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MILES DAVIS QUARTET “BLUE HAZE” New York, March 15, 1954Four, Old devil moon, Blue hazeMiles Davis (tp) Horace Silver (p) Percy Heath (b) Art Blakey (d) TED ROSENTHAL TRIO “RHAPSODY IN GERSHWIN” Paramus, NJ, July 16 & 17, 2013Rhapsody in blue, Let's call the whole thing offTed Rosenthal (p) Martin Wind (b) Tim Horner (d) QUINCY JONES BIG BAND “LIVE IN PARIS” March 5, 7 & 9, 1960Doodlin', Birth of a bandBenny Bailey, Clark Terry, Lennie Johnson, Floyd Standifer (tp) Melba Liston, Jimmy Cleveland, Quentin Jackson, Ake Persson (tb) Julius Watkins (fhr) Phil Woods, Porter Kilbert (as) Budd Johnson, Jerome Richardson (ts) Sahib Shihab (bar) Patti Bown (p) Les Spann (g,fl) Buddy Catlett (b) Joe Harris (d) Quincy Jones (dir,arr) Continue reading Puro Jazz 12 de junio, 2025 at PuroJazz.
MILES DAVIS QUARTET “BLUE HAZE” New York, March 15, 1954Four, Old devil moon, Blue hazeMiles Davis (tp) Horace Silver (p) Percy Heath (b) Art Blakey (d) TED ROSENTHAL TRIO “RHAPSODY IN GERSHWIN” Paramus, NJ, July 16 & 17, 2013Rhapsody in blue, Let's call the whole thing offTed Rosenthal (p) Martin Wind (b) Tim Horner (d) QUINCY JONES BIG BAND “LIVE IN PARIS” March 5, 7 & 9, 1960Doodlin', Birth of a bandBenny Bailey, Clark Terry, Lennie Johnson, Floyd Standifer (tp) Melba Liston, Jimmy Cleveland, Quentin Jackson, Ake Persson (tb) Julius Watkins (fhr) Phil Woods, Porter Kilbert (as) Budd Johnson, Jerome Richardson (ts) Sahib Shihab (bar) Patti Bown (p) Les Spann (g,fl) Buddy Catlett (b) Joe Harris (d) Quincy Jones (dir,arr) Continue reading Puro Jazz 12 de junio, 2025 at PuroJazz.
Terri Lyne Carrington has spent her life behind the drums—and out in front. In this wide-ranging conversation, the Grammy-winning musician, educator, and activist reflects on her remarkable journey from child prodigy to visionary bandleader, and from mentee to mentor. She shares stories from her early gigs with jazz legends like Clark Terry and Buddy Rich, her formative years with Herbie Hancock and Wayne Shorter, and her ongoing work shaping the next generation through the Berklee Institute of Jazz and Gender Justice. We spoke on the occasion of We Insist 2025!, Carrington's powerful new reimagining of Max Roach's classic 1960 protest suite. But the conversation goes far beyond the music—it's about legacy, leadership, gender equity, and the responsibility of artists to help create a more just and expansive world. As Carrington puts it, “Only an open hand receives.” www.third-story.com www.leosidran.substack.com www.wbgo.org/podcast/the-third-story
STANDAR SEMANAL.-georgia on my mind,.VINILOS MITICOS DEL JAZZ.-927.Thelonious Monk - Brilliant Corners.-JAZZACTUALIDAD.SEDAJAZZ KIDS BAND-RAM SESSIONS Brilliant Corners es un álbum de estudio de 1957 del pianista de jazz estadounidense Thelonious Monk . Fue su tercer álbum para Riverside Records y el primero en el sello que incluía composiciones propias. Brilliant Corners se grabó en tres sesiones, entre octubre y diciembre de 1956, con dos quintetos diferentes. «Ba-lue Bolivar Ba-lues-Are» y «Pannonica», esta última con Monk tocando la celesta , se grabaron el 9 de octubre con los saxofonistas Ernie Henry y Sonny Rollins , el bajista Oscar Pettiford y el baterista Max Roach . La primera composición se tituló como una interpretación fonética de la pronunciación exagerada de Monk de «Blue Bolivar Blues»; esto hacía referencia al Hotel Bolívar de Manhattan, donde residía la heredera y mecenas del jazz Pannonica de Koenigswarter . [ 1 ] El 15 de octubre, Monk intentó grabar la canción principal con la misma banda durante una sesión de cuatro horas. La complejidad de la composición se convirtió en un reto para la banda, que intentó veinticinco tomas, y Henry y Pettiford se enfadaron con Monk. Monk intentó facilitarle la grabación a Henry no tocando durante su solo. [ 1 ] Durante una de las tomas, el productor Orrin Keepnews y otros en la sala de control no pudieron oír la interpretación de Pettiford; revisaron el micrófono de su bajo para ver si estaba roto, pero finalmente se dieron cuenta de que estaba haciendo una pantomima. Como no se completó ninguna toma, Keepnews editó la versión del álbum a partir de varias tomas. "Bemsha Swing" se grabó el 7 de diciembre, con Paul Chambers reemplazando a Pettiford en el bajo y el trompetista Clark Terry reemplazando a Henry; Monk grabó una versión para piano solo de " I Surrender Dear " el mismo día. La canción principal tiene una estructura poco convencional que se aleja tanto de la forma estándar de una canción como de las estructuras del blues. Su forma ternaria emplea una sección A de ocho compases, seguida de una sección B de siete compases y una sección A modificada de siete compases, e incluye un tema de doble compás en cada segundo estribillo y acentos rítmicos complejos . [ "Bemsha Swing" fue la única composición del álbum que Monk había grabado previamente. La Sedajazz Kids Band, cuyos integrantes tienen una media de 14 años, presentan un repertorio de funky blues, latin, flamenco jazz y hard bop, trabajado en la asignatura de combo, bajo la dirección de Fco. Angel Banco Latino. Desde el colectivo Sedajazz estamos muy felices de presentar el nuevo trabajo de la Sedajazz Kids Band titulado Ram Session, un concierto en directo grabado en La Rambleta Valencia el 14 de Julio de 2024. El sonido fue realizado por Jorge Perez y el video por Chechu Berlanga. El repertorio es el resultado de un curso trabajando temas de funky blues, latin, flamenco jazz y hard bop, con composiciones de Don Pullen, Art Pepper, Perico Sambeat, Dirty Dozen, Roy Hargrove, Dizzy Gillespie, y arreglos de Latino Blanco, Toni Belenguer y Perico Sambeat. El grupo está formado por jóvenes estudiantes del Taller Sedajazz en la asignatura de combo, bajo la dirección de Fco. Angel Blanco Latino. Este trabajo está inspirado en la música con la que Latino empezó en el Jazz con Los Urones, grupo liderado por Nacho Ros, un pianista valenciano. En ese grupo estaban también Paquito Vidre a la guitarra, Mari Mar en la voz y Julio Valls al bajo. A veces se unían Perico Sambeat, Eladio Reinon y Ramon Cardo. La edad media de los componentes de la Sedajazz Kids Band es de 14 años, y el resultado es muy satisfactorio. Estamos seguros de que os encantará escucharlos. Este es el segundo trabajo con esta formación después de su disco Rumbo a New Orleans, con el que hicieron numerosas presentaciones con gran éxito. Créditos Ximet Reillo: Saxo Soprano y Alto Luis Coronado: Saxo Alto Hugo Coronado: Trompeta David Bonet: Trombón Azul Prada: Guitarra Pau Montalt: Batería Pau Baena: Piano Fco. Angel Blanco Latino: Bajo eléctrico, Contrabajo, Dirección Grabado en directo el 14 de Julio de 2024 en La Rambleta Valencia Jorge Perez: Sonido, mezcla y mastering Josep Asensio: Asistente de sonido Chechu Berlanga: Video Pedro Gallego: Ayudante de producción Temas 1. Poodie Pie (Don Pullen. Arr. Latino Blanco) 07:16 2. Red car (Art Pepper. Arr. Latino Blanco) 08:24 3. Big Alice (Don Pullen. Arr. Latino Blanco) 08:02 4. Tipping (Horace Silver) 05:06 5. Blue March (Benny Golson. Arr. Latino Blanco) 11:32 buy track 6. Barri de la Coma (Perico Sambeat) 07:15 7. Night in Tunisia (Dizzy Gillespie. Arr. Latino Blanco) 05:18 8. Charlie Dozen (Dirty Dozen. Arr. Toni Belenguer) 10:31 9. The New Boogaloo (Marcus Printup. Arr. Toni Belenguer)) 06:30 10. Mercy Mercy Mercy (Joe Zawinul. Arr. Toni Belenguer) 10:07 11. Mr Clean (Freedie Hubbard) 10:06
DUKE ELLINGTON AND HIS ORCHESTRA “AND HIS MOTHER CALLED HIM BILL” New York, August 28, 1967Blood count (ct out), Upper Manhattan Medical Group, Raincheck (ct out), Lotus blossom (DE piano solo)Cat Anderson, Herbie Jones, Cootie Williams, Mercer Ellington (tp) Clark Terry (flhrn) Lawrence Brown, Buster Cooper, Chuck Connors (tb) Jimmy Hamilton (cl,ts) Russell Procope (as,cl) Johnny Hodges (as) Paul Gonsalves (ts) Harry Carney (bar,cl,b-cl) Duke Ellington (p) Aaron Bell (b) Steve Little (d) JIMMY RUSHING “AND HIS ALL STARS” Brooklyn, NY, August 16, 1955Everyday (I have the blues), Evenin', Don't cry babyJimmy Rushing (vcl) acc by Emmett Berry (tp) Lawrence Brown (tb) Rudy Powell (as,cl) Buddy Tate (ts) Pete Johnson (p) Freddie Green (g) Walter Page (b) Jo Jones (d) BUCK CLAYTON “BUCKIN' THE BLUES” Brooklyn, NY, March 14, 1957 Buck huckles, Claytonia, The queen's expressBuck Clayton (tp) Vic Dickenson (tb) Earl Warren (as) Hank Jones (p) Kenny Burrell (el-g) Aaron Bell (b) Jo Jones (d) Continue reading Puro Jazz 27 de mayo, 2025 at PuroJazz.
DUKE ELLINGTON AND HIS ORCHESTRA “AND HIS MOTHER CALLED HIM BILL” New York, August 28, 1967Blood count (ct out), Upper Manhattan Medical Group, Raincheck (ct out), Lotus blossom (DE piano solo)Cat Anderson, Herbie Jones, Cootie Williams, Mercer Ellington (tp) Clark Terry (flhrn) Lawrence Brown, Buster Cooper, Chuck Connors (tb) Jimmy Hamilton (cl,ts) Russell Procope (as,cl) Johnny Hodges (as) Paul Gonsalves (ts) Harry Carney (bar,cl,b-cl) Duke Ellington (p) Aaron Bell (b) Steve Little (d) JIMMY RUSHING “AND HIS ALL STARS” Brooklyn, NY, August 16, 1955Everyday (I have the blues), Evenin', Don't cry babyJimmy Rushing (vcl) acc by Emmett Berry (tp) Lawrence Brown (tb) Rudy Powell (as,cl) Buddy Tate (ts) Pete Johnson (p) Freddie Green (g) Walter Page (b) Jo Jones (d) BUCK CLAYTON “BUCKIN' THE BLUES” Brooklyn, NY, March 14, 1957 Buck huckles, Claytonia, The queen's expressBuck Clayton (tp) Vic Dickenson (tb) Earl Warren (as) Hank Jones (p) Kenny Burrell (el-g) Aaron Bell (b) Jo Jones (d) Continue reading Puro Jazz 27 de mayo, 2025 at PuroJazz.
In this episode, I sit down with pianist/vocalist Champian Fulton and saxophonist/clarinetist/composer Klas Lindquist to discuss their latest release, “At Home,” the concept for which began with an event held in a home owned by Turtle Bay Records founder Scott Asen, who suggested they actually record in in his living room. Oklahoma native and New York based Champian Fulton is the daughter of trumpeter and flugel hornist Stephen Fulton. She began her career at the age of 10, performing for Jazz legend and family friend Clark Terry's 75th Birthday Party. A Jazz pianist and vocalist for more than 20 years, Champian has now released 19 albums as a leader and has performed in more than 25 countries, both in concert and on TV. She has been recognized with numerous awards, including Album of the Year in the NYC Jazz Record (2018, 2020, 2023) and Pianist and Vocalist of the Year (2019) by Hot House Magazine, among other prestigious accolades. A world-renowned ambassador of Jazz excellence, alto saxophonist, clarinetist and composer, Klas Lindquist, was born in Göteborg, Sweden. Klas is considered one of Sweden's most exciting Jazz musicians. He is the recipient of the “The Golden Sax” award, “The Alice Babs Award,” “The Stockholm Stads Kulturstipendium”, and the “Gavatin Foundation Prize for Jazz Music.” Recognized for his technical brilliance, imagination and style, Klas is in demand as a recording artist, and has appeared on over 40 albums as a featured soloist and five albums as a leader. These two seasoned artists with impressive resumes are very fond of the duo format, which is what led them to develop their latest release. And this is where we start our conversation.
This episode of The Other Side of the Bell, featuring trumpeter, band leader and iconic plunger mute designer Kenny Rampton, is brought to you by Bob Reeves Brass. This episode also appears as a video episode on our YouTube channel, you can find it here: "Kenny Rampton trumpet interview" About Kenny Rampton: Trumpeter Kenny Rampton grew up in Las Vegas, and studied music at both the University of Nevada at Las Vegas and the Berklee College of Music. In 1989, he moved to New York, where he quickly established his reputation as a versatile musician, touring and performing with a veritable who's who in jazz. Kenny's first road gig was a world tour with The Ray Charles Orchestra. He subsequently went on the road with legendary jazz drummer Panama Francis and The Savoy Sultans, and soon thereafter, with The Jimmy McGriff Quartet. As a sideman, Kenny has also performed with jazz greats Jon Hendricks, Chico OFarrill's Afro-Cuban Jazz Big Band, Lionel Hampton, Charlie Persip and Supersound, Illinois Jacquet, Dr. John, Edy Martinez, Dr. Lonnie Smith, Reuben Wilson, Charles Earland, Tony Monaco, Clark Terry, Slide Hampton, Marcus Roberts, Christian McBride, Geoff Keezer, Richard Bona and a host of others. Kenny Rampton joined the Jazz at Lincoln Center Orchestra with Wynton Marsalis as a full time member in 2010. He also leads his own groups in addition to performing with the Mingus Big Band, The Mingus Orchestra, The Mingus Dynasty, George Gruntz' Concert Jazz Band, and The Manhattan Jazz Orchestra. Kenny is also well known as being the trumpet voice on the legendary Sesame Street. Some of his Broadway credits include "Anything Goes" (lead/solo trumpet), "Finian's Rainbow," "The Wiz," "Chicago: The Musical," "In The Heights," "Hair," "Young Frankenstein," and "The Producers," "The Drowsy Chaperone," "Spamalot," "Martin Short: Fame Becomes Me," "The Wedding Singer," "Hot Feet" and several other shows on Broadway. Finally, in 2020 Kenny started collaborating with Hirschman Mutes to design the innovative KR Indigo plunger mute, which has been a hit ever since its release. In our conversation today, Kenny shares how he got his start growing up in Las Vegas in a family of entertainers. Studying trumpet at the time largely meant classical trumpet, but Kenny soon developed a deep love for jazz. This took him across the country to Berklee, and the rest is history. Kenny tells us what it was like getting a sudden call from Ray Charles to join his orchestra, being on-screen on Sesame Street, and working closely with Wynton Marsalis at the Lincoln Center. And, we learn the story of how he developed the famous KR Indigo plunger mute, in the midst of the pandemic, as not just a useful tool for musicians but a way to stay engaged with the community during that tough time. Kenny Rampton is brimming with inspiration and heart, and it was a pleasure to have him on the podcast today. Podcast listeners! Enter code "podcast" at checkout for 15% off any of our guard bags! Visit trumpetmouthpiece.com for more info. Episode Links: kennyrampton.com National Trumpet Competition YouTube channel International Women's Brass Conference, May 19-24, Hartford, Connecticut. Sign up sheet for valve alignments: bobreeves.com/iwbc International Trumpet Guild Conference, May 27-31, University of Utah, Salt Lake City. Sign up sheet for valve alignments: bobreeves.com/itg William Adam Trumpet Festival, June 19-22, Clarksville, Tennessee. Sign up sheet for valve alignments: bobreeves.com/williamadam hirschmanmutes.com Podcast Credits: “A Room with a View“ – composed and performed by Howie Shear Podcast Host – John Snell Audio Engineer – Ted Cragg
This conversation was recorded during The Jazz Cruise earlier this year, and it featured a conversation between two of our longtime favorite performers – vocalist Catherine Russell and guitarist and vocalist John Pizzarelli, with Catherine taking on the interviewer role. For the last few years, John and Catherine have been performing together in a project they call 'Billie and Blue Eyes,' spotlighting the music of Billie Holiday and Frank Sinatra. John talked about coming up in the jazz and music world and hanging (and playing) with legends like Benny Goodman, Les Paul, Joe Venuti, Zoot Sims, Slam Stewart, Clark Terry, George Shearing, and of course, his father Bucky. Plus, John shared some stories about working with pop icons James Taylor and Paul McCartney.
