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Funky Friday – Episode 68: 100 Miles

Updated: May 30

🎧 Quick Links:

🎧 Listen live on KDOG 9 AM Pacific Time→ Here

🎧 Listen live on KCSM HD2 9 PM Pacific Time→ Here (On mobile, scroll down to the KCSM HD2 player)


📆 Add to Calendar — Funky Friday (Weekly):

• 9 AM KDOG

• 9 PM KCSM HD2


🎶 Catch the Replay → Here

📖 Full Episode Recaps + Setlists → Here

📂 Renegade Radio Site → Here


Promotional graphic for Funky Friday Episode 68: “100 Miles,” celebrating 100 years of Miles Davis. The design features a dramatic midnight-blue and black jazz aesthetic with gold typography and a silhouetted trumpet player under a bright spotlight surrounded by smoke. The poster includes broadcast details for KDOG and KCSM HD2 and carries a cinematic fusion-era mood inspired by jazz, funk, and late-night radio culture.

Airdate: 5.22.26 - 9 AM Pacific Time on KDOG & 9 PM Pacific Time on KCSM HD2


Happy Funky Friday, Renegades of Funk!


Funky Friday – Episode 68: 100 Miles


A century after Miles Davis was born, the signal still travels.


Not through nostalgia.


Through mutation.


Through electricity, brass, rhythm sections, late-night radio, and musicians who refused to let jazz remain frozen inside history. Funky Friday Episode 68: “100 Miles” moves through fusion, jazz-funk, Bay Area horn power, and midnight groove architecture while tracing the pathways Miles Davis helped open across modern music.


The episode begins with “Jean Pierre,” one of Miles’ most groove-forward recordings. Loose, hypnotic, and electric, the track immediately establishes the mission statement of the broadcast. This is not museum jazz. This is movement music. A transmission still in progress.


From there, the set expands outward.


Herbie Hancock pushes synthesizers and basslines into deep funk territory with “Chameleon,” while Freddie Hubbard brings heavyweight trumpet energy through “Red Clay.” Jazz fusion stops sounding academic and starts sounding physical. Rhythmic. Urban. Alive after dark.


As the episode develops, the groove becomes heavier and more modern.


Liquid Soul’s “World’s on a Leash” feels like a future descendant of the Miles Davis electric period. Acid jazz, funk, brass, and late-night atmosphere colliding into a single pulse. The signal widens again through Tower of Power’s “Squib Cakes,” where Bay Area horn precision turns fusion energy into pure forward motion.


The emotional texture of the broadcast shifts constantly without losing cohesion.


Grover Washington Jr.’s “Mister Magic” lowers the lighting into smoother territory while Weather Report’s “Birdland” expands the atmosphere outward again into futuristic jazz architecture. Brass becomes cinematic. Synthesizers become weather systems.


Near the end of the episode, Herb Alpert’s “Rise” glides through the mix with elegance and nighttime momentum while David Sanborn’s “Run for Cover” injects sharp-edged saxophone energy back into the bloodstream.


The broadcast closes where it began.


Back with Miles.


“Tutu” ends the episode suspended somewhere between jazz, funk, electronics, and noir atmosphere. Marcus Miller’s production surrounds Miles Davis with deep synthesizer textures and low-end pulse while the trumpet cuts through the darkness like signal fire through fog.


Because “100 Miles” is not simply a tribute episode.


It is a map of musical evolution.


A relay transmission across generations of rhythm, improvisation,

electricity, and groove.


The signal still travels.


The groove still evolves.


Keep the signal alive.


Funky Friday – Episode 68: 100 Miles


🔥 SETLIST + RENEGADE NOTES


Miles Davis — “Jean Pierre (Live)” (1982)

Personnel: Miles Davis (trumpet), Marcus Miller (bass), Mike Stern (guitar), Al Foster (drums), Bill Evans (saxophone).

Renegade Note: The opening transmission. Groove-forward Miles Davis with electric pulse and late-night momentum intact.


Herbie Hancock — “Chameleon” (1973)

Personnel: Herbie Hancock (keyboards), Paul Jackson (bass), Harvey Mason (drums), Bennie Maupin (woodwinds).

Renegade Note: Fusion mutates directly into funk. One of the deepest pockets ever recorded.


Freddie Hubbard — “Windjammer” (1976)

Personnel: Freddie Hubbard (trumpet), George Cables (keyboards), Junior Cook (tenor saxophone), Kent Brinkley (bass), Ralph Penland (drums), Larry Nash (synthesizer).

Renegade Note: Soaring trumpet lines and electric fusion textures create a sense of movement and nighttime momentum, balancing technical jazz musicianship with smooth late-70s groove architecture.


Liquid Soul — “World’s on a Leash” (2000)

Personnel: Mars Williams (saxophone), Liquid Soul ensemble.

Renegade Note: Future jazz under pressure. Acid jazz and funk colliding inside urban nighttime atmosphere.


