Podcasts about Duke Ellington

An interview with Larry Tye about his triple biography of Louis Armstrong, Duke Ellington and Count Basie.

Rick Flynn Presents, the worldwide podcast, rolls out the red carpet for an amazing author writing on an amazing topic in his brand-new book "Play It Again, Sam: Repetition in the Arts".Samuel Jay Keyser explores in detail the way repetition works in poetry, music, and painting. He argues, for example, that the same cognitive function underlies both how poets write rhyme in metrical verse and the way songwriters like Duke Ellington and Billy Strayhorn (“Satin Doll”) and Richard Rodgers and Lorenz Hart (“My Funny Valentine”) construct their iconic melodies. Furthermore, the repetition found in these tunes can also be found in such classical compositions as Mozart's Rondo alla Turca and his German Dances, as well as in galant music in general.Artists have exploited repetition throughout the ages. The reason why is straightforward: the brain finds the detection of repetition innately pleasurable. Play It Again, Sam offers experimental evidence to support this claim.Samuel Jay Keyser was born in Philadelphia, Pennsylvania on July 7, 1935. He grew up in Washington, DC and attended George Washington, Oxford and Yale University, where he received his PhD in linguistics in 1962. Keyser has taught at Brandeis University, University College, London, the University of Massachusetts and MIT where he joined the faculty in July of 1977 and from which he retired in 1998. He is currently Special Assistant to the Chancellor at MIT, a position he has held since his retirement. Contact him through his Facebook page "Samuel Jay Keyser." and buy the book wherever books are sold.

We have Teri Johnson of Harlem Candle Co. and Harlem Perfume Co. talking about her historically reverent collection of perfumes inspired by the great artists of the Harlem Renaissance: Billie Holiday, Langston Hughes, Josephine Baker, Duke Ellington, and Eartha Kitt — who's perfume was made in collaboration with her daughter Kitt Shapiro (and whose grandaughter Nora Mae starred in the campaign!). Johnson chats with us about the significance of the Harlem Renaissance, how her candle brand took off during the pandemic, and how Eartha Kitt "oversaw" the formula of her namesake perfume. Also in this EP: We're still blush blind apparently The GAP scents are coming back (even though we already knew they never left) A lightning round sniff test of Harlem Perfume Co's new Sephora-launched fragrances [What we smell like today: Byredy Pulp, Prada Infusion De Rhubarbe]

Receiving B.S. and M.S. degrees from The Julliard School of Music, David Taylor started his playing career as a member of Leopold Stowkowski's American Symphony Orchestra, and with appearances with the New York Philharmonic under Pierre Boulez. Simultaneously, he was a member of the Thad Jones Mel Lewis jazz band, and recorded with groups ranging from Duke Ellington to The Rolling Stones. He has also recorded numerous solo CDs on the following labels: Koch, New World, ENJA, DMP, Tzadik, CIMP, PAU, and TLB. Mr. Taylor performs recitals and concerti around the world: from Lincoln Center in NY to the Musikverein in Vienna and Suntory Hall in Japan. In addition to his own compositions, he has been involved in well over a hundred commissioning projects for solo bass trombone collaborating with composers including Alan Hovhaness, Charles Wuorinen, George Perle, Frederic Rzewski, Lucia Dlugoszchewski, Eric Ewazen, Dave Liebman, and Daniel Schnyder. He has appeared and recorded chamber music with Yo Yo Ma, Itzhak Perlman, and Wynton Marsalis and performs with the Lincoln Center Chamber Music Society, the Mostly Mozart Festival Orchestra, Orpheus, and the St. Luke's Chamber Orchestra. Throughout his career, Taylor has appeared and recorded with major jazz and popular artists including Barbara Streisand, Miles Davis, Quincy Jones, Frank Sinatra, and Aretha Franklin. Mr. Taylor has won the National Academy of Recording Arts and Sciences Most Valuable Player Award for five consecutive years, and has been awarded the NARAS Most Valuable Player Virtuoso Award, an honor accorded no other bass trombonist. He has also won The International Trombone Association's Award “in recognition of his distinguished career and in acknowledgement of his impact on the world of trombone performance. He has been a member of the bands of Gil Evans, Thad Jones-Mel Lewis, Jaco Pastorius, Charles Mingus, JJ Johnson, Joe Henderson, George Russell, Michele Camilo, Bob Mintzer, Dave Matthews, Dave Grusin, Randy Brecker, and the Words Within Music Trio (Daniel Schnyder, David Taylor, Kenny Drew Jr., The Art of the Duo (with D Schnyder) and B3+. He has performed on numerous GRAMMY Award winning recordings. David Taylor is also on the faculties of the Manhattan School of Music, Mannes College, and NYU. He plays Edwards bass trombones and Griego/Taylor mouthpieces exclusively. https://www.davetaylor.net/

I would say that there are 2 maybe 3 cases in modern UK true crime that are household names even to this day both of which I vowed I would never cover on this podcast. And yet here we are, in Gloucester in 1994 at the home of Fred and Rose West, dubbed in the media at the time as the 'House of Horrors'. I have left out the majority of the details of what actually happened to their victims as I don't think its necerssary to go into it. The suffering was prolonged and horrifying. But becasue I am going on holiday and didn't like to leave you with nothing, here we are at part 1 of the story of 25 Cromwell Street. Sources used incude: Fred & Rose; A British Horror Story on Netflix, Fred & Rose by Howard Sounes, Unheard; The Fred and Rose West Tapes. Don't miss an episode—follow, comment, like, and share!Connect with us on social media @‌themondaynightrevue or email at themondaynightrevue@gmail.com.Explore our podcast merch: Shop HereSupport the show: Buy Me a CoffeeDiscover curated reads: BookshopFor ad-free episodes, minisodes, and exclusive perks, join us on Patreon: Support on PatreonWritten and edited by Corinna Harrod with Holly Clarke. Artwork by Jessica Holmes.Music: "The Mooche" by Duke Ellington (1928). Become a supporter of this podcast: https://www.spreaker.com/podcast/the-monday-night-revue--4921180/support.

This week, Ian talks with cartoonist Mattie Lubchansky about her new book, Simplicity, out July 29 from Pantheon Graphic Library. The conversation touches on Mattie's work as Associate Editor for The Nib, her history with comics, and her ambitions beyond the printed page, but mostly focuses on the role of art in organizing and living our politics amid all the compromises required of life in the Real World. Instagram: @mattielubchansky x/twitter: @Lubchansky website: https://mattielubchansky.com tour: mattielubchansky.com/tour bluesky: @mattielubchansky.com podcast website: https://nogodsnomayors.com podcast bluesky: @nogodsnomayors.com . … . .. Featured Track: Take The ‘A' Train by Duke Ellington from The Duke - The Essential Collection (1927-1962)

Get Keyser's Book here: https://mitpress.mit.edu/9780262552325/play-it-again-sam/   In his famous Norton Lectures (1976), Leonard Bernstein extolled repetition, saying that it gave poetry its musical qualities and that music theorists refused to take it seriously at their peril. In Play It Again, Sam, Keyser takes Bernstein seriously, exploring the way repetition works in the “sister arts” of music, poetry, and painting. He argues, for example, that rhyme in metrical verse is identical to the way songwriters like Duke Ellington, Billy Strayhorn (Satin Doll), Lorenz Hart (My Funny Valentine), and Richard Rodgers (of Rodgers and Hammerstein fame) constructed their iconic melodies. Furthermore, the form of these tunes can be found in classical compositions, including those of Mozart.   Check out our new bi-weekly series, "The Crisis Papers" here: https://www.patreon.com/bitterlakepresents/shop   Thank you guys again for taking the time to check this out. We appreciate each and everyone of you. If you have the means, and you feel so inclined, BECOME A PATRON! We're creating patron only programing, you'll get bonus content from many of the episodes, and you get MERCH!   Become a patron now https://www.patreon.com/join/BitterLakePresents? Please also like, subscribe, and follow us on these platforms as well, (specially YouTube!)   THANKS Y'ALL   YouTube: https://www.youtube.com/channel/UCG9WtLyoP9QU8sxuIfxk3eg Facebook: https://www.facebook.com/Thisisrevolutionpodcast/ Twitter: @TIRShowOakland Instagram: @thisisrevolutionoakland   Read Jason Myles in Sublation Magazine https://www.sublationmag.com/writers/jason-myles   Read Jason Myles in Damage Magazine https://damagemag.com/2023/11/07/the-man-who-sold-the-world/   Read Jason in Unaligned here: https://substack.com/home/post/p-161586946...   New to streaming or looking to level up? Check out StreamYard and get $10 discount!

