Podcasts about grappelli

2025 marks 50 years since The David Grisman Quintet first got together, an event that changed string band music forever. The DGQ played a huge part in the careers of some incredible musicians, including Tony Rice, Mike Marshall, Darol Anger and Todd Phillips, as well as including collaborations with Stéphane Grappelli. Their first record, The David Grisman Quintet, remains one of the most important records in string band history.To celebrate the early years of the quintet, and the amazing music they created, I've been speaking to some of the people who were right at the heart of it.First up is a wonderful conversation I had with Mike Marshall and Darol Anger. We talk about how they both came to be in that band, how the sound developed, what working with David taught them and what Tony Rice brought to the group.Next week I'll be sharing an interview with Todd Phillips, followed by an interview with the man himself, David Grisman.For more on David, and to buy copies of his music (including the wonderful David Grisman Quintet - First Recordings Live in Dawg's Living Room) visit acousticdisc.comHappy picking!MattSend a message to Bluegrass Jam Along! (Don't forget to include your name so I know who you are!) Support the show===Thanks to Bryan Sutton for his wonderful theme tune to Bluegrass Jam Along (and to Justin Moses for playing the fiddle!) Bluegrass Jam Along is proud to be sponsored by Collings Guitars and Mandolins- Sign up to get updates on new episodes - Free fiddle tune chord sheets- Here's a list of all the Bluegrass Jam Along interviews- Follow Bluegrass Jam Along for regular updates: Instagram Facebook - Review us on Apple Podcasts

One of the first major jazz figures whose base of operations was outside the U.S., the guitarist and composer helped create what's come to be called Gypsy jazz.

John Etheridge in conversation with David Eastaugh https://www.john-etheridge.com/ https://softmachine.org/ John Etheridge is an English jazz fusion guitarist, composer, bandleader and educator known for his eclecticism and broad range of associations in jazz, classical, and contemporary music. He is best known for his work with Soft Machine from 1975 to 1978, 1984 and 2004 to present. In late 1972, Etheridge joined Curved Air violinist Darryl Way's band Wolf, which went on to record three albums in the progressive rock canon for the Deram label: Canis Lupus (1973), Saturation Point (1973), and Night Music (1974). It also provided an outlet for his first compositions, at a rate of one or two tracks per album. Following Wolf's break-up, Etheridge briefly played in the Global Village Trucking Company for a UK tour supporting Gong in early 1975, before a recommendation from fellow guitarist Allan Holdsworth led to him joining Soft Machine, now in full fusion mode having just released Bundles. Etheridge went on to record two albums with the band, Softs (1976) and Alive & Well: Recorded in Paris (1978). He also played on the more recent release, British Tour '75 (2005). With Soft Machine's activities slowing down in the late 1970s, Etheridge began to develop parallel ventures. It was at this time that he began what would become a long-term collaboration with French violinist Stéphane Grappelli, with whom he performed on numerous world tours between 1976 and 1981. The late 1970s also saw Etheridge form the band 2nd Vision,[1] with fellow Soft Machine member, violinist Ric Sanders. Though the band released an album in 1980, they struggled to achieve broader recognition in the hostile post-punk environment and broke up in 1981.

Put the down-home back in your holiday with the country flavor of Mark O'Connor's An Appalachian Christmas, Wednesday, December 11, at 7 p.m., at the Jim & Linda Lee Performing Arts Center on Yavapai College's Prescott Campus. A winner of three Grammys and seven Country Music Association awards, as well as multiple national fiddle, guitar, and mandolin titles, Mark O'Connor is a leading performer and educator in contemporary and classical string music. He began his creative journey at the feet of American fiddling legend Benny Thomasson and iconic French jazz violinist Stéphane Grappelli. As an Appalachian-born violin prodigy, Mark O'Connor... For the written story, read here >> https://www.signalsaz.com/articles/appalachian-christmas-at-performing-arts-center-prescott/Check out the CAST11.com Website at: https://CAST11.com Follow the CAST11 Podcast Network on Facebook at: https://Facebook.com/CAST11AZFollow Cast11 Instagram at: https://www.instagram.com/cast11_podcast_network

Riprendiamo il filo della rassegna di musicisti che mi hanno più ispirato: dopo aver parlato di batteristi e bassisti, oggi tocca ai chitarristi. Non necessariamente quelli più celebrati, ma sicuramente quelli che si sono meritati un posto d'onore nel "mondo (e nel cuore) di Manuel".Playlist:Robert Johnson - "Ramblin’ On My Mind"Django Reinhardt, Stéphane Grappelli & Le Quintette du Hot Club de France - "Minor Swing"Erik Vargas - "Bourree in E Minor" (Bach)Television - "Marquee Moon"The Gun Club - "The Straits Of Love And Hate"Nick Cave & the Bad Seeds - "Saint Huck"

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

Jazz classics tonight. Count Basie, One O'Clock Jump Ella Fitzgerald, A-Tisket A-Tasket Glenn Miller and His Orchestra, In the Mood Sidney Bechet, Blue Horizon Sidney Bechet's Blue Note Jazzmen, When The Saints Go Marching In Earl Bostic, Flamingo Lester Young, Stardust Stan Kenton, The Creep Django Reinhardt and Stéphane Grappelli, Nuages Billie Holiday, Lady Sings The Blues Gerry Mulligan, Bags' Groove Blossom Dearie, 'Deed I Do Dave Brubeck, Blue Rondo a La Turk Miles Davis, Summertime Stan Getz, Manhã de Carnaval Paul Desmond, Take Te

durée : 00:25:20 - Django Reinhardt, aristocrate de grands chemins (3/5) : La reconnaissance et la guerre (1935-1941) - par : Anne-Charlotte Rémond - Nous sommes en 1935, Le Quintette du Hot Club de France a un succès fou. Mais la guerre éclate, Django est alors séparé de Stéphane Grappelli. Les nazis cherchent à exterminer les tziganes. Pourtant restant à Paris sous l'Occupation, Django devient une grande vedette malgré les circonstances... - réalisé par : Philippe Petit

Альбом Simple Stories - Простые истории всего 24 минуты, но добавить в свою коллекцию считаю необходимым по трем причинам. Во-первых это скрипка и напоминание Stéphane Grappelli, Jean-Luc Ponty и нашего Давида Голощекина. Во-вторых это Django Friends - акустические гитары и джаз-мануш. И в третьих это наши ребята из России, что тоже большая редкость в джазе. Вышел альбом на лейбле JAZZIST, где вы можете познакомиться с участниками этого коллектива и историей создания альбома. Как обычно русские продюсеры слишком скромные и пока не научились раскручивать музыкантов, поэтому выражаю свои слова поддержки этим музыкантам, в надежде на будущее. То есть мне очень хочется, что бы было больше такой музыки и альбомы были длиннее. Сразу бросается в глаза обложка - это картина маслом, которая создает атмосферу того времени, когда зарождался этот прекрасный стиль. Видел похожие картины у основателя лейбла и директора знаменитого московского клуба Араика Акопяна. Осмелюсь предположить, что это дело его рук. Музыка свежая, написана сегодня, но ярко демонстрирует все хорошие стороны и отсылает нас к веселым, танцевальным ритмам джаза-мануш. Мне лично очень не хватает такого стиля и кроме #swing добавлю еще один хештег #gypsy Подробнее об этом стиле читайте и слушайте здесь - https://t.me/discor/5296 СЛУШАТЬ АЛЬБОМ - https://album.link/i/1749308688 ЧИТАТЬ - https://ok.ru/dzhazklubb/topic/157454306638064 Лучший трек альбома в плей-листе JAZZ по-русски 7 на AppleMusic и Spotify Поставь лайк ❤️ и подпишись на канал JAZZ по-русски https://t.me/discor --- Send in a voice message: https://podcasters.spotify.com/pod/show/konstantins/message