Tower of Power — “Squib Cakes” (1974)

Personnel: Chester Thompson (organ), Emilio Castillo (tenor saxophone), Stephen “Doc” Kupka (baritone saxophone), Tower of Power horn section.

Renegade Note: Bay Area brass precision transformed into locomotive funk energy.


Grover Washington Jr. — “Mister Magic” (Live 2024)

Personnel: Grover Washington Jr. (saxophone), Adam Holzman (keyboards), Pablo Batista (percussion), Gerald Veasley (bass), Richard Lee (guitar), Richie Morales (drums), Donald Robinson (keyboards).

Renegade Note: Midnight radio atmosphere carried into a live setting. Smooth saxophone phrasing rides over deep groove momentum while the expanded live ensemble amplifies the electric fusion energy and late-night broadcast feel.


Weather Report — “Birdland” (1977)

Personnel: Joe Zawinul (keyboards), Wayne Shorter (saxophone), Jaco Pastorius (bass), Alex Acuña (drums).

Renegade Note: Fusion architecture at full scale. Synthetic, cinematic, and endlessly influential.


Herb Alpert — “Rise” (1979)

Personnel: Herb Alpert (trumpet), Abraham Laboriel (bass), Steve Gadd (drums), Andy Armer (arrangement).

Renegade Note: Elegant nighttime momentum carried by one of the smoothest trumpet grooves ever broadcast.


David Sanborn — “Run for Cover” (1977)

Personnel: David Sanborn (alto saxophone), Marcus Miller (bass), Steve Gadd (drums), Hiram Bullock (guitar).

Renegade Note: Sharp-edged jazz-funk energy with saxophone lines that feel simultaneously precise and dangerous.


Miles Davis — “Tutu” (1986)

Personnel: Miles Davis (trumpet), Marcus Miller (bass, synthesizers, production), George Duke (keyboards).

Renegade Note: The closing signal. Miles Davis surrounded by synthesizers, noir atmosphere, and future-facing groove architecture.


🔗 Quick Links:

🎧 Listen live on KDOG 9 AM Pacific Time→ Here

🎧 Listen live on KCSM HD2 9 PM Pacific Time→ Here (On mobile, scroll down to the KCSM HD2 player)


📆 Add to Calendar — Funky Friday (Weekly):

• 9 AM KDOG

• 9 PM KCSM HD2


🎶 Catch the Replay → Here

📖 Full Episode Recaps + Setlists → Here

📂 Renegade Radio Site → Here



Funk Facts


Miles Davis — “Jean Pierre (Live)”

Built around a looping bass groove, chant-like vocal phrasing, and spacious electric instrumentation. The arrangement prioritizes repetition, rhythm, and atmosphere over dense harmonic movement, allowing the groove itself to become the improvisational engine.


Herbie Hancock — “Chameleon”

Driven by synthesizer bass, layered clavinet textures, and tightly syncopated drum work. The groove evolves gradually through subtle rhythmic additions rather than major structural changes, creating one of fusion’s deepest pockets.


Freddie Hubbard — “Windjammer”

Built around soaring trumpet phrasing, electric keyboard textures, and fluid rhythmic propulsion. The arrangement balances sophisticated fusion musicianship with smooth late-night groove architecture and a strong sense of forward motion.


Liquid Soul — “World’s on a Leash”

Combines acid jazz horn arrangements, electronic groove layering, and hip-hop-influenced rhythmic pacing. The rhythm section stays locked while brass lines and percussion create urban nighttime atmosphere.


Tower of Power — “Squib Cakes”

Centered on precision horn stabs, Hammond organ textures, and deeply disciplined rhythmic pocket. The groove feels constantly in motion while remaining tightly controlled through ensemble synchronization.


Grover Washington Jr. — “Mister Magic (Live)”

Built around warm electric keyboard textures, flowing saxophone phrasing, layered percussion, and steady live-groove momentum. The arrangement creates late-night radio atmosphere while the expanded ensemble adds movement, space, and electric fusion energy.


Weather Report — “Birdland”

Constructed from synthesizer layering, elastic bass movement, and sharply arranged melodic phrasing. Electronic textures and jazz improvisation merge into a futuristic rhythmic architecture.


Herb Alpert — “Rise”

Driven by soft drum groove, fluid bass movement, and melodic trumpet phrasing suspended above spacious production. The arrangement balances elegance and momentum through minimalist rhythmic restraint.


David Sanborn — “Run for Cover”

Built on sharp syncopation, aggressive saxophone attack, and tightly compressed funk rhythm section interplay. The groove maintains constant forward pressure while leaving room for explosive melodic phrasing.


Miles Davis — “Tutu”

Constructed from synthesizer bass textures, electronic percussion, and spacious trumpet placement within a highly produced sonic landscape. Jazz improvisation merges with electronic groove architecture and noir atmosphere.

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