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Sunday 12/23/2018 Show: Billy Hart

Photo: Billy Hart | © Girard Turner, 2017

The next show will air on Sunday December 23, 2018 from 11:00 PM – 1:00 AM Monday Eastern Standard Time on WBAI, 99.5 FM in the NYC metro area or streaming online at wbai.org. This broadcast features an interview with composer, drummer/percussionist and educator Billy Hart. It also kicks off our coverage of the 2019 Winter Jazz Fest.

Billy Hart was born and raised in Washington, D.C. Jazz was in his blood. His family lived five blocks from the Spotlite Club, where the underage drummer pressed his ear to the window to listen to the Coltrane-Adderley-Evans edition of the Miles Davis Sextet, and the Lee Morgan-Benny Golson edition of Art Blakey and the Jazz Messengers. His father, a mathematician and “an intellectual cat who demanded respect and knew a lot about a lot,” was a staunch Ellington fan; his paternal grandmother had played piano for Marian Anderson and knew William Grant Still. His mother was devoted to Jimmie Lunceford; his maternal grandmother—who bought him his first “good drum set for a gig with a good bebop band”—was a friend of D.C. tenor hero Buck Hill, who turned Hart on to Charlie Parker, and hired him at 17 for nine months of weekend gigs at a spot called Abart’s, where fellow McKinley High School students Reuben Brown and Butch Warren joined him six nights a week as the house rhythm section.

Hart matriculated at Howard University as a mechanical engineering major, but left when Shirley Horn, who had hired him out of Abart’s, took him on the road. Hart credits her with teaching him to play bebop at a simmer, not a roar. He also learned Brazilian rhythms from the source on early ’60s sub jobs at Charlie Byrd’s Showboat Lounge with Antonio Carlos Jobim, João Gilberto and Bola Sete.

Hart apprenticed with Washington, D.C. native sons like Jimmy Cobb, Osie Johnson, Ben Dixon, Harry “Stump” Saunders and George “Dude” Brown. Through local connections, he had backstage access to the Howard Theatre, where he analyzed such master New Orleanian drummers as Idris Muhammad (the Impressions), Clayton Filliard (James Brown), Ed Blackwell and Earl Palmer (Ray Charles). In 1967, he occupied the drum chair in the theater’s house band performing with The Isley Brothers, Sam and Dave, Patti Labelle, Otis Redding and Smokey Robinson and the Miracles among others.

He was also a sideman with Jimmy Smith (1964–1966), and Wes Montgomery (1966–1968). Following Montgomery’s death in 1968, Hart moved to New York, where he recorded with McCoy Tyner, Wayne Shorter, and Joe Zawinul, and played with Eddie Harris, Pharoah Sanders, and Marian McPartland.

In 1969, Hart joined Herbie Hancock’s groundbreaking Mwandishi band and remained there for four years recording three trend-setting albums. From there he joined McCoy Tyner’s band (1973–1974) and also performed with Stan Getz (1974–1977), and Quest (1980s) in addition to extensive freelance playing and recording (including recording with Miles Davis on 1972’s On the Corner).

Howard classmate Marion Brown introduced Hart to Sunny Murray and Rashied Ali. Hart increasingly self-identified as an experimental musician, drawing on their example in a trio with Joe Chambers on piano and Walter Booker on bass. Later, during mid and late ’60s stopovers in Chicago with Jimmy Smith, Wes Montgomery and Eddie Harris, he attended to the “textural, timbral approaches” of AACM drummers Thurman Barker, Steve McCall and Alvin Fielder. He applied those lessons during two years with Pharoah Sanders, a period when, via percussionist Mtume, he received the sobriquet “Jabali” (Swahili for “wisdom”). Hart’s mature tonal personality—advanced grooves drawing on “some knowledge of African and Indian music, and all the American traditions”—emerged during his years with Hancock’s Mwandishi band and subsequent tenure with McCoy Tyner.

Hart drew on all these experiences in conceptualizing Enchance, his debut album as a leader and subsequently, Oshumare (1985), Rah (1987), Amethyst (1993) and Oceans of Time (1997). On each record, he assembled idiosyncratic virtuosos from different circles, each signifying a stream of cutting-edge jazz thought. Functioning more as a facilitator than a stylist, he meshed their distinctive personalities, generating fresh ideas through intense drum dialogue. Each date has a singular quality, as though Hart had conjured a unitary vision out of various strains of the zeitgeist.

Hart currently leads the Billy Hart Quartet featuring Mark Turner, Ethan Iverson and Ben Street. They have recorded three CDs, the most recent, One is the Other, is on ECM Records.

(Bio adapted from The Cookers’s website)

This program is hosted, engineered, produced, and edited by Joyce Jones. Listen for our On the Bandstand segment with NYC metro area appearances of Suga’ guests at the end of the first hour with Associate Producer Hank Williams.

