Podcasts about Bix Beiderbecke

At the Jazz Band Ball is a podcast devoted to jazz from its earliest days through the 1940s. Every show is an exploration of an artist, a venue or an instrument. Louis Armstrong at Connie's Inn in Harlem, Duke Ellington at the Cotton Club, Bix Beiderbecke at the Palace Theatre in Cleveland, and lots more. Join me on Substack, Spotify, Apple, or wherever you listen to podcasts.

36:14 – More public domain jazz & blues from 100+ years ago. This episode features the first three recording sessions by Bix Beiderbecke and the Wolverine Orchestra (aka the Wolverines), which took place in February, May and June of 1924 at Gennett Records in Richmond, Indiana. This show is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 4.0 […]

On tonight's show: Bix Beiderbecke, Copenhagen Glenn Miller, Adios Benny Goodman, Rose Room Benny Goodman, Big John's Special Frank Sinatra with Tommy Dorsey & His Orchestra, Fools Rush In Doris Day and Les Brown, Sentimental Journey Billie Holiday, What A Little Moonlight Can Do Ella Fitzgerald, You're the Top Eddie "Lockjaw" Davis, Serenade in Blue Annie Ross & Gerry Mulligan, I Guess I'll Have to Change My Plan Nat "King" Cole, Nature Boy Kenny Burrell Octet, A String of Pearls Dave Brubeck, Upstage Rumba Clark Terry and Paul Gonsalves, Funky Clark Terry & Chico O'Farrill, Macarena Clark Terry, Jam Session with Oscar Peterson, Misty Dianne Reeves (with Clark Terry), I Hadn't Anyone ‘til You

Jazz88's Peter Solomon spoke with Tony Balluff, clarinetist and founding member of the Southside Aces, about the Jazz Age Rumpus IV taking place at the Hook and Ladder Theater on Sunday, March 23rd from 3 - 7 PM. The music will focus on the New York sounds of Bix Beiderbecke, Ellington small groups, and singer Lee Wiley. The Southside Aces will perform at Sunday's event, as well as singer Maude Hixson and her Town Talkers, and a new combo Balluff has organized called the 4 AM Orchestra.

Jazz88's Peter Solomon spoke with Tony Balluff, clarinetist and founding member of the Southside Aces, about the Jazz Age Rumpus IV taking place at the Hook and Ladder Theater on Sunday, March 23rd from 3 - 7 PM. The music will focus on the New York sounds of Bix Beiderbecke, Ellington small groups, and singer Lee Wiley. The Southside Aces will perform at Sunday's event, as well as singer Maude Hixson and her Town Talkers, and a new combo Balluff has organized called the 4 AM Orchestra.

From the first moment I heard this ditty, it became my theme song. I learned to play it - (in a far cruder fashion than Ry, of course) and worked it into my set list. Just like the character Bill in the narrative, - (my name, btw) - my reprobate ways had also been domesticated by love. And, another harmonic convergence: I had even spent a year in Louisville, Kentucky. Jack Yellen, the Jewish-Polish immigrant who wrote these Jazz-age lyrics, also penned Happy Days are Here Again, and Ain't She Sweet. If he had only created these three songs, his oeuvre would have been impressive. His art was another example, like that of Irving Berlin and the Gershwins, of the affinity young Jewish musicians expressed for black culture.  And, like the Semitic moguls of old Hollywood - they became reflectors of America's aspirational self-image.Ry Cooder's Jazz album was not exactly an anomaly - he has always been a musical archeologist, but on this collection he strove for unparalleled authenticity. Check out his jaw dropping rendition of Bix Beiderbecke's In A Mist. Sublime. He's a national treasure, and if the jaunty swing-time on this number doesn't get your feet tapping - check your pulse - you might be dead.

Featuring: Louis Armstrong, California Ramblers, Coon-Sanders Original Nighthawk Orchestra, Art Tatum, Fats Waller, Bix Beiderbecke, Bessie Smith.Songs: Dinah, Gut Bucket Blues, Clap Hands! Here Comes Charlie!, Flamin' Mamie, Tea For Two, Squeeze Me, Davenport Blues, St. Louis Blues.

RED MCKENZIE & EDDIE CONDON:“THE CHICAGOANS” Chicago, December 8 & 16, 1927Sugar, China boy, Nobody's sweetheart (1), Liza (1)Jimmy McPartland (cnt) Frank Teschmacher (cl) Bud Freeman (ts) Joe Sullivan (p) Eddie Condon (bj) Jim Lannigan (tu,b) Gene Krupa (d) Mezz Mezzrow (cymbals -1) “CHICAGO RHYTHM KINGS” Chicago, March 27, 1928I've found a new babyMuggsy Spanier (cnt) Frank Teschmacher (cl) Mezz Mezzrow (ts) Joe Sullivan (p) Eddie Condon (bj) Jim Lannigan (tu) Gene Krupa (d) Red McKenzie (vcl) BUD FREEMAN Chicago, December 3, 1928Crazeology, Can't help lovin' dat man (rmk vcl)Johnny Mendell (tp) Floyd O'Brien (tb) Bud Jacobson (cl,as) Bud Freeman (ts) Dave North (p) Herman Foster (bj) Johnny Mueller (b) Gene Krupa (d) Red McKenzie (vcl) New York, December 4, 1935What is there to say ?, The buzzard, Tillie's downtown now, Keep smiling at troubleBunny Berigan (tp) Bud Freeman (cl,ts) Claude Thornhill (p) Eddie Condon (g) Grachan Moncur (b) Cozy Cole (d) FRANKIE TRUMBAUER New York, February 4, 1927Singin' the blues (1), Trumbology, Clarinet marmalade,Bix Beiderbecke (cnt) Bill Rank (tb) Frankie Trumbauer (c-mel) Jimmy Dorsey (cl,as) Paul Mertz (p) Howdy Quicksell (bj) Eddie Lang (g-1) Chauncey Morehouse (d) New York, August 25, 1927Three blind mice, Blue river (se vcl), There's a cradle in Caroline (se vcl)Bix Beiderbecke (cnt) Bill Rank (tb) Frankie Trumbauer (c-mel) Doc Ryker (as) Don Murray (cl,bar) Adrian Rollini (bassax) Itzy Riskin (p) Eddie Lang (g) Chauncey Morehouse (d) Seger Ellis (vcl) Continue reading Puro Jazz 25 de octubre, 2024 at PuroJazz.

