Podcasts about cornet chop suey

Bienvenidos amantes de la música, cuenta la anécdota que gracias a la pregunta de Louis Armstrong, Lionel Hampton fue el primero en atreverse a tocar un vibráfono en una grabación de Jazz, gracias a su formación anterior con la marimba y la batería. En ese momento Hampton era el baterista de la banda Les Hite's Band, contratada para grabar un disco junto al célebre trompetista, Ese evento dio como resultado el tema "Cornet Chop Suey". Hampton se transformó en un artífice en la difusón del Swing, formando parte del Benny Goodman Quartet junto a Gene Krupa y Teddy Wilson. Después de grabar un exitoso concierto en el Carnegie Hall, en 1940 formó su propia banda y partir de allí fue un favorito del gran público por su música, simpatía e histrionismo. Fue también un apoyo para el lanzamiento de nuevos artistas, como el caso de Dinah Washington quien estuvo 4 años en su agrupación antes de convertirse en estrella. En esa misma línea está la grabación que visitaremos hoy, junto al joven saxofonista Stan Getz. Les invitamos a disfrutar de una selección del disco "Hamp & Getz" de 1955. Que lo disfruten! Los temas son: 1. Headache 2. Gladys (toma alternativa) 3. Louise *Suscríbete a nuestro canal. Si ya lo has hecho, considera apoyarnos en Patreon como mecenas para hacer sustentable nuestro programa y mantener nuestro viaje en vuelo. (Podrás acceder a episodios anticipados y exclusivos) patreon.com/ViajeJazz?fan_landing=true *Ayúdanos con un Me gusta, Comparte y Comenta. * En viajealmundodeljazz.com encuentra un reproductor de Jazz Moderno y Jazz Clásico.

It's our 100th episode! To celebrate this Same Difference milestone, we're taking a look at the King-Oliver-written-but-made-famous-by-Satchmo classic "West End Blues". Join AJ and Johnny as they listen to and discuss versions by King Oliver, Louis Armstrong, Jelly Roll Morton, Doc Severinsen, Cornet Chop Suey, and new-to-us artist Etta Baker.

It's an A-List roster for our 75th episode of Same Difference, and an "obsidian" level song choice as well! The immortal "St. Louis Blues" is under the microscope, with versions by The Original Dixieland Jazz Band, Louis Armstrong, Bessie Smith, Cornet Chop Suey, Billie Holiday, and new artist Bruce Innes!

In this episode we continue our look back at the 2019 Sun Valley Jazz And Music Festival! You'll hear music AND interviews with Yve Evans, Cornet Chop Suey, and the Midiri Brothers, and of course AJ and Johnny will share their memories of this special Jazz festival.

The Louis Armstrong classic "What A Wonderful World" is this week's Jazz standard. Join AJ and Johnny as they take a look at various versions of this very popular Jazz hit. In addition to traditional renderings by Cornet Chop Suey and Tony Bennett with K.D. Lang, prepare yourselves for some versions you've likely never heard before!

Sagkeeng First Nation Treaty 1 The Canadian Crown and Indigenous peoples of Canada Métis in Canada Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Skip the Gutter; Who’s It; S.O.L. Blues; That Rhythm Man; Jazz Lips; Muskrat Ramble; Cornet Chop Suey; Tight Like This; Melancholy Blues; No (Papa No); Georgia Grind; Muggles; After […]

Lee Mountain List of mountain peaks of Missouri Missouri Tennessee   Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Big Butter and Egg Man; That’s When I’ll Come Back to You; Sweet Little Papa; St. Louis Blues; Wild Man Blues; Ory’s Creole Trombone; Cornet Chop Suey; Muggles; After You’ve Gone; Jazz Lips; Dropping […]

