Podcasts about Chick Webb

Milt Larkin y Jimmie Lunceford “lucharon” en batallas de banda al menos dos veces, en Houston en 1936 y en Chicago, cuatro años después. "Por muy buenos que fueran”, dijo Gerald Wilson sobre la banda de Milt Larkin, “no habrían podido vencer a la banda de Jimmie Lunceford en ese momento. ¡De ninguna manera! ¡De ninguna manera! Es una cuestión de opinión, pero simplemente no es posible. Éramos una banda inteligente y también teníamos grandes arreglos. Así que no había manera de que pudieran superar a la banda de Jimmie Lunceford”. Con José Manuel Corrales.

Sy Oliver dejó la orquesta de Lunceford dos meses después de la grabación de Ain't She Sweet. La noche en que presentó su renuncia, en Brighton Beach, Brooklyn, el road manager de Tommy Dorsey estaba allí. "Lo que Lunceford te haya dado el año pasado por tocar y hacer arreglos, lo superaré en 5.000 dólares", dijo Dorsey. "Hecho", respondió Oliver. Con José Manuel Corrales.

"Aparte de Duke Ellington, la sección de trombones de Lunceford es la más perfecta que he escuchado. Trummy Young es la gran estrella aquí. Su forma de tocar es increíblemente contundente. Es un trombonista al que tengo en muy alta estima". Hugues Panassié, crítico francés. Con José Manuel Corrales.

Early jazz drummers, pt. 2. Featuring: Buddy Gilmore, Chick Webb, Sonny Greer, George Wettling, Dave Tough, Gene Krupa, Papa Jo Jones.Music: Castle House Rag, Vote for Mr. Rhythm, Liza (All The Clouds'll Roll Away), Jumpin' Pumpkins, Drummer's Delight, Three Little Words, Shine, Sing Sing Sing, Drum Boogie, Sent for You Yesterday (And Here You Come Today), Delta Serenade.

CHICK WEBB THE JUNGLE BAND New York, June 14 & 27, 1929 Dog bottom (wp vcl), Jungle mama [Jungle blues Ward Pinkett (tp,vcl)Edwin Swayzee (tp) Bob Horton (tb) Hilton Jefferson, Louis Jordan (as,cl) Elmer Williams (bt,cl) Don Kirkpatrick (p) John Trueheart (bj,g) Elmer James (tu) Chick Webb (d) New York, March 30, 1931 Heebie jeebies, Blues in my heartShelton Hemphill, Louis Hunt (tp) Louis Bacon (tp,vcl) Jimmy Harrison (tb) Benny Carter (cl,as,arr) Hilton Jefferson (cl,as) Elmer Williams (cl,ts) Don Kirkpatrick (p) John Trueheart (bj,g) Elmer James (tu,b) Chick Webb (d,celeste,bells) GEORGE LEWIS AND HIS NEW ORLEANS STOMPERS Edgar Mosley's Home, New Orleans, LA, May 15, 1943New Orleans hula, Don't go ‘way nobodyJim Robinson (tb-1) George Lewis (cl) Lawrence Marrero (bj) Sidney Brown (tu) Edgar Mosley (d) Live “Gypsy Tea Room”, New Orleans, LA, May 16, 1943Climax rag, Just a closer walk with thee, I ain't gonna give nobody none o' this jelly-roll, Careless loveKid Howard (tp) Jim Robinson (tb) George Lewis (cl) Lawrence Marrero (bj) Chester Zardis (b) Edgar Mosley (d) MIFF MOLE AND HIS MOLERS New York, August 30 & September 1,1927Imagination, Feelin' no pain, Original dixieland one-step, My gal SalRed Nichols (cnt) Miff Mole (tb) Pee Wee Russell (cl,ts) Fud Livingston (cl,ts,arr-1) Adrian Rollini (bassax) Arthur Schutt (p) Dick McDonough (bj-1) Eddie Lang (g) Vic Berton (d) JELLY ROLL MORTON Library of Congress, Washington, D.C., May 23-June 12, 1938“Tiger rag – Quadrille (y su metamorfosis)(Medley

CHICK WEBB THE JUNGLE BAND New York, June 14 & 27, 1929 Dog bottom (wp vcl), Jungle mama [Jungle blues Ward Pinkett (tp,vcl)Edwin Swayzee (tp) Bob Horton (tb) Hilton Jefferson, Louis Jordan (as,cl) Elmer Williams (bt,cl) Don Kirkpatrick (p) John Trueheart (bj,g) Elmer James (tu) Chick Webb (d) New York, March 30, 1931 Heebie jeebies, Blues in my heartShelton Hemphill, Louis Hunt (tp) Louis Bacon (tp,vcl) Jimmy Harrison (tb) Benny Carter (cl,as,arr) Hilton Jefferson (cl,as) Elmer Williams (cl,ts) Don Kirkpatrick (p) John Trueheart (bj,g) Elmer James (tu,b) Chick Webb (d,celeste,bells) GEORGE LEWIS AND HIS NEW ORLEANS STOMPERS Edgar Mosley's Home, New Orleans, LA, May 15, 1943New Orleans hula, Don't go ‘way nobodyJim Robinson (tb-1) George Lewis (cl) Lawrence Marrero (bj) Sidney Brown (tu) Edgar Mosley (d) Live “Gypsy Tea Room”, New Orleans, LA, May 16, 1943Climax rag, Just a closer walk with thee, I ain't gonna give nobody none o' this jelly-roll, Careless loveKid Howard (tp) Jim Robinson (tb) George Lewis (cl) Lawrence Marrero (bj) Chester Zardis (b) Edgar Mosley (d) MIFF MOLE AND HIS MOLERS New York, August 30 & September 1,1927Imagination, Feelin' no pain, Original dixieland one-step, My gal SalRed Nichols (cnt) Miff Mole (tb) Pee Wee Russell (cl,ts) Fud Livingston (cl,ts,arr-1) Adrian Rollini (bassax) Arthur Schutt (p) Dick McDonough (bj-1) Eddie Lang (g) Vic Berton (d) JELLY ROLL MORTON Library of Congress, Washington, D.C., May 23-June 12, 1938“Tiger rag – Quadrille (y su metamorfosis)(Medley

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Bajo la dirección de Harold Oxley, la banda consiguió un nuevo contrato discográfico. Decca pronto se convertiría en una empresa emprendedora, especializada en música de moda a precios reducidos. Un mes antes Isham Jones también había firmado con la nueva compañía y pronto le seguirían Fletcher Henderson y otros. Con José Manuel Corrales.

Seasonal and holiday jazz and more tonight:  Ella Fitzgerald, Holiday In Harlem (feat. Chick Webb and His Orchestra) Louis Armstrong, Cool Yule (feat. The Commanders) Ella Fitzgerald, Good Morning Blues Ramsey Lewis Trio, Merry Christmas Baby Ramsey Lewis Trio, Christmas Blues Sonny Rollins, God Bless The Child (Jim Hall guitar) Jimmy Smith, God Rest Ye Merry Gentlemen Vince Guaraldi Trio, Greensleeves Don Ellis, 8 Nicole Art Pepper, Winter Moon Toshiko Akiyoshi, Winter Wonderland Birelli Lagrene, Acoustic Moments Jimmy Smith, Silent Night jazzed

Los Chickasaw son una tribu india americana que originalmente habitaba el norte de Mississippi y Alabama. El espíritu independiente y agresivo que caracterizaba a la tribu probablemente atraía a Lunceford y a sus alumnos. Con José Manuel Corrales.

FLETCHER HENDERSON AND HIS ORCHESTRA New York, May 14, 1926 The stampede, Jackass bluesRussell Smith, Joe Smith (tp) prob Luke Smith (tp) Rex Stewart (cnt) Benny Morton (tb) Buster Bailey (cl,as) Don Redman (cl,as,gfs,arr) Coleman Hawkins (cl,ts,bassax) Fletcher Henderson (p) Charlie Dixon (bj) Ralph Escudero (tu) Kaiser Marshall (d) New York, November 3, 1926 The Henderson stomp, The chantRussell Smith, Joe Smith, Tommy Ladnier (tp) Benny Morton (tb) Buster Bailey (cl,sop,as) Don Redman (cl,as,arr) Coleman Hawkins (cl,ts,bar) Fats Waller (p,org-1) Charlie Dixon (bj) June Cole (tu,vcl) Kaiser Marshall (d) Fletcher Henderson (cond) New York, March 19, 1931 Clarinet marmaladeBenny Morton (tb) Russell Procope (cl,as) Horace Henderson (p-1) replace Jimmy Harrison, Benny Carter, Fletcher Henderson, Coleman Hawkins (cl,ts,bar) Horace Henderson, Fletcher Henderson, Bill Challis (arr) CHICK WEBB “THE JUNGLE BAND” New York, June, 1929 Dog bottom (wp vcl), Jungle mamaWard Pinkett (tp,vcl) Edwin Swayzee (tp) Bob Horton (tb) Hilton Jefferson, Louis Jordan (as,cl) Elmer Williams (bt,cl) Don Kirkpatrick (p) John Trueheart (bj,g) Elmer James (tu) Chick Webb (d) New York, March 30, 1931 Heebie jeebiesShelton Hemphill, Louis Hunt (tp) Louis Bacon (tp,vcl) Jimmy Harrison (tb) Benny Carter (cl,as,arr) Hilton Jefferson (cl,as) Elmer Williams (cl,ts) Don Kirkpatrick (p) John Trueheart (bj,g) Elmer James (tu,b) Chick Webb (d,celeste,bells) New York, June 12, 1935 I'll chase the blues away (ef vcl)Mario Bauza, Bobby Stark, Taft Jordan (tp) poss. Continue reading Puro Jazz 07 de octubre, 2024 at PuroJazz.

