Podcast appearances and mentions of howard mcghee

The jazz standard "All The Things You Are" has been performed countless times by master jazz vocalists, 30s big bands, bebop small groups, hard-bop combos, modern deconstructionists, and even soon-to-be Kings of Pop. On this episode, Kirk takes listeners through the history of the now-famous tune, from its humble Broadway origins all the way to his recording studio in Portland, where he and some friends recorded an all-new arrangement just for Strong Songs.Music/Lyrics: Jerome Kern & Oscar Hammerstein IIVersions Featured:Broadway Original Cast Recording of "Very Warm for May," - 1939Tommy Dorsey and His Orchestra, feat. Jack Leonard, 1939Artie Shaw w/ Hellen Forrest, 1939Dizzy Gillespie w/ Charlie Parker, 1945Johnny Griffin w/ Hank Mobley, John Coltrane, Lee Morgan, Wynton Kelly, Paul Chambers, Art Blakey on A Blowing Session, 1957Ella Fitzgerald from Sings the Jerome Kern Songbook, 1963Michael Jackson, 1973Sonny Rollins w/ Coleman Hawkins from Sonny Meets Hawk!, 1963Bill Evans w/ Chuck Israels, bass, and Larry Bunker, drums at Shelly's Mane-Hole, 1963Keith Jarrett Trio, from Standards, Vol.1, 1983Brad Mehldau Trio, from Art of the Trio 4, 1999Jim Hall & Pat Metheney, 1999Strong Songs Version Featuring:Kirk Hamilton, tenor saxAndrew Oliver, keyboardScott Pemberton, guitarSam Howard, bassTyson Stubelek, drumsThe "All The Things You Are" Playlist:Spotify | Apple | YouTube MusicALSO REFERENCED/DISCUSSED:The Jazz Standards: A Guide To The Repertoire by Ted Gioia, 2012The terrific 99% Invisible episode about The Real Book“Autumn Leaves” by Joseph Kosma as recorded by Cannonball Adderley and Miles Davis on Somethin' Else, 1958“Pennies From Heaven” by Johnston and Burke, recorded by Stan Getz with the Oscar Peterson Trio, 1957“Bye Bye Blackbird” by Henderson/Dixon, recorded by Miles Davis on ‘Round About Midnight, 1957“All Of Me” by Marks and Simons, played by Charlie Parker, Lennie Tristano and Kenny Clarke, 1951“I Got Rhythm” by George Gershwin, recorded by Sonny Stitt on The Hard Swing, 1961Rachmaninoff: Prelude in C-Sharp Minor,  performed by Jason Minnis, 2011“Goodbye Yellow Brick Road” by Elton John, 1973“Bird of Paradise,” recorded by Charlie Parker w/ Howard McGhee, Tpt. on The Complete Dial Recordings, Feb 1947“Prince Albert” recorded by Art Blakey's Jazz Messengers (Mobley, Dorham, Watkins, Silver) live at Cafe Bohemia, 1955“Poinciana” by Simon/Bernier recorded by Amhad Jamal Live At The Pershing, 1958----LINKS-----

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Small group sides led by the great tenor saxophonist Lester Young after his departure from the Basie band. All were done in the middle 1940's on the West Coast and feature Nat "King" Cole, Joe Albany, Irving Ashby, Frank Lacy, Red Callendar, Henry Tucker, Chico Hamilton, Howard McGhee, Vic Dickenson, Willie Smith and others. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

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Great early bop sessions led by the innovative drummer including Fats Navarro, Kenny Dorham, Benny Bailey and Howard McGhee on trumpets, Julius Watkins on french horn, Sonny Stitt, John Brown, Jimmy Heath and Hubert Fol on altos, Jimmy Powell, Billy Mitchell and Ray Abrams on tenors, Eddie De Verteuil and Cecil Payne on baris, John Lewis and Bud Powell on piano, John Collins on guitar and Al Hall, Curly Russell and Al McKibbon on basses . . 1946-49 --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

Great small groups using Woody Herman's musicians (Conte Candoli, Bill Harris, Flip Phillips, Billy Bauer, Tony Aless, Arnold Fishkind, Dave Tough, Shelly Manne, Mel Zelnick, Frank Socolow and Emmett Carls) and some guests including Howard McGhee and Denzil Best. These sides are on the cusp of Bebop, done for Keynote, Prestige and Esquire in 1945, 47, 48 and 49. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