RED MCKENZIE & EDDIE CONDON:“THE CHICAGOANS” Chicago, December 8 & 16, 1927Sugar, China boy, Nobody's sweetheart (1), Liza (1)Jimmy McPartland (cnt) Frank Teschmacher (cl) Bud Freeman (ts) Joe Sullivan (p) Eddie Condon (bj) Jim Lannigan (tu,b) Gene Krupa (d) Mezz Mezzrow (cymbals -1) “CHICAGO RHYTHM KINGS” Chicago, March 27, 1928I've found a new babyMuggsy Spanier (cnt) Frank Teschmacher (cl) Mezz Mezzrow (ts) Joe Sullivan (p) Eddie Condon (bj) Jim Lannigan (tu) Gene Krupa (d) Red McKenzie (vcl) BUD FREEMAN Chicago, December 3, 1928Crazeology, Can't help lovin' dat man (rmk vcl)Johnny Mendell (tp) Floyd O'Brien (tb) Bud Jacobson (cl,as) Bud Freeman (ts) Dave North (p) Herman Foster (bj) Johnny Mueller (b) Gene Krupa (d) Red McKenzie (vcl) New York, December 4, 1935What is there to say ?, The buzzard, Tillie's downtown now, Keep smiling at troubleBunny Berigan (tp) Bud Freeman (cl,ts) Claude Thornhill (p) Eddie Condon (g) Grachan Moncur (b) Cozy Cole (d) FRANKIE TRUMBAUER New York, February 4, 1927Singin' the blues (1), Trumbology, Clarinet marmalade,Bix Beiderbecke (cnt) Bill Rank (tb) Frankie Trumbauer (c-mel) Jimmy Dorsey (cl,as) Paul Mertz (p) Howdy Quicksell (bj) Eddie Lang (g-1) Chauncey Morehouse (d) New York, August 25, 1927Three blind mice, Blue river (se vcl), There's a cradle in Caroline (se vcl)Bix Beiderbecke (cnt) Bill Rank (tb) Frankie Trumbauer (c-mel) Doc Ryker (as) Don Murray (cl,bar) Adrian Rollini (bassax) Itzy Riskin (p) Eddie Lang (g) Chauncey Morehouse (d) Seger Ellis (vcl) Continue reading Puro Jazz 28 de octubre, 2024 at PuroJazz.

Bix Beiderbecke was een Amerikaanse jazzcomponist, -pianist en -kornettist. Samen met Louis Armstrong was hij een van de meest toonaangevende jazzsolisten van de jaren twintig. In deze aflevering veel opnamen waarin hij als gast speelde. Reacties: jazztrain@studio040.nl

It's been a wonderful 6-year run, but it's time to call it a day. So, for this final episode of Same Difference, we go back to the beginnings of Jazz with "Tiger Rag". Join AJ and Johnny one last time, as they listen to and discuss versions of this Jazz standard by The Original Dixieland Jass Band, Bix Beiderbecke, Louis Armstrong, Oscar Aleman, The Whiteway Jazz Band, and new-to-us artist Annie and The Fur Trappers. Thank you, everyone, for 6+ swingin' years!

Today's show features music performed by Bix Beiderbecke and Robert Johnson

Aunque JM y Harold Arlen trabajarían juntos, de forma intermitente, durante muchos años, nada igualaría a las canciones que crearon a principios de la década de los años 40, cuando Mercer estaba devastado por la pérdida del amor de Judy Garland. Con José Manuel Corrales.

Aunque JM y Harold Arlen trabajarían juntos, de forma intermitente, durante muchos años, nada igualaría a las canciones que crearon a principios de la década de los años 40, cuando Mercer estaba devastado por la pérdida del amor de Judy Garland. Con José Manuel Corrales.

On tonight's show: Hoagy Carmichael and His Orchestra with Bix Beiderbecke, Bessie Couldn't Help It Chick Webb, Deep In a Dream (1939, feat. Ella Fitzgerald) Harry James, All Of Me (Helen Ward vocals) Sonny Stitt, Skylark Eddie "Lockjaw" Davis, I Cover the Waterfront Duke Ellington, Kinda Dukish & Rockin' in Rhythm Brew Moore, Fools Rush In (Where Angels Fear to Tread) Art Pepper, Walkin' Shoes Art Pepper and Sonny Redd, What's New Art Pepper, Bewitched, Bothered and Bewildered Art Pepper, 'Round Midnight Stuff Smith, Undecided Jimmy Smith, Organ Grinder's Swing (feat. Kenny Burrell & Grady Tate) Yusef Lateef, Six Miles Next Door Dave Brubeck, Koto Song

Some songs have very deep roots in the Floodisphere. For instance, the late Joe Dobbs loved this song. In fact, we can remember Dave Peyton and Charlie Bowen jamming on this one with Joe and his brother Dennis at their Fret ‘n Fiddle music shop in its original Huntington West 14th Street location in the mid-1970s. (The song might even have been in the set list when the four opened for Little Jimmy Dickens' concert at the old Memorial Field House in 1977.)The tune also was the first song that the great Doug Chaffin played with us when we met up with him at a Nancy McClellan New Year's Eve party a quarter of a century ago. And Sam St. Clair still talks about Chuck Romine loving that melody; oh, how Doctor Jazz could tear it up on his tenor banjo.These days Sam and Charlie have introduced the song to a whole new generation of Floodsters. Just listen to Randy Hamilton and Danny Cox and Jack Nuckols rocking on “Somebody Stole My Gal!”About the Song“Somebody Stole My Gal” already was an old-timer by the time it reached Floodlandia.Written in 1918 by San Francisco songwriter Leo Wood, the song was first recorded by Ted Weems and His Orchestra. In 1924, that group's version sold a million copies and spent a full five weeks at No. 1 on the charts in The Roarin' Twenties.Over the decades, the song also has been recorded by so many of our heroes, folks like Bix Beiderbecke (1928), Cab Calloway (1931), Fats Waller (1935), both Count Basie and Benny Goodman (1940), Johnny Ray (1952) and Jim Kweskin (1965).In the MoviesThe song has even gotten its share of screen time, starting in a cartoon of all things in 1931 from Fleischer Studios, the famed creators of Betty Boop and Koko the Clown.Its best known Big Screen moments, though, were in Peter O'Toole's 1982 comedy My Favorite Year, in the Sissy Spacek-Piper Laurie comedy The Grass Harp in 1995 and in the 2004 epic bio-pic The Aviator about Howard Hughes, starring Leonardo DiCaprio.On a Flood AlbumWhen The Flood went into the studio in November 2002, this was one of the song the guys recorded for the album to be released as The 1937 Flood Plays Up a Storm. Just listen to Joe, Chuck and Doug rocking the introduction. (Oh, and how we love hearing Joe's comment midway through Romine's solo: “Sounds like New Orleans!…)Nowadays you can hear that disc — and all the other Flood albums — for free on the Floodango music streaming service. Click here to give the album a spin.More History?Finally, if you'd like more history on the tunes we play, check out Flood Watch's ever-growing Song Stories section.Click here to start your browsing. 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

