Podcasts about Annie Ross

ARTIST BIOGRAPHY - JON HENDRICKS Jon Hendricks is not only one of the world's favorite jazz vocalists, but is widely considered to be the "Father of Vocalese", the greatest innovator of the art form. Vocalese is the art of setting lyrics to recorded jazz instrumental standards (such as the big band arrangements of Duke Ellington and Count Basie), then arranging voices to sing the parts of the instruments. Thus is created an entirely new form of the work, one that tells a lyrically interesting story while retaining the integrity of the music. Hendricks is the only person many jazz greats have allowed to lyricize their music, for no one writes hipper, wittier, or more touching words, while extracting from a tune the emotions intended by the composer, more sympathetically than Hendricks. For his work as a lyricist, jazz critic and historian Leonard Feather called him the "Poet Laureate of Jazz" while Time dubbed him the "James Joyce of Jive." Born in 1921 in Newark, Ohio, young Jon and his fourteen siblings were moved many times, following their father's assignments as an A.M.E. pastor, before settling permanently in Toledo. As a teen Jon's first interest was in the drums, but before long he was singing on the radio regularly with another Toledo native, the extraordinary pianist Art Tatum. After serving in the Army during WWII, Jon went home to attend University of Toledo as a Pre-law major, courtesy of the G.I. Bill. Just when he was about to enter the graduate law program, the G.I. benefits ran out, and he realized he'd have to chart a different course. Recalling that Charlie Parker had, at a stop in Toledo two years prior, encouraged him to come to New York and look him up, Hendricks moved there and began his singing career. In 1957 he teamed with Dave Lambert and Annie Ross to form the legendary vocal trio Lambert, Hendricks, and Ross. With Jon as lyricist, the trio perfected the art of vocalese and took it around the world, earning them the designation of the "Number One Vocal Group in the World" for five years in a row from Melody Maker magazine. After six years the trio disbanded for solo careers, but not before leaving behind a catalog of legendary recordings, most of which have never gone out of print. Countless singers cite the work of LH&R as an influence, from the Manhattan Transfer to Al Jarreau to Bobby McFerrin. Pursuing a solo career, Hendricks moved his young family to London in 1968, partially so that his five children could receive a better education. While based in London he toured Europe and Africa, performed frequently on British television, and appeared in the British film Jazz is Our Religion and the French film Hommage a Cole Porter. His sold-out club dates drew fans such as the Rolling Stones and the Beatles. Five years later the Hendricks family settled in California, where Jon worked as the jazz critic for the San Francisco Chronicle and taught classes at California State University at Sonoma and the University of California at Berkeley. A piece he wrote specifically for the stage about the history of jazz, Evolution of the Blues, ran an unprecedented five years at the Broadway Theatre in San Francisco and another year in Los Angeles. His television documentary, Somewhere to Lay My Weary Head, received Emmy, Iris, and Peabody awards. Hendricks recorded several critically-acclaimed albums on his own, some with his wife Judith and daughters Michele and Aria contributing. He collaborated with old friends The Manhattan Transfer for their seminal 1985 album, Vocalese, which won seven Grammy Awards. He's served on the Kennedy Center Honors committee under Presidents Carter, Reagan, and Clinton. In 2000, Hendricks returned to his hometown to teach at the University of Toledo, where he was appointed Distinguished Professor of Jazz Studies and received an honorary Doctorate of the Performing Arts. He was recently selected to be the first American jazz artist to lecture at the Sorbonne in Paris, a university established in the year 1248. His fifteen voice group, the Jon Hendricks Vocalstra at the University of Toledo, performed to a standing ovation at the Sorbonne earlier this year. As if perfecting one original art form weren't enough, Hendricks now finds himself happily penning lyrics to some of the world's most beautiful classical pieces. The Vocalstra is currently preparing to give the world premiere of a vocalese version of Rimsky-Korsakov's lush "Scheherazade" with the Toledo Symphony in February 2003. Summer of 2003 will find Jon on tour with the "Four Brothers", a quartet consisting of Hendricks and three of the best-known male vocalists in jazz: Kurt Elling, Mark Murphy, and Kevin Mahogany. Next for Dr. Hendricks is lyricizing and arranging Rachmaninoff's 2nd Piano Concerto, as well as work on two books, teaching, and continued touring with his Vocalstra. He also makes an appearance in the upcoming Al Pacino film, People I Know. http://www.harmonyware.com/JonHendricks/bio.html

The Jazz Session No.351 from RaidersBroadcast.com as aired in February 2024, featuring the best of the vibraphonist Lionel Hampton, from his RCA Victor recordings. TRACK LISTING: Ruby Bridges  - Yazz Ahmed; Herandnu - Weather Report; Paul's Pal - Sonny Rollins Quartet; Rick Kick Shaw - Cecil Taylor; The Munson Street Breakdown - Lionel Hampton; Flamenco Soul - Lionel Hampton; Quadrant 4 - Billy Cobham; Life is Just a Game - Stanley Clarke, ft. Steve Gadd; Milenberg Joys - Kenny Ball; Now You Has Jazz - Bing Crosby & Louis Armstrong; Tell It Like It Is - Art Blakey; Nails - Jimmy Heath Orchestra; On a Clear Day - Cleo Laine; Between the Devil and the Deep Blue Sea - Gerry Mulligan, w. Annie Ross; Tenderly - Lionel Hampton; Toledo Blade - Lionel Hampton; My Queen is Yaa Asantewaa - Sons of Kemet; Attune - Alfa Mist; Walkin' Home - The Oscar Moore Quartet; No Way Jose - John Scofield & Pat Metheny.

The Jazz Session No.339 from RaidersBroadcast.com as aired in December 2023, featuring the classy 1966 album “Of Course, Of Course” from the Charles Lloyd Quartet. TRACK LISTING: Serenata - Quincy Jones & His Orchestra; Raoul - Ray Haynes Quartet; Hibou, Anemone and Bear - Soft Machine; Tierra Del Fuego - Billy Cobham; The Best Thing For You - Charles Lloyd Quartet; The Things We Did Last Summer - Charles Lloyd Quartet; Turn Me On - Norah Jones; Wrong Side of the Road - Tom Waits; When Lights Are Low - Lionel Hampton and His Orchestra; Blue Comedy [live] - Gary Burton; Some of These Days - Chris Barber Jazz and Blues Band; If I Thought You Cared - Duke Ellington; Timeline - Pat Metheny; Ship to Shore - Joshua Redman, Brad Mehldau, Christian McBride, Blade; Third Floor Richard - Charles Lloyd Quartet; One For Joan - Charles Lloyd Quartet; Un Poco Loco - Bud Powell; Pockets  - John Serry; Solid - Sonny Rollins; This Time the Dream's On Me - Gerry Mulligan, ft. Annie Ross.

Basket Case 2 is a 1990 American comedy slasher film written and directed by Frank Henenlotter, and the sequel to the 1982 film Basket Case.[1] It stars Kevin Van Hentenryck as Duane Bradley, who moves with his deformed, formerly conjoined twin brother Belial into a home for "unique individuals" run by their long-lost aunt, eccentric philanthropist Granny Ruth (played by Annie Ross).[2] The film spawned another sequel, Basket Case 3: The Progeny, in 1991. After falling from an apartment building at the end of the first film, Duane Bradley and his deformed, surgically-separated conjoined twin brother Belial are taken to the hospital. Their unusual situation draws media attention, making it impossible to lead a secret life. They are rescued from the hospital by Granny Ruth, who saw their story on the news. She takes them to her home, where she and her granddaughter Susan care for an extended family of similarly deformed individuals. Among these individuals is Eve, who is similar to Belial in that she is a bodiless torso. Traumatized by how she has been treated prior to Ruth rescuing her, Eve is mute and spends most of her time in the attic. A few years pass and as Eve and Belial fall in love, Duane's resentment of Belial grows. He hasn't forgiven Belial for Sharon's death and wishes to live a life without being surrounded by "freaks", as previously he had been unable to leave Belial due to their psychic bond. During all of this a sleazy reporter named Marcie and her equally sleazy photographer Arty have been looking for the Bradley brothers in order to bring them to justice. Upon discovering the freaks Marcie decides that she will expose them to the world, forcing Ruth and the others to stop her. They kill Arty, as well as a private detective named Phil who was assisting Marcie. Duane tricks Marcie into allowing the freaks into her home under the guise that Belial wants an interview; Belial mutilates her face, turning her into a freak as well. That night the freaks celebrate their victory while Eve and Belial consummate their relationship in the attic. Seeing this as an opportunity to finally be free of Belial, Duane approaches Susan and asks her to run away with him. She is horrified that he would leave his brother and reveals that she, too, is a freak. She has been pregnant for six years as her baby refuses to leave her womb; upon revealing this, a grotesque lamprey-like creature emerges from Susan's surgical wounds where failed cesarean sections have been attempted. This shatters the last of Duane's psyche and he kills Susan by pushing her out a window. He then goes to Belial and forcibly sews him to his body. The film ends as Ruth and the others discover what Duane has done, and stare at him horrified. --- Send in a voice message: https://podcasters.spotify.com/pod/show/100horrors/message

Marty & Scott follow a jazz singer, watch Huey Lewis delivering the News, and learn what happens when the Devil doesn't wash his face.Presenting Lily Mars (1943, Dir. Norman Taurog)Witchery aka La Casa 4 et al. (1988, Dir. Fabrizio Laurenti)Pump Up the Volume (1990, Dir. Allan Moyle)Short Cuts (1993, Dir. Robert Altman) Follow us on Spotify, Apple Podcasts, Google Podcasts, or Amazon Music.Visit us at slackandslashpod.comEmail us at slackandslash@gmail.com

This example of a “sunny song” is a little different from the previous ones because what makes me happy when I hear it is not the message itself. Or, rather, the medium is the message. The message is under the surface, or perhaps on the surface, or threaded throughout it. It's a message about team work - a premier example of interracial / inter-gendered cooperative, coming together to create a mosaic masterwork of such intricacy that you can't tell with whom it begins or ends. Jon Hendricks, the master of vocalese, the “James Joyce of Jive”, wrote the lyrics to this1945 Woody Herman instrumental rhumba, and L,H,&R revivify it with breathy delicacy. There is a fractured story about a guy searching Istanbul for a dancing girl, “Bijou” (his jewel)  that has captured his imagination. But, it's really just the repetition of that name, Bijou, bouncing back and forth from voice to voice, that crochets the musical magic into an unforgettable fabric. I first became aware of Lambert, Hendricks, and Ross, and the vocalese technique, through the unpredictable medium of Joni Mitchell, who covered Annie Ross's “Twisted” on one of her albums. And that rendition led me to this cut, whose brilliant shards of musical and lyrical data immediately shot into my brain, implanting an ear worm that still brings a smile as it plays in my head 50 years later.  And, when I was creating my list of sunny songs, it was right there, just like the memory of a perfect, perfumed summer evening. 

Nunsense 2 is closing this week and Disney's The Little Mermaid opens next week for Tibbits Summer Theatre.See omnystudio.com/listener for privacy information.

Three podcast veterans, best friends for many years, gather together to support their producer after he sees a horrifying video, and the metaphoric ghosts of their past become all-too-literal. On Episode 568 of Trick or Treat Radio we discuss the Shudder Exclusive film, Brooklyn 45 from director/writer Ted Geoghegan! We also have an extended Coffin Corner, we celebrate MZ and Wolfie's birthdays, and we discuss the need to constantly re-examine the way you think. So grab your favorite bandana, wrap it around your head, hold hands to form a circle, and strap on for the world's most dangerous podcast!Stuff we talk about: Deadstream, steel book releases, embarrassing yourself at WalMart, bloated coffin corner, Jackson Pollock, what's on Ravenshadow's head?, the unsung hero, Bed Intruder Song, RIP Sheiky Baby, B. Brian Blair, Hulk Hogan, Kevin Nash, Kliq This Podcast, Dark Side of the Ring, Iron Sheik stories, Magnum T.A., Ric Flair, Kayfabe, CM Punk, the kick of kicking out cords, The King of Kicking Out, RIP Treat Williams, Dead Heat, Joe Piscopo, Brion James, movie mashups, Red Heat, Red Dead Heat, The Phantom, Billy Zane, James Remar, Darkman, The Adventures of Ford Fairlane, Renny Harlin, Andrew Dice Clay, Where in the World is Barry Sobel?, Ian Ziering, Beverly Hills 90210, Marty Feldman, Anne Ramsay, Throw Momma From the Train, Annie Ross, Pump Up the Volume, Superman III, They're Watching, Brooklyn 45, Ted Geoghegan, Larry Fessenden, The Ranger, Ezra Buzzington, Kristina Klebe, movies that could be a stage play, Two Witches, A League of Their Own, Pencil Pushers, military veterans, The Hateful Eight, Victorian setting, Clue, Jeremy Holm, The Rocketeer, Timothy Dalton, World War 2, bias overruling logic, seances, the prequel to Brooklyn 99, Sisu, 12 Angry Men, Renfield, Muppets, Electric Mayhem, Peter Jackson, and the Feebles becoming Muppet canon.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

Reformistpodden spanar och babblar på om den mest underdiskuterade aspekten av förslaget om vräkning av familjer som brottsbekämpning, industrin bakom den nya kristallsjukan bland unga tjejer och om den oreglerade dejtingmarknaden tvingar unga män i händerna på konservativa krafter. Som vanligt leds podden av Linn Svansbo och Sara Karlsson. Bonus i avsnittet är en kort rapport från föreningens egen klimatexpert Annie Ross, om IPCC:s nya rapport.

