Podcasts about jazz concert

Send us your thoughts! French and American singer Laura Anglade is a promising storyteller hailing from the idyllic town of Brousse-le-Château, France. She draws inspiration from Carmen McRae, Blossom Dearie, Sarah Vaughan, Ella Fitzgerald, Shirley Horn, Billie Holiday, Michel Legrand and Barbra Streisand, among others.Laura has made a mark in the music scenes of New York, Paris, London, Toronto and Montreal, collaborating with some of the world's finest musicians, including Peter Bernstein, Jonathan Kreisberg, Ben Paterson, Ira Coleman, Reg Schwager, and Neil Swainson, to name a few.In 2022, she joined singer Melody Gardot across the east and west coasts of the United States and Europe. Laura has performed in renowned venues such as Olympia (Paris), the Royal Festival Hall (London), Town Hall (New York City), the Ace Theatre Hotel (Los Angeles), and the main stage at the Festival International de Jazz de Montreal.Her debut album, ‘I've Got Just About Everything' (Justin Time Records, 2019) was met with praise by critics and fans alike. Her second JUNO-nominated album, ‘Venez Donc Chez Moi' (Justin Time Records, 2022) is a duo recording featuring Montreal guitarist Sam Kirmayer, with whom she was awarded the “Prix Opus" for Jazz Concert of the Year in 2023. With her latest release, “April in Paris,” Anglade introduces a cappella – the young protagonist isalone, looking forward with both excitement and trepidation to a new life ahead. She inhabits the character in her vocal, breathing life into an experience she can relate to even if she hasn't lived it exactly.“I've been reflecting recently on the parallels between acting and singing,” she explains. “Each art form is an extension of the other. Singing, like acting, is rooted in human expression, in the power of a good story. I never pursued musical theater growing up, but I've found that the deeper I getinto this music and grow as a person, the more each song feels like performing a role. I visualize each song as if it were a monologue in a film, and somehow shape-shift myself into the part. That led to this album having a distinct beginning, middle and end.”Support the show

With special guests Aisha de Haas and Nova Y. Payton, the Idaho Falls Symphony is celebrating female jazz voices in partnership with Eastern Idaho Regional Medical Center.

Challenge the Stats founder Angelica Hairston, and musician Jessy Diaz discuss their Latin Jazz Concert on September 14 at East Point City Hall. Comedian, writer, and performer Will Amato details “The Parlor Show,” coming to Dynamic El Durado on September 13. Plus, we hear from executive director Kara Walker about this year's Morehouse College Human Rights Film Festival, and we get ready for Hispanic Heritage Month with an all-Spanish-speaking production of “Ana en el Tropico.”See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Thank you so much for coming to our livestream concert featuring your podcast host, Mitch Hampton on piano with his jazz trio! Enjoy it as our bonus content to say thanks for being the best part of what we do! #CONCERT #Livestream #jazz https://www.youtube.com/watch?v=a_GoRjbCSBk&t=16s --- Send in a voice message: https://podcasters.spotify.com/pod/show/mitch-hampton/message Support this podcast: https://podcasters.spotify.com/pod/show/mitch-hampton/support

Live from the Black Box Theater at Cabrillo College Santa Cruz

If you like music and also enjoy jazz, you won't want to miss the Justice Jazz event coming up on Saturday, August 26 at 7 p.m. in Greenacres! On Wednesday's Mornings with Eric and Brigitte, Pastor Shawn Allen and Tom Lubben will join us to talk about this upcoming fundraising concert for Community Life where they are hoping to share some beautiful music that calls all of us to join God's mission together. Community Life’s MISSION is to facilitate sustained missional partnerships between church congregations and nonprofits to meet systemic needs in local communities. Justice Jazz Concert - Saturday, August 26 - 7 pm - GreenacresSee omnystudio.com/listener for privacy information.

