Podcast appearances and mentions of andy razaf

Gee, imagine that! Another album featuring a trumpet player from my dad's collection. And a trumpet player we've heard from before. This time, we get to hear some great ragtime. This artist not only fronted his own band, but got his pedigree through some of the best big bands in history. So, get ready to hear a musician who had a movie made about his life in Volume 220: Red Hot Pennies. More information about this album, see the Discogs webpage for it.  Credits and copyrights Red Nichols And His Famous Pennies – Hot Pennies Label: Capitol Records – T 775 Format: Vinyl, LP, Album Released: 1956 Genre: Jazz Style: Ragtime Recorded in Capitol Tower on September 7 and 10, 1956. We will hear 6 of the 10 songs on this album. Louisiana written by Andy Razaf, J. C. Johnson, and Bob Schafer Marchin' With The Saints (aka When the Saints Go Marching In) (Traditional) Maple Leaf Rag written by Scott Joplin Blues At Midnight written by Ivory Joe Hunter Row, Row, Row written by William Jerome, and Jimmy Monaco Farewell Blues written by Elmer Schoebel, Leon Roppolo, and Paul Mares I do not own the rights to this music. ASCAP, BMI licenses provided by third-party platforms for music that is not under Public Domain. #rednichols #ragtime #dixielandjazz #musichistory #vinylrecordcollecting #vinylrecords 

Diese Sendung hat Joachim Böskens zusammengestellt. Das LIVE - Anspiel ist : „Gee Baby (ain't I good to you)”. Ein Lied aus dem Jahr 1929, das von Andy Razaf und Don Redman geschrieben wurde. Es wurde am 5. November 1929 von den von Redman angeführten McKinney's Cotton Pickers auf Victor aufgenommen. Folgende Titel sind zu hören: Oh! Lady be good – Artie Shaw and his Orchestra 3:09 Funky unity – Sandro Roy 3:45 It had to be you – Mary Stallings 5:28 La vita è bella - Stefano di Battista 2:57 Gee Baby (ain't I good to you) – Rosemary Clooney 3:35 Girlfriend with magical ears – Sebastian Gahler 3:59 Bourbon Street parade – Happy Jazz & Co. 3:51 A Waltz Nobody wants to Dance to dance to – Tobias Altripp Trio 6:24 Liza – Art Tatum Trio 1:58 Bei Titelwünsche und Anregungen schreiben Sie gern an: jazztime.mv@ndr.de Keep Swingin' !!!

Our second episode dealing with the non-album work of Tom Waits (and our second from the 1970s) brings a variety of covers, live performances, outtakes and re-uses from studio sessions... including the Hokey Pokey. Check the show notes for versions of everything we're discussing, and hopefully you'll find some new favourites. website: songbysongpodcast.com twitter: @songbysongpod e-mail: songbysongpodcast@gmail.com Music extracts used for illustrative/review purposes include: Martin Goes And Does Where It's At / Bombed Anyway, I'm Everyone I've Ever Loved, Martin Mull feat. Tom Waits (1977) Just Another Dime Store Novel, unreleased recording - possibly from the Foreign Affairs sessions / Filmways Heider Recording, Tom Waits (1977) (Meet Me In) Paradise Alley, Paradise Alley Soundtrack, Tom Waits (1978) With a Suitcase (Street Band Version), unreleased recording - from the Paradise Alley sessions, Tom Waits (1978) Tijuana, Jack Tempchin, Jack Tempchin, w. Tom Waits (1978) Summertime, live recording, The Royal Horse, Osaka, Japan, w. George Gershwin (March 1978) Summertime / Putnam County, live recording, Park Motor Inn, Madison, Wisconsin (31 October 1977) Ain't Gonna Rain No Mo', live recording, Zilker Park, Austin TX (5 December 1978) OR Warner Theatre, Washington DC (21 November 1978) Ain't Gonna Rain No Mo' / I Wish I Was In New Orleans, live recording, Austin City Limits, Texas (December 1978) Waitin' For Waits, Hollywood Madness, Richie Cole / Eddie Jefferson feat. Tom Waits (1979) Gee Baby Ain't I Good To You, live recording, Uptown Theatre, Kansas City, w. Andy Razaf and Don Redman (8 October 1979) OR Beacon Theatre, New York w. Andy Razaf and Don Redman (5 November 1979) Whose Sports Coat Is That, live recording, Uptown Theatre, Kansas City (8 October 1979) OR Beacon Theatre, New York (5 November 1979) Trash day, live recording, Uptown Theatre, Kansas City (8 October 1979) OR Beacon Theatre, New York (5 November 1979) Since I Fell For You, live recording, Capitol Theatre, Sydney Australia, w. Buddy Johnson (2 May 1979) Do The Hokey Pokey / Pasties & A G-String, live recording, Capitol Theatre, Sydney Australia (2 May 1979) I Feel Good, live recording, Paramount Theatre, Seattle WA, w. James Brown (7 October 1979) In Shades, Heartattack & Vine, Tom Waits (1980) When The Saints Go Marching In, live recording (197?/198?) We think your Song by Song experience will be enhanced by hearing, in full, the songs featured in the show, which you can get hold of from your favourite record shop or online platform. Please support artists by buying their music, or using services which guarantee artists a revenue - listen responsibly.