My guest today is the phenomenal jazz violinist, mandolinist, arranger, and writer Aaron Weinstein. Aaron is a self-taught violinist and attended the renowned Berklee College on a 4 year talent based scholarship. As a young man he performed and recorded with many jazz legends. In this episode we talked about some of these mentors, including Bucky and John Pizzarelli, Les Paul, and this interview is full of Aaron's stories and insights as a performer and educator. He has generously agreed to let me use two of his previously released self-produced videos so you can hear some of his playing. I first discovered Aaron in his comedy series with Linda Lavin; I encourage you to check it out along with his other projects and albums: http://www.aaronweinstein.net/ All my episodes are also a video and the transcript is at the same link: https://www.leahroseman.com/episodes/aaron-weinstein Buy me a coffee? https://ko-fi.com/leahroseman Timestamps: (00:00) Intro (01:41) Aaron's start on old-time fiddle (03:16) Bucky Pizzarelli, John Pizzarelli (06:50) Mel Bay books Swingin' Jazz Fiddle Solos and Mandolin Chord Melody System (09:28) Aaron Weinstein plays Avalon, both violin and mandolin (11:05) Don Stiernberg  (12:27) “Give Me the Simple Life” Aaron Weinstein on mandolin (13:56) difference between jazz mandolin and jazz violin (17:18) Album 3x3 on Chesky label (18:21) Berklee College of Muisic, Sandy Kott first formal violin lessons (23:32)Les Paul (25:05) playing with jazz legends as a young man, learning the tunes, Annie Ross (27:46) lyrics, Sondheim, Andy Zerman (30:35) working with Broadway singers and appreciating different genres (33:59) self-criticism, dealing with different performance realities (36:15) Joe Venuti, Eddie Lang, Johnny Frigo (38:54) Linda Lavin, Irvin Arthur (45:12) agents, jazz in the music business (46:59) mandolin, violin, guitar, Hamilton de Holanda (49:11) teaching jazz (56:03) giving and getting feedback  (59:04) getting established in New York, support from John Pizzarelli (01:01:26) arranging, practicing classical music, interpretation and originality  (01:06:43) writing  (01:13:54) advice for younger players, problems with social media (01:20:19) how to practice, improvisation (01:26:05) Les Paul story (01:28:00) missing the opportunity to hear Stéphane Grappelli --- Send in a voice message: https://podcasters.spotify.com/pod/show/leah-roseman/message

Happy New Year! As a counterpoint to the previous episode featuring Howard and Dan's archival music chats, here, as a final flourish of Christmassyness, is a more contemporary selection from Kirsty, Ian and Dan (again).  Each of them has chosen three music tracks to talk about, which are excerpted in the episode, but you can find the full tracks at the YouTube links below:   The Woods Bela Lugosi's Dead (plus Ian's 'definitive' Trent Reznor version - and also Lakme) The Lightning Tree Theme from Children of the Stones That Funny Feeling (from Inside, available to watch on Netflix) The Dogs Attack from The Omen (available to watch on Disney+) Willow's Song (though possibly not the original Annie Ross version but a very close cover) Main Title from Jaws the Revenge (as recently discussed on Spider-Dan & The Secret Bores) Goodbye from Dark (available on Netflix)   The promised Star Wars update episode is still on its way!   All soundtrack and music clips are used for the purposes of criticism under Fair Use (US law) and Fair Dealing (UK law).  No copyright infringement intended.   Visit our website, www.andnowpodcast.com  

Uno de los músicos más representativos e innovadores respecto al subestilo del jazz llamado cool o west coast jazz fue el saxofonista barítono Gerry Mulligan. Su carrera comenzó a mediados de los años 40 y ya desde el principio despuntó como un gran arreglista y un excelente ejecutante en su instrumento, el saxo barítono. En esta primera parte veremos parte de su carrera inicial, desde sus primeros pinitos en la orquesta del batería Gene Krupa o la banda de Claude Thornhill. Su momento clave para darle un lugar privilegiado en la historia del jazz llegó con su participación en las sesiones de Birth of the Cool, compartiendo protagonismo con Gil Evans y el mismísimo Miles Davis. También nos fijaremos en su primer cuarteto como líder, en el que integró a un joven y prometedor trompetista llamado Chet Baker y con el que grabó unos cuantos discos considerados también imprescindibles para comprender el avance y perfeccionamiento del cool jazz. Cuando Baker abandono la nave, entró otro importante instrumentista, Bob Brookmeyer, un trombonista con el que Mulligan se entendió a la perfección En este primera parte nos quedaremos en sus colaboraciones a mitad de los 50 con otros músicos, como Thelonious Monk o la cantante Annie Ross, reservando para el segundo episodio otras colaboraciones y sus interesantes aportaciones al mundo de la big band. Bienvenidos al maravilloso mundo de este "fresco" del pelo rojo, uno de los más elegantes e imaginativos creadores del jazz moderno: Gerry Mulligan.

Join Doug Kaye for the best in jazz and blues including a tribute to jazz vocalist Louise Tobin who died recently aged 104.    In A Persian Market - Sammy Davis Jr Blues Walk - Lou Donaldson Hum Drum Blues - Shelia Jordan Dusty Blue -Howard McGhee No Good Lover - Duke Robillard Is There Anything Wrong With That? - Annette Hamshaw Parchman Farm - JohnMayall Eyesight To The Blind - Mose Allison Don't Let The Sun Catch You Crying - Dr John Thinking Of Home - Hank Mobley When Sunny Gets Blue - Marian Montgomery Million Dollar Secret - Valerie Wellington He Caught That B&O - Blue Lou Barker Busy Line - Rose Murphy Psychedelic Sally - Lionel Hampton & his Orchestra (Mark's Choice) Finger Buster - Emmet Cohen Drip Drip - Georgie Fame, Annie Ross and Hoagy Carmichael  Baltimore Orielle - Hoagy Carmichael Twisted - Joni Mitchell There'll Be Some Changes Made - Louise Tobin The Night Has A Thousands Eyes - Paul Desmond ft Jim Hall Liverpool Drive - Chuck Berry  Hey Baby - John Henry Barbee Where Are You My Love? - Django Reinhardt Django - Michel Legrand & Miles Davis After Hours - Lloyd Glenn    

Throwing it waaaaay back to May of 2018. Retired Captain Jim Engen shares some of the crazy stories from his career.  I really enjoyed this interview.  Jim is a pro when it comes to interviews and his personality and good nature really come through when he speaks. This is the first of two interviews I did with Jim, the second being the cold case murder of Annie Ross.  Both times he came on the show I got notes from listeners stating how much they liked Jim and his approach to police work.   Support the show by joining the Patreon community today! https://www.patreon.com/user?u=27353055           -Video of the interviews           -Vinyl TPS logo sticker           -Patron Shoutout            -Exclusive posts and direct messaging to Steve Shop Merch / Subscribe / be a guest / Contact  www.thingspolicesee.com Join the FB community!  https://www.facebook.com/thingspolicesee/ Background consultation - Ken@policebackground.net

A second set of engaging “a-ha” anecdotes from Kenny Davern, Nat Adderley, Annie Ross and Junior Mance.

