Podcasts about Buddy Bolden

Send us a textOne of our book reviews this time it is the Novel or is it? by Michael Ondaatjebuy it here  in print or listen to the audio book hereThe work deals with the life of Buddy Bolden the legend of early jazz who never recorded or was documented much during his life.This is our website This is our InstagramThis is our Facebook group

Here's a tune that has touched the hearts and minds of more than a hundred years' worth of Flood heroes.At the very start of the 20th century, it was one of the best-loved numbers in the repertoire of jazz legend Buddy Bolden down in the hot, dark streets of New Orleans.A couple decades later up in Memphis, W.C. Handy co-opted it, copyrighting a variation after he heard an old guy singing it in a railroad station.It was one of the first songs waxxed when the recording revolution began in the 1920s. Bessie Smith and a kid named Louis Armstrong had a huge hit with it in 1925.After that, it was recorded by … well, by everybody from Lula Jackson and Lonnie Johnson to Jack Teagarden and The Mills Brothers, from Kid Ory and Baby Dodds to Bunk Johnson and George Lewis.Country versions were done by The Texas Rangers, The Dixie Ramblers and by Riley Puckett, blues versions by Big Joe Turner and Josh White, straight-up jazz takes by Sidney Bechet and Billie Holiday, early rock and pop renditions by Fats Domino and Elvis Presley, Ray Charles and Nat “King” Cole, earnest folk treatments by Jean Ritchie and Pete Seeger, Joan Baez and Dave Van Ronk.The Song's OriginsThe origins of “Careless Love” are obscure indeed, though it is thought to be essentially British, re-made in America with new stylistic influences. In the US, for instance, folklorist Vance Randolph collected a version in 1948 that he was told was learned in 1880.In Father of the Blues, W.C. Handy's 1941 autobiography, the composer acknowledged that the song he copyrighted as “Loveless Love” was “based on the ‘Careless Love' melody that I had played first in Bessemer (Ala.) in 1892 and that has since become popular all over the South.”Meanwhile, uh, What About the Murders? ...Handy's autobiography also introduced a curious twist when a notorious double-murder case glommed onto the “Careless Love” story.While living in Henderson, Ky., with his new wife, Elizabeth, “I was told that the words of ‘Careless Love' were based on a tragedy in a local family,” Hardy wrote, “and one night a gentleman of that city's tobacco-planter aristocracy requested our band to play and sing this folk melody.”The tragedy in question was the April 1895 shooting death of one Archibald Dixon Brown, who happened to be the 32-year-old son of Kentucky Gov. John Young Brown. Newspapers across the country reported the scandal, how the jealous husband of Archie's 28-year-old lover, Nellie Gordon, caught the two of them in a bedroom in a disreputable neighborhood in Louisville and shot each of them to death. Fulton Gordon was captured by police several blocks away, where he confessed to the murders. Soon balladeers were hard at work, singing the news.Our Take on the Tune“Man, I love those chords you found!” Joe Dobbs used to say whenever The Flood played “Careless Love.” It's true that the country version of the song Joe grew up hearing — with its simple I-IV-V structure — made for a pretty boring tune to solo on. That's why when The Flood started doing the tune a couple of decades ago, Charlie Bowen dug around to find what Joe like to call “those Nawlins chords,” the changes favored by early jazz bands when they performed the song.And since then, each iteration of the band over the years has found lots of space for ad-libbing in those roomy chords inherited from the song's sweet Dixieland roots. Just listen, for instance, to all the ideas that Sam St. Clair, Danny Cox and Randy Hamilton come up with in this latest rendition from last week's rehearsal.The FakebookOh, and by the way, if you'd like to pick along on this or other songs in The Flood catalog, visit the band's Fakebook section on its website.There you'll find chord charts for dozens of tunes in The Flood songbag, along with links to the band's renditions over the years. Click here to check it out. 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

Frizz and Bob celebrate Bob's birthday by taking out a bottle of 7 year old Bakers and going back to early 1900s New Orleans to tell the untold story of Buddy Bolden. Together we'll learn the triumphant and tragic story of the man who invented jazz, his remarkable rise from cornet player to "King," and how his legacy lives on despite his heartbreaking demise. There will be cheers, tears, treats for your ears, and... some funky butts.

In this episode, Brent answers a listener's question on who was the first jazz musician in history. He explains there is no definitive single originator but rather an evolution in New Orleans reflecting diverse musical and cultural influences. Key musicians mentioned are Buddy Bolden, Jelly Roll Morton, and Louis Armstrong, among others. Brent emphasizes understanding jazz history and listening to key recordings to appreciate how the music developed and continues evolving. Important Links:Free Guide to learning standards by ear: Learn Jazz Standards the Smart WayLJS Inner Circle MembershipListen to the Learn Jazz Standards PodcastLearn Jazz Standards Inner Circle: Get 50% off your first month! Want to get your jazz question answered on the podcast? Click here.

In New Orleans gibt es eine der dynamischsten Live-Musikszenen der Welt. Die Stadt gilt als Wiege des Jazz. Große Jazzer wie Buddy Bolden, Louis Armstrong oder die Marsalis Brüder haben hier ihre Spuren hinterlassen. Die Musik hält New Orleans bis heute am Laufen. In den Straßen des historischen Viertels French Quarter, wie der Royal Street, sorgen Straßenmusiker mit ihren Auftritten für ausgelassene Stimmung. In Clubs wie der Preservation Hall spielen Jazzer wie Shannon Powell im traditionellen New Orleans Stil auf. Einzig die noch berühmtere Bourbon Street ist im Laufe der Jahrzehnte zu einer lauten Trink- und Vergnügungsmeile verkommen. Durch das benachbarte Viertel Tremé zieht jeden Sonntag, angeführt von Brass Bands, eine Secondline. In Straßen tönt auf dem Marsch zum Friedhof langsame Trauermusik, die sich nach dem Begräbnis, auf dem Weg zurück in die Stadt, in heitere Rhythmen verwandelt - die Leute feiern die guten Zeiten, die sie mit dem Verstorbenen verbracht haben. Vor fast 20 Jahren brachte nach dem Wirbelsturm Katrina und seinen vielen Toten erst die Musik wieder Leben in die Stadt zurück. Für uns hat sich Egon Koch auf die Spuren der einzigartigen Musikgeschichte von New Orleans gemacht. Er hat sich durch das French Quarter treiben lassen, hat den Ort aufgesucht, an dem Louis Armstrong geboren wurde, ist einer Secondline gefolgt, und hat sich sagen lassen, die nächste Generation von Musikern wachse heran.

Kaare Talks: All In The Family, Jeffersons / Local televangelists / NO-BR Amtrak service / Cold temps blowing in soon / I-55 updates / Buddy Bolden house restoration

540. We talk to Candice Battiste about redistricting in Louisiana. “Candice Battiste is the North Louisiana Organizer for the Power Coalition for Equity and Justice where she is committed to building voices and power in traditionally disenfranchised communities and bringing together groups across North Louisiana.” “The Power Coalition is a coalition of community-based organizations who work together to educate and empower voters across Louisiana. Through our voter engagement and community organizing work, we seek to unify our collective voices into a stronger, more cohesive force that can successfully advocate for an agenda of shared values and issues.” This week in Louisiana history.September 15, 1978. Ali defeats Spinks to regain boxing title. This week in New Orleans history. Born in New Orleans on September 23, 1883,  jazzman Wooden Joe Nicholas was an active member of the early New Orleans jazz scene. He knew Buddy Bolden and said Bolden was the main influence on his cornet style.  In 1915 he was playing clarinet with King Oliver.  In addition to forming the Camelia Brass Band in 1918,  he was famous for his volume and endurance. Nicholas did not record until 1945 when he was 62 years old and again in 1949.  He died in New Orleans on November 17, 1957.  This week in Louisiana. Red River Revel Arts Festival Festival Plaza 101 Crockett St. Shreveport, LA 71101 September 30, 2023 - October 8, 2023 Website Phone: (318) 424-4000 The Red River Revel is an annual festival of food, culture, art and music. This year's festival will be held at Festival Plaza in Shreveport. Over 80 artists specializing in oils, acrylics, sculpture, jewelry, woodwork, glass, metal and much more! Vendors serve everything from funnel cakes and seafood macaroni to favorites like Natchitoches meat pies and chicken & waffles! Postcards from Louisiana. Single Malt Please with Maude Caillat at the BMC Bar on Decatur St. in New Orleans. Listen on Google Play. Listen on Google Podcasts. Listen on Spotify. Listen on TuneIn. The Louisiana Anthology Home Page. Like us on Facebook. 

 Here's a tune that has drifted in and out of The Flood repertoire many times over the years. It drifted back in recently when we gathered on a sultry summer night that had a decidedly New Orleans tang to it. Here's our take on “Buddy Bolden's Blues.”

The story of Charles Joseph “Buddy” Bolden — also known as King Bolden — is the story of jazz itself at its very beginnings. A trumpet player in New Orleans in the first years of the 20th Century, Bolden influenced several generations of jazz players.No recordings of Bolden exist, but the great Jelly Roll Morton called him “the most powerful trumpet player I've ever heard.” This tune was Bolden's only known piece of original music, a song that he called “Funky Butt.” Jelly Roll later recorded it with the opening line, “I thought I heard Buddy Bolden say,” and that is why it has come down to us with Morton's title: “Buddy Bolden's Blues.” Jelly Roll was the only person recording the tune who actually heard Buddy play it. About BuddyBolden and his band were at their peak in New Orleans from around 1900 to 1907. He was known for his loud sound and his imaginative improvisational skills, a style that had a profound impact on younger musicians who crowded around to hear him.Buddy is credited with (1) creating a looser, more improvised version of ragtime and (2) adding to it blues played by brass instruments. He also was said to have adapted ideas from gospel music that he heard in uptown African-American Baptist churches around the Crescent City.The Butt that was FunkyBolden's best-known number, "Funky Butt," is perhaps the earliest reference to funk in popular music. So, let's address that name. Several theories exist… and, ahem, some of them are even printable. Jazz guitarist/banjoist Danny Barker, for instance, said “funky butt” was a reference to the olfactory effect of an auditorium packed with sweaty people "dancing close together and belly rubbing."Dance definitely seems central to the story. Others say the name refers to a specific dance in which women lifted their skirts, revealing their petticoats, then moved their hips suggestively. Particularly popular among burlesque dancers of the day, “The Funky Butt” is believed to have begun in the 1890s, which is about the time little Buddy Bolden was growing (and probably looking) up.The Club that was the ButtIncidentally, a popular jazz club in pre-Katrina New Orleans was called “Funky Butt,” in honor of Bolden. The venue, located on North Rampart Street at Congo Square, featured a lounge, patio, balcony, restaurant and music club called The Danny Barker Music Room. It was famous for a sassy drink known as “Sweet Brown Juicy Booty.” Unfortunately, the August 2005 hurricane that devastated New Orleans destroyed the club. The following year, an attempt was made to reopen, but it failed to get a musical license (during this period the inside of the building was stripped).Our Take On the TuneMultiple variations of Buddy Bolden's song have circulated over the years. The Flood learned its version from a 1961 Folkways recording by bluesmen Rolf Cahn and Eric von Schmidt (the same wonderful old disc that inspired two other Flood standards, our takes on “Make Me a Pallet on Your Floor” and “Lazarus,” featured in earlier podcasts).“Buddy Bolden's Blues,” which has drifted in and out of our repertoire over the years, drifted back in earlier this month on a sultry summer night that had a decidedly New Orleans tang to it. 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

Good News: Link HERE! The Good Word: A wonderful autumnal quote… Good To Know: More fun facts about Labor Day! Good News: A study shows the positive impacts of even small greening projects, Link HERE. Wonderful World; Check out a Great Big Story about the killer street foods of Oaxaca, HERE. Good For You: Jazz […]

On this day in 1651, after fleeing for his life following his defeat at the Battle of Worcester, Charles II, the King of Scotland and rightful King of England, took refuge in a tall oak tree.On this day in 1877, jazz pioneer Buddy Bolden was born in New Orleans. Learn more about Buddy on the December 19th, 2018 episode of Stuff You Missed in History Class.  See omnystudio.com/listener for privacy information.

This 2018 episode covers Buddy Bolden, often referred to as the first jazz performer. But his life story, cluttered by lack of documentation and misinformation, played out tragically after his ascension to the apex of the New Orleans music scene.See omnystudio.com/listener for privacy information.

JP Morrell Talks: City Council working with no transparency with the mayor for police chief search, confirmation process, and undermining the public's trust / OIG, re-defining Pontalba ordinance Kaare Talks: NOPD Police chief search down to 3 finalists / Helena Moreno's letter to Mayor Cantrell / History of neglect and future of Buddy Bolden's home, and neglect of historical locations in the city / More car break-ins at Riverwalk, break-ins at Falstaff apartments / Cantrell's violations

Chris Thomas King - The King of the Blues - Chris Thomas King is a multi-Grammy winning blues musician. He's also the author of, "The Blues: The Authentic Narrative of My Music and Culture." The Blues tells the unrealized history, that the genre was actually invented in New Orleans. It's also a fact that most modern music in the US is a descendant of the blues. Names like Buddy Bolden, Jelly Roll Morton, Bunk Johnson, Chevalier De Saint George, Dan Desdunes are among the most important players in the history, not only of the Blues, but of American music. Get his book on Amazon at Chris' history is informed in part by his upbringing working in his father Tabby's juke joint. The oral traditions passed down through the collected living memory of the musicians just a generation or 3 after the spawning of the genre were told at Tabby's. Chris is also a world-class musician. He's not just won multiple Grammys, but had his name announced more than once on the same night!  He's a successful stage and movie actor. He's a prolific song writer and an all round wonderful person. You are going to love meeting Chris Thomas King. Check out the Break It Down Store on Bonfire  Please support the Break It Down Show by doing a monthly subscription to the show  All of the money you invest goes directly to supporting the show!   For the  of this episode head to  Haiku Musician, author Kind of a regular here Chris Thomas King, y'all! Similar episodes:        ​Join us in supporting Save the Brave as we battle PTSD.  ​ ​ Executive Producer/Host: Pete A Turner    Producer: Damjan Gjorgjiev  ​ ​ ​​ ​​ ​​The Break It Down Show is your favorite best, new podcast, featuring 5 episodes a week with great interviews highlighting world-class guests from a wide array of shows.

Cale Brown fell in love with rum & decided that he was going to use his Junglebird afro tiki nights at Dovetail Bar in New Orleans to remind people of rum's origins - black and brown labor. His efforts already have him traveling around the country competing and educating others. Music goes back many generations as his family descends from one of the earliest jazz pioneers, NOLA legend Buddy Bolden, but Katrina cut short his trombone lessons. Check out the music he's playing on the regular right now: https://open.spotify.com/playlist/4OHOmcfFQsvm9dDgd1xHTf?si=2e918ccf9eca4c9a

Warum lieben wir Charlie Parker? Worin besteht der mystische Zauber eines Buddy Bolden? Was bedeutet uns Lester Young? Wieso verehren wir auch Jahrzehnte nach ihrem Tod immer noch so viele Jazzmusiker, deren innovativer Beitrag sich doch über einen recht kurzen Zeitraum erstreckt hat. Heiligenverehrung, Mystifizierung und Märtyrerkult, wie wir sie aus Religionen, allen voran der katholischen Kirche kennen, sind dem Jazz keineswegs fremd. (Sendung vom 11.1.)

The great jazz innovator Jelly Roll Morton once told folklorist Alan Lomax that “Make Me a Pallet on Your Floor” was one of the earlier country blues to come rambling into the big city of New Orleans. Morton said it was being played in the Crescent City many years before he was born there in 1890. As Jelly Roll further noted, "A pallet is something that — you get some quilts — in other words, it's a bed that's made on a floor without any four posters on 'em.”The song was even known to be favorite of a famous jazz forefather. In an early printed reference n 1911, the tune was reported to be featured in the repertoire of New Orleans' legendary cornetist Buddy Bolden.It Was Everybody's SongBut it wasn't only in New Orleans; up in Memphis, Jelly Roll's songwriting rival W.C. Handy must have heard it too.That's because Handy reappropriated big chunks of the same melody for his composition “Atlanta Blues,” first recorded in the Handy band's 1917 performance of "Sweet Child.” Nearly 40 years later, trumpeter Louis Armstrong put “Atlanta Blues” on disc in 1954. Shoot, there must be hundreds — maybe thousands — of versions of this old tune. Search Google for "Make Me a Pallet on Your Floor" and you'll find references to recordings by everyone from Gillian Welch and Sandy Denny to Doc Watson and Odetta.The Flood got its particular version from a recording made in the early 1960s for Folkways by the late great Boston bluesmen Rolf Cahn and Eric Von Schmidt. Tracing Some RootsTo look for an origin story for the song, you probably should start with a 1906 report in The Indianapolis Freeman, which referred to a performance of it by "The Texas Teaser, Bennie Jones.” Two years later, the song appeared in sheet music form as part of John William “Blind” Boone's Southern Rag Medley No. One: Strains from the Alleys.The lyrics also appeared in a 1911 article by folklorist Howard Odum, who transcribed them from a performance he said he heard in Mississippi a few years before that.Early recordings of the song were made by Virginia Liston on OKeh in 1925 and Ethel Waters for Columbia in 1926, as well as by Mississippi John Hurt, who recorded it as “Ain't No Tellin'” in 1928.Meanwhile, back to Alan Lomax: Delta blues man Sam Chatmon once told the folklorist, “When I first started picking guitar, this was about the first or the second song I learned ... I was about 4 years old.” That would fix the year at 1900 and the place Bolton, Mississippi.Our Take on the Tune So, we're talking old here. And the older we get, the more we bristle at that thing we used to say each new year. You know, that “out with the old, in with the new” business? We're surely glad no one ever applied that silly rule to this great old song. The tune might be 150 years old, but it still righteously rocks, as we testify here with swinging solos from everybody in the band!By the Way… This is one of the songs we have on tap to play when we're back at Sal's Italian Eatery and Speakeasy in Ashland. Ky., one week from tonight.In other words, please mark it on your calendar. If you're free next Friday night, Jan. 13, come to downtown Ashland to party with The Flood at the coolest new venue in the Tri-State Area. We play from 6 to 9. We so love this place! Click here for our backstory on this establishment. 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

¿Cómo llegó el jazz, esa cultura originada por los rechazados del Imperio, a convertirse en una de las expresiones culturales más gigantes de la historia? Cambalache, la historia del otro lado de la historia. Podcast. Auspiciado por el Fondo Metropolitano de la Cultura, las Artes y las Ciencias. APOYÁ LA INVESTIGACIÓN. SUSCRIBÍTE!!! Suscríbanse a nuestro Canal Oficial: https://bit.ly/2RSGnLq Colaborá con un Cafecito: https://cafecito.app/cambalache Seguinos por Instagram: https://www.instagram.com/gabomerlino/?hl=es Seguinos por Facebook: https://www.facebook.com/Cambalachelahistoria Idea, guión y conducción: Gabo Merlino Locución y canto: Vanina Tagini Humor: Beto Marchesini Técnico de grabación: Juan Libertella Producción general: Generación Tango (P) y ©2020 Gabo Merlino. Reservados todos los derechos de los autores, intérpretes y productores fonográficos sobre las obras grabadas en este podcast. Personajes que aparecen en este podcast: Louis Armstrong, Buddy Bolden, Scott Joplin, Aida Overton Walker, Papa Jack Laine, William Handy. Temáticas: Esclavitud en Estados Unidos, Louisiana, New Orleans, Ragtime, Dixieland, Cakewalk, Zydeco, Boogie Woogie, Blues, Hot, Jazz. Músicas: El Infierno by Gabriel Merlino All of me by Duke Ellington El inventor by Gabriel Merlino King Porter stomp by Benny Goodman Oh freedom by The Golden gospel singers El entertainer by Scott Joplin Swipessy by Scott Joplin St. Louis blues by Louis Armstrong Honky Tonky train blues by Mead Lux Lewis Hello Dolly by Dixieland blues band You promised me love by Clifton Chenier Bluessette by Juanjo Hermida Skol blues by Oscar Peterson

This week we are taking a look at a full chorus of one of my favorite musicians, Wynton Marsalis. There's a lot to dig into here. Wynton's use of simplicity combined with rhythmic genius and a constant attention to the melody makes this one of my favorite episodes yet! WANT THE PDF THAT GOES ALONG WITH THIS EPISODE?? Head over to our Patreon page and when you donate $3 or more a month you get this PDF and every other. We will also be bringing you many extras exclusively to our patrons including transcriptions and a FREE gift  of our latest Ebook, The Diatonic Method. We hope that we bring you value every week here at the 10 Minute Jazz Lesson and we appreciate all of your support!

