Podcasts about Dizzy Gillespie

It's October 28th. This day in 1964, the presidential election is in the home stretch, with candidates like Lyndon B Johnson, Barry Goldwater -- and Dizzy Gillespie?Jody, NIki, and Kellie discuss the only-half-joking candidacy of the legendary jazz trumpeter, and the intersection of entertainment and politics in that era. Plus: the power of great merch.Sign up for our America250 Watch newsletter, where you'll also get links and lots more historical tidbits.https://thisdaypod.substack.com/Find out more about the show at thisdaypod.comThis Day In Esoteric Political History is a proud member of Radiotopia from PRX.Your support helps foster independent, artist-owned podcasts and award-winning stories.If you want to support the show directly, you can do so on our website: ThisDayPod.comGet in touch if you have any ideas for future topics, or just want to say hello. Follow us on social @thisdaypodOur team: Jacob Feldman, Researcher/Producer; Brittani Brown, Producer; Khawla Nakua, Transcripts; music by Teen Daze and Blue Dot Sessions; Audrey Mardavich is our Executive Producer at Radiotopia Learn about your ad choices: dovetail.prx.org/ad-choices

Mais que faisait Don Byas à Saint-Tropez au milieu des années 1950 ? Après avoir fait swinguer le New-York du jazz et du bebop, où il enregistra les premiers disques du genre avec Dizzy Gillespie, le saxophoniste trouva en France une terre d'adoption, loin des Etats-Unis et du "malaise racial". Ténor vibrant et engagé, personnage haut en couleurs, Don Byas a marqué de son empreinte l'histoire du jazz en France, avant un ultime comeback de l'autre côté de l'Atlantique. Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

We're continuing our series of episodes inspired by the 2024 documentary Soundtrack to a Coup D'Etat with an examination of some of the film's key characters: the so-called ‘Jazz Ambassadors', a group of mostly black US musicians sent around the world to (unwittingly) promote American soft power during the Cold War. Tim and Jeremy give a brief history of the emergence of the CIA in the post-war USA, explain the role of NATO, and detail a few of the great many instances of US interference in newly decolonised states around the globe. We hear about Louis Armstrong in Ghana, Dizzy Gillespie's tours to West Asia and revisit Max Roach from our previous show, alongside Brubeck, Stravinsky and… Bing Crosby. The guys discuss these various attempts to portray America as a haven of free self expression at home while it repeatedly violated sovereignty and democracy abroad. Also included in this show: Fantasia, the Military Industrial Complex, the Kennedy assassination and some speculative White House tripping. Edited by Matt Huxley. Become a Patron at Patreon.com/LoveMessagePod.www.LoveistheMessagePod.comTracklist:Aaron Copeland - Fanfare for the Common Man Bing Crosby - The Isle of InnisfreeIgor Stravinsky - The Rite of Spring Louis Armstrong - (What Did I Do To Be So) Black and Blue Louis Armstrong - Spooks Dizzy Gillespie - Tour de Force Dave Brubeck - Take Five Max Roach - Triptych: Prayer / Protest / Peace The Byrds - He Was a Friend of Mine Books:William Blum - Killing Hope Susan Williams - White Malice 

The Jazz Masters: Setting the Record Straight (UP of Mississippi, 2021) is a celebration of jazz and the men and women who created and transformed it. In the twenty-one conversations contained in this engaging and highly accessible book, we hear from the musicians themselves, in their own words, direct and unfiltered. Peter Zimmerman's interviewing technique is straightforward. He turns on a recording device, poses questions, and allows his subjects to improvise, similar to the way the musicians do at concerts and in recording sessions. Topics range from their early days, their struggles and victories, to the impact the music has had on their own lives. The interviews have been carefully edited for sense and clarity, without changing any of the musicians' actual words. Peter Zimmerman tirelessly sought virtuosi whose lives span the twentieth and twenty-first centuries. The reader is rewarded with an intimate look into the past century's extraordinary period of creative productivity. The oldest two interview subjects were born in 1920 and all are professional musicians who worked in jazz for at least five decades, with a few enjoying careers as long as seventy-five years. These voices reflect some seventeen hundred years of accumulated experience yielding a chronicle of incredible depth and scope. The focus on musicians who are now emeritus figures is deliberate. Some of them are now in their nineties; six have passed since 2012, when Zimmerman began researching The Jazz Masters. Five of them have already received the NEA's prestigious Jazz Masters award: Sonny Rollins, Clark Terry, Yusef Lateef, Jimmy Owens, and most recently, Dick Hyman. More undoubtedly will one day, and the balance are likewise of compelling interest. Artists such as David Amram, Charles Davis, Clifford Jordan, Valery Ponomarev, and Sandy Stewart, to name a few, open their hearts and memories and reveal who they are as people. This book is a labor of love celebrating the vibrant style of music that Dizzy Gillespie once described as “our native art form.” Zimmerman's deeply knowledgeable, unabashed passion for jazz brings out the best in the musicians. Filled with personal recollections and detailed accounts of their careers and everyday lives, this highly readable, lively work succeeds in capturing their stories for present and future generations. An important addition to the literature of music, The Jazz Masters goes a long way toward “setting the record straight.” Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

National apple day. Entertainment from 1981. 1st baseball world championship, 1st Europeons to sail into Pacific Ocean, Oldest pearl. Todays birthdays - Alfred Nobel, Dizzy Gillespie, Joyce Randolph, Peter Graves, Manfred Mann, Carrie Fisher, Mathew Ramsey, Kane Brown. Jack Kerouac died.Intro - God did good - Dianna Corcoran    https://www.diannacorcoran.com/The apple song - Hal LeonardArthurs song- The best that you can do - Christopher CrossNever been so loved - Charley PrideBirthdays - In da club - 50 Cent      http://50cent.com/Oh Bop Sh'Bam - Dizzy GillispieHoneymooners TV themeMission Impossible TV themeDo wah diddy diddy - Manfred MannBreak up with him - Old DominionOne Mississippi - Kane BrownExit - Gotta do - Kirstie Kraus     https://www.kirstiekraus.com/countryundergroundradio.comHistory & Factoids about today webpageCatholic 101 - Kateri Tekakwitha

On the October 21 edition of Music History Today podcast, Madonna pushes the envelope again, Michael Jackson organizes, & some major musicians pass away. Plus, happy birthday to Dizzy Gillespie & the Queen of Salsa, Celia Cruz.For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts from  ALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday

The Jazz Masters: Setting the Record Straight (UP of Mississippi, 2021) is a celebration of jazz and the men and women who created and transformed it. In the twenty-one conversations contained in this engaging and highly accessible book, we hear from the musicians themselves, in their own words, direct and unfiltered. Peter Zimmerman's interviewing technique is straightforward. He turns on a recording device, poses questions, and allows his subjects to improvise, similar to the way the musicians do at concerts and in recording sessions. Topics range from their early days, their struggles and victories, to the impact the music has had on their own lives. The interviews have been carefully edited for sense and clarity, without changing any of the musicians' actual words. Peter Zimmerman tirelessly sought virtuosi whose lives span the twentieth and twenty-first centuries. The reader is rewarded with an intimate look into the past century's extraordinary period of creative productivity. The oldest two interview subjects were born in 1920 and all are professional musicians who worked in jazz for at least five decades, with a few enjoying careers as long as seventy-five years. These voices reflect some seventeen hundred years of accumulated experience yielding a chronicle of incredible depth and scope. The focus on musicians who are now emeritus figures is deliberate. Some of them are now in their nineties; six have passed since 2012, when Zimmerman began researching The Jazz Masters. Five of them have already received the NEA's prestigious Jazz Masters award: Sonny Rollins, Clark Terry, Yusef Lateef, Jimmy Owens, and most recently, Dick Hyman. More undoubtedly will one day, and the balance are likewise of compelling interest. Artists such as David Amram, Charles Davis, Clifford Jordan, Valery Ponomarev, and Sandy Stewart, to name a few, open their hearts and memories and reveal who they are as people. This book is a labor of love celebrating the vibrant style of music that Dizzy Gillespie once described as “our native art form.” Zimmerman's deeply knowledgeable, unabashed passion for jazz brings out the best in the musicians. Filled with personal recollections and detailed accounts of their careers and everyday lives, this highly readable, lively work succeeds in capturing their stories for present and future generations. An important addition to the literature of music, The Jazz Masters goes a long way toward “setting the record straight.” Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

