Strictly Jazz Sounds-SJS

The conversation continues.

In Part Two of Thelonious Monk: Wrong Is Right, Steve Braunginn returns to his extraordinary two-day conversation with T.S. Monk—Thelonious Sphere Monk III—and his son, Thelonious Monk IV.

We pick up with tenor saxophonist Charlie Rouse and a fascinating question: What made Rouse such a distinctive musical partner for Monk?

T.S. draws a revealing distinction between the great saxophonists who played with his father. Johnny Griffin, Sonny Rollins and John Coltrane brought powerful individual voices to Monk's music. Rouse, he says, found a way to play with Monk—to understand his time, space and musical language.

Then comes a remarkable Archie Shepp story, along with T.S.'s argument that Monk's harmonic influence reaches far beyond jazz. His shorthand for young musicians: "No Monk, no funk." And we hear why one of Monk's favorite sayings—"Wrong Is Right"—may tell us more about his musical revolution than a stack of textbooks.

The conversation moves into the present as Thelonious Monk IV discusses joining his sister Sierre in carrying the family legacy into the digital age—preserving archival recordings, confronting bootlegs and introducing Monk to generations born long after his death. Branding the name is their future, says T.S. Monk. The excitement about future products was so present that both men were almost giddy when disclosing consumer items yet to arrive at the marketplace. Secrets were kept close to the vest but they did whisper about the wine "Legit" and beer "Brother Thelonious Belgian Ale."

But some of the most revealing moments are personal. T.S. forcefully challenges the mythology surrounding his father and remembers the man he knew: a working father, a family man and, simply, "Daddy."

And then there's Nellie Monk—Thelonious's lifelong partner and, in T.S.'s words, the support system without whom there might not have been a Thelonious Monk as we know him.

The music continues thanks to the Monk Estate, with selections from Thelonious Monk: Live in Paris, Volume 2, released October 9th on the Rhythm-A-Ning Entertainment label. The playlist is: Epistrophy (with the opening), Blue Monk-5:15 and Oska_T-12:24.

Part Two brings the journey home: Charlie Rouse, Archie Shepp, "Wrong Is Right," the future of the Monk legacy—and the family behind one of the most singular voices in American music.

Strictly Jazz Sounds with Steve Braunginn—conversations that let the music breathe. Photo from Arthur R. George (Thelonious Monk with Children, T.S. and Barbara).

Thelonious Monk changed the language of jazz. But behind the unmistakable harmonies, rhythms and compositions was a husband, father and grandfather whose story is still being told by the family carrying his legacy forward.

On this edition of Strictly Jazz Sounds, Steve Braunginn welcomes T.S. Monk—Thelonious Sphere Monk III—and his son, Thelonious Monk IV, for an expansive conversation about the man the world knows simply as Monk.

T.S. remembers his father not as the mysterious, eccentric figure often portrayed in jazz history, but as "Daddy"—a deeply committed family man who always came home. He also makes the case for recognizing Monk as the father of modern jazz, whose new musical vocabulary helped open doors for other jazz giants-Miles Davis, John Coltrane, Sonny Rollins-and generations that followed.

The conversation takes a particularly revealing turn toward Charlie Rouse, Monk's longtime tenor saxophonist. T.S. explains why Rouse's sound represented something new for Monk and explores the musical connections among Rouse, Coltrane and Monk.

Preserving the legacy of Thelonious Monk is what the family is all about today. The brand of Monk is their focus, says Monk IV as he and TS take us inside the continuing work of preserving the legacy. Thelonious Monk IV discusses Rhythm-A-Ning Entertainment and the challenge of bringing historic recordings to new audiences while protecting the catalog from decades of unauthorized releases, better known as bootlegs. He also gives us a peak at the merchandise they're selling to boost the brand: cabernet from Tuscany (Legit-bottled by Tolaini; imported by Banville Wine Merchants), a dark Belgian ale (Brother Thelonious Belgian Ale), even a hat and watch.

The conversation also explores Monk's relationship with Paris, the restoration and release of his remarkable 1967 Paris performance, the rediscovery of archival recordings such as Palo Alto, and what Monk's live performances reveal that his studio recordings sometimes do not and could not.