Grabaciones del clásico de Vernon Duke y Yip Harburg 'April in Paris' por Kurt Elling, Billie Holiday, Ella Fitzgerald y Louis Armstrong, Tierney Sutton, Blossom Dearie, Count Basie y Bud Powell. 'I´ll remember April' que grabaron Johnny Hartman, Julie London y Stéphane Grappelli y Michel Petrucciani. Y 'April child', de Moacir Santos, en grabaciones de la cantante Maúcha Adnet y del pianista Jovino Santos Neto. También el guitarrista Earl Klugh con 'The April fools'. Escuchar audio

Les moments mythiques naissent souvent d'un enchainement de hasard. On ne peut pas décider à l'avance qu'un événement, qu'un concert, qu'un festival, vont entrer dans l'Histoire. Qu'est-ce qui fait la magie ? Qu'est-ce qui fait l'étincelle ? Qu'est-ce qui fait le surplus d'âme ? Il faut une bonne programmation qui résonne avec l'époque. Les bons artistes au bon moment. Et puis souvent, il faut une bonne histoire. En 1959, le festival de jazz de Comblain-la-Tour a probablement réussi à rassembler tout ça. On se replonge dans cet extraordinaire festival qui a attiré jusqu'à 40.000 personnes et qui aura vu sur sa scène certain.e.s des plus grand.e.s de cette époque : John Coltrane, Ray Charles, Nina Simone, Stéphane Grappelli, Chet Baker,… C'est en compagnie de Philip Catherine, qui, tout jeune et encore inconnu, a joué lors de la première édition du festival, et Laurent Graulus, animateur à Musiq'3. Présentation : Hélène Maquet et Bertrand Henne Merci pour votre écoute L'Histoire Continue c'est également en direct tous les samedis de 9h à 10h sur www.rtbf.be/lapremiere Retrouvez l'ensemble des épisodes de l'Histoire Continue sur notre plateforme Auvio.be https://auvio.rtbf.be/emission/l-histoire-continue-19690 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Jazz for Valentine's Day:   Django Reinhardt with Stéphane Grappelli, I've Got My Love to Keep Me Warm Jimmy Yancey, State Street Special Nat King Cole, L-O-V-E Jimmy Hamilton, I Can't Give You Anything But Love Hal McKusick, What's New Pérez Prado & His Orchestra, Besame Mucho Bobby Timmons, Chet Baker and His Crew, Lucious Lu The Ella Fitzgerald Quarter, My Funny Valentine Lee Morgan, P.S. I Love You Pete Fountain, Do You Know What It Means to Miss New Orleans? Pete Fountain, Poor Butterfly Stan Getz, Love Is Here to Stay Toots Thielemans, Please send me someone to love Etta Jones, You Better Go Now Joe Pass, Blues for Alican

John Wilson's guest is the violinist Nigel Kennedy. A prodigy whose childhood talents were nurtured by Yehudi Menuhin, one of the greatest violinist of the 20th century, Kennedy himself became an international star in 1989 with his recording of Vivaldi's Four Seasons. It sold over three million copies, topping the UK classical charts for a year and went on to be listed as the biggest selling classical album of all time in the Guinness Book Of Records. An unconventional classical musician from the outset, it wasn't just his wardrobe, accent and attitude that set him apart. As well as recording all the major violin concertos, his repertoire includes jazz standards, folk tunes and Jimi Hendrix. He remains one of the world's greatest virtuosos. For This Cultural Life, Nigel chooses his two violinist mentors; Yehudi Menuhin and the French musician Stéphane Grappelli with whom he shared a love of jazz and improvisation. Going to New York to study at the prestigious Juilliard School also proved a turning point for Kennedy, not so much for the teaching he received there, but for the legendary jazz musicians like Jimmy Rowles and Ellis Larkins that he sought out in clubs downtown and in Harlem. Nigel also discusses how being a fan of Aston Villa football club has made him think about crowd dynamics in his concerts and reveals the influence of his dog Huxley on his approach to his career. Producer: Edwina Pitman

Avec ce nouvel album événement, le plus intime à ce jour, Camille & Julie Berthollet nous racontent leur enfance et leur complicité à travers de célèbres pièces classiques mais aussi pop qui ont marqué leur vie. (Gounod, Bach, Chopin, Mozart, Beethoven, Monti, Tchaïkovski... mais aussi, Stéphane Grappelli, Leonard Cohen, Freddie Mercury, les Beatles...). "Cet album est un retour à la maison. Un peu comme le sentiment de retrouver sa chambre d'enfant après un voyage riche d'aventures et de rencontres." Camille & Julie. «Dans les yeux» en vente depuis le 1er décembre. En concert: Le 18 décembre au Théâtre du Passage - Neuchâtel, avec Barbara Klossner dans le cadre de l'opération Coeur à Cœur. Le 19 décembre au Victoria Hall - Genève avec Violonissimo, concert de gala "Smile". Les 10 et 11 janvier au Théâtre du Jura, Delémont. Camille et Julie Berthollet sont les invitées de Pierre Philippe Cadert.

Podcast Jazztime 612 – 21.11.23 Diese Sendung Joachim Böskens. zusammengestellt. Dabei sind interessante Neuerscheinungen, u.a. ein vielversprechender junger Trompeter. Beim LIVE - Anspiel von „There will never be another you“ versucht Anderas Pasternack so zu klingen, wie Coleman Hawkins. Außerdem wird die spannende Frage: „Was ist eine schöne Frau am Arm eines Bassisten ?“ geklärt. Folgende Titel sind zu hören: 1. I love you - Randy Weston 3:00 2. Paris - Chris Botti 4:19 3. Take us down the River - M. Naura & W. Schlüter (remastered) 3:58 4. The best Things in Life are free - Scott Hamilton & Karin Krog 3:22 5. La Rosita - C. Hawkins & Ben Webster 5:04 6. There will never be another you - Stèphane Grapelli 3:59 7. Stepping forward - Thimo Niesterok 5:13 8. Watermelon Man - Herbie Hancock 6:26 Bei Titelwünsche und Anregungen schreiben Sie gern an: jazztime.mv@ndr.de

David "Dawg" Grisman: Stéphane Grappelli told me that, when he and Django first met and started playing together in between sets at a big hotel in Paris, he said they were basically trying to imitate Eddie Lang and Joe Venuti. George Cole: Thank you. Thank you for saying that. Listeners out there in podcast land, that is a very important piece of information, because if you read the books, people will try to tell you that Django was mostly influenced by Duke Ellington, who's great, and Louis Armstrong, who's great. We love all that. But I've always thought the same thing as you just mentioned.Welcome, welcome to the Hot Jazz Network Podcast. I'm your host, George Cole. On our show today, we have one of the most important musicians in American history. He's a legendary mandolinist and composer, but more important, he's also my friend. He's the creator of Dawg Music, has recorded with Jerry Garcia, The Grateful Dead, Doc Watson, Del McCoury, and countless others.Ladies and gentlemen, the one and only David Grisman, the man we call Dawg.

durée : 00:25:20 - Musicopolis - par : Anne-Charlotte Rémond - Nous sommes en 1935, Le Quintette du Hot Club de France a un succès fou. Mais la guerre éclate, Django est alors séparé de Stéphane Grappelli. Les nazis cherchent à exterminer les tziganes. Pourtant restant à Paris sous l'Occupation, Django devient une grande vedette malgré les circonstances... - réalisé par : Philippe Petit

We have the music of Cole Porter tonight, with performances by Julie London, Tal Farlow, Django Reinhardt with Stéphane Grappelli, Ella Fitzgerald, Louis Armstrong & Oscar Peterson, Sonny Stitt, Frank Sinatra, Tony Bennett, June Katz, Bireli Lagrene, Steve Gadd, Harold Mabern Trio, and Terry Gibbs.

“Los 3Tenores… dan la nota” otra vez. Además de la buena música, los buenos disparates y la cultura sana, “El plácido en domingo” dedica sus piezas a recordar que la zarzuela “Doña Francisquita” cumple 100 años. “El Carreras” centra su selección en Menuhin & Grappelli” y “El Pavor-Rotti” va a su aire. Esta semana tenemos […] The post Los Tres Tenores 18/10/2023 first appeared on Ripollet Ràdio.