The Jazz Masters: Setting the Record Straight (UP of Mississippi, 2021) is a celebration of jazz and the men and women who created and transformed it. In the twenty-one conversations contained in this engaging and highly accessible book, we hear from the musicians themselves, in their own words, direct and unfiltered. Peter Zimmerman's interviewing technique is straightforward. He turns on a recording device, poses questions, and allows his subjects to improvise, similar to the way the musicians do at concerts and in recording sessions. Topics range from their early days, their struggles and victories, to the impact the music has had on their own lives. The interviews have been carefully edited for sense and clarity, without changing any of the musicians' actual words. Peter Zimmerman tirelessly sought virtuosi whose lives span the twentieth and twenty-first centuries. The reader is rewarded with an intimate look into the past century's extraordinary period of creative productivity. The oldest two interview subjects were born in 1920 and all are professional musicians who worked in jazz for at least five decades, with a few enjoying careers as long as seventy-five years. These voices reflect some seventeen hundred years of accumulated experience yielding a chronicle of incredible depth and scope. The focus on musicians who are now emeritus figures is deliberate. Some of them are now in their nineties; six have passed since 2012, when Zimmerman began researching The Jazz Masters. Five of them have already received the NEA's prestigious Jazz Masters award: Sonny Rollins, Clark Terry, Yusef Lateef, Jimmy Owens, and most recently, Dick Hyman. More undoubtedly will one day, and the balance are likewise of compelling interest. Artists such as David Amram, Charles Davis, Clifford Jordan, Valery Ponomarev, and Sandy Stewart, to name a few, open their hearts and memories and reveal who they are as people. This book is a labor of love celebrating the vibrant style of music that Dizzy Gillespie once described as “our native art form.” Zimmerman's deeply knowledgeable, unabashed passion for jazz brings out the best in the musicians. Filled with personal recollections and detailed accounts of their careers and everyday lives, this highly readable, lively work succeeds in capturing their stories for present and future generations. An important addition to the literature of music, The Jazz Masters goes a long way toward “setting the record straight.” Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Jazz Masters: Setting the Record Straight (UP of Mississippi, 2021) is a celebration of jazz and the men and women who created and transformed it. In the twenty-one conversations contained in this engaging and highly accessible book, we hear from the musicians themselves, in their own words, direct and unfiltered. Peter Zimmerman's interviewing technique is straightforward. He turns on a recording device, poses questions, and allows his subjects to improvise, similar to the way the musicians do at concerts and in recording sessions. Topics range from their early days, their struggles and victories, to the impact the music has had on their own lives. The interviews have been carefully edited for sense and clarity, without changing any of the musicians' actual words. Peter Zimmerman tirelessly sought virtuosi whose lives span the twentieth and twenty-first centuries. The reader is rewarded with an intimate look into the past century's extraordinary period of creative productivity. The oldest two interview subjects were born in 1920 and all are professional musicians who worked in jazz for at least five decades, with a few enjoying careers as long as seventy-five years. These voices reflect some seventeen hundred years of accumulated experience yielding a chronicle of incredible depth and scope. The focus on musicians who are now emeritus figures is deliberate. Some of them are now in their nineties; six have passed since 2012, when Zimmerman began researching The Jazz Masters. Five of them have already received the NEA's prestigious Jazz Masters award: Sonny Rollins, Clark Terry, Yusef Lateef, Jimmy Owens, and most recently, Dick Hyman. More undoubtedly will one day, and the balance are likewise of compelling interest. Artists such as David Amram, Charles Davis, Clifford Jordan, Valery Ponomarev, and Sandy Stewart, to name a few, open their hearts and memories and reveal who they are as people. This book is a labor of love celebrating the vibrant style of music that Dizzy Gillespie once described as “our native art form.” Zimmerman's deeply knowledgeable, unabashed passion for jazz brings out the best in the musicians. Filled with personal recollections and detailed accounts of their careers and everyday lives, this highly readable, lively work succeeds in capturing their stories for present and future generations. An important addition to the literature of music, The Jazz Masters goes a long way toward “setting the record straight.” Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

The Jazz Masters: Setting the Record Straight (UP of Mississippi, 2021) is a celebration of jazz and the men and women who created and transformed it. In the twenty-one conversations contained in this engaging and highly accessible book, we hear from the musicians themselves, in their own words, direct and unfiltered. Peter Zimmerman's interviewing technique is straightforward. He turns on a recording device, poses questions, and allows his subjects to improvise, similar to the way the musicians do at concerts and in recording sessions. Topics range from their early days, their struggles and victories, to the impact the music has had on their own lives. The interviews have been carefully edited for sense and clarity, without changing any of the musicians' actual words. Peter Zimmerman tirelessly sought virtuosi whose lives span the twentieth and twenty-first centuries. The reader is rewarded with an intimate look into the past century's extraordinary period of creative productivity. The oldest two interview subjects were born in 1920 and all are professional musicians who worked in jazz for at least five decades, with a few enjoying careers as long as seventy-five years. These voices reflect some seventeen hundred years of accumulated experience yielding a chronicle of incredible depth and scope. The focus on musicians who are now emeritus figures is deliberate. Some of them are now in their nineties; six have passed since 2012, when Zimmerman began researching The Jazz Masters. Five of them have already received the NEA's prestigious Jazz Masters award: Sonny Rollins, Clark Terry, Yusef Lateef, Jimmy Owens, and most recently, Dick Hyman. More undoubtedly will one day, and the balance are likewise of compelling interest. Artists such as David Amram, Charles Davis, Clifford Jordan, Valery Ponomarev, and Sandy Stewart, to name a few, open their hearts and memories and reveal who they are as people. This book is a labor of love celebrating the vibrant style of music that Dizzy Gillespie once described as “our native art form.” Zimmerman's deeply knowledgeable, unabashed passion for jazz brings out the best in the musicians. Filled with personal recollections and detailed accounts of their careers and everyday lives, this highly readable, lively work succeeds in capturing their stories for present and future generations. An important addition to the literature of music, The Jazz Masters goes a long way toward “setting the record straight.” Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

