Podcasts about Jelly Roll Morton

Difficile d'être "l'inventeur du jazz". Dans ce dernier épisode, on verra que Jelly Roll Morton a lutté toute sa vie pour faire reconnaître son talent. Mais le pianiste de King Porter Stomp, malheureusement, va se faire dépasser par son invention, doublé par une nouvelle génération de pianistes et chefs d'orchestre qui emmèneront le jazz encore plus loin, laissant Morton sur le bas côté de la route. Une fin tragique et romanesque pour un musicien de légende. Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

En 1926, Jelly Roll Morton approche la quarantaine. Il est au sommet de son art. C'est l'époque de Chicago, des gangsters et de ses premiers disques importants pour la firme Victor avec son groupe, les Red Hot Peppers. Avec lui, l'improvisation collective et foutraque de la Nouvelle Orléans se discipline. Lorsqu'il compose un morceau, il ne le pense plus pour le piano, mais pour tout son orchestre. Il réfléchit à des riffs, des contrepoints, des cadences, des breaks, des prises de paroles réparties entre les différents membres du groupe. Bref, tout ce qu'emploieront après lui Fletcher Henderson et Duke Ellington.  Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Jelly Roll Morton a tout appris à Storyville, le quartier des plaisirs de la Nouvelle-Orléans : le piano, mais aussi le billard, les jeux d'argent, les cartes et les arnaques en tout genre. Sans oublier les femmes. Car à force de fréquenter les prostituées de Storyville, Jelly Roll a acquis ses galons de souteneur. Il est désormais un parfait escroc, avec son col en fourrure et un diamant sur sa dent de devant. Sans oublier le calibre .38 pour protéger ses économies. Mais vers 1917 son destin bascule. Lorsqu'on ferme Storyville, l'inventeur du jazz est contraint de prendre la route, direction Chicago !Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Chicago, 1938. Ce matin là, le journal DownBeat reçoit une lettre très spéciale signée “Jelly Roll Morton, inventeur du jazz”. Et ce monsieur Morton n'est pas content. En écoutant la radio, il a cru qu'il allait tomber de sa chaise lorsqu'il a entendu un animateur présenter le trompettiste et compositeur WC Handy comme l'inventeur du jazz. Or, l'inventeur du jazz, c'est lui : Ferdinand Joseph LaMothe, né à la Nouvelle Orléans à la fin du 19ème siècle. Alors, qui était Jelly Roll Morton, et méritait-il vraiment le titre d'inventeur marqué sur sa carte de visite ? Pour Qui Sonne le Jazz mène l'enquête dans un feuilleton en quatre épisodes. Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Détruite le 7 juillet 1944 des suites de l'opération Charnwood menée par les troupes alliées, la nouvelle université de Caen est inaugurée en juin 1957. Un cortège d'universitaires étrangers défile pour l'occasion dans la ville, et ce sont près de 4 000 étudiants qui investissent les nouveaux locaux. Cette démonstration de solidarité internationale en dit long sur la volonté de construire la paix par l'éducation et la culture dans les années d'après-guerre. Massivement bombardée par l'aviation alliée, la ville de Caen a été partiellement détruite pour permettre la reconquête du territoire français occupé par les Allemands. Près de 20 000 civils ont péri lors de bombardements aériens ou d'artillerie. Un lourd tribu payé par les Français pour leur libération. Le 9 Octobre 1944, c'est le retour de la France libre, incarnée par un certain Général De Gaulle, dont on connaît la voix grâce à la BBC mais dont personne ne connait encore le visage, lorsqu'il vient prononcer son discours dans la ville de Caen libérée. Toutes sortes d'initiatives solidaires voient alors le jour. La radio nationale française lance une grande campagne de soutien pour soutenir les survivants du village d'Epron, symbole du martyr des Normands, où les 225 habitants ont été pilonnés par 200 000 obus. Le Ministère de la Reconstruction et du Logement se mobilise pour édifier de nouveaux immeubles, modernes, lumineux et aérés. En ce qui concerne l'Université, fondée en 1432 par Jean de Lancastre, 1er duc de Bedford et régent du royaume de France alors que la région était anglaise, elle a été totalement détruite par les bombardements alliés. Dans les années 50, sa reconstruction est confiée à l'architecte Henry Bernard, grand prix de Rome. Pour la première fois en France, l'Université est conçue comme un campus, un espace paysager au cœur duquel étudiants, enseignants et habitants se rencontrent et bénéficient d'un jardin, d'une piscine, d'un cinéma et d'une bibliothèque dirigée par Madeleine Dupasquier qui œuvre vaillamment à reconstituer et enrichir le fonds des livres et revues. Le mobilier de l'Université est signé par le designer Jacques Quinet et l'artiste Louis Leygue crée la sculpture emblématique de la renaissance de l'Université et de la ville : un Phénix !Un épisode de La marche du monde enregistré à l'occasion des journées  de l'Histoire du millénaire de Caen. Avec la participation de- Louise Daguet, responsable du Département des ressources documentaires de l'Université et de la bibliothèque- Jean-Luc Leleu, historien au CNRS et enseignant chercheur à l'école de guerre à Paris- Christophe Manoeuvrier, directeur de la Maison de la Recherche en Sciences Humaines Sources bibliographiques :- Histoire de l'Université de Caen, 1432-2012 par Jean Quellien et Dominique Toulorge aux Presses universitaires de Caen- L'histoire de l'Université de Caen- Le débarquement de l'évènement à l'épopée sous la direction de Jean-Luc Leleu aux Presses Universitaires de Rennes - L'Université de Caen dans la cité, 1944-1957 Par Bertrand Hamelin. Programmation musicale :- Nat King Cole / Nature Boy / Capital records / 1947- Pierre Dieuzey et son orchestra, écoutez ce morceau Little Lawrence, tribute to Jelly Roll Morton interprété lors de l'un des tout premiers bals des étudiants de l'Université de Caen à la fin des années 50. En images

«En Amérique, nous sommes là depuis 3 siècles, rejetés dans le ghetto, mais nous sommes Américains !» revendiquait l'écrivain Richard Wright. Être des Américaines et des Américains comme les autres, est une aspiration partagée par toutes celles et ceux qui ont répondu à l'enquête historique menée par les deux sociologues africains américains St. Clair Drake et Horace R. Cayton dans les quartiers de Black Metropolis, au cœur du ghetto de la ville de Chicago. Une enquête devenue un classique de la socio-anthropologie urbaine, publiée aux États-Unis en 1945 et enfin disponible en français. Mais que raconte Black Metropolis de la réalité quotidienne des migrants noirs arrivés dans ce bastion industriel du nord ? Comment sont-ils venus alors qu'ils fuyaient le racisme officiel des États du sud ? Comment ont-ils survécu et lutté pour leurs droits dans le ghetto urbain de Chicago ? Et comment ont-ils organisé leur vie sociale et culturelle au rythme du blues de Chicago, genre musical qu'ils ont inventé ? Autant de questions à évoquer avec nos invitées Anne Raulin et Danièle Joly, directrices de la traduction en français de Black Metropolis, une ville dans la ville, Chicago, 1914-1945.À lire : Black Metropolis, une ville dans la ville, Chicago, 1914-1945, aux éditions de la MSH dans la collection Amérique(s).Une traduction dirigée par Anne Raulin, professeure émérite en Anthropologie à l'Université Paris Nanterre et spécialiste des minorités urbaines et des dynamiques mémorielles et Danièle Joly, sociologue, professeure émérite à l'Université de Warwick et spécialiste des questions d'intégration, de discrimination et d'asile en Europe. Playlist :  Duke Ellington, Caravan Mahalia Jackson, Precious Lord take my hand Jelly Roll Morton, Winin'boy blues Robert Johnson, Sweet home Chicago. Pour aller plus loin :À écouter aussi«Chicago - Juillet 1919, les premières émeutes raciales» Black Lives Matter, l'affaire Emmett Till

Songs include: Chatanooga Choo Choo by Glenn Miller, Beale Street Blues by Jelly Roll Morton, In the Pines by Leadbelly, Louisville Lady by Sophie Tucker and Tenessee Waltz by Patti Page.

