Podcasts about hot five

Jason Winikoff talks about playing drums and percussion in the Vancouver scene since his arrival in 2018 from the US, though he is now on the cusp of returning to the states. Jason came here to study at UBC after moving from New Jersey to New Orleans to Boston. He is known for leading his Hot Five, Crescent, and Postcards from Zambia ensembles, for playing widely in trad-jazz and dance music, and for his role in the Rocky Horror Music Show presented by Infidels Jazz.Jason's farewell show (for now!) is at Tyrant Studios on Friday, January 17.Become a member for free today at rhythmchanges.ca. You'll get the free weekly email with upcoming events from the gig list, plus artists, events, or recordings for you to enjoy and share. Sent every Tuesday morning at 6:00 AM Pacific Time.Hosted by Chris Fraser. Edited and mixed by Will Chernoff. A Chernoff Music podcast. Theme music: "Lutin" by William Chernoff.

De JazzTrain werd aanvankelijk via de radio uitgezonden. Vanaf 2017 werd een serie radioprogramma's uitgezonden waarin de levensloop en carrière van Louis Armstrong chronologisch werden belicht. Deze serie wordt vanaf nu herhaald als podcast. Je hoort de radio-uitzending van 9 februari 2017. Reacties: jazztrain@studio040.nl

In dit programma hoor je de South Side Hot Five, een band die zich specialiseerde in de stijl en de sound van de Hot Five van Louis Armstrong. Reacties: jazztrain@studio040.nl

First performed in Chicago nightclubs circa 1925 the tune was immortalized after Louis Armstrong's legendary 1926 version with his Hot Five - it is said he dropped the lyrics and went into an impromptu "scat" verse that se the ealry jazz hounds on fire~ here we talk about the tune and offer several versions of it through the pre-1940 years! --- Support this podcast: https://podcasters.spotify.com/pod/show/american-grooves-hour/support

rWotD Episode 2596: Muskrat Ramble Welcome to random Wiki of the Day where we read the summary of a random Wikipedia page every day.The random article for Wednesday, 12 June 2024 is Muskrat Ramble."Muskrat Ramble" is a jazz composition written by Kid Ory in 1926. It was first recorded on February 26, 1926, by Louis Armstrong and his Hot Five, and became the group's most frequently recorded piece. It was paired on the flip side with another one of Armstrong's hits, "Heebie Jeebies." It was a prominent part of the Dixieland revival repertoire in the 1930s and 1940s, and was recorded by Bob Crosby, Roy Eldridge, Lionel Hampton, Woody Herman, Muggsy Spanier, Chet Atkins, Lu Watters, the Andrews Sisters, Harry James, and Al Hirt, among others. It is considered a part of the jazz standard repertoire.Without Ory's consent, lyrics were written for the instrumental tune in 1950 by Ray Gilbert. After Gilbert protested that he was entitled to share credit with Ory, the American Society of Composers, Authors and Publishers awarded him one-third credit on all performances of "Muskrat Ramble", vocal and instrumental.This recording reflects the Wikipedia text as of 00:06 UTC on Wednesday, 12 June 2024.For the full current version of the article, see Muskrat Ramble on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm Arthur Neural.

We do not often focus an entire episode on one artist but LONNIE JOHNSON deserves this and additional episodes! A pioneering jazz guitarist, blues guitarist, fiddler, singer and piano player Johnson is one of the undisputed genius of pre-war music - This episode will present rare recordings of Johnson with his family string band ( on fiddle!), to sides waxed with the likes ouf LOUIS ARMSTRONG's HOT FIVE, DUKE ELLINGTON's COTTON CLUB ORCHESTRA, VICTORIA SPIVEY , EDDIE LNG as well as some amazing solo sides! --- Support this podcast: https://podcasters.spotify.com/pod/show/american-grooves-hour/support

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

Tom "ComicTom" Garcia joins Arris and Tim to talk about the Loki season 2 impact on the MCU, The Marvels, and where Marvel might do to restore it's cinematic franchise. We also introduce a new monthly segment call called, The Hot Five!   Follow ComicTom101: YouTube - https://www.youtube.com/comictom101 Instagram - https://www.instagram.com/comictom101/ Mystery Mail Call - https://www.comictom101.com/   Watch the Video Version of the Variant the Podcast Get Variant Merch @ https://variantcomics.com

Gaydos and Chad ask listeners how hot they keep their house during the day!See omnystudio.com/listener for privacy information.

Gaydos and Chad ask listeners about a time when a storm destroyed their home. See omnystudio.com/listener for privacy information.

Gaydos and Chad ask listeners if the heat is helping or hurting their business. See omnystudio.com/listener for privacy information.

Gaydos and Chad ask listeners if they would pay $600 per month to rent an above-ground pool. See omnystudio.com/listener for privacy information.

Jazz icon Louis Armstrong passed away on this day 52 years ago, on July 6, 1971. Born on August 4, 1901, in New Orleans, Louisiana, Armstrong's career took off in the 1920s when he joined the influential band of Joe "King" Oliver. However, it was his groundbreaking recordings with his own groups, such as the Hot Five and the Hot Seven, that showcased his exceptional talent and cemented his place in music history. Louis Armstrong's gravelly voice and unique vocal style made him a celebrated singer. His unforgettable renditions of classics like "What a Wonderful World" and "Hello, Dolly!" captivated audiences worldwide and secured his status as a beloved entertainer. Armstrong passed away at 69 years old of a heart attack, but his legacy lives on. Learn more about your ad choices. Visit megaphone.fm/adchoices

Noah Rough, founder and CEO of the Groupie music app, talks to Ted Asregadoo about Groupie and shares his Hot Five club songs. The post Episode 65: The Ultimate Groupie with Noah Rough first appeared on Planet LP Podcast.

Con Louis Armstrong, The Cannonball Adderley Quintet y Rui Pereira/Loft entre otros. "Club de Jazz". Convertimos los últimos jueves de cada mes en el particular "Club de Jazz" extremeño a falta de uno donde aficionados y músicos puedan acudir, encontrarse y disfrutar de jazz en vivo de manera recurrente y habitual en esta región. Así, este mes recuperamos el paso de Cannoball Adderley en formación de quinteto junto a su hermano Nat, Joe Zawinul, Victor Gaskin y Roy McCurdy por los estudios de Capitol Records en Hollywood en Octubre del 68" en sesión abierta. El "Estándar" de la semana es "West end blues", de King Oliver en grabación de Louis Armstrong con sus Hot Five y "Humbug", del baterista luso Ruí Pereira junto a su cuarteto Loft, el "Favorito". Ahora Jazz, Ed.2187.  Con Javier del Barco.

Con Louis Armstrong, The Cannonball Adderley Quintet y Rui Pereira/Loft entre otros. "Club de Jazz". Convertimos los últimos jueves de cada mes en el particular "Club de Jazz" extremeño a falta de uno donde aficionados y músicos puedan acudir, encontrarse y disfrutar de jazz en vivo de manera recurrente y habitual en esta región. Así, este mes recuperamos el paso de Cannoball Adderley en formación de quinteto junto a su hermano Nat, Joe Zawinul, Victor Gaskin y Roy McCurdy por los estudios de Capitol Records en Hollywood en Octubre del 68" en sesión abierta. El "Estándar" de la semana es "West end blues", de King Oliver en grabación de Louis Armstrong con sus Hot Five y "Humbug", del baterista luso Ruí Pereira junto a su cuarteto Loft, el "Favorito". Ahora Jazz, Ed.2187.  Con Javier del Barco.

Week 2 is here! We take a look at what FBS programs should be on upset alert this weekend vs. FCS foes. UIW (Incarnate Word) Head Coach G.J. Kinne jumps on the show to talk about his team's impressive Week 1 showing and upcoming Week 2 visit to Nevada. We also reveal The FCS Fever Podcast's Top 5 Hottest Matchups for Week 2. Today's show is brought to you by our presenting sponsor Betfred Sportsbook. Bet $50 on any college football game and get $250 - all courtesy of Betfred. Learn more about your ad choices. Visit megaphone.fm/adchoices

Katra mēneša vidū ceturdienas vakarā trīs izcilu džeza mūziķu grupas pulcēsies Kultūras pils "Ziemeļblāzma" parkā, lai atskaņotu savas oriģinālprogrammas nesteidzīgā vasaras vakara gaisotnē. Tā būs kolorīta Latvijas pieredzējušāko džeza izpildītājmākslinieku parāde... 14. jūlijā klausītāji varēs baudīt Rihards Lībietis Orchestra, Raimonda Macata kvinteta un diksilenda "Sapņu komanda" sniegumu. Trešdienas "Neatliekamajā sarunā" ar "Sapņu komandas" vadītāju Indriķi Veitneru runājam par diksilenda stilu, spēles un nejaušības elementiem, kā arī džezu toreiz un tagad... Anna Marta Burve: Preses relīzē minēts, ka programmā skan gan diksilenda žanra klasika, gan novatoriski un asprātīgi aranžēti pazīstami mūsdienu ārzemju un latviešu popmūzikas hiti. Ko īsti nozīmē diksilenda žanra klasika, kā tas izpaužas mūzikā un kā tas atšķiras no citiem spēles stiliem?  Diksilends tiek uzskatīts par pirmo senāko džeza stilu, ar ko džezs vispār sākās 20. gadsimta pašā sākumā. Un pašos pamatos diksilends attīstījās no pūtēju orķestra, tāpēc tur ir pūšamie instrumenti - klarnete, kornete un trombons. Galvenais princips, kas diksilendam ir svarīgs - ka tā ir kolektīvā improvizācija. Šie trīs instrumenti, cits caur citu viens otram piebalsojot, apspēlējot melodiju, kur trompete ir galvenā, bet klarnete apspēlē augšējo reģistru, trombons pievelk kontrapunktu vai pretmelodiju, veido harmoniju. Veidojas trīs skaņas pa vertikāli, akords, līdz ar to tiek radīta ļoti dzīva un dzīvespriecīga mūzika. Tā ir mūzika, kas skanēja ballītēs un ielu parādēs, galvenokārt jau ielu parādēs, un tādā veidā radās džezs, tā arī radās improvizācija. Līdz ar to diksilenda žanra klasika ir Amerikas 20. un 30. gadu populārā mūzika. Slavenākais pārstāvis ir Lūiss Ārmstrongs, kurš savulaik uzstājās ar sastāviem "Hot Five" un "Hot Seven". Vai diksilends bija sava veida afroamerikāņu atsvabināšanās no verdzības, un tādā veidā viņi šo jauno brīvību it kā svinēja caur šo brīvo improvizāciju? Kaut kādā mērā šodien tā var teikt. Bet tā realitāte bija daudz vienkāršāka - lielākā daļa no viņiem nepazina notis, līdz ar to tā patiesībā bija spēlēšana no galvas vai pēc dzirdes, un tādā gadījumā kādā brīdī to melodiju mūziķis sāk variēt. Un, tā kā pats galvenais Āfrikas mūzikas pamats ir ritms, ritmiskā pulsācija, tad tas savijās viss kopā ar Rietumeiropas mūzikas pamatprincipiem - skaņdarbu formu, piemēram, kas savukārt nāk no Rietumeiropas, un tad kopā tas tā saveidojās. Kā jūs savā "Sapņu komandā" veidojat šo procesu? Vai arī jums ir līdzīgi, ka ir pilnīga brīvība, vai tas process tomēr ir citādāks un mūsdienīgāks? Nē, nē, tieši tieši tā tas arī notiek, tas ir tas ir iemesls, kāpēc mēs to spēlējam. Jo šī mūzika ir ļoti pozitīva, un tas pats galvenais ir tiešām tas mirklis. Tev faktiski momentā ir jāreaģē uz to, ko dara citi kolēģi, un tas katrreiz notiek savādāk. Es to drīzāk salīdzinātu ar ļoti aizraujošu sarunu draugu pulkā par kādu absolūti visiem interesējošu tēmu. Vai arī savā ziņā to var salīdzināt arī ar komandas spēli, piemēram, basketbolu. Tas ir foršs basketbols, ka tu mētā to bumbu, tev jābūt visu laiku gatavam, ka kāds tev pēkšņi metīs bumbu, tev jābūt gatavam mest to pa grozu un saspēlēt ar pārējiem. Tas ir tieši tik jauki. Un tas viss ir labā ritmā, tā ir dejojama mūzika. Cilvēki dejo pie šīs mūzikas. Vai gadījumā nav grūti apstāties? Respektīvi, ja jūs visu laiku to bumbu mētājat, jums kā mūziķiem ir interesanti turpināt, bet vienā brīdī klausītāju dzirde ir jāatpūtina. Jebkura spēle kādreiz beidzas, un kaut kāda forma tomēr šeit pastāv. Protams, ka noteikumi ikr - nav jau tā, ka tas ir pilnīgi brīvs pasākums.Bet diksilenda kolektīvās muzicēšanas princips ir ļoti svarīgs džeza mūzikā vispār, un tieši tāpēc arī akadēmijā, it īpaši pašos pirmajos kursos, es pievēršu diezgan lielu uzmanību šim pasākumam, jo profesionālam mūziķim ir jāvar spēlēt pēc dzirdes. Jo arī vēlākajos stilos šis princips ir ārkārtīgi klātesošs, piemēram, frīdžezs pēc būtības ne ar ko daudz neatšķiras, tikai to, ka tas ir vēl brīvāks, atonālāks, un arī forma tiek veidota uz vietas. Šeit mums ir konkrēts skaņdarbs ar konkrētu taktu skaitu, bet princips ir tas pats. Domājot par to kolektīvo improvizāciju - mēs zinām, ka arī džeza mūzikā ir soloizgājieni. Vai diksilends līdz ar Lūisu Ārmstrongu pieļāva arī to, ka ir šie soliņi?  Jā, protams, tur jau tā lieta, ka sākumā jau tā bija vienkārši kolektīva spēlēšana, jo tanī laikā jau neviens nemaz nezināja tādu vārdu kā improvizēšana.Viņi vienkārši spēlēja pēc dzirdes. Solo spēlēšana, individuālā improvizēšana attīstījās vēlāk. Lūiss Ārmstrongs tāpēc arī tiek uzskatīts par vienu no lielākajiem džeza ģēnijiem, jo, pateicoties viņa ģenialitātei kā mūziķim, viņš bija paraugs pārējiem, un patiesībā viņš to lielā mērā aizsāka un parādīja, ka var arī spēlēt solo. Ir interesanti novērot, kā tas transformējas: ka sākumā diksilends ir kā kolektīvā muzicēšana, pēc tam ienāk Lūiss Ārmstrongs ar saviem solo un beigās jūs pieminat arī frīdžezu. Cik ļoti tās tradīcijas ir savijušās! Jā, jā, tieši tā - tās visas ir klātesošas. Ļoti interesanti, ka arī klausoties ļoti modernus stilus, ja mūziķis ir patiešām profesionāls un kompetents, viņa spēlē jūs varat dzirdēt visu džeza vēsturi. Kaut kur tas parādīsies. To varētu salīdzināt ar spēju pielietot dažādus izteiksmes līdzekļus savā radošajā izpausmē. Vairāk un plašāk - ierakstā. *** DIKSILENDS "SAPŅU KOMANDA" Indriķis Veitners (klarnete un saksofons) Madars Kalniņš (taustiņinstrumenti). Normunds Piesis (trompete) Lauris Amantovs (trombons) Andris Grunte (kontrabass) Krišjānis Bremšs (sitaminstrumenti) Bruno Priekulis (bandžo) Spēlfilmas "Sapņu komanda 1935" skaņu celiņa veidošanai 2013. gadā tika izveidots raksturīgs 1930. gadu džeza ansambļa - diksilenda sastāvs, kurā tika pieaicināti vadošie Latvijas džeza mūziķi. Ieraksta procesā pavisam negaidīti jau no pirmajām skaņām izveidojās jauns, brīnišķīgi un oriģināli skanošs džeza kolektīvs, kura lielisko veikumu iespējams dzirdēt filmā.   Labi iesāktais tiek turpināts, uzstājoties ar vairākām koncertprogrammām: "Ceļojums uz uz Diksi-lendu", "Ceļojums uz Diksi-lendu – 2" (kopā ar dziedātājiem Kristīni Prauliņu, Nauri Puntuli, kā arī vokālo grupu "Neaizmirstulītes"), "Trauksmainie divdesmitie". Latvijas džeza sākumi no "Šņāci, Minna" līdz "Vecajam ratiņam" – kopā ar dziedātāju Normundu Rutuli. Koncertprogramma "Ceļojums uz uz Diksi-lendu" veltīta tradicionālā džeza stila - diksilenda stilistikai, taču radoši un inovatīvi izmantojot šī tradicionālā džeza sastāva iespējas. Programmā skan skan gan diksilenda žanra klasika, gan novatoriski un asprātīgi aranžēti pazīstami mūsdienu ārzemju un latviešu popmūzikas hiti. Savukārt "Trauksmainie divdesmitie" ir izzinoša, jautra un dinamiska koncertprogramma, kas klausītāju aizved Latvijas džeza pirmsākumos 1920. gados, kad skanēja čarlstons, cilvēki dejoja neskaitāmās ballēs, bet džezs neatturami sāka savu uzvaras gājienu. Programmā skan lielākie to gadu grāvēji autentiskā izpildījumā, kopā ar eleganto Normundu Rutuli! "Sapņu komanda" ir uzstājusies labākajos Latvijas džeza festivālos, regulāri koncertē gan publiskos, gan korporatīvos pasākumos, kā arī Rīgas un Latvijas džeza klubos. Kopā ar diksilendu dažādās programmās uzstājas dziedātāji Kristīne Prauliņa, Nauris Puntulis, Normunds Rutulis kā arī vokālā grupa "Neaizmirstulītes", radot krāsainu un dinamisku priekšnesumu. Ieskaņots arī pirmais albums - Sonny Boy. Skaņdarbi no grupas albuma iekļauti 2018. gada Latvijas džeza izlases CD starptautiskājā mūzikas izstādē WOMEX. Par mūziķiem: Grupas sastāvā apvienojušies labi pazīstami Latvijas džeza mūzikas profesionāļi ar stāžu un pieredzi daudzskaitlīgos sastāvos un visdažādākajos projektos. Diksilenda vadītājs, klarnetists un saksofonists Indriķis Veitners vienlaicīgi ir arī pasniedzējs un džeza katedras vadītājs JVLMA, kā arī nodarbojas ar Latvijas džeza vēstures pētniecību.  Pianists, komponists un aranžētājs Madars Kalniņš ir labi pazīstams Latvijas džeza mūziķis, kurš arī ir pasniedzējs JVLMA džeza katedrā un patlaban veic sava soloalbuma ierakstu. Viens no labākajiem Latvijas džeza trompetistiem Normunds Piesis kopā ar pieredzējušo džeza trombonistu Lauri Amantovu, bigbenda Mirage Jazz orchestra vadītāju, veido spēcīgu metāla pūšamo instrumentu tandēmu. Savukārt pazīstamais latviešu kontrabasists Andris Grunte, viens no labākajiem jaunās paaudzes bundziniekiem Krišjānis Bremšs un bandžo spēlētājs Bruno Priekulis kopā rada robustu, svingojošu ritma grupas sniegumu, veidojot raksturīgo un neatkārtojamo “Sapņu komandas” skanējumu.