La cantante Dee Dee Bridgewater y el pianista Bill Charlap acaban de publicar 'Elemental', un disco a dúo con clásicos del cancionero estadounidense como 'Love for sale', de Cole Porter, 'S´Wonderful', de George y Ira Gershwin, o 'Beginning to see the light' de Duke Ellington. El compositor y bandoneonista Dino Saluzzi firma el disco 'El viejo caminante', acompañado por las guitarras de su hijo José María y de Jacob Young, para las eternas 'My one and only love' y 'My prince will come' y obras de los Saluzzi como 'Buenos Aires 1950' o 'La ciudad de los Aires Buenos'. Del disco de la cantante Catina Deluna y el pianista Otmaro Ruiz, 'Lado B Brazilian Project 2', 'Águas de março', de Jobim, 'É luxo só' de Ary Barroso y 'Choro das águas' de Ivan Lins. Para la despedida, 'Suite' del Trío Corrente.Escuchar audio

Il 10 agosto dalle 21 alle 2 di notte piazzale della Vittoria si trasforma in un  palcoscenico a luci spente. Aisha Ruggieri, al pianoforte a coda, eseguirà brani di Sting, Nirvana, Duke Ellington, Doors, Red Hot Chili Peppers,  Bill Evans, Miles Davis e Led Zeppelin. Mentre il Gruppo Astrofili Vicentini accompagnerà i presenti in un viaggio tra le stelle.

Much like Duke Ellington before him, Charles Mingus' output was prolific. Over his near four-decade career, Mingus was behind a number of jazz firsts: he composed and recorded arguably the first jazz ballet - labelling his iconic LP 'The Black Saint and the Sinner Lady' as "ethnic folk-dance music." He also brought together elements of swing, bebop and R&B in ways that had never been heard before. Unlike some of his contemporaries, Mingus never shied away from his roots in gospel music and the blues. Rather, these textures became an integral part of his sound - often juxtaposed against elements from the free jazz movement. 

He wore a military uniform, spoke with charm, and seemed every bit the dashing war hero. But Neville George Clevely Heath was hiding something - something far more sinister. In this episode, I unravel the early life of one of Britain's most chilling murderers.From his respectable upbringing to a string of frauds, false identities, and failed military stints, we follow Heath's journey right up to June 1946. Who was Neville Heath, really? How did a polite, well-dressed man fool so many? And what led him to step from deception into sadistic violence?Follow, subscribe, and leave a review if you're into true crime with a forensic eye and a no-nonsense approach. #TrueCrime #NevilleHeath #BritishCrime #UnsolvedMysteries #CriminalPsychology #WWIIBritain #TheGentlemanKillerDon't miss an episode - follow, comment, like, and share!Connect with us on social media @‌themondaynightrevue or email at themondaynightrevue@gmail.com.Explore our podcast merch: Shop HereSupport the show: Buy Me a CoffeeDiscover curated reads: BookshopFor ad-free episodes, minisodes, and exclusive perks, join us on Patreon: Support on PatreonWritten and edited by Corinna Harrod with Holly Clarke. Artwork by Jessica Holmes. Music: "The Mooche" by Duke Ellington (1928). Become a supporter of this podcast: https://www.spreaker.com/podcast/the-monday-night-revue--4921180/support.

Jazz icon.

The American director and choreographer Kathleen Marshall has been nominated for nine Tony awards, winning three times for Broadway productions of Wonderful Town, The Pajama Game and Anything Goes. She was the first woman to complete a trio of achievements - directing a play, directing a musical and choreographing a musical on Broadway.She also won an Olivier Award for her 2021 production of Anything Goes in London. It was the first big musical to open after numerous Covid lockdowns, and received an ecstatic welcome from audiences and critics alike, hungry to get back into a theatre and enjoy a hugely uplifting show. More recently she has directed Irving Berlin's Top Hat in Chichester. Her musical choices include Mozart, Chopin, Tchaikovsky and Duke Ellington.

Coming up tonight, it's Duke Ellington and some of the great musicians who worked with him. Duke Ellington & His Cotton Club Orchestra, Cotton Club Stomp Duke Ellington & His Cotton Club Orchestra, I Was Made to Love You Duke Ellington, Come Sunday (with Mahalia Jackson) Billy Strayhorn, Take the "A" Train Johnny Hodges, Art Pepper Quintett / What's New Johnny Hodges & Duke Ellington, Moon Glow Johnny Hodges with Ray Nance vocals, Just Squeeze Me Duke Ellington & Johnny Hodges, Just Squeeze Me (But Don't Tease Me) Duke Ellington/Johnny Hodges, Wabash Blues Duke Ellington, Take the "A" Train Paul Gonsalves, I'm Beginning to See the Light Harry Carney & The Duke's Men, Five O'clock Drag Harry Carney, Paul Gonsalves, Harold Ashby & The Duke's Men, Backstairs Duke Ellington & Ella Fitzgerald, Duke's Place