Today's show features music performed by Johnny Dunn, Jelly Roll Morton, and George Benson

DUKE ELLINGTON AND HIS ORCHESTRA – LIVE “CRYSTAL BALLROOM” Fargo, North Dakota, November 7, 1940Ko-ko, Pussy willow, Harlem air-shaft, Rockin' in rhythmRex Stewart (cnt) Ray Nance (tp,vln,vcl) Wallace Jones (tp) Joe Nanton, Juan Tizol, Lawrence Brown (tb) Barney Bigard (cl,ts) Johnny Hodges (as) Otto Hardwick (as,cl) Ben Webster (ts) Harry Carney (bar,cl,b-cl) Duke Ellington (p) Fred Guy (g) Jimmy Blanton (b) Sonny Greer (d) Ivie Anderson, Herb Jeffries (vcl) JELLY ROLL MORTON – “PIANO SOLO” & “AND HIS SEVEN” New York, December 16, 1939The naked dance, Don't you leave me here, Mamie's blues, Michigan water bluesJelly Roll Morton (p) New York, January 4, 1940Good old New York, Sweet substitute, Panama Henry “Red” Allen (tp) Joe Britton (tb) Albert Nicholas (cl) Eddie Williams (as) Jelly Roll Morton (p,vcl) Wellman Braud (b) Zutty Singleton (d) SIDNEY BECHET “HAS YOUNG IDEAS” Paris, June 17, 1957The man I love, These foolish things, Jeepers creepers, I never knewSidney Bechet (sop) Martial Solal (p) Lloyd Thompson (b) Al Levitt (d) Paris, March 12, 1957All the things you are, It don't mean a thingSidney Bechet (sop) Martial Solal (p) Pierre Michelot (b) Kenny Clarke (d) Continue reading Puro Jazz 11 de marzo, 2025 at PuroJazz.

DUKE ELLINGTON AND HIS ORCHESTRA – LIVE “CRYSTAL BALLROOM” Fargo, North Dakota, November 7, 1940Ko-ko, Pussy willow, Harlem air-shaft, Rockin' in rhythmRex Stewart (cnt) Ray Nance (tp,vln,vcl) Wallace Jones (tp) Joe Nanton, Juan Tizol, Lawrence Brown (tb) Barney Bigard (cl,ts) Johnny Hodges (as) Otto Hardwick (as,cl) Ben Webster (ts) Harry Carney (bar,cl,b-cl) Duke Ellington (p) Fred Guy (g) Jimmy Blanton (b) Sonny Greer (d) Ivie Anderson, Herb Jeffries (vcl) JELLY ROLL MORTON – “PIANO SOLO” & “AND HIS SEVEN” New York, December 16, 1939The naked dance, Don't you leave me here, Mamie's blues, Michigan water bluesJelly Roll Morton (p) New York, January 4, 1940Good old New York, Sweet substitute, Panama Henry “Red” Allen (tp) Joe Britton (tb) Albert Nicholas (cl) Eddie Williams (as) Jelly Roll Morton (p,vcl) Wellman Braud (b) Zutty Singleton (d) SIDNEY BECHET “HAS YOUNG IDEAS” Paris, June 17, 1957The man I love, These foolish things, Jeepers creepers, I never knewSidney Bechet (sop) Martial Solal (p) Lloyd Thompson (b) Al Levitt (d) Paris, March 12, 1957All the things you are, It don't mean a thingSidney Bechet (sop) Martial Solal (p) Pierre Michelot (b) Kenny Clarke (d) Continue reading Puro Jazz 11 de marzo, 2025 at PuroJazz.

STANDARS SEMANAL-.las cosas ya no son lo que eran.-VINILOS MITICOS DEL JAZZ-J913 - Charles Mingus-1959 Mingus Ah Um.-AZZACTUALIDAD-.JUAN DE DIEGO-GREBALARIAK-AZKEN UDA Mingus Ah Um es un álbum de estudio del músico de jazz estadounidense Charles Mingus que fue lanzado en octubre de 1959 por Columbia Records . [ 1 ] [ 2 ] Fue su primer álbum grabado para Columbia. La portada presenta una pintura de S. Neil Fujita . [ 5 ] El título es una corrupción de una declinación latina imaginaria . Es común que los estudiantes de latín memoricen adjetivos latinos diciendo primero el nominativo masculino (generalmente terminado en " -us "), luego el nominativo femenino (" -a "), y finalmente elnominativo singular neutro (" -um ") [ 6 ] —lo que implica una transformación de su nombre, Mingus, Minga, Mingum . El álbum fue incluido en el Salón de la Fama de los Grammy en 2013. [ 7 ] Ocupó el puesto 380 en los 500 mejores álbumes de todos los tiempos de la Rolling Stone . La Penguin Guide to Jazz on CD llama a este álbum "un homenaje extendido a los antepasados" (y le otorga una de sus raras coronas), [ 8 ] y los antepasados ​​musicales de Mingus aparecen en gran medida en todo el álbum. "Better Git It In Your Soul" está inspirada en el canto gospel y la predicación del tipo que Mingus habría escuchado cuando era niño en Watts, Los Ángeles, California , mientras que " Goodbye Pork Pie Hat " es una referencia (a través de su sombrero favorito) al saxofonista Lester Young (que había muerto poco antes de que se grabara el álbum). El origen y la naturaleza de "Boogie Stop Shuffle" se explican por sí solos: un blues de doce compases con cuatro temas y un acompañamiento de bajo boogie que pasa del tiempo detenido al shuffle y viceversa. "Self-Portrait in Three Colors" fue escrita originalmente para la primera película de John Cassavetes como director, Shadows , pero nunca se usó (por razones presupuestarias). "Open Letter to Duke" es un homenaje a Duke Ellington y se basa en tres de las piezas anteriores de Mingus ("Nouroog", "Duke's Choice" y "Slippers"). "Jelly Roll" es una referencia al pionero del jazz y pianista Jelly Roll Morton y presenta una cita de "Sonnymoon for Two" de Sonny Rollins durante el solo de piano de Horace Parlan . "Bird Calls", en las propias palabras de Mingus, no era una referencia al saxofonista de bebop Charlie "Bird" Parker : "No se suponía que sonara como Charlie Parker. Se suponía que sonara como pájaros, la primera parte". " Fables of Faubus " debe su nombre a Orval E. Faubus (1910-1994), el gobernador de Arkansas, famoso por su postura de 1957 contra la integración de las escuelas de Little Rock, Arkansas , desafiando los fallos de la Corte Suprema de los Estados Unidos (obligando al presidente Eisenhower a enviar a la Guardia Nacional ). Columbia Records se negó a permitir que se incluyera la letra de la canción, [ 9 ] por lo que la canción se grabó como instrumental en el álbum. [ 10 ] [ 11 ] No fue hasta el 20 de octubre de 1960 que la canción se grabó con letra, para el álbum Charles Mingus Presents Charles Mingus , que se lanzó en el sello más independiente Candid . [ 10 ] Debido a problemas contractuales con Columbia, la canción no pudo publicarse como "Fables of Faubus", por lo que la versión de Candid se tituló "Original Faubus Fables". Azken Uda JUAN DE DIEGO-GREBALARIAK CD JAZZ / LATIN-JAZZ ERRABAL JAZZ (GH ER169 02) 8436010309314 Tras la edición de su primer trabajo homónimo en 2021, el trompetista/músico vasco-catalán retoma la senda de su antecesor con este sorprendente "Azken Uda" (El último verano). Un trabajo grabado en los estudios Sol de Sants de Barcelona por Alberto Pérez los días 11 y 12 de octubre, que cuenta además del propio Juan De Diego a la trompeta y flugel, con la colaboración de Toni Saigi al piano, Pere Loewe al contrabajo y Ramon Prats a la batería. Un disco que pone de manifiesto la indiscutible belleza de las composiciones escritas por Juan de Diego a la hora de transitar por la senda del jazz contemporáneo, música efervescente y colorida, con una cierta intencionalidad Be-Bop que desvela un carácter orgánico, flexible y vital a lo largo de sus surcos.

