pays anything to anyone anymore. I would appreciate feedback about my podcasts. Past comments have been very useful. Thanks for listening to Strictly Jazz Sounds. This is Steve Braunginn. Photo by Kasia Idzkowskas

Alexandra (Alex) Ridout is a young jazz trumpeter from the UK, now residing in New York City. In this episode of Strictly Jazz Sounds, she lays out her journey as a musician, comparing the experiences and educational backgrounds between the UK and the US. Ridout recalls her time at the Royal Academy of Music in London and Manhattan School of Music, emphasizing her family's influence, especially her jazz musician parents. Highlighting her musical achievements, the conversation includes her participation and victory in the BBC Youth Competition, winning at 17 years old. She talks about her association with renowned musicians and mentors, including trumpeter Ingrid Jensen, now Dean of Jazz Arts at the Manhattan School of Music, and her involvement with the all-female group, Artemis. As with many women in the jazz industry, the topic of women's growing strength emerges. She also addresses the challenges and realities of the recording industry today, stressing the importance of patience and genuine passion in pursuing a music career. The conversation culminates with her upcoming performance on International Jazz Day and a surprise familial discovery. Alexandra Ridout generously allowed me to record portions of the show she and her quintet performed at their concert, hosted by A Tribe for Jazz as part of their 2024 International Jazz Series for International Jazz Day. This episode provides two tracks from the show and one from her Remote Duets EP that can be found at Bandcamp.com. The first track, "Compersion Song" (7:71), an original composition by Alexandra Ridout, features solos by Alex on trumpet, Tal Kalman - tenor sax, Iver Cardas – guitar and Karl Henrik-Ousbäck - drums. Rafael Enciso is on double bass. The second track is "BM Blues" (9:47), also written by Alexandra Ridout. The band members remain the same with soloists: Alexandra Ridout-trumpet, Iver Cardas – guitar, Tal Kalman - tenor sax and Karl Henrik-Ousbäck – drums. The third track heard near the end of the show is from Remote Duets Alexandra Ridout has on Bandcamp. The track is entitled "No Train" (3:41). Miles Midlin joins her on guitar. Photo of Alexandra Ridout by Melody McLaren.

Yasushi Nakamura loves his music. And he truly loves laying down the groove lines behind a hot band like he does for almost a dozen bands. However, being one of today's first-call bassists means frequent and long show tours that can take him away from his family of two-children and spouse for weeks, even months at a time. It has resulted in an impressive list and number of recordings made on both electric and acoustic or double bass. Pianist and longtime friend, Emmet Cohen, says that Yasushi "…is known in the music community for playing in over a dozen bands and is hardly ever seen reading music." The reason, says Yasushi, is he has a photographic memory for the music. He takes one look at it and the rest he recalls. This allows him to internalize the music, a practice he highly recommends to young bassists today. Yasushi is a pretty shy guy on and off the bandstand. Watch a video of him and you'll notice he kicks it like the good bassist he is but rarely engages in any dialogue. He says he likes to lay back, be the guy behind the sound. You wouldn't know it, though, when it's time for him to step out. Sometimes a big grin will shine, but Yasushi is mostly focused on delivering a ballad or driving his bass through the high pace sounds left behind by the pianist or the horns. His discography is already enormous. Yasushi has performed in and out of the studio with many noted jazz musicians including Cecile McLorin Salvant, Emmet Cohen, Christian Sands, Amina Figarova, Shamie Royston, Jon Irabagon, Rudy Royston, Vincent Herring, and Ulysses Owners Jr. I saw Yasushi at the 2023 Monterey Jazz Festival touring concert at Denison University near Columbus, Ohio. In that show he was part of an all-star billing with Dee Dee Bridgewater, Kurt Elling, Lakecia Benjamin, and good friends and long-time collaborators, Christian Sands and Clarence Penn. Yasushi Nakamura is sharing two compositions with the podcast so thanks to him for that. They are:"Yasugaloo"-A Lifetime Treasure, Yasushi Nakamura-bass, Lawrence Fields-piano, Clarence Penn-drums; 9/29/2016 (Atelier Sawano)-7:03"Awesome Beef"-Hometown, Yasushi Nakamura-bass, Lawrence Fields-piano, Clarence Penn-drums, Bigyuki-Synths; 11/10/2017 (Atelier Sawano)-3:56 This episode is being released during Jazz Appreciation Month. What better person and humbler guy than Yasushi Nakamura to kick off this year's celebration of jazz. And thank you for listening to Strictly Jazz Sounds. Spread the word about this podcast and share it with others when you can. Finally, support live jazz wherever you are. Photo by Stephen Braunginn

