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4 episodes with Count Basie Orchestra
4 episodes with Count Basie Orchestra
2 episodes with Count Basie Orchestra
3 episodes with Count Basie Orchestra
3 episodes with Count Basie Orchestra
4 episodes with Count Basie Orchestra
3 episodes with Count Basie Orchestra
3 episodes with Count Basie Orchestra
2 episodes with Count Basie Orchestra
This content is for Members only. Come and join us by subscribing here In the meantime, here's some more details about the show: It's a warm welcome then to the man himself: Dr. Brad Stone - the JazzWeek Programmer of the Year 2017, who's here every Thursday to present The Creative Source - a two hour show, highlighting jazz-fusion and progressive jazz flavours from back then, the here and now, plus occasional forays into the future. Please feel free to get in touch with Brad with any comments or suggestions you might have; he'll be more than happy to hear from you: brad@soulandjazz.com or follow him via Facebook or Bluesky. Enjoy! The Creative Source 29th May 2025 Artist - Track - Album - Year Russ Spiegel Epic Nitty Gritty 2025 José Luiz Martins Cravo E Canela Odyssey Mixtape 2025 Phil Brown Es y no es Rule of Three 2025 Renegade Queens Moving Day (feat. Kristen Strom) Salsa de la Bahia, Vol. 3 2025 Michel Benebig & Le Grand B3 Big Band Mango and Papaya Blue Note in My Suitcase 2024 Bill O'Connell Sea Glass Touch 2024 Dave Bass Latin Journey Trio Nuevo, Vol. 2 2025 BeatleJazz It's All Too Much Reunion 2025 Omar Thomas Thomas Large Ensemble Episode D'Azur Griot Songs 2024 CCCN Jazz Orchestra & Hendrik Meurkens Lingua de Mosquito Big Band Brasil 2025 Mark Masters Ensemble featuring Billy Harper Cyclic Episode Sam Rivers 100 2025 The Steve Holt Jazz Impact Quintet Second Voyage Impact 2025 Jordan VanHemert Survival of the Fittest Survival of the Fittest 2025 Mike Clark & Mike Zilber Green Dolphin Street (Redolphinized) Standard Deviations 2025 Jamie Shew Enough (feat. Kait Dunton) Spicy, Classy, (and a little) Sassy 2025 The Count Basie Orchestra w/ Deborah Slver Tainted Love Basie Rocks! 2025 Tyler Henderson Get Out of Town Love Endures 2025 Mehmet Ali Sanlikol featuring Ingrid Jensen Şedd-iAraban Şarki 7 Shades of Melancholia 2025 Gaia Wilmer & Ra Kalam Bob Moses Turning the Tide Dancing with Elephants 2025 Dave Sharp World's Quartet & Elden Kelly Catalyst Catalyst: The Music of Gregg Hill 2025 Billy Mohler Hawkwind The Eternal 2025 The post The Creative Source (#CreativeSource) – 29th May 2025 appeared first on SoulandJazz.com | Stereo, not stereotypical.
Deborah Silver is a renowned vocalist in Jazz, Country, Americana. She's been praised by none other than Quincy Jones. She's had a string of hit duets with stars like Bill Medley of the Righteous Brothers, Jack Jones and Tony Orlando. Her newest album is “Basie Rocks!” recorded with the Count Basie Orchestra, featuring songs by The Beatles, Stones, Sting, Elton John and others. Guest artists include Peter Frampton, Arturo Sandoval and Trombone Shorty. Produced by Steve Jordan, drummer for the Rolling Stones.My featured song is my reimagined version of the Dobie Gray hit “The In Crowd” from the album PGS 7 by my band Project Grand Slam. 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.—----------------------------------------Connect with Deborah:www.deborahsilvermusic.com—----------------------------------------ROBERT'S RECENT SINGLES:“MOON SHOT” is Robert's latest single, reflecting his Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------“SOSTICE” is Robert's 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.—----------------------------------------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
On Wednesday, April 30, the Count Basie Orchestra will celebrate 90 years swinging at the Kansas City Music Hall. "Everybody in the orchestra will be featured. And we'll just be doing what Mr. Basie began in 1935," director Scotty Barnhart told Up To Date.
Episode 73: Keyon Harrold. Everywhere I turn, I see Keyon Harrold. He's widely regarded as one of the greatest trumpeters alive today, pushing the new jazz generation forward with power and soul. His solo album Foreverland was GRAMMY-nominated this year for Best Alternative Jazz Album, and his resume is stacked — Jay-Z, Common, Erykah Badu, Diana Ross, Mac Miller, Robert Glasper, the Count Basie Orchestra, Terrace Martin — and he played all the trumpet parts in the Miles Davis biopic Miles Ahead. Keyon is a dear friend and an incredible human being. He drops so much wisdom in this episode and truly inspired me with his words. I hope you enjoy my conversation with the great Keyon Harrold. ‘Go with Elmo Lovano' is a weekly podcast where Elmo interviews creatives and entrepreneurs in music on HOW they push forward every day, got where they are in their careers, manage their personal lives, and share lessons learned and their most important insights. (0:02:09) LIVING ROOM SET WITH RONALD BRUNER JR (0:05:35) MEETING TERRACE MARTIN AND ROBERT GLASPER AT JAZZ CAMP AT 15 YEARS OLD (0:08:03) SNOOPADELICS, SPUT, TERRACE, KAMASI WASHINGTON, KEYON (0:08:55) COMMON (0:09:47) SNOOPADELICS, TOURING WITH SNOOP (0:12:26) BOBBY SHORT (0:12:37) COUNT BASIE ORCHESTRA (0:14:11) ERYKAH BADU, MARY J. BLIGE, MAXWELL (0:15:05) CIRQUE DU SOLEIL, MICHAEL JACKSON IMMORTAL WORLD TOUR WITH GREG PHILLINGANES, JONATHAN MOFFETT (0:16:07) JAY-Z, G-UNIT (0:17:19) PRODUCING (0:18:35) KEYON'S SOUND, PERSONAL PROJECTS (0:20:00) MILES DAVIS FILM (0:20:31) "THE MAGICIAN", SIGNING TO SONY (0:22:08) ADVICE FOR MAKING A SOLO ALBUM (0:26:52) "FOREVERLAND" ALBUM, GRAMMY NOMINATION (0:30:15) "FIND YOUR PEACE" FROM "FOREVERLAND" (0:33:02) HOW TO BE THE BEST YOU (0:35:39) FATHERHOOD, KEYON HARROLD JR. (0:44:04) LIZZ WRIGHT (0:44:42) AJA MONET (0:45:13) MILES DAVIS BIOPIC, ROBERT GLASPER, DON CHEADLE (0:52:36) KEYON'S CIRCLE, – UP-AND-COMING TALENT (0:54:25) JOE LOVANO, LOVANO FAMILY (0:59:25) DIANA ROSS (1:03:49) MAC MILLER, ESTELLE (1:04:28) A THROUGH LINE FROM COLLABORATIONS (1:07:04) ANTARCTICA TRIP WITH SCOTT KELLY, CHARLIE DUKE, NEIL DEGRASSE TYSON (1:14:02) META RAY-BANS (1:16:02) AGAVE PLANT Please SUBSCRIBE / FOLLOW this podcast to catch new episodes as soon as they drop! Your likes, comments and shares are much appreciated! Listen to the audio form of this podcast wherever you get your podcasts: https://elmolovano.komi.io/ Follow Keyon: https://www.instagram.com/keyonharrold/ Follow Go With Elmo: https://www.instagram.com/gowithelmo/ https://www.tiktok.com/@gowithelmo https://x.com/gowithelmopod Follow Elmo Lovano: https://Instagram.com/elmolovano https://x.com/elmolovano
Lo nuevo de Julián Maeso, de The Mighty Mogambos o de Baker Brothers. Recuperamos tesoros ocultos de Soul Survivors, Teena Marie, Elle Mental, Raphael, Julia Holter o Eric Mercury. Y no faltan ni la irrepetible Count Basie Orchestra ni un fantástico Chris Jagger - hermano, sí - o el más que reconocible “Soul Man” de Sam & Dave. Mucho buen espíritu para este día. DISCO 1 THE MIGHTY MOGAMBOS Open The GateDISCO 2 JULIÁN MAESO I'm of here tonightDISCO 3 SOUL SURVIVORS City Of Brotherly Love (SONIDO FILADELFIA)DISCO 4 CHRIS JAGGER Anyone Seen My HeartDISCO 5 SAM & DAVE Soul ManDISCO 6 RIO 18 Ft. Silvia Machete Maybe ManDISCO 7 BAKER BROTHERS UnrestDISCO 8 ANDRÉS CALAMARO Me ardeDISCO 9 TEENA MARIE PlayboyDISCO 10 ERIC MERCURY A Gift For You (MORE DIRTY LAUNDRY)DISCO 11 THE COUNT BASIE ORCHESTRA ChicagoDISCO 12 ELLE MENTAL Eddie’s CatDISCO 13 RAPHAEL Estuve enamoradoDISCO 14 JULIA HOLTER Sea Calls Me HomeEscuchar audio
This episode of The Other Side of the Bell, featuring trumpeter, educator and recording artist Clay Jenkins, is brought to you by Bob Reeves Brass. About Clay Jenkins: Clay Jenkins is a renowned jazz trumpeter and educator whose dynamic career spans decades of performance and teaching. He launched his performing journey with the Stan Kenton Orchestra before moving to Los Angeles, where he toured and recorded with the big bands of Buddy Rich and the Count Basie Orchestra. A charter member of the Clayton Hamilton Jazz Orchestra, Clay has amassed over 100 recording credits, released seven solo albums, and recorded as a co-leader with many other notable names. Since joining the Eastman School of Music faculty, in Rochester, NY, in 2000, Clay has continued to perform worldwide, while mentoring the next generation of jazz musicians. Inspired by his close friendship with the late trumpet legend Eugene "Snooky" Young, he established the Snooky Young Endowed Scholarship at Eastman, and is currently writing a biography of Young's life. Clay is wonderfully warm, down-to-earth and humble. If you listened to our last episode featuring Emile Martinez, you'll know that Clay was instrumental in guiding Emile on his artistic journey, and so how appropriate it is that we can follow up on that interview with this one today. And he's a lifelong practicer. Clay is always trying to improve, and it's inspiring to hear someone at his level still talking about what they go through every day, trying to better themselves. Episode Links: "Hope Beats" - YouTube series with Clay Jenkins (trumpet), John Clayton (bass), Larry Koonse (guitar), Gene Bertoncini (guitar), Joe La Barbera (drums) Quasimodo, by Charlie Parker Grizzly, by John Clayton Podcast Credits: “A Room with a View“ – composed and performed by Howie Shear Audio Engineer – Ted Cragg Cover Art – Phil Jordan Podcast Host – John Snell