Parce que le temps ne fait rien à l’affaire : une émission spéciale Vieux, Ancêtres et Aïeux. Avec Bix Beiderbecke, Eva Taylor, Lil’ Hardin, Louis Armstrong, Jelly Roll Morton, Johnny Noone, Fats Waller, Blind Blake, Duke Ellington, Clarence Williams, Sydney... Continue Reading →

Today's show features music performed by Tangle Eye and Jelly Roll Morton

L'histoire de la musique populaire américaine, et en particulier l'histoire du jazz, est intimement liée à celle des maffias, qu'elles soient italiennes, irlandaises oui juives. On pourrait même dire qu'une codépendance entre les deux mondes s'est créé au fil du 20ème siècle et a façonné la musique populaire qu'on connait aujourd'hui. Louis Armstrong, Jelly Roll Morton, Duke Ellington, Fats Wallers… tous ont travaillé dans les clubs tenus par des maffieux tels que Al Capone, Legs Diamond ou Arnold ‘The Brain » Rothstein. Des liens complexes et indémêlables se sont tissés entre ces communautés de destin. Des origines du jazz dans le quartier rouge de la Nouvelle-Orléans aux salles enfumées de Chicago durant la prohibition, en passant par les extravagants clubs new-yorkais, c'est une plongée dans les marges de la société américaine que nous vous proposons, en compagnie de Steven Jezo-Vannier, auteur de l'ouvrage « Music Connection, les parrains de la musique américaine au 20ème siècle » paru aux Editions Le Mot et le Reste. Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Singer/songwriter Bob Gibson was a defining figure in the folk music revival starting in the late 1950s, but a crushing dependence on heroin and other drugs sank his career, his marriage and many of his long-time friendships.Gibson — who wrote songs like “Abilene” and “There's a Meeting Here Tonight” that were performed by artists such as Peter, Paul and Mary, The Limeliters and Simon and Garfunkel, as well as The Byrds, The Smothers Brothers and others — hit rock bottom in the late '60s.The Road Down“I left the business in '66,” Gibson wrote in his autobiography, I Come for to Sing. “It seemed to me working in clubs, being on the road, being in show business and around musicians caused me to use drugs. I thought if I got away from that, everything would be fine.”To that end, he spent almost three years in a country hideaway with his young family trying to get clean, but ultimately, he wrote, the hiatus failed its mission.The early 1970s found Gibson relocating again, this time to the West Coast, commuting for occasional gigs in clubs in Chicago and Los Angeles. “I was just hanging in,” he wrote, “doing the same set of songs, and I wasn't writing or learning.”Enter ShelBut then he reconnected with an old friend — writer/artist Shel Silverstein — who helped “in jarring me out of this,” Gibson said. “Shel would come up there and we'd write songs.”Meanwhile, what he called “a classic music business snafu” torpedoed his last major label release, so in 1974 — re-energized by the songs he had written with Shel — Gibson started one of the country's first-ever artist-owned record companies. In those days, his new Legend Enterprises label was a novel approach to making records.Bob's Funky In The Country was its first release, recorded live at the legendary Amazingrace Coffeehouse in Evanston, Ill., near Chicago.Buoyed by a rave review in Billboard magazine, the album gave the fledgling label a fine start, but it was quickly undermined by Gibson himself: The first stop on the road to promote his new album was a few months in rehab. By the time Bob was ready to travel again, the momentum had moved on.The SongA highlight of that lovely album — “Two Nineteen Blues” — is built around Gibson's imaginative reworking of several long-standing blues motifs.His chorus (“I'm going down to the river / Gonna take along my rocking chair”) comes from well-known versions of “Trouble in Mind” as sung by everyone from folkie Cisco Houston to soulful Sam Cooke to country's Johnny Cash.And the song's hook (“Gonna lay my head down on some lonesome railroad line / And let the two-nineteen come along and pacify my mind”) has even deeper blues roots.No less an authority than the great Jelly Roll Morton said “Mamie's Blues” — from which the line comes — was “no doubt the first blues I heard in my life. Mamie Desdunes, this was her favorite blues. She hardly could play anything else more, but she really could play this number.”Desdunes (sometimes written Desdoumes) was a well-known singer and pianist in “The District,” as New Orleanians called the area now generally remembered as “Storyville.”What's in a Name?Blues historian Elijah Wald notes the old song's title is often given as “2:19 Blues,” as if referring to a train time; however, jazz historian Charles Edward Smith recalled Morton explaining that the 219 was the train that “took the gals out on the T&P (Texas and Pacific railroad) to the sporting houses on the Texas side of the circuit.”Despite all its lyrical borrowings from blues antiquity, “Two Nineteen Blues” is unmistakably a Bob Gibson creation. He brought to it a completely new melody and fresh lyrics brimming with his trademark sass and winking understatement. For example, Bob sealed the deal in a final verse that finds his antagonist in a small-town jail, where: I hit the judge and I run like hell And the sheriff he's still askin' ‘round ‘bout me.Our Take on the TuneFor folks who know The Flood only from its studio albums, this is the first tune they may have ever heard from the band.That's because this rollicking composition was what the guys played on the opening track of their very first commercial album nearly a quarter of a century ago now. And speaking of names, because of a design error, the song was erroneously listed on that inaugural album as “Rocking Chair,” a name it has retained in the Floodisphere ever since.A lot changes in a band over the decades, but good old tunes — under whatever name — are like cherished letters from home. Here's a version from a recent rehearsal. 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