Obi, Nigeria Benue State Joseph Tarka Action Group (Nigeria) Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Dropping Shucks; St. Louis Blues; Cornet Chop Suey; Muggles; When You’re Smiling; Muskrat Ramble; Savoy Blues; Willie the Weeper; Chicago Breakdown; I’m Not Rough; Oriental Strut; Tight Like This; Ory’s Creole Trombone; Basin Street Blues; Sunset […]

About to Happen Alternative rock Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Dallas Blues; Cornet Chop Suey; Sweet Savannah Sue; Black and Blue; Chicago Breakdown; Ory’s Creole Trombone; Georgia Grind; A Monday Date; West End Blues; Save It Pretty Mama; Oriental Strut; Put ’em Down Blues; Come Back Sweet Papa; Big Butter […]

Flyglobespan E-Clear Elias Elia (businessman) Greek Cypriots Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Jazz Lips; Muskrat Ramble; I Can’t Give You Anything But Love; Muggles; Sweet Little Papa; Save It Pretty Mama; Cornet Chop Suey; Beau Koo Jack; Sweet Savannah Sue; Weary Blues; Melancholy Blues; Chicago Breakdown; Sunset Cafe Stomp; Come […]

Tore Svennberg A Woman’s Face (1938 film) Gustaf Molander Mauritz Stiller Nicholas II of Russia Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Don’t Forget to Mess Around; Save It Pretty Mama; Cornet Chop Suey; Basin Street Blues; Oriental Strut; Irish Black Bottom; Melancholy Blues; Song of the Islands; Dropping Shucks; S.O.L. Blues; […]

Gmina Łomazy Łomazy Trawniki men Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: After You’ve Gone; Willie the Weeper; I’m a Ding Dong Daddy (From Dumas); Weather Bird; You Made Me Love You; Put ’em Down Blues; Got No Blues; Cornet Chop Suey; When You’re Smiling; Don’t Forget to Mess Around; I’m Not […]

Alanson (name) Mazhar Alanson Mephistopheles Deal with the Devil Stith Thompson Motif (folkloristics) Swan maiden Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: St. Louis Blues; Some of These Days; Sweet Savannah Sue; The Last Time; Irish Black Bottom; Put ’em Down Blues; Willie the Weeper; Sugar Foot Strut; Cornet Chop Suey; Wild […]

History of plumbing Opening Theme: When He’s Away by Helen Morgan Episode Music: Blue, Turning Grey Over You; Cornet Chop Suey; Keyhole Blues; The Last Time; Black and Blue; Save It Pretty Mama; and Tight Like This by Louis Armstrong Outro Song: I’m Gonna Jazz My Way by Mary Stafford

Harding, South Dakota Harding County, South Dakota Butte County, South Dakota Tyrannosaurus Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Alligator Crawl; Willie the Weeper; West End Blues; Sweet Little Papa; No One Else But You; Cornet Chop Suey; You Made Me Love You; Muskrat Ramble; Irish Black Bottom; I’m A Ding Dong […]

List of invasive species in Australia Echium plantagineum Salvation Jane (album) Miles Copeland III Miles Copeland Jr. Central Intelligence Agency Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: When You’re Smiling; No One Else But You; Cornet Chop Suey; I’m A Ding Dong Daddy (From Dumas); West End Blues; Song of the Islands; […]

Clear Creek, Utah Ghost town Montserrat Island Caribs Giovanni da Verrazzano Navigatori-class destroyer Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Sweet Savannah Sue; I’m a Ding Dong Daddy (From Dumas); St. Louis Blues; Basin Street Blues; Don’t Jive Me; Ain’t Misbehavin’; Dallas Blues; Cornet Chop Suey; I Can’t Give You Anything But […]

Myricetin ChemSpider Fork (software development) Unix wars Editor war Flaming (Internet) Forumwarz Trapped in the Closet Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: I Ain’t Got Nobody; Sweet Savannah Sue; Cornet Chop Suey; Fireworks; Heah Me Talkin To Ya; Muskrat Ramble; Black and Blue; West End Blues; Georgia Grind; The Last Time; […]

