Anticipation (Capri Records, 2012) is the new CD by drummer Colin Stranahan, pianist Glenn Zaleski and bassist Rick Rosato. In this interview, conducted before the trio’s recent live show at Small’s in NYC, the three talk about their mutual appreciation of one another; the shared taste in music that animates their collaboration; and their individual paths into jazz. Learn more at myspace.com/wwwcolinstranahancom, glennzaleski.com and myspace.com/rickrosato.

The Wee Trio is James Westfall (vibes), Dan Loomis (bass) and Jared Schonig (drums). Their new album is Ashes To Ashes: A David Bowie Intraspective. In this interview, the trio talks about why they chose David Bowie — and why they were initially reluctant to do so; how they managed an 8,000-mile tour across the United States; and what makes the trio work as a unit. Learn more at theweetrio.com and follow them on Twitter at @weetrois.

Michael Bates’s new album is called Acrobat: Music For, And By, Dmitri Shostakovich (Sunnyside, 2011). In this interview, Bates talks about the appeal of Shostakovich the man and the composer; how he used Shostakovich’s music as a starting point for his own compositions and improvisations; and the new trio music he’s been working on. Learn more at outsidesources.org.

Bassist Chris Tarry has just released Rest of the Story, an ambitious project that combines an album of new music with a collection of his short fiction. In this interview, Tarry talks about creating in two very different worlds; how we was able to move from concept to creation of this large work; and why he feels that his writing informs his music more than the other way around. Learn more at www.christarry.com.

Bassist Ron Carter’s 1973 CTI recording All Blues has just been reissued. In this interview, Carter talks about the making of the album and how he chose the band; why he thinks jazz schools need a broader vision; and why he supports labor unions. Learn more at roncarter.net.

For The Jazz Session’s 300th episode, a rare chance to sit down with four musical veterans: David S. Ware, William Parker, Cooper-Moore and Muhammad Ali. The four have just released Planetary Unknown (Aum Fidelity, 2011). This interview was recorded in the dressing room just after their performance at the 2011 Vision Festival. In this interview, they talk about the spiritual side of music; give advice to young musicians; and tell stories from their 100+ years as performers. Learn more at Aum Fidelity’s Planetary Unknown page.

NOTE: Today (August 11, 2011) is the final day of the “100 By 300″ membership campaign and I haven’t quite reached my goal. Please support the show by joining today for as little as $10 a month.

Tracks used in this episode: Passage Wudang; Shift; Duality Is One; Divination; Crystal Palace; Ancestry Supramental.

Three of the four members of this band have been on The Jazz Session before:

• Cooper-Moore
• William Parker
• David S. Ware

Bassist Ken Filiano’s new album is Dreams From A Clown Car (Clean Feed, 2011). In this interview, Filiano talks about remaining present and free of preconceptions; how he switched from trumpet to bass a few weeks before graduating college; and what inspires him to read and listen eclectically. Learn more at myspace.com/kenfiliano.

Tracks used in this episode: (from Dreams From A Clown Car) Silhouette; Dog Days; Beguiled; (from Subvenire) water down stone; breathingdreaming; relay; (from Dreams From A Clown Car) Shinobu; Retronym.

Bassist Ike Sturm has composed an ambitious piece for his album Jazzmass. In this interview, Sturm talks about learning the craft of large-ensemble writing (with a bit of family help); the role his faith plays in his music; and the idea of writing programmatic music that stands on its own. Learn more at ikesturm.com.

Sundial Lotus (Innova, 2010) is the debut album by bassist Ben Gallina’s band Salo. In this interview, Gallina talks about composing the music for this record; how the band grew organically beyond his initial conception; and how science fiction and the works of David Foster Wallace have inspired his music. Learn more at www.bengallina.com.

Tracks used in this episode: The Sky Is An Eye; Worm Emperor; Metamorphistopheles; Obitron Revoluto; Trans-Galactic Sleep Chamber.