Learn more at TheCityLife.org --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support

Step back in time with Vintage Classic Radio's Saturday Matinee! In this episode, we present three captivating radio plays from the golden era of radio broadcasting. Join us as we revisit the heartwarming tale of "Goodbye Mr. Chips" adapted by Colgate's Theater of Romance, the vibrant "Esquire Jazz Concert" featuring the legendary Billie Holiday, and the star-studded "Screen Guild Theater Special" with Jack Benny, Barbara Stanwyck, and Basil Rathbone. Immerse yourself in the nostalgic ambiance of these remarkable performances that once captivated audiences worldwide. "Goodbye Mr. Chips" (Colgate's Theater of Romance, July 4th, 1944): Experience the poignant story of Mr. Chipping, a beloved schoolteacher, as Colgate's Theater of Romance presents their enchanting radio adaptation of "Goodbye Mr. Chips." This timeless tale follows Mr. Chips throughout his 63-year tenure at Brookfield, a British boys' boarding school. From his humble beginnings to his remarkable impact on countless generations, Mr. Chips' journey is filled with love, loss, and the enduring spirit of education. Tune in to discover the profound influence a dedicated teacher can have on the lives of those around him. "Esquire Jazz Concert" (All American Jazz Band, July 10th, 1949): Prepare to swing to the lively tunes of the "Esquire Jazz Concert" on the All American Jazz Band radio show. Featuring the incomparable Billie Holiday as the guest star, this exhilarating performance will transport you to the vibrant world of jazz. Immerse yourself in the mesmerizing vocals and soulful melodies as Billie Holiday and the All American Jazz Band deliver an unforgettable evening of musical excellence. "Screen Guild Theater Special" (March 27th, 1944): Join the unforgettable trio of Jack Benny, Barbara Stanwyck, and Basil Rathbone in this special episode of the "Screen Guild Theater." In this star-studded radio play, these iconic actors bring to life a captivating story filled with humor, drama, and suspense. Lose yourself in the magic of their performances as they transport you to a world of captivating storytelling, guaranteed to keep you on the edge of your seat. Vintage Classic Radio presents "Saturday Matinee". Tune in every Saturday for a mix of comedy, music or romance from the golden age of radio that will keep you entertained.

This episode features Mikki Maat and host Stanford Reid, you can see them performing live April 26th at Nublu's Hip Hop, Rhythm and Jazz Concert hosted by Hip Hop Neva Die and WAFFL Records. They'll be sharing the stage with Acclaimed Violinist Mylez Gittens and Bronx native Too Dapper. Get your tickets here, before they run out. In this episode they dive into what it means to be alive, approaches to art, lessons from life and stories that empower.Hip Hop High Notes is recorded on site at Hi Note NYC, a community radio bar in the historic East Village.Support the show

“Lake City Chamber Chat” Bruce Carlstrom speaks with Lake City Chamber of Commerce Executive Director Ed Hoffman about the upcoming events Jazz Concert in park, “Why Not Tri” and “Floatapalooza”.

In this monthly interview conducted by John Salvatore, we learn from Marianne Lods, Executive Director of the Millville Glasstown Arts District, about an upcoming Jazz Concert on May 11th.

Joan Morykin of Vic's Jazz Loft in Jim Thorpe and Daniel Gonzalez, jazz drummer and artistic director for Vic's, speaking about the "Jazz Concert for Ukraine," a benefit for humanitarian relief for those affected by the crisis in Ukraine, on Thursday, April 7, 2022. There will be performances at the Lafayette Bar in Easton (noon to 4 pm); Vic's Jazz Loft (4-7 pm; 10 to midnight)and at he Deer Head Inn in Delaware Water Gap (7-10 pm)with over 50 musicians taking part. A live stream will be available, as well. jazzconcertforukraine.org/ vicsjazzloft.com/

Paige Sara began her wide ranging career at age 12 when she purloined her family's point and shoot camera during summer vacation. On this week's episode of the Sound Of Success Paige tells Nic about how editorial fashion layouts in magazines like Vogue inspired her career choice, her early love of boy bands and Justin Bieber's music, how she came to work with artists like Billie Eilish and Greta Van Fleet and discovering Jazz through vocalists such as Blossom Dearie and Julie London.

