Podcast appearances and mentions of earl fatha hines

Take a trip with us to the most revolutionary decade in jazz (1923-1933), when a young Louis Armstrong was creating a new improvisational vocabulary in real-time. This isn't the “Wonderful World” Satchmo most know, but the young gunner whose genius trumpet solos on “West End Blues” and “Tight Like This” were toppling trumpet kings. We break down Pops' evolution from King Oliver's second to pioneering frontman, explore his inventive scat singing (supposedly born when he dropped his lyric sheet), and trace how his massive popularity caught the attention of Chicago gangsters – careful now! From his recordings with Earl “Fatha” Hines to “Black and Blue” – the first jazz song addressing racism – hear exactly why we say there would be no jazz without Louis Armstrong.Link to Spotify PlaylistABOUT OPEN STUDIO------------------------------------------------------------------------------------------------------------------------------------------------------------As the premier online jazz education platform, with an ever-expanding course library and 20,000+ members, Open Studio (OS) has everything you need to excel and thrive on your jazz journey.Featuring everything from beginner to advanced lessons, engaging courses from A-list instructors, step-by-step curriculum, real-time classes and a thriving and incredibly supportive community, OS is the perfect platform to level up your jazz playing, whether you're a total beginner, or an advanced pro-level improvisor.Try OS Membership today! → https://osjazz.link/about

Today's show features music performed by Lonnie Johnson and Earl “Fatha” Hines

We start our celebration of Black History Month with a look at the big band of Earl Fatha Hines. Earl was a very influential pianist in whose big band he had players such as Dizzy Gillespie and Charlie Parker. Count Basie called him the greatest pianist in the world. He made a lot of recordings with small groups but we are going to focus in on his big band. I hope you enjoy this look at the career and big band of the great Earl Hines. Please visit this podcast at http://bigbandbashfm.blogspot.com

Vor 120 Jahren (28.12.1903) kam Earl «Fatha» Hines zur Welt – und der Middle Name «Fatha» für «Vater» verrät es schon: Er war eine Vater-Figur. Was nicht zuletzt mit einem Stil zu tun hat, den er geprägt hat: Den «Trumpet Style» - als Pianist, nota bene. Was es damit auf sich hat?

Vaterfigur: Vor 120 Jahren kommt Earl «Fatha» Hines zur Welt. Als Pianist von Louis Armstrong war Earl Hines an frühen Meilensteinen der Jazzgeschichte beteiligt, am «West End Blues» zum Beispiel. Seine eigene Band diente dann vielen späteren Bebop-Helden als Sprungbrett (Dizzy Gillespie, Charlie Parker) - und mit seiner eigenen Fernseh-Show wurde er endgültig zum Star. Wie aus dem umtriebigen jungen Mann aus Pittsburgh ein «Fatha» wurde, und wie er nebenher aus dem Begleitinstrument Piano auch im Bandkontext ein solistisches Instrument machte, das diskutiert der Pianist Chris Wiesendanger in der JazzCollection mit Jodok Hess. Die gespielten Titel (CD-Titel | Label): * Weatherbird (Louis Armstrong: Hot Fives and Sevens, Vol. 3 | JSP) * Rosetta (Earl Hines and His Orchestra 1942-1945 | Classics Records) * It Had to Be You (Earl Hines and His Orchestra 1941 | Classics Records) * Midnight in New Orleans (Earl Hines and His Orchestra 1945-1947 | Classics Records) * Shoe Shine Boy (Classic Trio Sessions | Lonehill Jazz) * You Brought a New Kind of Love to Me (Mostly Fats | EPM) * Sophisticated Lady (Earl Hines Plays Duke Ellington | New World Records) * A Toodle-Do, Toodle-Do (Duet | MPS) * But Not For Me (Just You, Just Me | Black and Blue)

TVC 628.5: Five-time Emmy Award-winning talk show host John Barbour talks to Ed about some of his heroes and mentors, including Redd Foxx, Dick Gregory, Earl “Fatha” Hines, and Jim Garrison, the Louisiana district attorney known for his investigation into the JFK assassination. John's latest film, John Barbour's and William Shakespeare's Last Word on the Murder of JFK, is a 90-minute docu-presentation that is essentially a one-man show in three acts, with Act I recounting John's efforts to allow Garrison to tell his story, in his own words, and John's efforts to start a scholarship at Tulane University in Garrison's memory; Act II revealing the one great disappointment in John's life; and Act III telling the poignant story of John's trip to Scotland in 1960, where, following a bittersweet reunion with his estranged father, John wins a residency with the Castle Theatre group in London and discovers the true meaning of Hamlet's soliloquy “To be or not to be.” John Barbour's and William Shakespeare's Last Word on the Murder of JFK will have its world premiere at the Laemmle Town Center 5 in Encino, CA from Wednesday, Nov. 22 through Tuesday, Nov. 28. For tickets and more information, call (818) 981-9847 or go to laemmle.com/film/john-barbours-and-wm-shakespeares-last-word-murder-jfk. Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit podcastchoices.com/adchoices

Tonight's show: Louis Jordan & His Tympany Five, Gerry Mulligan with Chet Baker, Anita O'Day, Phineas Newborn Jr., Lou Donaldson, Ella Fitzgerald, Earl "Fatha" Hines, Nancy Wilson & The Great Jazz Trio, McCoy Tyner, Piano Connection, and Ahmad Jamal.

With performances of Earl "Fatha" Hines, James P. Johnson, Fats Waller, Teddy Wilson, Stephanie Trick, and Dorothy Donegan we'll tickle some ivories — but only scratch the surface of — recorded piano delights from the 1920s through the 1940s.

Longer sets tonight: we'll hear Ella Fitzgerald, Cannonball Adderley, Eddie "Lockjaw" Davis, Shirley Scott with Stanley Turrentine, Ben Webster, Earl "Fatha" Hines, and Gerry Mulligan.

On tonight's show: Louis Armstrong, Miles Davis & Sonny Rollins, Ella Fitzgerald, Dave Brubeck and Paul Desmond, Lena Horne, Miles Davis, Sergio Mendes, Herbie Mann & The Bill Evans Trio, Budd Johnson with Earl "Fatha" Hines, Buddy Rich, Ramsey Lewis, The Crusaders, Joani Taylor & the Bob Murphy Trio, and the Gary Smulyan Quintet.