Sinatra's mastery of legato phrasing.  From the 1962 album Point of No Return, this is Eubie Blake and Andy Razaf's Memories of You. Arranged by Heinie Beau and conducted by Axel Stordahl. Credits:Theme music by Erik Blicker and Glenn SchlossEdited by Katie CaliMixing and mastering by Amit Zangi Send comments to sinatramatters@gmail.com

Don Redman — a young man from Piedmont, West Virginia, who did much to create the sound that the world came to know as big band swing — composed “Gee, Baby, Ain't I Good To You?” just as The Roaring Twenties came to a close. In fact, the song's first studio recording, featuring Don performing with McKinney's Cotton Pickers, came out just one week after the 1929 stock market crash that started the Great Depression.The crash even inspired a revision of the song. Andy Razaf's original words reflected the consumer-driven culture of the ‘20s, using expensive gifts to illustrate the depth of the narrator's sentiments. “Bought you a fur coat for Christmas and a diamond ring,” said the initial lyrics, “a big Packard coupe and everything.” Ut-oh, Packard was bankrupted and went out of business. (“Big Cadillac car” took its place in the verse.)The mid-1920s had been good for Don Redman. He was responsible for integrating the rhythmic approach of Louis Armstrong's playing into his arrangements for Fletcher Henderson's Orchestra. In 1927 Redman was wooed away from Henderson to join McKinney's Cotton Pickers, the house band at the celebrated Greystone Ballroom in Detroit.It turned out the 1930s were darn good for Don as well. The trademark of his ever-more sophisticated band arrangements was the harmony he wrote to play under the group's solos. His brass and reed sections played off each other in a titillating call-and-response pattern; one section punctuated the figures of the other, while the melody moved around to different orchestral sections and soloists. So innovative was the Don Redman style that it was to be widely imitated in jazz arrangements for decades to come.Redmond remained active in music until his death in 1964 at age 64. And while he never again lived in West Virginia, he did not forget his home state, especially Harper Ferry's Storer College, from which he graduated in 1920. His most lasting musical contribution to the institution was his composition of the “Storer College Alma Mater,” which endured throughout the school's history.Back to the Song“Gee, Baby, Ain't I Good to You?” was the first song Don Redman wrote for McKinney's Cotton Pickers, but after its 1929 release, the tune went into cold storage.More than a decade passed before the next major jazz artist recorded the song, and it turned out to be yet another West Virginian. Saxophonist Chu Berry, a Wheeling, WV, native, recorded the song in 1941 on the flip side of his rendition of “Sunny Side of the Street.” (Sadly, it would be Berry's last recording before his untimely death from an automobile accident in northern Ohio later that year.)Two years later, Don's song finally made the big time when the great Nat King Cole turned “Gee, Baby, Ain't I Good To You?” into a hit, topping the 1943 R&B charts. Around the same time, Count Basie adopted the song as a favorite, using it to showcase vocalists, including Jimmy Rushing and Joe Williams.Though modernists like Dizzy Gillespie, Art Blakely and Paul Bley also recorded the tune over the years, it was among more traditional jazz players that “Gee, Baby, Ain't I Good To You?” remains a favorite.Our Take on the TuneLast week was our first outing on this great old jazz standard.When we started it, Veezy said she wasn't sure she was familiar with it. By the time we finished it, it sounded like she wrote it herself! This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

If ragtime piano can be seen as the starting point in the evolution of jazz piano, then the next step in that evolutionary process wasn't a step all; it was a "stride." Around 1920, the popularity of ragtime piano began to wane, as blues music became the new fad. In response to this — while also incorporating some of the influence of Tin Pan Alley — several pianists, primarily in Harlem, began to experiment with a blending of styles. The result was stride piano. Thomas Wright "Fats" Waller was an American jazz pianist, organist, composer, violinist, singer, and comedic entertainer. His innovations in the Harlem stride style laid much of the basis for modern jazz piano. SOURCE: Wikipedia. The Joint Is Jumpin' was released in 1937. Words by Andy Razaf and J. C. Johnson, music by Thomas "Fats" Waller/arr. Alan Billingsley. From the 1978 musical Ain't Misbehavin'. The musical is a tribute to the music of Fats Waller. It was a time when Manhattan nightclubs such as the Cotton Club and the Savoy Ballroom were the playgrounds of high society and Lenox Avenue dives were filled with piano players banging out the new beat known as swing.

Esta es la segunda parte de los momentos más destacados de la serie de este grandioso pianista de jazz, Fats Waller. Con José Manuel Corrales.

Musical Orchids (02/20/1941) by Dinah Shore; Otto Harbach; Jerome Kern; Paul Wetstein; Larry Markes; Dick Charles; Gordon Jenkins; Johnny Mercer; Harold Arlen; Gene Austin; Roy Bergere; Channing Pollock; Maurice Yvain; Andy Razaf; Thomas Waller; Lou Bring Publication date 1941-02-20 --- Send in a voice message: https://anchor.fm/waldina/message