On tonight's show: Bix Beiderbecke, Copenhagen Glenn Miller, Adios Benny Goodman, Rose Room Benny Goodman, Big John's Special Frank Sinatra with Tommy Dorsey & His Orchestra, Fools Rush In Doris Day and Les Brown, Sentimental Journey Billie Holiday, What A Little Moonlight Can Do Ella Fitzgerald, You're the Top Eddie "Lockjaw" Davis, Serenade in Blue Annie Ross & Gerry Mulligan, I Guess I'll Have to Change My Plan Nat "King" Cole, Nature Boy Kenny Burrell Octet, A String of Pearls Dave Brubeck, Upstage Rumba Clark Terry and Paul Gonsalves, Funky Clark Terry & Chico O'Farrill, Macarena Clark Terry, Jam Session with Oscar Peterson, Misty Dianne Reeves (with Clark Terry), I Hadn't Anyone ‘til You
Leo Sidran is a multi instrumentalist musician, producer, arranger, composer, recording artist, and podcast host.The Third Story podcast features long-form interviews with creative people of all types.Their stories of discovery, loss, ambition, identity, improvisation, risk, and reward are deeply moving and compelling for all of us as we embark on our own creative journeys.He was born and raised in Madison, Wisconsin, which is sometimes referred to as 70 square miles surrounded by reality. His father, Ben Sidran, another multifaceted music man, provided my early musical sustenance. His mother, a weaver and travel agent, provided texture and safe passage.He got his start writing songs professionally as a teenager when the Steve Miller Band recorded four of his songs for their 1993 Wide River album. His father was working with Miller at the time, which is how he made the connection, but even then, at the ripe old age of 15, he was interested in production. So, Steve invited him to play keyboards, guitars and drums on the record. He co-produced the Academy Award Winning song, "Al Otro Lado Del Rio" from the film The Motorcycle Diaries with Jorge Drexler in 2005. After the Oscar win, he made a move to Brooklyn and not only started producing records for other artists, but also composing music for film and television commercials amassing a catalog of 100s of major TV ads for clients like Coca-Cola, Visa, Lincoln, McDonalds, Stella Artois, Ford, Garnier and over a dozen film scores for outlets such as ESPN 30 for 30, Discovery, IFC, Sundance, and PBS. As a drummer, he has played and recorded with jazz luminaries including Phil Woods, Howard Levy, David Fathead Newman, Clark Terry and Dave Grusin, and as an engineer he has worked with artists ranging from Snarky Puppy to Massive Attack.To learn more about Leo and his music and work, visit http://www.leosidran.comTo learn more about Leo's podcast, visithttp://www.third-story.com
JazzOmania #117 par Stéphane Kochoyan avec Canal 30, Stellar Média & Jazz70 JazzOmania, la playlist des nouveautés discographiques et des plateformes musicales, Tous les Jazz d'hier, d'aujourd'hui et de demain... Il n'est jamais trop tard : Marshall Allen, le sax baryton de Sun Ra vient de publier à l'âge de 100ans son premier album en leader, voici le titre "New Dawn" avec en invité la chanteuse Neneh Cherry (notre photo DR). Bientôt la St Valentin, évitez les menus ringards des restaurants choisissez d'écouter du bon jazz ! Les 13 et 14 Février à Pau, les Egarés groupe Victoires du Jazz "Meilleur concert de l'année" (Ballaké Sissoko , Vincent Ségal, Vincent Peirani, Émile Parisien) et à Nîmes à la Milonga del Angel le groupe world - cumbia "Onda Ya" dans l'ambiance "club" de la MILONGA DEL ANGEL 47 rue de l'Occitanie 30000 Nîmes Tarif réduit : 16€ (adhérents Jazz70, étudiants, écoles de musique, demandeurs d'emploi) Tarif normal : 20€ Réservations : par mail sur associationjazz70(at)gmail.com ou Fnac Possibilité de diner sur place, réservations restaurant par téléphone 0663906918 La playlist #117 de Stéphane Kochoyan 01 - Paul Gonsalves, Clark Terry & Joe Gordon - I've Found a New Baby 02 - Marshall Allen feat Neneh Cherry - New Dawn 03 - 20Syl & Christophe Panzani - Dreams 04 - Paolo Fresu - Orange 05 - Ben L'Oncle Soul - I Got home 06 - Sylvain Daniel - No Sex In Verneuil 07 - Thomas Leleu - Leleuland 08 - Gabi Hartmann - Into My World 09 - Les égarés, Ballaké Sissoko , Vincent Ségal, Vincent Peirani, Émile Parisien - Esperanza 10 - Onda Ya - Xote das meninas 11 - Pat Metheny - (It's Just) Talk 12 - Emmet Cohen - Emmetís Blues 13 - Lizz Wright feat Meshell Ndegeocello - Your Love 14 - Miles Davis - Introduction by Andre Francis (Live at Festival Mondial Du Jazz Antibes_Juan-Les-Pins, France - July 28, 1963) 15 - Miles Davis - If I Were A Bell (Live at Festival Mondial Du Jazz Antibes_Juan-Les-Pins, France - July 28, 1963) #Jazz #Podcast #Jazz70 #TousLesJazz #MilongaDelAngel #Nîmes #Pau #JazzaPau #SaintValentin
Sax player, MC, and bandleader Lakecia Benjamin grew up playing salsa and merengue in Washington Heights. She counts jazz greats Terri Lyne Carrington, Gary Bartz, and Clark Terry among her mentors; and her list of collaborators includes Missy Elliott, Stevie Wonder, Lil Wayne, Dianne Reeves, Georgia Anne Muldrow, Brandee Younger, and Jazzmeia Horn. Benjamin is primarily known as a jazz musician, although as you might imagine she takes a pretty wide-angled view of jazz. Her latest record, the Grammy-nominated Phoenix Reimagined, is a live reworking of her 2023 album Phoenix, which earned three Grammy nominations. Sax player Lakecia Benjamin and her band play some of her latest tunes, in-studio. 1. Trane 2. Let Go 3. Mercy
Jackie Ryan is an extraordinary jazz singer who the JazzTimes Magazine has called “one of the outstanding jazz vocalists of her generation”. She sings in different languages, styles and genres including Blues, Bebop, Bossa Nova, Samba and Bolero. She's played with Clark Terry, John Mayer, Cyrus Chestnut and many others. She's performed at Ronnie Scott's in London, Jazz At Lincoln Center and the Telluride Jazz Festival.My featured song is “The Gift”, my recent single which took my ballad and, through the genius of Michael Abene, was transformed into a Big Band Samba. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here .To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------Connect with Jackie at:www.jackieryanmusic.com—---------------------------------------ROBERT'S SINGLES:“SOSTICE” is Robert's newest single, with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's sublime, atmospheric Jazz Fusion tune. Featuring guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com
durée : 00:59:11 - Banzzaï du mardi 10 décembre 2024 - par : Nathalie Piolé - La playlist jazz de Nathalie Piolé.
La Venganza de los Lunes, el Eterno Retorno de lo Terrible Alejandro Dolina, Patricio Barton, Gillespi Introducción • Entrada0:01:50 Segmento Inicial • Consejos antes de alquilar un departamento0:02:40 "-Ah bueno, un alquiler temporario... -Claro.. no sé si.. todos los alquileres son temporarios, y por eso son alquileres, del otro modo se llaman ventas." Segmento Dispositivo • Historias de amor durante la época de la conquista0:40:50 "Yo recuerdo, hace algunos años, uno del los integrantes de este grupo, era niño. Estábamos en un hotel, andá a saber dónde, y se le ocurrió que quería jugar al truco conmigo. Yo le dije "no hay cartas", entonces agarré unos papelitos e hice 40 cartas para jugar al truco con papelitos. Todavía en mi casa, hay algunos de esos papelitos y yo los escondo, para no llorar." • "Love Of My Life" ♫ (Toca el TSN) Queen, A Night At The Opera, 1975. Segmento Humorístico • Qué cosas no hacer antes de tener relaciones íntimas con tu pareja0:59:44 Sordo Gancé / Trío Sin Nombre • Presentación1:24:20 • "Rezo Por Vos" ♫ (Único registro del truncado proyecto Spinetta/García, 1984. Privé, 1986. Parte De La Religión, 1987.) • "Milonga del Peón de Campo" ♫ (Nenette Pepin/José Razzano, 1953) Canta Yupanqui. • "Mañana Campestre" ♫ (Arco Iris, Tiempo de Resurrección, 1972) • "Milonga de Albornoz" ♫ (Jorge Luis Borges, Para Las Seis Cuerdas, 1966) Borges (Por el mismo) • "Tan Solo" ♫ (Los Piojos, Chac Tu Chac, 1992) • "Misty" ♫ (Errol Gardner, Contrasts, 1954) Letra de Johnny Burke. Clark Terry, 1978) • "Hit The Road Jack" ♫ (Percy Mayfield; grabada por Ray Charles y las Raelettes, 1961) "Se la tienen bien jurada más de un taura y más de un pillo; en una esquina del sur lo está esperando un cuchillo. No un cuchillo sino tres, antes de clarear el día se le vinieron encima y el hombre se defendía. Un acero entró en el pecho, ni se le movió la cara; Alejo Albornoz murió como si no le importara. Pienso que le gustaría saber que hoy anda su historia en una milonga. El tiempo es olvido y es memoria."
Continuing our series with Vince DiMartino, Vince discusses the transition and challenges of playing classical music from other genres, highlighting the importance of using the right methods, such as solfège. The conversation also delves into Vince's days as a student at the Eastman School of Music, playing with iconic figures like Clark Terry, which planted seeds for what came to be known as the Great American Brass Band Festival, still held every June in Danville, KY. Episode highlights:00:11 Challenges in Classical Music00:42 Jazz Influence and Methodology01:41 Early Career and Influences02:16 Experiences at Eastman School of Music05:40 Clark Terry and Professional Growth06:57 Brass Band Festival Origins10:56 Retirement and Legacy12:48 Conclusion and Call to Action**Mastery Is Within Reach. Will You Go For It?Follow Brass Mastery and stay updated via email every time a new episode is released at https://brassmastery.com This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit brassmastery.substack.com/subscribe
Maggie spoke with Quincy Jones in early December 2008 about his book, The Complete Quincy Jones My Journey & Passions. We discussed some of his favorite musical collaborations including Frank Sinatra and Miles Davis and discuss the idea of mentorship and why it's so important to "pass it on" Quincy Delight Jones Jr. March 14, 1933 – November 3, 2024 was an American record producer, songwriter, composer, arranger, and film and television producer.. Over the course of his seven-decade career, he received many accolades including 28 Grammy Awards, a Primetime Emmy Award, and a Tony Award as well as nominations for seven Academy Awards and four Golden Globe Awards.About the book: Everything you love about American popular culture is Quincy Jones. As an artist and impresario Quincy Jones has been the creative catalyst for over 60 years of American cultural phenomena orchestrating the sounds of Frank Sinatra, setting the ambiance for Steven Spielberg, cultivating the talent of Michael Jackson, and introducing to the world Oprah Winfrey and Will Smith - to name a few. The Complete Quincy Jones examines the diverse virtuosity of Quincy Jones, celebrating his prolific contribution to American art and culture. Comprised of personal interviews and recollections with Jones, this collection peers behind the veil of celebrity, with extraordinary access to his creative inspirations and labors. Through private notebooks, correspondence, and photographs Jones offers unprecedented introspection into the depths of his creativity and the histories of his ventures. From the volumes of his memorabilia, Jones emerges as a contemplative and dynamic maestro, thriving on intuition and ceaselessly pursuing the soul of his art.Quincy Jones is an American record producer, conductor, arranger, film composer, television producer, and trumpeter. God Bless Quincy Jones, there will never be another you! Source: https://www.simonandschuster.com/books/The-Complete-Quincy-Jones/Quincy-Jones/9781933784670Source: https://www.qwest.tv/Source: https://www.arts.gov/honors/jazz/quincy-jonesSource: https://rockhall.com/inductees/quincy-jones/Host Maggie LePique, a radio veteran since the 1980's at NPR in Kansas City Mo. She began her radio career in Los Angeles in the early 1990's and has worked for Pacifica station KPFK Radio in Los Angeles since 1994.Send us a textSupport the show@profileswithmaggielepique@maggielepique
Blender Alejandro Dolina, Patricio Barton, Gillespi Introducción • Entrada0:02:15 Segmento Inicial • Protocolo de comportamiento en una Guardia Médica0:07:25 "-Bueno, antiguamente se usaba cuando alguna anciana le bajaba la presión, le levantaban las piernas... -Sí... -¿No me diga? No continúe, ¡por favor! Por suerte esos tiempos oscurantistas pasaron, en que uno no podía dejar que su madre fuera la guardia del hospital porque en seguida, con cualquier pretexto, le levantaban las piernas." "-En una de nuestras giras en el exterior, vi a una señora que se descumpuso, a una... puedo decir una anciana. -Sí, ¿qué problema hay? -Una vieja puede decir también si quiere." Segmento Dispositivo • Voltaire e Inmortalidad0:52:20 • "Yo No Quiero Volverme Tan Loco" ♫ (Toca el TSN) Charly García, Pubis Angelical / Yendo De La Cama Al Living, 1982. Segmento Humorístico • Nuevos estudios para sobrevivir en una isla desierta1:14:50 Sordo Gancé / Trío Sin Nombre • Presentación1:36:07 • "Devólveme El Calzoncillo" ♫ (Alejandro Dolina) Recordando el Show de Alejandro Molina, 2013. • "Baby On Board" ♫ (The Be-Sharps, 1993) Primer episodio de la quinta temporada de The Simpsons, 1993/94. • "Misty" ♫ (Errol Gardner, Contrasts, 1954) Letra de Johnny Burke. Clark Terry, 1978)
SONNY RED “OUT OF THE BLUE” Englewood Cliffs, NJ, December 5, 1959BluesvilleSonny Red (as) Wynton Kelly (p) Sam Jones (b) Roy Brooks (d) Englewood Cliffs, NJ, January 23, 1960Stairway to the star, Lost AprilSonny Red (as) Wynton Kelly (p) Paul Chambers (b) Jimmy Cobb (d) PAUL BLEY “PAUL BLEY PLAYS CARLA BLEY” Copenhagen, Denmark, December 7, 1991Vashkar, Seven, Turns, IctusPaul Bley (p) Marc Johnson (b) Jeff Williams (d) MUNDELL LOWE AND HIS ORCHESTRA “SATAN IN HIGH HEELS” New York, November 30, 1961Satan In High Heels, The lost and the lonely, MontageJoe Newman, Doc Severinsen, Clark Terry (tp) Urbie Green, Buster Cooper (tb) Jimmy Buffington (fhr) Ray Beckenstein (as,fl) Walt Levinsky (as,cl) Al Cohn, Al Klink (ts) Sol Schlinger (bar) Eddie Costa (p,vib) Mundell Lowe (g) George Duvivier (b) Ed Shaughnessy (d) Continue reading Puro Jazz 10 de octubre, 2024 at PuroJazz.
