Podcasts about big butter

It's May 21st. This day in 1904, a fight over taxing margarine reaches the Supreme Court. It's a key moment in the long fight between traditional butter and its margarine subsitute.Jody, NIki, and Kellie discuss why the fight has been so contentious, and some of the more absurd ways in which Big Butter has tried to stop the spread of margarine.Sign up for our newsletter! Get your hands on This Day merch!Find out more at thisdaypod.comThis Day In Esoteric Political History is a proud member of Radiotopia from PRX.Your support helps foster independent, artist-owned podcasts and award-winning stories.If you want to support the show directly, you can do so on our website: ThisDayPod.comGet in touch if you have any ideas for future topics, or just want to say hello. Follow us on social @thisdaypodOur team: Jacob Feldman, Researcher/Producer; Brittani Brown, Producer; Khawla Nakua, Transcripts; music by Teen Daze and Blue Dot Sessions; Audrey Mardavich is our Executive Producer at Radiotopia Learn about your ad choices: dovetail.prx.org/ad-choices

On the radio show today, the fellas are talking about things that you’re surprised your partner doesn’t know about, also The Hauraki Breakfast made an appearance on an Australian radio station yesterday, and it’s fair to say they weren’t kind…See omnystudio.com/listener for privacy information.

-The Block 13 hockey family that makes hockey fun and helps the Cardiff Devils win -Painting your bodies with your favourite players to help the team win and ruining the sheets afterwards -Getting the crowd fired up with the megaphone and Big Butter taking his top off -The upcoming Cardiff Devils look like a squad and have signed the best goalie tandem in shed history -It will take 1005 Twix at the league home opener to beat the Herning Blue Foxes, winning and records are fun

The fourth segment from this session, with Jimmy Mazzy (banjo/vocals), Fred Lind (cornet), John Kafalas (trombone), and Don Frothingham (piano). The selections are “Melancholy,” “I Ain't Got Nobody,” “Blue Evening,” and “Big Butter and Egg Man.” Send questions or comments to podcast @ kafalas.com

Ashley discusses the Vulcan statue located in Birmingham Alabama built by Giuseppe Moretti to represent the city's iron industry at the 1904 World's Fair in St. Louis, Missouri. Shanda tells the story of the giant Jesus statue visible from I-75 just outside of Cincinnati, Ohio, displayed by the Solid Rock Church, that fans had nicknamed Big Butter Jesus or Touchdown Jesus and how it was struck by lightning in 2010. Song: “Big Butter Jesus (Is Toast!)” by Heywood Banks You can find us at: Facebook Instagram You can find Shanda at: Facebook Instagram You can find Ashley at: Crimson Moon Farm YouTube Crimson Moon Farm Facebook Crimson Moon Farm TikTok --- 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/passingnotes/message Support this podcast: https://anchor.fm/passingnotes/support

Ashley discusses the Vulcan statue located in Birmingham Alabama built by Giuseppe Moretti to represent the city's iron industry at the 1904 World's Fair in St. Louis, Missouri. Shanda tells the story of the giant Jesus statue visible from I-75 just outside of Cincinnati, Ohio, displayed by the Solid Rock Church, that fans had nicknamed Big Butter Jesus or Touchdown Jesus and how it was struck by lightning in 2010. Song: “Big Butter Jesus (Is Toast!)” by Heywood Banks You can find us at: Facebook Instagram You can find Shanda at: Facebook Instagram You can find Ashley at: Crimson Moon Farm YouTube Crimson Moon Farm Facebook Crimson Moon Farm TikTok --- 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/passingnotes/message Support this podcast: https://anchor.fm/passingnotes/support

"BIG BUTTER BRICK HOUSE!!" by M.I.D Ent

On today's episode I have first time guest on the show, SF Comedian Ian Levy. Ian talks about his start in comedy, his recent experience as a finalist in the SF Comedy Competition and what its like to perform in different areas across California. We also talk about Oscar Meyer bologna face masks, Zoom Fatigue, and the difference between East Coast and West Coast butter. You can follow Ian on Instagram @poor_influencer Instagram/Facebook: @imgettingtherepod Twitter: @igtpod YouTube: https://youtube.com/playlist?list=PL6Ca6CyeEAFR7eWnpufMBuqqJ6JjgoKdW Follow me on Instagram: @_michaelboothcomedy  Twitter: @_mboof   YouTube/Facebook: Michael Booth Comedy Support I'm Getting There by contributing to their Tip Jar: https://tips.pinecast.com/jar/imgettingtherepod Find out more at https://imgettingtherepod.pinecast.co This podcast is powered by Pinecast.