Chicago jazz saxophonist Eric Schneider has toured the world with the Count Basie Band, Earl "Fatha" Hines and many others. He has shared the stage with Tony Bennett, Ella Fitzgerald, Sarah Vaughn, Sammy Davis Jr. and many others throughout his musical career. On this "Around Town Rerun Mike Jeffers talks with Eric Schneider about getting his start in music, joining the legendary Count Basie band, the things he has learned throughout his musical career and much more. Watch the full interview on Mike's Youtube channel   #interview #musicpodcast #jazzpodcast #chicagopodcast

We have jazz standards tonight by Billie Holiday, Louis Prima, Artie Shaw, Julie London, Ella Fitzgerald & Buddy Bregman, Benny Carter, Johnny Hodges, Joni James, Chuck Wayne Trio, Budd Johnson with Earl "Fatha" Hines, Oscar Peterson, Rahsaan Roland Kirk, Dianne Reeves, The Duke Robillard Jazz Trio, and Larry Carlton.

Tonight's show has lots of rhythm, spanning 1926 to 1999: Benny Goodman, Jelly Roll Morton & His Red Hot Peppers, Dizzy Gillespie with Charlie Parker, Fats Navarro, Red Norvo, Hank Jones. Also Machito with Cannonball Adderley, Milt Jackson, Dave Brubeck with Tony Bennett, Ray Charles, Ron Carter with Eric Dolphy and Mal Waldron, Ray Bryant, Earl "Fatha" Hines, Herbie Mann, The Crusaders, Big Bad Voodoo Daddy, and Wynton Marsalis.

We're featuring Louis Armstrong and Earl Hines tonight. We'll hear Armstrong with Billie Holiday, Sy Oliver, and with his All Stars, as well as selections from Porgy & Bess with Ella Fitzgerald. Then we have Earl "Fatha" Hines in a live concert, some solo work, and with Johnny Hodges.

Tonight's show is the 600th episode of Jazz After Dark! We'll hear selections from 1934 – 1969: Benny Carter, Sidney Bechet with Noble Sissle, Lena Horne, Stan Kenton and His Orchestra, Helen Carr, Gerry Mulligan, and Harold Land. Also: Ella Fitzgerald live from Copenhagen in 1959, in a newly released recording, and then Russ Freeman, Earl "Fatha" Hines, Count Basie & His Orchestra, Paul Desmond, and Ben Webster.

durée : 00:58:56 - Routes latines - par : Nathalie Piolé -

Tonight on Jazz After Dark: From the 1940s, we'll hear Earl "Fatha" Hines and Johnny Hodges, The Nat King Cole Trio, Ike Quebec Quintet, Peggy Lee, and Charlie Parker and His Quintet. From the 1960s we'll hear Louis Armstrong and Duke Ellington, Charlie Byrd and Stan Getz, Pete Fountain, Oscar Peterson, Paul Desmond, Herbie Mann and Joao Gilberto with Antonio Carlos Jobim, Eddie Jefferson, and Ella Fitzgerald and the Jimmy Jones Trio with Duke Ellington and his Orchestra, and then we'll take it out with Stanley Jordan.

Tonight on Jazz After Dark: Anita O Day with Roy Eldridge and Gene Krupa, and then with Stan Kenton. We'll hear Joe Holiday, Peggy Lee , Nat "King" Cole and His Trio, Milt Jackson & Ray Charles, Art Blakey & The Jazz Messengers, Ella Fitzgerald & Paul Weston and His Orchestra, Charles Mingus, Buddy DeFranco Quartet, Earl "Fatha" Hines, Eddie Harris, and Shirley Horn.

Clearwater Jazz Holiday's History of Jazz Outreach Program engages professional musicians to share the story of Jazz through live, interactive musical experiences. By Spring 2020, the Program had reached nearly 30,000 students in approximately 60 Tampa Bay area schools and has evolved to also bring meaningful experiences to schools and organizations serving at risk students, people of all ages with special needs, neurodiversities, and autism, as well as older adults in senior living communities and memory care centers. Frank T. Williams III, a 40-year + educator, band director, clinician, author, adjudicator, and composer, is a long-time CJH education partner, important to the development of many CJH Outreach programs. In 2020, CJH launched its STOP-TIME SERIES with Frank Williams to complement the History of Jazz Outreach Program by creating a comprehensive visual and audio History of Jazz archive delivered in Frank's one-of-a-kind style. WATCH & LISTEN! Visit the CJH website Education & Outreach section to watch all STOP-TIME videos for FREE or enjoy listening here as part of the CJH Young Lions Jazz Master "Virtual" Sessions Podcast. To learn more about the annual CJH festival tradition and year-round Education & Outreach: www.clearwaterjazz.com

Tonight on Jazz After Dark: Louis Armstrong, Ben Webster & Johnny Hodges, John Coltrane with Johnny Hartman, Count Basie & Ella Fitzgerald, Art Pepper, Louis Prima, Duke Ellington and His Orchestra with Lawrence Brown, Frank Sinatra, Earl Fatha Hines, Tony Bennett, Paul Desmond, Dave Weckl

Pittsburgh's contributions to the uniquely American art form of jazz are essential to its national narrative. Fleeing the Jim Crow South in the twentieth century, African American migration to the industrial North brought musical roots that would lay the foundation for jazz culture in the Steel City. As migrant workers entered the factories of Pittsburgh, juke joints and nightclubs opened in the segregated neighborhoods of the Hill District, Northside and East Liberty. The scene fostered numerous legends, including Art Blakey, Billy Strayhorn, George Benson, Erroll Garner and Earl “Fatha” Hines. The music is sustained today in the practice rooms of the city's universities and by groups such as the Manchester Craftsmen's Guild and the African American Music Institute. Authors Richard Gazarik and Karen Anthony Cole chart the swinging history of jazz in Pittsburgh. Karen Anthony Cole is a lifetime musician and music educator in Western Pennsylvania. She is a retired high school band director, having taught and mentored students in marching, symphonic and jazz band and jazz history electives. Richard Gazarik is journalist and author. He has won awards for his writing and investigative reporting into public and corporate corruption in Pennsylvania. Description courtesy of the History Press.

