Podcasts about Fletcher Henderson

46:05 – Bessie Smith’s first five recording sessions for Columbia Records, which made her a star and got her dubbed the Empress of the Blues. These sessions cover the first half of 1923, and also feature (at the piano) Clarence Williams on the first two sessions and Fletcher Henderson on the latter three. This show […]

"Escuché a Fletcher Henderson, a Duke Ellington y a Jimmie Lunceford. ¡Nunca había oído algo así! ¡Qué presentación escénica! Todo era perfecto. Vestidos impecablemente, la música era perfecta. Por supuesto, Duke era único en su clase... ¡hasta que Jimmie Lunceford apareció en escena! Lunceford apareció y de alguna manera sacudió a Duke. A veces eran tan geniales que simplemente hacían lo que querían. Cuando llegó Jimmie Lunceford, molestó a todo el mundo". Bobby Plater. Con José Manuel Corrales.

Today's show features music performed by Fletcher Henderson and Howlin' Wolf

Le premier orchestre de jazz moderne. Voilà ce qu'a inventé Fletcher Henderson, chimiste de formation et pianiste cultivé, qui au milieu des années 20, joue chaque soir au Roseland Ballroom de New-York. Pour se faire, Henderson a plusieurs atouts dans sa manche. Don Redman, premier à comprendre que l'arrangeur est celui qui va donner un son identifiable à l'orchestre, Louis Armstrong et Coleman Hawkins. Voilà quelques-unes des stars qui ont fréquenté l'orchestre !Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

L'histoire du jazz est peuplée de big-bands légendaires. Duke Ellington, Count Basie, Glenn Miller et Buddy Rich pour n'en citer qu'une poignée. Or, il y en a un dont on parle un peu moins et qui pourtant fut d'une importance considérable : et pour cause, c'était l'un des pionniers. Dès le début des années 20, il fit la transition entre les orchestres de jazz et de dixieland venus de la Nouvelle-Orléans, et les big-bands de l'ère du swing. Comment ? En organisant les différentes sections de l'orchestre, et en leur écrivant des arrangements sur mesure. A sa tête ? Fletcher Henderson, l'alchimiste du jazz ! Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

"Aparte de Duke Ellington, la sección de trombones de Lunceford es la más perfecta que he escuchado. Trummy Young es la gran estrella aquí. Su forma de tocar es increíblemente contundente. Es un trombonista al que tengo en muy alta estima". Hugues Panassié, crítico francés. Con José Manuel Corrales.