På svenska kallas det ”det glada 20-talet”, på engelska ”the roaring twenties”, på franska ”les années folles” och på tyska ”der goldener Zwanziger”. 1920-talet signalerar ett tygellöst, galet, skränigt decennium med jazz, dans och sexuell frigörelse.1920-talet var ett decennium som präglades av ekonomisk, social, teknisk och kulturell dynamik. Tankar om demokrati och jämställdhet slår igenom, och samtidigt utmanas av starka motkrafter. Vår nutid går att se som en kontinuitet av 1920-talets betydande händelser. Trots att det var närmare hundra år sedan, har decenniets effekter fortsatt att påverka vår värld på många sätt.I detta avsnitt samtalar programledaren Urban Lindstedt med Klas-Göran Karlsson, professor emeritus i historia vid Lunds universitet, samt Kim Salomon, professor emeritus i historia vid Lunds universitet. De är aktuella med boken 1920-talet – En spegel för vår tid.1920-talets mode var djärvt och innovativt. Kvinnor bar korta kjolar och klippte sitt hår kort, vilket var en stor förändring från de mer konservativa klädstilarna från tidigare decennier. Stilen var ofta extravagant och färgstark, med en stark betoning på individualitet och självuttryck. Dessa modetrender har fortsatt att påverka modeindustrin till denna dag.Kvinnlig rösträtt infördes i USA 1920 och i Sverige 1921. Årtiondet gav upphov till en ny generation av "moderna kvinnor" som utmanade traditionella sociala normer och kämpade för större jämställdhet. Kvinnor blev mer oberoende och mindre bundna till hemsysslorna.1920-talet var även en tid av stora teknologiska innovationer. Massproduktionen av bilar började på allvar, vilket förändrade människors levnadsvanor samt associerades med frihet och modernitet. Dessutom blev flyget en symbol för framtiden, med Charles Lindberghs flygning över Atlanten 1927. Vi såg starten av radio i Sverige och Danmark 1925, och 1926 visades världens första TV i Storbritannien. Dessa framsteg bidrog till att forma en ny tids- och rumsuppfattning.1920-talet är också känd som "jazzåldern". Jazzmusiken, med dess lekfulla och improviserade stil, blev mycket populär och hade en stor inverkan på kulturen. Det var en tid av fest och firande, och jazzmusiken blev en symbol för denna känsla av frihet och spontanitet. Jazzens inflytande sträckte sig över alla aspekter av kulturen, från musik och dans till mode och konst.Trots all denna framsteg och förändring mötte 1920-talet också betydande motstånd och kritik. Många människor var oroliga för de snabba förändringarna i samhället och det ökande inflytandet av modern teknologi. Dessutom fanns det starka invändningar mot den ökande jämställdheten och kvinnors växande självständighet. Dessa invändningar ledde till en backlash mot modernismen och bidrog till att forma de sociala och politiska konflikterna under de kommande decennierna.1920-talet var en period av ekonomisk tillväxt och välstånd. Massproduktion och ökad konsumtion bidrog till att stimulera ekonomin och skapa jobb. Denna period av ekonomisk tillväxt ledde dock till en börskrasch i USA 1929, vilket markerade slutet på det glada 20-talet och början på den stora depressionen.Bild: Dans, Västergötalands museum, fotograf Per Adolf Larsson, Digitaltmuseum, Public Domain.Musik: Wa-Da-Da (Ev'rybody's Doin' It Now) - Bix Beiderbecke and his Gang, 1927, Internet Archive, Public Domain.Klippare: Emanuel Lehtonen Vill du stödja podden och samtidigt höra ännu mer av Historia Nu? Gå med i vårt gille genom att klicka här: https://plus.acast.com/s/historianu-med-urban-lindstedt. Hosted on Acast. See acast.com/privacy for more information.

Today most of us don't know the name Marion Harris, but Grandma probably did when she was a teen-ager listening to that new-fangled radio in the parlor.Songs that summed up the transition from the stodgy, gaudy Gilded Age to the brave new world of The Jazz Age were often the recordings of Marion Harris. Her tunes like “Jazz Baby” and “They Go Wild, Simply Wild, Over Me,” “A Good Man is Hard to Find” and “Take Me to the Land of Jazz” were a soundtrack of the changing times.Her most enduring legacy? It was a 22-year-old Marion Harris who introduced the world to “After You've Gone,” 1919's bestselling American tune, written by the African-American vaudeville duo of Turner Layton and Henry Creamer.The pair wrote the song to bring some life to a failing road show called “So Long, Letty.” The road show continued to fail, but the song hooked audiences, taking off with a life of its own. Their HitsOne of the most frequently recorded pre-1920s jazz standards, “After You've Gone” appeared on the Top 20 charts on at least nine different occasions between 1919 and 1937. Highlighting them all were the 1927 recordings by Sophie Tucker and by Bessie Smith.And Layton and Creamer weren't finished. Three years later, they penned another beloved early-jazz standard, “Way Down Yonder in New Orleans,” which they advertised as "A Southern Song, without A Mammy, A Mule, Or A Moon." (What a dandy dig at some of the Tin Pan Alley clichés of the era!) One of that song's earliest recordings was 1927's signature rendition by Bix Beiderbecke and Frank Trumbauer.The Turner Layton OdysseyTurner Layton worked as a singer and dancer in vaudeville using original material. A Washington D.C. native, he received musical training from his father, a bass singer, music educator and hymn composer. The young man attended Howard University Dental School, then moved to New York, where he met Henry Creamer, with whom he wrote several Broadway musicals, the most successful being something called “Strut Miss Lizzie” in 1922.That same year, Layton left his partnership with Creamer to form a high-rolling cabaret act with Clarence “Tandy” Johnstone, performing in Harlem and at private parties for monied patrons like the Astor and Vanderbilt families. The pair followed their ritzy clientele from Newport in the summer to Palm Beach in the winter. It was in Florida in 1924 that the two met Lord and Lady Mountbatton, who persuaded them to move to England, where Edward, Prince of Wales, became one of their fans. Layton and Johnstone sold more than 10 million records between 1924 and 1935. Layton stayed in England until his death in 1978.Meanwhile, Marion….Marion Harris also moved to England, and the Prince of Wales became one of her fans too, especially enjoying her sets at the Café de Paris.But tragedy loomed. During World War II, the home she shared with her third husband was destroyed in 1944 by a German V1 rocket, a disaster that triggered in her a neurological disorder. Later that year while in New York to seek treatment, Harris died in a hotel room fire. She had fallen asleep while holding a lit cigarette. She was 48.Meanwhile, the song that linked their lives lives on. It became so popular, in fact, that years after its composition, the sheet music for “After You've Gone” was decorated with tiny photographs of the 45 performers who made the song famous, everyone from Paul Whiteman and Rudy Valle to Guy Lombardo and Louis Armstrong.Our Take on the TuneThis is a tune that our Flood brother Danny Cox brought to the mix. In fact, with a chuckle, he said, “I can't believe y'all weren't already doing this one.” True enough. “After You've Gone” was one that got away … until recently, when Danny corralled it and brought it to the table. 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

Great jazz trumpet playing from the 20s, 30s, and 40s, featuring: Louis Armstrong, Bix Beiderbecke, Bubber Miley, Roy Eldridge, Jabbo Smith, Hot Lips Page, and others.

