Podcasts about Earl Hines

Los músicos de Lunceford ensayaban a diario. Sus habilidades de lectura a primera vista se pusieron a prueba cuando actuaron en los musicales Jubilee en California. Los Jubilees eran programas de radio en vivo. Los Jubileos fueron concebidos como la “respuesta” negra a programas populares como Command Performance y Mail Call, dirigidos a los militares blancos. Con José Manuel Corrales.

The pianist and bandleader was an influential figure in the development of the piano as a jazz instrument. 

During the mid-20th Century, social clubs played a large role in the Black music scene of Indianapolis. Local social clubs, including the Defiants and Cosmo Knights, hosted major concerts and dances across the city. One of the earliest Indianapolis social clubs to make an impact on the city's music scene was The Bohemian Club. The Bohemian club was started in the early 1920s and included many prominent Indiana Avenue men, from civil servants, like the Indianapolis police officer Roy Kennedy, to William “Kid” Edwards, a boxing promoter, and owner of a radio and record shop, on the Avenue. During the 1920s and ‘30s, the Bohemian Club sponsored major concerts and dances, featuring national and local performers, including Earl Hines, Roy Eldridge, Cleo Brown, Speed Webb, Slim Green, and many others.  A 1947 article in the Indianapolis Recorder declared that “The Bohemian Club hosted the ritziest and most elegant affairs ever held along the Avenue.” The club also gave back to the community, as many of their events, were fundraisers for the Indianapolis Colored Orphans Home. This week on Echoes of Indiana Avenue, we'll celebrate the history of the Bohemian Club, by listening to music from artists who performed at their events.

JAZZ AT THE PHILHARMONIC “CARNEGIE HALL” New York, September 16, 1950Norgran blues (improvisation), Lady be good, A ghost of a chance (fp out)Harry “Sweets” Edison (tp) Bill Harris (tb) Flip Phillips, Lester Young (ts) Hank Jones (p) Ray Brown (b) Buddy Rich (d) RUBY BRAFF “BRAFF !” New York, June 26, 1956As long as I live, Blue turning grey over you, If I had you, It's been so longRuby Braff (tp) Dave McKenna (p) Steve Jordan (g) Buzzy Drootin (d) COZY COLE “ALL STARS” New York, February 22, 1944Father co-operates, Just one more chance, Thru' for the nightJoe Thomas (tp) Trummy Young (tb) Coleman Hawkins (ts) Earl Hines (p) Teddy Walters (g) Billy Taylor (b) Cozy Cole (d) Continue reading Puro Jazz 08 de abril, 2025 at PuroJazz.

JAZZ AT THE PHILHARMONIC “CARNEGIE HALL” New York, September 16, 1950Norgran blues (improvisation), Lady be good, A ghost of a chance (fp out)Harry “Sweets” Edison (tp) Bill Harris (tb) Flip Phillips, Lester Young (ts) Hank Jones (p) Ray Brown (b) Buddy Rich (d) RUBY BRAFF “BRAFF !” New York, June 26, 1956As long as I live, Blue turning grey over you, If I had you, It's been so longRuby Braff (tp) Dave McKenna (p) Steve Jordan (g) Buzzy Drootin (d) COZY COLE “ALL STARS” New York, February 22, 1944Father co-operates, Just one more chance, Thru' for the nightJoe Thomas (tp) Trummy Young (tb) Coleman Hawkins (ts) Earl Hines (p) Teddy Walters (g) Billy Taylor (b) Cozy Cole (d) Continue reading Puro Jazz 08 de abril, 2025 at PuroJazz.

EARL HINES AND HIS ORCHESTRA Chicago, IL, February 13, 1929Everybody loves my baby (eh vcl) Sweet Ella May (wf vcl)Shirley Clay, George Mitchell (cnt) William Franklin (tb,vcl) Lester Boone (cl,as,bar) Toby Turner (cl,as) Cecil Irwin (ts,cl,arr) Earl Hines (p,vcl) Claude Roberts (bj,g) Hayes Alvis (tu,vcl,arr) Benny Washington (d,vib) Alex Hill (arr) New York, June 28, 1932Sensational mood (hw arr), My one ambition is you (wf vcl)Charlie Allen (tp) George Dixon (tp,arr) Walter Fuller (tp,vcl) Louis Taylor (tb,arr) William Franklin (tb,vcl) Darnell Howard (cl,as,vln) Omer Simeon (cl,as,bar) Cecil Irwin (ts,cl,arr) Earl Hines (p) Lawrence Dixon (g,arr) Quinn Wilson (b,tu,arr) Wallace Bishop (d) Henry Woodip, Reginald Foresythe (arr) LOVIE AUSTIN ORCHESTRA W/ NATTY DOMINIQUE Chicago, c. Continue reading Puro Jazz 17 de diciembre, 2024 at PuroJazz.