Får man verkligen ändra i Bachs musik? Vad är sant och falskt i filmen om jazzpionjären Buddy Bolden? Lyssna på alla avsnitt i Sveriges Radio Play. Där har ni frågorna som veckans Fråga musikprofessorn kretsar kring.Har du själv en fråga om musik? Skicka den till fragamusikprofessorn@sverigesradio.se.Programledare: Mattias Lundberg och Josefin Johansson.Slutmix: Joakim Löfgren.Producent: Emilia Mellberg.Fråga musikprofessorn görs av produktionsbolaget Munck för Sveriges Radio.

Får man verkligen ändra i Bachs musik? Vad är sant och falskt i filmen om jazzpionjären Buddy Bolden? Lyssna på alla avsnitt i Sveriges Radio Play. Där har ni frågorna som veckans Fråga musikprofessorn kretsar kring.Har du själv en fråga om musik? Skicka den till fragamusikprofessorn@sverigesradio.se.Programledare: Mattias Lundberg och Josefin Johansson.Slutmix: Joakim Löfgren.Producent: Emilia Mellberg.Fråga musikprofessorn görs av produktionsbolaget Munck för Sveriges Radio.

Får man verkligen ändra i Bachs musik? Vad är sant och falskt i filmen om jazzpionjären Buddy Bolden? Där har ni frågorna som veckans Fråga musikprofessorn kretsar kring.Har du själv en fråga om musik? Skicka den till fragamusikprofessorn@sverigesradio.se.Programledare: Mattias Lundberg och Josefin Johansson.Slutmix: Joakim Löfgren.Producent: Emilia Mellberg.Fråga musikprofessorn görs av produktionsbolaget Munck för Sveriges Radio.

So many coming-of-age stories focus on leaving where you're from—but what compels someone to come back? Musician PJ Morton returned to his hometown of New Orleans in 2016, and since then, he's established an independent record label, founded a non-profit organization, and worked to restore the home of jazz pioneer Buddy Bolden. In this episode, Hanif and PJ talk about embracing the strength in your roots, and the making of his just-released album, Watch the Sun, which features appearances from artists like Stevie Wonder, Nas, Jill Scott, and more. To close the episode, Hanif takes us on a musical tour of his home state of Ohio. For the playlist of songs curated for this episode head over to www.mixcloud.com/sonos. Music In This Week's Episode:Be Like Water (feat. Stevie Wonder and Nas) - PJ MortonFreedom Now - Tracy ChapmanPride & Vanity - Ohio PlayersDon't Know What To Do - The EdselsDead End America - The PagansTunnel Bound - MoodHeat Night - The WaitressesWe Don't Have To Take Our Clothes Off - Jermaine Stewart  Show notes:Watch the Sun is out today.PJ Morton is working to save Buddy Bolden's house. Once restored the house will become a community center, museum, and recording studio, offering music-business education for young performers and celebrating the jazz originator's legacy.Watch the Sun was recorded at Studio in the Country in Bogalusa, LO. Credits:This show is produced by work by work: Scott Newman, Jemma Rose Brown, Kathleen Ottinger, Rhiannon Corby, and by Hanif Abdurraqib. The show is mixed by Sam Bair. Extra gratitude to Joe Dawson and Saidah Blount at Sonos. 

Résumé Charles « Buddy » Bolden naît en 1877 dans le quartier chaud de Storyville à La Nouvelle-Orléans et se nourrit rapidement de ce qui l'entoure. Enfant de la région, il a dû fréquenter dès son plus jeune âge les orchestres noirs de la ville et apprendre à jouer auprès d'eux du cornet et du cor. En 1895, il rassemble quelques musiciens au sein du Bolden Band. Comme toutes les formations de la ville à cette époque, le Bolden Band joue les différents styles de musique alors en vogue, selon la commande : valse, mazurka, blues, rag, etc. Très vite cependant, il s'émancipe des cadres des musiques connues et développe un style propre, original, révolutionnaire. Il fusionne ainsi le ragtime, le blues rural, les negro spirituals chantés dans les églises baptistes et la musique des marching bands, donnant ainsi naissance à une sorte de ragtime relâché et largement ouvert à l'improvisation, une « hot music » jusqu'alors inouïe. Avec ce style nouveau, Buddy Bolden bouleverse l'organisation traditionnelle des « dance bands » : les instruments à cordes deviennent la section rythmique tandis que les cuivres passent au premier rang. Cette mise en avant des cuivres et cette liberté introduite par l'improvisation offrent à Buddy Bolden la possibilité d'exposer un jeu de cornet et de cor non moins exaltant : clair, puissant et « grand-ouvert ». C'est pourquoi la création du Bolden Band est considérée comme l'acte fondateur de cette musique qui sera plus tard appelée le jazz. Et cette nouveauté a conservé et conservera toujours un lien indéfectible avec sa Nouvelle-Orléans natale ... Playlist Charles « Buddy » Bolden - Funky Butt - 1900-1905 Original Dixieland Jass Band - Livery Stable Blues - 1917 Louis Armstrong - Basin Street Blues - 1928 Louis Armstrong - Do You Know What It Means To Miss New Orleans - 1946 Sidney Bechet - Souvenir de la Nouvelle-Orléans - 1958 Bix Beiderbecke - Singin the Blues - 1927 Billie Holliday - Strange Fruit - 1939

In which the investigators start to consider the possibility that they might not be the worst things in the house, or that their normal way of dealing with problems may not be all that effective.   The Apocalypse Players are: Dominic Allen @DomJAllen Joseph Chance @JosephChance2 Danann McAleer @DanannMcAleer Dan Wheeler @DanWheelerUK   For more information and to get in touch, visit www.apocalypseplayers.com     CW: This podcast contains mature themes and strong language. MUSIC: Ignition by Alexander Nakarada Link: https://filmmusic.io/song/4885-ignition License: https://filmmusic.io/standard-license Night Terrors 2 by Tim Kulig Link: https://filmmusic.io/song/8727-night-terrors-2 License: https://filmmusic.io/standard-license Gathering Darkness by Kevin MacLeod Link: https://filmmusic.io/song/3798-gathering-darkness License: https://filmmusic.io/standard-license Ominous Forces  by Rafael Krux Link: https://filmmusic.io/song/5372-ominous-forces- License: https://filmmusic.io/standard-license Right Behind You by Kevin MacLeod Link: https://filmmusic.io/song/4286-right-behind-you License: https://filmmusic.io/standard-license Indian Meditation by Liron Link: https://filmmusic.io/song/7634-indian-meditation License: https://filmmusic.io/standard-license Echoes of Time by Kevin MacLeod Link: https://filmmusic.io/song/3699-echoes-of-time License: https://filmmusic.io/standard-license Blue Feather by Kevin MacLeod Link: https://filmmusic.io/song/3449-blue-feather License: https://filmmusic.io/standard-license George Lewis & His New Orleans Stompers Don't Go 'Way Nobody Written by Buddy Bolden (1868-1931) Performed by George Lewis (clarinet), Avery "Kid" Howard (trumpet), Jim Robinson (trombone) Lawrence Marrero (banjo), Edgar Mosley (drums), Chester Zardis (bass) Recording date: New Orleans, May 16 1943 Cat Number: Climax 105-A Duration: 04'05" License: Public Domain “Additional sound effects from https://www.zapsplat.com“

In which three runaway career criminals run out of gas and descend upon a wealthy household in the countryside, but discover them to be more welcoming than desired.   The Apocalypse Players are: Dominic Allen @DomJAllen Joseph Chance @JosephChance2 Danann McAleer @DanannMcAleer Dan Wheeler @DanWheelerUK   For more information and to get in touch, visit www.apocalypseplayers.com   CW: This podcast contains mature themes and strong language. MUSIC: Johnny Dodds Trio Struggling Written by Jimmy Blythe (1901-1931) Performed by Johnny Dodds Trio Recording date: 1929 Cat Number: Hot Jazz Club Of America HC 42 Duration: 02'43" License: Public Domain Blue Feather by Kevin MacLeod Link: https://filmmusic.io/song/3449-blue-feather License: https://filmmusic.io/standard-license Indian Meditation by Liron Link: https://filmmusic.io/song/7634-indian-meditation License: https://filmmusic.io/standard-license Metropolitan Inner Confusion - long version by Agnese Valmaggia Link: https://filmmusic.io/song/7549-metropolitan-inner-confusion-long-version License: https://filmmusic.io/standard-license Frisco 'Jass' Band Umbrellas to Mend Written by Mel B Kaufman Performed by Frisco 'Jass' Band Recording date: Orange, N.J. 1918 Cat Number: Diamond Disc 50470[-R] Duration: 03'40" License: Public Domain Night Terrors 2 by Tim Kulig Link: https://filmmusic.io/song/8727-night-terrors-2 License: https://filmmusic.io/standard-license Ignition by Alexander Nakarada Link: https://filmmusic.io/song/4885-ignition License: https://filmmusic.io/standard-license George Lewis & His New Orleans Stompers Don't Go 'Way Nobody Written by Buddy Bolden (1868-1931) Performed by George Lewis (clarinet), Avery "Kid" Howard (trumpet), Jim Robinson (trombone) Lawrence Marrero (banjo), Edgar Mosley (drums), Chester Zardis (bass) Recording date: New Orleans, May 16 1943 Cat Number: Climax 105-A Duration: 04'05" License: Public Domain Echoes of Time by Kevin MacLeod Link: https://filmmusic.io/song/3699-echoes-of-time License: https://filmmusic.io/standard-license Gathering Darkness by Kevin MacLeod Link: https://filmmusic.io/song/3798-gathering-darkness License: https://filmmusic.io/standard-license Whats Going On Here by Horst Hoffmann Link: https://filmmusic.io/song/8412-whats-going-on-here License: https://filmmusic.io/standard-license Monster Reveal by Dave Deville Link: https://filmmusic.io/song/8936-monster-reveal License: https://filmmusic.io/standard-license “Additional sound effects from https://www.zapsplat.com“

Buddy Bolden was born in a world that told him that, because of his skin color, he wasn't as good as other people. But Buddy believed in himself, and used the power of invention, to turn himself into a King. A King that lives on in every musician who picks up an instrument to express themself and every goat that puts on a beret to be cool like Buddy Bolden. Tune in to find out more about the inventor of Jazz!

Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Michael Ondaatje, in full Philip Michael Ondaatje, (born September 12, 1943, Colombo, Ceylon [now Sri Lanka]), is a Canadian novelist and poet whose musical prose and poetry were created from a blend of myth, history, jazz, memoirs, and other forms. Ondaatje immigrated to Montreal when he was 19 and received a B.A. in English from the University of Toronto in 1965 and an M.A. from Queen's University in 1967. His first collection of poetry, The Dainty Monsters (1967), is a series of lyrics that juxtapose everyday life with mythology. It was praised for its unique blend of primitive and domestic imagery. Ondaatje's fascination with the lore of the American West led to one of his most celebrated works, the 1970 pastiche The Collected Works of Billy the Kid: Left-Handed Poems. Often called a parable of the artist as outlaw, the work contains poems, prose, photographs, interviews, and even comic books, which combined create a meditation on the nature of heroism and violence. His collection titled Secular Love(1984) contains poetry about the breakup of his marriage. His other poetry collections include The Cinnamon Peeler (1989) and Handwriting: Poems (1998).Ondaatje's prose works, better known than his poetry, included Coming Through Slaughter (1976), a novel about the descent into insanity of the New Orleans jazz musician Buddy Bolden; Running in the Family (1982), his memoirs about life in Ceylon; and In the Skin of a Lion (1987), a novel about the clash between rich and poor in early 20th-century Toronto. Two characters from this novel, Hana and Caravaggio, also appear in The English Patient (1992; film 1996), which takes place in an Italian villa that is being used as a hospital during World War II. Noted for the richly described interior lives of its characters, The English Patient was cowinner of the Booker Prize in 1992. Subsequent novels included Anil's Ghost (2000), set in Sri Lanka amid the political violence of the 1980s and '90s, and Divisadero (2007). The Cat's Table (2011)—its title referencing the table farthest from the captain's table on a cruise ship—chronicles a voyage from Sri Lanka to England in the 1950s from the perspective of an 11-year-old boy and his two comrades. In Warlight (2018) a teenage boy and his sister are left with two mysterious men when their parents move to Singapore after World War II.From https://www.britannica.com/biography/Michael-Ondaatje. For more information about Michael Ondaatje:“Michael Ondaatje”: https://www.poetryfoundation.org/poets/michael-ondaatjeThe English Patient: https://www.penguinrandomhouse.com/books/124597/the-english-patient-by-michael-ondaatje-introduction-by-pico-iyer/“Michael Ondaatje: By the Book”: ​​https://www.nytimes.com/2018/06/14/books/review/michael-ondaatje-by-the-book.html

On the first post-Thanksgiving episode of the podcast I'm joined once again by Mike from Audubon Street as we talk about the Lusher name change as well as the Buddy Bolden house.

Host Nate Wilcox welcomes Ted Gioia back to the show to discuss the latest edition of his "History of Jazz." The conversation is focused on the origin of jazz in New Orleans, the key influences and some of the important musicians who created this new music.Let It Roll is proud to be part of Pantheon Podcasts.Have a question or a suggestion for a topic or person for Nate to interview? Email letitrollpodcast@gmail.comFollow us on Twitter.Follow us on Facebook.

Host Nate Wilcox welcomes Ted Gioia back to the show to discuss the latest edition of his "History of Jazz." The conversation is focused on the origin of jazz in New Orleans, the key influences and some of the important musicians who created this new music. Let It Roll is proud to be part of Pantheon Podcasts. Have a question or a suggestion for a topic or person for Nate to interview? Email letitrollpodcast@gmail.com Follow us on Twitter. Follow us on Facebook. Learn more about your ad choices. Visit megaphone.fm/adchoices

Host Nate Wilcox welcomes Ted Gioia back to the show to discuss the latest edition of his "History of Jazz." The conversation is focused on the origin of jazz in New Orleans, the key influences and some of the important musicians who created this new music.Let It Roll is proud to be part of Pantheon Podcasts.Have a question or a suggestion for a topic or person for Nate to interview? Email letitrollpodcast@gmail.comFollow us on Twitter.Follow us on Facebook.

Host Nate Wilcox welcomes Ted Gioia back to the show to discuss the latest edition of his "History of Jazz." The conversation is focused on the origin of jazz in New Orleans, the key influences and some of the important musicians who created this new music. Let It Roll is proud to be part of Pantheon Podcasts. Have a question or a suggestion for a topic or person for Nate to interview? Email letitrollpodcast@gmail.com Follow us on Twitter. Follow us on Facebook. Learn more about your ad choices. Visit megaphone.fm/adchoices

Good News: An apartment complex in New Orleans keeps the lights on after Hurricane Ida thanks to a solar array built into the roof! Link HERE. The Good Word: An inspirational thought from the great Dr. Albert Schweitzer. Good To Know: A mind-blowing fact about a simple deck of cards. Good News: Engineering scientists have […]

As you'll hear in this week's episode, everyone in New Orleans music, Jazz, as well as other musical forms, owe something (if not everything) to Buddy Bolden. Yes, there was music in The Crescent City before him, but it was the feel and form of the way that he broke and remade music which influences improvisation through today!This is our 3rd episode of Listener Episode Month 2021!Listen to this cool episode, and then get caught up here!!!Thanks to our sponsor, Crooked Eye Brewery for their support of the podcast!

As you'll hear in this week's episode, everyone in New Orleans music, Jazz, as well as other musical forms, owe something (if not everything) to Buddy Bolden. Yes, there was music in The Crescent City before him, but it was the feel and form of the way that he broke and remade music which influences improvisation through today!This is our 3rd episode of Listener Episode Month 2021!Listen to this cool episode, and then get caught up here!!!Thanks to our sponsor, Crooked Eye Brewery for their support of the podcast!

As you'll hear in this week's episode, everyone in New Orleans music, Jazz, as well as other musical forms, owe something (if not everything) to Buddy Bolden. Yes, there was music in The Crescent City before him, but it was the feel and form of the way that he broke and remade music which influences improvisation through today! This is our 3rd episode of Listener Episode Month 2021! Listen to this cool episode, and then get caught up here!!! Thanks to our sponsor, Crooked Eye Brewery for their support of the podcast! Learn more about your ad choices. Visit megaphone.fm/adchoices

As you'll hear in this week's episode, everyone in New Orleans music, Jazz, as well as other musical forms, owe something (if not everything) to Buddy Bolden. Yes, there was music in The Crescent City before him, but it was the feel and form of the way that he broke and remade music which influences improvisation through today! This is our 3rd episode of Listener Episode Month 2021! Listen to this cool episode, and then get caught up here!!! Thanks to our sponsor, Crooked Eye Brewery for their support of the podcast! Learn more about your ad choices. Visit megaphone.fm/adchoices

 The great Jelly Roll Morton once told folklorist Alan Lomax that the song “Make Me a Pallet on Your Floor” was one of the earlier country blues to come rambling into the big city of New Orleans, that it was being played in the Crescent City many years before he was born there in the 1880s. The song was even known to be favorite of that jazz forefather, the legendary cornetist Buddy Bolden. But it wasn't only in New Orleans; up in Memphis, Jelly Roll's rival songwriter, W.C. Handy, must have heard it too, because, well, he re-appropriated big chunks of the same song for his “Atlanta Blues,” which Louis Armstrong put on a disc in 1954. The Flood got its version from a recording made a half dozen years later for Folkways by the late great Boston bluesmen Rolf Cahn and Eric Von Schmidt. Here, then — with some sweet soloing by Veezy, Sam, Randy and Doug — is our little homage to those earliest days of jazz.