Featuring fresh jams from the new-grass-fuse-folk pride of NC, maestro Jon Stickley and his Trio; saxophone legend Jeff Coffin from his latest duo release with Derek Brown on his Ear Up label; ultra-legit-just-dropped Brooklyn dub music from Blanc du Blanc with legend Mr Lee Scratch Perry on the faders; composer/bassist extraordinaire Todd Sickafoose; a new ECM release featuring sax great Joe Lovano alongside Marilyn Crispell and Carmen Castaldi; Joshua Rodman's reboot of his classic 90's quartet “Round Again”; moody indie guitar genius Jeff Parker; and finally, the one and only Earl Fatha Hines live in 1972.

Today’s show features music performed by Lonnie Johnson and Earl “Fatha” Hines

Episode 43 features tracks from Earl "Fatha" Hines, Sammy Kaye, Bea Wain, Billy Eckstine and many more.  If you've been cold this winter, I've got an old ad just for you. ...and remember, if you want to listen to more Big Band and Swing Music check out SwingCityRadio.com to hear Your Big Band Favorites from the 1930's, 40's and Today! * All music in this podcast are Creative Commons.  Artists are credited within the podcast.

Featuring a slinky new jam from organ maestro Adam Scone and the Scone Cash Players on Daptone Records; a beautiful single from BK pianist/songrwriter Damon Smith; more music from Deutsch & Thorn's fresh release “Tangled Sea”; another cut from icon Norah Jones' 2020 release “Pick Me Up Off the Floor”; Harrington, Gustin, and Zahn's brand of modern hipster jazz on “Tura Lura”; Congolese pianist/bandleader Tyson Meya; prolific film score legend Terence Blanchard; outer space jams from Michael Rocketship (interpreting Ben Goldberg); and finally, Earl “Fatha” Hines live at Dinkler's Motor Inn in Syracuse—1973.

Featuring a fresh single from other-worldly talented Flatbush drummer/vocalist Alwyn Robinson; an evocative ballad from Colorado saxophonist Dominic Lalli's Bluebird Quintet; a mesmerizing world of ambience created on Brooklyn bassist Josh Werner's new jam; Seattle songstress extraordinaire Rae Isla; killer tunes from CDMX locales JAB & Jenny Beaujean; + DC's Theivery Corporation, Nick Drake, and the one and only Earl “Fatha” Hines live in 1972.

Featuring epic grooves from the king of ethno-jazz Mulatu Astatke in collaboration with Melbourne's Black Jesus Experience; a fresh new release from Colorado banjoist/songbird Sydney Clapp; a lion of the trumpet and a film score icon, Terence Blanchard from Spike Lee's latest joint; Mexican indie crooner Nunca Rodrigo; drummer/composer extraordinaire Ted Poor; France's lounge electro pop icons Air; and the one and only Earl “Fatha” Hines live from Syracuse, NY in 1972.

Art Tatum and Earl “Fatha” Hines were master pianists of the swing era, and their styles couldn’t have been more different.

In this episode we feature four key musicians who created the swing era for piano:  Earl Fatha Hines, Fats Waller, Art Tatum and Teddy Wilson.