EARL HINES AND HIS ORCHESTRA Chicago, IL, February 13, 1929Everybody loves my baby (eh vcl) Sweet Ella May (wf vcl)Shirley Clay, George Mitchell (cnt) William Franklin (tb,vcl) Lester Boone (cl,as,bar) Toby Turner (cl,as) Cecil Irwin (ts,cl,arr) Earl Hines (p,vcl) Claude Roberts (bj,g) Hayes Alvis (tu,vcl,arr) Benny Washington (d,vib) Alex Hill (arr) New York, June 28, 1932Sensational mood (hw arr), My one ambition is you (wf vcl)Charlie Allen (tp) George Dixon (tp,arr) Walter Fuller (tp,vcl) Louis Taylor (tb,arr) William Franklin (tb,vcl) Darnell Howard (cl,as,vln) Omer Simeon (cl,as,bar) Cecil Irwin (ts,cl,arr) Earl Hines (p) Lawrence Dixon (g,arr) Quinn Wilson (b,tu,arr) Wallace Bishop (d) Henry Woodip, Reginald Foresythe (arr) LOVIE AUSTIN ORCHESTRA W/ NATTY DOMINIQUE Chicago, c. Continue reading Puro Jazz 17 de diciembre, 2024 at PuroJazz.

This is episode 20 of Ben's radio show Red White Blues: an Anthology of America's Music (aired 14 November 2024 on Radio Buena Vida). We're able to share it because the music played is all non-commercial V-Discs taken from the Internet Archive: https://archive.org/details/V-discs1-991943-1944. On this episode, we look at the history of V-Discs and the rise of vinyl. In August of 1942, the American Federation of Musicians declared a strike: an all-out ban on members going into the studio and recording music. The strike was called to force the big three record companies to increase the royalty rate on recorded music paid to musicians, which had become a substantial part of music workers' business in an American culture structured around the production of consumer goods. The strike would last for two years, in which time no commercial records were made. But the US military and the big labels joined forces to create V-Discs (or Victory Discs)—non-commercial records for the enjoyment of the American soldiers and staff stationed abroad. Records up to this point were made of a rationed material sorely needed in the production of armaments: shellac. With the US having an abundance of oil, the petroleum-based vinyl record came to prominence and it's been that way ever since. Oil-based plastic didn't just shape music manufacture in its own image, though—it shaped American consumerism, which undergirds the world as we know it through mass production and mass communication, the end result of which is masses. It's us. Tracks played (with V-Disc catalog numbers in brackets): 1. “Ain't Misbehaving & Two Sleepy People”, Fats Waller [32] 2. “There's Gonna Be A Hot Time In The Town Of Berlin”, Frank Sinatra [72]—with introduction from side A (“I Only Have Eyes For You”) 3. “Blues in Berlin”, Josh White [44] 4. “Pearl Harbor Blues”, Dr Clayton [82] 5. “Ring Dem Bells”, Duke Ellington and his Orchestra [37] 6. “Redman Blues”, Don Redman Orchestra [104] 7. “A Smooth One”, Benny Goodman, Cootie Williams, Charlie Christian et. al. [187] 8. “Jelly Jelly”, Earl Hines and His Orchestra [308] If you like the show, you can listen to every episode right here on SoundCloud or by following this link: https://soundcloud.com/spaghettiforbrains/sets/red-white-blues

Hear the final episode in our two-part series celebrating the life and music of Barbara Dane, a legendary, folk, blues, and jazz singer who used her voice to advocate for social justice and civil rights. Dane passed away in October of 2024, she was 97 years old. Listen to a 2018 interview Dane recorded with WFYI's Kyle Long, along with rare recordings from her discography. Barbara Dane began singing on the picket lines of Detroit as a teenager. Politics and activism would remain a central focus of her music. She would go on to record for the biggest labels in American music and collaborate with iconic artists, including Louis Armstrong, Earl Hines, and Lightnin' Hopkins.  At the height of the 1960s folk music boom, Bob Dylan called Dane a hero. But Dane never experienced the commercial success of her folk singing peers like Dylan. She refused to compromise her principles for corporate record companies, which led Dane to start her own label in the 1970s, Paredon Records. Through her Paredon label, Dane issued revolutionary music from Palestine, Vietnam, and Cuba. She also released her own recordings on the label, including the 1973 album “I Hate the Capitalist System”.  On this edition, we'll discuss Dane's work with Paredon, and her connection to Bob Dylan.

Hear the first episode in our two-part series celebrating the life and music of Barbara Dane, a legendary, folk, blues, and jazz singer who used her voice to advocate for social justice and civil rights. Dane passed away in October of 2024, she was 97 years old. Listen to a 2018 interview Dane recorded with WFYI's Kyle Long, along with rare recordings from her discography. Barbara Dane was born Barbara Jean Spillman in Detroit, Michigan in 1927. She began singing on the picket lines of Detroit as a teenager. Politics and activism would remain a central focus of her music. Dane would go on to record for the biggest labels in American music and collaborate with iconic artists, including Louis Armtstrong, Earl Hines, and Lightnin' Hopkins.  At the height of the 1960's folk music boom, Bob Dylan called Dane a hero. But Dane never experienced the commercial success of her folk singing peers like Dylan. She refused to compromise her principles for corporate record companies, which led Dane to start her own label in the 1970s, Paredon Records. Through her Paredon label, Dane issued revolutionary music from Palestine, Vietnam, and Cuba. She also released her own recordings on the label, including the 1973 album “I Hate the Capitalist System”.