The Trombone Corner Podcast is brought to you by Bob Reeves Brass and The Brass Ark. Join hosts Noah and John as they interview Conrad Herwig, commercial and jazz trombonist from New York City. About Conrad: New York jazz artist CONRAD HERWIG has recorded nearly 30 albums as a leader, receiving four GRAMMY®-nominations for his own projects. His latest CD release is The Latin Side of McCoy Tyner (Savant; 2024). This albums marks 27+ years of the “Latin Side . . .” series, and is a follow-up project to The “Latin Side of ...” tributes to Charles Mingus (Savant 2022), Horace Silver (Savant; 2020), Joe Henderson (Half Note; 2014), Herbie Hancock (Half Note;2010) Wayne Shorter (Half Note; 2008), Miles Davis (Half Note; 2004), and John Coltrane (Astor Place; 1996). These exciting and individualized projects feature an array of special guests including Randy Brecker, Ruben Blades, Michel Camilo, Joe Lovano, Eddie Palmieri, Paquito D'Rivera, Dave Valentin and many of the hottest players on the international scene. Herwig is equally facile in a non-Latin arena. He has been voted #1 Jazz Trombonist in DownBeat Magazine “Jazz Critic's Poll” and nominated for “Trombonist of the Year” by the JazzJournalists Association on numerous occasions. In constant demand as a sideman, Herwig has performed with Joe Henderson, Horace Silver, McCoy Tyner, and Joe Lovano (featured as a soloist on Lovano's GRAMMY® Award winning 52nd St. Themes CD). In the Afro-Caribbean genre he has toured with legends such as Eddie Palmieri, Tito Puente, Paquito D'Rivera, and Michel Camilo. He is a longtime member of the the Mingus Big Band (where he has served as musical director and arranger including on the 2011 GRAMMY®-winning “Live at the Jazz Standard”). In other big band settings Herwig has also performed and recorded with Clark Terry, Buddy Rich, Frank Sinatra, Miles Davis & Quincy Jones, and the Gil Evans Orchestra. All told Herwig has appeared on more than 200+ albums in what is now a 40 year career. In 2006 Herwig received the Paul Acket Award (formerly the “Bird Award”). The prize, presented at the North Sea Jazz Festival, is intended for an artist who, according to the international jury, deserves the attention of a broader audience. Herwig is also a recipient of performance and teaching grants from the National Endowment for the Arts. Conrad was elected to the Board of Advisors of the International Trombone Association and has taught at Mason Gross School of the Arts in the prestigious jazz program at Rutgers University in New Brunswick, N.J. where he currently serves as Artistic Director and Chair of Jazz Studies.
Clark Terry was the most influencial jazz educator in history, and his music and message are being kept alive by Chris Humphrey in his albums The Voice of Clark Terry Vol 1 and Vol 2. These albums take the solos and melodies of Clark Terry and put them to lyrics (by lyricist Les Harris Jr.) and recorded by a world class rhythm section and 7 trumpet players that Clark Terry had an impact on. This discussion spans all of this, as well as jazz education topics for all educators. To gain access to all show notes and audio files please Subscribe to the podcast and consider supporting the show on Patreon - using the button at the top of thegrowingbanddirector.com Our mission is to share practical advice and explore topics that will help every band director, no matter your experience level, as well as music education students who are working to join us in the coming years. Connect with us with comments or ideas Follow the show: Podcast website : Thegrowingbanddirector.com On Youtube The Growing Band Director Facebook-The Growing Band Director Podcast Group Instagram @thegrowingbanddirector Tik Tok @thegrowingbanddirector If you like what you hear please: Leave a Five Star Review and Share us with another band director! --- Support this podcast: https://podcasters.spotify.com/pod/show/kyle-smith95/support
Jazz musicians were not exempt from service in the U.S. military. Jay McShann, John Bunch, Louis Bellson, Terry Gibbs, Clark Terry, Orrin Keepnews, George Wein, Joe Bushkin and Bobby Johnson speak about their experiences during WWII.
Our first four episodes look at iconic big band leaders, beginning with Edward “Duke “ Ellington. Former sidemen and associates including Clark Terry, Phoebe Jacobs, Bill Berry, Buster Cooper, Grover Mitchell, Louis Bellson and John Lamb offer inside stories that illuminate the Duke's unique talent and personality.
This episode of The Other Side of the Bell, featuring commercial trumpeter and vocalist, Ravi Best, is brought to you by Bob Reeves Brass. You can also watch this interview on Youtube. About Ravi: Ravi Best is a New York City based jazz and commercial trumpet player who has performed domestically and internationally for two decades. Most recently, he has been performing, recording, and touring with Kool & The Gang, Blood, Sweat and Tears, The Duke Ellington Orchestra, and Little Steven and The Disciples of Soul, where he had the chance to perform with Sir Paul McCartney, and Bruce Springsteen. He has performed with several Jazz, Rock, and R&B artists such as Stevie Wonder, Aretha Franklin, Whitney Houston, Beyonce, Jay-Z, Lenny Kravitz, Queen Latifah, Annie Lennox, Robert Cray, ani difranco, Michael Buble, Clark Terry, Tony Bennett, and Herbie Hancock. He has played in several Broadway shows such as The Heart of Rock and Roll, Merrily We Roll Along, Hell's Kitchen, Diana, The Color Purple, Chicago, 42nd St., Sweet Charity, Annie, and several others. He has made several TV appearances playing in the house band on SNL, Jesus Christ Superstar Live, Jimmy Kimmel Live( Kool and The Gang), Good Morning America(Boyz II Men), The Today Show(Little Big Town), The Late Show(Rufus Wainwright), and The Sherri Show. Ravi was also featured in the Chris Colombus film The Christmas Chronicles. He can also be heard on many recordings such as, Kenny Garrett's Pushing The World Away, Little Steven and The Disciples of Soul's Soulfire Live, and Summer of Sorcery, David Byrne & St. Vincent's Love This Giant, David Murray Octet's Octet Plays Trane, Lester Bowie's Brass Fantasy's The Odyssey of Funk & Popular Music, Sam River's Rivbea Orchestra's Culmination, Ani DiFranco's Evlolve, So Much Shouting, So Much Laughter, and Mya's Moodring, The Broadway cast recordings of Jesus Christ Superstar Live In Concert, Heart of Rock and Roll, Diana, Ain't Too Proud, 42nd Street, and Baby It's You.
It's time to discover, learn, and play jazz piano with Kent Ellingson!Kent Ellingson is a highly respected and sought-after pianist in the Dallas/Fort Worth music scene. He has been a featured pianist at the Sammons Jazz and the Dallas Jazz Piano Society yearly concert series. He has performed in concert with Randy Brecker, Clark Terry, Ingrid Jenson, Phil Woods, and other jazz notables. Currently, he leads his jazz group, the K. Ellingson Group, which performs regularly at clubs, festivals, and concerts. He also plays solo piano two to three nights a week at a high-end Dallas restaurant.Kent retired after thirty-one years as a full-time music instructor at Dallas' Booker T. Washington High School for the Performing and Visual Arts but continues to teach applied jazz piano courses at Collin College and Dallas College Eastfield. He is also a pianist for both faculty jazz combos and participates yearly at the Collin College summer jazz camp as a faculty pianist and jazz instructor.It's time to sit back and enjoy my interview with my old friend, Kent Ellingson! Support the Show.
Jazz in the Garden, Episode Two: “One Magic Summer” After a golden age of big names and big crowds throughout the 1960s, by the mid 1970s live jazz at MoMA had become something of an afterthought. But a magical summer of performances in 1985—including landmark concerts by the Art Ensemble of Chicago, “Butch” Morris, and the “saxophone colossus” himself, Sonny Rollins—put the music back at center stage. Join us for our second episode, and hear the story from Rollins and others who were there. Writer/producers: Naeem Douglas, Alex Halberstadt, Jason Persse Host: Naeem Douglas Additional readings: Karen Chilton Engineer, mixer, original music: Zubin Hensler Special thanks: Prudence Peiffer, Arlette Hernandez, Ellen Levitt, Kelsey Head, Dore Murphy, Allison Knoll, Tina James, Michelle Harvey, Marc-Auguste Desert II, Omer Leibovitz, Peter Oleksik Music: “Now's The Time.” Written by Charlie Parker. Performed by Clark Terry. Courtesy of The Orchard. By arrangement with Universal Music Publishing and Sony Music Publishing; “Uncle.” Written and performed by the Art Ensemble of Chicago. Used by permission; courtesy credits pending; “Soloscope, Part 1.” Written and performed by Sonny Rollins. Courtesy of Concord Records. By arrangement with Kobalt obo Son Rol Music Company; “Namesake.” Written and performed by Milt Jackson. Courtesy of Universal Music Group. By arrangement with Reecie Music; “On Green Dolphin Street.” Written by Kaper Bronislaw, Ned Washington. Performed by Sonny Rollins. Courtesy of Universal Music Group. By arrangement with Reservoir Media, BRTS, and BMG
durée : 00:59:39 - Banzzaï du vendredi 07 juin 2024 - par : Nathalie Piolé -
Jazz in the Garden, Episode One: “In the Beginning” Our story begins on June 16, 1960, when George Wein and the Storyville Sextet played the first jazz concert in MoMA's Sculpture Garden—and launched more than a decade of legendary performances and recordings from some of the leading lights of jazz, including Dizzy Gillespie, Thelonious Monk, Duke Ellington, and Sonny Rollins. In this episode, you'll hear about the first era of jazz at MoMA from some of the musicians who were there. Writer/producers: Naeem Douglas, Alex Halberstadt, Jason Persse Host: Naeem Douglas Additional readings: Karen Chilton Engineer, mixer, original music: Zubin Hensler Special thanks: Prudence Peiffer, Arlette Hernandez, Ellen Levitt, Kelsey Head, Dore Murphy, Allison Knoll, Tina James, Michelle Harvey, Marc-Auguste Desert II, Peter Oleksik Music: “That's a Plenty” (Live) (2014 remaster). Written by Lew Pollack. Performed by George Wein and the Storyville Sextet. Courtesy of Bethlehem Records. By arrangement with BMG Rights Management; “Soloscope.” Written and perfrormed by Sonny Rollins. Courtesy of Concord Records. By arrangement with Kobalt obo Son Rol Music Company; “Namesake.” Written and performed by Milt Jackson. Courtesy of Universal Music Group. Bt arrangement with Reecie Music; “September in the Rain.” Written by Al Dubin, Harry Warren. Performed by George Wein and the Storyville Sextet. Courtesy of BMG. By arrangement with WC Music Corp. (ASCAP); “Undecided.” Written by Charles Shavers. Performed by George Wein and the Storyville Sextet. Courtesy of BMG. By arrangement with Universal Music Publishing; “Novamo.” Written and performed by Milt Jackson. Courtesy of Universal Music Group. By arrangement with Hall Leonard; “Take the A Train.” Written by Billy Strayhorn. Performed by Clark Terry. Courtesy of The Orchard. By arrangement with Reservoir Media and WISE; “Take Three Parts Jazz.” Written by Teddy Charles. Performed by the Teddy Charles New Directions Quartet. Courtesy of 43 North Broadway LLC. By arrangement with Raybird Music; “A Night in Tunisia.” Written by John Gillespie, Frank Paparelli. Performed by the Dizzy Gillespie Quintet. Courtesy of Universal Music Group; “On Green Dolphin Street.” Written by Kaper Bronislaw, Ned Washington. Performed by Sonny Rollins. Courtesy of Universal Music Group. By arrangement with Reservoir Media, BRTS, and BMG; “The Quota.” Written by Jimmy Heath. Performed by Milt Jackson. Courtesy of Universal Music Group. By arrangement with Hall Leonard; “Now's The Time.” Written by Charlie Parker. Performed by Clark Terry. Courtesy of The Orchard. By arrangement with Universal Music Publishing and Sony Music Publishing
Sam Hankins JrA well-known American trumpeter was raised in a musical household in Oklahoma City, OK. It was in middle school that Hankins switched his trademark instrument over to trumpet and eventually began playing in orchestras, churches, and professional bands. Sam Hankins, Jr.. has shared the stage with many renowned performers, such as Aretha Franklin, Al Jarreau, Clark Terry, and The O'Jays. The Temptations. The Dells, and the Glenn Miller Big Band. His most notable accomplishment was earning the Golden Apple Award, recognizing commitment to excellence in education, and receiving a letter from the White House honoring the Edison Middle School Band ProgramSam is a prolific composer who produced a body of work with more than 150 pieces. From 2012 to 2017 Sam released four CDs all radio plays and collectively won 25 independent music awards in 2017, the artist won 9 independent artist awards at the Indie Music Channel Awards (IMC) ceremony in Hollywood amongst musicians that submitted from all over the world. Sam Hankins Jr. has achieved a great deal as a musician and is devoted to and enthusiastic about releasing his fifth studio album, titled "Alright," which released in the Summer of 2023. Sam continues to work with amazing musicians and artists in Los Angeles, California. The Alright album is a testament to where he is at with his sound right now. Sam mentions over the past 15 years, each of his CDs has shown growth in his music composition and there is more depth to his trumpet playing. Sam Hankins's melodies are becoming catchier to the listener's ears and his songs are telling a story with different musical styles on his 5 different CDsBecome a supporter of this podcast: https://www.spreaker.com/podcast/ladydiva-live-radio--2579466/support.
