Podcasts about blue four

Sintonía: "Wild Cat Blues" - Sidney Bechet"Feliz The Cat" - Paul Whiteman and His Orchestra; "Hep Cat´s Holiday" - The Cats and The Fiddle; "The Cat and the Dog" - Harry Reser; "Pussy Cat Rag" - Halfway House Orchestra; "Kitten on the Keys" - Zez Confrey; "Tom Cat Blues" - King Oliver/Jelly Roll Morton; "Ace in the Hole" - Al Katz and His Kittens; "Bearcat Stomp" - Savoy Bearcats; "Kickin´ The Cat" - Joe Venuti´s Blue Four; "Dog and Cat" - Washboard Rhythm Kings; "Swingin´ Dem Cats" - The Missourians; "Wild Cat´s Ball" - Eddie Edinborough and His New Orleans Wild Cats; "The Hep Cat´s Ball" - Louis Armstrong and His Orchestra; "Pussy Willow" - Duke Ellington and His Famous Orchestra; "March of the Bob Cats" - Bob Crosby´s Bob Cats; "Kitty on Toast" - Horace Henderson and His Orchestra; "Wholly Cats" - Benny Goodman Septet.Todas las músicas extraídas de la recopilación (1xCD) "Jazz Cats: Felix and other Cats (Saga Jazz, 2003).Escuchar audio

1 - Everybody Eats When They Come to My House - Cab Calloway and his Orchestra - 19472 - Dinner Music for a Pack of Hungry Cannibals - Raymond Scott Quintet - 19373 - Cheese and Crackers - Joe Venuti's Blue Four - 19334 - Animal Crackers in My Soup - Smith Ballew and his Orchestra - 19355 - Boop-Boop Dit-Tem Dot-Tem What-Tem Chu! (Three Little Fishes) - Hoosier Hot Shots - 19396 - Tre Sma Fisk (Three Little Fishes in Danish) - Unknown Artists - 1939?7 - Chicken Supper Strut - Triangle Harmony Boys - 19278 - Turkey Trot - American Symphony Orchestra - 19089 - When You Potato Is Done - Conrad Thibault - 194710 - Gravy Train - Tiny Bradshaw - 194911 - Beans and Corn Bread - Louis Jordan and his Tympany Five - 194712 - Neck Bones and Collard Greens - Wild Bill Moore - 195113 - Carrot Polka (Marchewka Polka) - Brunon Kryger "King of the Polkas" and his International Orchestra - 1950s?14 - The Yam - Jimmy Dorsey and his Orchestra - 193815 - The Grizzly (Turkey Trot) - Arthur Pryor's Band - 191216 - Roly Poly - Cowboy Copas - 194717 - Good Old Cabbage Greens - Washboard Sam & his Washboard Band - 194318 - Pass The Meat, Pass The Potatoes - Lois Costello and Bill Darlow with Ray Pearl's Orchestra - 195119 - Free Eats - Count Basie and his Orchestra - 194720 - The Candied Yam - Count "Red" Hastings and his Orchestra - 194921 - All That Meat and No Potatoes - Fats Waller and his Rhythm - 194122 - Bread and Gravy - Ethel Waters with Ed Mallory and his Orchestra - 193923 - Turnip Greens - Steve Gibson and the Red Caps - 194724 - Barbecue Blues - Watson's Pullman Porters - 192725 - What Is That Smells Like Gravy - Johnny Temple with The Harlem Hamfats - 193826 - Save the Bones for Henry Jones ('Cause Henry Don't Eat No Meat) - Johnny Mercer and the King Cole Trio - 194727 - I Scream, You Scream, We All Scream for Ice Cream - Paul Johnson - 192728 - Hot Coffee - Jack Glassner and His Colonial Inn Orchestra - 192629 – Jack Dreams He’s a Turkey – The Jack Benny Show (Radio Comedy)– 194330 – Thanks – Frank Luther with Leo Reisman and his Orchestra – 193331 – Thanks To You – Bing Crosby with Gus Arnheim and his Cocoanut Grove Orchestra – 1931

Curator Gloria Williams Sander discusses the life of Galka Scheyer, the enterprising dealer responsible for the art phenomenon the “Blue Four”—Lyonel Feininger, Alexei Jawlensky, Paul Klee and Vassily Kandinsky, and how her art collection and archives entered the Pasadena Institute of Art, now the Norton Simon Museum.