FLETCHER HENDERSON AND HIS ORCHESTRA New York, May 14, 1926 The stampede, Jackass bluesRussell Smith, Joe Smith (tp) prob Luke Smith (tp) Rex Stewart (cnt) Benny Morton (tb) Buster Bailey (cl,as) Don Redman (cl,as,gfs,arr) Coleman Hawkins (cl,ts,bassax) Fletcher Henderson (p) Charlie Dixon (bj) Ralph Escudero (tu) Kaiser Marshall (d) New York, November 3, 1926 The Henderson stomp, The chantRussell Smith, Joe Smith, Tommy Ladnier (tp) Benny Morton (tb) Buster Bailey (cl,sop,as) Don Redman (cl,as,arr) Coleman Hawkins (cl,ts,bar) Fats Waller (p,org-1) Charlie Dixon (bj) June Cole (tu,vcl) Kaiser Marshall (d) Fletcher Henderson (cond) New York, March 19, 1931 Clarinet marmaladeBenny Morton (tb) Russell Procope (cl,as) Horace Henderson (p-1) replace Jimmy Harrison, Benny Carter, Fletcher Henderson, Coleman Hawkins (cl,ts,bar) Horace Henderson, Fletcher Henderson, Bill Challis (arr) CHICK WEBB “THE JUNGLE BAND” New York, June, 1929 Dog bottom (wp vcl), Jungle mamaWard Pinkett (tp,vcl) Edwin Swayzee (tp) Bob Horton (tb) Hilton Jefferson, Louis Jordan (as,cl) Elmer Williams (bt,cl) Don Kirkpatrick (p) John Trueheart (bj,g) Elmer James (tu) Chick Webb (d) New York, March 30, 1931 Heebie jeebiesShelton Hemphill, Louis Hunt (tp) Louis Bacon (tp,vcl) Jimmy Harrison (tb) Benny Carter (cl,as,arr) Hilton Jefferson (cl,as) Elmer Williams (cl,ts) Don Kirkpatrick (p) John Trueheart (bj,g) Elmer James (tu,b) Chick Webb (d,celeste,bells) New York, June 12, 1935 I'll chase the blues away (ef vcl)Mario Bauza, Bobby Stark, Taft Jordan (tp) poss. Continue reading Puro Jazz 07 de octubre, 2024 at PuroJazz.

“Forty-seven years before construction workers discovered the skeleton in the old farmer's well on Chicken Hill, a Jewish theater manager in Pottstown, Pennsylvania, named Moshe Ludlow had a vision about Moses. Moshe had this vision on a Monday morning in February as he was cleaning out the remnants of a Chick Webb one-night stand at his tiny All-American Dance Hall and Theater on Main Street.”

Comenzamos la sexta temporada de El faro del jazz a lo grande, dedicándolo a la conocida como 'Primera Dama del Jazz', la cantante norteamericana Ella Fitzgerald. Ella Fitzgeral está considerada como una de las mejores intérpretes de jazz de la historia, así como una de las mayores especialistas en el 'scat'. En esta primera parte nos centraremos en sus inicios, cuando comenzó a despuntar en la orquesta del batería y director Chick Webb. También escucharemos algunas de sus piezas grabadas en los años 40 con grandes de la época, como Louis Armstrong, Hank Jones, Ray Brown o Buddy Rich. En la última parte del programa nos centraremos en sus conocidisimos 'Songbooks', una colección de discos producidos por Norman Granz y grabados para el sello Verve, en los que la cantante rindió homenaje a los grandes compositores del cancionero americano: Cole Porter, Irvin Berlin, Rodgers & Hart, George & Ira Gershwin, Duke Ellington o Harold Harlem.

Comenzamos la sexta temporada de El faro del jazz a lo grande, dedicándolo a la conocida como 'Primera Dama del Jazz', la cantante norteamericana Ella Fitzgerald. Ella Fitzgeral está considerada como una de las mejores intérpretes de jazz de la historia, así como una de las mayores especialistas en el 'scat'. En esta primera parte nos centraremos en sus inicios, cuando comenzó a despuntar en la orquesta del batería y director Chick Webb. También escucharemos algunas de sus piezas grabadas en los años 40 con grandes de la época, como Louis Armstrong, Hank Jones, Ray Brown o Buddy Rich. En la última parte del programa nos centraremos en sus conocidisimos 'Songbooks', una colección de discos producidos por Norman Granz y grabados para el sello Verve, en los que la cantante rindió homenaje a los grandes compositores del cancionero americano: Cole Porter, Irvin Berlin, Rodgers & Hart, George & Ira Gershwin, Duke Ellington o Harold Harlem.

Show #1053 From Choices To Decisions 01. Big Dave McLean - I Best Choose to Pick the Blues (4:41) (Faded But Not Gone, Black Hen Music, 2014) 02. John "Juke" Logan - Life on the Center Divider (Go Figure) (4:38) (Juke Rhythm, Sky Ranch Records, 1995) 03. Coyote Kings - Bad Decision (4:15) (Hot Mess, TwinLion Records, 2023) 04. Jeff Finlin - Crossing The Great Divide (4:16) (Soul On The Line, Bentwheel Records, 2022) 05. Eddie Martin - Too Much Choice (4:27) (Black White And Blue, BlueBlood Records, 2016) 06. Coco Robicheaux - Decision Blues (4:22) (Hoodoo Party, Sky Ranch Records, 2000) 07. Jan James - Dangerous Decision (3:26) (Justify, Blue Palace Records, 2020) 08. James Harman - Decisions (5:25) (Takin' Chances, Cannonball Records, 1998) 09. Duster Bennett - I Choose To Sing The Blues/Just Like I Treat You (6:46) (I Choose To Sing The Blues, Indigo Records, 1998) 10. Southside Johnny & the Asbury Jukes - I Choose to Sing the Blues (2:40) (I Don't Want to Go Home, Epic Records, 1976) 11. Derrick Procell - Why I Choose To Sing The Blues (6:05) (Why I Choose To Sing The Blues, Hear And Now Music, 2016) 12. The Band - Across The Great Divide (2:54) (The Band, Capitol Records, 1969) 13. Jim Allchin - Bad Decisions (3:06) (Decisions, Sandy Key Music, 2017) 14. Anthony Geraci - Too Many Bad Decisions (4:06) (Why Did You Have To Go, Shining Stone Records, 2018) 15. Marion Abernathy - Undecided [1948] (2:06) (Rare Blues Girls From King, Sing Records, 1988) 16. John Kirby & the Onyx Club Boys - Undecided (2:57) (78 RPM Shellac, Decca Records, 1938) 17. Ames Brothers (with Les Brown & his Band Of Renown) - Undecided (2:57) (45 RPM Single, Coral Records, 1951) 18. Chick Webb & his Orchestra (with vocal by Ella Fitzgerald) - Undecided (3:18) (78 RPM Shellac, Decca Records, 1939) 19. Django Reinhardt & le Quintette du Hot Club de France - Undecided (2:35) (78 RPM Shellac, Decca Records, 1939) 20. Al Hirt (with Henri René & his Orchestra) - Undecided (2:19) (The Greatest Horn In The World, RCA Victor, 1961) 21. Paul Butterfield Blues Band - Last Hope's Gone (4:50) (In My Own Dream, Elektra Records, 1968) 22. Michael Stanley Band - Choice And Sanborn (2:24) (Ladies' Choice, Epic Records, 1976) 23. Sideshow Tramps - Buck Dansers Choice (1:00) (Medicine Show, self-release, 2007) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

Rhythm Man: Chick Webb and the Beat That Changed America is an in-depth look at  highly influential and popular, 'til now under-celebrated bandleader, by Ms. Crease, whose prior books are lively portraits of Duke Ellington and Gil Evans. Bob Blumenthal, critic, author (Saxophone Colossus: A Portrait of Sonny Rollins)  chairs the Jazz Journalists Association's Book Awards committee.

In the 1920s and early 1930s "headin' uptown" meant a night of clubbing in HARLEM. And when you went you might have been entertained by any number of fabulous bands who lived and played "up-town". This episode , the second of two is dedicated to all of those Harem based bands - from LOUIS ARMSTRONG & HIS ORCHESTRA, MILLS BLUE RHYTHM BAND , JIMMY LUNCEFORD's ORCHESTRA, JOE STEELE ORCHESTRA, CAB CALLOWAY and THE MISSOURIANS before him to name just a few...and how can we forget CHICK WEBB and DUKE ELLINGTON'S mighty COTTON CLUB ORCHESTRA...we won't! --- Support this podcast: https://podcasters.spotify.com/pod/show/american-grooves-hour/support

"Reefer Man" - Don Redman; "Knockin´ Myself Out" - Lil Green; "Wacky Dust" y "When I Get Low, I Get High" - Ella Fitzgerald with Chick Webb; "Kickin´ The Gong Around" y "Minnie The Moocher" - Cab Calloway; "Sweet Marijuana Brown" - Barney Bigard; "Onyx Hop" - Frankie Newton; "Texas Tea Party" - Jack Teagarden with Benny Goodman; "Take A Whiff On Me" - Leadbelly; "Lotus Blossom (Sweet Marijuana)" - Julia Lee; "I'm Feeling High & Happy" - Helen Ward with Gene Krupa; "Here Comes The Man With The Jive" - Stuff Smith; "Jack, I´m Mellow" - Trixie Smith Todas las músicas extraídas de la recopilación "Reefer Madness - A Collection Of Vintage Drug Songs, 1927-1945" (Buzzola, 2004).Escuchar audio

In the 1920s and early 1930s "headin' uptown" meant a night of clubbing in HARLEM. And when you went you might have been entertained by any number of fabulous bands who lived and played "up-town". This episode , the first of two is dedicated to all of those Harem based bands - from LUIS RUSSELL'S ORCHESTRA, SAVOY BEARCATS, JIMMY LUNCEFORD's ORCHESTRA, CAB CALLOWAY and THE MISSOURIANS before him to name just a few...and how can we forget CHICK WEBB and DUKE ELLINGTON'S mighty COTTON CLUB ORCHESTRA...we won't! --- Support this podcast: https://podcasters.spotify.com/pod/show/american-grooves-hour/support

Swing and more tonight: Benny Goodman & His Orchestra, Count Basie, Chick Webb (featuring Ella Fitzgerald), Frank Sinatra with Harry James and his Orchestra, Artie Shaw & His Orchestra, The Mills Brothers, Mel Tormé, Rosemary Clooney and Duke Ellington and His Orchestra, Johnny Hodges, Anita O'Day, Annie Ross & Gerry Mulligan, Dee Dee Bridgewater, and Cassandra Wilson.