Join us in-person for a discussion with performance, as we delve into music and the technology revolution, hearing Black voices on how technology is impacting our music. African Americans have played an outsized and pivotal role in American and global music. At most of the shifts and transitions in music driven by technology and culture, Black Americans have been in the forefront. Join us for a discussion of the past, present and future of the mix of technology and music with a focus on African American innovation. In addition to the panel discussion, we will end with a short suite of performances by the presenters. About the Speakers Award winning recording artist Nicolas Bearde is a singer-songwriter, actor and educator whose career has spanned more than 35 years. Born and raised in Nashville, TN, the second of 7 children, he has toured the globe with many of today's jazz legends, such as Bobby McFerrin, Nat Adderley, Jr., Bernard Purdie, Vincent Herring and more. His style is likened to Lou Rawls, Nat King Cole and Bill Withers and he is known for his “velvet voice,” wit and engaging rapport that has drawn audiences into his live performances around the world. As an educator, Nicolas has worked with the California Jazz Conservatory and Jazz Camp West teaching “Vocal Intensive” workshops, skills he honed on the road as a member of Bobby McFerrin's wildly innovative a cappella ensemble, “Voicestra” for more than 10 years, and was the chair of “popular voice” for the Young Arts Foundation in Miami, Florida for 5 years. Phil Hawkins is a drummer and media producer living in San Francisco. He regularly performs with Ray Obiedo, Pete Escovedo and other local artists. Phil operates a media production business that offers audio recording, mixing, and mastering for videography, photography, and graphic design services. He has taught music production at the college level for more than 20 years. Glen Pearson is both a noted pianist as well as the current head of music studies at the College of Alameda. He began playing piano at age 6 and was playing professionally by age 15. He has appeared on stage, television and on recordings with such notables as Regina Belle, Jimmy Scott, Diane Reeves, Marlena Shaw, Bobby Hutcherson and Nicolas Bearde, and served for 11 years as the musical/band director for the world-renowned Boy's Choir of Harlem. For the past 5 years he toured with The Count Basie Orchestra, who's latest record, Basie Swings the Blues, netted “Best Large Jazz Ensemble Album” at the 2024 Grammy Awards. Organizer: Gerald Anthony Harris An Arts Member-led Forum program. Forums at the Club are organized and run by volunteer programmers who are members of The Commonwealth Club, and they cover a diverse range of topics. Learn more about our Forums. Bearde photo by James Barry Knox Photography; Pearson photo by Timothy Bryan Burgess; additional photos courtesy the speakers. Learn more about your ad choices. Visit megaphone.fm/adchoices
Carmen Bradford is jazz royalty and a 2024 Grammy Award winner for “Basie Swings the Blues – the Count Basie Orchestra.” She's been nominated five times for Grammy Awards and is the recipient of the Los Angeles Jazz Society's Jazz Vocalist Award. With her body of work, which reflects her vast experience, versatility, and technical brilliance, she has carved out her place in jazz history, and she continues to contribute to the preservation of this uniquely American art form.In August 2024, Carmen joined the faculty as associate professor of jazz voice in the Jazz Studies program in the College of Music at Michigan State University.Bradford talks about her background and how she fell in love with singing. She details her relationship with Count Basie. And she tells how, when, and why she became involved with MSU's Jazz Studies program.Conversation Highlights:(0:22) – What is your background, and when did you fall in love with music and singing?(2:21) – Tell us about your “little girl” relationship with Count Basie.(14:31) – How, why, and when did you become involved in the MSU Jazz Studies program?(20:09) – How would you describe the MSU Jazz Studies program, and what makes it so great?(21:07) – Who has influenced your art, and who have you enjoyed performing with?(23:22) – Who are you listening to on Spotify these days?(23:57) – What would you like people to know about Carmen Bradford?Listen to “MSU Today with Russ White” on the radio and through Spotify, Apple Podcasts, and wherever you get your shows.
The Jazz Session No.401 from RaidersBroadcast.com as aired in February 2025, featuring Miles Davis' elegant and melodic 1968 album “Water Babies”. TRACK LISTING: The Pearls - Jelly Roll Morton; Temptation Rag - Kenny Ball; Upon the My-O-My - Captain Beefheart and his Magic Band; Drunk on the Moon - Tom Waits; Capricorn - Miles Davis; Sweet Pea - Miles Davis; St.Louis Blues, w. Stevie Wonder voc. - Herbie Hancock; Windows - Gary Burton, w. Corea, Metheny, Haynes, Holland; Soul of Things, Var.2 - Tomasz Stanko Quartet; Waltz - Liam Noble Group; Miles' Mode - John Coltrane; My Reverie - Sonny Rollins; Brasiliance - Duke Ellington & his Orchestra ; A.M.Mayhem - The Stan Tracey Quartet; Splash - Miles Davis; Water Babies - Miles Davis; Now You Has Jazz - Bing Crosby & Louis Armstrong; Jeepers Creepers - Tony Bennett with the Count Basie Orchestra; Plato - John Pope Quintet; Dada Was Here - Soft Machine.
Born and raised in Kansas City, MO, Lonnie McFadden is a unique multi-talented performer who sings, tap dances and plays trumpet. Lonnie has traveled the globe performing and representing Kansas City Jazz at major jazz festivals and shows around the world. His performances have been seen internationally and include such events as the North Sea Jazz Festival in Holland and the Nice Jazz Festival in Nice, France. Lonnie and his brother Ronald McFadden (The McFadden Brothers) have shared the stage with some of the biggest names in show business. Wayne Newton, Sammy Davis Jr., Tony Orlando, Lee Greenwood, Gladys Knight and The Count Basie Orchestra are just some of the great entertainers they have had the pleasure of working with. The McFadden Brothers have also performed for all types of audiences including a very special 2004 USO tour to Kuwait and Iraq for our troops. Most recently The McFadden Brothers received Life Time Achievement Awards from the Jazz Museum in May 2016, and Living Legends Awards from Tapology October 2017. In 2017, Lonnie received the Best Entertainer award from Ingram's Magazine. And continues to entertain at his world famous - Lonnie's Reno Club in Kansas City. lonniemcfadden.com/
Hyvää uutta vuotta Rock Around The Blogista! Tässä jaksossa Sami Ruokangas ja Juha Kakkuri käyvät läpi vuoden 2024 parhaita levyjä ja keikkoja. Mikä sai kyyneleet silmiin, kosketti ja jäi mieleen? Keskeinen ikuisuusaihe on myös esillä: Rolling Stonesin vuoden 1999 harvinainen pienen teatterin keikka on nyt julkaistu tallenteena ja Juha muistelee keikkaa paikallaolleena. Oma jännittävä tarinansa on se, kuinka Juha sai ajalla ennen internetiä tiedon tuosta keikasta ja lopulta lipun. Kuuntele, viihdy ja sivisty! Seuraa ja kommentoi meitä somessa: https://www.instagram.com/samiruokangas https://www.facebook.com/RockAroundTheBlogFinland Jakson soittolista: https://open.spotify.com/playlist/3Y2txSIyPeCUDwilXIRpnY?si=2b3cd289334e4478 Menossa ovat mukana Emilia Sisco, Helsingin Sanomat, Espoon Kulttuurikeskus, Unna Kortehisto, Aretha Franklin. Billie Holiday, Sami Kantelinen, Seppo Salmi, Jukka Sarapää, Jukka Eskola, Pope Puolitaival, Sellosali, Grammy-palkinto, The Black Crowes, Tavastia, Guns N´Roses, Bruce Springsteen, The Magpie Salute, Rich Robinson, Sven Pipien, Rolling Stones, Faces, Small Faces, Classic Rock, Pearl Jam, Neil Young, The Coward Brothers, Elvis Costello, T Bone Burnett, Ian Hunter, Michael Monroe, Bob Dylan, Mott The Hoople, David Bowie, Benmont Tench, Tom Petty & The Heartbreakers, Taylor Hawkins, Foo Fighters, Jeff Beck, Lucinda Williams, Def Leppard, Phil Collen, Joe Elliott, Cheap Trick, Ross Halfin, Metallica, Slash, Johnny Depp, T. Rex, Marc Bolan, Mick Ronson, The Black Keys, Ohio Players, Sakke Koivula, Peer Günt, Alice Cooper, Flow, New York Dolls, Alexandra Palace, Canned Heat, Robban Hagnäs, Wentus Blues Band, Savoy-teatteri, Tullikamarin Klubi, Fito de la Parra, Count Basie Orchestra, John Lee Hooker, Jimmy Vivino, GA-20, Shepherd's Bush Empire, Keith Richards, Tower Records, Ronnie Wood, Quireboys, Spike, Black Eyed Sons, Nigel Mogg, Luke Morley, Thunder, Chris Johnstone, Frankie Miller, Rod Stewart, Eagles, Cher, Ray Charles, Tom Waits, U2, Radiomafia, Record Store Day, Black Friday, Black And White Records, Bruce Dickinson, Iron Maiden, Judas Priest, Thin Lizzy, Robert Trujillo, Kirk Hammett, Sam Cooke, Muddy Waters, Howlin´Wolf, Jools Holland, Storyville, Helge Tallqvist, 22 Pistepirkko, Ina Forsman, Marjo Leinonen, Kulttuuritalo, Olympiastadion, G Livelab, Malmitalo, Hound Dog Taylor, Tim Carman, Josh Kiggans, Pat Faherty, Cody Nilsen, Matthew Stubbs, Charlie Musselwhite, Canyon Lights, Heather Gillis, Steve Conte, KK's Priest, Barcelona Rock Fest, Deep Purple, Simon McBride, Steve Morse, Bob Ezrin, Pink Floyd, Hanoi Rocks, Ben Granfelt, Ian Gillan, Ian Paice ja Lemmy Kilmister.
This Saturday on Vintage Classic Radio, our "Saturday Matinee" celebrates the holiday season with a lineup of festive episodes. We kick off with the "Our Miss Brooks" episode titled “Exchanging Christmas Gifts,” where the ever-entertaining Miss Brooks, played by Eve Arden, navigates the complexities of gift exchanges among colleagues. The cast also features Gale Gordon as the blustery Principal Osgood Conklin, and Richard Crenna as the endearing student Walter Denton. Following that, we lighten the mood with a "New Year's Skit" by Bob Hope. In this episode, Bob Hope delivers his trademark quick-witted humor in a series of comic sketches and monologues that reflect on the passing year and the one to come, featuring guest appearances by his regular ensemble including Les Brown and his Band of Renown. The festivities continue with an episode from "The Great Gildersleeve" titled "New Year's Costume Ball." Harold Peary stars as the lovable Throckmorton P. Gildersleeve, wrestling with the hilarious mishaps of organizing a costume ball to ring in the new year. The episode also features Walter Tetley as his nephew Leroy and Lillian Randolph as their housekeeper, Birdie. The laughter carries on with the "Jack Benny Show," where Jack Benny and his cast, including Mary Livingstone, Phil Harris, and Rochester, engage in a whimsical adventure in "A New Year's Fantasy." This episode takes listeners on a humorous journey through time with Benny's vaudevillian antics. The grand finale features the legendary Count Basie Orchestra in CBS's "The Anniversary Dancing Party" New Year's special. Broadcast originally on December 31, 1967, this special brings the vibrant sounds of Count Basie and his orchestra to life, filling the airwaves with energetic jazz that's perfect for welcoming the new year. Together, these episodes create a delightful blend of comedy, drama, and music, encapsulating the spirit and excitement of the holiday season just before New Year's Eve.