Eddie Wilcox se convirtió en un prolífico compositor. Probablemente produjo tantos arreglos para la banda como Sy Oliver. La mayor parte del libro de canciones durante los últimos años de existencia de la banda fue escrito por él. La formación clásica de Wilcox fue la responsable de su excepcional forma de escribir para saxofón. Con José Manuel Corrales.

PETE BROWN “HARLEM JUMP AND SWING” New York, November 16, 1954There will never be another you, I can't believe that you're in love with me, Used blues, Moonlight in Vermont, The world is waiting for the sunriseJoe Wilder (tp) Pete Brown (as) Wade Legge (p) Wally Richardson (g) Gene Ramey (b) Rudy Collins (d) BILL COLEMAN “SALLE PLEYEL” Paris, France, October 18, 1952When the saints go marching in, Baby won't you please come home, Ghost of a chance, Basin street bluesBill Coleman (tp,vcl) Dicky Wells (tb) Guy Lafitte (cl,ts) Wray Downes (p) [as Randy Downes (p) ] Buddy Banks (b) Zutty Singleton (d) Miriam Burton (vcl) COZY COLE “ALL STARS” New York, February 22, 1944Blue Moon, Father Co-Operates, Just One More Chance, Thru' For The NightJoe Thomas (tp), Trummy Young (tb), Coleman Hawkins (ts), Earl Hines (p), Teddy Walters (g), Billy Taylor (b), Cozy Cole (d) Continue reading Puro Jazz 24 de septiembre, 2024 at PuroJazz.

PETE BROWN “HARLEM JUMP AND SWING” New York, November 16, 1954There will never be another you, I can't believe that you're in love with me, Used blues, Moonlight in Vermont, The world is waiting for the sunriseJoe Wilder (tp) Pete Brown (as) Wade Legge (p) Wally Richardson (g) Gene Ramey (b) Rudy Collins (d) BILL COLEMAN “SALLE PLEYEL” Paris, France, October 18, 1952When the saints go marching in, Baby won't you please come home, Ghost of a chance, Basin street bluesBill Coleman (tp,vcl) Dicky Wells (tb) Guy Lafitte (cl,ts) Wray Downes (p) [as Randy Downes (p) ] Buddy Banks (b) Zutty Singleton (d) Miriam Burton (vcl) COZY COLE “ALL STARS” New York, February 22, 1944Blue Moon, Father Co-Operates, Just One More Chance, Thru' For The NightJoe Thomas (tp), Trummy Young (tb), Coleman Hawkins (ts), Earl Hines (p), Teddy Walters (g), Billy Taylor (b), Cozy Cole (d) Continue reading Puro Jazz 24 de septiembre, 2024 at PuroJazz.

JAZZ AT THE PHILHARMONIC CARNEGIE HALL New York, September 16, 1950Norgran blues (improvisation), Lady be good, A ghost of a chance (fp out)Harry “Sweets” Edison (tp) Bill Harris (tb) Flip Phillips, Lester Young (ts) Hank Jones (p) Ray Brown (b) Buddy Rich (d) RUBY BRAFF BRAFF ! New York, June 26, 1956As long as I live, Blue turning grey over you, If I had you, It's been so longRuby Braff (tp) Dave McKenna (p) Steve Jordan (g) Buzzy Drootin (d) COZY COLE ALL STARS New York, February 22, 1944Father co-operates, Just one more chance, Thru' for the nightJoe Thomas (tp) Trummy Young (tb) Coleman Hawkins (ts) Earl Hines (p) Teddy Walters (g) Billy Taylor (b) Cozy Cole (d) Continue reading Puro Jazz 16 abril 2024 at PuroJazz.

JAZZ AT THE PHILHARMONIC CARNEGIE HALL New York, September 16, 1950Norgran blues (improvisation), Lady be good, A ghost of a chance (fp out)Harry “Sweets” Edison (tp) Bill Harris (tb) Flip Phillips, Lester Young (ts) Hank Jones (p) Ray Brown (b) Buddy Rich (d) RUBY BRAFF BRAFF ! New York, June 26, 1956As long as I live, Blue turning grey over you, If I had you, It's been so longRuby Braff (tp) Dave McKenna (p) Steve Jordan (g) Buzzy Drootin (d) COZY COLE ALL STARS New York, February 22, 1944Father co-operates, Just one more chance, Thru' for the nightJoe Thomas (tp) Trummy Young (tb) Coleman Hawkins (ts) Earl Hines (p) Teddy Walters (g) Billy Taylor (b) Cozy Cole (d) Continue reading Puro Jazz 16 abril 2024 at PuroJazz.