Bassist Cecil McBee’s latest recording is as a member of The Cookers on their CD Cast The First Stone (Plus Loin, 2010). In this interview, McBee talks about The Cookers; his study of various languages and their relationship to music; and his evolution as a composer. Learn more at www.cecilmcbeejazz.com.

Tracks used in this episode: (from the CD Cast The First Stone) Cast The First Stone; Peacemaker; (from the CD Warriors) Ladybugg; U Phoria.

Sean Smith’s new CD is called Trust. In this interview, Smith talks about the idea of trust among musicians; recalls Bill Finnegan’s teachings; and talks about the potentially career-ending injury that gave him a new lease on life and music. Learn more at www.seansmithjazz.com.

Tracks used in this episoed: Betting Blind; Homemade Japanese Folk Song; Wayne’s World; Lawn Ornaments; Occam’s Razor; Voices; Margin Of Error.

Bassist Ben Allison delivers an original and exciting take on tunes by everyone from Samuel Barber to Neil Young to Thelonious Monk on his new CD, Action-Refraction (Palmetto, 2011). In this interview, Allison talks about an iPhone app that changed the sound palette on his new record; two musicians who’ve joined him for the first time on this CD; and how he deals with the lyrical content of these songs in his instrumental arrangements. Ben’s workshop series continues every Tuesday night at Kush, 191 Chrystie St, NYC. Learn more at www.benallison.com.

NOTE: This episode contains an advanced preview of the new CD, which will be in stores on April 12, 2011.

Tracks used in this episode: Jackie-ing; Missed; St. Ita’s Vision; Philadelphia; We’ve Only Just Begun; Broken.

Bassist Alexis Cuadrado has just released an ambitious nonet album, Noneto Iberico (bjurecords, 2011), inspired by the flamenco music of his native Spain. In this interview, Cuadrado talks about the genesis of the record; how having kids changed his focus as a musician; and how the Brooklyn Jazz Underground fosters creative music. Learn more at http://www.alexiscuadrado.com/.

Tracks used in this episode: Very Well; Tocar Y Parar; Te Sigo; Solo El Sol Sale Siempre Solo; Los Panchitos.

Bassist Robert Hurst has been a first-call musician since his early days with Wynton and Branford Marsalis. He’s just released two new albums, Bob Ya Head (Bebob Records, 2011) and Unrehurst, Vol. 2 (Bebob Records, 2011). In this interview, recorded at Jazz Standard in New York, Hurst talks about the politics and rhythms underlying Bob Ya Head; how his Detroit upbringing impacted his musical life; and why school is great but it’s no substitute for putting in time on the bandstand. Learn more at www.roberthurst.com.

Tracks used in this episode: (from Bob Ya Head) Optimism; Unintelectual Property; Comes You Comes Love; (from Unrehurst Vol. 2) I Love You; Bob’s 5/4 Tune; Monk’s Dream.

Bassist William Parker is one of the most prolific players on the jazz scene today. His two most recent albums are I Plan To Stay A Believer: The Inside Songs Of Curtis Mayfield (Aum Fidelity, 2010) and Uncle Joe’s Spirit House (Aum Fidelity, 2010). In this interview, Parker talks about the origin of both projects; what he means by “inside songs”; and his unique take on the organ quartet. Learn more at www.williamparker.net.

If you’d like to buy these albums, you can support The Jazz Session by purchasing them via the links below:

Bassist Mario Pavone is looking back on his life in music with his new album, arc suite t/pi t/po (Playscape Recordings, 2010). In this interview, Pavone talks about the changing role of rhythm sections in modern improvised music; his work in the visual arts, particularly painting and photography; and his “upside-down” approach to arranging. Learn more at www.mariopavone.com.