“Honeysuckle Rose,” an absolute anthem of the Roaring Twenties, was born in a New York speakeasy almost a hundred years ago.The story of the song's roots is related by Barry Singer in his biography of lyricist Andy Razaf. The tune — or at least its title — was born at the Club Alabam in Harlem as far back as the winter of 1924, when a young Razaf won a chance to perform a song for which he would write both the words and music.The whole business was staged at the club with full chorus of what Singer described as an "eye-pleasing bevy of show girls" billed as "The Honeysuckle Rosebuds." It was from those hoofers that Razaf picked his title: "Honeysuckle Rose."The Name's the ThingActually, Andy's original melody was no great shakes — in fact, Razaf junked both it and the lyrics right after the show closed — but he just couldn't forget that title. Now fast-forward five years. It's 1929 and Razaf is working with his new partner — the great Fats Waller — to finish their third song for a soon-to-be-forgotten show called “Load of Coal.” We find Andy stitching his old title and a few other elements to the chorus. At some point, he decides he had better telephone Fats to check his work. It's a good thing he does; over the phone, they have to add a new eight-bar bridge in the middle of the tune, because Waller can't remember what he wrote the day before.After many minutes of desperate humming and shouting back and forth, Razaf lays down the phone to dash to his piano and try out what they have. When he gets back, he finds the line is dead. Waller has gotten bored and hung up.Neither Razaf nor Waller realize that they have written an immortal song. “We thought very little of it at the time," Razaf recalled. (Of course, the tune would be recorded more than 500 times by major artists such as Tommy Dorsey, Count Basie, Coleman Hawkins, Earl Hines, Louis Armstrong, Benny Goodman, Lena Horne, Nat King Cole and many others. Fats' own 1934 recording was inducted in the Grammy Hall of Fame in 1999.)And From There…“Honeysuckle Rose” was a defining piece for Waller and Razaf, who would collaborate on other memorable songs, including “Ain't Misbehavin',” “My Fate Is In Your Hands,” “Black And Blue,” “Blue Turning Gray” and “When Gabriel Blows His Horn.”While Waller became one of the best-known entertainers of the '30s and '40s, Razaf went on to write lyrics for over a thousand more songs, including “In The Mood,” “Stompin' At The Savoy” and “Memories Of You.”Oh and if you're ever in Asbury Park, NJ, you can tour the house where Fats and Andy wrote the song. “The Honeysuckle Rose House” at 119 Atkins still stands, looking much as it did in the late 1920s. And has its own website.Our Take On the TuneYou can learn about how versatile a band is by listening to its handling of instrumentals. Without the poetics of the lyrics or the theatrics of the singer, it's up to the soloists to bring drama to the song. To hear what we mean, listen to this four-minute track from a recent Flood show. Vanessa Coffman opens the action with her tasteful statement of the melody. Then about a minute in, she begins to weave and spin brilliant new threads on that old familiar frame with her tenor sax, beautiful work that then inspires her bandmate, guitarist Danny Cox, when he follows with some gorgeous strings of his own. Yes, Veezy and Danny bring the honey to this rose.The Swing ChannelIf you'd like more of this style of music, don't miss the free Swingin' Channel in our Radio Floodango music streaming service. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Mamma, mamma, börn og bíll. Hinsegin fjölskyldur í fjölmiðlum 2010-2021 er nafnið á fyrirlestri sem fram fer á fimmtudaginn og er hluti af hádegisfyrirlestraröð RIKK, Rannsóknarstofnunar í jafnréttisfræðum við HÍ. Það er ekki nýtt að hinsegin fólk stofni fjölskyldu og ali upp börn en leið þess að fjölskyldumyndun hefur verið misgreið eftir tímabilum og samfélagsháttum. Í fyrirlestrinum er fjallað um rannsókn sem stendur yfir á birtingamyndum hinsegin fjölskyldna í prentmiðlum á Íslandi á árunum 2010-2021. Íris Ellenberger, sagnfræðingur og dósent við mennta- og vísindasvið Háskóla Íslands, flytur fyrirlesturinn ásamt Auði Magndís Auðardóttur, lektor í uppeldis- og menntunarfræði. Íris kom í þáttinn og sagði okkur meira frá þessu. Stórsveit Reykjavíkur fagnar 30 ára afmæli með stórtónleikum í Eldborg 18. september og í tilefni af afmælinu býður Stórsveitin landsmönnum á ókeypis á tónleikana. Á þriggja áratuga ferli hefur Stórsveit Reykjavíkur haldið vel á þriðja hundrað tónleika og gefið út 10 geisladiska. Sveitin hefur lagt sig eftir fjölbreyttu verkefnavali, frumflutt mikið af nýrri íslenskri tónlist, leikið sögulega mikilvæga stórsveitatónlist, leikið fyrir börn og átt samstarf við fjölmarga aðila af sviði íslenskrar popptónlistar. Sveitin hefur margsinnis hlotið íslensku tónlistarverðlaunin. Sigurður Flosason kom í þáttinn í dag. Marta Nordal leikhússtjóri Leikfélags Akureyrar kom svo til okkar og sagði frá því sem verður á fjölunum fyrir norðan í vetur og rifjaði upp skemmtilega sögu þegar hún stökk samdægurs inn í eitt af aðalhlutverkunum í söngleiknum Chicago í Borgarleikhúsinu árið 2004, en sá söngleikur er einmitt á dagskrá LA í vetur. Tónlist í þættinum í dag: Stella í orlofi / Diddú (Valgeir Guðjónsson) Down South Camp Meeting / Manhattan Transfer (Irving Mills) 23 In the mood / Stórsveit Reykjavíkur (Glenn Miller, Andy Razaf og Joe Garland) Razzle dazzle / Richard Gere (John Kander og Fred Ebb) UMSJÓN: GUÐRÚN GUNNARSDÓTTIR OG GUNNAR HANSSON