Welcome to the Listening with Leckrone Podcast, a pop and jazz music history show hosted by the legendary music educator and former director of th University of Wisconsin marching band, Mike Leckrone. I'm Sam Taylor, the producer of the podcast. In this episode, we spotlight three unique singers, Jimmy Rushing, Helen Humes, and Joe Williams, who all spent time as vocalists for the Count Basie Orchestra. We hope you enjoy. For an episode guide for this and other episodes, visit fourseasonstheatre.com
Send us a textHey, everybody! Here it is, my special holiday episode, "A Very Christmas Special 3!" My Christmas gift to you all! featuring new holiday tunes by Stevie Nicks and Jason Kelce, Xiu Xiu, 070 Shake, John Waters, Dean & Britta & Sonic Boom, Deborah Silver and the Count Basie Orchestra, King Hannah, Madi Diaz, and NLE Choppa. Plus we'll head to my ski chalet to roast my chestnuts, sip hot cocoa and count down my top ten favorite songs of 2024, featuring tunes by Cindy Lee, Addison Rae, Saya Gray, Sprints, Charli xcx and Grumpy.Happy Holidaze!Happy New Year!I Love you All!Support the show
This week Joe is featuring Vocalist Tony Bennett and the Count Basie Orchestra from their 2008 RPM/Columbia Records recording, titled “A Swingin' Christmas”
If there's one musician who truly embodies resilience, it's Lakecia Benjamin.Just a couple of weeks ago, at the 60th Jazzfest Berlin, I had the privilege of sitting down with powerhouse saxophonist Lakecia Benjamin for an inspiring conversation. Throughout her career, she's played alongside legends like Anita Baker, the Count Basie Orchestra, Harry Belafonte, Stevie Wonder, the Roots, Missy Elliott, Alicia Keys, and so many more. After a serious car accident in 2021, Lakecia didn't just bounce back—she wrote new music that would become her latest album, Phoenix, earning three Grammy nominations. Her journey shows just how far small steps forward can go. Lakecia opened up about her roots growing up in Washington Heights, New York, a predominantly Dominican neighbourhood pulsing with Latin music.She shared insights into her 2020 album Pursuance: The Coltranes, her triple Grammy-nominated 2023 Phoenix, the influence of Alice and John Coltrane, and the courage it takes to reveal your authentic self to an online audience as an independent artist. I saw Lakecia in an incredible concert at Quasimodo.What impressed me the most was her attitude. I had to think of what Miles Davis once said: "Anybody can play. The note is only 20 percent. The attitude of the motherfucker who plays it is 80 percent." The concert wasn't just music, it was a party with all of us - we all celebrated life and women in music.I love her story, her truth and her drive. Enjoy listening!
Quincy Delight Jones Junior was born in Chicago in 1933. At High School in Seattle he became an accomplished trumpeter, and then focused on music with a scholarship to Boston's Berklee College of Music. After college he worked with a number of orchestras and bands until in the 1960s becoming Frank Sinatra's arranger and conductor, notably leading the recording of the 1966 live album "Sinatra at the Sands" with the Count Basie Orchestra. A background with big bands, orchestras, and jazz followed him through his career and into our disco era where Quincy's signature production features bold brass, lush strings, hypnotic percussion and complex vocal arrangements. He met Michael Jackson when they both worked on the film "The Wiz". Michael invited Quincy to produce his upcoming solo album, but the record label objected, saying Quincy was "too jazzy". Michael insisted, and the result, "Off The Wall" propelled them both to mega stardom.Here I've gathered my favourite Quincy produced, arranged and written tracks which have themselves already been lovingly reproduced by disco leaders Dr Packer, The Reflex, Loshmi, Pete Le Freq and more, plus, unusually for me, some original recordings, which itself is very telling. No-one can even try to improve Quincy's original "Billie Jean." And I couldn't find anyone who's touched "Ease on down the road" . . . yet.Thank you Quincy. You will be missed. Love F*Here's the track list:1 | Michael Jackson | Billie Jean (SWG Remastered Extended Mix)2 | Donna Summer | State of independence (Dave Leatherman & Bruce Nolan 2023 Rework)3 | Michael Jackson | P.Y.T. (The Reflex Revision)4 | Quincy Jones featuring Chaz Jankel | Ai no corrida (DJ S Rework)5 | Quincy Jones (featuring Chaka Khan and Ashford & Simpson) | Stuff like that (Pete Le Freq Stuff Like What Rework)6 | The Brothers Johnson | The real thing (Loshmi Edit)7 | Quincy Jones featuring Patti Austin | Betcha wouldn't hurt me (Charles Dancer Edit)8 | The Brothers Johnson | Strawberry letter 23 (Digital Visions re-edit/Dr Packer's Soul Groove)9 | Quincy Jones | Razzamatazz (Dr Packer Injection)10 | The Brothers Johnson | Stomp (DJ Funkdamento Remix/Andrei Edit)11 | Michael Jackson, Diana Ross | Ease on down the road (from the original motion picture "The Wiz")12 | The Brothers Johnson | Get the funk out ma face (Loshmi Edit)13 | George Benson | Love x love (The Reflex Revision)And here's a link to the Spotify playlist, but please note that most of the edits and remixes I've used may not be widely available.Mixed with love in London.(Revised 10th November 2024.)
Intro Song – Zac Harmon, “Babe And Ricky's Inn”, Floreada's Boy First Set - New Blues! L.A. Big Daddy's, “Why I Sing The Blues”, Single Pontchartrain Shakers, “Going Fishing”, Self Titled Richard Wilkins, “Somebody”, Empty Seats Second Set – New Blues! Chris Cain, “Good Intentions”, Good Intentions Gone Bad Curtis Salgado, “Better Things To Lie About”, Fine By Me Glenn Patrik, “Down To The BarBQ”, Original Blues Third Set - From The Vinyl Vault Joe Williams with the Count Basie Orchestra, “Everyday”, Everyday I Have The Blues, 1959 Joe Turner, “Corinne Corrina”, Bosses of the Blues - Vol. 1, 1989 Lazy Lester, “Lester's Shuffle”, Rides Again, 1987 Jumping' Johnny and the Blues Party, “She Said, You Said, I Said”, Where y'at? Fourth Set - From The Vinyl Vault The James Cotton Blues Band, “Feelin' Good”, Self-Titled, 1967 T-Bone Walker, “Sail On”, Bosses of the Blues - Vol. 1, 1989 Clarence “Gatemouth” Brown, “Real Life”, Real Life, 1986
Raised in the San Francisco jazz scene, Hale Baskin has always brought her uninhibited and ready-to-rumble personality to her performances. By the time she was twenty, Hale had already been awarded three DownBeat Magazine Awards for Student Jazz performances, performed with notable musicians and ensembles like Arturo Sandoval, the Count Basie Orchestra and Jamie Davis, and the Mike Vax Big Band—not to mention led her own ensemble in multiple Western states. In 2010, Hale relocated to North Texas, where she began experimenting with the personalized sound that's now her trademark: funky, sly, and polished without being sterile. Her current projects include the Southpaw Preachers, a creative soul-funk band that plays both original music and covers; and Jazz Addiction, a swing band whose repertoire, ranging from Motown to Bossa nova, breaks the category. Hale brings her humor, extensive professional background, and entrepreneurial spirit to each aspect of her business. For private events, she often acts as an informal Master of Ceremonies, coordinating the many moving parts of a stage performance before seamlessly delivering the next number. As a band leader, Hale focuses on cooperation and accountability so that each member has the space to play to their strengths—literally! The Southpaw Preachers and Jazz Addiction travel nationally for performances. Outside of these projects, Hale accepts freelance work in both live and studio contexts, and teaches voice lessons out of her studio in Denton, TX. As a female business owner, Hale is active in local politics, social justice, and environmentalism. https://www.halebaskin.com https://www.instagram.com/halebaskin/
Bill Gibson began playing music at the age of seven. He found his passion for music when his father Ed Gibson, an architect by trade but a jazz drummer in his own right, began taking him to see such greats as The Count Basie Orchestra, The Duke Ellington Orchestra, and The Buddy Rich Big Band. Inspired by big band jazz and rock & roll styles, Bill got his first drum kit at age fourteen, and began playing drums with local bands the following year. He soon became the drummer for Sound Hole and played his first tour in 1974 backing up Van Morrison. Bill is a founding member of Huey Lewis and the News, which he and other members of Sound Hole and the band Clover formed in 1979. 33 years later, the band is still going strong and has enjoyed enormous success with over 30 million albums sold worldwide, 19 top ten hits including "The Power of Love", "Stuck With You", and "Hip To Be Square", and multiple awards and award nominations. Bill remains an integral part of the band, lending his writing and singing talents as well as providing drums and percussion. Bill has been a Yamaha Drum Artist since 1985. Bill currently resides in Marin County, California. Some Things That Came Up: -2:00 Jim's daughter singing at Carnegie Hall -4:00 MTV! -6:00 The untrained drummer is now focused and fascinated with lessons -7:30 Metric Modulations and Ostinatos -9:35 Drum Solos back in the day -10:00 Yamaha drums for 40 years -11:30 Music at the house 24 hours a day -12:20 Broadway musicals and big band jazz -12:45 Saxophone! -14:10 1964 Ed Sullivan Show. Parents took young Bill to TWO Beatles shows -15:30 Parents installed CONFIDENCE -16:45 Jim got a $75 drumset at 12 years old -18:00 Huey Lewis origins story. The Fools, Clover, Soundhole, SVT, Sly Stone combined -20:00 Manager Bob Brown invested in the band -23:10 SPORTS album celebrating 41 years -24:00 Music on the TV show GHOSTS -26:20 “We Are The World” Documentary -27:20 The only full band invited by Quincy Jones -28:00 TINA the musical! -29:00 Singing after gigs became a habit -31:00 “The Heart of Rock n' Roll”, Huey Lewis tribute band -34:00 Audio Clip! -35:20 Influenced by Donald Fagen's “The Nightfly” record -36:00 Every record was self produced except for two. Creative democracy in action -40:50 Big fan of Jeff Porcaro, Billy Cobham, Dennis Chambers, Dave Weckl, Vinnie -42:00 Playing to arpeggiated synths as clicks -42:40 No click on “Heart of Rock N' Roll” and The Linn drum was the heart beat -44:00 “Soulsville” was recorded live at Ardent Studios in Memphis -48:40 Gratitude in Action and Impacting lives -51:40 A play opening on Broadway called “The Heart of Rock N' Roll” -54:40 Light hearted, funny band with funny videos -56:00 Enjoying international travel, especially Europe, Japan, and South America -59:00 Thomas Lang's surprise meal! -1:00 Shark Fin Soup, Reindeer, Bear Steaks, Jelly Fish Quail Eggs -1:02 “Heart N' Soul” was a sleeper hit -1:04 Be KIND to EVERYONE -1:05 The tragedy of Huey's hearing issues -1:06 “Frank Sinatra” LIVE at The Sands, 1958. -1:09 Shout out to Rich's Dad -1:10 “The Fave 5” Follow: www.hueylewisandthenews.com The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 25 of which have been #1 hits! Rich can also be seen in several films and TV shows and has also written an Amazon Best-Selling book, "CRASH! Course for Success: 5 Ways to Supercharge Your Personal and Professional Life" currently available at: https://www.amazon.com/CRASH-Course-Success-Supercharge-Professional/dp/B07YTCG5DS/ref=sr_1_1?keywords=crash+redmond&qid=1576602865&sr=8-1 One Book: Three Ways to consume....Physical (delivered to your front door, Digital (download to your kindle, ipad or e-reader), or Audio (read to you by me on your device...on the go)! Buy Rich's exact gear at www.lessonsquad.com/rich-redmond Follow Rich: @richredmond www.richredmond.com Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur. Follow Jim: @jimmccarthy www.jimmccarthyvoiceovers.com
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.