“Pour énormément de gens le nom de Barney Kessel veut dire guitare”. Pour une fois, la publicité ne ment pas ! En 1974, arpès deux disques en duo avec Stéphane Grappelli, Barney retrouve le pianiste Oscar Peterson : une manière de boucler la boucle et de se faire définitivement une place auprès des légendes du jazz classique.

Sam Paddor and David Grisman discuss David's experiences with playing with Jerry Garcia, Stéphane Grappelli, Tony Rice and other music legends.My Back Pages Website:mybackpages.orgAcoustic Disc Website:acousticdisc.com

Tips for guessing within two years when a song was played.Larry Mishkin reviews the Grateful Dead concert from August 4th, 1994, at Giant Stadium. He discusses the show and welcomes guest   Christian Sauska, who attended that concert and shares his love for New Orleans-style music and his journey as a Deadhead. The conversation delves into the 80s and 90s eras of the band, and they discuss their musical backgrounds and the band's new music.Produced by PodConx  Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntChristian Sauska -  https://www.linkedin.com/in/christian-sauska-5aab2310/Jay Blakesberg - https://podconx.com/guests/jay-blakesbergRecorded on Squadcast  Grateful DeadAugust 4, 1994Giant's StadiumEast Rutherford, NJTraffic opened the show              Jerry sits in with Traffic on Dear Mr. Fantasy and Gimme Some Lovin  INTRO:              Box of Rain                           Track No. 2                           3:42 – 4:51 SHOW #1:        Jack Straw                           Track No. 3                           5:00 – 6:09  SHOW #2:        Eternity                           Track No. 7                           0:36 – 1:45               A “new” Bob Weir song, music by Bob and Rob Wasserman and lyrics by Willie Dixonfirst played on February 21, 1993 at Oakland Alameda County Coliseum              Played 44 times in concert              Last played July 8, 1995 at Soldier Field  – second to last show              Released on Dead's first post-Jerry box set, So Many Roads               Rob Wasserman (Rat Dog with Bobby)  Wasserman started playing violin, and graduated to the bass after his teenage years. He studied at the San Francisco Conservatory of Music where he studied composing with John Adams and double bass with San Francisco Symphony bassists.[5]He worked with Van Morrison, Oingo Boingo, and David Grisman. His 1983 album Solo won Down Beat magazine's Record of the Year award. On the albums Duets and Trios, he worked with Bobby McFerrin, Rickie Lee Jones, Cheryl Bentyne, Lou Reed, Stéphane Grappelli, Jerry Garcia, Brian Wilson, Willie Dixon, Branford Marsalis, Bob Weir, Edie Brickell, Les Claypool, Neil Young, and Elvis Costello.Duets was nominated for three Grammy Awards. Bobby McFerrin won for "Brothers", which was performed with Wasserman. Wasserman also won Holland's Edison Award for Record of the Year.His 2000 album, Space Island, incorporated more contemporary musical elements. RatDog, which he co-founded with Bob Weir from the Grateful Dead, occupied much of his time. He toured extensively with Lou Reed.Wasserman was a judge for the sixth-tenth annual Independent Music Awards.[8]Rob Wasserman died on June 29, 2016. Cause of death was cancer.[9] Entombment was made in Salem Memorial Park and Garden at Colma, California.[10]                Willie Dixon (1915-1992) was one of the preeminent blues songwriters and performers of all time. The Grateful Dead covered a fairly lengthy list of his songs, attesting to his influence on the band: “Down in the Bottom,” “I Ain't Superstitious,” “I Just Want to Make Love To You,” “Little Red Rooster,” “The Same Thing,” “Spoonful,” and “Wang Dang Doodle.”            The song was written during the sessions for Rob Wasserman's Trios album. “Guitar Player” magazine ran an interview with Weir in 1993:“I had this chord progression and melody that I wanted to run by Willie to see if he liked it .... he did, so he started dashing off words. He wanted me to run a certain section by him again and stuff like that, and we started working on a bridge. Then he dashes off this sheet of lyrics and hands it to me. Now I'm really stoked to be working with the legendary Willie Dixon and I'm prepared for just about anything.“He hands these lyrics to me and I'm reading through them. And they seem, you know, awfully simplistic. Like there wasn't a whole lot to them....“....Now he wants me to read through it and sing the melody I have and see if they fit. And so I started singing through these simplistic lyrics, and that simplicity takes on a whole other direction.“By the time I had sung through them, it's like my head is suddenly eons wide. I can hear what's happening just sort of echoing around in there and I'm astounded by the simple grace of what he has just presented to me. I'm sitting there with my mouth open literally, and Willie's laughing. He's just sitting there laughing, saying, 'Now you see it. Now you see it. That's the wisdom of the blues.'”           David Dodd (author of Complete Grateful Dead Annotated Lyrics) – “Weir's songs from this era (anything from “Victim or the Crime” forward) seem aggressively innovative, shall we say. The rhythmic patterns, the big multi-layered chords, the changes in meter and tone, all add up to something that seems calculated to disrupt any comfort we might have been sinking into. OK, I didn't say that very well, but anyone who has struggled with these late-period Weir songs knows what I mean.”           SHOW #3:        Childhood's End                           Track No. 8                           3:10 – 4:15               A “new” Phil tune, first played July 24, 1994 at Deer Creek Music Center, Noblesville, IN              Played 11 times in concert              Last played July 9, 1995 at Soldier Field – last show              Never released on a studio album                “Childhood's End” on 7/20/94 – the last original Grateful Dead song to enter the live repertoire, written and sung by Phil Lesh.             Per John Hilgart of 4CPComics, the background story is that Lesh (and perhaps the others) felt that new songs would help fuel Garcia engagement in a period when Jerry was headed in the same direction as in the mid-1980s, when his drugged-out-bad-health put him in a coma that he narrowly survived – living on to drive the 1989-onward renaissance of the band. In the 1995 remake, Jerry died. The big musical difference between those two episodes is that everyone else in the band had their shit together in 1994, whereas the whole band was a mess in 1986.              John's general take on post-Brent 1990's Dead is that they were not to be dismissed – a band that had stopped depending on Garcia's leadership to determine the musical outcome, but who were always therefore also ready when Garcia was feeling spry. Weir has said something to that effect. And when Garcia was feeling spry, it was just as you would wish it to be. SHOW #4:        Way To Go Home                           Track No. 14                           2:59 – 4:12                           A “new” Vince song music by Vince and Bob Bralove, lyrics by Robert Hunter.              First played February 23, 1992 at Oakland-Alameda County Coliseum              Played 92 times              Last played June 28, 1995 at The Palace of Auburn Hills, Auburn Hills               Also wrote Samba In The Rain for the Dead.               Bob Bralove is a keyboard–synthesizer player who worked as a sound technician with the Grateful Dead from 1986 to 1995. Throughout his tenure, he performed as an auxiliary musician throughout "Drums" and "Space", the band's signature aleatoric music segments.[1]Accordingly, he played a key role in their integration of MIDI technology (Musical Instrument Digital Interface) is a technical standard that describes a communications protocol, digital interface, and electrical connectors that connect a wide variety of electronic musical instruments, computers, and related audio devices for playing, editing, and recording music.[1]  ; Before the development of MIDI, electronic musical instruments from different manufacturers could generally not communicate with each other. This meant that a musician could not, for example, plug a Roland keyboard into a Yamaha synthesizer module. With MIDI, any MIDI-compatible keyboard (or other controller device) can be connected to any other MIDI-compatible sequencer, sound module, drum machine, synthesizer, or computer, even if they are made by different manufacturers.), first working with drummers Mickey Hart and Bill Kreutzmann, keyboardist Brent Mydland, and later guitarist Bob Weir and synthesizer/piano player Vince Welnick. He also co-wrote several songs with Weir and Welnick, including "Picasso Moon" on Built to Last (1989) and "Way to Go Home" and "Easy Answers", which were slated to appear on the band's unfinished fourteenth studio album. (A live reconstruction, Ready or Not, was ultimately released in 2019 and contains both songs.) Perhaps his most significant project with the band was curating excerpts from "Drums" and "Space" on Infrared Roses, a 1991 compilation album. "Parallelogram" and "Little Nemo in Nightland" are some of his most notable "compositions" from this release.Bralove was also a member and producer of the Psychedelic Keyboard Trio, along with Welnick and fellow former Grateful Dead keyboardist Tom Constanten.[2] Bralove and Constanten also collaborated as Dose Hermanos, a showcase for their improvisational keyboard work; since 1998, they have toured irregularly and released five albums under the moniker. Bralove also worked with Stevie Wonder, setting up and programming Wonder's synthesizers including while he was touring.[3]  OUTRO:            Days Between                           Track No. 20                           5:55 – 7:24                           “new” Jerry tune              First played February 22, 1993 at Oakland-Alameda County Coliseum Arena              Played 42 times by the Dead              Last played June 24, 1995 at RFK Stadium in D.C.               It has become a favorite of the surviving band members, played the third night at the 50th Anniversary Shows at Soldier Field in 2015 and frequently played by Dead & Co. with Bobby singing,  Also played by Bob Weir and Wolf Bros. and Phil and Friends.  Great tune to end this episode.               David Dodd:  “Days Between” has come to be an anthem that makes us remember Garcia in a particular way, and, in particular, the days between his birth date of August 1 and his death date of August 9. It's a fitting song for such thoughts, with its big sweeping chords and its lyrics heavy with nostalgia and longing.There's a word in German, sehnsucht, that lacks a proper emotional counterpart in English, but which means, roughly, “longing.” It carries a sense of wishing you could see something—see something again, see something at all—that something is missing from your eyes and from your presence. I find that “Days Between” belongs with a raft of songs that induce this feeling in me.“Days Between,” a late song in the Robert Hunter / Jerry Garcia songbook, was perhaps their last collaboration on a big, significant song, one that ranks with “Dark Star” and “Terrapin Station” as ambitious and intentionally grand. (I was talking the other day with a friend, about Garcia's playing and songwriting, and the thought came up that Garcia, like few others, was unafraid of grandeur, and could successfully pull it off. Same with Hunter.) During its relatively short time in the live repertoire, they played it 41 times, always in the second set, and fairly frequently rising out of the Drums. Phil:  “I don't know whether to weep with joy at the beauty of the vision or with sadness at the impassable chasm of time between the golden past and the often painful present.”