Eddie Wood, que trabajaba en el almacén de Miller Music, le dijo a Mercer que creía que podía organizar una reunión con otro compositor que había llegado a Tin Pan Alley desde el interior del país: Hoagland Howard "Hoagy" Carmichael, nacido en Indiana. Mercer no desaprovechó la oportunidad, ya que era un gran admirador de los éxitos actuales de Carmichael, "Washboard Blues" y "Riverboat Shuffle".  Con José Manuel Corrales.

Live and early recorded jazz from Cleveland, OH. Featuring Andy Kirk, Woody Herman, Bix Beiderbecke, Will Marion Cook, Noble Sissle, Artie Shaw, Art Tatum, Perry Como, Tad Dameron, Sarah Vaughan,

If you were sitting around thinking of songs connected to The Mountain State, “Sweet Georgia Brown” probably wouldn't be on your list.It wasn't on ours either, even though we had loved and played the song for decades. But then about a dozen years ago, the late Dave Peyton dropped some song news on us at a jam session. “Hey, man,” we remember him saying with a big grin, “it's a West Virginia tune!”Of course, Brother Dave was absolutely right. Composer Maceo Pinkard, who went on to become one of the greatest composers in the Harlem Renaissance of the 1920s and '30s, was born in Bluefield, W.Va., where he got his education. While Pinkard wrote hundreds of tunes, including many for stage and screen, this 1925 jazz standard was his greatest one. Yes, she might have been a sweet Georgia peach, she had West Virginia roots.Bluefield BoyhoodSon of a West Virginia coal miner, Pinkard was educated at the Bluefield Colored Institute, class of 1913, and wrote his first major song — called “I'm Goin' Back Home” — the following year. (Today Bluefield State University holds a week-long festival each year in honor of its famous alumnus.)Pinkard had already formed his own orchestra and toured throughout the United States as conductor. In 1914 — at age 17 — Pinkard founded a theatrical agency in Omaha, Nebraska. Three years later found him in New York City creating Maceo Pinkard Music to sell compositions to national publishing companies.In the decade beginning in 1921, Pinkard produced a rich catalog, including such hits as “Sugar,” "Gimme a Little Kiss, Will Ya Huh?", “Here Comes the Showboat” and “At Twilight.” Another Pinkard composition from that period — “Them There Eyes” -- was a favorite of the great Billie Holiday, who recorded in 1939 on OKeh. It was one of the legend's signature tunes when she performed at George Wein's Storyville jazz club in Boston in 1952.Meanwhile, Bix Beiderbecke, with sidemen Gene Krupa and Benny Goodman, recorded Pinkard's "I'll Be A Friend with Pleasure" in 1930.Sweet Miss Brown The song that would top Maceo Pinkard's obituary in 1962 was co-written with lyricist Ken Casey. Soon after “Sweet Georgia Brown” was composed, it was introduced by bandleader Ben Bernie. As Bernie's nationally famous orchestra did much to popularize the number, Pinkard cut Bernie in for a share of the tune's royalties by giving him a co-writer credit.While the song today is an iconic jazz standard, it was not an instant hit. Bing Crosby recorded it in April 1932 with the Isham Jones Orchestra, reaching No. 2 in the charts. Four years later, Cab Calloway sang it in the movie The Singing Kid.Other RenditionsIt wasn't until 1949, though, that “Sweet Georgia Brown” reached its peak of popularity when it was recorded by Brother Bones and His Shadows. This novelty version, complete with whistling and bone-cracking, was a huge hit, spending 12 weeks on the Billboard charts. This version is the one you might know best, because it was adopted as the theme song of The Harlem Globetrotters basketball team starting in 1952. Still today they use it for their "Magic Circle" when the players warm up, passing around the ball and displaying their techniques and dexterity.Incidentally, a decade and a half later, The Beatles even had a comic version of the song. Their rendition contains the line In Liverpool she even dared / To criticize the Beatles' hair / With their whole fan club standing there.But Who Is Miss Brown?About Miss Brown's real-life identity, as those who regularly quote the Bible like to say, well, it's a mystery. Ken Casey's original 1925 lyrics make a number of references to African American culture. His rhymes make clear he's talking about a sweet brown-skinned woman from Georgia, possibly a prostitute, some say. The second verse, for instance, begins, Brown-skin gals, you'll get the blues, Brown-skin pals, you'll surely lose.Or was Miss Brown a white lady? In 1911, Dr. George Thaddeus Brown of the Georgia House of Representatives and his wife, Avis, welcomed a baby girl. Shortly after the child's birth, the Georgia General Assembly passed a resolution stating that the baby would be named “Georgia” after the state.Years later, in the lady's obituary, The Miami Herald wrote:According to family legend, it was her father who immortalized her when he met composer Ben Bernie in New York. A medical student at the time, George Brown told the composer about his family, including his youngest daughter with one brown eye and one green eye. Bernie whipped up lyrics to a melody by Kenneth Casey and Maceo Pinkard.Lots of errors here. Besides identifying Bernie as the “composer,” note that it was the 1890s when Dr. Brown attended post-graduate medical school in New York, decades before his daughter Georgia was born. Beyond that, there is a question of propriety. Dr. Brown's offspring would have been — what? — 14 when Pinkard's song was composed. Would you really celebrate your friend's teenage daughter with a song that said, Fellas she can't get / Are fellas that she ain't met? But hey, we didn't know her, so probably we ought to just keep our opinions to ourselves…Our Take on the Tune“Sweet Georgia Brown” has been in The Flood repertoire for a very long time. For instance, as reported earlier, back in 1977, when The Flood hosted a hootenanny one summer night at the Huntington Museum of Art, an instrumental version of the song was on the set list for the performance by Joe Dobbs, Dave Peyton, Stew Schneider and Charlie Bowen. Want to hear it? Click the button below:A quarter of a century after that, the tune was still front and center when it was featured on the band's first studio album in 2001. And, as we noted in an earlier article, “Sweet Georgia Brown” was on the set list for back-to-back shows on a magical weekend in the summer of 2002. Click the button below for a sampler of the tunes we played in those gigs, featuring solos by Joe and Dave, along with Chuck Romine, Doug Chaffin and Sam St. Clair:Today, a couple decades further along, “Sweet Georgia Brown” is still a showcase for all the folks on The Flood bandstand. In this 2024 version, we feature Charlie and Sam, along with Danny Cox, Randy Hamilton and Jack Nuckols.Swing It S'More?Finally, if that's how you like your Flood to roll, you might want to make Radio Floodango's free Swingin' playlist part of your day today for a randomize set of similar tunes.Click here to give it a spin. 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