The Billy Hart Quartet is scheduled to appear as part of the Winter Jazz Festival NYC on the ECM Records Stage at Le Poisson Rouge during the Saturday, January 12, Marathon Night.The 2019 WJF runs from January 4-12 at several venues in downtown Manhattan and includes a series of talks. See the full lineup and details on their website.

Web Extras:

Watch a preview of Hart’s All Our Reasons album

Hank Williams is assistant producer for Suga’ in My Bowl and produces the weekly “On the Bandstand” segment as well as running the show’s website and blog, where he has reviewed several jazz festivals. His writing has also appeared in Left Turn magazine and American Music Review. He teaches at Lehman College in the City University of New York system.

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Sunday 11/25/2018 Show: Leon Parker

Photo: Leon Parker | © Goffredo Loertscher, Drummersworld.com

The next show will air on Sunday November 25, 2018 from 11:00 PM – 1:00 AM Monday Eastern Standard Time on WBAI, 99.5 FM in the NYC metro area or streaming online at wbai.org. This broadcast features an interview with drummer/percussionist Leon Parker.

New-York born musician Leon Parker is one of the most intriguing musicians of his generation. Drummer, percussionist and body-rhythm pioneer, he constantly explores new sound possibilities, using an infinitive range of colors with an often-limited drumset (consisting sometimes in a unique cymbal). His distinctive groove, he draws from very natural roots, has built him a solid reputation on the jazz scene and beyond.

Leon Parker started drums when he was three, becoming a confirmed jazz musician in early adolescence. After having studied classical percussions, he took lessons with Barry Harris and started performing regularly in New York. Remarked for his unique musical print, he recorded first with Harvie Swartz and played with musicians such as Sheila Jordan and Kenny Barron.

After 10 years building his reputation as a side-man, recording with other musicians (including Dewey Redman, Jacky Terrasson, Brad Mehldau, Peter Bernstein, among others), and leading groups at clubs, he met producer Joel Dorn and recorded his first leader album, “Above and Below”, in 1994, before releasing two other albums for Sony. His 1996-album, “Belief”, and 2 years later “Awakening”, emerged as the result of a long work on sound and deep musical explorations. After the release of his album “The Simple Life” in 2001, he decided to move to France and started to work on a Body-Rhythm method.

While still appearing on numerous albums as a sideman (Including those of Jacky Terrasson and Giovanni Mirabassi), he developed his Body-Rhythm techniques for many years, teaching workshops and leading his own voice and body-rhythm group in Toulouse. This method, called “EmbodiRhythm”, is the basis on which Leon Parker has written new compositions.

(Bio adapted from Parker’s website)

This program is hosted, engineered, produced, and edited by Joyce Jones. Listen for our On the Bandstand segment with NYC metro area appearances of Suga’ guests at the end of the first hour with Associate Producer Hank Williams.

Sixteen years ago, Parker left the U.S. for France to focus on teaching EmbodiRhythm workshops instead of the French Jazz scene.

Leon Parker returns to New York as part of the Aaron Goldberg Trio along with Matt Penman. The Trio will have a run at the Jazz Standard from Thursday, November 29, through Sunday, December 2. Chamber Music America’s (CMA) French-American Jazz Exchange partnered with the Mid Atlantic Arts Foundation and Brooklyn’s National Sawdust to help bring this project to fruition. Tune in for a ticket giveaway during the live broadcast!

Web Extras:

Watch Parker’s drum solo in this  live performance of “Perhaps.”

Hank Williams is assistant producer for Suga’ in My Bowl and produces the weekly “On the Bandstand” segment as well as running the show’s website and blog, where he has reviewed several jazz festivals. His writing has also appeared in Left Turn magazine and American Music Review. He teaches at Lehman College in the City University of New York system.

Sunday 7/8/2018 Show: Milford Graves Film

Photo: Milford Graves | © Joyce Jones/ Suga Bowl Photography. Some Rights Reserved. Creative Commons CC-NC-BY-ND. Used with Permission.

The next show will air on Sunday, July 8, 2018 from 11:00 PM – 1:00 AM Monday Eastern Standard Time on WBAI, 99.5 FM in the NYC metro area or streaming online at wbai.org. This broadcast features a conversation with Jake Meginsky, director of Milford Graves: Full Mantis. We will also revisit our 10/2/16 broadcast of an interview with percussionist/drummer, acupuncturist, herbalist, gardener, builder, scientist, inventor and martial arts master Milford Graves.