ESTÁNDARES SEMANALES.-Tin Roof Blues.-VINILOS MÍTICOS DEL JAZZ..La historia de Benny Goodman.--JAZZACTUALIDADJOVEN BIG BAND SEDAJAZZ-IN BLOOM La historia de Benny Goodman es una película biográfica musical estadounidense de 1956, protagonizada por Steve Allen y Donna Reed , escrita y dirigida por Valentine Davies y estrenada por Universal-International . La película fue concebida como una continuación del éxito de Universal de 1954, La historia de Glenn Miller , que narra la vida de un popular director de orquesta.El joven Benny Goodman recibe clases de clarinete clásico de un profesor de música de Chicago. El director de orquesta Kid Ory le aconseja tocar el género musical que más le guste. Benny comienza su carrera profesional uniéndose a la banda itinerante de Ben Pollack . Más tarde, en Nueva York, donde su nueva banda recibe una tibia acogida, Benny conoce al amante del jazz John Hammond y a su hermana Alice. Lo invitan a la majestuosa casa de los Hammond para interpretar el Concierto para clarinete de Mozart . Alice teme que se sienta incómodo, pero su interpretación es impecable y Benny agradece su preocupación. Las actuaciones de Benny en un popular programa de radio los sábados por la noche hacen que Fletcher Henderson se ofrezca como voluntario para hacer algunos arreglos. En la costa oeste, el comienzo temprano del programa ha convertido la música de Benny en una sensación entre las generaciones más jóvenes. Forma un cuarteto con Gene Krupa en la batería, Teddy Wilson al piano y Lionel Hampton al vibráfono . El romance con la chica de sociedad Alice es desconcertante para la madre de Benny, pero para cuando su hijo toca en el Carnegie Hall , todo está bien y la Sra. Goodman ha invitado personalmente a su futura nuera a sentarse a su lado. Concierto en directo grabado el dia 22 de Julio de 2024 dentro de las sesiones organizadas por el colectivo Sedajazz en el centro cultural La Rambleta en Valencia. Una big band con un objetivo claro: aprender y enriquecerse de repertorios de las historicas orquestas de Jazz y de nuevos compositores y arreglistas. La Jove Big Band Sedajazz reúne jóvenes de distintas edades que se expresan con sus instrumentos y forman una unidad donde todos tienen su espacio. El repertorio combina standards y arreglos de grandes exitos de la historia del Jazz, bandas sonoras, funk, rock y latin jazz. Han colaborado musicos como Jesus Santandreu, Joe Magnarelli, Perico Sambeat, Chris Cheek, Rex Richardson, Toni Vaquer, David Pastor, Sole Jimenez, Andrea Motis, Rita Payes, Domisol Sisters, Vicente Macian, Pedro Iturralde, Voro Garcia, Toni Belenguer, Alexey Leon, Miquel Alvarez, Joan Saldana y Pepe Zaragoza entre otros. Actuaciones destacadas: Festival de Jazz de Valencia, Club Jamboree, Jazz a poqueta Nit Altea, Festival de trompeta en Maspalomas, Ciclo Conciertos Caja Burgos, Festival Jazzing Barcelona, Clasijazz Almeria, Festival Mar i Jazz, Sala Mutant Valencia, Festival Jazz Teruel, Festival Jazz Villareal, Festival big band Priego Cordoba, Concierto Benefico Payasospital Palau de les Arts, Cinema Jove Torrent, Porta Ferrada Girona, Ses Figuretes Ibiza, Dia Internacional del Jazz Alfafar, Jimmy Glass, festival El desenjazz Lliria, Teatro Principal Valencia, Auditorio Almeria, Palau de les Arts Valencia, Asejazz Sevilla, Festival Jazz Cadiz, Palau de la Musica Valencia. Han grabado varios discos: Sedajazz kids band, Groowin Up, Rumbo a New Orleans, Ramonets amb Sedajazz Kids Band, Mutant, Eclectic, y ahora In Bloom. Su repertorio incluye arreglos de Perico Sambeat, Fco. Blanco Latino, Dizzie Gillespie, Duke Ellington, Don Ellis, Jesus Santandreu, Toni Vaquer, Juan Saus, Martina Sabariego, Pau Baena, Santi Navalon. Proyectos realizados: Brasiliana (musica brasileña), Toni Vaquer (Louis Cole, Nirvana, Radiohead), Andrea Motis (Standards), Rita Payes (Cancionero Latino), conciertos para lindy hop, musica de la movida valenciana de los 80s con arreglos originales. Músicos Ximo Reillo y Samu Gil: Saxo Alto Selamawit Giner: Saxo y Clarinete Luis Coronado: Saxo Tenor Aurora Blanco: Saxo Baritono y Voz Josep Peiro, Oscar Lujan, Guillermo Cotanda, Pablo Martinez y Hugo Coronado: Trompetas Hadriel Benedito, Angel Ballester, Joan Fernandez y David Marti: Trombones Martina Sabariego: Contrabajo Pau Montalt: Bateria Miquel Alcaina: Percusion Latina Pau Baena y Nur Elmanchoud: Piano Venus Benedito y Naila Ferrandis: Voz Raquel Marti, Alba Gimeno, Aleksandra Bester: Violines Nehir Acansu y Marc Vidal: Violas Irene Simbor: Violonchelo Fco. Angel Blanco Latino: Direccion Featuring: Juan Saus (Saxo Alto) Creditos Diseño Grafico: Cristina Duran Sonido: Vicente Sabater Asistente de Sonido: Iñaki Ariste Asistente Produccion: Pedro Gallego Temas 1. Harlem air Shaft (Duke Ellington) 03:11 2. La Puerta (Luis Demetrio) 03:36 3. In Bloom (Nirvana) 08:59 4. La Muerte Despierta (Lucia Fumero) 07:45 5. Mean To Me (Fred E. Ahlert) 03:23 6. Whiplash (Justin Hurwitz) 11:45 7. F it up (Louis Cole) 05:54 8. Deseo Salvaje (Eddie Palmieri) 03:07 9. Too Darn Hot (Cole Porter) 04:24 10. Carinhoso (Pixinguinha) 06:36 11. The Evil Morty (Kazu Makino, Amedeo Pace, Simone Pace.) 08:09 12. Nobody else for me (Jerome David Kern) 03:51 13. Over The Rainbow (Harold Arlen) 05:31 14. Flor de Lys (Djavan) 04:25

Un especial dedicado a ese género tan popular entre los aficionados al baile y a las actividades de ocio... Con sultanes y sultanas del swing como Fletcher Henderson, Ina Ray Hutton, Louis Prima, Blanche Calloway, The Harlem Hamfats y Three Peppers. A partir de las ocho de la mañana del sábado en la sintonía de Radio 3.Escuchar audio

El swing dio origen a bailes específicos, como el Suzy Q y el Lindy Hop; este último fue el baile más acrobático, enérgico y elegante de la era del swing. También desafió la creatividad: las parejas solían diseñar nuevos pasos, saltos y giros en sus casas para lucirlos en el baile del sábado. El Lindy Hop no se enseñaba en escuelas de baile, como la moda anterior, el fox-trot, sino que se desarrolló espontáneamente, en casas particulares y en los salones de baile. Con José Manuel Corrales.

Bajo la dirección de Harold Oxley, la banda consiguió un nuevo contrato discográfico. Decca pronto se convertiría en una empresa emprendedora, especializada en música de moda a precios reducidos. Un mes antes Isham Jones también había firmado con la nueva compañía y pronto le seguirían Fletcher Henderson y otros. Con José Manuel Corrales.

"La orquesta de Jimmie Lunceford puede ser la única que está dando lo mejor de sí todo el tiempo. Nunca se tiene la impresión de que los músicos se esfuercen mucho por entrar en ritmo. Están ahí, sin esforzarse, por así decirlo, y todo el tiempo”. Hugues Panassié. Con José Manuel Corrales.