Guest Info/Bio: This week I welcome back author, journalist, and academic Stephen Kinzer for part 2 of our conversation on his incredible book Poisoner in Chief: Sidney Gottlieb and the CIA Search for Mind Control. Stephen Kinzer is an award-winning foreign correspondent who has covered more than 50 countries on five continents. His articles and books have led the Washington Post to place him “among the best in popular foreign policy storytelling.”Kinzer spent more than 20 years working for the New York Times, most of it as a foreign correspondent. His foreign postings placed him at the center of historic events and, at times, in the line of fire.After leaving the Times in 2005, Kinzer taught journalism, political science, and international relations at Northwestern University and Boston University. He is now a Senior Fellow at the Watson Institute for International and Public Affairs at Brown University, and writes a world affairs column for The Boston Globe. While posted in Turkey, Kinzer hosted the country's first radio show devoted to blues music. He is the author of the entry on Jelly Roll Morton in The New York Times Guide to Essential Knowledge.Guest (select) Publications: Bitter Fruit: The Story of the American Coup in Guatemala; Blood of Brothers: Life and War in Nicaragua; Crescent and Star: Turkey Between Two Worlds; All the Shah's Men: An American Coup and the Roots of Middle East Terror; Overthrow: America's Century of Regime Change from Hawaii to Iraq; A Thousand Hills: Rwanda's Rebirth and the Man Who Dreamed It; Reset: Iran, Turkey, and America's Future; The Brothers: John Foster Dulles, Allen Dulles, and Their Secret World War; The True Flag: Theodore Roosevelt, Mark Twain, and the Birth of American Empire; Poisoner in Chief: Sidney Gottlieb and the CIA Search for Mind ControlGuest Website/Social Media:https://stephenkinzer.com/X: @stephenkinzerFacebook: @stephen.kinzer.5Stay on top of all the latest by following the show at:https://linktr.ee/fromthevoidpodcast?utm_source=linktree_profile_share<sid=cd6ebfdf-7181-47e2-a0e8-6fee554c453dwww.fromthevoidpod.comInstagram: @thefromthevoidpodastFacebook: @thefromthevoidpodcastTwitter: @thefromthevoidpodcast ALL NEW MERCH! https://from-the-void.printify.me/productsThe From the Void Podcast is written, edited, mixed, and produced by John Williamson. Support this podcast at — https://redcircle.com/from-the-void-podcast/donations

Guest Info/Bio: This week I welcome author, journalist, and academic Stephen Kinzer! Stephen Kinzer is an award-winning foreign correspondent who has covered more than 50 countries on five continents. His articles and books have led the Washington Post to place him “among the best in popular foreign policy storytelling.”Kinzer spent more than 20 years working for the New York Times, most of it as a foreign correspondent. His foreign postings placed him at the center of historic events and, at times, in the line of fire.After leaving the Times in 2005, Kinzer taught journalism, political science, and international relations at Northwestern University and Boston University. He is now a Senior Fellow at the Watson Institute for International and Public Affairs at Brown University, and writes a world affairs column for The Boston Globe. While posted in Turkey, Kinzer hosted the country's first radio show devoted to blues music. He is the author of the entry on Jelly Roll Morton in The New York Times Guide to Essential Knowledge.Guest (select) Publications: Bitter Fruit: The Story of the American Coup in Guatemala; Blood of Brothers: Life and War in Nicaragua; Crescent and Star: Turkey Between Two Worlds; All the Shah's Men: An American Coup and the Roots of Middle East Terror; Overthrow: America's Century of Regime Change from Hawaii to Iraq; A Thousand Hills: Rwanda's Rebirth and the Man Who Dreamed It; Reset: Iran, Turkey, and America's Future; The Brothers: John Foster Dulles, Allen Dulles, and Their Secret World War; The True Flag: Theodore Roosevelt, Mark Twain, and the Birth of American Empire; Poisoner in Chief: Sidney Gottlieb and the CIA Search for Mind ControlGuest Website/Social Media:https://stephenkinzer.com/X: @stephenkinzerFacebook: @stephen.kinzer.5 Stay on top of all the latest by following the show at:https://linktr.ee/fromthevoidpodcast?utm_source=linktree_profile_share<sid=cd6ebfdf-7181-47e2-a0e8-6fee554c453dwww.fromthevoidpod.comInstagram: @thefromthevoidpodastFacebook: @thefromthevoidpodcastTwitter: @thefromthevoidpodcast ALL NEW MERCH! https://from-the-void.printify.me/productsThe From the Void Podcast is written, edited, mixed, and produced by John Williamson. Support this podcast at — https://redcircle.com/from-the-void-podcast/donations