Ruth Brown wins the 1989 Tony Award for Best Actress in a Musical for her performance in Black and Blue. The musical stage play emphasizes black culture with jazz, blues and dance between WWI and WWII. A little history: Originally created at Theatre Musical de Paris. (EXCERPT) https://youtu.be/MidXL4DOzoM Black and blue stage play: Black and Blue (1989 Original Broadway Cast) by Original Broadway cast. Angela Hall, Eugene Fleming; Sir Roland Hanna; Jerome Richardson; Kyme,Bernard Manners, Frederick J. Boothe, Ted Levy, Kevin Ramsey, Claude Williams;Carrie Smith;, Jimmy Slyde, BunnyBriggs; Ruth Brown & Linda Hopkins; Sir Roland Hanna, Haywood Henry, Britt Woodman, Emory Thompson, Grady Tate, Billy Butler; The Musicians DRG (CDSBL19001) photo: theater mania.com Music orchestrated by Sy Johnson; Music arranged by Sy Johnson; Additional arrangements by Luther Henderson; Additional orchestrations by Luther Henderson; Featuring songs by Ellas McDaniel ("I'm a Woman"), W. C. Handy ("St. Louis Blues"), Spencer Williams ("Everybody Loves My Baby", "Royal Garden Blues"), Clarence Williams ("Royal Garden Blues"), J. Turner Layton ("After You've Gone"), Andy Razaf ("If I Can't Sell It, I'll Keep Sittin' on It"), Alex Hill ("If I Can't Sell It, I'll Keep Sittin' on It"), Louis Armstrong ("I Want a Big Butter and Egg Man"), Percy Venable ("I Want a Big Butter and Egg Man"), Jimmy McHugh ("I Can't Give You Anything But Love"), Doc Daugherty ("I'm Confession"), Ellis Reynolds ("I'm Confession"), Duke Ellington ("Black and Tan Fantasy", "Come Sunday", "Daybreak Express", "In a Sentimental Mood", "East St. Louis Toodle-oo", "Mystery Song"), Bubber Miley ("Black and Tan Fantasy", "East St. Louis Toodle-oo"), Jimmie Lunceford ("Rhythm Is Our Business"), Saul Chaplin ("Rhythm Is Our Business"), Porter Grainger ("T'Ain't Nobody's Bizness If I Do"), Everett Robbins ("T'Ain't Nobody's Bizness If I Do"), Thomas "Fats" Waller ("That Rhythm Man", "Black and Blue"), Harry Brooks ("That Rhythm Man"), John Green ("Body and Soul"), Harry Akst ("Am I Blue"), Benny Goodman ("Stompin' at the Savoy"), Chick Webb ("Stompin' at the Savoy"), Edgar Sampson ("Stompin' at the Savoy"), Eubie Blake ("Memories of You"), Leslie Johnakins ("Wednesday Night Hop"), Andy Kirk ("Wednesday Night Hop"), Harold Arlen ("I've Got a Right to Sing the Blues"), Big Maybelle Smith ("Cry Like a Baby"), Sy Johnson ("Swinging") and Leroy Kirkland ("Cry Like a Baby"); Featuring songs with lyrics by Henry Creamer ("After You've Gone"), Ellas McDaniel ("I'm a Woman"), Jack Palmer ("Everybody Loves My Baby"), Andy Razaf ("If I Can't Sell It, I'll Keep Sittin' on It", "That Rhythm Man", "Black and Blue", "Stompin' at the Savoy", source YT/pd/cc enjoy the excerpts! --- Support this podcast: https://anchor.fm/stringer5/support

Baker Mayfield and his four touchdown passes led the Cleveland Browns to a 41-35 victory over the Tennessee Titans on Sunday. DJ, Ramzy and guest Big Butter break down this huge win with Eric on assignment and preview the Ravens game on Monday Night Football at FirstEnergy Stadium0:12 The Browns are 9-3 (!) after beating the Titans0:50 Initial Reactions Titans Win3:00 Baker Mayfield = Fire Emoji9:15 DPJ's Drop Turns Into a Bomb TD11:45 Stefanski for Coach of the Year?13:55 RAVENS ON NOTICE17:25 What Makes This a Successful Season?21:00 Turducken Picks24:00 Refs Missed Holding Calls26:55 Listener Mail!30:54 Seeking Hotels in Tampa33:49 Ohioan Mike Vrabel: Hold This L38:00 Butter Pounds the Table for Earl Thomas41:40 Michigan Week Bodes Poorly with DPJ42:25 Irish Pete DMs the Sadcast46:35 #HandsomeCoach SuperlativesSupport the show (https://www.paypal.me/sadcast)

Did someone say Befana? Let's explore TRADITIONS! Listen up to learn about traditions in all different cultures, including the Walsh and Schafer families! This episode was so fun to record and even more fun to listen to! Be sure to follow us on Instagram at Are You Cereal for updates :) Love you always! 