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We start season four of A History of Rock Music in Five Hundred Songs with an extra-long look at "San Francisco" by Scott McKenzie, and at the Monterey Pop Festival, and the careers of the Mamas and the Papas and P.F. Sloan. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Up, Up, and Away" by the 5th Dimension. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, all the songs excerpted in the podcast can be heard in full at Mixcloud. Scott McKenzie's first album is available here. There are many compilations of the Mamas and the Papas' music, but sadly none that are in print in the UK have the original mono mixes. This set is about as good as you're going to find, though, for the stereo versions. Information on the Mamas and the Papas came from Go Where You Wanna Go: The Oral History of The Mamas and the Papas by Matthew Greenwald, California Dreamin': The True Story Of The Mamas and Papas by Michelle Phillips, and Papa John by John Phillips and Jim Jerome. Information on P.F. Sloan came from PF - TRAVELLING BAREFOOT ON A ROCKY ROAD by Stephen McParland and What's Exactly the Matter With Me? by P.F. Sloan and S.E. Feinberg. The film of the Monterey Pop Festival is available on this Criterion Blu-Ray set. Sadly the CD of the performances seems to be deleted. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Welcome to season four of A History of Rock Music in Five Hundred Songs. It's good to be back. Before we start this episode, I just want to say one thing. I get a lot of credit at times for the way I don't shy away from dealing with the more unsavoury elements of the people being covered in my podcast -- particularly the more awful men. But as I said very early on, I only cover those aspects of their life when they're relevant to the music, because this is a music podcast and not a true crime podcast. But also I worry that in some cases this might mean I'm giving a false impression of some people. In the case of this episode, one of the central figures is John Phillips of the Mamas and the Papas. Now, Phillips has posthumously been accused of some truly monstrous acts, the kind of thing that is truly unforgivable, and I believe those accusations. But those acts didn't take place during the time period covered by most of this episode, so I won't be covering them here -- but they're easily googlable if you want to know. I thought it best to get that out of the way at the start, so no-one's either anxiously waiting for the penny to drop or upset that I didn't acknowledge the elephant in the room. Separately, this episode will have some discussion of fatphobia and diet culture, and of a death that is at least in part attributable to those things. Those of you affected by that may want to skip this one or read the transcript. There are also some mentions of drug addiction and alcoholism. Anyway, on with the show. One of the things that causes problems with rock history is the tendency of people to have selective memories, and that's never more true than when it comes to the Summer of Love, summer of 1967. In the mythology that's built up around it, that was a golden time, the greatest time ever, a period of peace and love where everything was possible, and the world looked like it was going to just keep on getting better. But what that means, of course, is that the people remembering it that way do so because it was the best time of their lives. And what happens when the best time of your life is over in one summer? When you have one hit and never have a second, or when your band splits up after only eighteen months, and you have to cope with the reality that your best years are not only behind you, but they weren't even best years, but just best months? What stories would you tell about that time? Would you remember it as the eve of destruction, the last great moment before everything went to hell, or would you remember it as a golden summer, full of people with flowers in their hair? And would either really be true? [Excerpt: Scott McKenzie, "San Francisco"] Other than the city in which they worked, there are a few things that seem to characterise almost all the important figures on the LA music scene in the middle part of the 1960s. They almost all seem to be incredibly ambitious, as one might imagine. There seem to be a huge number of fantasists among them -- people who will not only choose the legend over reality when it suits them, but who will choose the legend over reality even when it doesn't suit them. And they almost all seem to have a story about being turned down in a rude and arrogant manner by Lou Adler, usually more or less the same story. To give an example, I'm going to read out a bit of Ray Manzarek's autobiography here. Now, Manzarek uses a few words that I can't use on this podcast and keep a clean rating, so I'm just going to do slight pauses when I get to them, but I'll leave the words in the transcript for those who aren't offended by them: "Sometimes Jim and Dorothy and I went alone. The three of us tried Dunhill Records. Lou Adler was the head man. He was shrewd and he was hip. He had the Mamas and the Papas and a big single with Barry McGuire's 'Eve of Destruction.' He was flush. We were ushered into his office. He looked cool. He was California casually disheveled and had the look of a stoner, but his eyes were as cold as a shark's. He took the twelve-inch acetate demo from me and we all sat down. He put the disc on his turntable and played each cut…for ten seconds. Ten seconds! You can't tell jack [shit] from ten seconds. At least listen to one of the songs all the way through. I wanted to rage at him. 'How dare you! We're the Doors! This is [fucking] Jim Morrison! He's going to be a [fucking] star! Can't you see that? Can't you see how [fucking] handsome he is? Can't you hear how groovy the music is? Don't you [fucking] get it? Listen to the words, man!' My brain was a boiling, lava-filled Jell-O mold of rage. I wanted to eviscerate that shark. The songs he so casually dismissed were 'Moonlight Drive,' 'Hello, I Love You,' 'Summer's Almost Gone,' 'End of the Night,' 'I Looked at You,' 'Go Insane.' He rejected the whole demo. Ten seconds on each song—maybe twenty seconds on 'Hello, I Love You' (I took that as an omen of potential airplay)—and we were dismissed out of hand. Just like that. He took the demo off the turntable and handed it back to me with an obsequious smile and said, 'Nothing here I can use.' We were shocked. We stood up, the three of us, and Jim, with a wry and knowing smile on his lips, cuttingly and coolly shot back at him, 'That's okay, man. We don't want to be *used*, anyway.'" Now, as you may have gathered from the episode on the Doors, Ray Manzarek was one of those print-the-legend types, and that's true of everyone who tells similar stories about Lou Alder. But... there are a *lot* of people who tell similar stories about Lou Adler. One of those was Phil Sloan. You can get an idea of Sloan's attitude to storytelling from a story he always used to tell. Shortly after he and his family moved to LA from New York, he got a job selling newspapers on a street corner on Hollywood Boulevard, just across from Schwab's Drug Store. One day James Dean drove up in his Porsche and made an unusual request. He wanted to buy every copy of the newspaper that Sloan had -- around a hundred and fifty copies in total. But he only wanted one article, something in the entertainment section. Sloan didn't remember what the article was, but he did remember that one of the headlines was on the final illness of Oliver Hardy, who died shortly afterwards, and thought it might have been something to do with that. Dean was going to just clip that article from every copy he bought, and then he was going to give all the newspapers back to Sloan to sell again, so Sloan ended up making a lot of extra money that day. There is one rather big problem with that story. Oliver Hardy died in August 1957, just after the Sloan family moved to LA. But James Dean died in September 1955, two years earlier. Sloan admitted that, and said he couldn't explain it, but he was insistent. He sold a hundred and fifty newspapers to James Dean two years after Dean's death. When not selling newspapers to dead celebrities, Sloan went to Fairfax High School, and developed an interest in music which was mostly oriented around the kind of white pop vocal groups that were popular at the time, groups like the Kingston Trio, the Four Lads, and the Four Aces. But the record that made Sloan decide he wanted to make music himself was "Just Goofed" by the Teen Queens: [Excerpt: The Teen Queens, "Just Goofed"] In 1959, when he was fourteen, he saw an advert for an open audition with Aladdin Records, a label he liked because of Thurston Harris. He went along to the audition, and was successful. His first single, released as by Flip Sloan -- Flip was a nickname, a corruption of "Philip" -- was produced by Bumps Blackwell and featured several of the musicians who played with Sam Cooke, plus Larry Knechtel on piano and Mike Deasey on guitar, but Aladdin shut down shortly after releasing it, and it may not even have had a general release, just promo copies. I've not been able to find a copy online anywhere. After that, he tried Arwin Records, the label that Jan and Arnie recorded for, which was owned by Marty Melcher (Doris Day's husband and Terry Melcher's stepfather). Melcher signed him, and put out a single, "She's My Girl", on Mart Records, a subsidiary of Arwin, on which Sloan was backed by a group of session players including Sandy Nelson and Bruce Johnston: [Excerpt: Philip Sloan, "She's My Girl"] That record didn't have any success, and Sloan was soon dropped by Mart Records. He went on to sign with Blue Bird Records, which was as far as can be ascertained essentially a scam organisation that would record demos for songwriters, but tell the performers that they were making a real record, so that they would record it for the royalties they would never get, rather than for a decent fee as a professional demo singer would get. But Steve Venet -- the brother of Nik Venet, and occasional songwriting collaborator with Tommy Boyce -- happened to come to Blue Bird one day, and hear one of Sloan's original songs. He thought Sloan would make a good songwriter, and took him to see Lou Adler at Columbia-Screen Gems music publishing. This was shortly after the merger between Columbia-Screen Gems and Aldon Music, and Adler was at this point the West Coast head of operations, subservient to Don Kirshner and Al Nevins, but largely left to do what he wanted. The way Sloan always told the story, Venet tried to get Adler to sign Sloan, but Adler said his songs stunk and had no commercial potential. But Sloan persisted in trying to get a contract there, and eventually Al Nevins happened to be in the office and overruled Adler, much to Adler's disgust. Sloan was signed to Columbia-Screen Gems as a songwriter, though he wasn't put on a salary like the Brill Building songwriters, just told that he could bring in songs and they would publish them. Shortly after this, Adler suggested to Sloan that he might want to form a writing team with another songwriter, Steve Barri, who had had a similar non-career non-trajectory, but was very slightly further ahead in his career, having done some work with Carol Connors, the former lead singer of the Teddy Bears. Barri had co-written a couple of flop singles for Connors, before the two of them had formed a vocal group, the Storytellers, with Connors' sister. The Storytellers had released a single, "When Two People (Are in Love)" , which was put out on a local independent label and which Adler had licensed to be released on Dimension Records, the label associated with Aldon Music: [Excerpt: The Storytellers "When Two People (Are in Love)"] That record didn't sell, but it was enough to get Barri into the Columbia-Screen Gems circle, and Adler set him and Sloan up as a songwriting team -- although the way Sloan told it, it wasn't so much a songwriting team as Sloan writing songs while Barri was also there. Sloan would later claim "it was mostly a collaboration of spirit, and it seemed that I was writing most of the music and the lyric, but it couldn't possibly have ever happened unless both of us were present at the same time". One suspects that Barri might have a different recollection of how it went... Sloan and Barri's first collaboration was a song that Sloan had half-written before they met, called "Kick That Little Foot Sally Ann", which was recorded by a West Coast Chubby Checker knockoff who went under the name Round Robin, and who had his own dance craze, the Slauson, which was much less successful than the Twist: [Excerpt: Round Robin, "Kick that Little Foot Sally Ann"] That track was produced and arranged by Jack Nitzsche, and Nitzsche asked Sloan to be one of the rhythm guitarists on the track, apparently liking Sloan's feel. Sloan would end up playing rhythm guitar or singing backing vocals on many of the records made of songs he and Barri wrote together. "Kick That Little Foot Sally Ann" only made number sixty-one nationally, but it was a regional hit, and it meant that Sloan and Barri soon became what Sloan later described as "the Goffin and King of the West Coast follow-ups." According to Sloan "We'd be given a list on Monday morning by Lou Adler with thirty names on it of the groups who needed follow-ups to their hit." They'd then write the songs to order, and they started to specialise in dance craze songs. For example, when the Swim looked like it might be the next big dance, they wrote "Swim Swim Swim", "She Only Wants to Swim", "Let's Swim Baby", "Big Boss Swimmer", "Swim Party" and "My Swimmin' Girl" (the last a collaboration with Jan Berry and Roger Christian). These songs were exactly as good as they needed to be, in order to provide album filler for mid-tier artists, and while Sloan and Barri weren't writing any massive hits, they were doing very well as mid-tier writers. According to Sloan's biographer Stephen McParland, there was a three-year period in the mid-sixties where at least one song written or co-written by Sloan was on the national charts at any given time. Most of these songs weren't for Columbia-Screen Gems though. In early 1964 Lou Adler had a falling out with Don Kirshner, and decided to start up his own company, Dunhill, which was equal parts production company, music publishers, and management -- doing for West Coast pop singers what Motown was doing for Detroit soul singers, and putting everything into one basket. Dunhill's early clients included Jan and Dean and the rockabilly singer Johnny Rivers, and Dunhill also signed Sloan and Barri as songwriters. Because of this connection, Sloan and Barri soon became an important part of Jan and Dean's hit-making process. The Matadors, the vocal group that had provided most of the backing vocals on the duo's hits, had started asking for more money than Jan Berry was willing to pay, and Jan and Dean couldn't do the vocals themselves -- as Bones Howe put it "As a singer, Dean is a wonderful graphic artist" -- and so Sloan and Barri stepped in, doing session vocals without payment in the hope that Jan and Dean would record a few of their songs. For example, on the big hit "The Little Old Lady From Pasadena", Dean Torrence is not present at all on the record -- Jan Berry sings the lead vocal, with Sloan doubling him for much of it, Sloan sings "Dean"'s falsetto, with the engineer Bones Howe helping out, and the rest of the backing vocals are sung by Sloan, Barri, and Howe: [Excerpt: Jan and Dean, "The Little Old Lady From Pasadena"] For these recordings, Sloan and Barri were known as The Fantastic Baggys, a name which came from the Rolling Stones' manager Andrew Oldham and Mick Jagger, when the two were visiting California. Oldham had been commenting on baggys, the kind of shorts worn by surfers, and had asked Jagger what he thought of The Baggys as a group name. Jagger had replied "Fantastic!" and so the Fantastic Baggys had been born. As part of this, Sloan and Barri moved hard into surf and hot-rod music from the dance songs they had been writing previously. The Fantastic Baggys recorded their own album, Tell 'Em I'm Surfin', as a quickie album suggested by Adler: [Excerpt: The Fantastic Baggys, "Tell 'Em I'm Surfin'"] And under the name The Rally Packs they recorded a version of Jan and Dean's "Move Out Little Mustang" which featured Berry's girlfriend Jill Gibson doing a spoken section: [Excerpt: The Rally Packs, "Move Out Little Mustang"] They also wrote several album tracks for Jan and Dean, and wrote "Summer Means Fun" for Bruce and Terry -- Bruce Johnston, later of the Beach Boys, and Terry Melcher: [Excerpt: Bruce and Terry, "Summer Means Fun"] And they wrote the very surf-flavoured "Secret Agent Man" for fellow Dunhill artist Johnny Rivers: [Excerpt: Johnny Rivers, "Secret Agent Man"] But of course, when you're chasing trends, you're chasing trends, and soon the craze for twangy guitars and falsetto harmonies had ended, replaced by a craze for jangly twelve-string guitars and closer harmonies. According to Sloan, he was in at the very beginning of the folk-rock trend -- the way he told the story, he was involved in the mastering of the Byrds' version of "Mr. Tambourine Man". He later talked about Terry Melcher getting him to help out, saying "He had produced a record called 'Mr. Tambourine Man', and had sent it into the head office, and it had been rejected. He called me up and said 'I've got three more hours in the studio before I'm being kicked out of Columbia. Can you come over and help me with this new record?' I did. I went over there. It was under lock and key. There were two guards outside the door. Terry asked me something about 'Summer Means Fun'. "He said 'Do you remember the guitar that we worked on with that? How we put in that double reverb?' "And I said 'yes' "And he said 'What do you think if we did something like that with the Byrds?' "And I said 'That sounds good. Let's see what it sounds like.' So we patched into all the reverb centres in Columbia Music, and mastered the record in three hours." Whether Sloan really was there at the birth of folk rock, he and Barri jumped on the folk-rock craze just as they had the surf and hot-rod craze, and wrote a string of jangly hits including "You Baby" for the Turtles: [Excerpt: The Turtles, "You Baby"] and "I Found a Girl" for Jan and Dean: [Excerpt: Jan and Dean, "I Found a Girl"] That song was later included on Jan and Dean's Folk 'n' Roll album, which also included... a song I'm not even going to name, but long-time listeners will know the one I mean. It was also notable in that "I Found a Girl" was the first song on which Sloan was credited not as Phil Sloan, but as P.F. Sloan -- he didn't have a middle name beginning with F, but rather the F stood for his nickname "Flip". Sloan would later talk of Phil Sloan and P.F. Sloan as almost being two different people, with P.F. being a far more serious, intense, songwriter. Folk 'n' Roll also contained another Sloan song, this one credited solely to Sloan. And that song is the one for which he became best known. There are two very different stories about how "Eve of Destruction" came to be written. To tell Sloan's version, I'm going to read a few paragraphs from his autobiography: "By late 1964, I had already written ‘Eve Of Destruction,' ‘The Sins Of A Family,' ‘This Mornin',' ‘Ain't No Way I'm Gonna Change My Mind,' and ‘What's Exactly The Matter With Me?' They all arrived on one cataclysmic evening, and nearly at the same time, as I worked on the lyrics almost simultaneously. ‘Eve Of Destruction' came about from hearing a voice, perhaps an angel's. The voice instructed me to place five pieces of paper and spread them out on my bed. I obeyed the voice. The voice told me that the first song would be called ‘Eve Of Destruction,' so I wrote the title at the top of the page. For the next few hours, the voice came and went as I was writing the lyric, as if this spirit—or whatever it was—stood over me like a teacher: ‘No, no … not think of all the hate there is in Red Russia … Red China!' I didn't understand. I thought the Soviet Union was the mortal threat to America, but the voice went on to reveal to me the future of the world until 2024. I was told the Soviet Union would fall, and that Red China would continue to be communist far into the future, but that communism was not going to be allowed to take over this Divine Planet—therefore, think of all the hate there is in Red China. I argued and wrestled with the voice for hours, until I was exhausted but satisfied inside with my plea to God to either take me out of the world, as I could not live in such a hypocritical society, or to show me a way to make things better. When I was writing ‘Eve,' I was on my hands and knees, pleading for an answer." Lou Adler's story is that he gave Phil Sloan a copy of Bob Dylan's Bringing it All Back Home album and told him to write a bunch of songs that sounded like that, and Sloan came back a week later as instructed with ten Dylan knock-offs. Adler said "It was a natural feel for him. He's a great mimic." As one other data point, both Steve Barri and Bones Howe, the engineer who worked on most of the sessions we're looking at today, have often talked in interviews about "Eve of Destruction" as being a Sloan/Barri collaboration, as if to them it's common knowledge that it wasn't written alone, although Sloan's is the only name on the credits. The song was given to a new signing to Dunhill Records, Barry McGuire. McGuire was someone who had been part of the folk scene for years, He'd been playing folk clubs in LA while also acting in a TV show from 1961. When the TV show had finished, he'd formed a duo, Barry and Barry, with Barry Kane, and they performed much the same repertoire as all the other early-sixties folkies: [Excerpt: Barry and Barry, "If I Had a Hammer"] After recording their one album, both Barrys joined the New Christy Minstrels. We've talked about the Christys before, but they were -- and are to this day -- an ultra-commercial folk group, led by Randy Sparks, with a revolving membership of usually eight or nine singers which included several other people who've come up in this podcast, like Gene Clark and Jerry Yester. McGuire became one of the principal lead singers of the Christys, singing lead on their version of the novelty cowboy song "Three Wheels on My Wagon", which was later released as a single in the UK and became a perennial children's favourite (though it has a problematic attitude towards Native Americans): [Excerpt: The New Christy Minstrels, "Three Wheels on My Wagon"] And he also sang lead on their big hit "Green Green", which he co-wrote with Randy Sparks: [Excerpt: The New Christy Minstrels, "Green Green"] But by 1965 McGuire had left the New Christy Minstrels. As he said later "I'd sung 'Green Green' a thousand times and I didn't want to sing it again. This is January of 1965. I went back to LA to meet some producers, and I was broke. Nobody had the time of day for me. I was walking down street one time to see Dr. Strangelove and I walked by the music store, and I heard "Green Green" comin' out of the store, ya know, on Hollywood Boulevard. And I heard my voice, and I thought, 'I got four dollars in my pocket!' I couldn't believe it, my voice is comin' out on Hollywood Boulevard, and I'm broke. And right at that moment, a car pulls up, and the radio is playing 'Chim Chim Cherie" also by the Minstrels. So I got my voice comin' at me in stereo, standin' on the sidewalk there, and I'm broke, and I can't get anyone to sign me!" But McGuire had a lot of friends who he'd met on the folk scene, some of whom were now in the new folk-rock scene that was just starting to spring up. One of them was Roger McGuinn, who told him that his band, the Byrds, were just about to put out a new single, "Mr. Tambourine Man", and that they were about to start a residency at Ciro's on Sunset Strip. McGuinn invited McGuire to the opening night of that residency, where a lot of other people from the scene were there to see the new group. Bob Dylan was there, as was Phil Sloan, and the actor Jack Nicholson, who was still at the time a minor bit-part player in low-budget films made by people like American International Pictures (the cinematographer on many of Nicholson's early films was Floyd Crosby, David Crosby's father, which may be why he was there). Someone else who was there was Lou Adler, who according to McGuire recognised him instantly. According to Adler, he actually asked Terry Melcher who the long-haired dancer wearing furs was, because "he looked like the leader of a movement", and Melcher told him that he was the former lead singer of the New Christy Minstrels. Either way, Adler approached McGuire and asked if he was currently signed -- Dunhill Records was just starting up, and getting someone like McGuire, who had a proven ability to sing lead on hit records, would be a good start for the label. As McGuire didn't have a contract, he was signed to Dunhill, and he was given some of Sloan's new songs to pick from, and chose "What's Exactly the Matter With Me?" as his single: [Excerpt: Barry McGuire, "What's Exactly the Matter With Me?"] McGuire described what happened next: "It was like, a three-hour session. We did two songs, and then the third one wasn't turning out. We only had about a half hour left in the session, so I said 'Let's do this tune', and I pulled 'Eve of Destruction' out of my pocket, and it just had Phil's words scrawled on a piece of paper, all wrinkled up. Phil worked the chords out with the musicians, who were Hal Blaine on drums and Larry Knechtel on bass." There were actually more musicians than that at the session -- apparently both Knechtel and Joe Osborn were there, so I'm not entirely sure who's playing bass -- Knechtel was a keyboard player as well as a bass player, but I don't hear any keyboards on the track. And Tommy Tedesco was playing lead guitar, and Steve Barri added percussion, along with Sloan on rhythm guitar and harmonica. The chords were apparently scribbled down for the musicians on bits of greasy paper that had been used to wrap some takeaway chicken, and they got through the track in a single take. According to McGuire "I'm reading the words off this piece of wrinkled paper, and I'm singing 'My blood's so mad, feels like coagulatin'", that part that goes 'Ahhh you can't twist the truth', and the reason I'm going 'Ahhh' is because I lost my place on the page. People said 'Man, you really sounded frustrated when you were singing.' I was. I couldn't see the words!" [Excerpt: Barry McGuire, "Eve of Destruction"] With a few overdubs -- the female backing singers in the chorus, and possibly the kettledrums, which I've seen differing claims about, with some saying that Hal Blaine played them during the basic track and others saying that Lou Adler suggested them as an overdub, the track was complete. McGuire wasn't happy with his vocal, and a session was scheduled for him to redo it, but then a record promoter working with Adler was DJing a birthday party for the head of programming at KFWB, the big top forty radio station in LA at the time, and he played a few acetates he'd picked up from Adler. Most went down OK with the crowd, but when he played "Eve of Destruction", the crowd went wild and insisted he play it three times in a row. The head of programming called Adler up and told him that "Eve of Destruction" was going to be put into rotation on the station from Monday, so he'd better get the record out. As McGuire was away for the weekend, Adler just released the track as it was, and what had been intended to be a B-side became Barry McGuire's first and only number one record: [Excerpt: Barry McGuire, "Eve of Destruction"] Sloan would later claim that that song was a major reason why the twenty-sixth amendment to the US Constitution was passed six years later, because the line "you're old enough to kill but not for votin'" shamed Congress into changing the constitution to allow eighteen-year-olds to vote. If so, that would make "Eve of Destruction" arguably the single most impactful rock record in history, though Sloan is the only person I've ever seen saying that As well as going to number one in McGuire's version, the song was also covered by the other artists who regularly performed Sloan and Barri songs, like the Turtles: [Excerpt: The Turtles, "Eve of Destruction"] And Jan and Dean, whose version on Folk & Roll used the same backing track as McGuire, but had a few lyrical changes to make it fit with Jan Berry's right-wing politics, most notably changing "Selma, Alabama" to "Watts, California", thus changing a reference to peaceful civil rights protestors being brutally attacked and murdered by white supremacist state troopers to a reference to what was seen, in the popular imaginary, as Black people rioting for no reason: [Excerpt: Jan and Dean, "Eve of Destruction"] According to Sloan, he worked on the Folk & Roll album as a favour to Berry, even though he thought Berry was being cynical and exploitative in making the record, but those changes caused a rift in their friendship. Sloan said in his autobiography "Where I was completely wrong was in helping him capitalize on something in which he didn't believe. Jan wanted the public to perceive him as a person who was deeply concerned and who embraced the values of the progressive politics of the day. But he wasn't that person. That's how I was being pulled. It was when he recorded my actual song ‘Eve Of Destruction' and changed a number of lines to reflect his own ideals that my principles demanded that I leave Folk City and never return." It's true that Sloan gave no more songs to Jan and Dean after that point -- but it's also true that the duo would record only one more album, the comedy concept album Jan and Dean Meet Batman, before Jan's accident. Incidentally, the reference to Selma, Alabama in the lyric might help people decide on which story about the writing of "Eve of Destruction" they think is more plausible. Remember that Lou Adler said that it was written after Adler gave Sloan a copy of Bringing it All Back Home and told him to write a bunch of knock-offs, while Sloan said it was written after a supernatural force gave him access to all the events that would happen in the world for the next sixty years. Sloan claimed the song was written in late 1964. Selma, Alabama, became national news in late February and early March 1965. Bringing it All Back Home was released in late March 1965. So either Adler was telling the truth, or Sloan really *was* given a supernatural insight into the events of the future. Now, as it turned out, while "Eve of Destruction" went to number one, that would be McGuire's only hit as a solo artist. His next couple of singles would reach the very low end of the Hot One Hundred, and that would be it -- he'd release several more albums, before appearing in the Broadway musical Hair, most famous for its nude scenes, and getting a small part in the cinematic masterpiece Werewolves on Wheels: [Excerpt: Werewolves on Wheels trailer] P.F. Sloan would later tell various stories about why McGuire never had another hit. Sometimes he would say that Dunhill Records had received death threats because of "Eve of Destruction" and so deliberately tried to bury McGuire's career, other times he would say that Lou Adler had told him that Billboard had said they were never going to put McGuire's records on the charts no matter how well they sold, because "Eve of Destruction" had just been too powerful and upset the advertisers. But of course at this time Dunhill were still trying for a follow-up to "Eve of Destruction", and they thought they might have one when Barry McGuire brought in a few friends of his to sing backing vocals on his second album. Now, we've covered some of the history of the Mamas and the Papas already, because they were intimately tied up with other groups like the Byrds and the Lovin' Spoonful, and with the folk scene that led to songs like "Hey Joe", so some of this will be more like a recap than a totally new story, but I'm going to recap those parts of the story