Phil Lesh: A Tribute to a Musical IconIn this episode of the Deadhead Cannabis Show, Larry Mishkin discusses the significance of the Grateful Dead's concert on November 4, 1977, at Colgate University, along with various music news updates, tributes to Phil Lesh, and reflections on Quincy Jones's legacy. The conversation highlights the dynamics of the band during the concert, the impact of newer jam bands like Goose, and the importance of preserving musical legacies through releases like Dave's Picks. In this episode, Larry discusses the latest music news, particularly focusing on the Grateful Dead's legacy and their recent box set releases. He reflects on the band's unique performances and the significance of their music. The conversation then shifts to marijuana legalization efforts, particularly in Florida, where a recent ballot measure was rejected despite public support. Larry expresses disappointment in the political landscape surrounding marijuana and emphasizes the benefits of legalization. The episode concludes with a deep dive into a specific Grateful Dead performance, highlighting the band's improvisational style and the joy their music brings to fans.TakeawaysThis episode was recorded on Election Day, November 5th.The Grateful Dead's show on November 4, 1977, is a highlight.The Jones Gang incident showcased the band's playful dynamics.Goose represents the new generation of jam bands.Phil Lesh's influence on music and improvisation is profound.Quincy Jones's legacy in music is celebrated.Dave's Picks Volume 52 features a remarkable concert.The importance of preserving musical history through recordings.Larry reflects on his personal experiences with the Grateful Dead.The episode blends cannabis culture with music appreciation. Music brings joy and relaxation after a long day.The Grateful Dead's legacy continues to inspire new generations.Unique performances can redefine classic songs.Marijuana legalization faces political challenges despite public support.The benefits of marijuana legalization are well-documented.Music and cannabis culture often intersect in meaningful ways.The improvisational nature of the Grateful Dead's music is a hallmark of their performances.Public sentiment can sometimes clash with political decisions.The Grateful Dead's music remains timeless and relevant.Engaging with music and cannabis responsibly enhances the experience.Sound Bites"This is a special episode being taped on Election Day.""It's just a big love fest with all these guys.""Phil has changed my life.""Quincy was the man I won my first Grammy with.""It's a wonderful, wonderful show.""You just don't know what you're missing out on.""It's just cool to hear it.""This is a pretty amazing second set.""It's a very cool segue from one into the other.""It's a must hear.""It's a wonderful part of the show.""It's a very unfortunate thing that this happened.""People in Florida are gonna smoke marijuana anyway.""It's a great way to end this wonderful show."Chapters00:00Introduction and Context of the Episode03:45Exploring the Grateful Dead's November 4, 1977 Show11:34The Jones Gang Incident and Band Dynamics16:49Music News: Goose and Gen 3 Jam Bands20:51Tributes to Phil Lesh and Reflections on Legacy25:30Remembering Quincy Jones: A Musical Legend30:06Dave's Picks Volume 52: A Review36:30Celebrating Music and New Releases38:53Exploring the Grateful Dead's Legacy44:17Marijuana News and Legalization Efforts01:01:01Deep Dive into Grateful Dead Performances01:09:55Closing Thoughts and Reflections LARRY'S NOTES:Grateful Dead November 11, 1977 (47 years ago)Cotterrell GymnasiumColgate UniversityHamilton, NYGrateful Dead Live at Cotterrell Gym, Colgate U on 1977-11-04 : Free Download, Borrow, and Streaming : Internet Archive Dave's Picks #12 This show literally “popped up out of nowhere” during the very famous fall tour of the very famous 1977 year of touring.  On November 1st they played in Detroit's legendary Cobo Hall.  The next night up in Toronto.  They had Nov. 3 set for Utica, NY but the show fell through a few weeks before.  They were still set for Rochester on Nov. 5th (which was released as Dick's Picks #34) and Binghamton on Nov. 7th.  So less than 4 weeks before this show, while already hitting the road, negotiations began for this show which were only finalized the night before.  Cotterrell gym on the Colgate campus is a small venue.  Think large high school gym with pull out bleachers.  There were only 3,000 folks at the show.  But 2300 of them were held for Colgate students so only 700 were sold to the public or really the Deadheads.  A tough ticket as the Heads used to say.  But those who made it in had a ball and saw one of the best shows of the year. One of those shows that lots of Deadheads wished they had seen. This version of the show from Archive, is an audience tape and a great contrast to other episodes where we have featured Dead show clips from audience tapes.  This one was taped by Jerry Moore who was set up directly behind the soundboard.  Go to Archive and check  out the entire show. On a personal note, glad to see that Archive is back up and running after its hacking episode a few weeks ago.  INTRO:                     Dupree's Diamond Blues                                    Track #8                                    2:50 – 4:52 "Dupree's Diamond Blues" is based on an American folk song titled "Frankie Dupree," which was based on a real historical figure named Frank Dupree.According to In The Pine: Selected Kentucky Folksongs, Dupree tried robbing a diamond wedding ring from a jewelry store in Atlanta, Georgia, in 1921. He intended to give the ring to his girlfriend Betty. When a police officer showed up, Dupree shot him dead. He then fled to Chicago where he killed another officer and wounded others.Authorities eventually apprehended Dupree while he was getting his mail. They shipped him back to Atlanta where he was executed on September 1, 1922.The song is the second track on the Grateful Dead's third album, Aoxomoxoa (1969). As with most of the songs on the album, Dead lyricist Robert Hunter wrote the words and Dead frontman Jerry Garcia wrote the music.Well when I get those jelly roll bluesThe term "jelly roll" was once common African American slang for a woman's genitalia. The great ragtime pianist Jelly Roll Morton took his name from that very meaning. In 1924, Morton recorded an influential jazz song titled "Jelly Roll Blues," which is most likely what Hunter is referencing here. Debuted in January, 1969 and played a total of 17 times that year. Then dropped until Oct 2, 1977 at the Paramount Theater in Portland, OR, played 4 times that year, this version being the last one of the year. Played twice in 1978, then put back on the shelf until Aug. 28, 1982 at the Oregon County Fair in Veneta, OR (home to the famous show from August 27, 1972 to support the Creamery). From '82 to '90 played at least once a year, '85 was the outlier with 16 performances Only played two more times, both in 1994. This is a great version with Jerry's lyrics and playing both very strong. The 8th song of the first set following:  GO TO ARCHIVE LINK A beautiful Bertha opening but I have featured that song so much, and it is such a common opener, that I needed to go with something else today.  I love it from the 1969 Fillmore West shows where two of the nights the second set would start with DuPree's into Mountains of the Moon before jumping into the fabulous Dark Star/St. Stephen/11/Lovelight suite (in my humble opinion, the best suite of songs ever played by the Dead and certainly the one that best defines the band and the basic foundation that supports so much of their music. Played:         82 timesFirst:              January 24, 1969 at Avalon Ballroom, San Francisco, CA, USALast:              October 13, 1994 at Madison Square Garden, New York, NY, USA   SHOW No. 1:         Tuning (start of second set, stage banter re Jones Gang)                                    Track #10                                    :15 – End Why did Phil do this?  To kill time, he was dosed, adding a bit of levity to the evening's proceedings.  Or there is this:Two nights before the Dead played in Toronto at Seneca College's Field House.  The night before was at Cobo Hall in Detroit.  So they took the 3d off while traveling from Toronto to Hamilton, NY to play this show.  Apparently, the band could not or did not want to try to take their stash into Canada.  Keith Richards of the Stones had just been busted in Canada for possession and no one wanted to take any chances.  SO . . . . it seems they were “jonesing” from something, weed, acid, or whatever. Many of the Deadhead reports of the show in Archive and at the Dead Setlist Program note that the guys seemed very stoned or, more likely, dosed.  They were wearing sunglasses indoors in the evening. Good friend Henry was a student at Colgate in 1977 and attended the show.  In telling me about it, he basically began with the Jones Gang episode.  So it was cool to finally hear the show and hear Phil do his thing.  A great way to keep everybody entertained while waiting for some technical issues to be resolved.  And something that was sadly missing in their later years when basically none of them said anything while on stage, Bobby sporadically with a comment and Jerry I saw speak from the stage maybe 5 times out of 110 shows.  This is the kind of stuff that normalized them and separated them from the button down rock acts that showed up, played the same set list that they had played all tour and would keep playing  When they spoke it was all pre planned, “Thank you (insert name of city where they are playing). And then launched into a killer Samson (even though it was a Friday).  Just part of another great Dead experience and the kind of thing that makes it easy to remember the show even years later.  Everyone talks about the Jones Gang show, maybe more than they think of it as a Colgate show or Hamilton, NY show.  Sure took Henry back.  MUSIC NEWS:      Music Intro:                                    Cold Rain & Snow                                    Goose                                    10.25.2024                                    LJVM Coliseum                                    Winston-Salem, N.C.                                    Goose - “Cold Rain and Snow” (10/25/24 - LJVM Coliseum - Winston-Salem, NC) (youtube.com)                                    0:10 – 1:05 Another Phil tribute by one of the most promising Gen3 (Gen1 = Dead; Gen2=Phish) jam bands on the scene.  Not the first time they have covered the Dead, but it's a damn good cover of a tune that traces its Dead roots to their very first album and even before that.  Jerry loved it.  Phil made it happen and restarted his singing career on the closing chorus in 1982 at MSG.  And Goose nails it here.  