In Epi 9, world class jazz musician John Clayton and podcast host E.B. Moss reminisce about a friendship launched with a prank, before seriously discussing the Grammy-winning arranger/composer/bassist's techniques, and experiences across a life in the music industry. From his serendipitous introduction to the bass, mentorship under Ray Brown, journey with musicians from Dee Dee Bridgewater to Diana Krall, Oscar Peterson to Monty Alexander. it's quite a living. Learn how John approaches composing and performing... his passion for blending flavors in music arrangements, to how drummer Jeff Hamilton, with whom he co-founded the Clayton-Hamilton Jazz Orchestra, introduced him to the blends of fine wine! It's like fly-on-the-wall eavesdropping on a close friendship -- filled with laughter...and a master class in both music and living quite the life.Clayton's early fascination with the bass, initiated at age 13 and cemented by a Ray Brown solo he heard, led him to a fruitful career, from playing in the Count Basie Orchestra, to collaborating with or composing for icons such as Paul McCartney, Nancy Wilson, Queen Latifah. Regina Carter, and even a recent release with 89-year-old sax legend, Houston Person, and scores more. (John even composed the theme song for "Insider Interviews with E.B. Moss!) Clayton shares anecdotes from his life his philosophies on jazz, and the role of an artist in presenting their work to an audience. He stresses the importance of expression over performing for audience expectations, citing experiences and insights from his expansive career in the music industry. The episode is rich with stories of Clayton's collaborations, his approach to composition and arranging, and a lot of laughter between friends. Through this spontaneous and engaging chat, Clayton's passion for jazz and his respect for its power to connect and communicate shine brightly, offering listeners a unique glimpse into the life of a truly remarkable musician.If you catch this on YouTube, watch for archival images, and don't miss the little reaction at the end from a gobsmacked studio engineer capturing a solo from John's session with Houston.... Find/Follow "It's Quite a Living" everywhere including YouTube Twitter @QuiteALiving Instagram: @QuiteALivingPodcast Find Moss Appeal on LinkedIn: https://linkedin.com/in/MossAppeal And if you want to support the arts and keep this free podcast — and Insider Interviews Podcast — going, please consider “buying me a coffee” of ANY size!: https://buymeacoffee.com/mossappeal
Intro Song – Chris O'Leary, “Lost My Mind”, The Hard Line First Set - Tinsley Ellis, “Grown Ass Man”, Naked Truth Rick Vito, “Love Crazy Baby”, Cadillac Man Steve Howell & The Mighty Men “I'm A Little Mixed Up”, 99 1/2 Won't Do Second Set – Bobby Rush with The Count Basie Orchestra, “Boogie In The Dark”, Basie Swings The Blues! Justin Golden, “Bye Bye Baby”, Golden Country: Volume 1 Ritchie Dave Porter & Debra Susan, “I Can Hear The Train”, The Story So Far JJ Grey & Mofro, “Wonderland”, Olustee Third Set – WIB Patti Parks, “DJ Boogie”, Come Sing With Me Shirley Johnson, “Need Your Love So Bad”, Tribute-Delmark's 65th Anniversary The Count Basie Orchestra w/ Keb Mo & Lauren Mitchell, “Down Home Blues”, Basie Swings The Blues Fourth Set - T-Bone Walker, “I Hate To See You Go”, Delmark Black History Month John Primer & Bob Corritore, “Stuff You Gotta Watch”, Crawlin' Kingsnake Chris O'Leary, “No Rest”, The Hard Line
| Artist | Title | Album Name | Album Copyright | Count Basie Orchestra with Ledisi | Evil Gal Blues | Basie Swings the Blues | Larkin Poe | Southern Comfort | Blood Harmony | Christone Kingfish Ingram | Been Here Before | Live In London | Count Basie Orchestra | The Patton Basie Shuffle | Basie Swings the Blues | Samantha Fish w. Jesse Dayton | Supadupabad | Death Wish Blues | Ruthie Foster | Don't Want to Give up on You | Healing Time | Bettye Lavette | Don't Get Me Started (feat. Steve Marriot) | LaVette | | Eric Bibb | Ridin' | Ridin' | | Count Basie Orchestra with Bobby Rush | Boogie In the Dark | Basie Swings the Blues | Ruthie Foster | Healing Time | Healing Time | Blind Boys of Alabama | Keep On Pushin' | Echoes of the South | Samantha Fish w. Jesse Dayton | Deathwish | Death Wish Blues | Eric Bibb | Blues Funky Like Dat (feat. Taj Mahal and Jontavious Willis) | Ridin' | | Count Basie Orchestra with Bettye LaVette | Stormy Monday | Basie Swings the Blues | Larkin Poe | Deep Stays Down | Blood Harmony
Scotty Barnhart has dedicated his life to playing, orchestrating, and teaching music. Listen in as we talk all about his success at the most recent Grammys, and what his creative process consists of. --- Support this podcast: https://podcasters.spotify.com/pod/show/the-sean-pittman-podcast/support
Jerry Tolson, a Professor of Music Education and Jazz Studies at the University of Louisville, talks about the Count Basie Orchestra coming to town. The show will be at Ballard High school on February 5th. Listen and get more details here...
This week Joe is featuring vocalist Tony Bennett from his 2008 Columbia Records recording titled “A 'Swingin' Christmas - with the Count Basie Orchestra.”
Scotty Barnhart is a noted trumpeter, composer, arranger, and educator. Most of his work has come through his association with the Count Basie Orchestra, where he began as a featured trumpeter in 1993. Since 2013, Barnhart has been the orchestra's director and has continued to preserve the legacy and tradition of one of the most essential musical establishments of the 20th century. Barnhart not only carries Count Basie's musical legacy with elegance and grace but also connects with Basie's personality. Basie was known to be kind, caring, accessible, and positive. The Count Basie Orchestra's newest album, The Count Basie Orchestra Swings the Blues! has been nominated for a Grammy Award. To read host Jay Sweet's article on Scotty Barnhart, visit New Jersey Jazz Magazine https://njjs.org/. To learn more about Scotty Barnhart, go to http://www.scottybarnhart.com/ To learn more about the Count Basie Orchestra, https://www.thecountbasieorchestra.com/
Harvey Brownstone conducts an in-depth interview with Scotty Barnhart, Director, The Count Basie Orchestra About Harvey's guest: Today's special guest, Scotty Barnhart, is an internationally acclaimed music artist, especially in the world of jazz. He's an iconic trumpet player, composer, arranger, educator and author. For over 30 years, he's been a featured trumpet soloist with the legendary Count Basie Orchestra, AND for the past 10 years, he's been the Orchestra's Director. He's a 2-time Grammy Award winner, and he's worked with some of the greatest music artists in the world, including Tony Bennett, Lena Horne, Frank Sinatra, Ray Charles, Aretha Franklin, Barbra Streisand, Tito Puente, Wynton Marsalis, Herbie Hancock, Quincy Jones, The Duke Ellington Orchestra, Diana Krall and dozens more. In 2009, he released his highly acclaimed first solo album, entitled, “Say It Plain”, which reached #3 on the Jazz Charts. Our guest is widely considered to be THE leading authority on the history of Jazz trumpet. In 2005 he published his groundbreaking book, “The World of Jazz Trumpet – A Comprehensive History and Practical Philosophy”, which is THE definitive text on the subject. He's a Professor at Florida State University, and he gives keynote lectures and seminars around the world. He's also profiled in Scott Yanow's groundbreaking book “Trumpet Kings: The Players Who Shaped the Sound of Jazz”, which places him right up there with the most important Jazz trumpeters in history, from Louis Armstrong to Miles Davis and others. AND NOW, he's here to discuss his monumental brand new album entitled, “The Count Basie Orchestra Swings the Blues”. This is an exceptional and unprecedented collection of collaborations with some of the greatest living blues and jazz artists, including George Benson, Shemekia Copeland, Robert Cray, Buddy Guy, Bettye LaVette, Bobby Rush and many more. The album features spectacular versions of blues classics like “Stormy Monday,” “The Midnight Hour”, “Look What You've Done”, “Just for a Thrill” and “I'm A Woman” along side new instant classics like Mr. Sipp's “Let's Have A Good Time”, and our guest's inspired fusion of Charley Patton meets Count Basie, in “The Patton Basie Shuffle.” The new album celebrates the deep-rooted connection between jazz and blues, and illuminates shared roots and reciprocal influence, reminding us that the boundaries between these genres are fluid and heartfelt. The fabulous Count Basie Orchestra continues to carry on the rich musical legacy of Count Basie through their dynamic performances and dedication to the swing jazz tradition. Our guest, as the orchestra's musical director, preserves Count Basie's unmistakable style, and ensures that his pioneering contributions to jazz, continue to be celebrated and enjoyed by audiences worldwide. For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To see more about Scotty Barnhart, go to:http://www.scottybarnhart.com/https://www.facebook.com/scotty.barnhart/https://www.instagram.com/scottybarnhart/ https://twitter.com/ScottyBarnharthttps://www.youtube.com/scottybarnharthttps://www.thecountbasieorchestra.com/ #ScottyBarnhart #TheCountBasieOrchestra #harveybrownstoneinterviews