Milford Graves (born August 20, 1941 in Queens, New York) is an American jazz drummer and percussionist, most noteworthy for his early avant-garde contributions in the early 1960s with Paul Bley and the New York Art Quartet alongside John Tchicai, Roswell Rudd, and Reggie Workman. He is considered to be a free jazz pioneer, liberating the percussion from its timekeeping role. In fact, many of his music contemporaries, musician inspirees, and fans world-wide would argue that Graves is perhaps the most influential known musician in the development and continuing evolution of free-jazz/avant-garde music, to date. Milford Graves taught at Bennington College, in Bennington, Vermont, being a tenured professor from 1973 to 2011; in 2011, he is awarded Emeritus status.

Initially playing timbales as a kid growing up in Queens, Graves has worked as a sideman and session musician with a variety of jazz musicians throughout his career, including Pharoah Sanders, Rashied Ali, Albert Ayler, Don Pullen, Kenny Clarke, Don Moye, Andrew Cyrille, Philly Joe Jones, Eddie Gómez, and John Zorn. He has invested his time in research within the field of healing through music.

In 2013, Milford Graves along with Drs. Carlo Tremolada and Carlo Ventura received a patent for an invention that relates to a process of preparing a non-expanded tissue derivative, that is not subjected to cell proliferation in vitro, which has a vascular-stromal fraction enriched in stem and multipotent elements, such as pericytes and/or mesenchymal stem cells, or for preparing non-embryonic stem cells obtained from a tissue sample or from such tissue derivative, wherein the tissue derivative or such cells are subjected to vibrations derived from a heart sound to control the degree of differentiation or possible differentiation of the stem and multipotent elements into several other types of cells and optimize their potency. The invention relates also to a device for carrying out the process, to stem cells obtainable by the process as well as a drug for the regeneration of an animal tissue.

(Bio adapted from Wikipedia)

This program is hosted, engineered, produced, and edited by Joyce Jones. Listen for our On the Bandstand segment with NYC metro area appearances of Suga’ guests at the end of the first hour with Associate Producer Hank Williams.

Full Mantis: Milford Graves starts a run at Metrograph in Manhattan on Monday, July 13. Former Suga’ guest William Hooker will join Graves and Meginsky for a Q&A on the opening night. Graves and Meginsky will be present for the Q&A on June 14.

Web Extras:

Watch The trailer for Full Mantis: Milford Graves.

Watch Graves and saxophonist Kidd Jordan in this live clip from the 2013 Vision Festival.

Watch Graves and bassist William Parker in this 2010 live clip.

Hank Williams is assistant producer for Suga’ in My Bowl and produces the weekly “On the Bandstand” segment as well as running the show’s website and blog, where he has reviewed several jazz festivals. His writing has also appeared in Left Turn magazine and American Music Review. He teaches at Lehman College in the City University of New York system.

Sunday 4/1/2018 Show: William Hooker

Photo: William Hooker | © Joyce Jones/ Suga Bowl Photography. Some Rights Reserved. Creative Commons CC-NC-BY-ND. Used with Permission.

The next show will air on Sunday, April 1 2018 from 11:00 PM – 1:00 AM Monday Eastern Standard Time on WBAI, 99.5 FM in the NYC metro area or streaming online at wbai.org. This broadcast presents an interview with drummer, composer and poet William Hooker.

William Hooker grew up in New Britain, Connecticut and basically was a good student, and came from a good home. Hook says about his education and introduction to music: “I did all that I could possibly do to make my way through New Britain High School, Nathan Hale Junior High, and Central Connecticut. State College. I tried to get good grades to be an exceptional student as far as playing in the band and orchestra, in leading the chorus and student councils. I was brought up in the church where I sang and learned the gospel repertoire in choirs and as a vocal soloist. I also was given private drum lessons as a child at the age of 10. What led me to music was the fact that I performed in a rock and roll group in Connecticut. Then I got into jazz – in a big way. My first experience playing jazz was with a quartet of older gentlemen who taught me standards(from the black book) and the essentials of leading a band. I did this for four years at the age of 16. I listened to as much music as I could and listened to all the local players in the many clubs,concerts and shows. This is what I did while I was studying in college to obtain my degree in political science,sociology and history. I also studied 20th century composers and electronic music while I was in school. I continued to play and perform, never to become a musician – I was one. I didn’t think of it in terms of the rest of my life or my career because I was good in most of the things I tried to do, be they academic life or musical life. My mentors were my mother , father and the many “professional” musicians I had the pleasure of knowing throughout my life.”

Hooker continues, “I had the great fortune to be a part of an organ trio,playing 4-5 nights a week and continuing to build the roots of “the music.” All through college the group performed standards,show tunes and the like. I played with this group for about 5 years. All the while I was listening deeply to the recordings of Impulse, ESP, Blue Note, Delmark and the like. This was a focused life – working a lot and picking up as much knowledge and skill as I possibly could in the various clubs and places where I performed. I then made the transition from classic jazz to free jazz when I relocated to San Francisco. It was there that I played-daily with an African conga group. this group was steeped in the rhythms and sounds of the drum and percussion. Upon returning to Connecticut, I made the decision to move to New York where I created and led groups using many of those mentioned in my most recent history. The concentration had changed to one in which my own musical concepts were the center of my expression.”