In the heart of Oklahoma's jazz culture, a prodigious talent emerged, shaped by the rich harmonies of the genre and guided by the influence of legendary musicians. Champian Fulton, hailed as one of jazz's top talents, traces her musical journey back to her upbringing in Oklahoma, where the rhythms of jazz infused her childhood. Inspired by her father, jazz trumpeter Stephen Fulton, Champian's passion for music ignited at a young age. Surrounded by the vibrant jazz scene of Oklahoma, she found herself immersed in a world where melodies danced through the air and improvisation was second nature. On a recent episode of The Spark, Champian delved into her upcoming endeavors with Marquis Lupton. The conversation centered around her highly anticipated tour and her 18th studio album, offering fans a glimpse into her artistic process and the inspiration drawn from her Oklahoma roots. Champian's journey into the realm of jazz was not solitary. Alongside her father's guidance, she found mentorship from luminaries such as Clark Terry and Major Holley, whose influence sculpted her musical identity. Their wisdom and expertise provided the foundation upon which Champian built her career, earning her acclaim as one of the most gifted jazz musicians of her generation. During her interview with Lupton, Champian reflected on the significance of her upbringing in the Oklahoma jazz scene. She spoke fondly of the supportive community that nurtured her talent and the countless hours spent honing her craft in local clubs and venues. And, as she gears up for her upcoming tour, Champian remains steadfast in her commitment to honoring the traditions of jazz while infusing her own unique voice into the genre. Her 18th studio album promises to be a testament to her evolution as an artist, showcasing her mastery of the craft and her deep connection to her musical heritage. With each note she plays, Champian Fulton pays homage to the jazz legends who came before her, carrying forward their legacy while forging a path of her own. As she continues to captivate audiences around the world with her unparalleled talent, her Oklahoma roots remain at the core of her identity, serving as a constant source of inspiration and strength.Support WITF: https://www.witf.org/support/give-now/See omnystudio.com/listener for privacy information.
Count Basie and Harry "Sweets" Edison are in the songwriting seat with "Jive At Five" on this episode of Same Difference! Join AJ and Johnny as they listen to and discuss versions by the Count Basie Orchestra, Oscar Peterson, Clark Terry and Mike Vax, Martin Taylor and Stephane Grappelli, Joe Newman, and new-to-us artist The Shirt Tail Stompers.
Enjoy a playlist thick with music about the times we live in--courtesy of Jamie Baum, Black Lives and Ben Sidran--, the new album by Italian singer Gegè Telesforo [pictured], and two album by, and featuring, Dayna Stephens. The playlist also features Kokayi, Aubrey Johnson; Christian Mascetta; Clark Terry, Jon Hendricks; Alexis Valet Detailed playlist at https://spinitron.com/RFB/pl/18809727/Mondo-Jazz [from "Sorrow Song" to "Ups and Downs"]. Happy listening! Photo credit: Gianluca di Santo.
To learn more about Leo and his music and work, visit http://www.leosidran.comTo learn more about Leo's podcast, visithttp://www.third-story.comLeo Sidran is a multi instrumentalist musician, producer, arranger, composer, recording artist, and podcast host.The Third Story podcast features long-form interviews with creative people of all types.Their stories of discovery, loss, ambition, identity, improvisation, risk, and reward are deeply moving and compelling for all of us as we embark on our own creative journeys.He was born and raised in Madison, Wisconsin, which is sometimes referred to as 70 square miles surrounded by reality. His father, Ben Sidran, another multifaceted music man, provided my early musical sustenance. His mother, a weaver and travel agent, provided texture and safe passage.He got his start writing songs professionally as a teenager when the Steve Miller Band recorded four of his songs for their 1993 Wide River album. His father was working with Miller at the time, which is how he made the connection, but even then, at the ripe old age of 15, he was interested in production. So, Steve invited him to play keyboards, guitars and drums on the record. He co-produced the Academy Award Winning song, "Al Otro Lado Del Rio" from the film The Motorcycle Diaries with Jorge Drexler in 2005. After the Oscar win, he made a move to Brooklyn and not only started producing records for other artists, but also composing music for film and television commercials amassing a catalog of 100s of major TV ads for clients like Coca-Cola, Visa, Lincoln, McDonalds, Stella Artois, Ford, Garnier and over a dozen film scores for outlets such as ESPN 30 for 30, Discovery, IFC, Sundance, and PBS. As a drummer, he has played and recorded with jazz luminaries including Phil Woods, Howard Levy, David Fathead Newman, Clark Terry and Dave Grusin, and as an engineer he has worked with artists ranging from Snarky Puppy to Massive Attack.
Hodges' studio groups - mostly featuring Ellingtonians - recorded during his period away from the band. Harold "Shorty" Baker, Clark Terry (trumpet), Lawrence Brown (trombone), Jimmy Hamilton (clarinet and tenor sax), Arthur "Babe" Clarke (tenor sax), Harry Carney (baritone sax), Billy Strayhorn, Call Cobbs, Leroy Lovett (piano), Lloyd Trottman, Jimmy Woode (bass), Louis Bellson, Joe Marshall, Sonny Greer (drums) --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support
durée : 00:59:19 - Adam Schroeder & Mark Masters - par : Alex Dutilh - Le saxophoniste baryton et chef d'orchestre Adam Schroeder s'associe à l'arrangeur Mark Masters pour proposer une douzaine de pièces dans le style Basie/Ellington/Strayhorn, tous composés par le célèbre trompettiste Clark Terry sur “CT !”. Parution chez Capri.
Champian Fulton is simply one of the finest jazz pianists and vocalists around today. Her love of jazz goes as far back as she can remember and the happiness it brings her bubbles over to her fans and audiences. She has performed with some of the genre's greats like drummer Louis Hayes, vocalist Joe Williams, and trumpet player Clark Terry. Champian isn't solely a jazz artist, she's a devotee of the genre—she calls it being a "jazz nerd"—so she's also a huge fan and one of jazz's greatest advocates and ambassadors. Whether playing piano or singing, her style has been called sophisticated and distinct. We just call it extraordinary music made by one fantastic jazzer named Champian Fulton."Day's End" and "That's Not Your Donut" written and performed by Champian Fulton℗ 2017 Posi-Tone Records. Used with permission of Champian Fulton."The Things We Did Last Summer" performed by Champian Fulton, Scott Hamilton, Ignasi González, and Esteve Piwritten by Jule Styne℗ 2017 Blau Records. Used with permission of Champian Fulton."Too Marvelous For Words" performed by Champian Fultonwritten by Johnny Mercer and Richard Whiting℗ 2023 Champian Fulton. Used with permission of Champian Fulton."Happy Camper" written and performed by Champian Fulton℗ 2023 Champian Fulton. Used with permission of Champian Fulton."Evenin'" performed by Champian Fultonwritten by Count Basie℗ 2023 Champian Fulton. Used with permission of Champian Fulton.Support the showSupport the show: https://www.buymeacoffee.com/intothemusic E-mail us at intothemusic@newprojectx.com YouTube Facebook Instagram INTO THE MUSIC is a production of Project X Productions, Appleton, WI.Producer: Rob MarnochaRecording, engineering, and post production: Rob MarnochaOpening theme: "Aerostar" by Los Straitjackets* (℗2013 Yep Roc Records)Closing theme: "Close to Champaign" by Los Straitjackets* (℗1999 Yep Roc Records)*Used with permission of Eddie AngelThis podcast copyright ©2024 by Project X Productions. All rights reserved.
Adam Schroeder And Mark Masters Pay Tribute To Clark Terry On CT!Big Band Takes On Fresh Arrangements Of 13 Terry Originals Available January 19, 2024 via Capri Records Host/Producer of The Jazz, Blues and R and B Podcast and Radio Show PERIOD: Tom Gouker PERIOD 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.) How To Get a Hold of The Jazz Blues and R and B Podcast and Radio Show PERIOD! Contacts Information: Email: somethingcamefrombaltimore@gmail.com Twitter: something came from baltimore (@tom_gouker) / Twitter Instagram: Something Came From Baltimore (@something.came.from.baltimore) Did You know that The Jazz Blues and R and B Podcast and Radio Show Period is on "TheBocX.com". TheBocX.com - It is a Podcast and a 30-minute radio show and can be heard weekly (Thursday's at 7pm and 10pm EST). TIPS! (Thank You!) Tom Gouker's Cash App Account: $ThomasGouker Tom Gouker's Venmo Account: Thomas-Gouker ABOUT ADAM SCHROEDER Baritone saxophonist Adam Schroeder has established his influence as a major voice and force within the global jazz community, becoming the first call for a multitude of musical situations in addition to his dedication and devotion towards extensive educational outreach. Holding a BM in Jazz Studies from Texas State University, San Marcos and a MM in Jazz Studies from the Bob Cole Conservatory of Music, California State University, Long Beach, Schroeder presently serves as an Associate Professor of Jazz & Commercial Music at the University of Nevada, Las Vegas and was just awarded the University's “Charles Vanda Award for Excellence in the Arts” (2022). He's a prolific studio musician with many album, television, and film credits.ABOUT MARK MASTERSMark Masters is an inventive and prolific composer and arranger from southern California. He organized his first ensemble in 1982. His work has appeared on more than a dozen albums, under his own name and for other bandleaders. Masters has written and arranged music for recordings featuring Billy Harper, Jimmy Knepper, Andrew Cyrille, Oliver Lake, Mark Turner, Tim Hagans, Grachan Moncur III, Peter Erskine, and many others. From 1999 through 2006, Masters was a guest lecturer at Claremont McKenna College. He's been named a Rising Star: Arranger in the DownBeat Critics Poll. PERSONNELSal Lozano, alto saxophone / Bob Sheppard, tenor and soprano saxophones / Kirsten Edkins, tenor saxophone / Adam Schroeder, baritone saxophone / Francisco Torres, lead trombone / Ido Meshulam, trombone / Lemar Guillary, trombone / Dan Fornero, lead trumpet / James Ford, trumpet / Aaron Janik, trumpet / Edwin Livingston, bass / Peter Erskine, drums --- 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 first ever host-meetup happened last week at NAMM and it just may be our best episode yet! Joined by special guest Trent Austin we discussed who NAMM is really for, if there's still room in this industry for new players, and tips and insights into the music retail industry — we even included a brand new podcast-only segment at the end!!! This is THE episode to catch if you've ever been curious about NAMM, the music trade show world, or the behind the scenes of the music retail business. Don't know much about Trent? Let's catch you up: “Renowned trumpet artist and educator, who has received many accolades and international acclaim for his stellar performances and recordings in jazz and classical music. As an in-demand pro, Trent has performed with a lengthy list of music's Who's Who, including Tony Bennett, Natalie Cole, Joe Williams, Clark Terry, Jack Jones, Bob Brookmeyer, Maria Schneider, Peter Erskine, Arturo Sandoval, Hal Galper, Dick Oatts, Marvin Stamm, Red Holloway, Jesse Davis, Dick Johnson, Kenny Werner, and Bob Wilber. For eleven years, Austin was also a featured trumpet soloist with the famed Artie Shaw Orchestra. He is currently a first-call performer in the Boston Metro and Southern New England areas as well as throughout the Midwest. Fiercely dedicated to the cause and development of music and jazz education, Trent was a trumpet professor at the University of Southern Maine for nine years and regularly provides clinics and Master Classes nationwide at various trumpet and brass conferences, including at the International Trumpet Guild Conference and other trumpet/brass conferences. Austin also maintains an active teaching studio in Kansas City, MO and worldwide online via Skype, providing trumpet and jazz improvisation lessons.” For more insights and updates, be sure to follow us on Instagram: Austin Custom Brass' Instagram Virtuosity Musical Instruments' Instagram J. Landress Brass' Instagram You can also explore more about our businesses on our websites: Austin Custom Brass' Website Virtuosity Musical Instruments' Website J. Landress Brass' Website Happy listening, friends!
Justin Kauflin, a renowned jazz pianist who lost his vision as a boy, talks to host Ben Shaberman about his extensive touring, numerous collaborations, and close friendship with legendary trumpeter Clark Terry. Their story was captured in the hit documentary film Keep On Keepin' On. Justin became a jazz pro at the age of 14, toured globally with Quincy Jones, and was voted jazz artist of the year by VEER magazine.