Un tuffo nel jazz delle origini con l'accento messo sulla cornetta, molto utilizzato all'epoca ma che poi perse smalto a favore della tromba.I due cornettisti considerati in questa serie di Claudio Sessa, King Oliver e Freddie Keppard, furono tra i protagonisti di quella preistoria del jazz avvolta ancora in parte nella leggenda. Entrambi erano eredi di quel Buddy Bolden, loro collega di strumento, che molti considerano come l'iniziatore del jazz.Joe Oliver (1885-1938), noto in seguito come “King”, venne alla ribalta a New Orleans ma poi si trasferì a Chicago, come moltissimi musicisti di colore, al momento della chiusura nel 1917 di Storyville, il quartiere a luci rosse della città del delta. Il successo lo ottenne con la King Oliver's Creole Jazz Band per la quale ebbe l'intuizione di chiamare come secondo cornettista un tale Louis Armstrong. Nel 1926 si rilanciò con i Savannah Syncopators, l'ultima sua orchestra di grido. La Grande Depressione, un jazz che ormai aveva sviluppato altri e più moderni stili, nonché motivi di salute contribuirono al suo declino e cadde nell'oblio.Freddie Keppard (1890-1933) era anche lui un creolo di New Orleans, grande rivale di King Olvier. Insieme a Bill Johnson diede vita alla Original Creole Orchestra, che suonava quella musica che di lì a poco sarebbe diventata popolare con l'appellativo di jazz. Sfumata l'occasione di passare alla storia per l'incisione del primo disco di jazz dopo aver rifiutato un'offerta dell'etichetta Victor, nel 1917 Keppard si trasferì pure lui a Chicago. Guidò varie orchestre tra cui i Jazz Cardinals e collaborò con gente quale Jimmy Noone e Johnny Dodds. Morì, anche lui dimenticato, a soli 43 anni.

Un tuffo nel jazz delle origini con l'accento messo sulla cornetta, molto utilizzato all'epoca ma che poi perse smalto a favore della tromba.I due cornettisti considerati in questa serie di Claudio Sessa, King Oliver e Freddie Keppard, furono tra i protagonisti di quella preistoria del jazz avvolta ancora in parte nella leggenda. Entrambi erano eredi di quel Buddy Bolden, loro collega di strumento, che molti considerano come l'iniziatore del jazz.Joe Oliver (1885-1938), noto in seguito come “King”, venne alla ribalta a New Orleans ma poi si trasferì a Chicago, come moltissimi musicisti di colore, al momento della chiusura nel 1917 di Storyville, il quartiere a luci rosse della città del delta. Il successo lo ottenne con la King Oliver's Creole Jazz Band per la quale ebbe l'intuizione di chiamare come secondo cornettista un tale Louis Armstrong. Nel 1926 si rilanciò con i Savannah Syncopators, l'ultima sua orchestra di grido. La Grande Depressione, un jazz che ormai aveva sviluppato altri e più moderni stili, nonché motivi di salute contribuirono al suo declino e cadde nell'oblio.Freddie Keppard (1890-1933) era anche lui un creolo di New Orleans, grande rivale di King Olvier. Insieme a Bill Johnson diede vita alla Original Creole Orchestra, che suonava quella musica che di lì a poco sarebbe diventata popolare con l'appellativo di jazz. Sfumata l'occasione di passare alla storia per l'incisione del primo disco di jazz dopo aver rifiutato un'offerta dell'etichetta Victor, nel 1917 Keppard si trasferì pure lui a Chicago. Guidò varie orchestre tra cui i Jazz Cardinals e collaborò con gente quale Jimmy Noone e Johnny Dodds. Morì, anche lui dimenticato, a soli 43 anni.

Un tuffo nel jazz delle origini con l'accento messo sulla cornetta, molto utilizzato all'epoca ma che poi perse smalto a favore della tromba.I due cornettisti considerati in questa serie di Claudio Sessa, King Oliver e Freddie Keppard, furono tra i protagonisti di quella preistoria del jazz avvolta ancora in parte nella leggenda. Entrambi erano eredi di quel Buddy Bolden, loro collega di strumento, che molti considerano come l'iniziatore del jazz.Joe Oliver (1885-1938), noto in seguito come “King”, venne alla ribalta a New Orleans ma poi si trasferì a Chicago, come moltissimi musicisti di colore, al momento della chiusura nel 1917 di Storyville, il quartiere a luci rosse della città del delta. Il successo lo ottenne con la King Oliver's Creole Jazz Band per la quale ebbe l'intuizione di chiamare come secondo cornettista un tale Louis Armstrong. Nel 1926 si rilanciò con i Savannah Syncopators, l'ultima sua orchestra di grido. La Grande Depressione, un jazz che ormai aveva sviluppato altri e più moderni stili, nonché motivi di salute contribuirono al suo declino e cadde nell'oblio.Freddie Keppard (1890-1933) era anche lui un creolo di New Orleans, grande rivale di King Olvier. Insieme a Bill Johnson diede vita alla Original Creole Orchestra, che suonava quella musica che di lì a poco sarebbe diventata popolare con l'appellativo di jazz. Sfumata l'occasione di passare alla storia per l'incisione del primo disco di jazz dopo aver rifiutato un'offerta dell'etichetta Victor, nel 1917 Keppard si trasferì pure lui a Chicago. Guidò varie orchestre tra cui i Jazz Cardinals e collaborò con gente quale Jimmy Noone e Johnny Dodds. Morì, anche lui dimenticato, a soli 43 anni.

Un tuffo nel jazz delle origini con l'accento messo sulla cornetta, molto utilizzato all'epoca ma che poi perse smalto a favore della tromba.I due cornettisti considerati in questa serie di Claudio Sessa, King Oliver e Freddie Keppard, furono tra i protagonisti di quella preistoria del jazz avvolta ancora in parte nella leggenda. Entrambi erano eredi di quel Buddy Bolden, loro collega di strumento, che molti considerano come l'iniziatore del jazz.Joe Oliver (1885-1938), noto in seguito come “King”, venne alla ribalta a New Orleans ma poi si trasferì a Chicago, come moltissimi musicisti di colore, al momento della chiusura nel 1917 di Storyville, il quartiere a luci rosse della città del delta. Il successo lo ottenne con la King Oliver's Creole Jazz Band per la quale ebbe l'intuizione di chiamare come secondo cornettista un tale Louis Armstrong. Nel 1926 si rilanciò con i Savannah Syncopators, l'ultima sua orchestra di grido. La Grande Depressione, un jazz che ormai aveva sviluppato altri e più moderni stili, nonché motivi di salute contribuirono al suo declino e cadde nell'oblio.Freddie Keppard (1890-1933) era anche lui un creolo di New Orleans, grande rivale di King Olvier. Insieme a Bill Johnson diede vita alla Original Creole Orchestra, che suonava quella musica che di lì a poco sarebbe diventata popolare con l'appellativo di jazz. Sfumata l'occasione di passare alla storia per l'incisione del primo disco di jazz dopo aver rifiutato un'offerta dell'etichetta Victor, nel 1917 Keppard si trasferì pure lui a Chicago. Guidò varie orchestre tra cui i Jazz Cardinals e collaborò con gente quale Jimmy Noone e Johnny Dodds. Morì, anche lui dimenticato, a soli 43 anni.

Un tuffo nel jazz delle origini con l'accento messo sulla cornetta, molto utilizzato all'epoca ma che poi perse smalto a favore della tromba.I due cornettisti considerati in questa serie di Claudio Sessa, King Oliver e Freddie Keppard, furono tra i protagonisti di quella preistoria del jazz avvolta ancora in parte nella leggenda. Entrambi erano eredi di quel Buddy Bolden, loro collega di strumento, che molti considerano come l'iniziatore del jazz.Joe Oliver (1885-1938), noto in seguito come “King”, venne alla ribalta a New Orleans ma poi si trasferì a Chicago, come moltissimi musicisti di colore, al momento della chiusura nel 1917 di Storyville, il quartiere a luci rosse della città del delta. Il successo lo ottenne con la King Oliver's Creole Jazz Band per la quale ebbe l'intuizione di chiamare come secondo cornettista un tale Louis Armstrong. Nel 1926 si rilanciò con i Savannah Syncopators, l'ultima sua orchestra di grido. La Grande Depressione, un jazz che ormai aveva sviluppato altri e più moderni stili, nonché motivi di salute contribuirono al suo declino e cadde nell'oblio.Freddie Keppard (1890-1933) era anche lui un creolo di New Orleans, grande rivale di King Olvier. Insieme a Bill Johnson diede vita alla Original Creole Orchestra, che suonava quella musica che di lì a poco sarebbe diventata popolare con l'appellativo di jazz. Sfumata l'occasione di passare alla storia per l'incisione del primo disco di jazz dopo aver rifiutato un'offerta dell'etichetta Victor, nel 1917 Keppard si trasferì pure lui a Chicago. Guidò varie orchestre tra cui i Jazz Cardinals e collaborò con gente quale Jimmy Noone e Johnny Dodds. Morì, anche lui dimenticato, a soli 43 anni.

Capítulo especial por el día del Jazz (30 de abril), abrimos este especial spinoff con la historia del jazz, donde revisaremos sus comienzos, pasando por las work songs, el gospel, el blues, los spirituals y su antecedente inmediato como lo es el Ragtime. Le daremos su lugar en los inicios a Buddy Bolden, el rey, y desmitificaremos la autoproclamación de Jelly Roll Morton como el "inventor del jazz". Porqué primero se llamó "Jass"? Cuál fue el lugar de King Oliver y Bessie Smith? New Orleans, Chicago, Dixieland y más. Pase por acá y disfrute de este viaje musical...

Composición de los años 20 de Kid Ory con letra de Ray Gilbert, tiene en realidad origines discutidos. Louis Armstrong decía que era suya y que Ory le puso el título. Pero Sydney Bechet sostenía que venía de Buddy Bolden. Lo cierto es que la estrena Armstrong con los Hot Five (con Ory) en 1926  y desde entonces es un sine qua non del jazz tradicional. La muskrat es la rata almizclera y "to ramble" es pasear sin destino. Lamentablemente su estribillo fue robado por Country Joe and The Fish (Woodstock, 1969). Kid Ory (que tenía 72 años) nunca imaginó que su melodía sería escuchada por medio millón de personas juntas en vivo. Escuchemos a Louis, Ory, Bechet, Teagarden, Marsalis y otros.   Pops en 1962 Playlist en Spotify

391. Part 2 of our chat with Ed Branley. Ed is a friend of ours, the NOLA history guy, and the author of History of Jazz. From the days when Buddy Bolden would blow his cornet to attract an audience from one New Orleans park to another, to the brass bands in clubs and on the streets today, jazz in New Orleans has been about simple things: getting people to snap their fingers, tap their toes, get up and clap their hands, and most importantly dance! From the 1890s to World War I, from uptown to Faubourg Treme and out to the lakefront, New Orleans embraced this uniquely American form of music. Local musicians nurtured jazz, matured it, and passed it on to others. Some left the city to make their names elsewhere, while others stayed, playing the clubs, marching in the parades, and sending loved ones home with "jazz funerals." Older musicians mentored younger ones, preserving the traditions that give New Orleans such an exciting jazz scene today. This week in Louisiana history. November 14, 1960. New Orleans schools desegregated. This week in New Orleans history. The Market Theatre, located on Teche Street near Foto's Market, provided Algerines with silent movies and vaudeville acts. The theater's farewell performances took place on November 14, 1915. This week in Louisiana. Visit Chicot State Park 3469 Chicot Park Road Ville Platte, LA 70586 1-888-677-2442 Website | Email    The park covers over 6,400 acres of rolling hills and water in South Central Louisiana. The cool, clear waters of Lake Chicot have yielded record freshwater catches of largemouth bass, crappie, bluegill and red-ear sunfish. Fishermen will enjoy the convenient boathouse, three boat launches and boat rental facilities.    An extensive hiking/backpacking trail completely encircles Lake Chicot and includes several primitive campsites along the way. The hiking trails allow visitors to experience and enjoy the park's natural landscape, its bottomland hardwood forest and the lake itself. For visitors who enjoy a quicker pace, much of the trail is geared toward mountain bikers, and all cyclists are welcome to ride the roadways throughout the park.    The South Landing includes cabins, a group camp, picnic areas and playground, a water playground, a boat launch, a fishing pier and a dock with rental boats. A scenic road links the South Landing with the North Landing.    Entrance fee: $3.00 per person. Postcards from Louisiana. Tuba Skinny at the dba Bar.Listen on iTunes.Listen on Google Play.Listen on Google Podcasts.Listen on Spotify.Listen on Stitcher.Listen on TuneIn.The Louisiana Anthology Home Page.Like us on Facebook.

A native of Maryland, John Lingan's first book is Homeplace: A Southern Town, a Country Legend, and the Last Days of Mountain-Top Honky Tonk, which examines the northern Virginia town of Winchester. Winchester is known largely for two things: the Civil War and being the birthplace of Patsy Cline. But as John's book shows, just as compelling are the stories of more recent inhabitants, including chefs, writers, and store owners. Homeplace shows how people in 21st century South are trying to make a living in a region undergoing severe political and economic change. Homeplace builds upon John's other writings, which often explore music. Jeff Tweedy, NRBQ, Buddy Bolden, and Margo Price are just some of the subjects he has previously written about. Perhaps not surprisingly, his current book project centers on the classic rock staple Creedence Clearwater Revival.

The Candia Massacre began on this day in 1898. / On this day, jazz pioneer Buddy Bolden was born in New Orleans. Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

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

This content is for Members only. Come and join us by subscribing here In the meantime, here’s some more details about the show: It’s a warm welcome then to the man himself: Dr. Brad Stone - the JazzWeek Programmer of the Year 2017, who's here every Thursday to present The Creative Source - a two hour show, highlighting jazz-fusion and progressive jazz flavours from back then, the here and now, plus occasional forays into the future. Please feel free to get in touch with Brad with any comments or suggestions you might have; he’ll be more than happy to hear from you: brad@soulandjazz.com or follow him via Facebook or Twitter. Enjoy! The Creative Source 7th May 2020 Artist - Track - Album - Year Dave Askren/Jeff Benedict    Mahjong    Paraphernalia: The Music of Wayne Shorter    2020 Francesco Cataldo    Giulia    Giulia    2020 Derrick Shezbie    Bucket's Got a Hole    The Ghost of Buddy Bolden    2019 Johnny Summers    Baker's Dozen: Celebrating Chet Baker    Time After Time    2020 Snorre Kirk Quartet w/Stephen Riley    Nocturne    Tangerine Rhapsody    2019 Robby Ameen    Mixology    Diluvio    2020 Gilfema    Fleuve Congo    Three    2020 Cory Weed's Quartet    Blues de Troye    Day by Day    2020 Paul Shaw Quartet    Heartland    Moment of Clarity    2020 David Bixler Bixtet    Pt. 1: Origins    Blended Lineage    2020 Shapiro 17    Boiled Funk    New Shoes: Kind of Blue at 60    2020 Lenora Zenzalai Helm and Tribe Jazz Orchestra    Soul Eyes    For the Love of Big Band    2020 Dennis Kwok Jazz Orchestra    Part III. A Flat Boat is a Fast Boat    Windward Bound    2020 Tania Grubbs Quintet    Bird on a Wire    Live at Maureen's Jazz Cellar    2020 Laila Biali    Wendy's Song    Out of Dust    2020 Aubrey Johnson    These Days    Unraveled    2020 LP and the Vinyl    Life on Mars    Heard and Seen    2020 Gordon Grdina Septet    Ever Onward    Resist    2020 The post The Creative Source (#CreativeSource) – 7th May 2020 appeared first on SoulandJazz.com | Stereo, not stereotypical ®.

Speaking of the Arts welcomes NEA Jazz Master Delfeayo Marsalis and Epstein & Company's own Marie Le Claire. In this episode, we talk to Delfeayo to hear more about his new album JAZZ PARTY and what he has been up to during quarantine. Listen as Delfeayo speaks in depth about the conception for his Uptown Jazz Orchestra and the unique approach they take to each show. For the better part of a decade, acclaimed trombonist, producer and composer Delfeayo Marsalis has spent Wednesday nights at the helm of his sprawling Uptown Jazz Orchestra’s residency at Snug Harbor in New Orleans. With Jazz Party, Marsalis’ seventh album as a leader, he delivers an original composition-heavy set of music that showcases the same exuberant energy of those shows, complete with modernized twists on New Orleans songbook gems and musical traditions, and swinging, groove-infused homages to the contributions of modern jazz masters. Spiked with the NEA Jazz Master’s wry wit and visionary production acumen, Jazz Party sees Marsalis – along with Roger Lewis, Terrance Taplin, Khari Lee, and more of the Crescent City’s finest musicians – making a strong musical case for the notion modern New Orleans jazz can and should be as celebratory in nature as it is cerebral in execution. Over the course of his prolific career, trombonist, composer, producer, educator and NEA Jazz Master Delfeayo Marsalis has been hailed as one of the “most imaginative...trombonists of his generation,” a title that reflects decades of musical exploration, preparation and risk-taking, much of which began during his childhood in New Orleans, where his father, Ellis Marsalis, introduced him to jazz in the family home. Eventually, Delfeayo says, he “gravitated toward the trombone,” which felt like “an extension of my personality.” He was simultaneously developing his ear for music production after his brothers, Branford and Wynton Marsalis, piqued his interest in the process, which he continued to develop while producing their demo tapes and interning at Allen Toussaint’s Sea Saint Studio. He’s gone on to produce more than 100 recordings for artists including his brothers, his father, Spike Lee, Harry Connick, Jr., Terence Blanchard, Preservation Hall Jazz Band and others. An exceptional trombonist, Delfeayo has toured internationally with bands led by Art Blakey, Slide Hampton, Abdullah Ibrahim, Max Roach and Elvin Jones, as well as his own groups. Delfeayo recently served as Music Producer for the film “Bolden!,” a mythical account of the life of Buddy Bolden, and has worked extensively in arts education. He holds a master’s degree in jazz performance from the University of Louisville and an honorary doctorate from New England College. He is a graduate of Berklee College of Music and the New Orleans Center for Creative Arts.