Hooker considers himself a “jazz musician.” “I know this word is defined in many different ways. My work fits in the jazz tradition because it’s based on improvisation..it’s based on learning one’s craft..it’s based on written out music in many cases..it’s based on traditional duo, trio, quartet and sextet settings. I use a Ludwig drum kit. It is set up traditionally: one tom, bass drum, floor tom, two cymbals, high hat, and a snare. Usually this is my preferred set up. I’m hoping that many of the projects I have happening will be recorded and performed live. Many musicians and the relationships that have been building will come to fruition. As this occurs, I will experience the beauty of this music….and I will continue to play.”

(Bio adapted from Hooker’s website.)

This program is hosted, engineered, produced, and edited by Joyce Jones. Listen for our On the Bandstand segment with NYC metro area appearances of Suga’ guests at the end of the first hour with Associate Producer Hank Williams.

William Hooker will be at Roulette in Brooklyn On Thursday, April 5 at 8:00 p.m. to present “The Great Migration,” s stirring multimedia and multidisciplinary suite.

Web Extras:

Watch a short video on Hooker’s multidisciplinary “Great Migration” suite.

Watch Hooker at the 2011 Vision Fest in this live clip.

Watch Hooker at the 2013 Vilnius Jazz Fest in this live clip.

 

Hank Williams is assistant producer for Suga’ in My Bowl and produces the weekly “On the Bandstand” segment as well as running the show’s website and blog, where he has reviewed several jazz festivals. His writing has also appeared in Left Turn magazine and American Music Review. He teaches at Lehman College in the City University of New York system.

Sunday 3/4/2018 Show: Mary Halvorson

Photo: Mary Halvorson @ the 2013 Vision Fest | © Joyce Jones/ Suga Bowl Photography. Some Rights Reserved. Creative Commons CC-NC-BY-ND. Used with Permission.

The next show will air on Sunday, March 4 2018 from 11:00 PM – 1:00 AM Monday Eastern Standard Time on WBAI, 99.5 FM in the NYC metro area or streaming online at wbai.org. This broadcast presents an interview with guitarist, composer, bandleader and educator Mary Halvorson. In addition to discussing points in Ms. Halvorson’s career, we will also discuss the upcoming Code Girl release on Firehouse 12 Records.

One of improvised music’s most in-demand guitarists, Mary Halvorson has been active in New York since 2002, following jazz studies at Wesleyan University and the New School. Critics have called her “a singular talent” (Lloyd Sachs, JazzTimes), ”NYC’s least-predictable improviser” (Howard Mandel, City Arts), “one of the most exciting and original guitarists in jazz—or otherwise” (Steve Dollar, Wall Street Journal), and “one of today’s most formidable bandleaders” (Francis Davis, Village Voice). The Philadelphia City Paper’s Shaun Brady adds, “Halvorson has been steadily reshaping the sound of jazz guitar in recent years with her elastic, sometimes-fluid, sometimes-shredding, wholly unique style.”

After three years of study with visionary composer and saxophonist Anthony Braxton, Ms. Halvorson became an active member of several of his bands, including his trio, septet and 12+1tet. To date, she appears on over ten of Mr. Braxton’s recordings. Ms. Halvorson has also performed alongside iconic guitarist Marc Ribot, in his bands Sun Ship and The Young Philadelphians, and with the bassist Trevor Dunn in his Trio-Convulsant. Over the past decade she has worked with such diverse bandleaders as Tim Berne, Taylor Ho Bynum, Tomas Fujiwara, Ingrid Laubrock, Jason Moran, Joe Morris, Tom Rainey, Tomeka Reid and John Zorn.

As a bandleader and composer, one of Ms. Halvorson’s primary outlets is her longstanding trio, featuring bassist John Hébert and drummer Ches Smith. Since their 2008 debut album, Dragon’s Head, the band was recognized as a rising star jazz band by Downbeat Magazine for five consecutive years. Most recently she has formed an octet, adding trumpeter Jonathan Finlayson, saxophonists Jon Irabagon and Ingrid Laubrock, trombonist Jacob Garchik, and pedal steel guitarist Susan Alcorn. Their debut 2016 release, Away With You, on the Firehouse 12 Record label, was called “radiant” by the New York Times and “one of the most intricate and entrancing sets of her career” by Pitchfork. Ms. Halvorson is also a part of several collaborative projects including Thumbscrew (with Michael Formanek and Tomas Fujiwara), Secret Keeper (with Stephan Crump), a chamber-jazz duo with violist Jessica Pavone, and the avant-rock band People.