This is our inaugural episode of the P100 Podcast, featuring hosts Paul Furiga, Dan Stefano and Logan Armstrong of WordWrite Communications. Here's a bit about how the show will work.As with The Pittsburgh 100, the P100 Podcast will be coming to you 25 times a year, the same week the newsletter hits inboxes. What can you expect? Every episode will have a quartet of roughly five-minute segments featuring not just the three guys in the room, but great guests, insightful segments looking at the region’s news, history and culture, and a deeper dive into stories from the newsletter. This episode covers the events and history around Labor Day weekend, including Pittsburgh’s ties to the holiday, another fantastic food festival to look forward to and, of course, the start of football season. We wrap it up with a discussion of the region’s surprisingly long musical history, including a look at a local who might have a big future on the scene: Pick Patek, a hip-hop artist with a big following over Spotify. He was also featured in a recent Pittsburgh Polyphony article.----more----Enjoy listening to this episode of the P100 Podcast, and be sure to subscribe so you never miss an episode.Special thanks to the folks at the Pittsburgh Technology Council for the use of their studio.And this episode’s sponsor WordWrite Communications:At WordWrite, Pittsburgh's largest independent public relations agency, we understand that before you had a brand, before you sold any product or service, you had a story. WordWrite helps clients to uncover their own Capital S Story, the reason someone would want to buy from you, work with you, invest in you or partner with you. Through our patented Storycrafting process, we’ll help you discover your own Capital S Story. Visit us at WordWritepr.com to learn more.Full episode transcript here:Logan Armstrong:You are listening to the P100 podcast, the biweekly companion piece to the Pittsburgh 100, bringing you Pittsburgh news, culture, and more, because sometimes 100 words just isn't enough for a great story.Paul Furiga:Welcome everyone to the inaugural episode of the P100 podcast, the audio version of the Pittsburgh 100. My name is Paul Furiga. I'm Publisher of the Pittsburgh 100 and President and Chief Storyteller of WordWrite. I'd like to introduce my colleague, Dan Stefano. Dan.Dan Stefano:Thanks for the introduction, Paul. My name's Dan Stefano. I am the Editor of the Pittsburgh 100 and the Brand Journalist at WordWrite. Spent some time in the media before this, before I got to WordWrite and happy to be here right now.Paul Furiga:Glad you're here, Dan. We also have a third member of the crew here today, the three Musketeers, and that is Logan Armstrong. Logan.Logan Armstrong:Hi guys. My name is Logan Armstrong. I'm a Staff Writer for the Pittsburgh 100 and also an Account Coordinator for WordWrite. A recent graduate from Pitt, so hoping to bring a 21st-century millennial, Gen Z perspective for everybody.Dan Stefano:Yes. Logan is at the low end of the millennial spectrum. You know you're pushing, I think gen Z there.Paul Furiga:I think he actually is Gen Z.Logan Armstrong:I'm '97 so ...Paul Furiga:Now, if that's the case, I'm pushing Gen A. I don't know what I'm pushing as a baby boomer. Whatever it is, I'm the opposite of.Dan Stefano:I think Henry Ford called it the Model T generation or something.Paul Furiga:Thank you, Dan. I appreciate that.Dan Stefano:You're firmly a Boomer.Paul Furiga:Well, as you can see folks, we don't like each other. We don't get along well. We don't have fun together. Actually we do. We're glad you've joined us for this first episode of the P100 podcast. Let me just tell you a little bit about how this podcast is going to work. As with the Pittsburgh 100, the P100 podcast will be coming to you 25 times a year. We'll be coming out during the same week that the Pittsburgh 100 comes out. What can you expect from the podcast? Every episode, four segments of scintillating content, not just the three guys in the room right now, but great guests, insight segments like Beyond the 100. I'll look at music and culture in the region, history. Four segments, about five minutes each, each episode, and we're going to mix it up for you. Every episode you can expect some variety in what we're talking about. And with that as an introduction, Dan, what are we talking about this time, brother?Dan Stefano:This week's scintillation ... This first episode is coming at a time that's ... It's the unofficial end of summer heading into the LaborDay weekend. So we'll be talking a little bit about Labor Day and it's history in Pittsburgh, the history of labor in Pittsburgh and obviously it's a former manufacturing center. Few cities in the country, I think, have a relationship with it quite like we do here. We'll also be discussing Pittsburgh's rule as a foodie city. There's a big food event coming to Pittsburgh this weekend that we're excited about. And just this past month we had more. We had Pittsburgh restaurant week, so we'll dig in a little more there. Also, this weekend Pitt football's going to get started and the week after that Steelers football is going to get started, so we're going to be talking a little about football and its role in the city, the impact that it has culturally and economically, and we'll wrap it up a little bit. We'll learn a little more about our friend here, Logan Armstrong, who is a musician, but we'll be digging deeper into a recent article that we had in the Pittsburgh 100, the Pittsburgh Polyphony series, which looks at local music artists and yeah. We're excited to introduce you to a musician and some of his own original works too.Paul Furiga:It's a great episode, folks. We're glad you're along with us. Where the first episode, let's kick it off.Paul Furiga:All right. Once again, I'm Paul Furiga, the publisher of the Pittsburgh 100 president and chief storyteller of WordWrite. This is the inaugural podcast of the P100 podcast, the audio companion to the Pittsburgh 100. Today this episode is recorded at the Huntington Bank podcast studio of the Pittsburgh Technology Council. We want to say thanks to the PTC in Huntington. We are members of the Technology Council, what a great facility. We're honored to be here today to talk about, because we're coming up on that weekend, Labor Day. Dan, you got some thoughts? You want to kick it off?Dan Stefano:Oh, lots of thoughts actually. But you know, I this is always one of my favorite weekends of the year because one it's-Paul Furiga:Picnics.Dan Stefano:Yeah. Picnics. Fantastic. Yeah, well it's a three day weekend. It's always wonderful. The weather is still great. You know, it's kind of the end of summer, a little bit. The unofficial end of summer. It stays warm, but it's just marking that progression into fall. But it's also important to think about whenever you get these three day weekends, think about why we're celebrating them and for labor day, you're celebrating the American worker and that matters a lot in this city. People have a history of ... People still reflect that blue-collar aesthetic, that blue-collar attitude that Pittsburgh has and-Paul Furiga:Steely McBeam.Dan Stefano:Steely McBeam. Yes. Yeah. I think he ... I don't know if he is a card-carrying member of United Steelworkers, but he should be. I think Labor Day is a good time to recognize that America's labor history at times was very violent and there's some of the stuff that we take for granted as far as a five day work week and eight-hour workday, -sick time off, holidays off. That didn't come easy. Especially for people that worked in manufacturing industries and didn't even have blue collars. They were wearing brown colors and maybe no collars at all at some of these positions.Dan Stefano:One moment that was kind of seminal in American history, especially as far as the labor movement goes, was in 1892 they call it the Battle of Homestead, where striking workers at Andrew Carnegie's Steel Mill in Homestead. They actually barricaded themselves inside of the steel mill for about six days. And it was incredible. By the end of it, Pinkertons who were basically private detectives-Paul Furiga:Right, from the company Pinkerton.Dan Stefano:Exactly. The company's name was Pinkerton. These detectives, they got violent and seven workers were killed, three Pinkertons were killed whenever tempers flared up. And that made a big impact around the country. At the time, not only was it happening at Homestead, Chicago had violent disputes between their workers-Paul Furiga:Detroit.Dan Stefano:And Detroit. It happened everywhere, you know?Paul Furiga:Pullman Strike in Chicago. You're talking about Dan. Yeah?Dan Stefano:Absolutely. Yes. And-Logan Armstrong:Yeah, it's interesting to see that people were this passionate about labor rights and working rights and unions, that they were willing to give their life for it. And I think that's just something ... I know from my perspective and my generation, that's not something we have really ever had to see firsthand. And to have that kind of perspective on it is just something that I think is forgotten a lot these days.Dan Stefano:Well, none of us who are sitting at this table were around in the late 1800s but-Paul Furiga:Let me check my driver's license, Dan.Dan Stefano:That's true, Paul. Yeah. You should really check that out. Ironically I have more gray hair than Paul does. That's the funny thing. I've got three decades less on him, but-Logan Armstrong:Paul has a gray head of hair, that's for sure.Paul