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After several years with Benny Goodman in the 1930's, Vido Musso later went with Gene Krupa, Harry James and Stan Kenton and began his own bandleading career. These sessions come from Savoy in 1946 (with Sanford Gold, Marty Napoleon, Kai Winding, Gene Roland, Boots Mussulli, Lem Davis and Eddie Safranski), Sunset (with Willie Smith, Andre Previn and Howard McGhee), Atlantic (Jess Stacy, Murray McEachern, Ziggy Elman) and Modern - his own band with Kenton alumni! --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

Quartet, Quintet and Sextet sessions from the great bebop trumpet player in 1946 and 47 on both coasts . .great originals and innovative takes on standards with Teddy Edwards and James Moody on tenor saxes, Dodo Marmarosa, Hank Jones and Jimmy Bunn on piano, Milt Jackson on vibes and others . . --- Support this podcast: https://anchor.fm/john-clark49/support

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Rudy Williams was a journeyman sax player who stylistically crossed between swing and bebop. The son of legendary/notorious bandleader Fess Williams and the cousin of Charles Mingus, Williams is here heard on alto sax with a pickup group put together by Baron Timme Rosenkrantz in 1939 (with Don Byas, Tyree Glenn, Rex Stewart, Russell Procope, Billy Kyle, Walter Page and Jo Jones), the Savoy Sultans (his regular band from 1937-1941 or so), a Don Byas group (with Charlie Shavers and Clyde Hart), Tadd Dameron's Sextet (with Fats Navarro, Allan Eager, Kenny Clarke and Curly Russell), Bennie Green's Sextet (on baritone, with Teddy Brannon and Lockjaw Davis) and the Howard McGhee Korean All-Stars (on tenor, with J.J. Johnson and Skeeter Best). --- Support this podcast: https://anchor.fm/john-clark49/support

Two (or possibly four) sessions with the young boppers, probably aimed at the jukebox market. Both sessions feature the vibes of Milt Jackson and piano of Will Davis . . the McGhee date for Savoy features the trumpet playing standards and originals with Jimmy Heath on alto and bari and Percy Heath. The Stitt session features the alto player in Detroit playing a series of very short tracks with Jackson, Davis and a local group but with particularly outstanding saxophone playing! --- Support this podcast: https://anchor.fm/john-clark49/support

Lucky Thompson - sides recorded by the great and largely forgotten tenor sax man from 1944-54 with Hot Lips Page, Dizzy Gillespie, Charlie Parker, Freddie Green, Clark Terry, Slim Gaillard, Marshall Royal, Buck Clayton, Karl George, Dickie Wells, Urbie Green, Milt Jackson, Al Haig, Willie Smith, Howard McGhee . . --- Support this podcast: https://anchor.fm/john-clark49/support

STANDAR SEMANAL.-It Might As Well Be Spring.-JAZZANIVERSARIO.-Howard McGhee-1955 - The Return of Howard McGhee.-JAZZACTUALIDAD.-DIEGO VILLEGAS-CINCO

STANDAR SEMANAL.-It Might As Well Be Spring.-JAZZANIVERSARIO.-Howard McGhee-1955 - The Return of Howard McGhee.-JAZZACTUALIDAD.-DIEGO VILLEGAS-CINCO STANDAR SEMANAL.-It Might As Well Be Spring.-JAZZANIVERSARIO.-Howard McGhee-1955 - The Return of Howard McGhee.-JAZZACTUALIDAD.-DIEGO VILLEGAS-CINCO