Lordy Lordy. Warning: Today's episode is filled with what many writers of this description would call "An overwhelming amount of science." There is talk of tastants and receptors, of binding kinetics and phenol. This episode has it all. Also, John tells us about his growing business Dice Dungeons and Mark tells us about his business - Cyrano. We figure out what G.R.A.M Crackers are and decide to test our bonds of friendship by discussing more grammatical issues. Jarrett proposes a way to prevent brain freeze and Mark gives the blueprints for a device to help Jarrett with his back itch. Hint: It involves not one, but Two Chairs. Lastly, Kelsey remains and unrecognized genius.  Also in this episode: Brief Brothers and Nacho Bed.  

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Today, most grocery stores carry a variety of margarine and butter brands -- but this wasn't always the case. In fact, both Canada and the United States once had bizarre laws banning the production or importation of margarine. So what launched the margarine bootlegging industry? Join the guys as they explore the startling, strange story of the Big Butter versus margarine and its ''kindred abominations''. Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

Blazer Sport coat Leather Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Savoy Blues; Who’s It?; Big Fat Ma and Skinny Pa; That’s When I’ll Come Back to You; Sunset Cafe Stomp; Dropping Shucks; Big Butter and Egg Man; Georgia Grind; Basin Street Blues; I’m Gonna Gitcha; Oriental Strut; After You’ve Gone; Sweet […]

14th Maine Volunteer Infantry Regiment Benjamin Butler Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: You Made Me Love You; Who’s It?; The Last Time; Got No Blues; Save It Pretty Mama; Jazz Lips; Wild Man Blues; Fireworks; Heah Me Talkin’ To Ya; Black and Blue; Big Butter and Egg Man; Muggles; St. […]