The calendar's getting short in 2015 and we're cruising toward the holidays. We're also right at the tail end of the holiday new release period. I've got some of those new releases in this edition, including some artists who've not been in The Roadhouse before. Si Cranstoun, Eddie Charles, Lara Price, Mike Zito, and RJ Spangler's Blue Four help provide a lot of new music, a lot of new artsts, and another hour of the finest blues you've never heard - the 560th Roadhouse.

But no other subject is so intensely dealt with in the »Inventionen« as the comedian, which comes up in three different versions. All of them show the head of a man in profile, hidden behind a mask. While the faces of the two first versions are recognisable as self-portraits, the third image focuses on a more fundamental reflection by Klee on his existence as an artist. Here, the discrepancy in the earlier pictures between what the artist is and what he does gives way to a duality of artistic form and artistic personality.

Paul Klee's »Zwei Männer, einander in höherer Stellung vermutend, begegnen sich«, 1903,[Two men meet, each believing the other to be of higher rank] is part of a group of works known as the »Inventionen« [Inventions], eleven etchings from the years 1903 to 1905, whose meticulous technique and detailed, relief-like composition is reminiscent of drawings by the Old Masters. In his diary, Klee described the »Inventionen« as »opus I« and called them the first fully valid examples of his individual artistic production. Inspired by artists such as Francisco de Goya and Honoré Daumier, Klee used his »Inventionen« to explore man?s domination by his physical urges and how it becomes twisted by bourgeois sexual morals. »Zwei Männer, einander in höherer Stellung vermutend, begegnen sich«, 1903, [Two men meet, each believing the other to be of higher rank] is kind of a political and socio-critical nature.

It was clear to Renzo Piano from the very outset that Klee had too much depth as an artist to ever be contained within an ordinary building. Renzo Piano felt that the Centre planned should be dedicated to the work of a "poet of stillness", so Piano's ideas revolved around an essentially tranquil type of museum. But Renzo Piano also drew inspiration from the identity of the location, the gently rolling profile of the terrain itself, for the vision of the structure he wanted to create. The fact that a motorway cut a deep and abrupt swathe along the plot's outer perimeter did not trouble him. Rather he felt it should be incorporated into the project as a pulsing artery of our civilisation, and be reflected both aesthetically and functionally.

Klee explored the subject of weightlessness in paintings with a three-dimensional construction that appear to drift in space. They are based on precise constructive principles, yet are frequently irrational in their spatial logic. In »Schwebendes«, 1930, [Hovering], the corners of the overlapping four-sided figures are only partly »rational«, that is, linked by two corresponding corners. Other links are »irrational«, or randomly created. This gives an impression of a three-dimensional structure with a disturbing perspective. Its surfaces appear to belong to different spatial levels, and to change in the perception of the observer.

The picture "Park near Lu" lives from a strong contrast between the black symbols showing the trees, branches and paths of a park, and then the surrounding colour zones like colourful foliage. It seems to have been a specific landscape which inspired Paul Klee to paint this picture. Klee's wife Lily travelled several times in the late 1930's to Lucerne for health reasons and she spent time in a sanatorium. Paul Klee had visited her there, when his own physical condition permitted and strolled with her through the park around the sanatorium.

Even four years after the end of the war, references to war themes and Paul Klee's experiences are still to be found in his work: For instance the picture "The Dart House". Only the indication of the weapon in the title and the exact depiction of such a bullet, is reminding Paul Klee of the First World War. The picture itself emanates nothing warlike. Apparently Klee was interested in combining the contrasts of movement, statics and gravity. The massive building, constructed of coloured areas, which strangely appears to hover in the space, lends the seemingly delicate and vertically downward plunging arrow, a sudden weight. The arrow apparently not only keeps the house in the picture, preventing it from floating away, but pulls it forcibly downwards.

During his time as a teacher at the Bauhaus, Paul Klee made an intense study of motion in the static, gravity-bound world and in that of the dynamic. The possibilities of movement open to birds and fish interested him particularly, as did their elements - air and water. Klee called water an »in-between realm«, in which the law of gravity does not apply and freedom of movement becomes possible. Kleeís collected works include more than sixty on the subject of fish, and about the same number of titles that contain the concept of water.

In »der Graue und die Küste«, 1938, [The grey man and the coast], a line beginning at the top edge swings back and forth, dividing the painting into horizontal segments. The »grey man« appears to observe this course, which the title describes as a coast. We too look down on a landscape of fjords far below us, reading the blue surface as sea, the bow-shaped lines as boats, the horizontal bar with three dots in the middle of the painting as a ship.