Vasarā epizodē „Kad džezs bija karalis” mazas džeza pērlītes sarūpējis Latvijas Radio mūzikas redaktors Ansis Pavasaris, tās varēsim dzirdēt otrdienu un ceturtdienu Kultūras Rondo izskaņā, kad stāstām par ievērojamākajiem mūziķiem džeza vēsturē. Mūziķu plejādi atklāj Lūiss Ārmstrongs – viena no ietekmīgākajām figūrām agrīnā džeza vēsturē. Roberts Gofins, autors vienai no pirmajām grāmatām par džezu, jau 1930. gadā rakstīja: „Ārmstrongs nav vienkārši džeza karalis, viņš ir šīs mūzikas dvēsele – vienīgais neapstrīdamais ģēnijs, kurš pieder amerikāņu mūzikai.” Lai gan vairumam šodien šķiet, ka džezs ir kaut kas pieejams un saprotams tikai sabiedrības elitei, pirms simts gadiem aina bija pavisam citāda  – 20. gadsimta 20. gados šis mūzikas žanrs, kas bija radies no regtaima, Eiropas kamermūzikas, pūtēju orķestru un blūza kokteiļa, burtiski uzsprāga uz Amerikas mūzikas skatuves un kļuva par vesela laikmeta populārāko mūzikas veidu. Un tieši šinī laikā slavu kaldināja Lūiss Ārmstrongs. Lai arī Ārmstrongs uz skatuves pavadīja vairāk nekā 50 gadus, tiek uzskatīts, ka visus nozīmīgākos ierakstus viņš ar savu ansambli „Hot Five” veica divdesmito gadu otrajā pusē. Ārmstronga ieguldījums ir tas, ka viņš norādīja, kāds ceļš ejams džeza mūziķiem – līdz tam valdošās kolektīvās improvizācijas vietā viņš priekšplānā izvirzīja atsevišķu solistu priekšnesumu.

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

De South West Oldtime All Stars is een Duitse band die zich specialiseert in de stijl van Louis Armstrong's beroemde Hot Five en Hot Seven opnamen uit de late twintiger jaren. Reacties: jazztrain@studio040.nl

BULLES D'HISTOIRE, mardi et samedi à 10h30. Chronique animée par Stéphane Dubreil sur les bandes dessinées historiques. Stéphane Dubreil reçoit Léo Heitz, jeune dessinateur et scénariste, pour la publication de Satchmo, une biographie dessinée de Louis Armstrong qui joue entre réalité et fiction pour raconter la vie d'un jeune homme noir du sud des Etats Unis dont la musique est le seul moyen pour sortir de sa condition et se de sauver sa mère d'un funeste destin. Entre jalons historiques de l'histoire du jazz dans les années 1918-1920 et intrigue imaginaire, Léo Heitz livre un premier album particulièrement réussi qui navigue, esthétiquement, entre vieux Walt Disney et le meilleur de la bande dessinée du XXie siècle. Money Blues - Fletcher Henderson & His Orchestra - Louis Armstrong, Coleman Hawkins. 1925. Heebie Jeebies - Louis Armstrong and his Hot Five.  1926.

"West End Blues" Louis Armstrong and His Hot Fives Louis Armstrong, Earl Hines, Jimmy Strong, Fred Robinson, Mancy Carr, Zutty Singleton. El tema es una composición de Joe "King" Oliver. © Pachi Tapiz, 2021 Más información acerca de Louis Armstrong and His Hot Fives West End Blues En Tomajazz https://www.tomajazz.com/web/?s=WEST+END+BLUES&submit=Search En Wikipedia https://en.wikipedia.org/wiki/West_End_Blues Más información sobre JazzX5 JazzX5 es un minipodcast de HDO de la Factoría Tomajazz presentado, editado y producido por Pachi Tapiz. JazzX5 comenzó su andadura el 24 de junio de 2019. Todas las entregas de JazzX5 están disponibles en https://www.tomajazz.com/web/?cat=23120 / https://www.ivoox.com/jazzx5_bk_list_642835_1.html. En Tomajazz hemos abierto un canal de Telegram para que estés al tanto, al instante, de los nuevos podcast. Puedes suscribirte en https://t.me/TomajazzPodcast.

Phil and Jake rank bicycles, scatting (aka scat singing), and feeding cats like babies on the List of Every Damn Thing.If you have something to add to the list, email it to list@everydamnthing.net (or get at us on Twitter, Instagram and Facebook).SHOW NOTES: We briefly discuss ventriloquism, including mention of Candice Bergen's father Edgar Bergen, who was an actor, comedian and Vaudeville and radio ventriloquist. He was a big star, bigger than it's possible to imagine someone being when his main thing is throwing his voice through a dummy that sits on his lap ON THE RADIO. Even on TV or movies it doesn't really make sense because all the sound comes from the same speaker so throwing his voice doesn't seem that impressive and editing can be done anyways. It just seems like the kind of thing that only would work in live performances but here we are! His show was on the radio for 20 years! Phil rode a bicycle across the USA from Yorktown, VA to Vallejo CA. He's a very private person and doesn't like to talk about it much unless you mention bikes, the USA, Virginia, Kentucky, Illinois, Missouri, Kansas, Colorado, Utah, Nevada, California or any of the geographical features therein. Jake rode a bike around the island of Losinj, Croatia. Jake refers to wearing a “turtle shell brace” after his bike accident, but it's maybe more commonly called a clamshell brace. Madison Square Garden is the World's Most Famous Arena. It sits on top of Penn Station between 7th and 8th Ave in Manhattan. It's sort of ugly and it replaced the old Penn Station which was an architectural marvel. We mention it because Phil notes that the original MSG was the site of many indoor bicycle races (and was actually on Madison Avenue which made a lot more sense).  Notable scatters discussed include Steven Tyler (of Aerosmith), David Lee Roth, Cab Calloway, Ella Fitzgerald Bone Thugs-N-Harmony are Cleveland rappers who were signed and promoted by the late Eazy-E before his death. They were really influential in their sing-songy delivery (which you could hear in Crucial Conflict, Three Six Mafia & Nelly)  and their post Geto Boys "horrorcore" angle (similar to Gravediggaz). Their biggest successes were probably Crossroads, a meditation on death and First of the Month, a celebration of plenty. They once filme a video of their trip to Switzerland which was made to get Phil Collins to agree to let them sample him for their song Home. Here's the Bone Thugs sketch on Saturday Night Live that Jake mentions. MC Skat Cat was an animated cat that would rap in the early 90s. Most famously with Paula Abdul. Phil just listened to "Skat Strut" for the first time and enjoyed the Earth, Wind & Fire sample. “Scatman (ski-ba-bob-ba-dop-bop)” by Scatman John is not to be confused with Scatman Crothers. The Fu-Schnickens were a hip-hop trio that were very difficult to understand but nonetheless quite impressive because they rapped at double (maybe triple?) speed. Chip-Fu in particular was just incredible even if the speed of the words made you dizzy. I follow him on twitter but he just tweets at regular speed, sadly. As a white kid from rural California with zero cultural context, Phil didn't understand that I was hearing a Caribbean thing. Their Ring the Alarm samples the Tenor Saw classic. They're mostly remembered now for making Can We Rock with Shaquille O'Neal. Phil might have taken it too far to say Doo Wop music was scatting. The second half of "Sh-Booom" is a good example of what he was referring to though. “Heebie Jeebies” by Louis Armstrong and his Hot Five is, as of 2021, in the public domain. Phil's thinking we should make this our show's theme song. Both New Orleans and Queens can claim Louis Armstrong. He was from New Orleans but he moved to Corona, Queens (very close to where the Mets play) and lived there from 1943 until his death in 1971.  The Harder They Fall on Netflix features “Broader Than Broadway” by Barrington Levy, which is a fantastic song. We discuss “Panama” by Van Halen. Phil says that the lyrics to this song don't matter at all and they might as well be scatting. Here's that twitter thread of old paintings with people feeding cats like babies. How many shirtless men wearing elaborate angel wings, gold lamé shorts & furry cha-cha heels are really just actual angels? ALSO DISCUSSED IN THIS EPISODE:Annie (1982 film) * Bernadette Peters * stolen bikes * the Golden Gate Bridge * the Marin Headlands * bike crashes * E-bikes * anti-diarrhea medicine * Dolly Parton * cats * beatboxing * Hank Williams' yodeling * saxophone in rock music * snare drums * glitter * Drumline * swaddling * Charmander * band-aids as fashion * Bill & Ted's Excellent Adventure * Howard the Duck * Daylight Saving Time * CrocsBelow are the Top Ten and Bottom Top items on List of Every Damn Thing as of this episode (for the complete up-to-date list, go here).TOP TEN: Dolly Parton - person interspecies animal friends - idea sex - idea bicycles - tool Clement Street in San Francisco - location Prince - person It's-It - food Cher - person dogs - animal cats - animal BOTTOM TEN:210. Jenny McCarthy - person211. Jon Voight - person212. Hank Williams, Jr - person213. British Royal Family - institution214. Steven Seagal - person215. McRib - food216. war - idea217. cigarettes - drug218. QAnon - idea219. transphobia - ideaTheme song by Jade Puget. Graphic design by Jason Mann. This episode was produced & edited by Jake MacLachlan, with audio help from Luke Janela. Show notes by Jake MacLachlan & Phil Green.Our website is everydamnthing.net and we're also on Twitter, Instagram and Facebook.Email us at list@everydamnthing.net. 