In concert dal festival da jazz a Helsinki, 1967 La chantadura da jazz Sarah Vaughan ha concertà cun grondas bands avant ch'ella è daventada artista solista. Cun la victoria d'ina concurrenza da talents che ha gì lieu en il teater «Apollo» a Harlem ha ella lantschà sia carriera da chantadura. Ella ha lavurà ensemen cun bandleaders sco Earl Hines e Billy Eckstine avant ch'ella è daventada interpreta da solo.  Sarah Lois Vaughan è naschida ils 27 da mars 1924 a Newark/New Jersey. Las emprimas experientschas sco chantadura ha ella fatg en il rom d'ina concurrenza da talents che ha gì lieu en il teater «Apollo» a Harlem. Suenter ch'ella aveva ristgà da sa participar ha ella gudagnà il 1942 la concurrenza cun sia chanzun «Body and soul». Ella ha survegnì l'attenziun d'in auter vocalist, numnadamain da Billy Eckstine, che ha persvas Earl Hines d'engaschar Vaughan per chantar cun ses orchester. Il 1944 ha Vaughan bandunà Hines per entrar en la nova band dad Eckstine. Cun Eckstine sunavan er il trumbettist Dizzy Gillespie ed il saxofonist Charlie Parker, dus dals piuniers da la nova furma da jazz che è vegnida enconuschenta sco bebop. Il proxim decenni ha Vaughan producì dapli musica da pop tar la gronda chasa discografica Mercury Record. Ella ha chantà hits sco «Whatever Lola Wants» (1955), «Misty» (1957) e «Broken-Hearted Melody» (1959). Vaughan ha dà concerts en ils Stadis Unids ed en l'Europa, uschia er il 1967 a Helsiniki cun il Bob James Trio, il concert che nus udin hoz. Suenter ils onns 1950 è sa midà il gust musical dal grond public e la carriera da Sarah Vaughan è vegnida interrutta. Ella è però restada ina interpreta populara, surtut cura ch'ella chantava live. Ses public era fascinà da sia vusch loma ed intensiva, ses chant e ses tuns emoziunals. Tar las registraziuns che Vaughan ha fatg pli tard tutgan interpretaziuns da chanzuns dals Beatles e musica brasiliana. Il concert final ha ella dà il 1989 en il Blue Note Club da New York. Ella è morta ils 3 d'avrigl 1990 cun 66 onns a Hidden Hills, in quartier da citad da Los Angeles en California. 

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

1 – Farmer in a Dellemma - Bert Shefter and his Orchestra – 19382 - Chick Chick Chick Chick Chicken (Lay a Little Egg for Me) - Seven Little Polar Bears - 19263 - El Vendedor de Huevos (The Egg Man) - Jose Luis Monero con A. Mendez Orchestra – 19464 - Jack Climbed a Beanstalk - Raymond Nance with Earl Hines and his Orchestra - 19385 - Chile Bean - Paul Biese Trio with Frank Crumit – 19206 - Beans and Corn Bread - Louis Jordan and his Tympany Five - 19477 - Hot String Beans - Joe Marsala and his Chicagoans – 19388 - Jelly Bean Blues - Mama Can Can and Orphan Will with the Elastic Band – 19249 - He's a Curbstone Cutie (They Call Him Jelly-Bean) - Tiny Hill and his Orchestra – 194010 - Red Beans and Rice - Alberta Jones and Horsey's Hot Five - 192811 - String Beans - Vincent Rose and his Montmartre Orchestra – 192412 - Beans! Beans!! Beans!!! - Eddie Morton – 191213 - Mexican Jumping Bean - Raymond Scott and his New Orchestra – 193914 - El Manicero (The Peanut Vender) - Antonion Machin con Don Azpiazu y su Orquesta del Casino de Habana – 193015 – Peanuts From Heaven – Fletcher Henderson and his Orchestra – 1941

Today's show is a playlist of fun: Host, Ernie Whitman gets the jazz going with Erl Hines and his orchestra who play, I Know That You Know. The Lou Mel…

Detroit has a remarkable jazz tradition starting in the 1920s. Venues both palatial (Graystone, Fox, Club Plantation, Paradise) and small (Band Box, Palms) hosted great jazz. Featuring Jean Goldkette, McKinney's Cotton Pickers, Chocolate Dandies, Earl Hines, and Billie Holiday.