Mamma, mamma, börn og bíll. Hinsegin fjölskyldur í fjölmiðlum 2010-2021 er nafnið á fyrirlestri sem fram fer á fimmtudaginn og er hluti af hádegisfyrirlestraröð RIKK, Rannsóknarstofnunar í jafnréttisfræðum við HÍ. Það er ekki nýtt að hinsegin fólk stofni fjölskyldu og ali upp börn en leið þess að fjölskyldumyndun hefur verið misgreið eftir tímabilum og samfélagsháttum. Í fyrirlestrinum er fjallað um rannsókn sem stendur yfir á birtingamyndum hinsegin fjölskyldna í prentmiðlum á Íslandi á árunum 2010-2021. Íris Ellenberger, sagnfræðingur og dósent við mennta- og vísindasvið Háskóla Íslands, flytur fyrirlesturinn ásamt Auði Magndís Auðardóttur, lektor í uppeldis- og menntunarfræði. Íris kom í þáttinn og sagði okkur meira frá þessu. Stórsveit Reykjavíkur fagnar 30 ára afmæli með stórtónleikum í Eldborg 18. september og í tilefni af afmælinu býður Stórsveitin landsmönnum á ókeypis á tónleikana. Á þriggja áratuga ferli hefur Stórsveit Reykjavíkur haldið vel á þriðja hundrað tónleika og gefið út 10 geisladiska. Sveitin hefur lagt sig eftir fjölbreyttu verkefnavali, frumflutt mikið af nýrri íslenskri tónlist, leikið sögulega mikilvæga stórsveitatónlist, leikið fyrir börn og átt samstarf við fjölmarga aðila af sviði íslenskrar popptónlistar. Sveitin hefur margsinnis hlotið íslensku tónlistarverðlaunin. Sigurður Flosason kom í þáttinn í dag. Marta Nordal leikhússtjóri Leikfélags Akureyrar kom svo til okkar og sagði frá því sem verður á fjölunum fyrir norðan í vetur og rifjaði upp skemmtilega sögu þegar hún stökk samdægurs inn í eitt af aðalhlutverkunum í söngleiknum Chicago í Borgarleikhúsinu árið 2004, en sá söngleikur er einmitt á dagskrá LA í vetur. Tónlist í þættinum í dag: Stella í orlofi / Diddú (Valgeir Guðjónsson) Down South Camp Meeting / Manhattan Transfer (Irving Mills) 23 In the mood / Stórsveit Reykjavíkur (Glenn Miller, Andy Razaf og Joe Garland) Razzle dazzle / Richard Gere (John Kander og Fred Ebb) UMSJÓN: GUÐRÚN GUNNARSDÓTTIR OG GUNNAR HANSSON

Mamma, mamma, börn og bíll. Hinsegin fjölskyldur í fjölmiðlum 2010-2021 er nafnið á fyrirlestri sem fram fer á fimmtudaginn og er hluti af hádegisfyrirlestraröð RIKK, Rannsóknarstofnunar í jafnréttisfræðum við HÍ. Það er ekki nýtt að hinsegin fólk stofni fjölskyldu og ali upp börn en leið þess að fjölskyldumyndun hefur verið misgreið eftir tímabilum og samfélagsháttum. Í fyrirlestrinum er fjallað um rannsókn sem stendur yfir á birtingamyndum hinsegin fjölskyldna í prentmiðlum á Íslandi á árunum 2010-2021. Íris Ellenberger, sagnfræðingur og dósent við mennta- og vísindasvið Háskóla Íslands, flytur fyrirlesturinn ásamt Auði Magndís Auðardóttur, lektor í uppeldis- og menntunarfræði. Íris kom í þáttinn og sagði okkur meira frá þessu. Stórsveit Reykjavíkur fagnar 30 ára afmæli með stórtónleikum í Eldborg 18. september og í tilefni af afmælinu býður Stórsveitin landsmönnum á ókeypis á tónleikana. Á þriggja áratuga ferli hefur Stórsveit Reykjavíkur haldið vel á þriðja hundrað tónleika og gefið út 10 geisladiska. Sveitin hefur lagt sig eftir fjölbreyttu verkefnavali, frumflutt mikið af nýrri íslenskri tónlist, leikið sögulega mikilvæga stórsveitatónlist, leikið fyrir börn og átt samstarf við fjölmarga aðila af sviði íslenskrar popptónlistar. Sveitin hefur margsinnis hlotið íslensku tónlistarverðlaunin. Sigurður Flosason kom í þáttinn í dag. Marta Nordal leikhússtjóri Leikfélags Akureyrar kom svo til okkar og sagði frá því sem verður á fjölunum fyrir norðan í vetur og rifjaði upp skemmtilega sögu þegar hún stökk samdægurs inn í eitt af aðalhlutverkunum í söngleiknum Chicago í Borgarleikhúsinu árið 2004, en sá söngleikur er einmitt á dagskrá LA í vetur. Tónlist í þættinum í dag: Stella í orlofi / Diddú (Valgeir Guðjónsson) Down South Camp Meeting / Manhattan Transfer (Irving Mills) 23 In the mood / Stórsveit Reykjavíkur (Glenn Miller, Andy Razaf og Joe Garland) Razzle dazzle / Richard Gere (John Kander og Fred Ebb) UMSJÓN: GUÐRÚN GUNNARSDÓTTIR OG GUNNAR HANSSON

¡Buenas tardes a todos, estamos felices, encantados y listos de darles la bienvenida de Sonidos sin Fronteras! Hoy vamos por un episodio bien lindo e interesante que dedicaremos al Jazz estilo Chicago, tenemos tracks como Ain't Misbehavin' por Andy Razaf y por parte de Sidney Bechet, Shake 'em Up ¡Disfrútalo con nosotros!

"En aquella época en la que el presidente Nixon hablaba sobre el capitalismo negro, podemos hacer una pequeña contribución en nuestro camino hacia esta meta para nuestros hermanos negros". Chuck Barksdale Con José Manuel Corrales.

"En aquella época en la que el presidente Nixon hablaba sobre el capitalismo negro, podemos hacer una pequeña contribución en nuestro camino hacia esta meta para nuestros hermanos negros". Chuck Barksdale Con José Manuel Corrales.