anyway, so it's fresh in everyone's heads. John Phillips, Scott McKenzie, and Cass Elliot all grew up in Alexandria, Virginia, just a few miles south of Washington DC. Elliot was a few years younger than Phillips and McKenzie, and so as is the way with young men they never really noticed her, and as McKenzie later said "She lived like a quarter of a mile from me and I never met her until New York". While they didn't know who Elliot was, though, she was aware who they were, as Phillips and McKenzie sang together in a vocal group called The Smoothies. The Smoothies were a modern jazz harmony group, influenced by groups like the Modernaires, the Hi-Los, and the Four Freshmen. John Phillips later said "We were drawn to jazz, because we were sort of beatniks, really, rather than hippies, or whatever, flower children. So we used to sing modern harmonies, like Lambert, Hendricks, and Ross. Dave Lambert did a lot of our arrangements for us as a matter of fact." Now, I've not seen any evidence other than Phillips' claim that Dave Lambert ever arranged for the Smoothies, but that does tell you a lot about the kind of music that they were doing. Lambert, Hendricks, and Ross were a vocalese trio whose main star was Annie Ross, who had a career worthy of an episode in itself -- she sang with Paul Whiteman, appeared in a Little Rascals film when she was seven, had an affair with Lenny Bruce, dubbed Britt Ekland's voice in The Wicker Man, played the villain's sister in Superman III, and much more. Vocalese, you'll remember, was a style of jazz vocal where a singer would take a jazz instrumental, often an improvised one, and add lyrics which they would sing, like Lambert, Hendricks, and Ross' version of "Cloudburst": [Excerpt: Lambert, Hendricks, and Ross, "Cloudburst"] Whether Dave Lambert ever really did arrange for the Smoothies or not, it's very clear that the trio had a huge influence on John Phillips' ideas about vocal arrangement, as you can hear on Mamas and Papas records like "Once Was a Time I Thought": [Excerpt: The Mamas and the Papas, "Once Was a Time I Thought"] While the Smoothies thought of themselves as a jazz group, when they signed to Decca they started out making the standard teen pop of the era, with songs like "Softly": [Excerpt, The Smoothies, "Softly"] When the folk boom started, Phillips realised that this was music that he could do easily, because the level of musicianship among the pop-folk musicians was so much lower than in the jazz world. The Smoothies made some recordings in the style of the Kingston Trio, like "Ride Ride Ride": [Excerpt: The Smoothies, "Ride Ride Ride"] Then when the Smoothies split, Phillips and McKenzie formed a trio with a banjo player, Dick Weissman, who they met through Izzy Young's Folklore Centre in Greenwich Village after Phillips asked Young to name some musicians who could make a folk record with him. Weissman was often considered the best banjo player on the scene, and was a friend of Pete Seeger's, to whom Seeger sometimes turned for banjo tips. The trio, who called themselves the Journeymen, quickly established themselves on the folk scene. Weissman later said "we had this interesting balance. John had all of this charisma -- they didn't know about the writing thing yet -- John had the personality, Scott had the voice, and I could play. If you think about it, all of those bands like the Kingston Trio, the Brothers Four, nobody could really *sing* and nobody could really *play*, relatively speaking." This is the take that most people seemed to have about John Phillips, in any band he was ever in. Nobody thought he was a particularly good singer or instrumentalist -- he could sing on key and play adequate rhythm guitar, but nobody would actually pay money to listen to him do those things. Mark Volman of the Turtles, for example, said of him "John wasn't the kind of guy who was going to be able to go up on stage and sing his songs as a singer-songwriter. He had to put himself in the context of a group." But he was charismatic, he had presence, and he also had a great musical mind. He would surround himself with the best players and best singers he could, and then he would organise and arrange them in ways that made the most of their talents. He would work out the arrangements, in a manner that was far more professional than the quick head arrangements that other folk groups used, and he instigated a level of professionalism in his groups that was not at all common on the scene. Phillips' friend Jim Mason talked about the first time he saw the Journeymen -- "They were warming up backstage, and John had all of them doing vocal exercises; one thing in particular that's pretty famous called 'Seiber Syllables' -- it's a series of vocal exercises where you enunciate different vowel and consonant sounds. It had the effect of clearing your head, and it's something that really good operetta singers do." The group were soon signed by Frank Werber, the manager of the Kingston Trio, who signed them as an insurance policy. Dave Guard, the Kingston Trio's banjo player, was increasingly having trouble with the other members, and Werber knew it was only a matter of time before he left the group. Werber wanted the Journeymen as a sort of farm team -- he had the idea that when Guard left, Phillips would join the Kingston Trio in his place as the third singer. Weissman would become the Trio's accompanist on banjo, and Scott McKenzie, who everyone agreed had a remarkable voice, would be spun off as a solo artist. But until that happened, they might as well make records by themselves. The Journeymen signed to MGM records, but were dropped before they recorded anything. They instead signed to Capitol, for whom they recorded their first album: [Excerpt: The Journeymen, "500 Miles"] After recording that album, the Journeymen moved out to California, with Phillips' wife and children. But soon Phillips' marriage was to collapse, as he met and fell in love with Michelle Gilliam. Gilliam was nine years younger than him -- he was twenty-six and she was seventeen -- and she had the kind of appearance which meant that in every interview with an older heterosexual man who knew her, that man will spend half the interview talking about how attractive he found her. Phillips soon left his wife and children, but before he did, the group had a turntable hit with "River Come Down", the B-side to "500 Miles": [Excerpt: The Journeymen, "River Come Down"] Around the same time, Dave Guard *did* leave the Kingston Trio, but the plan to split the Journeymen never happened. Instead Phillips' friend John Stewart replaced Guard -- and this soon became a new source of income for Phillips. Both Phillips and Stewart were aspiring songwriters, and they collaborated together on several songs for the Trio, including "Chilly Winds": [Excerpt: The Kingston Trio, "Chilly Winds"] Phillips became particularly good at writing songs that sounded like they could be old traditional folk songs, sometimes taking odd lines from older songs to jump-start new ones, as in "Oh Miss Mary", which he and Stewart wrote after hearing someone sing the first line of a song she couldn't remember the rest of: [Excerpt: The Kingston Trio, "Oh Miss Mary"] Phillips and Stewart became so close that Phillips actually suggested to Stewart that he quit the Kingston Trio and replace Dick Weissman in the Journeymen. Stewart did quit the Trio -- but then the next day Phillips suggested that maybe it was a bad idea and he should stay where he was. Stewart went back to the Trio, claimed he had only pretended to quit because he wanted a pay-rise, and got his raise, so everyone ended up happy. The Journeymen moved back to New York with Michelle in place of Phillips' first wife (and Michelle's sister Russell also coming along, as she was dating Scott McKenzie) and on New Year's Eve 1962 John and Michelle married -- so from this point on I will refer to them by their first names, because they both had the surname Phillips. The group continued having success through 1963, including making appearances on "Hootenanny": [Excerpt: The Journeymen, "Stack O'Lee (live on Hootenanny)"] By the time of the Journeymen's third album, though, John and Scott McKenzie were on bad terms. Weissman said "They had been the closest of friends and now they were the worst of enemies. They talked through me like I was a medium. It got to the point where we'd be standing in the dressing room and John would say to me 'Tell Scott that his right sock doesn't match his left sock...' Things like that, when they were standing five feet away from each other." Eventually, the group split up. Weissman was always going to be able to find employment given his banjo ability, and he was about to get married and didn't need the hassle of dealing with the other two. McKenzie was planning on a solo career -- everyone was agreed that he had the vocal ability. But John was another matter. He needed to be in a group. And not only that, the Journeymen had bookings they needed to complete. He quickly pulled together a group he called the New Journeymen. The core of the lineup was himself, Michelle on vocals, and banjo player Marshall Brickman. Brickman had previously been a member of a folk group called the Tarriers, who had had a revolving lineup, and had played on most of their early-sixties recordings: [Excerpt: The Tarriers, "Quinto (My Little Pony)"] We've met the Tarriers before in the podcast -- they had been formed by Erik Darling, who later replaced Pete Seeger in the Weavers after Seeger's socialist principles wouldn't let him do advertising, and Alan Arkin, later to go on to be a film star, and had had hits with "Cindy, O Cindy", with lead vocals from Vince Martin, who would later go on to be a major performer in the Greenwich Village scene, and with "The Banana Boat Song". By the time Brickman had joined, though, Darling, Arkin, and Martin had all left the group to go on to bigger things, and while he played with them for several years, it was after their commercial peak. Brickman would, though, also go on to a surprising amount of success, but as a writer rather than a musician -- he had a successful collaboration with Woody Allen in the 1970s, co-writing four of Allen's most highly regarded films -- Sleeper, Annie Hall, Manhattan, and Manhattan Murder Mystery -- and with another collaborator he later co-wrote the books for the stage musicals Jersey Boys and The Addams Family. Both John and Michelle were decent singers, and both have their admirers as vocalists -- P.F. Sloan always said that Michelle was the best singer in the group they eventually formed, and that it was her voice that gave the group its sound -- but for the most part they were not considered as particularly astonishing lead vocalists. Certainly, neither had a voice that stood out the way that Scott McKenzie's had. They needed a strong lead singer, and they found one in Denny Doherty. Now, we covered Denny Doherty's early career in the episode on the Lovin' Spoonful, because he was intimately involved in the formation of that group, so I won't go into too much detail here, but I'll give a very abbreviated version of what I said there. Doherty was a Canadian performer who had been a member of the Halifax Three with Zal Yanovsky: [Excerpt: The Halifax Three, "When I First Came to This Land"] After the Halifax Three had split up, Doherty and Yanovsky had performed as a duo for a while, before joining up with Cass Elliot and her husband Jim Hendricks, who both had previously been in the Big Three with Tim Rose: [Excerpt: Cass Elliot and the Big 3, "The Banjo Song"] Elliot, Hendricks, Yanovsky, and Doherty had formed The Mugwumps, sometimes joined by John Sebastian, and had tried to go in more of a rock direction after seeing the Beatles on Ed Sullivan. They recorded one album together before splitting up: [Excerpt: The Mugwumps, "Searchin'"] Part of the reason they split up was that interpersonal relationships within the group were put under some strain -- Elliot and Hendricks split up, though they would remain friends and remain married for several years even though they were living apart, and Elliot had an unrequited crush on Doherty. But since they'd split up, and Yanovsky and Sebastian had gone off to form the Lovin' Spoonful, that meant that Doherty was free, and he was regarded as possibly the best male lead vocalist on the circuit, so the group snapped him up. The only problem was that the Journeymen still had gigs booked that needed to be played, one of them was in just three days, and Doherty didn't know the repertoire. This was a problem with an easy solution for people in their twenties though -- they took a huge amount of amphetamines, and stayed awake for three days straight rehearsing. They made the gig, and Doherty was now the lead singer of the New Journeymen: [Excerpt: The New Journeymen, "The Last Thing on My Mind"] But the New Journeymen didn't last in that form for very long, because even before joining the group, Denny Doherty had been going in a more folk-rock direction with the Mugwumps. At the time, John Phillips thought rock and roll was kids' music, and he was far more interested in folk and jazz, but he was also very interested in making money, and he soon decided it was an idea to start listening to the Beatles. There's some dispute as to who first played the Beatles for John in early 1965 -- some claim it was Doherty, others claim it was Cass Elliot, but everyone agrees it was after Denny Doherty had introduced Phillips to something else -- he brought round some LSD for John and Michelle, and Michelle's sister Rusty, to try. And then he told them he'd invited round a friend. Michelle Phillips later remembered, "I remember saying to the guys "I don't know about you guys, but this drug does nothing for me." At that point there was a knock on the door, and as I opened the door and saw Cass, the acid hit me *over the head*. I saw her standing there in a pleated skirt, a pink Angora sweater with great big eyelashes on and her hair in a flip. And all of a sudden I thought 'This is really *quite* a drug!' It was an image I will have securely fixed in my brain for the rest of my life. I said 'Hi, I'm Michelle. We just took some LSD-25, do you wanna join us?' And she said 'Sure...'" Rusty Gilliam's description matches this -- "It was mind-boggling. She had on a white pleated skirt, false eyelashes. These were the kind of eyelashes that when you put them on you were supposed to trim them to an appropriate length, which she didn't, and when she blinked she looked like a cow, or those dolls you get when you're little and the eyes open and close. And we're on acid. Oh my God! It was a sight! And everything she was wearing were things that you weren't supposed to be wearing if you were heavy -- white pleated skirt, mohair sweater. You know, until she became famous, she suffered so much, and was poked fun at." This gets to an important point about Elliot, and one which sadly affected everything about her life. Elliot was *very* fat -- I've seen her weight listed at about three hundred pounds, and she was only five foot five tall -- and she also didn't have the kind of face that gets thought of as conventionally attractive. Her appearance would be cruelly mocked by pretty much everyone for the rest of her life, in ways that it's genuinely hurtful to read about, and which I will avoid discussing in detail in order to avoid hurting fat listeners. But the two *other* things that defined Elliot in the minds of those who knew her were her voice -- every single person who knew her talks about what a wonderful singer she was -- and her personality. I've read a lot of things about Cass Elliot, and I have never read a single negative word about her as a person, but have read many people going into raptures about what a charming, loving, friendly, understanding person she was. Michelle later said of her "From the time I left Los Angeles, I hadn't had a friend, a buddy. I was married, and John and I did not hang out with women, we just hung out with men, and especially not with women my age. John was nine years older than I was. And here was a fun-loving, intelligent woman. She captivated me. I was as close to in love with Cass as I could be to any woman in my life at that point. She also represented something to me: freedom. Everything she did was because she wanted to do it. She was completely independent and I admired her and was in awe of her. And later on, Cass would be the one to tell me not to let John run my life. And John hated her for that." Either Elliot had brought round Meet The Beatles, the Beatles' first Capitol album, for everyone to listen to, or Denny Doherty already had it, but either way Elliot and Doherty were by this time already Beatles fans. Michelle, being younger than the rest and not part of the folk scene until she met John, was much more interested in rock and roll than any of them, but because she'd been married to John for a couple of years and been part of his musical world she hadn't really encountered the Beatles music, though she had a vague memory that she might have heard a track or two on the radio. John was hesitant -- he didn't want to listen to any rock and roll, but eventually he was persuaded, and the record was put on while he was on his first acid trip: [Excerpt: The Beatles, "I Want to Hold Your Hand"] Within a month, John Phillips had written thirty songs that he thought of as inspired by the Beatles. The New Journeymen were going to go rock and roll. By this time Marshall Brickman was out of the band, and instead John, Michelle, and Denny recruited a new lead guitarist, Eric Hord. Denny started playing bass, with John on rhythm guitar, and a violinist friend of theirs, Peter Pilafian, knew a bit of drums and took on that role. The new lineup of the group used the Journeymen's credit card, which hadn't been stopped even though the Journeymen were no more, to go down to St. Thomas in the Caribbean, along with Michelle's sister, John's daughter Mackenzie (from whose name Scott McKenzie had taken his stage name, as he was born Philip Blondheim), a pet dog, and sundry band members' girlfriends. They stayed there for several months, living in tents on the beach, taking acid, and rehearsing. While they were there, Michelle and Denny started an affair which would have important ramifications for the group later. They got a gig playing at a club called Duffy's, whose address was on Creeque Alley, and soon after they started playing there Cass Elliot travelled down as well -- she was in love with Denny, and wanted to be around him. She wasn't in the group, but she got a job working at Duffy's as a waitress, and she would often sing harmony with the group while waiting at tables. Depending on who was telling the story, either she didn't want to be in the group because she didn't want her appearance to be compared to Michelle's, or John wouldn't *let* her be in the group because she was so fat. Later a story would be made up to cover for this, saying that she hadn't been in the group at first because she couldn't sing the highest notes that were needed, until she got hit on the head with a metal pipe and discovered that it had increased her range by three notes, but that seems to be a lie. One of the songs the New Journeymen were performing at this time was "Mr. Tambourine Man". They'd heard that their old friend Roger McGuinn had recorded it with his new band, but they hadn't yet heard his version, and they'd come up with their own arrangement: [Excerpt: The New Journeymen, "Mr. Tambourine Man"] Denny later said "We were doing three-part harmony on 'Mr Tambourine Man', but a lot slower... like a polka or something! And I tell John, 'No John, we gotta slow it down and give it a backbeat.' Finally we get the Byrds 45 down here, and we put it on and turn it up to ten, and John says 'Oh, like that?' Well, as you can tell, it had already been done. So John goes 'Oh, ah... that's it...' a light went on. So we started doing Beatles stuff. We dropped 'Mr Tambourine Man' after hearing the Byrds version, because there was no point." Eventually they had to leave the island -- they had completely run out of money, and were down to fifty dollars. The credit card had been cut up, and the governor of the island had a personal vendetta against them because they gave his son acid, and they were likely to get arrested if they didn't leave the island. Elliot and her then-partner had round-trip tickets, so they just left, but the rest of them were in trouble. By this point they were unwashed, they were homeless, and they'd spent their last money on stage costumes. They got to the airport, and John Phillips tried to write a cheque for eight air fares back to the mainland, which the person at the check-in desk just laughed at. So they took their last fifty dollars and went to a casino. There Michelle played craps, and she rolled seventeen straight passes, something which should be statistically impossible. She turned their fifty dollars into six thousand dollars, which they scooped up, took to the airport, and paid for their flights out in cash. The New Journeymen arrived back in New York, but quickly decided that they were going to try their luck in California. They rented a car, using Scott McKenzie's credit card, and drove out to LA. There they met up with Hoyt Axton, who you may remember as the son of Mae Axton, the writer of "Heartbreak Hotel", and as the performer who had inspired Michael Nesmith to go into folk music: [Excerpt: Hoyt Axton, "Greenback Dollar"] Axton knew the group, and fed them and put them up for a night, but they needed somewhere else to stay. They went to stay with one of Michelle's friends, but after one night their rented car was stolen, with all their possessions in it. They needed somewhere else to stay, so they went to ask Jim Hendricks if they could crash at his place -- and they were surprised to find that Cass Elliot was there already. Hendricks had another partner -- though he and Elliot wouldn't have their marriage annulled until 1968 and were still technically married -- but he'd happily invited her to stay with them. And now all her friends had turned up, he invited them to stay as well, taking apart the beds in his one-bedroom apartment so he could put down a load of mattresses in the space for everyone to sleep on. The next part becomes difficult, because pretty much everyone in the LA music scene of the sixties was a liar who liked to embellish their own roles in things, so it's quite difficult to unpick what actually happened. What seems to have happened though is that first this new rock-oriented version of the New Journeymen went to see Frank Werber, on the recommendation of John Stewart. Werber was the manager of the Kingston Trio, and had also managed the Journeymen. He, however, was not interested -- not because he didn't think they had talent, but because he had experience of working with John Phillips previously. When Phillips came into his office Werber picked up a tape that he'd been given of the group, and said "I have not had a chance to listen to this tape. I believe that you are a most talented individual, and that's why we took you on in the first place. But I also believe that you're also a drag to work with. A pain in the ass. So I'll tell you what, before whatever you have on here sways me, I'm gonna give it back to you and say that we're not interested." Meanwhile -- and this part of the story comes from Kim Fowley, who was never one to let the truth get in the way of him taking claim for everything, but parts of it at least are corroborated by other people -- Cass Elliot had called Fowley, and told him that her friends' new group sounded pretty good and he should sign them. Fowley was at that time working as a talent scout for a label, but according to him the label wouldn't give the group the money they wanted. So instead, Fowley got in touch with Nik Venet, who had just produced the Leaves' hit version of "Hey Joe" on Mira Records: [Excerpt: The Leaves, "Hey Joe"] Fowley suggested to Venet that Venet should sign the group to Mira Records, and Fowley would sign them to a publishing contract, and they could both get rich. The trio went to audition for Venet, and Elliot drove them over -- and Venet thought the group had a great look as a quartet. He wanted to sign them to a record contract, but only if Elliot was in the group as well. They agreed, he gave them a one hundred and fifty dollar advance, and told them to come back the next day to see his boss at Mira. But Barry McGuire was also hanging round with Elliot and Hendricks, and decided that he wanted to have Lou Adler hear the four of them. He thought they might be useful both as backing vocalists on his second album and as a source of new songs. He got them to go and see Lou Adler, and according to McGuire Phillips didn't want Elliot to go with them, but as Elliot was the one who was friends with McGuire, Phillips worried that they'd lose the chance with Adler if she didn't. Adler was amazed, and decided to sign the group right then and there -- both Bones Howe and P.F. Sloan claimed to have been there when the group auditioned for him and have said "if you won't sign them, I will", though exactly what Sloan would have signed them to I'm not sure. Adler paid them three thousand dollars in cash and told them not to bother with Nik Venet, so they just didn't turn up for the Mira Records audition the next day. Instead, they went into the studio with McGuire and cut backing vocals on about half of his new album: [Excerpt: Barry McGuire with the Mamas and the Papas, "Hide Your Love Away"] While the group were excellent vocalists, there were two main reasons that Adler wanted to sign them. The first was that he found Michelle Phillips extremely attractive, and the second is a song that John and Michelle had written which he thought might be very suitable for McGuire's album. Most people who knew John Phillips think of "California Dreamin'" as a solo composition, and he would later claim that he gave Michelle fifty percent just for transcribing his lyric, saying he got inspired in the middle of the night, woke her up, and got her to write the song down as he came up with it. But Michelle, who is a credited co-writer on the song, has been very insistent that she wrote the lyrics to the second verse, and that it's about her own real experiences, saying that she would often go into churches and light candles even though she was "at best an agnostic, and possibly an atheist" in her words, and this would annoy John, who had also been raised Catholic, but who had become aggressively opposed to expressions of religion, rather than still having nostalgia for the aesthetics of the church as Michelle did. They were out walking on a particularly cold winter's day in 1963, and Michelle wanted to go into St Patrick's Cathedral and John very much did not want to. A couple of nights later, John woke her up, having written the first verse of the song, starting "All the leaves are brown and the sky is grey/I went for a walk on a winter's day", and insisting she collaborate with him. She liked the song, and came up with the lines "Stopped into a church, I passed along the way/I got down on my knees and I pretend to pray/The preacher likes the cold, he knows I'm going to stay", which John would later apparently dislike, but which stayed in the song. Most sources I've seen for the recording of "California Dreamin'" say that the lineup of musicians was the standard set of players who had played on McGuire's other records, with the addition of John Phillips on twelve-string guitar -- P.F. Sloan on guitar and harmonica, Joe Osborn on bass, Larry Knechtel on keyboards, and Hal Blaine on drums, but for some reason Stephen McParland's book on Sloan has Bones Howe down as playing drums on the track while engineering -- a detail so weird, and from such a respectable researcher, that I have to wonder if it might be true. In his autobiography, Sloan claims to have rewritten the chord sequence to "California Dreamin'". He says "Barry Mann had unintentionally showed me a suspended chord back at Screen Gems. I was so impressed by this beautiful, simple chord that I called Brian Wilson and played it for him over the phone. The next thing I knew, Brian had written ‘Don't Worry Baby,' which had within it a number suspended chords. And then the chord heard 'round the world, two months later, was the opening suspended chord of ‘A Hard Day's Night.' I used these chords throughout ‘California Dreamin',' and more specifically as a bridge to get back and forth from the verse to the chorus." Now, nobody else corroborates this story, and both Brian Wilson and John Phillips had the kind of background in modern harmony that means they would have been very aware of suspended chords before either ever encountered Sloan, but I thought I should mention it. Rather more plausible is Sloan's other claim, that he came up with the intro to the song. According to Sloan, he was inspired by "Walk Don't Run" by the Ventures: [Excerpt: The Ventures, "Walk Don't Run"] And you can easily see how this: [plays "Walk Don't Run"] Can lead to this: [plays "California Dreamin'"] And I'm fairly certain that if that was the inspiration, it was Sloan who was the one who thought it up. John Phillips had been paying no attention to the world of surf music when "Walk Don't Run" had been a hit -- that had been at the point when he was very firmly in the folk world, while Sloan of course had been recording "Tell 'Em I'm Surfin'", and it had been his job to know surf music intimately. So Sloan's intro became the start of what was intended to be Barry McGuire's next single: [Excerpt: Barry McGuire, "California Dreamin'"] Sloan also provided the harmonica solo on the track: [Excerpt: Barry McGuire, "California Dreamin'"] The Mamas and the Papas -- the new name that was now given to the former New Journeymen, now they were a quartet -- were also signed to Dunhill as an act on their own, and recorded their own first single, "Go Where You Wanna Go", a song apparently written by John about Michelle, in late 1963, after she had briefly left him to have an affair with Russ Titelman, the record producer and songwriter, before coming back to him: [Excerpt: The Mamas and the Papas, "Go Where You Wanna Go"] But while that was put out, they quickly decided to scrap it and go with another song. The "Go Where You Wanna Go" single was pulled after only selling a handful of copies, though its commercial potential was later proved when in 1967 a new vocal group, the 5th Dimension, released a soundalike version as their second single. The track was produced by Lou Adler's client Johnny Rivers, and used the exact same musicians as the Mamas and the Papas version, with the exception of Phillips. It became their first hit, reaching number sixteen on the charts: [Excerpt: The 5th Dimension, "Go Where You Wanna Go"] The reason the Mamas and the Papas version of "Go Where You Wanna Go" was pulled was because everyone became convinced that their first single should instead be their own version of "California Dreamin'". This is the exact same track as McGuire's track, with just two changes. The first is that McGuire's lead vocal was replaced with Denny Doherty: [Excerpt: The Mamas and the Papas, "California Dreamin'"] Though if you listen to the stereo mix of the song and isolate the left channel, you can hear McGuire singing the lead on the first line, and occasional leakage from him elsewhere on the backing vocal track: [Excerpt: The Mamas and the Papas, "California Dreamin'"] The other change made was to replace Sloan's harmonica solo with an alto flute solo by Bud Shank, a jazz musician who we heard about in the episode on "Light My Fire", when he collaborated with Ravi Shankar on "Improvisations on the Theme From Pather Panchali": [Excerpt: Ravi Shankar, "Improvisation on the Theme From Pather Panchali"] Shank was working on another session in Western Studios, where they were recording the Mamas and Papas track, and Bones Howe approached him while he was packing his instrument and asked if he'd be interested in doing another session. Shank agreed, though the track caused problems for him. According to Shank "What had happened was that whe

