Podcasts about Duke Ellington

Beloved Australian songwriter Paul Kelly has just turned 70 – “it sounds Biblical, threescore years and ten.” He looks back here at the road he took to get there, from early days in Adelaide to the pub circuit to his catalogueof stirring and eloquent songs about the big issues of life and love, as Neil Finn says, “with not a trace of pretence or fakery”. You'll find … … the moment he felt he'd arrived … the story of How To Make Gravy – “a Christmas song with no chorus about a man in prison” – and Rita Wrote A Letter, its ghostly sequel … early records he loved – Tommy Roe, Peter Paul & Mary, Yes, Deep Purple, Frank Zappa, the “chaotic” Duke Ellington and Louis Armstrong … life on the Melbourne pub circuit playing Neil Young, Gram Parsons and Hank Williams … touring with Leonard Cohen – “a masterclass in performance, like a prayer, a ritual, like a Vaudevillian Rabbi” .. the storytelling songs of the Stanley Brothers, the Louvin Brothers and Buck Owens ... the great Calypso cricket tradition and the track he wrote about Shane Warne … “the odd-sock drawer”: the file in his computer where he stores early sketches … I'm In Love With A Blue Frog, the five chords that underpinned 50 years of songwriting! … the intricacy of Neil Finn's impressionistic lyrics … and the things you hear in your songs when someone else sings them. Order Paul Kelly's ‘Seventy' here: https://paulkelly.lnk.to/seventyHelp us to keep The Longest Conversation In Rock going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Beloved Australian songwriter Paul Kelly has just turned 70 – “it sounds Biblical, threescore years and ten.” He looks back here at the road he took to get there, from early days in Adelaide to the pub circuit to his catalogueof stirring and eloquent songs about the big issues of life and love, as Neil Finn says, “with not a trace of pretence or fakery”. You'll find … … the moment he felt he'd arrived … the story of How To Make Gravy – “a Christmas song with no chorus about a man in prison” – and Rita Wrote A Letter, its ghostly sequel … early records he loved – Tommy Roe, Peter Paul & Mary, Yes, Deep Purple, Frank Zappa, the “chaotic” Duke Ellington and Louis Armstrong … life on the Melbourne pub circuit playing Neil Young, Gram Parsons and Hank Williams … touring with Leonard Cohen – “a masterclass in performance, like a prayer, a ritual, like a Vaudevillian Rabbi” .. the storytelling songs of the Stanley Brothers, the Louvin Brothers and Buck Owens ... the great Calypso cricket tradition and the track he wrote about Shane Warne … “the odd-sock drawer”: the file in his computer where he stores early sketches … I'm In Love With A Blue Frog, the five chords that underpinned 50 years of songwriting! … the intricacy of Neil Finn's impressionistic lyrics … and the things you hear in your songs when someone else sings them. Order Paul Kelly's ‘Seventy' here: https://paulkelly.lnk.to/seventyHelp us to keep The Longest Conversation In Rock going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

On this week's show, Dana and Steve are joined by guest host Rebecca Onion for a Gabfest first: a segment about something from the sprawling Taylor Sheridan television universe. They strap on their cowboy boots and hop in the pickup for a conversation on season 2 of Landman which stars a rangy and world-weary Billy Bob Thornton as an oil industry fixer. Next, they turn north of the border for some good, old fashioned, Canadian gay hockey romance. They discuss HBO's surprise—and surprisingly graphic—hit Heated Rivalry. The series sure is steamy, but does it feature enough hockey?  Finally, they mourn the passing of legendary filmmaker and Hollywood omnipresence Rob Reiner. They share their favorite moments from his films. Given those films include Stand By Me, When Harry Met Sally, Misery, The Princess Bride, and many more indelible classics, there's much to share. Endorsements Rebecca: The podcast Posting Through It featuring hosts Jared Holt and Michael Edison Hayden discussing the ins and outs of rightwing infighting and the recipe Holiday Rocky Road by Sohla el-Waylly in New York Times Cooking. Steve: For more melancholic Christmas music, Duke Ellington's Nutcracker Suite. Also, the Booker Prize short-listed novel The Rest of Our Lives by Ben Markovits, who Steve will be in conversation with at an event on January 5, 2026 at the Upper West Side Barnes & Noble— details here. Dana: The Rob Reiner-directed documentary Defending My Life about his childhood friend Albert Brooks and this brilliant clip of Rob Reiner at his 2000 Friar's Club Roast reading from Roger Ebert's legendary pan of Reiner's film North . Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's show, Dana and Steve are joined by guest host Rebecca Onion for a Gabfest first: a segment about something from the sprawling Taylor Sheridan television universe. They strap on their cowboy boots and hop in the pickup for a conversation on season 2 of Landman which stars a rangy and world-weary Billy Bob Thornton as an oil industry fixer. Next, they turn north of the border for some good, old fashioned, Canadian gay hockey romance. They discuss HBO's surprise—and surprisingly graphic—hit Heated Rivalry. The series sure is steamy, but does it feature enough hockey?  Finally, they mourn the passing of legendary filmmaker and Hollywood omnipresence Rob Reiner. They share their favorite moments from his films. Given those films include Stand By Me, When Harry Met Sally, Misery, The Princess Bride, and many more indelible classics, there's much to share. Endorsements Rebecca: The podcast Posting Through It featuring hosts Jared Holt and Michael Edison Hayden discussing the ins and outs of rightwing infighting and the recipe Holiday Rocky Road by Sohla el-Waylly in New York Times Cooking. Steve: For more melancholic Christmas music, Duke Ellington's Nutcracker Suite. Also, the Booker Prize short-listed novel The Rest of Our Lives by Ben Markovits, who Steve will be in conversation with at an event on January 5, 2026 at the Upper West Side Barnes & Noble— details here. Dana: The Rob Reiner-directed documentary Defending My Life about his childhood friend Albert Brooks and this brilliant clip of Rob Reiner at his 2000 Friar's Club Roast reading from Roger Ebert's legendary pan of Reiner's film North . Learn more about your ad choices. Visit megaphone.fm/adchoices

Jace continues the 2025 12 Days of The Comic Source Fireside Chats by welcoming back writer Philip Kennedy Johnson for a wide-ranging holiday conversation covering recent announcements and an overview of what has been keeping him busy across DC, Marvel, and creator-owned work. The discussion revisits Johnson's recent DC work, including Batman and Robin and the Quiet Man storyline (with talk about the character's moral gray area, the "ordinary person" angle, and the creative choices behind details like Scarface and the book's mystery tone), while also digging into the world-building and legacy focus of Adventures of Superman / Book of L and how back matter and lore help carry the series' larger mythology. Johnson also talks through the horror-forward approach of his Hulk run leading into Infernal Hulk, why emotional thematic beats matter as much as spectacle, and how his storytelling aims to balance big superhero scope with grounded human fears, before shifting into creator-owned reflections on Crocodile Black and the idea of identity and masks. The episode closes with holiday traditions and seasonal music favorites, including cutting down a live tree with his son, writing and playing Christmas music together, and listening staples like Vince Guaraldi and Duke Ellington's Nutcracker Suite, along with a note on Johnson's move to an exclusive Marvel deal while finishing planned conclusions on current DC projects.

A man is found dead in his hotel room, at first it seems to be a case of natural causes, unfortunately early in life. But when the autopsy is carried out it would show internal injuries similar to that of a catastrophic car accident. What happened in Room 348?Vanity Fair Article by Mark BowdenPeople Magazine Article by Christina CoulterBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-monday-night-revue--4921180/support.Don't miss an episode - follow, comment, like, and share!Connect with me 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). 

La saxofonista barcelonesa Irene Reig acaba de publicar 'Ànima', un trabajo en forma de suite, con 'Felicitat continguda', 'Atzucac', 'Centaures', 'Release', 'Mai vaig pensar en ti', 'La bassa' y 'Dins un somni', que ha grabado con el pianista Xavi Torres, el contrabajista Pau Sala y el baterista Andreu Pitarch. De su anterior disco, 'Mira', también para el sello The Changes, escuchamos 'I let a song go out of my heart' de Duke Ellington y su composición 'Song for Monné'.Escuchar audio

Thomas Wilkins, Principal Conductor of the Hollywood Bowl Orchestra, previews his upcoming holiday program at Disney Concert Hall in celebration of Duke Ellington, “The Nutcracker,” and Carlos Simon's “Four Black American Dances.”Become a supporter of this podcast: https://www.spreaker.com/podcast/tavis-smiley--6286410/support.