Uno de los temas emblemáticos de la era del swing, "saltando en el Savoy" fue compuesto por Edgar Sampson (tenor de la orquesta de Chick Webb) aunque luego los créditos se ampliaron a Webb, B. Goodman y a Andy Razaf quien le puso letra. Amalgama de canción y de riff de orquesta, habla del Savoy Ballroom en Harlem donde se lucia Chick Webb y se hacían las grandes y legendarias tenidas de competición de orquestas, los "cutting contests". Épocas en que el jazz y la música popular eran sinónimos. Escuchemos a Webb, Benny Goodman, Art Tatum, Earl Hines, Ella y Louis, Clifford Brown y Max Roach y otros

Ain't misbehavin' (no me estoy portando mal) de Fats Waller y Harry Brooks con letra de Andy Razaf es uno de esos standards entrañables de todas las épocas. Hizo famoso a Armstrong en 1928 a nivel nacional. Una pieza fuerte del Harlem stride piano. Escuchemos versiones del autor, Satchmo, Hot Club de France, Ella Fitzgerald, Hank Jones y Rita Payés.

This week, the Bad Piano Player plucks a gem of a lyricist from the royal palace of Madagascar as we feature the great Andy Razaf and his wonderful composer partners, Fats Waller included.

Honeysuckle rose (Madreselva, no confundir con el tango de Canaro y Amadori) es una composición del gran Fats Waller, con letra de Andy Razaf (1929) y es uno de los más grandes standards del jazz tradicional. No en vano fue uno de los temas elegidos por Art Tatum para "destronar" a los pianistas de Harlem!! Escuchemos, en piano, al autor, Teddy Wilson, Art Tatum, Thelonious Monk asi como a Count Basie y Lionel Hampton y a las cantantes Anita O'Day, Sarah Vaughan, Jane Monheit y Magalí Datzira de la St Andreu de Catalonia.

“Classic-Pop Standards” is a one-hour program inspired by the Great American Songbook. This series of podcasts features the singers, the lyricists, and the composers of the music we call “American Standards.” Come along with us as we honor the great songwriters by never forgetting their music. These are songs with not only a history, but with a future; Songs born along Tin Pan Alley, on 42nd Street, at the Brill building, and down Broadway. Danny Lane brings new life to the Great American Songbook on “Classic-Pop Standards”. Comments to: dannymemorylane@gmail.com In this episode, you'll hear:1)     I've Got The World On A String by Celine Dion / Harold Arlen (music) & Ted Koehler (lyrics) [1932]2)     I Could Have Danced All Night by Jamie Cullum / Alan Jay Lerner (lyrics) & Frederick Loewe (music) [1956]3)     Straighten Up And Fly Right by Linda Ronstadt (with Nelson Riddle & His Orchestra) / Nat King Cole & Irving Mills (words and music) [1943]4)     Night And Day by Frank Sinatra / Cole Porter (words & music) [1932]5)     Where Do I Go From You by Nancy Wilson / Diane Warren (words & music) [1994]6)     The Music Of The Night by Michael Crawford & Barbra Streisand / Andrew Lloyd Webber (music) & Charles Hart and Richard Stilgoe (lyrics) [1986]7)     I Could Write A Book by Harry Connick, Jr. / Richard Rodgers & Lorenz Hart [1940]8)     Buttons And Bows by Dinah Shore / Jay Livingston (music) & Ray Evans (lyrics) [1947]9)     Don't Get Around Much Anymore by Rod Stewart / Duke Ellington (music) & Bob Russell (lyrics) [1940]10) I Got Rhythm by Ella Fitzgerald (with Nelson Riddle's Orchestra) / George Gershwin (music) & Ira Gershwin (lyrics) [1930]11) Gee Baby, Ain't I Good To You by Sammy Davis Jr. / Don Redman (music) & Andy Razaf (lyrics) [1929]12) Let's Do It by Eydie Gormé / Cole Porter (music & lyrics) [1928]13) Dream (When You're Feeling Blue) by Roy Orbison / Johnny Mercer (words & music) [1944]14) Time After Time by Deana Martin (duet with Jerry Lewis) / Sammy Cahn (lyrics) & Jule Styne (music) [1947]15) Love Theme from St. Elmo's Fire (Subtitled "For Just A Moment") by Donny Gerrard & Amy Holland / David Foster (music) & Cynthia Weil (lyrics) [1984]16) Maybe This Time by Tony Bennett / John Kander (music) & Fred Ebb (lyrics) [1964] 17) True Love by Elvis Presley / Cole Porter [1956]18) It Had to Be You by Benny Goodman & His Orchestra / Isham Jones (music) & Gus Kahn (lyrics) [1924]

Gee baby, ain't I good to you? (nena, no soy bueno contigo?) es un tema de Don Redman (gran arreglador, trabajó con Fletcher Henderson en los 30) con Andy Razaf como letrista (quien le hacia las letras a Fats Waller). Es jocoso el hecho de que se graba una semana luego del crack de  Wall Street en 1929 y la  letra habla de Cadillacs, diamantes y saco de piel... Muy asociado con la orquesta de Count Basie pero tambien con la version de Nat King Cole, escuchemos esas junto con varios guitarristas, Billie Holiday, Dizzy y la joven Andrea Motis de Barcelona.