Furiga:Well, thank you. To bad this is audio and you can't see that.Dan Stefano:Right?Paul Furiga:Yeah. I do think, Dan though that as people enjoy their picnics and whatnot this weekend, it is worth remembering the reason for the weekend and-Dan Stefano:Yeah, you know, those moments of history are all around us. Especially whenever you go to Homestead to do some shopping at the waterfront. Right now you can go and you can see those old smokestacks from the old Homesteads steel mill that was there and you think 130 years ago there was a battle there where people lost their lives. And it's an important thing to, to remember, Labor Day is not only about organized labor, but it's also about everybody that just goes out and works hard every single day of their life. You know, everybody's earned that day off. And so it's important to just kind of remember that. Kickback, relax, have yourself a beer or a nice cold Coke and maybe cook up some food and enjoy yourself on Labor Day, everybody.Dan Stefano:Well, another great thing about the Labor Day weekend here at this time of year is typically Pitt's first football game of the season. And right around Pitt's first football game of the season, we always have the Heinz Field Rib Fest and Kickoff Festival. And I love Rib Fest. It maybe is one of my favorite food festivals of the year. You know, Picklesburgh is great, but you don't get too many great ribs and you don't get some of the best rib makers.Paul Furiga:There's not enough meat in a pickle.Logan Armstrong:Yeah. You can't really dig into a pickle, but you can dig into some ribs.Paul Furiga:Precisely. A pickle is great as a garnish with my ribs. That's fantastic. So I love that. But yeah, one thing that I think you can say is, one Rib Fest is just a lot of fun because it brings a little bit at the south up here and it's just a lot of people getting together and it's a fun time of year.Paul Furiga:But it also just explains again that Pittsburgh is such a great city for food. And I think it always has been. I grew up on pierogi and haluski growing up in a Hungarian and Croatian type family, but we've really in recent years seen some extremely interesting restaurants open, some really classy places that get ranked among the best in the country. And even last year, a publication out of San Francisco named us foodie city of the year or best city in the US for foodies. And so that's special. And it just got me thinking, you guys, what do you like about Pittsburgh's food here? I think everybody loves talking about it. We just had Pittsburgh restaurant week a couple of weeks ago where everybody got to try new places. So do you have any favorites? And just your thoughts on the city and food. Logan.Logan Armstrong:Yeah, I love it. I think it's great. I'm a huge fan of food as these two know, but I think what's something good about Pittsburgh is that, for example, just a great example on the Southside, you have Mallorca, which is one of the best Spanish restaurants in town. And then you walk four blocks and you run into Dish, one of the greatest Italian restaurants in town. And so I think with Pittsburgh being such a melting pot of people that came here, you have the Germans and the Italians. This fusion of food, you can go anywhere in the city and find great restaurants. So there are some cities where there's like a cultural district where you're going to find the best restaurants in that particular area of the city. But I think with Pittsburgh is that you can walk to any neighborhood and go to any neighborhood and find a spot that is just excellent food.Dan Stefano:That's a great point. You know, I just moved to Mount Lebanon with my wife Lisa, and I didn't realize quite the amount of restaurants that they have out that way, and it's a ... I grew up in the Northside and we were living in the East end for a while and lots of good restaurants out that way, but you move South and all of a sudden there are great places like Pizziola, Bistro 19 just over in uptown. Lots of awesome restaurants. Just anywhere you go in the city. Paul, what do you think?Paul Furiga:Yeah, I'm thinking about, my family is originally from Pittsburgh, but I actually grew up in Cleveland and I'm sure we can do an entire segment on Cleveland jokes. We'll save that for another day. But when I came back to Pittsburgh in '94, the basic thing was what do you'ins want for dinner? Italian, Italian or Italian? And you know, things have really changed. It's quite different today compared to the way it was 25 years ago. Part of that is the generational change with the population of the city and Pittsburgh becoming more attractive to millennials, young people. Part of that is the changing complexion of the economy and the kinds of people who've been attracted to the city in the last two decades. And you know, I think people like Justin Severino and the several restaurants that he's put together in succession. We now legitimately have people in the restaurant industry here in town who can be followed and you can say, you know, "Kevin Sousa or Severino, when are they going to open their next restaurant and what's it going to be?"Paul Furiga:It didn't use to be that way. When I first got to Pittsburgh, there was everybody's favorite pizza joint or Italian or my heritage Polish, or there was the Bloomfield Bridge Tavern, which really in terms of Polish, it hasn't been replaced. It was much more of a meat and potatoes in an ethnic sort of town. You know, one other thing, we talked earlier today about labor and there used to be this thing called the Pittsburgh steak, and the old story was that guys in the mills, they wanted something special in the lunch bucket. They'd take a steak and throw it on some very hot piece of machinery and create this seared steak and I can remember when I first got to town, people were like, "Well, you have to have a Pittsburgh steak." People don't talk about that now. We're talking about farm to table. We're talking about organic, we're talking about locally sourced, we're talking about fusion. It really is quite a foodie town and it's a lot of fun. It really is.Dan Stefano:You know, Paul, you could come up with that right now. You could come up with just a hot pipe, get a bunch of millennials to come in and tell them, I'm going to cook your steak on this pipe and they would love it.Logan Armstrong:I would love it.Paul Furiga:You think so?Dan Stefano:I think we're onto something.Logan Armstrong:I think that'd be great. Logan's very susceptible to this type of marketing, I think.Paul Furiga:What's old is new again.Logan Armstrong:Anything with food, you don't have to sell me too hard on.Logan Armstrong:Centuries before cell phones and social media, human connections were made around fires as we shared the stories have shaped our world. Today, stories are still the most powerful way to move hearts and minds and inspire action. At WordWrite, Pittsburgh's largest independent public relations agency, we understand that before you had a brand, before you sold any product or service, you had a story. WordWrite helps clients to uncover their own capitalist story. The reason someone would want to buy, work, invest or partner with you through our patented story-crafting process. Visit WordWritepr.com to uncover your capitalist story.Dan Stefano:All right. The other great thing about this time of year, we mentioned it already a couple of times, but it's close to football season and I love football season. I could sit, basically from Saturday morning to watch college games to Sunday night and just enjoy myself and watch football the entire time and have my wife leave me because I get yelled at quite a bit for doing those types of habits. But you know, she understands and she lets me do it at least for a few hours each day. And it's just such a great time because football means a lot in this city as we all know. Whenever we think of football and Pittsburgh, I think a lot of people jump to the high school games, you know, Thursday nights, Friday nights, sometimes-Paul Furiga:Friday Night Lights.Dan Stefano:Friday night lights as they called them.Dan Stefano:So I went to a city school, so they also played on Thursday nights. Everybody had to cram into South stadium. But it really ... For the impact that it does make here, it's hugely beneficial financially. I mean, you think about what has happened to the North Shore since they built the brand new stadiums, including Heinz Field. When I was a kid, it was just three rivers and basically a pile of gravel. It was great to go down there because everybody could stand down there and watch the fireworks on the 4th of July. But after that, there wasn't too much to do. And so now, with what this franchise has meant to the city, and the advancements that we've taken in terms of rebuilding certain areas. You can really see the impact that football season has. And whenever it's a Steeler Sunday, it's just such a great time to be around and be downtown and be out in the North Shore.Paul Furiga:Yeah. You know, as we mentioned earlier today, we're recording from the Huntington Bank Podcast Studio here at the Pittsburgh Technology Council and it's on what is now known as the North Shore. Dan, when you were a kid it was probably still known as North Side.Dan Stefano:You know what, it took me a long time to adopt North Shore and there are probably still plenty of people that will not call it that. But it's always, I mean it's Northside. Yeah. And I think where we're at right now, you could call that Central North