Podcasts about Basin Street

This week's show will feature another journey celebrating the soundtrack of the past century. From the pounding rhythms of gospel revelations to the neon-lit evening sounds of Basin Street and Nashville, we'll be sharing the music of George Strait, Etta James, The Temptations, Little Sugar and The Hightower Brothers among over two dozen others…all in an exciting and varietal run of Americana on a Friday morning. It's where the hidden gems appear and echo each week as we dig deep across decades and genres. Dave's got iconic tracks and overlooked treasures, classic influences and modern echoes for you in a free form eclectic celebration. So, whether you're tuning in from a big city street or a quiet back road, settle in, turn it up, and let the music take you there. It's another week of Deeper Roots on KOWS Community Radio. 

Since reopening with much fanfare in 2015, New Orleans' St. Roch Market has experienced ups and downs, but the city's second oldest city market is still standing. Since 2015, St. Roch has functioned as a culinary incubator for food professional wannabes – and what a bunch of delicious incubation is happening there now! On this week's show, we speak with the market's new director, longtime vendor Kevin Pedeaux, and learn why that bustling spot on St. Claude is the place to be these days. We then go stall by stall to meet the vendors – the St. Roch stars who are cooking up some of the most diverse offerings to be found under one single roof today. Next, we hear from one of St. Roch Market's biggest success stories. Chef Charly Pierre began creating delicious Haitian dishes based on the traditional street foods that abound in his ancestral homeland. Charly's career has since skyrocketed. He's been featured on a number of national cooking competition shows, and garnered accolades from the likes of Zagat, Eater, and the James Beard Foundation. These days, Charly can be found in the kitchen of his own Basin Street restaurant, Fritai. For more of all things Louisiana Eats, be sure to visit us at PoppyTooker.com.

Since reopening with much fanfare in 2015, New Orleans' St. Roch Market has experienced ups and downs, but the city's second oldest city market is still standing. Since 2015, St. Roch has functioned as a culinary incubator for food professional wannabes – and what a bunch of delicious incubation is happening there now! On this week's show, we speak with the market's new director, longtime vendor Kevin Pedeaux, and learn why that bustling spot on St. Claude is the place to be these days. We then go stall by stall to meet the vendors – the St. Roch stars who are cooking up some of the most diverse offerings to be found under one single roof today. Next, we hear from one of St. Roch Market's biggest success stories. Chef Charly Pierre began creating delicious Haitian dishes based on the traditional street foods that abound in his ancestral homeland. Charly's career has since skyrocketed. He's been featured on a number of national cooking competition shows, and garnered accolades from the likes of Zagat, Eater, and the James Beard Foundation. These days, Charly can be found in the kitchen of his own Basin Street restaurant, Fritai. For more of all things Louisiana Eats, be sure to visit us at PoppyTooker.com.

Vier Langspielplatten - kein Erfolg. Das ist die Bilanz der knapp sechsjährigen Album-Karriere einer großartigen, aber in der Jazzgeschichte komplett unter die Räder gekommenen Sängerin, der sich Götz Alsmann in seinem Geheimen Jazzgarten annimmt. Von Götz Alsmann.

Announcer Gene Hamilton introduces this tongue-in-cheek satire of highbrow symphonic broadcasts. Rather than classical music, this show featured traditional hot-jazz (Dixieland) melodies. Hamilton's commentary adds an ingredient of charm to the show.. File will be living in Big Band-Jazz Playlist. Vocalist "Diane Foley"

You have heard of Basin Street and its blues? Well intersecting that street on the edge of New Orleans' French Quarter is “Conti,” a street that was part of the neighborhood that gave Basin its reputation because of the surrounding Storyville red-light district. Storyville has been closed since 1917 but now there is a great new museum that creates an immersive journey into the city's, and the district's, past. Claus Sadlier, the owner/curator of the New Orleans Storyville Museum, joins Louisiana Life Executive Editor Errol Laborde, and podcast producer Kelly Massicot, to discuss the museum including its virtual visuals, holograms, videos, vintage photographs, narrations and artifacts. Sadlier is also a compelling storyteller with tales to tell about the district – including the music actually played in the bordellos. It wasn't just the blues.

JACK TEAGARDEN / BOBBY HACKETT “COAST CONCERT” Los Angeles, October 18 & 19, 1955Struttin' With Some Barbecue, Muskrat Ramble, New Orleans, Basin Street blues (jt vcl,*), St. James infirmary (jt vcl,#), I Want a Big Butter And Egg Man (1) Bobby Hackett (tp) Abe Lincoln (tb) Jack Teagarden (tb,vcl) Matty Matlock (cl) Don Owens (p) Nappy Lamare (g,bj-1) Phil Stephens (b,tu-1) Nick Fatool (d) JIMMY RUSHING “THE JAZZ ODYSSEY OF JAMES RUSHING ESQ.” New York, November 6, 1956New Orleans, Baby, won't you please come home ? Continue reading Puro Jazz 06 de agosto, 2024 at PuroJazz.

JACK TEAGARDEN / BOBBY HACKETT “COAST CONCERT” Los Angeles, October 18 & 19, 1955Struttin' With Some Barbecue, Muskrat Ramble, New Orleans, Basin Street blues (jt vcl,*), St. James infirmary (jt vcl,#), I Want a Big Butter And Egg Man (1) Bobby Hackett (tp) Abe Lincoln (tb) Jack Teagarden (tb,vcl) Matty Matlock (cl) Don Owens (p) Nappy Lamare (g,bj-1) Phil Stephens (b,tu-1) Nick Fatool (d) JIMMY RUSHING “THE JAZZ ODYSSEY OF JAMES RUSHING ESQ.” New York, November 6, 1956New Orleans, Baby, won't you please come home ? Continue reading Puro Jazz 06 de agosto, 2024 at PuroJazz.