Harmonizing History: Judith Tick Unveils the Untold Story of Ella Fitzgerald, Jazz's Transformative Voice The Not Old Better Show, Smithsonian Associates Art of Living Interview Welcome to The Not Old Better Show on radio and podcast. I'm Paul Vogelzang, and today's show is part of our Smithsonian Associates Art of Living Interview series. Today we're diving into the melodious world of jazz with an enthralling discussion about one of its most iconic figures. Our guest is the distinguished music historian and Smithsonian Associate, Judith Tick.  Smithsonian Associate Judith Tick will be appearing at Smithsonian Associates coming up…Please check out our Show Notes today for more details. Judith Tick's meticulous research breathes new life into Ella's story, Becoming Ella Fitzgerald: The Jazz Singer Who Transformed American Song, available Dec. 3, 2023. Drawing on a treasure trove of digital records from influential Black newspapers like the Baltimore Afro-American and the Chicago Defender, Judith Tick shares resources previously untapped by biographers, providing us with a fresh and profound understanding of Fitzgerald's journey.  We'll hear about her iconic performances at venues like the Apollo Theater and the Savoy Ballroom, her collaborations with giants like Chick Webb and Nelson Riddle, and her complex relationship with record labels, but let's listen as Judith Tick reads from her new book about Chick Webb's orbit. Judith Tick tells us today that the biography is more than a chronicle of dates and events. It's an exploration of how Fitzgerald, a groundbreaking Black American woman singer and bandleader, navigated and transformed the worlds of jazz and pop. Tick takes us through Ella's early days, her rise to stardom, and her unique ability to expand her audience across cultural divides. So, join us as we uncover the layers of Ella Fitzgerald's artistry and her profound impact on the American music scene. Whether you're a casual fan of jazz, a music historian, or an ardent admirer of Fitzgerald's talent, this conversation promises to be as masterful and wonderful as its subject. Stay tuned for a journey through the life and legacy of the incomparable Ella Fitzgerald. My thanks to Smithsonian Associate Judith Tick.  Judith Tick will be appearing at Smithsonian Associates Interview Series coming up.  Please check out our website and show notes today for more details.  Judith Tick's new book, Becoming Ella Fitzgerald: The Jazz Singer Who Transformed American Song, available Dec. 3, 2023.  And my thanks to the Smithsonian team for all they do to support the show.  My thanks to you, my wonderful audience here on radio and podcast.  Please be well, be safe, and Let's Talk About Better© The Not Old Better Show.  Thanks, everybody, and we'll see you next week. For more information, please click here on Smithsonian Associates:  https://smithsonianassociates.org/ticketing/tickets/becoming-ella-fitzgerald

Almost forgotten big band that played at the Savoy in NYC at the same time as Chick Webb. Hopkins was among the best stride pianists of the day and a very good arranger as well - his band included Sylvester Lewis and Ovie Alston on trumpets, Fred Norman and Fernando Arbello on trombones, Gene Johnson and Bobby Sands on saxes and most notably Edmond Hall on clarinet and baritone sax. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

New York dance halls, jazz clubs, and speakeasies, in 1920s-40s. What did people hear at the Cotton Club? Connie's Inn? Small's Paradise? How about the Ubangi Club? What did the Savoy Ballroom sound like? Music by Duke Ellington, Chick Webb, Ella Fitzgerald, Gladys Bentley, and others.

First we'll hear some early Ella Fitzgerald with Chick Webb, Jelly Roll Morton, Quintetto Ritmico di Milano, and Charlie Parker. Then we have a set from our featured artist, Chico Hamilton, followed by Duke Ellington, Ella again, Lee Morgan, Vince Guaraldi & Bola Sete, Boogaloo Joe Jones, and Stan Getz.

The first regular band Chick Webb had at the Savoy Ballroom before Ella Fitzgerald joined. Taft Jordan, Bobby Stark, Sandy Williams, Pete Clark, Edgar Sampson, Elmer Williams, Joe Steele, Don Kirkpatrick, John Truehart, John Kirby and Webb himself created some classic big band sounds largely directed by the compositions and arrangements by Sampson. Records for Columbia, OKeh, Decca. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

Stephanie's Chick Webb Playlist: https://open.spotify.com/playlist/6A9J2SgsFiV4VwMjCdzXI0?si=6e3f0031bcf24fc2 Stephanie Stein Crease is a jazz historian, author, editor, and former Senior Jazz Coordinator for the Jazz Arts Program, Manhattan School of Music. Her books include Gil Evans: Out of the Cool (2002 ASCAP/Deems Taylor Award), and Duke Ellington: His Life in Jazz (2009). She was literary editor for the Grammy-awarded Duke Ellington Centennial Edition. She was a 2020 Scholar-in Residence at the Schomburg Center for Research in Black Culture, NYPL, and 2018 Berger-Benny Carter-Berger Research Fellow at the Institute of Jazz Studies, Rutgers University. Review"Nothing comes close to the easy yet majestic sweep of this book....Page after page of Rhythm Man blossoms with new stories." -- Michael Steinman, Jazz Lives "Thanks to Stephanie Stein Crease's new biography of virtuoso drummer Chick Webb, the Baltimore-born band leader and popular music legend, we now have a detailed and nuanced picture of his amazing life." -- Jacques Kelly, The Baltimore Sun Tom Gouker: SCFB is found on: Youtube, Itunes, Anchor, Spotify, Amazon Podcasts, Google Podcast, Overcast, Breaker, Castbox, Radio Public, Podbay, Stitcher....and more! Tom Gouker is also featured on a limited-run podcast about the Beatles called, "The Beatles Come To America", Join Tom and the "Beatle Guru" Brooke Halpin as we chat about the US Album Releases of the Beatles ("65", "Yesterday & Today" and "Hey Jude"...they are all there.) --- Send in a voice message: https://podcasters.spotify.com/pod/show/somethingcame-from-baltim/message Support this podcast: https://podcasters.spotify.com/pod/show/somethingcame-from-baltim/support

The flute wasn't a prominent instrument in jazz or dance bands before the 1950's, but here are some excellent outliers . . the Cuban Albert Socarras recorded with Bennett's Swamplanders, Lizzie Miles and Clarence Williams (with Ed Allen, King Oliver, Arville Harris and Cyrus St. Clair) and Wayman Carver was with Benny Carter, Spike Hughes, Chick Webb and Ella Fitzgerald (Taft Jordan, Red Allen, Bobby Stark, Coleman Hawkins, Chu Berry, Teddy McCrae, Don Kirkpatrick, Teddy Wilson, Sid Catlett and others) and as a bonus, Charles Frazier with Willie Bryant's Orchestra. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

Hosts Nate Wilcox welcomes Stephanie Stein Crease, the author of "Rhythm Man: Chick Webb and the Beat that Changed America" to discuss the great swing king, Ella Fitzgerald, Louis Jordan, Benny Goodman and Webb's impact on our culture. Buy the book and support the show. CHECK OUT THE NEW LET IT ROLL WEB SITE -- We've got all 350+ episodes listed, organized by mini-series, genre, era, co-host, guest and more. Please sign up for the email list on the site and get music essays from Nate as well as (eventually) transcriptions of every episode. Also if you can afford it please consider becoming a paid subscriber to support the show. Thanks! 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. Let It Roll is proud to be part of Pantheon Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

2023 WYOIFF Continuing our coverage of the 2023 Wyoming International Film Festival we talk to filmmaker Kathi Carey about her film Discovering Ella. --- Logline: "The true story of the greatest jazz drummer you've never heard of (Chick Webb) who stumbled upon a 16-year-old singer and nurtured her into a legend." --