In jazz, two legendary harp musicians come to mind. Dorothy Ashby and Alice Coltrane. Now, there is a third musician whose image immediately erupts into focus. For harp artist, educator, and Grammy nominated musician Brandee Younger, both Ashby and Coltrane made a tremendous impact on her. And with her latest recording, Brand New Life, on Impulse Records, Brandee Younger embraces Ashby and her impact on the harp. I caught up with Grammy nominated harpist Brandee Younger at the Spoleto Jazz Festival in Charleston, North Carolina. This was a major opportunity for me to learn how the harp, this extraordinarily large instrument, can be used in improvisational jazz. I am unfamiliar with how to play the harp so talking with Brandee Younger was a good time to learn how she does it. And learning about her major influence, Dorothy Ashby was an extra for me. Brandee's latest recording, Brand New Life, finds her embracing Ashby's compositions and styles as she crosses genres on this album. Chicago producer, drummer and bandleader Mikaya McCraven produced this album, infusing hip-hop and R&B influences in this recording. Some of the artists include Mumu Fresh (Maimouna Yousef), rapper, bassist and singer-songwriter Meshell Ndegeocello and Blue Note recording artist and vibraphonist and bandleader Joel Ross. She was nominated for a Grammy in 2022 for Best Instrumental Composition for "Beautiful is Black" from her 2021 Recording Somewhere Different becoming the first black woman to do so. That same year she was also nominated for an NAACP Image Award and named winner of the DownBeat Critics Poll in the category of "Rising Star" Miscellaneous Instrument. In 2023 Brandee Younger won in Jazz Journalists Association annual recognition awards in the category Rare Instrument. Brandee's discography includes Somewhere Different (Impulse, 2021)-composition Grammy nominated; Force Majeure (International Anthem Recording Co.) 2021; Soul Awakening (Self-Released) 2019; Wax & Wane (Disk Union) 2016; Prelude (Self-released) 2011. Brandee Younger is currently on the teaching artist faculty at New York University and The New School College of Performing Arts. She also serves as Symphonic and Jazz Harp Artist in Residence at the Cicely L. Tyson Community School of Performing and Fine Arts. The photo of Brandee Younger is by Erin O'Brien.

Japanese jazz pianist Miki Yamanaka, born and raised in Kyoto and Kobe Japan, now resides in New York City with her drummer husband Jimmy Macbride. Her upcoming album, Shades of Rainbow is set to drop on September 8. Excitement explodes in Miki during this hour-long interview with this jubilant pianist who is a mainstay at New York's prime jazz clubs for emerging talent, Smalls and Mezzrow, both found in the West Village in Greenwich Village in the lower west side of Manhattan. Miki's been a New York resident since 2012. She did her graduate work at Queens College in Jazz Performance 2014-2015. Her street education occurred in New York City jazz clubs and concert halls before the COVID pandemic, performing with the likes of Antonio Hart, Peter Bernstein, Nicole Glover, Joe Farnsworth, Tivon Pennicott, Roxy Coss, Mark Turner and Fred Hersch. But all of that came to a grounding halt in March 2020 as COVID wiped the streets clean, leaving all jazz musicians jobless and at home with nobody to play with. This required inventiveness. Taking the cue from friend and fellow jazz pianist Emmet Cohen, Miki began to assemble ensembles in hers and Jimmy's Harlem apartment and stream her show "Miki's Mood" on the internet. Perhaps not as successful as "Live at Emmet's Place" it became a place where Miki, Jimmy and friends could play and jam once more and make a little money. In 2015 she was one of three pianists selected to participate in "Betty Carter's Jazz Ahead", an intensive composition residency at the Kennedy Center. She earned her Master of Music degree from Queens College, receiving the Sir Roland Hanna Award. Recently, Miki was one of ten new talent identified by The Academy (Grammy) as top emerging jazz talent. Shades of Rainbow is Miki's fourth release, her second for Vancouver-based record company, Cellar Music. Her debut release, Miki, was also from Cellar Music. Her previous two recordings, Human Dust Suite and Stairway to the Stars can be found on the Outside in Music label. You can find this episode on all of the major podcast streaming providers. Support live jazz. Support women in jazz. Subscribe to be one of the first to receive SJS podcasts, news and information. Photo by Martina DaSilva. Thanks for listening. Steve Braunginn

