Jazz Bastard Podcast

It's a podcast first - Pat votes to ban a jazz musician from further discussion. Who's the lucky winner? Plus, if you're patient enough, Mike talks hats and gropers. Gregory Porter – MEET ME IN THE ALLEY, NAT “KING” COLE & ME; Kamasi Washington – HARMONY OF DIFFERENCE; Matt Wilson – HONEY AND SALT.

We depart from our usual format to offer an interview with saxophone player and composer Charles McPherson. Charles discusses an early encounter with Charlie Parker, lessons from Barry Harris, a wild first night employed by Charles Mingus, what bebop means to him, and several other topics. We don't focus on particular albums, but Charles recommends, among others, TODAY'S MAN, SIKU YA BIBI, and THE JOURNEY as places to begin to get to know his playing, if you don't already.

Mike's laid up sick, so Pat whips up a "bonus" episode on Duke Ellington's suites. Did Ellington write a twenty-minute, six-movement suite just to get into Queen Elizabeth II's royal knickers? No way of knowing, but it's fun to speculate. Duke Ellington – SUCH SWEET THUNDER, QUEEN’S SUITE, FAR EAST SUITE, NEW ORLEANS SUITE.

Together at last, the boys talk a random assortment of jazz releases and then get to the nitty-gritty: what did Mike think of Hamilton and what is going on in the apartment beneath him? Juli Wood – SYNKKA METSA; Alex Sipiagin – RETURNING; The Necks – SILVERWATER; Vienna Art Orchestra – DUKE ELLINGTON’S SOUND OF LOVE.

Sometimes we get review copies - sometimes we talk about them. Four youngish artists with quite recentish releases go under the microscope. Then, pop matters is all about the fab four and the very un-fab Sgt. Peppers movie.

It's a whole episode dedicated to the great Louis Armstrong's 1930's Decca tracks in all their glory and strangeness. Skeletons in the closest will boogie before all's said and done, and Mike will flex his cultural studies chops more than once. Plus a look at some of the biggest pop stars of the last decade and Bryan Ferry. Louis Armstrong: THE COMPLETE DECCA MASTER TAKES 1935-1939.

To put Louis Armstrong into context, Mike leads Pat kicking and screaming through recordings by five of Louis' contemporaries. Who can redeem the period's vocalizin'? Boswell Sisters to the rescue. Henry “Red” Allen – CHRONOLOGICA L CLASSICS 1929-1933; King Oliver - KING OLIVER AND HIS ORCHESTRA 1929-1930; Oscar “Papa” Celestin/Sam Morgan – THE COMPLETE RECORDINGS; Bunny Berigan – COMPLETE BRUNSWICK, PARLOPHONE & VOCALIN BUNNY BERIGAN SESSIONS (DISC ONE)

It's all female vocalists this time, and the conversations about sultriness get pretty deep - when they aren't painfully shallow. Rene Marie – VERTIGO; Sophie Milman – MAKE SOMEONE HAPPY; Monica Zetterlund with the Bill Evans Trio – WALTZ FOR DEBBIE; Cecile McLoren Salvant – DREAMS AND DAGGERS.

More cherry pickin' from polls, as the boys discuss four 2017 releases that got good notices in the jazz press. All four of these releases give the fellows warm fuzzies - of one intensity or another. Yazz Ahmed – LA SABOTEUSE; Jaimie Branch – FLY OR DIE; Courtney Pine – BLACK NOTES FROM THE DEEP; Binker and Moses – JOURNEY TO THE MOUNTAIN OF FOREVER.

Rump-shakin' is the order of the day when the boys check out four examples of the "party jazz" genre, with influences from New Orleans to India. Stay tuned for Mike's adventures in a lead balloon. Preservation Hall Jazz Band – THAT’S IT; Red Baraat – SHRUGGY JI; Hypnotic Brass Ensemble – HYPNOTIC JOINTS; Craig Handy – CRAIG HANDY AND SECOND LINE SMITH.