The Late Set

We’ve rarely seen a centennial celebration like the one that coalesced around Miles Davis: cover stories,
deluxe reissues, luxury brand partnerships and tributes of every imaginable form.




Then again, we’ve rarely seen an artist like Miles — who once credibly claimed to have “changed music four or five times.”




His body of work remains a source of endless fascination. In this episode, Josh Jackson and Nate Chinen sit down to compare notes and highlights,
including some of the less celebrated turns and pivots in a famously forward-thinking career.




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For more than 25 years, bassist Carlos Henriquez has been the beating heart of the rhythm section in the Jazz at Lincoln Center Orchestra,
as well as other bands led by Wynton Marsalis. He’s done more than his share of swinging in those settings.
But as a product of the Nuyorican community, Henriquez has also remained deeply rooted in clave —
the pulse at the center of folkloric Afro-Latin music.




In this episode, he joins Josh Jackson to discuss Monk con Clave, his dynamite new album with the JALC Orchestra,
featuring special guests including pianist Gonzalo Rubalcaba and percussionist Pedrito Martínez.




Henriquez also reflects on his formative path through jazz education,
and weighs in on a timely question of succession.



Chapters


00:00 — Intro

03:05 — Interview with Carlos Henriquez

40:36 — Carlos Henriquez performs “I Mean You” (solo bass) and discusses his bass inspirations

1:00:28 — “This I Dig”




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When we declare music a “universal language,” what space do we leave for regional dialects and local customs?
How has jazz evolved from a uniquely American export into a music that truly knows no borders?
These and other questions hang in the air as we prepare to celebrate International Jazz Day at a moment of roiling global tensions.




It feels like the right time to connect with Kresten Osgood — a Danish drummer, composer and commentator,
and host of the podcast Dangerous Sounds. He joins Josh Jackson for a far-ranging conversation,
sharing his perspective on the music and the mission.




Following the interview, Osgood performed a solo drum improvisation. Watch here:

youtu.be/arjCn6U4QRU




Chapters


00:00 — Intro

04:30 — Interview with Kresten Osgood

43:22 — “This I Dig”




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Irreversible Entanglements can always be trusted to push revolutionary concerns to the fore.
But the band puts just as much stock in community, as we’ll hear in this provocative and lively episode.




Four of the group’s five members — vocalist Camae Ayewa (aka Moor Mother), trumpeter Aquiles Navarro,
saxophonist Keir Neuringer, and bassist Luke Stewart — joined Josh Jackson at The Fabric Workshop and Museum
for a listening session and public discussion of Don Cherry’s 1972 album Organic Music Society,
as a tie-in to the exhibition The Living Temple: The World of Moki Cherry, presented by Ars Nova Workshop.

The band also talked about Future Present Past, its knockout fifth release,
and the imperative of speaking truth to power, now as ever.




The band also discusses Future Present Past, its knockout fifth release, along with the enduring imperative
of speaking truth to power — now as ever.



Chapters


00:00 — Intro

04:30 — Interview with Irreversible Entanglements

46:47 — “This I Dig”




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Tomeka Reid finds authority in flexibility on the cello, taking full advantage of an instrument that can be earthy or ethereal, growly or sweetly serene. Her irresistible new album — dance! skip! hop! — finds her in all of these modes and more, at the helm of her long-running quartet.




During a recent visit to our studio, Reid spoke about how the album grew out of an impulse to dance. In a far-ranging conversation with Nate Chinen, she also reflects on her early cello inspirations, he impact of AACM mentors like Anthony Braxton, and her work as an educator and advocate.



Chapters


00:00 — Intro

02:35 — Interview with Tomeka Reid

40:15 — “This I Dig”




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