Welcome to the Bonus recording of Episode 11. More stories to tell by Jon Irabagon. The recording by the group, Mostly Other People Do the Killing, Blue, the note-for-note recreation of Miles Davis' classic album is "A work of conceptual jazz art," writes Bandcamp. The listening public's response varied considerably but suffice it to say that Jon as well as his bandmates had to deal with substantial internet rage, including death threats. But not to let that totally color the experience, Jon says there were many positive emails about the recording and the process. The way Jon tells the story details a tale that will live on for ages. This bonus track also includes Jon Irabagon recounting the many years it took for him to transcribe most of the recorded solos of sax giants John Coltrane and Julian "Cannonball" Adderley. We talk about his recording Dr. Quixotic's Traveling Exotics, which we both consider as perhaps his best work largely because of with whom he records. The personnel on this album are phenomenal: Luis Perdomo, piano, Yasushi Nakamura, bass, Rudy Royston, drums, and Tom Harrell on trumpet. And, of course, Jon Irabagon is on alto sax. This is one helluva recording, we both agreed. I did not think our conversation would have been complete without touching base about Jon's good friend Sylvain Rifflet from Paris with whom Jon recorded two outstanding albums, Perpetual Motion and Rebellion(s). And if you wondered what is in Jon's future, he gives a full accounting of where he's moving forward. So, buckle up for this ride. Jon Irabagon, a tale of tales. Music: The Cost of Modern Living (Behind the Sky, Irabbagast Records, 2015) 6:02 Jon Irabagon-tenor saxophone, Luis Perdomo-piano, Yasushi Nakamura-bass, Rudy Royston-drums The Bo'ness Monster (Dr. Quixotic's Traveling Exotics, Irabbagast Records, 2018) 6:40 Jon Irabagon- tenor saxophone, Luis Perdomo-piano, Yasushi Nakamura-bass, Rudy Royston-drums, Tim Hagans-trumpet

Yonathan Avishai and I met in a conference room at Bexley Public Library in the village of Bexley in Columbus, Ohio. He was bright, friendly, and alert despite his long flight the day before. Yonathan is an Israeli-born French resident. His flight took him over six time zones, from France to New York and then to Columbus. This was a visit arranged by A Tribe for Jazz, a nonprofit organization here that is focused on improving the legacy of jazz. Having Yonathan Avishai in Columbus was a good thing, for both Yonathan and Strictly Jazz Sounds. This is the 10th episode of Strictly Jazz Sounds, and I'm pleased you are listening to this podcast. I have a conversation with Yonathan Avishai during a visit to my town, Columbus, Ohio where he gave a solo performance and met with A Tribe for Jazz. He set aside some time for us to talk about his career as a jazz pianist, the importance of sharing his music with his community, with local people who want to connect through his music. What I learned about him was that Yonathan holds fast to the idea that music should be rooted in people's lives. He's not just a musician that gives concerts and shows. He spends many of his days as a music therapist. He says he feels that his music should be shared with the people in his community, with people who need the music beyond the stage or the club. "Music is life" says Yonathan. Yonathan Avishai strongly feels that his music should be accessible to all who want to enjoy it, especially young students. He's very passionate about this yet, talking with him you wouldn't know as he's so soft spoken and reserved. His playing style reveals this as well. Yonathan reminds me of John Lewis, better known for his piano work and composing with the Modern Jazz Quartet. It's the minimalistic style that attracts Yonathan to John Lewis. For Yonathan, the real joy is found in the music of the "masters." His passion is in the "dance" and the "party" of the sounds of Louis Armstrong, J.P. Johnson, and Jelly Roll Morton. The gleam in his eyes reflected Yonathan's excitement for the music of 100 years ago, founded and created by these masters as well as Mary Lou Williams and Scott Joplin (whose music can only be found on piano rolls). He says the thrill of the music goes beyond the notes. "It's the feeling about being alive." Yonathan's latest recording, Joys and Solitudes, is on ECM records. He doesn't have an extensive discography, but he is better known for the duos, trios and quartets he's been a part of with fellow Israeli trumpeter Avishai Cohen (Naked Truth, Playing the Room, Cross My Palm With Silver and Into the Silence). Just a reminder that you can subscribe to Strictly Jazz Sounds. You will receive a notice in your email whenever a new episode is ready, and a new article is published on my website. You can listen to Strictly Jazz Sounds on Facebook, Spotify, Apple, Amazon, and other sites where podcasts are available.