Since reopening with much fanfare in 2015, New Orleans' St. Roch Market has experienced ups and downs, but the city's second oldest city market is still standing. Since 2015, St. Roch has functioned as a culinary incubator for food professional wannabes – and what a bunch of delicious incubation is happening there now! On this week's show, we speak with the market's new director, longtime vendor Kevin Pedeaux, and learn why that bustling spot on St. Claude is the place to be these days. We then go stall by stall to meet the vendors – the St. Roch stars who are cooking up some of the most diverse offerings to be found under one single roof today. Next, we hear from one of St. Roch Market's biggest success stories. Chef Charly Pierre began creating delicious Haitian dishes based on the traditional street foods that abound in his ancestral homeland. Charly's career has since skyrocketed. He's been featured on a number of national cooking competition shows, and garnered accolades from the likes of Zagat, Eater, and the James Beard Foundation. These days, Charly can be found in the kitchen of his own Basin Street restaurant, Fritai. For more of all things Louisiana Eats, be sure to visit us at PoppyTooker.com.

Since reopening with much fanfare in 2015, New Orleans' St. Roch Market has experienced ups and downs, but the city's second oldest city market is still standing. Since 2015, St. Roch has functioned as a culinary incubator for food professional wannabes – and what a bunch of delicious incubation is happening there now! On this week's show, we speak with the market's new director, longtime vendor Kevin Pedeaux, and learn why that bustling spot on St. Claude is the place to be these days. We then go stall by stall to meet the vendors – the St. Roch stars who are cooking up some of the most diverse offerings to be found under one single roof today. Next, we hear from one of St. Roch Market's biggest success stories. Chef Charly Pierre began creating delicious Haitian dishes based on the traditional street foods that abound in his ancestral homeland. Charly's career has since skyrocketed. He's been featured on a number of national cooking competition shows, and garnered accolades from the likes of Zagat, Eater, and the James Beard Foundation. These days, Charly can be found in the kitchen of his own Basin Street restaurant, Fritai. For more of all things Louisiana Eats, be sure to visit us at PoppyTooker.com.

Tonoght's Jazz Show celebrates the Birthday Anniversary of a trumpet player who gave a whole generation of younger players the basis for their style and approach to the trumpet/ Even though Clifford Brown died in a car crash at age 25 on June 26, 1956, his trumpet work is still the standard for most young players to strive to attain. Tonight's Jazz Feature spotlights the Clifford Brown/Max Roach Quintet at it's best that was done in the optimum conditions of the recording studio during the time the Quintet was performing at New York's leading Jazz club, Basin Street in February 1956. The Quintet had jelled to perfection and their newest member, the great tenor saxophonist Sonny Rollins and Brown made a coherent and perfectly blended front line. The rest of the bad consisted of Richard Powell on piano, George Morrow on bass and Rollins, Brown and drum great Max Roach. This recording marks the last studio performance of the Roach/Brown Quintet at their best with great arrangements by their pianist Richard Powell. This band was one of the very finest in their day and their music still remains fresh and exciting. Happy Birthday Anniversary to Clifford Benjamin Brown (Oct 30, 1930/ June 26,1956).

We caught up with Mark Samuels - Owner & Founder of Basin Street Records about how he came to work with Los Hombres Calientes (Bill Summers, Irvin Mayfield and Jason Marsalis) Buy CDs and Find Out More: https://www.basinstreetrecords.com/ @allthatjampod on IG, FB, and Twitter - Subscribe - leave a review - tell a friend. All That Jam is brought to you by Executive Producers Amanda Cadran and Kevin Hogan. Produced and edited by Amanda Cadran and Kevin Hogan. Mixed and Mastered by Kevin Hogan. Original Music by Aaron Gaul. Art by Amanda Cadran.

Today, we'll explore how to orchestrate a Jazz standard for guitar in real-time, and we'll use the song “Basin Street Blues” by Spencer Williams for that. Listen to “Basin Street Blues” on YouTube: https://youtu.be/xca2XdscW3g Watch the video version of this episode: https://musicintervaltheory.academy/basin-street-blues-podcast/ Don't miss to grab your free Composer's Toolkit right now! It's filled with a ton of helpful and practical information, such as: https://musicintervaltheory.academy/toolkit/  Best prompts for Composers who want to use AI (ChatGPT)  Create Better Chord Progressions ... in 10 min. The Top 10 Techniques for Gathering Musical Ideas Quickly  Gathering – Sketching – Developing; Applied to the Orchestra  The Composer's Business Booster  The Top 3 Traps Most Composers Fall Into (and how to avoid them)

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Here's a beautiful voice we have not heard yet although we did hear a tune she wrote. And even better, this recording is in a live setting. She sings softly with feeling because of her nightclub experience. So get ready for the Queen of American pop music in Volume 114: Peggy at Basin Street East. Credits and copyrights Miss Peggy Lee – Basin Street East Proudly Presents Miss Peggy Lee Recorded At The Fabulous New York Club Label: Capitol Records – T 1520 Format: Vinyl, LP, Album, Mono Country: US Released: 1961 Genre: Jazz Style: Big Band, Swing Recorded live at Basin Street East in an after-hours performance with an invited audience on February 9 and at a New York studio on March 8, 1961. Day In - Day Out Written By – Johnny Mercer, Rube Bloom Moments Like This Written By – Burton Lane, Frank Loesser Fever Written By – Eddie Cooley, John Davenport The Second Time Around Written By – James Van Heusen*, Sammy Cahn I Love Being Here With You Written By – Bill Schluger, Peggy Lee Them There Eyes Written By – Doris Tauber, Maceo Pinkard and William Tracey A Tribute To Ray Charles Just For A Thrill Written By – Don Raye, Lil Armstrong Yes Indeed! Written By – Sy Oliver Bass – Max Bennett Bongos, Congas – Chino Pozo Conductor, Piano – Joe Harnell Drums – Stan Levey Flute – Bob Donovan Guitar – Dennis Budimir Harp – Abe Rosen Trombone – Mickey Gravine, Ray Desio Trumpet – Danny Stiles, Phil Sunkel, Willie Thomas Producer – Dave Cavanaugh Cover [Photo] – Lee Friedlander I do not own the rights to this music. ASCAP, BMI licenses provided by third-party platforms for music that is not under Public Domain.