Often the problem with murder cases is the lack of evidence but when a family is murdered in their home on the 30th of December 2000 the opposite is true. Over 15,000 pieces of evidence are gathered and still we are no closer to knowing who committed this horrendous crime.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-monday-night-revue--4921180/support.Don't miss an episode - follow, comment, like, and share!Connect with me 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). 

The Cincinnati Contemporary Jazz Orchestra also known as CCJO is one of the Midwest's most prominent jazz bands. Founded in 2013, CCJO is currently a 17-piece not-for-profit ensemble dedicated to performing, preserving and teaching jazz as a living art form. More than a decade ago, Rob Parton – the former artistic director of the CCJO – floated the idea of creating a new jazz version of “Nutcracker.”   One might ask why, when in 1960 a couple of jazz giants named Duke Ellington and Billy Strayhorn created their own jazz version of the work called “The Nutcracker Suite,”which became an iconic and beloved holiday jazz standard.   Moving to the present day, along comes the dynamic duo of CCJO's current artistic director Eric Lechliter and Doug Lillibridge the CCJO board president who were not at all intimidated, and have now created their own jazzy take on the Nutcracker called the “Nutcracker Remix”.   This recording is a 12-track album featuring nine reimagined tracks from the Tchaikovsky ballet and three bonus Christmas-themed tracks sung by powerhouse jazz singer Mandy Gaines.  Eric and Doug have “thrown down the gauntlet” to establish CCJO's place as a standard-bearer for holiday recordings. Here is our conversation, along with snippets of what we are sure will become a holiday classic. 

En 1964, el compositor y contrabajista Charles Mingus, toda una leyenda del jazz, se presentó en el Festival de Jazz de Monterey. El disco grabado durante su concierto, 'Mingus at Monterey', estaba descatalogado desde hace más de 40 años pero ahora vuelve a estar disponible. Disfrutamos de obras suyas y de Duke Ellington como 'I´ve got it bad', 'In a sentimental mood', 'All too soon', 'Mood indigo', 'Sophisticates lady', 'Take the A train', 'Orange was the color of her dress (Then blue silk)' y 'Meditations on integration'.Escuchar audio

Today's show features the music of Duke Ellington

durée : 00:44:36 - Les Nuits de France Culture - par : Catherine Liber - En 1965 sur France Culture, l'émission "Connaître le jazz" proposait de découvrir, en compagnie du critique de jazz André Hodeir, le répertoire de Duke Ellington, pianiste, compositeur, auteur de standards et ami de Louis Amstrong et d'Ella Fitzgerald. - réalisation : Virginie Mourthé - invités : André Hodeir Violoniste, compositeur, arrangeur, musicologue, écrivain (1921, Paris - 2011, Paris)

A track from the excellent new De La Soul album. Broken Beat with WheelUP remixing Village Junction, and Streeton remixing Don Pascal feat René Alvarez. Jazz from Duke Ellington & John Coltrane (with two tracks influenced by this tune on the show too). EX GENERATION with a South Asian style cover of Sister Sledge. Soul from Masego, Azamiah, Dwele, and JGRREY. Norah Jane & MOR.LOV with a deep and dubby sung vocal track. Shy One with a heavy bass dance floor groove. Plus plenty more music treats.

On the Saturday November 29, 2025 edition of The Richard Crouse Show we’ll meet musician, composer, performer, author, professor, and tech innovator Paul Hoffert. In 1969, Hoffert co-founded Lighthouse with drummer Skip Prokop, creating Canada's first 13-piece rock orchestra blending rock, jazz horns, and strings. Hits like "One Fine Morning" (#24 US, #2 Canada) propelled millions of records sold, three Juno Awards, world tours, and openers for Duke Ellington. Hoffert played keys/vibraphone and arranged until 1974; the band reunited in 1992 and continues today. Today we’ll talk about the release of “One Fine Morning (Anniversary Edition),” which is now available on limited edition three-colour-splatter vinyl, sun/moon vinyl, double CD and digitally. This is the first-ever fully remixed, remastered and expanded edition of the platinum-selling band’s breakthrough 1971 release. Then, we meet filmmaker Tasha Hubbard. Based on her own documentary Birth of a Family, her movie “Meadowlarks,” in theatres now, stars top Indigenous actors Michael Greyeyes, Carmen Moore, Alex Rice and Michelle Thrush as four Cree siblings, separated since childhood and now in their fifties, who agree to meet for the first time over a holiday weekend in Banff. The siblings were part of the 60s Scoop (1951-1991), seized by the government and placed in non-Indigenous homes.

On the Saturday November 29, 2025 edition of The Richard Crouse Show we'll meet musician, composer, performer, author, professor, and tech innovator Paul Hoffert. In 1969, Hoffert co-founded Lighthouse with drummer Skip Prokop, creating Canada's first 13-piece rock orchestra blending rock, jazz horns, and strings. Hits like "One Fine Morning" (#24 US, #2 Canada) propelled millions of records sold, three Juno Awards, world tours, and openers for Duke Ellington. Hoffert played keys/vibraphone and arranged until 1974; the band reunited in 1992 and continues today. Today we'll talk about the release of “One Fine Morning (Anniversary Edition),” which is now available on limited edition three-colour-splatter vinyl, sun/moon vinyl, double CD and digitally. This is the first-ever fully remixed, remastered and expanded edition of the platinum-selling band's breakthrough 1971 release. Then, we meet filmmaker Tasha Hubbard. Based on her own documentary Birth of a Family, her movie “Meadowlarks,” in theatres now, stars top Indigenous actors Michael Greyeyes, Carmen Moore, Alex Rice and Michelle Thrush as four Cree siblings, separated since childhood and now in their fifties, who agree to meet for the first time over a holiday weekend in Banff. The siblings were part of the 60s Scoop (1951-1991), seized by the government and placed in non-Indigenous homes.

"In a Mist": Jazz expanded its world with classical music beginning in the 1920s — borrowing attributes, techniques and sometimes making arrangements. Music: Louis Armstrong and His Hot Five: West End Blues (rec. 1928), Cornet Chop Suey (rec. 1926); Debussy: "Voile" Prelude Book 1, No. 2 (1910) (Arturo Benedetti Michelangeli); Bix Beiderbecke: In a Mist (1927); J.S. Bach 2-Part Invention No. 1 in C Major, BWV 772 (Angela Hewitt, piano); Louis Armstrong and Earl Hines Weather Bird, (rec. 1928); Summer Ridge Drive - Artie Shaw and His Gramercy Five (rec. 1940); Jelly-Roll Morton and His Red Hot Peppers Pontchartrain (1930); Jack Teagarden, Stars Fell On Alabama (rec. 1933); Duke Ellington & The Jungle Band Mood Indigo; John Kirby Sextet: Bounce of the Sugar Plum Fairy (rec. 1941), Lucia Sextet (rec. 1940), Mr. Haydn Gets Hip (1940); Raymond Scott: Dinner Music for a Pack of Hungry Cannibals (1937);

durée : 00:04:36 - A l'ombre d'Ellington : les chefs-d'oeuvre de Billy Strayhorn - Il y a 57 ans jour pour jour, le 31 mai 1967, disparaissait prématurément le pianiste américain Billy Strayhorn. Un musicien exquis mais aussi grand compositeur de nombreux standards de jazz et que l'on considère notamment comme étant l'alter-ego de Duke Ellington. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

From Addis to the Barbican and back again, this episode dives into the sound-world shaped by Mulatu Astatke — the father of Ethio jazz. With Mulatu having recently completed his farewell tour, Steve goes back to a long, previously-unreleased interview he recorded with him during the making of Hackney Colliery Band's Collaborations: Volume One. What emerges is a portrait of a true pioneer: a composer trained in London and at Berklee, a collaborator with Duke Ellington, and the architect of a style heard across film soundtracks, samples and stages worldwide.Expect discussions of Ethio jazz's roots in traditional modes and tribal instruments; a journey through pentatonic and diminished scales; and Mulatu's deep reflections on African musical heritage and collaboration. There's even a live extract of Derashe from HCB's Barbican show — the tune he discusses in the interview.In this episode:• How Mulatu fused Ethiopian pentatonic traditions with jazz harmony and improvisation.• Why some Ethiopian tribes use diminished (whole–half) scales, and how that changes the emotional palette.• The story of Duke Ellington's Jazz Ambassadors tour — and how Ellington ended up performing one of Mulatu's arrangements in Addis.• The embilta, washint and other Ethiopian wind instruments that parallel trumpets, trombones and baritone sax.• The link between African “bush” instruments, mbira/“African piano” traditions, and Western harmonic thinking.• A rare 2018 interview captured at Livingston Studios during the HCB/Mulatu recording sessions.• A live performance of Derashe from the Barbican, featuring Hackney Colliery Band and Mulatu Astatke.Also in this episode, Steve welcomes listeners from the New Scientist Podcast and explores the science–music crossover behind shell acoustics, underwater sound, and the physics of musical evolution. Plus a reminder that the new Origin of the Pieces website now includes full transcripts, an interactive world-map archive of every episode, and a growing library of extras.And don't miss the upcoming Wilton's Music Hall shows on 24th January 2026, including the first ever Origin KIDS matinee at 2pm and the evening performance at 7pm. TICKETS.