(Bio adapted from Halvorson’s website.)

This program is hosted, engineered, produced, and edited by Joyce Jones. Listen for our On the Bandstand segment with NYC metro area appearances of Suga’ guests at the end of the first hour with Associate Producer Hank Williams.

Mary Halvorson will be part of the John Zorn Improv Matinee: A Stone Benefit at the Village Vanguard on March 11 at 3:00 p.m. Former Suga’ guests Christian McBride and Marc Ribot will be there as well.

Web Extras:

Watch Halvorson play with Nels Cline and Ches Smith in this 2005 live performance.

Watch Halvorson’s octet in action at the 2017 Winter Jazz Fest.

 

Hank Williams is assistant producer for Suga’ in My Bowl and produces the weekly “On the Bandstand” segment as well as running the show’s website and blog, where he has reviewed several jazz festivals. His writing has also appeared in Left Turn magazine and American Music Review. He teaches at Lehman College in the City University of New York system.

Sunday 2/18/2018 Show: T.S. Monk

Photo: T.S. Monk | Credit: Michael Weintrob

The next show will air on Sunday, February 18 2018 from 11:00 PM – 1:00 AM Monday Eastern Standard Time on WBAI, 99.5 FM in the NYC metro area or streaming online at wbai.org. This broadcast presents an interview with drummer, composer, bandleader and son of Thelonius Sphere Monk, T.S. Monk. We will discuss some parts of T.S. Monk’s career and the direction he has taken to honor the memory of his father.

After earning a reputation in school as a rabble-rouser, and graduating, the young Monk joined his father’s trio and toured with his dad until the elder Monk’s retirement in 1975. T. S. then launched into the music that had captivated him and his generation, R&B. He first toured with a group called Natural Essence and afterward, with his sister Barbara, formed his own band with which he had hits on two recordings, House Of Music and More Of The Good Life, where he played drums, arranged, and sang.

T. S. received the New York Jazz Awards First Annual “Recording of the Year” and ‘Downbeat’s’ prestigious 63rd Reader’s Poll Award for Monk On Monk, the “80th Anniversary Birthday Tribute to Thelonious Sphere Monk” featuring twenty guest artists including Herbie Hancock, Wayne Shorter, and Arturo Sandoval, Dianne Reeves, Nnenna Freelon, Howard Johnson, among others perform on the recording. Critics and the public lauded T. S. Monk as his father’s true musical heir, as bandleader, and performer. Rave reviews in the Hollywood Reporter, Variety, the L.A. Times, and others, echoed the public sentiment of the sold out concert hall shows across the United States, Europe, and the Middle East.

Shortly after these accomplishments, his father passed away leaving a rich and legendary legacy and, tragically, his sister died of cancer. To honor his father’s legacy and support the efforts of education, Thelonious turned his attention toward forming the Thelonious Monk Institute of Jazz. As Chairman, Thelonious has been at the forefront of helping to create a number of programs that range supporting after-school athletic programs. The Institute’s activities reach from Boston to Los Angeles sponsoring music education for students in the form of full scholarships to funding and supplies and from New York to Orlando.

In 1992, Thelonious formed his jazz sextet and received raves from the moment they hit the stage and the studio. One of the most unique groups on the circuit, the T. S. Monk Sextet’s cohesive and driving style has been heard at the JVC Jazz at the Bowl festival, Sun Valley Center, Lied Center for the Performing Arts, and many of the legendary jazz clubs. For his special 80th Anniversary Birthday Tribute to his father, the sextet formed the core of the eleven musician, pulsating and dynamic show. With Grammy Award winning producer (for Joe Henderson’s Lush Life, among others) Don Sickler on trumpet, the duo has carved an innovative and dynamic approach to crafting the T. S. Monk Sextet sound; this band soars and sizzles.

For two consecutive seasons, December 1996 and January 1998, on ABC, jazz returned to network television after a twenty-five year absence. Sponsored by Nissan and The Thelonious Monk Institute, under the guidance of Thelonious, Jr. and Tom Carter, an historic assemblage of artists gathered for ‘A Celebration Of America’s Music’ hosted by Bill Cosby and featuring Natalie Cole, Jon Secada, Tony Bennett, K.D. Lang, as well as Thelonious performing his father’s signature tune, Round Midnight, with Herbie Hancock, Pat Metheny, Nnenna Freelon, Al Jarreau, Dave Brubeck, Aretha Franklin have all performed for this Annual special.

(Bio adapted from Monk’s website.)

This program is hosted, engineered, produced, and edited by Joyce Jones. Listen for our On the Bandstand segment with NYC metro area appearances of Suga’ guests at the end of the first hour with Associate Producer Hank Williams.

T.S. Monk will be at the Bickford Theater in Morristown, NJ on Thursday, February 22nd from 7:30 – 8:30pm. He’ll be with his sextet and feature vocalist April May Webb.