The Jazz Masters: Setting the Record Straight (UP of Mississippi, 2021) is a celebration of jazz and the men and women who created and transformed it. In the twenty-one conversations contained in this engaging and highly accessible book, we hear from the musicians themselves, in their own words, direct and unfiltered. Peter Zimmerman's interviewing technique is straightforward. He turns on a recording device, poses questions, and allows his subjects to improvise, similar to the way the musicians do at concerts and in recording sessions. Topics range from their early days, their struggles and victories, to the impact the music has had on their own lives. The interviews have been carefully edited for sense and clarity, without changing any of the musicians' actual words. Peter Zimmerman tirelessly sought virtuosi whose lives span the twentieth and twenty-first centuries. The reader is rewarded with an intimate look into the past century's extraordinary period of creative productivity. The oldest two interview subjects were born in 1920 and all are professional musicians who worked in jazz for at least five decades, with a few enjoying careers as long as seventy-five years. These voices reflect some seventeen hundred years of accumulated experience yielding a chronicle of incredible depth and scope. The focus on musicians who are now emeritus figures is deliberate. Some of them are now in their nineties; six have passed since 2012, when Zimmerman began researching The Jazz Masters. Five of them have already received the NEA's prestigious Jazz Masters award: Sonny Rollins, Clark Terry, Yusef Lateef, Jimmy Owens, and most recently, Dick Hyman. More undoubtedly will one day, and the balance are likewise of compelling interest. Artists such as David Amram, Charles Davis, Clifford Jordan, Valery Ponomarev, and Sandy Stewart, to name a few, open their hearts and memories and reveal who they are as people. This book is a labor of love celebrating the vibrant style of music that Dizzy Gillespie once described as “our native art form.” Zimmerman's deeply knowledgeable, unabashed passion for jazz brings out the best in the musicians. Filled with personal recollections and detailed accounts of their careers and everyday lives, this highly readable, lively work succeeds in capturing their stories for present and future generations. An important addition to the literature of music, The Jazz Masters goes a long way toward “setting the record straight.” Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Fáilte ar ais chuig eagrán nua de Ar An Lá Seo ar an 17ú lá de mí Dheireadh Fómhair, liomsa Lauren Ní Loingsigh. I 1970 ainmníodh duine a raibh ó Bhaile Átha Cliath aois 26 mar cheann amháin de na daoine a fuair bás ag an timpiste droichead I Melbourne. I 1986 bhí triúir duine saor ó ghortú nuair a thit eitleán ar fheirm I mBaile Átha Cliath. I 1986 don chéad uair I cúig bliana bhí laghdú den mhéid post déantúsaíocht a bhí ann san Iarthar Láir. I 1997 tháinig sé amach go mbeadh Mary McAleese agus Adi Roche chun easaontú ina fheachtas uachtaránachta in Inis. Sin Elton John le Candle In The Wind – an t-amhrán is mó ar an lá seo I 1997. Ag lean ar aghaidh le nuacht cheoil ar an lá seo I 2007 fuair amhránaí Teresa Brewer bás ag aois 76. Bhí sí cáiliúil I timpeall 1950 agus bhí amhráin aici cosúil le Gonna Get Along Without Ya Now agus Into Each Life Some Rain Must Fall. Chan sí le Tony Bennett agus Duke Ellington chomh maith. I 2008 bhris Madonna agus Guy Ritchie suas tar éis 7 mbliain le chéile. Tháinig an preas amach ag rá gan comhaontú réamhphósta go mbeadh Guy Ritchie chun fáil 50 milliúin punt ó Madonna a raibh 300 milliúin punt aici. Agus ar deireadh breithlá daoine cáiliúla ar an lá seo rugadh aisteoir Felicity Jones sa Bhreatain I 1983 agus rugadh amhránaí Eminem I Meiriceá ar an lá seo I 1972 agus seo chuid de amhrán. Beidh mé ar ais libh an tseachtain seo chugainn le heagrán nua de Ar An Lá Seo. Welcome back to another edition of Ar An Lá Seo on the 17th of October, with me Lauren Ní Loingsigh 1970: A 26 year old Dubliner was named as one of the 5 Irish men killed in the Melbourne Bridge Disaster 1986: 3 people escaped injury yesterday when their light aircraft struck a tree and crash-landed on a farm in Dublin 1986: For the first time in five years the industrial development Authority, mid west region, reports a decline in the number of manufacturing jobs created by them. 1997: Government candidate, Mary McAleese and Adi Roche, the peoples Alliance Candidate, will clash in their presidential campaigns in Ennis. That was Elton John with Candle In The Wind – the biggest song on this day in 1997 Onto music news on this day In 2007 US singer Teresa Brewer died aged 76. She was one of the most popular US pop singers of the 1950s scoring hits such as ‘Gonna Get Along Without Ya Now' and ‘Into Each Life Some Rain Must Fall.' She also sang with Tony Bennett, Duke Ellington, Dizzy Gillespie and Wynton Marsalis. 2008 Madonna and Guy Ritchie announced that their seven-year marriage was over because they had drifted apart. The press reported that without a pre-nuptial agreement, Ritchie could be looking at up to £50million of Madonna's £300million fortune. And finally celebrity birthdays on this day – actress Felicity Jones was born in the UK in 1983 and rapper Eminem was born in America on this day in 1972 and this is one of his songs. I'll be back with you next week with another edition of Ar An Lá Seo.

Saxophonist Charlie “Yardbird” Parker (born  August 29, 1920) and trumpeter John Birks “Dizzy” Gillespie (born October 21, 1917) together revolutionized jazz music with their harmonic and rhythmic innovations. Both virtuosos on their respective instruments, they basically set the standard for others to aspire to. While Parker's life was cut short by his addictive, self destructive life style, he still set the standard for every other saxophonist to aspire to. Gillespie lived a long productive life, becoming a senior statesman of the music, a consistent inspiration to all who came in contact with him.  

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The legendary composer, arranger, musician and penny whistle player, David Amram, will be in conversation with Academy Award documentary filmmaker Barbara Kopple at the Woodstock Film Festival on Sunday, 10/19 12 noon. The venue is the Kleinert/James Art Center, 34 Tinker St, Woodstock. David Amram started his professional life in music as a French Hornist in the National Symphony Orchestra (Washington, D.C.) in 1951. After serving in the US Army from 1952-54, he moved to New York City in 1955 and played French horn in the legendary jazz bands of Charles Mingus, Dizzy Gillespie, Lionel Hampton and Oscar Pettiford. In 1957, he created and performed in the first ever Jazz/Poetry readings in New York City with novelist Jack Kerouac, a close friend with whom Amram collaborated artistically for over 12 years. Since the early 1950s, he has traveled the world extensively, working as a musician and a conductor in over thirty-five countries including Cuba, Kenya, Egypt, Pakistan, Israel, Latvia and China. He also regularly crisscrosses the United States and Canada.He composed the scores for many films including Pull My Daisy (1959), Splendor In The Grass (1960) and The Manchurian Candidate (1962). He composed the scores for Joseph Papp's Shakespeare In The Park from 1956-1967 and premiered his comic opera 12th Night with Papp's libretto in 1968. He also wrote a second opera, The Final Ingredient, An Opera of the Holocaust, for ABC Television in 1965. From 1964-66, Amram was the Composer and Music Director for the Lincoln Center Theatre and wrote the scores for Arthur Miller´s plays After The Fall (1964) and Incident at Vichy (1966). Appointed by Leonard Bernstein as the first Composer In Residence for the New York Philharmonic in 1966, he is now one of the most performed and influential composers of our time. For tickets & details: https://woodstockfilmfestival.org/2025-all-events?eventId=68c4216f81b8e06c5bb8c1fc

Pianist / composer Thelonius Sphere Monk (born October 10, 1917), often referred to as the 'High Priest of Bebop', was one of the founders of the musical movement, alongside Charlie Parker and Dizzy Gillespie at Minton's Playhouse in Harlem. His idiosyncratic piano style and compositions are so distinctive as to be immediately identifiable as completely his own. His total originality is undeniable, there is only one Monk!