In today’s Patreon-fueled shout-out:Fall is just around the corner, but the summer heat is sticking around a bit longer. Your local energy nonprofit, LEAP, wants you and yours to keep comfortable all year round! LEAP offers FREE home weatherization to income- and age-qualifying residents, so, if you’re age 60 or older, or have an annual household income of less than $74,950, you may qualify for a free energy assessment and home energy improvements such as insulation and air sealing. Sign up today to lower your energy bills, increase comfort, and reduce energy waste at home!On today’s show: Charlottesville Public Schools hires Royal Gurley as the next superintendentAlbemarle’s Board of Supervisors discusses legislative priorities for the next General Assembly session An update on the pandemic There are 4,070 cases of COVID-19 in Virginia reported today by the Virginia Department of Health. Since Wednesday, there have been 361 new cases reported in the Blue Ridge Health District. Tomorrow the University of Virginia men’s football team will play and attendees will be required to wear masks in any indoor spaces, though outdoor use is strongly recommended. (UVA update)“People who are not vaccinated are also required to wear masks outside on UVA property so there’s not a process of checking who is vaccinated or not,” said Dr. Costi Sifri, director of hospital epidemiology at UVA Health. “The delta variant can cause breakthrough infections so in this setting with 30,000, 40,000 people in close proximity to one another, wearing a mask during the game is advised.”Dr. Sifri said the delta variant is fueling the recent spike in cases and modeling data indicates that infections will continue to rise. “What’s more difficult to tell, I think, is when is the surge going to occur, and at what level, but I think it’s clear we’re on the upsurge right now,” Dr. Sifri said. Virginia has now administered more than 10 million doses of vaccine, and 57 percent of the total population has been fully vaccinated and 68.1 percent of adults are fully vaccinated. Yet, the increase in cases has caused UVA to go back to higher mitigation measures.“Back to universal masking, decreasing visitors and other folks in the institution to try to minimize the virus coming in and out,” said Dr. Reid Adams, the chief medical officer at the University of Virginia. “I think probably the biggest difference is the mask recommendation rather than a mandate throughout the Commonwealth. That’s probably the biggest different from the prior part of the pandemic.”Another change is that public schools are in session five days a week with attendance by anyone who chooses to be back for in-person instruction. For now. Amherst County Public Schools are closed until at least September 13 due to a high number of positive tests at a community-wide testing event held this past Tuesday. In their first action item at their September 2, 2021 meeting, the Charlottesville School Board filled an important leadership position. James Bryant is the body’s vice chair. “Madam Chair, I would like to make a motion to move for the acceptance of the appointment or Dr. Royal A. Gurley Jr. for Superintendent of Charlottesville Schools,” Bryant said. Gurley will take the reins on October 4 as he finishes up his time as assistant superintendent for academic services in Dinwiddie County southwest of Petersburg. (press release)“Leading Charlottesville City Schools is not something that I take lightly,” Gurley told the Board after signing his four-year contract. “I believe as Superintendent I must continue to create opportunities for our students and help them to reach their fullest potential.”Gurley succeeds Rosa Atkins, who retired at the end of May after fifteen years in the position. Later this month, the Albemarle Board of Supervisors will take up a rezoning for 332 housing units off U.S. 29 in Hollymead. In June, the Planning Commission voted six to one to recommend approval of the RST Residences project. That advisory body appeared not ready to make that recommendation in March when they saw a slightly larger version. (listen to March 5 podcast) Last week, one member of the Board of Supervisors met with the Forest Lakes Community Association, a homeowners group whose Board of Directors have opposed the project. “I listened to their concerns regarding development that is coming up and it was a good opportunity to meet with a lot of the residents and I really appreciated that,” said Supervisor Bea LaPisto-Kirtley of the Rivanna District. The proposal states that 75 percent of the units will be within the county’s affordability guidelines. To learn more about the Planning Commission’s action, read Allison Wrabel’s coverage in the Daily Progress. The item goes to the Board of Supervisors on September 15. Now time for the second Patreon-fueled shout-out:What’s your perfect holiday weekend in Charlottesville? Hanging with friends outside... Great live music... Maybe breaking a Guinness world record? Then mark your calendar for WTJU 91.1 FM's Freefall Music Festival -- Saturday, September 4 starting at 3 p.m. at IX Art Park. Live performances by Zuzu's Hot Five, Susie and the Pistols, and Good Dog Nigel. There will be an attempt to form the world's largest human music note at 7:30 p.m. Plus, a hot dog and veggie dog cookout for our whole community. Find out more at wtju.net. With only four months left in the year, the 2022 General Assembly session looms large and localities across the Commonwealth are putting together their legislative wish lists. Albemarle County will meet with area legislators in November with the hopes of enticing each to carry bills for changes in state law. (read list of 2021 legislative positions)One request has the title “Enable Civil Penalties in Lieu of Criminal Punishment.” “The purpose was to decriminalize a lot of the actions that are prohibited under the code,” said county attorney Greg Kamptner. Many of these actions relate to zoning violations and would convert them to civil infractions rather than criminal ones. Some supervisors were concerned that frequent violators are still able to be held accountable. (sample legislation) “I just want to make sure we’re not doing anything that makes it more difficult to deal with the so-called frequent fliers,” said Supervisor Diantha McKeel of the Jack Jouett District. “I recognize that there are not that many of them, but the ones that we have have just really consumed an enormous number of staff time.”Zoning administrator Bart Svoboda said if the change was made, the county would be able to request higher fines for repeated violations. “There may be some additional tools in the toolbox as we apply this to other sections of the county code,” Svoboda said. Another legislative priority is to change law to require inspections and building standards for structures built for events and operations on agricultural properties.“The buildings under current law do not have to meet the minimum requirements of the building code,” Kamptner said. Kamptner said the agricultural community and the Farm Bureau would need to be involved in order for the legislation to have a chance of passing.Supervisor Ann Mallek of the White Hall district said buildings where events are held should at the least be required to have features like panic bars in case of emergencies. She hoped to get support from her colleagues to move the legislation forward. “If people want to put a tractor or livestock in some building, that’s different than having 300 people there,” Mallek said. Another legislative idea is to expand an already approved law that allows photo-speed monitoring cameras to be used in school crossing zones and highway work zones. (HB1442 from 2020)“The idea would be to expand the enabling authority to allow localities to decide whether they want to place these devices on rural roads,” Kamptner said. LaPisto-Kirtley said police struggle to enforce speeding on two-lane roads in the rural area. “I think long stretches of the rural roads where there it is virtually impossible for the police to ticket someone because if they do stop someone on a two-lane road it’s going to cause a mile-long back up,” LaPisto-Kirtley said. Supervisor Diantha McKeel suggested the legislation be tailored for specific roads rather than a blanket provision. She also said Albemarle has yet to implement the authority it currently has. “Our police department is still looking at that,” McKeel said. “They’re going to have to come back to us to let us know if they think they can even do that.”Kamptner said the 2020 bill that gave enabling authority for cameras at work and school zones had originally included residential areas, but that was removed in order for it to pass.“The concern that we have in our county are the crashes and the number of deaths which would indicate high speed so if we were to pursue these devices in locations at above 35 miles per hour that would take us out of the traditional residential areas,” Kamptner said. Supervisors also discussed legislation to allow a portion of recordation tax to be set aside for affordable housing initiatives. They opted to not pursue legislation, but to instead find out whether they can take that step without additional enabling authority. A final vote on the 2022 legislative agenda will be held in October. Thanks for reading! If you found this useful, please share widely on social media so we can continue to keep growing the audience. This is a public episode. Get access to private episodes at communityengagement.substack.com/subscribe

In today’s first Patreon-fueled shout:What’s your perfect holiday weekend in Charlottesville? Hanging with friends outside... Great live music... Maybe breaking a Guinness world record? Then mark your calendar for WTJU 91.1 FM's Freefall Music Festival -- Saturday, September 4 starting at 3 p.m. at IX Art Park. Live performances by Zuzu's Hot Five, Susie and the Pistols, and Good Dog Nigel. There will be an attempt to form the world's largest human music note at 7:30 p.m. Plus, a hot dog and veggie dog cookout for our whole community. Find out more at wtju.net.On today’s show:An update on COVID numbers from over the weekendA representative from King Family Vineyards on the area’s wine industryA draft of the Crozet Master Plan is ready for reviewThe architect for Charlottesville City School reconfiguration wants feedback on the latest design schemesThe number of fully vaccinated Virginians continues to increase and is now at a total of 56.6 percent of the whole population and 67.7 percent of adults. The seven-day average for new cases each day is now 3,112 and the percent positivity has increased to 10.1 percent. The percent positivity in the Blue Ridge Health District has increased to 6.3 percent with 54 new cases reported today. The agency sent out an email at publication stating there is now a high level of community transmission. Officials are urging people to wear masks and return to physical distancing. To the south, Amherst County schools have reverted to virtual instruction due to a COVID outbreak. In-person instruction will begin again on September 2 and all students will have to show a negative test to enter classrooms. If they refuse, they will have to stay home until September 7. The public school systems in both Albemarle County and Charlottesville have public dashboards with the number of cases. (Charlottesville Schools tracker) (Albemarle County Schools tracker) Speaking of schools, the Charlottesville City Schools system is seeking feedback on various design schemes for the multi-million reconfiguration of elementary and middle schools. The architectural firm VMDO has produced a series of potential upgrades to both Walker Upper Elementary School and Buford Middle School. Walker would be converted to a pre-K facility and 6th grade would be added at Buford, with 5th graders distributed across the existing elementary schools. The Charlottesville School Board will get a project update on Thursday, and the City Council will get an update on October 4. Council will be asked to provide direction on October 18. The current five year capital improvement program budget sets aside $50 million for the project, but that number is not expected to cover the full cost. (fill out the survey)Later this week we’ll hear a lot about the Comprehensive Plan process in Charlottesville. Last week, the full draft of the Crozet Master Plan was released for public comment and it might be worth comparing the two. The Crozet Master Plan is part of Albemarle County’s Comprehensive Plan and an update has been in development for the past two years. The draft has been produced internally by planners in the Albemarle Department of Community Development and is similar in design to the Rio Road / 29 Small Area Plan and the update of the Pantops Master Plan. There are five chapters in the 137-page plan. A questionnaire is open through September 14, which is also the day of the public hearing before the Albemarle Planning Commission. The Board of Supervisors will hold their public hearing on October 20. (read the draft here)*A researcher at Virginia Tech wants your help to find out if there are any pine snakes in the Commonwealth. The last sighting of this non-venomous snake was over 30 years ago, according to a release from the College of Natural Resources and Environment. If you think you’ve seen one and can provide documentation, Assistant Professor Kevin Hamed wants to hear from you.  You can get his information here. “Pinesnakes (aka bull snakes) provide ecosystem services to humans by preying on many creatures that cause homeowners problems, such as small mammals,” reads a press release from August 26. “A better understanding of their current distribution in Virginia is needed to manage and conserve these amazing reptiles.”The typical pinesnake is around 50 inches long, and is not to be confused with either the eastern hog-nosed snake, or the juvenile eastern ratsnake. In today’s second Patreon-fueled shout-out: The Plant Northern Piedmont Natives Campaign, an initiative that wants you to grow native plants in yards, farms, public spaces and gardens in the northern Piedmont. Native plants provide habitat, food sources for wildlife, ecosystem resiliency in the face of climate change, and clean water.  Start at the Plant Northern Piedmont Natives Facebook page and tell them Lonnie Murray sent you! Charlottesville is not the only college town in Virginia that may have been undercounted in the 2020 U.S. Census due to the closure of universities at the beginning of the COVID-19 pandemic. Demographer Hamilton Lombard of the Weldon Cooper Center at the University of Virginia told the Harrisonburg Citizen last week that that city’s population count may be as much as 2,000 below where it should be based on a comparison with housing data from building permits. The official count in the Census is 51,484, which is much lower than the Weldon Cooper Center’s 2020 estimate of 54,094. Charlottesville’s count of 46,553 is lower than the Weldon Cooper estimate of 49,447. To listen to more from Lombard, go back and review the August 21, 2021 installment of this newsletter. Albemarle County leads the Commonwealth of Virginia in the amount of acreage of grapes planted for wine. “Just over 700 acres right now,” said James King of King Family Vineyards. “Loudoun County in northern Virginia currently takes second place with 33 percent fewer acres planted, so Albemarle County leads the way by a large margin.King made those comments last week to the Charlottesville Albemarle Convention and Visitors Bureau, which featured him as a guest to talk about the role the wine industry plays in tourism. “While a lot of other agricultural sectors like produce and other crops have seen consolidation, over the last few years, viticulture in Virginia continues to be very much a family-owned operation and enterprise,” King said. King said there were seven wineries in Virginia in 1979 and that number has grown to over 300. King Family Vineyards opened in 1998 and is part of the Monticello Wine Trall, which has grown to 40. “In agritourism, wineries tend to thrive in clusters,” King said. “Guests often multiple wineries in a day so when wineries opens down the road, it ends being good business for everybody.” However, King said the industry faces many challenges, including unpredictable weather and threats to the grapes. “We’re always battling Mother Nature, whether it is frost in the spring or invasive species in the summer,” King said. “Right now it’s the spotted lanternfly from China.”King used his time to appeal to elected officials on the CACVB to not further restrict public events, which he said generates money that goes back into the winemaking operation. He said that can keep a farm within a family.  King Family has 15 full-time employees and around 35 part-time employees. There will be more from the Charlottesville Albemarle Convention and Visitors Bureau meeting in an upcoming edition of the newsletter. Thanks for reading and or listening. Special thanks to those who do both! And extra special thanks for the handful of people who are making a contribution through both Patreon and Substack! Patreon covers the cost of general research, and Substack covers the cost of producing this newsletter. This is all done under my company, Town Crier Productions, with a goal of bringing information about all of these various projects. If you do subscribe through Substack, Ting will match your contribution as a way of supporting this local source of independent journalist. If you have any questions, please ask me in email! This is a public episode. Get access to private episodes at communityengagement.substack.com/subscribe

In today’s Patreon-fueled shout-out:What’s your perfect holiday weekend in Charlottesville? Hanging with friends outside... Great live music... Maybe breaking a Guinness world record? Then mark your calendar for WTJU 91.1 FM's Freefall Music Festival -- Saturday, September 4 starting at 3 p.m. at IX Art Park. Live performances by Zuzu's Hot Five, Susie and the Pistols, and Good Dog Nigel. There will be an attempt to form the world's largest human music note at 7:30 p.m. Plus, a hot dog and veggie dog cookout for our whole community. Find out more at wtju.net.On today’s show:Albemarle Supervisors to spend more on rural broadband initiativesSupervisors also agree to further review of the homestay ordinanceAn update from the UVA Health System on the latest in the pandemicA database error has prevented a specific number of new COVID cases from being reported by the Virginia Department of Health. Assume they’ve gone up since Friday. This morning, the Food and Drug Administration fully approved the use of Pfizer vaccine, removing the emergency use tag that has been in place. Dr. Costi Sifri welcomed the move. He’s the director of hospital epidemiology at the University of Virginia Health System. “We’ve all been waiting for this day and are very excited to see that full approval has been granted,” Dr. Sifri said. “We know that there are some people in our community who were waiting for that, that felt that full approval was needed before they felt entirely comfortable with the vaccine despite the fact that I think it’s been clear that the vaccine has been safe and effective for months and months now.”Dr. Sifri said this may mean that more institutions will feel more comfortable requiring vaccinations. One such entity is the U.S. Department of Defense, which will not make vaccinations mandatory. There are still no approved vaccines for children under 12, but work is underway toward that effort.“Those clinical trials are going on right now by Pfizer and Moderna and we’ve heard we may start to hear some results of those studies as soon as September,” Dr. Sifri said. Another new vaccine development that Dr. Sifri said might come in September is guidance on whether those who took the Johnson and Johnson would benefit from a second shot. The UVA Health System is also placing more restrictions on visitors to its medical facilities beginning on Thursday. “For in-patients, two designated visitors can be identified by the patient,” said Bush Bell, the administrator of hospitality and support services. “They must remain the same for the duration of the patient’s stay.”Only one visitor will be allowed for out-patient procedures as well as emergency room visits. “And as always, patients who are being evaluated for COVID or are positive will not be permitted visitors unless they are pediatric patients or adults with special needs,” Bell said. The rest of our stories today come from the Albemarle County Board of Supervisor’s meeting from August 16, 2021. The United States Court of Appeals for the District of Columbia Circuit ruled earlier this month that the Federal Communications Commission must provide more information about why it has not updated its policies on the potential health effects of mobile phones and the towers that allow them to communicate. The court ruled on August 13 that the F.C.C. must give further justification for a claim that its current regulations are sufficient to "protect against harmful effects of exposure to radiofrequency radiation unrelated to cancer." (read the ruling)The Environmental Health Trust and others had sued the F.C.C. for failing to adequately explain why a process to update rules last adopted in 1996 was abandoned. The ruling directs the FCC to provide a "reasoned explanation" for why it continues to base testing procedures for cell phones on 25-year-old guidelines from 1996, to address the health effects of radiofrequency radiation on children in a world where cell phones are ubiquitous, and to address the impacts of radiofrequency radiation on the environment. Supervisor Ann Mallek raised the issue during consideration of a cell tower on county-owned land at Walnut Creek Park.  "Should we be stopping accepting more and more of this possibly non-compliant [towers] when the rules get straightened out?" Mallek asked. "Wouldn't it be sensible to have the rules straightened out first before we have more things that are put up in the county that we then have to deal with after the fact?"County Attorney Greg Kamptner explained that the F.C.C. halted their review of those guidelines in 2019. "And that process could have ultimately resulted in  updated regulations pertaining to the radiofrequency standards," Kamptner said. "The court also made it clear that it was not making any decision on the viability of the 1996 standard."As a result, Kamptner said the ruling does not affect current applications. In this case, the matter before the Board was whether County Executive Jeffrey Richardson should sign the application from Verizon."It also doesn't affect the federal law preemption of state and local governments from considering radiofrequency emissions in their wireless related decisions and their regulations," Kamptner said. Mallek was the lone vote against the resolution to authorize Richardson to sign off on the application. You’re reading Charlottesville Community Engagement. Interested in the history of the public library system in the area? This subscriber-supported public service announcement urges you to consider tuning Wednesday in to the next edition of the Albemarle Charlottesville Historical Society’s next video presentation, which is the second part of a look at the The Local Library Centennial: When does "Public" become Public? Filmmaker Lorenzo Dickerson and Jefferson Madison Regional Library director David Plunkett return to talk about how many of the anniversary projects they talked about in January have now been realized!  Exhibits created by the ACHS commemorating the 100-year anniversary of the Public Library system have been installed on the 3rd floor of JMRL’s Central Branch. Learn more by watching this live event or by visiting albemarlehistory.org. (register on Zoom) (Facebook Live)Watch part one here! Supervisors also got an update on how Albemarle’s staff proposes to use the remaining balance of the American Rescue Plan Act funding the county will get in the current and next calendar years. In all, Albemarle will receive $21.2 million in ARPA funds from the federal government. In June, the Board of Supervisors approved a framework for how to spend it. That includes $4 million for support for human services and economic development, an initial $3 million for broadband initiatives, and the balance for capital budget and fiscal planning for upcoming budget years. Nelsie Birch is Albemarle’s chief financial officer. “We will be making a recommendation to increase the funding from ARPA to support our broadband efforts,”  Birch said. Specifically, staff recommended using an additional $1.5 million in the ARPA balance to cover the local match for potential projects funded through the Virginia Telecommunications Initiative (VATI).  Supervisors approved the idea and awards from the state program will be made in January. Mike Culp is the head of the newly created Broadband Accessibility and Affordability Office. “This VATI session we’re going to have at least it seems like 60 to maybe 100 applications so it just goes to show the Commonwealth is really taking a good look at this and they’re going to be funding a lot more programs this year so let’s be in that bucket,” Culp said. Last week, Albemarle released $800,000 of that human services funding for the emergency financial assistance program. There have been many requests for Albemarle to follow Charlottesville in using local ARPA funding to hire attorneys to represent people who are going to be evicted. Albemarle has so far not committed that funding. Emily Kilroy, the county’s director of communications and public engagement, said Albemarle is covered under the extension of the national moratorium on evictions. She also said the county’s approach has been direct payments to those with demonstrated needs. “The Emergency Financial Assistance program that ran from June 2020 through June 2021 provided direct funding to support rent and mortgage payments,” Kilroy sent in an email. “This program was able to serve 2,653 residents, and approximately $2 million of federal CARES Coronavirus Relief Funds were distributed, primarily for rent/mortgage payments.”As mentioned, another $800,000 in funding has been made available. Later that afternoon, Albemarle had a work session on the future of the homestay ordinance, which regulates transient lodging such as AirBnB in the county. The current rules were adopted in 2019 and were intended in part to make sure those who are renting out their homes are complying with regulations. “The number of non-compliant new listings is declining so our message is getting out,” said zoning administrator Bart Svoboda.Svoboda said county staff wanted to know if certain changes should be made to the ordinance. One current regulation is that houses and structures being used for transient lodging are setback at least 125 feet away from a property, unless the Board grants a special exception. “The 125 foot setback reduction is by far our most sought after special exception,” Svoboda said. “Forty-two have been submitted, 29 have been approved, and we still have ten pending.” The Board agreed to allow staff to make changes to the ordinance to allow for administrative approval of those special exceptions. Svoboda said that would depend on whether sufficient screening was present as well as other factors. Other changes might be to change the rule that requires rural area property owners to live in the structure they rent out. Svoboda said he will return to the Board with details about those possible changes after the beginning of calendar year 2022. Supervisors also agreed to continue hiring a third-party to assist with inspection. For more details on this issue, read Allison Wrabel’s story in the Daily Progress. Interested in the shout-outs you hear? Consider a $25 a month Patreon subscription to get a message to the audience! Contact me if you have any questions, as there are a few guidelines. But your support will help the program continue to be produced as often as I can get it out the door! This is a public episode. Get access to private episodes at communityengagement.substack.com/subscribe

Listen as John Eads and Brad Klein bring you the latest surrounding Syracuse Football and Basketball on this week's edition of Fizz Radio!