Tracklist : Ella Fitzgerald - Undecided (ft. Chick Webb and His Orchestra)Cotonete - Day In Day Out (ft. Leron Thomas) Roisin Murphy - FaderBabyTron - Thinkin' Out Loud Oran « Juice » Jones - The RainOrange Juice - Rip It UpSay She She - Don't You Dare Stop Baron Rétif & Concepción Perez - Ela ja sabe (ft. Raphaël Guattari) DJ Rude One & RXK Nephew - Raw DopeBAMBII & Lady Lykez - WICKEG GYALLCY - SoraGangsta Boo - Nasty TrickJaydee - Plastic DreamVince Staples - PAPERCUTSMarvin Gaye - All The Way Around (Live)The Internet - Special AffairTears For Fears - Everybody Wants To Fall In LoveHubert Lenoir - OCTEMBRE (ft. Bonnie Banane)Todd Terry - Dance With Me Saint Etienne - Who Do You Think You AreErotic Drum Band - Pop Pop Shoo WahLaurie Vocal Groups - Zoom, Zoom, ZoomHerbie Hancock - Watermelon Man Eli Escobar - Headphone Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Back to the distinct album from my dad's collection that sticks out like a sore thumb. It's slightly broader than normal LP records and the cover is a soft padding that holds a small booklet and five records in a spiral binding, inside a perfect binding. So get ready for two more sides filled with the music from a band leader who lost his life in the service of this country with Volume 122: Glenn Miller Collection Part 4. Credits and copyrights Glenn Miller And His Orchestra – Second Pressing Label: RCA Victor – LPT 6700 Series: Collector's Issue Series Format: 5 x Vinyl, LP, Compilation Country: Canada Released: 1956 Genre: Jazz Style: Big Band, Swing American Patrol Written-By – FW Meacham Broadcast April 23, 1942 I Guess I'll Have To Change My Plan Vocals – Marion Hutton, Tex Beneke Written-By Howard Dietz and Arthur Schwartz (lyricist and composer respectively) Broadcast July 30, 1940 Bugle Call Rag Written-By – Billy Meyers, Elmer Schoebel, and Jack Pettis Broadcast November 25, 1941 Chattanooga Choo Choo Vocals – Tex Beneke, The Modernaires Written-By – Harry Warren, Mack Gordon Broadcast December 30, 1941 Sleepy Town Train Written-By – Allan Roberts, Bill Fontaine Recorded July 16, 1942 Medley  My Melancholy Baby Written-By – Ernie Burnett, George Norton, and Maybelle Watson Moon Love Vocals – Ray Eberle Written-By – André Kostelanetz, Mack David, Pyotr Ilyich Tchaikovsky Stomping At The Savoy Written-By – Andy Razaf, Benny Goodman, Chick Webb, and Edgar Sampson Blue Moon Written-By – Composer Richard Rodgers and lyricist Lorenz Hart Broadcast January 10, 1940 Flagwaver Written-By – Jerry Gray Broadcast November 25, 1941 I do not own the rights to this music. ASCAP, BMI licenses provided by third-party platforms for music that is not under Public Domain.

Landon White, is a highly skilled civil rights advocate that believes each day as an opportunity to help remove barriers that threaten equality in business and in the community. As a serial entrepreneur, Mr. White nack for sales and marketing has led to partnerships with Fortune 50 companies, high-end sports figures and higher-education institutions. His love for traveling and Baltimore led him to create Astute Marketing Group and the Baltimore Jazz Festival. While Mr. White played many rec league games in Chick Webb's gym as a youth, he had no idea Chick Webb was one of the best Drummers of his generation. Mr. White became obsessed with jazz musicians and fell in love with the music at the Detroit Jazz Festival. Mr. White knew he wanted to bring something like this to Baltimore.  In 2018, Mr. White immediately reached out to many of the top jazz artists in the Greater Baltimore area. In 2019 the Festival was headlined by Berkely Professor, Chelsey Green, and Grammy Award Winning- Humber College Professor, Larnell Lewis. Both headlined international Jazz festivals outside of the US that year. The Baltimore Jazz Festival has grown from 500 attendees in 2019 to 3,000 in 2022. The 2023 Baltimore Jazz Festival will be held on June 10-11, 2023 at the Wyman Park Dell.  Creators & Guests Rob Lee - Host The Truth In This Art, hosted by Rob Lee, explores contemporary art and cultural preservation through candid conversations with artists, curators, and cultural leaders about their work, creative processes and the thinking that goes into their creativity. Rob also occasionally interviews creatives in other industries such as acting, music, and journalism. The Truth In This Art is a podcast for artists, art lovers and listeners interested in the creative process.To support the The Truth In This Art: Buy Me Ko-fiUse the hashtag #thetruthinthisartFollow The Truth in This Art on InstagramLeave a review on Apple Podcasts, Spotify or wherever you get your podcasts.THE TRUTH IN THIS ART IS SUPPORTED IN PART BYThe Gutierrez Memorial FundThe Robert W. Deutsch Foundation ★ Support this podcast ★

Great singer -the best Ellington ever had - heard here fronting her own group (mostly Ellington's band), the Gotham Stompers (a combination of Ellington's and Chick Webb's bands) and two all stars sessions for Black and White on the West Coast. Featuring Johnny Hodges, Willie Smith, Harry Carney, Cootie Williams, Karl George, Lucky Thompson, Irving Ashby, Charles Mingus, Chick Webb, Joe Nanton, Duke Ellington, Barney Bigard, Buddy Collette and others! --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

En este episodio encaramos una serie de 5 entregas relacionadas con la batería. De Baby Dodds y Zoot Singleton en New Orleans pasando por Chicago, Dave Tough llegamos al Swing de Krupa, Jo Jones, Chick Webb y Sid Cattlett. Hosted on Acast. See acast.com/privacy for more information.

February is Black History Month and for our celebration this month I am taking the four Saturdays and splitting them into two parts and presenting two bands and band leaders per show. Today, I am going to feature the bands of Chick Webb and Andy Kirk. Chick had a very exciting band and was a mainstay at the Savoy Ballroom. Andy Kirk comes out of Kansas City and had several hits and was popular in the late 1930's into the 1940's. I hope you enjoy part one of our celebration of Black History Month. Please visit this podcast at http://bigbandbashfm.blogspot.com

Features vintage Big Band recordings by Chick Webb, Ray Noble, Dick Jurgens and Tiny Hill.  Ronnaldo also plays an old ad from Admiral Radio. Consider supporting The Big Band and Swing Podcast by becoming a Hepcat.  Learn more at SupportSwing.com. * All music in this podcast are Creative Commons.  Artists are credited within the podcast.

L'histoire des Platters est intimement liée à une autre histoire dont nous avons déjà parlé, celle des Pingouins et de "Earth Angel". Vous voudrez peut-être réécouter cet épisode - ou l'écouter pour la première fois, si vous suivez ce podcast pour la première fois - avant d'écouter celui-ci, car il raconte en grande partie la même histoire d'un point de vue différent. Mais dans les deux cas, Buck Ram finit par être le méchant. “She Wants to Rock”, the Flairs Willie Mabon, “I Don't Know” Linda Hayes, “Yes, I Know (What You're Putting Down)” Big Jay McNeely, “Nervous Man Nervous” The Platters: “Hey Now” Bing Crosby, “I'll Be Home For Christmas” “Chew Chew Chew Your Bubblegum”, Chick Webb and Ella Fitzgerald The Platters, “Roses of Picardy” the Quin-Tones, “Midnight Jamboree” Zola Taylor, “Oh! My Dear” The Ink Spots: “I'll Lose A Friend Tomorrow” The Platters, “Only You” (original version on Federal ), including the incredibly bad ending chord Linda Hayes and Tony Williams, “Oochi Pachi” Linda Hayes and the Platters, “My Name Ain't Annie” Joe Houston, “Shtiggy Boom” The Platters, “Only You” The Platters, “The Great Pretender” Tony Williams, “Charmaine” Shemekia Copeland, “Too Close”

Reverend Charlie Jackson "Something To Think About"The Yardbirds "Heart Full of Soul"Clem Snide "Let's Explode"Lucky Millinder "I Want A Tall Skinny Papa (02-18-42)"Hank Williams "(I Heard That) Lonesome Whistle"Gladys Bentley Quintet "Boogie'n My Woogie"Bob Dylan "Everything Is Broken"Jelly Roll Morton "Sidewalk Blues"Johnny Cash "This Train Is Bound for Glory (with The Carter Family)"Duke Ellington "Money Jungle"Joan Shelley "Something Small"Bob Wills and His Texas Playboys "Rosetta"Louis Armstrong "Beau Koo Jack"Guy Clark "The Waltzing Fool"Lil Green "Romance In the Dark"Allen Toussaint "Whirlaway"S.G. Goodman "When You Say It"Sister O.M. Terrell "I'm Going to That City"Hank Ballard "Sunday Morning Coming Down"Pete Johnson "Death Ray Boogie"Peter Case "Ain't Gonna Worry No More"Jessie Mae Hemphill "Train Train"Fats Waller & His Rhythm "Armful Of Sweetness"John Moreland "Break My Heart Sweetly"Chick Webb "F.D.R Jones"Elvis Costello & Allen Toussaint "Who's Gonna Help Brother Get Further"Clifford Brown "Mildama"Loretta Lynn "Portland Oregon"Johnny Dodds "New St. Louis Blues"Albert King "I'll Play the Blues for You"Otis Redding "Shake"Valerie June "Shakedown"The Prisonaires "Just Walkin' in the Rain"Willie Nelson & Leon Russell "Trouble In Mind"Robert Wilkins "Old Jim Canan's"Allen Toussaint "Just a Closer Walk with Thee"B.B. King "My Own Fault, Baby Aka It's My Fault"Sidney Bechet "Strange Fruit"Nina Simone "Blues for Mama"Cab Calloway & His Orchestra "Six or Seven Times"Mississippi Fred McDowell "Red Cross Store"Billie Holiday "It's Easy To Blame the Weather"Hayes Carll "Another Like You"Sleepy John Estes "Drop Down Mama"Benjamin Booker "Violent Shiver"Aretha Franklin "Since You'Ve Been Gone"John R. Miller "Relaxation"