Photo Credit: Photo by Tom Pich/tompich.com¸ To celebrate Black History Month, we decided to mine the archives and revisit my interview with pianist, NEA Jazz Master and National Medal of Arts recipient Hank Jones. Born in 1918, Jones began performing by the time he was 13, and he continued performing and recording until his death in 2010. His career contains much of jazz history—with 60 solo albums and literally thousands on which he was a sideman. And his family history is entwined with jazz as well: two of his brothers--trumpeter Thad and drummer Elvin-- were great and well-known jazz musicians. Always in demand for record dates and tours, Hank Jones played and recorded with a who's who in the jazz world, including bandleaders like  Coleman Hawkins, Billy Eckstine, Howard McGhee, Artie Shaw and Benny Goodman and with artists such as Charlie Parker Lester Young, Cannonball Adderley, and Wes Montgomery. He was Ella Fitzgerald's accompanist for almost five years and served as the original pianist of the Thad Jones/Mel Lewis Orchestra. He was an eloquent and lyrical pianist with an unmistakable style.  I spoke with him in 2008 when he had been awarded the National Medal of Arts, and as you'll hear, Hank Jones was elegant, humorous, and happy to talk about his extraordinary life in music. Enjoy!   Follow us on Apple Podcasts!  

Photo Credit: Photo by Tom Pich/tompich.com¸ To celebrate Black History Month, we decided to mine the archives and revisit my interview with pianist, NEA Jazz Master and National Medal of Arts recipient Hank Jones. Born in 1918, Jones began performing by the time he was 13, and he continued performing and recording until his death in 2010. His career contains much of jazz history—with 60 solo albums and literally thousands on which he was a sideman. And his family history is entwined with jazz as well: two of his brothers--trumpeter Thad and drummer Elvin-- were great and well-known jazz musicians. Always in demand for record dates and tours, Hank Jones played and recorded with a who's who in the jazz world, including bandleaders like  Coleman Hawkins, Billy Eckstine, Howard McGhee, Artie Shaw and Benny Goodman and with artists such as Charlie Parker Lester Young, Cannonball Adderley, and Wes Montgomery. He was Ella Fitzgerald's accompanist for almost five years and served as the original pianist of the Thad Jones/Mel Lewis Orchestra. He was an eloquent and lyrical pianist with an unmistakable style.  I spoke with him in 2008 when he had been awarded the National Medal of Arts, and as you'll hear, Hank Jones was elegant, humorous, and happy to talk about his extraordinary life in music. Enjoy!   Follow us on Apple Podcasts!  

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Never Too Much - Coleman Hawkins Quintet from January to March, 1945. Howard McGhee, Sir Charles Thompson, Oscar Pettiford or Eddie Robinson, Denzil Best with guests Allan Reuss and Vic Dickenson in Swing-to-Bop transition records made for Asch and Capitol --- Support this podcast: https://anchor.fm/john-clark49/support

Howard “Boots” McGhee is a pillar of the Santa Cruz surf community, a renowned photojournalist & surf historian. In the '60s, Boots and his two siblings were raised in Berkeley, CA  by a single mother. He ultimately connected with his father Howard "Maggie" McGhee who was one of the most talented instrumentalists, composers, and arrangers in the 1940s jazz scene. Santa Cruz is home for Boots and his wife. He is actively involved with the Surfrider Foundation keeping the beaches clean and serves as an ambassador in the lineup to ensure that surfers are respectful of one another and share the waves. Contact (FB: @BootsMcGhee)Time Stamps: (1:40) COVID and Retirement(2:23) Our Families meeting and connection to Jay Moriarity (Famous Big Wave Surfer)(4:24) First time meeting Jay and his story(6:58) Growing up in Berkely during the '60s: Hippies, Drugs, Vietnam, Surfing (12:03) Biracial parents, first time meeting his dad, Howard McGhee, professional jazz player(18:26) Moving to Santa Cruz, Photography, and impact on the Community(19:40) Favorite Surf Photography Assignment(22:38) Capturing women's surfing and standing up to Localism(26:15) The power of sharing waves(28:03) Why people hate SUP's(29:43) Recommendation for beginner surfers to not be kooks (31:04) Advice to become a Photo Journalist (32:02) EndFollow us on IG: https://www.instagram.com/thesocialeague/ Follow us on TikTok: https://www.tiktok.com/@thesocialeague?lang=enFollow us on LinkedIn: https://www.linkedin.com/in/alessandro-allaman-3378b8197/Subscribe on YouTube: https://youtube.com/playlist?list=PLE0cI_tdTbpi2B8Eeb5u1iVdCqK4ZydHo