Ad legend Keith Reinhard, who is also the father of our co-founder & CCO Matt, curated this month's playlist of jazz classics, complemented by Matisse visuals. Leave Me Alone — Johnny Griffin When people ask what jazz is all about, I always quote the great Chicago-born tenor saxophonist Johnny Griffin who said: “Jazz is created by and for people who have decided to feel good, regardless of conditions.” His Chicago “tough tenor” sound on this recording makes me feel good regardless of what else is going on. I hope you feel the same. Intermission Riff — Stan Kenton Stan Kenton was coming onto the jazz scene about the time I was graduating from high school. Back then his sound was considered very avant-garde. I like a lot about Kenton’s music, but especially his five-trombone section that growls in close harmony on this recording. These same trombones inspired a jazz vocal quartet at Butler University in my home state of Indiana. They became famous as The Four Freshmen, with a unique sound achieved by vocalizing Kenton’s trombone charts. Take the “A” Train — Duke Ellington I live very close to a subway station in Manhattan, and every time I pass by it or descend into it, Duke Ellington’s theme song starts playing in my mental hum box. The song was written by his composing companion Billy Strayhorn when the young composer was invited to visit Duke at his apartment in Sugar Hill, Harlem. “How do I get there?” asked Billy. “Take the A Train to Sugar Hill,” said Duke. “It’s the quickest way to Harlem.” This recording is by the Ellington orchestra, conducted by Duke’s son Mercer, and featuring an impeccable tenor sax solo by Branford Marsalis. Moten Swing — Count Basie When Benny Moten played this song with his Kansas City Orchestra back in the thirties, his orchestra included Count Basie on the piano. Since then, Moten Swing has become most associated with Basie. I love the way the brass section surprises us by shouting out, in sharp contrast to Basie on piano who, as one reviewer put it, “plays little notes but gives them lots of meaning.” Moral of the story: You don’t have to be loud to be meaningful. Stompin’ at the Savoy — Benny Goodman When listening to jazz, I like to think of the different instruments and sections as being engaged in a conversation. Jazz people refer to this as “call and response.” One section “calls,” the other “responds.” This song is a great example of such dialogue. First the horn section calls “pah pah,” then the reed section responds, “bah da de da da dah.” A few bars later the call and response is reversed with the reed section calling and the horns responding. Soaring above this delightful conversation, Benny Goodman lifts our spirits with his clarinet solos. Goodman was another jazz great born in Chicago. The son of poor Jewish immigrants, he grew up to form, during an era of racial segregation, the first racially integrated jazz group. Watermelon Man — Poncho Sanchez Talk about Feelin’ Good! How can you feel any other way when you listen to Poncho Sanchez, the Mexican-American conguero (conga player) play Herbie Hancock’s composition about a watermelon vendor? Hancock, yet another Chicago-born jazz legend, composed the tune based on the men who drove their melon wagons over Chicago’s cobblestone streets and sang out about their juicy wares. Now that you know the story, you can almost hear the words “Hey, Wa-ter-mel-on man” in the five-note melodic figure that repeats through the song. Thanks to Poncho Sanchez and other Latin band leaders, this song became a bridge between Afro-Cuban and Afro-American music. Drum Boogie — Gene Krupa  My high school buddy, Don Neuen, and I were both percussionists in our high school band and orchestra. We both admired the great drummer Gene Krupa, who was born and raised on Chicago’s South Side, and who became a handsome teenage idol. We wanted to look like him and play like him, neither of which ever happened. My friend Don, however, did become a distinguished musician as a faculty member of the Eastman School of Music and later, director of choral music at UCLA. Lacking Don’s (or Gene Krupa’s) talent, I went on to be just a music lover. But when I hear Krupa on the drum breaks in songs like “Drum Boogie,” it brings back those high school days when I was trying to master drum rudiments like flamadiddles and paradiddles. At least I member their onomatopoeic names. Boplicity — Miles Davis Jazz people often talk about the color of notes. You can even do a Google search to find color wheels assigning different colors to different notes. I’m not that sophisticated. But I respond to what Miles Davis and his nonet (nine-person group) are doing in this recording — experimenting with a less aggressive style of playing, and what is described as warm tonal colors, even though the album title is about the birth of cool. On the subject of color, I’ve always liked what Miles Davis himself said about the relationship between music and paintings: “A painting is music you can see. Music is a painting you can hear.” Big Butter and Egg Man — Wynton Marsalis Wynton Marsalis is an internationally acclaimed musician, composer, bandleader, educator and a leading advocate of American culture. I’m also proud to say he is my friend. We met in 1992 in São Paulo, Brazil and we’ve been friends ever since. Wynton is a multi-Grammy winner and the first jazz musician ever to win the Pulitzer Prize for Music. I love his trumpet solo on this recording of a song that takes its title from a 1920’s slang term for a big spender — a traveling businessman who spent big bucks in nightclubs. Presumably the voice of the trumpet is the voice of a woman who would like to connect with a Big Butter and Egg Man. Wynton is very wise. I once asked him how he feels if people don’t like a brave new composition. His response: “You can’t just be weird man, people gotta dig it.” What great advice for all of us. I hope you dig Wynton on this track along with his father Ellis who is on piano. Four on Six — Wes Montgomery Wes Montgomery is one of the most influential guitarists ever in jazz. A product of my home state, Wes was born in Indianapolis, the middle and most celebrated brother of a family of musicians. He recorded with brothers Buddy, a vibraphonist, and Monk, who played the electric bass. I like the fact that, as a guitarist, Montgomery is said to have introduced many people to jazz — people who knew they liked guitar but didn’t know they liked jazz. Indiana — The Modern Jazz Quartet First recorded in 1917 by the Original Dixieland Jazz Band, “Indiana” (aka “(Back Home Again in) Indiana”) soon became a jazz standard. For years, Louis Armstrong and his All-Stars would open each public appearance with this number. As a native Hoosier, it always brings back good memories of my growing up days. This recording is a good example of one of the basic elements of jazz — improvisation or spontaneous composition. The tenor sax plays the familiar melody, followed by a series of soloists improvising on the basic tune structure. In the last :30 of the track, the vibraphonist brings us “Back Home Again” to Indiana and the original tune. Cottontail — Lincoln Center Jazz Orchestra I’ve been privileged to serve on the Board of Jazz at Lincoln Center for lots of years and so I’ve been able to see and hear the best of the genre up close and personal. Under the masterful direction of Wynton Marsalis, the organization’s managing and artistic director, every member of this 16-piece orchestra could be a headliner on their own. Each musician is a composer, arranger and performer. In this closing track of my jazz playlist, the orchestra is joined by the famous tenor sax player, Illinois Jacquet. The recording is live and I hope you’ll join in the applause.