La semaine dernière, nous avons assisté à la fermeture de Storyville, le quartier des bordels qui a favorisé l'éclosion d'une nouvelle génération de musiciens. Ils s'appellent Buddy Bolden, Kid Ory, King Oliver ou Jelly Roll Morton, ils font rugir leurs cornets, gémir leur trombone et tressaillir le piano comme on ne l'avait jamais entendu auparavant… Ils sont les pionniers du jazz, mais ils sont surtout le fruit de deux-cents ans d'Histoire, qui ont transformé le minuscule poste colonial fondé par Jean-Baptiste Le Moyne de Bienville en véritable capitale du Sud et de la Caraïbe. Rebelle, attirante, mystérieuse et festive, autant qu'elle est rude, injuste, sauvage et crasseuse, la Nouvelle-Orléans va souffrir de l'industrialisation du Nord, de la grande migration, puis de la crise des années 30. Dépeuplée, dépouillée de ceux qui ont fait sa légende, la cité du croissant s'apprête à tourner une page de son histoire… Pourtant, le jazz, lui, résonne toujours dans ses murs. Et alors que se ferment les portes de Storyville en 1917, un jeune trompettiste nommé Louis Armstrong commence tout juste à faire parler de lui. Etagère 1… boîte L… Dossier NOLA1718… Les 300 ans de la Nouvelle -Orléans, épisode 3 : le revival. Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Il y a trois-cent ans (en 2018), sur une minuscule bande de terre au milieu des marais, coincée dans les méandres du fleuve Mississippi, était fondée la Nouvelle-Orléans… Ville romantique et iconoclaste, festive et chargée d'histoire, la Nouvelle-Orléans ne ressemble à aucune autre ville des Etats-Unis, et peut-être même à aucune autre ville du globe. En trois siècles d'existence, cette cité du croissant convoitée de toute part aura été aux avant-postes des grands bouleversements mondiaux. Théâtre de la comédie humaine comme de l'ignominie de l'esclavage, la Nouvelle-Orléans aura aussi été, jusqu'à un passé récent, victime des spéculateurs de tous poils et de l'arrogance de l'homme face aux flots boueux du Mississippi. Surtout, la Nouvelle-Orléans aura servi de carrefour aux civilisations indigènes, européennes et africaines, qui l'ont marquée dans ses murs comme dans sa chair...   Comment un petit établissement de portage, fait de quelques baraques en rondins de bois, est-il devenu le joyau de la France coloniale ? Comment cette ville créole et provocante située à l'embouchure du Roi des Fleuves a t-elle enfanté Buddy Bolden, King Oliver ou Louis Armstrong, faisant d'elle le berceau d'une musique que l'on appelle le Jazz ? C'est ce que nous allons essayer de vous raconter dans une série de trois épisodes... Etagère 1… boîte L… Dossier NOLA1718… Les 300 ans de la Nouvelle -Orléans, épisode 1 : le temps des pionniersHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

The closest we have ever gotten to doing true crime! This week we talk about Harvey Milk, who was the first openly gay elected politician in America, and Buddy Bolden, an important figure in New Orleans jazz and blues history you may have never heard of. --- Support this podcast: https://anchor.fm/pod-it-in-your-butt/support

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

Episode fifty-four of A History of Rock Music in Five Hundred Songs looks at "Keep A Knockin'" by Little Richard, the long history of the song, and the tension between its performer's faith and sexuality. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on "At the Hop" by Danny and the Juniors.   ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. Most of the information used here comes from The Life and Times of Little Richard: The Authorised Biography by Charles White, which is to all intents and purposes Richard's autobiography, as much of the text is in his own words. A warning for those who might be considering buying this though -- it contains descriptions of his abuse as a child, and is also full of internalised homo- bi- and trans-phobia. This collection contains everything Richard released before 1962, from his early blues singles through to his gospel albums from after he temporarily gave up rock and roll for the church. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Erratum In the podcast I refer to a jazz band as "the Buddy Bolden Legacy Group". Their name is actually "the Buddy Bolden Legacy Band".   Transcript When last we looked at Little Richard properly, he had just had a hit with "Long Tall Sally", and was at the peak of his career. Since then, we've seen that he had become big enough that he was chosen over Fats Domino to record the theme tune to "The Girl Can't Help It", and that he was the inspiration for James Brown. But today we're going to look in more detail at Little Richard's career in the mid fifties, and at how he threw away that career for his beliefs. [Excerpt: Little Richard with his Band, "Keep A Knockin'"] Richard's immediate follow-up to "Long Tall Sally" was another of his most successful records, a double-sided hit with both songs credited to John Marascalco and Bumps Blackwell -- "Rip it Up" backed with "Ready Teddy". These both went to number one on the R&B charts, but they possibly didn't have quite the same power as RIchard's first two singles. Where the earlier singles had been truly unique artefacts, songs that didn't sound like anything else out there, "Rip it Up" and "Ready Teddy" were both much closer to the typical songs of the time -- the lyrics were about going out and having a party and rocking and rolling, rather than about sex with men or cross-dressing sex workers. But this didn't make Richard any less successful, and throughout 1956 and 57 he kept releasing more hits, often releasing singles where both the A and B side became classics -- we've discussed "The Girl Can't Help It" and "She's Got It" in the episode on "Twenty Flight Rock", but there was also "Jenny Jenny", "Send Me Some Lovin'", and possibly the greatest of them all, "Lucille": [Excerpt: Little Richard, "Lucille"] But Richard was getting annoyed at the routine of recording -- or more precisely, he was getting annoyed at the musicians he was having to work with in the studio. He was convinced that his own backing band, the Upsetters, were at least as good as the studio musicians, and he was pushing for Specialty to let him use them in the studio. And when they finally let him use the Upsetters in the studio, he recorded a song which had roots which go much further back than you might imagine. "Keep A Knockin'" had a long, long, history. It derives originally from a piece called "A Bunch of Blues", written by J. Paul Wyer and Alf Kelly in 1915. Wyer was a violin player with W.C. Handy's band, and Handy recorded the tune in 1917: [Excerpt: W.C. Handy's Memphis Blues Band, "A Bunch of Blues"] That itself, though, may derive from another song, "My Bucket's Got A Hole in It", which is an old jazz standard. There are claims that it was originally played by the great jazz trumpeter Buddy Bolden around the turn of the twentieth century. No recordings survive of Bolden playing the song, but a group called "the Buddy Bolden Legacy Group" have put together what, other than the use of modern recording, seems a reasonable facsimile of how Bolden would have played the song: [Excerpt: "My Bucket's Got a Hole in it", the Buddy Bolden Legacy Band] If Bolden did play that, then the melody dates back to around 1906 at the latest, as from 1907 on Bolden was in a psychiatric hospital with schizophrenia, but the 1915 date for "A Bunch of Blues" is the earliest definite date we have for the melody. "My Bucket's Got a Hole in it" would later be recorded by everyone from Hank Williams to Louis Armstrong, Jimmy Page and Robert Plant to Willie Nelson and Wynton Marsalis. It was particularly popular among country singers: [Excerpt: Hank Williams, "My Bucket's Got A Hole In It"] But the song took another turn in 1928, when it was recorded by Tampa Red's Hokum Jug Band. This group featured Tampa Red, who would later go on to be a blues legend in his own right, and "Georgia Tom", who as Thomas Dorsey would later be best known as the writer of much of the core repertoire of gospel music. You might remember us talking about Dorsey in the episode on Rosetta Tharpe. He's someone who wrote dirty, funny, blues songs until he had a religious experience while on stage, and instead became a writer of religious music, writing songs like "Precious Lord, Take My Hand" and "Peace in the Valley". But in 1928, he was still Georgia Tom and still recording hokum songs. We talked about hokum music right back in the earliest episodes of the podcast, but as a reminder, hokum music is a form which is now usually lumped into the blues by most of the few people who come across it, but which actually comes from vaudeville and especially from minstrel shows, and was hugely popular in the early decades of the twentieth century. It usually involved simple songs with a verse/chorus structure, and with lyrics that were an extended comedy metaphor, usually some form of innuendo about sex, with titles like "Meat Balls" and "Banana in Your Fruit Basket". As you can imagine, this kind of music is one that influenced a lot of people who went on to influence Little Richard, and it's in this crossover genre which had elements of country, blues, and pop that we find "My Bucket's Got a Hole in it" turning into the song that would later be known as "Keep A Knockin'". Tampa Red's version was titled "You Can't Come In", and seems to have been the origin not only of "Keep A Knockin'" but also of the Lead Belly song "Midnight Special" -- you can hear the similarity in the guitar melody: [Excerpt: Tampa Red's Hokum Jug Band, "You Can't Come In"] The version by Tampa Red's Hokum Jug Band wasn't the first recording to combine the "Keep a Knockin'" lyrics with the "My Bucket's Got a Hole In It" melody -- the piano player Bert Mays recorded a version a month earlier, and Mays and his producer Mayo Williams, one of the first black record producers, are usually credited as the songwriters as a result (with Little Richard also being credited on his version). Mays was in turn probably inspired by an earlier recording by James "Boodle It" Wiggins, but Wiggins had a different melody -- Mays seems to be the one who first combined the lyrics with the "My Bucket's Got a Hole In It" melody on a recording. But the idea was probably one that had been knocking around for a while in various forms, given the number of different variations of the melody that turn up, and Tampa Red's version inspired all the future recordings. As hokum music lies at the roots of both blues and country, it's not surprising that "You Can't Come in" was picked up by both country and blues musicians. A version of the song, for example, was recorded by, among others, Milton Brown -- who had been an early musical partner of Bob Wills and one of the people who helped create Western Swing. [Excerpt: Milton Brown and his Musical Brownies: "Keep A Knockin'"] But the version that Little Richard recorded was most likely inspired by Louis Jordan's version. Jordan was, of course, Richard's single biggest musical inspiration, so we can reasonably assume that the record by Jordan was the one that pushed him to record the song. [Excerpt: Louis Jordan, "Keep A Knockin'"] The Jordan record was probably brought to mind in 1955 when Smiley Lewis had a hit with Dave Bartholomew's take on the idea. "I Hear You Knockin'" only bears a slight melodic resemblance to "Keep A Knockin'", but the lyrics are so obviously inspired by the earlier song that it would have brought it to mind for anyone who had heard any of the earlier versions: [Excerpt: Smiley Lewis, "I Hear You Knockin'"] That was also recorded by Fats Domino, one of Little Richard's favourite musicians, so we can be sure that Richard had heard it. So by the time Little Richard came to record "Keep A Knockin'" in very early 1957, he had a host of different versions he could draw on for inspiration. But what we ended up with is something that's uniquely Little Richard -- something that was altogether wilder: [Excerpt: Little Richard and his band, "Keep A Knockin'"] In some takes of the song, Richard also sang a verse about drinking gin, which was based on Louis Jordan's version which had a similar verse: [Excerpt: Little Richard, "Keep A Knockin'", "drinking gin" verse from take three] But in the end, what they ended up with was only about fifty-seven seconds worth of usable recording. Listening to the session recording, it seems that Grady Gaines kept trying different things with his saxophone solo, and not all of them quite worked as well as might be hoped -- there are a few infelicities in most of his solos, though not anything that you wouldn't expect from a good player trying new things. To get it to a usable length, they copied and pasted the whole song from the start of Richard's vocal through to the end of the saxophone solo, and almost doubled the length of the song -- the third and fourth verses, and the second saxophone solo, are the same recording as the first and second verses and the first sax solo. If you want to try this yourself, it seems that the "whoo" after the first "keep a knockin' but you can't come in" after the second sax solo is the point where the copy/pasting ends. But even though the recording ended up being a bit of a Frankenstein's monster, it remains one of Little Richard's greatest tracks. At the same session, he also recorded another of his very best records, "Ooh! My Soul!": [Excerpt: Little Richard, "Ooh! My Soul!"] That session also produced a single for Richard's chauffeur, with Richard on the piano, released under the name "Pretty Boy": [Excerpt: Pretty Boy, "Bip Bop Bip"] "Pretty Boy" would later go on to be better known as Don Covay, and would have great success as a soul singer and songwriter. He's now probably best known for writing "Chain of Fools" for Aretha Franklin. That session was a productive one, but other than one final session in October 1957, in which he knocked out a couple of blues songs as album fillers, it would be Little Richard's last rock and roll recording session for several years. Richard had always been deeply conflicted about... well, about everything, really. He was attracted to men as well as women, he loved rock and roll and rhythm and blues music, loved eating chitlins and pork chops, drinking, and taking drugs, and was unsure about his own gender identity. He was also deeply, deeply, religious, and a believer in the Seventh Day Adventist church, which believed that same-sex attraction, trans identities, and secular music were the work of the Devil, and that one should keep a vegetarian and kosher diet, and avoid all drugs, even caffeine. This came to a head in October 1957. Richard was on a tour of Australia with Gene Vincent, Eddie Cochran, and Alis Lesley, who was another of the many singers billed as "the female Elvis Presley": [Excerpt: Alis Lesley, "He Will Come Back To Me"] Vincent actually had to miss the first couple of shows on the tour, as he and the Blue Caps got held up in Honolulu, apparently due to visa issues, and couldn't continue on to Australia with the rest of the tour until that was sorted out. They were replaced on those early shows by a local group, Johnny O'Keefe and the Dee Jays, who performed some of Vincent's songs as well as their own material, and who managed to win the audiences round even though they were irritated at Vincent's absence. O'Keefe isn't someone we're going to be able to discuss in much detail in this series, because he had very little impact outside of Australia. But within Australia, he's something of a legend as their first home-grown rock and roll star. And he did make one record which people outside of Australia have heard of -- his biggest hit, from 1958, "Wild One", which has since been covered by, amongst others, Jerry Lee Lewis and Iggy Pop: [Excerpt: Johnny O'Keefe, "Wild One"] The flight to Australia was longer and more difficult than any Richard had experienced before, and at one point he looked out of the window and saw the engines glowing red. He became convinced that the plane was on fire, and being held up by angels. He became even more worried a couple of days later when Russia launched their first satellite, Sputnik, and it passed low over Australia -- low enough that he claimed he could see it, like a fireball in the sky, while he was performing. He decided this was a sign, and that he was being told by God that he needed to give up his life of sin and devote himself to religion. He told the other people on the tour this, but they didn't believe him -- until he threw all his rings into the ocean to prove it. He insisted on cancelling his appearances with ten days of the tour left to go and travelling back to the US with his band. He has often also claimed that the plane they were originally scheduled to fly back on crashed in the Pacific on the flight he would have been on -- I've seen no evidence anywhere else of this, and I have looked. When he got back, he cut one final session for Specialty, and then went into a seminary to start studying for the ministry. While his religious belief is genuine, there has been some suggestion that this move wasn't solely motivated by his conversion. Rather, John Marascalco has often claimed that Richard's real reason for his conversion was based on more worldly considerations. Richard's contract with Specialty was only paying him half a cent per record sold, which he considered far too low, and the wording of the contract only let him end it on either his own death or an act of god. He was trying -- according to Marascalco -- to claim that his religious awakening was an act of God, and so he should be allowed to break his contract and sign with another label. Whatever the truth, Specialty had enough of a backlog of Little Richard recordings that they could keep issuing them for the next couple of years. Some of those, like "Good Golly Miss Molly" were as good as anything he had ever recorded. and rightly became big hits: [Excerpt: Little Richard, "Good Golly Miss Molly"] Many others, though, were substandard recordings that they originally had no plans to release -- but with Richard effectively on strike and the demand for his recordings undiminished, they put out whatever they had. Richard went out on the road as an evangelist, but also went to study to become a priest. He changed his whole lifestyle -- he married a woman, although they would later divorce as, among other things, they weren't sexually compatible. He stopped drinking and taking drugs, stopped even drinking coffee, and started eating only vegetables cooked in vegetable oil. After the lawsuits over him quitting Specialty records were finally settled, he started recording again, but only gospel songs: [Excerpt: Little Richard, "Precious Lord, Take My Hand"] And that was how things stood for several years. The tension between Richard's sexuality and his religion continued to torment him -- he dropped out of the seminary after propositioning another male student, and he was arrested in a public toilet -- but he continued his evangelism and gospel singing until October 1962, when he went on tour in the UK. Just like the previous tour which had been a turning point in his life, this one featured Gene Vincent, but was also affected by Vincent's work permit problems. This time, Vincent was allowed in the country but wasn't allowed to perform on stage -- so he appeared only as the compere, at least at the start of the tour -- later on, he would sing "Be Bop A Lula" from offstage as well. Vincent wasn't the only one to have problems, either. Sam Cooke, who was the second-billed star for the show, was delayed and couldn't make the first show, which was a bit of a disaster. Richard was accompanied by a young gospel organ player named Billy Preston, and he'd agreed to the tour under the impression that he was going to be performing only his gospel music. Don Arden, the promoter, had been promoting it as Richard's first rock and roll tour in five years, and the audience were very far from impressed when Richard came on stage in flowing white robes and started singing "Peace in the Valley" and other gospel songs. Arden was apoplectic. If Richard didn't start performing rock and roll songs soon, he would have to cancel the whole tour -- an audience that wanted "Rip it Up" and "Long Tall Sally" and "Tutti Frutti" wasn't going to put up with being preached at. Arden didn't know what to do, and when Sam Cooke and his manager J.W. Alexander turned up to the second show, Arden had a talk with Alexander about it. Alexander told Arden he had nothing to worry about -- he knew Little Richard of old, and knew that Richard couldn't stand to be upstaged. He also knew how good Sam Cooke was. Cooke was at the height of his success at this point, and he was an astonishing live performer, and so when he went out on stage and closed the first half, including an incendiary performance of "Twistin' the Night Away" that left the audience applauding through the intermission, Richard knew he had to up his game. While he'd not been performing rock and roll in public, he had been tempted back into the studio to record in his old style at least once before, when he'd joined his old group to record Fats Domino's "I'm In Love Again", for a single that didn't get released until December 1962. The single was released as by "the World Famous Upsetters", but the vocalist on the record was very recognisable: [Excerpt: The World Famous Upsetters, "I'm In Love Again"] So Richard's willpower had been slowly bending, and Sam Cooke's performance was the final straw. Little Richard was going to show everyone what star power really was. When Richard came out on stage, he spent a whole minute in pitch darkness, with the band vamping, before a spotlight suddenly picked him out, in an all-white suit, and he launched into "Long Tall Sally". The British tour was a massive success, and Richard kept becoming wilder and more frantic on stage, as five years of pent up rock and roll burst out of him. Many shows he'd pull off most of his clothes and throw them into the audience, ending up dressed in just a bathrobe, on his knees. He would jump on the piano, and one night he even faked his own death, collapsing off the piano and lying still on the stage in the middle of a song, just to create a tension in the audience for when he suddenly jumped up and started singing "Tutti Frutti". The tour was successful enough, and Richard's performances created such a buzz, that when the package tour itself finished Richard was booked for a few extra gigs, including one at the Tower Ballroom in New Brighton where he headlined a bill of local bands from around Merseyside, including one who had released their first single a few weeks earlier. He then went to Hamburg with that group, and spent two months hanging out with them and performing in the same kinds of clubs, and teaching their bass player how he made his “whoo” sounds when singing. Richard was impressed enough by them that he got in touch with Art Rupe, who still had some contractual claim over Richard's own recordings, to tell him about them, but Rupe said that he wasn't interested in some English group, he just wanted Little Richard to go back into the studio and make more records for him. Richard headed back to the US, leaving Billy Preston stranded in Hamburg with his new friends, the Beatles. At first, he still wouldn't record any rock and roll music, other than one song that Sam Cooke wrote for him, "Well Alright", but after another UK tour he started to see that people who had been inspired by him were having the kind of success he thought he was due himself. He went back into the studio, backed by a group including Don and Dewey, who had been performing with him in the UK, and recorded what was meant to be his comeback single, "Bama Lama Bama Loo": [Excerpt: Little Richard, "Bama Lama Bama Loo"] Unfortunately, great as it was, that single didn't do anything in the charts, and Richard spent the rest of the sixties making record after record that failed to chart. Some of them were as good as anything he'd done in his fifties heyday, but his five years away from rock and roll music had killed his career as a recording artist. They hadn't, though, killed him as a live performer, and he would spend the next fifty years touring, playing the hits he had recorded during that classic period from 1955 through 1957, with occasional breaks where he would be overcome by remorse, give up rock and roll music forever, and try to work as an evangelist and gospel singer, before the lure of material success and audience response brought him back to the world of sex and drugs and rock and roll. He eventually gave up performing live a few years ago, as decades of outrageous stage performances had exacerbated his disabilities. His last public performance was in 2013, in Las Vegas, and he was in a wheelchair -- but because he's Little Richard, the wheelchair was made to look like a golden throne.