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)

And I really do mean the greats! There are the ones you all know like Louis Armstrong, John Coltrane, Bill Evans, Diana Krall, Dave Brubeck, Oscar Peterson, Sarah Vaughan Artie Shaw, Phil Woods, Earl Hines, and Tony Bennett. But I also include Toronto pianist Robi Botos, and the wonderful jazz couple of singer Jennifer Scott…Continue reading Archives: Ep.172, Jazz Greats Celebrate Christmas

Excellent if unapprecciated big band led by the great pianist Earl Hines. Featuring arrangments by Franz Jackson, Budd Johnson and Gerald Valentine, soloists include Johnson, Jackson, tenor sax player Bob Crowder, alto sax Scoops Carey, clarinets Omer Simeon and Leroy Harris and brass players including John "Streamline" Ewing, Harry Jackson, Walter Fuller and Ed Sims. Vocals by Billy Eckstine! --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

MUGGSY SPANIER - AND HIS RAGTIMERS  - New York, April 22, 1944 Sweet Lorraine, Lady be good, September in the rain Muggsy Spanier (cnt) Ernie Caceres (bar) Pee Wee Russell (cl) Dick Cary (p) Eddie Condon (g) Sid Weiss (b) Joe Grauso (d) GARLAND WILSON - PIANO SOLO  - New York, May 18, 1931 (Medley :) Dear old southland, Limehouse blues, St. James infirmary (gw vcl) Garland Wilson (p,vcl)  - Paris, c. December 1933 Mood indigo Garland Wilson (p) EARL HINES AND THE DUKE'S MEN: SONNY GREER  - New York, May 16, 1944 Kansas City caboose, Sleepy baboon Rex Stewart (cnt) Lawrence Brown (tb) Jimmy Hamilton (cl,ts) Harry Carney (bar) Marlowe Morris (p) Teddy Walters (g) Oscar Pettiford (b) Sonny Greer (d) Brick Fleagle (arr) EARL HINES  - New York, April 26, 1944 Blues on my weary mind (br vcl), Design for jivin' (1) Ray Nance (tp,vln-1) Johnny Hodges (as) [as J. Harjes (as) on labels] Flip Phillips (ts) Earl Hines (p) Al Casey (g) Oscar Pettiford (b) Sidney Catlett (d) Betty Roche (vcl) CAT ANDERSON  - New York, May 14, 1947 Cat's boogie Cat Anderson, Lee Brown, Don Devilla, Archie Johnson (tp) Joe Stroud (tp,vcl) Joe Britton, Floyd Brady, LeRoy Hardison, George Stevenson (tb) Curby Alexander, Vince Royal (as) John Hartzfield, Vincent McCleary (ts) Howard Austin (bar) Horatio Duran (p) Bob Paige (b) Bobby Donaldson (d) JO JONES SEXTET - VAMP 'TIL READY  - New York, April 19, 1960 Vamp 'till ready, You're getting to be a habit with me(tf,tp & jj only), Should I ? (he,jf out), Thou swell (bg,jf out), Show time Harry "Sweets" Edison (tp) Bennie Green (tb) Jimmy Forrest (ts) Tommy Flanagan (p) Tommy Potter (b) Jo Jones (d)

Earl Hines' very few solo recordings during this period - Blue Note, Victor and Bluebird as well as a trio with Al Casey and Oscar Pettiford and a Keynote session led by Charlie Shavers with Tab Smith. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

A lot of folk songs—and I’m talking mostly about traditional tunes—have been adapted into jazz. And in a lot of cases the results have been spectacular! Right from the earliest years of jazz when Louis Armstrong with Earl Hines had the 1929 hit of St. James Infirmary. And today, 94 years later, we have the…Continue reading Episode 239: Folk Music and Jazz, Part 1

Featuring the latest release from NYC downtown legends Sex Mob (with Scotty Hard); rockstar keyboardist Rachel Eckroth throwing down for us; British composer Isobel Waller-Bridge; modern drumming icon Mark Guiliana; NYC trumpet master and composer Kenny Warren with his quartet; the genius of Erin McKeown; a cut from Erik Deutsch's 2012 lo-fi psychedelic soul jazz journey, “Demonio Teclado”; one of the baddest that ever was, Earl Hines; and an all-time great, Air.

Tonight on Jazz After Dark: a retrospective of the career of jazz pianist Earl Hines. His career spanned 1920 to 1983 and bridged early jazz, swing, bebop, and more. In his later career resurgence he did many solo performances and duets, producing over a hundred albums in the 1960s and '70s. We'll hear selections from his early work with Louis Armstrong, some swing recordings from Chicago in the 1930s, some live performances solo and with his orchestra from the 1950s and '60s, and then duets with Johnny Hodges, Jimmy Rushing, and Paul Gonsalves. Then a bit of Gershwin and a live performance from 1973.

Earl Hines and Dion O'Reilly talk about earning an MFA at Pacific University, read and discuss the fabulous poem, "Shrike," by Henri Cole​, and read and talk about Hines latest book Any Dumb Animal.  AE Hines's debut collection, Any Dumb Animal, received Honorable Mention in the North Carolina Poetry Society's 2022 Brockman-Campbell Book contest, and was a daVinci Eye finalist for the Eric Hoffer Book award. His poems have been widely published in anthologies and literary journals, including more recently: Rattle, Alaska Quarterly Review, The Southern Review, Rhino, Ninth Letter, The Missouri Review, Poet Lore, The Greensboro Review, and I-70 Review. He is currently pursuing his MFA in Writing at Pacific University.