Most importantly, T.S. offers listeners a different way to hear his father's genius: don't listen only to Monk's solos. Listen closely to what he plays behind the other musicians—the countermelodies, rhythms and unexpected harmonies that could lift a soloist without ever getting in the way.

This is Thelonious Monk through the memories of his son, the perspective of his grandson, and a family determined to carry one of America's great musical legacies into the future.

Part-one closes as we learn how important Monk was to Miles Davis, leaving listeners wondering where this fantastical story goes. Part two is close behind.

The music is provided by Rhythm-A-Ning Entertainment. Music from the Thelonious Monk/Live in Paris 1967, Vol. 1 playlist includes: 1. Ruby My Dear-7:08, Epistrophy-9:37, We See-07:50.

Thank you for listening. Subscribe and you become one of the first to get the podcast episodes, annual top 20 jazz music playlist and jazz articles. Photo is by Olivia Monk.

Having a virtual conversation with someone like Joe Lovano invites you to take in more than the words. You find yourself looking around the room with him — the basement, the books, the CDs, maybe a few records, family photos, and a trombone resting naked on top of a bookcase like it had just stepped away from the bandstand. Behind Joe, as we begin talking, there's a music stand with sheet music on it, though I couldn't quite make out the title. Somehow, that feels right. With Joe Lovano, there is always music in view, and always something still being discovered.

Grammy Award winning tenor saxophonist and composer Joe Lovano joins Steve Braunginn for an expansive conversation about artistic growth, jazz history and his new ECM recording, Paramount Quartet.

After more than 50 years of touring, recording and helping shape modern jazz, Joe Lovano says he still feels that he is "on the rise." The Paramount Quartet, different from any other that he's had, features guitarist Julian Lage, bassist Santi Debriano and drummer Will Calhoun, bringing together four musicians from different generations and musical backgrounds. Lovano explains how an initial trio performance with Debriano and Calhoun inspired him to add Lage, a former student in one of his Berklee College of Music ensembles, and create what he describes as an entirely new musical situation.

Lovano takes listeners inside the recording session with ECM producer Manfred Eicher in southern France. He discusses the importance of sequencing, silence, spontaneous orchestration and approaching a composition differently each time it is played. He also contrasts the "nightclub sound" of his Blue Note years with the recital-hall atmosphere he associates with ECM.

The conversation reaches back to Lovano's childhood in Cleveland, Ohio and the influence of his father, tenor saxophonist Tony "Big T" Lovano. Joe discusses the scholarship fund he created in his father's honor and reflects on Cleveland's often-overlooked contributions to jazz through artists such as Tadd Dameron, Albert Ayler, Jim Hall and Bill DeArango.

Lovano also shares memories of Paul Motian, Elvin Jones, Wayne Shorter, Sonny Rollins and Charlie Haden, whose composition "First Song" opens the new album.

Throughout the interview, Lovano returns to a central principle: improvisation is not about displaying everything a musician knows. It is about listening, leaving space, sharing ideas and finding "the melody in your heart and your rhythm spirit."

ECM Records generously provided three tracks of music for this podcast. They are in the order played: Fanfare for Unity-4:12, Amsterdam-6:30, and Congregation-5:36.

Thank you for listening to this podcast. Subscribe and you become one of the first to receive new episodes, jazz articles, photos and my annual Top 20 jazz recordings.

Los Angeles has long been one of America's great jazz cities, yet its place in the music's history is often overshadowed by New Orleans, Chicago, Kansas City, and New York. In this episode of Strictly Jazz Sounds, Steve Braunginn sits down with Martin Ludlow, President and CEO of Bridge Street, Inc., to discuss the vision behind the inaugural LA Jazz Festival and why he believes it's time for Los Angeles to take its rightful place on the global jazz stage.

Their conversation explores the rich legacy of Central Avenue, the Dunbar Hotel, Leimert Park, and the generations of musicians who have shaped the sound of jazz—from Dexter Gordon, Charles Mingus, and Eric Dolphy to Kamasi Washington and Terrace Martin. Ludlow also explains why the festival is designed as a community-wide celebration rather than a traditional concert event, featuring more than 160 artists from over 20 countries, free performances, youth education initiatives, and programming that reaches neighborhoods across Southern California.