L'Invité Culture du jour est le grand Femi Kuti, multi-instrumentiste nigérian. Il est le fils de Fela Kuti, créateur révolutionnaire de l'afrobeat : ce mélange de musique traditionnelle nigériane, de highlife ghanéen, de funk et de jazz qui a toujours été un outil de résistance et de lutte contre les inégalités sociales. Aujourd'hui, Femi Kuti suit les traces de son père et porte son héritage. Il est au micro de Lisa Giroldini. RFI : Parlons d'abord de votre dernier album, Journey Through Life. Avec son titre, mais aussi avec la pochette de l'album, est-ce qu'on peut comprendre qu'il s'agit d'un bilan de votre carrière ? Femi Kuti : Oui, on pourrait dire ça. Mais plus important encore, ce sont mes pensées actuelles, la manière dont je me sens aujourd'hui. Ce sont les vertus qui m'ont guidé. Donc, j'ai pensé qu'il était important de chanter les règles que je me suis fixées, que j'ai suivies. Et, espérons-le, cela peut aider d'autres personnes. L'album est sorti à un moment où ma fille subissait une opération, donc ça m'a probablement poussé à me recentrer sur le plan politique, social et personnel. Cela m'a beaucoup fait réfléchir à cette époque. Vous jouez de l'afrobeat depuis toujours. Vous poursuivez la tradition initiée par votre père Fela Kuti, mais comment y apportez-vous votre propre patte ? Je savais que je devais trouver ma propre personnalité, et écouter du jazz m'a aidé. Parce que j'ai essayé d'être comme Charlie Parker ou Dizzy Gillespie, et j'ai compris que je n'y arriverais jamais. Et alors, je me suis dit : « Wow, je peux être Femi Kuti ». Tu vois ? J'aime mon père, j'ai de l'admiration pour lui, mais pourquoi je voudrais vivre sa vie ? J'ai mes propres douleurs, mes propres peines de cœur, je dois faire face à mon propre parcours, à ma propre pratique. Alors, je cherche Femi Kuti. L'afrobeat se caractérise par son aspect social et politique. Quels sont, selon vous, les messages essentiels à transmettre aujourd'hui ? Tellement de choses. Tellement. Il faut avoir le cœur brisé aujourd'hui quand on voit la guerre à Gaza ou en Ukraine, ou en sachant que le Congo est encore un endroit aussi chaotique. Même au Nigeria : Boko Haram, la corruption du gouvernement... Moi, je suis profondément convaincu que l'Afrique devrait être le plus beau continent, et donner envie au monde entier. Si les dirigeants étaient vraiment engagés et s'ils aimaient leur peuple, l'Afrique devrait rayonner de joie, tu vois ? Je sais que c'est possible. Et quand je rentre chez moi ou que je lis les nouvelles, j'ai vraiment le cœur brisé. Et je ne peux pas forcer les gens à croire en mes idées, sinon je ressemblerais à un dictateur. Ma conclusion, c'est : la politique a échoué. Vous écoutez la jeune génération ? Je n'écoute aucune musique. J'ai lu dans un livre que Miles Davis, pour trouver son propre son, a arrêté d'écouter les autres. Je fais la même chose depuis 25 ans. Aujourd'hui, tout le monde se dit musicien. Tu peux ne même pas savoir lire ou écrire la musique. Parce que quand tu commences un vrai parcours d'études musicales, c'est tellement difficile que tu fuis. Mais tu veux quand même être musicien, alors tu triches. Voilà où on en est : on a plein de tricheurs (rires). Apprenez à lire, apprenez à écrire, apprenez à jouer des instruments de musique. Je donne juste un conseil : si tu veux durer, comme un Miles Davis ou un Stevie Wonder, il faut le faire correctement.   Femi Kuti sera en concert le 7 octobre à Marseille, le 8 octobre à Toulouse, le 10 octobre à Tours et le 11 octobre à Aubervilliers.  À lire aussiFemi Kuti ou la tentative de l'aventure intérieure sur «Journey Through Life»

L'Invité Culture du jour est le grand Femi Kuti, multi-instrumentiste nigérian. Il est le fils de Fela Kuti, créateur révolutionnaire de l'afrobeat : ce mélange de musique traditionnelle nigériane, de highlife ghanéen, de funk et de jazz qui a toujours été un outil de résistance et de lutte contre les inégalités sociales. Aujourd'hui, Femi Kuti suit les traces de son père et porte son héritage. Il est au micro de Lisa Giroldini. RFI : Parlons d'abord de votre dernier album, Journey Through Life. Avec son titre, mais aussi avec la pochette de l'album, est-ce qu'on peut comprendre qu'il s'agit d'un bilan de votre carrière ? Femi Kuti : Oui, on pourrait dire ça. Mais plus important encore, ce sont mes pensées actuelles, la manière dont je me sens aujourd'hui. Ce sont les vertus qui m'ont guidé. Donc, j'ai pensé qu'il était important de chanter les règles que je me suis fixées, que j'ai suivies. Et, espérons-le, cela peut aider d'autres personnes. L'album est sorti à un moment où ma fille subissait une opération, donc ça m'a probablement poussé à me recentrer sur le plan politique, social et personnel. Cela m'a beaucoup fait réfléchir à cette époque. Vous jouez de l'afrobeat depuis toujours. Vous poursuivez la tradition initiée par votre père Fela Kuti, mais comment y apportez-vous votre propre patte ? Je savais que je devais trouver ma propre personnalité, et écouter du jazz m'a aidé. Parce que j'ai essayé d'être comme Charlie Parker ou Dizzy Gillespie, et j'ai compris que je n'y arriverais jamais. Et alors, je me suis dit : « Wow, je peux être Femi Kuti ». Tu vois ? J'aime mon père, j'ai de l'admiration pour lui, mais pourquoi je voudrais vivre sa vie ? J'ai mes propres douleurs, mes propres peines de cœur, je dois faire face à mon propre parcours, à ma propre pratique. Alors, je cherche Femi Kuti. L'afrobeat se caractérise par son aspect social et politique. Quels sont, selon vous, les messages essentiels à transmettre aujourd'hui ? Tellement de choses. Tellement. Il faut avoir le cœur brisé aujourd'hui quand on voit la guerre à Gaza ou en Ukraine, ou en sachant que le Congo est encore un endroit aussi chaotique. Même au Nigeria : Boko Haram, la corruption du gouvernement... Moi, je suis profondément convaincu que l'Afrique devrait être le plus beau continent, et donner envie au monde entier. Si les dirigeants étaient vraiment engagés et s'ils aimaient leur peuple, l'Afrique devrait rayonner de joie, tu vois ? Je sais que c'est possible. Et quand je rentre chez moi ou que je lis les nouvelles, j'ai vraiment le cœur brisé. Et je ne peux pas forcer les gens à croire en mes idées, sinon je ressemblerais à un dictateur. Ma conclusion, c'est : la politique a échoué. Vous écoutez la jeune génération ? Je n'écoute aucune musique. J'ai lu dans un livre que Miles Davis, pour trouver son propre son, a arrêté d'écouter les autres. Je fais la même chose depuis 25 ans. Aujourd'hui, tout le monde se dit musicien. Tu peux ne même pas savoir lire ou écrire la musique. Parce que quand tu commences un vrai parcours d'études musicales, c'est tellement difficile que tu fuis. Mais tu veux quand même être musicien, alors tu triches. Voilà où on en est : on a plein de tricheurs (rires). Apprenez à lire, apprenez à écrire, apprenez à jouer des instruments de musique. Je donne juste un conseil : si tu veux durer, comme un Miles Davis ou un Stevie Wonder, il faut le faire correctement.   Femi Kuti sera en concert le 7 octobre à Marseille, le 8 octobre à Toulouse, le 10 octobre à Tours et le 11 octobre à Aubervilliers.  À lire aussiFemi Kuti ou la tentative de l'aventure intérieure sur «Journey Through Life»

The Legend of Clifford Hicks, signé Tommaso Valsecchi au scénario et Riccardo Rosanna au dessin, publié chez Glénat dans la collection Treize Étrange, est un album qui nous plonge dans l'univers du jazz américain, à la croisée de la musique, de la mémoire et de la légende.L'histoire s'ouvre sur une atmosphère typique des clubs enfumés des années 1940 et 1950. Clifford Hicks, trompettiste talentueux, y apparaît comme une figure à la fois familière et mystérieuse. Ce n'est pas un personnage historique réel, mais il est construit comme une somme de plusieurs musiciens emblématiques : on y devine des échos de Miles Davis, de Dizzy Gillespie, de Clifford Brown, ou même de Chet Baker. Ce mélange crée un héros de fiction crédible, une incarnation de tous ces artistes qui ont marqué le jazz, parfois dans l'ombre, parfois trop tôt disparus.