Episode fifty-four of A History of Rock Music in Five Hundred Songs looks at “Keep A Knockin'” by Little Richard, the long history of the song, and the tension between its performer’s faith and sexuality. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on “At the Hop” by Danny and the Juniors.   —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. Most of the information used here comes from The Life and Times of Little Richard: The Authorised Biography by Charles White, which is to all intents and purposes Richard’s autobiography, as much of the text is in his own words. A warning for those who might be considering buying this though — it contains descriptions of his abuse as a child, and is also full of internalised homo- bi- and trans-phobia. This collection contains everything Richard released before 1962, from his early blues singles through to his gospel albums from after he temporarily gave up rock and roll for the church. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Erratum In the podcast I refer to a jazz band as “the Buddy Bolden Legacy Group”. Their name is actually “the Buddy Bolden Legacy Band”.   Transcript When last we looked at Little Richard properly, he had just had a hit with “Long Tall Sally”, and was at the peak of his career. Since then, we’ve seen that he had become big enough that he was chosen over Fats Domino to record the theme tune to “The Girl Can’t Help It”, and that he was the inspiration for James Brown. But today we’re going to look in more detail at Little Richard’s career in the mid fifties, and at how he threw away that career for his beliefs. [Excerpt: Little Richard with his Band, “Keep A Knockin'”] Richard’s immediate follow-up to “Long Tall Sally” was another of his most successful records, a double-sided hit with both songs credited to John Marascalco and Bumps Blackwell — “Rip it Up” backed with “Ready Teddy”. These both went to number one on the R&B charts, but they possibly didn’t have quite the same power as RIchard’s first two singles. Where the earlier singles had been truly unique artefacts, songs that didn’t sound like anything else out there, “Rip it Up” and “Ready Teddy” were both much closer to the typical songs of the time — the lyrics were about going out and having a party and rocking and rolling, rather than about sex with men or cross-dressing sex workers. But this didn’t make Richard any less successful, and throughout 1956 and 57 he kept releasing more hits, often releasing singles where both the A and B side became classics — we’ve discussed “The Girl Can’t Help It” and “She’s Got It” in the episode on “Twenty Flight Rock”, but there was also “Jenny Jenny”, “Send Me Some Lovin'”, and possibly the greatest of them all, “Lucille”: [Excerpt: Little Richard, “Lucille”] But Richard was getting annoyed at the routine of recording — or more precisely, he was getting annoyed at the musicians he was having to work with in the studio. He was convinced that his own backing band, the Upsetters, were at least as good as the studio musicians, and he was pushing for Specialty to let him use them in the studio. And when they finally let him use the Upsetters in the studio, he recorded a song which had roots which go much further back than you might imagine. “Keep A Knockin'” had a long, long, history. It derives originally from a piece called “A Bunch of Blues”, written by J. Paul Wyer and Alf Kelly in 1915. Wyer was a violin player with W.C. Handy’s band, and Handy recorded the tune in 1917: [Excerpt: W.C. Handy’s Memphis Blues Band, “A Bunch of Blues”] That itself, though, may derive from another song, “My Bucket’s Got A Hole in It”, which is an old jazz standard. There are claims that it was originally played by the great jazz trumpeter Buddy Bolden around the turn of the twentieth century. No recordings survive of Bolden playing the song, but a group called “the Buddy Bolden Legacy Group” have put together what, other than the use of modern recording, seems a reasonable facsimile of how Bolden would have played the song: [Excerpt: “My Bucket’s Got a Hole in it”, the Buddy Bolden Legacy Band] If Bolden did play that, then the melody dates back to around 1906 at the latest, as from 1907 on Bolden was in a psychiatric hospital with schizophrenia, but the 1915 date for “A Bunch of Blues” is the earliest definite date we have for the melody. “My Bucket’s Got a Hole in it” would later be recorded by everyone from Hank Williams to Louis Armstrong, Jimmy Page and Robert Plant to Willie Nelson and Wynton Marsalis. It was particularly popular among country singers: [Excerpt: Hank Williams, “My Bucket’s Got A Hole In It”] But the song took another turn in 1928, when it was recorded by Tampa Red’s Hokum Jug Band. This group featured Tampa Red, who would later go on to be a blues legend in his own right, and “Georgia Tom”, who as Thomas Dorsey would later be best known as the writer of much of the core repertoire of gospel music. You might remember us talking about Dorsey in the episode on Rosetta Tharpe. He’s someone who wrote dirty, funny, blues songs until he had a religious experience while on stage, and instead became a writer of religious music, writing songs like “Precious Lord, Take My Hand” and “Peace in the Valley”. But in 1928, he was still Georgia Tom and still recording hokum songs. We talked about hokum music right back in the earliest episodes of the podcast, but as a reminder, hokum music is a form which is now usually lumped into the blues by most of the few people who come across it, but which actually comes from vaudeville and especially from minstrel shows, and was hugely popular in the early decades of the twentieth century. It usually involved simple songs with a verse/chorus structure, and with lyrics that were an extended comedy metaphor, usually some form of innuendo about sex, with titles like “Meat Balls” and “Banana in Your Fruit Basket”. As you can imagine, this kind of music is one that influenced a lot of people who went on to influence Little Richard, and it’s in this crossover genre which had elements of country, blues, and pop that we find “My Bucket’s Got a Hole in it” turning into the song that would later be known as “Keep A Knockin'”. Tampa Red’s version was titled “You Can’t Come In”, and seems to have been the origin not only of “Keep A Knockin'” but also of the Lead Belly song “Midnight Special” — you can hear the similarity in the guitar melody: [Excerpt: Tampa Red’s Hokum Jug Band, “You Can’t Come In”] The version by Tampa Red’s Hokum Jug Band wasn’t the first recording to combine the “Keep a Knockin'” lyrics with the “My Bucket’s Got a Hole In It” melody — the piano player Bert Mays recorded a version a month earlier, and Mays and his producer Mayo Williams, one of the first black record producers, are usually credited as the songwriters as a result (with Little Richard also being credited on his version). Mays was in turn probably inspired by an earlier recording by James “Boodle It” Wiggins, but Wiggins had a different melody — Mays seems to be the one who first combined the lyrics with the “My Bucket’s Got a Hole In It” melody on a recording. But the idea was probably one that had been knocking around for a while in various forms, given the number of different variations of the melody that turn up, and Tampa Red’s version inspired all the future recordings. As hokum music lies at the roots of both blues and country, it’s not surprising that “You Can’t Come in” was picked up by both country and blues musicians. A version of the song, for example, was recorded by, among others, Milton Brown — who had been an early musical partner of Bob Wills and one of the people who helped create Western Swing. [Excerpt: Milton Brown and his Musical Brownies: “Keep A Knockin'”] But the version that Little Richard recorded was most likely inspired by Louis Jordan’s version. Jordan was, of course, Richard’s single biggest musical inspiration, so we can reasonably assume that the record by Jordan was the one that pushed him to record the song. [Excerpt: Louis Jordan, “Keep A Knockin'”] The Jordan record was probably brought to mind in 1955 when Smiley Lewis had a hit with Dave Bartholomew’s take on the idea. “I Hear You Knockin'” only bears a slight melodic resemblance to “Keep A Knockin'”, but the lyrics are so obviously inspired by the earlier song that it would have brought it to mind for anyone who had heard any of the earlier versions: [Excerpt: Smiley Lewis, “I Hear You Knockin'”] That was also recorded by Fats Domino, one of Little Richard’s favourite musicians, so we can be sure that Richard had heard it. So by the time Little Richard came to record “Keep A Knockin'” in very early 1957, he had a host of different versions he could draw on for inspiration. But what we ended up with is something that’s uniquely Little Richard — something that was altogether wilder: [Excerpt: Little Richard and his band, “Keep A Knockin'”] In some takes of the song, Richard also sang a verse about drinking gin, which was based on Louis Jordan’s version which had a similar verse: [Excerpt: Little Richard, “Keep A Knockin'”, “drinking gin” verse from take three] But in the end, what they ended up with was only about fifty-seven seconds worth of usable recording. Listening to the session recording, it seems that Grady Gaines kept trying different things with his saxophone solo, and not all of them quite worked as well as might be hoped — there are a few infelicities in most of his solos, though not anything that you wouldn’t expect from a good player trying new things. To get it to a usable length, they copied and pasted the whole song from the start of Richard’s vocal through to the end of the saxophone solo, and almost doubled the length of the song — the third and fourth verses, and the second saxophone solo, are the same recording as the first and second verses and the first sax solo. If you want to try this yourself, it seems that the “whoo” after the first “keep a knockin’ but you can’t come in” after the second sax solo is the point where the copy/pasting ends. But even though the recording ended up being a bit of a Frankenstein’s monster, it remains one of Little Richard’s greatest tracks. At the same session, he also recorded another of his very best records, “Ooh! My Soul!”: [Excerpt: Little Richard, “Ooh! My Soul!”] That session also produced a single for Richard’s chauffeur, with Richard on the piano, released under the name “Pretty Boy”: [Excerpt: Pretty Boy, “Bip Bop Bip”] “Pretty Boy” would later go on to be better known as Don Covay, and would have great success as a soul singer and songwriter. He’s now probably best known for writing “Chain of Fools” for Aretha Franklin. That session was a productive one, but other than one final session in October 1957, in which he knocked out a couple of blues songs as album fillers, it would be Little Richard’s last rock and roll recording session for several years. Richard had always been deeply conflicted about… well, about everything, really. He was attracted to men as well as women, he loved rock and roll and rhythm and blues music, loved eating chitlins and pork chops, drinking, and taking drugs, and was unsure about his own gender identity. He was also deeply, deeply, religious, and a believer in the Seventh Day Adventist church, which believed that same-sex attraction, trans identities, and secular music were the work of the Devil, and that one should keep a vegetarian and kosher diet, and avoid all drugs, even caffeine. This came to a head in October 1957. Richard was on a tour of Australia with Gene Vincent, Eddie Cochran, and Alis Lesley, who was another of the many singers billed as “the female Elvis Presley”: [Excerpt: Alis Lesley, “He Will Come Back To Me”] Vincent actually had to miss the first couple of shows on the tour, as he and the Blue Caps got held up in Honolulu, apparently due to visa issues, and couldn’t continue on to Australia with the rest of the tour until that was sorted out. They were replaced on those early shows by a local group, Johnny O’Keefe and the Dee Jays, who performed some of Vincent’s songs as well as their own material, and who managed to win the audiences round even though they were irritated at Vincent’s absence. O’Keefe isn’t someone we’re going to be able to discuss in much detail in this series, because he had very little impact outside of Australia. But within Australia, he’s something of a legend as their first home-grown rock and roll star. And he did make one record which people outside of Australia have heard of — his biggest hit, from 1958, “Wild One”, which has since been covered by, amongst others, Jerry Lee Lewis and Iggy Pop: [Excerpt: Johnny O’Keefe, “Wild One”] The flight to Australia was longer and more difficult than any Richard had experienced before, and at one point he looked out of the window and saw the engines glowing red. He became convinced that the plane was on fire, and being held up by angels. He became even more worried a couple of days later when Russia launched their first satellite, Sputnik, and it passed low over Australia — low enough that he claimed he could see it, like a fireball in the sky, while he was performing. He decided this was a sign, and that he was being told by God that he needed to give up his life of sin and devote himself to religion. He told the other people on the tour this, but they didn’t believe him — until he threw all his rings into the ocean to prove it. He insisted on cancelling his appearances with ten days of the tour left to go and travelling back to the US with his band. He has often also claimed that the plane they were originally scheduled to fly back on crashed in the Pacific on the flight he would have been on — I’ve seen no evidence anywhere else of this, and I have looked. When he got back, he cut one final session for Specialty, and then went into a seminary to start studying for the ministry. While his religious belief is genuine, there has been some suggestion that this move wasn’t solely motivated by his conversion. Rather, John Marascalco has often claimed that Richard’s real reason for his conversion was based on more worldly considerations. Richard’s contract with Specialty was only paying him half a cent per record sold, which he considered far too low, and the wording of the contract only let him end it on either his own death or an act of god. He was trying — according to Marascalco — to claim that his religious awakening was an act of God, and so he should be allowed to break his contract and sign with another label. Whatever the truth, Specialty had enough of a backlog of Little Richard recordings that they could keep issuing them for the next couple of years. Some of those, like “Good Golly Miss Molly” were as good as anything he had ever recorded. and rightly became big hits: [Excerpt: Little Richard, “Good Golly Miss Molly”] Many others, though, were substandard recordings that they originally had no plans to release — but with Richard effectively on strike and the demand for his recordings undiminished, they put out whatever they had. Richard went out on the road as an evangelist, but also went to study to become a priest. He changed his whole lifestyle — he married a woman, although they would later divorce as, among other things, they weren’t sexually compatible. He stopped drinking and taking drugs, stopped even drinking coffee, and started eating only vegetables cooked in vegetable oil. After the lawsuits over him quitting Specialty records were finally settled, he started recording again, but only gospel songs: [Excerpt: Little Richard, “Precious Lord, Take My Hand”] And that was how things stood for several years. The tension between Richard’s sexuality and his religion continued to torment him — he dropped out of the seminary after propositioning another male student, and he was arrested in a public toilet — but he continued his evangelism and gospel singing until October 1962, when he went on tour in the UK. Just like the previous tour which had been a turning point in his life, this one featured Gene Vincent, but was also affected by Vincent’s work permit problems. This time, Vincent was allowed in the country but wasn’t allowed to perform on stage — so he appeared only as the compere, at least at the start of the tour — later on, he would sing “Be Bop A Lula” from offstage as well. Vincent wasn’t the only one to have problems, either. Sam Cooke, who was the second-billed star for the show, was delayed and couldn’t make the first show, which was a bit of a disaster. Richard was accompanied by a young gospel organ player named Billy Preston, and he’d agreed to the tour under the impression that he was going to be performing only his gospel music. Don Arden, the promoter, had been promoting it as Richard’s first rock and roll tour in five years, and the audience were very far from impressed when Richard came on stage in flowing white robes and started singing “Peace in the Valley” and other gospel songs. Arden was apoplectic. If Richard didn’t start performing rock and roll songs soon, he would have to cancel the whole tour — an audience that wanted “Rip it Up” and “Long Tall Sally” and “Tutti Frutti” wasn’t going to put up with being preached at. Arden didn’t know what to do, and when Sam Cooke and his manager J.W. Alexander turned up to the second show, Arden had a talk with Alexander about it. Alexander told Arden he had nothing to worry about — he knew Little Richard of old, and knew that Richard couldn’t stand to be upstaged. He also knew how good Sam Cooke was. Cooke was at the height of his success at this point, and he was an astonishing live performer, and so when he went out on stage and closed the first half, including an incendiary performance of “Twistin’ the Night Away” that left the audience applauding through the intermission, Richard knew he had to up his game. While he’d not been performing rock and roll in public, he had been tempted back into the studio to record in his old style at least once before, when he’d joined his old group to record Fats Domino’s “I’m In Love Again”, for a single that didn’t get released until December 1962. The single was released as by “the World Famous Upsetters”, but the vocalist on the record was very recognisable: [Excerpt: The World Famous Upsetters, “I’m In Love Again”] So Richard’s willpower had been slowly bending, and Sam Cooke’s performance was the final straw. Little Richard was going to show everyone what star power really was. When Richard came out on stage, he spent a whole minute in pitch darkness, with the band vamping, before a spotlight suddenly picked him out, in an all-white suit, and he launched into “Long Tall Sally”. The British tour was a massive success, and Richard kept becoming wilder and more frantic on stage, as five years of pent up rock and roll burst out of him. Many shows he’d pull off most of his clothes and throw them into the audience, ending up dressed in just a bathrobe, on his knees. He would jump on the piano, and one night he even faked his own death, collapsing off the piano and lying still on the stage in the middle of a song, just to create a tension in the audience for when he suddenly jumped up and started singing “Tutti Frutti”. The tour was successful enough, and Richard’s performances created such a buzz, that when the package tour itself finished Richard was booked for a few extra gigs, including one at the Tower Ballroom in New Brighton where he headlined a bill of local bands from around Merseyside, including one who had released their first single a few weeks earlier. He then went to Hamburg with that group, and spent two months hanging out with them and performing in the same kinds of clubs, and teaching their bass player how he made his “whoo” sounds when singing. Richard was impressed enough by them that he got in touch with Art Rupe, who still had some contractual claim over Richard’s own recordings, to tell him about them, but Rupe said that he wasn’t interested in some English group, he just wanted Little Richard to go back into the studio and make more records for him. Richard headed back to the US, leaving Billy Preston stranded in Hamburg with his new friends, the Beatles. At first, he still wouldn’t record any rock and roll music, other than one song that Sam Cooke wrote for him, “Well Alright”, but after another UK tour he started to see that people who had been inspired by him were having the kind of success he thought he was due himself. He went back into the studio, backed by a group including Don and Dewey, who had been performing with him in the UK, and recorded what was meant to be his comeback single, “Bama Lama Bama Loo”: [Excerpt: Little Richard, “Bama Lama Bama Loo”] Unfortunately, great as it was, that single didn’t do anything in the charts, and Richard spent the rest of the sixties making record after record that failed to chart. Some of them were as good as anything he’d done in his fifties heyday, but his five years away from rock and roll music had killed his career as a recording artist. They hadn’t, though, killed him as a live performer, and he would spend the next fifty years touring, playing the hits he had recorded during that classic period from 1955 through 1957, with occasional breaks where he would be overcome by remorse, give up rock and roll music forever, and try to work as an evangelist and gospel singer, before the lure of material success and audience response brought him back to the world of sex and drugs and rock and roll. He eventually gave up performing live a few years ago, as decades of outrageous stage performances had exacerbated his disabilities. His last public performance was in 2013, in Las Vegas, and he was in a wheelchair — but because he’s Little Richard, the wheelchair was made to look like a golden throne.