Steve and Martin also discuss the evolving definition of jazz, the relationship between jazz and contemporary genres, the importance of mentoring young musicians, and how festivals can strengthen both cultural identity and local economies.

Whether you're planning to attend the LA Jazz Festival or simply care about the past, present, and future of jazz, this conversation offers an insightful look at one of the most ambitious new festivals in America.

Photo by Joel Marasigan.

When someone says jazz is dead, or that they cannot find great jazz being made today, I always think of the artists, mentors, and leaders who continue to move the music forward. Jeremy Pelt is one of those essential voices.

Welcome to Strictly Jazz Sounds, the place where the music talks. I'm your host, Steve Braunginn. In this episode, I'm honored to welcome trumpeter, composer, bandleader, educator, and author Jeremy Pelt, one of the most compelling voices in contemporary jazz.

With his recent work holding the number one spot on the JazzWeek chart for eight out of nine weeks, Jeremy has built a reputation as an artist deeply committed to both the tradition and the future of jazz. His trumpet playing is powerful and expressive, and his influence extends well beyond the bandstand through his recordings, writing, teaching, and mentorship.

We explore the experiences and influences that shaped him, from growing up in Los Angeles surrounded by the sounds of Michael Jackson, Prince, R&B, and soul to initially considering a classical path before discovering jazz through the music of Miles Davis. What began as curiosity became a lifelong calling.

Jeremy also shares his perspective on mentorship, leadership, and what it means to guide younger musicians with professionalism, presence, and respect for the music's lineage.

We discuss his acclaimed 23rd album, Our Community Will Not Be Erased, a powerful statement celebrating the resilience, beauty, and enduring strength of Black communities. The project reflects Jeremy's belief that music can honor history, affirm identity, and strengthen the connections between people.

Throughout the conversation, Jeremy reminds us that jazz is more than a genre. It is a living tradition, a form of storytelling, and a community built on shared experience and collective memory.

Music for this episode was graciously provided by Jeremy Pelt's label, HighNote Records, from Jeremy's latest recording, Our Community Will Not Be Erased. The album was composed and produced by Jeremy Pelt (jeremypelt.net) and features Jeremy Pelt on trumpet, Orrin Evans on piano, Buster Williams on bass, Lenny White on drums, and special guest Lasse Corson on keyboards.

Playlist: "Fathers and Sons" (5:19) featuring Lasse Corson, "The March into Resilience," (8:00) and "Fathers and Daughters,"(5:09).

Thank you for listening. Photo by Eva Kapanadze

Today on Strictly Jazz Sounds, we enter the musical world of violinist and composer Jenny Scheinman — an artist whose music is shaped as much by landscape and community as by jazz tradition, classical music and folk. Before collaborating with musicians like Bill Frisell, Jason Moran, and Brian Blade, Jenny grew up off-the-grid in rural Humboldt County, surrounded by redwoods, wildlife, and acoustic family music. That environment taught her the art of deep listening — something that still defines her improvisational voice today.

We talk about how nature, silence, and influences ranging from Ludwig van Beethoven and The Beatles to Thelonious Monk and Miles Davis's Kind of Blue shaped her musical identity. We also dive into her acclaimed double album, All Species Parade — a sweeping work inspired by biodiversity, coexistence, and community, featuring the brilliant guitarists Frisell, Julian Lage, and Nels Cline.

You'll also hear music from the album throughout the program, courtesy of Royal Potato Family. The music on this show is from Jenny Scheinman's album, All Species Parade. The quintet plays throughout the album: Jenny Scheinman-violin, Bill Frisell-guitar, Carmen Staaf-piano, Tony Scherr-bass, and Kenny Wollesen-drums. Playlist: "House of Flowers" 7:56-feat. Nels Cline-guitar; "All Species Parade" 11:01 [a party to which all animals of all sizes, colors and adaptations are invited."] closes a three-part suite, said to be Ellington-inspired; "Nocturne for 2020" 11:41-feat. Julian Lage-acoustic guitar.