The drum chair and he who sits in it. Self taught developing your own style through craft and putting yourself in different musical settings. My guest today is from the same musical generation as John Coltrane, Wes Montgomery, Elvin Jones, Miles Davis, Tony Williams and Papa Joe Jones. He saw the continent of Asia early on cutting albums with Toshiko Akiyoshi, back in the states with Howard McGhee, Dorothy Ashby, Donald Byrd and Mongo Santamaria. We idolize the great drummers who have left us but my guest is one of the titans still putting in time on planet earth. Holding it down while Eric Alexander and Harold Maburn blow over the top. He's been smokin at the half note with Wynton Kelly or cooking up good vibes with Johnny Lytle. My guest hails from Washington DC but found himself on the cusp of the birth of cool, not smooth, cool. The kind of cool that makes you take notice and listen because of the use of cymbals or the brushes that give the song the feel of real people coalescing around a groove. Jimmy Cobb welcome to the JFS --- Support this podcast: https://anchor.fm/jake-feinberg/support

Ep 192 | Aired 5/13/2020 Eric Chesher received a BA in Music Performance degrees in vocal performance and piano performance and a B.S. pre-med in Biology and Psychology from Heidelberg University, located in Tiffin Ohio. He is a Producer/Engineer with over 25 years experience in the Music Industry in performance, writing, producing, management, and marketing. His resume’ includes Capital Records, Bunker Studios, RCA, sales training and event marketing for Yamaha, Kawai, Baldwin, Steinway, and event marketing for dealers across the United States. He presently works as manager of Steinway Piano Gallery Little Rock and as producer at Infrared Studio Productions. Brian Brown was born in Maine. He was lucky enough to have a father that loved Music, especially Jazz. At 14 Brian had his first gig. Over his teen years he was exposed to a number of truly great players and performed with many of them, including Louis Armstrong, Howard McGhee, Charlie Mariano, Benny Golson and many others. Over his career, he has played with a wide variety of musicians; he performed with Lightnin’ Hopkins in the 1970’s as a duo. At the same time, he was involved with a fusion band that was an opening act for Weather Report and Ramsey Lewis. He moved to Arkansas in 1983. He has performed with local and touring musicians for concerts and musical theater. He recently performed with Herbie Hancock. He has been part of the Ted Ludwig Trio since 2005. Show Page: www.flagandbanner.com/radio-show/eric-chesher-192.asp

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It is the middle ground between light and shadow, between science and superstition, between bebop and hard-bop, between singles and LPs. It is . . . the ten-inch zone. The mid-fifties saw a transition away from 78s towards two kinds of "long-players" - 7 inch singles that ran as long as the old 10 inch 78s, and 12 inch LPs. For a brief period, the 10 inch LP was the medium of choice to release "popular" music, and tonight's podcast looks at six of these ten-inch releases (well, one dates from 2016 but has music from the mid-fifties). Gil Melle – GIL MELLE QUINTET VOL 4; Jay Jay Johnson – JAY JAY JOHNSON; Kenny Drew – VOL 1 INTRODUCING THE KENNY DREW TRIO; Wes Montgomery – LIVE AT THE TURF CLUB; Cal Tjader – CAL TJADER TRIO; Howard McGhee – HOWARD MCGHEE VOLUME TWO.

Tenor saxophonist Roland Alexander gets the Jazz Feature spotlight tonight. as our month of obscure records continues. This time most of the artists here including Mr. Alexander are undeservedly obscure. Roland worked and recorded with several leaders including trumpeter Howard McGhee, drummer Charlie Persip and His Jazz Statesmen , Max Roach, Sun Ra, and Abdullah Ibrahim among others but made only two albums under his own name and this is his first. It's called "Pleasure Bent" and also contains four fine Alexander originals. Roland picked the great Detroit based trumpeter Marcus Belgrave as his front line partner. Belgrave rarely went to New York as he had a great career teaching and playing in Detroit. Pianist Ronnie Mathews and bassist Gene tTaylor are acually better known than the leader and they work well on this date. Drummer Clarence "Scoby" Stroman was everybody's favorite in New York and was an always available sub for some drummers who were late for gigs or were no-shows but Scoby rarely got any record dates which was unfortunate but we get to hear him drive the band here with swing and taste, "Pleasure Bent" was one of the rarer items in the Prestige/New Jazz catalogue and was sought after as a "collector's item" by record buffs. Obscure or not...this is one fine recording session thanks to Roland Alexander and company.