Con Carlos López I Un verano más volvemos a rendir homenaje a una de las figuras más relevantes de la historia del jazz. En esta ocasión, y después de haber enfocado nuestros anteriores especiales hacia Estados Unidos, ahora es el turno de centrarnos en un músico nacional que alcanzó el status de jazzmen internacional: Tete Montoliu. Un pianista que tocó junto a figuras tan relevantes del género como Ben Webster, Dexter Gordon o incluso Stéphane Grappelli. Desde su primera grabación, allá por el año 1956, junto a Lionel Hampton, más de una centena de grabaciones avalan una carrera que, a día de hoy, nos sigue asombrando y hace que tengamos que quitarnos el sombrero ante el “gran señor de Cataluña”.

Con Carlos López I Un verano más volvemos a rendir homenaje a una de las figuras más relevantes de la historia del jazz. En esta ocasión, y después de haber enfocado nuestros anteriores especiales hacia Estados Unidos, ahora es el turno de centrarnos en un músico nacional que alcanzó el status de jazzmen internacional: Tete Montoliu. Un pianista que tocó junto a figuras tan relevantes del género como Ben Webster, Dexter Gordon o incluso Stéphane Grappelli. Desde su primera grabación, allá por el año 1956, junto a Lionel Hampton, más de una centena de grabaciones avalan una carrera que, a día de hoy, nos sigue asombrando y hace que tengamos que quitarnos el sombrero ante el “gran señor de Cataluña”.

durée : 00:30:00 - Les Nuits de France Culture - par : Albane Penaranda - En 1990, Alain Weber consacre cinq épisodes du "Rythme et la raison" à Django Reinhardt. Le deuxième s'intitule "Nuit de Saint-Germain-des-Prés ou un roi et son entourage", avec entre autres le clarinettiste Hubert Rostaing et Babik Reinhardt, fils de Django. Il se prénommait Jean, on l'appelait Django. Il jouait de la guitare comme personne, et pour cause : à dix-huit ans, très gravement brûlé dans l'incendie de sa roulotte, la main gauche détruite, Django Reinhardt était perdu pour la guitare. Après des mois d'hôpital et un travail acharné, il s'inventa une technique qu'aucun autre n'aurait pu se permettre. À lui, le pouce, l'index et le médius d'une main infirme suffisaient pour être le meilleur. "Comment pouvait-il jouer comme cela avec cette main ?" En croisant la route du jazz, son génie manouche a fait naître un genre musical qui porte le nom de son peuple. Près d'un siècle après son association avec Stéphane Grappelli dans le Quintette du Hot Club de France, le jazz manouche est plus vivant que jamais et Django Reinhardt est devenu un mythe. Qu'ils s'appellent Jimi Hendrix, Carlos Santana, B.B King, Jeff Beck, John McLaughlin ou Biréli Lagrène, pour tous les guitaristes, il a été et reste une référence, un modèle. et aussi un mystère. En 1990, Alain Weber consacre cinq épisodes du "Rythme et la raison" à Django Reinhardt, disparu à 43 ans le 16 mai 1953. Le deuxième s'intitulait "Nuit de Saint-Germain des Prés ou Un roi et son entourage" : Django et ses musiciens, son rapport à l'argent, les milieux intellectuel de Saint-Germain-des-Près dont le philosophe Jean-Paul Sartre faisait partie... Festival Django Reinhardt Production : Alain Weber Réalisation : Régine Barjou Le rythme et la raison - Django Reinhardt, 2/5 : Nuits de Saint-Germain-des-Prés ou un roi et son entourage Références musicales : "Daphné" - "Echos of France" - "Souvenirs" - "Swing Dynamique" 1ère diffusion : 19/06/1990