Listen to an hour of music celebrating the legacy of The Bebop Society of Indianapolis. Hear rare recordings from Avenue musicians, including Wes Montgomery, Carl Perkins, David Baker, Pookie Johnson and more. In the early 1940s, a new style of jazz music known as bebop began to emerge. Bebop marked a revolutionary shift in jazz, breaking away from the swing dance music of the 1930s. Bebop was born in after-hours jam sessions at venues like Minton's Playhouse in Harlem. Bebop developed as musicians sought greater artistic freedom and technical challenge. Artists like Charlie Parker, Dizzy Gillespie, and Thelonious Monk pushed the boundaries of harmony, rhythm and improvisation. They created a style that featured fast tempos with complex melodies and chord progressions. Bebop transformed jazz into a modernist art form that focused on creativity, over commercial appeal.  Here in Naptown, the Avenue was the place to hear bebop music. In 1946, Dizzy Gillespie performed at the Avenue's Sunset Terrace nightclub, and in January of 1948 Charlie Parker played there too. 1948 was also the year that a collective of Naptown musicians and music fans, formed The Bebop Society of Indianapolis.  At that time, bebop music had not yet gained, widespread acceptance among music fans. The Bebop Society held concerts and lectures to educate the public on the music's importance Their events were not held in nightclubs,  the society hosted gatherings in community centers, including, The Senate Avenue YMCA, The Phyllis Wheatley YWCA, The Flanner House, and the Crispus Attucks High School auditorium. Guest speakers at the Bebop Soierty's events, included Crispus Attucks' music teacher Norman Merrifield and Jack Tracey, an editor for Down Beat magazine.  The Bebop Society also fought against racial segregation at music events. In 1948, members of the Bebop Society desegregated a Stan Kenton concert, at Riverside Park. As headline, in the Indianapolis Recorder stated, “Youth Group Breaks Jim Crow and Attends Concert at Riverside”. The Society also provided scholarships for talented young musicians, including the future Avenue jazz star David Baker.  But The Bebop Society's main focus was music, and their concerts featured the greatest jazz musicians in Naptown, including Pookie Johnson, Wes Montgomery, Carl Perkins, Buddy Montgomery, Monk Montgomery, Joe Mitchell, Maceo Hampton, Les “Bear” Taylor, Benny Barth, and Willis Kirk,  who served as president of the Society in 1950.

Renowned pianist and multi-Grammy winner Gonzalo Rubalcaba is set to perform at the Indy Jazz Fest this Friday, Sept. 19, at 8 PM at the Schrott Center for the Arts in Indianapolis.This marks Rubalcaba's first performance in Indiana, bringing his celebrated talent to the state as part of the ongoing festival. The event is a highlight for the Indy Jazz Fest, which aims to showcase exceptional musical talents from around the world.Gonzalo Rubalcaba, originally from Havana, Cuba, has been a significant figure in the jazz world since being discovered by Dizzy Gillespie in 1985. He has since won multiple Grammy and Latin Grammy awards, establishing himself as a creative force in music.Rubalcaba's music is deeply influenced by Afro-Cuban genres and his upbringing in the culturally rich neighborhood of Cayo Hueso in Havana.Pavel Polanco-Safadit expressed excitement about Rubalcaba's appearance at the festival, noting that it was a long-standing dream to bring him to Indianapolis.The upcoming performance by Gonzalo Rubalcaba at the Indy Jazz Fest is anticipated to be a memorable event for jazz enthusiasts in Indiana, offering a rare opportunity to experience his exceptional artistry live.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Gonzalo Rubalcaba is a Grammy-winning Cuban pianist and composer celebrated as one of the most innovative voices in modern jazz. He'll be performing at Indy Jazz Fest on September 19. Born in Havana in 1963 to a musical family, Rubalcaba was classically trained before emerging as a prodigy of the city's vibrant jazz scene. His virtuosic technique quickly drew international attention, leading to collaborations with legends like Dizzy Gillespie, Charlie Haden, and Herbie Hancock. In his conversation with WFYI's Kyle Long, Rubalcaba discusses his connection to Dizzy Gillespie and his latest album, “A Tribute to Benny Moré and Nat King Cole.”

The Real Ambassadors is a poignant tale of cultural exchange, anti-racism, and jazz history. And it's a love story — between life-long husband and wife partners, Iola & Dave Brubeck and their vision for a better world. Appalled by the racist treatment of Black jazz musicians in the United States in the 1950s and 60s, the Brubecks wrote a musical based on the Jazz Ambassadors Program established by President Eisenhower and the US State Department during the Cold War. In an effort to win hearts and minds, jazz musicians were sent out around the world to represent the freedom and creativity of America through their art form. Louis Armstrong, Dizzy Gillespie and most of the other Jazz Ambassadors were Black. The irony is that they were treated like royalty around the world, but could not stay in hotels or play in integrated bands in their own country.Performed live only once, at the Monterey Jazz Festival in 1962, the Real Ambassadors featured Louis Armstrong, Carmen McCrae, Dave Brubeck and Lambert Hendricks and Bavan. The musical was a chance for Louis Armstrong to speak out about his deep feelings about racism and segregation in this country — feelings he rarely expressed publicly.The story features original music, rare archival recorded letters sent back and forth between the Brubecks and Louis Armstrong about the project, rehearsal recordings and interviews with Dave and Iola Brubeck. Other voices include: the Brubecks' sons, Chris and Dan Brubeck, Keith Hatschek, author of the  book, "The Real Ambassadors,” Ricky Riccardi, Director of Research Collections for the Louis Armstrong House Museum, and singer/actress Yolande Bavan, the last surviving performer involved in the project.Thanks to: Keith Hatschek, Chris Brubeck, Dan Brubeck, Ricky Riccardi, Yolande Bavan,  Lisa Cohen, and Wynton Marsalis.Special thanks to: The Louis Armstrong Educational Foundation and the Louis Armstrong House Museum; Michael Bellacosa and the Brubeck Collection, Wilton Library, Wilton, Connecticut; The Complete Louis Armstrong Columbia & RCA Victor Studio Sessions 1946-66 Mosaic Records 270; The Milken Family Foundation Archive Oral History Project; and The Library of Congress.Produced by The Kitchen Sisters (Nikki Silva and Davia Nelson) and Brandi Howell in collaboration with Jackson Spenner. Mixed by Jim McKee.

El samba-jazz instrumental que surgió en pequeños locales de Río de Janeiro ha cautivado a muchos músicos de jazz. Grabaciones, todas ellas del año 1962, del saxofonista Coleman Hawkins ('Desafinado', 'One note samba', 'Um abraço no Bonfá', 'Stumpy bossa nova'), Quincy Jones y su Big Band Bossa Nova ('Lalo´s bossa nova', 'Soul bossa nova', 'A taste of honey'), el saxofonista y flautista Bud Shank y el pianista y arreglista Clare Fischer ('Samba da borboleta', 'Ilusão', 'Pensativa', 'João'). el cuarteto del pianista Dave Brubeck ('This can´t be love', 'Bossa nova U.S.A.') y el trompetista Dizzy Gillespie ('Chega de saudade').Escuchar audio

durée : 00:59:58 - Banzzaï du jeudi 11 septembre 2025 : Vers l'été - rediffusion - par : Nathalie Piolé -