“Classic-Pop Standards” is a one-hour program inspired by the Great American Songbook. This series of podcasts features the singers, the lyricists, and the composers of the music we call “American Standards.” Come along with us as we honor the great songwriters by never forgetting their music. These are songs with not only a history, but with a future; Songs born along Tin Pan Alley, on 42nd Street, at the Brill building, and down Broadway. Danny Lane brings new life to the Great American Songbook on “Classic-Pop Standards”. Comments to: dannymemorylane@gmail.com In this episode, you’ll hear: 1) Between The Devil And The Deep Blue Sea [Excerpt] by Benny Goodman / Harold Arlen (music) [1932] 2) This Could Be The Start Of Something Big by Steve Lawrence & Eydie Gormé / Steve Allen (music & lyrics) [1956] 3) Once In Love With Amy by Sammy Davis Jr. / Frank Loesser (music & lyrics) [1948] 4) Keepin' Out of Mischief Now by Dinah Washington (w/ Ernie Wilkins and His Orch.) / Fats Waller & Andy Razaf [1932] 5) Come Fly With Me by Frank Sinatra & Luis Miguel / Jimmy Van Heusen (music) & Sammy Cahn (lyrics) [1957] 6) Out of This World by Freda Payne / Harold Arlen (music) & Johnny Mercer (lyrics) [1944] 7) A Kiss To Build A Dream On by Louis Armstrong / Composed by Burt Kalmer/Harry Ruby/Oscar Hammerstein II [1935] 8) Between The Devil And The Deep Blue Sea by Mel Tormé / Harold Arlen (music) & Ted Koehler (lyrics) [1932] 9) I Remember You by Ella Fitzgerald (w/ Nelson Riddle's Orch) / Victor Schertzinger (music) & Johnny Mercer (lyrics) [1941] 10) The Way You Look Tonight by Michael Bublé / Dorothy Fields (lyrics) & Jerome Kern (music) [1936] 11) True Love by Patsy Cline / Cole Porter [1956] 12) Begin The Beguine by Andy Williams / Cole Porter [1935] 13) Maybe This Time by Liza Minnelli / John Kander (music) & Fred Ebb (lyrics) [1964] 14) It's Only A Paper Moon by Bobby Darin / Harold Arlen (music) & Yip Harburg and Billy Rose (lyrics) [1933] 15) It Had To Be You by Harry Connick, Jr. / Isham Jones (music) & Gus Kahn (lyrics) [1924] 16) The Night We Called It a Day by Doris Day / Matt Dennis (music) & Tom Adair (lyrics) [1941] 17) On The Sunny Side Of The Street by Tony Bennett & Willie Nelson / Dorothy Fields (lyrics) & Jimmy McHugh (music) [1930] 18) Evergreen by Barbra Streisand / Barbra Streisand (music) & Paul Williams (lyrics) [1976] 19) Tonight by Johnny Mathis / Stephen Sondheim (lyrics) & Leonard Bernstein (music) [1956] 20) Blue Eyes by The American Patrol Orchestra / Jerome Kern (music) [1928]

Shellac Stack No. 203 revels with the Singing Sophomores, Billy Jones, Vera Guilaroff, Andy Razaf, Abe Lyman, Lee Wiley, Louis Armstrong, and many others in this tune-filled hour of fox-trots, novelty songs, sultry vocalists, and more.

“Classic-Pop Standards” is a one-hour program inspired by the Great American Songbook. This series of podcasts features the singers, the lyricists, and the composers of the music we call “American Standards.” Come along with us as we honor the great songwriters by never forgetting their music. These are songs with not only a history, but with a future; Songs born along Tin Pan Alley, on 42nd Street, at the Brill building, and down Broadway. Danny Lane brings new life to the Great American Songbook on “Classic-Pop Standards”. ****** In this episode, you’ll hear: 1) Between The Devil And The Deep Blue Sea [Excerpt] by Benny Goodman / Harold Arlen (music) & Ted Koehler (lyrics) [1932] 2) The Best Is Yet To Come by Tony Bennett & Diana Krall / Cy Coleman (music) & Carolyn Leigh (lyrics) [1959] 3) Sit Down, You're Rockin' the Boat by Sammy Davis Jr. / Frank Loesser [1950] 4) Big Spender by Shirley Bassey / Cy Coleman (music) & Dorothy Fields (lyrics) [1966] 5) I've Got You Under My Skin by Peggy Lee / Cole Porter (1936) 6) Ain't Misbehavin' by Peter Cincotti / Thomas "Fats" Waller & Harry Brooks (music) Andy Razaf (lyrics) 7) I Won't Dance by Jane Monheit & Michael Buble / Dorothy Fields & Jimmy McHugh (lyrics) and Jerome Kern (music) 8) Body And Soul by Carly Simon / Johnny Green (music) & Edward Heyman, Robert Sour, and Frank Eyton (lyrics) [1930] 9) The Song Is Ended (But the Melody Lingers On) by Nat King Cole / Irving Berlin (music) & Beda Loehner (lyrics) [1927] 10) 'Deed I Do by Sue Raney / Fred Rose (music) & Walter Hirsch (lyrics) [1926] 11) Long Ago And Far Away by Rod Stewart / Jerome Kern (music) & Ira Gershwin (lyrics) [1944] 12) Only Love by Linda Eder / Frank Wildhorn (music) & Nan Knighton (lyrics) 13) Am I Blue? By Vic Damone / Harry Akst and Grant Clarke (1929) 14) Something's Got To Give by Rosemary Clooney / Johnny Mercer (words & music) [1954] 15) Good Thing Going (Going Gone) by Frank Sinatra / Stephen Sondheim (words & music) [1981] 16) I Wish I Didn't Love You So by k. d. lang / Frank Loesser (1947) 17) They Can't Take That Away From Me by Diana Krall / George Gershwin (music) & Ira Gershwin (lyrics) [1937] 18) In A Sentimental Mood by Doc Severinsen & His Big Band / Duke Ellinton (music) [1935]