Episode fifty-four of A History of Rock Music in Five Hundred Songs looks at “Keep A Knockin'” by Little Richard, the long history of the song, and the tension between its performer’s faith and sexuality. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on “At the Hop” by Danny and the Juniors.   —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. Most of the information used here comes from The Life and Times of Little Richard: The Authorised Biography by Charles White, which is to all intents and purposes Richard’s autobiography, as much of the text is in his own words. A warning for those who might be considering buying this though — it contains descriptions of his abuse as a child, and is also full of internalised homo- bi- and trans-phobia. This collection contains everything Richard released before 1962, from his early blues singles through to his gospel albums from after he temporarily gave up rock and roll for the church. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Erratum In the podcast I refer to a jazz band as “the Buddy Bolden Legacy Group”. Their name is actually “the Buddy Bolden Legacy Band”.   Transcript When last we looked at Little Richard properly, he had just had a hit with “Long Tall Sally”, and was at the peak of his career. Since then, we’ve seen that he had become big enough that he was chosen over Fats Domino to record the theme tune to “The Girl Can’t Help It”, and that he was the inspiration for James Brown. But today we’re going to look in more detail at Little Richard’s career in the mid fifties, and at how he threw away that career for his beliefs. [Excerpt: Little Richard with his Band, “Keep A Knockin'”] Richard’s immediate follow-up to “Long Tall Sally” was another of his most successful records, a double-sided hit with both songs credited to John Marascalco and Bumps Blackwell — “Rip it Up” backed with “Ready Teddy”. These both went to number one on the R&B charts, but they possibly didn’t have quite the same power as RIchard’s first two singles. Where the earlier singles had been truly unique artefacts, songs that didn’t sound like anything else out there, “Rip it Up” and “Ready Teddy” were both much closer to the typical songs of the time — the lyrics were about going out and having a party and rocking and rolling, rather than about sex with men or cross-dressing sex workers. But this didn’t make Richard any less successful, and throughout 1956 and 57 he kept releasing more hits, often releasing singles where both the A and B side became classics — we’ve discussed “The Girl Can’t Help It” and “She’s Got It” in the episode on “Twenty Flight Rock”, but there was also “Jenny Jenny”, “Send Me Some Lovin'”, and possibly the greatest of them all, “Lucille”: [Excerpt: Little Richard, “Lucille”] But Richard was getting annoyed at the routine of recording — or more precisely, he was getting annoyed at the musicians he was having to work with in the studio. He was convinced that his own backing band, the Upsetters, were at least as good as the studio musicians, and he was pushing for Specialty to let him use them in the studio. And when they finally let him use the Upsetters in the studio, he recorded a song which had roots which go much further back than you might imagine. “Keep A Knockin'” had a long, long, history. It derives originally from a piece called “A Bunch of Blues”, written by J. Paul Wyer and Alf Kelly in 1915. Wyer was a violin player with W.C. Handy’s band, and Handy recorded the tune in 1917: [Excerpt: W.C. Handy’s Memphis Blues Band, “A Bunch of Blues”] That itself, though, may derive from another song, “My Bucket’s Got A Hole in It”, which is an old jazz standard. There are claims that it was originally played by the great jazz trumpeter Buddy Bolden around the turn of the twentieth century. No recordings survive of Bolden playing the song, but a group called “the Buddy Bolden Legacy Group” have put together what, other than the use of modern recording, seems a reasonable facsimile of how Bolden would have played the song: [Excerpt: “My Bucket’s Got a Hole in it”, the Buddy Bolden Legacy Band] If Bolden did play that, then the melody dates back to around 1906 at the latest, as from 1907 on Bolden was in a psychiatric hospital with schizophrenia, but the 1915 date for “A Bunch of Blues” is the earliest definite date we have for the melody. “My Bucket’s Got a Hole in it” would later be recorded by everyone from Hank Williams to Louis Armstrong, Jimmy Page and Robert Plant to Willie Nelson and Wynton Marsalis. It was particularly popular among country singers: [Excerpt: Hank Williams, “My Bucket’s Got A Hole In It”] But the song took another turn in 1928, when it was recorded by Tampa Red’s Hokum Jug Band. This group featured Tampa Red, who would later go on to be a blues legend in his own right, and “Georgia Tom”, who as Thomas Dorsey would later be best known as the writer of much of the core repertoire of gospel music. You might remember us talking about Dorsey in the episode on Rosetta Tharpe. He’s someone who wrote dirty, funny, blues songs until he had a religious experience while on stage, and instead became a writer of religious music, writing songs like “Precious Lord, Take My Hand” and “Peace in the Valley”. But in 1928, he was still Georgia Tom and still recording hokum songs. We talked about hokum music right back in the earliest episodes of the podcast, but as a reminder, hokum music is a form which is now usually lumped into the blues by most of the few people who come across it, but which actually comes from vaudeville and especially from minstrel shows, and was hugely popular in the early decades of the twentieth century. It usually involved simple songs with a verse/chorus structure, and with lyrics that were an extended comedy metaphor, usually some form of innuendo about sex, with titles like “Meat Balls” and “Banana in Your Fruit Basket”. As you can imagine, this kind of music is one that influenced a lot of people who went on to influence Little Richard, and it’s in this crossover genre which had elements of country, blues, and pop that we find “My Bucket’s Got a Hole in it” turning into the song that would later be known as “Keep A Knockin'”. Tampa Red’s version was titled “You Can’t Come In”, and seems to have been the origin not only of “Keep A Knockin'” but also of the Lead Belly song “Midnight Special” — you can hear the similarity in the guitar melody: [Excerpt: Tampa Red’s Hokum Jug Band, “You Can’t Come In”] The version by Tampa Red’s Hokum Jug Band wasn’t the first recording to combine the “Keep a Knockin'” lyrics with the “My Bucket’s Got a Hole In It” melody — the piano player Bert Mays recorded a version a month earlier, and Mays and his producer Mayo Williams, one of the first black record producers, are usually credited as the songwriters as a result (with Little Richard also being credited on his version). Mays was in turn probably inspired by an earlier recording by James “Boodle It” Wiggins, but Wiggins had a different melody — Mays seems to be the one who first combined the lyrics with the “My Bucket’s Got a Hole In It” melody on a recording. But the idea was probably one that had been knocking around for a while in various forms, given the number of different variations of the melody that turn up, and Tampa Red’s version inspired all the future recordings. As hokum music lies at the roots of both blues and country, it’s not surprising that “You Can’t Come in” was picked up by both country and blues musicians. A version of the song, for example, was recorded by, among others, Milton Brown — who had been an early musical partner of Bob Wills and one of the people who helped create Western Swing. [Excerpt: Milton Brown and his Musical Brownies: “Keep A Knockin'”] But the version that Little Richard recorded was most likely inspired by Louis Jordan’s version. Jordan was, of course, Richard’s single biggest musical inspiration, so we can reasonably assume that the record by Jordan was the one that pushed him to record the song. [Excerpt: Louis Jordan, “Keep A Knockin'”] The Jordan record was probably brought to mind in 1955 when Smiley Lewis had a hit with Dave Bartholomew’s take on the idea. “I Hear You Knockin'” only bears a slight melodic resemblance to “Keep A Knockin'”, but the lyrics are so obviously inspired by the earlier song that it would have brought it to mind for anyone who had heard any of the earlier versions: [Excerpt: Smiley Lewis, “I Hear You Knockin'”] That was also recorded by Fats Domino, one of Little Richard’s favourite musicians, so we can be sure that Richard had heard it. So by the time Little Richard came to record “Keep A Knockin'” in very early 1957, he had a host of different versions he could draw on for inspiration. But what we ended up with is something that’s uniquely Little Richard — something that was altogether wilder: [Excerpt: Little Richard and his band, “Keep A Knockin'”] In some takes of the song, Richard also sang a verse about drinking gin, which was based on Louis Jordan’s version which had a similar verse: [Excerpt: Little Richard, “Keep A Knockin'”, “drinking gin” verse from take three] But in the end, what they ended up with was only about fifty-seven seconds worth of usable recording. Listening to the session recording, it seems that Grady Gaines kept trying different things with his saxophone solo, and not all of them quite worked as well as might be hoped — there are a few infelicities in most of his solos, though not anything that you wouldn’t expect from a good player trying new things. To get it to a usable length, they copied and pasted the whole song from the start of Richard’s vocal through to the end of the saxophone solo, and almost doubled the length of the song — the third and fourth verses, and the second saxophone solo, are the same recording as the first and second verses and the first sax solo. If you want to try this yourself, it seems that the “whoo” after the first “keep a knockin’ but you can’t come in” after the second sax solo is the point where the copy/pasting ends. But even though the recording ended up being a bit of a Frankenstein’s monster, it remains one of Little Richard’s greatest tracks. At the same session, he also recorded another of his very best records, “Ooh! My Soul!”: [Excerpt: Little Richard, “Ooh! My Soul!”] That session also produced a single for Richard’s chauffeur, with Richard on the piano, released under the name “Pretty Boy”: [Excerpt: Pretty Boy, “Bip Bop Bip”] “Pretty Boy” would later go on to be better known as Don Covay, and would have great success as a soul singer and songwriter. He’s now probably best known for writing “Chain of Fools” for Aretha Franklin. That session was a productive one, but other than one final session in October 1957, in which he knocked out a couple of blues songs as album fillers, it would be Little Richard’s last rock and roll recording session for several years. Richard had always been deeply conflicted about… well, about everything, really. He was attracted to men as well as women, he loved rock and roll and rhythm and blues music, loved eating chitlins and pork chops, drinking, and taking drugs, and was unsure about his own gender identity. He was also deeply, deeply, religious, and a believer in the Seventh Day Adventist church, which believed that same-sex attraction, trans identities, and secular music were the work of the Devil, and that one should keep a vegetarian and kosher diet, and avoid all drugs, even caffeine. This came to a head in October 1957. Richard was on a tour of Australia with Gene Vincent, Eddie Cochran, and Alis Lesley, who was another of the many singers billed as “the female Elvis Presley”: [Excerpt: Alis Lesley, “He Will Come Back To Me”] Vincent actually had to miss the first couple of shows on the tour, as he and the Blue Caps got held up in Honolulu, apparently due to visa issues, and couldn’t continue on to Australia with the rest of the tour until that was sorted out. They were replaced on those early shows by a local group, Johnny O’Keefe and the Dee Jays, who performed some of Vincent’s songs as well as their own material, and who managed to win the audiences round even though they were irritated at Vincent’s absence. O’Keefe isn’t someone we’re going to be able to discuss in much detail in this series, because he had very little impact outside of Australia. But within Australia, he’s something of a legend as their first home-grown rock and roll star. And he did make one record which people outside of Australia have heard of — his biggest hit, from 1958, “Wild One”, which has since been covered by, amongst others, Jerry Lee Lewis and Iggy Pop: [Excerpt: Johnny O’Keefe, “Wild One”] The flight to Australia was longer and more difficult than any Richard had experienced before, and at one point he looked out of the window and saw the engines glowing red. He became convinced that the plane was on fire, and being held up by angels. He became even more worried a couple of days later when Russia launched their first satellite, Sputnik, and it passed low over Australia — low enough that he claimed he could see it, like a fireball in the sky, while he was performing. He decided this was a sign, and that he was being told by God that he needed to give up his life of sin and devote himself to religion. He told the other people on the tour this, but they didn’t believe him — until he threw all his rings into the ocean to prove it. He insisted on cancelling his appearances with ten days of the tour left to go and travelling back to the US with his band. He has often also claimed that the plane they were originally scheduled to fly back on crashed in the Pacific on the flight he would have been on — I’ve seen no evidence anywhere else of this, and I have looked. When he got back, he cut one final session for Specialty, and then went into a seminary to start studying for the ministry. While his religious belief is genuine, there has been some suggestion that this move wasn’t solely motivated by his conversion. Rather, John Marascalco has often claimed that Richard’s real reason for his conversion was based on more worldly considerations. Richard’s contract with Specialty was only paying him half a cent per record sold, which he considered far too low, and the wording of the contract only let him end it on either his own death or an act of god. He was trying — according to Marascalco — to claim that his religious awakening was an act of God, and so he should be allowed to break his contract and sign with another label. Whatever the truth, Specialty had enough of a backlog of Little Richard recordings that they could keep issuing them for the next couple of years. Some of those, like “Good Golly Miss Molly” were as good as anything he had ever recorded. and rightly became big hits: [Excerpt: Little Richard, “Good Golly Miss Molly”] Many others, though, were substandard recordings that they originally had no plans to release — but with Richard effectively on strike and the demand for his recordings undiminished, they put out whatever they had. Richard went out on the road as an evangelist, but also went to study to become a priest. He changed his whole lifestyle — he married a woman, although they would later divorce as, among other things, they weren’t sexually compatible. He stopped drinking and taking drugs, stopped even drinking coffee, and started eating only vegetables cooked in vegetable oil. After the lawsuits over him quitting Specialty records were finally settled, he started recording again, but only gospel songs: [Excerpt: Little Richard, “Precious Lord, Take My Hand”] And that was how things stood for several years. The tension between Richard’s sexuality and his religion continued to torment him — he dropped out of the seminary after propositioning another male student, and he was arrested in a public toilet — but he continued his evangelism and gospel singing until October 1962, when he went on tour in the UK. Just like the previous tour which had been a turning point in his life, this one featured Gene Vincent, but was also affected by Vincent’s work permit problems. This time, Vincent was allowed in the country but wasn’t allowed to perform on stage — so he appeared only as the compere, at least at the start of the tour — later on, he would sing “Be Bop A Lula” from offstage as well. Vincent wasn’t the only one to have problems, either. Sam Cooke, who was the second-billed star for the show, was delayed and couldn’t make the first show, which was a bit of a disaster. Richard was accompanied by a young gospel organ player named Billy Preston, and he’d agreed to the tour under the impression that he was going to be performing only his gospel music. Don Arden, the promoter, had been promoting it as Richard’s first rock and roll tour in five years, and the audience were very far from impressed when Richard came on stage in flowing white robes and started singing “Peace in the Valley” and other gospel songs. Arden was apoplectic. If Richard didn’t start performing rock and roll songs soon, he would have to cancel the whole tour — an audience that wanted “Rip it Up” and “Long Tall Sally” and “Tutti Frutti” wasn’t going to put up with being preached at. Arden didn’t know what to do, and when Sam Cooke and his manager J.W. Alexander turned up to the second show, Arden had a talk with Alexander about it. Alexander told Arden he had nothing to worry about — he knew Little Richard of old, and knew that Richard couldn’t stand to be upstaged. He also knew how good Sam Cooke was. Cooke was at the height of his success at this point, and he was an astonishing live performer, and so when he went out on stage and closed the first half, including an incendiary performance of “Twistin’ the Night Away” that left the audience applauding through the intermission, Richard knew he had to up his game. While he’d not been performing rock and roll in public, he had been tempted back into the studio to record in his old style at least once before, when he’d joined his old group to record Fats Domino’s “I’m In Love Again”, for a single that didn’t get released until December 1962. The single was released as by “the World Famous Upsetters”, but the vocalist on the record was very recognisable: [Excerpt: The World Famous Upsetters, “I’m In Love Again”] So Richard’s willpower had been slowly bending, and Sam Cooke’s performance was the final straw. Little Richard was going to show everyone what star power really was. When Richard came out on stage, he spent a whole minute in pitch darkness, with the band vamping, before a spotlight suddenly picked him out, in an all-white suit, and he launched into “Long Tall Sally”. The British tour was a massive success, and Richard kept becoming wilder and more frantic on stage, as five years of pent up rock and roll burst out of him. Many shows he’d pull off most of his clothes and throw them into the audience, ending up dressed in just a bathrobe, on his knees. He would jump on the piano, and one night he even faked his own death, collapsing off the piano and lying still on the stage in the middle of a song, just to create a tension in the audience for when he suddenly jumped up and started singing “Tutti Frutti”. The tour was successful enough, and Richard’s performances created such a buzz, that when the package tour itself finished Richard was booked for a few extra gigs, including one at the Tower Ballroom in New Brighton where he headlined a bill of local bands from around Merseyside, including one who had released their first single a few weeks earlier. He then went to Hamburg with that group, and spent two months hanging out with them and performing in the same kinds of clubs, and teaching their bass player how he made his “whoo” sounds when singing. Richard was impressed enough by them that he got in touch with Art Rupe, who still had some contractual claim over Richard’s own recordings, to tell him about them, but Rupe said that he wasn’t interested in some English group, he just wanted Little Richard to go back into the studio and make more records for him. Richard headed back to the US, leaving Billy Preston stranded in Hamburg with his new friends, the Beatles. At first, he still wouldn’t record any rock and roll music, other than one song that Sam Cooke wrote for him, “Well Alright”, but after another UK tour he started to see that people who had been inspired by him were having the kind of success he thought he was due himself. He went back into the studio, backed by a group including Don and Dewey, who had been performing with him in the UK, and recorded what was meant to be his comeback single, “Bama Lama Bama Loo”: [Excerpt: Little Richard, “Bama Lama Bama Loo”] Unfortunately, great as it was, that single didn’t do anything in the charts, and Richard spent the rest of the sixties making record after record that failed to chart. Some of them were as good as anything he’d done in his fifties heyday, but his five years away from rock and roll music had killed his career as a recording artist. They hadn’t, though, killed him as a live performer, and he would spend the next fifty years touring, playing the hits he had recorded during that classic period from 1955 through 1957, with occasional breaks where he would be overcome by remorse, give up rock and roll music forever, and try to work as an evangelist and gospel singer, before the lure of material success and audience response brought him back to the world of sex and drugs and rock and roll. He eventually gave up performing live a few years ago, as decades of outrageous stage performances had exacerbated his disabilities. His last public performance was in 2013, in Las Vegas, and he was in a wheelchair — but because he’s Little Richard, the wheelchair was made to look like a golden throne.