In late September 2025, UMe, in conjunction with Frank Sinatra Enterprises, announced a new exclusive double-vinyl collection from Frank Sinatra, featuring his historic collaborations with Count Basie and Duke Ellington, entitled The Giants Of Jazz. This special release includes a pair of timeless albums—It Might As Well Be Swing with Count Basie and His Orchestra and Francis A. & Edward K. with Duke Ellington—newly remastered from the archival recordings. The package includes a new gatefold jacket design that incorporates rare photographs as well as the original artwork. Comprising seminal performances from Sinatra, Basie, and Ellington, the title The Giants Of Jazz couldn't be more apropos. Maggie & Charlie discuss each of these legendary recordings starting with 1964's  It Might As Well Be Swing with Sinatra accompanied by Basie in tandem with his orchestra on ten tracks for the second time following 1962's Sinatra-Basie, and it was Sinatra's first studio album arranged by Quincy Jones. We discuss the magic created by Quincy Jones and the beautiful lifelong friendship which began during this musically fruitful period in Sinatra's recording career. Then secondly, we discuss the genius of Duke Ellington and how the 2 came together. Sinatra was instrumental in bringing Ellington's orchestra to his Reprise Records label, creating the opportunity for them to work together on the album Francis A. & Edward K., which was recorded on Sinatra's 52nd birthday, December 12, 1967. CHARLES PIGNONE is a producer and writer. He is the author of the New York Times bestseller The Sinatra Treasures and also The Copa, The Sinatra Family Photo Album and Sinatra 100. He has produced over 50 albums including “Sinatra: Nothing But The Best” and “Ultimate Sinatra.” Charles also co-produced Seth MacFarlene's most recent album Lush Life: The Lost Sinatra Arrangements. He also co-produced the television specials “Sinatra Sings,' HBO documentary 'Sinatra: All Or Nothing At All' and CBS's ‘Sinatra 100' Grammy special.  Mr. Pignone began his association with Frank Sinatra in 1984 and is the president of Frank Sinatra Enterprises.Source: https://www.sinatra.com/ume-release-new-frank-sinatra-double-vinyl-set-the-giants-of-jazz/Source: https://www.sinatra.com/Host Maggie LePique, a radio veteran since the 1980's at NPR in Kansas City Mo. She began her radio career in Los Angeles in the early 1990's and has worked for Pacifica station KPFK Radio in Los Angeles since 1994.Send us a textSupport the show@profileswithmaggielepique@maggielepique

A man goes for a walk along the beach with his mother, they stop to use the public loos but the man never comes out. What happened to Steven Clarke?Become a supporter of this podcast: https://www.spreaker.com/podcast/the-monday-night-revue--4921180/support.Don't miss an episode - follow, comment, like, and share!Connect with me 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). 

The link between jazz and what we now call reggae goes back 70+ years to the time of Count Basie and Duke Ellington's big bands in the 1940s and '50s, which were very popular in Jamaica. These records arrived through sailors, migrants, and sound-system operators like Coxsone Dodd and Duke Reid, who travelled to the U.S. specifically to buy jazz and R&B 78s. The island absorbed these sounds and fused them with mento (Jamaica's folk music), African rhythmic traditions, New Orleans R&B (Fats Domino, Rosco Gordon), and bits of Country and Gospel. Out of this blend came the foundation of what would eventually become ska. Early ska bands felt like compact jazz big bands- horn sections front and centre, trading solos, swinging lines, and arrangements shaped by jazz harmony. The Skatalites were made up of jazz-trained musicians from the Alpha School of Music, including Don Drummond, Tommy McCook, Roland Alphonso, Lester Sterling, and Jackie Mittoo. Players like Ernest Ranglin and Monty Alexander brought traditional jazz phrasing into their playing. If you listen to early ska, you hear bebop-style solos, ii–V–I chord movements, blue notes, horn riffs modelled after Ellington and Basie, and rhythm sections that mix jazz walking lines with a distinct upbeat “skank.” The shift from jazz to ska was a natural evolution. Sound systems were growing in popularity, and access to new releases from the USA was limited to those who could travel there and purchase them, as mentioned with Dodd & Reid. Jazz and Jump Blues were beginning to disappear, and Sound System operators needed fresh music to keep people coming back, so they started looking to existing talent on the island. The early days of Ska were recorded by musicians who took those elements and reshaped them into something uniquely Jamaican, emphasising the offbeat, simplifying the walking bass into a pulsing groove, and blending African-derived rhythms with American jazz techniques. This mixture created the dance-driven sound of ska, which later slowed into rocksteady and evolved into what we now call reggae. For today's mix, I explore a collection of jazz tracks I've always gravitated toward—those with a groove, that swing, and that carry some of the same energy that fed early Jamaican music. I focused on artists like Miles, Blakey, and Dizzy for this 90-minute session, and I hope you enjoy it. PLAYLIST Lee Morgan – The Sidewinder (Remastered 1999 / Rudy Van Gelder Edition) Herbie Hancock – Cantaloupe Island (Remastered 1999 / Rudy Van Gelder Edition) The Dave Brubeck Quartet – Take Five John Coltrane – A Love Supreme, Pt. I – Acknowledgement Miles Davis– So What (feat. John Coltrane, Cannonball Adderley & Bill Evans) Miles Davis – Milestones (feat. John Coltrane, Cannonball Adderley, Red Garland, Paul Chambers & Philly Joe Jones) Art Blakey & The Jazz Messengers – Moanin' Dizzy Gillespie – Salt Peanuts Charlie Parker – Ko Ko Stan Getz – Wee (Allen's Alley) Art Blakey; Thelonious Monk – Rhythm-A-Ning Max Roach – Tune-Up Clifford Brown; Max Roach Quintet – Cherokee

Like something from an Agatha Christie novel but instead of a work of fiction from the Golden Age this happened in the late 1980s to a 26 year old on her way to check out a potential new job. Deborah Linsley was friendly, kind and security conscious. No one could have predicted what happened to he on a March afternoon Become a supporter of this podcast: https://www.spreaker.com/podcast/the-monday-night-revue--4921180/support.Don't miss an episode - follow, comment, like, and share!Connect with me 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). 

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durée : 00:14:12 - Le Cours de l'histoire - par : Xavier Mauduit - De l'engagement du pianiste américain Duke Ellington contre le racisme à celui des artistes d'aujourd'hui, la musique est un vibrant outil de lutte contre les séparatismes et les discriminations. - réalisation : Benjamin Hû

durée : 00:13:56 - Le Cours de l'histoire - par : Xavier Mauduit - De l'engagement du pianiste américain Duke Ellington contre le racisme à celui des artistes d'aujourd'hui, la musique est un vibrant outil de lutte contre les séparatismes et les discriminations. - réalisation : Benjamin Hû

En más de una ocasión el programa se ha dedicado al JAZZ AT LINCOLN CENTER de Nueva York (con tres escenarios, orquesta propia, sello discográfico y uno de los mejores archivos y biblioteca música en el mundo), todo dentro del impresionante centro de Artes Escénicas de la ciudad de Nueva York. Pero nunca nos habíamos detenido en la musicación que la Orquesta hace año tras año del gran archivo dedicado al gran pianista, compositor y director DUKE ELLINGTON del que hace unos años se editaron a la vez 14 discos con el título de LO ESENCIAL DE DUKE ELLINGTON con la Orquesta del Lincoln Center. Merece la pena que le dediquemos un programa.