The last time legendary Wheeling-born saxophonist Chu Berry was in the recording studio, he gave some jazz love to a song written by a fellow West Virginian.The date was Aug. 28, 1941, and the tune — one of the four sides that Berry and his jazz ensemble would record that day for Milt Gabler's Commodore label in New York City's Reeves Sound Studios on East 44th Street — was “Gee, Baby, Ain't I Good to You.”The song was still relatively unknown. No one else had recorded it in the dozen years since Piedmont, WV, native Don Redmond wrote it for McKinney's Cotton Pickers to wax in 1929.As discussed here in an earlier article, the Roarin' Twenties has been good for Don Redman. He was responsible for integrating the rhythmic approach of Louis Armstrong's playing into arrangements for Fletcher Henderson's Orchestra. In 1927 Redman was wooed away from Henderson to join McKinney's Cotton Pickers, the house band at the celebrated Greystone Ballroom in Detroit.When Chu Berry revisited the song in 1941 (to be on the flip side of his version of "Sunny Side of the Street”), it featured ex-Bennie Moten/Count Basie trumpeter Oran “Hot Lips” Page, whose bluesy singing and plunger mute work capped the session.Incidentally, Page recorded it again in 1944, but even more importantly for the song's legacy (and to Don Redmond's checkbook) a year earlier the song was also recorded by an up-and-comer named Nat “King” Cole, who took it to No. 1 on the Billboard Harlem Hit Parade where stayed for four weeks.Losing ChuChu Berry would not live to know any of that. Almost exactly two months after the August 1941 recording date, he was on his way to Toronto for a gig with the Cab Calloway Orchestra, with which he had played for four years. Heavy fog made visibility poor, and the car in which Chu was a passenger skidded and crashed into a bridge abutment near Conneaut, Ohio, 70 miles northeast of Cleveland.Berry died three days later from his injuries just a few weeks after his 33rd birthday.Chu Berry was brought back to Wheeling for his funeral. More than a thousand mourners attended, including Cab Calloway and the members of his band who ordered a massive floral arrangement in the shape of a heart.At the funeral, Calloway told mourners Chu had been like a brother to him. The big man had charmed the world, he said, with advanced harmonies and smoothly flowing solos that would influence musicians for generations to come. “Chu will always be a member of our band,” Cab said. “He was the greatest.”Berry's RootsBorn in Wheeling in 1908, Leon Brown Berry took up the saxophone as a youngster after being inspired by the great tenor man Coleman Hawkins. Berry went on to model his own playing after Hawkins, who would later be quoted as saying, “Chu was about the best.” By the time of his 27th birthday, Chu had moved to New York where he worked with Bessie Smith, Lionel Hampton, Count Basie and others.Eventually, he became the featured sax player with the hottest jazz band of the day, Cab Calloway's legendary Cotton Club Orchestra. In 1937 and 1938, he was named to Metronome Magazine's All-Star Band. Younger contemporaries — notably Charlie Parker and Dizzy Gillespie — almost certainly heard Berry up close and personal at the now-legendary Monday night jam sessions at Minton's Playhouse in New York City, gatherings widely credited for the development of the bebop in the mid-1940s.Famously, in 1938 Parker — 14 years younger than Chu — named his first child Leon in tribute to Berry.And the Nickname?Multiple explanations have been given as to how Leon Berry got his nickname. Music critic Gary Giddins has said Berry was called “Chu” by his fellow musicians either because of his tendency to chew on his mouthpiece or because at one time he had a Fu Manchu-style mustache. Both stories work; take your pick.Our Take on the TuneJoining The Flood repertoire, some songs fit in right away, while others, like this one, need a little time to settle in, but when they do, wow — they're as comfortable as an old shoe. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

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Jed Distler picks ten albums that represent a broad scope of jazz piano legend Oscar Peterson's extraordinary career.Links to the albums here:The Oscar Peterson Quartet - https://www.youtube.com/watch?v=G2QAj7OuSXc&t=134sLive at the Concertgebouw - https://open.spotify.com/album/5u9s4m4f1og4Yz6uUfuljkWest Side Story - https://www.youtube.com/watch?v=LGb2wuT1p9oCanadiana Suite - https://www.amazon.com/Canadiana-Suite-Oscar-Peterson/dp/B00000E5HTMy Favorite Instrument - https://www.youtube.com/watch?v=9t_GnQVgvewWalking the Line - https://www.youtube.com/watch?v=V4MzBdy05TUOscar Peterson and Dizzy Gillespie - https://www.youtube.com/watch?v=57nzCqu0rjoOscar Peterson and the Bassists - https://www.amazon.com/Oscar-Peterson-Bassists-Montreux-77/dp/B00004ZC1P; video link - https://www.youtube.com/watch?v=L4LXYe-bTRASatch and Josh: Count Basie Encounters Oscar Peterson - https://www.youtube.com/watch?v=-Z14WqU_9xwThe Legendary Oscar Peterson Trio Live at the Blue Note (4 CD set, complete recordings) - https://concord.com/concord-albums/the-legendary-oscar-peterson-trio-live-at-the-blue-note-complete-4-cd-set/

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Grabado en el Birdland de Nueva York, durante las noches que Cyrille Aimée cantó allí en abril del año pasado, '4.24' contiene algunas de las canciones de su disco en estudio 'A fleur de peau': 'Beautiful way', 'Here', 'Inside and out' o 'Historia de amor'. En el Olympia de París, enero de 2009, se grabó el concierto de dos veteranos pianistas antillanos, Alain Jean-Marie y Mario Canonge, publicado en mayo de este año con el título de 'Con alma': 'Peyi mwen jodi', 'Moren´s rêverie', 'Con alma', de Dizzy Gillespie, 'Ana Maria', de Wayne Shorter, 'Lese pale' y 'Divini'. Escuchar audio

Jahrgang 1924, Jazzmusiker & Profigitarrist (verstorben am 28. Januar 2018) Mit 13 entdeckt der Berliner Heinz Jakob "Coco" Schumann den Jazz für sich, kurz darauf schwappt die Swingwelle ins Land, ausgerechnet als der Krieg schon in vollem Gange und Swing Tanzen streng verboten war. Mit 16 spielt er das erstmal öffentlich. Ein riskantes Unterfangen. Er spielt nachts heimlich in den Clubs mit Bully Buhlan und Helmut Zacharias um die Wette. 1943 wird er denunziert und kommt in Gefangenschaft. Deportation nach Theresienstadt, dann nach Auschwitz und nach Dachau. Coco Schumann musiziert selbst in den Lagern, wird so zum "Ghetto-Swinger" und rettet sich so das Leben. 1945 kehrt er nach Berlin zurück, heiratet und bespielt mit seiner Jazzgitarre und neuer Band sämtliche Tanzschuppen rund um den Kurfürstendamm. Trotzdem wandert er 4 Jahre nach Ausstralien aus. Endgültig zurück im Wirtschaftswunder Berlin, jammt er mit Ella Fitzgerald, Dizzy Gillespie und Louis Armstrong. Kurz - er wurde der deutsche Grandmaster of Swing. 40 Jahre hat Coco Schumann über seine Erlebnisse während des Nationalsozialmus geschwiegen. In seinen Memoiren "Der Ghetto Swinger - erzählt der 80jährige Jazzmusiker, wie er Auschwitz und seine Peiniger überlebte und gab uns in der Hörbar ein paar Einblicke in sein spannendes Leben. Coco Schumann wurde 93 Jahre alt. Playlist: Coco Schumann Quartett - Georgia on my Mind (Live) Coco Schumann - Exotique 1963 Louis Armstrong - I've got the World on a String Coco Schumann & Toots Thielemans - Caravan Helmut Zacharias - Swing 48 Coco Schumann y su combo - Senorita de la Mambo Diese Podcast-Episode steht unter der Creative Commons Lizenz CC BY-NC-ND 4.0.

Jahrgang 1924, Jazzmusiker & Profigitarrist (verstorben am 28. Januar 2018) Mit 13 entdeckt der Berliner Heinz Jakob "Coco" Schumann den Jazz für sich, kurz darauf schwappt die Swingwelle ins Land, ausgerechnet als der Krieg schon in vollem Gange und Swing Tanzen streng verboten war. Mit 16 spielt er das erstmal öffentlich. Ein riskantes Unterfangen. Er spielt nachts heimlich in den Clubs mit Bully Buhlan und Helmut Zacharias um die Wette. 1943 wird er denunziert und kommt in Gefangenschaft. Deportation nach Theresienstadt, dann nach Auschwitz und nach Dachau. Coco Schumann musiziert selbst in den Lagern, wird so zum "Ghetto-Swinger" und rettet sich so das Leben. 1945 kehrt er nach Berlin zurück, heiratet und bespielt mit seiner Jazzgitarre und neuer Band sämtliche Tanzschuppen rund um den Kurfürstendamm. Trotzdem wandert er 4 Jahre nach Ausstralien aus. Endgültig zurück im Wirtschaftswunder Berlin, jammt er mit Ella Fitzgerald, Dizzy Gillespie und Louis Armstrong. Kurz - er wurde der deutsche Grandmaster of Swing. 40 Jahre hat Coco Schumann über seine Erlebnisse während des Nationalsozialmus geschwiegen. In seinen Memoiren "Der Ghetto Swinger - erzählt der 80jährige Jazzmusiker, wie er Auschwitz und seine Peiniger überlebte und gab uns in der Hörbar ein paar Einblicke in sein spannendes Leben. Coco Schumann wurde 93 Jahre alt. Playlist: Coco Schumann Quartett - Georgia on my Mind (Live) Coco Schumann - Exotique 1963 Louis Armstrong - I've got the World on a String Coco Schumann & Toots Thielemans - Caravan Helmut Zacharias - Swing 48 Coco Schumann y su combo - Senorita de la Mambo Diese Podcast-Episode steht unter der Creative Commons Lizenz CC BY-NC-ND 4.0.