"Cuando Fletcher Henderson empezó a tocar en el Connie's Inn, yo vivía en Greenwich, Connecticut. . . . cuando volvía a casa . . . me pasaba por el Connie's Inn. Fletcher y yo nos hicimos buenos amigos. Escribí mucho para aquella banda. Me pagaban bien". Bill Challis. Tras la salida de Benny Carter, Challis aportó dos éxitos: "Singin' the Blues" y "Clarinet Marmalade". Con José Manuel Corrales.

On today's show we'll appreciate Bix Beiderbecke, a shy young man with a horn from Davenport, IA, who lived just 28 years (1903-1931). He played cornet lyrically and deliberately. We'll listen to several memorable recordings made during this remarkable, too-brief career.

Welcome to a brand new feature of the podcast, Trumpet Icons!From jazz virtuosos to classical maestros, explore a curated collection of iconic trumpet players who have left an indelible mark on the world of music.To suggest a trumpeter that should be included in this series, or if you believe information shared about a previous player needs to be corrected, simply visit https://trumpetdynamics.com/icons. All suggestions and/or corrections will be read and adjusted as necessary!

Chris Blackwell, an inductee of the Rock & Roll Hall of Fame, is widely considered responsible for turning the world on to reggae music. As the founder of Island Records, he helped forge the careers of Bob Marley, Cat Stevens, Grace Jones, U2, Roxy Music, among many other high-profile acts, and produced records including Marley's Catch a Fire and Uprising. Blackwell currently runs Island Outpost, a group of elite resorts in Jamaica, which includes GoldenEye—the former home of author Ian Fleming. He received the A&R Icon Award in recognition of his lasting influence on the music business. He is author, with Paul Morley, of The Islander: My Life in Music and Beyond.“I think you need to be aware and see people be open to what can happen and get a feel, get an instinct, I guess. I think I've been blessed with instinct. I mean, I did not do well at school. I passed zero exams. I'm unemployable, but I've been blessed with having instincts.Miles Davis was the best teacher, always amused when I asked him questions. I was pretty cocky at the time, and I once asked him why he played so many bad notes, unlike Bix Beiderbecke and Louis Armstrong, who always played clean. He didn't blink. He didn't bite my head off. ‘Because I try and play what I hear in my head, he said, “not what I know I can already play.” That, to me, was the essence of jazz, trying to get somewhere new and not worrying if you made mistakes as long as you got there in the end. On a tightrope, and wobbling a little, but eventually gliding across that tightrope.Well, it's really great if you can be involved in doing something which brings something to people and lifts things. You know, if you can find a way to…when I say find a way, you just get an instinct of something, Oh, this is going to be fun. That can be great. I'm always looking…I don't know that I'm deliberately looking at things. I think things have happened, and I've seen something or got a feel for something or feel for the person or… I think I've been given a lot of luck.”www.islandoutpost.com www.simonandschuster.com/books/The-Islander/Chris-Blackwell/9781982172701 www.islandrecords.comwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

“I think you need to be aware and see people be open to what can happen and get a feel, get an instinct, I guess. I think I've been blessed with instinct. I mean, I did not do well at school. I passed zero exams. I'm unemployable, but I've been blessed with having instincts.Miles Davis was the best teacher, always amused when I asked him questions. I was pretty cocky at the time, and I once asked him why he played so many bad notes, unlike Bix Beiderbecke and Louis Armstrong, who always played clean. He didn't blink. He didn't bite my head off. ‘Because I try and play what I hear in my head, he said, “not what I know I can already play.” That, to me, was the essence of jazz, trying to get somewhere new and not worrying if you made mistakes as long as you got there in the end. On a tightrope, and wobbling a little, but eventually gliding across that tightrope.Well, it's really great if you can be involved in doing something which brings something to people and lifts things. You know, if you can find a way to…when I say find a way, you just get an instinct of something, Oh, this is going to be fun. That can be great. I'm always looking…I don't know that I'm deliberately looking at things. I think things have happened, and I've seen something or got a feel for something or feel for the person or… I think I've been given a lot of luck.”Chris Blackwell, an inductee of the Rock & Roll Hall of Fame, is widely considered responsible for turning the world on to reggae music. As the founder of Island Records, he helped forge the careers of Bob Marley, Cat Stevens, Grace Jones, U2, Roxy Music, among many other high-profile acts, and produced records including Marley's Catch a Fire and Uprising. Blackwell currently runs Island Outpost, a group of elite resorts in Jamaica, which includes GoldenEye—the former home of author Ian Fleming. He received the A&R Icon Award in recognition of his lasting influence on the music business. He is author, with Paul Morley, of The Islander: My Life in Music and Beyond.www.islandoutpost.com www.simonandschuster.com/books/The-Islander/Chris-Blackwell/9781982172701 www.islandrecords.comwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