It's Torchbearer vs Ubermensch! Red Revenant vs the Gaslighter! Operation: American Defense vs Adolf Hitler! You don't want to miss this epic midseason showdown! FEATURING SPECIAL GUEST @Drakoniques AS RED REVENANT! Join our Discord: https://discord.gg/PxbfcpTJu2 Help us get to $400 on Patreon so we can pay our performers! https://www.patreon.com/mistconceptionspod Cast: David (he/him; @MrBananaSocks) as the Editor in Chief, Mitch (he/they; @mitchbustillos) as Omission (he/him), Marlo (she/her; @boggwitch) as Crystal Gazer (she/her), Phil (he/them; @BMCPHILANTHROPY) as Torchbearer (he/him), Kristie (she/her; @PolishKristie) as Geiger Gwen (she/her), Occam (they/them; @occamsockemrobo) as Dr. Fusion (he/him), Kari (she/her) as Mother Midnight (she/her) Music in this Episode: Dementia by Miklós Rósza, What A Shuffle by Chick Webb, Rumpus in Richmond by Duke Ellington, Cotton Club Stomp by Duke Ellington, White Jazz by Glen Gray, Terror On The Ski Run by Miklós Rósza, A Boat in the Fog by Max Steiner, Concerto No. 2 in C Minor by Sergei Rachmaninoff, The Four Seasons, Concerto No. 2 “Summer”: III by Antonio Vivaldi, A Night On Bare Mountain by Pyotr Ilyich Tchaikovsky Harlem Congo by Chick Webb, Subconscious by Miklós Rósza