✦ Atlanta is a city rife with creativity. One of the artistic endeavors that Atlanta, and Georgia for that matter, has seen hockey stick growth within is film making. Not to be forgotten, however, amongst the known stars, million-dollar budgets, and expensive studios are the indie-film makers. City Lights Collective co-host Jon Goode sat down with poet, indie-film maker, and Atlanta native Malik Salaam, director of the new film Cut, to discuss the movie, his journey, and Atlanta's indie-film scene. ✦ A speakeasy meets a night of jazz-opera fusion, R&B, and chill vibes this Saturday. WABE arts reporter Summer Evans shares more about "The Den on Queen" event. ✦ City Lights Collective member, podcaster, and self-proclaimed history nerd Victoria Lemos lives to research the stories behind Atlanta's treasures, and this week, she dives into the wild origin story of one of the city's most beloved institutions: Zoo Atlanta. It all started in Grant Park in the late 1800s, where an abandoned circus, a lumber magnate with a vision, and some very confused animals collided to create Atlanta's first permanent menagerie. In today's story from Lemos, you'll meet the city's first zookeeper, an "educated pig," and learn how a train car full of lions, monkeys, and even a dromedary led to what we now call Zoo Atlanta. We'll uncover how public parades, dime campaigns, and even elephants named Coca and Cola shaped the park's future—and why the city's love for the zoo never quite matched the funding behind it. ✦ You know as well as we do that there is always a plethora of things to do in Atlanta, and we have earned the title of "The Cultural Capital of the South." Mike Jordan, senior editor at the AJC, and Sammie Purcell, associate editor at Rough Draft Atlanta, know this well too. They join us weekly to share a few of their picks for your weekend entertainment. Today, their mix includes two separate food events – one for veggies and one for jollof, and a film festival in the suburbs. ✦ Award-winning photographer Jim Alexander has spent his life refining what he calls the art of documentary photography. A photojournalist, teacher, activist, media consultant, and entrepreneur, Alexander has amassed an impressive collection of images showcasing Black culture and human rights. He's also a dear friend of photographer Sue Ross, who has spent five decades telling the story of Black Atlanta through images of politicians, artists, literary greats, community leaders, and as she puts it, "just plain people." These two giants of photography have much in common, but it's their shared love for Music that is spotlighted in the exhibition, "We Are Music," currently on view at The Sun ATL. Both Alexander and Ross have seemingly endless collections of live concert photography. They've both been stage-side to capture images of some of Black Music's biggest names, including Dizzy Gillespie, Gladys Knight, Miles Davis, Run-DMC, Herbie Hancock, and India Arie - many of whom were photographed at Atlanta's annual Jazz Festival. City Lights Collective co-host Kim Drobes recently visited The Sun ATL to view the exhibition and was given a tour by the legendary photographers.See omnystudio.com/listener for privacy information.

Trumpeter/composer Lee Morgan (born July 10, 1938) first rose to national prominence as a teenager with Dizzy Gillespie's big band. Becoming one of the most prominent hard bop trumpet soloists, he spent years with Art Blakey's Jazz Messengers, eschewing forming his own bands even as he issued numerous recordings as a leader in his own right. His recording of his tune "The Sidewinder" became an unexpected hit for Blue Note Records, leading to a scramble of the label to replicate that success for years after, with no success. Morgan was tragically struck down at the age of 33 in 1972, after an altercation with his common-law wife during a gig in NYC, cutting short what was a mercurial career for the influential trumpet player.

Del nuevo disco del pianista Fred Hersch, 'The surrounding green', en trío con Drew Gress y Joey Baron, la composición de Hersch 'Anticipation', 'Palhaço de Egberto Gismonti y 'Embraceable you' de los Gershwin. El músico japonés Goro Ito rinde homenaje a su amigo Ryuichi Sakamto, con Paula y Jaques Morelenbaum, en el disco 'Tree, forests. A tribute to Ryuichi Sakamoto' y temas como 'Happy end', 'Tango', 'Rain' o 'Bibo no aozora'. La cantante Kandace Springs ha grabado todas las canciones del disco de 1958 de Billie Holiday 'Lady in satin': 'I´m a fool to want you', 'For heaven´s sake', 'You don´t know what love is', 'Violets for your furs'... Despiden los pianistas Alain Jean-Marie y Mario Canonge con el clásico 'Con alma' de Dizzy Gillespie.Escuchar audio

Dr Kirsten Zemke phones into the studio to have a yarn with Annabel and Callum about jazz scat vocals and is evolution this morning on Travelling Tunes!  Playlist: Dizzy Gillespie - Oop-Pop-A-Da (1947-1994 Remastered) Tania María - Yatra – Ta (1981) Mark Murphy - Bebop Lives (Boplicity) (2015)  

Terry Gibbs is a legendary jazz vibraphonist. He's 100 years young. He played with most of the greats in jazz music beginning in the Bebop era of the 1940s, including Benny Goodman, Buddy Rich, Woody Herman, Charlie “Bird” Parker and Dizzy Gillespie. He's won 3 major jazz polls, and he's recorded 65 albums, his last when he was 94. My featured song is not one of mine in this instance. It's “Hot Blues”, by my guest Terry Gibbs together with Lolly Allen. YouTube link .---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------ROBERT'S RECENT SINGLES:“THE CUT OF THE KNIFE” is Robert's latest single. An homage to jazz legend Dave Brubeck and his hit “Take Five”. It features Guest Artist Kerry Marx, Musical Director of The Grand Ole Opry band, on guitar solo. Called “Elegant”, “Beautiful” and “A Wonder”! CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------“DAY AT THE RACES” is Robert's newest single.It captures the thrills, chills and pageantry of horse racing's Triple Crown. Called “Fun, Upbeat, Exciting!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS___________________“MOON SHOT” reflects my 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—----------------------------------------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 

Uma semana intensa de ativações e brindes.Tudo das minas e nada deles, Molly e Lulu consertaram o que seria um evento pra ser esquecido.Vitória incontestável de um misógino que, entre Dennis Rodman e Luke Egan, parece escolher o primeiro.O genial argentino Lalo Schifrin em dois temas aqui nas trilhas da semana e no obituário.A trilha é com,Tema do filme Operação Dragão (Enter The Dragon), Free Ride do Dizzy Gillespie & Lalo Schifrin, encerrando com Gil Scott-Heron e B Movie.

durée : 01:58:14 - Retour de plage du lundi 30 juin 2025 - par : Thierry Jousse - Hommage, avec standards et raretés, à une personnalité musicale hors du commun, l'Américano-Argentin Lalo Schifrin, pianiste, arrangeur, compositeur pour le cinéma mais aussi pour le jazz, directeur musical de Dizzy Gillespie, dont on a appris la disparition dans la soirée du 26 juin… Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Participants: John Steppling, Hiroyuki Hamada, and Dennis Riches. Topics covered: Trump becomes Bush, the pale criminal, Franz Fanon on colonial war and mental disorders, is the Israel-Iran conflict a controlled demolition of the Zionist state? curbing one's enthusiasm for schadenfreude, BBC obeys Israeli state censorship rules, the Scofield Bible and its influence on American politics, the color of marble. Music track: “Tin Tin Deo” by Dizzy Gillespie (public domain).

My guest, Bobby Sanabria, is a 7 time Grammy nominee. He is noted drummer, percussionist, composer, arranger, conductor, producer, documentary filmmaker, bandleader...and most important to me, educator. He has played with some of the all time greats, including Dizzy Gillespie, Mongo Santamaria, Tito Puente, Celia Cruz, Ruben Blades, Randy Brecker, to named a few. He was named Percussionist of the Year in 2011 and 2013 by Jazz Journalist Association. He has a radio show in the New York area entitled, "Latin Jazz Cruise" on WBGO FM (wbgo.org). Simply a magnificent episode not to be missed! Produced, directed, edited and hosted by Stephen E Davis.