They really bring it every time they play.  The jam band that I figure will outlast me! Mickey and Mike Gordon statements on Phil's passing: Quincy Jones dies: Quincy Delight Jones Jr. (March 14, 1933 – November 3, 2024 at 91) was an American record producer, songwriter, composer, arranger, and film and television producer.[1] Over his course of his career he received several accolades including 28 Grammy Awards, a Primetime Emmy Award and a Tony Award as well as nominations for seven Academy Awards and four Golden Globe Awards.[2] Jones came to prominence in the 1950s as a jazz arranger and conductor before producing pop hit records for Lesley Gore in the early 1960s (including "It's My Party") and serving as an arranger and conductor for several collaborations between the jazz artists Frank Sinatra and Count Basie. Jones produced three of the most successful albums by pop star Michael Jackson: Off the Wall (1979), Thriller (1982), and Bad (1987). In 1985, Jones produced and conducted the charity song "We Are the World", which raised funds for victims of famine in Ethiopia.[3] Jones composed numerous films scores including for The Pawnbroker (1965), In the Heat of the Night (1967), In Cold Blood (1967), The Italian Job (1969), The Wiz (1978), and The Color Purple (1985). He won the Primetime Emmy Award for Outstanding Music Composition for a Series for the miniseries Roots (1977). He received a Tony Award for Best Revival of a Musical as a producer for the revival of The Color Purple (2016). Throughout career he was the recipient of numerous honorary awards including the Grammy Legend Award in 1992, the Jean Hersholt Humanitarian Award in 1995, the Kennedy Center Honors in 2001, the National Medal of the Arts in 2011, the Ordre des Arts et des Lettres in 2014, and the Academy Honorary Award in 2024. He was named one of the most influential jazz musicians of the 20th century by Time.[1] "I woke up today to the Terrible news that we lost Quincy Jones.. Genius is a description loosely used but Rarely deserved. Point blank, Quincy was the MAN. I won my 1st Grammy with Quincy and I live with his Wisdom daily," Ice-T on X. Dave's Picks, Volume 52 (The Downs At Santa Fe, Santa Fe, NM • 9/11/83)Time to order Dave's Picks 2025 subscription.  I say it every year.  SHOW No. 2:         Eyes of the World                                    Track #15                                    11:10 – END                                     INTO                                     Estimated Prophet                                    Track #16                                    Start - :20 The unique thing in this segment is that it is the first, and one of the only times, that the band played Eyes into Estimated as it was almost always played as Estimated>Eyes.  This is the end of Eyes jam and segue into Estimated.  Very cool to hear it played “backwards”.  This entire Eyes (all 13 minutes of it), is magnificent and a must hear if you are looking for some great Dead jamming to rock to.  On this night, the boys were apparently in a state of mind that let them do a bit of exploring away from the norm for them, if there even is a “Dead norm”.  It sure worked out well for the rest of us.  SHOW No. 3:         The Other One                                    Track #17                                    :52 – 3:00             We've featured this song so many times, discussed the whole That's It For The Other One suite and all of its subparts. This one is the opposite, a 4 minutes 20 seconds version, with the first 3+ minutes just a hard jam.  They only sing the first verse of the standard Other One and then head straight into Drums.  This clip just features the jam with Jerry leading the way.  So clean and powerful, if 1977 is the best year ever for the band, then this has to be one of its peaks.  Maybe not the best of '77 because Barton Hall, but still way up there for nights when the band was truly smoking hot and holding nothing back.  Some of the best post-1970 psychedelic Dead that you will ever hear.  Everyone in sync and making the magic that kept us all coming back for more until there was no more to come back to.  Just buckle in and enjoy the ride. Played:         550 timesFirst:  October 31, 1967 at Winterland Arena, San Francisco, CA, USALast:  July 9, 1995 at Soldier Field, Chicago MJ NEWS:    SHOW No. 4:         Playin Reprise                                    Track #21                                    3:00 – 6:34 "Playing in the Band" is a song by the Grateful Dead. The lyrics were written by Robert Hunter and rhythm guitaristBob Weir composed the music, with some assistance from percussionist Mickey Hart.[1] The song first emerged in embryonic form on the self-titled 1971 live albumGrateful Dead. It then appeared in a more polished form on Ace, Bob Weir's first solo album (which included every Grateful Dead member except Ron "Pigpen" McKernan). During a Bob Weir and Wolf Bros concert livestream on February 12, 2021, Weir credited David Crosby with the composition of the main riff. Weir stated, "David Crosby came up with the seminal lick... and then he left. We were out at Mickey's barn. So Mickey said, 'Make a song out of that'. Next day, I had it".[ It has since become one of the best-known Grateful Dead numbers and a standard part of their repertoire. According to Deadbase X, it ranks fourth on the list of songs played most often in concert by the band with 581 performances. In the Grateful Dead's live repertoire, all songs featured musical improvisation and many featured extended instrumental solos; but certain key songs were used as starting points for serious collective musical improvisation—the entire band creating spontaneously all at once. In this regard "Playing in the Band" was of major importance, second only to "Dark Star". During "Playing in the Band" the Grateful Dead would play the planned verses and choruses of the song itself; then they would improvise and explore brand new musical territory, sometimes for twenty minutes or more; and then the chorus would usually be reprised, to bring the song to its end. Sometimes during these extended "jams", the band would even perform other entire songs, before at last coming back around to the final chorus aka the “Reprise”. On some occasions, more early on than later, the band would play the main song, jam for some amount of time and slide back in for the reprise.  Its performance in this style on 21 May 1974 at the Hec Edmundson Pavilion in Seattle has been cited as the longest uninterrupted performance of a single song in the Grateful Dead's history, clocking in at 46 minutes and 32 seconds.[3][4] It was released in 2018 on the boxset Pacific Northwest '73–'74: The Complete Recordings and as its own LP.  Very cool – an entire album just for one song.  Like Phish' Ruby Waves at Alpine Valley in 2019 got its own album. Then later they might add a song or two in between the main portion and the reprise. Then later they might hold it for the encore the same night the main song had been performed. Then later, they might hold it until the night after the main song had been performed and then two nights later and sometimes 3.  Not uncommon for play the main song the first night of a multi-night run and then the reprise the last night.  Usually during the show, but as stated, sometimes in the encore. Then they might forget to ever get back to it, play the main song again and the whole process would repeat as everyone would wait to see if and when they would finally play the reprise. David Dodd:  To me, the unpredictability of a “Playin” jam was always a highlight of a show. It could get incredibly far out there—completely away from anything—and then, just like that, snap back in, quietly and cautiously or slam-bang, or later, after they'd played most of another song, or a whole set, into the “Playin Reprise.” Sometimes the reprise would never occur. While it usually ran 3 or 4 minutes, this show's reprise went almost 7 minutes with an extended jam before they every got to the reprise lyrics. For Phish fans, think Twe-pri.  For non Phish fans that's the song Tweezer and its “reprise” and that band takes all sorts of liberties with it.  Not so unlike the Dead's style as previously discussed but most famously, at least as far as I know as a still neophyte Phish head, during their 13 show Baker's Dozen run at MSG, Phish played Tweezer the very first night on July 21st to open the second set and then the Twi-Pri finally showed up on August 6th as the second song of the encore after On The Road Again to close out the entire 13 night run. Reprises are great! Played:  648 times (no separate breakdown for how may Reprises were played but I'm sure there were times they never got back to a reprise although one year April Fools 1985 at Cumberland County Civic Center in Portland MA – actually March 31st but called it their April Fools joke even though they did play again the next night, April 1, at the same venue - they played the reprise first and then the main song)First:  February 18, 1971 at Capitol Theatre, Port Chester, NY, USALast:  July 5, 1995 at the Riverport Amphitheater in Maryland Heights (St. Louis), MO  OUTRO                     Johnny B. Goode (Bob – “Happy Homecoming”)                                    Track #22                                    0:12 – 2:08 We've also featured this song quite a bit, a Chuck Berry classic covered by almost every rock n roll band that ever played a set of music and even some that never did.  Its guitar intro is as famous a song opening as any in the genre.  I love this version because of Bobby's greetings to the students wishing them a happy homecoming!  Imagine going to your high school or college homecoming dance and the band is the Grateful Dead.  Now that's a story to tell.  Not sure and I don't think it really matters whether that weekend was or was not Colgate's homecoming.  It just showed that stoned and all, Bobby knew he was on a college campus. Almost always played as an encore or show closer if no encore.  Unlike another Chuck Berry classic covered by the Dead, The Promised Land, which could be played as a show opener, set closer, second set opener, encore, it would pop up just about anywhere. Great way to end a great show.  The boys just blow the walls down on this one.  Or, as commenter RFKROX posted back in 2008 about this version, “Oh, and the Johnny B. Goode is the most incredible rockin' version I've ever heard this band play!! It's the fucking SHIT!!”  I couldn't have said it any better myself! Played:   283 timesFirst:  September 7, 1969 at Family Dog on the Great Highway, San Francisco, CA, USALast:  April 5, 1995 at Birmingham-Jefferson Civic Center Coliseum, Birmingham, AL, USA  - very interesting, not played at all on the final summer tour.  .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