Kevin and Amanda talk: Advice From Crosby Six Dollar Boss Tickets Fishman's Cymbal Fail Plus our Interview with CEO of Basin Street Records Mark Samuels on Kermit Ruffins, Davell Crawford,  and the state of the industry (www.basinstreetrecords.com) @allthatjampod on IG, FB, and Twitter - Subscribe - leave a review - tell a friend. All That Jam is brought to you by Executive Producers Amanda Cadran and Kevin Hogan. Produced and edited by Amanda Cadran and Kevin Hogan. Mixed and Mastered by Kevin Hogan. Original Music by Aaron Gaul. Art by Amanda Cadran.

Authorship of “Sister Kate,” one of the first famous songs of the Roarin' Twenties, is a musical mystery.The composer of record is New Orleans bandleader/violinist Armand Piron, who had a publishing partnership with Clarence Williams. However, Piron's credits for the song frequently have been disputed, most famously by trumpeter Louis Armstrong, who always claimed he wrote the tune himself. Armstrong contended he sold the song for an overcoat (which he received) and a few dollars (which he did not).Piron — who copyrighted it in 1919 as “I Wish I Could Shimmy Like My Sister Kate” (though it wasn't published till 1922) — told jazz historian Al Rose that “that's not Louis's tune or mine either. That tune is older than all of us. People always put different words to it. Some of them were too dirty to say in polite company.”For instance, the way Armstrong did the song didn't have anything to do with a sister Kate, but a lot to do with jiggling lady bits.Gotta have 'em before it's too late,They shake like jelly on a plate.Big ‘n' juicy, soft an' round,Sweetes' ones I ever found.“There's only so many places you could do a number like that,” Piron told Rose, “and not in my band.”The Skinny on The ShimmyCommenting on the song's history, bluesman/author Elijah Wald notes, “Though Piron and his band cleaned up the lyric, they kept the sense intact, since the generally accepted derivation of ‘shimmy' fits Armstrong's verse pretty well.”“The etymology isn't solid,” Wald adds, “but most authorities derive it from chemise — ‘shimmy' seems to have been American slang for a lightweight women's blouse as early as the 1840s — and the dance move was to ‘shake your shimmy' by vibrating the relevant area as rapidly as possible.”And Who Is Kate? Uh… Ask LouisSo, in Piron and Williams' telling, the song was associated with a suggestive shimmy dance move, but was there actually a “sister Kate?” And — poof! — just like that, we're back to Louis Armstrong.The trumpeter long claimed that he knew Kate before she ever shimmied. In his book Louis Armstrong, An Extravagant Life, author Laurence Bergreen said that when New Orleans trombonist Kid Ory hired Armstrong for his band, he told the youngster he should work up a number so they could feature him once in a while. Armstrong did and even created a little dance to go with it.The song was “an unashamedly filthy thing,” Bergreen wrote, called “Katie's Head,” reportedly inspired by the 1883 stabbing death of New Orleans madam Kate Townsend. This particular Kate, who ran a high-class house of prostitution on Basin Street, was murdered in a drunken quarrel with her longtime "fancy man" Troisville Sykes. Despite its dark and bloody subject matter, the song was a hit. Bergreen quoted Armstrong as saying that whenever he sang it, “Man, it was like a sporting event. All the guys crowded around, and they like to carry me up on their shoulders.” Armstrong's performance usually was accompanied by his dance, apparently a version of "The Shimmy,” which was just starting to appear around the country."One night, as I did this number,” Armstrong went on, “I saw this cat writing it all down on music paper. He was quick, man! He could write as fast as I could play and sing. When I had finished, he asked me if I'd sell the number to him. He mentioned $25. When you're only making a couple of bucks a night, that's a lot of money. But what really put the deal over was that I had just seen a hard-hitting steel gray overcoat that I really wanted for those cold nights. So I said `Okay' and he handed me some forms to sign and I signed them. He said he'd be back with the cash, but he never did come back."The stranger with the forms and the pen was Armand Piron's partner Clarence Williams, the ambitious music entrepreneur who would soon be leaving New Orleans for Chicago and then on to New York City.First RecordingsThe earliest recordings of the song were little known 1922 sides by The Original Memphis Five on Pathé Actuelle, by Mary Straine and Joseph Smith's Jazz Band on Black Swan Records and by The Virginians on Victor. A better received version was the 1923 release by vocalist Anna Jones with Fats Waller on piano.Arrangements over the years since then ranged from big band jazz to a hokum version by The Alabama Jug Band in 1934, a precursor to jug band revival and string band versions during the 1960s by Dave Van Ronk, Jim Kweskin and The Greenbriar Boys. Our Take on the TuneThe Flood has always been much enamored of those ‘60s string band renditions. Nowadays our version follows Jim Kweskin's idea on his jug band's 1966 Relax Your Mind album to combine “Sister Kate” with another Louis Armstrong standard, “Heebie Jeebies.”On this track, while everybody is on fire, bringing their own hot solos to the mix, we all agree that it is Danny — our newest Floodster — who, as Sam says, “becomes one” with Sister Kate. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

The fourth segment from January 4, 1989 at Ephraim's. The musicians are Jimmy Mazzy (banjo/vocals), Fred Lind (cornet), Paul Meymaris (clarinet), John Kafalas (trombone), Al Ehrenfried (bass), Stu Grover (drums), and Carrie Mazzy (vocals). The selections are Basin Street, I Cried For You, and Anytime, Any Day, Anywhere. Send questions or comments to podcast @ … Continue reading Podcast #157: 1/4/89 Part IV