M1 Oh, Lady Be Good (George and Ira Gershwin, 1924), Django,  CBS Realm Jazz Series 1969/1934 (2:50)... M2 Dinah, (Akst, Lewis, Young, 1925) Django, CBS Realm Jazz Series 1969/1934 (2:30)... M3 I Saw Stars (Sigler, Goodhart, Hoffman, 1934), Django, CBS Realm Jazz Series 1969/1934 (2:20)....... M4 Confessin', (Daugherty, Reynolds, 1929), Django, CBS Realm Jazz Series 1969/1935 (2:40).... M5 The Sunshine of Your Smile, (Ray, Cooke, 1913) Django,  CBS Realm Jazz Series, 1969/1935 (2:50)..... M6 Swannee River (Old Folks at Home), (Foster, 1851), Django, CBS Realm Jazz Series, 1969/1935 (2:50)... M7 Lover Man (Oh, Where Can You Be?)(Davis, Ramirez, Sherman, 1941)  Best of Django Reinhardt, EMI / Columbia, 1970/1947 (3:10) M8 Golden Green (Ponty, 1972), Ponty/Grappelli, Inner City Records, 1976/1973 (4:42) Today's Vinyl Vibrations podcast features the artistry of French Violinist Stephane Grappelli. Stephane Grappelli is best known as the founder of the Quintette du Hot Club de France along with guitarist Django Reinhardt in 1934. This was a GYPSY jazz band. Grappelli is considered the grandfather of jazz violinists. He lived 90 years, from 1908 until 1997. He began playing violin at the age of 12, early on, preferring to learn in the streets by watching how other violinists played, such as at the Barbes (pron BAR-bez) metro station in Paris. Then he was enrolled by his father at the Conservatory of Paris to learn music theory, sight reading, and ear training. He graduated three years later. Starting at age 15, he worked in the pit orchestra at the Theatre Gaumont, accompanying silent films, then at the Ambassador Hotel orchestra, where jazz violinist Joe Venuti was playing. For a while, Grappelli abandoned violin --- in favor of playing piano in a big band, it was easier to get paid for big band work. Jazz violinists were a relatively unknown and rare breed. In this big band, Grappelli met gypsy jazz guitarist Django Reinhardt. It was 1931 and Grappelli was just 23, Django was 21. Three years later, Django and Grappelli formed the Quintette du Hot Club de France . This was an all-string jazz band, and they performed regularly at the Montmartre district, an artistic village on the hill in the northside of Paris. This continued until 1939 when the Quintette disbanded due to the outbreak of World War II. ‘' When the war was over, the original Quintette never did reform. Django and Grappelli did continue to perform together in Paris. In 1949, they briefly toured in Italy, where some 50 tunes were recorded. That would turn out to be the last time the two would record together, 1949, due to Django's untimely death at the age of 43. Many of those recorded songs were released as an album titled Djangology in 2005 on Bluebird Records. Most of the recordings featured in today's podcast were recorded between 1934 and 1947 and were recorded in Paris, as performed by the Quintette du Hot Club de France. Stephane Grappelli is a master of improvisation. He had said that he was not a fan of BEBOP jazz, which was then very fashionable in the jazz world.   Instead, he was a strong proponent of SWING music, another popular jazz style. Swing developed in the US in 1935-1945  ….. This was the SWING ERA in America.

Dedicamos este episodio al encuentro entre el jazz y la musica de J.S. Bach. Se ha dicho que Bach tocaba jazz, sólo que él no lo sabía. La improvisación jazzística tuvo sus precedentes en el barroco. Por ese motivo, en Bach los músicos de jazz encuentran estructuras armónicas y motivos melódicos que les sirven como punto de partida para crear versiones o improvisaciones. Bach es una fuente inagotable para el jazz. Playlist: Benny Goodman and His Orchestra - Bach Goes to Town (Preludio y fuga en swing); Enrico Pieranunzi, Orchestra Filarmonica Italiana & Michele Corcella - Vendome; The Modern Jazz Quartet - Precious Joy (BWV 147); The Modern Jazz Quartet - Django; Eddie South, Stéphane Grappelli & Django Reinhardt - Improvisation J.S. Bach, Part 2 (BWV 1043); Jacques Loussier - Toccata & Fugue In D Minor (BWV 565): The Ramsey Lewis Trio - Bach to the Blues (BWV 140); Lalo Schifrin - The Blues for Johann Sebastian; Svend Asmussen - Inventio 13 (BWV 784); The Swingle Singers - Choral 'Wachet auf, ruft uns die Stimme' aus 'Sechs Schübler Choräle', (BWV 645); Massimo Farao' Trio - March in D Major (BWV Anhang 122); The Classical Jazz Quartet - Oboe Concerto in A major, 2nd Movement (BWV 1055R); Camille Bertault - Goldberg (BWV 988).

El 28 de diciembre de 1962, nació en Orange, al sur de Francia, Michel Petrucciani, pianista de jazz que nos dejó con solo 36 años. Le recordamos hoy, que hubiera cumplido 60, con grabaciones en solitario, en trío con Steve Gadd y Anthony Jackson, con Bob Brookmeyer, con Stéphane Grappelli o con Eddy Louis de sus composiciones 'Looking up', 'Brazilian like', 'Training', 'September second', 'Chloé meets Gershwin', 'Colors', 'I wrote you a song', 'Little peace in C for you' y 'Home'. Escuchar audio

The Manhattan Transfer - одна из первых вокальных групп, которая начала петь джаз а капелла. Мне посчастливилось их наблюдать на концерте в 90х годах прошлого века и поэтому, когда появился альбом Fifty, я немедленно его начал слушать. Vince Mendoza, Jorge Calandrelli, Yaron Gershowsky и Andrew Kesler сделали эксклюзивные аранжировки к 50-летию ансамбля. Диск был записан под руководством Jörg Achim Keller весной 2021 года в Кельне. В 2014 году ушел из жизни Tim Hauser - один из соучредителей квартета и этот альбом посвящается так же ему. Новый участник Trist Curless достойно заменил коллегу и звучания коллектива изменилось в лучшую сторону. Дискография: 30 альбомов, 10 премий GRAMMY из 20 наминаций и включение в Зал славы вокальных групп. Их музыка широко использовалась в фильмах и телешоу, и они сотрудничали с такими гигантами, как: Tony Bennett, Smokey Robinson, Phil Collins, Take 6, B.B. King, Chaka Khan, Joe Zawinul, Stéphane Grappelli, Bobby McFerrin, Chick Corea, Dizzy Gillespie… Легендарная американская вокальная группа The Manhattan Transfer вместе с WDR Funkhausorchester были номинированы на премию GRAMMY 2023 в категории Лучший джазовый вокальный альбом - Fifty. Победители 65-й премии будут объявлены на гала-вечере в Лос-Анджелесе 5 февраля 2023 года. Список джазовых номинантов можно посмотреть здесь. Alan Paul рассказал о музыкальном выборе для альбома Fifty: Мы хотели, чтобы выбор песен каким-то образом отражал значительные изменения в нашей музыке на протяжении пяти десятилетий, что было довольно сложной задачей. Что нас интересовало, так это выбор материала, который представлял собой либо значимый момент в истории группы, либо песни, которые, возможно, не обязательно были хитами, но которые нам действительно нравились. Кроме того, еще одним важным соображением был выбор песен, которые, по нашему мнению, будут вдохновлять и хорошо сочетаться с симфоническим оркестром, потому что это было сотрудничество. ©️ 2022 Craft Recordings., Manufactured & Distributed by Concord Alan Paul - vocal Janis Siegel - vocal Cheryl Bentyne - vocal Trist Curless - vocal WDR Funkhausorchester Jörg Achim Keller - conductor #vocaljazz #bigband --- Send in a voice message: https://anchor.fm/konstantins/message

Les moments mythiques naissent souvent d'un enchainement de hasard. On ne peut pas décider à l'avance qu'un événement, qu'un concert, qu'un festival, vont entrer dans l'Histoire. Qu'est-ce qui fait la magie ? Qu'est-ce qui fait l'étincelle ? Qu'est-ce qui fait le surplus d'âme ? Il faut une bonne programmation qui résonne avec l'époque. Les bons artistes au bon moment. Et puis souvent, il faut une bonne histoire. En 1959, le festival de jazz de Comblain-la-Tour a probablement réussi à rassembler tout ça. On se replonge dans cet extraordinaire festival qui a attiré jusqu'à 40.000 personnes et qui aura vu sur sa scène certain.e.s des plus grand.e.s de cette époque : John Coltrane, Ray Charles, Nina Simone, Stéphane Grappelli, Chet Baker,… C'est en compagnie de Philip Catherine, qui, tout jeune et encore inconnu, a joué lors de la première édition du festival, et Laurent Graulus, animateur à Musiq'3. Présentation : Hélène Maquet et Bertrand Henne

Mais à qui sont les mains qui dévalent les 88 touches du clavier ? Et bien vous ne rêvez pas : elles appartiennent à Stéphane Grappelli, bras droit de Django et père de tous les violonistes ! Or, l'auteur de Mon Violon Pour Tout Bagage était aussi un remarquable pianiste : la preuve avec la sortie de bandes inédites chez Label Ouest, enregistrées à Nice en 1981.

durée : 00:54:41 - Stéphane Grappelli "Au piano, Passage Gioffredo" - par : Alex Dutilh - Vingt-cinq ans après la disparition du violoniste Stéphane Grappelli, la sortie de cet album de piano solo inédit “Passage Gioffredo” enregistré en 1981 s'impose comme un événement discographique. Parution le 05 octobre chez Label Ouest. - réalisé par : Fabien Fleurat

