The Late Set WRTI

What should the omnivorous young jazz mainstream sound like today? One beguiling answer can be found in the music of Julius Rodriguez, a brilliant multi-instrumentalist who just released Evergreen, his second album for Verve, which synthesizes elements of jazz, R&B, gospel, funk, even electro-pop. “I see it all as different extensions of me,” Rodriguez tells us in a lively conversation that touches on his divergent aims for a studio album and a live show; the essential qualities he shares with his creative cohort; and the way that his New York upbringing now converges with his Los Angeles lifestyle, musically. We’ll also hear excerpts of an exclusive performance captured by WRTI at Notsolatin in South Philadelphia, on Rodriguez’s first tour.
More to Explore: 
WRTI: Live at from Notsolatin (YouTube Premiere on Thursday, June 27 at 11 am EDT) NY Times: A Prodigy of Jazz Clubs Explores Other Stages NPR: Julius Rodriguez, a young pianist fusing (all) the music from inside-out Support WRTI: https://bit.ly/2yAkaJs
See omnystudio.com/listener for privacy information.

Ron Miles reached beyond style and into human feeling. A cornetist who nestled all kinds of complexities into his warm and welcoming music, he left us too soon — but also left a lot to remember him by. Old Main Chapel, a gorgeous trio album recorded a decade ago, is now a part of that legacy. So too are our guests this episode, guitarist Bill Frisell and drummer Rudy Royston, who both knew Miles for more than 30 years. During a recent tour stop in Philly, they remembered their friend for his generosity, his soulfulness, and his fierce commitment to beauty. Like his music, their reminiscence glows with wonder, still inhabiting the present tense.
Jazzwise: A requiem for Ron: Ron Miles: Old Main Chapel NPR: Ron Miles, cornetist who imbued modern jazz with heart and soul, dies at 58 PBS: Ron Miles, beloved fixture of Denver jazz scene, dead at 58 Support WRTI: https://bit.ly/2yAkaJs
See omnystudio.com/listener for privacy information.

Lee Morgan was many things: a brilliant trumpeter, a hard-bop messenger, a cultural hero, a cautionary tale. He was also a proud product of Philly, and in recent days and weeks we’ve seen the city truly herald him as its own. On April 30, International Jazz Day, a historical marker in Morgan’s honor was unveiled at the corner of 52nd and Chancellor Streets — former site of the Aqua Lounge, where he played his final hometown gig. We were there for the ceremony so we could bring you this report, including remarks from saxophonist Billy Harper, who played in Lee’s last band, and his nephew Raymond Darryl Cox, who came bearing the master’s flugelhorn.
More from WRTI:
A landmark for Lee Morgan, and the grassroots effort behind it
How a jazz legend's resting place was lost and found, 50 years after his tragic death
A Film About Jazz Trumpeter Lee Morgan Sparks Memories for Odean Pope
Support WRTI: https://bit.ly/2yAkaJs
See omnystudio.com/listener for privacy information.

When Shabaka hung up his tenor saxophone in favor of bamboo flutes, the world reacted with a mix of admiration and puzzlement. Over the last decade, as Shabaka Hutchings, he had steadily built a reputation for rampaging fervor on tenor, fueling the fires of a new-breed London jazz scene. His remarkable new album, Perceive Its Beauty, Acknowledge Its Grace, drifts in another direction — more contemplative and interior, suffused with flickering calm. During this year’s Winter Jazz Fest, we caught up with Shabaka at Public Records in Brooklyn, and had a far-reaching conversation about this new direction, his motivations, and the challenge of making such a decisive pivot. Naturally we also talked about André 3000, another high-profile flute obsessive, and an eager new collaborator. You’ll also hear Greg and Nate reflect on this soothing new turn in the music often branded “spiritual jazz,” and what it says about our present moment.
Breathe In:
New Music Friday for April 12, from NPR Music Album review in Pitchfork, by Hank Shteamer NY Times profile, by Hugh Morris Support WRTI: https://bit.ly/2yAkaJs
See omnystudio.com/listener for privacy information.

Melissa Aldana has been a prominent force in motion since she took first prize in the Thelonious Monk International Jazz Saxophone Competition just over a decade ago. What she has accomplished since then is a matter of public record, but also the result of much private searching — as an improviser, a composer, a bandleader and a human being. Her captivating new album, Echoes of the Inner Prophet, reflects a noticeable maturity on all fronts, which she describes as an ongoing process. In this revealing conversation, Melissa touches on her path toward a personal sound, which involved “a very deep crisis of identity.” She also shares insights about the gift of a working band, the complex play of musical influence, and the power of sound to change perception. 
More to Explore:
Listen here to Echoes of the Inner Prophet NY Times: Melissa Aldana Makes a Focused Statement in Back Home NPR: Melissa Aldana Wins Thelonious Monk Competition For Saxophonists Support WRTI: https://bit.ly/2yAkaJs
See omnystudio.com/listener for privacy information.

Here at The Late Set, we always turn toward the wisdom of elders. So we couldn’t be more excited about our guest this episode: alto saxophonist, composer-bandleader and educator Gary Bartz. We sat down with him in Brooklyn during the recent Winter Jazzfest, and had a fantastic conversation that spans his apprenticeship years (with everyone from Max to Mingus to Miles), his journeyman period (notably at the helm of Ntu Troop), and his master eminence (which predates his welcome induction as a 2024 NEA Jazz Master). The man who gave us “Music is My Sanctuary” is still out along the front line, with insights to share.
More to explore: 
NEA: Gary Bartz biography NPR: From bebop to hip-hop: Gary Bartz's sax sound shapes many eras KQED: For Jazz Saxophonist Gary Bartz, ‘Music Is My Religion’ Support WRTI: https://bit.ly/2yAkaJs
See omnystudio.com/listener for privacy information.