Blind Boy Fuller, Washboard Sam y Big Maceo, serán los tres susodichos titanes. Además de estos grandes del blues también contaremos con la presencia de fieras como The Lion & Atilla, rústicos de excepción como Roane County Ramblers y Louise Massey and His Westeners, y estrellas como Jean Sablon y Earl Hines. El sábado a partir de las 23.00 horas en la sintonía de Radio 3. Escuchar audio

The great New Orleans clarinetist Jimmie Noone had prolific life in the recording studio with his band, variously called the Apex Club, El Rado or Nest Orchestra, the two reed front line was unique, as was the focus on sophisticated pop songs of the day in addition to jazz and blues. In these last four sessions (1931, 33, 34, and 35) Noone is paired with saxophonist and vocalist Eddie Pollack and occasionally trumpeter Jimmy Cobb along with either Zinky Cohn or Earl Hines on piano, John Henley on guitar, either Quinn Wilson or John Lindsay on bass and Benny Jackson on drums. --- Support this podcast: https://anchor.fm/john-clark49/support

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.

Sidney Bechet unfettered, with just rhythm sections recording for Blue Note and Victor 1939-41 . .great sides including "Summertime," "Strange Fruit," and "Blues in Thirds" --- Support this podcast: https://anchor.fm/john-clark49/support

Shellac Stack No. 289 wanders away with Fred Waring's Pennsylvanians then walks back with Doc Evans' Band. Along the way, we hear from Earl Hines, Marion Harris, Cy Walter, Isham Jones, Johnny Hamp, Don Byas, Benny Goodman, and more. Thank you for supporting the “Shellac Stack” on Patreon: patreon.com/shellacstack

Featuring brand new joints from two fresh duo projects: Dawn Richard and Spencer Zahn + Sly5th Ave and Swiss; the undeniable propulsive force that is Amendola vs. Blades; a debut single from a new project straight from the mind of British alt/indie/art rocker Freddie Cowans aka Freddie and the Scenarios; NOLA tribute supergroup The Wonderful World of Louis Armstrong; the primal beauty of Sara Schoenbeck's virtuosic bassoon improvisations; a little something from Erik's debut record, “Fingerprint”; and finally, masters Earl Hines and Ella Fitzgerald reminding us where we came from.

Earl Hines was in Paris in November, 1949 with the Louis Armstrong All Stars and Vogue Records used his presence on two recording sessions- one of solos and one with a trio, quartet and quintet including his fellow All Stars Barney Bigard and Arvell Shaw. Rounding out the group was trumpeter Buck Clayton, who was touring France at the same time with his own group, featuring drummer Wallace Bishop (who had played with Hines' big band in the 1930's). --- Support this podcast: https://anchor.fm/john-clark49/support

El piano, pilar armónico y melódico de los grupos de jazz es un tema casi inabarcable, tantos son los grandes maestros. Traemos en 7 episodios, los mas destacados a nuestro juicio. Desde el rag de Scott Joplin pasamos a Jelly Roll, luego los maestros de stride de Harlem, Duke, Fats, Basie, el boogie woogie de Sam Price, Meade Lux Lewis y nos vamos con Earl Hines. Hosted on Acast. See acast.com/privacy for more information.

Great sides on the more swing-side done by Bechet's New Orleans Feetwarmers for Victor . . Rex Stewart, John Lindsay, Baby Dodds, Herb Jeffries and Earl Hines on one date; Willie the Lion Smith, Charlie Shavers, Everett Barksdale, Wellman Braud and either Manzie Johnson or Big Sid Catlett on the other two. --- Support this podcast: https://anchor.fm/john-clark49/support

The great New Orleans clarinetist Johnny Dodds made three sessions in the spring and fall of 1927 with a band he called the Black Bottom Stompers . .in a trio with Lil Armstrong and Bud Scott and two full bands with Natty Dominique, George Mitchell, Louis Armstrong, Roy Palmer, John Thomas, Barney Bigard, Earl Hines, Charlie Alexander, Bud Scott and Baby Dodds as well as one guest reunion with King Oliver in 1926. These well-recorded sides show why he was held in such esteem from his earliest performing days until his death in 1940. --- Support this podcast: https://anchor.fm/john-clark49/support

