Friday Night Jazz with Reuben Jackson; 2016-06-17, Hour 3

Hello there, and welcome to the third and final hour of this edition of Friday Night Jazz on VPR. Thanks for tuning in. You know who you are. I am Pearson Mary Jackson's son, Rubin. Let us continue with the music, shall we? As mentioned at the close of our two, I'm going to play a bit more Miles Davis here in this juncture of the program. It would have been 90 in May, late May of this year. His influence need, I say, more like gentlemen for whom he had high steam prints, controversial at points, but I think the depth of the influence cannot be debated. We're going to start with excerpts from a rather controversial period at Miles Davis' career. Once he went, as they say, electric, these excerpts taken from Miles ahead, the soundtrack accompanying the biopic starring Don Sheetle. This piece is entitled Prelude 2, taken from a very, very electric band. Miles took to Osaka, Japan, with

Pete Kozy and Michael Henderson on bass, Reggie Lucas, the other guitarist, Doe Man, Sonny Fortune on saxophone from Philadelphia, Al Foster on drums, and two May on percussion. Miles on trumpet and organ, you can hear the influence of people like Sly and Jerry Hendrix, and just a powerful, powerful array of material. Again, from the Miles they hit soundtrack, starting our three, we'll hear a bit of Prelude 2. We'll hear a bit of Prelude 2, taken from Miles Davis, Al Foster on drums,

but a bit different from Miles Davisу. Come on, come on. Come on, come on. Come on, come on. Up.

Up. Up. Up. Up. Up. .

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. . . . Miles Dewey Davis getting us underway here in our three Friday night jazz on VPR. I mean that is one scalding band and this same band could play some of the most . . . . . . . . . . . . . . . . .

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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . on guitar, Mike Stern, much heavier when this piece was recorded hence the name, Fat Time.

On guitar, Mike Stern, much heavier when this piece was recorded hence the name, Fat Time.

On guitar, Mike Stern, much heavier when this piece was recorded hence the name, Fat Time. On guitar, Mike Stern, much heavier when this piece was recorded hence the name, Fat Time. On guitar, Mike Stern, much heavier when this piece was recorded hence the name, Fat Time.

On guitar, Mike Stern, much heavier when this piece was recorded hence the name, Fat Time. On guitar, Mike Stern, much heavier when this piece was recorded hence the name, Fat Time. On guitar, Mike Stern, much heavier when this piece was recorded hence the name, Fat Time.

On guitar, Mike Stern, much heavier when this piece was recorded hence the name, Fat Time. On guitar, Mike Stern, much heavier when this piece was recorded hence the name, Fat Time. On guitar, Mike Stern, much heavier when this piece was recorded hence the name, Fat Time.

On guitar, Mike Stern, much heavier when this piece was recorded hence the name, Fat Time. On guitar, Mike Stern, much heavier when this piece was recorded hence the name, Fat Time. On guitar, Mike Stern, much heavier when this piece was recorded hence the name, Fat Time.

On guitar, Mike Stern, much heavier when this piece was recorded hence the name, Fat Time. On guitar, Mike Stern, much heavier when this piece was recorded hence the name, Fat Time. On guitar, Mike Stern, much heavier when this piece was recorded hence the name, Fat Time.

On guitar, Mike Stern. Miles Davis from the man with the horn here in our three Friday night jazz on VPR, primary soloist, Mr. Mike Stern, who was nicknamed by Miles Davis at the time, Fat Time. He was much heavier again back in 1981. That's the band Miles came out of retirement with, oh who's in that band?

Miles came out of retirement with, oh who's in that band? So we had Marcus Miller on bass, Al Foster on drums, Bill Evans, not the late pianist, but the, who did play keyboards and reads on primarily reads, Minu Senelu on percussion, Malibu anybody out? I think that's, yeah, that was that band and a lot of people thought, well, you know, Miles continued to confuse people and he continued to march on. So some evidence there, Fat Time from the man with the horn here in this juncture of Friday night jazz on VPR, one more piece from the man with the horn. This, I think again, kind of addressing Miles' versatility. One thing people missed, some people missed when Miles, quote unquote, went electric was the absence of, you know, the four, four swing many of us associate, with the jazz tradition and there are many who will tell you, of course, no four, four swing, no jazz. Here's Miles, kind of revisiting that this the last track on the man with the horn entitled Ursula. Uh-huh.

Uh-huh. Uh-huh. Uh-huh.

Uh-huh. Uh-huh. Uh-huh.

Uh-huh. Uh-huh. Uh-huh.

Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh. Uh-huh. Uh-huh. Uh-huh. Uh. Uh-huh. Uh. Miles Davis and friends here in our three Friday night jazz on VPR from The Man With The

Horn and Miles on trumpet, Mr. Bill Evans on saxophone, Marcus Miller on bass, Al Foster on drums and others and the composition entitled Ursula. Couple of new releases here now before we step out the door starting with the latest from vocalist Greg reporter, which is called Take Me To The Alley. This is a Greg reporter original entitled Holding On. We love love on my shoulders. I thought that it would be easier than this. I thought my heart had grown colder but the warmth of your kiss I can't

dismiss though my past has left me bruised. I ain't hiding from the truth when the truth won't let me lie right next to you. Holding on and is holding strong even though I tried to make it plain to part what I can't fake it it keeps holding on and is holding strong even though I tried to break it heaven knows that I can't shake it hold and on hold and on hold and on hold and on hold and on I've seen times that were harder. I remember the taste of bitterness. Won't you help me my father?

Help me fall in the love that I have missed though my past has left me bruised. I ain't hiding from the truth when the truth won't let me lie right next to you. Holding on and is holding strong even though I tried to make it plain to part what I can't fake it it keeps holding on and is holding strong even though I tried to break it heaven knows that I can't shake it hold and on hold and on but is holding on and is holding strong even though I tried to make it plain to part what I can't fake it it keeps holding on and is holding strong even though I tried to break it heaven knows that I can't shake it hold and on

it keeps holding on it keeps holding on it keeps holding on hold and on hold and on hold and on hold and on hold and on hold and on hold and on hold and on hold and on hold and on Hold, hold, hold, and know.

Mr. Greg Reporter on Vocals from his new Collection entitled Take Me To The Alley. Great title, great title. Here in our three of the program and we heard the original holding on. And just one more reminder, you know, for more Greg reporter, for any, any, any great jazz 24 hours a day, wherever you are, check out VPR jazz 24. You can listen at vpr.net and on your smartphone, where I finally got a smartphone, people stop laughing at me, and they say, man, you know, I think Charlie Parker had that old phone you had, you know, I was slightly post flip phone, but then this is not true confession, I will cut it off right now. We heard from guitarist Peter Bernstein in our one of the program. He was along with the late saxophonist Bob Belden, doing a version of Prince's 1999. This is from his latest collection, which is called Let Loose and we'll hear Blue Gardinia.

Guitarist Peter Bernstein here in our three of Friday night jazz on VPR and the standard

Blue Gardinia as we make our way through our three man at the time. Just flies. Thank you for hanging out with me as it zooms by. Hope you've been enjoying the program and, of course, I hope your evening is just splendid. Just splendid. A couple of more selections before we ease on down the road, starting with another new release on the ECM records label called A Cosmic Rhythm in every stroke with each stroke pardon me, featuring the talents of keyboardist Vijay Ir and trumpeter composer Wadada Leo Smith, dedicated to the great vocalist, it's entitled Marion Anderson. ーンs迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷迷�

Without a Leo Smith on trumpet, Mr. Vijay Iron keyboards from a cosmic rhythm with each stroke, a new collection on the ECM records label here in our three of Friday night jazz on VPR with Ruben Jackson and we heard a piece entitled Marion Anderson. Well friends, it's about that time, but before we reach that time, I want to thank you again for listening

and to remind you, you know, some of you know, but it's always good to remind folks. If the faiths allow in the Wannuski don't rise, we'll be here again next Friday, 8 p.m. sharp with more music and man, I'll just say it anyway, you are invited. If you want to say, hey, or whatever, you know, send some feedback, wait, I always think of Jimmy Hendrickson, I say feedback, send it along, rjaxon at vpr.net, always wonderful to hear from you. We are going to close tonight's program with a nod to another compositional original, a giant in my opinion, a big band leader, actually led ensembles of various configurations out of Cincinnati, Ohio, Mr. George Russell, this featuring a vocalist by the name of Sheila Jordan and I think a really entrancing version of the folk song, you are my sunshine. On listener supported Vermont Public Radio, WVPS Burlington at 107.9, WRVT Rutland at 88.7

WBT at Bennington at 94.3, WVPA St. John's Berry at 88.5 WVPR Windsor at 89.5 WVBA Brattleboro at 88.9, in Middlebury at 99.5 and at vpr.net, George Russell and friends, Sheila Jordan on vocals, you are my sunshine, you are my sunshine, you can bring all that back and hang out with me again next Friday 8 p.m. sharp, can't wait, have a great weekend, have a great night, keep swinging, all those good things, bye bye. .

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