Web Extras:

Watch The TS Monk Sextet play a beautiful version of “‘Round Midnight” with vocalist Nnenna Freelon in this live 2017 clip.

Watch the TS Monk Sextet in action in this live clip from 2011.

Watch Monk perform (and sing!) the pop hit “Bon Bon Vie” in this throwback music video from 1980!

Hank Williams is assistant producer for Suga’ in My Bowl and produces the weekly “On the Bandstand” segment as well as running the show’s website and blog, where he has reviewed several jazz festivals. His writing has also appeared in Left Turn magazine and American Music Review. He teaches at Lehman College in the City University of New York system.

Sunday 10/1/2017 Show: Jack DeJohnette

PhotoJack DeJohnette @ New York’s Charlie Parker Jazz Festival | © Joyce Jones/ Suga Bowl Photography. Some Rights Reserved. Creative Commons CC-NC-BY-ND. Used with Permission.

The next show will air on Sunday, October 1, 2017 from 11:00 PM – 1:00 AM Monday Eastern Standard Time on WBAI, 99.5 FM in the NYC metro area or streaming online at wbai.org. This is a broadcast features an interview with drummer, composer, bandleader and pianist Jack DeJohnette.

Born in Chicago in 1942, Jack DeJohnette grew up in a family where music and music appreciation was a high priority. Beginning at age four, he studied classical piano privately and later at the Chicago Conservatory of Music. He added the drums to his repertoire when he joined his high school concert band at age 14.

“As a child, I listened to all kinds of music and I never put them into categories,” he recalls. “I had formal lessons on piano and listened to opera, country and western music, rhythm and blues, swing, jazz, whatever. To me, it was all music and all great. I‟ve kept that integrated feeling about music, all types of music, and just carried it with me. I’ve maintained that belief and feeling in spite of the ongoing trend to try and compartmentalize people and music.”

By the mid-1960s, DeJohnette had entered the Chicago jazz scene – not just as a leader of his own fledgling groups but also as a sideman on both piano and drums. He experimented with rhythm, melody and harmony as part of the Association for the Advancement of Creative Musicians during the group‟s early days, and later drummed alongside Rashied Ali in the John Coltrane Quintet. He garnered international recognition during his tenure with the Charles Lloyd Quartet, one of the first jazz groups to receive crossover attention.

In 1968, DeJohnette joined Miles Davis‟s group just prior to the recording of Bitches Brew, an album that triggered a seismic shift in jazz and permanently changed the direction of the music. Miles later wrote in his autobiography: “Jack DeJohnette gave me a deep groove that I just loved to play over.” DeJohnette stayed with Davis for three years, making important contributions to prominent Davis recordings like Live-Evil and A Tribute to Jack Johnson (both in 1971) and On the Corner (1972).

During this same period, DeJohnette also recorded his first albums as a leader, beginning with The DeJohnette Complex in 1968 on Milestone. He followed up with Have You Heard in 1970, then switched to Prestige, where he released Sorcery in 1974 and Cosmic Chicken in 1975.

The mid 1970s were marked by a series of short-lived groups and projects – many of them leaning toward the experimental side of jazz, including The Gateway Trio (featuring Dave Holland and John Abercrombie), Directions (with Abercrombie and saxophonist Alex Foster), and New Directions (Abercrombie, with Eddie Gomez on bass). Special Edition – which helped launch the careers of little known musicians like David Murray, Arthur Blythe, Chico Freeman, John Purcell and Rufus Reid – remained active into the 1990s, although the project was frequently interrupted by DeJohnette‟s various other collaborative ventures, especially recordings and tours with Keith Jarrett.

DeJohnette has worked extensively with Jarrett as part of a longstanding trio with Gary Peacock. The threesome will celebrate its 30th anniversary in 2013.

DeJohnette’s Peace Time won a Grammy in 2009 for Best New Age Album. The album consists of an hour-long, continuous piece of music that eMusic described as “flights of flute, soft hand drumming, and the gently percolating chime of cymbal play, moving the piece along a river of meditative delight.” But the 2009 Grammy is just one many awards that DeJohnette has received over the years, beginning in 1979 with the French Grand Prix Disc and Charles Cros awards. He has figured prominently into readers polls and critics polls conducted by Downbeat and JazzTimes over the past two decades. He was awarded an honorary doctorate of music from Berklee College of Music in Boston in 1991, and was inducted into the Percussive Arts Society‟s Hall of Fame in 2010.

(Bio adapted from DeJohnette’s official website.)

This program is hosted, engineered, produced, and edited by Joyce Jones. Listen for our On the Bandstand segment with NYC metro area appearances of Suga’ guests at the end of the first hour with Associate Producer Hank Williams.