"I've grown accustomed to her face" (Me acostumbré a su cara) es una canción de 1956 para la comedia musical My Fair Lady. La escuchamos por Annie Ross con Mulligan, Bennet/Basie, Chet Baker, Wes Montgomery, Jim Hall, Coleman Hawkings, Brookmeyer y otros.

The Jazz Session No.254 from RaidersBroadcast.com as aired in April 2022, featuring a guest interview with the musician/pianist, singer, and songwriter Tremaine Dawkins, as well as a few of her musical choices. TRACK LISTING: ; This Time the Dream's On Me - Gerry Mulligan, ft. Annie Ross; Henrietta Our Hero - Kamasi Washington, ft. Patrice Quinn; Brigas Nunca Mais - Paula Morelenbaum; Mas Que Nada - Sergio Mendes & Brasil '66, ft. Lani Hall ; Spontaneous Combustion - Tremaine Dawkins; Joni Mitchell - Help Me ; Mercy Mercy Me (The Ecology) - Marvin Gaye; 500 Miles High - Chick Corea, w. Return to Forever, ft. Flora Purim; Rose Rouge - St.Germain, ft. Marlene Shaw; Wieczerza (The Supper) - Chlopcy Kontra Basia; La Paresse - Magali Lange; Watermelon Man (Under the Sun) - Poppy Ajudha; Big Bad Bill is Sweet William Now - The Cable Street Rag Band, ft. Louisa Jones; Back to the Beginning - Bill Bruford, ft. Annette Peacock; Riddoem - Yaatri, ft. Beth Hetherington; Day Dreaming - Aretha Franklin; Sunrise - Norah Jones ; Snow - Polar Bear, ft. Julia Biel; Waiting - Archipelago, ft. Faye McCalman; Liberation Song - Gil Scott - Heron; Nervous Breakdown - Carleen Anderson.