“I think you need to be aware and see people be open to what can happen and get a feel, get an instinct, I guess. I think I've been blessed with instinct. I mean, I did not do well at school. I passed zero exams. I'm unemployable, but I've been blessed with having instincts.Miles Davis was the best teacher, always amused when I asked him questions. I was pretty cocky at the time, and I once asked him why he played so many bad notes, unlike Bix Beiderbecke and Louis Armstrong, who always played clean. He didn't blink. He didn't bite my head off. ‘Because I try and play what I hear in my head, he said, “not what I know I can already play.” That, to me, was the essence of jazz, trying to get somewhere new and not worrying if you made mistakes as long as you got there in the end. On a tightrope, and wobbling a little, but eventually gliding across that tightrope.Well, it's really great if you can be involved in doing something which brings something to people and lifts things. You know, if you can find a way to…when I say find a way, you just get an instinct of something, Oh, this is going to be fun. That can be great. I'm always looking…I don't know that I'm deliberately looking at things. I think things have happened, and I've seen something or got a feel for something or feel for the person or… I think I've been given a lot of luck.”Chris Blackwell, an inductee of the Rock & Roll Hall of Fame, is widely considered responsible for turning the world on to reggae music. As the founder of Island Records, he helped forge the careers of Bob Marley, Cat Stevens, Grace Jones, U2, Roxy Music, among many other high-profile acts, and produced records including Marley's Catch a Fire and Uprising. Blackwell currently runs Island Outpost, a group of elite resorts in Jamaica, which includes GoldenEye—the former home of author Ian Fleming. He received the A&R Icon Award in recognition of his lasting influence on the music business. He is author, with Paul Morley, of The Islander: My Life in Music and Beyond.www.islandoutpost.com www.simonandschuster.com/books/The-Islander/Chris-Blackwell/9781982172701 www.islandrecords.comwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Chris Blackwell, an inductee of the Rock & Roll Hall of Fame, is widely considered responsible for turning the world on to reggae music. As the founder of Island Records, he helped forge the careers of Bob Marley, Cat Stevens, Grace Jones, U2, Roxy Music, among many other high-profile acts, and produced records including Marley's Catch a Fire and Uprising. Blackwell currently runs Island Outpost, a group of elite resorts in Jamaica, which includes GoldenEye—the former home of author Ian Fleming. He received the A&R Icon Award in recognition of his lasting influence on the music business. He is author, with Paul Morley, of The Islander: My Life in Music and Beyond.“I think you need to be aware and see people be open to what can happen and get a feel, get an instinct, I guess. I think I've been blessed with instinct. I mean, I did not do well at school. I passed zero exams. I'm unemployable, but I've been blessed with having instincts.Miles Davis was the best teacher, always amused when I asked him questions. I was pretty cocky at the time, and I once asked him why he played so many bad notes, unlike Bix Beiderbecke and Louis Armstrong, who always played clean. He didn't blink. He didn't bite my head off. ‘Because I try and play what I hear in my head, he said, “not what I know I can already play.” That, to me, was the essence of jazz, trying to get somewhere new and not worrying if you made mistakes as long as you got there in the end. On a tightrope, and wobbling a little, but eventually gliding across that tightrope.Well, it's really great if you can be involved in doing something which brings something to people and lifts things. You know, if you can find a way to…when I say find a way, you just get an instinct of something, Oh, this is going to be fun. That can be great. I'm always looking…I don't know that I'm deliberately looking at things. I think things have happened, and I've seen something or got a feel for something or feel for the person or… I think I've been given a lot of luck.”www.islandoutpost.com www.simonandschuster.com/books/The-Islander/Chris-Blackwell/9781982172701 www.islandrecords.comwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Al di là del mito, un percorso di Claudio Sessa su storia e attualità del New Orleans sound, alle radici della grande musica afroamericana. Sfileranno nomi noti e meno noti della saga di New Orleans, che ha dato un contributo fondamentale alla straordinaria avventura del jazz: Jelly Roll Morton, Louis Armstrong, King Oliver, Bix Beiderbecke, Johnny Dodds, Kid Ory, Sam Morgan, Oscar Celestin e molti altri.

Al di là del mito, un percorso di Claudio Sessa su storia e attualità del New Orleans sound, alle radici della grande musica afroamericana. Sfileranno nomi noti e meno noti della saga di New Orleans, che ha dato un contributo fondamentale alla straordinaria avventura del jazz: Jelly Roll Morton, Louis Armstrong, King Oliver, Bix Beiderbecke, Johnny Dodds, Kid Ory, Sam Morgan, Oscar Celestin e molti altri.

El gran Bix Beiderbecke, el malogrado as blanco de la trompeta que creó el estilo "cool". Hosted on Acast. See acast.com/privacy for more information.

The Retrogressive . . Bob Brookmeyer's albums Traditionalism Revisited and Kansas City Revisited from 1958 and 1959, featuring tunes associated with Louis Armstrong, King Oliver, Bix Beiderbecke, Jelly Roll Morton, Count Basie and Billie Holiday . .with Jimmy Giuffre, Jim Hall, Zoot Sims, Al Cohn, Paul Quinichette, Harry "Sweets" Edison, Hank Jones, Nat Pierce, Charlie Persip, Eddie Jones, Freddie Green and Big Miller --- Support this podcast: https://anchor.fm/john-clark49/support

The Davenport native is one of the early greats in jazz. But he's not well known. His untimely death is a major reason.

The Davenport native is one of the early greats in jazz. But he's not well known. His untimely death is a major reason.

Four years after Disco Demolition Night, the Police performed at Comiskey Park. In the Quad Cities, 80s entertainment included the Bix Beiderbecke festival and cruising on Saturday Night.

Jazz musician Snoozer Quinn (1907 - 1949) is one of the guitar world's great enigmas. In his prime, he performed alongside Paul Whiteman, Bix Beiderbecke, the Dorsey Brothers, Louis Armstrong, and others; lore has it that even Les Paul even learned how to hammer-on and pull-off from Snoozer. But today Snoozer is largely forgotten because his only attempt at solo studio recordings completely disappeared and he died young after a long battle with tuberculosis. To add insult to injury, the only surviving film footage of Snoozer playing guitar has no audio and the only solo recordings we have of him were literally taped from his deathbed. On this week's Fretboard Journal Podcast, we take a look at Snoozer's life and legacy with Katy Hobgood Ray and Dan Sumner, who just co-authored a book entitled Snoozer Quinn: Fingerstyle Jazz Guitar Pioneer (Out of the Past Music). Half of the book features Katy's exhaustive biography on Quinn (one of her distant relatives) with rare photos, while the other half features Dan's transcriptions of eight Snoozer Quinn arrangements. Over the course of our interview, we learn about Snoozer's troubled life, how he got his name, his reputation among his peers, his Gibson instruments, and more. Then Dan sheds light on the Herculean task of transcribing the complex work of Snoozer from the available fragments and breadcrumbs, the guitarist's unique technique and tunings, and a lot more. Snoozer Quinn: Fingerstyle Jazz Guitar Pioneer is available here.  The Fretboard Journal is a reader-supported magazine. If you'd like to subscribe, support what we do, and get our 50th issue (now mailing), simply click here. We're throwing a 2022 Fretboard Summit in Chicago, where for three days you can attend workshops, panel discussions, live podcast tapings, and try out rare and priceless guitars with the staff of the FJ. Click here for ticket information.  This episode is sponsored by Peghead Nation (use the promo code FRETBOARD and get your first month free or $20 off any annual subscription); Retrofret Vintage Guitars; Izotope (use the discount code FRET10 to save 10% off your Izotope purchase); and Calton Cases.