In today’s Patreon-fueled shout-out: What’s your perfect holiday weekend in Charlottesville? Hanging with friends outside... Great live music... Maybe breaking a Guinness world record? Then mark your calendar for WTJU 91.1 FM's Freefall Music Festival -- Saturday, September 4 starting at 3 p.m. at IX Art Park. Live performances by Zuzu's Hot Five, Susie and the Pistols, and Good Dog Nigel. We'll attempt to form the world's largest human music note at 7:30 p.m. Plus, a hot dog and veggie dog cookout for our whole community. Find out more at wtju.net.On today’s show: Albemarle County is looking for a consultant for to help update their zoning codeU.S. Census Bureau releases population figures for 2020Charlottesville Planning Commission gets an update on the Cville Plans Together initiativeThe University of Virginia plans to increase the number of opportunities for people to get vaccinatedThe Virginia Department of Health reports 2,270 new cases of COVID-19 today, the third straight day with one-day totals in excess of two thousand. The percent positivity has increased to 7.7 percent. In the Blue Ridge Health District, there are 37 new cases today and the percent positivity is at 4.6 percent. There have been 244,944 cases of COVID since mid-January, and of that amount, 98.34 percent of cases were in people not fully vaccinated. Of 2,838 deaths, that figure is 98.17 percent. (The above paragraph was corrected to fix a typographical error)In Albemarle County, 73.2 percent of adults are fully vaccinated, or 63.6 percent of the total population. In Charlottesville, 61.8 percent of adults are fully vaccinated, or 54.7 percent of population. The numbers in outlying counties are lower. For instance, in Louisa the figures are 54.4 percent of adults and 45.5 percent of the total population. In Fluvanna those numbers are 64 percent and 54.5 percent. In Greene, those numbers are 63.3 percent and 56.8 percent, and in Nelson 65.3 percent of adults are vaccinated and 55.6 percent of the total is fully vaccinated.The University of Virginia Health System has announced they will make vaccines available in their outpatient pharmacies by appointment, weekdays between 11 a.m. and six p.m. Justin Vesser has helped lead the health system’s vaccination efforts. “So we’re at this time when we sincerely hope everyone makes the decision to become vaccinated and there’s a lot changing on the vaccine front and a lot changing on the COVID front with the Delta variant and the current surge that we’re in,” Vesser said. These are in addition to the vaccinations at the COVID clinic.“We have community pharmacies that are UVA pharmacies in Zion Crossroads, we have them in Fishersville, we have them at UVA Cancer Center at Pantops, one in the UVA Bookstore, and one at student health clinic on the UVA campus,” Vesser said. Masks are now required indoors at all public schools in Virginia, per a public health emergency order issued yesterday by Governor Ralph Northam. Even though the state of emergency has elapsed, the public health emergency is still in place. One whereas clause in the order point out that children under the age of 12 are not eligible for a vaccine yet. (read the resolution)Among the others: Only 40.3% of 12-15 year-olds and 51.7 % of 16-17 year olds in Virginia are fully vaccinated as of August 10, 2021Universal and correct mask use is an important COVID-19 prevention strategy in schools as part of a multicomponent approach and has been shown to be associated with lower incidence of COVID-19 in schoolsThe Centers for Disease Control and Prevention (CDC) advises universal indoor masking for all teachers, staff, students, and visitors in K-12 schools, regardless of vaccination statusExceptions are made for anyone eating or drinking, exercising, for participation in religious rituals, and for those with health conditions that prevent wearing a mask. The U.S. Census Bureau has released population and demographic data from the tally in 2020. According to the count, Charlottesville officially has 46,553 people, a 7.08 percent increase from 2010. Albemarle’s population is 112,395, a 13.56 percent increase since 2010. Louisa County’s population increased by 13.4 percent to 37,596, Greene increased 11.68 percent to 20,552, and Fluvanna grew 6.06 percent to 27,249. Nelson County’s population shrank by 1.63 percent to 14,775. Overall, the Thomas Jefferson Planning District Commission increased by 10.4 percent to 259,120.Virginia as a whole has an official population of 8,631,393, a 7.9 percent increase since 2010. There are 218.6 people per square mile. Charlottesville has a density of 4,544 people per square mile, and that figure is 156 people per square mile in Albemarle County. (population and housing data viewer)A major purpose of the Census is to allocate seats in the U.S. House of Representatives. Virginia will continue to have 11 members. Albemarle County is looking for a consultant to help update its zoning order. On Tuesday, Planning Director Charles Rapp hosted a briefing for representatives of firms interested in doing the work. “The zoning ordinance exceeds probably 30, 40 years of life and its in need of an update,” Rapp said. The chosen firm will enter into a multi-year contract to do the work in phases.  “We have an initial phase outlined in this [request for proposals] that focuses on zoning district land use clarifications and setbacks as kind of the first two sections,” Rapp said. Subsequent phases will be undertaken as Albemarle begins to update its Comprehensive Plan. “As we finish sections of the Comprehensive Plan, we will identify sections of the zoning ordinance that correspond with that topic,” Rapp said. “So an easy one to talk about is natural resource planning. So a zoning ordinance that might relate to natural resources would be landscaping, lighting, stream buffers, all of that kind of stuff.”Back to that first phase. Rapp said this would be an update to transition toward a more modern zoning code that is easier to use and better organized. “We would like to get a consultant on board by October,” Rapp said. A second request for proposals will be released soon for a consultant to work on the Comprehensive Plan. After this brief break, catching up with the Charlottesville Planning Commission. You’re reading to Charlottesville Community Engagement. In this subscriber supported public service announcement, over the course of the pandemic, the Albemarle Charlottesville Historical Society has provided hours and hours of interviews, presentations, and discussions about interpretations and recollections of the past. All of this is available for you to watch, for free, on the Historical Society’s YouTube Channel. Some examples:June 7, 2021 event on a report on how to improve cvillepediaJanuary 28, 2021 event on the Jefferson Madison Regional Library’s historyDecember 17, 2021 Speaker Series with Jordy Yager of Mapping CvilleLater on Tuesday, the Charlottesville Planning Commission met for their regular meeting in August. They’ll have two work sessions coming up, and the agenda for this one was relatively light. As always, the meeting began with updates from Commissioners, including the nonvoting representative from the University of Virginia, Bill Palmer. “I don’t have a whole lot to report other than just the reminder that fall semester starts on August 24 and we’ll be in pretty full swing around Grounds with first years coming back for orientation and all that,” Palmer said. Commissioner Rory Stolzenberg noted the finalization earlier this month of a key global update of how the entire world’s climate is changing. “The Intergovernmental Panel on Climate Change has released the first part of its sixth assessment report and most of the stuff in there is bad news and some of it is tentatively good news if we act on it and I would encourage all of you to read it,” Stolzenberg said. Stolzenberg said the report shows the global temperature will likely continue to rise above the 1.5 degrees Celsius of warming considered to be an important threshold. Efforts to reduce greenhouse gas emissions are intended to keep that number lower.“And we’re most likely looking at three degrees or more unless we can get very significant reduction in greenhouse gas emissions,” Stolzenberg said. Stolzenberg said the good news is that if the world can get to net zero, temperatures could eventually begin to go down. (view the various reports on the IPCC website)James Groves, an associate professor in the Department of Engineering and Society at the University of Virginia, spoke about the report during matters from the public. He said it is the first update from the IPCC since 2013.“Without surprise, the report states that our lifestyles are dangerously eroding the natural world around us, setting the stage for increasingly difficult living conditions for everyone and everything,” Groves said. Groves said he hopes the Comprehensive Plan needs to have specific recommendations related to climate change such as recommending specific financing mechanisms to replace heating and cooling systems. “Investments in sustainability solutions like [Commercial Property Assessed Clean Energy] financing, a green bank, and micromobility could put critical dollars in the pockets of our most needy neighbors, year after year, while stabilizing the climate for all of us,” Groves said.Speaking of the Charlottesville Comprehensive Plan, the firm Rhodeside & Harwell updated the city Planning Commission on the next steps for the Cville Plans Together Initiative. In February 2019, a previous Council opted to spend nearly a million dollars on a firm to complete the Comprehensive Plan, rewrite the zoning code, and adopt an affordable housing plan. That last step was completed in March. Jennifer Koch is with Rhodeside and Harwell.“What we’ve heard from you all is that you’d like to see us have a Comprehensive Plan to Council this year,” Koch said.The consultant team continues to review the feedback submitted this spring in six-week public input window on the Future Land Use Map and some of the draft chapters of the Comprehensive Plan. There’s an upcoming work session on August 31. “We’ll come to you with what we’re proposing as some adjustments to the Future Land Use Map and the Land Use, Urban Form, and Historical, Cultural Preservation chapter to respond to what we heard,” Koch said. Planning Commission Chair Hosea Mitchell said he thinks it is crucial to get a Plan for the current City Council to vote on before the end of the year.“Slippage is not an option,” Mitchell said. “We do not want to have to educate a new Council. If it slips, we could be looking at another couple of years.”More to come in the near future. This is a public episode. Get access to private episodes at communityengagement.substack.com/subscribe

Jazz Anthology di lun 09/08/21

Jazz Anthology di lun 09/08/21

Jazz Anthology di lun 02/08/21

Jazz Anthology di lun 02/08/21

Der US-amerikanische Jazz-Trompeter und Sänger Louis Armstrong war der erste grosse Solist des traditionellen New Orleans-Ensembles.  Mit seinen Bands, den «Hot Five» und «Hot Seven», machte er erste Schallplattenaufnahmen. Während seines anschliessenden längeren Solospiels mit verschiedenen Orchestern wurde er mit seiner Trompete und seiner rauchigen Stimme weltberühmt.

Em 28 de junho de 1928, Louis Armstrong, então com 26 anos, entra num estúdio de gravação acompanhado de cinco colegas instrumentistas de jazz. Ao sair, tinha mudado a história da música popular. A gravação que Armstrong e seu Hot Five tinham acabado de realizar foi uma canção chamada West End Blues, composta e gravada alguns meses antes pelo mentor de Armstrong, Joe "King" Oliver.----Quer contribuir com Opera Mundi via PIX? Nossa chave é apoie@operamundi.com.br (Razão Social: Última Instancia Editorial Ltda.). Desde já agradecemos!Assinatura solidária:www.operamundi.com.br/apoio★ Support this podcast ★

The years 1923-1924 were what I like to call "the moment before the explosion." It wasn't the beginning of recorded jazz music (that started back in 1917 with the Original Dixieland Jazz Band). The "explosion" wasn't Louis Armstrong joining King Oliver's Creole Jazz Band, nor Armstrong's first recorded solo (although that "was" very important). The years 1923-1924 were the lead up to Louis Armstrong's Hot Five recordings. While some may yawn and roll their eyes - I believe it is fair to say that jazz, rock and popular music as we know it would be completely changed due to the revolutionary recordings of Louis Armstrong The Hot Five, then later the Hot Seven, followed by the remainder of Armstrong's recorded works. But the Hot Five were like a version of jazz music's Avengers or Justice League. It was a supergroup in all senses of the word! This podcast episode was designed in two ways: first, it is presented chronologically (or at least close). Next, it was conceived by an idea from a book I am reading by jazz author Ted Gioia. In his book 'How to Listen to Jazz', he discusses how he went 2 weeks listening to what he could find in recorded jazz previous to Louis Armstrong's Hot Five recordings in order to really let the full revolutionary sound impact him to the fullest extent of his ears. This podcast is a microcosm of that experience. We aim to give the listener the experience of sampling what was available in recorded music leading up to the moment of sonic artistry with the explosion of the recordings of the Hot Five - and Louis Armstrong was the bomb!

Composición de los años 20 de Kid Ory con letra de Ray Gilbert, tiene en realidad origines discutidos. Louis Armstrong decía que era suya y que Ory le puso el título. Pero Sydney Bechet sostenía que venía de Buddy Bolden. Lo cierto es que la estrena Armstrong con los Hot Five (con Ory) en 1926  y desde entonces es un sine qua non del jazz tradicional. La muskrat es la rata almizclera y "to ramble" es pasear sin destino. Lamentablemente su estribillo fue robado por Country Joe and The Fish (Woodstock, 1969). Kid Ory (que tenía 72 años) nunca imaginó que su melodía sería escuchada por medio millón de personas juntas en vivo. Escuchemos a Louis, Ory, Bechet, Teagarden, Marsalis y otros.   Pops en 1962 Playlist en Spotify

Una de las mágicas grabaciones de los Hot Five de Armstrong en Chicago en 1927, Struttin' with some barbecue tiene una historia jugosa. Se ha traducido al español literalmente y de varias formas hilarantes: paseando con una chuleta o con una tira de asado...entre otras. En el slang de la época, una barbecue (barbacoa) era una mujer o un hombre "apetitosa/o". Los créditos van a Lil Armstrong, la segunda esposa de Louis aunque él siempre dijo (y le hizo un juicio) que le pertenecía. Es un standard memorable que se retoma en el revival del Dixieland en los 40 y 50. Escuchemos a Armstrong, Teagarden, la Yerba Buena, Hines, Freeman, Toots, y Marsalis et al.   Escríbenos aquí

The full cast of characters from the "GZ Chop Shop" podcast, have arrived to talk about all things gaming, the much anticipated CyberPunk 2077, Ps5 Vs. Xbox X series and a sizzling speed round of "Hot Five' you won't want to miss! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/somelikeithot/support

On this weeks MAKE BELIEVE BALLROOM Louis Armstrong and his small band the Hot Five, Larry Clinton and his Orchestra, in addition to Cab Calloway we can’t forget his famous sibling, the Chairman of the Board with a novelty tune, Dick Jurgens and Eddy Howard, the priceless International Sweethearts of Rhythm, the Mills Brothers and England’s own Sid Phillips.