Bassist Charnett Moffett grew up in a musical family. Which is to say, his dad played with Ornette Coleman and the whole Moffett family band was touring the world when Charnett was a kid. More than two decades later, Charnett is bringing that family history and his own impressive musical resume to bear on his new album, Treasure (Motema, 2010). In this interview, Charnett talks about the thinking behind this album; his childhood experiences and how they shaped the musician he is today; and his work with guitarist Stanley Jordan, who appears on Treasure. Learn more at motema.com/artist/charnett-moffett.

Bassist Stephan Crump formed the Rosetta Trio with guitarists Liberty Ellman and Jamie Fox to play music he composed in response to September 11. Now, with their second album, Reclamation (Sunnyside, 2010), the trio continues to explore an exposed and intimate sonic landscape. In this interview, Crump talks about the origins of the band; the trio’s particular sonic palette; and the benefits of playing without drums. Learn more at www.stephancrump.com.

Bassist Rufus Reid says he’s found a very special combination of players on his new trio CD, Out Front (Motema Music, 2010). In this interview, Reid talks about why pianist Steve Allee and drummer Duduka Da Fonseca make for such rare trio partners; how he approaches both trio and large ensemble playing; and why he feels compelled to keep reaching for new experiences. Learn more at www.rufusreid.com.

Bassist Linda Oh was born in Malaysia to Chinese parents, grew up in Perth, Australia, and now plays the bass in New York City. Her debut recording, Entry (self-produced, 2009), is a strong trio statement featuring trumpeter Ambrose Akinmusire and drummer Obed Calvaire. In this interview, Oh discusses her decision to challenge herself on her first recording; her upbringing and how it influenced her decision to become a jazz bassist; and how she has dealt with stereotypes about Asian women as she’s forged her career. Learn more at www.lindaohmusic.com.

If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

You’d think that helping to invent a new genre of music and being the first person to play your instrument in a jazz setting would be enough to get you some headlines in the jazz history books. You’d be wrong. Meet Harry Babasin, the bassist who played on the very first recordings of what became bossa nova, and then became the first person to play pizzicato cello in a jazz group. He’s now largely forgotten. In this interview, his son Von Babasin talks about Harry’s life and accomplishments, and Von’s mission to film a documentary that will restore his dad to his rightful place in jazz history. Learn more at www.jazzinhollywood.com/harrythebear.html.

Harry Babasin’s band The Jazz Pickers features Harry’s cello work. If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below.

Bassist John Goldsby has worked in Germany for the last 15 years, playing in a state-sponsored jazz orchestra in Cologne. On his album Space For The Bass (Bass Lion, 2009), Goldsby explores the role of the bass in a variety of small-group settings. In this interview, Goldsby talks about why he’s chosen to make his home in Germany since the mid-90s; his view of the bass and its place in an ensemble; and how an improbable gig in Louisville, KY, put him on the bandstand with some of the great names in jazz. Learn more at goldsby.de.

If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

The Dan Loomis Quartet currently features Loomis on bass, Eli Asher on trumpet, Robin Verheyen on saxophone and Jared Schonig on drums. This particular line-up of the band performed for the first time in Albany, NY, during the 2009 Albany Riverfront Jazz Festival. After the show, the four musicians talked about the freedom found in a band without a chordal instrument; how they approach complex rhythms and forms; and what makes the experience of collective improvisation such a joy. Learn more at danielloomismusic.com.

The previous incarnation of the Dan Loomis Quartet recorded an album in 2007 called I Love Paris (Jazz Excursion Records, 2007). If you’d like to buy the album, you can help support The Jazz Session by purchasing it via the link below:

Guitarist Joe Morris has spent three decades finding ways to contribute to the language of the guitar and to the literature of improvised music. He’s managed to stay true to himself and his sound during that entire time, even as he’s added the bass to his repertoire. On Today On Earth (AUM Fidelity, 2009), Morris continues to explore the place of the guitar in the world of free improvisation. In this interview, Morris talks about his early decision to play without effects; how the masters of the music create their own technique; and the innovative way he teaches his students to do what feels right with their music. Learn more at www.joe-morris.com.