A Lounge Special this week as we look at the life of Annie Ross plus lots of new music. It is the Cocktail nation on syndicated stations around the world and on iheart radio …      Codename Carter-Botched Op (Single, 2021) The Exotic lounge- Coronavirus Theodore Shapiro- Labor of Love Jorge Garcia- This One's For Richie Kenny.Sasaki-Quiet Lagoon Ana Gasteyer- I'm Hip Tiki Lounge Crew- Crime De Menthe Brent Laidler- City By The Bay Holly Cole-Viva Las Vegas Stereophonic Space Sound Unlimited- Your Move Ms Drake Irving Joseph- April in Brownsville The Swongos - Curious Tourist - Grab the Loot Blue Martinis- Blue Martinis Theme   

#033 Broadcast 033 - Episode 030 - The Crooners - 20220409 - 3 in 1 = Annie Ross by Jim Reeves

"I Feel Pretty" Pete Malinverni: On The Town. Pete Malinverni Plays Leonard Bernstein (Planet Arts, 2022) Pete Malinverni, Ugonna Okegwo, Jeff Hamilton. El tema es una composición de Leonard Bernstein. Tomajazz: © Pachi Tapiz, 2022 ¿Sabías que? Leonard Bernstein, además de director de orquesta, fue autor de algunos musicales como West Side Story. "I Feel Pretty", de este musical, es un tema que se ha versionado en múltiples ocasiones. Algunos de los autores de estas recreaciones fueron Sarah Vaughan, Annie Ross, Julie Andrews o Little Richard. El tema también se ha parodiado en programas de TV como Los Simpson, Friends o Barrio Sésamo. On The Town. Pete Malinverni Plays Leonard Bernstein se ha publicado el viernes 14 de enero de 2022. En breve, publicaremos en Tomajazz la reseña de Juan F. Trillo de esta grabación. Escuchar Pete Malinverni: “I Feel Pretty” [On The Town. Pete Malinverni Plays Leonard Bernstein (Planet Arts, 2022)] En anteriores episodios de JazzX5/HDO/LODLMA/Maltidos Jazztardos… https://www.tomajazz.com/web/?p=59247 Más información acerca de Pete Malinverni https://www.petemalinverni.com/ Más información sobre JazzX5 JazzX5 es un minipodcast de HDO de la Factoría Tomajazz presentado, editado y producido por Pachi Tapiz. JazzX5 comenzó su andadura el 24 de junio de 2019. Todas las entregas de JazzX5 están disponibles en https://www.tomajazz.com/web/?cat=23120 / https://www.ivoox.com/jazzx5_bk_list_642835_1.html. JazzX5 y los podcast de Tomajazz en Telegram En Tomajazz hemos abierto un canal de Telegram para que estés al tanto, al instante, de los nuevos podcast. Puedes suscribirte en https://t.me/TomajazzPodcast. Pachi Tapiz en Tomajazz https://www.tomajazz.com/web/?cat=17847

"Moanin'" Lambert Hendricks and Ross: The Hottest New Group in Jazz (Columbia, 1960) Dave Lambert, Jon Hendricks, Annie Ross, Harry Edward Edison, Gildo Mahones, Charles "Ike" Isaacs, Walter Lee Bolden. El tema es una composición de Bobby Timmons. Tomajazz: © Pachi Tapiz, 2021 ¿Sabías qué? El disco tiene por título Lambert, Hendricks & Ross, pero también se le conoce como The Hottest New Group in Jazz, o por su título al completo Lambert, Hendricks, & Ross!: "The Hottest New Group in Jazz". Estos dos últimos incluyen una cita de Downbeat.  Es el cuatro disco del grupo y fue grabado y editado en 1960. El disco original no llegaba a los 30 minutos de duración. Lambert, Hendricks & Ross ganaron las votaciones de los lectores de Down Beat como mejor grupo vocal entre 1959 y 1963.  Annie Ross dejó el grupo en 1962.  Lambert, Hendricks & Ross son uno de los mejores intérpretes de lo que se conoce como "vocalesse", que consiste en cantar, con una letra escrita previamente, una composición instrumental de jazz. Un ejemplo es la versión del clásico "Moanin'" de Art Blakey and the Jazz Messengers. En anteriores episodios de JazzX5/HDO/LODLMA/Maltidos Jazztardos... https://www.tomajazz.com/web/?p=59703 Lambert Hendricks and Ross en Tomajazz https://www.tomajazz.com/web/?s=lambert+hendricks+ross&submit=Search Más información sobre JazzX5 JazzX5 es un minipodcast de HDO de la Factoría Tomajazz presentado, editado y producido por Pachi Tapiz. JazzX5 comenzó su andadura el 24 de junio de 2019. Todas las entregas de JazzX5 están disponibles en https://www.tomajazz.com/web/?cat=23120 / https://www.ivoox.com/jazzx5_bk_list_642835_1.html. JazzX5 y los podcast de Tomajazz en Telegram En Tomajazz hemos abierto un canal de Telegram para que estés al tanto, al instante, de los nuevos podcast. Puedes suscribirte en https://t.me/TomajazzPodcast. Pachi Tapiz en Tomajazz https://www.tomajazz.com/web/?cat=17847

For Video Edtition, Please Click and Subscribe Here: https://youtu.be/Bi3h3HdGKv8 Michael Ernest Renzi (April 28, 1941 – September 28, 2021) was an American composer, music director, pianist, and jazz musician. We celebrate his rich legacy with a few of those who worked with him and knew him best. Nicolas King was among the guests to appear. An immensely talented musician, Renzi was influenced in his early years as a pianist by Bill Evans. After living and working in and around Providence, he graduated from the Boston Conservatory of Music in 1973 and Berklee College Of Music the following year. During these years of study he worked with local bands and as accompanist to visiting artists. Among these was Sylvia Sims and it was as a direct result of this engagement that he was hired to work with Mel Tormé. In 1976 he moved to New York City and from the late 70s onwards through the next two decades and into the early years of the twenty-first century, he appeared on scores of albums, sometimes only as pianist but most often also as arranger. Renzi also plays keyboards and occasionally guitar. Developing his own, hard bop style, Renzi also became a much sought after arranger. As a brief listing of the numerous artists with whom he has worked will show, many of them are singers with whom he established a special rapport, and in some cases has acted as musical director: Ruth Brown, Laverne Butler, Ann Hampton Callaway, Diahann Carroll, Freddy Cole, Cynthia Crane, Meredith D'Ambrosio, Blossom Dearie, Scott Hamilton, Lena Horne, Etta Jones, Jack Jones, Eartha Kitt, Steve LaSpina, Cleo Laine, Peggy Lee, Jay Leonhart, Gloria Lynne, Maureen McGovern, Liza Minnelli, Gerry Mulligan, Mark Murphy, Houston Person, John Pizzarelli, Annie Ross, George Shearing, an eight-week tour with Frank Sinatra, Carol Sloane, Grady Tate.

M

This week, our guest is Annette Martin. She's the owner of Elle Boutique in downtown Tucson, and she's putting on events which celebrate women, our local food heritage, and even a local connection helping teens learn the foundations of entrepreneurship. Today is August 22nd, my name is Tom Heath and you're listening to "Life Along the Streetcar". Each and every Sunday our focus is on Social, Cultural and Economic impacts in Tucson's Urban Core and we shed light on hidden gems everyone should know about. From A Mountain to UArizona and all stops in between. You get the inside track- right here on 99.1 FM, streaming on DowntownRadio.org- we're also available on your iPhone or Android using our very own Downtown Radio app. Reach us by email contact@lifealongthestreetcar.org -- interact with us on Facebook @Life Along the Streetcar and follow us on Twitter @StreetcarLife--- And check out our past episodes on www.lifeAlongTheStreetcar.org, Spotify, iTunes or asking your smart speaker to play our podcast Our intro music is by Ryanhood and we exit with music from Annie Ross, "Farmer's Market."

All the music and artists featured in Sisters in the Shadow can be found on the Influences and Guests: Sisters in the Shadows Spotify playlist https://open.spotify.com/playlist/7kK8L0vJkfU4XkK3AbDjGL?si=9InBx_7VQMSxknNOMDZBSw  Get the latest from Collette here:https://www.collettecooper.com/ and on Instagram: @collettecooper and Facebook:https://www.facebook.com/ColletteCooperMusic/ Listen to Collette on Spotify:https://open.spotify.com/artist/65g0WFB1tb25Y3BzvES5eq Or buy her album ‘Lost', all proceeds go to Nordoff Robbins:https://www.collettecooper.com/product-page/lost  Collette will be portraying Janis Joplin in a one woman show called Tomorrow May Be My Last in 2021. Follow her to find out when. Please help support Nordoff Robbins:https://www.nordoff-robbins.org.uk  Theme music 'Lost Soul' written by Collette Cooper and performed by Sam Taylor Produced by Pod People Productionshttps://podpeopleproductions.co.uk/  Art work by https://jaijo.com/

At age 26, Veronica Swift has become one of the worlds most sought-after jazz talents. Having grown up on the road with her parents -- jazz pianist Hod O'Brien and jazz vocalist Stephanie Nakasian -- she was exposed to some of the greatest musicians of the time, including; Annie Ross, Jon Hendricks, Bob Dorough, and Marilyn Maye.   At age nine, Swift recorded her first album, "Veronica's House of Jazz," and began professionally touring with her parents, as well as singing and playing trumpet in the youth jazz group, "The Young Razzcals jazz project." With the Young Razzcals, she had her first opportunity to perform on festival stages, like the Telluride Jazz Festival, and would for the next ten years. At age 11, after recording her second album, "It's Great to be Alive," she headlined her first show at Dizzy's Club Coca-Cola at Jazz at Lincoln Center in New York City. Swift continued touring throughout her years in College, obtaining a Bachelor's Degree from the University of Miami in 2016.   Just before graduating, coinciding with the passing of her father, Swift was awarded second place at the Thelonious Monk 2015 Jazz Vocal Competition, landing her a showcase at the esteemed Birdland Jazz Club in New York City. She then moved to New York in 2017 to continue pursuing her growing career. Maintaining a weekly residency at Birdland, Veronica toured internationally and joined the lineup on the show of trumpeter Chris Botti.   The past few years, she has toured and performed on numerous occasions with Michael Feinstein, Benny Green, Wynton Marsalis, and the Jazz at Lincoln Center Orchestra, appearing at legendary festivals (Montreal, Monterey, Umbria, Detroit, Marciac, and more) and jazz clubs (Birdland, Dizzy's Club Coca-Cola, Jazz Showcase, Jazz Standard, SF Jazz, JALC Shanghai, Blue Note, and more).   In 2018, Veronica signed a deal with Mack Avenue Recordings, and released her 2019 album, "Confessions," with them. In addition to singing bebop and Great American Songbook classics, Veronica is also a passionate devotee of the 20's and 30's repertoire, opera, rock and roll, and metal. Swift also writes and acts in her films she makes with Darkstone Entertainment.   In 2021, Swift will release her next album on Mack Avenue with her regular touring trio: The Emmet Cohen Trio.

Our Very Special Guest is...Veronica Swift --She is an American Jazz Artist with the most interesting of upbringings. She is the daughter of jazz royalty, the daughter of famed jazz musicians, jazz pianist Hod O'Brien and jazz vocalist Stephanie Nakasian. Growing up on the road, going from one performance to the next, she was exposed to some of the greatest musicians of the time; Annie Ross, Jon Hendricks, Bob Dorough, Paquito d'Rivera, and Marilyn Maye. At the young age of nine years old, Veronica recorded her first album "Veronica's House of Jazz," and began professionally touring with her parents as well as singing and playing trumpet in the youth jazz group "The Young Razzcals Jazz Project."  It was with the Young Razzcals she had her first opportunity to perform on festival stages like the Telluride Jazz Festival.  At age 11, after recording her second album "It's Great to be Alive," she headlined her first show at Dizzy's Club Coca-Cola at Jazz at Lincoln Center in New York City.   Veronica Swift was awarded second place at the Thelonious Monk 2015 Jazz Vocal Competition landing her a showcase at the esteemed Birdland Jazz Club in New York City. She then moved to New York in 2017 to continue pursuing her growing career.   In 2018, Veronica signed a deal with Mack Avenue Recordings and released her 2019 album "Confessions" In 2020, Swift will release her next album on Mack Avenue with her regular touring trio: The Emmet Cohen Trio. Our VERY SPECIAL GUEST TODAY, Vocalist, Composer, Writer, Actress - - - -Veronica Swift! www.veronicaswift.com

Carlota Pico speaks with Annie Ross, global marketing and communications manager at Penspen, an international company that designs, maintains and optimizes energy infrastructure. Annie describes how she combined her interest in engineering with a degree in business and economics to forge a unique path in the world of marketing. She also explains some of Penspen's newest initiatives, how she led a huge effort to increase the company's LinkedIn presence, and the fundamental aspects of marketing in the engineering industry.

My guest this week is MARION HAYDEN – BASSBorn in Detroit, MI, a crucible of jazz, Marion Hayden is one of the nation’s finest proponents of the acoustic bass. Mentored by master trumpeter Marcus Belgrave, Hayden began performing jazz at the age of 15. She has performed with such diverse luminaries as Bobby McFerrin, Nancy Wilson, Geri Allen, Regina Carter, Steve Turre, Lester Bowie, David Allen Grier, James Carter, Dorothy Donegan, Joe Williams, Lionel Hampton, Frank Morgan, Jon Hendricks, Hank Jones, Bobby Hutcherson, Larry Willis, Vanessa Rubin, Sheila Jordan, Mulgrew Miller, Annie Ross, and many others. She is a co-founder of the touring jazz ensemble Straight Ahead- the first all-woman jazz ensemble signed to Atlantic Records. She is a member of the Detroit International Jazz Festival All-Star Ambassadors touring ensemble.We talk about her walk through the creative spheres, her life her family, and her art.Photo by Jeff Dunn2016 Marion Hayden - Kresge Artist Fellowhttp://marionhayden.comThis podcast is sponsored byMichigan ArtShareJazz Alliance of Mid-Michigan J.A.M.M.Shambones MusicTo be a sponsor for this podcast, go to the Patreon link below.https://www.patreon.com/TiaTime1Produced by Green Bow Music

The gang chats to Michael Hartney (Characters Welcome, JFL New Faces Characters, Comedy Central Comic to Watch, Original Cast School of Rock Broadway). This week the gossip is scorchin'' as we dig into power hungry squirrels, the Queen's own toilet paper, the fact Shem wanted to bring (and pitch for a movie), Superman Two and Three's Annie Ross, CIA Reports on Astral Projection, and the original height of penguins. Michael is on: IG: @hartneymichael T: @MichaelHartney Characters Welcome: https://www.youtube.com/channel/UCsRbuFzQOXSpsftxW4JyNew TRASH socials IG: @wearetrashcomedy T: @wertrashcomedy FB: https://www.facebook.com/wearetrashcomedy Apocalypse Podcast Network Hot Goss with TRASH is part of the Apocalypse Podcast Network https://www.apocalypsepodcastnetwork.com/ https://www.facebook.com/ApocalypsePodcastNetwork --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/hotgosswithtrashcomedy/message

On the 500th episode of We Hate Movies, the gang celebrates the big Five Hundo by re-chatting about two outrageously disappointing superhero movies! First up on part one, it's Superman III! Why did they bother writing a fake rich, white guy villain when they couldn't get Hackman? Why couldn't Pryor turn into Braniac by the end? And what is with that garbage comedy intro? PLUS: Tune in this Thursday to hear the second part of our 500th episode where we chat extensively about Superman IV: The Quest for Peace!WHM is donating 100% of our 2020 merch income to causes fighting for racial justice. For more information on how you can pitch in, head over to our website.Superman III stars Christopher Reeve, Richard Pryor, Annette O'Toole, Robert Vaughn, Margot Kidder, Gavan O'Herlihy, Jackie Cooper, Marc McClure, Annie Ross, and Pamela Stephenson; directed by Richard Lester.

It seems that this is a time for memories of the great jazz musicians of yesterday who have “left the building” during the current pandemic (but not necessarily as a direct result of it), and in The Hot Box #061 we celebrate the music of saxophonist Jimmy Heath, singer/pianist Freddy Cole and singer Annie Ross. And we find some new music from Brazilian, New York based guitarist Riccardo Grilli.

durée : 01:55:49 - Retour de plage du jeudi 06 août 2020 - par : Laurent Valero - Laurent Valero retrace la longue carrière d'Annie Ross, chanteuse aux multiples facettes qui nous a quittés le 21 juillet dernier quelques jours avant ses 90 ans. - réalisé par : Yassine Bouzar

Blind Mango Chutney spins the wheels of steel this week, including a tribute to the late Annie Ross.

Annie Ross tribute, new jazz and experimental music, Max Richter on the Declaration of Human RightsPlaylist: Annie Ross - Conversations on a BarstoolLambert, Hendricks & Ross - Avenue CAnni Ross - Annie's BluesJoni Mitchell - TwistedLarge Unit Fendika - FlukuLarge Unit Fendika - ZelesegnaHarrison Argatoff - MuroroRachel Therrien - Bilka's StoryMax Richter - All Human BeingsJennifer Walshe - Hildegard Von BingenFOONYAP - Free And Easy WanderingKaitlyn Aurelia Smith - RememberingThumbscrew - Composition No 52Gordon Grdina Septet - Resist

At 7.30pm PT every Tuesday night, the Superman Homepage hosts a LIVE one hour broadcast for Superman fans to come chat about the Man of Steel. In this episode we discuss Zack Snyder's Black Costume Scene from "Justice League," David S. Goyer's alternate ending to "Man of Steel," the death of Annie Ross, upcoming comic books, new Superman collectibles, and much more.