Daniela Soledade canta 'Corcovado', 'Cobra criada', 'Only love is allowed' y 'País tropical', de Jorge Ben, en su disco 'Deco tropical'. A sus 85 años, Alaíde Costa rinde homenaje a la también cantante Dalva de Oliveira (1917-1972), con el disco 'Uma estrela para Dalva': 'Tatuado', 'Há um Deus', 'Estrela do mar', 'A grande verdade' y 'Ave María no morro' -con María Bethânia-. Del homenaje a Garoto, del trío de guitarras de Paulo Bellinati -con Swami Jr. y Daniel Murray-, 'Duas contas', 'Lamentos do morro' y 'Tristezas de um violão'. Y los pianistas antillanos Alain Jean-Marie y Mario Canonge firman un disco que se grabó durante un concierto a dúo en el Olympia de París en enero de 2009: 'Divini' y 'Con alma' de Dizzy Gillespie.Escuchar audio

Welcome to our new series, “The Beat Goes On,” where we will celebrate the work and enduring influence of Jack Kerouac, Allen Ginsberg, William Burroughs, and the other writers whom we identify as “The Beats.” - that crop of artists who worked to expand our consciousness, exploring the hidden possibilities of post WW2 America in the 1950s - Other significant names to be explored: Diane Di Prima, Tuli Kupferberg, Ed Sanders, Delmore Schwarz, Anne Waldman, Carolyn Cassidy, and many others.We will also include jazz musicians like Miles Davis, John Coltrane and Dizzy Gillespie, whose sinuous Bebop lines influenced the expansive prose of Kerouac and poetry of Ginsberg, and comedians like Lenny Bruce, Lord Buckley, Brother Theodore and Dick Gregory with their scathing critique and unmasking of our nation's hypocrisy beneath the self-deceptive rhetoric of American exceptionalism.  And, then there are their artistic children like Hunter S. Thompson, Charles Bukowski, Tom Waits and Lou Reed…. The list goes on.First off: we need to define that confusing term “beat”… Once the satirists were able to pin them down, the Beats and their devotees were labelled “Beatniks” (a cold war epithet) and put into a farcical box. This is where I, as a child, first became aware of them through the character of Maynard G. Krebs on the Dobie Gillis show. The child-like, pre-hippie with the dirty sweatshirt and goatee, indelibly played by Bob Denver, later of Gilligan fame. He was a gentle figure of fun, not to be taken seriously. But, the truth goes so much deeper. Kerouac defined Beat as short for “beatitude” - a state of grace, a codex for the maturing “peace and love” Baby Boom generation coming up - those in search of existence's deeper meaning beyond the consumerist and war-like American culture being offered as our only option.Well, boy, do we need them now! HENRY MILLER INTERVIEWOur inaugural offering is a 1964 interview with the writer Henry Miller, of TROPIC OF CANCER, TROPIC OF CAPRICORN, and THE ROSY CRUCIFIXION TRILOGY fame, among many others. This is an insightful, in depth look at a artist of gargantuan influence. Miller was interviewed by Audrey June Wood  in Minneapolis during a speaking tour; he considered this interview to be one of his best. Miller discourses on some of his favorite books and authors and the struggle of writing well. It was released on Smithsonian/ Folkways Records.Strictly speaking, Miller was not a Beat - he preceded them, and out lived many of them, making it to 88 in 1980, but he was their spiritual and artistic pathfinder.Living hand to mouth, on the edge, abroad in Paris, writing free form in a raw, explicit, semi-autobiographical manner, telling the truth about sex, love, art, and struggle - he set the artistic compass for the Beats - as Dostoevsky and Walt Whitman had done before him. They are all part of a chain - a chain of searchers, and we are fortunate to have these lights to guide us on our own personal journeys to self realization. Please enjoy…THE BEAT GOES ON. 

CHARLIE PARKER “CHARLIE PARKER'S REBOPPERS” New York, November 26, 1945Billie's bounce, (1,3) Now's the time, (1,3) Thriving from a riff Anthropology, Meandering (3), Ko-ko (2,3)Miles Davis (tp-1) Dizzy Gillespie (tp-2,p-3) Charlie Parker (as) Argonne Thornton (p-4) [aka Sadik Hakim (p) ] Curly Russell (b) Max Roach (d) PAOLO FRESU & URI CAINE “THINK” Cavalicco, Italy, October 10-12, 2008Blood money, Darn that dream, Doxy, Roberto StrepitosoPaolo Fresu (tp,flhrn) Uri Caine (p,el-p) + Alborada String Quartet : Anton Berovski, Nico Ciricugno (vln) Sonia Peana (viola) Piero Salvatori (cello) CHET BAKER/ART PEPPER SEXTET “PICTURE OF HEATH” Hollywood, CA, November 20 & 21, 1956Picture of Heath, For miles and miles, C.T.A. Continue reading Puro Jazz 12 de mayo, 2025 at PuroJazz.

Music includes: After Yor Gone by the Benny Goodman Quartet, If You Were Mine by Billie Holiday, Harlem Airshaft by Duke Ellington, Manteca by Dizzy Gillespie, Boplicity by Miles Davis and I Love paris by Cecil Taylor. 

It's time for another history series, listener! Patrick leads you through the development and history of bebop, the style that marked the beginning of modern jazz. In this second episode, we follow bebop's spread and learn about the musicians who took up the style, with a focus on four who rose to prominence: Dizzy Gillespie, Charlie Parker, Thelonious Monk and Miles Davis.  Rockin' the Suburbs on Apple Podcasts/iTunes or other podcast platforms, including audioBoom, Spotify, Google Podcasts, Amazon, iHeart,Djinn RecordsStitcher and TuneIn. Or listen at SuburbsPod.com. Please rate/review the show on Apple Podcasts and share it with your friends. Visit our website at SuburbsPod.com Email Jim & Patrick at rock@suburbspod.com Follow us on the Threads, Facebook or Instagram @suburbspod If you're glad or sad or high, call the Suburban Party Line — 612-440-1984. Theme music: "Ascension," originally by Quartjar, next covered by Frank Muffin and now re-done in a high-voltage version by Quartjar again!  Visit quartjar.bandcamp.com and frankmuffin.bandcamp.com.

Galen and Robyn Bolton, founder of Mile Zero, dive deeper into the courage required for leadership, the role of curiosity in innovation, and the power of mindset. They explore how leaders unknowingly stifle innovation, why possibility is always in the room, and how asking better questions leads to better decisions. Robyn shares wisdom from her Invisible Board of Directors, lessons from Dizzy Gillespie and Diana Krall, and practical strategies for embracing risk. Pour a glass, take notes, and get ready to rethink leadership and innovation. Subscribe, leave a review, and join the VIP community for exclusive content! Cheers!

“Just keep going.”—Dave ChappelleFeaturing, in order of appearance:Kevin Hart, Questlove, Mo Amer, Bill Burr, Pras, Michelle Wolf, and Jon StewartContains music by:Dizzy Gillespie, Charlie Parker, Thelonious Monk, Max Roach, Miles Davis, Milt Jackson, and Stevie WonderRecorded in Ohio, Summer 2020Executive Produced by Talib Kweli, yasiin bey, Dave Chappelle, Noah Gersh, Jamie Schefman, Nick Panama, Kenzi Wilbur, and Miles HodgesProduced by Noah Gersh and Jamie Schefman for SALTProduction Manager: Liz LeMayRecording Engineer: Federico LopezRecording Engineer: Adrián Bruque for NPNDAssistant Editors: Danny Carissimi and Noah Kowalski Senior Sound Designer: Russell TopalTranscription Supervisor: Sam BeasleyMixer: Jordan GalvanPodcast Artwork: Rachel EckStill Photography: Mathieu BittonThe Midnight Miracle is a Luminary Original Podcast in partnership with Pilot Boy Productions and SALT.Special thanks to Paul Adongo, Cipriano Beredo, Elaine Chappelle, Ivy Davy, Rikki Hughes, Kyle Ranson-Walsh, Sina Sadighi, Mark Silverstein, and Carla Sims.Photography made available courtesy of Pilot Boy Productions, Inc. Copyright © 2021 by Pilot Boy Productions, Inc., all rights reserved.