Gracie Gracie family Hélio Gracie Ōuchi gari Throw (grappling) Scythe War scythe Bohemian earspoon Boar spear Bear spear Bay leaf Killing jar The Killing Jar (disambiguation) Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: When You’re Smiling; Don’t Jive Me; I Ain’t Got Nobody; Cornet Chop Suey; Weary Blues; I’m Not Rough; West […]

Mozambique Island Bridge List of longest bridges in the world Lake Pontchartrain Causeway Megaproject Wicked problem Small Is Beautiful Well-being Happiness Hedonic treadmill Music Credits: Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: After You’ve Gone, Cornet Chop Suey, Got No Blues, Heah Me Talkin To Ya, Heebie Jeebies, Jazz Lips, Melancholy Blues, […]

“The public don't understand jazz music as we musicians do. A diminished seventh don't mean a thing to them, but they go for high notes. After all, the public is paying. If musicians depended on musicians at the box office they would starve to death.”–Louis Armstrong Brian Harker's Louis Armstrong's Hot Five and Hot Seven Recordings (Oxford University Press, 2011) is an artful jambalaya of rigorous musical analysis, thoughtful cultural contexts, and some provocative informed speculation as to how Armstrong absorbed, innovated, and consolidated the music we call jazz. Harker focuses his analysis and discussion on seven of Louis Armstrong's “Hot Five” recordings, made during the period between 1925 and 1928. Harker's recording-as-“snap-shot” approach illuminates how Armstrong used novelty, musical narrative, rhythmic variation, harmonic changes, “sweet” and “hot” elements,  and technical virtuosity in his vast recording repertoire. Harker also details how Armstrong relentlessly wedded his drive for self-improvement and creative expression to commercial realities, giving the reader fascinating anecdotes and back stories about this extraordinary African-American's journey for personal and musical acceptance. Highlights of Harker's song -by-song analysis include Armstrong's “novelty” imitation of a clarinet's cascading arpeggios in “Cornet Chop Suey,” his “telling a story” in “Big Butter and Egg Man,” his negotiation of harmonic changes in “Potato Head Blues,” his crowd-thrilling high note playing in “SOL Blues” and “Gully Low Blues,” his “sweet jazz” elements in “Savoy Blues” and his brilliant amalgam of all the afore-mentioned jazz elements in his masterpiece recording, “West End Blues.” Brian Harker, a Professor of Music at Brigham Young University and former professional trumpet player himself, has spent a good part of his life studying Louis Armstrong. And, he is quite interesting and provocative when he is a speculative detective. Some examples include how he shares the theory that some of Armstrong's dynamic rhythmic experimentation was inspired by Armstrong's association with the dance team of Brown and McGraw, or how Armstrong's sustained high C virtuosity was influenced by his admiration for opera superstar Enrico Caruso as well as his competitive rivalry with trumpeter Reuben Reeves – or how Armstrong's incorporating elements of “sweet music” (in Savoy Blues) may have been inspired by Armstrong's own predilection for Guy Lombardo's sweet jazz as a preferred musical background during his own romantic trysts.  This gives feel and flesh to the book and complements Harker's studied analyses of Armstrong's solo transcriptions. Louis Armstrong drew from everything and everyone around him. He constantly tried to improve himself musically and personally and yet, at the same time, resented the “putting on of airs,” all the while negotiating the politics of race and the brutal realities of the music and entertainment world. Harker's thoughtful cultural introspections gives the reader a greater appreciation for what Armstrong himself had to endure and transcend during the Hot Five recording period of his career. According to Harker, Louis was most proud of his “color barrier” advances in radio and film and saw his Hot Five recordings as simply another pay...