Holiday jazz featuring: Peggy Lee, Ella Logan, Victoria Spivey, Lonnie Johnson, Bessie Smith, Ella Fitzgerald, Julia Lee, Fletcher Henderson, Claude Thornhill, John Kirby, Putney Dandridge, and Fats Waller.Songs include: Jingle Bells, Winter Weather, Santa Claus Came in the Spring, There's Frost on the Moon, Every Day's a Holiday, Snowy Morning Blues, Snowfall, Arab Dance, Bounce of the Sugar Plum Fairy, Christmas Spirits, Chistmas Without Santa Claus.

Diese Sendung hat Jörg Müller-Jahns zusammengestellt. Das LIVE- Anspiel ist diesmal: „Pennsylvania 6-5000”, der legendäre Hit für Glenn Miller und sein Orchester – Hier in der in der “KammerVersion”. Folgende Titel sind zu hören: 1. Knock, knock, who's there? - Fletcher Henderson & His Orchestra 2:54 2. Fabi 43 – Kilian Kemmer 4:32 3. Just a piece – Bernd Kaftan 4:11 4. First Song – Melody Gardot 4:44 5. Duke's Place – Louis Armstrong & Duke Ellington 5:03 6. Pennsylvania 6-5000 – Pasternack Big Band 3.32 7. Cruisin' – Sebastian Gahler 5:11 8. I'm getting sentimental over you – Tommy Dorsey 2:37 9. Gloria's Step – Bill Evans 6:12 Bei Titelwünsche und Anregungen schreiben Sie gern an: jazztime.mv@ndr.de Keep Swingin' !!!

“Desde la reunión de los Estados Generales en Versalles en vísperas de la Revolución Francesa, nunca se había visto un arco iris de sombreros, cofias, plumas y vestidos, chalecos, joyas y calzado reluciente”. David L. Lewis sobre la boda de la hija de W.E.B. Dubois y Countee Cullen. Con José Manuel Corrales.

Features vintage music by Jack Teagarden, Fletcher Henderson and Boyd Raeburn.  We also listen to some old Public Service Announcements about the importance of voting. Consider supporting The Big Band and Swing Podcast by becoming a Hepcat.  Learn more at SupportSwing.com. * The music featured in this podcast is considered Public Domain.  Artists are credited within the podcast.

Josephine Baker was only 20 years old when she recorded the song “Dinah” at her first studio session 98 years ago this fall. That was just a year after the provocative dancer/singer arrived in Paris, immediately setting the town on fire with her risqué shows at the Théâtre des Champs-Élysées.And a West Virginian was right there to help her light those blazes.Ada “ Bricktop” Smith, a young Alderson, WV, native, was in Paris several years ahead of Baker, entertaining at composer Cole Porter's famous parties, often teaching his guests the latest dance crazes, such as the Charleston and the Black Bottom. Josephine Baker always acknowledged she was one Ada Smith's protégés in those heady early days of The Jazz Age.“I didn't get my first break on Broadway,” Baker told London's Guardian a half century later. No, she was just a nameless hoofer in the chorus line in those New York shows, she said, but “I became famous first in France in the Twenties.”“Oh yes,” she added, “Bricktop was there. Me and her were the only two, and we had a marvelous time. Of course, everyone who was anyone knew Bricky. And they got to know Miss Baker as well."Ada Smith became one of 1920s' best known American singers/dancers, owning the famed “Chez Bricktop” in Paris from 1924 to 1961. She even got a shout-out in Woody Allen's hit film, Midnight in Paris, in 2011 when the character of Zelda Fitzgerald proposes an evening's escapade:In the next scene, Cole Porter, the Fitzgeralds and their fabulous friends pile into a period open car and tear down Parisian streetd into the night.Ending up at Chez Bricktop, they watch Josephine Baker dance (and the Fitzgeralds drink…)Back to the Song“Dinah,” considered an anthem of the Roarin' Twenties, was not quite two years old when Josephine Baker recorded it that autumn day in 1926 in Paris.It was back in The States that she learned the hot number when she sang it at New York's Plantation Club on Broadway as the understudy to Ethel Waters.Obviously, the song was still much on Baker's mind when she strolled into the Odeon studio for her first recording session. The band recruited to accompany her on the date is thought to be members of a group called “Olivier's Jazz Boys.”“Dinah” by then had been introduced to the world by Waters within a year of its composition in 1925. After it was recorded by Waters for Columbia in 1926, the song went on to be waxxed by everyone from Fletcher Henderson and Cab Calloway to Bing Crosby, the Mills Brothers and the Boswell Sisters to Chet Baker, Thelonious Monk and Django Reinhardt and Stéphane Grappelli.And, as noted in an earlier Flood Watch article, the tune was famously among the favorites of trumpeter Louis Armstrong, who perform it in most of his numerous live shows and his radio appearances for decades after initially recording it in 1930.Our Take on the TuneWhenever the guys haven't seen each other for a couple of weeks, there's always a special joy when they all get back together again. That was certainly the case at last week's rehearsal. Add to that the fact that Floodster Emeritus Paul Martin dropped by to sit in. That always cranks up the energy level in the room. And you can just hear in this first tune of the evening. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Arthur Lee Simpkins was an African-American singer with a unique talent. He was born in South Carolina in 1907, where he became known as the "Black Caruso" in reference to the legendary opera singer Enrico Caruso. In 1936, Simpkins recorded a hit version of "Sing, Sing, Sing" with Fletcher Henderson and His Orchestra. That record jump started Simpkins career, allowing him to perform a wide variety of music ranging from classic standards to operatic renditions, and not just different genres, but in many different languages and dialects. Simpkins performed on television regularly during the medium's early days, and also appeared in movies, like the film Why Men Leave Home in 1951. He was last remembered for singing at the memorial for legendary R&B legend Sam Cooke in 1964. Tragically, Simpkins died from a routine bladder operation in 1972 and was largely forgotten. You will hear Arthur Lee Simpkins sing three songs on the David Rose Show on CBS Radio in 1950. More at KrobCollection.com