A couple of cheery and cheeky wartime songs. George Formby with Ukelele Man. Not nearly enough ukelele playing on it quite frankly. Next Dave Willis with ARP( Air raid patrol.) More commonly known as My Wee Gas Mask. Probably the best known Scottish song from WW2. Joe Corrie was a Fife coal miner, poet and playright. His style was naturalistic and his subject matter the working class. He was pretty much ignored by the Scottish theatre establishment of the time. Here we have The shilling a week man. A humerous tale of money owed, performed in broad Scots. Humerous it maybe but for many life was 'hand to mouth' and the shilling a week man was a fact of life.  Bunny Berigan's blues boys with Chicken and Waffles and then he plays trumpet on Gold diggers of 1933 with The bell boys of Broadway. Two from the magnificent Mildred Bailey with her orchestra- St Louis Blues and with her Oxford Greys- Arkanas Blues. Great vocals from her. We split those two tracks with Charlie Barnet and Wandering blues, vocals by Mary Ann McCall. Ring dem bells from The Harlem Footwarmers(1929.) They also performed under 25 aliases and members included Duke Ellington and Cottie Williams. Johnny Dodds and his orch- Red onion blues. His brother 'Baby' Dodds is on drums. Bit of Boogie from Will Brady's six Texan hot dogs- Basin Street boogie(1941) Not the best condition but Taft Jordon and his mob play Devil in the moon. Taft only made two records with own group but played with the best, from Ella to Ellington. His trumpet can be heard on Miles Davis's Sketches of Spain. Quite an acolade to be asked to play trumpet with Miles! E.C Kirkeby Wallace bandleader, songwriter, vocalist and manager. He looked after Fats Waller. He also started the Californian Ramblers while working at Columbia. Benny Goodman with Blues in the night, vocals by Peggy Lee. Early peggy. She certainly hits some uncharactistic high notes toward the end. We finish with Freddy Gardner and his Swing Orch. The self composed 10am Blues from 1939. A great track from this forgotten British saxphonist, who died young at 39. Its an Indian pressing on the Rex label. 

Music by Dr. Thomas W. Smith

A very special meeting tonight as our Jazz Feature. One of the greatest of Jazz singers was Carmen McRae and the iconic Dave Brubeck Quartet in a live recording done in New York at the prestigious club "Basin Street East" in September of 1961. Carman was intrigued and wanted to sing something different and Brubeck wrote a bunch of melodies that she loved and Brubeck's wife Iola put lyrics to the tunes and Carmen was hooked. It was a very different venture from singing Gershwin and porter standard tunes. Carmen performs twelve wonderful pieces with Dave and the Quartet with Paul Desmond on alto saxophone, Eugene Wright on bass, Joe Morello on drums before a very appreciative audience. The result was issued on Columbia Records and called "Take Five" and yes that tune by Paul Desmond comes complete with lyrics! Tonight's special Jazz Feature...check it out!

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless AFN programmes were widely enjoyed by the British civilian listeners who could receive them and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programmes available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London. --------------------------------------------------------------------------- Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theater https://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441 https://live365.com/station/CBS-Radio-Mystery-Theater-a57491 ----------------------------------------------------------------------------

Hey Everyone, welcome back! This week Miss's True Crime story takes us to Cleveland for the almost century old unsolved crimes of the Mad Butcher of Kingsbury Run aka The Cleveland Torso Murderer. Will we ever know the true identity of the Butcher?! Then Kev's Spoopy Story takes us back to the Old Wild West in Tombstone, Arizona, to the home of “the wildest, wickedest night spot, between Basin Street and the Barbary Coast,” the haunted Bird Cage Theater. Are you sure you just tripped? Or were you pushed by the spirit of a rowdy cowboy spirit or a naked lady ghost??! Source notes found at www.creepyinqueeriespod.com. Follow us on Instagram @CreepyInQueeriesPod. We've joined Facebook! Help us build our following there please! @CreepyInQueeriesPod. Follow us on Twitter @C_InQueeries. Follow us on TikTok @creepyinqueeriespod. Email us at creepyinqueeriespod@gmail.com.

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless AFN programmes were widely enjoyed by the British civilian listeners who could receive them and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programmes available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London. --------------------------------------------------------------------------- Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theater https://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441 https://live365.com/station/CBS-Radio-Mystery-Theater-a57491 ----------------------------------------------------------------------------

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless AFN programmes were widely enjoyed by the British civilian listeners who could receive them and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programmes available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London. --------------------------------------------------------------------------- Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theater https://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441 https://live365.com/station/CBS-Radio-Mystery-Theater-a57491 ----------------------------------------------------------------------------

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless AFN programmes were widely enjoyed by the British civilian listeners who could receive them and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programmes available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London.---------------------------------------------------------------------------Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theaterhttps://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441https://live365.com/station/CBS-Radio-Mystery-Theater-a57491----------------------------------------------------------------------------

Dedication of NBC Los Angeles studios with Al Jolsen and Bing Crosby. Next Ed Wynn comedian, Nelson Eddy singer, FDR fireside chat, Conductor Walter Damrosh. Sisters of skillet comedians, Chamber Music Society of Basin Street and Dinah Shore sings.

This first installment of our April series Shady Ladies: The Madams of New Orleans we cover the most famous Madam of Storyville Josie Arlington. Born Mary Deubler in about 1864, she became a millionaire from her fancy Basin Street "sporting house". Follow us on Twitter: @AShudders Instagram: @openshudderspodcast Facebook: Open Shudders: A Creepy Podcast Facebook Group: The Official Page for Open Shudders: A Creepy Podcast Please support us on Patreon: www.patreon.com/openshudders --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/barry-marino-openshud/support

  JIMMY MCPARTLAND’S DIXIELAND – New York: February 26, 1957 Ballin’ the Jack, Lackadaisy lady, The Basin Street stomp Jimmy McPartland (cnt) Tyree Glenn (tb) Ernie Caceres (cl,bar) Dick Cary (p,celeste,alto-hrn,arr) Al Casamenti (g) Bill Crow (b) George Wettling (d) March 5, 1957 Oh, didn’t he ramble Peanuts Hucko (cl) y Cliff Leeman (d) reemplazan […]

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In 1882, the New York Times declared that Tombstone's Bird Cage Theatre was the “roughest, bawdiest, and most wicked night spot between Basin Street and the Barbary Coast.”Twenty-six deaths and one hundred and forty bullet holes later, this piece of American Wild West history seems to be packed with poltergeists, gunslingers, gamblers, prostitutes and ghostly poker players. So, who's haunting this spooky saloon?One of the most infamous murders involves the “Painted Lady” Margarita, whose heart was removed from her chest with a double-edged stiletto.Have we got your attention?You will love this case as we tell you all about The Bird Cage Theatre Tombstone, Arizona.Follow Anne and Renata:Facebook: @AnneAndRenataInstagram: @AnneAndRenataYouTube: @AnneAndRenataTikTok: @AnneAndRenataVisit www.anneandrenata.com for more spookiness.True Hauntings is a Human Labs Original Podcast and a Frightfully Good Production. See acast.com/privacy for privacy and opt-out information.