One of DeJohnette’s latest recording projects is as a member of supergroup Hudson, which is the title of the Motéma release with guitarist John Scofiled, keyboardist John Medeski and bassist Larry Grenadier. DeJohnette and Hudson will be at Jazz at Lincoln Center’s Rose Hall on October 6-7.

Web Extras:

Watch DeJohnette play with guitarist John Scofield and keyboardist Larry Goldings in this 2010 live clip.

Watch DeJohnette play with Miles Davis at the Isle of Wight concert in this 1970 live clip.

Watch DeJohnette play with Charles Lloyd’s quintet in this 1966 live clip.

Hank Williams is assistant producer for Suga’ in My Bowl and produces the weekly “On the Bandstand” segment as well as running the show’s website and blog, where he has reviewed several jazz festivals. His writing has also appeared in Left Turn magazine and American Music Review. He teaches at Lehman and Hunter colleges in the City University of New York system.

Sunday 9/17/2017 Show: Ray Mantilla

Photo: Ray Mantilla with World Saxophone Quartet & M’BOOM, Jazz Middelheim, BE, 2010 | © Bruno Bollaert via FlickrCreative Commons (CC BY-SA 4.0). Some Rights Reserved by the artist.

The next show will air on Sunday, September 17, 2017 from 11:00 PM – 1:00 AM Monday Eastern Standard Time on WBAI, 99.5 FM in the NYC metro area or streaming online at wbai.org. This broadcast features features “The Complete Percussionist,” composer and instructor Ray Mantilla.

Ray Mantilla was born in 1934 in the rhythm rich, dance-crazed atmosphere of the South Bronx where Afro-Cuban rhythmic forms transmogrified with jazz harmonies and sensibilities in the streets, the homes and dance halls. By 21, Mantilla was on the bandstand playing conga drums along with contemporaries Eddie Palmieri and Ray Barretto, playing that unique Neo-Nuyorican synthesis known as ‘salsa’.

With flutist Herbie Mann, Ray Mantilla entered the international spotlight in 1960. Then, Max Roach invited him to be part of the classic Freedom Now Suite recording. After a stint in Puerto Rico where he honed his skills on the trap set, Ray returned to the States to find himself touring nationally and in Europe and Japan with Art Blakey and the Jazz Messengers. For the seven years Ray was with Blakey he occupied his off-hours doing studio work while recording and performing with almost every major figure in jazz including singers Eartha Kitt and Josephine Baker.

In 1977, Ray Mantilla became the first North American Latin musician to play in Cuba since the Cuban Revolution when he appeared there as an essential member of the historic goodwill ensemble led by Dizzy Gillespie.

Ray Mantilla’s career has included membership in many legendary Jazz and Latin Jazz ensembles. A short list of Mantilla’s credits includes, Max Roach, Charles Mingus, Ray Barretto, Gato Barbieri, Sonny Stitt, Bobby Watson, Herbie Mann, Tito Puente, Cedar Walton, and Freddie Hubbard. Prolific in the studio, Mantilla can be heard on more than 200 albums. Ray Mantilla appeared on the great recording, “Fifty Years of Mambo”, recorded live in Town Hall, New York, which received a Grammy nomination. He has appeared in all major clubs in New York City — the Apollo Theater, Palladium, Blue Note, SOB’s, Birdland, Fat Tuesday’s, Village Gate and the Village Vanguard in addition to many major international jazz festivals such as Sanremo, the Pori Jazz Festival, JVC Jazz Festival, Montreaux Jazz Festival and the Grande Parade du Jazz. He has been voted Percussionist of the Year by the Jazz Journalists Association as well as by major jazz periodicals from around the world – including Jazz Times (USA), Jazz Magazine (Italy), JazzThek (Germany) and others.

Ray Mantilla describes his music as “Latin Jazz with authentic Latino rhythms.” His goal, he says “is to keep playing good music, have people come to see us, and to preserve the tradition.” In 2003 Ray Mantilla signed with Savant Records and his first record for the label, Man-Ti-Ya was released (SCD 2059). His second recording, Good Vibrations (SCD 2073) climbed to the prestigious #1 one spot on jazz radio and remained there for over 3 weeks, overtaking artists such as Eddie Palmieri and Ray Barretto. Ray Mantilla’s latest release on Savant titled High Voltage was released earlier this year in April.

(Bio adapted from Mantilla’s official website.)

This program is hosted, engineered, produced, and edited by Joyce Jones. Listen for our On the Bandstand segment with NYC metro area appearances of Suga’ guests at the end of the first hour with Associate Producer Hank Williams.

Web Extras:

Watch Mantilla play in this 2014 live clip from Piacenza Italy.

Watch Mantilla play “Mambo Diablo” with Tito Puente in this live clip.

Watch Mantilla play  in this 2003 live clip from New York City’s JVC Jazz Festival.