FLETCHER HENDERSON AND HIS ORCHESTRA New York, May 14, 1926 The stampede, Jackass bluesRussell Smith, Joe Smith (tp) prob Luke Smith (tp) Rex Stewart (cnt) Benny Morton (tb) Buster Bailey (cl,as) Don Redman (cl,as,gfs,arr) Coleman Hawkins (cl,ts,bassax) Fletcher Henderson (p) Charlie Dixon (bj) Ralph Escudero (tu) Kaiser Marshall (d) New York, November 3, 1926 The Henderson stomp, The chantRussell Smith, Joe Smith, Tommy Ladnier (tp) Benny Morton (tb) Buster Bailey (cl,sop,as) Don Redman (cl,as,arr) Coleman Hawkins (cl,ts,bar) Fats Waller (p,org-1) Charlie Dixon (bj) June Cole (tu,vcl) Kaiser Marshall (d) Fletcher Henderson (cond) New York, March 19, 1931 Clarinet marmaladeBenny Morton (tb) Russell Procope (cl,as) Horace Henderson (p-1) replace Jimmy Harrison, Benny Carter, Fletcher Henderson, Coleman Hawkins (cl,ts,bar) Horace Henderson, Fletcher Henderson, Bill Challis (arr) CHICK WEBB “THE JUNGLE BAND” New York, June, 1929 Dog bottom (wp vcl), Jungle mamaWard Pinkett (tp,vcl) Edwin Swayzee (tp) Bob Horton (tb) Hilton Jefferson, Louis Jordan (as,cl) Elmer Williams (bt,cl) Don Kirkpatrick (p) John Trueheart (bj,g) Elmer James (tu) Chick Webb (d) New York, March 30, 1931 Heebie jeebiesShelton Hemphill, Louis Hunt (tp) Louis Bacon (tp,vcl) Jimmy Harrison (tb) Benny Carter (cl,as,arr) Hilton Jefferson (cl,as) Elmer Williams (cl,ts) Don Kirkpatrick (p) John Trueheart (bj,g) Elmer James (tu,b) Chick Webb (d,celeste,bells) New York, June 12, 1935 I'll chase the blues away (ef vcl)Mario Bauza, Bobby Stark, Taft Jordan (tp) poss. Continue reading Puro Jazz 07 de octubre, 2024 at PuroJazz.

FLETCHER HENDERSON AND HIS ORCHESTRA New York, May 14, 1926 The stampede, Jackass bluesRussell Smith, Joe Smith (tp) prob Luke Smith (tp) Rex Stewart (cnt) Benny Morton (tb) Buster Bailey (cl,as) Don Redman (cl,as,gfs,arr) Coleman Hawkins (cl,ts,bassax) Fletcher Henderson (p) Charlie Dixon (bj) Ralph Escudero (tu) Kaiser Marshall (d) New York, November 3, 1926 The Henderson stomp, The chantRussell Smith, Joe Smith, Tommy Ladnier (tp) Benny Morton (tb) Buster Bailey (cl,sop,as) Don Redman (cl,as,arr) Coleman Hawkins (cl,ts,bar) Fats Waller (p,org-1) Charlie Dixon (bj) June Cole (tu,vcl) Kaiser Marshall (d) Fletcher Henderson (cond) New York, March 19, 1931 Clarinet marmaladeBenny Morton (tb) Russell Procope (cl,as) Horace Henderson (p-1) replace Jimmy Harrison, Benny Carter, Fletcher Henderson, Coleman Hawkins (cl,ts,bar) Horace Henderson, Fletcher Henderson, Bill Challis (arr) CHICK WEBB “THE JUNGLE BAND” New York, June, 1929 Dog bottom (wp vcl), Jungle mamaWard Pinkett (tp,vcl) Edwin Swayzee (tp) Bob Horton (tb) Hilton Jefferson, Louis Jordan (as,cl) Elmer Williams (bt,cl) Don Kirkpatrick (p) John Trueheart (bj,g) Elmer James (tu) Chick Webb (d) New York, March 30, 1931 Heebie jeebiesShelton Hemphill, Louis Hunt (tp) Louis Bacon (tp,vcl) Jimmy Harrison (tb) Benny Carter (cl,as,arr) Hilton Jefferson (cl,as) Elmer Williams (cl,ts) Don Kirkpatrick (p) John Trueheart (bj,g) Elmer James (tu,b) Chick Webb (d,celeste,bells) New York, June 12, 1935 I'll chase the blues away (ef vcl)Mario Bauza, Bobby Stark, Taft Jordan (tp) poss. Continue reading Puro Jazz 07 de octubre, 2024 at PuroJazz.