This is a conversation about music, ecology, identity, and collective listening. Thank you for listening to Strictly Jazz Sounds as you have many other podcasts to which to listen. Strictly Jazz Sounds, conversations that let the music breathe. Photo by Kory Thibeault.

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

Welcome to Strictly Jazz Sounds. In this episode, we spotlight saxophonist Mark Turner, an LA native known for his technical brilliance and soulful undertones. Turner's music is influenced by R&B and jazz from his upbringing, as well as legendary saxophonists like Warne Marsh and John Coltrane. Mark's humility and self-deprecation are evident, but his artistry shines through, especially in his latest project, Reflections On: An Autobiography of an Ex-Colored Man, produced in collaboration with Jimmy Katz and Giant Step Arts.

The episode explores how Turner's experiences as an African American have shaped his work in the thematic 10-part suite inspired by the novel penned by civil rights activist, author and poet, James Weldon Johnson, "An Autobiography of an Ex-Colored Man." Our conversation covers Turner's compositional process, the challenges of identity and race, and the historical context behind his music. He also shares plans for future projects, including those inspired by Sci-Fi author Octavia Butler, with hopes of returning to Giant Step Arts.

You'll hear four movements from the quintet: Mark Turner-tenor sax and narration, Jason Palmer-trumpet, David Virelles-piano, Matt Brewer-bass, and Nasheet Waits-drums. The featured compositions are Movement 1: Anonymous-4:04 (4:24), Movement 4: New York-12:03 (45:18), Movement 9: Identity Politics-6:11(1:07:00), and Movement 10: Closure-2:22 (01:20:08). I am grateful to Jimmy Katz and Giant Step Arts for use of the recordings.

Thank you for tuning in. If you haven't subscribed yet, please do so to stay updated on future episodes, jazz news, and our annual Top 20 Jazz playlist. All the music played on this podcast has been authorized. Support jazz musicians by buying their music and support live jazz wherever you are. Now, let's begin with Movement 1. Enjoy the conversation! Photo by Jimmy Katz.

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.

Producing a historical recording requires enormous patience, investigative powers like an investigative journalist. The journey is long, emotional, and exciting when the recordings are discovered, and the final package completed. This is what Zev Feldman does. He is the producer for and co-president of Resonance Records, a record label that releases archival recordings that are previously unissued. The Resonance catalogue includes John Coltrane, Bill Evans, Wes Montgomery, Freddie Hubbard, among many other legendary musicians.

In this episode, Zev Feldman and I discuss his insights into his multifaceted career, how he got started in the music industry and his subsequent journey through various roles in sales, marketing, and ultimately producing rare jazz recordings. Feldman works with numerous other labels including Blue Note, Verve Label Group, Elemental Music as well as own his own labels, Jazz Detective and Deep Digs.

Feldman spins many stories about his adventures in discovering music long forgotten. It's music that is not just good; it must be GREAT! Curating legacy music requires a sense of understanding about the elements of a dynamic recording, one that exceeds others in the quality of the performance, the importance of a certain date, and the historical aspect of the show or studio recording. Then there is the emotional involvement with the families of these jazz legends, many of whom become close friends, such as it has with the families of jazz guitar legend Wes Montgomery (Zev produced the first archival recording of Wes Montgomery for Resonance) and piano virtuoso Bill Evans as Feldman is just releasing his 13th archival recordings of Bill Evans.

Then there is the importance of Record Store Day on April 12. Feldman highlights the significance of this little-known observed day in bringing these projects to life.

This episode is rich with music, thanks to Zev Feldman and Resonance Records. There is more than 36 minutes of full tracks of music along with clips of recordings discussed. The playlist includes:

Freddie Hubbard-On Fire, "True Colors-Breaking Point Closer" (13:32); Freddie Hubbard-trumpet, Bennie Maupin-tenor saxophone, Kenny Barron-piano, Herbie Lewis-bass, Freddie Waits-drums. Charles Mingus-Mingus in Argentina-The Buenos Aires Concerts, "Duke Ellington's Sound of Love" (9:32), Charles Mingus-bass, Ricky Ford tenor saxophone, Jack Walrath-trumpet, Robert Neloms -piano, and Dannie Richmond-drums.

