The Jazz Podcast Rob Cope & Tara Minton

Originally from the Netherlands, vocalist, and songstress, Vivienne Aerts is barely categorizable in genre or style. She plays in band formation, duo, solo, supplemented with synthesizer, loop station, and effects. Vivienne surprises challenges and tells stories. Her lyrics travel to the core of recognition; talk to the soul and open a barrel of emotions. Heartbreaking, singing of happiness, sometimes humorous, she tells about the things that make life beautiful.
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 Faye MacCalman is a performer, composer-songwriter and improviser on saxophone, clarinet and voice. Freewheeling through genre boundaries inspired by jazz, blues-folk, minimalism and rock to name a few, Faye fuses experimental songwriting with off kilter patterns, heartfelt melodies and surreal atmospheres. 
Faye is bandleader of critically acclaimed jazz-art-rock trio Archipelago, nominated for UK Jazz Act of the Year in the 2021 Jazz FM Awards after releasing their 2021 album ‘Echoes To The Sky’. Faye is also a current Jerwood Arts / Cheltenham Jazz Festival fellow, and her collaborations include Arun Ghosh, Anna Meredith, Zoe Rahman, Maximo Park and The Unthanks.  
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Quentin and Rob join the show to tell Tara Minton all about their new album, Five Way Split. Out March 17th on Ubuntu Music. Guest intro by Caitlin L-M.
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Born in 1967 to the late, great bassist Jamil Nasser, Muneer 's exposure to the jazz idiom was early and powerful. In 1976, "My dad took me to see Dizzy Gillespie at the Village Gate and Dizzy blew the place apart.  I had to get a trumpet and weeks later I did."  In 1979, he went to the International Art of Jazz Workshop for college students. Dave Burns, a trumpeter in Gillespie's Big Band, had reservations about his age. Muneer's talent, however, overshadowed this concern.  "Mr. Burns acceptance fortified my confidence and I began studying with him." Muneer also received private instruction from George Coleman, Jimmy Owens, Oliver Beener, and Webster Young. These workshops and lessons taught him the basics of jazz improvisation, which were tested at serious jam sessions conducted by Eddie Henderson, Ted Curson, Tommy Turrentine, Barry Harris, C Sharpe, and Gil Coggins. "If you couldn't play, they would bench you with quickness and give you a homework assignment." As a youngster, Muneer saw many masters in concert such as George Coleman, Randy Weston, Lou Donaldson, Woody Shaw, Roy Eldridge, and Phineas Newborn.
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As an acclaimed trombonist, composer, and producer, Delfeayo Marsalis has also dedicated his prolific career to music theatre and education. Along with the Marsalis family of musicians including his father Ellis, the artist was destined to a life in music.
Marsalis has toured internationally with jazz legends such as Ray Charles, Art Blakey, Max Roach, Elvin Jones and Slide Hampton, as well as leading his own groups.
At the age of 17, Marsalis began his career as a producer and has to date produced over 120 recordings garnering one Grammy award and several nominations.
In 2008, he formed the Uptown Jazz Orchestra, a highly entertaining ensemble that focuses on maintaining important jazz traditions such as riff playing, New Orleans polyphony and spontaneous arrangements.
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Tomas Fujiwara is a Brooklyn-based drummer and composer. Described as “a ubiquitous presence in the New York scene…an artist whose urbane writing is equal to his impressively nuanced drumming” (Troy Collins, Point of Departure), Tomas is an active player in some of the most exciting music of the current generation, with his bands Triple Double (with Gerald Cleaver, Mary Halvorson, Brandon Seabrook, Ralph Alessi, and Taylor Ho Bynum), Tomas Fujiwara & The Hook Up (with Jonathan Finlayson, Brian Settles, Halvorson, and Michael Formanek) and The Tomas Fujiwara Trio (with Alessi and Seabrook); his collaborative duo with cornetist Taylor Ho Bynum; the collective trio Thumbscrew (with Halvorson and Formanek); and a diversity of creative sideman work with forward thinking peers like Tomeka Reid and Matana Roberts. In The New York Times, Nate Chinen writes, “Drummer Tomas Fujiwara works with rhythm as a pliable substance, solid but ever shifting. His style is forward-driving but rarely blunt or aggressive, and never random. He has a way of spreading out the center of a pulse while setting up a rigorous scaffolding of restraint...A conception of the drum set as a full-canvas instrument, almost orchestral in its scope.” 
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