Sophia Loren is the first performer to win the Best Actress Academy Award for a role in a foreign language film. She won in 1962 for her performance in Vittorio De Sica's film Two Women in which she played a mother trying to protect her 12-year-old daughter in war-torn Italy. In 1991, she picked up a second Oscar when the Academy presented her with an Honorary Award for her contribution to world cinema. Born Sofia Villani Scicolone in a hospital ward for unmarried mothers, she was brought up by a single mother in Pozzuoli near Naples during the war years. After success in her first beauty pageant at the age of 15 and starring in photo romance stories for popular magazines, she first came to wider attention in 1953 when she played the title role in the Italian film Aida. She played a pizza seller in De Sica's The Gold of Naples which is regarded as her breakthrough performance and led to her working on Hollywood movies with a who's who of co-stars including Cary Grant, Frank Sinatra, Gregory Peck and Paul Newman. Her most enduring on-screen partnership was with the Italian actor Marcello Mastroianni. In 1966 she married the film producer Carlo Ponti and went on to have two children. In her most recent film The Life Ahead, directed by her son Edoardo Ponti, she plays a holocaust survivor and ex-prostitute who cares for the children of local sex workers. DISC ONE: I've Got You Under My Skin by Ella Fitzgerald DISC TWO: Debussy: Suite bergamasque, L.75 - 3. Clair de lune composed by Claude Debussy, performed by Tamás Vásáry DISC THREE: Lara Says Goodbye to Yuri by Maurice Jarre DISC FOUR: Fly Me To The Moon (In Other Words) by Frank Sinatra with The Count Basie Orchestra, directed by Quincy Jones DISC FIVE: Oggi Sono Io by Mina DISC SIX: The Marketplace at Limoges composed by Modest Petrovich Mussorgsky, performed by Russian National Orchestra, conducted by Carlo Ponti DISC SEVEN: Io Sì by Laura Pausini DISC EIGHT: Caruso by Lucio Dalla BOOK CHOICE: Letters from a Young Father by Edoardo Ponti LUXURY ITEM: A pizza oven CASTAWAY'S FAVOURITE: Caruso by Lucio Dalla Presenter Lauren Laverne Producer Paula McGinley
This content is for Members only. Come and join us by subscribing here In the meantime, here's some more details about the show: It's a warm welcome then to the man himself: Dr. Brad Stone - the JazzWeek Programmer of the Year 2017, who's here every Thursday to present The Creative Source - a two hour show, highlighting jazz-fusion and progressive jazz flavours from back then, the here and now, plus occasional forays into the future. Please feel free to get in touch with Brad with any comments or suggestions you might have; he'll be more than happy to hear from you: brad@soulandjazz.com or follow him via Facebook or Twitter. Enjoy! The Creative Source 28th September 2023 Artist - Track - Album - Year Tina Raymond Swainson's Hawk Divinations 2023 Steve Carrington Garretized Family R Friends 2023 Michael Davis/Hip-Bone Big Band State of the Art Open City 2023 Audrey Ochoa Have a Cry The Head of a Mouse 2023 Aguankó Dualidad Unidad 2023 Jennifer Wharton's Bonegasm Menina Sozinha Grit & Grace 2023 The Moore-McColl Jazz Society Back to Atlanta Up and Gone 2023 The Count Basie Orchestra, dir. Scotty Barnhart Rock Candy (feat. George Benson) Swings the Blues 2023 Greg Abate/Paul Del Nero Quartet Light Speed Reunion: Live at WICN 2023 Funkwrench Blues The Refusal Soundtrack for a Film Without Pictures 2023 Mehmet Ali Sanlikol & Whatsnext? Abraham Suite I: The Fire Turkish Hipster: Tales from Swing to Psychedelic 2023 Gerry Gibbs Thrasher People Friends Forever Family 2023 Maci Miller I Can't Wait Nine 2023 Nicole Zuraitis Burn How Love Begins 2023 Veronica Swift I Am What I Am Veronica Swift 2023 SuperBlue: Kurt Elling & Charlie Hunter Only the Lonely Woman The Iridescent Spree 2023 Kelly Jefferson Kindling Rituals 2023 Sharon Minemoto Bike Path Dark Night, Bright Stars 2023 John Wojciechowski The Leaves Fall to the Ground Swing of the Pendulum 2023 Big Chief Donald Harrison Jr. When Mary Smiles Congo Square Suite 2023 Steve Lehman/Orchestre National de Jazz Chimera Ex Machina 2023 Three Story Sandbox Tears for Ukraine Artful Dodgers 2023 Ember Flotation Device and Shivers August in March 2023 The post The Creative Source (#CreativeSource) – 28th September 2023 appeared first on SoulandJazz.com | Stereo, not stereotypical ®.
A conversation with Trumpeter, Author, Associate Professor of Jazz Studies and the director of the Count Basie Orchestra, Scotty Barnhart - www.scottybarnhart.com. Basie Swings the Blues featuring George Benson, Carmen Bradford, Castro "Mr. Sipp" Coleman, Shemekia Copeland, Robert Cray, Jamie Davis, Buddy Guy, Charlton Johnson, Bettye Lavette, Ledisi, Lauren Mitchell, Keb'Mo, Charlie Musselwhie and Bobby Rush is now available on Candid Records.
My very special guest today is Scotty Barnhart, Director of The iconic Count Basie Orchestra! TJS and Candid Records are excited to announce the Sept. 15 release of Basie Swings the Blues, the latest recording by the legendary Count Basie Orchestra under the direction of Scotty Barnhart. This extraordinary record fuses the Count Basie Orchestra's signature style of sophisticated swing with the raw and soulful talents of the greatest blues and jazz artists of our times. Featuring a stellar lineup of blues icons and contemporary stars including Buddy Guy, Bobby Rush, Keb' Mo', Robert Cray, George Benson, Shemkia Copeland, Ledisi, Mr. Sipp, Lauren Mitchell, Bettye LaVette, and Charlie Musselwhite. Produced by Scotty Barnhart along with GRAMMY® Award-winning producer John Burk (Ray Charles Genius Loves Company), and GRAMMY® winning drummer/producer Steve Jordan (The Rolling Stones), the album takes listeners on a captivating journey through the heart and soul of American music. It showcases a shared musical language that powerfully impacts listeners across the world. The World's Biggest Blues Icons Join The Count Basie Orchestra For a Historic Recording! With Buddy Guy, Bobby Rush, Keb' Mo', Robert Cray, George Benson, Shemekia Copeland, Ledesi, Mr. Sipp, Lauren Mitchell, Bettye LaVette, and Charlie Musselwhite THE COUNT BASIE ORCHESTRA Directed by Scotty Barnhart " BASIE SWINGS THE BLUES! " is the new Album, available Sept. 15, 2023,! Today we are premiering the album + the new single “I'm A Woman” Featuring Shemekia Copeland, Buddy Guy, and Charlie Musslewhite Streaming NOW!
Dennis Rowland, Detroit's own legendary jazz vocalist, calls me into the band room at Scottsdale Community College for a chat. He shares (and sings) his early musical memories, including his first 45, singing classical music in high school, shipping off to Kentucky State University for music, his first paid gig at Joe's Palm Room in Louisville, and landing the gig singing with the Count Basie Orchestra. It's not often you get a chance to rap with a legend, and I feel honored and humbled to have spent this time with him. He also speaks candidly about his stroke in 2012 and how he got back on his feet to sing again. Dennis is still gigging to this day and you owe it to yourself to listen to him perform.
The music of Thelonious Monk is tonight's Jazz Feature subject and a fine album from June of 1959 that spotlights the Monk working quartet with tenor saxophonist Charlie Rouse, bassist Sam Jones and the always swinging Arthur Taylor on drums. However there is a worthy addition to the Quartet which gives us the album title. That addition is cornetist Thad Jones who adds much musical spice to Monk's Quartet. If there is anyone who could have been added to Monk's working band it would be Thad. However this was a one shot recording date as Thad had a coveted position in the Count Basie Orchestra and had a little time off from Basie to do this date. The compositions are a mix of old and new all by Monk of course. Two new ones written for the date are "Played Twice" and "Jackie--ing" and the older ones are "Straight, No Chaser", "Ask Me Now" and "I Mean You". Thad in this writer's opinion is the star of the date and adapts so well to Monk's music. "Five By Monk By Five" is the Jazz feature tonight.
Good News: Fascinating new research about counting your daily steps for health! Link HERE. The Good Word: One more great quote about coffee! Good To Know: Some amazing trivia about very old cats and…coffee… Good News: Wilderness campers in England won an important court decision, Link HERE. Wonderful World: Explore some remarkable modern art museums […]
On this week's Jazz After Dinner Joe features vocalist Tony Bennett from his 1975 Fantasy Records recording titled “The Tony Bennett/Bill Evans Album.” Also a few tunes from the 1990 Delta Records Recording “Tony Bennett and the Count Basie Orchestra.”