While often overshadowed by his association with his longtime employer and collaborator Duke Ellington, composer/arranger and pianist Billy Strayhorn (born November 29, 1915) was no less a genius in his own right. In a life cut short by cancer at the age of 51, he produced a huge catalog of original music, all of it bearing his unique harmonic and melodic stamp. In his autobiography and in a spoken word passage in his Second Sacred Concert, Ellington listed what he considered Strayhorn's "four major moral freedoms": freedom from hate, unconditionally, freedom from self-pity (even through all the pain and bad news), freedom from fear of possibly doing something that might possibly help another more than it might himself, and freedom from the kind of pride that might make a man think that he was better than his brother or his neighbor. Jazz pianist Fred Hersch wrote of Strayhorn: "He was a quadruple threat: a great composer of jazz tunes, a first-rate jazz pianist, a remarkable songwriter (music and lyrics), and one of the all-time great arrangers for jazz orchestra."

En más de una ocasión el programa se ha dedicado al JAZZ AT LINCOLN CENTER de Nueva York (con tres escenarios, orquesta propia, sello discográfico y uno de los mejores archivos y biblioteca música en el mundo), todo dentro del impresionante centro de Artes Escénicas de la ciudad de Nueva York. Pero nunca nos habíamos detenido en la musicación que la Orquesta hace año tras año del gran archivo dedicado al gran pianista, compositor y director DUKE ELLINGTON del que hace unos años se editaron a la vez 14 discos con el título de LO ESENCIAL DE DUKE ELLINGTON con la Orquesta del Lincoln Center. Merece la pena que le dediquemos un programa.

1959 gave us Kind of Blue, Time Out ... and Mingus Ah Um. Adam and Peter dig into Charles Mingus's most adventurous, soulful record: gospel, bebop, and pure Mingus genius. You've never heard it quite like this.Charles Mingus was one of jazz's greatest bass players AND composers. Listen with us as we break down the genius in every track of his best-selling record, and share stories of the brilliant, chaotic, occasionally volatile man behind Mingus Ah Um. Start your free Open Studio trial for ALLLLL your jazz lesson needs: https://osjazz.link/yhi    00:00 — Opening Jam: "Better Git It In Your Soul"01:40 — What's happening at Open Studio3:15 — 1959: What a Great Year!5:40 — Early Mingus10:40 — "All the Things You Can C#" from Mingus at the Bohemia11:40 — "A Foggy Day" from Pithecanthropus Erectus16:15 — "Better Get Hit In Your Soul"23:35 — This One is For the Nerds27:50 — "Goodbye Pork Pie Hat" 34:36 — "Boogie Stop Shuffle"38:30 — "Self-Portrait in Three Colors"40:30 — The Duke Ellington Influence45:10 — "Open Letter to Duke" 48:05 — "Bird Calls"49:00 — "Fables of Faubus"56:40 - "Pussy Cat Dues"58:15 — "Jelly Roll"1:00:15 — Categories1:10:50 — GALA

Thanks to recent additions to the London Tube service we can go to 63 Wycliffe Road and the story of the Battersea Poltergeist. Become a supporter of this podcast: https://www.spreaker.com/podcast/the-monday-night-revue--4921180/support.Don't miss an episode - follow, comment, like, and share!Connect with me 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). 

durée : 00:59:48 - Club Jazzafip - Une émission qui évoque les retrouvailles, d'un lieu que l'on aime, d'un ami, ou celles de Chet Baker et Gerry mulligan, de Jeanne Lee et Ras Blake ou encore la rencontre de Count Basie avec Duke Ellington. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Student journalist and first-time documentary filmmaker Matthew Winkler joins us to discuss his work on a film chronicling the life and career of Joya Sherrill, an unsung American jazz vocalist who wrote the lyrics to the Billy Strayhorn standard, "Take the A Train," made famous by the Duke Ellington orchestra. Matthew came across Sherrill's name during his freshman year at Tufts University, while doing research for Boston Globe journalist and noted biographer Larry Tye, who was writing a book about jazz. Matthew, a music and history major, was astonished to discover the small footprint Sherrill had left behind, despite being the first female jazz singer to visit the Soviet Union, accompanying bandleader Benny Goodman, and earning the distinction of being one of Duke Ellington's favorite singers. "Public-facing history is very important to me," Matthew told a reporter for Tufts Now, the university's alumni magazine, in an article detailing how the Tufts undergraduate grew a student research project into a feature-length documentary, with the help of his professors and mentors. "I hope this film will make people know who Joya Sherrill is and why we should care about her. On a broader level, I think a documentary like this will make people realize how easy it is for remarkable figures to fall through the cracks of history." With this conversation, it is hoped, he might also signal to aspiring storytellers how easy it is to keep their eyes and ears open for stories that might move us, inspire us, and enlighten us. Learn more about Matthew Winkler: LinkedIn Five Sisters Productions Please support the sponsors who support our show: Gotham Ghostwriters' Gathering of the Ghosts Ritani Jewelers Daniel Paisner's Balloon Dog Daniel Paisner's SHOW: The Making and Unmaking of a Network Television Pilot Heaven Help Us by John Kasich Unforgiving: Lessons from the Fall by Lindsey Jacobellis Film Movement Plus (PODCAST) | 30% discount Libro.fm (ASTOLDTO) | 2 audiobooks for the price of 1 when you start your membership Film Freaks Forever! podcast, hosted by Mark Jordan Legan and Phoef Sutton Everyday Shakespeare podcast A Mighty Blaze podcast The Writer's Bone Podcast Network Misfits Market (WRITERSBONE) | $15 off your first order  Film Movement Plus (PODCAST) | 30% discount Wizard Pins (WRITERSBONE) | 20% discount