Kenny Dorham-Blue Bossa in the Bronx: Live from the Blue Morocco, "Blue Bossa", (13:31), Kenny Dorham-trumpet, Sonny Red-alto sax, Cedar Walton-piano, Paul Chambers-bass and Denis Charles-drums.

Short music clips: Charles Mingus-"Pork Pie Hat", Freddie Hubbard-"Crisis", Kenny Dorham-Blue Friday, Bill Evans-"Ro(u)nd Midnight".

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. Photo by Zak Shelby-Szyszko

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

Taiwanese vibraphonist and percussionist Chien Chien Lu, along with Pittsburg, Pennsylvania native bassist Richie Goods, have crafted a sound that is both captivating and rhythmic. Their music draws from a rich tapestry of cultural influences including Taiwanese, American, and African-American traditions, especially within the jazz sub-culture. Chien Chien Lu and Richie Goods are dedicated to expanding their musical repertoire, creating a unique connection that resonates deeply with listeners.

In the fall of 2024, Chien Chien Lu and Richie Goods visited Columbus, Ohio, where they met with students at Otterbein University and performed to a captivated full house audience. During their visit, they visited my studio, sharing compelling stories about their individual paths into jazz and the inception of their musical collaboration. Chien Chien Lu recounted her transition from playing classical music in Taiwan to exploring the creative latitude of jazz upon her relocation to the United States. She arrived in the US holding a master's degree in classical percussion but sought the unique expressions of jazz. While pursuing graduate studies in Philadelphia, Chien was introduced to Jeremy Pelt, one of today's leading trumpeters. Impressed by her talent, Pelt included Chien in his subsequent European tour and later featured her in his next album. At that time, Richie Goods was a member of Pelt's band. In 2017, Chien graduated with a Master of Music in Jazz Studies from the University of the Arts. It all then fell together.

Richie Goods describes his journey into jazz through performing arts school in Pittsburgh Creative and Performing Arts High School. After graduating from the prestigious jazz program at Berklee College of Music, Richie moved to New York City, where he studied under jazz legends Ron Carter and Ray Brown. Richie worked extensively with jazz piano legend Mulgrew Miller for nine years, which provided opportunities to perform with other major jazz luminaries including Russell Malone, Lenny White, Louis Hayes, and Vincent Herring. His extensive discography includes Grammy award-winning and platinum albums by Alicia Keys and Common.

Connected is a band jointly led by Richie Goods and Chien Chien Lu, and their latest recording is Connected vol. 1. This pandemic era-project was derived from frequent conversations Richie Goods and Chien Chien had about the Black Lives Matter movement and the unwarranted hate crimes against Asians. They decided to do a project that would unify people and invoke imagery of love and peace, says Richie. The result is a dynamic jazz group influenced by global sounds, which reflects the musical identities of Richie and Chien. Connected vol. 1, won "Best Instrumental Album" at the 34th Golden Melody Awards in Taiwan.

The playlist for this episode includes five recordings. They tap into their latest recording, Connected vol. 1 and Chien Chien Lu's first recording, The Path. Richie Goods produced The Path and Connected vol. 1. The playlist for this episode:

1.Treasure Mountain, Connected vol. 1, (Richie Goods/Chien Chien Lu), RichMan Music, 2023-(8:16); Chien Chien Lu-Marimba & Vibraphone; Richie Goods-Electric bass & acoustic bass; Brett Williams-Keyboards & Rhodes; Quintin Zoto-Guitar; David Frazier, Jr.-Drums; Danny Sadownick-Percussion

2.Blind Faith, The Path (Chien Chien Lu), RichMan Music, 2020-(5:26); Chien Chien Lu-Marimba & Vibraphone; Richie Goods-Bass & Electric Bass; Shedrick Mitchell-Piano & Organ; Quintin Zoto-Guitar; Allan Medford-Drums; Percussion-Ismel Wignall