Many of the problems modern teachers are facing aren't new, so we're going back in time to find out how our education system became a system that teachers are currently fleeing. Come to find out, modern teachers inherited low pay, limited respect, and a system that strips communities of their cultural traditions. In this episode, hear how Indian Boarding Schools and the American Industrial Revolution have left traces on modern education, and how these traces are contributing to teachers' decisions to leave education.   Music:  Theme Song By Julian Saporiti “Sonata No.13 in E Flat Major, Op. 24 No. 1-II. Allegro, Molto, e Vivace” by Daniel Veesey is in the Public Domain. “Railroad's Whisky Co” by Jahzzar is Licensed under a CC BY-SA license. “Ugly Truth” by HoliznaCC0 is in the Public Domain. “Upsurge” by Jonah Dempcy is  a  CC BY-NC license. “Green Lights”  by Jahzzar is licensed under a CC BY-SA license. “Pizz” by Andrew Christopher Smith is licensed under a CC BY-NC-SA Transcript: I had a band teacher once hold me after class and force me eat a beef and bean burrito. He sat in front of me on the piano bench to make sure that I ate it. I was a freshman, in the middle of the high school wrestling season, and I was cutting weight for my first varsity tournament – where I'd end up getting my lips knocked off. My teacher, Mr. Duran, was short, wiry, wore jeans with a braided leather belt and a button-down shirt. He had round-framed glasses, combed his hair to the side, and more than once told me to listen to the greats like Chick Webb and not just the white guys that made it on the radio.  He was in his 30th year of teaching, and he was not shy about giving advice. While I ate the burrito, Duran talked about playing baseball in college and how abruptly a life of sports could come to an end but how long a life of music could last. This was mature guidance, albeit, guidance that I see more value in now than I did then. Duran would garnish each class with stories that worked to guide us towards being kind human beings. There were days in Jazz band where he would sit in the center of the tiered room, legs crossed, saxophone neck strap still on, and tell us about his past. When Mr. Duran was in college at the University of Northern Colorado in the 1960s, the Count Basie Orchestra went through town and stopped at the university. UNC was known for its jazz programs and one of Basie's saxophone players dropped out and they needed a replacement. Count Basie was one of the most influential musicians from the Swing Era – he was like a swing minimalist. Duran jumped at the opportunity. He got to travel and play with the band and experience life as a musician – more specifically as a musician of color. One time he and a buddy from the orchestra went into a diner and were refused anything more than water. Duran was Mexican and his friend was Black, and it was the middle of the 1960s. In protest, they sat in the big window of the diner for 3 hours, sipping their water, putting themselves on display for anyone who walked by. I love that story – this man, my teacher, saw inequity and faced it with defiance. Duran's lessons were eye-opening. I didn't realize that those stories served as parables on ethics and kindness until I became a teacher and started telling stories of my own to serve the same ends. Duran used his history to help us become better humans. And isn't that why we turn to history? Well, today, we're going to take a lesson from Duran and examine the history of education in the U.S. And because the history of education is tremendous, we have to narrow it down. So we'll focus on two aspects of history that set precedents for modern education, for the current system from which modern teachers are exiting.. We are going to start with Indian Boarding Schools, and then we'll take a look at the American Industrial Revolution. This is Those Who Can't Teach Anymore, a 7-part podcast series exploring why teachers are leaving education and what can be done to stop the exodus. I'm Charles Fournier. Here is part 2: “Inheritance” Caskey Russell:  I'm going crabbing this weekend. I own a boat with my brothers. And yeah, we go out and catch crab. And there'll be salmon season soon. So I kind of got back into the ocean style lifestyle. This is Caskey Russel. I got to catch up with him over a zoom call this summer. He is the Dean of Fairhaven College at Western Washington University. He grew up in Washington and is from the Tlingit tribe. I know Caskey because he taught for 17 years at the University of Wyoming, he was a dean of American Indian Studies, and he was my thesis chair and educational guide when I was at the university. Some of Caskey's research for his PhD program dug into the history of Indian Education, specifically Indian boarding schools. Caskey Russell: My grandmother and her brothers, aunts and uncles, all went to Chemawa Indian School, in Salem. And it was a mixed bag. If you are asking yourself, wait, who's this Caskey guy and what do Indian Boarding Schools have to do with teachers quitting? Here's how. We know that historical atrocities leave a trace on modern institutions, so we need to recognize that Indian boarding schools have left their mark on modern education. They are a  part of the system of inequity modern teachers have inherited. Indian Boarding Schools are an example of the deculturalization that has occurred in education. One of many. Attempts to strip communities of their cultures happened with just about everyone in this country at some point that didn't fit into the male, able-bodied, straight, white, Anglo Saxon Protestant category. Traces of these inequities remain in education, deculturalization still happens, and teachers working towards inclusion in a system that was based on exclusion often run into roadblocks – think book bans or accusations that teachers are trying to indoctrinate kids - and these roadblocks are pushing teachers out of education. So to better understand the inequities in modern education, this thing that is frustrating teachers to the point of quitting, we need to look at where some of those attempts at deculturalization originated. We need to look at Indian Boarding Schools. And we need to listen to someone like Caskey.  Caskey Russell: They liked the sports. They like some of the music, but my uncle Stanley Pradovic, I remember he said, “I used to dream of feasts, seafood feasts that they had in Alaska.” And  my grandmother was able to keep the Tlingit  language because she didn't go to boarding school, but her brothers did not.  You step back and look at the whole system and how destructive and just kind of the cultural genocide aspect. My grandmother would say she didn't know her brothers because when she was born, her brothers were gone away from her earliest memories. And so she didn't get to know her brothers right away. It did break families up. And I was just chatting with my mom last night. My mom said the other family had no control over what it was determined for them. And again, not having control over that seems to be the key to it, nor having input in the education nor valuing…and then having a different model, different cultural notion of success. And then the military and the Christianization, all that together, just adds problem on top of problem, instead of being empowering and enlightening, that really becomes conforming, sort of thing. What happened to Caskey's family was a result of centuries of efforts to deculturalize tribes. Early European colonizers of the US  set a precedent of trying to assimilate tribes into a single monolithic culture. Colonizers disregarded tribal traditions and languages and failed to see that tribes already valued education for their youth. So the assumption that public education started with Horace Mann in 1837 is an assumption that values eurocentric education over the public education that was already in the Americas.  Part of this is because the purposes of education differed. Many Native communities saw educating children as a means to pass on generational knowledge and teach children how to be a successful part of the community. 17th-century Plymouth settlers specifically saw education and literacy as a method to keep Satan away. Children needed to be able to read so they could read the Bible. A pilgrim minister explained: “[There] is in all children, though no alike, a stubbornness, and stoutness of mind arising from natural pride, which must, in the first place, be broken and beaten down; that so the foundation of their education being laid in humility and tractableness, other virtues may, in their time, be built thereon” (42). But tribes did not beat down their children, did not read the Bible, and were able to survive and thrive in what Pilgrims saw as wilderness. So Pilgrims worked to impose their educational priorities onto tribes as a way to cast out Satan, and ultimately gain control of Indigenous people. This effort to assimilate and control only compounded over the next few centuries By the 19th century, congress was also making efforts to deculturalize and assimilate tribes. Thomas Jefferson who had a big role in the removal of Native Americans from their lands also had a One Nation idea when it came to Native Americans – an assumption that required assimilation through education. In 1816, Jefferson explained the value of education: “Enlighten the people generally and tyranny and oppressions of body and mind will vanish like evil spirits at the dawn of day. Although I do not, with some enthusiasts, believe that the human condition will ever advance to such a state of perfection as that there shall no longer be pain or vice in the world, yet I believe it susceptible of much improvement, and most of all in matters of government and religion; and that the diffusion of knowledge among the people is to be the instrument by which it is to be effected” (101)). Jefferson believed a democratic, not a moral education which was what kids were getting at the time, was essential to democracy and he's right, but his One Nation idea required a monolithic ideal that did not value other cultures. He wanted tribes to conform to his image of being American. This focus on conformity was baked into the American educational philosophy. The Civilization Act of 1819 saw Thomas McKenney, the first head of the Office of Indian Affairs begin a process of Native American deculturization  – they created a tribal school system run by white missionary teachers hoping to gain control of tribes through the power of education and assimilation. When Andrew Jackson became president in 1829, he saw some of the educational progress made by tribes as dangerous to America's goals of gaining control of lands.   So, in 1830, America passed the Indian Removal Act, which brutally uprooted tribes and relocated them. Thirty years later, the Indian Peace Commission began reservation schools or day schools. But again, the cultural genocide that all of these acts and efforts had hoped for weren't as effective as the government Wanted. This is when the government stepped in again. Paired with the Dawes Act of 1877 that worked to split reservation lands into private property began the start of the boarding school movement in 1879. Each step was a process working towards killing cultures in an attempt to control land, people, and ideas – all largely through some form of education. The start of the boarding school experiment can  be attributed to Captain Richard Henry Pratt. Caskey Russell: Pratt actually had a number of prisoners of war under his charge at St. Augustine, Florida. Besides being given military uniforms, they would teach them. And so the way he sold the first  boarding schools was that instead of being at war with natives, you can educate them. The US could educate them, and kind of eradicate native culture through educating towards whiteness. Caskey explained that the thought was that education would help the government avoid the expenses of war. Caskey Russell: So there are a group of Plains Natives that were transported to St. Augustine, that was his kind of first experiment. And then he was able to go to Congress and get some money. And he took them to The Hampton Institute and eventually to the Carlisle Indian Industrial School So Pratt's experiment led to the establishment of the Carlisle Indian Industrial School in Pennsylvania in 1879. This was around the same time that Pratt made a famous statement to congress: Caskey Russell: He says to Congress, “You have heard Sherman say the only good Indian's a Dead Indian. I would agree with this one kind of difference that you can kill the Indian save the man.” That's what education can do. That's the motto. And so, there was based on military kind of military boarding school style, and they opened up across the country. And they were often religiously affiliated, and religious institutions given  them control of them. Which, you know, was another part of the boarding schools was the religious education, the eradication of tribal cultures, tribal religions, and the inculcation of Christianity, the various sects of Christianity across the country. Each step taken by congress, in the name of education, was an effort to prioritize one culture over others, one idea of success over others - often through religious means, because again, early education was morality based. And they did this through legislation and through educational policy. Even though many of these efforts are pretty old, we still feel the educational effects of prioritizing a single culture or single idea of success.. Elizabeth Smith, a veteran teacher of 20 years who teaches on a reservation still sees this today.  Elizabeth Smith: Even though I can count on my hand, the number of students that I've taught that have graduated and have a white culture, sort of experience with what would be known as success, quote, unquote   Caskey sees this idea in what is tested or valued as a bottom line in public education. These are things that dismiss differentiated cultural values. Caskey Russell: Did the schools reward students let's say for instance, this the schools Wind River  reward students for knowing the traditional clan system,  speaking Arapaho or Shoshone for knowing traditional ways, whether it's kind hunting, traditional use of land, traditional plants respond medicine, knowing being prepare, or being an apprentice for ceremony, none of that none of that culturally important stuff that was really important to Native people, especially young people they could dream of, you know, I'm going to fulfill these goals, these roles, these social roles one day, none of that's important, it seems like an American school system, right? When you're going to take the SAT or the ACT, are they going to value the hours you spent with your grandparents trying to learn the language or learning stories or learning traditional ways? Of course not. This is a part of the inheritance of modern education, something teachers have to grapple with consistently. How can we educate students to be a part of a community that through legislation or policy doesn't seem to value all traditions and cultures within that community? Or how to reach a measure of success that isn't culturally misaligned or based on morality? Caskey Russell:A handful of them might be successful in kind of the white American ideal. But that's not the only measure of success, nor is it maybe a healthy measure of success, right, for Native people. It would be wonderful to let other ideas of success, community success, success as a human being within a community flourish in the school setting. This question of how to honor a diverse spectrum of students lands on teachers in the classroom. Though legislators and school boards may make efforts to dictate what can and can't be taught in the classroom, the reality is it's teachers and administrators who are working with kids – and kids from a wide spectrum of communities who have often been forced into a specific, standardized idea of success, which might not be culturally conscious. This is exactly how Indian boarding schools started, they forced kids from diverse tribes into a standardized idea of success initially using arguments for morality to do so. We recognize this as bad now, so why are forms of it still happening?   A big concern of some of the teachers who have decided to leave teaching was the start of limits and  restrictions about what can and can't be taught in the classroom. Many of these limits originate from argument about morality that are backed by religious groups that want to dictate what is happening in the classroom. Think of Mr. Wacker from last episode who is still frustrated with the banning of Toni Morrison's The Bluest Eye for moral arguments or Mr. Atkinson who felt his curriculum being squeezed by people who didn't appreciate class conversations about varying cultural perspectives on current events.  And, as we saw with the history of Native American education, this is not new – even though many founding fathers, who were deists themselves, advocated for the separation of church and state and were adamant that education focus on democratic values rather than religious values. John Adams wrote to his wife Abigail:  “I must study Politicks and War that my sons may have liberty to study Mathematicks and Philosophy. My sons ought to study Mathematicks and Philosophy, Geography, natural History, Naval Architecture, navigation, Commerce and Agriculture, in order to give their Children a right to study Painting, Poetry, Musick, Architecture, Statuary, Tapestry and Porcelaine.” John Adams does not reference education and say study the Bible. And fellow former president James Madison did not mince words in a letter that pushed against church use of government land, which would later include schools: “The purpose of separation of church and state is to keep forever from these shores the ceaseless strife that has soaked the soil of Europe with blood for centuries.” And these beliefs worked their way into legislation with the inclusion of the Establishment Clause in the First Amendment, which Thomas Jefferson said was “A wall of separation between the church and state.” And though we know Jefferson's view of education wasn't very inclusive, if we combine this idea of the separation of church and state with a modern inclusive reading of Jefferson's thoughts that education is to “Educate and inform the whole mass of the people. They are the only sure reliance for the preservation of our liberty,” We get a pretty good idea that education is a means to inform a free-thinking, diverse population that has different belief systems.  The founders knew the danger of letting religion seep its way into government - they just broke free of a country that allowed that to happen. So to have a system of education that would inform the whole mass of people without perpetuating the deculturalization we saw with the Indian Boarding schools, which have their origins in religious schooling, that system would need to accommodate the diversity of that mass of people.  This means that teachers would need the trust of the public and  freedom to use their expertise to do their jobs, which would likely include selecting a wide range of materials to accommodate a diverse student population. This freedom and trust is not something being granted to modern teachers. There is currently a trend of parents, legislators, and school board members criticizing teacher efforts to support diverse student needs, often through moral critiques. Which stems from a lack of trust and the same morality based fear that sparked early deculturalization efforts in the United States. So, this isn't new. This is another part of what teachers have inherited from previous generations of educators, a lack of professional respect that translates to a lack of autonomy in the classroom, low pay, and a smattering of other things that are driving teachers from their jobs. Here's Elizabeth again: Elizabeth Smith: And let me clarify, you know, when I say I love teaching, I do love teaching. To say that I love where I'm at right now, no, I do not. I am not satisfied with the way my job is going. I'm not satisfied with the way I feel inside every single day coming home from work. It's like a battlefield. It is intense. It is stressful. My family has noticed it and made comments on it, you know, and I don't have the patience to deal with my own children. And what am I going to do if I don't do this? I've got 20 years of expertise invested in this. And I've spent a lot of time learning how to do the things that I do and I enjoy improving it. As of now, she is planning on staying in education. And all of those 20 years have been spent teaching on reservations. She attributes this in part to why she loves her work so much, why she's planning on staying. There is a different level of respect that she sees in these schools and a higher level of appreciation, which goes a long way. But this doesn't mean that there still isn't a lack of professional trust or respect that she feels from being a teacher.  Elizabeth Smith: There's so much micromanaging and so many expectations that are put on us that are really insulting, actually, to our intelligence and to our professionalism. And I understand that there are teachers who are unaware of the ways that they're doing things are unprofessional and unintelligent. So I get the admin has to make some allowances and come up with some plans for how to deal with teachers that are not as aware of themselves and their skills as they should be, you know, so I understand that but the blanket statements.. To address where these blanket solutions may originate from, we are going to take another look at history through a little different lens than what we've been using so far.  When I asked teachers about what pushed them out of education, they echoed Elizabeth's frustrations. Lack of respect was a major reason people left. But this is not new, like the history of inequity in education, the lack of professional respect has been a thread through public education's history. So we are going to pull on that thread and look at the tradition of not valuing or respecting teachers.   Stephanie Reese: As a teacher, you're going to be marginalized, and you're not going to be taken seriously. Ron Ruckman: I think a lot of administrators, They just don't have any idea there, and they don't really think of us as professionals, you know, they don't really think of us as being able to do our job. Christie Chadwick: As a teacher, we're managing all these expectations. And I think that that's not acknowledged by the general population. Teachers want to be seen as professionals. This came up in interviews in reference to being trusted to make decisions about curriculum, in being more autonomous, and in getting paid better. When thinking about why teachers have inherited a lack of professional respect in the present, it might have to do with the American Industrial Revolution: Colby Gull: We were built on an industrial model. Get them in, stick the widget on him and get him out the other side of the door. Right. And that's just not how humans work. This is Colby Gull, he is the managing director for the Trustees education Initiative in the College of Education at the University of Wyoming. Colby has been a teacher, a coach, a principal, and a superintendent. He's run the educational gamut. And he points out that the structure of education does not necessarily promote the growing and sharing of ideas. Colby Gull: And we live in now the idea economy. And we're still not teaching in the idea economy. We're teaching in the industrial economy where you buying and selling goods. But our economy now is based on ideas and sharing of ideas and debating and discussing, and I don't know, people make a lot of money with their ideas.  And this structure of education, this factory style model, which looks similar to the military approach seen with Indian Boarding Schools, started and gained popularity during the American Industrial Revolution at the end of the 19th century. Along with this more industrial model the precedent for the amount of respect teachers received was set. I see several ways in which history has handed down a dismissive attitude toward teachers.  As Common Schools gained popularity in the mid-19th century, young women were also moving to cities for better economic opportunities. And these women were hired as teachers in droves because they could be paid substantially less than men. This compounded since teaching was seen as respectable employment for women - it matched the stereotype that women were naturally nurturing. Both the image of teachers as nurturers and the trouble with pay is consistent with what we see today.  Here's Stephanie Reese, a former PE teacher who left education and became the general manager of Blacktooth Brewing Company. Stephanie Reese: Absolutely money matters. I was in so much debt. You know, with loans, whether they're student loans, or just credit card, or whatever it is, I had a lot in college, had a lot while I was teaching. and teaching just doesn't give you that opportunity.. And  level increases are a fucking joke. Unless you've been in, you've been in I call it like, like you've been in the pen. You've been in for 34 years, you've given one kidney, you have four degrees, master's degrees, preferably doctorate even better, and you've given up your will to live, and those those things will give you more money. Part of the consistently poor pay has to do with the hierarchical structure in education. After the Civil War, the first iteration of the department of education was created, in order to track what the nation's schools were doing. So there was an expectation for the availability of public schooling. Once the American Industrial Revolution hit towards the end of the 19th century, factory jobs boomed. More people flocked to cities meaning there were more kids and more of a need for teachers. With more men transitioning to better paying factory jobs, even more women were moving to the classroom. The large number of women serving as teachers was accepted at a time when women weren't given many professional opportunities. Administrative roles – principals, superintendents, and the like – were held by men. And many high school positions were still held by men. So a hierarchy that prioritized male control and male decision making was very clearly in place. Mark Perkins, a former teacher and administrator and current parent and professor of Educational Research methods at the University of Wyoming, points out that this hierarchy has remained even if the original gendered reasons for its creation haven't. Mark Perkins:  I think there's a power hierarchy. And I don't think that teachers have been empowered enough to express their professional expertise. I think that teachers are approached as a service industry. And so, we want teachers to parrot curriculums. We want them to be experts in their content, as long as their expertise doesn't contradict with our preconceived notions of reality. So I think there's a sociological phenomenon that goes on in schools.  I think it's a common phenomenon. The system of becoming an administrator in some cases  was once based on seniority. So the most senior teacher would inherit the role of principal. This changed when a degree was required to become a principal or superintendent, which also prevented women from gaining access to these administrative positions by making them require a degree because women weren't often able to access such an education. So these days, some administrators are in the position without having had a tremendous amount of time in education, which can make administrator impact or insight into the classroom difficult. Ron Ruckman, who just left teaching after 23 years, explains that the lack of experience can be glaringly obvious for some administrators who are disconnected from the teachers. Ron Ruckman:  You know, and then there's other administrators that just don't want to have anything to do with your classroom, you know, and they want to make decisions, but they don't want to, they don't communicate with you or ask you things. There's a lot of that especially in rural districts. We've spent so much time and money in this district doing initiatives and buying products. And, you know, I can't imagine how much money we've just wasted, you know, buying stuff that, you know, on, based on a good salesman that convinced somebody that they needed it. Whereas had they come and asked us would have been like, no, no, that that would be a really dumb thing to do. That's not going to work. You know, but there's just that kind of an apt idea that teachers really are, you know, don't really know what they're what, you know, they don't really know anything other than their subject. And we're, we're pretty smart. Most of us, you know. (Beeping) This was perfect timing. That beeping was for a fire. Ron is the Battalion Chief for the Pinedale fire department - he has a lot of roles in his community because he is intelligent and capable and because of not being respected for being intelligent and capable, he quit teaching to pursue the other things he's good at.  Some of the ways teachers are not seen as capable has to do with how education is standardized. In the late 19th century, as cities got larger and more and more kids were put into schools, urban schools started to split students into grade levels. Around this time and into the early 20th century, there was a development of what historian David Tyack (Tie-yak) described as the One Best System of education – this saw a focus on specific, easily assessed, and easily sequenced subjects of study. This also did more to highlight non-academic items like good attendance, behavior, and willingness to follow directions, which all aid in creating people who would fit into an industrial economy. This structure was useful when more and more students were placed into a class. And by the early 20th century, politicians and administrators were seeing schools as being a solution to the nation's woes. Traces of these industrialized values are very present in modern classrooms, and it makes Allison Lash, who taught art in New York City and Austin, Texas, sad at what she sees. Allison Lash: A friend of mine had said one thing about why he's doesn't like education is just that you go to school to learn how to work, basically, to get you ready to go out in the world and work. And that's sad. Like, I just want to live. I don't want to worry about working and how to make money and pay your school loans and your bills. It used to bother me that kids would get rewarded for being in school every day. And it's all about money. It's all about how many kids are in their seats every day for the school district to make money. And it was sad, it was sad that kids would win awards for like, being their everyday awards. Like who really cares? They're totally ignoring mental health and even if the kid is sick, you stay home. It's really sad when you go into elementary school and you see the kids quiet and lined up in a line and like “shhhhh,” and I remember teaching that and  I know that I guess order is not wanted, and I don't know if needed is even the right answer. Teach kids to be a good person. The rise of industry during the American industrial revolution also saw a rise in unions and strikes. Because teachers were mostly women, and many of the strikes of the time were more militant and potentially violent, women were less likely to take part in strikes and efforts to gain better pay. This was not helped by the fact that men held leadership positions in education, so they did not make efforts to better the work environments of teachers because these men just weren't affected. The  National Education Association, which was founded in 1857, wasn't just for teachers, so administrators, men, were also in charge of Union happenings. It wasn't until 1910 when Ella Flagg Young was elected as the NEA president that the union started taking more steps to help teachers. But the difficulty in changing and revising educational structures is still present. Chris Rothfuss, a parent and Wyoming State Senator and member of the Senate Education committee, knows this all too well. While we have a coffee in Laramie, Wyoming, Chris explains that change may require a cultural shift inspired by younger generations .  Chris Rothfuss:  I think a large part of the reason why we develop into what we are really is the way this country industrialized and grew and had a middle-class work ethic through the mid-20th century, that shaped a lot of the way things are done. And the philosophy about why things are done, the way they're done, where there is a common viewpoint that I think is handed down from generation to generation that if you just work hard, put your nose to the grindstone, that you will be successful, and things will go your way, and you'll have a good life. I think part of what's changing that, is that this emerging generation is realizing that while that may have been true, a lot of what allowed that to be true, was frankly, taking on debt that is generational debt and handing that debt down to the next generation. So effectively exploiting the future for the benefit of the present. This younger generation isn't enthused about that as they're learning more about it, and rightly so. And they don't see a path to a traditional life as being what they aspire to. A potential reason for major shifts not having occurred in the past might have to do with economic uncertainties. For every economic depression and war to occur in the 20th century, money was pulled from education to help the war or economic problems, but that money was not necessarily given back to education. Teacher pay was often cut when other unionized jobs like factory work was not cut because there was an assumption that teachers, being mostly women, would not need to support their families. During WWII, when more women went to work in factories, those women who were still teaching saw how much better the pay was for the women who went to work in factories. The impact of war and economic troubles also resulted in  a more factory-like structure in the classroom. This was often a result of trying to accommodate a larger student population with less resources, and it was also an easier way to measure student achievement. This created an educational structure that overwhelms teachers, which makes best practices more difficult and stretches teachers thin. Molly Waterworth, who just left teaching this year after 8 years in the classroom, explains the reality of being overwhelmed as a teacher.   Molly Waterworth:  The reality is that if you have 150 kids, there's no way that you're going to grade all of their work in seven and a half hours that you have with them during the day. There's no way. It's just a mathematical impossibility.  The truth is, teachers have inherited being paid poorly, being overworked, and not being treated with respect. Sadly, much of this is associated with the trend of women in the profession within a patriarchal society. And the teaching profession is still dominated by women. The NEA reports that about 3 quarters of teachers are women, and teachers still get payed about 74% of what equivalent degreed professions earn.  So, teachers are leaving education, but the reasons they are leaving are a result of problems that have been percolating since the start of public education in the United States. Efforts at deculturalization seen with the Indian Boarding Schools have left an impact and pattern on modern education, just like the treatment of women and industrialization of education has left an impact on how teachers are currently treated.  This does not mean that public education needs to end, but like any inheritance, we need to acknowledge and deal with the problems. We need to see that there have been attempts to address inequity in education with efforts like Brown v Board in 1954, Title IX in 1972,  and the disabilities act of 1975. But continuing to return to a standardized, one-size-fits-all approach that matches an industrial structure of education just does not work – it doesn't value teacher expertise, nor does it meet the students with unique cultural backgrounds or needs where they are. And because teachers have been tasked with addressing these inequities with limited freedom and trust and resources, many are calling it quits. This needs to change – teachers need to be able to disclaim this inheritance for their sake and for the sake of their students.  Next time, we will look at how the perception of teachers might be influenced by pop-culture.  TEASE: “Robin Williams isn't going to do that.” That will be next time on Those Who Can't Teach Anymore. Thank you for listening. Be sure to subscribe to our podcast, leave a review, and share episodes with everyone you can think of. This episode was produced by me, Charles Fournier. It was edited by Melodie Edwards. Other editing help came from Noa Greenspan, Sarah-Ann Leverette, and Tennesee Watson. Voice Acting by Rory Mack, David Whisker, Rick Simineo, and Markus Viney who also offered editing help. Our theme song is by Julian Saporiti. All other music can be found on our website. A special thanks to Elizabeth Smith, Caskey Russell, Stephanie Reese, Ron Ruckman, Molly Waterworth, Christy Chadwick, Colby Gull, Mark Perkins, and Allison Lash for taking time to sit down and chat with me. This dive into history was greatly aided by two books: American Education: A History by Wayne J. Urban and Jennings L. Wagoner, Jr. and Deculturalization and the Struggle for Equality: A Brief History of the Education of Dominated Cultures in the United States by Joel Spring……This podcast is funded in part by the Fund for Teachers Fellowship.