Halloween over Florence: THE MARKET OF GHOSTSSeverino lived in the bell tower on the hill — the one next to the ancient Basilica of San Miniato al Monte.Every evening, at sunset, he would lock the gate at the base of the entrance stairway and before climbing back up, he would pause to watch Florence color itself amber.And so he did today as well. The tourists had left. Time stopped and silence became sacred again.Through the rusted bars the city stood there motionless — perhaps since forever; with its red roofs, marble facades and the Arno flowing between its stones like a glittering silver ribbon.Domes and towers trembling with light, almost suspended in the air, as if everything and everyone were holding their breath waiting for twilight — and for the night that would cover it with shadows, stars and dreams.One more glance, then he turned on his transistor radio that he had found a few years ago and the notes of Duke Ellington's 'Don't Get Around Much Anymore' filled the autumn evening.Silence may be sacred for the monks, but for Severino music was more so. Seven, his raven, didn't need to be called and at the first notes launched himself from the cypresses of the cemetery above, circled in front of the imposing facade of the Basilica and suddenly glided down along the stairway, to land gently on his left shoulder."Hey Seven, had a good day?""Yes. Could have been worse — Let's settle for that."At which, Severino smiled, turned up the radio's volume and began climbing resolutely toward le Porte del Cielo, while Jazz music echoed among the ancient stones.Nine years ago, on this same day in the month of October, the Olivetan monks residing in the Abbey found a child on the steps of the Basilica.He was there, wrapped in fog, silent as the night, eyes curious as the wind, without name and without past. They called him Severino — I don't know why — and he grew up among prayers and silences. He played in ancient rooms and discovered his world, surrounded by books, tombs, art and mysteries never revealed. At night a raven and a black cat accompanied him, illuminated by the moon, in the Cimitero delle Porte Sante, wandering among imposing crypts and motionless statues that whispered memories and mysteries.But on Halloween nights the whispers transform into screams and endless laments. Secrets manifest themselves, legends become reality, and dreams disguised as nightmares knock on doors lit by candles. And that full moon night was precisely this night: October 31st — and remember, whether you believe in spirits or not, nothing changes: the ghosts will come.And Severino was up there, right there waiting for them to arrive. Leaning out the highest window of the bell tower, calm, looking at Florence from above. While Thelonious Monk's 'Round Midnight' played on his radio, he watched — tapping time with one foot and waited.At the second of the twelve strokes of the midnight bells, something began to happen. On the Arno formed a dense fog that pulsed with spectral green. It began to rise and slide slow but inexorable over the bridges like fingers of cold hands of impatient ghosts. It slid over the Ponte Vecchio and rolled through the streets of Oltrarno until reaching San Niccolò, where it climbed up the hill swallowing everything it found in its path.When it reached the gate of San Miniato, it slipped through the bars and climbed up the stairs until it covered, like a high luminous tide, the entire square in front of the church. It climbed up the marble facade and wrapped also the Cimitero delle Porte Sante, covering the entire hill in a cloak of mystery. Then slowly, as if by enchantment, the fog began to dissolve rising toward the sky and when the last cloud melted into the night air, the square was no longer empty.Small jack-o'-lanterns with flickering lights floated in the air smiling with teeth of fire. Black candles sprouted from nowhere, illuminating spectral stalls full of everything and nothing. Bats that seemed made of paper but were alive fluttered among the lights with wings of black velvet, while autumn leaves danced without wind, sparkling with gold and copper. Pumpkins of every shape filled the stands, some carved with funny faces, others covered with silver spiderwebs that shone like threads of moon. Witch hats swirled in the air like flying umbrellas rotating slow on themselves. Roasted chestnuts perfumed the air with cinnamon and mystery, while small dancing skeletons tinkled like ice bells.And finally in the Cimitero delle Porte Sante, the Portal opened. Like every Halloween, for centuries, spirits from all over the world congregated in Florence for their annual meeting. A spectral river of ghosts poured into the square, each heading toward their own stall, and each with their impossible merchandise to sell or trade. The spirits had arrived and Severino observed them from above. A carnival of other worlds, made of sounds, colors and unimaginable stories.The deserted square had transformed into the Market of Ghosts. Stalls kept materializing from nowhere, carved and glowing pumpkins told each other stories of Halloweens past, present and future laughing malicious among the perfumes of lost memories, past centuries, tomorrow's candles and fallen stardust. The sky above the Tuscan hills and above Florence was full of ghosts arriving from everywhere to search for the unfindable. But no human eye could see this spectacle. No one except Severino, who descended from the tower enchanted by that spectacle and immersed himself in the crowd pulsating with otherworldly life. Seven circled above him observing with attentive eyes and cawing a bit nervous. Some ghosts looked at him with curiosity and recognized him. Someone greeted him and many others whispered his name in forgotten languages."There he is," murmured a witch from Prague."The child of time," sighed a Norman knight."He's returned, I told you so." laughed a Caribbean pirate.But Severino paid them no attention because there were ghosts selling: dreams of sleeping dragons, laughter of northern gnomes, tears of mermaids in love, the last breath of dinosaurs, shadows of unicorns. And even fears from past Halloweens — two for the price of one, but only for tonight. The ghost of a pirate who died during a boarding gone not so well shouted: "Storm bottles! Lightning in jars!" A witch from Salem whispered: "Love potions that last three lifetimes…" A medieval knight showed swords that cut fear, A Chinese spirit waved kites that fly into the past.The spectral crowd grew and thickened, laughed and bargained, while Severino walked amazed and fascinated among the impossible stalls of the Halloween Market. Seven cawed restless from above and Eleven, the black cat with orange eyes, jumped from one tent to another not losing sight of a single movement of Severino and the hundreds of souls circling around him.A ghost monk from an era that never existed saw him and smiled at him from behind a stall full of ancient radios adorned with mysterious symbols. Severino approached, fascinated."How wonderful! Do they all work?""Oh yes, certainly" replied the monk. "These transmit on the waves of past, present, and future time. But you don't need to buy one."The other ghosts stopped. They ceased selling, buying and bartering. They looked at Severino with respect and listened to what the collector of frequencies told him."The transistor radio you already have is more special than you think. But to discover its true secrets, you'll have to search in the ancient crypts where everything began."And suddenly the first lights of dawn began to illuminate the sky behind San Miniato with pink. In rush and hurry the ghosts said goodbye flying away in the wind. "Until next Halloween!" They told each other crossing in the sky. The stalls vanished. Lanterns and candles went out. The Market of Ghosts dissolved like a dream.Severino found himself alone in the empty square, Seven on his shoulder and Eleven sitting on the low wallLooking at Florence illuminating itself in the day of All Saints. He observed his old radio with new eyes and from the ancient crypts of San Miniato, something seemed to call him. He turned it on, turned up the volume and descended the stairway in time to Chet Baker's version of 'Autumn Leaves'.It was time to throw open the gate of the Basilica of San Miniato al Monte.___________________We will continue this story.... For now a Happy Halloween to all of you, may you always believe in magic!Story written by Marco Ciappelli for "Stories Under The Stars" Halloween 2025___________________Listen to Severino's Playlist for the songs that accompany this story and subscribe to discover new music with every adventure.

Halloween over Florence: THE MARKET OF GHOSTSSeverino lived in the bell tower on the hill — the one next to the ancient Basilica of San Miniato al Monte.Every evening, at sunset, he would lock the gate at the base of the entrance stairway and before climbing back up, he would pause to watch Florence color itself amber.And so he did today as well. The tourists had left. Time stopped and silence became sacred again.Through the rusted bars the city stood there motionless — perhaps since forever; with its red roofs, marble facades and the Arno flowing between its stones like a glittering silver ribbon.Domes and towers trembling with light, almost suspended in the air, as if everything and everyone were holding their breath waiting for twilight — and for the night that would cover it with shadows, stars and dreams.One more glance, then he turned on his transistor radio that he had found a few years ago and the notes of Duke Ellington's 'Don't Get Around Much Anymore' filled the autumn evening.Silence may be sacred for the monks, but for Severino music was more so. Seven, his raven, didn't need to be called and at the first notes launched himself from the cypresses of the cemetery above, circled in front of the imposing facade of the Basilica and suddenly glided down along the stairway, to land gently on his left shoulder."Hey Seven, had a good day?""Yes. Could have been worse — Let's settle for that."At which, Severino smiled, turned up the radio's volume and began climbing resolutely toward le Porte del Cielo, while Jazz music echoed among the ancient stones.Nine years ago, on this same day in the month of October, the Olivetan monks residing in the Abbey found a child on the steps of the Basilica.He was there, wrapped in fog, silent as the night, eyes curious as the wind, without name and without past. They called him Severino — I don't know why — and he grew up among prayers and silences. He played in ancient rooms and discovered his world, surrounded by books, tombs, art and mysteries never revealed. At night a raven and a black cat accompanied him, illuminated by the moon, in the Cimitero delle Porte Sante, wandering among imposing crypts and motionless statues that whispered memories and mysteries.But on Halloween nights the whispers transform into screams and endless laments. Secrets manifest themselves, legends become reality, and dreams disguised as nightmares knock on doors lit by candles. And that full moon night was precisely this night: October 31st — and remember, whether you believe in spirits or not, nothing changes: the ghosts will come.And Severino was up there, right there waiting for them to arrive. Leaning out the highest window of the bell tower, calm, looking at Florence from above. While Thelonious Monk's 'Round Midnight' played on his radio, he watched — tapping time with one foot and waited.At the second of the twelve strokes of the midnight bells, something began to happen. On the Arno formed a dense fog that pulsed with spectral green. It began to rise and slide slow but inexorable over the bridges like fingers of cold hands of impatient ghosts. It slid over the Ponte Vecchio and rolled through the streets of Oltrarno until reaching San Niccolò, where it climbed up the hill swallowing everything it found in its path.When it reached the gate of San Miniato, it slipped through the bars and climbed up the stairs until it covered, like a high luminous tide, the entire square in front of the church. It climbed up the marble facade and wrapped also the Cimitero delle Porte Sante, covering the entire hill in a cloak of mystery. Then slowly, as if by enchantment, the fog began to dissolve rising toward the sky and when the last cloud melted into the night air, the square was no longer empty.Small jack-o'-lanterns with flickering lights floated in the air smiling with teeth of fire. Black candles sprouted from nowhere, illuminating spectral stalls full of everything and nothing. Bats that seemed made of paper but were alive fluttered among the lights with wings of black velvet, while autumn leaves danced without wind, sparkling with gold and copper. Pumpkins of every shape filled the stands, some carved with funny faces, others covered with silver spiderwebs that shone like threads of moon. Witch hats swirled in the air like flying umbrellas rotating slow on themselves. Roasted chestnuts perfumed the air with cinnamon and mystery, while small dancing skeletons tinkled like ice bells.And finally in the Cimitero delle Porte Sante, the Portal opened. Like every Halloween, for centuries, spirits from all over the world congregated in Florence for their annual meeting. A spectral river of ghosts poured into the square, each heading toward their own stall, and each with their impossible merchandise to sell or trade. The spirits had arrived and Severino observed them from above. A carnival of other worlds, made of sounds, colors and unimaginable stories.The deserted square had transformed into the Market of Ghosts. Stalls kept materializing from nowhere, carved and glowing pumpkins told each other stories of Halloweens past, present and future laughing malicious among the perfumes of lost memories, past centuries, tomorrow's candles and fallen stardust. The sky above the Tuscan hills and above Florence was full of ghosts arriving from everywhere to search for the unfindable. But no human eye could see this spectacle. No one except Severino, who descended from the tower enchanted by that spectacle and immersed himself in the crowd pulsating with otherworldly life. Seven circled above him observing with attentive eyes and cawing a bit nervous. Some ghosts looked at him with curiosity and recognized him. Someone greeted him and many others whispered his name in forgotten languages."There he is," murmured a witch from Prague."The child of time," sighed a Norman knight."He's returned, I told you so." laughed a Caribbean pirate.But Severino paid them no attention because there were ghosts selling: dreams of sleeping dragons, laughter of northern gnomes, tears of mermaids in love, the last breath of dinosaurs, shadows of unicorns. And even fears from past Halloweens — two for the price of one, but only for tonight. The ghost of a pirate who died during a boarding gone not so well shouted: "Storm bottles! Lightning in jars!" A witch from Salem whispered: "Love potions that last three lifetimes…" A medieval knight showed swords that cut fear, A Chinese spirit waved kites that fly into the past.The spectral crowd grew and thickened, laughed and bargained, while Severino walked amazed and fascinated among the impossible stalls of the Halloween Market. Seven cawed restless from above and Eleven, the black cat with orange eyes, jumped from one tent to another not losing sight of a single movement of Severino and the hundreds of souls circling around him.A ghost monk from an era that never existed saw him and smiled at him from behind a stall full of ancient radios adorned with mysterious symbols. Severino approached, fascinated."How wonderful! Do they all work?""Oh yes, certainly" replied the monk. "These transmit on the waves of past, present, and future time. But you don't need to buy one."The other ghosts stopped. They ceased selling, buying and bartering. They looked at Severino with respect and listened to what the collector of frequencies told him."The transistor radio you already have is more special than you think. But to discover its true secrets, you'll have to search in the ancient crypts where everything began."And suddenly the first lights of dawn began to illuminate the sky behind San Miniato with pink. In rush and hurry the ghosts said goodbye flying away in the wind. "Until next Halloween!" They told each other crossing in the sky. The stalls vanished. Lanterns and candles went out. The Market of Ghosts dissolved like a dream.Severino found himself alone in the empty square, Seven on his shoulder and Eleven sitting on the low wallLooking at Florence illuminating itself in the day of All Saints. He observed his old radio with new eyes and from the ancient crypts of San Miniato, something seemed to call him. He turned it on, turned up the volume and descended the stairway in time to Chet Baker's version of 'Autumn Leaves'.It was time to throw open the gate of the Basilica of San Miniato al Monte.___________________We will continue this story.... For now a Happy Halloween to all of you, may you always believe in magic!Story written by Marco Ciappelli for "Stories Under The Stars" Halloween 2025___________________Listen to Severino's Playlist for the songs that accompany this story and subscribe to discover new music with every adventure.