Radio Harrow's Brian Rose Talks with Music in Pinner's Professor Anthony Pinching about the(delayed) Jazz Concert with the Misha Mullov-Abado Band which will take place on 12th March at Pinner Parish Church. They also share some of the great music that you can expect to hear.Get your tickets now at Musicinpinner.org.uk/

Instagram: @zachjazzdrums • Montclair, New Jersey drummer Zach Adleman has performed at Carnegie Hall, the 57th Annual Grammy Awards After Parties, and the Newport Jazz Festival, alongside jazz luminaries Wynton Marsalis, Rodney Whitaker, Mike LeDonne, and Randy Brecker. Additionally, Zach has received a GRAMMY for playing percussion on the song "Water in Cupped Hands", on Ted Nash's 2016 release, the "Presidential Suite." A scholarship recipient at the Juilliard School and Michigan State University, Zach was asked to join eminent trombonist Michael Dease's band and is featured on his 2018 album release, "Reaching Out" on Posi-Tone Records. In 2019, the very next year, Zach released his debut record as a co-leader of the Becoming Quintet, “One-Track Mind,” where he earned a review from JazzTimes and DownBeat magazine. Zach is the winner of the J.C Heard National Drum Competition, where he led his trio featuring Rodney Whitaker and Isaiah Thompson at the 2017 Detroit Jazz Festival. In 2019, he was invited to take part in the “Future of Jazz Concert” in Moscow, Russia, including a performance with Igor Butman and the Moscow Jazz Orchestra at Tchaikovsky Hall. While in high school, Zach was extensively involved in many outstanding programs including Jazz House Kids and the Jazz at Lincoln Center Youth Orchestra, which fostered his love of playing jazz. While in college, Zach was selected to attend the JAS Aspen Academy led by Christian McBride, and the Ravinia workshop led by Rufus Reid and Billy Childs. In pursuit of his passion to teach, Zach served on faculty at the Jazz Institute @ Brevard; worked as a teaching assistant at the Jazz House Kids Summer Workshop; and currently teaches private lessons online and in the New York/New Jersey region.

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless AFN programmes were widely enjoyed by the British civilian listeners who could receive them and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programmes available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London.---------------------------------------------------------------------------Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theaterhttps://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441https://live365.com/station/CBS-Radio-Mystery-Theater-a57491----------------------------------------------------------------------------

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

Emma Lancaster, the spokesperson

On this episode of Riffin on Jazz Howard and Malvin give you the greatest live Jazz concerts, as we hear from greats like John Coltrane, Charlie Parker and more, so make sure to tune into this episode of Riffin on Jazz on the Kudzukian App, Kudzukian.com or your favorite podcast provider.

durée : 01:55:44 - Concert "25 ans de Jazz" - Musique solidaire - par : Alex Dutilh - "25 ans de jazz", au profit de la Fondation Abbé Pierre. - réalisé par : Max James

durée : 01:55:44 - Concert "25 ans de Jazz" - Musique solidaire - par : Alex Dutilh - "25 ans de jazz", au profit de la Fondation Abbé Pierre. - réalisé par : Max James

THE BOYS ARE BACK IN TOWN (IN-PERSON), and this week, they're passing off the mics to a couple of guys at a middle school jazz band concert to celebrate.

Enjoy the concert.