Side.Paul Furiga:You know, my perspective on this, and I wrote about this in the 100 a week or so ago as growing up as a Cleveland Browns fan. I can't really speak to the winning culture and a few other things there I guess. But what I can speak to, and I think that's why it's important to talk about this too, is that football is intrinsic to the culture of Pittsburgh. And you know, you think about a family like the Rooneys, they're not this celebrity ownership kind of a team. They are Pittsburgh blue-collar, you know? And I think about football, I can't separate the whole, the Rooney families from the Northside too. The team is from the Northside. How the grandfather in the family, Art Rooney, wound up with the team. Supposedly, in a card game or gambling.Dan Stefano:I think it was a good day at the track.Paul Furiga:A good day at the track. That's part of-Dan Stefano:That's the legend.Paul Furiga:That's the legend. It's also part of what people think about when they think about the character and nature of Pittsburgh. I don't know Logan, I mean, what's your perspective on that?Logan Armstrong:Yeah, I would have to agree. I mean I think Pittsburgh is one of the strongest cities where when someone first moves here if someone's visiting, going to a Steelers game is one of the ultimate activities that you can do. That it's really ingrained you in the culture. I mean, you go to a Steelers game and you're there, you're going to figure out what Pittsburgh culture is about. You know you're going to see the terrible towels waving and you're going to see the people that are really die-hard for the city in general and for the sports and a fun fact, actually, I don't know if you guys know this, but we actually cut Johnny Unitas in training camp. He didn't even make it out of training camp, which is just crazy to me. It's kind of odd and interesting the way you see things go.Paul Furiga:It is crazy.Dan Stefano:They skipped over Dan Marino too. They skipped over drafting him.Logan Armstrong:Yeah, the South Oakland boy.Paul Furiga:Yeah. For those of you who are listening who aren't deep football fans, it is kind of impossible to avoid the whole football season thing. I remember shortly after I moved to town, I saw this bumper sticker for the first time and it's certainly, I've seen it many, many times since, "Pittsburgh, drinking town with a football problem," and you know, that's kind of a little joke, but that is also kind of as Logan said, the way the town turns. At a previous employment where I was running a department, I had an adjustment problem because if the Steelers had a particularly tough Sunday night game, the attendance at work and the department the next morning, let's say it fluctuated and I said something to somebody about it and I said, "What the hell's going on? So-and-so and so and so and so and so aren't here." And they gave me this like dumbstruck look like, "What the hell's wrong with you? The Steelers had a tough game last night they're probably nursing a hangover or whatever."Dan Stefano:Well, Paul just a word of warning here then for you, the Steelers open their season against the super bowl champion, Patriots. So you might not see me the next morning. I don't know.Dan Stefano:Okay guys, for our final segment here, we're going to discuss Pittsburgh in the music industry and in particular take a deeper dive and do a column that we had recently in our Pittsburgh Polyphony series, which looks at local artists and one of those included Pick Patek who is a Philadelphia native who lives here in Pittsburgh now, attends Pitt and is actually making a name for himself in the music industry, but we're going to reel it back a little bit and talk about the city's history and music as well, especially in that, people don't quite think of Pittsburgh as a city for ... As part of the music industry here. People might think of New York City, they might think of the West Coast, they might think of Nashville, but Pittsburgh has had its role as well. And Paul, also a musician here. If you want to speak to that a little bit, maybe talk about your own history of music.Paul Furiga:Well, thanks, Dan. Yeah, one of the things that I think is great about Pittsburgh is the music scene. I think in American culture we tend to think of music centers as being those places where there are recording studios and while over time there have been some recording studios in Pittsburgh. It's really LA or Nashville or New York or places like that that have the studios. What's great about Pittsburgh music to me is that so many great artists spent a large section of their career here or they're from here. In recent years Stephen Foster has been more a subject of controversy in Pittsburgh because of some of his early lyrics. But over the years if you want to go back and get really far back into Pittsburgh music history, we can claim Stephen Foster and his talent. You know, doo-wop was another big genre here and in the 60s with The Del-Vikings and Lou Christie and Bobby Vinton and The Vogues and the Lettermen and we had DJ Porky, Chadwick and lots of other folks that help make music-Dan Stefano:Do you sing a lot to doo-wop there, Paul?Paul Furiga:I sing no doo-wop. However, I have a very good friend who is in a doo-wop band.Dan Stefano:Fascinating. We've got to have them on one day.Paul Furiga:We'll get them on some time. Yeah. And we'll get my friend David Goldman on. You know, jazz, the Hill District. In the history of African American culture in the United States, one of the top cultural centers was the Hill District right here in Pittsburgh. You have the Crawford grill. You had artists like our Earl "Fatha" Hines, Roy Eldridge, Kenny Clark, Ray Brown, Art Blakely. I mean I could just go on and on and rattle off names. And I think for a time people began to think that Pittsburgh wasn't really a music city. But truly it is. And one of the reasons why we're including the polyphony series in the Pittsburgh 100 and in the podcast is because there's great music out there today. People and tunes and genres are very much worth listening to. And you know, sadly current Pittsburgh music, the scene was traumatized a bit with Mac Miller and his passing. And certainly there are other artists out there today on the national stage that we know about, but one of the things we want to do is give some prompts and some exposure to musicians maybe that folks haven't heard about yet. And that's why it's so great to have you here Logan.Logan Armstrong:Yeah, and those are all great points that there's been a history of Pittsburgh in different genres throughout time. And I think similar to how we talked about the food earlier, is that Pittsburgh is kind of a melting pot of genres. I would say that the main genre of music right now in Pittsburgh is probably somewhere in the field of punk rock and kind of indie rock and that kind of a genre. But to counter that, the last Pittsburgh Polyphony column we had was an indie band, indie-folk band String Machine, and this Pittsburgh Polyphony is Pick Patek, as Dan mentioned earlier. A rapper/singer, I guess you'd say. Yeah, actually it was a funny story. I just happened to see him in the library one day while I was attending at Pitt and he was making some beats and I went up to him and kind of just hit it off.Logan Armstrong:And then you see and look on Spotify that he's making music from his bedroom and he's got over a million streams on Spotify and he's got 20,000 plus people listening to him every month. And it's just crazy. It's a time now we're in the internet age and the accessibility of recording software and of these resources that allow you to make music so ... I don't want to say simply because it is an art, but so accessibly. Like I said, he's making music from his bedroom and he's able to turn this, I guess you could call it a small business at this point. Kind of turn that into something that he wants to do as a career. And that is something that's accessible as a career for him. And any other time in history, I don't think that would be possible.Logan Armstrong:As Paul said, it kind of centered around being in recording studios in your city and having access to those. And even more than that, 20 years ago, if you didn't have a major label backing or if you didn't have major backing in the entertainment industry, it was next to impossible to actually get your name out there in the music industry. And with the internet now being as it is, where you can put your music on Spotify, Apple Music, SoundCloud, wherever you want for free or very little charge, just the landscape of the industry has changed. And so in today's age, it's very interesting to me that you can balance that and still be successful as a modern musician.Dan Stefano:That's great. Logan, we're going to hear a little from Pick Patek at the end of this podcast, right? If listeners stay beyond the outro.Logan Armstrong:Yeah. So we're going to send you out with Blue October by Pick Patek. A soulful ballad that I had the opportunity and privilege to perform with him on Pitt's very own tonight show when I was still a student there at Pitt tonight. So yeah, stick around and I hope you enjoy.Logan Armstrong:And we are well beyond 100 words today. Thank you for listening to the P100 podcasts. This has been Dan Stefano, Logan Armstrong, and Paul Furiga. If you haven't yet, please subscribe at P100podcast.com wherever you listen to podcasts and follow us on Twitter at Pittsburgh100_ for all the latest news updates and more from the Pittsburgh100.