One of America's most enduring hauntings - it's time to meet The Bell WitchBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-monday-night-revue--4921180/support.Don't miss an episode - follow, comment, like, and share!Connect with me 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). 

Halloween sopra Firenze: IL MERCATO DEI FANTASMISeverino viveva nel campanile sulla collina — quello accanto all'antica Basilica di San Miniato al Monte.Ogni sera, al tramonto, chiudeva a chiave il cancello alla base della scalinata d'ingresso e prima di risalire su, si soffermava ad osservare Firenze colorarsi d'ambra.E così fece anche oggi. I turisti se ne erano andati. Il tempo si fermò e il silenzio tornò sacro.Attraverso le sbarre arrugginite la città stava là immobile — forse da sempre; con i suoi tetti rossi, le facciate di marmo e l'Arno che scorreva fra le sue pietre come uno scintillante nastro argentato. Cupole e torri tremolanti di luce, quasi sospese nell'aria, come se tutto e tutti stessero trattenendo il respiro in attesa del crepuscolo — e della notte che l'avrebbe coperta di ombre, stelle e sogni.Ancora uno sguardo, poi accese la sua radio a transistor che aveva trovato qualche anno fa e le note di 'Don't Get Around Much Anymore' di Duke Ellington riempirono la serata autunnale.Il silenzio sarà sacro per i monaci, ma per Severino la musica lo era di più.Seven, il suo corvo, non si fece chiamare ed alle prime note si lanciò dai cipressi del cimitero sovrastante, volteggiò davanti alla facciata imponente della Basilica e d'improvviso planò in basso lungo la scalinata, per posarsi gentilmente sulla sua spalla sinistra. “Ciao Seven, passata una buona giornata?”“Sì. Poteva andare peggio — Accontentiamoci.” Al che, Severino sorrise, alzò il volume della radio e iniziò a risalire deciso verso le Porte del Cielo, mentre la musica Jazz echeggiava tra le pietre millenarie.Nove anni fa, in questo stesso giorno del mese d'Ottobre, i monaci Olivetani residenti nell'Abbazia trovarono un bambino sui gradini della Basilica.Stava lì, avvolto nella nebbia, silenzioso come la notte, occhi curiosi come il vento — senza nome e senza passato. Lo chiamarono Severino — non so il perché — e crebbe tra preghiere e silenzi. Giocava in stanze antiche e scopriva il suo mondo, circondato da libri, tombe, arte e misteri mai svelati.Di notte un corvo ed un gatto nero lo accompagnavano, illuminati dalla luna,  nel Cimitero Delle Porte Sante, vagando fra cripte imponenti e statue immobili che sussurravano memorie e misteri.Ma nelle notti di Halloween i sussurri si trasformano in grida e lamenti senza fine. Segreti si manifestano, leggende diventano realtà, e sogni mascherati da incubi bussano a porte illuminate da candele. E quella notte di luna piena era proprio questa notte: il 31 d'Ottobre — e ricordati, che tu creda agli spiriti o no, niente cambia: i fantasmi arriveranno.E Severino era lassù, proprio ad aspettare che arrivassero. Affacciato alla finestra più alta del campanile, tranquillo, guardando Firenze dall'alto. Mentre 'Round Midnight' di Thelonious Monk suonava nella sua radio, lui guardava — batteva il tempo con un piede ed aspettava.Al secondo dei dodici rintocchi delle campane di mezzanotte, qualcosa cominciò a succedere. Sull'Arno si formò una nebbia densa che pulsava di verde spettrale. Iniziò a salire e scivolare lenta ma inesorabile sui ponti come dita di mani fredde di fantasmi impazienti.  Scivolava sul Ponte Vecchio e rotolava per le vie d'Oltrarno fino a raggiungere San Niccolò, dove si arrampicava sulla collina inghiottendo tutto ciò che trovava sulla sua strada.Quando raggiunse il cancello di San Miniato, scivolò fra le sbarre e salì lungo le scale fino a coprire, come un'alta marea luminosa, tutto il piazzale antistante la chiesa. Si arrampicò sulla sua facciata di marmo e avvolse anche il cimitero delle Porte Sante, coprendo tutta la collina in un mantello di mistero. Poi lentamente, come per incanto, la nebbia iniziò a dissolversi salendo verso il cielo e quando l'ultima nuvola si sciolse nell'aria notturna, il piazzale non era più vuoto.Piccole jack-o'-lanterns con luci tremolanti galleggiavano nell'aria sorridendo con denti di fuoco. Candele nere spuntavano dal nulla, illuminando bancarelle spettrali colme di tutto e niente. Pipistrelli che sembravano di carta ma che erano vivi volteggiavano tra le luci con ali di velluto nero, mentre foglie d'autunno danzavano senza vento, scintillando d'oro e rame. Zucche di ogni forma riempivano i banchi, alcune intagliate con facce buffe, altre coperte di ragnatele argentate che brillavano come fili di luna. Cappelli da strega volteggiavano nell'aria come ombrelli volanti ruotando lenti su se stessi. Castagne arrostite profumavano l'aria di cannella e mistero, mentre piccoli scheletri danzanti tintinnavano come campanelli di ghiaccio.E finalmente nel cimitero delle Porte Sante, il Portale si aprì. Come ogni Halloween, da secoli, spiriti da tutto il mondo si congregavano a Firenze per il loro incontro annuale. Un fiume spettrale di fantasmi si riversò nel piazzale, ognuno dirigendosi verso la propria bancarella, ed ognuno con le sue mercanzie impossibili da vendere o scambiare.Gli spiriti erano arrivati e Severino li osservava dall'alto. Un carnevale di altri mondi, fatto di suoni, colori e storie inimmaginabili.Il piazzale deserto si era trasformato nel Mercato dei Fantasmi. Bancarelle continuavano a materializzarsi dal nulla, zucche intagliate e lucenti si raccontavano storie di Halloween passati, presenti e futuri ridendo maligne fra i profumi di memorie perdute, secoli passati, candele di domani e polvere di stelle cadute.Il cielo sopra le colline toscane e sopra Firenze era pieno di fantasmi che arrivavano da ogni dove per cercare l'introvabile. Ma nessun occhio umano poteva vedere questo spettacolo. Nessuno eccetto Severino, che scese dalla torre incantato da quello spettacolo e si immerse nella folla pulsante di vita ultraterrena. Seven gli volteggiava sopra osservando con occhi attenti e gracchiando un po' nervoso. Alcuni fantasmi lo guardavano con curiosità e lo riconoscevano. Qualcuno lo salutava e molti altri sussurravano il suo nome in lingue dimenticate."Eccolo," mormorava una strega di Praga. "Il bambino del tempo," sospirava un cavaliere normanno. "È tornato, ve lo dicevo io.” rideva un pirata dei Caraibi.Ma Severino non ci faceva attenzione perché c'erano fantasmi che vendevano: sogni di draghi addormentati, risate di gnomi del nord, lacrime di sirene innamorate, l'ultimo respiro dei dinosauri, ombre di unicorni. E perfino paure di Halloween passati — due al prezzo di uno, ma solo per stanotte. Il fantasma di un pirata morto durante un abbordaggio andato poco bene gridava:"Bottiglie di tempesta! Fulmini in barattolo!"Una strega di Salem sussurrava: “Pozioni d'amore che durano tre vite…”Un cavaliere medievale mostrava spade che tagliano la paura,Uno spirito cinese sventolava aquiloni che volano nel passato.La folla spettrale cresceva e si addensava, rideva e contrattava, mentre Severino camminava stupito e affascinato tra i banchi impossibili del Mercato di Halloween.Seven gracchiava inquieto dall'alto e Eleven, il gatto nero dagli occhi arancioni, saltava da una tenda all'altra non perdendo di vista un singolo movimento di Severino e delle centinaia d'anime che gli giravano intorno.Un monaco fantasma di un'epoca mai esistita lo vide e gli sorrise da dietro una bancarella piena di radio antiche ornate di simboli misteriosi. Severino si avvicinò, affascinato. "Che meraviglia! Funzionano tutte?""Oh sì, certamente" rispose il monaco, ”Queste trasmettono sulle onde del tempo passato, presente, e futuro. Ma tu non hai bisogno di comprarne una."Gli altri fantasmi si fermarono. Smisero di vendere, comprare e barattare. Guardarono Severino con rispetto e ascoltavano quello che gli diceva il collezionista di frequenze."La radio a transistor che hai già è più speciale di quanto credi. Ma per scoprire i suoi veri segreti, dovrai cercare nelle cripte antiche dove tutto ebbe inizio."E all'improvviso le prime luci dell'alba iniziarono a illuminare di rosa il cielo dietro San Miniato. In fretta e furia i fantasmi si salutarono volando via nel vento."Fino al prossimo Halloween!” Si dicevano incrociandosi in cielo.Le bancarelle svanirono. Lanterne e candele si spensero. Il Mercato dei Fantasmi si dissolse come un sogno.Severino si ritrovò solo nel piazzale vuoto, Seven sulla sua spalla e Eleven seduto sul muretto a guardare Firenze che si illuminava nel giorno di OgniSanti. Osservò la sua vecchia radio con occhi nuovi e dalle cripte antiche di San Miniato, qualcosa sembrava chiamarlo. L'accese, alzò il volume e scese la scalinata a tempo di 'Autumn Leaves' nella versione di Chet Baker.Era giunta l'ora di spalancare il cancello della Basilica di San Miniato al Monte.Continueremo questa storia. Per adesso un Buon Halloween a tutti voi, che possiate sempre credere nella magia! Storia scritta da Marco Ciappelli per "Storie Sotto Le Stelle" Halloween 2025Ascolta Severino's Playlist per le canzoni che accompagnano questa storia e iscriviti per scoprire nuove musiche ad ogni avventura.