3.We Live in Brooklyn Baby, The Path (Chien Chien Lu), Richman Music, 2020-(5:38) Chien Chien Lu-Marimba & Vibraphone; Richie Goods-Bass & Electric Bass; Jeremy Pelt-Trumpet; Shedrick Mitchell-Piano & Organ; Quintin Zoto-Guitar; Allan Mednard-Drums; Percussion-Ismel Wignall; Yoojin Park-Violin; Phoebe Tsai-Cello

4.Someday We'll All Be Free, Connected vol. 1, (Donnie Hathaway), Richman Music, 2023-(7:26); Chien Chien Lu-Marimba & Vibraphone; Richie Goods-Electric bass & acoustic bass; Jamison Ross-vocal; Piano/Organ-Shedrick Mitchell; Lil John Roberts-Drums; Danny Sadownick-Percussion

Thanks to A Tribe for Jazz for helping to make this interview happen and their support. Please note that there may be some technical issues in the audio. However, the conversation rich in content. Thank you for listening. Subscribe and you'll be one of the first to listen to upcoming episodes, articles, and announcements. Photo by Stephen Pyo

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.

World-renowned saxophonist and Blue Note recording artist Walter Smith III is the model music educator and practitioner. This enormously talented saxophonist pursued music education as a profession as far back as high school. In this episode, Walter's storied career follows the path beginning with performing at McDonald's at age 7, to an exciting area of study at one of today's premier high schools, Kinder High School for the Performing and Visual Arts (HSPVA) in Houston, Texas to leadership roles at Berklee College of Music, reflecting on experiences at the Thelonious Monk Institute (today, the Herbie Hancock Institute) and exciting tours with legends like Wayne Shorter and Herbie Hancock. Gender equity in jazz, a priority for Walter, is spearheaded by the Berklee Jazz and Gender Justice Institute, and innovations in jazz education promoting inclusivity. Walter touches on his transition from Boston to New York, emphasizing the interplay between performance and teaching.

Walter Smith III just released his eleventh album as a leader. Our conversation on Strictly Jazz Sounds also takes a deep dive into three of us are from Houston and Reuben is not. This project includes three of his closest music cohorts who are three of the most accomplished and influential musicians in jazz today: Jason Moran-piano, Reuben Rogers-bass, and Eric Harland-drums. The music does not disappoint in any way. We listen to clips of selected tracks, discuss the music and the significance, if any, of the composition titles.

Walter is/has been a member of many legendary and highly accomplished groups (recording and/or touring) including the Roy Haynes Fountain of Youth Band (Walter was fired when he decided to go to Los Angeles, California), Terence Blanchard Quintet, Jason Moran's In My Mind: Monk at Town Hall, Ambrose Akinmusire Quintet, and the Christian McBride "Situation", He's also teamed up with Eric Harland's "Voyager", the Bill Stewart Trio, Marquis Hill's "New Gospel Revisited", and the Sean Jones Quintet among others.

Thank you for listening to Strictly Jazz Sounds. You have a choice among many other jazz podcasts, yet you selected this one today. You have my appreciation for your time and interest.

Photo by Travis Bailey.

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

Award winning vibraphonist Yuhan Su is another Gary Burton/Chick Corea-inspired musician, lured away from classical to the art form where improvisation reigns, jazz. This Taiwanese-born, New York based artist, left her homeland pursuing a jazz education at Berklee College of music, a frequently told story. Yuhan Su draws on her strengths to survive the intense transitions as a single woman migrating to the US to learn a completely different style of music, knowing no one, new to the language and cultures. And she plays the vibraphone, not an easy instrument to lug around given she's carless.

Yuhan is an avid composer whose quality was recently recognized in Taiwan with the Golden Melody Award, the Taiwan-equivalent of the Grammy. Yes, a big deal! She won it for the composition "Hi-Tech Pros and Cons" from her recent album, Liberated Gesture. In this episode, we talk about these topics among others that delve into her compositions, her passion for composing, themes reflecting personal experiences and social issues. And, of course, there's music, this time from Liberated Gestures (Sunnyside Records). The Yuhan Su Quintet includes: Yuhan Su-vibraphone, Matt Mitchell-piano, Caroline Davis-alto saxophone & poetry reading ("She Goes to a Silent War), Marty Kenney-acoustic bass/electric bass, and Dan Weiss-drums.