“Classic-Pop Standards” is a one-hour program inspired by the Great American Songbook. This new series of podcasts features the singers, the lyricists, and the composers of the music we call “American Standards.” Come along with us as we honor the great songwriters by never forgetting their music. These are songs with not only a history, but with a future. Songs born along Tin Pan Alley, on 42nd Street, down Broadway, and beyond. Danny Lane brings new life to the Great American Songbook on “Classic-Pop Standards”. In this episode, you’ll hear: 1) The Lady Is A Tramp by Lena Horne / Richard Rodgers (music) & Lorenz Hart (lyrics) [1937] 2) I've Got The World On A String by Mel Tormé / Harold Arlen (music) & Ted Koehler (lyrics) [1932] 3) I'm Just Wild About Harry by Judy Garland / Eubie Blake (music) & Noble Sissle (lyrics) [1921] 4) Nancy (With The Laughing Face) by Frank Sinatra / Jimmy Van Heusen (music) & Phil Silvers (lyrics) [1942] 5) I Can't Believe That You're in Love with Me by Dinah Washington / Jimmy McHugh (music) & Clarence Gaskill (lyrics) [1926] 6) Let's Call The Whole Thing Off by Harry Connick, Jr. / George & Ira Gershwin [1937] 7) Ten Cents a Dance by Doris Day / Richard Rodgers (music) & Lorenz Hart (lyrics) [1930] 8) I'll Never Stop Loving You by Andy Williams / Nicholas Brodzsky (music) & Sammy Cahn (lyrics) [1955] 9) Make It Another Old-Fashioned, Please by Julie London / Cole Porter (music and lyrics) [1940] 10) Call Me Irresponsible by Michael Bublé / Jimmy Van Heusen (music) & Sammy Cahn (lyrics) [1962] 11) Let's Take A Walk Around The Block by Ella Fitzgerald / Harold Arlen (music) & Edgar “Yip” Harburg and Ira Gershwin (lyrics) [1934] 12) It Might Be You by Alan Bergman / Marilyn & Alan Bergman (lyrics), Dave Grusin (music) [1982] 13) All The Way by Billie Holiday / Jimmy Van Heusen (music) & Sammy Cahn (lyrics) [1957] 14) Evergreen by Paul Williams / Barbra Streisand & Paul Williams [1976] 15) Isn't It Romantic by Jack Jones / Richard Rodgers (music) & Lorenz Hart (lyrics) [1932] 16) We Have All The Time In The World by Louis Armstrong / John Barry (music) & Hal David (lyrics) [1969] 17) Don't Cry For Me Argentina by Patti LuPone / Andrew Lloyd Webber (music) & Tim Rice (lyrics) [1978] 18) Ain’t Misbehavin’ by Johnny Guarnieri / Thomas "Fats" Waller & Harry Brooks (music) Andy Razaf (lyric) [1929]

Today’s episode is the last of three which I recorded at the 2019 Central Coast Ukulele and Folk Festival.  Cathy Welsford and Angie Smith are the Wild Women of Anywhere Beach, an incredibly talented duo who frequently perform, run workshops, and write fantastic songs.  I really enjoyed my chat with these two!  If you want to buy their CD, you can do that here, or you can stream it in the usual places. Some show-related links below: Central Coast Ukulele and Folk Festival Valla Beach ukulele camp and beach party Samantha Muir Mark Jackson and Jane Jelbart Camp Creative Gang Gang Twang Ukulele Festival National Folk Festival  Songs played in this episode: Reclaiming the Night for Peace (Cathy Welsford & Angie Smith) On My Verandah (Cathy Welsford & Angie Smith) The Real Matilda (Cathy Welsford & Angie Smith) Go Home to your Mother In the Mood (Wingy Manone. Andy Razaf, Joe Garland) Older Ladies (Donnalou Stevens) Please support me on Patreon and get an exclusive Ukulele Is The New Black decal for your ukulele case!  Give a little more and you will get your name in the show notes every week, like these supporters: Ukulele Champion: Debbie Hoad Ukulele Legend: Linda Dodwell Go to the Ukulele Is The New Black YouTube channel for a playlist to hear these songs as well as others mentioned in the episode. Ukulele is the New Black is produced by Meredith Harper, who also wrote the theme tune. The theme tune was performed by Meredith Harper, Jasmine Fellows, Geoff Skellams and Jim Croft.  Seb Carraro does the graphic design. The music played in this episode is licenced under a Podcasts (Featured Music) agreement with APRA AMCOS.

A pioneer in the music industry of the 20s and 30s, Andy Razaf symbolized empowerment of the black community, and the first steps to integrating black culture into mainstream American culture.

Classic songs by Andy Razaf, James P. Johnson, Duke Ellington, Tony Jackson, Eubie Blake, W.C. Handy and Billy Strayhorn. Songs include: Memories of You, Memphis Blues, Pretty Baby, In My Solitude, Black and Blue and Lush Life. Performers include: Ethyl Waters, Nat King Cole, Billy Murray, Etta Jones, Billie Holiday and Kathrine Handy.