Support Breaking Walls at https://www.patreon.com/thewallbreakers Jubilee first took to the air on October 9th, 1942 transcribed by the Special Services Division of the War Department, then by the Armed Forces Radio Service. It featured Jazz and Swing bands and filled an important gap in the musical history of radio, gearing itself towards African American men stationed overseas. Jubilee luminaries included Fletcher Henderson, Duke Ellington, Count Basie, Lena Horne, Ethel Waters, and Ella Fitzgerald. Most of the shows were recorded before live audiences in Los Angeles. This particular episode featured bandleaders known for their New York flavor, like Claude Hopkins. Songstress Ida James was emcee. Mel Allen, later the famed voice of the New York Yankees, announced.

Features vintage music by Freddy Martin, Fletcher Henderson and Bunny Berigan.  We also learn more about the magic behind Boxer Ben.  Consider supporting The Big Band and Swing Podcast by becoming a Hepcat.  Learn more at SupportSwing.com. * The music featured in this podcast is considered Public Domain.  Artists are credited within the podcast.

BESSIE SMITH New York, February 16, 1923 Downhearted blues, Tain't nobody's business if I do Bessie Smith (vcl) acc by Clarence Williams (p) New York, January 14, 1925 The St. Louis bluesBessie Smith (vcl) acc by Louis Armstrong (cnt) Fred Longshaw (p-1,org-2) New York, May 5-6, 1925 Cake walkin' babies from home, The yellow dog bluesBessie Smith (vcl) acc by Joe Smith (cnt) Charlie Green (tb) Buster Bailey (cl) Coleman Hawkins (ts) Fletcher Henderson (p) Charlie Dixon (bj) Bob Escudero (tu) New York, May 15, 1929 Nobody Knows You When You're Down And OutBessie Smith (vcl) acc by Ed Allen (cnt) Garvin Bushell (as) Greely Walton (ts) Clarence Williams (p) Cyrus St. Continue reading Puro Jazz 27 de agosto, 2024 at PuroJazz.

BESSIE SMITH New York, February 16, 1923 Downhearted blues, Tain't nobody's business if I do Bessie Smith (vcl) acc by Clarence Williams (p) New York, January 14, 1925 The St. Louis bluesBessie Smith (vcl) acc by Louis Armstrong (cnt) Fred Longshaw (p-1,org-2) New York, May 5-6, 1925 Cake walkin' babies from home, The yellow dog bluesBessie Smith (vcl) acc by Joe Smith (cnt) Charlie Green (tb) Buster Bailey (cl) Coleman Hawkins (ts) Fletcher Henderson (p) Charlie Dixon (bj) Bob Escudero (tu) New York, May 15, 1929 Nobody Knows You When You're Down And OutBessie Smith (vcl) acc by Ed Allen (cnt) Garvin Bushell (as) Greely Walton (ts) Clarence Williams (p) Cyrus St. Continue reading Puro Jazz 27 de agosto, 2024 at PuroJazz.

In this first episode on Lester Young I'll look at Young's early life and career, including his work in territory bands and his role in the development of the Kansas City Sound. Also, his time with Fletcher Henderson and early recordings with Basie and lifelong friend Billie Holiday.

Great big band led by the pioneer arranger Redman following his tenures with Fletcher Henderson and McKinney's Cotton Pickers. This band features Sidney DeParis, Benny Morton, Ed Inge, Robert Carroll, Horace Henderson, Talcott Reeves, Bob Ysaguirre, Manzie Johnson and Harlan Lattimore in addition to good sax playing and novelty singing by the leader --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

We're going to hear two major forces that shaped the world of jazz. Fletcher Hamilton Henderson was a pianist, bandleader, arranger and composer, important in the development of big band jazz and swing music. Henderson was one of the most prolific black musical arrangers and, along with Duke Ellington, is considered one of the most influential bandleaders in jazz history. He helped bridge the gap between the Dixieland and the swing eras, attracting new young talent to the genre. Fletcher Henderson and his band perform on the radio show Jubilee in 1945. "Dizzy" Gillespie was a jazz trumpeter, bandleader, composer, educator and singer. Gillespie became a major figure in the development of bebop and modern jazz in the 1940s and 1950s, becoming one of the greatest jazz trumpeters of all time". You will hear him perform on the show, This Is Jazz in 1960. Details at http://krobcollection.com

SOPHIE TUCKER New York Some of these daysSophie Tucker (vcl) unknown cnt, tb, cl, 2 p, bj, tu and d, Leonard Joy (dir) Long Island City, N.Y., c. October, 1922 Oh Joe, play that tromboneEthel Waters (vcl) acc by unknown tp, tb, cl , prob. Fletcher Henderson (p) unknown (tu) LIL HARDIN ARMSTRONG LIL'S HOT SHOTS Chicago, IL, May 28, 1926Georgia bo bo (la vcl), Drop that sackLouis Armstrong (cnt) Kid Ory (tb) Johnny Dodds (cl) Lil Armstrong (p) Johnny St. Continue reading Puro Jazz 04 marzo 2024 at PuroJazz.