Năm 1980, nhà xã hội học người Mỹ Ronald L. Morris, trong tác phẩm đề tựa « Wait until Dark: Jazz and Underworld » (tạm dịch là Khi màn đêm buông xuống : Jazz và Thế giới ngầm), từng khẳng định nhạc Jazz trong giai đoạn Lệnh cấm (1920-1933) sẽ không còn là Jazz nếu không có sự che chở của các băng đảng tội phạm. Theo ông, Jazz chịu rất nhiều ảnh hưởng từ mafia. Storyville, New Orleans : Nền tảng đầu tiên của mối liên hệ Jazz - Mafia Mối liên hệ này được hình thành tại Storyville, New Orleans vào cuối thế kỷ XIX. Đó là thời điểm làn sóng di cư người Ý diễn ra mạnh mẽ : Trong vòng 20 năm, 1880 – 1900, hơn 650 ngàn người Ý và Sicilia đổ vào nước Mỹ, quốc gia vừa thoát khỏi cảnh Nội Chiến. Họ băng Đại Tây Dương, mơ về một nước Mỹ thịnh vượng và cởi mở. Không chỉ có người Ý, trên các cầu cảng còn có người Ireland, và hàng triệu di dân đến từ Đông Âu, phần lớn là người Do Thái. Họ chạy trốn cảnh nghèo đói, thoát cảnh chiến tranh hay sự truy bức. Nhưng giấc mộng đó nhanh chóng tan vỡ khi phải đối mặt với thực tế nghiệt ngã : Nạn kỳ thị chủng tộc và chủ nghĩa bản địa. Bị hắt hủi, bị gạt ra bên lề xã hội, thất nghiệp, không được học hành, những di dân gốc Ý, Do Thái hay châu Phi sống chen chúc trong những khu phố nghèo tại các thành phố cảng lớn như Lower East Side ở New York hay như khu Vieux-Carré tại New Orleans. Các băng đảng tội phạm lần lượt xuất hiện : Mano nera, mafia, cosa nostra…. Không được tiếp cận các ngành kinh doanh hợp pháp, những nhóm tội phạm này mở rộng các hoạt động ngầm về đêm, thâu tóm các lĩnh vực giải trí và sân khấu, giang tay đón nhận những người nghệ sĩ lang thang, đặt nên nền tảng đầu tiên cho mối liên hệ giữa Jazz và Mafia trong nhiều thập niên sau đó của thế kỷ XX. Nhạc sĩ dương cầm Earl Hines, từng giải thích : « Các thành viên mafia đã nhanh chóng tìm thấy trong âm nhạc một lớp vỏ bọc tuyệt vời cho những mánh lới được thực hiện trong hậu trường, từ các trò cờ bạc trái phép, buôn thuốc phiện, cho đến cả mãi dâm. » Steven Jezo – Vannier, tác giả tập sách « Music Connection. Les parrains de la musique américaine au XXè siècle » (tạm dịch là Kết nối âm nhạc. Những người bảo trợ cho âm nhạc Mỹ thế kỷ XX), cho biết, vào năm 1902, người ta ước tính ở Storyville, đã có đến 85 sàn nhảy, gần 800 quán rượu và 230 nhà chứa, nơi hoạt động của khoảng 1.500 gái làng chơi. Ba phần tư các chủ sở hữu những cơ sở này đều là trùm các băng đảng với những cái tên Joe Segretta, Henry Matranga, Peter Ciacco hay Pete Lala, với câu lạc bộ nổi tiếng Big 25, sàn diễn đầu tiên của Joe Oliver – người sau này trở thành King Oliver. Đó cũng là nơi xuất thân của nhiều tên tuổi khác trong làng nhạc Jazz như Jelly Roll Morton, Kid Ory, Buddy Bolden, Louis Amstrong hay Cab Calloway… 1920 : Thời điểm quyết định cho cuộc hội ngộ Jazz - Mafia Theo nhà sử học Ronald L. Morris, cuộc hội ngộ mang tính quyết định giữa giới nhạc sĩ Jazz và Mafia là vào những năm 1920. Đây là thời điểm chính quyền tổng thống Woodrow Wilson ban hành Lệnh Cấm Rượu (1920-1933), bị cáo buộc là nguồn cội của mọi tệ nạn xã hội, khiến các quán rượu và tụ điểm hội hè bị đóng cửa, kết thúc thời kỳ hoàng kim một thế hệ Mafia tại New Orleans. Các nhóm tội phạm cùng những người chơi nhạc Jazz rời Storyville đi về phía bắc đến New York, Chicago, Kansas City… Họ sắp xếp lại hoạt động về đêm dọc theo các tuyến đường buôn rượu với sự tiếp tay của giới chức địa phương, và nhiều nghị sĩ Mỹ. Một thế hệ mới các ông trùm băng đảng gốc Ý, Do Thái hay Ireland ra đời, trong số này phải kể đến Al Capone, Alcatraz hay Dutch Schulz…    Đam mê mãnh liệt nhạc Jazz cùng với sự táo bạo trong cách tổ chức và quản lý thế giới ngầm, thế hệ tội phạm mới này đã tái hiện các đêm nhạc với những câu lạc bộ tiện nghi, vui nhộn hơn, mở cửa cho tất cả các thành phần, và do vậy, đáp ứng nhu cầu hưởng thụ mới của thời kỳ hậu chiến. Tại các cơ sở mới này, nhạc cũ lỗi thời nhường chỗ cho Jazz thống trị với sự xuất hiện của những nhạc sĩ trẻ tài năng : Sydney Bechet, Bessie Smith, Earl Hines, Duke Ellington… Trong một chương trình trên đài France Culture (15/05/2024), Jacques B. Hesse, nhạc sĩ đại vĩ cầm, dịch giả tập sách của nhà xã hội Ronald L. Morris, giải thích : « Luận điểm của Ronald L. Morris rất đơn giản. Ông ấy nói rằng giới tội phạm đã góp phần phát triển nhạc Jazz không chỉ bằng cách cung cấp cho các nhạc sĩ Mỹ sự bảo vệ về mặt xã hội và pháp lý, họ còn trả phí luật sư cho các vụ ly hôn, viện phí và tang lễ cho người thân của các nhạc sĩ. Họ còn giúp các nhạc sĩ mua xe trả góp, với mức hoàn trả từ 5 đến 7 đô la một tuần. » Jazz – Mafia : Mối quan hệ ràng buộc Steven Jazo-Vannier trong tập sách viết : « Mối liên kết lâu dài này được hung đúc, neo giữ sâu đậm cứ như một sự phụ thuộc lẫn nhau, hợp nhất hai mặt của một thế giới về đêm (…) ».  Jacques B. Hesse nhắc tiếp nhận định của Ronald L. Morris : « Bằng cách sử dụng các dàn nhạc có hợp đồng dài hạn từ một đến ba năm trong các hộp đêm và câu lạc bộ nhạc Jazz của mình, các băng đảng Mafia đã khuyến khích sự trưởng thành trong phong cách riêng của từng dàn nhạc, phân biệt phong cách của Duke Ellington với phong cách của Cab Calloway ». Thế nên, mới có giai thoại rằng, Al Capone, một trong những trùm Mafia lớn, đam mê âm nhạc, có cảm tình đặc biệt với một nhạc sĩ : Fats Waller. Trong tập sách Music Connection, Steven Jazo-Vannier thuật lại rằng, người nghệ sĩ dương cầm, kiêm ca sĩ này, một đêm, vào cuối buổi trình diễn, người ta bịt mắt ông dẫn đến một nơi bí mật. Khi đến nơi, ông thấy một cây đàn piano, họ đẩy ông về phía cây đàn rồi bảo « Hãy đến chơi đàn đi ! ». Ông không biết nơi đó là ở đâu, nhưng khi nghe tiếng cười giữa đám đông, ông nhận ra tiếng cười nổi tiếng của Al Capone, người đã chọn Fats Waller chơi nhạc cho đêm tiệc của mình với bạn bè và khách mời. Mafia cung cấp việc làm, và sự bảo vệ nhưng cũng rất chiếm hữu. Ca sĩ Lena Horne, bắt đầu ca hát rất sớm tại Cotton Club, với mức lương nghèo đói : 25 đô la một tuần. Hợp đồng trọn đời ngăn cản cô rời Cotton Club. Mọi nỗ lực thương lượng của cô kết thúc trong bạo lực. Để giải thoát cho cô, gia đình ra một quyết định táo bạo : Bắt cóc cô và bỏ trốn ngay giữa đêm cho đến tận Philadelphia. Tại đây, Lena Horne bắt đầu sự nghiệp mới và sau này trở thành nữ diễn viên người Mỹ gốc Phi đầu tiên ký hợp đồng với MGM. Sự im lặng Nếu như phần lớn giới nghệ sĩ gìn giữ một quy tắc bất thành văn : Ba Không – Không nghe, Không thấy, Không nói – để đổi lấy sự bảo trợ của Mafia, thì Frank Sinatra, nhân vật hiếm có công khai thừa nhận về mối liên hệ với tay trùm Lucky Luciano, đến từ cùng một làng với gia đình Sinatra ở Sicilia. Thế giới Jazz muôn sắc muôn mầu, vô vàn giai thoại. Danh sách các nhạc sĩ bị lệ thuộc vào Mafia dài vô tận, trong số này nhiều gương mặt điển hình từ Louis Amstrong, Dexter Gordon, Stan Getz, cho đến Billie Holiday hay Chet Baker… Các băng đảng Mafia không chỉ sở hữu các hộp đêm, phòng nhạc nổi tiếng, mà sau này họ còn trở thành các nhà tuyển dụng, nhà quản lý và sản xuất các nhạc sĩ, sở hữu họ, những người nhạc sĩ và âm nhạc của họ. Mafia thâm nhập vào mọi cấp độ sáng tạo âm nhạc có lợi nhuận. Đối với Earl Hines, trong những năm 1940 chẳng còn chút nghi ngờ, « các băng đảng đã làm cho ngành kinh doanh âm nhạc phát đạt » hơn bao giờ hết !   (Nguồn France Musique, France Culture)

Here's a preview from a new podcast, Charlie's Place. How did a Black man in the 1940s Jim Crow South open a club where Black and white people danced together? Charlie's Place was revolutionary, and that meant it was dangerous. Host Rhym Guissé explores the unbelievable true story of Charlie Fitzgerald, a mysterious Black businessman whose nightclub became an unlikely site of integration in Myrtle Beach. Charlie broke down racial barriers through the power of music and dance, hosting some of the greatest musicians of our time: Little Richard, Count Basie, Ray Charles, Duke Ellington, and many more. But who was Charlie? How did he rise to power? And what price did he pay for achieving the impossible—an integrated club in the Jim Crow South? This is a story of joy and passion that erupted into violence and changed a community forever. Listen to Charlie's Place wherever you get your podcasts. Binge the entire season early and ad-free by subscribing to Pushkin+. Sign up on the Charlie's Place show page on Apple Podcasts or at pushkin.fm/plus. Learn about your ad choices: dovetail.prx.org/ad-choices