I HAVE RETURNED!   (4:15) What I’ve Been Watching Cinderella Alice in Wonderland Peter Pan Scooby-Doo and Guess Who 201-204 Agents of SHIELD 706 Doom Patrol 204 Adventures of Superman 125-126 & 201-205 Star Trek: Deep Space Nine 206-207 (17:24) News Olivia de Havilland dies at 104 Harry Clein dies at 82 Annie Ross dies at 89 John Saxon dies at 83 Brad Douriff returning as Chucky (28:51) Comic-Con@Home Post Show- Coronavirus and the Entertainment Industry Part 27

Annie Ross, the singer and actress who died this week at 89, was one-third of the phenomenally successful jazz vocal group Lambert Hendricks and Ross. Its heady days of success, as well as Ross herself, were recalled by the late Jon Hendricks - who spoke with WNYC's Sara Fishko in this archival edition of Fishko Files. (Produced in 2011) Fishko Files with Sara Fishko Assistant Producer: Olivia BrileyMix Engineer: Wayne ShulmisterEditor: Gisele Regatao

Camille De Rijck décortique une séquence de l’actualité, de l’histoire de la musique ou de l’histoire de l’art par le prisme d’un enregistrement.

Listen to a PREVIEW of the third episode of For My Consideration, a special bonus series you can hear on the And the Runner-Up Is Patreon exclusive feed! For My Consideration is a series in which Kevin is joined by a special guest in reviewing any film nominated for an Oscar in Academy history, as requested by patrons. In this episode, Kevin speaks with Gold Derby colleague Zach Laws about "Short Cuts," Robert Altman's 1993 film that only landed a Best Director nomination. This episode includes a review of the film, a discussion of its award season, and which categories Kevin and Zach would nominate the film for at that year's Oscars.    You can listen to the full episode by going to patreon.com/andtherunnerupis and contributing at the $3 per month tier. Follow Kevin Jacobsen on Twitter:  @Kevin_Jacobsen Follow Zach Laws on Twitter:      @zachlaws Follow And the Runner-Up Is on Twitter:      @OscarRunnerUp Music included on this episode:      "To Hell with Love" by Annie Ross & the Low Note Quintet

Two jazz greats: the polymath improvisor who moves easily into the classical realm, and a vocalese pioneer.

Ainsley Ross was born in a small East Texas town with a population of less than 800. From the time she could talk she has had a passion for entertaining and encouraging others. She started acting in a small town community theater when she was 9 along with writing music. By the young age of 14, Ainsley Ross had written over 80 songs. Ainsley's first project was a feature film working with Fire Catcher Productions in a supporting role as Annie Ross in The Reins Maker. She wrote and performed music for the films soundtrack as well. Traveling is a passion of hers and she feels so fortunate that it goes hand and hand with the career path she is passionately pursuing. She loves spending time in L.A. and studying with some of the greats:) In her spare time Ainsley is a mentor and a public speaker, encouraging our youth to "Just Be You" (also the title of her first CD released in 2015) Ainsley is very passionate about her work and love for the industry as a whole and hopes to change the way the public views the entertainment industry. "There are so many great success stories but people tend focus on the negative. Most people honestly have no idea what it takes and just how much work and sacrifice goes into each project." Ainsley would like to study Film in Europe and in LA, allowing her to become an experienced writer/director in the future. She wants to learn every aspect of writing and acting in order to bring amazing projects to life.In this episode we covered ALOT! From her influences, how she chooses roles, dream jobs, her love for martial arts and heavy weapons.You can learn more about her and her music belos!https://www.ainsleyross.com/Instagram @ainsley_rosshttps://instagram.com/ainsley_ross?igshid=48qbisloefe8Twitter @iamainsleyrosshttps://twitter.com/iamainsleyross?lang=enFacebook ainsleyrosstheartisthttps://www.facebook.com/ainsleyrosstheartist/ And here's Brett!www.theopenmicpodcast.show 

Setlist  Manu Dibango - Papa Piya  Manu Dibango - Tek Time  Rusty Bryant - Cootie Boogaloo  Lack of Afro - Basis  Theodore Shapiro - Curriculum Vitae  Annie Ross & Ross Pondexter - Saturday night Fish Fry  Wynton Marsalis Septet  featuring Ray Charles - On the outskirts of town  Tom Waits - Straight to the Top (Vegas)  Mark De Clive Lowe - Ryugu-Jo (Live at the Grand Los Angeles 2017)  Pablito’s Chicken – Nick Granville  Muñeca - Eddie Palmieri  The Next Step – Kurt Rosenwinkel  All or Nothing at All – Joey DeFrancesco featuring Joe Doggs  Looking Up – The Christian Jacob Trio  Hang Glide – Anomalie & Rob Araujo  Mister Yang - sunWind 

From Kansas City to New York, young Charlie Parker conquered the world of jazz.. He was famous during his life, and even more famous after he died aged 34. He's nominated here by former health minister, home secretary and chancellor of the exchequer, Kenneth Clarke. Together with Richard Williams and Val Wilmer, Ken recounts what made Bird great, and why he died so very young. "If you look at the street scenes of Harlem in 1940, it was a squalid place. Club life in New York was probably a smart escape." Ken Clarke The programme also includes clips by Dizzy Gillespie and Annie Ross. and music such as Koko and Now's the Time. The presenter is Matthew Parris, and the producer in Bristol is Miles Warde.

What a delight to introduce my guest today, GRAMMY Award-Nominated Composer, Arranger, Conductor and Educator, Richard DeRosa. Earlier in his career as a performer, DeRosa toured and recorded with Gerry Mulligan, Bob Brookmeyer, Susannah McCorkle, Jackie Cain & Roy Kral, Chuck Wayne, and Marlene VerPlanck. Other employers include Marian McPartland, Gene Bertoncini, Warren Vaché, Larry Elgart, Peter Nero, and vocalist Chris Connor. Since 2001 DeRosa has arranged and conducted music for Wynton Marsalis and the Jazz at Lincoln Center Orchestra to feature Toots Thielemans, Annie Ross, Willie Nelson, Norah Jones, Cassandra Wilson, Roberta Gambarini, and Renée Fleming among several other notable artists. In 2012 the WDR Big Band in Cologne, Germany, invited DeRosa to conduct and present his music in concert and subsequently he served as their chief conductor and musical arranger from 2014-2016. DeRosa received a GRAMMY nomination for Best Instrumental Composition in 2015 for his big band composition “Neil” which is dedicated to Neil Slater, the director of the One O'Clock Lab Band at the University of North Texas from 1981-2008. In October 2018, DeRosa was the featured conductor and arranger for the concert productions of Joey Alexander with Strings which premiered at Jazz at Lincoln Center. DeRosa is a full professor at the University of North Texas where he is the director of jazz composition and arranging. His former teaching positions were at William Paterson University, Manhattan School of Music, and The Juilliard School where he taught advanced jazz arranging for studio orchestra. He is the author of Concepts for Improvisation: A Comprehensive Guide for Performing and Teaching (Hal Leonard Publications) and Acoustic and MIDI Orchestration for the Contemporary Composer (Focal Press) co-authored with Dr. Andrea Pejrolo. ----- 2:12 When did you come to music? 3:06 Do you have absolute or perfect pitch? 5:00 What kinds of records did you grow up listening to? 6:41 Were drums the first instrument that you picked up? 7:52 Did your dad want you to be a great drummer or was more free and easy? 9:28 Was your father your first teacher? 9:53 Did you pick up the trumpet in school because the drum parts in school were too easy? 11:58 When did you start arranging? 15:19 Did you have any instruction in music theory in elementary school? 16:20 Did you look at big band scores to analyze them? 17:57 Is counterpoint a topic that's very important to you? 21:31 Talking about the horizontal aspect of writing music? 23:54 Can you give an example of a student who perhaps thinks to vertically and the piece suffers? 25:49 How do you think of theory when you are composing? 29:15 How do you narrow down your musical choices when composing? 32:15 If you were writing for yourself, what considerations do you take? Using “Neil” as an example. 33:12 Was Neil Slater a mentor to you? 35:35 Are you a fast writer? 37:12 What's the best way to develop orchestration? 40:09 How do you get to build that experience in orchestration? 44:01 How do you get better at composing or arranging? 46:36 What's the best way to learn counterpoint? 48:54 Top 3 Jazz drummers? 49:26 Top 3 Jazz Trumpeters? 49:46 Top 3 Jazz arrangers? 50:59 Favorites composers for Jazz 51:33 Top 3 classical composers? 51:57 What was the hardest piece of music to arrange? 54:20 What was the easiest piece to arrange? 55:13 What's your favorite instrument to write for? 55:30 Biggest regret in music? 57:06 Proudest musical moment? 58:04 If you could work with anyone in history that you haven't worked with, who would it be? 59:29 What albums should the audience check out to start with your music? 1:03:24 Talking about Dr. Joseph Curiale 1:05:01 How would you reform music education? 1:09:57 Wrapping Up

Richard DeRosa received a Grammy nomination for Best Instrumental Composition in 2015 for his big band composition “Neil”. He is a tenured full professor and Director of Jazz Composition and Arranging at the University of North Texas. Mr. DeRosa’s most recent project was Joey Alexander with Strings where he served as conductor and arranger. The concerts premiered at Jazz at Lincoln Center in October 2018. Since 2012 he has conducted and arranged music for the West Deutsche Rundfunk (WDR) Big Band in Cologne, Germany, and served as its chief conductor from 2014 – 2016. Amongst those projects, Mr. DeRosa arranged and conducted the music of featured legendary jazz bassist Ron Carter on the CD recording My Personal Songbook (2015) and the CD Rediscovered Ellington (2017) that features Garry Dial and Dick Oatts. Together they created unique and modern arrangements of rare and unheard tunes by the Duke. Other projects with world-renowned artists with Patti Austin, Kurt Elling, Joshua Redman, Stefon Harris, the New York Voices, Richie Beirach and Gregor Huebner, Marvin Stamm and Bill Mays, Ola Onabulé, and Warren Vaché. Since 2001, Mr. DeRosa has arranged and conducted music for Wynton Marsalis and the Jazz at Lincoln Center Orchestra featuring Renée Fleming, Norah Jones, Willie Nelson, Annie Ross, Abbey Lincoln, and Toots Thielemans among others. In 2005 he was a featured arranger for the Wynton With Strings concert. In November 2013, DeRosa contributed eight arrangements for Stephen Sondheim’s A Bed and a Chair: A New York Love Affair starring Bernadette Peters and premiered by the Jazz at Lincoln Center Orchestra. His most recent project for the JLCO was Bernstein at 100. Other commissioned arrangements have been recorded by the Mel Lewis, Gerry Mulligan, and Glenn Miller big bands, vocalist Susannah McCorkle, rising trumpet star Dominick Farinacci and acclaimed solo violinist Anne Akiko Meyers. Commissioned arrangements for orchestra include the Kansas City Symphony, the Houston Symphony Orchestra, the Cleveland Orchestra, the New York Pops, the Portland Maine Pops, the Czech National Symphony, the Metropole Orchestra, and the Swedish Television and Radio Orchestra. His publications for public school jazz ensembles are available through Alfred Music (Belwin Jazz), Smart Chart Music, J.W. Pepper, Barnhouse Music, while several of his works for professional bands are available through Sierra Music. Mr. DeRosa remains active as an adjudicator and clinician for school programs and music festivals. Thanks for listening and keep thriving! Mastering The One-Person Business Course: bit.ly/MasteringTheOnePersonBusiness Show notes: www.SpenserLiszt.com/blog/TMP39 4 Simple Steps to Save an Emergency Fund (FREE PDF Download): www.SpenserLiszt.com/EmergencyFund Join the Thriving Musicians closed Facebook group: www.Facebook.com/groups/ThrivingMusician Email questions, comments or nominate a Thriving Musician to spenser@spenserliszt.com Follow Spenser online: Facebook: www.Facebook.com/SpenserLiszt Twitter: www.Twitter.com/SpenserLiszt Instagram: www.Instagram.com/SpenserLiszt

Entrevue avec Annie Ross, professeure en génie mécanique à Polytechnique Montréal :  Polytechnique Montréal recevra un prix pour ses efforts pour une parité femmes-hommes à l’université, qu’en est-il de l’égalité dans le métier ?

L’actualité vue par Geneviève Pettersen. Entrevue avec Annie Ross, professeure en génie mécanique à Polytechnique Montréal : Polytechnique Montréal recevra un prix pour ses efforts pour une parité femmes-hommes à l’université, qu’en est-il de l’égalité dans le métier ? Chronique podcast de Frédéric Muckle : Les balados politiques à suivre durant la campagne fédérale. Entrevue avec Mia Homsy, directrice général de l’Institut du Québec : Le Québec doit améliorer l’encadrement du parcours des enseignants pour combattre la pénurie. Entrevue avec Éric Montigny, professeur de science politique à l’Université Laval : Les partis fédéraux ne reçoivent plus d’argent de l’État pour le financement de leur campagne. Entrevue avec Baptiste Zapirain, chef de marque « En 5 minutes » : Il présente les aspects positifs du combat face à l’urgence climatique. Chronique de Joanie Gonthier : L’anxiété chez la mère et l’enfant. Chronique famille d’Emilie Ouellette, humoriste : Le « terrible two », ou les enfants à l’âge de 2 ans, sont-ils si terribles ? Une production QUB radio Septembre 2019

Suzi Woolfson is joined by Annie Ross, Founder of Exerk and Team52 and Emily Khan, Beyond Brexit Lead at PwC to discuss what you can to help your work/life balance, a key part of your wellbeing. Emily discusses what led her to devise the #MyPromise social media campaign and Annie shares her views on why sustaining a more active lifestyle can create a better work environment. All three share their top tips on attaining a work/life balance that works for you.

Back in 2015, Annie was a banker, restless at her desk and wanting to be outside. Then the idea of 52 challenges came into her head... The post Annie Ross: How 52 challenges can change a life appeared first on The Outdoors Fix.

Annie Ross is on a mission to transform the culture of physical activity with a more realistic and positive notion of health and balance. She has co-founded Team-52.com with Georgie Akin–Smith. Together they have designed a platform making it easier for people to join forces, take on active challenges and stick to their best intentions.Annie’s five-year banking career at Deutsche Bank laid the foundations for her current mission; with first-hand experience of the priority and time trade-offs we are faced with everyday. Annie completed 52 sporting challenges in 52 weeks around her job - with over 450 people joining her – the story forms a core part of Annie’s journey towards Team52.She is also a freelance writer for The Evening Standard, a Trustee for a healthier ageing charity, Silverfit and Health & Fitness Ambassador to the Museum of London.Follow Annie @annieross5252 and Team52 @team52challenge to find out how to get involved.

It's been a long 9 months but the wait is finally over. It's baby Belial time on Sequel Rights!! Join your hosts Justin, Eliz, and Tyler this week as they wrap things up with Basket Case 3: The Progeny. Star ratings help us build our audience! Please rate/review/subscribe to us on Apple Podcasts or wherever you listen, and share us with your pregnant friends. Email us at sequelrights@gmail.com with feedback or suggestions on future franchises!