A concert of improvised music performed by music faculty Joe LoCascio and Woody Witt.At the NW PAC Theatre OneSunday, February 23, 2pm

International Jazz Day And A Great Album Featuring Some Great Jazz From Great Jazzicions . The Albums Identity Can Be Found On My Website And Other Stuff Also Related To The Jazz Of The Past. Everybody Be Aware & Try To Be Safe

Tim Johnson of the Kicks Band of Fargo Moorhead says the jazz will be filling First Lutheran Church Celebration Hall in Fargo on Sunday at 3 pm. This 17 piece jazz band will be playing some of the classics and some arrangements you may not be all that familiar with. Tickets are $15,00 for adults, $8.00 for students, and ages 10 and under are free. Tickets available at www.eventbrite.com or at the door Sunday

Fem Belling spoke with David Moyle about her fabulous idea to raise funds to support Wildlife Victoria in their quest to care for animals injured in the Victorian Bushfires which are continuing to impact Victoria. […] http://media.rawvoice.com/joy_bentnotes/p/joy.org.au/bentnotes/wp-content/uploads/sites/107/2020/01/Fem-Belling-20200112.mp3 Podcast: Play in new window | Download (Duration: 8:05 — 11.1MB) | Embed Subscribe or Follow Us: Apple Podcasts | Android | Email | Google Podcasts | Spotify | RSS The post Fem Belling’s Burn Benefit Jazz Concert appeared first on Bent Notes.

Add Deadline on Friday 17. Jazz Concert on Saturday 18. Attend classes! Complete the Scavenger Hunt to win a water bottle. Follow us socials @unco_success

Frogman Friday. PMS Dance Party Remix. Textoso Roundup. Mr. Papadakis reviews his big jazz concert

The gang reviews new albums from Khalid, PUP and Whitechapel. Also Jarrell gives his opinion on a Charles McPherson concert and the Netflix biopic based on Motley Crue's "The Dirt". In entertainment news, they discuss Disney+, expensive Endgame tickets, and a toddler who locked his father out of an IPAD for 48 years!Website: njhybridradio.netFacebook: facebook.com/njhybridradioTwitter: @njhybridradio

Awbury Arboretum is an extraordinary 55 acres of green space in the historic Germantown section of Philadelphia, and is the largest remaining island of open space in this part of the city. Loraine Ballard Morrillspeaks with Beth Miner Grants Manger Awbury Arboretum and Adam Monaco VP All Entertainment LLC about an upcoming FREE classic evening of Soul and R&B music on June 28th the McNabbtown concert field at Awbury Concert field opens at 6:00 PM, and music will begin at 6:30 PM.http://awbury.org/

  EVERY LAST WEDNESDAY OF THE MONTH #HONEYHUSH PRESENTS #PRINCERADIO ...TONIGHT I'LL PLAY 2 HOURS OF PRINCE MUSIC TONIGHT'S SELECTION IS FROM THE YEAR OF 2009 ...JAZZ COMPOSITIONS OF KNOWN PRINCE HITS AND SOME YOU MAY HAVE NOT HEARD....Mastermind....Conductor...Amazing...what else can you ask for?...Nothing, absolutely nothing....We lost God? Do you gaze into the stars at night, when you can see them?  Are you in love?  Do you push the plate away, because you have butterflies in your stomach,  And the butterflies don't like meatloaf?  Do you find yourself driving in a trance at a stop light and the person behind you has to blow their horn to get you to move?  Are you lost in conversations where you are not paying attention to the people talking to you - because you're in LUV?  H O N E Y   H U S H with Stephanie, baby.  515-605-9376