Here's a preview from a new podcast, Charlie's Place. How did a Black man in the 1940s Jim Crow South open a club where Black and white people danced together? Charlie's Place was revolutionary, and that meant it was dangerous. Host Rhym Guissé explores the unbelievable true story of Charlie Fitzgerald, a mysterious Black businessman whose nightclub became an unlikely site of integration in Myrtle Beach. Charlie broke down racial barriers through the power of music and dance, hosting some of the greatest musicians of our time: Little Richard, Count Basie, Ray Charles, Duke Ellington, and many more. But who was Charlie? How did he rise to power? And what price did he pay for achieving the impossible—an integrated club in the Jim Crow South? This is a story of joy and passion that erupted into violence and changed a community forever. Listen to Charlie's Place wherever you get your podcasts. Binge the entire season early and ad-free by subscribing to Pushkin+. Sign up on the Charlie's Place show page on Apple Podcasts or at pushkin.fm/plus. Learn about your ad choices: dovetail.prx.org/ad-choices

Robert Johnson's entire recording career lasted just seven months. He left behind only 29 songs and two photographs -  yet his influence runs through everything from Delta blues to The Rolling Stones, Zeppelin, Dylan, and Clapton.This episode dives into the myth and the man:A troubled childhood in the Deep SouthTragedy, obsession, and the death of his wifeThe infamous “deal with the Devil” at the crossroadsHis mysterious death by poisoning at 27And how his music lived on to shape rock and roll. Was it hoodoo, raw talent, or something darker? You decide. Patreon listeners get this episode completely ad-free and early.Follow, share, and leave a review if you enjoy the episode - it really helps.Don't miss an episode - follow, comment, like, and share!Connect with us on social media @‌themondaynightrevue or email at themondaynightrevue@gmail.com.Explore our podcast merch: Shop HereSupport the show: Buy Me a CoffeeDiscover curated reads: BookshopFor ad-free episodes, minisodes, and exclusive perks, join us on Patreon: Support on PatreonWritten and edited by Corinna Harrod with Holly Clarke. Artwork by Jessica Holmes.Music: "The Mooche" by Duke Ellington (1928). Become a supporter of this podcast: https://www.spreaker.com/podcast/the-monday-night-revue--4921180/support.

这期即兴访谈的嘉宾是脱口秀演员孙书恒和爵士乐萨克斯手李世海。用孙书恒的话说，李世海是他在 JZ School 最喜欢的老师，因为李老师的课特别”破“（哈哈哈）。在我看来李老师有两个特点：一个是 solo 特别精彩，一个是串场特别幽默。其实我们早就想凑一起聊一期，终于等到李老师暑假，书恒录节目的空挡。这期节目的大纲是孙书恒写的，本来是想聊爵士乐小白如何看起来像个老鸟。但是最后变成了一个爵士音乐家和一个脱口秀演员带着大家一起听好玩的爵士音乐。但我觉得这也不算跑题，因为如果你听过了这期节目里面的曲子，并且能够理解其中的恶趣味，你也就是个老鸟了。8 月 6 号，李世海会在上海 Bluenote 献上首张专辑《内在律动》八周年纪念演奏会。详见海报。Playlist of the Show[06:24] 爱河 - ZaZaZsu咂咂苏[09:08] @ - 王OK[11:01] Feeling Good - Michael Buble[13:48] Gone Fishin' - Mighty Mo Rodgers[14:19] The Thrill is Gone - B.B. King[14:34] Hummingbird - B.B. King[19:48] Jazz is for Ordinary People - Berlioz[22:31] Unfinished Tango SRP & 张乐[28:04] Peace Piece - Bill Evans[32:59] So What - Miles Davis[50:04] Lift off Mic Check - Robert Glasper[50:57] Kid - Aaron Parks[52:58] I Mean You - Thelonious Monk[53:41] I mean you - e.s.t. Esbjorn Svensson Trio[54:53] In a sentimental mood - Duke Ellington & John Coltrane[55:41] In a sentimental mood - Eric Marienthal[58:46] People time - Stan Getz & Kenny Barron[01:01:40] Giant Steps - John Coltrane[01:02:49] Giant Steps - Tommy Flanagan[01:06:52] People = Shit - Richard Cheese[01:07:53] People = Shit - Slipknot[01:08:47] Viva la vida - Richard Cheese[01:23:09] Jazz is for ordinary people - Berlioz

Ernie Whitman is the bubbly host with the jive talking introductions. Duke Ellington talks with Ernie before he plays, Suddenly Jump. One of the Duke's vocalists sings; I'm Beginning to…

Comenzamos con datos en el Día mundial de la serpiente. El turista musical tiene que regresar a Elche para saldar cuentas con su nuevo amigo en una competición de lanzamiento de dátiles. Después, hemos unido a dos artistas que, a priori, no tienen nada que ver, y lo hemos hecho a través de sus colaboraciones. Hoy, hilamos a una de las voces más importantes del jazz, la de Billie Holiday, con uno de los artistas más relevantes en los años 80 en nuestro país, Tino Casal. Lo hacemos a través de Louis Amstrong, Duke Ellington, The Rolling Stones y David Bowie. A las ocho conocemos la actualidad internacional con Alejandro López y una nueva palabra desde Granada: 'pollarda'. Y, por último, charlamos con las directoras Sofia Esteve, Isa Luengo y Marina Freixa sobre el documental 'Els Buits'; un ejercicio de memoria histórica que narra la vida de una mujer sometida por el Patronato de Protección a la Mujer.Escuchar audio

The ultimate musical showdown: jazz vs classical. We bring in conductor Josh Weilerstein from the Sticky Notes podcast to compare, contrast and find the common ground among these two very different schools of music. From Duke Ellington's swinin' take on Peer Gynt to George Gershwin's Rhapsody in Blue, we explore the tunes and the musicians blurring the line between jazz and classical. Josh, Adam and Peter each bring their own picks to the conversation, and have the best time breaking it all down.Nerdy? Extremely. Snobby? A little. Fun? Heck yeah!In this episode you'll hear:- Ravel's Piano Concerto in G Major: Herbie Hancock vs the Cleveland Orchestra- How Duke Ellington made classical standards swingin'- Why Bartók matters to modern music - Two very different interpretations of Rhapsody In Blue- Brubeck's Blue Rondo à la Turk: no improv, still loose- Miles Davis and Gil Evans doing Adagio

✦ Summertime is officially upon us, and there’s nothing better to help cool you off on hot Atlanta days than ice cream. City Lights Collective food contributors Akila McConnel and Chef Asata Reid know this well, and they’re taking us back to 1870 to learn the history of ice cream in our city. ✦ Praised by jazz legends Ramsey Lewis and Les McCann, Atlanta jazz pianist Joe Alterman has never been a gatekeeper. He knows that jazz is for everyone, and it’s not rocket science – in the words of Duke Ellington, “If it sounds good, it is good.” Now, Joe Alterman is lending his voice, wisdom, and impeccable taste to WABE listeners with a brand-new radio show, “The Upside of Jazz,” with the first episode airing July 12th at 7pm. He’ll also be performing live at Eddie’s Attic on July 10th. ✦ City Lights Collective member Shane Harrison spends his days at Arts ATL looking for cultural events to share with readers. He joins us weekly to share highlights, and today, his mix includes things to do even if you’re not one of the three hundred thousand Atlantans heading to Mercedes-Benz Stadium for Beyoncé’s four-night stand. ✦ Visual artist and music enthusiast Kosmo Vinyl bought his first LP when he was nine. He spent the next several decades immersed in music and began his professional career at London’s pioneering indie label, "Stiff Records." In 1979 Kosmo started working exclusively with "The Clash" and stayed by their side until the punk icons disbanded in 1986. Over the years, Kosmo's record collection became legendary, and in 2014, he began posting about his favorite releases on social media for his series, "Kosmo's Vinyl of the Week," and he joins us weekly to share the stories behind the records he treasures. This week he shares the history behind Mongo Santamaria’s version of “Fever.” ✦ City Lights Collective co-host Jon Goode tells us about his recent visit to The Book Bird, an Avondale Estates nook, that sales physical books, and closes down so that you can open up. See omnystudio.com/listener for privacy information.