If you’d like to buy this album, you can support The Jazz Session at the same time by purchasing it via the link below:

Dutch bassist Joris Teepe has lived in New York for the past 20 years, making a name for himself with everyone from Benny Golson to the late Rashied Ali. Recently, Teepe was commissioned to write music for both an orchestra and a big band in Europe. Those two experiences were so positive that he decided to start a big band in New York, and the result is the CD We Take No Prisoners (Challenge Records/Twinz Records, 2009). In this interview, conducted in Teepe’s back yard in Englewood, NJ, Teepe talks about how Don Braden helped him learn to arrange for large ensembles; how he approaches the bass in the very different bands of Golson and Ali; and why he decided two decades ago to follow the “New York sound” across the water. Learn more at www.joristeepe.com.

Help support The Jazz Session by buying this album via the link below:

Jason Crane interviews bassist John Patitucci. On Remembrance (Concord, 2009), Patitucci uses the classic sax-bass-drums formation to pay homage to jazz masters past and present. Joined by Joe Lovano and Brian Blade, Patitucci is heard to great effect on both acoustic and electric bass. In this interview, Patitucci talks about his friend Michael Brecker, to whom the title track is dedicated; his varying approaches to playing the bass; and why his dining room has two pictures in it, one of his mother and one of a famous jazz musician. Find out more at www.johnpatitucci.com.

If you’d like to buy this album, you can help support The Jazz Session by buying it via the link below:

Jason Crane interviews bassist Avery Sharpe. Sharpe’s album, Autumn Moonlight (JKNM, 2009) is an exploration of the piano trio by a man who played bass in one of the most famous such trios in recent memory, that of McCoy Tyner. In this interview, Sharpe talks about why he likes to perform in the trio format, how he chose between insurance adjusting and the bass, and the night he left Art Blakey for McCoy Tyner. Find out more at AverySharpe.com.

If you’d like to buy this album, you can help support The Jazz Session by buying it via the link below:

Jason Crane interviews bassist Christian McBride. McBride returns to the acoustic realm with his new record, Kind of Brown (Mack Avenue Records, 2009). The album is a reunion of players from McBride’s career — drummer Carl Allen, pianist Eric Reed, saxophonist Steve Wilson, and vibraphonist (and former student of McBride’s) Warren Wolf, Jr. In this interview, McBride talks about Freddie Hubbard, Tony Reedus, his evolving role as a mentor, and “checking in at home.”

If you’d like to buy this album, you can help support The Jazz Session by buying it via the link below:

Jason Crane interviews bassist Eberhard Weber. Weber’s name is synonymous with the “ECM sound,” because he’s been the bassist of choice on classic ECM recordings dating back to the label’s founding three decades ago. Since the early 1980s, Weber has played in saxophonist Jan Garbarek’s band. To celebrate his 65th birthday, the city of Stuttgart, Germany, threw Weber a two-night concert party. He was joined on stage by an orchestra, Garbarek, vibraphonist Gary Burton, and others from his musical career. The resulting album, Stages Of A Long Journey (ECM, 2007), is Weber’s first live recording and a wonderful testament to his virtuosity as both bassist and composer.

Jason Crane interviews bassist Miroslav Vitous. Vitous came to the U.S. in 1966, and quickly became part of the New York jazz scene. He was a founding member of Weather Report along with Wayne Shorter and Joe Zawinul. Vitous played on the landmark trio session Now He Sings, Now He Sobs (Blue Note, 1968) with Chick Corea and Roy Haynes. Vitous’s new album is Universal Syncopations II (ECM, 2007), the sequel to his critically acclaimed Universal Syncopations (ECM, 2003). The album features trumpeter Randy Brecker, woodwind player Bob Mintzer, drummer Gerald Cleaver and many others.