Welcome to the third in the Pledge Week series of episodes, putting up old bonus episodes posted to my Patreon in an attempt to encourage more subscriptions. If you like this, consider subscribing to the Patreon at http://patreon.com/join/andrewhickey . This one is about "Blue Yodel #9" by Jimmie Rodgers, but it's really about two great women who shaped twentieth century popular music without much credit -- Lil Hardin and Elsie McWilliams   Click the cut to view a transcript of this episode: ----more---- Welcome to the latest episode of the Patreon-only bonus podcasts. For this episode, we're going to do something different from what we've normally done. In the main series, I've been going strictly chronologically -- each episode covers a fairly long period of time, but each song I've dealt with has come chronologically after the song before. This time, we're going to go right back in time, to the beginnings of country music. I'll be doing that kind of thing a lot more on these Patreon episodes, because the short length gives me the freedom to look at any time period I want, and to jump back and forth in the story. Today, we're going to talk about two great women who don't get as much credit as they deserve for the work of the great men they were behind. Lil Hardin was the piano player for King Oliver's jazz band in the 1920s, when he hired a new second cornet player, a young musician called Louis Armstrong. Armstrong was a promising musician, with a lot of ability, but he was also a bit of a hick -- badly-dressed, with a bad haircut, and with no understanding of how to present himself on stage. He also had no ambition – he just wanted to play with his hero. Lil Hardin saw something in him, though, and tidied him up, showed him how to act on stage, how to dress and how to do his hair. She persuaded him that while he loved just playing in the same band as King Oliver, he could become a star himself. The two of them both divorced their respective spouses and married, and when the time came for Louis Armstrong, who had been only second cornet when he'd met Lil, to become the leader of his own band, the Hot Five, Lil Hardin Armstrong was its piano player. The recordings by Louis Armstrong and his Hot Five were the records that built Louis' reputation as a musician, and which still to this day are regarded as the peak of New Orleans jazz. And Lil Hardin is all over them. [Excerpt: Louis Armstrong and the Hot Five, "Muskrat Ramble"] Meanwhile, in North Carolina, Jimmie Rodgers had had to retire from his job on the railway due to tuberculosis, and was trying to make a living as a singer. I've mentioned Jimmie Rodgers a few times, and if I'd decided to start the narrative in the 1920s rather than in 1938 he would almost certainly have had a full episode devoted to him. He was probably the first big superstar of country music, but he influenced people in all sorts of other fields as well -- for example Howlin' Wolf developed his vocal style by attempting to imitate Rodgers' trademark yodel. In 1927 he began his recording career with records like "Sleep Baby Sleep": [Excerpt: Jimmie Rodgers, "Sleep Baby Sleep"] Rodgers is the credited songwriter on most of his work, but many of his songs were written or co-written by his sister in law, Elsie McWilliams, who had played piano in his band and who he asked to help him whip his ideas into shape when he got a recording contract. McWilliams wanted to make sure her sick brother-in-law and his family would have money, so she only got credited on about half the songs she wrote or co-wrote, giving Rodgers the credit on the rest. And when she did get credited, she often gave Rodgers the actual money anyway. Much later she said, “I didn’t want a penny for those songs, you understand, if there was any money coming, I wanted him to have it. He was sick and broke and I loved ‘em both so very much. He kept after me to sign a contract, but I wouldn’t, I didn’t want any of his money. But he kept after me anyway, so I finally agreed to accept 1/25th of a percent… I nearly fainted when I got my first royalty check, it was for $256.56. I signed it right over to the church.” No-one knows for sure exactly which songs McWilliams co-wrote, but she's generally credited with having worked on roughly a third of Rodgers' songs. This means I can't know for sure if she worked on the song we're looking at today, but whether she did or not, it's entirely possible that Rodgers would not have been in any position to even be recording without McWilliams' contributions. Rodgers' greatest successes were a series of recordings called the Blue Yodels, which started shortly after Rodgers started collaborating with McWilliams, with "Blue Yodel #1", a record we've repeatedly mentioned in the main podcast: [Excerpt: Jimmie Rodgers, "Blue Yodel #1"] For the ninth Blue Yodel, though, Rodgers was inspired by a record that had come out four years earlier, "The Bridwell Blues", by Nolan Welsh, with Louis Armstrong on trumpet: [Excerpt: Nolan Welsh, "The Bridwell Blues"] So in what was for the time an extraordinary fusion of musical styles, and an extraordinary collaboration between black and white musicians, he got Louis Armstrong and Lil Hardin to add their jazz instruments to his "Blue Yodel #9": [Excerpt: Jimmie Rodgers, "Blue Yodel #9"] Within a year of that recording, Lil Hardin and Louis Armstrong would split up for good. Armstrong went on to become the biggest star in jazz music history, while Hardin never managed much greater success than being billed as "Mrs Louis Armstrong". And within three years, Jimmie Rodgers would be dead -- the tuberculosis finally took him in 1933. At the time of his death, Rodgers was selling ten percent of all the records on his label, RCA, and while he's now largely forgotten except to fans of country music's history, he was so famous at the time that seventeen years later an ethnomusicologist studying the music of the Kipsigis people of Kenya recorded this: [Excerpt: Kipsigis people, "Chemirocha"] That's someone singing "Chemirocha" -- Jimmie Rodgers.

Welcome to the third in the Pledge Week series of episodes, putting up old bonus episodes posted to my Patreon in an attempt to encourage more subscriptions. If you like this, consider subscribing to the Patreon at http://patreon.com/join/andrewhickey . This one is about “Blue Yodel #9” by Jimmie Rodgers, but it’s really about two great women who shaped twentieth century popular music without much credit — Lil Hardin and Elsie McWilliams   Click the cut to view a transcript of this episode: —-more—- Welcome to the latest episode of the Patreon-only bonus podcasts. For this episode, we’re going to do something different from what we’ve normally done. In the main series, I’ve been going strictly chronologically — each episode covers a fairly long period of time, but each song I’ve dealt with has come chronologically after the song before. This time, we’re going to go right back in time, to the beginnings of country music. I’ll be doing that kind of thing a lot more on these Patreon episodes, because the short length gives me the freedom to look at any time period I want, and to jump back and forth in the story. Today, we’re going to talk about two great women who don’t get as much credit as they deserve for the work of the great men they were behind. Lil Hardin was the piano player for King Oliver’s jazz band in the 1920s, when he hired a new second cornet player, a young musician called Louis Armstrong. Armstrong was a promising musician, with a lot of ability, but he was also a bit of a hick — badly-dressed, with a bad haircut, and with no understanding of how to present himself on stage. He also had no ambition – he just wanted to play with his hero. Lil Hardin saw something in him, though, and tidied him up, showed him how to act on stage, how to dress and how to do his hair. She persuaded him that while he loved just playing in the same band as King Oliver, he could become a star himself. The two of them both divorced their respective spouses and married, and when the time came for Louis Armstrong, who had been only second cornet when he’d met Lil, to become the leader of his own band, the Hot Five, Lil Hardin Armstrong was its piano player. The recordings by Louis Armstrong and his Hot Five were the records that built Louis’ reputation as a musician, and which still to this day are regarded as the peak of New Orleans jazz. And Lil Hardin is all over them. [Excerpt: Louis Armstrong and the Hot Five, “Muskrat Ramble”] Meanwhile, in North Carolina, Jimmie Rodgers had had to retire from his job on the railway due to tuberculosis, and was trying to make a living as a singer. I’ve mentioned Jimmie Rodgers a few times, and if I’d decided to start the narrative in the 1920s rather than in 1938 he would almost certainly have had a full episode devoted to him. He was probably the first big superstar of country music, but he influenced people in all sorts of other fields as well — for example Howlin’ Wolf developed his vocal style by attempting to imitate Rodgers’ trademark yodel. In 1927 he began his recording career with records like “Sleep Baby Sleep”: [Excerpt: Jimmie Rodgers, “Sleep Baby Sleep”] Rodgers is the credited songwriter on most of his work, but many of his songs were written or co-written by his sister in law, Elsie McWilliams, who had played piano in his band and who he asked to help him whip his ideas into shape when he got a recording contract. McWilliams wanted to make sure her sick brother-in-law and his family would have money, so she only got credited on about half the songs she wrote or co-wrote, giving Rodgers the credit on the rest. And when she did get credited, she often gave Rodgers the actual money anyway. Much later she said, “I didn’t want a penny for those songs, you understand, if there was any money coming, I wanted him to have it. He was sick and broke and I loved ‘em both so very much. He kept after me to sign a contract, but I wouldn’t, I didn’t want any of his money. But he kept after me anyway, so I finally agreed to accept 1/25th of a percent… I nearly fainted when I got my first royalty check, it was for $256.56. I signed it right over to the church.” No-one knows for sure exactly which songs McWilliams co-wrote, but she’s generally credited with having worked on roughly a third of Rodgers’ songs. This means I can’t know for sure if she worked on the song we’re looking at today, but whether she did or not, it’s entirely possible that Rodgers would not have been in any position to even be recording without McWilliams’ contributions. Rodgers’ greatest successes were a series of recordings called the Blue Yodels, which started shortly after Rodgers started collaborating with McWilliams, with “Blue Yodel #1”, a record we’ve repeatedly mentioned in the main podcast: [Excerpt: Jimmie Rodgers, “Blue Yodel #1”] For the ninth Blue Yodel, though, Rodgers was inspired by a record that had come out four years earlier, “The Bridwell Blues”, by Nolan Welsh, with Louis Armstrong on trumpet: [Excerpt: Nolan Welsh, “The Bridwell Blues”] So in what was for the time an extraordinary fusion of musical styles, and an extraordinary collaboration between black and white musicians, he got Louis Armstrong and Lil Hardin to add their jazz instruments to his “Blue Yodel #9”: [Excerpt: Jimmie Rodgers, “Blue Yodel #9”] Within a year of that recording, Lil Hardin and Louis Armstrong would split up for good. Armstrong went on to become the biggest star in jazz music history, while Hardin never managed much greater success than being billed as “Mrs Louis Armstrong”. And within three years, Jimmie Rodgers would be dead — the tuberculosis finally took him in 1933. At the time of his death, Rodgers was selling ten percent of all the records on his label, RCA, and while he’s now largely forgotten except to fans of country music’s history, he was so famous at the time that seventeen years later an ethnomusicologist studying the music of the Kipsigis people of Kenya recorded this: [Excerpt: Kipsigis people, “Chemirocha”] That’s someone singing “Chemirocha” — Jimmie Rodgers.

Viper Mad | Sidney Bechet | 1938Stock Yards Strut | Freddie Keppard's Jazz Cardinals | 1926I've Got My Fingers Crossed | Fats Waller | 1936Love Jumped Out | Count Basie | 1940If I Had Possession Over Judgment Day | Robert Johnson | 1936Heebie Jeebies | Louis Armstrong and his Hot Five | 1926Ah! Gade Chabine La | Orchestre Antillais De Alexandre Stellio | 1930Jack I'm Mellow | Trixie Smith | 1938Twilight in Turkey | Raymond Scott and his Orchestra | 1938My Blue Heaven | Jimmie Lunceford and his Orchestra | 1934Nobody Knows You When You're Down and Out | Bessie Smith | 1929Southern Rag | Blind Blake | 1927The Stuff is Here | Georgia White | 1937Bogalusa Strut | Sam Morgan's Jazz Band | 1927Working Man's Blues | King Oliver's Jazz Band | 1923Rialto! Sens Unique | Orchestre Creole "Kaukira Boys" De. C. Martial | Easy to Love | Billie Holiday | 1936Bughouse | Red Norvo & His Swing Octet | 1935News | 1989/06/22 | You're A Viper (The Reefer Song) | Fats Waller | 1943Muskrat Ramble | Louis Armstrong and his Hot Five | 1927How Long, Sweet Daddy, How Long | Alberta Hunter | 1921Blues Before Sunrise | Leroy Carr | 1934Ikey and Mikey | The Washboard Rhythm Kings | 1935Belle Madame | Orchestre Creole Delvi | 1932Three O'Clock in the Morning | Floyd Ray and His Orchestra | 1939Gut Bucket Blues | Louis Armstrong and his Hot Five | 1925

Dear listener,  Where to begin with such an influential piece of music. Michelle believes, "This is about the blues, the blues scale, the blues feel, blues style and form. It's fundamentally what was groundbreaking about improvisation."  Karl's take? "It's about classical cornet method meeting the rest of that stuff."  They are of course referring to "West End Blues" written by King Oliver in 1928. By the time Oliver wrote "West End Blues," his protege, Louis Armstrong, had formed a studio band that recorded as either the Hot Five or Hot Seven, depending on its size.  You may know Armstrong for some of his later hits like "Hello, Dolly" and "What a Wonderful World" but "West End Blues" will always hail as a mile marker in the evolution of jazz. For starters, its 15-second opening cadenza has become one of the most influential and hard-to-copy solos in jazz history.  Tune in to hear more music and ideas, brought to you by Online Great Books.

Amp tech Skip Simmons is once again fielding guitar tube amp questions from around the world.  Submit your question to Skip here: podcast@fretboardjournal.com or, better yet, leave us a voicemail or text at 509-557-0848. This week's sponsor: Grez Guitars (link) Note: This episode was recorded on February 28, 2020 and pre-dates the passing of Little Charlie Baty, as well as much as of the news we now have on the coronavirus. (We just recorded a new show on March 19 that discusses both topics and we will be posting that next week.) Some of the topics discussed on this episode: 4:10 The hillbillies from Olivehurst: A cursed Gibson GA-15RVT and an early ‘60s Gibson Melody Maker 11:09 A 1951 Fender Tweed Pro with a factory field coil speaker (with one end on the B+, the other end grounded) 14:38 A TAVA Facebook group? Looking for moderators (inquire within) 18:44 Frito Chili Pie 20:42 Biasing for Class A Fixed, Class A/B and Cathode biasing; A Fender 5F2A’s inverse negative feedback 30:49 Built-in power attenuators 35:40 Installing a headphone output jack on a vintage Fender Champ 37:16 The future reputation of modern amp builders (Carr, Dr. Z, Bartel, etc.) 47:04 More on Skip’s Retropolitan amps 50:35 Breaking-in a speaker with a looper pedal 53:49 Music recommendations: Stanley Turentine, Grant Green, Lou Donaldson, Shirley Scott 55:21 What’s wrong with Arthur “Big Boy” Crudup’s amp on his 1946 recording “That’s All Right”? 57:35 Vintage Australian amps: Goldentone, Vase & Moody 58:34 A Fender Blues Deville with too much reverb 1:00:58 The “tone expander” switch on a Gibson GA30RV “Invader” 1:02:20 Vintage Gibson cabinet talk: Redwood? Any available reproduction cabinets? 1:05:54 Music recommendation: ‘Unshaven: Live at Smith’s Olde Bar’ by Shaver 1:07:34 A John Vanderslice / Tiny Telephone update 1:09:07 Mac & cheese revisited 1:10:15 Picky goats 1:11:12 Selmer Triumph Reverb schematic 1:13:50 Grounding schemes, halloumi cheese 1:21:17 Special guest: Chris Benson of Benson Amplifiers! (Triad transformers, new releases, granola, cast iron) 1:39:19 Replace the bypass cap on your silverface Champ 1:40:10 Rodriguez & Searching for Sugar Man 1:42:01 Louis Armstrong’s Hot Five and Hot Seven