Camp Curtin President Lincoln’s 75,000 volunteers Secession in the United States Alexander Hamilton Hamilton (musical) Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: I’m a Ding Dong Daddy (From Dumas); Jazz Lips; Savoy Blues; You Made Me Love You; Weather Bird; Put ’em Down Blues; Willie the Weeper; Oriental Strut; Big Butter and […]

Boris Baran Contract bridge Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Jazz Lips; Sugar Foot Strut; A Monday Date; Dropping Shucks; Oriental Strut; Skip the Gutter; Got No Blues; Big Butter and Egg Man; S.O.L. Blues; The Last Time; Dallas Blues; That Rhythm Man; Heebie Jeebies; I’m Gonna Gitcha; That’s When I’ll […]

About to Happen Alternative rock Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Dallas Blues; Cornet Chop Suey; Sweet Savannah Sue; Black and Blue; Chicago Breakdown; Ory’s Creole Trombone; Georgia Grind; A Monday Date; West End Blues; Save It Pretty Mama; Oriental Strut; Put ’em Down Blues; Come Back Sweet Papa; Big Butter […]

Shopping trolleys really do go for quite a price http://www.shopequip.co.uk/shopping+baskets+shopping+trolleys/supermarket+shopping+trolleys+on+wheels-C55-R162.html NOT YOU, FIRE https://www.youtube.com/watch?v=i6bqNm9b4e4 Things that are bad this week: - School plays - Fake videos that are obviously fake Captain Disillusion: https://www.youtube.com/user/CaptainDisillusion Chewing https://en.wikipedia.org/wiki/Mastication Nessie http://www.bbc.co.uk/news/uk-scotland-highlands-islands-36024638 Ducats

This program is from April 6th, 1988 and features Jimmy Mazzy (banjo/vocals), Fred Lind (cornet), George Poor (trumpet), Paul Meymaris (clarinet), John Kafalas (trombone), Don Frothingham (piano), and an alto saxophonist who I think is probably Steve Wright. The selections are Big Butter and Egg Man, Sweet Jenny Lee, and Get Out and Get Under … Continue reading Podcast #95: April 6, 1988 Part I →

Richard G. Hubler Michael Barrier (historian) Walt Disney James Bedford Alcor Life Extension Foundation FM-2030 Transhumanism Music Credits: Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Basin Street Blues, Big Butter and Egg Man, Big Fat Ma and Skinny Pa, Black and Blue, Come Back Sweet Papa, Don’t Jive Me, Dropping Shucks, Hotter […]

“The public don’t understand jazz music as we musicians do. A diminished seventh don’t mean a thing to them, but they go for high notes. After all, the public is paying. If musicians depended on musicians at the box office they would starve to death.”–Louis Armstrong Brian Harker’s Louis Armstrong’s Hot Five and Hot Seven Recordings (Oxford University Press, 2011) is an artful jambalaya of rigorous musical analysis, thoughtful cultural contexts, and some provocative informed speculation as to how Armstrong absorbed, innovated, and consolidated the music we call jazz. Harker focuses his analysis and discussion on seven of Louis Armstrong’s “Hot Five” recordings, made during the period between 1925 and 1928. Harker’s recording-as-“snap-shot” approach illuminates how Armstrong used novelty, musical narrative, rhythmic variation, harmonic changes, “sweet” and “hot” elements,  and technical virtuosity in his vast recording repertoire. Harker also details how Armstrong relentlessly wedded his drive for self-improvement and creative expression to commercial realities, giving the reader fascinating anecdotes and back stories about this extraordinary African-American’s journey for personal and musical acceptance. Highlights of Harker’s song -by-song analysis include Armstrong’s “novelty” imitation of a clarinet’s cascading arpeggios in “Cornet Chop Suey,” his “telling a story” in “Big Butter and Egg Man,” his negotiation of harmonic changes in “Potato Head Blues,” his crowd-thrilling high note playing in “SOL Blues” and “Gully Low Blues,” his “sweet jazz” elements in “Savoy Blues” and his brilliant amalgam of all the afore-mentioned jazz elements in his masterpiece recording, “West End Blues.” Brian Harker, a Professor of Music at Brigham Young University and former professional trumpet player himself, has spent a good part of his life studying Louis Armstrong. And, he is quite interesting and provocative when he is a speculative detective. Some examples include how he shares the theory that some of Armstrong’s dynamic rhythmic experimentation was inspired by Armstrong’s association with the dance team of Brown and McGraw, or how Armstrong’s sustained high C virtuosity was influenced by his admiration for opera superstar Enrico Caruso as well as his competitive rivalry with trumpeter Reuben Reeves – or how Armstrong’s incorporating elements of “sweet music” (in Savoy Blues) may have been inspired by Armstrong’s own predilection for Guy Lombardo’s sweet jazz as a preferred musical background during his own romantic trysts.  This gives feel and flesh to the book and complements Harker’s studied analyses of Armstrong’s solo transcriptions. Louis Armstrong drew from everything and everyone around him. He constantly tried to improve himself musically and personally and yet, at the same time, resented the “putting on of airs,” all the while negotiating the politics of race and the brutal realities of the music and entertainment world. Harker’s thoughtful cultural introspections gives the reader a greater appreciation for what Armstrong himself had to endure and transcend during the Hot Five recording period of his career. According to Harker, Louis was most proud of his “color barrier” advances in radio and film and saw his Hot Five recordings as simply another pay... Learn more about your ad choices. Visit megaphone.fm/adchoices