In the 1950s, some ingenious Russians, hungry for jazz, boogie woogie, rock n roll, and other music forbidden in the Soviet Union, devised a way to record banned bootlegged music on exposed X-ray film salvaged from hospital waste bins and archives. The eerie, ghostly looking recordings etched on X-rays of peoples' bones and body parts, were sold illegally on the black market.“Usually it was the Western music they wanted to copy,” says Sergei Khrushchev, son of former Soviet Premier Nikita Khrushchev. “Before the tape recorders they used the X-ray film of bones and recorded music on the bones—Bone Music.”“They would cut the X-ray into a crude circle with manicure scissors and use a cigarette to burn a hole,” says author Anya von Bremzen. “You'd have Elvis on the lungs, Duke Ellington on Aunt Masha's brain scan — forbidden Western music captured on the interiors of Soviet citizens.”And we follow the making of X-ray recordings into the 21st century with Jack White and Third Man Records in Nashville, Tennessee.ProductionProduced by Roman Mars & 99% Invisible and The Kitchen Sisters Nikki Silva & Davia Nelson. With help from Brandi Howell, Andrew Roth and Nathan Dalton. We spoke with Sergei Khrushchev, son of Nikita Khrushchev; Gregory “Grisha” Freidin, Professor Emeritus of Slavic Languages and Literature from Stanford; Alexander Genis, Russian writer and broadcaster; Xenia Vytuleva, visiting professor at Columbia University in the department of History and Theory of Architecture; Anya Von Bremzen, author of a the memoir Mastering the Art of Soviet Cooking. A version of this story originally ran on NPR as part of The Kitchen Sisters' “Hidden Kitchens” series.The Kitchen Sisters Present is part of the Radiotopia podcast network from PRX.

A witch, cursed land, and things that go bump in the night. Don't miss an episode—follow, comment, like, and share!Connect with me 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.Don't miss an episode - follow, comment, like, and share!Connect with me 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). 

Matt Corman hosts The Matt Corman Podcast, where he discusses his experiences as a professional recording artist and entrepreneur. He shares insights on discipline, health, and touring, and often speaks about his career journey and lessons learned. Matt Corman is a hip-hop artist and entrepreneur known for his hit single "Word to the Wise." With over 200 million streams and more than 200 released songs, he ranks in the top 1% of global artists, consistently releasing new music weekly. He quickly gained recognition as a live performer, sharing stages with artists like Post Malone and Fetty Wap , celebrated for his engaging performances. He is also proud of his lineage; he is a descendant of Edward Gourdine, the first African American Supreme Court Justice in Massachusetts. His grandfather, Robert Chesnut, played with jazz legend Duke Ellington , deepening Matt's connection to music and history. In 2018, he made history as the first alumnus to perform at Southern New Hampshire University's homecoming concert, drawing over 3,000 attendees. By 2023, he opened for Skizzy Mars on a national tour and partnered with E11even Vodka, performing at the iconic Miami club. In 2024, Corman was direct support for Phora on his 32- show tour as well as direct support for Lil Xan on his 35-show Return tour (US & Canada). He also performed at Howard University's 100th anniversary homecoming event in front of 10,000 attendees. His music was featured in a Serena Williams documentary on ESPN+, marking a significant career milestone. In 2025, he collaborated with Logic to release the song OH MY GOD, further solidifying his position in the hip-hop scene.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

America has exported many products to the world, and one of our finest gifts is music. We may think of rock and roll or rhythm and blues, but one of the earliest and most popular musical exports is jazz and swing. This week we'll hear classics from Django Reinhardt, Count Basie, Duke Ellington, Dan Hicks and his Hot Licks, Russ Barenberg, and next week we'll continue with Part 2. “It Don't Mean a Thing” … this week on The Sing Out Radio Magazine. Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian FolkwaysDjango Reinhardt & Stephane Grappelli / “Minor Swing” / Djangologie Vol.6 / EMI PatheJoshua Rifkin / “Elite Syncopations” / Scott Joplin Piano Rags / NonesuchBenny Goodman / “Air Mail Special” / Best of the Big Bands / ColumbiaCount Basie / “One O'clock Jump” / This is Jazz 11 / ColumbiaDuke Ellington & Ella Fitzgerald / “It Don't Mean a Thing (If It Ain't Got That Swing)” / At the Cote D' Azur / VerveLambert, Hendricks & Ross / “Twisted” / The Hottest New Group in Jazz / ColumbiaDan Hicks & his Hot Licks / “Canned Music” / Original Recordings / EpicBill Knopf / “Take the “A” Train” / Pacific Swing / First InversionDjango Reinhardt & Stephane Grappelli / “Swinging with Django” / Djangologie Vol.6 / EMI PatheAllen Tousaint / “Rocks in My Bed” / American Tunes / NonesuchGuy Van Duser & Billy Novick / “Exactly Like You” / Exactly Like Us / RounderRuss Barenberg / “Halloween Rehearsal” / Halloween Rehearsal / RounderThe Phil Salazar Band / “Swing to Bop” / The Phil Salazar Band / Flying FishMerle Travis / “Walkin' the Strings” / The Merle Travis Guitar / RavenPete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