Entre 1939 y 1945 el mundo se estremeció con los terribles ecos de la segunda Guerra Mundial. La música, mientras crecía como lenguaje universal, fue una tabla salvadora entre tanta barbarie. Probablemente, entre lo más escuchado por aquellos años, sobresalió el swing, hijo natural del jazz. Comenzamos con el influyente estilo del trombonista, arreglista y líder de orquesta Glenn Miller, uno de los alquimistas del sonido big band, desaparecido en un vuelo militar el 15 de diciembre de 1944.  Miguel Matamoros, el coloso del son oriental, alguna vez se dejó seducir por sus encantos. Su bolero "Conciencia", notablemente influenciado por el swing, es una muestra de lo que ya acontecía por estas tierras fruto de esa interacción.   Nuevas posibilidades melódicas y armónicas permitieron al genio de Matanzas Pérez Prado, durante la primera mitad de los 40, experimentar con sus arreglos en los atriles de la orquesta "Casino de la Playa". En las filas de esta importante jazz band criolla contó con un cantante precursor para desarrollar sus creaciones: Orlando Guerra "Cascarita". Mambo y swing en los directos del estelar "Show Pinilla ". La señal de la radio independiente cubana de 1945 nos permite regresar nuevamente a los estudios de la CMQ Radio, de Monte y Prado. "El club del swing" fue otro show en directo donde las bandas de Mario Romeu, Alfredo Brito y Felix Guerrero, indistintamente, acompañaron a jóvenes talentos defensores de ese estilo.  A través de discos, emisiones radiales, partituras, y cientos de producciones fílmicas, la electrizante era tuvo en las big bands un sound track bien original Artie Shaw, Woody Herman, los hermanos Dorsey con su cantante Frank Sinatra, Louis Armstrong, el gran Cab Calloway, Chick Webb, Benny Goodman, y Glenn Miller con el cuarteto vocal "The Modernaires", fueron sólo algunas de las figuras del potente movimiento musical. En Pinar del Río un niño negro solía deleitarse escuchando en un fonógrafo aquellas grabaciones en discos de pasta de 78 revoluciones por minuto. El Niño Rivera fue armando en su cabeza todo un mundo armónico que, a finales de los años 40, volcó en sus arreglos para el Conjunto Casino cuando fue reclutado por su director Roberto Espí como arreglista principal del popular conjunto. Fue el "Casino", probablemente, el grupo sonero más progresivo de ese tiempo en la Isla. Los 40 fueron años de sucesos importantes en lo musical. Las charangas salieron adelante gracias al danzón de nuevo ritmo de los hermanos López.  Al swing se sumaba entonces otra criatura: el Bebop. Celia Cruz y Beny Moré, en directo y en todo su esplendor: "Fiebre de Bebop" y "Devuélveme el coco". En 1947, cuando los pasos de Chano Pozo y Dizzy coincidieron, al percusionista cubano no le era nada ajeno el swing. Su gran sentido del ritmo le permitió adaptarse a la banda del trompetista. Como antecedentes sus rumbas, guarachas y montunos con marcadísimo swing: "Ariñañara", "Blen Blen Blen", "Nagüe", "Pin Pin" y "Chévere", entre muchas otras. Tener "swing" cobró además un amplio significado: una actitud ante la vida marcada por cierto desenfado, una manera de vestir, de caminar, de bailar, y de desenvolverse en determinados círculos sociales. "Manteca" y "Algo bueno", dos piezas del binomio Pozo y Gillespie. Es ahora el Quinteto de Música Moderna de 1959 con Frank Emilio a la cabeza. Finalizaban los años 40 y un oxigenante movimiento de compositores combinaba mucho swing con otro elemento importante: el feeling. Entre las voces más notables, vinculadas a esa importante ola: Doris de la Torre y Pablo Milanés. Arsenio Rodríguez, legendario por su apego al afinque del son montuno más raigal, radicado en EEUU y en una ciudad multicultural como Nueva York, conectó aún más con sus ancestros congos abriendo su música también al swing. "Quindembo Hot". Miguelito Valdés despide este segmento con otra creación del percusionista, rumbero y compositor Luciano "Chano" Pozo."Si no tienes swing"