“The public don't understand jazz music as we musicians do. A diminished seventh don't mean a thing to them, but they go for high notes. After all, the public is paying. If musicians depended on musicians at the box office they would starve to death.”–Louis Armstrong Brian Harker's Louis Armstrong's Hot Five and Hot Seven Recordings (Oxford University Press, 2011) is an artful jambalaya of rigorous musical analysis, thoughtful cultural contexts, and some provocative informed speculation as to how Armstrong absorbed, innovated, and consolidated the music we call jazz. Harker focuses his analysis and discussion on seven of Louis Armstrong's “Hot Five” recordings, made during the period between 1925 and 1928. Harker's recording-as-“snap-shot” approach illuminates how Armstrong used novelty, musical narrative, rhythmic variation, harmonic changes, “sweet” and “hot” elements,  and technical virtuosity in his vast recording repertoire. Harker also details how Armstrong relentlessly wedded his drive for self-improvement and creative expression to commercial realities, giving the reader fascinating anecdotes and back stories about this extraordinary African-American's journey for personal and musical acceptance. Highlights of Harker's song -by-song analysis include Armstrong's “novelty” imitation of a clarinet's cascading arpeggios in “Cornet Chop Suey,” his “telling a story” in “Big Butter and Egg Man,” his negotiation of harmonic changes in “Potato Head Blues,” his crowd-thrilling high note playing in “SOL Blues” and “Gully Low Blues,” his “sweet jazz” elements in “Savoy Blues” and his brilliant amalgam of all the afore-mentioned jazz elements in his masterpiece recording, “West End Blues.” Brian Harker, a Professor of Music at Brigham Young University and former professional trumpet player himself, has spent a good part of his life studying Louis Armstrong. And, he is quite interesting and provocative when he is a speculative detective. Some examples include how he shares the theory that some of Armstrong's dynamic rhythmic experimentation was inspired by Armstrong's association with the dance team of Brown and McGraw, or how Armstrong's sustained high C virtuosity was influenced by his admiration for opera superstar Enrico Caruso as well as his competitive rivalry with trumpeter Reuben Reeves – or how Armstrong's incorporating elements of “sweet music” (in Savoy Blues) may have been inspired by Armstrong's own predilection for Guy Lombardo's sweet jazz as a preferred musical background during his own romantic trysts.  This gives feel and flesh to the book and complements Harker's studied analyses of Armstrong's solo transcriptions. Louis Armstrong drew from everything and everyone around him. He constantly tried to improve himself musically and personally and yet, at the same time, resented the “putting on of airs,” all the while negotiating the politics of race and the brutal realities of the music and entertainment world. Harker's thoughtful cultural introspections gives the reader a greater appreciation for what Armstrong himself had to endure and transcend during the Hot Five recording period of his career. According to Harker, Louis was most proud of his “color barrier” advances in radio and film and saw his Hot Five recordings as simply another pay...