1 - C-O-N-S-T-A-N-T-I-N-O-P-L-E - Oriole Dance Orchestra - 19282 - S. O. L. Blues - Louis Armstrong and his Hot Five - 19273 - O-H-I-O (O MY! O!) - Al Jolson - 19204 - O-H-I-O - The Happy Six - 19215 - M-I-S-S-I-S-S-I-P-P-I - Ella Fitzgerald with 4 Hits And A Miss - 19506 - M-I-S-S-I-S-S-I-P-P-I - Moylan Sisters (Peggy Joan and Marianne) with Harry Tierney - 19417 - M-I-S-S-I-S-S-I-P-P-I - Frances White of Rock and White - 19178 - W-O-M-A-N - Etta James - 19559 - G-U-M-P-E-Y - Lem Davis Sextette - 194610 - Am I Still P-A-R-T of Your H-E-A-R-T - Jerry & Sky and The Melody Men - 194711 - Am I Still P-A-R-T of Your H-E-A-R-T - Buchanan Brothers with The Georgia Catamounts - 194712 - Tune In On L-O-V-E - Billy Jones - 192413 - L-O-V-E - Jack Hylton and His Orchestra - 192914 - I L-O-V-E You - Jenny Lou Carson and her Tumbleweed Troubadours - 194715 - YOU TELL HER I S-T-U-T-T-E-R - Thomas and West - 192216 - I'll See You in C-u-b-a - Billy Murray - 192017 - M-A-R-Y I Love Y-O-U - Rudy Vallee and His Connecticut Yankees - 192918 - L-L-L-L-A - Tommy Dorsey and his Orchestra with Mae Williams and The Town Criers - 194719 - When We Are M-A-Double-R-I-E-D - Ada Jones and Billy Murray - 190820 - M-O-T-H-E-R - Henry Burr - 191521 - By-U By-O (The Lou'siana Lullaby) - Woody Herman And His Orchestra with Muriel Lane - 194122 - By-U By-O (The Lou'siana Lullaby) - Freddy Martin and his Orchestra with Clyde Rogers - 194123 - By-U By-O (The Lou'siana Lullaby) - The Merry Macs - 194124 - A-N-G-E-L Spells Mary - Jack Leonard - 194725 - If We Could Be A-L-O-N-E - Vic Damone - 195026 - R-O-C-K - Bill Haley and his Comets - 195527 - The Photographer's Card - Richard Diamond Private Detective – 1950

Never fuck with someone’s Emily…this was the lesson the villainous vampire Keanu Bautista learned the hard way, as Ridley (Ryan LaPlante @theryanlaplante) got tough, Everett (Tyler Hewitt @tyler_hewitt) got hungry, and Iris (Megan Miles @meggiemiles) got revengey. Together, the coterie devoured their enemy and set about securing their place in Montreal and their status as a team…time for some well earned downtime. Maybe there is hope, after all…well, at least until the hunger returns… Featuring Tom McGee as Storyteller (@mcgeetd). Enjoying Blood & Syrup? You can become a Patron of Dumb-Dumbs & Dice for as little as $1 a month at www.patreon.com/dumbdumbdice and gain access to a ton of extra BTS fun. You can also get cool merchandise featuring your favourite Dumb-Dumbs & Dice characters and catchphrases at www.redbubble.com/people/dumbdumbdice

Dentro de nuestro habitual desorden en la cronología del programa, hoy vamos a escuchar Jazz. Nos vamos a centrar en un personaje que, al margen de los gustos musicales de cada uno, te guste el jazz o no, todo el mundo conoce. Ha conseguido salvar las barreras raciales, musicales, temporales y cualquier otra que se os ocurra. Hablamos de Louis Armstrong. Con ningún otro músico de la historia del jazz las opiniones son tan unánimes como sobre él. Hasta la llegada de Dizzy Gillespie en los cuarenta no hubo un solo trompetista de jazz que no hubiera seguido los pasos de Louis Armstrong, o Satchmo, como se le llamaba. El mismo Gillespie dijo: La posición de Louis Armatrong en la historia del Jazz no tiene parangón. Si no fuera por él, no estaríamos nosotros aquí. Por eso quiero agradecer literalmente a Louis Armstrong mi vida”. No podrá decir, en su tumba, que no fue un personaje querido y admirado. Claro que, no siempre fue así. Louis Armstrong nació en el seno de una familia muy pobre y en uno de los barrios marginales de Nueva Orleans. Todo fue a peor cuando su padre, William Armstrong, abandonó a la familia. Louis pasó sus primeros años en un difícil vecindario de las afueras de la ciudad. En 1910 fue detenido por primera vez y a lo largo de una época de su juventud se vería esporádicamente metido en algunos episodios delictivos. Se educó vagabundeando por las calles y trabajando de chatarrero. Desde niño fue consciente del terrible odio racial que existía en los Estados Unidos en las primeras décadas del siglo XX. Trabajó para una familia de inmigrantes judíos lituanos, los Karnofsky, quienes aceptaron al niño como a uno más de la familia. Louis siempre contaba cómo descubrió que esta familia blanca también era discriminada por «otros blancos», «yo tenía sólo siete años, pero podía notar el miserable trato que los blancos le daban a esta pobre familia judía para la cual trabajaba… de la cual aprendí cómo vivir una vida verdadera y con determinación». Esto lo dejó escrito en sus memorias: Louis Armstrong y la familia judía en Nueva Orleans. Vamos a escuchar Sweet Georgia Brown, interpretada por Armstrong en una grabación en directo. No existían antecedentes musicales en su familia, por lo que su interés por este arte surgió a partir de la escucha de las célebres bandas de Nueva Orleans. Cuando la música le llamó y no tenía un centavo para comprar su primera trompeta, el señor Karnofsky se la compró. Eternamente agradecido y a pesar de ser de fe baptista, Louis Armstrong llevó el resto de su vida una estrella de David colgando de su cuello en honor a su mecenas Aprendió, en primer lugar, a tocar la corneta en la banda de la Nueva Orleans Home for Colored Waifs, un reformatorio para niños negros abandonados a donde había sido enviado en varias ocasiones por delitos menores, como por ejemplo el haber disparado al aire durante una Nochevieja. Allí, aconsejado por el director del reformatorio y uno de sus profesores, optó definitivamente por la trompeta. En 1914, tras su salida del reformatorio, trabajó como vendedor de carbón, repartidor de leche, estibador de barcos bananeros y otros empleos del mismo tipo. Empezó también a trabajar en los cabarés de Storyville, donde estaban concentrados todos los locales nocturnos de la ciudad. Fue allí donde conoció y se empapó de la música de los grandes intérpretes del momento: Bunk Johnson, Buddy Petit y, sobre todo, de Joe King Oliver. Entre 1918 y 1919, ya con una bien ganada reputación como trompetista, fue contratado por el director de orquesta Kid Ory, gracias a una recomendación de su mentor Joe King Oliver, en ese momento trompeta principal de esta orquesta. Louis llegó por este camino a tocar en algunas de esas orquestas de Nueva Orleans, incluyendo aquellas que viajaban por los ríos, como la renombrada orquesta de Fate Marable, que realizó una gira en un buque de vapor a lo largo de todo el Misisipi. El propio Armstrong describiría esta época con Marable como «su estancia en la universidad», ya que le proporcionó una enorme experiencia en el trabajo con arreglos escritos. Cuando Joe Oliver abandonó la ciudad en 1919, Armstrong ocupó su lugar en la banda de Kid Ory, por entonces el grupo de swing más importante de la ciudad. En sus primeras grabaciones con la orquesta, allá por 1923, se incluyeron algunos solos como segunda trompeta de la banda; en 1924, sin embargo, ya era el solista más importante y más creativo del grupo. En febrero de este año se casó con Lillian Hardin, pianista de Oliver, quien lo animó a abandonar la orquesta para alcanzar mayores metas artísticas. Así, se separó amistosamente de Oliver y, se marchó a Nueva York. Su fama llegó rápidamente a oídos del mejor director de orquesta afroamericano del momento, Fletcher Henderson, que le ofreció un contrato para que se uniese a su banda, la Fletcher Henderson Orchestra, la principal banda afroamericana de la época. Armstrong debutó con ella el 29 de septiembre de 1924 en el Roseland Ballroom de Nueva York. Tras decidirse a aprender a leer música, en sólo un año revolucionó el estilo y la forma de tocar de sus compañeros y grabó con las mejores cantantes de blues de la época, como Bessie Smith. De esas grabaciones, 1925, escuchamos a la pareja en Careless Love Blues En este mismo año, 1925, empezó a grabar bajo su propio nombre para el sello OKeh acompañando a dos formaciones creadas por él llamadas Hot Five y Hot Seven, dependiendo evidentemente del número de músicos de cada formación, produciendo éxitos como «Potato Head Blues», «Muggles» (una referencia a la marihuana, la cual tendía a consumir desde siempre) o este que vamos a escuchar ahora: «West End Blues». Louis Armstrong West End Blues Armstrong continuó tocando con big bands, como por ejemplo las de Erskine Tate o la Carroll Dickerson. En 1929 vuelve a Nueva York para trasladarse a Los Angeles al año siguiente. Este hombre no podía parar quieto. Desde esta ciudad inicia una gira por Europa que duraría dos años y en la que obtuvo un éxito espectacular, particularmente en París. La aparición de Joe Glaser en 1935 como su representante y la contratación de la orquesta de Louis Russell como formación de apoyo de Armstrong, marcaron el curso de los acontecimientos durante el resto de la década, en la que Armstrong pasó de ser una simple figura del jazz a un destacado miembro de la industria del entretenimiento en general. En 1940, rompió su relación comercial con la big band de Russell y contrató a nuevos músicos: este nuevo grupo fue el principal apoyo con el que contó Armstrong hasta 1947. Tras pasar muchos años de gira, se asentó permanentemente en Queens, Nueva York, en 1943. Aunque no ajeno al control que del negocio musical ejercían los gánsteres por aquella época, Louis continuó desarrollando su técnica y su carrera musical. Durante los siguientes treinta años, Armstrong llegó a actuar una media de trescientas veces por año. En los años cuarenta, las big bands entraron en decadencia debido a los cambios en el gusto del público: muchas salas de baile cerraron y entre los nuevos medios de comunicación como la televisión y el auge de nuevos tipos de música, las big bands y el swing pasaron a un segundo lugar. Se hizo imposible mantener y financiar orquestas itinerantes de 16 músicos o más. Escuchamos ahora a la orquesta de Luis Russel acompañando a Louis Armstrong en Bessie Couldn’t Help It. Hacia 1947, Armstrong redujo su banda a cinco instrumentos, volviendo así al estilo Dixieland que lo había hecho famoso al principio de su carrera. Este grupo se llamaba All Stars y se presentaron el 13 de agosto de 1947 en el club Billy Berg's de Los Ángeles. En 1964, Armstrong grabó el que sería su tema más vendido: «Hello, Dolly». La canción obtuvo el puesto número uno en las listas de Estados Unidos, superando al grupo inglés The Beatles. Armstrong también obtuvo por el disco un premio Grammy al Mejor Cantante masculino y fue nominado a Mejor Disco del año. En este álbum se encuentra, también, otro tema clásico de Armstrong, «Jeepers Creepers». Como Hello, Dolly ya lo escuchamos en el anterior programa, hoy escucharemos este último. Jeepers Creepers. Armstrong trabajó hasta poco tiempo antes de su muerte y, aunque en ocasiones en sus últimos años se inclinase hacia algunas interpretaciones triviales, en otras era capaz de demostrar un todavía asombroso dominio de la técnica y de la intuición musical que dejaba perpleja a su propia banda. Bajo el patrocinio del Departamento de Estado de los Estados Unidos recorrió todo el mundo, tanto, que terminó por ser conocido como «Ambassador Satch» (embajador Satch). Debido a problemas de salud, restringió sus actuaciones a lo mínimo, aunque siguió tocando hasta el día de su muerte. Louis Armstrong sufrió un ataque al corazón en 1959, del cual se pudo recuperar para seguir tocando. Pero un segundo ataque al corazón en 1971, le obligó a guardar reposo durante dos meses. Se reunió nuevamente a tocar con su grupo el 5 de julio de ese mismo año y, al día siguiente, en Corona, Queens (Nueva York) murió mientras dormía por complicaciones de su corazón, casi un mes antes de cumplir 70 años de edad. Esto ha sido una grabación del famoso Saint Louis Blues, realizada en Nueva York en 1929. Armstrong se acercó a muchos tipos de música, desde el blues más enraizado a los arreglos más cursis de Guy Lombardo, desde las canciones folk hispanoamericanas a sinfonías y óperas clásicas. Armstrong incorporó influencias de todas estas fuentes en sus interpretaciones, a veces provocando el aturdimiento de sus fans, que querían que el artista se mantuviese en una línea más convencional. Mackie el Navaja, que es la canción que acabamos de escuchar fue compuesta en 1928. La letra es de Bertolt Brecht, y la música, de Kurt Weill. El año siguiente, 1929, la incorporaron a «La ópera de los tres centavos» obra de teatro escrita por los mismos autores. Durante su larga carrera, Armstrong tocó y cantó con los más importantes instrumentalistas y vocalistas; entre ellos, con Jimmie Rodgers, Bing Crosby, Duke Ellington, Fletcher Henderson, Bessie Smith y, especialmente, con Ella Fitzgerald. Armstrong grabó tres discos con Ella Fitzgerald: Ella and Louis, Ella and Louis Again y Porgy and Bess para Verve Records. Vamos a escuchar a estos dos monstruos: Armstron y Fitzgerald en Summertime. Algunos músicos criticaron a Armstrong por tocar ante audiencias segregadas, o sea, solo para blancos, y por no tomar una postura clara en el movimiento por los derechos civiles, sugiriendo que era un tío Tom, apodo absolutamente despectivo. Por el contrario, Louis Armstrong fue un apoyo financiero muy importante para Martin Luther King y para otros activistas por los derechos civiles, aunque siempre prefiriese trabajar en esos asuntos de forma muy discreta, sin mezclar sus ideas políticas con su trabajo como artista. Ahora bien, cuando se significó, sus declaraciones fueron muy efectivas: la crítica de Armstrong al presidente Eisenhower, llamándole «two-faced» (con dos caras) y «cobarde» debido a su inacción durante el conflicto de la segregación racial escolar en Little Rock, Arkansas, que fue noticia nacional en 1957.También protestó cancelando una gira por la Unión Soviética en nombre del Departamento de Estado diciendo que «por la forma en que están tratando a mi gente en el sur, el gobierno podría ir al infierno» y que él no podía representar a su gobierno fuera del país cuando estaba manteniendo un conflicto con su propio pueblo. También fue un tipo generoso, hasta el punto de decirse de él que había gastado tanto dinero en los demás como en sí mismo. En fin, un buen tipo. What A Wonderful World Y, bueno, para no perder la costumbre, otra vez nos hemos pasado de tiempo. Pero es que, nos venimos arriba y … Espero que os haya entretenido el programa y sabed que volveremos la próxima semana con más historias, más músicos y más música… mucha música. Hasta entonces… Buenas vibraciones.