If you've ever learned a band instrument, or know someone who has, chances are you've heard the tune "Blues in the Closet" — a signature of the bebop era. What you may not know is that its roots go back to north Minneapolis, where one of its creators grew up. And today — Friday, Sept. 30, 2022 — marks exactly 100 years since that jazz pioneer, Oscar Pettiford, was born. Pettiford music 1 Pettiford got his start on the stages of the Twin Cities, helping create a "Minneapolis sound" long before Prince — a sound that forever changed American music. He played with a who's-who of jazz greats across the U.S. and in Europe, before his untimely death. "He probably doesn't get the right amount of credit that he should," bassist Christian McBride, host of NPR's "Jazz Night in America" and a six-time Grammy winner, said of Pettiford. Courtesy of the Minnesota Historical Society Oscar Pettiford, on bass, played with his brother Ira, a trumpeter, at the University of Minnesota's Coffman Union in Minneapolis in 1941, in this photo from the Minnesota Historical Society collections. "He was probably the most important bass player of that bebop generation in terms of creating new language for the bass, and playing what Dizzy Gillespie and Charlie Parker were playing, on the bass." Pettiford was born in Oklahoma, the son of Native American and Black families. Oscar, his brother Ira, and their large, musical family soon moved to Minnesota. "They were traveling musicians, who traveled with different artists, who picked up different skills, who jumped in different bands," said Jamela Pettiford, a singer from St. Paul who still carries the family name. She also teaches theater at Battle Creek Middle School. Oscar was her grandfather's cousin. "Coming here to Minnesota, looking for a better life, of course hoping for less discrimination — and there was a music scene here. They very much were the Minneapolis sound at the time." It was Oscar who rose above the rest. Bands passing through town heard his sound, forged in the ferment of a musicians' strike in the early 1940s that all but shut down the recording industry and had musicians making a living with relentless performing and creativity. Pettiford music 2 Oscar Pettiford remembered the era with another jazz legend — radio host Leigh Kamman —in the early 1950s, captured in a recorded interview still held by the Leigh Kamman Legacy Project. "I recall one night when you had a big session with Coleman Hawkins," Kamman says in the recording. "Up in Duluth, Minnesota. Before then, it was Cab Calloway and Duke Ellington." "And you wound up with the Duke, didn't you, as a member of his rhythm section?" "Yeah, Duke Ellington, and also Coleman Hawkins." Asked by Kamman to describe his musical talents, Pettiford said: "Well, basically I'm a bass player. For kicks I play cello, for thought I play piano, and for odd moments I beat on the drums.” Courtesy of the Minnesota Historical Society This undated promotional photo of Oscar Pettiford is datelined New York City, where he was a regular in the post-World War II jazz scene, often backing the likes of Miles Davis, Thelonius Monk, Earl Hines and Coleman Hawkins. Pettiford left for New York City in the 1940s and became a regular at the legendary Minton's Playhouse, the Harlem incubator of the sound that succeeded the Big Band swing era. He played with the likes of Dizzy Gillespie and Thelonious Monk. He went on to become a regular with Miles Davis and Milt Jackson. Pettiford's style would come to sound familiar to any modern ear — featuring virtuoso turns of bass in a small group and propelling the rhythm section to the front of the sound. Anthony Cox is a well-known Twin Cities bass player and student of the era. "He had, let's call it that three-dimensional style, that really wasn't examined before," Cox said. "And what I mean by that is that the bass was really starting to outline the harmonies, providing propulsion and time." But Oscar Pettiford never had the legacy of Miles Davis or even bassist Ron Carter. And there are a couple reasons for that. First, Pettiford got sick and died literally at the height of his powers. He was only 37 when, by some accounts, he contracted something like polio and died in 1960. But there's also where he died — in Copenhagen, Denmark. He'd moved to Europe, like many of the jazz greats, in the late 50s — to flee the pernicious racism that even music stars and pioneers couldn't escape. Tim Nelson | MPR News Jamela Pettiford says people still ask her family about her grandfather's cousin, legendary jazz bassist Oscar Pettiford, who moved to Minnesota as a child and became part of a legendary family music ensemble in Minneapolis before moving to New York and helping transform American music after World War II. "You do start to realize when you don't feel welcome in your own home," said Jamela Pettiford. Pictures of the era show traveling musicians sleeping in Ira Pettiford's living room in Minneapolis — likely because area hotels wouldn't give Black people a room. "And it was difficult to perform for audiences where you had to go through the back or you had to sit by the kitchen. And for Blacks, at that time, in Europe, you were welcomed with open arms," Jamela Pettiford said. And that's where Oscar Pettiford is today, buried in a grave in Denmark. There's even a street named after him in Copenhagen. There's no such formal recognition in Minnesota. But his family, and fans of his enduring music, remember him still, today, a century after he was born.

New Music of Reginald Foresythe - original music by a true original. The black British pianist who was known as the composer of Earl Hines' them "Deep Forest" and things like "Dodging a Divorcee" and "Serenade to a Wealthy Widow" and his very unusual arrangements for woodwinds and rhythm. His last date in the US featured soon to be swing stars Benny Goodman, Gene Krupa, Toots Mondello, Hymie Schertzer and Johnny MInce! --- Support this podcast: https://anchor.fm/john-clark49/support