Lady Demon was created in 1935 during a period of artistic helplessness and the search for new means of expression. Klee was caught in a creative crisis due to his exile in Berne, the unhealthy political developments in Germany and above all, also due to the constantly deteriorating state of his health. This work is a typical example of the transition phase to his late style which commenced after 1936. In falling back onto earlier subjects and forms which Klee by enlarging the scale and with the help of a new title filled with new content, he was on the way to a new more concentrated pictorial language.

In the summer of 1905, Klee started using a new medium: blackened sheets of glass, which he worked on with a needle. Using the resistance of this unusual medium, he discovered a new form of artistic expression - the scratched drawing. In his diary, he described his discovery thus: »The medium is no longer the black line, it is the white. The light energy on a midnight background fits very well with the expression "let there be light". And so I glide gently over into the new world of tonalities.«

The oil painting »Bildarchitectur rot gelb blau«, 1923, [Pictorial architecture red, yellow, blue] is one of the »square pictures« that Paul Klee worked on during his time at the Bauhaus in Weimar, and which he systematised in his Dessau Bauhaus period (1927-1930). More than ten years earlier, Klee had composed his first watercolours out of coloured geometric shapes, and he had later transferred the principle into poetic variations. The »square pictures« of the Bauhaus period are among the few completely non-representational compositions in Klee?s oeuvre, and they bear witness to his systematic work on the theory of colour.

Let yourself get closer to our works of Paul Klee in an informative and entertaining way. The content of the podcasts offer listeners the classic work descriptions and background information on selected exhibits of Paul Klee.

Bud shares his knowledge and expansive music collection to uncover the life and music of Joe Venuti. Giuseppe "Joe" Venuti (September 16, 1903 – August 14, 1978) was an Italian-American jazz musician and pioneer jazz violinist. Considered the father of jazz violin, he pioneered the use of string instruments in jazz along with the guitarist Eddie Lang, a friend since childhood. Through the 1920s and early 1930s, Venuti and Lang made many recordings, as leader and as featured soloists. He and Lang became so well known for their 'hot' violin and guitar solos that on many commercial dance recordings they were hired to do 12- or 24-bar duos towards the end of otherwise stock dance arrangements. In 1926, Venuti and Lang started recording for the OKeh label as a duet (after a solitary duet issued on Columbia), followed by "Blue Four" combinations, which are considered milestone jazz recordings. Venuti also recorded commercial dance records for OKeh under the name "New Yorkers".

Victoria Dailey, Writer and Independent CuratorMay 13, 2017Although Los Angeles had a small group of modern artists in the 1920s, modernism was little known and often disparaged by most of the city’s art world. When Galka Scheyer organized the first Blue Four exhibition in Los Angeles in 1926, one artist remarked: "It reminded me of crawling things—of worms or things mouldering in the ground, Ugh! It was awful." Such an uninviting climate did not deter Scheyer, affectionately called "Little Tornado" by Lyonel Feininger, one of the Blue Four. The Little Tornado persisted in her efforts, with varying degrees of success. Her interactions with the pioneering modernists of Los Angeles are discussed in this lecture.Presented in conjunction with the exhibition, Maven of Modernism: Galka Scheyer in California.

Gloria Williams Sander, Curator, Norton Simon MuseumSaturday, April 22, 2017Alexei Jawlensky nicknamed Emmy Scheyer "Galka," the Russian name for a small crow, known to be exceptionally intelligent, energetic and gregarious. These characteristics served Scheyer in her mission to introduce the American public to the avant-garde art of European modernists, especially the Blue Four. Scheyer’s activity to educate, cultivate and place their work in private and public collections was nothing short of heroic. This lecture examines the important historical record that the Museum’s Blue Four Galka Scheyer Collection presents and one woman’s crusade to get it there.Presented in conjunction with the exhibition Maven of Modernism: Galka Scheyer in California. 

Susan Landauer, Independent Art Historian and CuratorSeptember 16, 2017In early 20th-century San Francisco, the introduction and assimilation of European modernist art sparked widespread excitement and controversy. When Galka Scheyer arrived in 1925, she was immediately embraced by San Francisco’s fledgling avant-garde. Through her energetic lecture circuit and her position as European representative of the Oakland Art Gallery, she also introduced German Expressionism, Dadaism and Constructivism, virtually unknown in California. Landauer explores the pioneering efforts of Galka Scheyer to educate the city’s wary public and largely conservative art community about the Blue Four.Presented in conjunction with the exhibition, Maven of Modernism: Galka Scheyer in California.