Dentro de nuestro habitual desorden en la cronología del programa, hoy vamos a escuchar Jazz. Nos vamos a centrar en un personaje que, al margen de los gustos musicales de cada uno, te guste el jazz o no, todo el mundo conoce. Ha conseguido salvar las barreras raciales, musicales, temporales y cualquier otra que se os ocurra. Hablamos de Louis Armstrong. Con ningún otro músico de la historia del jazz las opiniones son tan unánimes como sobre él. Hasta la llegada de Dizzy Gillespie en los cuarenta no hubo un solo trompetista de jazz que no hubiera seguido los pasos de Louis Armstrong, o Satchmo, como se le llamaba. El mismo Gillespie dijo: La posición de Louis Armatrong en la historia del Jazz no tiene parangón. Si no fuera por él, no estaríamos nosotros aquí. Por eso quiero agradecer literalmente a Louis Armstrong mi vida”. No podrá decir, en su tumba, que no fue un personaje querido y admirado. Claro que, no siempre fue así. Louis Armstrong nació en el seno de una familia muy pobre y en uno de los barrios marginales de Nueva Orleans. Todo fue a peor cuando su padre, William Armstrong, abandonó a la familia. Louis pasó sus primeros años en un difícil vecindario de las afueras de la ciudad. En 1910 fue detenido por primera vez y a lo largo de una época de su juventud se vería esporádicamente metido en algunos episodios delictivos. Se educó vagabundeando por las calles y trabajando de chatarrero. Desde niño fue consciente del terrible odio racial que existía en los Estados Unidos en las primeras décadas del siglo XX. Trabajó para una familia de inmigrantes judíos lituanos, los Karnofsky, quienes aceptaron al niño como a uno más de la familia. Louis siempre contaba cómo descubrió que esta familia blanca también era discriminada por «otros blancos», «yo tenía sólo siete años, pero podía notar el miserable trato que los blancos le daban a esta pobre familia judía para la cual trabajaba… de la cual aprendí cómo vivir una vida verdadera y con determinación». Esto lo dejó escrito en sus memorias: Louis Armstrong y la familia judía en Nueva Orleans. Vamos a escuchar Sweet Georgia Brown, interpretada por Armstrong en una grabación en directo. No existían antecedentes musicales en su familia, por lo que su interés por este arte surgió a partir de la escucha de las célebres bandas de Nueva Orleans. Cuando la música le llamó y no tenía un centavo para comprar su primera trompeta, el señor Karnofsky se la compró. Eternamente agradecido y a pesar de ser de fe baptista, Louis Armstrong llevó el resto de su vida una estrella de David colgando de su cuello en honor a su mecenas Aprendió, en primer lugar, a tocar la corneta en la banda de la Nueva Orleans Home for Colored Waifs, un reformatorio para niños negros abandonados a donde había sido enviado en varias ocasiones por delitos menores, como por ejemplo el haber disparado al aire durante una Nochevieja. Allí, aconsejado por el director del reformatorio y uno de sus profesores, optó definitivamente por la trompeta. En 1914, tras su salida del reformatorio, trabajó como vendedor de carbón, repartidor de leche, estibador de barcos bananeros y otros empleos del mismo tipo. Empezó también a trabajar en los cabarés de Storyville, donde estaban concentrados todos los locales nocturnos de la ciudad. Fue allí donde conoció y se empapó de la música de los grandes intérpretes del momento: Bunk Johnson, Buddy Petit y, sobre todo, de Joe King Oliver. Entre 1918 y 1919, ya con una bien ganada reputación como trompetista, fue contratado por el director de orquesta Kid Ory, gracias a una recomendación de su mentor Joe King Oliver, en ese momento trompeta principal de esta orquesta. Louis llegó por este camino a tocar en algunas de esas orquestas de Nueva Orleans, incluyendo aquellas que viajaban por los ríos, como la renombrada orquesta de Fate Marable, que realizó una gira en un buque de vapor a lo largo de todo el Misisipi. El propio Armstrong describiría esta época con Marable como «su estancia en la universidad», ya que le proporcionó una enorme experiencia en el trabajo con arreglos escritos. Cuando Joe Oliver abandonó la ciudad en 1919, Armstrong ocupó su lugar en la banda de Kid Ory, por entonces el grupo de swing más importante de la ciudad. En sus primeras grabaciones con la orquesta, allá por 1923, se incluyeron algunos solos como segunda trompeta de la banda; en 1924, sin embargo, ya era el solista más importante y más creativo del grupo. En febrero de este año se casó con Lillian Hardin, pianista de Oliver, quien lo animó a abandonar la orquesta para alcanzar mayores metas artísticas. Así, se separó amistosamente de Oliver y, se marchó a Nueva York. Su fama llegó rápidamente a oídos del mejor director de orquesta afroamericano del momento, Fletcher Henderson, que le ofreció un contrato para que se uniese a su banda, la Fletcher Henderson Orchestra, la principal banda afroamericana de la época. Armstrong debutó con ella el 29 de septiembre de 1924 en el Roseland Ballroom de Nueva York. Tras decidirse a aprender a leer música, en sólo un año revolucionó el estilo y la forma de tocar de sus compañeros y grabó con las mejores cantantes de blues de la época, como Bessie Smith. De esas grabaciones, 1925, escuchamos a la pareja en Careless Love Blues En este mismo año, 1925, empezó a grabar bajo su propio nombre para el sello OKeh acompañando a dos formaciones creadas por él llamadas Hot Five y Hot Seven, dependiendo evidentemente del número de músicos de cada formación, produciendo éxitos como «Potato Head Blues», «Muggles» (una referencia a la marihuana, la cual tendía a consumir desde siempre) o este que vamos a escuchar ahora: «West End Blues». Louis Armstrong West End Blues Armstrong continuó tocando con big bands, como por ejemplo las de Erskine Tate o la Carroll Dickerson. En 1929 vuelve a Nueva York para trasladarse a Los Angeles al año siguiente. Este hombre no podía parar quieto. Desde esta ciudad inicia una gira por Europa que duraría dos años y en la que obtuvo un éxito espectacular, particularmente en París. La aparición de Joe Glaser en 1935 como su representante y la contratación de la orquesta de Louis Russell como formación de apoyo de Armstrong, marcaron el curso de los acontecimientos durante el resto de la década, en la que Armstrong pasó de ser una simple figura del jazz a un destacado miembro de la industria del entretenimiento en general. En 1940, rompió su relación comercial con la big band de Russell y contrató a nuevos músicos: este nuevo grupo fue el principal apoyo con el que contó Armstrong hasta 1947. Tras pasar muchos años de gira, se asentó permanentemente en Queens, Nueva York, en 1943. Aunque no ajeno al control que del negocio musical ejercían los gánsteres por aquella época, Louis continuó desarrollando su técnica y su carrera musical. Durante los siguientes treinta años, Armstrong llegó a actuar una media de trescientas veces por año. En los años cuarenta, las big bands entraron en decadencia debido a los cambios en el gusto del público: muchas salas de baile cerraron y entre los nuevos medios de comunicación como la televisión y el auge de nuevos tipos de música, las big bands y el swing pasaron a un segundo lugar. Se hizo imposible mantener y financiar orquestas itinerantes de 16 músicos o más. Escuchamos ahora a la orquesta de Luis Russel acompañando a Louis Armstrong en Bessie Couldn’t Help It. Hacia 1947, Armstrong redujo su banda a cinco instrumentos, volviendo así al estilo Dixieland que lo había hecho famoso al principio de su carrera. Este grupo se llamaba All Stars y se presentaron el 13 de agosto de 1947 en el club Billy Berg's de Los Ángeles. En 1964, Armstrong grabó el que sería su tema más vendido: «Hello, Dolly». La canción obtuvo el puesto número uno en las listas de Estados Unidos, superando al grupo inglés The Beatles. Armstrong también obtuvo por el disco un premio Grammy al Mejor Cantante masculino y fue nominado a Mejor Disco del año. En este álbum se encuentra, también, otro tema clásico de Armstrong, «Jeepers Creepers». Como Hello, Dolly ya lo escuchamos en el anterior programa, hoy escucharemos este último. Jeepers Creepers. Armstrong trabajó hasta poco tiempo antes de su muerte y, aunque en ocasiones en sus últimos años se inclinase hacia algunas interpretaciones triviales, en otras era capaz de demostrar un todavía asombroso dominio de la técnica y de la intuición musical que dejaba perpleja a su propia banda. Bajo el patrocinio del Departamento de Estado de los Estados Unidos recorrió todo el mundo, tanto, que terminó por ser conocido como «Ambassador Satch» (embajador Satch). Debido a problemas de salud, restringió sus actuaciones a lo mínimo, aunque siguió tocando hasta el día de su muerte. Louis Armstrong sufrió un ataque al corazón en 1959, del cual se pudo recuperar para seguir tocando. Pero un segundo ataque al corazón en 1971, le obligó a guardar reposo durante dos meses. Se reunió nuevamente a tocar con su grupo el 5 de julio de ese mismo año y, al día siguiente, en Corona, Queens (Nueva York) murió mientras dormía por complicaciones de su corazón, casi un mes antes de cumplir 70 años de edad. Esto ha sido una grabación del famoso Saint Louis Blues, realizada en Nueva York en 1929. Armstrong se acercó a muchos tipos de música, desde el blues más enraizado a los arreglos más cursis de Guy Lombardo, desde las canciones folk hispanoamericanas a sinfonías y óperas clásicas. Armstrong incorporó influencias de todas estas fuentes en sus interpretaciones, a veces provocando el aturdimiento de sus fans, que querían que el artista se mantuviese en una línea más convencional. Mackie el Navaja, que es la canción que acabamos de escuchar fue compuesta en 1928. La letra es de Bertolt Brecht, y la música, de Kurt Weill. El año siguiente, 1929, la incorporaron a «La ópera de los tres centavos» obra de teatro escrita por los mismos autores. Durante su larga carrera, Armstrong tocó y cantó con los más importantes instrumentalistas y vocalistas; entre ellos, con Jimmie Rodgers, Bing Crosby, Duke Ellington, Fletcher Henderson, Bessie Smith y, especialmente, con Ella Fitzgerald. Armstrong grabó tres discos con Ella Fitzgerald: Ella and Louis, Ella and Louis Again y Porgy and Bess para Verve Records. Vamos a escuchar a estos dos monstruos: Armstron y Fitzgerald en Summertime. Algunos músicos criticaron a Armstrong por tocar ante audiencias segregadas, o sea, solo para blancos, y por no tomar una postura clara en el movimiento por los derechos civiles, sugiriendo que era un tío Tom, apodo absolutamente despectivo. Por el contrario, Louis Armstrong fue un apoyo financiero muy importante para Martin Luther King y para otros activistas por los derechos civiles, aunque siempre prefiriese trabajar en esos asuntos de forma muy discreta, sin mezclar sus ideas políticas con su trabajo como artista. Ahora bien, cuando se significó, sus declaraciones fueron muy efectivas: la crítica de Armstrong al presidente Eisenhower, llamándole «two-faced» (con dos caras) y «cobarde» debido a su inacción durante el conflicto de la segregación racial escolar en Little Rock, Arkansas, que fue noticia nacional en 1957.También protestó cancelando una gira por la Unión Soviética en nombre del Departamento de Estado diciendo que «por la forma en que están tratando a mi gente en el sur, el gobierno podría ir al infierno» y que él no podía representar a su gobierno fuera del país cuando estaba manteniendo un conflicto con su propio pueblo. También fue un tipo generoso, hasta el punto de decirse de él que había gastado tanto dinero en los demás como en sí mismo. En fin, un buen tipo. What A Wonderful World Y, bueno, para no perder la costumbre, otra vez nos hemos pasado de tiempo. Pero es que, nos venimos arriba y … Espero que os haya entretenido el programa y sabed que volveremos la próxima semana con más historias, más músicos y más música… mucha música. Hasta entonces… Buenas vibraciones.

It was on this date in 1928 that a 26-year-old Louis Armstrong and his band, the Hot Five, recorded "West End Blues." One night, an audience was so enraptured by the song that they carried Armstrong off the stage.

Back with Poppa Joe in Chicago, Meeting Lil Harden, Fat little man with bald head, Linking Gardens, Freddie vs Louis, Lil had a car, "race records", Poppa Joe skimming, Fletcher Henderson, Harlem, The Roseland Ballroom, Back to Chicago, Al Capone, Birth of the Hot Five and Good Bye Momma via Knit

Today I talk the sofifa hot five players and I drop the first team power rankings !

En la sexta entrega de la serie Diez de Armstrong continuamos con la carrera del trompetista en los años 50… Llegando al año 53 nos encontramos con el diez pulgadas Jazzin’ with Armstrong, que era un recopilatorio de ocho temas grabados entre 1926 y 1928 con los Hot Five y los Hot Sevens, y también con su orquesta y los Ballroom Five. En HDO 406 escuchamos esta recopilación de arriba abajo. Tomajazz: © Pachi Tapiz, 2018 HDO es un podcast de jazz e improvisación (libre en mayor o menor grado) que está editado, presentado y producido por Pachi Tapiz. Para quejas, sugerencias, protestas, peticiones, presentaciones y/u opiniones envíanos un correo a hdo @ tomajazz . com.

Al hilo de la revisión que ¡Zas! Trío ha realizado de la obra de Satchmo en Round About Armstrong, en HDO 376 suena la primera entrega de Diez de Armstrong. En el programa se escuchan diez temas grabados por este gigante de la trompeta entre 1924 y 1928. Además de contar con los Hot Five y Hot Seven, también hace acto de presencia doña Bessie Smith, la Emperatriz del Blues. Tomajazz: © Pachi Tapiz, 2018 HDO es un podcast editado, presentado y producido por Pachi Tapiz.

What if we traveled back in time and the tour buses for the Kinks and Louis Armstrong’s Hot Five crashed into each other? Well, we’d have quite a mess on the road, but you might come close to the sound of the Chandler Travis Philharmonic, equal parts rock irreverence and vintage jazz, with a bent sense of humor thrown in for good measure.The band is celebrating 20 years together and have commemorated the event with the release of Waving Kissyhead volume 2 & 1. Chandler Travis returns to our show to talk the new disc, the band’s ongoing “Best Bedhead Contest,” and why putting lyrics to songs almost always screws them up.   He also tells the story about playing Carnegie Hall on the opening slot for comedian George Carlin.

It's the last Monday of the month, so let's look at what's hot on the internet. This week, it's Five Day Challenge Launches Let's discuss why 5 Day challenges are so popular for launching programs We'll talk about: Why 5 day challenges are a GREAT way to launch an online course/program Challenges focus on outcomes instead of learning Things to watch out for while running your own challenge   Show Links: FREE Online Courses Mini-course Join the #ladyposse! Share your #podcastaha moments

Dionne Warwick cantaba en coros y como sesionista cuando Bart Bacharach la descubrió. Inmediatamente la hizo firmar contrato, le produjo discos y le hizo cantar sus composiciones. Bobby trae Never fall in love again, arquetipo de canción de esa sociedad. Héctor contesta con algo no muy lejano, después de revisar y revisar su discoteca. Tras prometerlo y buscarlo, persistentemente, nos trae Louis Armstrong con sus Hot Five y Hot Seven, las primeras formaciones propias con la que grabó Satchmo. Además, Atahualpa Yupanqui, Juanjo Domínguez, Thelonius Monk con John Coltrane y Amália Rodrigues, .

Resulta inevitable citar a Louis Armstrong cuando se habla de jazz. El trompetista y cantante estadounidense convirtió su arte y su voz en iconos de la música de los años 20 y 30. El éxito comenzó en 1922 en la Creole Jazz Band de Joe King Oliver y desde entonces nunca dejó de trabajar. Le llamaban Satchmo, abreviatura de Satchelmouth (boca de bolsa) por la forma que tenía de embocar la trompeta y, aunque se pueden apreciar errores u omisiones de notas en alguna de sus grabaciones, su música estaba llena de energía y espontaneidad. Las formaciones Hot Five y Hot Seven dieron un gran empujón a su carrera musical y Armstrong llegó a actuar unas 300 veces al año.En esta incesante gira de conciertos, llegó a México en julio de 1955. Iba a estar únicamente tres días en la ciudad pues pronto se iría a Hollywood pero tuvo tiempo para ofrecer esta breve entrevista en XEW Radio. El músico tenía entonces 61 años y mucha carretera a sus espaldas. A la cita acudió junto a su séquito de agentes y Jewel Brown, una de las cantantes de su última banda, All Stars.El músico, en esta conversación, habla de las ganas que tenía de visitar México, de la buena acogida de los fans centroamericanos y de su amistad con el también trompetista Rafael Méndez. Con esta entrevista recordamos al Louis Armstrong amable y carismático que siempre fue.

Resulta inevitable citar a Louis Armstrong cuando se habla de jazz. El trompetista y cantante estadounidense convirtió su arte y su voz en iconos de la música de los años 20 y 30. El éxito comenzó en 1922 en la Creole Jazz Band de Joe King Oliver y desde entonces nunca dejó de trabajar. Le llamaban Satchmo, abreviatura de Satchelmouth (boca de bolsa) por la forma que tenía de embocar la trompeta y, aunque se pueden apreciar errores u omisiones de notas en alguna de sus grabaciones, su música estaba llena de energía y espontaneidad. Las formaciones Hot Five y Hot Seven dieron un gran empujón a su carrera musical y Armstrong llegó a actuar unas 300 veces al año.En esta incesante gira de conciertos, llegó a México en julio de 1955. Iba a estar únicamente tres días en la ciudad pues pronto se iría a Hollywood pero tuvo tiempo para ofrecer esta breve entrevista en XEW Radio. El músico tenía entonces 61 años y mucha carretera a sus espaldas. A la cita acudió junto a su séquito de agentes y Jewel Brown, una de las cantantes de su última banda, All Stars.El músico, en esta conversación, habla de las ganas que tenía de visitar México, de la buena acogida de los fans centroamericanos y de su amistad con el también trompetista Rafael Méndez. Con esta entrevista recordamos al Louis Armstrong amable y carismático que siempre fue.