After their first military foray into Tunisia, the members of Operation: American Defense take time to prepare for their next encounter with the Axis Powers. Some heroes begin to doubt their mission and question their place with the team. Is this the end of Operation: American Defense so soon after it was formed? Support us on Patreon: https://www.patreon.com/mistconceptionspod Join our Discord: discord.gg/PxbfcpTJu2 Cast: David (he/him; @MrBananaSocks) as the Editor in Chief, Mitch (he/they; @mitchbustillos) as Omission (he/him), Marlo (she/her; @boggwitch) as Crystal Gazer (she/her), Phil (he/them; @BMCPHILANTHROPY) as Torchbearer (he/him), Kristie (she/her; @PolishKristie) as Geiger Gwen (she/her), Occam (they/them; @occamsockemrobo) as Dr. Fusion (he/him), Kari (she/her) as Sister Solstice (she/her) Music in this episode: Sad and Blurred Piano with Orchestra by Guiseppe Rizzo, Fat Babes by Earl Hines & His Orchestra, A Bundle of Love Letters by Paul Whiteman

Shellac Stack No. 273 relaxes ‘neath the blue Italian skies with Claudio Villa, the Banda Tafarella, Pietro Deiro, and the Blackstone Trio. We also hear from the Benny Goodman Quartet, Ted Lewis, Joel Shaw, Jack Hylton, and Harry Reser. Fine jazz piano from Earl Hines too! Thanks for supporting the Shellac Stack on Patreon: patreon.com/shellacstack

Shellac Stack No. 270 parades with Pauline Alpert and Sam Lanin and journeys to Spain and New Orleans. We hear from artists as diverse as Paul Ash, Brother Bones, Jimmie Noone, Dick Hyman, Jesse Crawford, the Rondoliers and Piano Pals, Earl Hines, Pete Daily, and many more. Join us!

From the 1930s and '40s, we'll hear Lester Young & The Kansas City Six, Louis Armstrong, The RCA All-Stars: Tommy Dorsey, Bunny Berigan, Fats Waller, Dick McDonough, and "Georgia" Wettling. Then Doris Day, Red Garland, and Dinah Washington, followed by a bossa nova set with Nara Leão, Charlie Rouse, and Ella Fitzgerald. From the 1970s, we'll hear Gerry Mulligan and Earl Hines, and then take it out with Waverly Seven.

Dodo Marmarosa Trio - "Mellow Mood" Robert Wilkins - "Rolling Stone" [0:02:59] Gus Bodenheim - "An Open Letter to the Ladies" [0:10:57] Barney Kessel's All-Stars - "Slick Chick" [0:13:30] George Formby - "Springtime's Here Again" [0:16:18] Jim & Bob (The Genial Hawaiians) - "The Song of the Range" [0:19:16] Noël Coward - "Any Little Fish" [0:21:50] Riley Puckett - "Tie Me to Your Apron Strings Again" [0:24:15] Blind Willie McTell & Ruby Glaze - "Mama, Let Me Scoop for You" [0:30:55] Josh White - "Pure Religion" [0:33:37] Lee Sims - "Falling In Love with You" [0:36:52] Euneeda Bodenheim - "Delbarton's Poesy Alive™ (celebrating National Poetry Month)" [0:40:34] Frankie Trumbauer & His Orchestra - "Humpty Dumpty" [0:42:33] [0:45:25] Lonnie Johnson - "Winnie the Wailer" [0:48:44] Bob & Ray - "Mary McGoon Explains "Scrabbopoly"" [0:51:40] Earl Hines and His Orchestra - "Blue Drag" [0:55:07] https://www.wfmu.org/playlists/shows/114125

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless AFN programmes were widely enjoyed by the British civilian listeners who could receive them and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programmes available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London. --------------------------------------------------------------------------- Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theater https://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441 https://live365.com/station/CBS-Radio-Mystery-Theater-a57491 ----------------------------------------------------------------------------

Playlist of the show:1. Fly me to the moon2. Rhapsody in Blue (Gershwin)3. A kiss to build a dream on (Louis Armstrong)4. Weather Bird (Louis Armstrong & Earl Hines)5. Blues in thirds (Earl Hines)6. Ain't misbehavin' (Fats Waller)7. All of me (Gerald Marks)

Jazz Anthology di lun 09/08/21

Tra gli anniversari del jazz che si ricordano in questo 2021, anche il centenario dalla nascita di Wardell Gray, brillante tenorsassofonista la cui carriera fu però di breve durata. Scomparve a Las Vegas nel 1955, a soli 34 anni, in circostanze mai del tutto chiarite.Fu legato nei primi anni '40 all'orchestra di Earl Hines, poi a quella di Billy Eckstine dove figuravano buona parte dei “modernisti” del bop. Stabilitosi sulla West Coast, a Los Angeles in particolare, si mise in mostra quale uno dei musicisti più brillati che si esibivano nei molti locali: leggendarie divennero le sue sfide musicali, le cosiddette “chases”, con il suo famoso collega di strumento Dexter Gordon. Collaborò in seguito con Benny Goodman e Count Basie, e fu sempre più richiesto in studio di registrazione. Con gli anni '50 inizio precocemente un declino che molti collegano ai suoi problemi di tossicodipendenza.Maurizio Franco ricorda in Birdland la vicenda di un musicista che avrebbe avuto ancora molto da dire.