The N.O. native has spent his career documenting life and street culture of the city. As a newspaper photographer and author he has an intimate understanding of local traditions and where they intersect with modern life. He follows up his book on jazz giant Kid Ory, “Creole Trombone,” with his latest edition, “Jockomo: The Native Roots of Mardi Gras Indians.” He joins the Troubled Men in the Safe House in the wake of a recent structural failure. Topics include a construction disaster, exhaustion, intangible rewards, Booker T, legal weed, the Jesuits, Edna Karr Jr. High School, Mike Murphy, a newspaper career, layoffs, Katrina, loss, a Loyola education, Frank Donze, writing talent, authenticity, tailgate trombone, Buddy Bolden, Muskrat Ramble, Woodland Plantation, the 1811 slave uprising, John Doe's new book, Jane Wiedlin, Sparks, Irwin Allen, “Rollercoaster,” acting brothers, Dave Alvin, PiL, the Breeders, Debbie Gibson, a 911 call, police militarization, a senior fight club, a friend request, trivia, Beatles remixes, Mardi Gras Indians, neighborhood krewes, and much more. Subscribe, review, and rate on Apple Podcasts and all podcast platforms. Follow and share on social media and spread the Troubled Word. Music: Styler/Coman

The N.O. native has spent his career documenting life and street culture of the city. As a newspaper photographer and author he has an intimate understanding of local traditions and where they intersect with modern life. He follows up his book on jazz giant Kid Ory, “Creole Trombone,” with his latest edition, “Jockomo: The Native Roots of Mardi Gras Indians.” He joins the Troubled Men in the Safe House in the wake of a recent structural failure. Topics include a construction disaster, exhaustion, intangible rewards, Booker T, legal weed, the Jesuits, Edna Karr Jr. High School, Mike Murphy, a newspaper career, layoffs, Katrina, loss, a Loyola education, Frank Donze, writing talent, authenticity, tailgate trombone, Buddy Bolden, Muskrat Ramble, Woodland Plantation, the 1811 slave uprising, John Doe’s new book, Jane Wiedlin, Sparks, Irwin Allen, “Rollercoaster,” acting brothers, Dave Alvin, PiL, the Breeders, Debbie Gibson, a 911 call, police militarization, a senior fight club, a friend request, trivia, Beatles remixes, Mardi Gras Indians, neighborhood krewes, and much more. Subscribe, review, and rate on Apple Podcasts and all podcast platforms. Follow and share on social media and spread the Troubled Word. Music: Styler/Coman

The fifth segment from 11/2/88, with Jimmy Mazzy (banjo/vocals), Fred Lind (cornet), Paul Meymaris (clarinet), Don Frothingham (piano), and John Kafalas (tuba). Selections are “Buddy Bolden’s Blues,” a tune I don’t recognize, and “If I Had My Way.” Send questions or comments to podcast @ kafalas.com

Por Pachi Tapiz. “Buddy Bolden’s Song”. Blind Lemon Jazz: After Hours (Ofeh Records) James Byfield / Blind Lemon Pledge, Marisa Malvino, Ben Flint, Peter Grenell, Joe Kelner Tomajazz: © Pachi Tapiz, 2019 JazzX5 es un minipodcast de HDO de la Factoría Tomajazz presentado, editado y producido por Pachi Tapiz. JazzX5 comenzó su andadura el 24 de junio de 2019. Todas las entregas de JazzX5 están disponibles en https://www.tomajazz.com/web/?cat=23120. Tomajazz recomienda... la lectura en https://www.tomajazz.com/web/?p=45596 de un completo artículo acerca de Buddy Bolden. el repaso que Julián Ruesga Bono realiza a la banda sonora de Bolden realizada por Wynton Marsalis y que está disponible en https://www.tomajazz.com/web/?p=45602

On this day, jazz pioneer Buddy Bolden was born in New Orleans. Learn more about Buddy in an episode of Stuff You Missed in History Class at https://www.missedinhistory.com/podcasts/buddy-bolden-and-the-birth-of-jazz.htm.  Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

Listen back as we discuss the making of jazz, around a frank conversation about mental illness, addiction, and the advantages of thinking beyond our present circumstances. Through the artistry of Buddy Bolden, Charlie Parker, Thelonious Monk, Miles Davis, Charles Mingus, and others, we explore the intersection of mental balance, suffering, wellness, and virtuosity. How does […]

Listen back as we discuss the making of jazz, around a frank conversation about mental illness, addiction, and the advantages of thinking beyond our present circumstances. Through the artistry of Buddy Bolden, Charlie Parker, Thelonious Monk, Miles Davis, Charles Mingus, and others, we explore the intersection of mental balance, suffering, wellness, and virtuosity. How does...

Listen back as we discuss the making of jazz, around a frank conversation about mental illness, addiction, and the advantages of thinking beyond our present circumstances. Through the artistry of Buddy Bolden, Charlie Parker, Thelonious Monk, Miles Davis, Charles Mingus, and others, we explore the intersection of mental balance, suffering, wellness, and virtuosity. How does […]

Listen back as we discuss the making of jazz, around a frank conversation about mental illness, addiction, and the advantages of thinking beyond our present circumstances. Through the artistry of Buddy Bolden, Charlie Parker, Thelonious Monk, Miles Davis, Charles Mingus, and others, we explore the intersection of mental balance, suffering, wellness, and virtuosity. How does...

If you're a fan of classic retro-TV you're familiar with Fame, the Glee of the 70's. (Basically a high school where they spend more time singing songs and dancing than doing any actual school work.) If you can imagine that on acid, that apparently was Jo Morris's education.  Today Jo and band-mate Steve Walkup are the nucleus of an awesome, almost retro 90's band called St. Lorelei. If you've never heard of them it's because they apparently never play anywhere, but there's an album due out in the Fall and we're predicting big things. if you like the Cocteau Twins and This Mortal Coil you're going to flip out when you hear this. Buddy Bolden is as retro as you can get. Buddy was the father of all jazz and the biggest deal in New Orleans music of all time who never made a record. He does now, however, have a feature film about him and if Danielle de Sol, her outfit The Preservation Resource Center, and her partner PJ Morton from Maroon 5 has anything to with it, Buddy's original house in New Orleans will soon become a recording studio and community center. While we're being as fabulous as we can in our own little worlds, Shayne Tinge is actually being fabulous for real out in the big wide world. We're no strangers to people in bars turning out to be ridiculously fascinating, but even in that context this guy is in a league of his own. Not only is Shayne an ex stunt man, body double and still friends with stars like Woody Harrelson and Rob Reiner, he's also a world-wide nomadic adventurer who is dedicating his life to bringing fresh water to the villagers of Cambodia. Andrew Duhon is back from what turned out to be a vacation, but he hasn't been totally idle. Andrew tries out a brand new song, Blood Brothers. Potentially a hit after Grant gets through producing it on the fly. If you'd like to see photos from this show by Jill Lafleur, recorded live at Wayfare,  you can do that here.

How about taking a trip into the past and the early days of jazz with BOLDEN? One of my picks of the year, take a listen to our exclusive prerecorded interview with writer/director DAN PRITZKER as we go in-depth into the history of jazz and Buddy Bolden. At the midpoint of the show, writer/director/producer/cinematographer VILAN TRUB joins us live talking about his neo-noir crime thriller, THE DIRTY KIND, the story of a politician, a hooker, a couple of gangsters and a private eye and how everything goes wrong for everyone. Calling on his own love of 30's and 40's Sam Spade films and works by Dashiell Hammett, as well as more recent crime thrillers, listen as Vilan talks about crafting the story and the characters and layering plotlines on character traits, wearing a multiplicity of hats, shooting a film in nine days, the importance of location on a low budget production, rehearsal, editing, 20/20 hindsight, and his best advice to other filmmakers – don't wait for someone to wave a bag of money at you to make a film; just go make one. It was a bombastic weekend at the box office as AVENGERS: ENDGAME broke virtually every recorded box office record thanks to a global opening weekend box office of $1.2 BILLION. The world showed that it's all in for the ENDGAME! But beyond being the film to wrap up this MCU phase after 10 years and 22 films, what is it that makes AVENGERS: ENDGAME a true cinematic experience? How about superb production values that really get to shine thanks to more emotional, interpersonal story development versus gigantic action set pieces (don't worry, there are enough of those, too)? http://behindthelensonline.net http://eliasentertainmentnetwork.com

August Wilson's Ma Rainey's Black Bottom is getting an amazing production right now at the Writers Theatre in Chicago , directed by Ron OJ Parson and starring Tony-nominee Felicia P. Fields in the title role, and the four outstanding actors who play her musicians -- David Alan Anderson as Toledo, Kelvin Roston, Jr. as Levee, A.C. Smith as Slow Drag, and Alfred H. Wilson as Cutler (pictured above, left to right) -- sat down for a roundtable discussion about the roles they play; the extraordinary bond they've forged; comparisons to Shakespeare; dialogue as music and words turned into poetry; the familiarity of the characters; shout-outs to King Oliver and Buddy Bolden; strong communities; August Wilson's incredible legacy, the shape of his ten-play Pittsburgh Cycle, and his ability to turn innate speech into poetry and familiar characters into titans. A one an' a two…y'all know what to do… (Length 22:01) Photos by Michael Brosilow. Courtesy of Writers Theatre. The post ‘Ma Rainey's' Band appeared first on Reduced Shakespeare Company.

Inspired by the life of Buddy Bolden, the film reimagines the compelling, powerful and tragic life of an unknown American hero and the social context in which his revolutionary music was conceived. The birth of jazz was the birth of American popular culture from Louis Armstrong to Jimi Hendrix. Tanya talks to Director Daniel Pritzker and actor Reno Wilson. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Bolden is often referred to as the first jazz performer, and his playing is legendary. But his life story, cluttered by lack of documentation and misinformation, played out tragically after his ascension to the apex of the New Orleans music scene.  Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

La ville de New Orleans, affectueusement dénommée Crescent City, fête cette année son tricentenaire. Cette ville qui a subi les influences française (il suffit de noter les noms à consonance française de Bechet, de Blanchard…), espagnole, anglaise, caribéenne et plus particulièrement haïtienne respire la musique. Ses habitants ne la quittent que contraints et forcés ; Fats Domino n’a jamais voulu partir, Terence Blanchard, malgré ses contraintes professionnelles est venu se réinstaller malgré les stigmates laissés par le passage de l’ouragan Katrina Cap donc sur Crescent City et son histoire musicale à forte connotation afro-américaine (60% de la population), du mythique trompettiste Buddy Bolden aux jeunes musiciens de Rebirth Grass Band. Notre invité est Claude Carrière. Il se fera le témoin de la musique de Crescent City, ville où il se rend régulièrement, hébergé et guidé - le veinard - par sa belle- famille afro-américaine . Longtemps producteur à France Musique, président de l’association Maison du Duke, préfacier de la biographie de Duke Ellington (Music Is My Mistress) et concepteur du coffret The Extravagant Mr Gillespie, Claude Carrière nous présentera des artistes emblématiques de la ville quoique méconnus chez nous comme la chanteuse Germaine Bazzle, les pianistes Ellis Marsalis et David Torkanowski et la formation Rebirth Brass Band. C’est évident, on aurait aussi aimé vous parler de Jelly Roll Morton, de Fats Domino, de Lee Dorsey, de Professor Longhair, des Neville Brothers, des Meters ; on se contentera d’Allen Toussaint et de Dr John, faute de temps. Hélène nous donnera sa chronique autour de la Stretch Music de Christian Scott mais nous parlerons aussi de la Suite composée par Terence Blanchard (illustrée dans l’émission par «  Funeral Dirge ») sans oublier « Congo Square » tiré de la Suite A Drum Is A Woman d’Ellington parce que c’est à Congo Square que les esclaves africains se réunissaient et firent éclore une musique qui allait embraser le monde : le Jazz.   Liste des titres : Rebirth Brass Band ; "Blackbird Special" de l'album The Main Event: Live At The Maple Leaf : https://www.discogs.com/fr/Rebirth-Brass-Band-The-Main-Event-Live-At-The-Maple-Leaf/release/1679817 Duke Ellington And His Orchestra ; "Congo Square" de l'album A Drum Is A Woman : https://www.discogs.com/fr/Duke-Ellington-And-His-Orchestra-A-Drum-Is-A-Woman/master/466893 Terence Blanchard ; "Funeral Dirge" de l'album A Tale Of God's Will (A Requiem For Katrina) : https://www.discogs.com/fr/Terence-Blanchard-A-Tale-Of-Gods-Will-A-Requiem-For-Katrina/release/2443140 The Ellis Marsalis Quintet, de l'album Plays The Music Of Ellis Marsalis : https://www.discogs.com/fr/The-Ellis-Marsalis-Quintet-Plays-The-Music-Of-Ellis-Marsalis/release/11804434 Germaine Bazzle, "You’ve Gone" Jazz Chamber Quintet, "Pretty Girl" de l'album For All We Know : http://chamberjazzquintet.com/for-all-we-know/ Duke Ellington Orchestra, "Harlem Airshaft " : https://www.discogs.com/fr/Duke-Ellington-His-Orchestra-Harlem-Air-Shaft-Five-Oclock-Drag/release/11239477 Duke Ellington And His Orchestra, "U.M.M.G." de l'album Ellington Jazz Party : https://www.discogs.com/fr/Duke-Ellington-And-His-Orchestra-Ellington-Jazz-Party/release/1915666 Dr. John, "My Buddy" de l'album In A Sentimental Mood : https://www.discogs.com/fr/Dr-John-In-A-Sentimental-Mood/master/193821 David Torkanowsky, "Spring Can Really Hang You Up The Most" de l'album Steppin' Out : https://www.discogs.com/fr/David-Torkanowsky-Steppin-Out/master/1264780 Louis Armstrong And His Orchestra, "Perdido Street Blues" de l'album Perdido Street Blues : https://www.discogs.com/fr/Louis-Armstrong-And-His-Orchestra-Perdido-Street-Blues-219-Blues/release/11461246 Allen Toussaint, "Working In The Coal Mine" de l'album Toussaint : https://www.discogs.com/Allen-Toussaint-Toussaint/release/1574769  

Actor, screenwriter and stage director Ruben Santiago-Hudson was born on November 24, 1956 in Lackawanna, New York to Alean Hudson and Ruben Santiago. He graduated from Lackawanna High School, earned his B.A. degree in theatre from Binghamton University in 1978, and his M.F.A. degree from Wayne State University in 1982. Santiago-Hudson first appeared as an actor in the 1988 film, Coming to America. He then played Captain Billy Cooper on the daytime drama Another World from 1990 to 1993, for which he became widely recognized. Santiago-Hudson made his Broadway debut as Buddy Bolden in Jelly's Last Jam in 1992, and starred in August Wilson's Seven Guitars in 1995. He wrote 2001's Lackawanna Blues, an autobiographical play, and then adapted it for the highly acclaimed, award-winning 2005 HBO film. He co-starred opposite Phylicia Rashad in Gem of the Ocean on Broadway in 2004. In 2007, he starred in a Public Broadcasting Service Nova documentary about the life of Percy Lavon Julian, and from 2009 to 2011, he played Captain Roy Montgomery in ABC's Castle. Santiago-Hudson returned to Broadway to star in Stick Fly in 2011, and is set to direct August Wilson's JITNEY! on Broadway in 2017. Santiago-Hudson's other feature film credits include Bleeding Hearts, Blown Away, Domestic Disturbance, Which Way Home, The Devil's Advocate, American Gangster, Mr. Brooks, Shaft, Their Eyes Were Watching God, and Showtime's Solomon and Sheba. His other television show credits include The Cosby Mysteries, New York Undercover, NYPD Blue, Touched by an Angel, The West Wing, Third Watch, Law & Order: Special Victims Unit, Showtime's Billions, the TNT series Public Morals, and five episodes of Law & Order. He has also lectured on theatre at colleges and universities across the United States, and served as a private acting coach. Santiago-Hudson received the 1996 Tony Award for Best Featured Performer in Seven Guitars. He was awarded the 2006 Humanitas Prize in writing for the HBO film adaptation of his play Lackawanna Blues, and received a NAACP Lifetime Achievement Theatre Award in 2009. In 2013, Santiago-Hudson won the Lucille Lortel Award for Outstanding Director, an Obie Award for Direction, and was nominated for the Drama Desk Award for Outstanding Director of a Play for his work in the Off-Broadway production of The Piano Lesson. In 2016, he won an Obie Award for Special Citations: Collaboration of the play Skeleton Crew. He has also received an honorary doctorate of letters from Buffalo State College in 2006, and from Wayne State University in 2015. In 2014, The Ruben Santiago-Hudson Fine Arts Learning Center was named in his honor in his hometown of Lackawanna, New York. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Since 1961, Preservation Hall has been the epicenter of traditional jazz music in New Orleans. In today's episode, we visit with Ben Jaffe, the band leader of the Preservation Hall Jazz Band. After a visit to New Orleans on their honeymoon in 1961, Ben's parents Allan and Sandra Jaffe created Preservation Hall. Along the way, they helped ensure this original American music form would have a place to be celebrated and honored. Ben and the Preservation Hall Jazz Band carry on that tradition, while also helping spread the celebration of jazz music worldwide. In today's show, we talk about the musicians, the music, the art scene in New Orleans in the early 1960s and more. You'll hear about artists from Buddy Bolden and Sweet Emma to recent collaborations with Dave Grohl and the Foo Fighters. We also talk about the Preservation Hall Foundation, and the work they do to help kids learn about jazz. All this and more on today's show! Resources Preservation Hall |726 St. Peter St - live shows offered nightly, seven days a week. Preservation Hall performances are open to all ages. Tickets can be purchased at the door, though patrons usually start lining up 45 minutes early. To avoid the line, purchase a Big Shot pass on the website. Follow Preservation Hall on Twitter (@PresHall), Instagram (@PreservationHall), and on Facebook. Thank You Thanks to Ben Jaffe for joining me on the podcast and for welcoming me into his parent's home. It was an honor to record this discussion with Ben about the past and future of New Orleans jazz music. A special thanks to Paul Sanchez for connecting me with Ben. Both are ambassadors for New Orleans and always looking to connect people who share a love of the Crescent City and her music. You can listen to an interview with Paul back in episode #23. Subscribe to the Podcast If you enjoy the show, please subscribe to the podcast on Apple Podcasts, Stitcher, Google Play Music or wherever you get your podcasts. If you do enjoy listening, please share Beyond Bourbon Street with someone who shares our love of New Orleans. Join Us on Facebook We now have a Facebook group where you can ask questions, share your New Orleans experiences and engage with others who love all things New Orleans. Join us by going to www.beyondbourbonst.com/facebook Contact Us Got an idea for an episode, have some feedback or just want to say hi? Leave us a message at 504-475-7632 or send an email to mark@beyondbourbonst.com Thanks for listening! Mark

In the 1800s to early 1900s, there lived a man named Charles “Buddy” Bolden, whose impact on jazz has become legendary. He was born in 1877 and lived in New Orleans.  He became the leader of a band that is recognized as being the first band to play what became known as jazz music.