Legendary pianist/bandleader Earl “Fatha” Hines is on this week’s Radio Munson playlist, along with Dianne Reeves, Dave Brubeck, Julie London, Jack Teagarden, and George Shearing’s classic recording of “Lullaby of Birdland."

Nella sua edizione 74 il festival sfoggia sei eminenti pianisti: mettendoli in ordine di data di nascita sono Earl Fatha Hines (1903), Jay McShann (1916), Randy Weston (1926), Cecil Taylor (1929), Muhal Richard Abrams (1930), Roland Hanna (1932). Dalle esibizioni di tutti loro tranne Abrams vengono ricavati degli album che escono nello stesso 74 o qualche tempo dopo (ma Abrams figura come guest nell'album dal vivo che viene realizzato dell'esibizione dell'Art Ensemble of Chicago). Complessivamente gli album live che vengono tratti da Montreux 74 sono più di dieci. Oltre al brano che ha dato il titolo all'album Carnival di Weston, un'idea dell'incredibile carrellata di pianisti di Montreux 74 ce la offre qualche momento delle esibizioni di McShann, Taylor, Hines. A cura di Marcello Lorrai

Nella sua edizione 74 il festival sfoggia sei eminenti pianisti: mettendoli in ordine di data di nascita sono Earl Fatha Hines (1903), Jay McShann (1916), Randy Weston (1926), Cecil Taylor (1929), Muhal Richard Abrams (1930), Roland Hanna (1932). Dalle esibizioni di tutti loro tranne Abrams vengono ricavati degli album che escono nello stesso 74 o qualche tempo dopo (ma Abrams figura come guest nell'album dal vivo che viene realizzato dell'esibizione dell'Art Ensemble of Chicago). Complessivamente gli album live che vengono tratti da Montreux 74 sono più di dieci. Oltre al brano che ha dato il titolo all'album Carnival di Weston, un'idea dell'incredibile carrellata di pianisti di Montreux 74 ce la offre qualche momento delle esibizioni di McShann, Taylor, Hines. A cura di Marcello Lorrai

Ronald Reagan was called the "Great Communicator," and a big part of that was humor. Whether he was explaining his philosophy, deflating an opponent or firing up a crowd, Reagan knew that a well-placed joke could make all the difference. Journalist and Reagan biographer Lou Cannon joins us to explain how Reagan's use of humor was both natural and practiced -- and why Reagan was so great at connecting with people both in person and through mass media. President Reagan: The Role of a Lifetime MUSIC: Hail Columbia, "Hollywood Jump" by Count Basie and His Orchestra, "Hollywood Hop" by Earl "Fatha" Hines  