“The public don't understand jazz music as we musicians do. A diminished seventh don't mean a thing to them, but they go for high notes. After all, the public is paying. If musicians depended on musicians at the box office they would starve to death.”–Louis Armstrong Brian Harker's Louis Armstrong's Hot Five and Hot Seven Recordings (Oxford University Press, 2011) is an artful jambalaya of rigorous musical analysis, thoughtful cultural contexts, and some provocative informed speculation as to how Armstrong absorbed, innovated, and consolidated the music we call jazz. Harker focuses his analysis and discussion on seven of Louis Armstrong's “Hot Five” recordings, made during the period between 1925 and 1928. Harker's recording-as-“snap-shot” approach illuminates how Armstrong used novelty, musical narrative, rhythmic variation, harmonic changes, “sweet” and “hot” elements,  and technical virtuosity in his vast recording repertoire. Harker also details how Armstrong relentlessly wedded his drive for self-improvement and creative expression to commercial realities, giving the reader fascinating anecdotes and back stories about this extraordinary African-American's journey for personal and musical acceptance. Highlights of Harker's song -by-song analysis include Armstrong's “novelty” imitation of a clarinet's cascading arpeggios in “Cornet Chop Suey,” his “telling a story” in “Big Butter and Egg Man,” his negotiation of harmonic changes in “Potato Head Blues,” his crowd-thrilling high note playing in “SOL Blues” and “Gully Low Blues,” his “sweet jazz” elements in “Savoy Blues” and his brilliant amalgam of all the afore-mentioned jazz elements in his masterpiece recording, “West End Blues.” Brian Harker, a Professor of Music at Brigham Young University and former professional trumpet player himself, has spent a good part of his life studying Louis Armstrong. And, he is quite interesting and provocative when he is a speculative detective. Some examples include how he shares the theory that some of Armstrong's dynamic rhythmic experimentation was inspired by Armstrong's association with the dance team of Brown and McGraw, or how Armstrong's sustained high C virtuosity was influenced by his admiration for opera superstar Enrico Caruso as well as his competitive rivalry with trumpeter Reuben Reeves – or how Armstrong's incorporating elements of “sweet music” (in Savoy Blues) may have been inspired by Armstrong's own predilection for Guy Lombardo's sweet jazz as a preferred musical background during his own romantic trysts.  This gives feel and flesh to the book and complements Harker's studied analyses of Armstrong's solo transcriptions. Louis Armstrong drew from everything and everyone around him. He constantly tried to improve himself musically and personally and yet, at the same time, resented the “putting on of airs,” all the while negotiating the politics of race and the brutal realities of the music and entertainment world. Harker's thoughtful cultural introspections gives the reader a greater appreciation for what Armstrong himself had to endure and transcend during the Hot Five recording period of his career. According to Harker, Louis was most proud of his “color barrier” advances in radio and film and saw his Hot Five recordings as simply another pay... Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