Bruce Williams is a jazz saxophonist who hails from our nation's capital of Washington, D.C. He has made his presence known on the jazz scene by garnering critical attention with his own enthusiastically received CD releases - "Brotherhood" and "Altoicity" - issued on Savant Records. He's made an indelible impression as a sideman on over twenty other CD and video recordings. Bruce has performed, toured, and recorded with a long roster of jazz legends - Little Jimmy Scott, Frank Foster, The Lincoln Center Jazz Orchestra, Stanley Cowell, Louis Smith, Cecil Brooks III, The Count Basie Orchestra, The World Saxophone Quartet, Russell Gunn, Curtis Fuller, and Roy Hargrove to name a few. Bruce Williams is a versatile saxophone stylist, performing in a variety of diverse playing environments - from traditional to hip-hop to the avant-garde. He has been an honored recipient of awards from DownBeat magazine and The Charlie Parker Music and More Foundation. His ability to perform masterfully in a range of jazz styles has placed him on two Grammy nominated recordings and sent him to numerous cities throughout the US and abroad in France, Italy, Germany, Scandinavia, the West Indies, Lebanon, and Japan. Bruce Williams is currently the newest and youngest member, of the internationally recognized jazz group, "The World Saxophone Quartet". Bruce is currently a member of a newly founded group by legendary drummer Ben Riley, the "Thelonious Monk Legacy Septet". Bruce also leads four bands of his own - a quartet, a quintet, a jazz organ trio, and a progressive electric jazz group. A noted jazz educator and mentor to young jazz musicians; Bruce has given master classes at Ohio State, Iowa State, The Jazz Institute of New Jersey, The University of the District of Columbia, Princeton University, The New Jersey Performing Arts Center "Jazz For Teens" program, and the Paris Conservatory in France. He has served as adjunct saxophone instructor at both the New School for Social Research (Mannes School of Music) in NYC, Princeton, and Bard College . He's currently an ensemble coach for the Jazz department at Julliard. Bruce Williams has been mentored by some of the best in the business including Frank Foster, Branford Marsalis, Joe Ford, Laura George, William Shadle,Oliver Lake and Cecil Brooks III. All of the above experiences have aided Bruce Williams in becoming a confident doubler and one of the premier jazz alto and soprano saxophonists in the world today. (Republished from Brucewilliams-saxophone.com)
Scotty Barnhart has been a featured trumpet soloist with The Legendary Count Basie Orchestra for over twenty years. He spearheaded Florida's Jazz & Blues Festival & is also a two-time GRAMMY Award winner! Tune in to hear how he mastered his craft onward to the international stage! --- Support this podcast: https://podcasters.spotify.com/pod/show/the-sean-pittman-podcast/support
This week: Geoff plays select recordings that Ella made in studio with the Count Basie Orchestra, circa 1956, 1962, and 1979. Tracks include April In Paris, On the Sunny Side of the Street, My Last Affair, I'm Getting Sentimental Over You, I'm Beginning to See the Light, Dream A Little Dream Of Me, Teach Me Tonight, 'Deed I Do, Into Each Life Some Rain Must Fall, Don't Worry 'Bout Me, My Kind Of Trouble Is You, Honeysuckle Rose. Ed Robertson produces GPE. Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week: Geoff plays select recordings that Ella made in studio with the Count Basie Orchestra, circa 1956, 1962, and 1979. Tracks include April In Paris, On the Sunny Side of the Street, My Last Affair, I'm Getting Sentimental Over You, I'm Beginning to See the Light, Dream A Little Dream Of Me, Teach Me Tonight, 'Deed I Do, Into Each Life Some Rain Must Fall, Don't Worry 'Bout Me, My Kind Of Trouble Is You, Honeysuckle Rose. Ed Robertson produces GPE. Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week: Geoff plays select recordings that Ella made in studio with the Count Basie Orchestra, circa 1956, 1962, and 1979. Tracks include April In Paris, On the Sunny Side of the Street, My Last Affair, I'm Getting Sentimental Over You, I'm Beginning to See the Light, Dream A Little Dream Of Me, Teach Me Tonight, 'Deed I Do, Into Each Life Some Rain Must Fall, Don't Worry 'Bout Me, My Kind Of Trouble Is You, Honeysuckle Rose. Ed Robertson produces GPE. Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week: Geoff plays select recordings that Ella made in studio with the Count Basie Orchestra, circa 1956, 1962, and 1979. Tracks include April In Paris, On the Sunny Side of the Street, My Last Affair, I'm Getting Sentimental Over You, I'm Beginning to See the Light, Dream A Little Dream Of Me, Teach Me Tonight, 'Deed I Do, Into Each Life Some Rain Must Fall, Don't Worry 'Bout Me, My Kind Of Trouble Is You, Honeysuckle Rose. Ed Robertson produces GPE. Learn more about your ad choices. Visit podcastchoices.com/adchoices
Many of the problems modern teachers are facing aren't new, so we're going back in time to find out how our education system became a system that teachers are currently fleeing. Come to find out, modern teachers inherited low pay, limited respect, and a system that strips communities of their cultural traditions. In this episode, hear how Indian Boarding Schools and the American Industrial Revolution have left traces on modern education, and how these traces are contributing to teachers' decisions to leave education. Music: Theme Song By Julian Saporiti “Sonata No.13 in E Flat Major, Op. 24 No. 1-II. Allegro, Molto, e Vivace” by Daniel Veesey is in the Public Domain. “Railroad's Whisky Co” by Jahzzar is Licensed under a CC BY-SA license. “Ugly Truth” by HoliznaCC0 is in the Public Domain. “Upsurge” by Jonah Dempcy is a CC BY-NC license. “Green Lights” by Jahzzar is licensed under a CC BY-SA license. “Pizz” by Andrew Christopher Smith is licensed under a CC BY-NC-SA Transcript: I had a band teacher once hold me after class and force me eat a beef and bean burrito. He sat in front of me on the piano bench to make sure that I ate it. I was a freshman, in the middle of the high school wrestling season, and I was cutting weight for my first varsity tournament – where I'd end up getting my lips knocked off. My teacher, Mr. Duran, was short, wiry, wore jeans with a braided leather belt and a button-down shirt. He had round-framed glasses, combed his hair to the side, and more than once told me to listen to the greats like Chick Webb and not just the white guys that made it on the radio. He was in his 30th year of teaching, and he was not shy about giving advice. While I ate the burrito, Duran talked about playing baseball in college and how abruptly a life of sports could come to an end but how long a life of music could last. This was mature guidance, albeit, guidance that I see more value in now than I did then. Duran would garnish each class with stories that worked to guide us towards being kind human beings. There were days in Jazz band where he would sit in the center of the tiered room, legs crossed, saxophone neck strap still on, and tell us about his past. When Mr. Duran was in college at the University of Northern Colorado in the 1960s, the Count Basie Orchestra went through town and stopped at the university. UNC was known for its jazz programs and one of Basie's saxophone players dropped out and they needed a replacement. Count Basie was one of the most influential musicians from the Swing Era – he was like a swing minimalist. Duran jumped at the opportunity. He got to travel and play with the band and experience life as a musician – more specifically as a musician of color. One time he and a buddy from the orchestra went into a diner and were refused anything more than water. Duran was Mexican and his friend was Black, and it was the middle of the 1960s. In protest, they sat in the big window of the diner for 3 hours, sipping their water, putting themselves on display for anyone who walked by. I love that story – this man, my teacher, saw inequity and faced it with defiance. Duran's lessons were eye-opening. I didn't realize that those stories served as parables on ethics and kindness until I became a teacher and started telling stories of my own to serve the same ends. Duran used his history to help us become better humans. And isn't that why we turn to history? Well, today, we're going to take a lesson from Duran and examine the history of education in the U.S. And because the history of education is tremendous, we have to narrow it down. So we'll focus on two aspects of history that set precedents for modern education, for the current system from which modern teachers are exiting.. We are going to start with Indian Boarding Schools, and then we'll take a look at the American Industrial Revolution. This is Those Who Can't Teach Anymore, a 7-part podcast series exploring why teachers are leaving education and what can be done to stop the exodus. I'm Charles Fournier. Here is part 2: “Inheritance” Caskey Russell: I'm going crabbing this weekend. I own a boat with my brothers. And yeah, we go out and catch crab. And there'll be salmon season soon. So I kind of got back into the ocean style lifestyle. This is Caskey Russel. I got to catch up with him over a zoom call this summer. He is the Dean of Fairhaven College at Western Washington University. He grew up in Washington and is from the Tlingit tribe. I know Caskey because he taught for 17 years at the University of Wyoming, he was a dean of American Indian Studies, and he was my thesis chair and educational guide when I was at the university. Some of Caskey's research for his PhD program dug into the history of Indian Education, specifically Indian boarding schools. Caskey Russell: My grandmother and her brothers, aunts and uncles, all went to Chemawa Indian School, in Salem. And it was a mixed bag. If you are asking yourself, wait, who's this Caskey guy and what do Indian Boarding Schools have to do with teachers quitting? Here's how. We know that historical atrocities leave a trace on modern institutions, so we need to recognize that Indian boarding schools have left their mark on modern education. They are a part of the system of inequity modern teachers have inherited. Indian Boarding Schools are an example of the deculturalization that has occurred in education. One of many. Attempts to strip communities of their cultures happened with just about everyone in this country at some point that didn't fit into the male, able-bodied, straight, white, Anglo Saxon Protestant category. Traces of these inequities remain in education, deculturalization still happens, and teachers working towards inclusion in a system that was based on exclusion often run into roadblocks – think book bans or accusations that teachers are trying to indoctrinate kids - and these roadblocks are pushing teachers out of education. So to better understand the inequities in modern education, this thing that is frustrating teachers to the point of quitting, we need to look at where some of those attempts at deculturalization originated. We need to look at Indian Boarding Schools. And we need to listen to someone like Caskey. Caskey Russell: They liked the sports. They like some of the music, but my uncle Stanley Pradovic, I remember he said, “I used to dream of feasts, seafood feasts that they had in Alaska.” And my grandmother was able to keep the Tlingit language because she didn't go to boarding school, but her brothers did not. You step back and look at the whole system and how destructive and just kind of the cultural genocide aspect. My grandmother would say she didn't know her brothers because when she was born, her brothers were gone away from her earliest memories. And so she didn't get to know her brothers right away. It did break families up. And I was just chatting with my mom last night. My mom said the other family had no control over what it was determined for them. And again, not having control over that seems to be the key to it, nor having input in the education nor valuing…and then having a different model, different cultural notion of success. And then the military and the Christianization, all that together, just adds problem on top of problem, instead of being empowering and enlightening, that really becomes conforming, sort of thing. What happened to Caskey's family was a result of centuries of efforts to deculturalize tribes. Early European colonizers of the US set a precedent of trying to assimilate tribes into a single monolithic culture. Colonizers disregarded tribal traditions and languages and failed to see that tribes already valued education for their youth. So the assumption that public education started with Horace Mann in 1837 is an assumption that values eurocentric education over the public education that was already in the Americas. Part of this is because the purposes of education differed. Many Native communities saw educating children as a means to pass on generational knowledge and teach children how to be a successful part of the community. 