In this episode of Backwards Beats, Dan and Carl dive into Bonnie Raitt's Nick of Time, a landmark album that was her breakthrough after years in the industry. They explore the album's unique blend of blues, country, folk, and soft rock, discuss the impact of its production, and highlight some of its most compelling musical moments. Along the way, they touch on Bonnie Raitt's career resilience, her Scottish ancestry (including a chilling ghost story), and her influence on modern Americana. Key Points Bonnie Raitt's Career Arc – How *Nick of Time marked her mainstream breakthrough after a decade of persistence. *Production & Sound – The album features three distinct production styles, from polished soft rock to raw, intimate blues. Musical Deep Dives* – Dan breaks down the harmonic sophistication of the title track and how the arrangement reinforces the song's storytelling. The Mystery of the 500 List – Dan and Carl debate why Nick of Time made Rolling Stone's 500 Greatest Albums list, while Luck of the Draw, her more commercially successful follow-up, did not. Debora Harry singing Duke Ellington's Prelude to a Kiss Annie Lennox singing Cole Porter's Every Time We Say Goodbye Music Referenced Luck of the Draw by Bonnie Raitt Fleetwood Mac Music by 311 Homebrew by 311 311 (The Blue Album) by 311 Down by 311 All Mixed Up by 311 Stop This Train by John Mayer Shania Twain I Can't Go for That by Daryl Hall & John Oates Take Me to the River by Talking Heads Werewolves of London by Warren Zevon All Summer Long by Kid Rock Brothers in Arms by Dire Straits David Crosby Graham Nash Family Dinner - Volume 1 by Snarky Puppy Family Dinner - Volume 2 by Snarky Puppy Something by Snarky Puppy Lalah Hathaway On the Road Again by Willie Nelson Turn the Page by Bob Seger Turn the Page by Metallica Herbie Hancock Prelude to a Kiss by Duke Ellington Walking on Broken Glass by Annie Lennox Here Comes the Rain Again by The Eurythmics Sting Jacob Collier Web: https://backwardsbeatspodcast.podbean.com I nstagram: https://www.instagram.com/backwardsbeatspodcast  YouTube: https://www.youtube.com/@backwardsbeatspodcast  BlueSky: https://bsky.app/profile/backwardsbeats.bsky.social  

Songs include:  Songs include: Chattanooga Choo Choo  by Glenn Miller, Boogie Woogie Bugle Boy by the Andrews Sisters, God Bless The Child by Billie Holiday, Take the A Train by Duke Ellington and Stardust by Artie Shaw. 

It's fast. It's brutal. And it's been used in some of the most infamous crimes in history. In this episode, we examine the terrifying power of cyanide - from elegant murder plots to cult suicides and Cold War spycraft. Why has this particular poison endured? How did it become so closely linked with secrecy, betrayal, and power? And why, even now, does it remain one of the most feared substances on the planet? Don't miss an episode—follow, comment, like, and share!Connect with us on social media @‌themondaynightrevue or email at themondaynightrevue@gmail.com.Explore our podcast merch: Shop HereSupport the show: Buy Me a CoffeeDiscover curated reads: BookshopFor ad-free episodes, minisodes, and exclusive perks, join us on Patreon: Support on PatreonWritten and edited by Corinna Harrod with Holly Clarke. Artwork by Jessica Holmes. Music: "The Mooche" by Duke Ellington (1928). Become a supporter of this podcast: https://www.spreaker.com/podcast/the-monday-night-revue--4921180/support.

Listen to the final episode in our three-part series exploring the music of Reunald Jones, a legendary Indiana trumpet player with deep connections to the Avenue scene. During his remarkable career, Jones performed with the biggest stars in American music. Hear music featuring Jones' work with Duke Ellington, Sonny Rollins, Dinah Washington, Quincy Jones, Nat King Cole and more.

Wie viele Geburten sie begleitet hat, kann Natalia Conde nicht zählen. Und in wie vielen Stücken sie mitgewirkt hat, wohl auch nicht. Ärztin und Schauspielerin: Conde ist beides – und findet verblüffende Überschneidungen zwischen diesen Berufen. Von der Vorstellung direkt in die Nachtschicht: Es gab eine Zeit in Natalia Condes Leben, da übte sie ihre beiden Berufe gleichzeitig aus. Ganz so extrem ist es heute nicht mehr. Dafür singt sie aber einmal in der Woche im Zürcher Bach Chor. Und leitet mit ihrem Mann Theaterproben an einem Zürcher Gymnasium. Condes Laufbahn ist im wahrsten Sinne des Wortes aussergewöhnlich. Bis 32 sei sie geradlinig verlaufen, sagt sie selbst: Ein Theaterkurs an der Kanti, Matura, direkt an die Schauspielschule. Doch da war noch dieser andere Wunsch, jener der Medizin. Und so beschloss sie mehrere Jahre später – schwanger mit ihrem dritten Kind – ihm nachzugehen. Im Gespräch mit Melanie Pfändler erzählt sie, wie es dazu kam und woher sie die Energie für all diese Aufgaben nimmt. Und von ihrer Kindheit als Tochter einer Schweizer Journalistin und eines spanischen Musikers, die vor allem eines wollten: dass ihre Tochter ihr Geld mit dem verdient, was sie glücklich macht. Die Musiktitel: 1. ABBA – Dancing Queen 2. Antonio Conde – Pingu Intro (1986 – 1988) 3. Peacock Party Band – Sabor a mi (1994) Unterhaltungsorchester Beromünster, Antonio Conde, Gesang 4. Ella Fitzgerald and Duke Ellington at The Côte d'Azur (28.7.1966) – Lullaby of Birdland 5. Frank Martin – «Notre père» aus dem Oratorium In Terra Pax 5. Al Jarreau – Milwaukee

ALEATORIO RANDOM PROJECT 028 1-ANTHEM – DEEP PURPLE 2-IN A SENTIMENTAL MOOD – DUKE ELLINGTON & JOHN COLTRANE 3-A MI ME LLAMAN EL LOCO – TERREMOTO DE JEREZ 4-BREAKING INTO ACCTING – MATT BERNINGER 5-THE DIALOGUE – PTF 6-TIME - PINK FLOYD 7-GOOD DAYS, BAD DAYS – COCO MONTOYA 8-NAYKER CHHROI – HANMANT CHAVAN 9-SUITE ESPAÑOLA Nº 1 OP.47 GRANADA – ISAAC ALBENIZ 10-CAT IN CLARK´S SHOES – GONG 11-ESTUDIO DE VELOCIDAD – FRANCISCO TARREGA & GIULIO TAMPALINI 12-SEE YOU IN HELL – GRIM REAPER 13-MY BUCKET´S GOT A HOLE IN IT – SONNY BURGESS 14-WHAT THE WORLD NEEDS NOW IS LOVE – BURT BACHARACH

Between 1911 and 1912, more than a dozen women were murdered on the streets of Atlanta.All were young, all were Black, and all were killed in a disturbingly similar fashion. Throats slashed, bodies left close to home, personal items untouched.At the time, police claimed they had no leads. Locals whispered of a serial killer - a theory the authorities were reluctant to accept. As panic grew, women changed their routines, and Black newspapers urged the public to stay alert. But the murders continued. This is the story of the man the press called The Atlanta Ripper - and the women whose lives were lost in a case that remains officially unsolved.Don't miss an episode—follow, comment, like, and share!Connect with us on social media @‌themondaynightrevue or email at themondaynightrevue@gmail.com.Explore our podcast merch: Shop HereSupport the show: Buy Me a CoffeeDiscover curated reads: BookshopFor ad-free episodes, minisodes, and exclusive perks, join us on Patreon: Support on PatreonWritten and edited by Corinna Harrod with Holly Clarke. Artwork by Jessica Holmes. Music: "The Mooche" by Duke Ellington (1928). Become a supporter of this podcast: https://www.spreaker.com/podcast/the-monday-night-revue--4921180/support.

When vocalist ANAÏS RENO burst onto the scene in 2021 with her debut album, ‘Lovesome Thing: Anaïs Reno Sings Ellington & Strayhorn,' I had the distinct pleasure of featuring this young and talented  vocalist in Season 2-Episode 11. At the time,  listeners were delighted - and surprised - to learn that she had recorded it a year earlier when she was just 16 years old.  There have been a number of significant changes in the life of this noteworthy singer four years after releasing her debut recording. No doubt, people will be making even more comments about Anaïs' ability to interpret song lyrics with emotional depth, enhanced musical maturity, and style after discovering more about her latest release. She has, once again, tackled the Great American Songbook with her newest album, LADY OF THE LAVENDER MIST, the inspiration which began while taking a train ride and listening to the music of Duke Ellington.

