Monty Roberts
speaker
410 appearances
1 recordings
1 series
first heard Aug 2026
last heard 7 Aug
Monty Roberts’s voice in public audio — every appearance, attributed to the second.
Trend
recordings per month · last 12 monthsRecordings per month over the last 12 months — 1 in all, peaking in Aug 2026 with 1.
Appearances
And you just had to get out of his way to allow him to win championships.
Um he was a cutting horse and rain cow horse.
Um
He was an extension of me.
He was like a brother, like a very close brother would be.
Um but I have a lot of favorites and
Song of Africa is rising quickly on the list.
The music of Duke Ellington is a cornerstone in jazz, but lately musicians are building unique structures with it.
That's the Ellingtonian classic I Got It Bad and That Ain't Good from Jason Moran's solo presentation of Duke's music, and the difference is immediately apparent to jazz fans.
It's denser, more rhythmically insistent.
Essentially it's as much Moran as it is Duke, which is Jason's style.
In the past twenty years he's produced tributes to the music of Thelonius Monk, Fatzballer, and James Reese Europe, not by presenting faithful renditions of their songs, but by showing the common ground he shares with these greats and by making the music a little more current.
Ellington's music is often known for its regal elegance, but Moran values its grit, and he demonstrates this on black and tan fantasy.
Also, Ellington typically worked with an orchestra and Moran seeks to communicate the depth and force that comes from having more than a dozen musicians on the bandstand.
Moran thinks of the dream state of the black and tan fantasy and dives deep into the lower register of the piano to communicate it with a rumble.
Moran doesn't completely reject the elegance of Ellington's music.
On Fleurette Afrikan, he lightens his typically heavy touch, and he allows the music to breathe more with an austere rendition.
No survey of Ellington's work is complete without touching on Duke's frequent collaborator, Billy Strayhorn.
Moran includes Strayhorn's lotus blossom and he uses the lighter approach, but he also references the way Ellington presented it on the album and his mother called him Bill, Duke's renowned tribute to his sidekick.
There's a stately grandeur to Ellington's music that was especially well captured by his orchestra, but Moran nails it on the piano, on Jeep's blues, while retaining his trademark rhythmic insistence.
Showing 381–400 of 410 · page 20 of 21
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