“The public don’t understand jazz music as we musicians do. A diminished seventh don’t mean a thing to them, but they go for high notes. After all, the public is paying. If musicians depended on musicians at the box office they would starve to death.”–Louis Armstrong Brian Harker’s Louis Armstrong’s Hot Five and Hot Seven Recordings (Oxford University Press, 2011) is an artful jambalaya of rigorous musical analysis, thoughtful cultural contexts, and some provocative informed speculation as to how Armstrong absorbed, innovated, and consolidated the music we call jazz. Harker focuses his analysis and discussion on seven of Louis Armstrong’s “Hot Five” recordings, made during the period between 1925 and 1928. Harker’s recording-as-“snap-shot” approach illuminates how Armstrong used novelty, musical narrative, rhythmic variation, harmonic changes, “sweet” and “hot” elements,  and technical virtuosity in his vast recording repertoire. Harker also details how Armstrong relentlessly wedded his drive for self-improvement and creative expression to commercial realities, giving the reader fascinating anecdotes and back stories about this extraordinary African-American’s journey for personal and musical acceptance. Highlights of Harker’s song -by-song analysis include Armstrong’s “novelty” imitation of a clarinet’s cascading arpeggios in “Cornet Chop Suey,” his “telling a story” in “Big Butter and Egg Man,” his negotiation of harmonic changes in “Potato Head Blues,” his crowd-thrilling high note playing in “SOL Blues” and “Gully Low Blues,” his “sweet jazz” elements in “Savoy Blues” and his brilliant amalgam of all the afore-mentioned jazz elements in his masterpiece recording, “West End Blues.” Brian Harker, a Professor of Music at Brigham Young University and former professional trumpet player himself, has spent a good part of his life studying Louis Armstrong. And, he is quite interesting and provocative when he is a speculative detective. Some examples include how he shares the theory that some of Armstrong’s dynamic rhythmic experimentation was inspired by Armstrong’s association with the dance team of Brown and McGraw, or how Armstrong’s sustained high C virtuosity was influenced by his admiration for opera superstar Enrico Caruso as well as his competitive rivalry with trumpeter Reuben Reeves – or how Armstrong’s incorporating elements of “sweet music” (in Savoy Blues) may have been inspired by Armstrong’s own predilection for Guy Lombardo’s sweet jazz as a preferred musical background during his own romantic trysts.  This gives feel and flesh to the book and complements Harker’s studied analyses of Armstrong’s solo transcriptions. Louis Armstrong drew from everything and everyone around him. He constantly tried to improve himself musically and personally and yet, at the same time, resented the “putting on of airs,” all the while negotiating the politics of race and the brutal realities of the music and entertainment world. Harker’s thoughtful cultural introspections gives the reader a greater appreciation for what Armstrong himself had to endure and transcend during the Hot Five recording period of his career. According to Harker, Louis was most proud of his “color barrier” advances in radio and film and saw his Hot Five recordings as simply another pay... Learn more about your ad choices. Visit megaphone.fm/adchoices

“The public don’t understand jazz music as we musicians do. A diminished seventh don’t mean a thing to them, but they go for high notes. After all, the public is paying. If musicians depended on musicians at the box office they would starve to death.”–Louis Armstrong Brian Harker’s Louis Armstrong’s Hot Five and Hot Seven Recordings (Oxford University Press, 2011) is an artful jambalaya of rigorous musical analysis, thoughtful cultural contexts, and some provocative informed speculation as to how Armstrong absorbed, innovated, and consolidated the music we call jazz. Harker focuses his analysis and discussion on seven of Louis Armstrong’s “Hot Five” recordings, made during the period between 1925 and 1928. Harker’s recording-as-“snap-shot” approach illuminates how Armstrong used novelty, musical narrative, rhythmic variation, harmonic changes, “sweet” and “hot” elements,  and technical virtuosity in his vast recording repertoire. Harker also details how Armstrong relentlessly wedded his drive for self-improvement and creative expression to commercial realities, giving the reader fascinating anecdotes and back stories about this extraordinary African-American’s journey for personal and musical acceptance. Highlights of Harker’s song -by-song analysis include Armstrong’s “novelty” imitation of a clarinet’s cascading arpeggios in “Cornet Chop Suey,” his “telling a story” in “Big Butter and Egg Man,” his negotiation of harmonic changes in “Potato Head Blues,” his crowd-thrilling high note playing in “SOL Blues” and “Gully Low Blues,” his “sweet jazz” elements in “Savoy Blues” and his brilliant amalgam of all the afore-mentioned jazz elements in his masterpiece recording, “West End Blues.” Brian Harker, a Professor of Music at Brigham Young University and former professional trumpet player himself, has spent a good part of his life studying Louis Armstrong. And, he is quite interesting and provocative when he is a speculative detective. Some examples include how he shares the theory that some of Armstrong’s dynamic rhythmic experimentation was inspired by Armstrong’s association with the dance team of Brown and McGraw, or how Armstrong’s sustained high C virtuosity was influenced by his admiration for opera superstar Enrico Caruso as well as his competitive rivalry with trumpeter Reuben Reeves – or how Armstrong’s incorporating elements of “sweet music” (in Savoy Blues) may have been inspired by Armstrong’s own predilection for Guy Lombardo’s sweet jazz as a preferred musical background during his own romantic trysts.  This gives feel and flesh to the book and complements Harker’s studied analyses of Armstrong’s solo transcriptions. Louis Armstrong drew from everything and everyone around him. He constantly tried to improve himself musically and personally and yet, at the same time, resented the “putting on of airs,” all the while negotiating the politics of race and the brutal realities of the music and entertainment world. Harker’s thoughtful cultural introspections gives the reader a greater appreciation for what Armstrong himself had to endure and transcend during the Hot Five recording period of his career. According to Harker, Louis was most proud of his “color barrier” advances in radio and film and saw his Hot Five recordings as simply another pay... Learn more about your ad choices. Visit megaphone.fm/adchoices