17th-century Plymouth settlers specifically saw education and literacy as a method to keep Satan away. Children needed to be able to read so they could read the Bible. A pilgrim minister explained: “[There] is in all children, though no alike, a stubbornness, and stoutness of mind arising from natural pride, which must, in the first place, be broken and beaten down; that so the foundation of their education being laid in humility and tractableness, other virtues may, in their time, be built thereon” (42). But tribes did not beat down their children, did not read the Bible, and were able to survive and thrive in what Pilgrims saw as wilderness. So Pilgrims worked to impose their educational priorities onto tribes as a way to cast out Satan, and ultimately gain control of Indigenous people. This effort to assimilate and control only compounded over the next few centuries By the 19th century, congress was also making efforts to deculturalize and assimilate tribes. Thomas Jefferson who had a big role in the removal of Native Americans from their lands also had a One Nation idea when it came to Native Americans – an assumption that required assimilation through education. In 1816, Jefferson explained the value of education: “Enlighten the people generally and tyranny and oppressions of body and mind will vanish like evil spirits at the dawn of day. Although I do not, with some enthusiasts, believe that the human condition will ever advance to such a state of perfection as that there shall no longer be pain or vice in the world, yet I believe it susceptible of much improvement, and most of all in matters of government and religion; and that the diffusion of knowledge among the people is to be the instrument by which it is to be effected” (101)). Jefferson believed a democratic, not a moral education which was what kids were getting at the time, was essential to democracy and he's right, but his One Nation idea required a monolithic ideal that did not value other cultures. He wanted tribes to conform to his image of being American. This focus on conformity was baked into the American educational philosophy. The Civilization Act of 1819 saw Thomas McKenney, the first head of the Office of Indian Affairs begin a process of Native American deculturization – they created a tribal school system run by white missionary teachers hoping to gain control of tribes through the power of education and assimilation. When Andrew Jackson became president in 1829, he saw some of the educational progress made by tribes as dangerous to America's goals of gaining control of lands. So, in 1830, America passed the Indian Removal Act, which brutally uprooted tribes and relocated them. Thirty years later, the Indian Peace Commission began reservation schools or day schools. But again, the cultural genocide that all of these acts and efforts had hoped for weren't as effective as the government Wanted. This is when the government stepped in again. Paired with the Dawes Act of 1877 that worked to split reservation lands into private property began the start of the boarding school movement in 1879. Each step was a process working towards killing cultures in an attempt to control land, people, and ideas – all largely through some form of education. The start of the boarding school experiment can be attributed to Captain Richard Henry Pratt. Caskey Russell: Pratt actually had a number of prisoners of war under his charge at St. Augustine, Florida. Besides being given military uniforms, they would teach them. And so the way he sold the first boarding schools was that instead of being at war with natives, you can educate them. The US could educate them, and kind of eradicate native culture through educating towards whiteness. Caskey explained that the thought was that education would help the government avoid the expenses of war. Caskey Russell: So there are a group of Plains Natives that were transported to St. Augustine, that was his kind of first experiment. And then he was able to go to Congress and get some money. And he took them to The Hampton Institute and eventually to the Carlisle Indian Industrial School So Pratt's experiment led to the establishment of the Carlisle Indian Industrial School in Pennsylvania in 1879. This was around the same time that Pratt made a famous statement to congress: Caskey Russell: He says to Congress, “You have heard Sherman say the only good Indian's a Dead Indian. I would agree with this one kind of difference that you can kill the Indian save the man.” That's what education can do. That's the motto. And so, there was based on military kind of military boarding school style, and they opened up across the country. And they were often religiously affiliated, and religious institutions given them control of them. Which, you know, was another part of the boarding schools was the religious education, the eradication of tribal cultures, tribal religions, and the inculcation of Christianity, the various sects of Christianity across the country. Each step taken by congress, in the name of education, was an effort to prioritize one culture over others, one idea of success over others - often through religious means, because again, early education was morality based. And they did this through legislation and through educational policy. Even though many of these efforts are pretty old, we still feel the educational effects of prioritizing a single culture or single idea of success.. Elizabeth Smith, a veteran teacher of 20 years who teaches on a reservation still sees this today. Elizabeth Smith: Even though I can count on my hand, the number of students that I've taught that have graduated and have a white culture, sort of experience with what would be known as success, quote, unquote Caskey sees this idea in what is tested or valued as a bottom line in public education. These are things that dismiss differentiated cultural values. Caskey Russell: Did the schools reward students let's say for instance, this the schools Wind River reward students for knowing the traditional clan system, speaking Arapaho or Shoshone for knowing traditional ways, whether it's kind hunting, traditional use of land, traditional plants respond medicine, knowing being prepare, or being an apprentice for ceremony, none of that none of that culturally important stuff that was really important to Native people, especially young people they could dream of, you know, I'm going to fulfill these goals, these roles, these social roles one day, none of that's important, it seems like an American school system, right? When you're going to take the SAT or the ACT, are they going to value the hours you spent with your grandparents trying to learn the language or learning stories or learning traditional ways? Of course not. This is a part of the inheritance of modern education, something teachers have to grapple with consistently. How can we educate students to be a part of a community that through legislation or policy doesn't seem to value all traditions and cultures within that community? Or how to reach a measure of success that isn't culturally misaligned or based on morality? Caskey Russell:A handful of them might be successful in kind of the white American ideal. But that's not the only measure of success, nor is it maybe a healthy measure of success, right, for Native people. It would be wonderful to let other ideas of success, community success, success as a human being within a community flourish in the school setting. This question of how to honor a diverse spectrum of students lands on teachers in the classroom. Though legislators and school boards may make efforts to dictate what can and can't be taught in the classroom, the reality is it's teachers and administrators who are working with kids – and kids from a wide spectrum of communities who have often been forced into a specific, standardized idea of success, which might not be culturally conscious. This is exactly how Indian boarding schools started, they forced kids from diverse tribes into a standardized idea of success initially using arguments for morality to do so. We recognize this as bad now, so why are forms of it still happening? A big concern of some of the teachers who have decided to leave teaching was the start of limits and restrictions about what can and can't be taught in the classroom. Many of these limits originate from argument about morality that are backed by religious groups that want to dictate what is happening in the classroom. Think of Mr. Wacker from last episode who is still frustrated with the banning of Toni Morrison's The Bluest Eye for moral arguments or Mr. Atkinson who felt his curriculum being squeezed by people who didn't appreciate class conversations about varying cultural perspectives on current events. And, as we saw with the history of Native American education, this is not new – even though many founding fathers, who were deists themselves, advocated for the separation of church and state and were adamant that education focus on democratic values rather than religious values. John Adams wrote to his wife Abigail: “I must study Politicks and War that my sons may have liberty to study Mathematicks and Philosophy. My sons ought to study Mathematicks and Philosophy, Geography, natural History, Naval Architecture, navigation, Commerce and Agriculture, in order to give their Children a right to study Painting, Poetry, Musick, Architecture, Statuary, Tapestry and Porcelaine.” John Adams does not reference education and say study the Bible. And fellow former president James Madison did not mince words in a letter that pushed against church use of government land, which would later include schools: “The purpose of separation of church and state is to keep forever from these shores the ceaseless strife that has soaked the soil of Europe with blood for centuries.” And these beliefs worked their way into legislation with the inclusion of the Establishment Clause in the First Amendment, which Thomas Jefferson said was “A wall of separation between the church and state.” And though we know Jefferson's view of education wasn't very inclusive, if we combine this idea of the separation of church and state with a modern inclusive reading of Jefferson's thoughts that education is to “Educate and inform the whole mass of the people. They are the only sure reliance for the preservation of our liberty,” We get a pretty good idea that education is a means to inform a free-thinking, diverse population that has different belief systems. The founders knew the danger of letting religion seep its way into government - they just broke free of a country that allowed that to happen. So to have a system of education that would inform the whole mass of people without perpetuating the deculturalization we saw with the Indian Boarding schools, which have their origins in religious schooling, that system would need to accommodate the diversity of that mass of people. This means that teachers would need the trust of the public and freedom to use their expertise to do their jobs, which would likely include selecting a wide range of materials to accommodate a diverse student population. This freedom and trust is not something being granted to modern teachers. There is currently a trend of parents, legislators, and school board members criticizing teacher efforts to support diverse student needs, often through moral critiques. Which stems from a lack of trust and the same morality based fear that sparked early deculturalization efforts in the United States. So, this isn't new. This is another part of what teachers have inherited from previous generations of educators, a lack of professional respect that translates to a lack of autonomy in the classroom, low pay, and a smattering of other things that are driving teachers from their jobs. Here's Elizabeth again: Elizabeth Smith: And let me clarify, you know, when I say I love teaching, I do love teaching. To say that I love where I'm at right now, no, I do not. I am not satisfied with the way my job is going. I'm not satisfied with the way I feel inside every single day coming home from work. It's like a battlefield. It is intense. It is stressful. My family has noticed it and made comments on it, you know, and I don't have the patience to deal with my own children. And what am I going to do if I don't do this? I've got 20 years of expertise invested in this. And I've spent a lot of time learning how to do the things that I do and I enjoy improving it. As of now, she is planning on staying in education. And all of those 20 years have been spent teaching on reservations. She attributes this in part to why she loves her work so much, why she's planning on staying. There is a different level of respect that she sees in these schools and a higher level of appreciation, which goes a long way. But this doesn't mean that there still isn't a lack of professional trust or respect that she feels from being a teacher. Elizabeth Smith: There's so much micromanaging and so many expectations that are put on us that are really insulting, actually, to our intelligence and to our professionalism. And I understand that there are teachers who are unaware of the ways that they're doing things are unprofessional and unintelligent. So I get the admin has to make some allowances and come up with some plans for how to deal with teachers that are not as aware of themselves and their skills as they should be, you know, so I understand that but the blanket statements.. To address where these blanket solutions may originate from, we are going to take another look at history through a little different lens than what we've been using so far. When I asked teachers about what pushed them out of education, they echoed Elizabeth's frustrations. Lack of respect was a major reason people left. But this is not new, like the history of inequity in education, the lack of professional respect has been a thread through public education's history. So we are going to pull on that thread and look at the tradition of not valuing or respecting teachers. Stephanie Reese: As a teacher, you're going to be marginalized, and you're not going to be taken seriously. Ron Ruckman: I think a lot of administrators, They just don't have any idea there, and they don't really think of us as professionals, you know, they don't really think of us as being able to do our job. Christie Chadwick: As a teacher, we're managing all these expectations. And I think that that's not acknowledged by the general population. Teachers want to be seen as professionals. This came up in interviews in reference to being trusted to make decisions about curriculum, in being more autonomous, and in getting paid better. When thinking about why teachers have inherited a lack of professional respect in the present, it might have to do with the American Industrial Revolution: Colby Gull: We were built on an industrial model. Get them in, stick the widget on him and get him out the other side of the door. Right. And that's just not how humans work. This is Colby Gull, he is the managing director for the Trustees education Initiative in the College of Education at the University of Wyoming. Colby has been a teacher, a coach, a principal, and a superintendent. He's run the educational gamut. And he points out that the structure of education does not necessarily promote the growing and sharing of ideas. Colby Gull: And we live in now the idea economy. And we're still not teaching in the idea economy. We're teaching in the industrial economy where you buying and selling goods. But our economy now is based on ideas and sharing of ideas and debating and discussing, and I don't know, people make a lot of money with their ideas. And this structure of education, this factory style model, which looks similar to the military approach seen with Indian Boarding Schools, started and gained popularity during the American Industrial Revolution at the end of the 19th century. Along with this more industrial model the precedent for the amount of respect teachers received was set. I see several ways in which history has handed down a dismissive attitude toward teachers. As Common Schools gained popularity in the mid-19th century, young women were also moving to cities for better economic opportunities. And these women were hired as teachers in droves because they could be paid substantially less than men. This compounded since teaching was seen as respectable employment for women - it matched the stereotype that women were naturally nurturing. Both the image of teachers as nurturers and the trouble with pay is consistent with what we see today. Here's Stephanie Reese, a former PE teacher who left education and became the general manager of Blacktooth Brewing Company. Stephanie Reese: Absolutely money matters. I was in so much debt. You know, with loans, whether they're student loans, or just credit card, or whatever it