Good News: A fascinating new blood test can help identify faster-aging organs in the human body, Link HERE. The Good Word: A quote we can probably all identify with, from Jane Austen. Good To Know: A mind-boggling fact about our Sun… Good News: Great news about the growth of investment in green energy over fossil […]
ALL THE NEWS & KNOWLEDGE YOU NEED TO GET YOU THROUGH DECEMBER 14, 2023 IT'S THRIVING THURSDAY! . ON THIS DAY: JOHN MERCER LANGSTON; CLARK TERRY; STANLEY CROUCH; JOHNNY RODGERS. NEWS FROM UNN - WWW.MYUNN.NET . ALL EPISODES OF THIS IS THE G PODCAST ARE AT: WWW.CASTROPOLIS.NET . #CASTROPOLISPODCASTNETWORK #THRIVINGTHURSDAY #BLACKHISTORY #NEWS #BLACKPODCAST #PODCAST #DAILYPODCAST #ATLANTAPODCAST #ATLANTAGA #DAILYPODCAST #ATLANTA
It's time to discover, learn, and play jazz piano with Mike Steinel!Mike Steinel is a jazz trumpeter, pianist, composer, arranger and novelist. An internationally recognized jazz educator, Mike is the author the highly acclaimed Essential Elements for Jazz Ensemble and Building a Jazz Vocabulary. He has performed throughout the US, Canada and in Europe, Africa and Asia. He has, appeared as soloist at the MENC, IAJE, and JEN international conventions; and at the Midwest Band and Orchestra Clinic. He has recorded with the Rosewood Trio, the Frank Mantooth Orchestra, the Chicago Jazz Quintet and is a featured soloist on recent release by the Mike Waldrop Big Band (2015). He has performed with Ella Fitzgerald, Clark Terry, Don Ellis, Bill Evans, Zoot Sims, Jerry Bergonzi, and others. His most recent releases are Song and Dance on Origin Records (2018) and Saving Charlie Parker on Rosewood Audio (2022)Mike served as Professor of Jazz Studies at the University of North Texas from 1987 to 2019. He founded and directed the UNT Jazz Combo Workshop for 25 years. Mr. Steinel has served as Co-Chair of the Jazz Advisory Panel for the National Endowment for the Arts. He holds a BME degree from Emporia State University and a MME degree from the University of North Texas.Websites:www.mikesteinel.comwww.savingcharlieparker.com Bookstore:http://www.mikesteinel.com/page-4/ YouTube Channelhttps://www.youtube.com/@bobfan1127Now, enjoy my interview with Mike Steinel.Warm Regards,Dr. Bob LawrenceJazz Piano SkillsSupport the show
Doug Stone talks to jazz musicians about life, music, recent and upcoming performances, equipment and current events on this Tenor Talk Podcast recording. A different jazz musician is featured in each episode. This episode features Pat Malinger and was recorded February 26, 2020.Pat Mallinger was born and raised in St. Paul, Minnesota and began playing the saxophone at 11 years of age. He received his Jazz Studies degree from North Texas State University on a “One O'clock Lab Band” Scholarship.He lived and performed in Los Angeles, Dallas, Boston, and Japan, before establishing Chicago as his home in 1990. He is a co-leader of Sabertooth, which has been the mainstay band at the Green Mill Lounge each Saturday night from 1992 to 2018. Pat is often heard around Chicago performing with the Bobby Lewis Quintet, Model Citizens Big Band, and his own quartet to name a few. Pat performs concerts and festivals nationally and internationally both as a bandleader and sideman. Pat has performed with Nancy Wilson, Stevie Wonder, Herbie Hancock, Cab Calloway, Thad Jones/Mel Lewis Reunion Band, Cedar Walton, Marcus Roberts, Joey DeFrancesco, Joe Lovano, Frank Foster, Branford Marsalis, Joshua Redman, Billy Harper, Jimmy Heath, Johnny Griffin, James Moody, Lee Konitz, Phil Woods, Paquito D'Rivera, Donald Harrison, Alvin Batiste, Slide Hampton, Curtis Fuller, Steve Turre, Wycliffe Gordon, Bill Watrous, Clark Terry, Randy Brecker, Tom Harrell, Doc Severinsen, Roy Hargrove, and Nicholas Payton.Learn more about Pat here: https://patmallinger.com/ https://youtube.com/playlist?list=PL7kMuikSH6hb4DCdI4KDTasHJftaAPcrU Let's connect: Website: https://www.dougstonejazz.com/ Instagram: https://www.instagram.com/dougstonejazzsaxophone/ Facebook: https://www.facebook.com/profile.php?id=100089874145057 If you want to learn more about jazz improvisation and be part of the Doug Stone Jazz community get on our email list! https://www.dougstonejazz.com/about Head over to the Doug Stone Jazz Shop for some fun jazz merch: https://www.dougstonejazz.com/product-page/just-play-the-changes-long-sleeved-shirt #dougstonejazz #jazz #podcast #musicianlife #musicians #tenorsaxophone #jazzmusicians #jazzinterview #musicianlife
Mike Steinel is a jazz trumpeter, pianist, composer, arranger, and novelist. For forty years he taught jazz at the collegiate level, most notably at the University of North Texas (32 years). He has performed throughout the US, Canada, Europe, and Asia; recorded with the Frank Mantooth Orchestra, the Mike Waldrop Band, the Chicago Jazz Quintet; and performed with Ella Fitzgerald, Clark Terry, Don Ellis, Bill Evans, Zoot Sims, Jerry Bergonzi, and others. His most recent releases are: “Song and Dance,” (Origin Records 2018) and “Saving Charlie Parker” (Rosewood Audio 2022). The latter is a companion piece with a novel of the same name. Links: https://www.mikesteinel.com http://www.savingcharlieparker.com YouTube Channel: https://www.youtube.com/channel/UCH1eBkg9uqWP02WvQTJ5mPQ
This episode of Backstage Jazz features an interview with legendary jazz pianist and former Denver Public Schools Music Educator, Neil Bridge. Joining him is his wife and Muse, Vocalist/Collaborator, Karen Lee Bridge. Neil Bridge is a legendary Jazz Piano player, composer, arranger, band leader, musical director, and former DPS music educator. Throughout his illustrious career, he has accompanied Mel Torme, Anita O'Day, Nancy Wilson, Dakota Staton, Johnny Smith, The Mills Brothers, Clark Terry, Sonny Stitt, and many more. He is well known for accompanying Johnny Smith (legendary world-class guitar player) for 30 years. Karen Lee is currently fulfilling her passion for singing. Her dreams came true, and she finally fulfilled her lifetime wishes of singing professionally. Karen explains, “ I have been enrolled in the “N.B.A.O.M.,” for 30 glorious years. It's the “Neil Bridge Academy Of Music!” The music featured in the shows includes “Grooving' in the City” and “Come Back To Me.” Both tracks can be found on the new album In The Key of Music (Neil Bridge & The Pride Featuring Karen Lee Bridge), which can be purchased here: https://neilbridgemusic.bandcamp.com/album/in-the-key-of-music. The Bridges will perform with Quintessence: Wayne Wilkinson Guitar), Mark Simon (Bass), and Todd Reid (Drums) at Dazzle on Friday, October 6, 2023, for a 7 p.m. show. Tickets are available here: https://www.dazzledenver.com. For more info on The bridges, please visit: https://www.neilbridgemusic.com Thanks for listening, and please support the artists you hear by seeing them live and online. Purchase their music so they can continue to distract, comfort, provoke, and inspire --- Send in a voice message: https://podcasters.spotify.com/pod/show/backstagejazz/message
Today, the Spotlight shines On Peter Kruder and Roberto Di Gioia, who join us to talk about their new but long-gestating duo project, “--------”. Viennese artist, producer and DJ Peter Kruder is one of the legendary figures in electronic music, known for his pioneering work as a member of Kruder & Dorfmeister.Kruder & Dorfmeister, named after Peter and collaborator Richard Dorfmeister, is an Austrian duo who broke out creating trip hop and downtempo remixes of pop, hip-hop, and drum and bass songs. Equally independent and innovative, K&D have recently announced their 30th anniversary tour, set for later in 2023. PIanist Roberto Di Gioia was born in Milan and made his name manning the keyboard bench with Klaus Doldinger's Passport. Over the years, Roberto has worked with many American jazz greats, including Art Farmer, Joe Lovano, and Clark Terry. Together, Peter and Roberto fuse electronic, jazz, pop and dance music into a unique sound deserving of a wide audience. Check out the show notes for a link to a video of their stunning premier live performance, which took place around the time of this discussion Despite their pedigrees and accomplishments, Peter and Roberto were relaxed, engaging and very self-deprecating. Enjoy the conversation.------------------Dig Deeper• Listen to Peter Kruder and Roberto Di Gioia's "————————" on your favorite streaming platform• Visit Peter Kruder at peterkruder.com• Roberto Di Gioia's discography• Follow Peter Kruder on Instagram, Facebook, YouTube, and Twitter• Follow Roberto Di Gioia on Instagram• Kruder & Dorfmeister• “Herbie takes no prisoners on his back covers.” • The Yamaha DX7: Death of The Analog Synthesizer• Wiener Konzerthaus, Mozart Hall• Peter and Roberto perform “Donauwalzer” by Johann Strauss at the Wiener Konzerthaus• Rutger Hauer dissects his iconic “tears in rain” Blade Runner monologue------------------ Hosted on Acast. See acast.com/privacy for more information.
On tonight's show: Benny Goodman (Helen Ward vocals), Thelonious Monk & Sonny Rollins, Clark Terry, Miles Davis & The Modern Jazz Giants, Jazzmen Detroit, The Tommy Flanagan Trio, Billy Taylor, Dave Brubeck, Miles Davis, Hubert Laws, and Benny Carter.
David explains why Ron DeSantis is a raging bully looking to fight anyone. Now Disney sues DeSantis, DeSantis sues Disney-- it's The Magic Kingdom versus King Dumb. Guest: Professor Mike Steinel, author of "Saving Charlie Parker: A Novel." Mike Steinel is a jazz trumpeter, pianist, composer and arranger. An internationally recognized jazz educator, Mike is the author the highly acclaimed Essential Elements for Jazz Ensemble and Building a Jazz Vocabulary. He has performed throughout the US, Canada and in Europe, Africa and Asia. He has, appeared as soloist at the MENC, IAJE, and JEN international conventions; and at the Midwest Band and Orchestra Clinic. He has recorded with the Rosewood Trio, the Frank Mantooth Orchestra, the Chicago Jazz Quintet and is a featured soloist on recent release by the Mike Waldrop Big Band (2015). He has performed with Ella Fitzgerald, Clark Terry, Don Ellis, Bill Evans, Zoot Sims, Jerry Bergonzi, and others. His most recent release is Song and Dance on Origin Records (2018). Chapters: 00:00 David does The News 07:21 Professor Mike Steinel 28:26 "Talk Is Cheap" written and performed by Professor Mike Steinel 35:10 "Tuckered Out" written and performed by Professor Mike Steinel SUBSCRIBE TO DAVID'S NEWSLETTER: https://davidfeldman.substack.com Take David wherever you go by subscribing to this show as a podcast! Here's how: https://davidfeldmanshow.com/how-to-l... And Subscribe to this channel. SUPPORT INDEPENDENT MEDIA: https://www.paypal.com/biz/fund?id=PD... More David @ http://www.DavidFeldmanShow.com
Episode 160 of A History of Rock Music in Five Hundred Songs looks at “Flowers in the Rain" by the Move, their transition into ELO, and the career of Roy Wood. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "The Chipmunk Song" by Canned Heat. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Note I say "And on its first broadcast, as George Martin's theme tune for the new station faded, Tony Blackburn reached for a record." -- I should point out that after Martin's theme fades, Blackburn talks over a brief snatch of a piece by Johnny Dankworth. Resources As so many of the episodes recently have had no Mixcloud due to the number of songs by one artist, I've decided to start splitting the mixes of the recordings excerpted in the podcasts into two parts. Here's part one . I had problems uploading part two, but will attempt to get that up shortly. There are not many books about Roy Wood, and I referred to both of the two that seem to exist -- this biography by John van der Kiste, and this album guide by James R Turner. I also referred to this biography of Jeff Lynne by van der Kiste, The Electric Light Orchestra Story by Bev Bevan, and Mr Big by Don Arden with Mick Wall. Most of the more comprehensive compilations of the Move's material are out of print, but this single-CD-plus-DVD anthology is the best compilation that's in print. This is the one collection of Wood's solo and Wizzard hits that seems currently in print, and for those who want to investigate further, this cheap box set has the last Move album, the first ELO album, the first Wizzard album, Wood's solo Boulders, and a later Wood solo album, for the price of a single CD. Transcript Before I start, a brief note. This episode deals with organised crime, and so contains some mild descriptions of violence, and also has some mention of mental illness and drug use, though not much of any of those things. And it's probably also important to warn people that towards the end there's some Christmas music, including excerpts of a song that is inescapable at this time of year in the UK, so those who work in retail environments and the like may want to listen to this later, at a point when they're not totally sick of hearing Christmas records. Most of the time, the identity of the party in government doesn't make that much of a difference to people's everyday lives. At least in Britain, there tends to be a consensus ideology within the limits of which governments of both main parties tend to work. They will make a difference at the margins, and be more or less competent, and more or less conservative or left-wing, more or less liberal or authoritarian, but life will, broadly speaking, continue along much as before for most people. Some will be a little better or worse off, but in general steering the ship of state is a matter of a lot of tiny incremental changes, not of sudden u-turns. But there have been a handful of governments that have made big, noticeable, changes to the structure of society, reforms that for better or worse affect the lives of every person in the country. Since the end of the Second World War there have been two UK governments that made economic changes of this nature. The Labour government under Clement Atlee which came into power in 1945, and which dramatically expanded the welfare state, introduced the National Health Service, and nationalised huge swathes of major industries, created the post-war social democratic consensus which would be kept to with only minor changes by successive governments of both major parties for decades. The next government to make changes to the economy of such a radical nature was the Conservative government which came to power under Margaret Thatcher in 1979, which started the process of unravelling that social democratic consensus and replacing it with a far more hypercapitalist economic paradigm, which would last for the next several decades. It's entirely possible that the current Conservative government, in leaving the EU, has made a similarly huge change, but we won't know that until we have enough distance from the event to know what long-term changes it's caused. Those are economic changes. Arguably at least as impactful was the Labour government led by Harold Wilson that came to power in 1964, which did not do much to alter the economic consensus, but revolutionised the social order at least as much. Largely because of the influence of Roy Jenkins, the Home Secretary for much of that time, between 1964 and the end of the sixties, Britain abolished the death penalty for murder, decriminalised some sex acts between men in private, abolished corporal punishment in prisons, legalised abortion in certain circumstances, and got rid of censorship in the theatre. They also vastly increased spending on education, and made many other changes. By the end of their term, Britain had gone from being a country with laws reflecting a largely conservative, authoritarian, worldview to one whose laws were some of the most liberal in Europe, and society had started changing to match. There were exceptions, though, and that government did make some changes that were illiberal. They brought in increased restrictions on immigration, starting a worrying trend that continues to this day of governments getting ever crueler to immigrants, and they added LSD to the list of illegal drugs. And they brought in the Marine Broadcasting Offences Act, banning the pirate stations. We've mentioned pirate radio stations very briefly, but never properly explained them. In Britain, at this point, there was a legal monopoly on broadcasting. Only the BBC could run a radio station in the UK, and thanks to agreements with the Musicians' Union, the BBC could only play a very small amount of recorded music, with everything else having to be live performances or spoken word. And because it had a legal obligation to provide something for everyone, that meant the tiny amount of recorded music that was played on the radio had to cover all genres, meaning that even while Britain was going through the most important changes in its musical history, pop records were limited to an hour or two a week on British radio. Obviously, that wasn't going to last while there was money to be made, and the record companies in particular wanted to have somewhere to showcase their latest releases. At the start of the sixties, Radio Luxembourg had become popular, broadcasting from continental Europe but largely playing shows that had been pre-recorded in London. But of course, that was far enough away that it made listening to the transmissions difficult. But a solution presented itself: [Excerpt: The Fortunes, "Caroline"] Radio Caroline still continues to this day, largely as an Internet-based radio station, but in the mid-sixties it was something rather different. It was one of a handful of radio stations -- the pirate stations -- that broadcast from ships in international waters. The ships would stay three miles off the coast of Britain, close enough for their broadcasts to be clearly heard in much of the country, but outside Britain's territorial waters. They soon became hugely popular, with Radio Caroline and Radio London the two most popular, and introduced DJs like Tony Blackburn, Dave Lee Travis, Kenny Everett, and John Peel to the airwaves of Britain. The stations ran on bribery and advertising, and if you wanted a record to get into the charts one of the things you had to do was bribe one of the big pirate stations to playlist it, and with this corruption came violence, which came to a head when as we heard in the episode on “Here Comes the Night”, in 1966 Major Oliver Smedley, a failed right-wing politician and one of the directors of Radio Caroline, got a gang of people to board an abandoned sea fort from which a rival station was broadcasting and retrieve some equipment he claimed belonged to him. The next day, Reginald Calvert, the owner of the rival station, went to Smedley's home to confront him, and Smedley shot him dead, claiming self-defence. The jury in Smedley's subsequent trial took only a minute to find him not guilty and award him two hundred and fifty guineas to cover