Blues upstairs and downstairs, from Nat Gonella, starts us off. Two Scottish numbers from Greenock male voice choir, with Loch Lomond and William Hannah with Caledonian circle. Hannah was a leading pre war accordionist and lived about 20 miles away from the Forgotten Songs studio in West Lothian. Also up The Avenue Tango Band with the rather tame, The golden tango girl,  Anton Walbrook, Benjamino Gigli, Carrol Gibbons and Benny Goodman, vocals by Helen Forrest. Three budget records: The Bluejays- Louise, Roland Blair- I cover the waterfront and, on a six inch The Victory label, The waters of kilarney. Frank Ferera is back with his wife Louise Greenus, Hawaiian Guitar duet. Early jazz from The  Happy six. Mr Sydney Coltham gives us a very refined song, which I think is pre 1920. Satya Chowdhury was born in Bengal, India and was very popular in the 1940s. Both starring and being a play back artist in many Indian films. Excellent track from Irish born Phil Green and his Basin Street band. He was long time arranger and conductor for Decca recorders.  What's that hammering? Ted Heath and Blacksmith Blues, vocals by Lita Rosa. Stay safe, stay positive.   

JIMMY MCPARTLAND’S DIXIELAND – New York: February 26, 1957 Ballin’ the Jack, Lackadaisy lady, The Basin Street stomp Jimmy McPartland (cnt) Tyree Glenn (tb) Ernie Caceres (cl,bar) Dick Cary (p,celeste,alto-hrn,arr) Al Casamenti (g) Bill Crow (b) George Wettling (d) March 5, 1957 Oh, didn’t he...

Introduction to track gives background and identifies guests for this July 14, 1941 Show. Excellent program. Basically this show makes a little bit of fun of Classical Music and Higher Education... but it is all in good fun and the music and comedy is very creative... this was a popular program in its day and still retains the energy today. More of these shows found in the playlist "Big Band - Jazz"

Basin Street records founder and owner talks with Todd about New Orleans, his label, and more. This was part of the Improvisations To Go series.

We're heading to the shady side of Storyville in this episode, as AJ and Johnny look at the Louis Armstrong standard "Basin Street Blues". We've got some tasty versions of this classic, including Dr. John and Miles Davis. Take a listen, and tell a friend!

In our first quarantine episode, we explore the "Fancy Prostitute of Basin Street." Kate Townsend started as a barmaid in Liverpool, England, and ended as one of the most successful madames in all of New Orleans. Yet she met her end in 1883 by the hand of a lover. Hear her story in our lucky No. 13 episode.

More than 90 years ago, composer and pianist Spencer Williams wrote the great jazz standard “Basin Street Blues,” but here’s something we didn’t know until recently. Its wonderful opening lyric — “Won’t ya come along with me… Come along with me…. Down to the Mississippi…” was added later by Glenn Miller and Jack Teagarden. Ahhh, you live, you learn. The Flood started doing the tune about a decade ago at the suggestion of our late fiddler, Joe Dobbs, and when Joe died five years ago, the tune seemed to go with him. However, earlier this year, when jazz saxophonist Veezy Coffman started coming around, darned if Basin Street come back out! Here from a recent rehearsal is our 2020 version of the song, which Spencer William wrote as a kind of jazz-infused churchy call and response. Listen as Veezy opens the musical testimony, answered by the chorus of Doug, Sam and the two Pauls. Then the whole thing is turned over to Michelle who, always, nails the vocals.

The Chamber Music Society of Lower Basin Street is a musical variety radio program which began on NBC Blue on February 11, 1940. Radio Life Magazine described this show as "one of radio's strangest offsprings... a wacky, strictly hep tongue-in-cheek burlesque of opera and symphony" Dinah Shore got her start on this show... The show was a mixture of jazz, classical, dixieland, Boogie-Woogie, Barrelhouse, and the Blues!! Gene Hamilton, Henry Levine, and Paul Lavalle are referred to as "Doctors, Professors, etc." all in good fun. Guest is John Kirby and his band... if they can pay them. Enjoy. More of these shows in our Big Band/Jazz Playlist.

Today we discuss the birth of jazz music and its incorporation into the red-light district of early New Orleans, from Basin Street to Storyville.Follow us on social:Instagram: @AmericanHauntingsPodcastTwitter: @AmerHauntsPodJazz music is, without a doubt, an American invention. That’s about the only thing that we know for sure, other than it originated within the African-American communities of New Orleans in the late nineteenth and early twentieth centuries. It was not actually born in the red-light districts of New Orleans – it just seemed that way. It was in the city’s whorehouses that jazz became famous.For a free month of Stitcher Premium, visit www.StitcherPremium.com and use promo code: HAUNTINGSLeave us a review in iTunes by clicking this link or on RateThisPodcast.Check out our NEW PATREON TIERS, our NEW CLOTHING STORE, and learn how YOUR BUSINESS CAN REACH OUR AUDIENCE.Sign up for our newsletter at AmericanHauntingsPodcast.comWant to read ahead for this season? Check out the book Haunted New Orleans by Troy Taylor.This episode was written by Troy Taylor. Produced and edited by Cody Beck.Theme music by Charlie Brockus and Alan T Fagan.Monologue Music by:Naoya SakamataSoundCloudTwitterYouTubeCreative Commons LicenseMusic provided by RFMAShamaluevMusicMyuu

NBC Blue Network (later to become ABC) presented this very enjoyable program from 1941-42.. A combination of talent, terrific music, comedy, and some very clever tongue-in-cheek jabs at high society chamber music makes for an entertaining half-hour. Other shows from this program are found in the "Big Band / Jazz" playlist. Earlier shows have background information in the introduction to the track.

Department stores and train stations on Basin Street on NOLA History Guy Podcast 27-July-2019 NOLA History Guy Podcast 27-July-2019 Two segments on NOLA History Guy Podcast 27-July-2019. First, our “Today In New Orleans History” for 20-July, and then we’ll unpack a photo from 1955. Both focus on Canal and Basin Streets. NewOrleansPast.com This week’s pick […] The post NOLA History Guy Podcast 27-July-2019 Krauss and Trains appeared first on Edward Branley - The NOLA History Guy.