Wynton Marsalis joined us for Behind The Note Podcast today! We talked many things including leadership, building a team, and turning vision into reality. Rate Behind The Note Podcast on the platform you're using right now to read this script and to listen to the show. Press Play. Enjoy. Share. ---------------------------------------------------------------------------- Here is Wynton's Bio straight from his website: Wynton Marsalis is an internationally acclaimed musician, composer, bandleader, educator and a leading advocate of American culture. He is the world’s first jazz artist to perform and compose across the full jazz spectrum from its New Orleans roots to bebop to modern jazz. By creating and performing an expansive range of brilliant new music for quartets to big bands, chamber music ensembles to symphony orchestras, tap dance to ballet, Wynton has expanded the vocabulary for jazz and created a vital body of work that places him among the world’s finest musicians and composers. The Early Years Wynton was born in New Orleans, Louisiana, on October 18, 1961, to Ellis and Dolores Marsalis, the second of six sons. At an early age he exhibited a superior aptitude for music and a desire to participate in American culture. At age eight Wynton performed traditional New Orleans music in the Fairview Baptist Church band led by legendary banjoist Danny Barker, and at 14 he performed with the New Orleans Philharmonic. During high school Wynton performed with the New Orleans Symphony Brass Quintet, New Orleans Community Concert Band, New Orleans Youth Orchestra, New Orleans Symphony, various jazz bands and with the popular local funk band, the Creators. At age 17 Wynton became the youngest musician ever to be admitted to Tanglewood’s Berkshire Music Center. Despite his youth, he was awarded the school’s prestigious Harvey Shapiro Award for outstanding brass student. Wynton moved to New York City to attend Juilliard in 1979. When he began to pick up gigs around town, the grapevine began to buzz. In 1980 Wynton seized the opportunity to join the Jazz Messengers to study under master drummer and bandleader Art Blakey. It was from Blakey that Wynton acquired his concept for bandleading and for bringing intensity to each and every performance. In the years to follow Wynton performed with Sarah Vaughan, Dizzy Gillespie, Sweets Edison, Clark Terry, John Lewis, Sonny Rollins, Ron Carter, Herbie Hancock, Tony Williams and countless other jazz legends. Wynton assembled his own band in 1981 and hit the road, performing over 120 concerts every year for 15 consecutive years. With the power of his superior musicianship, the infectious sound of his swinging bands and an exhaustive series of performances and music workshops, Marsalis rekindled widespread interest in jazz throughout the world. Wynton embraced the jazz lineage to garner recognition for the older generation of overlooked jazz musicians and prompted the re-issue of jazz catalog by record companies worldwide. He also inspired a renaissance that attracted a new generation of fine young talent to jazz. A look at the more distinguished jazz musicians of today reveals numerous students of Marsalis’ workshops: James Carter, Christian McBride, Roy Hargrove, Harry Connick Jr., Nicholas Payton, Eric Reed and Eric Lewis, to name a few. Classical Career Wynton’s love of the music of Bach, Beethoven, Mozart and others drove him to pursue a career in classical music as well. He recorded the Haydn, Hummel and Leopold Mozart trumpet concertos at age 20. His debut recording received glorious reviews and won the Grammy Award® for “Best Classical Soloist with an Orchestra.” Marsalis went on to record 10 additional classical records, all to critical acclaim. Wynton performed with leading orchestras including the New York Philharmonic, Los Angeles Philharmonic, Boston Pops, The Cleveland Orchestra, Saint Louis Symphony Orchestra, English Chamber Orchestra, Toronto Symphony Orchestra and London’s Royal Philharmonic, working with an eminent group of conductors including: Leppard, Dutoit, Maazel, Slatkin, Salonen and Tilson-Thomas. A timeless highlight of Wynton’s classical career is his collaboration with soprano Kathleen Battle on their recording Baroque Duet. Famed classical trumpeter Maurice André praised Wynton as “potentially the greatest trumpeter of all time.” Record Production To date Wynton has produced over 80 records which have sold over seven million copies worldwide including three Gold Records. His recordings consistently incorporate a heavy emphasis on the blues, an inclusive approach to all forms of jazz from New Orleans to modern jazz, persistent use of swing as the primary rhythm, an embrace of the American popular song, individual and collective improvisation, and a panoramic vision of compositional styles from dittys to dynamic call and response patterns (both within the rhythm section and between the rhythm section and horn players). Always swinging, Marsalis blows his trumpet with a clear tone and a unique, virtuosic style derived from an encyclopedic range of trumpet techniques. The Composer Wynton Marsalis is a prolific and inventive composer. The dance community embraced Wynton’s inventiveness by awarding him with commissions to create new music for Garth Fagan (Citi Movement-Griot New York & Lighthouse/Lightening Rod), Peter Martins at the New York City Ballet (Jazz: Six Syncopated Movements and Them Twos), Twyla Tharp with the American Ballet Theatre (Jump Start), Judith Jamison at the Alvin Ailey American Dance Theatre (Sweet Release and Here…Now), and Savion Glover (Petite Suite and Spaces). Marsalis collaborated with the Lincoln Center Chamber Music Society in 1995 to compose the string quartet At The Octoroon Balls, and again in 1998 to create a response to Stravinsky’s A Soldier’s Tale with his composition A Fiddler’s Tale. With his collection of standards arrangements, Wynton reconnected audiences with the beauty of the American popular song (Standard Time Volumes I-VI). He re-introduced the joy in New Orleans jazz with his recording The Majesty Of The Blues. He extended the jazz musician’s interplay with the blues in Levee Low Moan, Thick In The South and other blues recordings. With Citi Movement, In This House On This Morning and Blood On The Fields, Wynton invented a fresh conception for extended form compositions. His inventive interplay with melody, harmony and rhythm, along with his lyrical voicing and tonal coloring assert new possibilities for the jazz ensemble. In his dramatic oratorio Blood On The Fields, Wynton draws upon the blues, work songs, chants, call and response, spirituals, New Orleans jazz, Ellingtonesque orchestral arrangements and Afro-Caribbean rhythms; and he uses Greek chorus-style recitations to move the work along. The New York Times Magazine said the work “marked the symbolic moment when the full heritage of the line, Ellington through Mingus, was extended into the present.” The San Francisco Examiner stated, “Marsalis’ orchestral arrangements are magnificent. Duke Ellington’s shadings and themes come and go but Marsalis’ free use of dissonance, counter rhythms and polyphonics is way ahead of Ellington’s mid-century era.” Wynton extended his achievements in Blood On The Fields with All Rise, an epic composition for big band, gospel choir, and symphony orchestra – a classic work of high art – which was performed by the New York Philharmonic under the baton of Kurt Masur along with the Morgan State University Choir and the Lincoln Center Jazz Orchestra (December 1999). Marsalis collaborated with Ghanaian master drummer Yacub Addy to create Congo Square, a groundbreaking composition combining elegant harmonies from America’s jazz tradition with fundamental rituals in African percussion and vocals (2006). For the anniversary of the Abyssinian Baptist Church’s 200th year of service, Marsalis blended Baptist church choir cadences with blues accents and big band swing rhythms to compose Abyssinian 200: A Celebration, which was performed by the Jazz at Lincoln Center Orchestra and Abyssinian’s 100 voice choir before packed houses in New York City (May 2008). In the fall of 2009 the Atlanta Symphony Orchestra premiered Marsalis’ composition Blues Symphony. By infusing blues and ragtime rhythms with symphonic orchestrations Wynton creates a fresh type of enjoyment of classical repertoire. Employing complex layers of collective improvisation, Marsalis further expanded his repertoire for symphony orchestra with Swing Symphony, premiered by the renowned Berlin Philharmonic in June 2010, creating new possibilities for audiences to experience a symphony orchestra swing. Marsalis’ rich and expansive body of music for the ages places him among the world’s most significant composers. Television, Radio & Literary In the fall of 1995 Wynton launched two major broadcast events. In October PBS premiered Marsalis On Music, an educational television series on jazz and classical music. The series was written and hosted by Marsalis and was enjoyed by millions of parents and children. Writers distinguished Marsalis On Music with comparisons to Leonard Bernstein’s celebrated Young People’s Concerts of the 50s and 60s. That same month National Public Radio aired the first of Marsalis’ 26-week series entitled Making the Music. These entertaining and insightful radio shows were the first full exposition of jazz music in American broadcast history. Wynton’s radio and television series were awarded the most prestigious distinction in broadcast journalism, the George Foster Peabody Award. The Spirit of New Orleans, Wynton’s poetic tribute to the New Orleans Saints’ first Super Bowl victory (Super Bowl XLIV) received an Emmy Award for Outstanding Short Feature (2011). From 2012 to 2014 Wynton served as cultural correspondent for CBS News, writing and presenting features for CBS This Morning on an array topics from Martin Luther King, Nelson Mandela and Louis Armstrong to Juke Joints, BBQ, the Quarterback & Conducting and Thankfulness. Marsalis has written six books: Sweet Swing Blues on the Road, Jazz in the Bittersweet Blues of Life, To a Young Musician: Letters from the Road, Jazz ABZ (an A to Z collection of poems celebrating jazz greats), Moving to Higher Ground: How Jazz Can Change Your Life and Squeak, Rumble, Whomp! Whomp! Whomp! a sonic adventure for kids. Awards and Accolades Wynton Marsalis has won nine Grammy Awards® in grand style. In 1983 he became the only artist ever to win Grammy Awards® for both jazz and classical records; and he repeated the distinction by winning jazz and classical Grammys® again in 1984. Today Wynton is the only artist ever to win Grammy Awards® in five consecutive years (1983-1987). Honorary degrees have been conferred upon Wynton by over 25 of America’s leading academic institutions including Columbia, Harvard, Howard, Princeton and Yale (see Exhibit A). Elsewhere Wynton was honored with the Louis Armstrong Memorial Medal and the Algur H. Meadows Award for Excellence in the Arts. He was inducted into the American Academy of Achievement and was dubbed an Honorary Dreamer by the “I Have a Dream Foundation.” The New York Urban League awarded Wynton with the Frederick Douglass Medallion for distinguished leadership and the American Arts Council presented him with the Arts Education Award. Time magazine selected Wynton as one of America’s most promising leaders under age 40 in 1995, and in 1996 Time celebrated Marsalis again as one of America’s 25 most influential people. In November 2005 Wynton Marsalis received The National Medal of Arts, the highest award given to artists by the United States Government. United Nations Secretary-General Kofi Annan proclaimed Wynton Marsalis an international ambassador of goodwill for the Unites States by appointing him a UN Messenger of Peace (2001). In 1997 Wynton Marsalis became the first jazz musician ever to win the Pulitzer Prize for Music for his epic oratorio Blood On The Fields. During the five preceding decades the Pulitzer Prize jury refused to recognize jazz musicians and their improvisational music, reserving this distinction for classical composers. In the years following Marsalis’ award, the Pulitzer Prize for Music has been awarded posthumously to Duke Ellington, George Gershwin, Thelonious Monk and John Coltrane. In a personal note to Wynton, Zarin Mehta wrote: “I was not surprised at your winning the Pulitzer Prize for Blood On The Fields. It is a broad, beautifully painted canvas that impresses and inspires. It speaks to us all … I’m sure that, somewhere in the firmament, Buddy Bolden, Louis Armstrong and legions of others are smiling down on you.” Wynton’s creativity has been celebrated throughout the world. He won the Netherlands’ Edison Award and the Grand Prix Du Disque of France. The Mayor of Vitoria, Spain, awarded Wynton with the city’s Gold Medal – its most coveted distinction. Britain’s senior conservatoire, the Royal Academy of Music, granted Mr. Marsalis Honorary Membership, the Academy’s highest decoration for a non-British citizen (1996). The city of Marciac, France, erected a bronze statue in his honor. The French Ministry of Culture appointed Wynton the rank of Knight in the Order of Arts and Literature and in the fall of 2009 Wynton received France’s highest distinction, the insignia Chevalier of the Legion of Honor, an honor that was first awarded by Napoleon Bonaparte. French Ambassador, His Excellency Pierre Vimont, captured the evening best with his introduction: “We are gathered here tonight to express the French government’s recognition of one of the most influential figures in American music, an outstanding artist, in one word: a visionary… I want to stress how important your work has been for both the American and the French. I want to put the emphasis on the main values and concerns that we all share: the importance of education and transmission of culture from one generation to the other, and a true commitment to the profoundly democratic idea that lies in jazz music. I strongly believe that, for you, jazz is more than just a musical form. It is tradition, it is part of American history and culture and life. To you, jazz is the sound of democracy. And from this democratic nature of jazz derives openness, generosity, and universality.” Jazz at Lincoln Center In 1987 Wynton Marsalis co-founded a jazz program at Lincoln Center. In July 1996, due to its significant success, Jazz at Lincoln Center was installed as new constituent of Lincoln Center, equal in stature with the New York Philharmonic, Metropolitan Opera, and New York City Ballet – a historic moment for jazz as an art form and for Lincoln Center as a cultural institution. In October 2004, with the assistance of a dedicated Board and staff, Marsalis opened Frederick P. Rose Hall, the world’s first institution for jazz. The complex contains three state-of-the-art performance spaces (including the first concert hall designed specifically for jazz) along with recording, broadcast, rehearsal and educational facilities. Jazz at Lincoln Center has become a preferred venue for New York jazz fans and a destination for travelers from throughout the world. Wynton presently serves as Managing and Artistic Director for Jazz at Lincoln Center. Under Wynton’s leadership, Jazz at Lincoln Center has developed an international agenda presenting rich and diverse programming that includes concerts, debates, film forums, dances, television and radio broadcasts, and educational activities. Jazz at Lincoln Center is a mecca for learning as well as a hub for performance. Their comprehensive educational programming includes a Band Director’s Academy, a hugely popular concert series for kids called Jazz for Young People, Jazz in the Schools, a Middle School Jazz Academy, WeBop! (for kids ages 8 months to 5 years), an annual High School Jazz Band Competition & Festival that reaches over 2000 bands in 50 states and Canada. In 2010 the Jazz at Lincoln Center Orchestra established its first residency in Cuba with a rich cultural exchange of performances with Cuban musicians including Chucho Valdes and Omara Portuondo and education programs for kids. Education In 2011 Harvard University President Drew Faust invited Wynton to enrich the cultural life of the University community. Wynton responded by creating a 6 lecture series which he delivered over the ensuing 3 years entitled Hidden In Plain View: Meanings in American Music, with the goal of fostering a stronger appreciation for the arts and a higher level of cultural literacy in academia. From 2015 to 2021 Wynton will serve as an A.D. White Professor at Cornell University. A.D. White Professors are charged with the mandate to enliven the intellectual and cultural lives of university students. Giving Back Wynton Marsalis has devoted his life to uplifting populations worldwide with the egalitarian spirit of jazz. And while his body of work is enough to fill two lifetimes, Wynton continues to work tirelessly to contribute even more to our world’s cultural landscape. It has been said that he is an artist for whom greatness is not just possible, but inevitable. The most extraordinary dimension of Wynton Marsalis, however, is not his accomplishments but his character. It is the lesser-known part of this man who finds endless ways to give of himself. It is the person who waited in an empty parking lot for one full hour after a concert in Baltimore, waiting for a single student to return from home with his horn for a trumpet lesson. It is the citizen who personally funds scholarships for students and covers medical expenses for those in need. Immediately following Hurricane Katrina, Wynton organized the Higher Ground Hurricane Relief Concert and raised over $3 million for musicians and cultural organizations impacted by the hurricane. At the same time, he assumed a leadership role on the Bring Back New Orleans Cultural Commission where he was instrumental in shaping a master plan that would revitalize the city’s cultural base. Wynton Marsalis has selflessly donated his time and talent to non-profit organizations throughout the country to raise money to meet the many needs within our society. From My Sister’s Place (a shelter for battered women) to Graham Windham (a shelter for homeless children), the Children’s Defense Fund, Amnesty International, the Sloan Kettering Cancer Institute, Food For All Seasons (a food bank for the elderly and disadvantaged), Very Special Arts (an organization that provides experiences in dance, drama, literature, and music for individuals with physical and mental disabilities) to the Newark Boys Chorus School (a full-time academic music school for disadvantaged youths) and many, many more – Wynton responded enthusiastically to the call for service. It is Wynton Marsalis’ commitment to the improvement of life for all people that portrays the best of his character and humanity. In 2011 Wynton joined with Harvard University President, Drew Faust to present a series of 6 lectures to the student body over 3 years. The series entitles Hidden In Plain View: Hidden Meanings in American Music was developed to foster a stronger appreciation of the arts and a higher level of cultural literacy amount college students.

MP3 download | Patreon | Apple | Mixcloud | Spotify | Castbox | Stitcher | RSS One of the main problems with making this Centuries of Sound thing is representation. The 1890s are the birthplace of ragtime and the blues, Buddy Bolden was playing proto-Jazz down in New Orleans, and over in Europe figures like … Continue reading "1891"

One of the main problems with making this Centuries of Sound thing is representation. The 1890s are the birthplace of ragtime and the blues, Buddy Bolden was playing proto-Jazz down in New Orleans, and over in Europe figures like Dvořák, Mahler, Richard Strauss, Puccini, Sibelius, Grieg, Saint-Saëns, and Rachmaninoff were leading classical music’s last great … Continue reading "1891"

Brass bands in other parts of the United States; the "mythical" Congo Square; the role of formal musical education in the development early jazz artists- Buddy Bolden; brass bands around the world; jazz funerals, 2nd lines, benevolent societies and their roles in solidifying the place of people of color in the city- the taking of it; why brass bands in New Orleans have outlived the traditions in other cities; political needs for brass bands; more on cultural mentorship, cultural capital, social capital; the relation of brass band music to other musics in the city; Wynton and Branford Marsalis, Nicholas Payton- their start associated with the brass band tradition; being able to speak collectively; Trombone Shorty; the difficulties of talking to music press and their false ideas of what audiences will find interesting; the maligning or ignoring of intellectual sides to musicians in the press; coming out of depression after Katrina; the way that Brice's identity was used and became a caricature after the storm; going to the University of Alabama; telling the story of real New Orleans music, and the 200 year history of brass bands, honestly; the indignity of the reduction of all narratives of people of color to slavery; the influence of personal understanding of history on personal identity development; final comments- retelling your own stories.

Buddy Bolden was a jazz pioneer in turn-of-the-century New Orleans who at the age of 30 suffered a mental breakdown and was institutionalized. Topics include: the line between fact and fiction, the romanticism of mental illness, how hard it is to write well about music, and why teenagers continue to think Jim Morrison was a hero, rather than a giant asshole.

This month, we continue with the session of June 8, 1988.  The featured musicians are Jimmy Mazzy (banjo/vocals), Fred Lind (cornet), Paul Meymaris (clarinet), Don Frothingham (piano), and John Kafalas (tuba).  The selections are “How Could I Be Blue,” “Lady Be Good,” and “Buddy Bolden’s Blues. Send questions or comments to podcast@kafalas.com.

Wynton's Master Class in Marciac on August 3, 2007

Perugia (Italy), 1993. Wynton is at Umbria Jazz festival with his septet. Here he plays the tune entitled The legend of Buddy Bolden.

The N.O. native has spent his career documenting life and street culture of the city. As a newspaper photographer and author he has an intimate understanding of local traditions and where they intersect with modern life. He follows up his book on jazz giant Kid Ory, “Creole Trombone,” with his latest edition, “Jockomo: The Native Roots of Mardi Gras Indians.” He joins the Troubled Men in the Safe House in the wake of a recent structural failure. Topics include a construction disaster, exhaustion, intangible rewards, Booker T, legal weed, the Jesuits, Edna Karr Jr. High School, Mike Murphy, a newspaper career, layoffs, Katrina, loss, a Loyola education, Frank Donze, writing talent, authenticity, tailgate trombone, Buddy Bolden, Muskrat Ramble, Woodland Plantation, the 1811 slave uprising, John Doe's new book, Jane Wiedlin, Sparks, Irwin Allen, “Rollercoaster,” acting brothers, Dave Alvin, PiL, the Breeders, Debbie Gibson, a 911 call, police militarization, a senior fight club, a friend request, trivia, Beatles remixes, Mardi Gras Indians, neighborhood krewes, and much more. Subscribe, review, and rate on Apple Podcasts and all podcast platforms. Follow and share on social media and spread the Troubled Word. Music: Styler/Coman