his costs. This was the last straw for the government, which was already concerned that the pirates' transmitters were interfering with emergency services transmissions, and that proper royalties weren't being paid for the music broadcast (though since much of the music was only on there because of payola, this seems a little bit of a moot point). They introduced legislation which banned anyone in the UK from supplying the pirate ships with records or other supplies, or advertising on the stations. They couldn't do anything about the ships themselves, because they were outside British jurisdiction, but they could make sure that nobody could associate with them while remaining in the UK. The BBC was to regain its monopoly (though in later years some commercial radio stations were allowed to operate). But as well as the stick, they needed the carrot. The pirate stations *had* been filling a real need, and the biggest of them were getting millions of listeners every day. So the arrangements with the Musicians' Union and the record labels were changed, and certain BBC stations were now allowed to play a lot more recorded music per day. I haven't been able to find accurate figures anywhere -- a lot of these things were confidential agreements -- but it seems to have been that the so-called "needle time" rules were substantially relaxed, allowing the BBC to separate what had previously been the Light Programme -- a single radio station that played all kinds of popular music, much of it live performances -- into two radio stations that were each allowed to play as much as twelve hours of recorded music per day, which along with live performances and between-track commentary from DJs was enough to allow a full broadcast schedule. One of these stations, Radio 2, was aimed at older listeners, and to start with mostly had programmes of what we would now refer to as Muzak, mixed in with the pop music of an older generation -- crooners and performers like Englebert Humperdinck. But another, Radio 1, was aimed at a younger audience and explicitly modelled on the pirate stations, and featured many of the DJs who had made their names on those stations. And on its first broadcast, as George Martin's theme tune for the new station faded, Tony Blackburn reached for a record. At different times Blackburn has said either that he was just desperately reaching for whatever record came to hand or that he made a deliberate choice because the record he chose had such a striking opening that it would be the perfect way to start a new station: [Excerpt: Tony Blackburn first radio show into "Flowers in the Rain" by the Move] You may remember me talking in the episode on "Here Comes the Night" about how in 1964 Dick Rowe of Decca, the manager Larry Page, and the publicist and co-owner of Radio Caroline Phil Solomon were all trying to promote something called Brumbeat as the answer to Merseybeat – Brummies, for those who don't know, are people from Birmingham. Brumbeat never took off the way Merseybeat did, but several bands did get a chance to make records, among them Gerry Levene and the Avengers: [Excerpt: Gerry Levene and the Avengers, "Dr. Feelgood"] That was the only single the Avengers made, and the B-side wasn't even them playing, but a bunch of session musicians under the direction of Bert Berns, and the group split up soon afterwards, but several of the members would go on to have rather important careers. According to some sources, one of their early drummers was John Bohnam, who you can be pretty sure will be turning up later in the story, while the drummer on that track was Graeme Edge, who would later go on to co-found the Moody Blues. But today it's the guitarist we'll be looking at. Roy Wood had started playing music when he was very young -- he'd had drum lessons when he was five years old, the only formal musical tuition he ever had, and he'd played harmonica around working men's clubs as a kid. And as a small child he'd loved classical music, particularly Tchaikovsky and Elgar. But it wasn't until he was twelve that he decided that he wanted to be a guitarist. He went to see the Shadows play live, and was inspired by the sound of Hank Marvin's guitar, which he later described as sounding "like it had been dipped in Dettol or something": [Excerpt: The Shadows, "Apache"] He started begging his parents for a guitar, and got one for his thirteenth birthday -- and by the time he was fourteen he was already in a band, the Falcons, whose members were otherwise eighteen to twenty years old, but who needed a lead guitarist who could play like Marvin. Wood had picked up the guitar almost preternaturally quickly, as he would later pick up every instrument he turned his hand to, and he'd also got the equipment. His friend Jeff Lynne later said "I first saw Roy playing in a church hall in Birmingham and I think his group was called the Falcons. And I could tell he was dead posh because he had a Fender Stratocaster and a Vox AC30 amplifier. The business at the time. I mean, if you've got those, that's it, you're made." It was in the Falcons that Wood had first started trying to write songs, at first instrumentals in the style of the Shadows, but then after the Beatles hit the charts he realised it was possible for band members to write their own material, and started hesitantly trying to write a few actual songs. Wood had moved on from the Falcons to Gerry Levene's band, one of the biggest local bands in Birmingham, when he was sixteen, which is also when he left formal education, dropping out from art school -- he's later said that he wasn't expelled as such, but that he and the school came to a mutual agreement that he wouldn't go back there. And when Gerry Levene and the Avengers fell apart after their one chance at success hadn't worked out, he moved on again to an even bigger band. Mike Sheridan and the Night Riders had had two singles out already, both produced by Cliff Richard's producer Norrie Paramor, and while they hadn't charted they were clearly going places. They needed a new guitarist, and Wood was by far the best of the dozen or so people who auditioned, even though Sheridan was very hesitant at first -- the Night Riders were playing cabaret, and all dressed smartly at all times, and this sixteen-year-old guitarist had turned up wearing clothes made by his sister and ludicrous pointy shoes. He was the odd man out, but he was so good that none of the other players could hold a candle to him, and he was in the Night Riders by the time of their third single, "What a Sweet Thing That Was": [Excerpt: Mike Sheridan and the Night Riders, "What a Sweet Thing That Was"] Sheridan later said "Roy was and still is, in my opinion, an unbelievable talent. As stubborn as a mule and a complete extrovert. Roy changed the group by getting us into harmonies and made us realize there was better material around with more than three chords to play. This was our turning point and we became a group's group and a bigger name." -- though there are few other people who would describe Wood as extroverted, most people describing him as painfully shy off-stage. "What a Sweet Thing That Was" didn't have any success, and nor did its follow-up, "Here I Stand", which came out in January 1965. But by that point, Wood had got enough of a reputation that he was already starting to guest on records by other bands on the Birmingham scene, like "Pretty Things" by Danny King and the Mayfair Set: [Excerpt: Danny King and the Mayfair Set, "Pretty Things"] After their fourth single was a flop, Mike Sheridan and the Night Riders changed their name to Mike Sheridan's Lot, and the B-side of their first single under the new name was a Roy Wood song, the first time one of his songs was recorded. Unfortunately the song, modelled on "It's Not Unusual" by Tom Jones, didn't come off very well, and Sheridan blamed himself for what everyone was agreed was a lousy sounding record: [Excerpt: Mike Sheridan's Lot, "Make Them Understand"] Mike Sheridan's Lot put out one final single, but the writing was on the wall for the group. Wood left, and soon after so did Sheridan himself. The remaining members regrouped under the name The Idle Race, with Wood's friend Jeff Lynne as their new singer and guitarist. But Wood wouldn't remain without a band for long. He'd recently started hanging out with another band, Carl Wayne and the Vikings, who had also released a couple of singles, on Pye: [Excerpt: Carl Wayne and the Vikings, "What's the Matter Baby"] But like almost every band from Birmingham up to this point, the Vikings' records had done very little, and their drummer had quit, and been replaced by Bev Bevan, who had been in yet another band that had gone nowhere, Denny Laine and the Diplomats, who had released one single under the name of their lead singer Nicky James, featuring the Breakaways, the girl group who would later sing on "Hey Joe", on backing vocals: [Excerpt: Nicky James, "My Colour is Blue"] Bevan had joined Carl Wayne's group, and they'd recorded one track together, a cover version of "My Girl", which was only released in the US, and which sank without a trace: [Excerpt: Carl Wayne and the Vikings, "My Girl"] It was around this time that Wood started hanging around with the Vikings, and they would all complain about how if you were playing the Birmingham circuit you were stuck just playing cover versions, and couldn't do anything more interesting. They were also becoming more acutely aware of how successful they *could* have been, because one of the Brumbeat bands had become really big. The Moody Blues, a supergroup of players from the best bands in Birmingham who featured Bev Bevan's old bandmate Denny Laine and Wood's old colleague Graeme Edge, had just hit number one with their version of "Go Now": [Excerpt: The Moody Blues, "Go Now"] So they knew the potential for success was there, but they were all feeling trapped. But then Ace Kefford, the bass player for the Vikings, went to see Davy Jones and the Lower Third playing a gig: [Excerpt: Davy Jones and the Lower Third, "You've Got a Habit of Leaving"] Also at the gig was Trevor Burton, the guitarist for Danny King and the Mayfair Set. The two of them got chatting to Davy Jones after the gig, and eventually the future David Bowie told them that the two of them should form their own band if they were feeling constricted in their current groups. They decided to do just that, and they persuaded Carl Wayne from Kefford's band to join them, and got in Wood. Now they just needed a drummer. Their first choice was John Bonham, the former drummer for Gerry Levene and the Avengers who was now drumming in a band with Kefford's uncle and Nicky James from the Diplomats. But Bonham and Wayne didn't get on, and so Bonham decided to remain in the group he was in, and instead they turned to Bev Bevan, the Vikings' new drummer. (Of the other two members of the Vikings, one went on to join Mike Sheridan's Lot in place of Wood, before leaving at the same time as Sheridan and being replaced by Lynne, while the other went on to join Mike Sheridan's New Lot, the group Sheridan formed after leaving his old group. The Birmingham beat group scene seems to have only had about as many people as there were bands, with everyone ending up a member of twenty different groups). The new group called themselves the Move, because they were all moving on from other groups, and it was a big move for all of them. Many people advised them not to get together, saying they were better off where they were, or taking on offers they'd got from more successful groups -- Carl Wayne had had an offer from a group called the Spectres, who would later become famous as Status Quo, while Wood had been tempted by Tony Rivers and the Castaways, a group who at the time were signed to Immediate Records, and who did Beach Boys soundalikes and covers: [Excerpt: Tony Rivers and the Castaways, "Girl Don't Tell Me"] Wood was a huge fan of the Beach Boys and would have fit in with Rivers, but decided he'd rather try something truly new. After their first gig, most of the people who had warned against the group changed their minds. Bevan's best friend, Bobby Davis, told Bevan that while he'd disliked all the other groups Bevan had played in, he liked this one. (Davis would later become a famous comedian, and have a top five single himself in the seventies, produced by Jeff Lynne and with Bevan on the drums, under his stage name Jasper Carrott): [Excerpt: Jasper Carrott, "Funky Moped"] Most of their early sets were cover versions, usually of soul and Motown songs, but reworked in the group's unique style. All five of the band could sing, four of them well enough to be lead vocalists in their own right (Bevan would add occasional harmonies or sing novelty numbers) and so they became known for their harmonies -- Wood talked at the time about how he wanted the band to have Beach Boys harmonies but over instruments that sounded like the Who. And while they were mostly doing cover versions live, Wood was busily writing songs. Their first recording session was for local radio, and at that session they did cover versions of songs by Brenda Lee, the Isley Brothers, the Orlons, the Marvelettes, and Betty Everett, but they also performed four songs written by Wood, with each member of the front line taking a lead vocal, like this one with Kefford singing: [Excerpt: The Move, "You're the One I Need"] The group were soon signed by Tony Secunda, the manager of the Moody Blues, who set about trying to get the group as much publicity as possible. While Carl Wayne, as the only member who didn't play an instrument, ended up the lead singer on most of the group's early records, Secunda started promoting Kefford, who was younger and more conventionally attractive than Wayne, and who had originally put the group together, as the face of the group, while Wood was doing most of the heavy lifting with the music. Wood quickly came to dislike performing live, and to wish he could take the same option as Brian Wilson and stay home and write songs and make records while the other four went out and performed, so Kefford and Wayne taking the spotlight from him didn't bother him at the time, but it set the group up for constant conflicts about who was actually the leader of the group. Wood was also uncomfortable with the image that Secunda set up for the group. Secunda decided that the group needed to be promoted as "bad boys", and so he got them to dress up as 1930s gangsters, and got them to do things like smash busts of Hitler, or the Rhodesian dictator Ian Smith, on stage. He got them to smash TVs on stage too, and in one publicity stunt he got them to smash up a car, while strippers took their clothes off nearby -- claiming that this was to show that people were more interested in violence than in sex. Wood, who was a very quiet, unassuming, introvert, didn't like this sort of thing, but went along with it. Secunda got the group a regular slot at the Marquee club, which lasted several months until, in one of Secunda's ideas for publicity, Carl Wayne let off smoke bombs on stage which set fire to the stage. The manager came up to try to stop the fire, and Wayne tossed the manager's wig into the flames, and the group were banned from the club (though the ban was later lifted). In another publicity stunt, at the time of the 1966 General Election, the group were photographed with "Vote Tory" posters, and issued an invitation to Edward Heath, the leader of the Conservative Party and a keen amateur musician, to join them on stage on keyboards. Sir Edward didn't respond to the invitation. All this publicity led to record company interest. Joe Boyd tried to sign the group to Elektra Records, but much as with The Pink Floyd around the same time, Jac Holzman wasn't interested. Instead they signed with a new production company set up by Denny Cordell, the producer of the Moody Blues' hits. The contract they signed was written on the back of a nude model, as yet another of Secunda's publicity schemes. The group's first single, "Night of Fear" was written by Wood and an early sign of his interest in incorporating classical music into rock: [Excerpt: The Move, "Night of Fear"] Secunda claimed in the publicity that that song was inspired by taking bad acid and having a bad trip, but in truth Wood was more inspired by brown ale than by brown acid -- he and Bev Bevan would never do any drugs other than alcohol. Wayne did take acid once, but didn't like it, though Burton and Kefford would become regular users of most drugs that were going. In truth, the song was not about anything more than being woken up in the middle of the night by an unexpected sound and then being unable to get back to sleep because you're scared of what might be out there. The track reached number two on the charts in the UK, being kept off the top by "I'm a Believer" by the Monkees, and was soon followed up by another song which again led to assumptions of drug use. "I Can Hear the Grass Grow" wasn't about grass the substance, but was inspired by a letter to Health and Efficiency, a magazine which claimed to be about the nudist lifestyle as an excuse for printing photos of naked people at a time before pornography laws were liberalised. The letter was from a reader saying that he listened to pop music on the radio because "where I live it's so quiet I can hear the grass grow!" Wood took that line and turned it into the group's next single, which reached number five: [Excerpt: The Move, "I Can Hear the Grass Grow"] Shortly after that, the group played two big gigs at Alexandra Palace. The first was the Fourteen-Hour Technicolor Dream, which we talked about in the Pink Floyd episode. There Wood had one of the biggest thrills of his life when he walked past John Lennon, who saluted him and then turned to a friend and said "He's brilliant!" -- in the seventies Lennon would talk about how Wood was one of his two favourite British songwriters, and would call the Move "the Hollies with balls". The other gig they played at Alexandra Palace was a "Free the Pirates" benefit show, sponsored by Radio Caroline, to protest the imposition of the Marine Broadcasting (Offences) Act. Despite that, it was, of course, the group's next single that was the first one to be played on Radio One. And that single was also the one which kickstarted Roy Wood's musical ambitions. The catalyst for this was Tony Visconti. Visconti was a twenty-three-year-old American who had been in the music business since he was sixteen, working the typical kind of jobs that working musicians do, like being for a time a member of a latter-day incarnation of the Crew-Cuts, the white vocal group who had had hits in the fifties with covers of "Sh'Boom" and “Earth Angel”. He'd also recorded two singles as a duo with his wife Siegrid, which had gone nowhere: [Excerpt: Tony and Siegrid, "Up Here"] Visconti had been working for the