The episode opens with "Hi-Tech Pros and Cons" (6:27), you'll hear "She Goes to a Silent War" (poetry read by Caroline Davis) about two-thirds into the conversation, then close with "Siren Days (7:31). Thank you for listening to Strictly Jazz Sounds. Enjoy and listen to live jazz.

Steve Braunginn

Photo by TeFan Wang

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

Roni Eytan, a renowned Israeli-born, New York based jazz harmonica player, performs with a passion that differs from other harmonica artists. Perhaps it's the region from which he derives-the Middle East and North Africa. His culture greatly influences his compositions and inspires his passions. Roni's work is influenced by harmonica legend Toots Thielemans but only partially. The folk cultures that make up the regions and his spiritual influences mostly inspire his writing.

Roni Eytan stopped by my studio to talk about his harmonica work and how he got interested in this instrument. We talk about Roni's early fascination with music in Jerusalem, initially wanting to play the trumpet inspired by a film by a popular British band, the Beatles. After a short stint with the trumpet, he transitioned to the harmonica influenced by various sources, including friends and inspired by Israeli artists such as Yonathan Avishai and Avishai Cohen. Roni talks about his journey into jazz, mentioning significant influences like jazz legends Oscar Peterson and Charlie Parker as well as Toots Thielemans and the modern-day sound of French harmonica player Gregoire Maret. Educated at the Herbie Hancock Institute at UCLA in Los Angeles, California, Roni emphasizes the importance of mentorship and collaboration and how powerfully important to him and his work were Herbie Hancock and Wayne Shorter. He also delves into different types of harmonicas, including diatonic, chromatic, and microtonal, and his innovative approach to microtonal harmonica playing for traditional music from his region. The history of the harmonica is fascinating, and I encourage you to delve into it. The conversation wraps up with Roni discussing his compositional process.

For this episode, three tracks are presented from the concert the Roni Eytan Quartet presented in Columbus, Ohio, hosted by A Tribe for Jazz. The quartet includes Roni Eytan-harmonica, Gadi Lehavi-piano, Simon Willson-bass, and Alon Benjamini-drums. These tracks are not compressed in any fashion. These are the raw tracks from the show in Columbus, Ohio at the Columbus Dance Theater, thanks to A Tribe for Jazz. The three tracks are respectively: "Winter Dance"-Duet between Roni Eytan and Alon Benjamini: 5:22; "Focus-Hymn"-3:08; and "Melody People"-11:14.

Thanks for listening. If you're a subscriber, you're one of the first ones to receive this episode. Subscribing gives you that honor. Following the opening track, Roni and I begin our conversation with how his interest in the harmonica started. I'm Steve Braunginn.

Photo by Stephen Braunginn.

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.

In this episode of Strictly Jazz Sounds, I have a conversation with Jocelyn Gould, a professional jazz guitarist who fills all the shoes it requires to drive a successful career. Jocelyn shares her journey from pretending to play a cardboard guitar at the age of four to winning a Juno Award for her first album, Elegant Traveler. She later discusses the challenges and triumphs of her career, including her education in the U.S. at Michigan State University, her experiences in New York's rough and tumble jazz scene, and her recent endeavors, including her podcast and latest album releases. Jocelyn also explores her passion for mentoring young women and non-binary people in jazz, highlighting the importance of diversity in the music industry. The conversation touches on the intricacies of guitar playing, her teaching career, and the financial and logistical challenges faced by modern musicians.

Thanks to Jocelyn Gould for use of the three tracks of music from her third album Sonic Bouquet (2023) and her second album Golden Hour (2022), both released on the Jocelyn Gould Music label. They are: "Trailblazer", "Serendipity", and "Gemini". All original compositions by Jocelyn. Personnel: Jocelyn Gould-guitar & vocals ("Serendipity" & "Gemini'), Jon Gordon-saxophone ("Trailblazer"), Will Bonness-piano, Rodney Whitaker-bass, and Quincy Davis-drums.

Photo by Lain Geoghan