“The public don’t understand jazz music as we musicians do. A diminished seventh don’t mean a thing to them, but they go for high notes. After all, the public is paying. If musicians depended on musicians at the box office they would starve to death.”–Louis Armstrong Brian Harker’s Louis Armstrong’s Hot Five and Hot Seven Recordings (Oxford University Press, 2011) is an artful jambalaya of rigorous musical analysis, thoughtful cultural contexts, and some provocative informed speculation as to how Armstrong absorbed, innovated, and consolidated the music we call jazz. Harker focuses his analysis and discussion on seven of Louis Armstrong’s “Hot Five” recordings, made during the period between 1925 and 1928. Harker’s recording-as-“snap-shot” approach illuminates how Armstrong used novelty, musical narrative, rhythmic variation, harmonic changes, “sweet” and “hot” elements,  and technical virtuosity in his vast recording repertoire. Harker also details how Armstrong relentlessly wedded his drive for self-improvement and creative expression to commercial realities, giving the reader fascinating anecdotes and back stories about this extraordinary African-American’s journey for personal and musical acceptance. Highlights of Harker’s song -by-song analysis include Armstrong’s “novelty” imitation of a clarinet’s cascading arpeggios in “Cornet Chop Suey,” his “telling a story” in “Big Butter and Egg Man,” his negotiation of harmonic changes in “Potato Head Blues,” his crowd-thrilling high note playing in “SOL Blues” and “Gully Low Blues,” his “sweet jazz” elements in “Savoy Blues” and his brilliant amalgam of all the afore-mentioned jazz elements in his masterpiece recording, “West End Blues.” Brian Harker, a Professor of Music at Brigham Young University and former professional trumpet player himself, has spent a good part of his life studying Louis Armstrong. And, he is quite interesting and provocative when he is a speculative detective. Some examples include how he shares the theory that some of Armstrong’s dynamic rhythmic experimentation was inspired by Armstrong’s association with the dance team of Brown and McGraw, or how Armstrong’s sustained high C virtuosity was influenced by his admiration for opera superstar Enrico Caruso as well as his competitive rivalry with trumpeter Reuben Reeves – or how Armstrong’s incorporating elements of “sweet music” (in Savoy Blues) may have been inspired by Armstrong’s own predilection for Guy Lombardo’s sweet jazz as a preferred musical background during his own romantic trysts.  This gives feel and flesh to the book and complements Harker’s studied analyses of Armstrong’s solo transcriptions. Louis Armstrong drew from everything and everyone around him. He constantly tried to improve himself musically and personally and yet, at the same time, resented the “putting on of airs,” all the while negotiating the politics of race and the brutal realities of the music and entertainment world. Harker’s thoughtful cultural introspections gives the reader a greater appreciation for what Armstrong himself had to endure and transcend during the Hot Five recording period of his career. According to Harker, Louis was most proud of his “color barrier” advances in radio and film and saw his Hot Five recordings as simply another pay... Learn more about your ad choices. Visit megaphone.fm/adchoices

“The public don’t understand jazz music as we musicians do. A diminished seventh don’t mean a thing to them, but they go for high notes. After all, the public is paying. If musicians depended on musicians at the box office they would starve to death.”–Louis Armstrong Brian Harker’s Louis Armstrong’s Hot Five and Hot Seven Recordings (Oxford University Press, 2011) is an artful jambalaya of rigorous musical analysis, thoughtful cultural contexts, and some provocative informed speculation as to how Armstrong absorbed, innovated, and consolidated the music we call jazz. Harker focuses his analysis and discussion on seven of Louis Armstrong’s “Hot Five” recordings, made during the period between 1925 and 1928. Harker’s recording-as-“snap-shot” approach illuminates how Armstrong used novelty, musical narrative, rhythmic variation, harmonic changes, “sweet” and “hot” elements,  and technical virtuosity in his vast recording repertoire. Harker also details how Armstrong relentlessly wedded his drive for self-improvement and creative expression to commercial realities, giving the reader fascinating anecdotes and back stories about this extraordinary African-American’s journey for personal and musical acceptance. Highlights of Harker’s song -by-song analysis include Armstrong’s “novelty” imitation of a clarinet’s cascading arpeggios in “Cornet Chop Suey,” his “telling a story” in “Big Butter and Egg Man,” his negotiation of harmonic changes in “Potato Head Blues,” his crowd-thrilling high note playing in “SOL Blues” and “Gully Low Blues,” his “sweet jazz” elements in “Savoy Blues” and his brilliant amalgam of all the afore-mentioned jazz elements in his masterpiece recording, “West End Blues.” Brian Harker, a Professor of Music at Brigham Young University and former professional trumpet player himself, has spent a good part of his life studying Louis Armstrong. And, he is quite interesting and provocative when he is a speculative detective. Some examples include how he shares the theory that some of Armstrong’s dynamic rhythmic experimentation was inspired by Armstrong’s association with the dance team of Brown and McGraw, or how Armstrong’s sustained high C virtuosity was influenced by his admiration for opera superstar Enrico Caruso as well as his competitive rivalry with trumpeter Reuben Reeves – or how Armstrong’s incorporating elements of “sweet music” (in Savoy Blues) may have been inspired by Armstrong’s own predilection for Guy Lombardo’s sweet jazz as a preferred musical background during his own romantic trysts.  This gives feel and flesh to the book and complements Harker’s studied analyses of Armstrong’s solo transcriptions. Louis Armstrong drew from everything and everyone around him. He constantly tried to improve himself musically and personally and yet, at the same time, resented the “putting on of airs,” all the while negotiating the politics of race and the brutal realities of the music and entertainment world. Harker’s thoughtful cultural introspections gives the reader a greater appreciation for what Armstrong himself had to endure and transcend during the Hot Five recording period of his career. According to Harker, Louis was most proud of his “color barrier” advances in radio and film and saw his Hot Five recordings as simply another pay... Learn more about your ad choices. Visit megaphone.fm/adchoices