Jade Harrell with Jazz-Pop World renown singer Clare Bathe'. Clare is back! In town to bless the city and it's youth with Ptah Williams in a special performance for the Royal Vagabonds Foundation. Live in concert for one night only at the Sheldon Concert Hall. Sunday, October 30, 2016 @ 5:00 PM Proceeds from this special event benefit the Royal Vagabonds Foundation Scholarship Fund. Royal Vagabonds, Incorporated royalvagabondsfoundation.org or call: Barry Taylor at 314-520-1179 (314) 533-2528 • 4315 Westminister Place • St. Louis, MO 63108 As a Jazz Artist she has:  Toured with Lionel Hampton who called her "the greatest vocalist since Sarah Vaughn"  Toured with Lena Horne who simply called her "The Singer"  Performed with other notable jazz greats such as Art Blakely, Joe Williams, Karen Blanchard and Branford Marsalis to name a few  Performed on Broadway in: Lena Horne: The Lady and Her Music; Big River and Jelly's Last Jam and Off-Broadway in: Harlem Story and Body and Soul  Been a world-class cabaret star in some of the world's most prestigious cabarets  Recorded "I Met A Man" CD and "Wild Is The Wind" Single As a Pop Recording Artist she:  Was lead vocalist with Machine recording the million-selling hit "There But for The Grace of God"  Performed alongside: Roberta Flack, Luther Vandross and Patti Labelle to name a few She's also: Performed at Carnegie Hall and opened for Julio Iglesias on his South American Tour; Performed at two White House Inaugurals and much, much more

Jade Harrell with Jazz-Pop World renown singer Clare Bathe'. Clare is back! In town to bless the city and it's youth with Ptah Williams in a special performance for the Royal Vagabonds Foundation. Live in concert for one night only at the Sheldon Concert Hall. Sunday, October 30, 2016 @ 5:00 PM Proceeds from this special event benefit the Royal Vagabonds Foundation Scholarship Fund. Royal Vagabonds, Incorporated royalvagabondsfoundation.org or call: Barry Taylor at 314-520-1179 (314) 533-2528 • 4315 Westminister Place • St. Louis, MO 63108 As a Jazz Artist she has:  Toured with Lionel Hampton who called her "the greatest vocalist since Sarah Vaughn"  Toured with Lena Horne who simply called her "The Singer"  Performed with other notable jazz greats such as Art Blakely, Joe Williams, Karen Blanchard and Branford Marsalis to name a few  Performed on Broadway in: Lena Horne: The Lady and Her Music; Big River and Jelly's Last Jam and Off-Broadway in: Harlem Story and Body and Soul  Been a world-class cabaret star in some of the world's most prestigious cabarets  Recorded "I Met A Man" CD and "Wild Is The Wind" Single As a Pop Recording Artist she:  Was lead vocalist with Machine recording the million-selling hit "There But for The Grace of God"  Performed alongside: Roberta Flack, Luther Vandross and Patti Labelle to name a few She's also: Performed at Carnegie Hall and opened for Julio Iglesias on his South American Tour; Performed at two White House Inaugurals and much, much more

Eddie Condon and a band of talented musicians improvise great jazz on live radio beginning with “Sweet Georgia Brown.”  Original Air Date: May 20, 1944