A selection of recordings made by Jelly Roll Morton as part of an archival/folklore project by Alan Lomax at the LOC in 1938 . . Something like six hours of recordings were made of Morton playing, singing, talking and reminiscing about his career and the early days of jazz . . here we have blues, spirituals, ragtime, semi-classical pieces and pop tunes along with Morton's own compositions --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

The Devil's Music: Halloween Jazz, 1920s, 30s, 40s. Featuring: Louis Armstrong, Marion Harris, Fats Waller, Hot Lips Page, Jelly Roll Morton, Mildred Bailey, Louis Prima, Cab Calloway, Bessie Smith, Billie Holiday. Songs: The Skeleton in the Closet, I'm a Jazz Vampire, Dry Bones, Skull Duggery, Boogaboo, Ghost of a Chance, Mr. Ghost is Going to Town, The Ghost of Smokey Joe, Haunted House Blues, Ghost of Yesterday,

JELLY ROLL MORTON “RED HOT PEPPERS” Chicago, September 15, 1926 Black bottom stomp, Smokehouse blues, The chant George Mitchell (cnt) Kid Ory (tb) Omer Simeon (cl) Jelly Roll Morton (p) Johnny St. Cyr (bj) John Lindsay (b) Andrew Hilaire (d) Chicago, September 21, 1926 Sidewalk blues Jelly Roll Morton (p) Barney Bigard (cl) Darnell Howard (cl) Marty Bloom (effects) added, dialogues between Morton and St. Cyr JAMES P. JOHNSON New York, c. Continue reading Puro Jazz 16 de septiembre, 2024 at PuroJazz.

Our music this go round is provided by these wonderful artists: Thelonious Monk, Mark G. Meadows, Jelly Roll Morton, Branford Marsalis and Terence Blanchard. Commercial Free, Small Batch Radio Crafted in the West Mountains of Northeastern Pennsylvania... Heard All Over The World. Tell Your Friends and Neighbors.

Today's show features music performed by Jelly Roll Morton and Lonnie Mack

The Creole culture in New Orleans produced many musicians in the early 1900's who became prominent in jazz as band leaders, soloists and teachers. Violinist Piron led a legendary dance band (his New Orleans Orchestra, with Peter Bocage and Steve Lewis) that made two trips to New York in 1923 and 1924 to play and record. These recordings feature the also legendary clarinetist Tio who is better known for having been the teacher of virtually all the great Creole and black clarinet players in the New Orleans tradition in the early 1900's. In addition are some possible Tio items with Clarence Williams' Blue Five, Ida Brown and Jelly Roll Morton's Red Hot Peppers (with Bubber Miley, Bernard Addison and Wilbur DeParis) --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

On this episode of On the Rocks …it's all about the actor's life as we get deep and personal with actor, singer-songwriter, and poet John Clarence Stewart. We talk about his roles on Zoey's Extraordinary Playlist and P Valley, we chat about the power of art through grief, his creative process, overcoming societal pressures, allyship to the LGBTQ community, and his current turn as Jelly Roll Morton in Jelly's Last Jam at Pasadena Playhouse. Hosted by Alexander Rodriguez, your favorite host with the sassy most! Raise a glass and let the drinks begin, it's On the Rocks!

On this episode of On the Rocks …it's all about the actor's life as we get deep and personal with actor, singer-songwriter, and poet John Clarence Stewart. We talk about his roles on Zoey's Extraordinary Playlist and P Valley, we chat about the power of art through grief, his creative process, overcoming societal pressures, allyship to the LGBTQ community, and his current turn as Jelly Roll Morton in Jelly's Last Jam at Pasadena Playhouse. Hosted by Alexander Rodriguez, your favorite host with the sassy most! Raise a glass and let the drinks begin, it's On the Rocks!

Heidi Matthews surveys cases against Israel pending at the the World Court. Elijah Wald, author of Jelly Roll Blues, talks about Jelly Roll Morton and the hidden history of early blues music.Behind the News, hosted by Doug Henwood, covers the worlds of economics and politics and their complex interactions, from the local to the global. Find the archive online: https://www.leftbusinessobserver.com/radio.html Hosted on Acast. See acast.com/privacy for more information.

Heidi Matthews on the World Court and the cases against Israel pending there • Elijah Wald, author of Jelly Roll Blues, on Jelly Roll Morton and the hidden history of early blues The post The World Court, and the world of Jelly Roll Morton appeared first on KPFA.

In deze aflevering praat Benjamin met gitarist Cem Karayalçin en trompettist Pablo Castillo van The Fried Seven; een groep jonge muzikanten die zich  hebben gespecialiseerd in het het spelen van muziek uit de jaren '20 en '30. Denk aan Jelly Roll Morton, Louis Armstrong of King Oliver, maar dan geproduceerd in de 21ste eeuw. De heren praten over hun nieuwe album 'Late to the Party' en laten er ook live iets van horen op De Kring.