Richmond Organisation as a staff songwriter when he'd met the Move's producer Denny Cordell. Cordell was in the US to promote a new single he had released with a group called Procol Harum, "A Whiter Shade of Pale", and Visconti became the first American to hear the record, which of course soon became a massive hit: [Excerpt: Procol Harum, "A Whiter Shade of Pale"] While he was in New York, Cordell also wanted to record a backing track for one of his other hit acts, Georgie Fame. He told Visconti that he'd booked several of the best session players around, like the jazz trumpet legend Clark Terry, and thought it would be a fun session. Visconti asked to look at the charts for the song, out of professional interest, and Cordell was confused -- what charts? The musicians would just make up an arrangement, wouldn't they? Visconti asked what he was talking about, and Cordell talked about how you made records -- you just got the musicians to come into the studio, hung around while they smoked a few joints and worked out what they were going to play, and then got on with it. It wouldn't take more than about twelve hours to get a single recorded that way. Visconti was horrified, and explained that that might be how they did things in London, but if Cordell tried to make a record that way in New York, with an eight-piece group of session musicians who charged union scale, and would charge double scale for arranging work on top, then he'd bankrupt himself. Cordell went pale and said that the session was in an hour, what was he going to do? Luckily, Cordell had a copy of the demo with him, and Visconti, who unlike Cordell was a trained musician, quickly sat down and wrote an arrangement for him, sketching out parts for guitar, bass, drums, piano, sax, and trumpets. The resulting arrangement wasn't perfect -- Visconti had to write the whole thing in less than an hour with no piano to hand -- but it was good enough that Cordell's production assistant on the track, Harvey Brooks of the group Electric Flag, who also played bass on the track, could tweak it in the studio, and the track was recorded quickly, saving Cordell a fortune: [Excerpt: Georgie Fame, "Because I Love You"] One of the other reasons Cordell had been in the US was that he was looking for a production assistant to work with him in the UK to help translate his ideas into language the musicians could understand. According to Visconti he said that he was going to try asking Phil Spector to be his assistant, and Artie Butler if Spector said no. Astonishingly, assuming he did ask them, neither Phil Spector nor Artie Butler (who was the arranger for records like "Leader of the Pack" and "I'm a Believer" among many, many, others, and who around this time was the one who suggested to Louis Armstrong that he should record "What a Wonderful World") wanted to fly over to the UK to work as Denny Cordell's assistant, and so Cordell turned back to Visconti and invited him to come over to the UK. The main reason Cordell needed an assistant was that he had too much work on his hands -- he was currently in the middle of recording albums for three major hit groups -- Procol Harum, The Move, and Manfred Mann -- and he physically couldn't be in multiple studios at once. Visconti's first work for him was on a Manfred Mann session, where they were recording the Randy Newman song "So Long Dad" for their next single. Cordell produced the rhythm track then left for a Procol Harum session, leaving Visconti to guide the group through the overdubs, including all the vocal parts and the lead instruments: [Excerpt: Manfred Mann, "So Long Dad"] The next Move single, "Flowers in the Rain", was the first one to benefit from Visconti's arrangement ideas. The band had recorded the track, and Cordell had been unhappy with both the song and performance, thinking it was very weak compared to their earlier singles -- not the first time that Cordell would have a difference of opinion with the band, who he thought of as a mediocre pop group, while they thought of themselves as a heavy rock band who were being neutered in the studio by their producer. In particular, Cordell didn't like that the band fell slightly out of time in the middle eight of the track. He decided to scrap it, and get the band to record something else. Visconti, though, thought the track could be saved. He told Cordell that what they needed to do was to beat the Beatles, by using a combination of instruments they hadn't thought of. He scored for a quartet of wind instruments -- oboe, flute, clarinet, and French horn, in imitation of Mendelssohn: [Excerpt: The Move, "Flowers in the Rain"] And then, to cover up the slight sloppiness on the middle eight, Visconti had the wind instruments on that section recorded at half speed, so when played back at normal speed they'd sound like pixies and distract from the rhythm section: [Excerpt: The Move, "Flowers in the Rain"] Visconti's instincts were right. The single went to number two, kept off the top spot by Englebert Humperdinck, who spent 1967 keeping pretty much every major British band off number one, and thanks in part to it being the first track played on Radio 1, but also because it was one of the biggest hits of 1967, it's been the single of the Move's that's had the most airplay over the years. Unfortunately, none of the band ever saw a penny in royalties from it. It was because of another of Tony Secunda's bright ideas. Harold Wilson, the Prime Minister at the time, was very close to his advisor Marcia Williams, who started out as his secretary, rose to be his main political advisor, and ended up being elevated to the peerage as Baroness Falkender. There were many, many rumours that Williams was corrupt -- rumours that were squashed by both Wilson and Williams frequently issuing libel writs against newspapers that mentioned them -- though it later turned out that at least some of these were the work of Britain's security services, who believed Wilson to be working for the KGB (and indeed Williams had first met Wilson at a dinner with Khrushchev, though Wilson was very much not a Communist) and were trying to destabilise his government as a result. Their personal closeness also led to persistent rumours that Wilson and Williams were having an affair. And Tony Secunda decided that the best way to promote "Flowers in the Rain" was to print a postcard with a cartoon of Wilson and Williams on it, and send it out. Including sticking a copy through the door of ten Downing St, the Prime Minister's official residence. This backfired *spectacularly*. Wilson sued the Move for libel, even though none of them had known of their manager's plans, and as a result of the settlement it became illegal for any publication to print the offending image (though it can easily be found on the Internet now of course), everyone involved with the record was placed under a permanent legal injunction to never discuss the details of the case, and every penny in performance or songwriting royalties the track earned would go to charities of Harold Wilson's choice. In the 1990s newspaper reports said that the group had up to that point lost out on two hundred thousand pounds in royalties as a result of Secunda's stunt, and given the track's status as a perennial favourite, it's likely they've missed out on a similar amount in the decades since. Incidentally, while every member of the band was banned from ever describing the postcard, I'm not, and since Wilson and Williams are now both dead it's unlikely they'll ever sue me. The postcard is a cartoon in the style of Aubrey Beardsley, and shows Wilson as a grotesque naked homunculus sat on a bed, with Williams naked save for a diaphonous nightgown through which can clearly be seen her breasts and genitals, wearing a Marie Antoinette style wig and eyemask and holding a fan coquettishly, while Wilson's wife peers at them through a gap in the curtains. The text reads "Disgusting Depraved Despicable, though Harold maybe is the only way to describe "Flowers in the Rain" The Move, released Aug 23" The stunt caused huge animosity between the group and Secunda, not only because of the money they lost but also because despite Secunda's attempts to associate them with the Conservative party the previous year, Ace Kefford was upset at an attack on the Labour leader -- his grandfather was a lifelong member of the Labour party and Kefford didn't like the idea of upsetting him. The record also had a knock-on effect on another band. Wood had given the song "Here We Go Round the Lemon Tree" to his friends in The Idle Race, the band that had previously been Mike Sheridan and the Night Riders, and they'd planned to use their version as their first single: [Excerpt: The Idle Race, "Here We Go Round the Lemon Tree"] But the Move had also used the song as the B-side for their own single, and "Flowers in the Rain" was so popular that the B-side also got a lot of airplay. The Idle Race didn't want to be thought of as a covers act, and so "Lemon Tree" was pulled at the last minute and replaced by "Impostors of Life's Magazine", by the group's guitarist Jeff Lynne: [Excerpt: The Idle Race, "Impostors of Life's Magazine"] Before the problems arose, the Move had been working on another single. The A-side, "Cherry Blossom Clinic", was a song about being in a psychiatric hospital, and again had an arrangement by Visconti, who this time conducted a twelve-piece string section: [Excerpt: The Move, "Cherry Blossom Clinic"] The B-side, meanwhile, was a rocker about politics: [Excerpt: The Move, "Vote For Me"] Given the amount of controversy they'd caused, the idea of a song about mental illness backed with one about politics seemed a bad idea, and so "Cherry Blossom Clinic" was kept back as an album track while "Vote For Me" was left unreleased until future compilations. The first Wood knew about "Cherry Blossom Clinic" not being released was when after a gig in London someone -- different sources have it as Carl Wayne or Tony Secunda -- told him that they had a recording session the next morning for their next single and asked what song he planned on recording. When he said he didn't have one, he was sent up to his hotel room with a bottle of Scotch and told not to come down until he had a new song. He had one by 8:30 the next morning, and was so drunk and tired that he had to be held upright by his bandmates in the studio while singing his lead vocal on the track. The song was inspired by "Somethin' Else", a track by Eddie Cochran, one of Wood's idols: [Excerpt: Eddie Cochran, "Somethin' Else"] Wood took the bass riff from that and used it as the basis for what was the Move's most straight-ahead rock track to date. As 1967 was turning into 1968, almost universally every band was going back to basics, recording stripped down rock and roll tracks, and the Move were no exception. Early takes of "Fire Brigade" featured Matthew Fisher of Procol Harum on piano, but the final version featured just guitar, bass, drums and vocals, plus a few sound effects: [Excerpt: The Move, "Fire Brigade"] While Carl Wayne had sung lead or co-lead on all the Move's previous singles, he was slowly being relegated into the background, and for this one Wood takes the lead vocal on everything except the brief bridge, which Wayne sings: [Excerpt: The Move, "Fire Brigade"] The track went to number three, and while it's not as well-remembered as a couple of other Move singles, it was one of the most influential. Glen Matlock of the Sex Pistols has often said that the riff for "God Save the Queen" is inspired by "Fire Brigade": [Excerpt: The Sex Pistols, "God Save the Queen"] The reversion to a heavier style of rock on "Fire Brigade" was largely inspired by the group's new friend Jimi Hendrix. The group had gone on a package tour with The Pink Floyd (who were at the bottom of the bill), Amen Corner, The Nice, and the Jimi Hendrix Experience, and had become good friends with Hendrix, often jamming with him backstage. Burton and Kefford had become so enamoured of Hendrix that they'd both permed their hair in imitation of his Afro, though Burton regretted it -- his hair started falling out in huge chunks as a result of the perm, and it took him a full two years to grow it out and back into a more natural style. Burton had started sharing a flat with Noel Redding of the Jimi Hendrix Experience, and Burton and Wood had also sung backing vocals with Graham Nash of the Hollies on Hendrix's "You Got Me Floatin'", from his Axis: Bold as Love album: [Excerpt: The Jimi Hendrix Experience, "You Got Me Floatin'"] In early 1968, the group's first album came out. In retrospect it's arguably their best, but at the time it felt a little dated -- it was a compilation of tracks recorded between late 1966 and late 1967, and by early 1968 that might as well have been the nineteenth century. The album included their two most recent singles, a few more songs arranged by Visconti, and three cover versions -- versions of Eddie Cochran's "Weekend", Moby Grape's "Hey Grandma", and the old standard "Zing! Went the Strings of My Heart", done copying the Coasters' arrangement with Bev Bevan taking a rare lead vocal. By this time there was a lot of dissatisfaction among the group. Most vocal -- or least vocal, because by this point he was no longer speaking to any of the other members, had been Ace Kefford. Kefford felt he was being sidelined in a band he'd formed and where he was the designated face of the group. He'd tried writing songs, but the only one he'd brought to the group, "William Chalker's Time Machine", had been rejected, and was eventually recorded by a group called The Lemon Tree, whose recording of it was co-produced by Burton and Andy Fairweather-Low of Amen Corner: [Excerpt: The Lemon Tree, "William Chalker's Time Machine"] He was also, though the rest of the group didn't realise it at the time, in the middle of a mental breakdown, which he later attributed to his overuse of acid. By the time the album, titled Move, came out, he'd quit the group. He formed a new group, The Ace Kefford Stand, with Cozy Powell on drums, and they released one single, a cover version of the Yardbirds' "For Your Love", which didn't chart: [Excerpt: The Ace Kefford Stand, "For Your Love"] Kefford recorded a solo album in 1968, but it wasn't released until an archival release in 2003, and he spent most of the next few decades dealing with mental health problems. The group continued on as a four-piece, with Burton moving over to bass. While they thought about what to do -- they were unhappy with Secunda's management, and with the sound that Cordell was getting from their recordings, which they considered far wimpier than their live sound -- they released a live EP of cover versions, recorded at the Marquee. The choice of songs for the EP showed their range of musical influences at the time, going from fifties rockabilly to the burgeoning progressive rock scene, with versions of Cochran's "Somethin' Else", Jerry Lee Lewis' "It'll Be Me", "So You Want to Be a Rock and Roll Star" by the Byrds, "Sunshine Help Me" by Spooky Tooth, and "Stephanie Knows Who" by Love: [Excerpt: The Move, "Stephanie Knows Who"] Incidentally, later that year they headlined a gig at the Royal Albert Hall with the Byrds as the support act, and Gram Parsons, who by that time was playing guitar for the Byrds, said that the Move did "So You Want to Be a Rock and Roll Star" better than the Byrds did. The EP, titled "Something Else From the Move", didn't do well commercially, but it did do something that the band thought important -- Trevor Burton in particular had been complaining that Denny Cordell's productions "took the toughness out" of the band's sound, and was worried that the group were being perceived as a pop band, not as a rock group like his friends in the Jimi Hendrix Experience or Cream. There was an increasing tension between Burton, who wanted to be a heavy rocker, and the older Wayne, who thought there was nothing at all wrong with being a pop band. The next single, "Wild Tiger Woman", was much more in the direction that Burton wanted their music to go. It was ostensibly produced by Cordell, but for the most part he left it to the band, and as a result it ended up as a much heavier track than normal. Roy Wood had only intended the song as an album track, and Bevan and Wayne were hesitant about it being a single, but Burton was insistent -- "Wild Tiger Woman" was going to be the group's first number one record: [Excerpt: The Move, "Wild Tiger Woman"] In fact, it turned out to be the group's first single not to chart at all, after four top ten singles in a row. The group were now in crisis. They'd lost Ace Kefford, Burton and Wayne were at odds, and they were no longer guaranteed hitmakers. They decided to stop working with Cordell and Secunda, and made a commitment that if the next single was a flop, they would split up. In any case, Roy Wood was already thinking about another project. Even though the group's recent records had gone in a guitar-rock direction, he thought maybe you could do something more interesting. Ever since seeing Tony Visconti conduct orchestral instruments playing his music, he'd been thinking about it. As he later put it "I thought 'Well, wouldn't it be great to get a band together, and rather than advertising for a guitarist how about advertising for a cellist or a French horn player or something? There must be lots of young musicians around who play the... instruments that would like to play in a rock kind of band.' That was the start of it, it really was, and I think after those tracks had been recorded with Tony doing the orchestral arrangement, that's when I started to get bored with the Move, with the band, because I thought 'there's something more to it'". He'd started sketching out plans for an expanded lineup of the group, drawing pictures of what it would look like on stage if Carl Wayne was playing timpani while there were cello and French horn players on stage with them. He'd even come up with a name for the new group -- a multi-layered pun. The group would be a light orchestra, like the BBC Light Orchestra, but they would be playing electrical instruments, and also they would have a light show when they performed live, and so he thought "the Electric Light Orchestra" would be a good name for such a group. The other band members thought this was a daft idea, but Wood kept on plotting. But in the meantime, the group needed some new management. The person they chose was Don Arden. We talked about Arden quite a bit in the last episode, but he's someone who is going to turn up a lot in future episodes, and so it's best if I give a little bit more background about him. Arden was a manager of the old school, and like several of the older people in the music business at the time, like Dick James or Larry Page, he had started out as a performer, doing an Al Jolson tribute act, and he was