Feed: “How do I get to Carnegie Hall?” Comic: “Practice!” When I first began to build a jazz record library back in the early 1960s, one particular album stood out. A rare “double-album,” Benny Goodman's Famous 1938 Carnegie Hall Jazz Concert was more akin in appearance to the records in my parents' classical record collection. The back stories and analyses of the concert, the marketing of the recording 12 years later in 1950, and the subsequent canonization of the concert and recording is the story Catherine Tackley tells in her new book for the Oxford Studies in Recorded Jazz Series, Benny Goodman's Famous 1938 Carnegie Hall Jazz Concert (Oxford University Press, 2011) Tackley is an extremely busy and talented woman. An academic, musician, writer, teacher, and performer, she adores both the study of and playing jazz. She played Goodman's songs herself with her big band Dr. Jazz and the Cheshire cats “in a room full of the world's leading jazz scholars.” Now that's academic courage! Benny Goodman, billed the “King of Swing,” was uneasy about the longevity of the label; a perfectionist and an artful player of both jazz and classical music, he feared that he'd be typecast. His Carnegie Hall concert was “sold” by promoters at the time as an important event in the history of the evolution of jazz in general and swing in particular. Nonetheless, Tackley recounts how Carnegie Hall had been the site of both classical and popular music, with “crossover” antecedents to “jazz” concerts going back as far as 1912 when an integrated audience attended the Clef Club orchestra consisting of all black musicians who “played a program of traditional spirituals and compositions by black composers.” And there were others, including Paul Whiteman's orchestra and W.C. Handy featuring Fats Waller, all of whom played at Carnegie Hall before Goodman. Goodman and his band were already well known to the public due to his many live, nationally broadcast radio programs. Tackley uses a musician's and historian's approach in analyzing the subtle differences in the arrangements and performances on the January 16, 1938 program. She also tells interesting anecdotes about drummer Gene Krupa, trumpeter Harry James, vibe-player Lionel Hampton, pianist Jess Stacey and many others. Members of Duke Ellington's and Count Basie's bands also participated in the jam session that night, too. Ironically, for the musicians who played that evening, it might have been just another working night. After the concert many of the musicians went to the Savoy Ballroom to hear a battle of two other famous bands –Count Basie and Billie Holiday dueling it out with Chick Webb and Ella Fitzgerald! Finally, the author tells the story of the concert's own creation myth when 12 years later, in 1950, the acetates from the concert were “found” and subsequently marketed by Columbia Records. Goodman, the critics, and the producers at Columbia thought the release might revive swing. Jazz and Goodman had long moved on to other forms, but the concert on January 16, 1938 became part of jazz history nonetheless. Tackley's story of the concert, the individual song performances, the critical and audience responses, and the later marketing of the recording gives the reader a fascinating glimpse at how the music that night became part of jazz's and America's cultural legacy. On a personal note, my wonderful father-in-law, who passed away in February, 2013, was a WWII veteran who adored big bands and the music of Benny Goodman.

Feed: “How do I get to Carnegie Hall?” Comic: “Practice!” When I first began to build a jazz record library back in the early 1960s, one particular album stood out. A rare “double-album,” Benny Goodman’s Famous 1938 Carnegie Hall Jazz Concert was more akin in appearance to the records in my parents’ classical record collection. The back stories and analyses of the concert, the marketing of the recording 12 years later in 1950, and the subsequent canonization of the concert and recording is the story Catherine Tackley tells in her new book for the Oxford Studies in Recorded Jazz Series, Benny Goodman’s Famous 1938 Carnegie Hall Jazz Concert (Oxford University Press, 2011) Tackley is an extremely busy and talented woman. An academic, musician, writer, teacher, and performer, she adores both the study of and playing jazz. She played Goodman’s songs herself with her big band Dr. Jazz and the Cheshire cats “in a room full of the world’s leading jazz scholars.” Now that’s academic courage! Benny Goodman, billed the “King of Swing,” was uneasy about the longevity of the label; a perfectionist and an artful player of both jazz and classical music, he feared that he’d be typecast. His Carnegie Hall concert was “sold” by promoters at the time as an important event in the history of the evolution of jazz in general and swing in particular. Nonetheless, Tackley recounts how Carnegie Hall had been the site of both classical and popular music, with “crossover” antecedents to “jazz” concerts going back as far as 1912 when an integrated audience attended the Clef Club orchestra consisting of all black musicians who “played a program of traditional spirituals and compositions by black composers.” And there were others, including Paul Whiteman’s orchestra and W.C. Handy featuring Fats Waller, all of whom played at Carnegie Hall before Goodman. Goodman and his band were already well known to the public due to his many live, nationally broadcast radio programs. Tackley uses a musician’s and historian’s approach in analyzing the subtle differences in the arrangements and performances on the January 16, 1938 program. She also tells interesting anecdotes about drummer Gene Krupa, trumpeter Harry James, vibe-player Lionel Hampton, pianist Jess Stacey and many others. Members of Duke Ellington’s and Count Basie’s bands also participated in the jam session that night, too. Ironically, for the musicians who played that evening, it might have been just another working night. After the concert many of the musicians went to the Savoy Ballroom to hear a battle of two other famous bands –Count Basie and Billie Holiday dueling it out with Chick Webb and Ella Fitzgerald! Finally, the author tells the story of the concert’s own creation myth when 12 years later, in 1950, the acetates from the concert were “found” and subsequently marketed by Columbia Records. Goodman, the critics, and the producers at Columbia thought the release might revive swing. Jazz and Goodman had long moved on to other forms, but the concert on January 16, 1938 became part of jazz history nonetheless. Tackley’s story of the concert, the individual song performances, the critical and audience responses, and the later marketing of the recording gives the reader a fascinating glimpse at how the music that night became part of jazz’s and America’s cultural legacy. On a personal note, my wonderful father-in-law, who passed away in February, 2013, was a WWII veteran who adored big bands and the music of Benny Goodman. Learn more about your ad choices. Visit megaphone.fm/adchoices