2022 was a banner year for drummer Brian Blade. Nine recordings were released with Brian as a leader, co-leader, or side-player that year. As the year was coming to a close, I began to compile my list of "Best Jazz of 2022". It was then that I realized that Brian had been a very busy man during the last few years. My curiosity was spiked about this. I wanted to talk to Brian about this prolific output of music but, you see, I had already interviewed him in 2022, twice. But, hey, I wanted to find out more about his incredible list of recordings. We begin exploring the nine releases with the Life Cycles recording that paid tribute to Bobby Hutcherson. It was recorded by this little-known sextet that mostly played in underground night clubs in Manhattan in 2001 with some appearances at festivals around the country. This latest album by Life Cycles was recorded in 2018 by a reassembled group with a couple of additions to the original band. So, on this eighth episode of Strictly Jazz Sounds, Brian Blade and I have our third conversation in a year. The initial focus of this podcast was to be Brian's latest released recording by a band he co-led in 2001, Life Cycles. The recording was saluting NEA Jazz Master, vibe and marimba artist Bobby Hutcherson with Life Cycles 1&2: Now & Forever: Honoring Bobby Hutcherson. But a few months had passed since this conversation took place and Brian just released another recording, Mama Rosa. Brian Blade has had a life well lived and he's only 52 and still rolling! He's a multi-Grammy-award winning drummer, group leader, record label founder and owner. He's recorded and performed with a list of artists too long to list here, but I shall list some very notable ones: Wayne Shorter, Chick Corea, Christian McBride, Joshua Redman, John Patitucci, Brad Mehldau, Danilo Perez, Joni Mitchell, and Emmylou Harris. What is wonderful about this conversation, different from the last two, is learning more about Brian as a person as well as a musician, an artist. And learning about what's behind some of the recordings and bands he's created with people like the late maestros Wayne Shorter and Bobby Hutcherson, as well as the great drummer Joe Chambers, and his relationship with singer songwriter and pianist Norah Jones. Spoiler alert-Brian Blade plays guitar. And he played it with Norah Jones who was not playing piano. She was on drums. _________________________________________________________________The music you hear on this podcast is from the Life Cycles album: "Now " by Bobby Hutcherson and Gene McDaniels and "Forgotten Memories" by Myron Walden. The Life Cycles personnel include: Brian Blade, drums; Jon Cowherd, piano; Myron Walden, saxophone; Doug Weiss, bass; John Hart, guitar; Monte Croft, vibes/vocals; and, Rogerio Boccato-percussion. BTW, you'll hear a dog on this episode, as well. I invite you to subscribe so you are alerted to future episodes and articles written by me as well as events and information I want to pass on to you. I am looking for sponsors so please consider it and email me at strictlyjazzsounds.com. I'm interested in your feedback. I always need to improve what I'm doing. And, finally, support live jazz wherever you are. Thanks for listening.