From 42nd Street to 12th Street, and from Beale Street to Basin Street, Ethan plays songs about famous thoroughfares. Unless he gets into a fight at Pee Wee's Saloon in Memphis. Or at the dog track. Please be careful, Ethan.

Position | Artist | Album Title | Label 10 Jason Marsalis and the 21st Century Trad Band | Melody Reimagined: Book 1 | Basin Street 9 | Euge Groove | Groove On | Shanachie8 | Steve Hobbs | Tribute to Bobby | Challenge7 | Lawson Rollins | Airwaves: The Greatest Hits | Infinita Records6 | Lindsey Webster | Love Inside | Shanachie Questions? Comments? Feedback? Suggestions? We'd love to hear from you! Join the conversation at http://www.Facebook.com/CoolJazzCountdown!

Position | Artist | Album Title | Label 10 | Jason Marsalis and the 21st Century Trad Band | Melody Reimagined: Book 1 | Basin Street 9 | Nick Colionne | The Journey | Trippin’ N Rhythm 8 | Chick Corea Steve Gadd Band | Chinese Butterfly | Concord Jazz/Stretch7 | Marion Meadows | Soul City | Shanachie6 | Lawson Rollins | Airwaves: The Greatest Hits | Infinita Records Questions? Comments? Feedback? Suggestions? We'd love to hear from you! Join the conversation at http://www.Facebook.com/CoolJazzCountdown!

In 2017, Basin Street Records celebrated it’s 20 Year Anniversary as an Independent Record Label. The label features the wonderful sounds of New Orleans with artists such as Kermit Ruffins, Irvin Mayfield, Rebirth Brass Band, Jon Cleary, Los Hombres Calientes, Jeremy Davenport, Bonerama, and so many more. Founder and Owner, Mark Samuels, started the label in 1997 with the release of Kermit Ruffins - the Barbecue Swingers Live, which was recorded at the history music venue, Tipitina’s. The labels second album, Los Hombres Calientes won a Latin Billboard Award, and the 2012 Rebirth Brass Band album “Rebirth of New Orleans,” brought the label it’s first Grammy win. In this conversation, Mark Samuels shares these and many more stories. You’ll learn how the label started, New Orleans culture, and many lessons on running an independent record label. To learn more about Basin Street Records, visit https://www.basinstreetrecords.com/. Keep in touch:chris.goyzueta@gmail.com www.makingitwithchrisg.com https://www.instagram.com/chrisgoyzueta/ https://www.facebook.com/makingitwithchrisg  Credits: Host: Chris G. Producer: Jason TrosclairExecutive Producer: ONElive Creative Agency  Music: Emily Kopp

show#697 06.25.17 B&S Together Again!! 1. Jon Cleary & the Absolute Monster Gentlemen - Smile in a While from Pin Your Spin 2004 Basin Street (3:40) 2. Delta Wires - Devil's in My Headset from Born in Oakland 2017 Mudslide Records (4:45) 3. Thorbjoern Risager & The Black Tornado - City Of Love from Change My Game 2017 Ruf (4:58) 4. Hank Mowery - If I Knew What I Know from Account To Me 2013 Old Pal Records (3:45) 5. Mighty Sam McClain - Can You Feel It? from Too Much Jesus (Not Enough Whiskey) 2008 Mighty Music (3:16) 6. David Migden and the Dirty Words - I Can't See Her Face from Killing It 2012 (3:22) 7. Selwyn Birchwood - Heavy Heart from Pick Your Poison 2017 Alligator (5:00) 8. Jim Allchin - Blew Me Away from Decisions 2017 Sandu Key Music (3:16) 9. Shun Ng - Creepy Crawlies from Funky Thumb Stuff 2012 self-release (3:10) 10. Eight O'Five Jive - My Mumblin Baby from Swing Set 2017 Red Rudy Too Tunes (2:36) 11. Jimmy Bowskill & Carlos Del Junco - Beale St. Toodle-oo from Blues Etc... 2016 Indie (4:49) 12. Samantha Fish - It's Your Voodoo Working from Chills & Fever 2017 Ruf Records (3:42) 13. Lee McBee - It's Your Voodoo Working from Soul Deep 2002 Crosscut (2:29) 14. Eric Bibb - Four Years, No Rain from Migration Blues 2017 Stony Plain (2:36) 15. Albert Castiglia - Public Enemy #9 from Living the Dream 2012 Blues Leaf Records (3:40) 16. Austin Young & No Difference - Not As Strong from Blue As Can Be 2013 Redeye Records (4:17) 17. Robin Sylar - Shot Time from Tricked Out 2004 Topcat (4:18) 18. Hound Dog Taylor - See Me in the Evening from Deluxe Edition 1999 Alligator (4:58) 19. Grand Marquis - Empire Of Dirt from Blues And Trouble 2013 self-release (5:23) 20. Hot Barbeque from Soul Jazz Grooves 2012 Highnote Records, Inc. (4:42) 21. Jim Roberts And The Resonants - Dog Done Bit My Baby from Beneath The Blood Moon 2017 KKP Records (4:21) 22. Jon Zeeman - All Alone from Blue Room 2017 Membrane Records (4:40) 23. Booker T. & The M.G.'s - L.A. Jazz Song from Melting Pot 1971 (4:21) 24. Doc Pomus - The Last Blues from Blues in the Red 2006 Revola (2:29) 25. The Hoax - Fingers Of One Hand from Unpossible (3:19) 26. The Motives feat. Matt Taylor - Gangsters from The Motives feat. Matt Taylor 2012 (4:00)