is, I had a lot in college, had a lot while I was teaching. and teaching just doesn't give you that opportunity.. And level increases are a fucking joke. Unless you've been in, you've been in I call it like, like you've been in the pen. You've been in for 34 years, you've given one kidney, you have four degrees, master's degrees, preferably doctorate even better, and you've given up your will to live, and those those things will give you more money. Part of the consistently poor pay has to do with the hierarchical structure in education. After the Civil War, the first iteration of the department of education was created, in order to track what the nation's schools were doing. So there was an expectation for the availability of public schooling. Once the American Industrial Revolution hit towards the end of the 19th century, factory jobs boomed. More people flocked to cities meaning there were more kids and more of a need for teachers. With more men transitioning to better paying factory jobs, even more women were moving to the classroom. The large number of women serving as teachers was accepted at a time when women weren't given many professional opportunities. Administrative roles – principals, superintendents, and the like – were held by men. And many high school positions were still held by men. So a hierarchy that prioritized male control and male decision making was very clearly in place. Mark Perkins, a former teacher and administrator and current parent and professor of Educational Research methods at the University of Wyoming, points out that this hierarchy has remained even if the original gendered reasons for its creation haven't. Mark Perkins: I think there's a power hierarchy. And I don't think that teachers have been empowered enough to express their professional expertise. I think that teachers are approached as a service industry. And so, we want teachers to parrot curriculums. We want them to be experts in their content, as long as their expertise doesn't contradict with our preconceived notions of reality. So I think there's a sociological phenomenon that goes on in schools. I think it's a common phenomenon. The system of becoming an administrator in some cases was once based on seniority. So the most senior teacher would inherit the role of principal. This changed when a degree was required to become a principal or superintendent, which also prevented women from gaining access to these administrative positions by making them require a degree because women weren't often able to access such an education. So these days, some administrators are in the position without having had a tremendous amount of time in education, which can make administrator impact or insight into the classroom difficult. Ron Ruckman, who just left teaching after 23 years, explains that the lack of experience can be glaringly obvious for some administrators who are disconnected from the teachers. Ron Ruckman: You know, and then there's other administrators that just don't want to have anything to do with your classroom, you know, and they want to make decisions, but they don't want to, they don't communicate with you or ask you things. There's a lot of that especially in rural districts. We've spent so much time and money in this district doing initiatives and buying products. And, you know, I can't imagine how much money we've just wasted, you know, buying stuff that, you know, on, based on a good salesman that convinced somebody that they needed it. Whereas had they come and asked us would have been like, no, no, that that would be a really dumb thing to do. That's not going to work. You know, but there's just that kind of an apt idea that teachers really are, you know, don't really know what they're what, you know, they don't really know anything other than their subject. And we're, we're pretty smart. Most of us, you know. (Beeping) This was perfect timing. That beeping was for a fire. Ron is the Battalion Chief for the Pinedale fire department - he has a lot of roles in his community because he is intelligent and capable and because of not being respected for being intelligent and capable, he quit teaching to pursue the other things he's good at. Some of the ways teachers are not seen as capable has to do with how education is standardized. In the late 19th century, as cities got larger and more and more kids were put into schools, urban schools started to split students into grade levels. Around this time and into the early 20th century, there was a development of what historian David Tyack (Tie-yak) described as the One Best System of education – this saw a focus on specific, easily assessed, and easily sequenced subjects of study. This also did more to highlight non-academic items like good attendance, behavior, and willingness to follow directions, which all aid in creating people who would fit into an industrial economy. This structure was useful when more and more students were placed into a class. And by the early 20th century, politicians and administrators were seeing schools as being a solution to the nation's woes. Traces of these industrialized values are very present in modern classrooms, and it makes Allison Lash, who taught art in New York City and Austin, Texas, sad at what she sees. Allison Lash: A friend of mine had said one thing about why he's doesn't like education is just that you go to school to learn how to work, basically, to get you ready to go out in the world and work. And that's sad. Like, I just want to live. I don't want to worry about working and how to make money and pay your school loans and your bills. It used to bother me that kids would get rewarded for being in school every day. And it's all about money. It's all about how many kids are in their seats every day for the school district to make money. And it was sad, it was sad that kids would win awards for like, being their everyday awards. Like who really cares? They're totally ignoring mental health and even if the kid is sick, you stay home. It's really sad when you go into elementary school and you see the kids quiet and lined up in a line and like “shhhhh,” and I remember teaching that and I know that I guess order is not wanted, and I don't know if needed is even the right answer. Teach kids to be a good person. The rise of industry during the American industrial revolution also saw a rise in unions and strikes. Because teachers were mostly women, and many of the strikes of the time were more militant and potentially violent, women were less likely to take part in strikes and efforts to gain better pay. This was not helped by the fact that men held leadership positions in education, so they did not make efforts to better the work environments of teachers because these men just weren't affected. The National Education Association, which was founded in 1857, wasn't just for teachers, so administrators, men, were also in charge of Union happenings. It wasn't until 1910 when Ella Flagg Young was elected as the NEA president that the union started taking more steps to help teachers. But the difficulty in changing and revising educational structures is still present. Chris Rothfuss, a parent and Wyoming State Senator and member of the Senate Education committee, knows this all too well. While we have a coffee in Laramie, Wyoming, Chris explains that change may require a cultural shift inspired by younger generations . Chris Rothfuss: I think a large part of the reason why we develop into what we are really is the way this country industrialized and grew and had a middle-class work ethic through the mid-20th century, that shaped a lot of the way things are done. And the philosophy about why things are done, the way they're done, where there is a common viewpoint that I think is handed down from generation to generation that if you just work hard, put your nose to the grindstone, that you will be successful, and things will go your way, and you'll have a good life. I think part of what's changing that, is that this emerging generation is realizing that while that may have been true, a lot of what allowed that to be true, was frankly, taking on debt that is generational debt and handing that debt down to the next generation. So effectively exploiting the future for the benefit of the present. This younger generation isn't enthused about that as they're learning more about it, and rightly so. And they don't see a path to a traditional life as being what they aspire to. A potential reason for major shifts not having occurred in the past might have to do with economic uncertainties. For every economic depression and war to occur in the 20th century, money was pulled from education to help the war or economic problems, but that money was not necessarily given back to education. Teacher pay was often cut when other unionized jobs like factory work was not cut because there was an assumption that teachers, being mostly women, would not need to support their families. During WWII, when more women went to work in factories, those women who were still teaching saw how much better the pay was for the women who went to work in factories. The impact of war and economic troubles also resulted in a more factory-like structure in the classroom. This was often a result of trying to accommodate a larger student population with less resources, and it was also an easier way to measure student achievement. This created an educational structure that overwhelms teachers, which makes best practices more difficult and stretches teachers thin. Molly Waterworth, who just left teaching this year after 8 years in the classroom, explains the reality of being overwhelmed as a teacher. Molly Waterworth: The reality is that if you have 150 kids, there's no way that you're going to grade all of their work in seven and a half hours that you have with them during the day. There's no way. It's just a mathematical impossibility. The truth is, teachers have inherited being paid poorly, being overworked, and not being treated with respect. Sadly, much of this is associated with the trend of women in the profession within a patriarchal society. And the teaching profession is still dominated by women. The NEA reports that about 3 quarters of teachers are women, and teachers still get payed about 74% of what equivalent degreed professions earn. So, teachers are leaving education, but the reasons they are leaving are a result of problems that have been percolating since the start of public education in the United States. Efforts at deculturalization seen with the Indian Boarding Schools have left an impact and pattern on modern education, just like the treatment of women and industrialization of education has left an impact on how teachers are currently treated. This does not mean that public education needs to end, but like any inheritance, we need to acknowledge and deal with the problems. We need to see that there have been attempts to address inequity in education with efforts like Brown v Board in 1954, Title IX in 1972, and the disabilities act of 1975. But continuing to return to a standardized, one-size-fits-all approach that matches an industrial structure of education just does not work – it doesn't value teacher expertise, nor does it meet the students with unique cultural backgrounds or needs where they are. And because teachers have been tasked with addressing these inequities with limited freedom and trust and resources, many are calling it quits. This needs to change – teachers need to be able to disclaim this inheritance for their sake and for the sake of their students. Next time, we will look at how the perception of teachers might be influenced by pop-culture. TEASE: “Robin Williams isn't going to do that.” That will be next time on Those Who Can't Teach Anymore. Thank you for listening. Be sure to subscribe to our podcast, leave a review, and share episodes with everyone you can think of. This episode was produced by me, Charles Fournier. It was edited by Melodie Edwards. Other editing help came from Noa Greenspan, Sarah-Ann Leverette, and Tennesee Watson. Voice Acting by Rory Mack, David Whisker, Rick Simineo, and Markus Viney who also offered editing help. Our theme song is by Julian Saporiti. All other music can be found on our website. A special thanks to Elizabeth Smith, Caskey Russell, Stephanie Reese, Ron Ruckman, Molly Waterworth, Christy Chadwick, Colby Gull, Mark Perkins, and Allison Lash for taking time to sit down and chat with me. This dive into history was greatly aided by two books: American Education: A History by Wayne J. Urban and Jennings L. Wagoner, Jr. and Deculturalization and the Struggle for Equality: A Brief History of the Education of Dominated Cultures in the United States by Joel Spring……This podcast is funded in part by the Fund for Teachers Fellowship.
After more than two years, a Strong Songs jazz mystery is finally solved.Thanks to listener (and outro soloist) Jeff Bean, who finally cracked the case of the mysterious lick played by Clifford Brown, Lee Morgan, and may others. I can finally sleep at night.FEATURED ON THIS EPISODE:"Moanin" by Bobby Timmons recorded by Art Blakey and the Jazz Messengers for Moanin', 1958"Jordu" by Duke Jordon recorded by the Clifford Brown quintet, 1954"Seranade to a Cukoo" by the Rahsaan Roland Kirk quartet from I Talk With Spirits, 1964"All This and Heaven Too" by Jimmy Van Heusen with lyrics by Eddie Delange, performed by the Tommy Dorsey ORchestra feat. Frank Sinatra in 1940“Fly Me To The Moon” by Bart Howard, recorded by Frank Sinatra with the Count Basie Orchestra on It Might As Well Be Swing, 1964-----LINKS-----SUPPORT STRONG SONGSPaypalme/kirkhamiltonmusic | Patreon.com/strongsongsMERCH STOREstore.strongsongspodcast.comSOCIAL MEDIA@StrongSongs | @Kirkhamilton | IG: @Kirk_HamiltonNEWSLETTERhttps://kirkhamilton.substack.com/subscribeJOIN THE DISCORDhttps://discord.gg/GCvKqAM8SmTHE STRONG SONGS PLAYLISTSpotify | Apple Music | YouTube Music
Chris Slade has had an extraordinary career behind the drum kit. While most US rock fans remember him as the bald madman from Thunderstruck with AC/DC, he started his career in the 60s as part of Tom Jones band, The Squires. From there the luminaries he's played with include Olivia Newton-John, Manfred Mann's Earth Band, Gary Numan, David Gilmour, Jimmy Page, Paul Rodgers, Gary Moore, AC/DC, Asia, Michael Schenker and more.He's touring this year with his band, The Chris Slade Timeline, which includes songs from all the bands he's played with over the decades. Did you know he was asked to do a session with Dizzie Gilespie? He recalled playing with the Count Basie Orchestra, getting phone calls from David Gilmour and Jimmy Page within 2 hours of each other and how he put his signature on Thunderstruck.A warm chat with a charming Welshman covering 7 decades of rock!A Member of the Pantheon Podcast Network - https://pantheonpodcasts.com/@ugly_werewolf@actionjax72@SladeTimeline
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