Cotton tail o "Cola de algodón" es una de las mejores composiciones de Duke Ellington, adelantada a su época, con giros de bop antes del bop,Una de los temas donde se luce Ben Webster. Escuchemos varias versiones de Duke, con Jimmy Blanton, con Webster, con Ella etc. En guitarras vamos con Montgomery y Joe Pass. La orquesta de Buddy Rich, Duke y Grappelli, Herbie Hancock y Wayne Shorter completan este episodio. Hosted on Acast. See acast.com/privacy for more information.

durée : 00:54:41 - Stéphane Grappelli "Au piano, Passage Gioffredo" - par : Alex Dutilh - Vingt-cinq ans après la disparition du violoniste Stéphane Grappelli, la sortie de cet album de piano solo inédit “Passage Gioffredo” enregistré en 1981 s'impose comme un événement discographique. Parution le 05 octobre chez Label Ouest. - réalisé par : Fabien Fleurat

Frank Sinatra “Watertown” Mezclado y remasterizado: ”Watertown” ”Goodbye (She Quietly Says)” ”For A While” ”Michael & Peter” ”I Would Be In Love (anyway)” ”Elizabeth” ”What A Funny Girl (You Used To Be)” ”What’s Now Is Now” ”She Says” ”The Train” ”Lady Day”* Tribute To Frank Sinatra: Jamie Cullum “Devil May Care” Biréli Lagrène “You Make Me Feel So Young” Diana Krall “On The Sunny Side Of The Street” Didier Lockwood “All The Things You Are” Michel Petrucciani & Stéphane Grappelli “These Foolish Things” Escuchar audio

Do you write web apps in Django? The framework has come a long way lately with versions 3 and 4 adopting many of the modern Python capabilities (async, for example). But there are so many other libraries and apps that you can use to do more with less code in plugin new functionality. I'm happy to have Christopher Trudeau here on talk Python to take us through his 17 favorite libraries you should be using in Django. Links from the show Chris on Twitter: @cltrudeau Django: Getting Started Course (by Chris): training.talkpython.fm Foundational libraries: coverage: coverage.readthedocs.io Sphinx: sphinx-doc.org Sphinx-rtd-theme: github.com pudb: documen.tician.de tox: tox.wiki Pillow (sort of Django, needed by ImageField): github.com Django libraries: Django Ninja: django-ninja.rest-framework.com DRF: django-rest-framework.org Grappelli: github.com django-import-export: github.com Django Debug Toolbar: github.com Django local flavor: github.com Django admin-extra-buttons: github.com django-awl: github.com django-airplane: github.com Django Extensions: github.com django-allauth: github.com awesome-django: github.com ‘Unstoppable' Python: infoworld.com asciimatics: github.com Watch this episode on YouTube: youtube.com --- Stay in touch with us --- Subscribe to us on YouTube: youtube.com Follow Talk Python on Twitter: @talkpython Follow Michael on Twitter: @mkennedy Sponsors IRL Podcast Microsoft AssemblyAI Talk Python Training

In this episode Tom and Ty tussle over the concept of music comedy and debate whether these odd bedfellows can co-exist peacefully.  During their examination of genre crossing, Tom callously forgets about a precious TnT moment and Ty breaks Tom's heart by declaring that the guitar is at an all-time low.  They reconcile over their shared belief that limitations can be overcome in spectacular ways. It would be the after-school special of podcast episodes except that...it starts with MURDER. Come 'ere, go away.Track Listing:The Reverb Syndicate - Better Dancing Through Technology (Theme Song)Alexei Sayle - Didn't You Kill My BrotherDr. Demento Opening Theme (Pico & Sepulveda)Right Said Fred - I'm Too Sexy"Weird Al" Yankovic - Amish ParadiseVarious - Rent (Original Motion Picture Soundtrack) - Seasons of LoveVan Halen - EruptionJudas Priest - Turbo LoverThe White Stripes - Icky ThumpNeil Young - If You Could Read My MindU2 - WireJoni Mitchell - HejiraDjango Reinhardt, Stéphane Grappelli & The Quintet Of The Hot Club Of France - Minor SwingBlack Sabbath - Into The VoidRamones - Rock 'N' Roll High SchoolSam Kinison - Wild ThingApocalyptica - Nothing Else MattersIron Horse - Sweet Child O' MineLord Sutch and Heavy Friends - Flashing LightsWilliam Shatner - Common PeopleLed Zeppelin - Your Time Is Gonna ComeCrosby, Stills, Nash & Young - Teach Your ChildrenBob Dylan - Like A Rolling StoneConnect with us:Twitter

Y llegamos a la centena de episodios de JLS Standards!  Celebramos con un programa especial de doble duración y el standard Yesterdays. Composición del gran Jerome Kern, quien escribió más de 700 temas, muchos de los cuales se transformaron en standards. Escuchamos la voz de Billie Holiday y de Carmen McRae, a Artie Shaw, saxos de Hawkins Pepper y Rollins, trompetas de Miles, Clifford y Clark Terry, piano de Tatum, Tyner y Corea, bajo de Paul Chambers, NHOP y Red Mitchel/Sam Jones, violines de Grappelli y Menuhim, guitarras de Wes Montgomery y Luiz Bonfá y terminamos con Alba Armengou y Chamorro.

Born in New York City in the waning years of the 19th century, Harry Akst started out as a vaudeville pianist, backing Nora Bayes as she belted out tunes like “Shine On, Harvest Moon.”In 1916 Harry enlisted in the army, and while at Camp Upton in Yaphank, NY, on Long Island, he befriended another young composer, Irving Berlin. At the end of World War I, Akst and Berlin collaborated on the No. 2 recording of 1921, "Home Again Blues.”Then in 1925, Akst teamed up with lyricists Sam Lewis and Joe Young, to write “Dinah,” one of the most recorded songs from the Roarin' Twenties. As noted in last week's podcast, "Dinah" was introduced by Ethel Waters at the Plantation Club on Broadway within a year of its composition. It went on to be recorded by everyone from Louis Armstrong, Fletcher Henderson, Cab Calloway and Josephine Baker to Bing Crosby, the Mills Brothers and the Boswell Sisters to Chet Baker, Thelonious Monk and Django Reinhardt and Stéphane Grappelli. Enter “Am I Blue?”So our Harry already was a well-established songsmith when four years later he wrote “Am I Blue?” Right off the bat, it was another hit for Ethel Waters, this time in 1929's “On With the Show,” the first all-talking, all-color feature length movie in history.“Am I Blue?" was Waters' biggest hit (No. 1 for two weeks) and became her signature tune. Her Columbia recording, waxxed with a studio orchestra on May 14, 1929, was inducted into the Grammy Hall of Fame in 2007.Over the past 90+ years, Hollywood has fallen madly in love with “Am I Blue?” To date, the song has appeared in more than 40 movies, four in the year 1929 alone.Our particular favorite is Hoagy Carmichael's saucy 1944 performance of the tune for Lauren Bacall in Howard Hawks' “To Have and Have Not.” More recently, the song has been used in “Funny Lady” (1975 ), “The Cotton Club” (1984 ) and this year's “Downton Abbey: A New Era.”It probably was the celluloid success of “Am I Blue?” that prompted Harry Akst's decision to leave his native New York City for the West Coast, settling in Hollywood in the late '20s to work on dozens of movie scores over the next three decades.Harry even got a little screen time himself. You can catch glimpses of him as “Jerry” — rehearsal pianist, show pit orchestra conductor and concertmaster — in 1933's “42nd Street.” (Some of the same footage also was used later in “Gold Diggers of 1937.”)Multiple GenresA wide variety of styles have been applied to “Am I Blue?” over the years.Jazz artists from Billie Holiday to Grant Green covered it. Proto-rockers Eddie Cochran and Rick Nelson both recorded renditions in 1957. Rhythm and blues versions were done by Ray Charles in 1959 and Fat Domino in 1961. Many women song stylists -- Linda Ronstadt, Cher, Brenda Lee, Bette Midler, Dinah Washington, Judy Garland, Barbra Streisand, Rita Coolidge — have covered the song. George Strait even had a No. 1 country hit with it.Our Take on the TuneA lot of those renditions presented the tune slowly and deliberately, but that's not our style. Anyone who knows us knows The Flood is not really dirge-friendly. In fact, years ago, our beloved co-founder Dave Peyton said that if The Flood had a spirit animal, it probably would be Leon Redbone. So, our take on “Am I Blue?” is how we imagine Brother Redbone would do it. 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