In At the Vanguard of Vinyl, Darren Mueller examines how the advent of the long-playing record (LP) in 1948 revolutionized the recording and production of jazz in the 1950s. The LP's increased fidelity and playback capacity allowed lengthy compositions and extended improvisations to fit onto a single record, ushering in a period of artistic exploration. Despite these innovations, LP production became another site of negotiating the uneven power relations of a heavily segregated music industry. Exploring how musicians, producers, and other industry professionals navigated these dynamics, Mueller contends that the practice of making LPs significantly changed how jazz was created, heard, and understood in the 1950s and beyond. By attending to the details of audio production, he reveals how Black musicians such as Louis Armstrong, Miles Davis, Duke Ellington, and Charles Mingus worked to redefine prevailing notions of race and cultural difference within the United States. Mueller demonstrates that the LP emerges as a medium of sound and culture that maps onto the more expansive sonic terrain of Black modernity in the 1950s. Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In At the Vanguard of Vinyl, Darren Mueller examines how the advent of the long-playing record (LP) in 1948 revolutionized the recording and production of jazz in the 1950s. The LP's increased fidelity and playback capacity allowed lengthy compositions and extended improvisations to fit onto a single record, ushering in a period of artistic exploration. Despite these innovations, LP production became another site of negotiating the uneven power relations of a heavily segregated music industry. Exploring how musicians, producers, and other industry professionals navigated these dynamics, Mueller contends that the practice of making LPs significantly changed how jazz was created, heard, and understood in the 1950s and beyond. By attending to the details of audio production, he reveals how Black musicians such as Louis Armstrong, Miles Davis, Duke Ellington, and Charles Mingus worked to redefine prevailing notions of race and cultural difference within the United States. Mueller demonstrates that the LP emerges as a medium of sound and culture that maps onto the more expansive sonic terrain of Black modernity in the 1950s. Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In At the Vanguard of Vinyl, Darren Mueller examines how the advent of the long-playing record (LP) in 1948 revolutionized the recording and production of jazz in the 1950s. The LP's increased fidelity and playback capacity allowed lengthy compositions and extended improvisations to fit onto a single record, ushering in a period of artistic exploration. Despite these innovations, LP production became another site of negotiating the uneven power relations of a heavily segregated music industry. Exploring how musicians, producers, and other industry professionals navigated these dynamics, Mueller contends that the practice of making LPs significantly changed how jazz was created, heard, and understood in the 1950s and beyond. By attending to the details of audio production, he reveals how Black musicians such as Louis Armstrong, Miles Davis, Duke Ellington, and Charles Mingus worked to redefine prevailing notions of race and cultural difference within the United States. Mueller demonstrates that the LP emerges as a medium of sound and culture that maps onto the more expansive sonic terrain of Black modernity in the 1950s. Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu 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

In At the Vanguard of Vinyl, Darren Mueller examines how the advent of the long-playing record (LP) in 1948 revolutionized the recording and production of jazz in the 1950s. The LP's increased fidelity and playback capacity allowed lengthy compositions and extended improvisations to fit onto a single record, ushering in a period of artistic exploration. Despite these innovations, LP production became another site of negotiating the uneven power relations of a heavily segregated music industry. Exploring how musicians, producers, and other industry professionals navigated these dynamics, Mueller contends that the practice of making LPs significantly changed how jazz was created, heard, and understood in the 1950s and beyond. By attending to the details of audio production, he reveals how Black musicians such as Louis Armstrong, Miles Davis, Duke Ellington, and Charles Mingus worked to redefine prevailing notions of race and cultural difference within the United States. Mueller demonstrates that the LP emerges as a medium of sound and culture that maps onto the more expansive sonic terrain of Black modernity in the 1950s. Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu 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

In At the Vanguard of Vinyl, Darren Mueller examines how the advent of the long-playing record (LP) in 1948 revolutionized the recording and production of jazz in the 1950s. The LP's increased fidelity and playback capacity allowed lengthy compositions and extended improvisations to fit onto a single record, ushering in a period of artistic exploration. Despite these innovations, LP production became another site of negotiating the uneven power relations of a heavily segregated music industry. Exploring how musicians, producers, and other industry professionals navigated these dynamics, Mueller contends that the practice of making LPs significantly changed how jazz was created, heard, and understood in the 1950s and beyond. By attending to the details of audio production, he reveals how Black musicians such as Louis Armstrong, Miles Davis, Duke Ellington, and Charles Mingus worked to redefine prevailing notions of race and cultural difference within the United States. Mueller demonstrates that the LP emerges as a medium of sound and culture that maps onto the more expansive sonic terrain of Black modernity in the 1950s. Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Propuestas instrumentales para tomarse el tiempo de escuchar con tiempo.Enrico RavaDrops – Easy LivingGary Burton; Chick Corea rystal Silence – Crystal SilenceMarcin Wasilewski TrioVignette – JanuaryEmily RemlerSoftly, As In A Morning Sunrise – East To WesOded TzurThe Song of the Silent Dragon – Like a Great RiverDuke EllingtonMood Indigo – Masterpieces By EllingtonEscuchar audio

Put And Take (Adrian Rollini, bass sax, hot fountain pen, Joe Venuti's Blue Four, 1930); Delta Serenade - Theme (Duke Ellington, 1940); I'm Coming Virginia (Sidney Bechet, sop sax, & His New Orleans Feetwarmers, 1941); Wang Wang Blues (Rollini, "goofus", The Goofus Five, 1927); Knockin' on wood (Red Norvo, xylophone, 1933); Jazz Me Blues (Adrian Rollini Trio, vibes, chimes, 1950); Girls Like You Were Meant For Boys Like Me (Red McKenzie's Mound City Blue Blowers, comb, 1930); For No Reason at All in C (Frankie Trumbauer, C melody sax 1927); Wild Cat, (Joe Venuti, Eddie Lang, 1927); Junk Man (Jack Teagarden, Caspar Reardon, harp, 1934); Sweet Sue (Dave Apollon, mandolin, 1933); Sugar (Alberta Hunter, Fats Waller pipe organ (1927); Summit Ridge Drive (Artie Shaw and His Gramercy Five, Johnny Guarnieri, harpsichord, 1940); Mr. J.B. Blues (Jimmie Blanton, bass, Duke Ellington, 1940).

Jeffrey Biegel is a Spectacular Concert Pianist. He's a Grammy winner and has a remarkable back story. At age three he was barely able to hear or speak, in fact he could hear only vibrations, until he had corrective surgery. This so-called 'reverse Beethoven' phenomenon is at the heart of his commitment to music. In 2025 he premiered three new works including one by Melissa Manchester. In 2021 he premiered a work in honor of former Supreme Court Justice Ruth Bader Ginsburg. He's worked with conductors JoAnn Falletta and Lucas Richman.  He received high praise from Leonard Bernstein who called him “a splendid musician and a brilliant performer." And he's performed music by George Gershwin, Duke Ellington, Keith Emerson and Neil Sedaka.My featured song is “New York City Groove”, from the album Made In New York by my band Project Grand Slam. Spotify 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—----------------------------------------CONNECT WITH JEFFREY:www.jeffreybiegel.com—----------------------------------------ROBERT'S NEWEST SINGLE:“SUNDAY SLIDE” is Robert's newest single. It's been called “A fun, upbeat, you-gotta-move song”. Featuring 3 World Class guest artists: Laurence Juber on guitar (Wings with Paul McCartney), Paul Hanson on bassoon (Bela Fleck), and Eamon McLoughlin on violin (Grand Ole Opry band).CLICK HERE FOR ALL LINKSCLICK HERE FOR THE OFFICIAL VIDEO—-------------------------------------------ROBERT'S NEWEST ALBUM:“WHAT'S UP!” is Robert's new compilation album. Featuring 10 of his recent singles including all the ones listed below. Instrumentals and vocals. Jazz, Rock, Pop and Fusion. “My best work so far. (Robert)”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