Amanda Palmer is a best-selling author, feminist songwriter, community leader, pianist, and ukulele enthusiastic!She began her career with the highly regarded theatrical punk cabaret duo, the Dresden Dolls, before moving on to diverse solo work such as the groundbreaking crowdfunded "Theater is Evil" album, which debuted at the top of the billboard 200 in 2012 and remains the top funded original music project on Kickstarter.In 2013, she presented her Ted talk, The Art of Asking, which has been viewed over 20 million times, later expanding it into the New York times bestselling memoir. "The Art of Asking: How I Learned to Stop Worrying and Let People Help". Amanda was an early adopter of the Patreon platform to fund her artwork with an average of 15,000 patrons micro supporting her creations each month. In 2019, she released her album. "There Will Be No Intermission" and spent the next year touring the record with its themes and songs of life, death, abortion, and miscarriage.Amanda joins Nic to talk about the two years she spent in New Zealand riding out the pandemic, her thoughts on the evolution of Social Media and some musical guilty pleasures, including Katy Perry and Shakira.

Giuseppe Venuti (1903-1978) detto “Joe”, di chiare origini italiane, è stato il pioniere del violino jazz.Fu notissimo a cavallo tra anni '20 e '30, quando si esibiva soprattutto con il chitarrista Eddie Lang ma anche con gente quale Bing Crosby, Bix Beiderbecke, Jack Teagarden, Benny Goodman.Gli anni '40 e '50 lo videro poco attivo, mentre tornò in auge sul finire dei Sessanta, tra l'altro con le collaborazioni con Zoot Sims. Si stabilì per un certo periodo a Milano nel decennio successivo e fece visita in alcune occasioni alla RSI.Marcello Lorrai ripercorre una carriera straordinaria proponendoci anche inedite chicche. 

Giuseppe Venuti (1903-1978) detto “Joe”, di chiare origini italiane, è stato il pioniere del violino jazz.Fu notissimo a cavallo tra anni '20 e '30, quando si esibiva soprattutto con il chitarrista Eddie Lang ma anche con gente quale Bing Crosby, Bix Beiderbecke, Jack Teagarden, Benny Goodman.Gli anni '40 e '50 lo videro poco attivo, mentre tornò in auge sul finire dei Sessanta, tra l'altro con le collaborazioni con Zoot Sims. Si stabilì per un certo periodo a Milano nel decennio successivo e fece visita in alcune occasioni alla RSI.Marcello Lorrai ripercorre una carriera straordinaria proponendoci anche inedite chicche. 

Giuseppe Venuti (1903-1978) detto “Joe”, di chiare origini italiane, è stato il pioniere del violino jazz.Fu notissimo a cavallo tra anni '20 e '30, quando si esibiva soprattutto con il chitarrista Eddie Lang ma anche con gente quale Bing Crosby, Bix Beiderbecke, Jack Teagarden, Benny Goodman.Gli anni '40 e '50 lo videro poco attivo, mentre tornò in auge sul finire dei Sessanta, tra l'altro con le collaborazioni con Zoot Sims. Si stabilì per un certo periodo a Milano nel decennio successivo e fece visita in alcune occasioni alla RSI.Marcello Lorrai ripercorre una carriera straordinaria proponendoci anche inedite chicche. 

Giuseppe Venuti (1903-1978) detto “Joe”, di chiare origini italiane, è stato il pioniere del violino jazz.Fu notissimo a cavallo tra anni '20 e '30, quando si esibiva soprattutto con il chitarrista Eddie Lang ma anche con gente quale Bing Crosby, Bix Beiderbecke, Jack Teagarden, Benny Goodman.Gli anni '40 e '50 lo videro poco attivo, mentre tornò in auge sul finire dei Sessanta, tra l'altro con le collaborazioni con Zoot Sims. Si stabilì per un certo periodo a Milano nel decennio successivo e fece visita in alcune occasioni alla RSI.Marcello Lorrai ripercorre una carriera straordinaria proponendoci anche inedite chicche. 

Giuseppe Venuti (1903-1978) detto “Joe”, di chiare origini italiane, è stato il pioniere del violino jazz.Fu notissimo a cavallo tra anni '20 e '30, quando si esibiva soprattutto con il chitarrista Eddie Lang ma anche con gente quale Bing Crosby, Bix Beiderbecke, Jack Teagarden, Benny Goodman.Gli anni '40 e '50 lo videro poco attivo, mentre tornò in auge sul finire dei Sessanta, tra l'altro con le collaborazioni con Zoot Sims. Si stabilì per un certo periodo a Milano nel decennio successivo e fece visita in alcune occasioni alla RSI.Marcello Lorrai ripercorre una carriera straordinaria proponendoci anche inedite chicche. 

Shellac Stack No. 263 wails with Clarence Williams and steps with Bix Beiderbecke at the Jazz Band Ball. Along the way, we hear from Jack Teagarden, the Shannon Quartet, Zez Confrey, Ford and Glenn, Chauncey Morehouse, and even relax with a bit of theatre organ by C. A. Parmentier. Join us! And thanks, as always, … Continue reading »

Empezamos una serie de 7 episodios dedicados a la corneta/trompeta/fliscorno. Comparamos sus sonidos y nos vamos a New Orleans escuchando a King Oliver, Satchmo, los Hot 5, Hot Lips Page, la ODJB, Mugsy Spanier, Red Nichols y llegando al sonido de Chicago de Bix Beiderbecke.