In the genesis of American popular music, few moments are as important as one that occurred exactly 100 years ago tonight.Louis Armstrong was just 20 years old — nervous and apprehensive — when he stepped off a train from his New Orleans hometown into Chicago's Illinois Central Station just before midnight on July 8, 1922. “Anybody watching me closely could have easily seen that I was a country boy,” Armstrong wrote in his first memoir, Satchmo: My Life in New Orleans (1954). “I thought to myself: ‘Huh. I don't think I am going to like this old town.'” But that old town certainly would like him.Louis might never have gotten on that train in the first place — after all, he already had seen so many talented musicians come back to New Orleans broke and licking their wounds — but he had been called to the windy northern city to play second cornet with his long-time idol, the legendary Joe “King” Oliver in his Creole Jazz Band.We're all so lucky the wide-eyed young man made that trek. It was the first step in Louis Armstrong's birth as America's first music superstar. In Chicago, Armstrong would steadily outshine the rest of King Oliver's band. Before long he created his own Hot Five and Hot Seven bands. Their records throughout the 1920s and ‘30s document jazz's rapid early evolution, and they fill hundreds of pages in The Great American Songbook.What Song to Feature?So many great songs! It was hard for us to choose just one we to play to celebrate this momentous centennial.After all, many tunes in The Flood's repertoire are ones that we first heard on an Louis Armstrong recording, ranging from “St. Louis Blues,” “Ain't Misbehavin'” and “Sunny Side of the Street” to “All of Me,” “Basin Street Blues” and “Wonderful World.” We finally settled on one of the Louis's own favorites.“Dinah,” the biggest hit for Tin Pan Alley composer Harry Akst, was just five years old when Louis Armstrong recorded it for Okeh in 1930. The trumpeter's love the tune is apparent in the fact that for the next 40 years, he would perform it in most of his numerous live shows and on his radio appearances.The ultimate anthem to the sweetheart of the Roarin' 20s, “Dinah” was introduced by singer Ethel Waters at the Plantation Club on Broadway within a year of its composition in 1925. It then went on to be recorded by everyone from Fletcher Henderson, Cab Calloway and Josephine Baker to Bing Crosby, the Mills Brothers and the Boswell Sisters to Chet Baker, Thelonious Monk and Django Reinhardt and Stéphane Grappelli. Curious FootnoteIncidentally, one singer — Fanny Rose Shore — became so identified with the song in the late 1930s that when radio DJ Martin Block could not remember Shore's name one night, he called her “that Dinah girl.” The label stuck and became her stage name; she would be “Dinah Shore” for the next 50 years.Our Take on the TuneOn this track, as we're sitting with “Dinah,” we bet you can hearing the grins going around the room!Listen to all the musical bantering, from Veezy playfully comping behind the vocals to Danny's happy passing chords under the solos. As Louis himself might say, joy comes in many forms — and some of them you can hum! 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

New format where I chat with one of my past guests about their Favourite jazz violin recording. Tcha tells us about the "Grappelli in Paris" recordings from the 1950s. https://youtube.com/playlist?list=PL96iyAVaz9pOIGfRticax-B4ee_2T6E1w   https://open.spotify.com/album/6nD1T8V6ZzeeVIPSKHUuHw?si=oiOeiTokT5efIt-9uU-ktQ   to support the podcast or get involved in my practise club go to www.patreon.com.mattholborn  

Qool DJ Marv Live at the première party for the HBO film The Survivor at the Grill and Pool Manhattan - April 11 2022 The Survivor airs at 8pm on April 27 2022 https://www.hbo.com/movies/the-survivor Thank you, HBO! Stardust - The Melachrino Strings & The Melachrino OrchestraCharmaine - Helmut ZachariasI Only Have Eyes for You - Hugo Winterhalter and His OrchestraThe Warmth of the Sun - Hollyridge StringsA Night In Tunisia - Charlie Parker & Miles DavisUnforgettable - The Ward Marston Piano TrioNight and Day - Stéphane Grappelli, Yehudi Menuhin & Max HarrisWave - Milt Jackson, Joe Pass & Ray BrownCheek to Cheek - Stéphane Grappelli, Yehudi Menuhin & Max HarrisFascinating Rhythm - Don RalkeRoute 66 - Roy GainesBlue Skies - Ella Fitzgerald & Harry "Sweets" EdisonI Only Have Eyes For You - Billie HolidayHappy Go Lucky Local - Duke EllingtonIn The Mood - Artie ShawDream a Little Dream of Me - The Don Ralke ChorusPerfidia - The George Shearing QuintetOld Devil Moon - The George Shearing QuintetOur Day Will Come - Percy FaithSweet Georgia Brown - Johnny MercerWhat Is This Thing Called Love? - Nat King ColeCome Fly With Me - Count Basie & His OrchestraLady Be Good - Count BasieIt Had To Be You - Paul Kuhn Combo(Get Your Kicks On) Route 66 - Bobby TroupSweet Georgia Brown - Charlie ParkerI'm in the Mood for Love - Charlie Parker QuartetCast Your Fate to the Wind - Sounds OrchestralBesame Mucho - Joe Holiday Ac-Cent-Tchu-Ate the Positive (feat. The Pied Pipers & Paul Weston and His Orchestra) - Johnny MercerPersonality - Johnny MercerToo Marvelous For Words - Frank Sinatra(Get Your Kicks On) Route 66 - Nat King ColeSally Go 'Round the Roses - The JaynettsSunshine - The JaynettsBlowin' In The Wind - Stevie WonderLet the Good Times Roll - Louis Jordan & His Tympany FiveThe Best Is Yet To Come [feat. Count Basie And His Orchestra] - Frank SinatraFascination - Percy FaithUnforgettable - Nat King ColeGeorgia On My Mind - Dinah ShoreSmile - The Melachrino Strings & The Melachrino OrchestraSomeone to Watch Over Me - Percy Faithhttps://www.hbo.com/movies/the-survivor + https://thepoolnewyork.com/  + https://linktr.ee/qooldjmarv The music in this video, Comforter, is by me @qooldjmarv because at my best, I uplift and comfort.

The Franco-Irish violinist Fiona Monbet takes the jazz violin tradition, pioneered by artists like Didier Lockwood and Stéphane Grappelli before him, and manages to pay homage while ushering the instrument, beautifully, into the current day jazz clime. In fact, Lockwood once declared Fiona to be his “spiritual daughter”. With her new album “Maelström”, she expresses not just the many dazzling facets of her instrument, but also how genres like tango, folk song, and Bossa nova can be unified through one musician's vision. Show Notes: Tracklisting: - Tango Castagneri - Irish Gospel - Come Un Blues - Cerise - Joy Song Maelström is out now on Fo Feo Productions Theme music by The Respect Sextet Follow The Jazz Session on Twitter, Instagram and Facebook Subscribe to The Jazz Session's YouTube Channel Support The Jazz Session by becoming a member at Patreon. For $5 a month you'll get a weekly bonus episode called Track of the Week, plus early access to every show. For $10 a month you get all that plus an extra monthly bonus episode of “The Insider”, a spin-off interview series where Nicky chats to jazz industry insiders (broadcasters, artist agents, label heads, journalists) about the nuts and bolts of the business.