“The public don’t understand jazz music as we musicians do. A diminished seventh don’t mean a thing to them, but they go for high notes. After all, the public is paying. If musicians depended on musicians at the box office they would starve to death.”–Louis Armstrong Brian Harker’s Louis Armstrong’s Hot Five and Hot Seven Recordings (Oxford University Press, 2011) is an artful jambalaya of rigorous musical analysis, thoughtful cultural contexts, and some provocative informed speculation as to how Armstrong absorbed, innovated, and consolidated the music we call jazz. Harker focuses his analysis and discussion on seven of Louis Armstrong’s “Hot Five” recordings, made during the period between 1925 and 1928. Harker’s recording-as-“snap-shot” approach illuminates how Armstrong used novelty, musical narrative, rhythmic variation, harmonic changes, “sweet” and “hot” elements,  and technical virtuosity in his vast recording repertoire. Harker also details how Armstrong relentlessly wedded his drive for self-improvement and creative expression to commercial realities, giving the reader fascinating anecdotes and back stories about this extraordinary African-American’s journey for personal and musical acceptance. Highlights of Harker’s song -by-song analysis include Armstrong’s “novelty” imitation of a clarinet’s cascading arpeggios in “Cornet Chop Suey,” his “telling a story” in “Big Butter and Egg Man,” his negotiation of harmonic changes in “Potato Head Blues,” his crowd-thrilling high note playing in “SOL Blues” and “Gully Low Blues,” his “sweet jazz” elements in “Savoy Blues” and his brilliant amalgam of all the afore-mentioned jazz elements in his masterpiece recording, “West End Blues.” Brian Harker, a Professor of Music at Brigham Young University and former professional trumpet player himself, has spent a good part of his life studying Louis Armstrong. And, he is quite interesting and provocative when he is a speculative detective. Some examples include how he shares the theory that some of Armstrong’s dynamic rhythmic experimentation was inspired by Armstrong’s association with the dance team of Brown and McGraw, or how Armstrong’s sustained high C virtuosity was influenced by his admiration for opera superstar Enrico Caruso as well as his competitive rivalry with trumpeter Reuben Reeves – or how Armstrong’s incorporating elements of “sweet music” (in Savoy Blues) may have been inspired by Armstrong’s own predilection for Guy Lombardo’s sweet jazz as a preferred musical background during his own romantic trysts.  This gives feel and flesh to the book and complements Harker’s studied analyses of Armstrong’s solo transcriptions. Louis Armstrong drew from everything and everyone around him. He constantly tried to improve himself musically and personally and yet, at the same time, resented the “putting on of airs,” all the while negotiating the politics of race and the brutal realities of the music and entertainment world. Harker’s thoughtful cultural introspections gives the reader a greater appreciation for what Armstrong himself had to endure and transcend during the Hot Five recording period of his career. According to Harker, Louis was most proud of his “color barrier” advances in radio and film and saw his Hot Five recordings as simply another pay... Learn more about your ad choices. Visit megaphone.fm/adchoices