Hur påverkar själva livet musikens uttryck? Hur påverkar musiken det liv som utövaren lever? Och hur påverkas sångdiktare och musiker av sina medmänniskors liv? I detta fjärde program medverkar pianisten, kompositören och entertainern Robert Wells, med svensk mamma och nordamerikansk pappa. Robert Wells kallar sig både hovnarr och gathörns-trubadur och har måttot Less is Less More is Best. Wells har nämligen skrivit och spelat in ouvertyrer till gigantiska evenemang som VM i ishockey och konståkning, och till OS I friidrott. Under nio år såg och hörde vi Robert Wells som ackompanjatör i SVT-programmet Så ska det låta. Rhapsody in Rock, som 2011 firade 25-årsjubileum, har Wells som dynamisk kapellmästare och kreativt nav. Konserterna har hållits på jättelika arenor som Ulllevi, Dalhalla och Råsunda och turnéerna har gått över hela världen. Wells är pianoprofessor i Kina, har pianoskolan King of Piano  på nätet och arbetar med stiftelsen Tummeliten till stöd för för tidigt födda barn. Hans pianistiska förebilder är de tre afroamerikanska boogie woogie-legenderna Pete Johnson, Albert Ammons och Meade Lux Lewis. Men även europeiska pianister älskar han, inte minst de två Vladimir, nämligen Horowitz och Ashkenazy. Och Arthur Rubinstein. 2010 gav Robert Wells ut sin första soloplatta Close up Classics med egna tolkningar av pianistiska pärlor av Chopin, Rachmaninov, Liszt, Debussy, Beethoven, Stenhammar och Grieg. Robert Wells var den yngste eleven någonsin vid solistlinjen på Musikhögskolan i Stockholm. Myten att han hoppade av studierna är falsk, men det var när Robert Wells hörde den svenske pianisten Charlie Normans boogie woogie-tappning av Griegs Anitras Dans, som han bestämde sig för att mixa musikstilar. Det berättar Robert Wells för Birgitta Tollan när de möts i hans studio i Stockholm där han tar plats vid sin digitala flygel och säger: - I min värld är ingen musik finare än den andra. Jag älskar att spela och jag älskar musik. Så enkelt är det!   Spellista:   Spellista Musik & Liv 4:   Yemandja Angelique Kidjo, sång, m fl Aye Island Records Mango 74321 16646 2     Minute Waltz Frédéric Chopin Robert Wells, piano Close Up Classics Carpe Diem CD107           Bumble-Bee Boogie Rimskij-Korsakov. Robert Wells Robert Wells, piano. M fl. The Best of Rhapsody in Rock Warner Music WEA 5051442-8614-2-6     Rhapsody In Rock no VIII Robert Wells, piano. M fl. The Best of Rhapsody in Rock Warner Music WEA 5051442-8614-2-6     Nut Rocker Robert Wells, piano. M fl. The Best of Rhapsody in Rock Warner Music WEA 5051442-8614-2-6     Sing Me Another Song Robert Wells. Jakob Samuel. Plusquam Records     Anitras Dans Edvard Grieg Robert Wells, Charlie Norman, pianon Norman & Wells Carlton Home Entertainment 751589     honky tonk train blues Meade Lux Lewis Meade Lux Lewis, piano     Hungarian Rhapsody No II Franz Liszt Robert Wells, piano. M fl The Best of Rhapsody in Rock Warner Music WEA 5051442-8614-2-6                                                                                      Fantaisie-Impromptu Frédéric Chopin Robert Wells, piano. Close Up Classics Carpe Diem CD107           Clair De Lune Claude Debussy Robert Wells, piano. Close Up Classics Carpe Diem CD107     Honeysuckle Rose Fats Waller. Andy Razaf. Robert Wells, piano. M fl The Best of Rhapsody in Rock Warner Music WEA 5051442-8614-2-6                                          River Deep Mountain High Ike & Tina Turner Robert Wells, piano. Sanne Salomonsen, sång. M fl. The Best of Rhapsody in Rock Warner Music WEA 5051442-8614-2-6     Sommarnatt Robert Wells Robert Wells, piano och sång. SCRANTA SACD                 The Typewriter Leroy Anderson Robert Wells, piano. M fl The Best of Rhapsody in Rock Warner Music WEA 5051442-8614-2-6     Belleville Rendez-Vous Benoît Charest, music. Sylvain Chomet, text. Robert Wells, piano. M fl The Best of Rhapsody in Rock Warner Music WEA 5051442-8614-2-6     1812 Overture Tjajkovskij Robert Wells, piano. M fl The Best of Rhapsody in Rock Warner Music WEA 5051442-8614-2-6

Peter Gullin tríóið flytur lögin Here, There and Everywhere eftir Lennon og McCartney, My Funny Valentine eftir Richard Rodgers, All The Things You Are eftir Jerome Kern, Songe d'Automme eftir Django Reinhardt og Happiness eftir Peter Gullin. Hollenska stórsveitin Dutch Jazz Orchestra flytur lögin Basin' Street Blues eftir Spencer „Cootie“ Williams, Ain't Misbehavin' eftir Fats Waller og Andy Razaf, Let's Face The Music And Dance eftir Irving Berlin, In A Mellow Tone eftir Duke Ellington og Milt Gabler og All In eftir Rob Madna. Zoot Sims kvintettin leikur lögin Ghost Of A Chance eftir Bing Crosby, Ned Washington og Victor Young, Them There Eyes eftir Maceo Pinkard, Doris Tauber og William Tracey, One To Blow On og Not So Deep eftir Zoot Sims, Down At The Loft eftir John Williams og Dark Clouds eftir Zoot Sims.

The life and work of songwriter, Andy Razaf. Songs include: Ain't Misbehavin, Honeysuckle Rose, Black and Blue, My Fate Is In Your Hands and In the Mood. Performers include: Fats Waller, Louis Armstrong, Ethyl Waters, Bing Crosby and The Ink Spots.