Hank Williams is assistant producer for Suga’ in My Bowl and produces the weekly “On the Bandstand” segment as well as running the show’s website and blog, where he has reviewed several jazz festivals. His writing has also appeared in Left Turn magazine and American Music Review. He teaches at Lehman and Hunter colleges in the City University of New York system.

Sunday 9/3/2017 Show: Lenny White

Photo: Lenny White | © Tore Sætre. Creative Commons (CC BY-SA 4.0). Some Rights Reserved by the artist.

The next show will air on Sunday, August 20, 2017 from 11:00 PM – 1:00 AM Monday Eastern Standard Time on WBAI, 99.5 FM in the NYC metro area or streaming online at wbai.orgThis special rebroadcast features drummer, producer and composer  Lenny White.

Program Note: We’re rebroadcasting our previous show for the holiday weekend.

Lenny White is still best-known for being part of Chick Corea’s Return To Forever in the 1970’s. White was self-taught on drums and he largely started his career on top, playing regularly with Jackie McLean (1968) and recording Bitches Brew with Miles Davis in 1969. White was soon working with some of the who’s who of jazz including Freddie Hubbard, Joe Henderson, Woody Shaw, Gato Barbieri, Gil Evans, Stanley Clarke and Stan Getz among others. As a member of Return To Forever during 1973-76, White gained a strong reputation as one of the top fusion drummers, but he was always versatile enough to play in many settings. After the breakup of RTF, Lenny White headed several fusion projects but none of the recordings (for Nemperor and Elektra) have dated well at all, emphasizing commercial funk. However his work with the Echoes Of An Era and Griffith Park all-star groups were been more successful and he has been a valuable sideman for a wide variety of projects.

(Bio adapted from White’s page on Allmusic)

This program is hosted, engineered, produced, and edited by Joyce Jones. Listen for our On the Bandstand segment with NYC metro area appearances of Suga’ guests at the end of the first hour with Associate Producer Hank Williams.

Web Extras:

Watch White play in this 2014 live clip.

Watch White play with Chick Corea and Stanley Clarke in this 2014 live clip.

Watch White play “Sorceress” with Return to Forever in this 1976 live clip.

Hank Williams is assistant producer for Suga’ in My Bowl and produces the weekly “On the Bandstand” segment as well as running the show’s website and blog, where he has reviewed several jazz festivals. His writing has also appeared in Left Turn magazine and American Music Review. He teaches at Lehman and Hunter colleges in the City University of New York system.

Sunday 8/20/2017 Show: Lenny White

Photo: Lenny White | © Tore Sætre. Creative Commons (CC BY-SA 4.0). Some Rights Reserved by the artist.

The next show will air on Sunday, August 20, 2017 from 11:00 PM – 1:00 AM Monday Eastern Standard Time on WBAI, 99.5 FM in the NYC metro area or streaming online at wbai.org. This is a broadcast features drummer, producer and composer Lenny White.

Program Note: Our last show was pre-empted for WBAI’s Summer Fund Drive. We’re back to our normal schedule now.

Lenny White is still best-known for being part of Chick Corea’s Return To Forever in the 1970’s. White was self-taught on drums and he largely started his career on top, playing regularly with Jackie McLean (1968) and recording Bitches Brew with Miles Davis in 1969. White was soon working with some of the who’s who of jazz including Freddie Hubbard, Joe Henderson, Woody Shaw, Gato Barbieri, Gil Evans, Stanley Clarke and Stan Getz among others. As a member of Return To Forever during 1973-76, White gained a strong reputation as one of the top fusion drummers, but he was always versatile enough to play in many settings. After the breakup of RTF, Lenny White headed several fusion projects but none of the recordings (for Nemperor and Elektra) have dated well at all, emphasizing commercial funk. However his work with the Echoes Of An Era and Griffith Park all-star groups were been more successful and he has been a valuable sideman for a wide variety of projects.

(Bio adapted from White’s page on Allmusic)

This program is hosted, engineered, produced, and edited by Joyce Jones. Listen for our On the Bandstand segment with NYC metro area appearances of Suga’ guests at the end of the first hour with Associate Producer Hank Williams.

Lenny White will be at the Jazz Standard from August 31 to September 2 with Cyrus Chestnut’s trio.

Web Extras:

Watch White play in this 2014 live clip.

Watch White play with Chick Corea and Stanley Clarke in this 2014 live clip.

Watch White play “Sorceress” with Return to Forever in this 1976 live clip.

Hank Williams is assistant producer for Suga’ in My Bowl and produces the weekly “On the Bandstand” segment as well as running the show’s website and blog, where he has reviewed several jazz festivals. His writing has also appeared in Left Turn magazine and American Music Review. He teaches at Lehman and Hunter colleges in the City University of New York system.

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