Listen to the second episode in our three-part series exploring the music of Reunald Jones, a legendary Indiana trumpet player with deep connections to the Avenue scene.  During his remarkable career, Jones performed with the biggest stars in American music, including Duke Ellington, Ella Fitzgerald, Sonny Rollins, Dinah Washington, Quincy Jones, and Nat King Cole. But he's best known for his work with Count Basie. Jones was a member of the Count Basie band from 1952, to 1957. During that time, he led the band's trumpet section, and he became known for playing the trumpet with one hand.  Jones was a member of Basie's orchestra during a high point with the band. During the years Jones played with Basie, the band played their first dates in Europe and recorded classic albums like “Live at Newport”, “April in Paris”, and “Basie in London”. Listen to this program for music featuring Reunald Jones' recordings with Count Basie.

Pendant une grande partie du XXe siècle, le jazz, cette musique libre, vibrante, imprévisible… était tout simplement interdit en Union soviétique.Pourquoi ? Revenons au début.Dans les années 1920, après la révolution bolchévique, l'URSS vit une courte période d'ouverture culturelle. Le jazz arrive alors à Moscou, porté par des musiciens curieux, et même soutenu un temps par le régime, qui y voit un art moderne, populaire, presque révolutionnaire.Mais très vite, les choses changent. Dans les années 1930, avec Staline au pouvoir, tout ce qui ne colle pas aux normes du "réalisme socialiste" devient suspect.Et le jazz, avec ses syncopes, son swing, son côté improvisé et indomptable, ne rentre pas dans les cases. Pire encore : il vient des États-Unis, la grande puissance capitaliste et ennemie idéologique.Staline déteste ce qu'il appelle la "musique dégénérée". Le jazz est accusé d'être "antirusse", "bourgeois", "décadent". On le surnomme même la "musique de la jungle". Les saxophones sont bannis, les orchestres de jazz dissous, les musiciens surveillés.Et cela empire après la Seconde Guerre mondiale. En pleine guerre froide, écouter du jazz devient un acte de défiance politique. C'est être influencé par l'ennemi.Mais… la musique ne s'arrête pas.Malgré l'interdiction, le jazz continue de vivre en cachette. Dans les caves, les arrière-salles, les appartements privés, on joue du jazz clandestinement. On enregistre sur des radiographies médicales usagées — oui, sur des radios des poumons ! — qu'on appelle les "disques sur os", pour contourner la censure.Certains prennent tous les risques pour écouter des enregistrements de Duke Ellington ou Charlie Parker, captés illégalement sur les ondes occidentales.Et puis, dans les années 1960, le vent tourne un peu. Sous Khrouchtchev, une relative détente permet au jazz de ressortir timidement à la surface. Des festivals sont autorisés, des musiciens soviétiques comme Leonid Utyosov ou Igor Bril font revivre le genre, à leur manière.Mais le jazz ne sera jamais complètement libre en URSS. Il restera surveillé, encadré, soupçonné d'"américaniser" les esprits. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

More than a jazz legend, Duke Ellington was a visionary who used music to speak to the soul. We'll reflect on how his life and compositions invite us into the divine rhythms of life and justice. This is part of our . Join us this July for a moving exploration of creativity, courage, and the human spirit in our annual summer sermon series, “Artists Who Inspire.” Each Sunday, we will reflect on the life, legacy, and artistry of a cultural icon whose work continues to shape the world. Through music, visual art, storytelling, and performance, these artists help illuminate timeless spiritual truths and speak to the heart of what it means to be fully human. First Unitarian Church of Dallas is devoted to genuine inclusion, depth and joy, reason and spirit. We have been a voice of progressive religion in Dallas since 1899, working toward a more just and compassionate world in all of what we do.   We hope that when you come here your life is made more whole through experiences of love and service, spiritual growth, and an open exploration of the divine. Learn more at https://dallasuu.org/   New sermon every week. Subscribe here: https://tinyurl.com/1stchurchyoutubesubscribe Follow us on Instagram: https://www.instagram.com/1stuchurch/ Follow us on Facebook: https://www.facebook.com/1stUChurch Watch the livestream on Sundays at 9:30am, 11am, & 7pm CST: https://dallasuu.org/live/ Œ  

Listen to the first episode in our three-part series exploring the music of Reunald Jones, an important jazz trumpet player with deep connections to the Avenue neighborhood. During his legendary career, Jones performed with the biggest stars in American music, including Duke Ellington, Count Basie, Ella Fitzgerald, Sonny Rollins, Dinah Washington, Quincy Jones, Nat King Cole and many others.  Jones was born in Indianapolis in 1922. Music was part of his family legacy, his father John Wesley Jones was a musician, and his cousin Roy Eldridge, was a famous jazz trumpet star. Jones' family had strong ties to the Avenue neighborhood. During the early 1900s, his father was a choral director for the Bethe A.M.E. church and a bandleader, for the Senate Avenue YMCA. In the 1930s, his sister, Louise Fields, was an editor for the Indianapolis Recorder.  After spending the first decade of his life in Indianapolis, Jones moved with his family to Muncie, Indiana. By age 15, Jones was playing trumpet in a local Muncie band that included Doc Wheeler on trombone. Wheeler became a star on the Avenue scene during the 1930s. In the early 1940s, Jones and Wheeler reunited for a series of recordings with Bluebird Records.  By age 20, Jones left Muncie to pursue a life in music. He performed with a variety of regional territory bands, including Speed Webb's Hoosier Melody Lads, where he had the chance to play with his cousin Roy Eldridge. By the mid 1930s, Jones was in New York, where he began his recording career.  Join us this week to hear Jones' early recordings with Mezz Mezzrow, Lil Hardin, Don Redman, Jimmie Lunceford and more.

On the 4th of December 2005 the body of Swedish national Annie Börjesson is found on the beach at Prestwick in Scotland. Annie had been living in Edinburgh and was due to fly home from Prestwick airport but something went very wrongDon't miss an episode—follow, comment, like, and share! Connect with us on social media @‌themondaynightrevue or email at themondaynightrevue@gmail.com.Explore our podcast merch: Shop HereSupport the show: Buy Me a CoffeeDiscover curated reads: BookshopFor ad-free episodes, minisodes, and exclusive perks, join us on Patreon: Support on PatreonWritten and edited by Corinna Harrod with Holly Clarke. Artwork by Jessica Holmes. Music: "The Mooche" by Duke Ellington (1928). Become a supporter of this podcast: https://www.spreaker.com/podcast/the-monday-night-revue--4921180/support.

Galveston Island's rich musical heritage produced three extraordinary African-American musicians who carried their island-inspired sounds to the world stage. Frederick Tillis, Louis "Blues Boy" Jones, and Richard "Notes" Williams all grew up in 1930s and 40s Galveston, where music spilled from dance halls, churches, and pavilions, shaping their musical identities before they ventured beyond the Gulf Coast.• Frederick "Baby" Tillis (1930-2020) began performing at age 12, earned a PhD in music composition, and bridged jazz with classical music• Tillis composed over 125 musical works, published 15 books of poetry, and devoted his life to mentoring young musicians• Louis "Blues Boy" Jones (1931-1984) learned singing in church choirs before working at pioneering Black-owned Peacock Records• Jones performed alongside Otis Redding and gained international recognition, though his legacy was nearly forgotten until his recordings resurfaced decades later• Richard "Notes" Williams (1931-1985) mastered the trumpet and performed with jazz legends like Duke Ellington and Charles Mingus• All three musicians served in the military during the Korean War period, with both Tillis and Williams directing military bands• Their stories reveal how Galveston wasn't just a backdrop for music but a launchpad for extraordinary musical careers• Galveston continues its musical tradition today through venues like Old Quarter Acoustic Cafe and the Grand 1894 Opera HouseGalveston Unscripted What is Galveston Unscripted?Follow Galveston Unscripted on Spotify or Apple Podcasts! More history content on Visit Galveston!