Synopsis Following the successful premiere of his First Symphony in 1876, the New England composer John Knowles Paine finished a Second, which he gave a German subtitle: “Im Fruehling” or “In Springtime.” In 19th century America, “serious” music meant German music, and “serious” musicians like Paine all studied in Germany. Returning home, Paine became the first native-born American to win acceptance as a symphonic composer, and, accepting a teaching post at Harvard, became that school's first professor of music. On today's date in 1880, when Paine's “Spring” Symphony was premiered at Sanders Theater, the normally staid Bostonians went nuts. One critic who was present, recalled that “ladies waved their handkerchiefs, men shouted in approbation, and the highly respected John S. Dwight, arbiter in Boston of music criticism, stood in his seat frantically opening and shutting his umbrella as an expression of uncontrollable enthusiasm.” Paine's music remained tremendously popular in his own day. In 1883 George Henschel, then the conductor of the Boston Symphony, was sent the following poetic suggestion about his programming: Let no more Wagner themes thy bill enhance And give the native workers just one chance. Don't give that Dvorák symphony a-gain; If you would give us joy, oh give us Paine! Music Played in Today's Program John Knowles Paine (1839 - 1906) — Symphony No. 2 (New York Philharmonic; Zubin Mehta, cond.) New World 350 On This Day Births 1839 - American composer and organist Dudley Buck, in Hartford, Conn.; 1844 - Spanish composer and violinist Pablo de Sarasate, in Pamplona; 1892 - French composer Arthur Honegger, in Le Harve; 1903 - American composer and jazz cornetist Bix Beiderbecke, in Davenport, Iowa; Deaths 1832 - Italian-born composer Muzio Clementi, age 80, in Evesham, England; 1870 - Czech-born composer and pianist Ignaz Moscheles, age 75, in Leipzig; 1910 - German composer Carl Reinecke, age 85, in Leipzig; 1991 - American composer Elie Siegmeister, age 82, in Manhasset, N.Y.; Premieres 1785 - Mozart: Piano Concerto No. 21 in C, K. 467, at the Burgtheater in Vienna, with the composer as soloist; 1837 - Mercadante: opera "Il Giuramento" (The Oath), in Milan; 1875 - Goldmark: opera "Die Königin von Saba" (The Queen of Sheba), in Vienna at the Court Opera (Hofoper); 1877 - Borodin: Symphony No. 2, in St. Petersburg, by the Russian Musical Society, Eduard Nápravik conducting (Julian date: Feb. 26); 1880 - Paine: Symphony No. 2 ("Spring"), at Sanders Theater in Boston, by the Boston Philharmonic, Bernard Listermann conducting; The following day, the orchestra of the Harvard Musical Association performed the same work downtown at Boston's Musical Hall, with Carl Zerrahn conducting; 1888 - Franck: symphonic poem "Pysché," in Paris; 1912 - Gliere: Symphony No. 3 ("Ilya Murometz") in Moscow (Gregorian date: Mar. 23); 1916 - Granados: "Intermezzo & Epilogue," from "Goyescas," by the Philadelphia Orchestra, Leopold Stokowski conducting; 1922 - Loeffler: "Irish Fantasies" (Nos. 2, 3 & 5 only) for voice and orchestra, by the Boston Symphony, with Pierre Monteux conducting and tenor John McCormack the soloist; 1932 - Wallingford Riegger: "Dichotomy" for orchestra, in Berlin; 1952 - David Diamond: Quintet for clarinet and strings, at Town Hall in New York City, by clarinetist David Oppenheim, Nathan Gordon and Lillian Fuchs (violins), and Aaron Twerdowsky and Bernard Greenhouse (cellos); 1963 - Henze: opera "Il re cervo" (The Stag King), in Kassel at the Staatstheater; This is the 2nd version of Henze's opera "König Hirsch" which was first staged in an abridged version in Berlin on September 24, 1956; The complete original version of the opera was eventually staged in Stuttgart on May 7, 1985; 1964 - John Harbison: "Sinfonia," in Cambridge, Mass., with violinist Rose Mary Harbison and the Bach Society Orchestra of Harvard, Gregory Biss conducting; 1977 - John Harbison: "Diotima" for orchestra, in Boston, with the Boston Symphony, Joseph Silverstein conducting; Others 1937 - Frank Capra's film "The Lost Horizon" opens at the Four Stars Theater in Los Angeles, featuring a classic film score composed by Dmitri Tiomkin (and conducted by Max Steiner). Links and Resources On John Knowles Paine More on Paine at Harvard

Good News: Scientists in Ireland have identified a new treatment method to fight agains severe asthma, Link HERE. The Good Word: A truly brilliant quote from Douglas Adams. Good To Know: A startling fact about the days and years on Venus… Good News: A brilliant startup in Colombia is creating easy-to-make low-income housing made from […]

WETF Show - May, 1927. So you think you had a busy week? Listen to the product of one week in May, 1927 - including Louis Armstrong's Hot Seven, The Frank Trumbauer Orchestra with Bix Beiderbecke, that Arkansas Travellers with Red Nichols, Louis Armstrong's Stompers, Sol S. Wagner and His Orchestra, The Fletcher Henderson Orchestra, Dixie Stompers, Bert Firman, Charles Dornberger --- Support this podcast: https://anchor.fm/john-clark49/support

Clearwater Jazz Holiday's History of Jazz Outreach Program engages professional musicians to share the story of Jazz through live, interactive musical experiences. By Spring 2020, the Program had reached nearly 30,000 students in approximately 60 Tampa Bay area schools and has evolved to also bring meaningful experiences to schools and organizations serving at risk students, people of all ages with special needs, neurodiversities, and autism, as well as older adults in senior living communities and memory care centers. Frank T. Williams III, a 40-year + educator, band director, clinician, author, adjudicator, and composer, is a long-time CJH education partner, important to the development of many CJH Outreach programs. In 2020, CJH launched its STOP-TIME SERIES with Frank Williams to complement the History of Jazz Outreach Program by creating a comprehensive visual and audio History of Jazz archive delivered in Frank's one-of-a-kind style. WATCH & LISTEN! Visit the CJH website Education & Outreach section to watch all STOP-TIME videos for FREE or enjoy listening here as part of the CJH Young Lions Jazz Master "Virtual" Sessions Podcast. To learn more about the annual CJH festival tradition and year-round Education & Outreach: www.clearwaterjazz.com

Another in our series of  music theory podcasst this time Nick and Simon focus on the Whole Tone Scale. In music, a whole-tone scale is a scale in which each note is separated from its neighbors by the interval of a whole tone. In twelve-tone equal temperament, there are only two complementary whole-tone scales, both six-note or hexatonic scales. A single whole tone scale can also be thought of as a "six-tone equal temperament". Some early instances of the use of the scale in jazz writing can be found in Bix Beiderbecke's "In a Mist" (1928) and Don Redman's "Chant of the Weed" (1931). In 1958, Gil Evans recorded an arrangement that gives striking coloration to the "abrupt whole-tone lines"of Redman's original. Wayne Shorter's composition "JuJu" (1965), features heavy use of the whole tone scale, and John Coltrane's "One Down, One Up" (1965), is built on two augmented chords arranged in the same simple structure as his earlier tune "Impressions"However, these are only the most overt examples of the use of this scale in jazz. A vast number of jazz tunes, including many standards, use augmented chords and their corresponding scales as well, usually to create tension in turnarounds or as a substitute for a dominant seventh chord. For instance a G7 augmented 5th dominant chord in which G altered scale tones would work before resolving to C7, a tritone substitution chord such as D♭9 or D♭7♯11 is often used in which D♭/G whole tone scale tones will work, the sharpened 11th degree being a G and the flattened 7th being a C♭, the enharmonic equivalent of B, the major third in the G dominant chord.Art Tatum and Thelonious Monk are two pianists who used the whole-tone scale extensively and creatively. Monk's "Four in One" (1948) and "Trinkle-Tinkle" (1952) are fine examples of this.