Host Nate Wilcox asks Jeff about the great swing drummer Chick Webb and his impact on American music.Order the movie.Download this episode.For more information about THE SAVOY KING, including DVDs with a free eBook.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.Let It Roll is proud to be part of Pantheon Podcasts. 

1920年代的美國大麻還不違法，引領流行文化的爵士樂手們就是宣傳大麻的最佳代言人。捲煙、測量器、煙紙、雜草等等，都是爵士樂歌手演唱大麻歌曲時使用的俚語，這些詞彙後來也成為了至今仍被廣為使用的流行用語。 為什麼大麻和爵士樂之間有著這麼深的羈絆？大麻與爵士樂在美國黑人種族迫害中又被迫扮演了什麼角色？來聽聽大麻和爵士樂之間宛如苦命鴛鴦的愛情故事，以及污名化大麻的罪魁禍首安斯林格 (Harry Anslinger) 是怎樣一口氣衝康黑人、爵士樂和大麻的。 真是謝囉安斯林格^_^ Zoe 愛的大麻爵士樂歌單： “Hit That Jive Jack” by Nat King Cole (1940-41) “All The Jive is Gone” by Andy Kirk and His Twelve Clouds of Joy (1936) “When I Get Low I Get High” by Ella Fitzgerald with Chick Webb and His Orchestra (1936-37) “Reefer Man” by Cab Calloway (1932) “Viper Mad” by Sidney Bechet (1938) “The Reefer Song” by Mindless Drug Hoover (1997) “Sweet Marijuana Brown” by The Barney Bigard Sextet (1945) “Mellow Stuff” by Lil Johnson (1937) “Here Comes The Man With The Jive” by Stuff Smith (1936) “Save The Roach For Me” by Buck Washington (1944) 聽完這集之後就知道，懂 chill 的不只是饒舌歌手，還有爵士樂手啊～ ➖

Chick Webb fell down the stairs as a child and smashed multiple vertebrae which left him with a serious physical handicap, but he still managed to become one of the best drummers in the world in his short 30 year life. Chick Webb is one of the god fathers of modern drumming and was revered by Buddy Rich, Gene Krupa, and every top drummer of the 1920's and 30's. Chet is the author of a great Chick Webb biography book and has extensive knowledge about Chick, Billy Gladstone, and vintage Gretsch drums. Chick died very young but accomplished an incredible amount in that time - enjoy this great underdog story! Here is Chets book on Amazon: https://www.amazon.com/Chick-Webb-Spinnin-Little-Giant/dp/1574243098/ref=sr_1_1?crid=2CETL6TZBXNXV&keywords=Chick+Webb+Spinnin%27+the+Webb%3A+The+Little+Giant&qid=1657597127&sprefix=chick+webb+spinnin%27+the+webb+the+little+giant%2Caps%2C38&sr=8-1 Thanks to Lowboy Beaters for sponsoring this episode - use code DRUMHISTORY at www.lowboybeaters.com to save 15% off

Chick Webb fell down the stairs as a child and smashed multiple vertebrae which left him with a serious physical handicap, but he still managed to become one of the best drummers in the world in his short 30 year life. Chick Webb is one of the god fathers of modern drumming and was revered by Buddy Rich, Gene Krupa, and every top drummer of the 1920's and 30's. Chet is the author of a great Chick Webb biography book and has extensive knowledge about Chick, Billy Gladstone, and vintage Gretsch drums. Chick died very young but accomplished an incredible amount in that time - enjoy this great underdog story! Here is Chets book on Amazon: https://www.amazon.com/Chick-Webb-Spinnin-Little-Giant/dp/1574243098/ref=sr_1_1?crid=2CETL6TZBXNXV&keywords=Chick+Webb+Spinnin%27+the+Webb%3A+The+Little+Giant&qid=1657597127&sprefix=chick+webb+spinnin%27+the+webb+the+little+giant%2Caps%2C38&sr=8-1 Thanks to Lowboy Beaters for sponsoring this episode - use code DRUMHISTORY at www.lowboybeaters.com to save 15% off

It's the Ella Fitzgerald and Chick Webb signature song, "A Tisket A Tasket", on this episode of Same Difference! In addition to the original, we'll listen to and discuss versions by Natalie Cole, The Manhattan Transfer, Take 6, Sugarpie and The Candymen, and new-to-us artist the Mint Julep Jazz Band.

Shellac Stack No. 268 finesses the ivories with Muriel Pollock, Vee Lawnhurst, and Art Tatum. We take a stroll along Blue Sky Avenue with Orville Knapp and dance to the bands of Claude Hopkins, Fletcher Henderson, Jimmie Lunceford, and Chick Webb. Stirring vocals from Ethel Waters, Bing Crosby, and more. Join us for an hour … Continue reading »

May 2, 1938. Ella Fitzgerald begins her rise to fame when she records “A-Tisket, A-Tasket” with Chick Webb and His Orchestra. Learn more about your ad choices. Visit megaphone.fm/adchoices

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