Feed: “How do I get to Carnegie Hall?” Comic: “Practice!” When I first began to build a jazz record library back in the early 1960s, one particular album stood out. A rare “double-album,” Benny Goodman’s Famous 1938 Carnegie Hall Jazz Concert was more akin in appearance to the records in my parents’ classical record collection. The back stories and analyses of the concert, the marketing of the recording 12 years later in 1950, and the subsequent canonization of the concert and recording is the story Catherine Tackley tells in her new book for the Oxford Studies in Recorded Jazz Series, Benny Goodman’s Famous 1938 Carnegie Hall Jazz Concert (Oxford University Press, 2011) Tackley is an extremely busy and talented woman. An academic, musician, writer, teacher, and performer, she adores both the study of and playing jazz. She played Goodman’s songs herself with her big band Dr. Jazz and the Cheshire cats “in a room full of the world’s leading jazz scholars.” Now that’s academic courage! Benny Goodman, billed the “King of Swing,” was uneasy about the longevity of the label; a perfectionist and an artful player of both jazz and classical music, he feared that he’d be typecast. His Carnegie Hall concert was “sold” by promoters at the time as an important event in the history of the evolution of jazz in general and swing in particular. Nonetheless, Tackley recounts how Carnegie Hall had been the site of both classical and popular music, with “crossover” antecedents to “jazz” concerts going back as far as 1912 when an integrated audience attended the Clef Club orchestra consisting of all black musicians who “played a program of traditional spirituals and compositions by black composers.” And there were others, including Paul Whiteman’s orchestra and W.C. Handy featuring Fats Waller, all of whom played at Carnegie Hall before Goodman. Goodman and his band were already well known to the public due to his many live, nationally broadcast radio programs. Tackley uses a musician’s and historian’s approach in analyzing the subtle differences in the arrangements and performances on the January 16, 1938 program. She also tells interesting anecdotes about drummer Gene Krupa, trumpeter Harry James, vibe-player Lionel Hampton, pianist Jess Stacey and many others. Members of Duke Ellington’s and Count Basie’s bands also participated in the jam session that night, too. Ironically, for the musicians who played that evening, it might have been just another working night. After the concert many of the musicians went to the Savoy Ballroom to hear a battle of two other famous bands –Count Basie and Billie Holiday dueling it out with Chick Webb and Ella Fitzgerald! Finally, the author tells the story of the concert’s own creation myth when 12 years later, in 1950, the acetates from the concert were “found” and subsequently marketed by Columbia Records. Goodman, the critics, and the producers at Columbia thought the release might revive swing. Jazz and Goodman had long moved on to other forms, but the concert on January 16, 1938 became part of jazz history nonetheless. Tackley’s story of the concert, the individual song performances, the critical and audience responses, and the later marketing of the recording gives the reader a fascinating glimpse at how the music that night became part of jazz’s and America’s cultural legacy. On a personal note, my wonderful father-in-law, who passed away in February, 2013, was a WWII veteran who adored big bands and the music of Benny Goodman. Learn more about your ad choices. Visit megaphone.fm/adchoices