In 1921, a man named Harry Pace started the first major Black-owned record company in the United States. He called it Black Swan Records. In an era when few Black musicians were recorded, the company was revolutionary. It launched the careers of Ethel Waters, Fletcher Henderson, William Grant Still, and Alberta Hunter, artists who transformed American music. But Black Swan's success would be short-lived. Just a couple years after Pace founded the company, larger, wealthier, white competitors started to take an interest in the artists whose careers Pace had propelled. Then, Pace's own life took a mysterious turn. This episode was originally published in 2021.

Happy Birthday Fletcher Henderson (12/18/1897) WIKI:  ⁠⁠⁠⁠⁠https://en.wikipedia.org/wiki/Fletcher_Henderson Track List: 1.  Baltimore 2. King Porter Stomp 3. Bye & Bye 4. Carless Love (Bessie Smith/Louie Armstrong) 5. Charley, My Boy 6. Chicago 7. Clap Hands! Here comes Charley 8. Clarinet Marmalade 9. Cornfed 10. Do That Thing 11. Don't Forget, You'll Regret Day By Day. Subscribe to SOMETHING came from Baltimore (It's a music interview podcast about Jazz/Blues/R&B and not really about Baltimore) Also, Subscribe to The Beatles Come To America (limited-run with Brooke Halpin, we review all the Beatles US Albums) To Subscribe go to:  Youtube, Itunes, Anchor, Spotify, Amazon Podcasts, Google Podcast, Overcast, Breaker, Castbox, Radio Public, Podbay, Stitcher....and more! Contacts: Email:  somethingcamefrombaltimore@gmail.com Twitter: something came from baltimore (@tom_gouker) / Twitter Instagram: Something Came From Baltimore (@something.came.from.baltimore) TheBocX.com - SOMETHING came from Baltimore THE SHOW INFO: Something came from Baltimore is a Podcast and a 30-minute radio show and can be heard weekly (Thursday's at 7pm EST) it's called, SOMETHING came from Baltimore THE SHOW.  Check out the Station: Jazz Music Radio - The BocX Streaming Jazzy Music Support SOMETHING came from Baltimore: TIPS! Tom Gouker's Cash App Account: $ThomasGouker Tom Gouker's Venmo Account:  Thomas-Gouker FRIENDS OF THIS PODCAST: Adult Music: https://adultmusic.podbean.com/ Neon Jazz: https://podcasts.apple.com/us/podcast/famous-interviews-neon-jazz/id546432639 The Same Difference 2 Jazz Fans - 1 Jazz Standard:  https://podcasts.apple.com/us/podcast/same-difference-2-jazz-fans-1-jazz-standard/id1456627254 The Top 60 Jazz Podcast List including SOMETHING came from Baltimore is right here:  ⁠⁠⁠https://blog.feedspot.com/jazz_podcasts/⁠⁠ --- Send in a voice message: https://podcasters.spotify.com/pod/show/somethingcame-from-baltim/message Support this podcast: https://podcasters.spotify.com/pod/show/somethingcame-from-baltim/support

Features vintage recordings by Jerry Gray, Jan Savitt and Fletcher Henderson.  We also learn a little bit about vocalist Russ Columbo and listen to an old radio ad from Pall Mall Cigarettes. Consider supporting The Big Band and Swing Podcast by becoming a Hepcat.  Learn more at SupportSwing.com. * All music in this podcast are Creative Commons.  Artists are credited within the podcast.

Chicago jazz and night clubs, from mob-protected speakeasies to the Dreamland Ballroom. Featuring: Joe King Oliver, Jelly Roll Morton, Fats Waller, Fletcher Henderson, and Anita O'Day.

Series of recordings by Harlem-based big bands, all featuring Ben Webster's emerging tenor sax. . .Benny Carter, Willie Bryant, Fletcher Henderson, Cab Calloway, Teddy Wilson and Duke Ellington all prized Webster . . recordings also feature Shad Collins, Irving Randolph, Emmett Berry, Jerry Blake, Keg Johnson, Jake Wiley, Glyn Paque, Garvin Bushell, Leroy Maxey, Shorty Baker, Karl George, Joe Nanton, Barney Bigard and Ivy Anderson . . . --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

Continuamos con algunos clásicos de New Orleans/Chicago. High society/Clarinet marmalade son dos de ellos que escuchamos en versiones de, entre otros: Morton, Louis, King Olver, Bechet, Bix, Fletcher Henderson etc. Hosted on Acast. See acast.com/privacy for more information.

Shellac Stack No. 322 stomps up a storm with the Firehouse Five Plus Two, Lucky Millinder, Boyd Senter, Fletcher Henderson, Don Ewell, Georgie Auld, Jelly Roll Morton, and many others. Hot weather calls for hot music, and we've got it on this installment of the Shellac Stack!