Madams and Musicians - Storyville, New Orleans In 1897, New Orleans leaders created Storyville, the infamous red light district of New Orleans. For the next twenty years, Storyville was the legal center of prostitution in the Crescent City. Storyville was the workplace of madams and prostitutes.  Patrons might spend an evening at Lulu White's Mahogany Hall or at Josie Arlington's place. Here, they encountered lavish furnishings, live music, ample amounts of alcohol, and sex for a price. In addition to the sex trade, Storyville was a hotbed of music and musicians. Patrons wandering down Basin Street would come across Jelly Roll Morton, Manuel "Fess" Manetta, Tony Jackson, and maybe even a young Louis Armstrong. These musicians were expected to play everything from opera to ragtime. While jazz wasn't likely invented in Storyville, the collaboration and improvisation of these talented musicians helped shape and influence the music we know today. Meet Your Tour Guides to the Red Light District I welcomed three guests to the podcast this week, including a return visit by Pamela Arceneaux, author, senior librarian, and rare books curator at the Historic New Orleans Collection. Pamela's book, called the Guidebooks to Sin: the Blue Books of Storyville, was featured in episode #34. In addition to Pamela, HNOC curators John Lawrence and Eric Seiferth joined us for a lively discussion. Together, the three of them help bring Storyville to life for us. We learn about the madams and the musicians, as well as the music itself. Insider Knowledge: Did you know opera was as likely to be heard as ragtime? I didn't! Along the way, we discuss the divide between establishments targeted towards the wealthy (white) clients, and black Storyville, home of simple cribs. We also explore the new HNOC exhibit Storyville: Madams and Music, and talk about the photos of Earnest Bellocq and the movie Pretty Baby, featuring a very young Brooke Shields. All this and more in this episode of Beyond Bourbon Street! Resources You can find Pamela’s book at local booksellers, including Octavia Books, Garden District Book Shop and Maple Street Book Shop, as well as at The Historic New Orleans Collection. You can also find Guidebooks to Sin on Amazon. Explore the Historic New Orleans Collection online and in person. They are located at 533 Royal Street, in the heart of the French Quarter. Links and show notes for today's episode can be found at http://beyondbourbonst.com/35 Thank You Thanks to Pamela Arceneaux, John Lawrence and Eric Seiferth for joining me today. Together, they helped paint a picture of New Orleans and Storyville during the late 1800s and into the 20th century. Eli Haddow at the Historic New Orleans Collection made our discussion possible. Kate McCreary hepled with the research into Storyville. Finally, thanks to you for allowing me into your ears every other week. I truly enjoy sharing this city we both love! Subscribe to Beyond Bourbon Street If you enjoy the show, please subscribe to the podcast on iTunes, Stitcher, Google Play Music or wherever you get your podcasts. Search Beyond Bourbon Street. If you do enjoy listening, please share Beyond Bourbon Street with someone who shares our love of New Orleans. Contact Us Got an idea for an episode, have some feedback or just want to say hi? Leave us a message at 504-475-7632 or send an email to mark@beyondbourbonst.com Thanks for listening! Mark

Den nya medborgarrättsrörelsen Black Lives Matter blomstrar i New Orleans jazzstaden som inte bara härjats av orkanen Katrina utan även av rasism och enorma inkomstklyftor. P1 Kultur åkte dit. New Orleans har hämtat sig efter orkanen Katrina för snart 11 år sen och kulturlivet har fått ny kraft utifrån. Konstnärer och musiker lockas av energin och dom låga hyrorna. Men när allt fler områden gentrifieras trängs människorna som gett upphov till New Orleans unika kultur, afroamerikanerna, undan. Under den nya glassiga ytan finns ett annat New Orleans, med rasism och enorma inkomstklyftor. Motsättningar som har satts i ett nytt fokus av det som kallas den nya medborgarrättsrörelsen, Black Lives Matter.Frilansjournalisten Petra Socolovsky rapporterar från den mytomspunna jazzstaden New Orleans, med avstamp på Bourbon Street som är fullt av strippklubbar och Basin Street som ser ut som en genomfartsled från bussen in till stan. Möt bland andra konstnären Adam Pendleton, musikern Abraham Pollock och Black Lives Matter-aktivisten Katrina Rogers.Lyssna på hela måndagens P1 Kultur med Roger Wilson här (13/6)

This wonderful edition of Woody Herman's Band scores in a complete set of great tunes played before a responsive audience at this great Jazz club. The band was youthful and full of great soloists like trumpeters Don Rader, Dusko Goykovich, Bill Chase and Bobby Shew. Trombone virtuoso Harry Southall is also featured. The great tenor saxophonist Sal Nistico was really a star in this band and heard extensively on many tunes. A superb rhythm sections with Nat Pierce on piano and the dynamic Ronnie Zito on drums cooks on every tune. Great arrangements by Rader, Chase, Ralph Burns, Bill Holman and others and a wide variety of tunes make this a wonderful set. The woody clarinet of Mr. Herman is also heard along with the leader's mellow alto saxophone. The "Old Man" (Woody Herman) had a right to be very proud of this edition of the Herman Band. You'll enjoy it too, I'm sure.

An AFRS rebroadcast of the Chamber Music Society of Lower Basin Street.  Ezio Penza guest stars. Original Air Date: February 20, 1944 Click here to add to Itunes.

Bandana Blues show#38204.03.11 http://www.bandanablues.com/donation.html for the Tip Jar Thanks to donators .. in particular Miami.... whos saved us from losing ALL the archived shows!!! Blues Anatomy - He's a Jelly Roll Baker (Rediscovering Lonnie Johnson featuring Jef Lee Johnson and Geoff Muldaur 2008)Jef Lee Johnson - Law and Order (Thisness 2007)Spinner's Section:Roy Rogers & Norton Buffalo: the buffalo cajun mambo (3:41) (Travellin' Tracks, Blind Pig, 1992)Guy Forsyth: tricks of the trade (4:41) (Steak, Antone's, 2000)Duke Robillard & Sunny Crownover: I'm still in love with you (2:25) (Tales From The Tiki Lounge, Blue Duchess, 2009)Ellis Hooks: black nights, blue moon (3:41) (Godson Of Soul, Evidence, 2005)Ian Siegal: kingdom come (4:34) (Broadside, Nugene, 2009)Dave Hole: night cat (5:32) (Short Fuse Blues, Provogue, 1990)Jon Cleary: is it any wonder (5:03) (Pin Your Spin, Basin Street, 2004)Big Blind: natural high (3:24) (Dressed To Win, Cool Buzz, 2007)Th' Legendary Shack Shakers: creek cats (3:20) (Believe, Yep Roc, 2004)Back To Beardo:The Nighthawks - Guard Your Heart (10 Years Live 1981)Mark Hummel - Love Shock (Mark Hummel's Blue Harp Meltdown - Vol. 2 - East Meets West - (Disk 1))Jerry Portnoy And The Streamliners - Charge It (Jerry Portnoy And The Streamliners 2010)Lazy Lester - Sugar Coated Love (Roll Your Moneymaker - Black Rock'n'Roll 1948-58 1958)Johnny Dyer - Johnny's Boogie (Jukin' 1983)The Hollywood Fats Band - Little Girl (Rock This House)Carlos Del Junco - The Crazy Bastard (Mongrel Mash 2011)