Hosted by Earnest â??EJâ?? Christian and Gee Steelio HOUR #1 *The show kicked off with EJ having some headphone issues on his end but eventually recovering and the guys discuss March Madness or lack of it. *THE HOT FIVE w/ Twan Staley: Greg Hardy, Jim Boeheim, Kevin Durant, Duane Bowe, Chris Borland *Our weekly segment with Lang Greene of Basketball Insiders to discuss the latest news on Kevin Durantâ??s foot injury, the Pacers struggles this week and D-Wade finding the fountain of youth. *EJ and Gee discuss this weekâ??s #Mount RushmoreMonday topic from EJâ??s social media platform and debate 90's Sitcoms. We disagree on the Seinfeld placing especially. HOUR #2 *The man of the people and CEO of the famous Black Sports Online, Robert Littal joins the show to continue the 90â??s sitcoms discussion, Kevin Durantâ??s future, Mayweather v. Pacquiao and why the new TV show Empire is so popular. *EJâ??s wife Lauren calls in the show due to recent comments Gee made concerning Tom Hanks and Will Smith on a previous podcast he did this week with Bob Sullivan. *New comer on Earnestly Speaking Raphael Haynes aka. Mr. Controversy joins to talk about his new show that debuts this weekend, and throws out his famous sports hot takes to EJ and Gee. Plus the guys end the show with their weekly shoutouts.

“The public don’t understand jazz music as we musicians do. A diminished seventh don’t mean a thing to them, but they go for high notes. After all, the public is paying. If musicians depended on musicians at the box office they would starve to death.”–Louis Armstrong Brian Harker’s Louis Armstrong’s Hot Five and Hot Seven Recordings (Oxford University Press, 2011) is an artful jambalaya of rigorous musical analysis, thoughtful cultural contexts, and some provocative informed speculation as to how Armstrong absorbed, innovated, and consolidated the music we call jazz. Harker focuses his analysis and discussion on seven of Louis Armstrong’s “Hot Five” recordings, made during the period between 1925 and 1928. Harker’s recording-as-“snap-shot” approach illuminates how Armstrong used novelty, musical narrative, rhythmic variation, harmonic changes, “sweet” and “hot” elements,  and technical virtuosity in his vast recording repertoire. Harker also details how Armstrong relentlessly wedded his drive for self-improvement and creative expression to commercial realities, giving the reader fascinating anecdotes and back stories about this extraordinary African-American’s journey for personal and musical acceptance. Highlights of Harker’s song -by-song analysis include Armstrong’s “novelty” imitation of a clarinet’s cascading arpeggios in “Cornet Chop Suey,” his “telling a story” in “Big Butter and Egg Man,” his negotiation of harmonic changes in “Potato Head Blues,” his crowd-thrilling high note playing in “SOL Blues” and “Gully Low Blues,” his “sweet jazz” elements in “Savoy Blues” and his brilliant amalgam of all the afore-mentioned jazz elements in his masterpiece recording, “West End Blues.” Brian Harker, a Professor of Music at Brigham Young University and former professional trumpet player himself, has spent a good part of his life studying Louis Armstrong. And, he is quite interesting and provocative when he is a speculative detective. Some examples include how he shares the theory that some of Armstrong’s dynamic rhythmic experimentation was inspired by Armstrong’s association with the dance team of Brown and McGraw, or how Armstrong’s sustained high C virtuosity was influenced by his admiration for opera superstar Enrico Caruso as well as his competitive rivalry with trumpeter Reuben Reeves – or how Armstrong’s incorporating elements of “sweet music” (in Savoy Blues) may have been inspired by Armstrong’s own predilection for Guy Lombardo’s sweet jazz as a preferred musical background during his own romantic trysts.  This gives feel and flesh to the book and complements Harker’s studied analyses of Armstrong’s solo transcriptions. Louis Armstrong drew from everything and everyone around him. He constantly tried to improve himself musically and personally and yet, at the same time, resented the “putting on of airs,” all the while negotiating the politics of race and the brutal realities of the music and entertainment world. Harker’s thoughtful cultural introspections gives the reader a greater appreciation for what Armstrong himself had to endure and transcend during the Hot Five recording period of his career. According to Harker, Louis was most proud of his “color barrier” advances in radio and film and saw his Hot Five recordings as simply another pay... Learn more about your ad choices. Visit megaphone.fm/adchoices

“The public don’t understand jazz music as we musicians do. A diminished seventh don’t mean a thing to them, but they go for high notes. After all, the public is paying. If musicians depended on musicians at the box office they would starve to death.”–Louis Armstrong Brian Harker’s Louis Armstrong’s Hot Five and Hot Seven Recordings (Oxford University Press, 2011) is an artful jambalaya of rigorous musical analysis, thoughtful cultural contexts, and some provocative informed speculation as to how Armstrong absorbed, innovated, and consolidated the music we call jazz. Harker focuses his analysis and discussion on seven of Louis Armstrong’s “Hot Five” recordings, made during the period between 1925 and 1928. Harker’s recording-as-“snap-shot” approach illuminates how Armstrong used novelty, musical narrative, rhythmic variation, harmonic changes, “sweet” and “hot” elements,  and technical virtuosity in his vast recording repertoire. Harker also details how Armstrong relentlessly wedded his drive for self-improvement and creative expression to commercial realities, giving the reader fascinating anecdotes and back stories about this extraordinary African-American’s journey for personal and musical acceptance. Highlights of Harker’s song -by-song analysis include Armstrong’s “novelty” imitation of a clarinet’s cascading arpeggios in “Cornet Chop Suey,” his “telling a story” in “Big Butter and Egg Man,” his negotiation of harmonic changes in “Potato Head Blues,” his crowd-thrilling high note playing in “SOL Blues” and “Gully Low Blues,” his “sweet jazz” elements in “Savoy Blues” and his brilliant amalgam of all the afore-mentioned jazz elements in his masterpiece recording, “West End Blues.” Brian Harker, a Professor of Music at Brigham Young University and former professional trumpet player himself, has spent a good part of his life studying Louis Armstrong. And, he is quite interesting and provocative when he is a speculative detective. Some examples include how he shares the theory that some of Armstrong’s dynamic rhythmic experimentation was inspired by Armstrong’s association with the dance team of Brown and McGraw, or how Armstrong’s sustained high C virtuosity was influenced by his admiration for opera superstar Enrico Caruso as well as his competitive rivalry with trumpeter Reuben Reeves – or how Armstrong’s incorporating elements of “sweet music” (in Savoy Blues) may have been inspired by Armstrong’s own predilection for Guy Lombardo’s sweet jazz as a preferred musical background during his own romantic trysts.  This gives feel and flesh to the book and complements Harker’s studied analyses of Armstrong’s solo transcriptions. Louis Armstrong drew from everything and everyone around him. He constantly tried to improve himself musically and personally and yet, at the same time, resented the “putting on of airs,” all the while negotiating the politics of race and the brutal realities of the music and entertainment world. Harker’s thoughtful cultural introspections gives the reader a greater appreciation for what Armstrong himself had to endure and transcend during the Hot Five recording period of his career. According to Harker, Louis was most proud of his “color barrier” advances in radio and film and saw his Hot Five recordings as simply another pay... Learn more about your ad choices. Visit megaphone.fm/adchoices

“The public don’t understand jazz music as we musicians do. A diminished seventh don’t mean a thing to them, but they go for high notes. After all, the public is paying. If musicians depended on musicians at the box office they would starve to death.”–Louis Armstrong Brian Harker’s Louis Armstrong’s Hot Five and Hot Seven Recordings (Oxford University Press, 2011) is an artful jambalaya of rigorous musical analysis, thoughtful cultural contexts, and some provocative informed speculation as to how Armstrong absorbed, innovated, and consolidated the music we call jazz. Harker focuses his analysis and discussion on seven of Louis Armstrong’s “Hot Five” recordings, made during the period between 1925 and 1928. Harker’s recording-as-“snap-shot” approach illuminates how Armstrong used novelty, musical narrative, rhythmic variation, harmonic changes, “sweet” and “hot” elements,  and technical virtuosity in his vast recording repertoire. Harker also details how Armstrong relentlessly wedded his drive for self-improvement and creative expression to commercial realities, giving the reader fascinating anecdotes and back stories about this extraordinary African-American’s journey for personal and musical acceptance. Highlights of Harker’s song -by-song analysis include Armstrong’s “novelty” imitation of a clarinet’s cascading arpeggios in “Cornet Chop Suey,” his “telling a story” in “Big Butter and Egg Man,” his negotiation of harmonic changes in “Potato Head Blues,” his crowd-thrilling high note playing in “SOL Blues” and “Gully Low Blues,” his “sweet jazz” elements in “Savoy Blues” and his brilliant amalgam of all the afore-mentioned jazz elements in his masterpiece recording, “West End Blues.” Brian Harker, a Professor of Music at Brigham Young University and former professional trumpet player himself, has spent a good part of his life studying Louis Armstrong. And, he is quite interesting and provocative when he is a speculative detective. Some examples include how he shares the theory that some of Armstrong’s dynamic rhythmic experimentation was inspired by Armstrong’s association with the dance team of Brown and McGraw, or how Armstrong’s sustained high C virtuosity was influenced by his admiration for opera superstar Enrico Caruso as well as his competitive rivalry with trumpeter Reuben Reeves – or how Armstrong’s incorporating elements of “sweet music” (in Savoy Blues) may have been inspired by Armstrong’s own predilection for Guy Lombardo’s sweet jazz as a preferred musical background during his own romantic trysts.  This gives feel and flesh to the book and complements Harker’s studied analyses of Armstrong’s solo transcriptions. Louis Armstrong drew from everything and everyone around him. He constantly tried to improve himself musically and personally and yet, at the same time, resented the “putting on of airs,” all the while negotiating the politics of race and the brutal realities of the music and entertainment world. Harker’s thoughtful cultural introspections gives the reader a greater appreciation for what Armstrong himself had to endure and transcend during the Hot Five recording period of his career. According to Harker, Louis was most proud of his “color barrier” advances in radio and film and saw his Hot Five recordings as simply another pay... Learn more about your ad choices. Visit megaphone.fm/adchoices

“The public don't understand jazz music as we musicians do. A diminished seventh don't mean a thing to them, but they go for high notes. After all, the public is paying. If musicians depended on musicians at the box office they would starve to death.”–Louis Armstrong Brian Harker's Louis Armstrong's Hot Five and Hot Seven Recordings (Oxford University Press, 2011) is an artful jambalaya of rigorous musical analysis, thoughtful cultural contexts, and some provocative informed speculation as to how Armstrong absorbed, innovated, and consolidated the music we call jazz. Harker focuses his analysis and discussion on seven of Louis Armstrong's “Hot Five” recordings, made during the period between 1925 and 1928. Harker's recording-as-“snap-shot” approach illuminates how Armstrong used novelty, musical narrative, rhythmic variation, harmonic changes, “sweet” and “hot” elements,  and technical virtuosity in his vast recording repertoire. Harker also details how Armstrong relentlessly wedded his drive for self-improvement and creative expression to commercial realities, giving the reader fascinating anecdotes and back stories about this extraordinary African-American's journey for personal and musical acceptance. Highlights of Harker's song -by-song analysis include Armstrong's “novelty” imitation of a clarinet's cascading arpeggios in “Cornet Chop Suey,” his “telling a story” in “Big Butter and Egg Man,” his negotiation of harmonic changes in “Potato Head Blues,” his crowd-thrilling high note playing in “SOL Blues” and “Gully Low Blues,” his “sweet jazz” elements in “Savoy Blues” and his brilliant amalgam of all the afore-mentioned jazz elements in his masterpiece recording, “West End Blues.” Brian Harker, a Professor of Music at Brigham Young University and former professional trumpet player himself, has spent a good part of his life studying Louis Armstrong. And, he is quite interesting and provocative when he is a speculative detective. Some examples include how he shares the theory that some of Armstrong's dynamic rhythmic experimentation was inspired by Armstrong's association with the dance team of Brown and McGraw, or how Armstrong's sustained high C virtuosity was influenced by his admiration for opera superstar Enrico Caruso as well as his competitive rivalry with trumpeter Reuben Reeves – or how Armstrong's incorporating elements of “sweet music” (in Savoy Blues) may have been inspired by Armstrong's own predilection for Guy Lombardo's sweet jazz as a preferred musical background during his own romantic trysts.  This gives feel and flesh to the book and complements Harker's studied analyses of Armstrong's solo transcriptions. Louis Armstrong drew from everything and everyone around him. He constantly tried to improve himself musically and personally and yet, at the same time, resented the “putting on of airs,” all the while negotiating the politics of race and the brutal realities of the music and entertainment world. Harker's thoughtful cultural introspections gives the reader a greater appreciation for what Armstrong himself had to endure and transcend during the Hot Five recording period of his career. According to Harker, Louis was most proud of his “color barrier” advances in radio and film and saw his Hot Five recordings as simply another pay... Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

“The public don't understand jazz music as we musicians do. A diminished seventh don't mean a thing to them, but they go for high notes. After all, the public is paying. If musicians depended on musicians at the box office they would starve to death.”–Louis Armstrong Brian Harker's Louis Armstrong's Hot Five and Hot Seven Recordings (Oxford University Press, 2011) is an artful jambalaya of rigorous musical analysis, thoughtful cultural contexts, and some provocative informed speculation as to how Armstrong absorbed, innovated, and consolidated the music we call jazz. Harker focuses his analysis and discussion on seven of Louis Armstrong's “Hot Five” recordings, made during the period between 1925 and 1928. Harker's recording-as-“snap-shot” approach illuminates how Armstrong used novelty, musical narrative, rhythmic variation, harmonic changes, “sweet” and “hot” elements,  and technical virtuosity in his vast recording repertoire. Harker also details how Armstrong relentlessly wedded his drive for self-improvement and creative expression to commercial realities, giving the reader fascinating anecdotes and back stories about this extraordinary African-American's journey for personal and musical acceptance. Highlights of Harker's song -by-song analysis include Armstrong's “novelty” imitation of a clarinet's cascading arpeggios in “Cornet Chop Suey,” his “telling a story” in “Big Butter and Egg Man,” his negotiation of harmonic changes in “Potato Head Blues,” his crowd-thrilling high note playing in “SOL Blues” and “Gully Low Blues,” his “sweet jazz” elements in “Savoy Blues” and his brilliant amalgam of all the afore-mentioned jazz elements in his masterpiece recording, “West End Blues.” Brian Harker, a Professor of Music at Brigham Young University and former professional trumpet player himself, has spent a good part of his life studying Louis Armstrong. And, he is quite interesting and provocative when he is a speculative detective. Some examples include how he shares the theory that some of Armstrong's dynamic rhythmic experimentation was inspired by Armstrong's association with the dance team of Brown and McGraw, or how Armstrong's sustained high C virtuosity was influenced by his admiration for opera superstar Enrico Caruso as well as his competitive rivalry with trumpeter Reuben Reeves – or how Armstrong's incorporating elements of “sweet music” (in Savoy Blues) may have been inspired by Armstrong's own predilection for Guy Lombardo's sweet jazz as a preferred musical background during his own romantic trysts.  This gives feel and flesh to the book and complements Harker's studied analyses of Armstrong's solo transcriptions. Louis Armstrong drew from everything and everyone around him. He constantly tried to improve himself musically and personally and yet, at the same time, resented the “putting on of airs,” all the while negotiating the politics of race and the brutal realities of the music and entertainment world. Harker's thoughtful cultural introspections gives the reader a greater appreciation for what Armstrong himself had to endure and transcend during the Hot Five recording period of his career. According to Harker, Louis was most proud of his “color barrier” advances in radio and film and saw his Hot Five recordings as simply another pay...

Episode #34:  More Hits From The Prohibition Era.  Enjoy. Track listing: 1) Bob Wills – Rosetta 2) Cannon’s Jug Stompers – Last Chance Blues 3) Louis Armstrong’s Hot Five – Save It, Pretty Mama 4) The Hokum Boys – Hokum … Continue reading →

In this podcast, Alyn Shipton offers guidance to building a jazz library. He begins with records by the first great soloist in jazz, Louis Armstrong. Satchmo's early work is assessed by his friend and fellow trumpeter, Humphrey Lyttelton, while his legacy is explored by one of the finest contemporary New Orleans trumpeters, Abram Wilson. Ranging from the early Hot Five days of the 1920s to his final triumphs with the All Stars, Alyn suggests the best recordings by Louis to form the cornerstone of any jazz collection.