“The public don't understand jazz music as we musicians do. A diminished seventh don't mean a thing to them, but they go for high notes. After all, the public is paying. If musicians depended on musicians at the box office they would starve to death.”–Louis Armstrong Brian Harker's Louis Armstrong's Hot Five and Hot Seven Recordings (Oxford University Press, 2011) is an artful jambalaya of rigorous musical analysis, thoughtful cultural contexts, and some provocative informed speculation as to how Armstrong absorbed, innovated, and consolidated the music we call jazz. Harker focuses his analysis and discussion on seven of Louis Armstrong's “Hot Five” recordings, made during the period between 1925 and 1928. Harker's recording-as-“snap-shot” approach illuminates how Armstrong used novelty, musical narrative, rhythmic variation, harmonic changes, “sweet” and “hot” elements,  and technical virtuosity in his vast recording repertoire. Harker also details how Armstrong relentlessly wedded his drive for self-improvement and creative expression to commercial realities, giving the reader fascinating anecdotes and back stories about this extraordinary African-American's journey for personal and musical acceptance. Highlights of Harker's song -by-song analysis include Armstrong's “novelty” imitation of a clarinet's cascading arpeggios in “Cornet Chop Suey,” his “telling a story” in “Big Butter and Egg Man,” his negotiation of harmonic changes in “Potato Head Blues,” his crowd-thrilling high note playing in “SOL Blues” and “Gully Low Blues,” his “sweet jazz” elements in “Savoy Blues” and his brilliant amalgam of all the afore-mentioned jazz elements in his masterpiece recording, “West End Blues.” Brian Harker, a Professor of Music at Brigham Young University and former professional trumpet player himself, has spent a good part of his life studying Louis Armstrong. And, he is quite interesting and provocative when he is a speculative detective. Some examples include how he shares the theory that some of Armstrong's dynamic rhythmic experimentation was inspired by Armstrong's association with the dance team of Brown and McGraw, or how Armstrong's sustained high C virtuosity was influenced by his admiration for opera superstar Enrico Caruso as well as his competitive rivalry with trumpeter Reuben Reeves – or how Armstrong's incorporating elements of “sweet music” (in Savoy Blues) may have been inspired by Armstrong's own predilection for Guy Lombardo's sweet jazz as a preferred musical background during his own romantic trysts.  This gives feel and flesh to the book and complements Harker's studied analyses of Armstrong's solo transcriptions. Louis Armstrong drew from everything and everyone around him. He constantly tried to improve himself musically and personally and yet, at the same time, resented the “putting on of airs,” all the while negotiating the politics of race and the brutal realities of the music and entertainment world. Harker's thoughtful cultural introspections gives the reader a greater appreciation for what Armstrong himself had to endure and transcend during the Hot Five recording period of his career. According to Harker, Louis was most proud of his “color barrier” advances in radio and film and saw his Hot Five recordings as simply another pay... Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

This program presents the beginning of the 7/6/88 session, with Jimmy Mazzy (banjo/vocals), Fred Lind (cornet), Paul Meymaris (clarinet), John Kafalas (trombone), Don Frothingham (piano), Al Ehrenfried (bass), and Stu Grover (drums).  The selections are “If Dreams Come True,” “You’re Driving Me Crazy,” “Big Butter and Egg Man,” and “Louisian-I-A.” Send questions or comments to … Continue reading Program #46: July 6, 1988 Part I →

[audio:http://traffic.libsyn.com/generallyspeaking/AboutTheChurch115-BigButterJesusStruckByLightening.mp3] About The Church Podcast Big Butter Jesus Struck By Lightning In this episode, Cliff and DG actually sing! Do we really need to post anything else here in the show notes to get you to want to listen to this episode? I didn't think so! Click Here To Download This Episode Thanks For Subscribing […]

[audio:http://traffic.libsyn.com/generallyspeaking/AboutTheChurch115-BigButterJesusStruckByLightening.mp3] About The Church Podcast Big Butter Jesus Struck By Lightning In this episode, Cliff and DG actually sing! Do we really need to post anything else here in the show notes to get you to want to listen to this episode? I didn't think so! Click Here To Download This Episode Thanks For Subscribing […]

Big Band Serenade presents Muggsy Spanier and His Ragtime Band 1939-1942 Songs played are: 1)"Big Butter and Egg Man"-1939,2)"Someday, Sweetheart"-1939,3)"That Da Da Strain"-1939,4)"I Wish I Could Skimmy Like My Sister Kate"-1939,5)"Relazin' at the Touro"-1939,6)"Dinah"-1939,7)"(What did I do to be so)Black and Blue"-1939,8)"Lazy River"-1940,9)"Squeeze Me"-1940,10)"Little David, Play on Your Harp"-1942