absolutely steeped in showbusiness -- his wife had been a circus contortionist before they got married, and when he moved from Manchester to London their first home had been owned by Winifred Atwell, a boogie piano player who became the first Black person to have a UK number one -- and who is *still* the only female solo instrumentalist to have a UK number one -- with her 1954 hit "Let's Have Another Party": [Excerpt: WInifred Atwell, "Let's Have Another Party"] That was only Atwell's biggest in a long line of hits, and she'd put all her royalties into buying properties in London, one of which became the Ardens' home. Arden had been considered quite a promising singer, and had made a few records in the early 1950s. His first recordings, of material in Yiddish aimed at the Jewish market, are sadly not findable online, but he also apparently recorded as a session singer for Embassy Records. I can't find a reliable source for what records he sang on for that label, which put out budget rerecordings of hits for sale exclusively through Woolworths, but according to Wikipedia one of them was Embassy's version of "Blue Suede Shoes", put out under the group name "The Canadians", and the lead vocal on that track certainly sounds like it could be him: [Excerpt: The Canadians, "Blue Suede Shoes"] As you can tell, rock and roll didn't really suit Arden's style, and he wisely decided to get out of performance and into behind-the-scenes work, though he would still try on occasion to make records of his own -- an acetate exists from 1967 of him singing "Sunrise, Sunset": [Excerpt: Don Arden, "Sunrise, Sunset"] But he'd moved first into promotion -- he'd been the promoter who had put together tours of the UK for Gene Vincent, Little Richard, Brenda Lee and others which we mentioned in the second year of the podcast -- and then into management. He'd first come into management with the Animals -- apparently acting at that point as the money man for Mike Jeffries, who was the manager the group themselves dealt with. According to Arden -- though his story differs from the version of the story told by others involved -- the group at some point ditched Arden for Allen Klein, and when they did, Arden's assistant Peter Grant, another person we'll be hearing a lot more of, went with them. Arden, by his own account, flew over to see Klein and threatened to throw him out of the window of his office, which was several stories up. This was a threat he regularly made to people he believed had crossed him -- he made a similar threat to one of the Nashville Teens, the first group he managed after the Animals, after the musician asked what was happening to the group's money. And as we heard last episode, he threatened Robert Stigwood that way when Stigwood tried to get the Small Faces off him. One of the reasons he'd signed the Small Faces was that Steve Marriott had gone to the Italia Conti school, where Arden had sent his own children, Sharon and David, and David had said that Marriott was talented. And David was also a big reason the Move came over to Arden. After the Small Faces had left him, Arden had bought Galaxy Entertaimnent, the booking agency that handled bookings for Amen Corner and the Move, among many other acts. Arden had taken over management of Amen Corner himself, and had put his son David in charge of liaising with Tony Secunda about the Move. But David Arden was sure that the Move could be an albums act, not just a singles act, and was convinced the group had more potential than they were showing, and when they left Secunda, Don Arden took them on as his clients, at least for the moment. Secunda, according to Arden (who is not the most reliable of witnesses, but is unfortunately the only one we have for a lot of this stuff) tried to hire someone to assassinate Arden, but Arden quickly let Secunda know that if anything happened to Arden, Secunda himself would be dead within the hour. As "Wild Tiger Woman" hadn't been a hit, the group decided to go back to their earlier "Flowers in the Rain" style, with "Blackberry Way": [Excerpt: The Move, "Blackberry Way"] That track was produced by Jimmy Miller, who was producing the Rolling Stones and Traffic around this time, and featured the group's friend Richard Tandy on harpsichord. It's also an example of the maxim "Good artists copy, great artists steal". There are very few more blatant examples of plagiarism in pop music than the middle eight of "Blackberry Way". Compare Harry Nilsson's "Good Old Desk": [Excerpt: Nilsson, "Good Old Desk"] to the middle eight of "Blackberry Way": [Excerpt: The Move, "Blackberry Way"] "Blackberry Way" went to number one, but that was the last straw for Trevor Burton -- it was precisely the kind of thing he *didn't* want to be doing,. He was so sick of playing what he thought of as cheesy pop music that at one show he attacked Bev Bevan on stage with his bass, while Bevan retaliated with his cymbals. He stormed off stage, saying he was "tired of playing this crap". After leaving the group, he almost joined Blind Faith, a new supergroup that members of Cream and Traffic were forming, but instead formed his own supergroup, Balls. Balls had a revolving lineup which at various times included Denny Laine, formerly of the Moody Blues, Jackie Lomax, a singer-songwriter who was an associate of the Beatles, Richard Tandy who had played on "Blackberry Way", and Alan White, who would go on to drum with the band Yes. Balls only released one single, "Fight for My Country", which was later reissued as a Trevor Burton solo single: [Excerpt: Balls, "Fight For My Country"] Balls went through many lineup changes, and eventually seemed to merge with a later lineup of the Idle Race to become the Steve Gibbons Band, who were moderately successful in the seventies and eighties. Richard Tandy covered on bass for a short while, until Rick Price came in as a permanent replacement. Before Price, though, the group tried to get Hank Marvin to join, as the Shadows had then split up, and Wood was willing to move over to bass and let Marvin play lead guitar. Marvin turned down the offer though. But even though "Blackberry Way" had been the group's biggest hit to date, it marked a sharp decline in the group's fortunes. Its success led Peter Walsh, the manager of Marmalade and the Tremeloes, to poach the group from Arden, and even though Arden took his usual heavy-handed approach -- he describes going and torturing Walsh's associate, Clifford Davis, the manager of Fleetwood Mac, in his autobiography -- he couldn't stop Walsh from taking over. Unfortunately, Walsh put the group on the chicken-in-a-basket cabaret circuit, and in the next year they only released one record, the single "Curly", which nobody was happy with. It was ostensibly produced by Mike Hurst, but Hurst didn't turn up to the final sessions and Wood did most of the production work himself, while in the next studio over Jimmy Miller, who'd produced "Blackberry Way", was producing "Honky Tonk Women" by the Rolling Stones. The group were getting pigeonholed as a singles group, at a time when album artists were the in thing. In a three-year career they'd only released one album, though they were working on their second. Wood was by this point convinced that the Move was unsalvageable as a band, and told the others that the group was now just going to be a launchpad for his Electric Light Orchestra project. The band would continue working the chicken-in-a-basket circuit and releasing hit singles, but that would be just to fund the new project -- which they could all be involved in if they wanted, of course. Carl Wayne, on the other hand, was very, very, happy playing cabaret, and didn't see the need to be doing anything else. He made a counter-suggestion to Wood -- keep The Move together indefinitely, but let Wood do the Brian Wilson thing and stay home and write songs. Wayne would even try to get Burton and Kefford back into the band. But Wood wasn't interested. Increasingly his songs weren't even going to the Move at all. He was writing songs for people like Cliff Bennett and the Casuals. He wrote "Dance Round the Maypole" for Acid Gallery: [Excerpt: Acid Gallery, "Dance Round the Maypole"] On that, Wood and Jeff Lynne sang backing vocals. Wood and Lynne had been getting closer since Lynne had bought a home tape recorder which could do multi-tracking -- Wood had wanted to buy one of his own after "Flowers in the Rain", but even though he'd written three hit singles at that point his publishing company wouldn't give him an advance to buy one, and so he'd started using Lynne's. The two have often talked about how they'd recorded the demo for "Blackberry Way" at Lynne's parents' house, recording Wood's vocal on the demo with pillows and cushions around his head so that his singing wouldn't wake Lynne's parents. Lynne had been another person that Wood had asked to join the group when Burton left, but Lynne was happy with The Idle Race, where he was the main singer and songwriter, though their records weren't having any success: [Excerpt: The Idle Race, "I Like My Toys"] While Wood was writing material for other people, the only one of those songs to become a hit was "Hello Suzie", written for Amen Corner, which became a top five single on Immediate Records: [Excerpt: Amen Corner, "Hello Suzie"] While the Move were playing venues like Batley Variety Club in Britain, when they went on their first US tour they were able to play for a very different audience. They were unknown in the US, and so were able to do shows for hippie audiences that had no preconceptions about them, and did things like stretch "Cherry Blossom Clinic" into an eight-minute-long extended progressive rock jam that incorporated bits of "Jesu, Joy of Man's Desiring", the Nutcracker Suite, and the Sorcerer's Apprentice: [Excerpt: The Move, "Cherry Blossom Clinic Revisited (live at the Fillmore West)"] All the group were agreed that those shows were the highlight of the group's career. Even Carl Wayne, the band member most comfortable with them playing the cabaret circuit, was so proud of the show at the Fillmore West which that performance is taken from that when the tapes proved unusable he kept hold of them, hoping all his life that technology would progress to the point where they could be released and show what a good live band they'd been, though as things turned out they didn't get released until after his death. But when they got back to the UK it was back to the chicken-in-a-basket circuit, and back to work on their much-delayed second album. That album, Shazam!, was the group's attempt at compromise between their different visions. With the exception of one song, it's all heavy rock music, but Wayne, Wood, and Price all co-produced, and Wayne had the most creative involvement he'd ever had. Side two of the album was all cover versions, chosen by Wayne, and Wayne also went out onto the street and did several vox pops, asking members of the public what they thought of pop music: [Excerpt: Vox Pops from "Don't Make My Baby Blue"] There were only six songs on the album, because they were mostly extended jams. Other than the three cover versions chosen by Wayne, there was a sludge-metal remake of "Hello Suzie", the new arrangement of "Cherry Blossom Clinic" they'd been performing live, retitled "Cherry Blossom Clinic Revisited", and only one new original, "Beautiful Daughter", which featured a string arrangement by Visconti, who also played bass: [Excerpt: The Move, "Beautiful Daughter"] And Carl Wayne sang lead on five of the six tracks, which given that one of the reasons Wayne was getting unhappy with the band was that Wood was increasingly becoming the lead singer, must have been some comfort. But it wasn't enough. By the time Shazam! came out, with a cover drawn by Mike Sheridan showing the four band members as superheroes, the band was down to three -- Carl Wayne had quit the group, for a solo career. He continued playing the cabaret circuit, and made records, but never had another hit, but he managed to have a very successful career as an all-round entertainer, acting on TV and in the theatre, including a six-year run as the narrator in the musical Blood Brothers, and replacing Alan Clarke as the lead singer of the Hollies. He died in 2004. As soon as Wayne left the group, the three remaining band members quit their management and went back to Arden. And to replace Wayne, Wood once again asked Jeff Lynne to join the group. But this time the proposition was different -- Lynne wouldn't just be joining the Move, but he would be joining the Electric Light Orchestra. They would continue putting out Move records and touring for the moment, and Lynne would be welcome to write songs for the Move so that Wood wouldn't have to be the only writer, but they'd be doing it while they were planning their new group. Lynne was in, and the first single from the new lineup was a return to the heavy riff rock style of "Wild Tiger Woman", "Brontosaurus": [Excerpt: The Move, "Brontosaurus"] But Wayne leaving the group had put Wood in a difficult position. He was now the frontman, and he hated that responsibility -- he said later "if you look at me in photos of the early days, I'm always the one hanging back with my head down, more the musician than the frontman." So he started wearing makeup, painting his face with triangles and stars, so he would be able to hide his shyness. And it worked -- and "Brontosaurus" returned the group to the top ten. But the next single, "When Alice Comes Back to the Farm", didn't chart at all. The first album for the new Move lineup, Looking On, was to finish their contract with their current record label. Many regard it as the group's "Heavy metal album", and it's often considered the worst of their four albums, with Bev Bevan calling it "plodding", but that's as much to do with Bevan's feeling about the sessions as anything else -- increasingly, after the basic rhythm tracks had been recorded, Wood and Lynne would get to work without the other two members of the band, doing immense amounts of overdubbing. And that continued after Looking On was finished. The group signed a new contract with EMI's new progressive rock label, Harvest, and the contract stated that they were signing as "the Move performing as The Electric Light Orchestra". They started work on two albums' worth of material, with the idea that anything with orchestral instruments would be put aside for the first Electric Light Orchestra album, while anything with just guitar, bass, drums, keyboard, and horns would be for the Move. The first Electric Light Orchestra track, indeed, was intended as a Move B-side. Lynne came in with a song based around a guitar riff, and with lyrics vaguely inspired by the TV show The Prisoner, about someone with a number instead of a name running, trying to escape, and then eventually dying. But then Wood decided that what the track really needed was cello. But not cello played in the standard orchestral manner, but something closer to what the Beatles had done on "I am the Walrus". He'd bought a cheap cello himself, and started playing Jimi Hendrix riffs on it, and Lynne loved the sound of it, so onto the Move's basic rhythm track they overdubbed fifteen cello tracks by Wood, and also two French horns, also by Wood: [Excerpt: The Electric Light Orchestra, "10538 Overture"] The track was named "10538 Overture", after they saw the serial number 1053 on the console they were using to mix the track, and added the number 8 at the end, making 10538 the number of the character in the song. Wood and Lynne were so enamoured with the sound of their new track that they eventually got told by the other two members of the group that they had to sit in the back when the Move were driving to gigs, so they couldn't reach the tape player, because they'd just keep playing the track over and over again. So they got a portable tape player and took that into the back seat with them to play it there. After finishing some pre-existing touring commitments, the Move and Electric Light Orchestra became a purely studio group, and Rick Price quit the bands -- he needed steady touring work to feed his family, and went off to form another band, Mongrel. Around this time, Wood also took part in another strange project. After Immediate Records collapsed, Andrew Oldham needed some fast money, so he and Don Arden put together a fake group they could sign to EMI for ten thousand pounds. The photo of the band Grunt Futtock was of some random students, and that was who Arden and Oldham told EMI was on the track, but the actual performers on the single included Roy Wood, Steve Marriott, Peter Frampton, and Andy Bown, the former keyboard player of the Herd: [Excerpt: Grunt Futtock, "Rock 'n' Roll Christian"] Nobody knows who wrote the song, although it's credited to Bernard Webb, which is a pseudonym Paul McCartney had previously used -- but everyone knew he'd used the pseudonym, so it could very easily be a nod to that. The last Move album, Message From The Country, didn't chart -- just like the previous two hadn't. But Wood's song "Tonight" made number eleven, the follow-up, "Chinatown", made number twenty-three, and then the final Move single, "California Man", a fifties rock and roll pastiche, made the top ten: [Excerpt: The Move, "California Man"] In the US, that single was flipped, and the B-side, Lynne's song "Do Ya", became the only Move song ever to make the Hot One Hundred, reaching number ninety-nine: [Excerpt: The Move, "Do Ya"] By the time "California Man" was released, the Electric Light Orchestra were well underway. They'd recorded their first album, whose biggest highlights were Lynne's "10538 Overture" and Wood's "Whisper in the Night": [Excerpt: The Electric Light Orchestra, "Whisper in the Night"] And they'd formed a touring lineup, including Richard Tandy on keyboards and several orchestral instrumentalists. Unfortunately, there were problems developing between Wood and Lynne. When the Electric Light Orchestra toured, interviewers only wanted to speak to Wood, thinking of him as the band leader, even though Wood insisted that he and Lynne were the joint leaders. And both men had started arguing a lot, to the extent that at some shows they would refuse to go on stage because of arguments as to which of them should go on first. Wood has since said that he thinks most of the problems between Lynne and himself were actually caused by Don Arden, who realised that if he split the two of them into separate acts he could have two hit groups, not one. If that was the plan, it worked, because by the time "10538 Overture" was released as the Electric Light Orchestra's first single, and made the top ten -- while "California Man" was also still in the charts -- it was announced that Roy Wood was now leaving the Electric Light Orchestra, as were keyboard playe
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