show#34607.24.10http://traffic.libsyn.com/beardo1/show346.mp3Want to find out if YOUR music makes the cut? Email thebeardo@gmail.com for details!Look for Beardo on Facebook...(never thought I'd be a FB geek!!)Phillip Walker Big Band - Crying for My Baby (Live at Biscuits & Blues 2002)Todd Snider - Betty Was Black (And Willie Was White) (Happy To Be Here 2000)Alastair Greene Band - Drunk Again ( Walking in Circles 2009)Rocky Athas Group - Muddy Water Blues (Voodoo Moon 2005)Jeremy Wallace - Two Busted Legs (Suicide Suitcase)Matt Schofield - Lights Are On But Nobody's Home (Live From The Archive 2010)Shawn Pittman - Let's Blow This Joint (Meridian 2009)Duster Bennett - I Wonder If You Know (How It Is) (Live) (The Complete Blue Horizon Sessions 2007)Ben Prestage - Viper (Live At Pineapple Willy's 2008)The Lee Sankey Group - The Manwith Ian Siegel vocAL Tell (Me There's A Sun 2003)Spinner's Section:Aynsley Lister: quiet boy! (3:25) (Everything I Need, Ruf, 2000)Blue Bishops: nothing to say (4:15) (Deep, self-release, 2002)Michael Hill's Blues Mob: wrong number (5:40) (Bloodlines, Alligator, 1994)The Legendary Shack Shakers: all my life to kill (3:03) (Believe, Yep-Roc, 2004)R.J. Mischo: Ruthie Lee (3:49) (Knowledge You Can't Get In College, Greaseland, 2010)John Campbell: firin' line (5:39) (Howlin' Mercy, Elektra, 1993)Jon Cleary & the Absolute Monster Gentlemen: funky munky biznis (2:48) (Pin Your Spin, Basin Street, 2004)Jean Paul Rena & Terrawheel: sun is shining (6:17) (Can't Be Satisfied, CoraZong, 2007)George Thorogood & the Destroyers: move it (4:47) (Ride 'Til I Die, Eagle, 2003)Rod Piazza: deep fried (3:10) (California Blues, Black Top Econo-Line, 1997)Back to Beardo:Tin Pan - Just a Little While (Hound's Tooth 2008)Memphis Cradle - Big, Dumb and Ugly (Memphis Cradle 2009)Johnny Moeller - Bloogaloo ( BlooGaLoo! 2010)Peter Karp/Sue Foley - Treat Me Right (He Said She Said 2010)Sue Foley - New Used Car (New Used Car 2006)Arsen Shomakhov - Hit And Run (On The Move 2010)

Tonight The Jazz Show presents some early Brubeck Quartet recordings that are not as common as many others. These recordings are derived from broadcasts done from New York's Basin Street nightclub in February 1956. The Quartet by this time had reached enormous popularity from their recordings and college tours. Their repertoire was still mostly standards from the great American Songbook. Brubeck is especially creative here and many many piano players checked him out and copied his original ideas but sadly never acknowledged Brubeck in print, something that still rankles the 89 year old today. Heard with Dave is alto saxophonist Paul Desmond who is always superb and consistent with his melodic, lyrical style. Charlie Parker listed Desmond as his favourite of all the young altoists because of his originality. Dave's rhythm section at that time was Norman Bates on bass who had taken over from his brother Bob and the unheralded Joe Dodge on drums. Dodge was always tasteful and never got in the way and kept great time with both sticks and brushes. Here is some excellent and rare Brubeck from his classic period....enjoy!

show#23804.20.08 Danny Gatton - Harlem Nocturne (4:47)  Sean Costello - Double Trouble (7:37)Spinner's Section:some more New Orleans style rhythm & bluesNeville Brothers: brother John / iko iko (Cyril Neville/Earl King) (Fiyo On The Bayou, A&M, 1981)Allen Toussaint: country John (Toussaint) (The Allen Toussaint Collecion, Reprise, 1991)Maria Mudaur: fanning the flames (Jon Cleary) (Music For Lovers, Telarc, 2000)Jon Cleary: smile in a while (Cleary) (Pin Yor Spin, Basin Street, 2004)Willy DeVille: teasin' you (E. King) (Victory Mixture, Sky Ranch, 1990)Dr. John: sweet home New Orleans (Rebennack) (Anutha Zone, Parlophone, 1998) Back to Beardo: Candye Kane - I'm Not Gonna Cry Today (2:47) Jeff Healey & the Jazz Wizards - Keep It to Yourself (4:51) Sean Costello - Feel Like I Ain't Got a Home (3:24) Eddie Hinton - Bottom of the Well (2:49) Sean Costello - Peace of Mind (4:46) Bill Perry - Crazy Kind of Life (5:00) Sean Costello - Cold Cold Ground (3:09) taps (0:56)Bandana Blues weekly podcast.With Beardo & Spinner, the Dutch-American connection.A new show added every weekend with all the blues you can use.http://beardo1.libsyn.com/

Jeff grows up near Basin Street in New Orleans, playing his clarinet with the dock workers. He puts together a band, the Basin Street Hot-Shots, which includes a cornet player, Memphis. They struggle to get their jazz music accepted by the cafe society of the city. Betty Lou joins their band as a singer and gets Louie to show her how to do scat singing. Memphis and Jeff both fall in love with Betty Lou. Written by Lisa Grable {grable@unity.ncsu.edu}

In 1988 begonnen we een band. we waren allemaal heel jong, maar hielden van oude muziek. En onverwachts kregen we heel veel succes. Dit album is toen opgenomen. En is een weergave van wat speelden op jazzfestivals in binnen- en buitenland. Met Wim Wensink (trombone), Henk Wensink (Bariton sax), Edgar Lutke (Trompet) en suzan Lutke (Alt en Sopraan sax)