Howard McGhee was one of the first trumpeters to play the new Jazz music of the 40s called Bebop. Howard came out of several big bands and played with Coleman Hawkins and even more importantly, Charlie Parker during Parker's time in California in 1946/47. McGhee was at the top of his game when he returned to New York and made some historic recordings with his friend Fats Navarro in the McGhee/Navarro Boptet. The 50s were up and down for McGhee and he made some good albums but was also dealing with a heavy drug problem which led to arrests and such. He emerged in the late 50s and began recording for various labels and was a member of James Moody's little band. McGhee was back! In 1961 he made the Jazz Feature recording we'll be hearing. It's called "Maggie's Back In Town". "Maggie" is Howard's nickname. Howard picked the genius of the piano, Phineas Newborn Jr. and bass great Leroy Vinnegar and on drums the creative Shelly Manne for this fine date made up of a few originals and standards all well chosen. It's one of McGhee's most personal dates and demonstrates his unique style which while modern has traces of "old school" trumpet playing. Maggie at his best. Tonight we celebrate his birthday...March 6, 1918. McGhee died in 1987 at age 69.

Blow cat blow! Mike and Pat discuss three recent and one classic release by jazz trumpeters. Can Orbert Davis turn sketches of pain to vistas of delight? Tune in to find out. Josh Berman – OLD IDEA; Orbert Davis – SKETCHES OF SPAIN; Russ Johnson – SAVE BIG; Howard McGhee – SHADES OF BLUE.

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Most people think that "burlesque" means female strippers walking a runway to bump and grind beat. But that only fits the form in its declining years. At its best, burlesque was a rich source of music and comedy that kept America, audiences laughing from 1840 through the 1960s.  Some sources try to wrap burlesque in a mantle of pseudo-intellectual respectability. Yes, it involved transgressive comedy and songs, but the primary attraction of burlesque was sex . . in the form of ribald humor and immodestly dressed women. Although many dismissed burlesque as the tail-end of show business, its influence reaches through the development of popular entertainment into the present. TracklistMiche Braden & The Postmodern Jukebox - Sweet Child O' Mine,Plas Johnson - Downstairs, The Cousins - Some of the Days,Bob Log - Log Bomb,Syd Dale - The Hellraisers,Quincy Jones & his Orchestra - Music for Pussycats,Gentleman Jim and his Palace Pit Orchestra - C-Cup Blues,Howard McGhee and the Blazers - House Warmin' (part 1),Big Bad Voodoo Daddy - Go Daddy-O,Ramsey Lewis - Blues for the Night Owl,Joe Loss & his Band - Go Home Bill Ludendorf, Bioshock Infinate Soundtrack - Everybody wants to Rule the World,Gentleman Jim and his Palace Pit Orchestra - Second Honeymoon, Bald BIll Hagen and his Trocaderons - Fascination,Interludes - Scandelous,The Runaways - Born to be Bad  Sounds clips from "It's Burlesque", "Burlesque Undressed" & "Behind the Burly Q"

Troisième de la dixième session. Cette semaine spécial bop avec la présentation de la piansite Jutta Hipp et de l'album Jutta Hipp with Zoot Zims (Blue Note, 1956). Aussi au programme, des pièce de Howard McGhee sur l'album Maggie's Back in Town!! (Contemporary/OJC, 1961) et des pièces de Clark Terry sur l'album In Orbit (Riverside/OJC, 1958). Finalement, je reviens sur le concert de John Escreet et David Binney présenté au Upstairs le 19 septembre.

Troisième de la dixième session. Cette semaine spécial bop avec la présentation de la piansite Jutta Hipp et de l'album Jutta Hipp with Zoot Zims (Blue Note, 1956). Aussi au programme, des pièce de Howard McGhee sur l'album Maggie's Back in Town!! (Contemporary/OJC, 1961) et des pièces de Clark Terry sur l'album In Orbit (Riverside/OJC, 1958). Finalement, je reviens sur le concert de John Escreet et David Binney présenté au Upstairs le 19 septembre.