Great 1933 sessions by the Fletcher Henderson Orchestra featuring Red Allen, Bobby Stark, Dicky Wells, Hilton Jefferson, Russell Procope, Coleman Hawkins, John Kirby, Horace Henderson and Walter Johnson. Great arrangements by both Hendersons and Will Hudson and some of Hawkins' first ballad performances. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

®Da domenica 25 giugno a domenica 23 luglio 2023L'arte dell'arrangiamento nasce con lo sviluppo negli anni '20 e '30 di orchestre jazz che, a differenza dello stile originario di New Orleans,  nel loro repertorio prevedono vere e proprie parti per scritte in alternanza a quelle improvvisate. Campioni del genere furono Paul Whiteman, Don Redman, Fletcher Henderson, per arrivare poi a Duke Ellington e Count Basie.Questa tradizione fu tenuta viva durante l'era dello swing (Goodman, Miller, Dorsey...) e si sviluppò poi nel secondo Dopoguerra parallelamente alla nascita degli stili moderni, il be-bop e il cool jazz.In questa serie di Birdland Claudio Sessa ci introduce al moderno concetto dell'arrangiamento jazz, considerando dapprima l'influenza e il lascito di Count Basie e passando poi in rassegna le varie tendenza e le figure più rappresentative nei vari ambiti: Harry Paich, la “variabile impazzita” Stan Kenton, Jimmy Giuffré e altri tra i californiani; la raffinatezza un po' intellettuale di Gil Evans, George Russell, Gerry Mulligan; e ancora Charles Mingus, Oliver Nelson e Quincy Jones tra gli sperimentatori o Claud Ogerman e Nelson Riddle specializzati nella collaborazione con i cantanti.Prima emissione dal 25 febbraio 2023

The "pre-Louis" band . . records done before Louis Armstrong joined the Roseland Ballroom orchestra led by Fletcher Henderson . .this group was still a force to be reckoned with in Harlem music circles . . featuring Elmer Chambers, Howard Scott, Teddy Nixon, Don Redman, Charlie Dixon, Billy Fowler, Ralph Escudero, Kaiser Marshall and Allie Ross, these records also have the first recorded solos of Charlie Green and Coleman Hawkins. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

Spike Hughes was a white British music critic and bass player who had a successful series of recordings for British Decca in the early 1930's. He came to the US in 1933 to record some of his own compositions and arrangements with an all-star band put together by Benny Carter, who used mostly his own band and soloists from Fletcher Henderson and Luis Russell's orchestras. Red Allen, Shad Collins, Dickie Wells, Wayman Carver, Coleman Hawkins, Chu Berry, Red Rodriguez, Sid Catlett and others. Also, the last date Coleman Hawkins recorded with the Henderson band in March, 1934 - Buster Bailey, Red Allen, etc.! --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

®Da domenica 25 giugno a domenica 23 luglio 2023L'arte dell'arrangiamento nasce con lo sviluppo negli anni '20 e '30 di orchestre jazz che, a differenza dello stile originario di New Orleans,  nel loro repertorio prevedono vere e proprie parti per scritte in alternanza a quelle improvvisate. Campioni del genere furono Paul Whiteman, Don Redman, Fletcher Henderson, per arrivare poi a Duke Ellington e Count Basie.Questa tradizione fu tenuta viva durante l'era dello swing (Goodman, Miller, Dorsey...) e si sviluppò poi nel secondo Dopoguerra parallelamente alla nascita degli stili moderni, il be-bop e il cool jazz.In questa serie di Birdland Claudio Sessa ci introduce al moderno concetto dell'arrangiamento jazz, considerando dapprima l'influenza e il lascito di Count Basie e passando poi in rassegna le varie tendenza e le figure più rappresentative nei vari ambiti: Harry Paich, la “variabile impazzita” Stan Kenton, Jimmy Giuffré e altri tra i californiani; la raffinatezza un po' intellettuale di Gil Evans, George Russell, Gerry Mulligan; e ancora Charles Mingus, Oliver Nelson e Quincy Jones tra gli sperimentatori o Claud Ogerman e Nelson Riddle specializzati nella collaborazione con i cantanti.Prima emissione dal 25 febbraio 2023

Shellac Stack No. 316 stumbles with Yank Lawson and sings in the rain with Lud Gluskin. We hear from Isabella Patricola and Peggy Lee, and dance along with George Olsen, Fletcher Henderson, Charles Dornberger, and Jimmie Lunceford. More too — including a trip to Buenos Aires for a delightful disc by Raul Sanchez Reynoso with … Continue reading »

This week, the Fletcher Henderson Band, led by one of the more unlikely and reluctant leaders in jazz, but easily one of the most talented. Fletcher Henderson, nicknamed "Smack," for the way he smacked his lips, apparently even in his sleep, was born in Cuthbert, Georgia, in 1897 to a middle-class African American family. In 1922 he formed his own band. His first steady gig with his band was at the Club Alabam on Broadway in 1924, but only after the band's players—not Henderson—talked their way into auditioning for their first long-term engagement.

Shellac Stack No. 311 oogel oogel oos with the Yacht Club Boys, doodle doos with Busse's Buzzards, and aba dabas with Arthur Collins and Byron Harlan. We dance along with Fats Waller, Jack Hylton, Al Lynn's Music Masters, Earl Oliver's Jazz Babies, and Fletcher Henderson, and enjoy some stomping ragtime piano from Charles Thompson too!