Feed: “How do I get to Carnegie Hall?” Comic: “Practice!” When I first began to build a jazz record library back in the early 1960s, one particular album stood out. A rare “double-album,” Benny Goodman’s Famous 1938 Carnegie Hall Jazz Concert was more akin in appearance to the records in my parents’ classical record collection. The back stories and analyses of the concert, the marketing of the recording 12 years later in 1950, and the subsequent canonization of the concert and recording is the story Catherine Tackley tells in her new book for the Oxford Studies in Recorded Jazz Series, Benny Goodman’s Famous 1938 Carnegie Hall Jazz Concert (Oxford University Press, 2011) Tackley is an extremely busy and talented woman. An academic, musician, writer, teacher, and performer, she adores both the study of and playing jazz. She played Goodman’s songs herself with her big band Dr. Jazz and the Cheshire cats “in a room full of the world’s leading jazz scholars.” Now that’s academic courage! Benny Goodman, billed the “King of Swing,” was uneasy about the longevity of the label; a perfectionist and an artful player of both jazz and classical music, he feared that he’d be typecast. His Carnegie Hall concert was “sold” by promoters at the time as an important event in the history of the evolution of jazz in general and swing in particular. Nonetheless, Tackley recounts how Carnegie Hall had been the site of both classical and popular music, with “crossover” antecedents to “jazz” concerts going back as far as 1912 when an integrated audience attended the Clef Club orchestra consisting of all black musicians who “played a program of traditional spirituals and compositions by black composers.” And there were others, including Paul Whiteman’s orchestra and W.C. Handy featuring Fats Waller, all of whom played at Carnegie Hall before Goodman. Goodman and his band were already well known to the public due to his many live, nationally broadcast radio programs. Tackley uses a musician’s and historian’s approach in analyzing the subtle differences in the arrangements and performances on the January 16, 1938 program. She also tells interesting anecdotes about drummer Gene Krupa, trumpeter Harry James, vibe-player Lionel Hampton, pianist Jess Stacey and many others. Members of Duke Ellington’s and Count Basie’s bands also participated in the jam session that night, too. Ironically, for the musicians who played that evening, it might have been just another working night. After the concert many of the musicians went to the Savoy Ballroom to hear a battle of two other famous bands –Count Basie and Billie Holiday dueling it out with Chick Webb and Ella Fitzgerald! Finally, the author tells the story of the concert’s own creation myth when 12 years later, in 1950, the acetates from the concert were “found” and subsequently marketed by Columbia Records. Goodman, the critics, and the producers at Columbia thought the release might revive swing. Jazz and Goodman had long moved on to other forms, but the concert on January 16, 1938 became part of jazz history nonetheless. Tackley’s story of the concert, the individual song performances, the critical and audience responses, and the later marketing of the recording gives the reader a fascinating glimpse at how the music that night became part of jazz’s and America’s cultural legacy. On a personal note, my wonderful father-in-law, who passed away in February, 2013, was a WWII veteran who adored big bands and the music of Benny Goodman. Learn more about your ad choices. Visit megaphone.fm/adchoices

L'ESQUIRE JAZZ CONCERT raccontato da Sergio Spada

The Jazz Ensembles of MHC, under the direction of Mark Gionfriddo, presented their fourth annual 1940s radio variety show, "The Big Broadcast!" featuring popular tunes from the era, including music by Glenn Miller, Duke Ellington, Benny Goodman, and Artie Shaw. Listen to Boogie Woogie Bugle Boy performed live.

Listen Up! Happy Ozfest and...Two-wheel tales and the Jazz ConcertDon't forget about the Asylum Street Spankers at the Earlville Opera House on June 17th Tune 1: Tell it to the Gov'nor by Bela Fleck and the Flecktones (Live) Class is in session and homework is due:Munichbased on the book VengeanceTune 2: Eraser by ModusOn Film: TsotsiPeaceDiscuss this show on our forum, here.