We're celebrating Ravel's 150th birthday with outstanding young musicians from the Boston area. We hear a septet of teens perform Ravel's Introduction and Allegro and a teen pianist treats us to one of Ravel's most iconic piano works. We also meet a talented young saxophonist who finds inspiration in Duke Ellington.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

The Keddie Cabin Murders is a case i'd heard of but always assumed it was holiday-makers caught out by some random attacker. The truth, and the fact that this is an unsolved case, is much more sinsiter. Don't miss an episode—follow, comment, like, and share!Connect with us on social media @‌themondaynightrevue or email at themondaynightrevue@gmail.com.Explore our podcast merch: Shop HereSupport the show: Buy Me a CoffeeDiscover curated reads: BookshopFor ad-free episodes, minisodes, and exclusive perks, join us on Patreon: Support on PatreonWritten and edited by Corinna Harrod with Holly Clarke. Artwork by Jessica Holmes. Music: "The Mooche" by Duke Ellington (1928).Become a supporter of this podcast: https://www.spreaker.com/podcast/the-monday-night-revue--4921180/support.

We're back on the tube and this time we are off to Baywater where things are not always as they seem Don't miss an episode—follow, comment, like, and share!Connect with us on social media @‌themondaynightrevue or email at themondaynightrevue@gmail.com.Explore our podcast merch: Shop HereSupport the show: Buy Me a CoffeeDiscover curated reads: BookshopFor ad-free episodes, minisodes, and exclusive perks, join us on Patreon: Support on PatreonWritten and edited by Corinna Harrod with Holly Clarke. Artwork by Jessica Holmes. Music: "The Mooche" by Duke Ellington (1928). Become a supporter of this podcast: https://www.spreaker.com/podcast/the-monday-night-revue--4921180/support.

durée : 01:00:20 - Club Jazzafip - Quoi de plus beau que la ville lumière célébrée par Melody Gardot, Duke Ellington, Sathima Bea Benjamin, Eric Barret, Coleman Hawkins, Miles Davis, Etta James, Memphis Slim et d'autres.

DUKE ELLINGTON AND HIS ORCHESTRA “AND HIS MOTHER CALLED HIM BILL” New York, August 28, 1967Blood count (ct out), Upper Manhattan Medical Group, Raincheck (ct out), Lotus blossom (DE piano solo)Cat Anderson, Herbie Jones, Cootie Williams, Mercer Ellington (tp) Clark Terry (flhrn) Lawrence Brown, Buster Cooper, Chuck Connors (tb) Jimmy Hamilton (cl,ts) Russell Procope (as,cl) Johnny Hodges (as) Paul Gonsalves (ts) Harry Carney (bar,cl,b-cl) Duke Ellington (p) Aaron Bell (b) Steve Little (d) JIMMY RUSHING “AND HIS ALL STARS” Brooklyn, NY, August 16, 1955Everyday (I have the blues), Evenin', Don't cry babyJimmy Rushing (vcl) acc by Emmett Berry (tp) Lawrence Brown (tb) Rudy Powell (as,cl) Buddy Tate (ts) Pete Johnson (p) Freddie Green (g) Walter Page (b) Jo Jones (d) BUCK CLAYTON “BUCKIN' THE BLUES” Brooklyn, NY, March 14, 1957 Buck huckles, Claytonia, The queen's expressBuck Clayton (tp) Vic Dickenson (tb) Earl Warren (as) Hank Jones (p) Kenny Burrell (el-g) Aaron Bell (b) Jo Jones (d) Continue reading Puro Jazz 27 de mayo, 2025 at PuroJazz.

In today's episode, we're joined by the powerhouse that is Edwina Findley Dickerson—an award-winning actress, author, and all-around force of nature. From her early days training at Duke Ellington, Tisch, and Yale to her breakout role on The Wire, Edwina has carved out a career grounded in purpose, vision, and faith. She shares how a seemingly side gig teaching stress management unexpectedly became a divine turning point, deepening her sense of calling far beyond the stage and screen. Now starring as the fast-talking, hilariously flawed Sheila Cannon in Shonda Rhimes' Netflix series The Residence, Edwina opens up about navigating the highs and lows of the entertainment industry while staying rooted in her spiritual path. We also get a sneak peek at her highly anticipated debut book, The World Is Waiting For You, with a foreword by Viola Davis—an inspiring, faith-filled guide to manifesting your "God Dream" and living with intention. These are the unforgettable stories that landed Edwina Findley right here. CREDITS: The Residence VEEP The Wire The Power Fear the Walking Dead Middle of Nowhere Free in Deed Get Hard Insidious: Chapter 2 Chicago Med GUEST LINKS: IMDB: Edwina Findley, Actress THAT ONE AUDITION'S LINKS: For exclusive content surrounding this and all podcast episodes, sign up for our amazing newsletter at AlyshiaOchse.com. And don't forget to snap and post a photo while listening to the show and tag me: @alyshiaochse & @thatoneaudition MAGIC MIND: Get 48% off with code ONEAUDITION20 THE BRIDGE FOR ACTORS: Become a WORKING ACTOR THE PRACTICE TRACK: Membership to Practice Weekly PATREON: @thatoneaudition CONSULTING: Get 1-on-1 advice for your acting career from Alyshia Ochse COACHING: Get personalized coaching from Alyshia on your next audition or role INSTAGRAM: @alyshiaochse INSTAGRAM: @thatoneaudition WEBSITE: AlyshiaOchse.com ITUNES: Subscribe to That One Audition on iTunes SPOTIFY: Subscribe to That One Audition on Spotify STITCHER: Subscribe to That One Audition on Stitcher EPISODE CREDITS: WRITER: Erin McCluskey WEBSITE & GRAPHICS: Chase Jennings ASSISTANT: Elle Powell SOCIAL OUTREACH: Alara Ceri

In 1896, construction began on the Uganda Railway starting from Mombasa and cutting west through dense bush, rocky escarpments, swamps, and unfamiliar terrain to the shores of Lake Victoria. The work was gruelling and the men suffered from horrible diseases, lack of food and water and terrible living conditions. And then they began disappearing in the night and soon work ground to a halt completely. But what was causing men to flee into the bush in terror?Don't miss an episode—follow, comment, like, and share!Connect with us on social media @‌themondaynightrevue or email at themondaynightrevue@gmail.com.Explore our podcast merch: Shop HereSupport the show: Buy Me a CoffeeDiscover curated reads: BookshopFor ad-free episodes, minisodes, and exclusive perks, join us on Patreon: Support on PatreonWritten and edited by Corinna Harrod with Holly Clarke. Artwork by Jessica Holmes. Music: "The Mooche" by Duke Ellington (1928). Become a supporter of this podcast: https://www.spreaker.com/podcast/the-monday-night-revue--4921180/support.

MONOLOGUE The Necropolis of the North: Canada's Descent into a Culture of Death NEWSMAKER  Canada Post management that agreed to iron-clad job security for employees 40 years ago now finds the commitment “untenable,” says a federal report https://www.blacklocks.ca/cites-1985-no-layoff-promise/  Parliament must “take a stand” against Canadian companies that move jobs to the United States to bypass Trump tariffs, the nation's largest private sector union said yesterday. ⁠https://www.blacklocks.ca/tells-feds-to-take-a-stand/⁠ Tom Korski – Managing Editor of Blacklock's Reporter www.blacklocks.ca OPEN LINES THE CULT OF CLIMATE CHANGE Antarctica: why has ice increased despite global warming? https://evidencenetwork.ca/antarctica-why-has-ice-increased-despite-global-warming/ Global wheat yields would be ‘10%' higher without climate change https://www.carbonbrief.org/global-wheat-yields-would-be-10-higher-without-climate-change/   Tony Heller – Geologist, Weather Historian, Founder of www.realclimatescience.com THIS DAY IN ROCK HISTORY 1970 - Crosby, Stills, Nash & Young released the protest single Ohio, written and composed by Neil Young in reaction to the Kent State shootings of May 4, 1970, when unarmed college students were shot by the Ohio National Guard.   1971 - Marvin Gaye released his eleventh studio album What's Going On. The concept album consisting of nine songs tells the story from the point of view of a Vietnam veteran returning to the country he had been fighting for, and seeing only hatred, suffering, and injustice.   1977 - Stevie Wonder started a three week run at No.1 on the US singles chart with his tribute to Duke Ellington, 'Sir Duke', his sixth US No.1, it made No.2 in the UK. NEWSMAKER FBI's Kash Patel and Dan Bongino face MAGA fury over Jeffrey Epstein and ‘deep state' conspiracies https://www.yahoo.com/news/fbi-kash-patel-dan-bongino-184544903.html Jake Tapper Defends Biden Coverage When Relentlessly Grilled By Megyn Kelly in Heated Interview https://www.mediaite.com/media/news/jake-tapper-defends-biden-coverage-when-relentlessly-grilled-by-megyn-kelly-in-heated-interview/   David Freiheit aka Viva Frei popular YouTuber and Rumblerhttps://vivabarneslaw.locals.com Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 00:57:59 - "Prelude to a Kiss" (Duke Ellington / Irving Mills / Irving Gordon) (1938) - par : Laurent Valero - "classique du répertoire Ellingtonien composé par le Duke en 1938 quand l'orchestre connaissait un grand succès permettant à Ellington de composer en toute liberté et indépendance des mélodies sophistiquées voire complexes qui s'éloignent des standards du swing triomphant de l'époque" Laurent Valero