  I have been looking forward to this one because I love music. I love all kinds of music, and today we are going to talk about Jazz. Jazz is one of the earliest forms of pop music in The United States and Jazz is a distinctively American style of music originating in the early decades of the 20th century. Its roots include Afro-American folk music traditions, such as spirituals, work songs, and blues. Jazz music is much more lively and upbeat than blues music. Jazz is often associated with swinging and swaying movements, lively atmospheres and improv. Lots of modern musicians will say they are greatly influenced by Jazz. Some of the great Jazz musicians include Louis Armstrong, Duke Ellington, John Coltrane, Bessie Smith, Fletcher Henderson, and Billie Holiday.  In fact, Performers like Elvis Pressley, Chuck Berry, The Rolling Stones, The Doors, The Grateful Dead, and Aerosmith all talk about their Jazz influences. Music styles like Rock, R&B, Hip-hop, Latin, and others that produce a swaying rhythm have been influenced by Jazz.  In today's podcast we have a very special guest, the very accomplished Loren Schoenberg. He is the Founding Director at The National Jazz Museum in Harlem, a published author, and teaches Jazz History at The Julliard School in NYC.   Always more to learn. Talk to you soon. 

Jimmy Bryant and Speedy West "Stratosphere Boogie"Elvis Costello & The Attractions "Love For Tender"Martha Davis "Kitchen Blues"Freakwater "Bolshevik and Bollweevil"The Light Crust Doughboys "Dirty Dish Rag Blues"Adia Victoria "Mortimer's Blues"The Carter Family "Bear Creek Blues"Memphis Jug Band "Papa's Got Your Bath Water On"Chris Whitley "Dust Radio"Billie Holiday "Long Gone Blues"Homesick James "Lonesome Road"Ray Wylie Hubbard "Bad Trick"Wynonie Harris "Quiet Whiskey"Roger Miller "Private John Q"Fletcher Henderson "Sing, Sing, Sing"Viola James "On That Rock"Angel Olsen "Lights Out"Stack Waddy "Willie the Pimp"Clem Snide "Moment in the Sun"Andrew Bird "Railroad Bill"Duke Ellington and His Orchestra "Love Is Like a Cigarette"Bob Corritore - Valerie June "Crawdad Hole"Kansas City Kitty & Georgia Tom "Gym's Too Much For Me"Loretta Lynn "Blue Steel"Rebirth Brass Band "Leave That Pipe Alone"Tom Waits "I Wish I Was In New Orleans [in The Ninth Ward]"The Nite Owls "Married Man Blues"S.G. Goodman "Dead Soldiers"Bukka White "Aberdeen Mississippi Blues"Hank Williams "Nobody's Lonesome For Me"Blue Lu Barker "That's How I Got My Man (10-25-49)"Trapper Schoepp "Eliza"Jimmie Rodgers "Let Me Be Your Side Track"Hound Dog Taylor & The HouseRockers "Give Me Back My Wig"Bessie Jones "So Glad I'm Here"The Breeders "When I Was a Painter"R.L. Burnside "Peaches"Dead Meadow "Sleepy Silver Door"Billy Bragg "Greetings To The New Brunette"Drag The River "Fire & Flood"Willie Humphrey "Oh How I Miss You Tonight"Howlin' Wolf "Ridin' In the Moonlight"The Yardbirds "Respectable (Live)"Gang of Four "Armalite Rifle"Jimmy Smith "Got My Mojo Workin'"John Lee Hooker "Boogie Chillen  (1949 Original Version)"Lucero "San Francisco"

Shellac Stack No. 306 rides tall in the saddle with Wild Bill Hiccup (courtesy of Spike Jones). We enjoy dance records by Sam Lanin, Edwin J. McEnelly, Fletcher Henderson, Phil Romano, and others, and share a few smiles with the Happiness Boys, Red Ingle, Homer and Jethro, and Monte Hunter. Plenty more too, including a … Continue reading »

Sun Ra (born Herman Blount) was a talented pianist and composer who played and arranged for one of Fletcher Henderson's last bands. He began collecting a company of musicians around him in the 1950's including tenor saxophonist John Gilmore, baritone saxist Pat Patrick, altoist Marshall Allan and others. They created a music that began as hard bop, moved through soul and then became something quite extraordinary! Here are examples (issued as singles on Ra's label Saturn) from all those periods --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

In 1921, a man named Harry Pace started the first major Black-owned record company in the United States. He called it Black Swan Records. In an era when few Black musicians were recorded, the company was revolutionary. It launched the careers of Ethel Waters, Fletcher Henderson, William Grant Still, Alberta Hunter, and other influential artists who transformed American music. But Black Swan's success would be short-lived. Just a couple years after Pace founded the company, larger, wealthier, white competitors started to take an interest in the artists whose careers Pace had propelled. Then, Pace's own life took a mysterious turn. This episode originally aired on NPR's All Things Considered in 2021.

The 1925 version of the Henderson band from the last recordings with Louis Armstrong to the first one with Rex Stewart - well played and crisp stock arrangements with great solos --- Support this podcast: https://anchor.fm/john-clark49/support

Shellac Stack No. 288 “rags the rag” with the Ballyhooligans. We hear from Andy Kirk, Fletcher Henderson, the Casa Loma Orchestra, Chauncey Gray, Luisa Rostand, Jay Wilbur, Prince's Band, and many more this hour. Thanks for supporting the Shellac Stack on Patreon: patreon.com/shellacstack

Shellac Stack No. 280 trucks with Fats Waller and poses with Fletcher Henderson. We hear Billy Mayerl's marvelous “Four Aces Suite” with Raie Da Costa at the piano, sample some fake “Bobs,” and hear from the NORK, Louis Armstrong, Van Alexander, and many more. Fun times on this Shellac Stack! Thanks for your support on … Continue reading »