In this episode Steve sits down with retired Police Captain Jim Engen.  Jim takes us through the brutal murder of Annie Ross in 1974 and the cold case that followed for 40 years.  When Jim made captain at the La Palma Police Department he re-opened the case and began a vigorous investigation.  After many hours, several donated, they were able to finally track down the murderer and arrest him.  contact Steve at thingspolicesee@gmail.com    

Chatting With Sherri welcomes singer and talk show host; Jennifer Perry! Jennifer Perry has performed in clubs and arenas from Atlanta, Georgia to New York City; as well as television and radio. Yet, she took an unusual path to becoming a jazz vocalist.  Starting as producer, writer and host of a cable television entertainment show, she then began doing standup comedy and emceeing events until she felt ready to form her own jazz combo and perform. The Jennifer Perry Combo's forte has been jazz, swing, bebop, torch and a bit of Latin music. In 2009 Perry began adding R&B,Blues, funk, and 60s-80s Europop. Often contracted for corporate events, the versatility of repertoire increased the group's popularity. She's been compared to Annie Ross, whom she interviewed on her show, Julie London, Lani Hall and Anita O'Day. In 2001 Perry met Miss O'Day and began a friendship that included traveling to Los Angeles, San Francisco and New York quite often attending her shows, helping her prepare and working her merchandise table.

In the 12th edition of The Hot Box we establish a flashback to jazz events in Ireland in the distant past. In Hot Box 11 we heard how a hotel in Ballsbridge had not one, but two resident jazz groups, and how members of the famous Ray Charles big band used to sit in. "Free jazz for the price of half a pint" said our correspondent, who was an impecunious student in 1964. Now dubbed Unreliable Memories, in the next historic tale, Donald Helme recalls Ireland's Number 1 location for the presentation of jazz in the late 1960s, The Fox Inn in Ballymadun, Ashbourne, Co. Meath! Purchased by American saxophonist Jim Riley, when the gents toilet was the next door field, and the nightly takings were £5, the remote country pub became a haven for jazz fans for about 6 years, with residencies by the likes of Keith Jarrett, Jon Hendrix , Annie Ross, John Surman, Mal Waldron and Lee Konitz. Hot Box 12 features tracks by Konitz and Waldron, plus a never-before heard piece by Jim Riley himself after he had sold up and settled in Denver, Colorado. Plus new work by guitarist Kevin Eubanks, Hammond exponent Joey DeFrancesco and violinist Christian Garrick.

In the 13th edition of The Hot Box, Donald looks for pianists filed under the letter D, and plays pieces from Aaron Diehl, Kenny Drew Jr, and Jim Doherty. Some omissions of course but as a generality, surnames beginning with D seem not to provoke adoption of the piano as an instrument of choice! As widely celebrated, the year 1917 saw the beginning of recorded jazz, but was also the birth year of Ella Fitzgerald, Dizzy Gillespie and Thelonius Monk. Ella at 100, a 4-CD box has just been released on Verve, and Jon Beasley's MONK-estra Volume 1 offers some tempting examples of Monk restated for a big orchestra. (Don't worry, Dizzy comes along in the next Hot Box!) The “Unreliable Memory” in HB13 continues reflections on The Fox Inn in Ashbourne Co. Meath, epicentre of jazz in Ireland in the late 1960s, where unbelievably, Keith Jarrett was in residence for a week at the precise moment he was starting out as a leader, after his popular sideman role with the Charles Lloyd Quartet. And the Fox also hosted one of the most important figures in vocal jazz, Jon Hendrix, on two separate occasions, plus another third of the popular vocal group Lambert, Hendrix & Ross, Scotland's Annie Ross. New releases of note - superb tenor playing by Chicago's Jon Irabagon, and the intense vocal experience from Ireland's own Sue Rynhart, from her brand new album “Signals”. The next Hot Box will be a uniquely BIG Hot Box, with nothing but fully loaded large aggregations.  Tuning up in about 2 weeks!

As an award winning jazz vocalist and founding member of The Manhattan Transfer, Erin Dickins has enjoyed career singers dream about. After five years singing ensemble music with The Manhattan Transfer, she emerged as one of the top studio singers in New York. Dickins toured and recorded with many notable artists including Leonard Cohen, Bette Midler, James Taylor, The Talking Heads, James Brown, Jaco Pastorius and Ashford & Simpson, to name but a few.   Erin Dickins Dickins recently completed work on a new album, Vignettes, slated for release in 2017. This first self-produced project is a compilation of one-on-one collaborations with an array of world-class musicians; many who have been close friends for many years. Eclectic and personal, Vignettes is a true representation of Dickins creativity. It captures her love of many musical genres and shows the true range of her vocal artistry. Among her collaborators are David Friedman (vibes), Elliott Randall (Steely Dan guitar), John Lissauer (Leonard Cohen Producer), Rob Mounsey (piano), A.J. Croce (Jim’s son - piano) and many others. As passionate about cooking as she is about music, in November 2014 Erin Dickins released a new cookbook with an accompanying CD, Sizzle & Swing - Jazzin’ Up Food by ComteQ Publishing with Dot Time Records. In concert with the book/CD release, Dickins launched a new line of herbal seasonings that shares the moniker, Sizzle & Swing. Ms. Dickins was awarded the prestigious Maryland State Arts Council Individual Artist Award and was also the recipient of the “Best Jazz Vocalist” honor awarded by CoffeeTalk Jazz Radio in Los Angeles. She is currently booking for 2017-18 internationally. * Erin Dickins: Vignettes review – 10 stunning duets Dave Gelly Sunday 9 April 2017 03.00 EDT Ten tracks, 10 duets, each with a different partner – not showbiz names, just startlingly good musicians. And Erin Dickins, New York session superwoman and founder member of the Manhattan Transfer, knows the difference. Some, such as drummer, vocalist, harmonica player Paul Jost are multi-instrumentalists; others,such as bassist Bruce Hamada and vibist David Friedman, are straightforward virtuosi. With a mixture of technical brilliance and stylistic instinct, Dickins builds a fascinating series of vignettes, ranging from quick-cutting, multilayered effects to simple voice and piano. The material is as varied as the treatment, including pieces by Nat King Cole, Bob Dylan, Annie Ross and Frankie Laine, among others. And not a cliche or slack moment anywhere.   All materials presented on the GMAB radio program are royalty free as agreed to by the owners thereof, and the programming is presented for educational and informational purposes as no artist, writer of publisher are paid for their appearance ”Give Me A Break” Radio Hour Podcast is supported by donations from listeners like you! … Please Click the PayPal Donate button  to help keep great programming free for all to enjoy. Give Me A Break Radio; Bobby Pizazz; Wake Up America are subsidiaries of Open Door Production ( This PayPal link will indicate open door production )       Donate to GIVE ME A BREAK Radio        Open Door Productions’   Cyber Studio For Songwriters  … to help you and all others who love songwriting.   "Thank You David Katz, Superior Vocal Health and God, Saved my throat!" Bobby Pizazz   Shop Superior Vocal Health[/caption] Thank You Lee Oskar for providing me with quality harmonicas, I greatly appreciate it. We just now relaunched the show this month. Bobby Pizazz Thank You so much Roguie Ray LaMontagne for making a custom set of Rainbow Colored Harmonicas. Bobby Pizazz SHARE THE LOVE  

UPDATED 12/16/17 - Pianist Tardo Hammer discusses his work with Annie Ross, Jon Hendricks and others and his new CD, â??Simple Pleasures."

In honor of the upcoming finals for the 2016 Sarah Vaughan International Jazz Vocal Competition Mantis interviews the 2015 winner Arianna Neikrug. She describes how she grew up with music and what the process and benefits of winning the competition were. The finals for the 2016 Sarah Vaughan International Jazz Vocal competition are November 20th at NJPAC. For tickets go to http://www.njpac.org/events/detail/sarah-vaughan-international-jazz-vocal-competition-the-sassy-awards Who should we interview next? What did you think of our conversation? Let us know your thoughts by e-mailing Podcast@indabamusic.com. Arianna's Profile: https://www.indabamusic.com/people/345199470?tab=overview Anrianna Online: http://www.ariannaneikrug.com/ https://soundcloud.com/arianna-neikrug http://www.facebook.com/721938950 http://instagram.com/ariannaneik Mantis's Profile: indabamusic.com/people/mantis Our theme song is by the mysterious Breakmaster Cylinder and our outro music is Arianna's version of "Twisted" by Annie Ross. Breakmaster Cylinder: indabamusic.com/people/984871643 Brought to you by Indabamusic.com

Pump Up the Volume stars Christian Slater as Hard Harry, a pirate DJ who rants about life as a high school student and the injustices of the world.

Happy New Year and Welcome to 2016! I’m so excited to kick off the New Year with this awesome podcast episode which is bound to inspire and motivate you.  Today we’ll be talking to Annie Ross from eXerK. She set out in 2015 to complete 52 challenges in 52 weeks in an attempt to encourage busy people in and around London (maybe even the world) to make time for the things they care about – whatever it may be. Annie has a full time job working in banking, but she was sick and tired of the lack of exercise in her life. In December 2014 she decided to make a change and she started the eXerK project on the 1st January 2015.  During this podcast we discuss: What the eXerK project is and how it came about Why she kept her plans flexible and wasn’t rigid in her planning Why she felt empowered by this idea and her first challenge to kick of 2015! The types of challenges she decided to do from physical challenges to exploring more of London Why having balance in your life is so important and just being busy is not a sign of productivity How she maintained her motivation during the year The challenges that pushed her, physically, mentally and the one that got away Her advice about staring off with challenges and why you should start small Her “walk and talk” and why she loves getting outside  Taking eXerK over to Europe and how she fitted challenges and adventure into long weekends Her two final challenges and how she ended the year with a dance! Her plans for 2016 and a few final words of wisdom that she shares about what she’s learned over the past 52 weeks “Go on – set your goals, carve out time, be determined and just get on with it” Other Links Project Awesome -  is a FREE fitness movement in London that gets you out of bed and into shape. Social Media You can check out all of the challenges that Annie has completed in 2015 on her website  - you can also follow her on Twitter @exerkyourself  I’m also on twitter @_TOUGH_GIRL come and say hi! If you’ve enjoyed please take 2 mins to write a review on iTunes and share with your friends! I’ll be back next Tuesday for another awesome - Tough Girl Podcast episode at 7 am UK Time! You can listen on iTunes, Soundcloud or Stitcher! Enjoy!!!

Dan and Haddie are joined in the studio by the host of ScamSchool.tv and NSFWshow, Brian Brushwood, and, the founder of Amplifier and host of the upcoming 5by5 show The Capital, Joel Bush. They discuss the benefits of competition, Paul Thomas Anderson's film, There Will Be Blood (2007), Steve Jobs' response to Android, the competition between Coca-Cola and Pepsi, the pseudo-rivalry that exists between podcasters, strategies utilized by rivals to crush competitors, an article about a failing startup, and later they take some calls. Links for this episode:Brian Brushwood - Bizarre Magic: America's #1 College Magic Show - HomeBrian Brushwood (shwood) on TwitterAmplifier - Merchandising Services for YOUR Communityjoelbush (joelbush) on TwitterThere Will Be Blood (2007) - IMDbA story of family, religion, hatred, oil and madness, focusing on a turn-of-the-century prospector in the early days of the business. My Startup has 30 Days to LiveFailure is losing the will to fight | Francis PedrazaA Steve Jobs Moment That Mattered: Macworld, August 1997 - Forbes“We have to let go of this notion that for Apple to win, Microsoft has to lose,” Jobs said. “We have to embrace a notion that for Apple to win, Apple has to do a really good job. And if others are going to help us, that’s great because we need all the help we can get. And if we screw it and we don’t do a good job, it’s not somebody’s else’s fault. It’s our fault. ” Amazon.com: The 22 Immutable Laws of Marketing: Exposed and Explained by the World's Two eBook: Al Ries, Jack Trout: Kindle StoreAmazon.com: Pump Up the Volume: Christian Slater, Ellen Greene, Samantha Mathis, Cheryl Pollak, Jeff Chamberlain, Billy Morrissette, Lala Sloatman, Holly Sampson, Annie Ross, Andy Romano, Annie Rusoff, Jonathan Mazer, Alexander Enberg, Ahmet Zappa, Seth GThe Master Switch: The Rise and Fall of Information Empires (Vintage): Tim Wu: 9780307390998: Amazon.com: BooksMy Startup has 30 Days to Live — In 30 days, my startup will be be deadTestTube > Scam SchoolFrame Rate | TWiT.TVNSFW - Tuesdays at 10PM ET / 7PM PT on TWiTSponsored by Shutterstock (use code DANSENTME6 for 30% off).

In the final edition of the present series of Jazz Library, Alyn Shipton presents archive interviews with Kenny Baker, Vic Lewis, Coleridge Goode and Annie Ross in which they select some highlights of British jazz records from the 1930s to the 1960s, from Chicagoan-style Dixieland to free jazz.

Larry (Billy Crystal), an author with a cruel ex-wife, Margaret (Kate Mulgrew), teaches a writing workshop where Owen (Danny DeVito), one of his students, is fed up with his domineering mother (Anne Ramsey). When Owen watches a Hitchcock classic that seems to mirror his own life, he decides to put the movie's plot into action and offers to kill Margaret, if Larry promises to murder his mom. Before Larry gets a chance to react to the plan, it seems that Owen has already sealed Margaret's fate. Stream online: https://amzn.to/3bmcxHI Become a Patron: https://www.patreon.com/mfrbooksandfilm?fan_landing=true

Larry (Billy Crystal), an author with a cruel ex-wife, Margaret (Kate Mulgrew), teaches a writing workshop where Owen (Danny DeVito), one of his students, is fed up with his domineering mother (Anne Ramsey). When Owen watches a Hitchcock classic that seems to mirror his own life, he decides to put the movie's plot into action and offers to kill Margaret, if Larry promises to murder his mom. Before Larry gets a chance to react to the plan, it seems that Owen has already sealed Margaret's fate. Stream online: https://amzn.to/3bmcxHI

The Tale Of Taliesin Soft Machine from SoftsBuy it hereUntitled Studio IIHansson & Karlssonfrom For People In LoveFind out more hereCat FoodAnnie Rossfrom You And Me BabyBuy it hereDervish Markus Reuter Ian Boddy from KopfmenschBuy it hereSong For Next SummerMeg Bairdfrom Seasons On EarthBuy it hereThe Reader (Malbork)Bill Ryder-Jonesfrom If...More information hereEverything You See Norman Hainesfrom Den Of Iniquity Buy it hereGod Dag, God Dag IIHansson & Karlssonfrom For People In LoveFind out more here

In this episode of the Casey Stratton Podcast I answer many of your questions, including one that brings me to another Music Theory 101 lesson since the last one was a big hit with everyone. I then perform Kites from Orbit. Music recommendation is Joni Mitchell's Court and Spark....sudden, expansive shift toward a much larger canvas--a sleeker, orchestrated pop style pulsing with jazz elements. Court & Spark found Mitchell casting aside her earth mother affectations and revealing herself as the thoroughly modern, thoroughly complicated woman she is; the songs sustained familiar preoccupations with relationships but replaced courtly settings and naturalistic imagery with recognizably modern locales. Deeply romantic, constantly questioning, classic tracks like the title song, "Help Me," "Free Man in Paris," "Same Situation," and "Raised on Robbery" display a more liberated Mitchell, ready to rumble with unbridled electric guitars (guest Robbie Robertson on "...Robbery"), even willing to poke fun at her own oh-so-sensitive rep with a hip cover of Annie Ross's hilarious "Twisted." --Sam SutherlandBuy Orbit from my DIGITAL STOREBuy Orbit on iTunesVisit my DIGITAL STOREBuy Joni Mitchell's Court and Spark on iTunesBuy Joni Mitchells' Court and Spark on Amazonemail me a question at podcasts@caseystratton.comListen to Podcast #49

Roy Plomley's castaway is jazz singer Annie Ross. Favourite track: Good Morning, Heartache by Billie Holiday Book: The Sun is My Undoing by Marguerite Steen Luxury: False eyelashes