SUBTLE VIRTUOSITYTo listen to program CLICK HEREIn 1951, Mr. Ahmad Jamal first recorded 'Ahmad's Blues' on Okeh Records. His arrangement of the folk tune 'Billy Boy', and 'Poinciana' (not his original composition), also stem from this period. In 1955, he recorded his first Argo (Chess) Records album that included 'New Rhumba', 'Excerpts From The Blues', 'Medley' (actually 'I Don't Want To Be Kissed'), and 'It Ain't Necessarily So' --all later utilized by Miles Davis and Gil Evans on the albums “Miles Ahead” and “Porgy and Bess.” In his autobiography, Mr. Davis praises Mr. Jamal's special artistic qualities and cites hisinfluence. In fact, the mid-to-late 1950's Miles Davis Quintet recordings notably feature material previously recorded by Mr. Jamal: 'Squeeze Me', 'It Could Happen To You', 'But Not For Me', 'Surrey With The Fringe On Top', 'Ahmad's Blues', 'On Green Dolphin Street' and 'Billy Boy'.In 1956, Mr. Jamal, who had already been joined by bassist Israel Crosby in 1955, replaced guitarist Ray Crawford with a drummer. Working as the “house trio” at Chicago's Pershing Hotel drummer Vernell Fournier joined this trio in 1958 and Mr. Jamal made a live album for Argo Records entitled “But Not For Me”. The resulting hit single and album, that also included 'Poinciana' -- his rendition could be considered his “signature”. This album remained on the Ten Best-selling charts for 108 weeks -- unprecedented then for a jazz album. This financial success enabled Mr. Jamal to realize a dream, and he opened a restaurant/club, The Alhambra, in Chicago. Here the Trio was able to perform while limiting their touring schedule and Mr. Jamal was able to do record production and community work.Mr. Jamal was born on July 2, 1930, in Pittsburgh, Pennsylvania. A child prodigy who began to play the piano at the age of 3, he began formal studies at age 7. While in high school, he completed the equivalent of college master classes under the noted African-American concert singer and teacher Mary Caldwell Dawson and pianist James Miller. He joined the musicians union at the age of 14, and he began touring upon graduation from Westinghouse High School at the age of 17, drawing critical acclaim for his solos. In 1950, he formed his first trio, The Three Strings. Performing at New York's The Embers club, Record Producer John Hammond “discovered” The Three Strings and signed them to Okeh Records (a division of Columbia, now Sony Records).Mr. Jamal has continued to record his outstanding original arrangements of such standards as 'I Love You', 'A Time For Love', 'On Green Dolphin Street' (well before Miles Davis!), 'End of a Love Affair', to cite a few. Mr. Jamal's own classic compositions begin with 'Ahmad's Blues' (first recorded on October 25, 1951!), 'New Rhumba', 'Manhattan Reflections', 'Tranquility', 'Extensions', 'The Awakening', 'Night Mist Blues' and most recently 'If I Find You Again', among many others..In 1994, Mr. Jamal received the American Jazz Masters award from the National Endowment for the Arts. The same year he was named a Duke Ellington Fellow at Yale University, where he performed commissioned works with the Assai String Quartet. A CD is available of these works.In 1970, Mr. Jamal performed the title tune by Johnny Mandel for the soundtrack of the film “Mash!”; and in 1995, two tracks from his hit album “But Not For Me” -- 'Music, Music, Music', and 'Poinciana' -- were featured in the Clint Eastwood film “The Bridges of Madison County”.Mr. Jamal's CD entitled “The Essence” features tenor saxophonist George Coleman -- Mr. Jamal's first recording made with a horn! Critical acclaim and outstanding sales resulted in two prestigious awards: D'jango D'or (critics) and Cloch (for sales) in France. Its success generated a concert at Salle Pleyel, and a CD has been released “Ahmad Jamal a Paris” (1992) and a second “live” concert by Mr. Jamal in l996 under the same title, unissued except in France and available on the Dreyfus Records on the Internet, Mr. Jamal rightly considers one of his best recordings. Ahmad Jamal's 70th Birthday “live” concert recording Olympia 2000, is known as “The Essence Part III”. “The Essence, Part II”, featured Donald Byrd on the title track, and on his CD entitled “Nature”, Stanley Turrentine is featured on 'The Devil's In My Den', and steel drummer Othello Molineaux augments the trio format. Continuing his recording career, Mr. Jamal released “In Search of” on CD, and his first DVD “Live In Baalbeck”.For students of the piano, Hal Leonard Publications has published “The Ahmad Jamal Collection”, a collection of piano transcriptions. Mr. Jamal continues to record exclusively for the French Birdology label, and his albums are released on Verve and Atlantic in the United States.Mr. Jamal is an exclusive Steinway piano artist.Mr. Jamal's 'About My Life' story in his own words:At three years of age, my wonderful Uncle Lawrence stopped me while I was walking past the piano in my parents' living room. He was playing the piano and challenged me to duplicate what he was doing. Although I had never touched this or any piano, I sat down and played note for note what I had heard. “The rest is history.”What a thrilling ride it has been and continues to be. I was born in one of the most remarkable places in the world for musicians and people in the arts - Pittsburgh, PA. At seven years, I was selling newspapers to Billy Strayhorn's family. Billy had already left home; I didn't get to meet him until years later. Following is a partial listing of “Pittsburghers:”George BensonRoy EldridgeArt BlakeyErrol GarnerKenny ClarkeEarl “Fatha” HinesBilly EcksteinPhyllis HymanMaxine SullivanGene KellyStanley TurrentineJoe Kennedy, Jr.Earl WildOscar LevantMary Loe WilliamsLorin MaazelGeorge Hudson (his orchestra was my first job away from home, I was 17 and just out of high school.) - Dodo MarmarosaDakota StatonBilly StrayhornAt seven years of age I began my studies with a wonderful woman, Mary Cardwell Dawson. In addition to her great influence on me, she was very influential in the careers of many musical personalities on a local, as well as worldwide basis. One of her students is my life long friend, violinist, Joe Kennedy, Jr. Later, while still in my teens, I began studying with James Miller, as a result of Mrs. Dawson's relocation to Washington, D.C.After touring with George Hudson's Orchestra, I traveled to Chicago with The Four Strings, a group headed by violinist, Joe Kennedy, Jr. Unfortunately, the group disbanded because of a lack of employment and in 1951, I formed The Three Strings.The year 1951 was the beginning of my recording career. “Ahmad's Blues,” which I wrote in 1948 during my stint with a song and dance team out of East St. Louis, was one of my first recordings; “Ahmad's Blues” has been heard in the stage play, “Who's Afraid of Virginia Woolf?,” and recorded by Marlena Shaw, Natalie Cole, Red Garland and others. The first session also included my arrangement of the folk tune, “Billy Boy,” which arrangement was copied by many of my peers. I wrote “New Rhumba” around 1951 and it has also been recorded and performed by many others, most notably Miles Davis. My most famous recording was done in Chicago in 1958 at the Pershing Hotel with two of the most talented musicians of the century, Israel Crosby and Vernell Fournier.Five decades covering my career are most interesting to me and contain some of the historical data that you can find by clicking the indicated categories of my web page menu. What you can't find won't be available until my proposed autobiography goes to print.To Visit Ahmad Jamal's website CLICK HERE

Earl Kenneth Hines, universally known as Earl "Fatha" Hines, (28 December 1903 Duquesne, Pennsylvania – 22 April 1983 in Oakland, California) was "one of a small number of pianists whose playing shaped the history of jazz".