The Franco-Irish violinist Fiona Monbet takes the jazz violin tradition, pioneered by artists like Didier Lockwood and Stéphane Grappelli before him, and manages to pay homage while ushering the instrument, beautifully, into the current day jazz clime. In fact, Lockwood once declared Fiona to be his “spiritual daughter”. With her new album “Maelström”, she expresses not just the many dazzling facets of her instrument, but also how genres like tango, folk song, and Bossa nova can be unified through one musician's vision. Show Notes: Tracklisting: - Tango Castagneri - Irish Gospel - Come Un Blues - Cerise - Joy Song Maelström is out now on Fo Feo Productions Theme music by The Respect Sextet Follow The Jazz Session on Twitter, Instagram and Facebook Subscribe to The Jazz Session's YouTube Channel Support The Jazz Session by becoming a member at Patreon. For $5 a month you'll get a weekly bonus episode called Track of the Week, plus early access to every show. For $10 a month you get all that plus an extra monthly bonus episode of “The Insider”, a spin-off interview series where Nicky chats to jazz industry insiders (broadcasters, artist agents, label heads, journalists) about the nuts and bolts of the business.

Les feuilles mortes, Eric Clapton, Michel Legrand & Stéphane Grappelli, The Animals, Paul Breslin, Vince Taylor, Ximo Tebar, Molly Johnson, Lou Benett , .....

Martin Taylor is a British guitarist based in Scotland. He was a longstanding collaborator with Stephane Grappelli and now tours the world and has taught thousands of guitarists around the world through his online academy. https://martintaylor.com/   If you want to support the podcast or join my Jazz Violin Practise Club go to https://www.patreon.com/mattholborn    

You can become a patron of the podcast on Patreon by following this link https://www.patreon.com/Jazzviolinpodcast Becoming a patron of the podcast means that you are directly helping the podcast continue. This is a chance for you to help out with the running costs of the podcast, if you feel like you get a lot out of my interviews you can be a part of it by donating a small amount of money. I will be creating one extra monthly show specifically for my patrons where I listen back to previous shows and chat about some key points that my guests bring up. There are so many great ideas and concepts that these amazing musicians bring up and I would like to share with you some of my favourites! This is great for beginner jazz violinists who want a little direction once in a while. This episode is sponsored by Ithaca Strings and Headway Audio. Ithaca Strings www.ithacastring.com/ Ithaca Strings IS Eric Aceto, a luthier, violinist and producer of the ISI dual pickup system. This system is by far the best and most honest sounding violin pickup system on the market right now! It blends an Electret microphone with a bridge pickup, both attaching to a stereo jack out under the chin rest. This means you get the solid sound of the pick up blended with the sweeter sound of the Electret mic without heavy cables attached to your instrument. Eric also makes amazing instruments and has made both pickups and violins for Jean Luc Ponty, Zach Brock, Matt Glaser and many other amazing musicians.   Headway Audio https://www.headwaymusicaudio.com/ Headway was founded in the UK in 2006 by John Littler, they make pickups and preamps for string instruments. Most famously they make 'The Band' pickup for violin, viola, cello and bass, which is a very reasonably priced pickup that wraps around the body of the instrument. They make the amazing EDB2, an acoustic instrument preamp that can blend 2 channels of audio to a balanced output ready for the sound desk. This is perfect for blending a microphone and a pickup on the same instrument, as is needed with Eric Aceto's dual system. The EDB2 also has 5 band EQ, a notch filter and the ability to power each channel differently. Its an amazing piece of kit!   John Etheridge is a guitarist from the UK, he was in the band 'Soft Machine' and was picked up by Diz Dizley to become Stephane Grappelli's lead guitarist between 1976 and 1981. John is a great dude and an amazing player, it was fun to chat with him in his London home about his days with Grappelli and a bunch of other music related stuff too. John has a great way with words and is a natural storyteller. Hope you enjoy.

****This months episode is a little late due to my being on tour for the whole of November, stuck in the back of a van****   This episode is sponsored by Ithaca Strings.  www.ithacastring.com/ Ithaca Strings IS Eric Aceto, a luthier, violinist and producer of the ISI dual pickup system. This system is by far the best and most honest sounding violin pickup system on the market right now! It blends an Electret microphone with a bridge pickup, both attaching to a stereo jack out under the chin rest. This means you get the solid sound of the pick up blended with the sweeter sound of the Electret mic without heavy cables attached to your instrument. Eric also makes amazing instruments and has made both pickups and violins for Jean Luc Ponty, Zach Brock, Matt Glaser and many other amazing musicians.   Tim Kliphuis www.timkliphuis.com/ Tim is one of the front runners of jazz violin in the world today! He has an amazing tone, and as well as being a very creative improviser he really has the late Grappelli sound down! I studied a little with Tim when I first started learning jazz, he is a wonderful teacher and lovely dude! He has been integral in the development of many musicians around the world through his books, workshops and his own very popular music camp 'The Grappelli/Django Camp' in Holland. He has played with everyone you could possibly think of in the world of gypsy jazz and swing and continues to perform all over the world with these amazing musicians as well as his own trio.  Check out Tims lesson series for DC music below... https://www.dc-musicschool.com/store/in-the-style-of-tim-kliphuis-vol1/ We had a great chat about everything jazz violin plus much more! 

www.christiaanvanhemert.com/   Christiaan is the violinist for the Rosenberg Trio, he is based in Holland and he is an amazing player! In my opinion, Christiaan is one of the leading exponents of the grappelli style, in particular the early Grappelli style. Christiaan has really found a way to emulate the way Stephane played when he was playing with Django, but  has done this whilst still keeping his own unique sound and style. Christiaan is also a keen teacher, he has many intructional videos online and he can be found doing workshops and lessons at pretty much every Django festival around the world. We chatted over skype and recorded our own audio so this episode has quite nice sound quality. We found ourselves covering a range of different topics surrounding jazz, learning music and improvising. This is a great interview to listen to if you are working on your jazz playing or looking for an approach to learning to improvise. Christiaan was the perfect interviewee and we had a lot of fun!   The  music at the start is Christiaans  ‘Sure Gamble' featuring Stochelo Rosenberg from his album 'Times Up'   (The outro music is Benny Golsons 'Whisper Not' recorded by me and my band Latchepen)

www.chrisgarrick.com   Christian Garrick is an improvising violinist, a composer and a bandleader. He is active on the international concert circuit and on the London studio session scene. He is a professor of jazz and non-classical violin at three of London's major music conservatoires. He has worked with artists such as Wynton Marsalis, Nigel Kennedy, Julian Joseph, Bireli Lagrene, Dolly Parton, All About Eve, Van Morrison, Luka Bloom, Martin Taylor, Brian Ferry & Caro Emerald. He has made tours of the Far East and Australia with guitarist John Etheridge in a tribute to Stephane Grappelli and in 2001 he toured Israel with Dame Cleo Laine and the Israel Philharmonic Orchestra. His performance at the Genius of the Violin Festival in 2004 led to invitations to perform Piazzolla's Seasons with Barry Wordsworth at the Brighton Dome and then in London, at the Royal Festival Hall, in 2008. He has toured and recorded extensively with Parisian guitar virtuoso Angelo Debarre and is a member of Alec Dankworth's Spanish Accents.  He formed the band Spirit O' Stephane to celebrate the music of Grappelli. He works frequently in film and television for composers such as Danny Elfman, Anne Dudley, Howard Shore, George Fenton, Rachel Portman, Stephen Warbeck, Mark Thomas and Rob Lane.   I sat and chatted with Chris in the house he was staying in just outside of London. We covered mainly his musical upbringing by his jazz pianist father Michael Garrick and his outlook on music and life in general! Chris is a lovley dude and I had a great time chatting with him. Hope you enjoy listening.     The intro music  is Garrick and David Gordon playing 'Broadway/Afternoon in Paris' (William-Henri-Woode/John Lewis) From their album Paper Jam. The outro music is Benny Golsons 'Whisper Not' recorded by me and my band Latchepen