Leonard Bernstein, in his famous Norton Lectures, extolled repetition, saying that it gave poetry its musical qualities and that music theorists' refusal to take it seriously did so at their peril. In Play It Again, Sam: Repetition in the Arts (MIT Press, 2025), Samuel Jay Keyser explores in detail the way repetition works in poetry, music, and painting. He argues, for example, that the same cognitive function underlies both how poets write rhyme in metrical verse and the way songwriters like Duke Ellington and Billy Strayhorn (“Satin Doll”) and Richard Rodgers and Lorenz Hart (“My Funny Valentine”) construct their iconic melodies. Furthermore, the repetition found in these tunes can also be found in such classical compositions as Mozart's Rondo alla Turca and his German Dances, as well as in galant music in general.The author also looks at repetition in paintings like Gustave Caillebotte's Rainy Day in Paris, Andy Warhol's Campbell's Soup Cans, and Jackson Pollock's drip paintings. Finally, the photography of Lee Friedlander, Roni Horn, and Osmond Giglia—Giglia's Girls in the Windows is one of the highest-grossing photographs in history—are all shown to be built on repetition in the form of visual rhyme.The book ends with a cognitive conjecture on why repetition has been so prominent in the arts from the Homeric epics through Duke Ellington and beyond. Artists have exploited repetition throughout the ages. The reason why is straightforward: the brain finds the detection of repetition innately pleasurable. Play It Again, Sam offers experimental evidence to support this claim. 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

Leonard Bernstein, in his famous Norton Lectures, extolled repetition, saying that it gave poetry its musical qualities and that music theorists' refusal to take it seriously did so at their peril. In Play It Again, Sam: Repetition in the Arts (MIT Press, 2025), Samuel Jay Keyser explores in detail the way repetition works in poetry, music, and painting. He argues, for example, that the same cognitive function underlies both how poets write rhyme in metrical verse and the way songwriters like Duke Ellington and Billy Strayhorn (“Satin Doll”) and Richard Rodgers and Lorenz Hart (“My Funny Valentine”) construct their iconic melodies. Furthermore, the repetition found in these tunes can also be found in such classical compositions as Mozart's Rondo alla Turca and his German Dances, as well as in galant music in general.The author also looks at repetition in paintings like Gustave Caillebotte's Rainy Day in Paris, Andy Warhol's Campbell's Soup Cans, and Jackson Pollock's drip paintings. Finally, the photography of Lee Friedlander, Roni Horn, and Osmond Giglia—Giglia's Girls in the Windows is one of the highest-grossing photographs in history—are all shown to be built on repetition in the form of visual rhyme.The book ends with a cognitive conjecture on why repetition has been so prominent in the arts from the Homeric epics through Duke Ellington and beyond. Artists have exploited repetition throughout the ages. The reason why is straightforward: the brain finds the detection of repetition innately pleasurable. Play It Again, Sam offers experimental evidence to support this claim. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

This episode of The Other Side of the Bell, featuring trumpet legend and women's trumpet trailblazer Marie Speziale, is brought to you by Bob Reeves Brass. This episode also appears as a video episode on our YouTube channel, you can find it here: "Marie Speziale trumpet interview" *Note to listeners and viewers: we're rebalancing our podcast release schedule, to alternate The Other Side of the Bell with our other two podcasts: Trombone Corner and The Horn Signal. Hence the back-to-back episode of TOSOTB this week!  If you haven't already, check out our other two shows for more fantastic interviews with horn-playing legends!   Trombone Corner The Horn Signal     About Marie Speziale:   Acknowledged as the first woman trumpeter in a major symphony orchestra, Marie Speziale retired from the Cincinnati Symphony Orchestra in 1996 after having served as Associate Principal Trumpet for thirty-two years (1964-1996).   A graduate of the College-Conservatory of Music in Cincinnati (CCM), Ms. Speziale studied with Robert Price, Eugene Blee and Arnold Jacobs. Her tenure with the Cincinnati Symphony Orchestra (CSO) included playing with the Cincinnati Opera, Cincinnati May Festival, Cincinnati Ballet and Cincinnati Pops Orchestras. She performed under the batons of Igor Stravinsky, George Szell, Leonard Bernstein, Aaron Copland, Eugene Ormandy, Eric Leinsdorf, Max Rudolf and so many more.   In addition to solo appearances with the Cincinnati Symphony, Cincinnati Pops and Cincinnati Chamber Orchestras, she was featured on NBC's Today Show at age 15, in an impromptu jam session with Duke Ellington shortly after joining the orchestra, and with Dave Brubeck on the Johnny Carson Tonight Show, the CSO European tour, and at the Interlochen Arts Academy. While a student at CCM, she recorded sound tracks for James Brown, whose career was launched by the historic King Records in Cincinnati.   Marie served on the CCM faculty, 1964 -1973, on the faculty at Miami University of Ohio, 1973 - 1979, and returned to CCM as Adjunct Associate Professor, 1979 - 2002. She was appointed Professor of Music at Indiana University 1999, serving there until a year after her 2001 appointment as Professor of Trumpet and Brass Department Chair at the prestigious Shepherd School of Music at Rice University.   In 1999, Marie was one of six Americans (and the only American woman) to be invited by the Tokyo International Music Festival to perform in its first Super World Orchestra. In addition to the National Trumpet Competitions, she has served as adjudicator for the ITG, IWBC and the prestigious Fischoff National Chamber Music competitions.   In 1996, Ms. Speziale performed with the Monarch Brass on its inaugural tour. She conducted the Monarch Brass at the 1997 and 2014 conferences, and played, toured and recorded with Monarch Brass Quintet and Monarch Brass Ensemble until retiring from playing.   President of IWBC, 1997 - 2001, Marie hosted the 2000 conference at CCM and served on the Board of Directors.   Ms. Speziale has won many awards and honors, including Leading Women in the Arts Award from the Greater Cincinnati Coalition of Women's Organizations, the Outstanding Woman of the Year in Music Award from the Tampa Tribune, the SAI Chapter, Province and National Leadership Awards, the Pioneer Award from the International Women's Brass Conference, the Golden Rose Award from the Women Band Directors International, the Woman of Excellence Award from the Italian Club of Tampa, the Distinguished Alumna Award from CCM and the Outstanding Alumni Award from the University of Cincinnati.   In 2018, Marie was inducted into the Cincinnati Jazz Hall of Fame as part of their recognition of the Symphony Jazz Quintet, of which she was a founding member. She was presented with the prestigious Honorary Award from the International Trumpet Guild at their 2018 conference. In 2019, Ms. Speziale was one of 100 women recognized by Cincinnati Arts Wave in their Celebration of Women in the Arts: Power of Her.   Marie Speziale retired as Professor Emerita from Rice University in 2013. She currently serves on the Board of Trustees of the American Classical Music Hall of Fame and the Emeritus Board of the IWBC.   Podcast listeners! Enter code "podcast" at checkout for 15% off any of our Gard bags! Visit trumpetmouthpiece.com for more info.     Episode Links: International Women's Brass Conference, May 19-24, Hartford, Connecticut. Register: myiwbc.org Sign up sheet for valve alignments: bobreeves.com/iwbc International Trumpet Guild Conference, May 27-31, University of Utah, Salt Lake City. Sign up sheet for valve alignments: bobreeves.com/itg William Adam Trumpet Festival, June 19-22, Clarksville, Tennessee. williamadamtrumpet.com  Sign up sheet for valve alignments: bobreeves.com/williamadam   Podcast Credits: “A Room with a View“ - composed and performed by Howie Shear Podcast Host - John Snell Cover Art - courtesy of Marie Speziale Audio Engineer - Ted Cragg  

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.