Today's show features music performed by Johnny Dunn, Jelly Roll Morton, and George Benson

JELLY ROLL MORTON – MORTON'S SEVEN & SIX New York, January 4, 1940Sweet substitute (jrm vcl), Panama, If you knew (jrm vcl)Henry “Red” Allen (tp) Joe Britton (tb) Albert Nicholas (cl) Eddie Williams (as) Jelly Roll Morton (p,vcl) Wellman Braud (b) Zutty Singleton (d) New York, January 23, 1940Dirty, dirty, dirty (jrm vcl,*), Swinging the ElksJoe Britton out, rest same MUGGSY SPANIER AND HIS RAGTIME BAND Chicago, July 7, 1939Big butter and egg man (gb speech), Someday sweetheart, That da da strain (#) Muggsy Spanier (cnt) George Brunies (tb,speech,vcl) Rod Cless (cl) Ray McKinstry (ts) George Zack (p) Bob Casey (g) Pat Pattison (b) Marty Greenberg (d) New York, November 10, 1939Livery stable blues [Barnyard blues]Muggsy Spanier (cnt) George Brunies (tb,vcl) Rod Cless (cl) Bernie Billings (ts) Joe Bushkin (p) Bob Casey (b) Don Carter (d) DUKE ELLINGTON AND HIS ORCHESTRA New York, January 13, 1938Steppin' into swing society, Prologue to black and tan fantasy, The new black and tan fantasyRex Stewart (cnt) Cootie Williams, Arthur Whetsel (tp) Joe Nanton, Lawrence Brown (tb) Barney Bigard (cl,ts) Johnny Hodges (as,sop) Otto Hardwick (as,cl) Harry Carney (bar,cl,b-cl) Duke Ellington (p) Fred Guy (g) Billy Taylor, Sr., Hayes Alvis (b) Sonny Greer (d,chimes) Ivie Anderson (vcl) New York, February 2, 1938Riding on a blue note, Lost in meditationJuan Tizol (tb) added SANDY WILLIAMS AND HIS OCTET New York, June 3, 1946Tea for me, Frost on the moon, Sam-Pan, Sandy's blues, Gee baby, ain't I good to you ? Continue reading Puro Jazz 12 marzo 2024 at PuroJazz.

Jelly Roll Morton talks of being a “Spy Boy” in the Mardi Gras Indian parades of his youth. Bo Dollis, of the Wild Magnolias, tells of sewing his suit of feathers and beads all night long. Tootie Montana masks for the first time as Mardi Gras starts up again after World War II. Big Queen Ausettua makes connections between the black Mardi Gras Indian traditions of New Orleans and Africa. Sister Alison McCrary, a Catholic nun and social justice attorney, tells of Big Chief Tootie Montana's death at the podium in city council chambers defending the rights of the Mardi Gras Indians to parade without harassment. A collection of stories and interviews in honor of the Mardi Gras Indian tradition in New Orleans. With special thanks and a shout out to all of the “Keepers” who have documented, preserved and shared these stories, including the Folklife Center Collection at the Library of Congress, Nick Spitzer and American Routes, filmmaker Lisa Katzman, and WWOZ in New Orleans. The Kitchen Sisters Present is part of PRX's Radiotopia network and is produced by The Kitchen Sisters (Nikki Silva & Davia Nelson), with Nathan Dalton and Brandi Howell.

durée : 00:59:23 - Malo Mazurié - par : Alex Dutilh - Avec “Taking the Plunge”, le trompettiste Malo Mazurié signe ici huit compositions qui résonnent comme les brillants échos de celles de ses héros : Duke Ellington, Jelly Roll Morton, Irving Berlin, dont il revisite également, d'un ton très personnel, quelques merveilles. Parution chez Encore Music.

durée : 00:59:23 - Malo Mazurié - par : Alex Dutilh - Avec “Taking the Plunge”, le trompettiste Malo Mazurié signe ici huit compositions qui résonnent comme les brillants échos de celles de ses héros : Duke Ellington, Jelly Roll Morton, Irving Berlin, dont il revisite également, d'un ton très personnel, quelques merveilles. Parution chez Encore Music.

Today's show features music performed by Jelly Roll Morton and Clarence Carter

In this episode, Brent answers a listener's question on who was the first jazz musician in history. He explains there is no definitive single originator but rather an evolution in New Orleans reflecting diverse musical and cultural influences. Key musicians mentioned are Buddy Bolden, Jelly Roll Morton, and Louis Armstrong, among others. Brent emphasizes understanding jazz history and listening to key recordings to appreciate how the music developed and continues evolving. Important Links:Free Guide to learning standards by ear: Learn Jazz Standards the Smart WayLJS Inner Circle MembershipListen to the Learn Jazz Standards PodcastLearn Jazz Standards Inner Circle: Get 50% off your first month! Want to get your jazz question answered on the podcast? Click here.

Today's show features music performed by Clara Smith and Jelly Roll Morton

From 1940, this is a show called The Chamber Music Society of Lower Basin Street. It Was a popular a musical variety radio program, which was a satire of the high brow classical music programs on network radio at the time, and featured jazz and blues performers. Appearing on this episode are singer Dinah Shore, who would go on to have a 3 decade career on television. And Jelly Roll Morton, the legendary African-American ragtime and jazz pianist, bandleader, and composer, who claimed to be the inventor of jazz. Morton would die one year after appearing on this show. Her never fully recovered from being stabbed multiple times in 1938. Jelly Roll Morton was inducted into the Rock-N-Roll Hall of Fame in 2008. For more visit http://krobcollection.com

“Bill “Bojangles” Robinson and Wellman Braud were like Jelly [Roll Morton]; they’d talk as long as anyone would listen and hung around outside the Band Box. After Braud got written up in Ripley’s “Believe It or Not” column, he was … Continue reading →

Normally when I see that an album has been released by the Longines Symphonette Society, I'm a little leary about what's actually on it. I've been burned before. For example, the Longines album in episode 30 with Bing Crosby featured on the front cover was just some of his favorite recordings, not necessarily him. After carefully researching the music on this record, I think I have found a gem. It's the King of Swing before he BECAME the famous bandleader he became. So, get ready to hear some influential musicians who recorded together more than 90 years ago in Volume 152 Goodman's Greats. Credits and copyrights Benny Goodman – King Of Swing With The All-Time "Greats" Label: Longines Symphonette Society – LWS 267 Format: Vinyl, LP, Compilation Released:  Genre: Jazz Style: Swing That's A-Plenty Written by Lew Pollack Indiana (Back Home Again In Indiana) Written by Lew Pollack Dinah Written-By – Harry Akst, Joe Young, and Sam Lewis Someday, Sweetheart written by Benjamin F. Spikes, John C. Spikes Wolverine Blues written by Jelly Roll Morton, Benjamin F. Spikes, John C. Spikes Muskrat Ramble written by Kid Ory Farewell Blues written by Elmer Schoebel, Paul Mares, Leon Roppolo I do not own the rights to this music. ASCAP, BMI licenses provided by third-party platforms for music that is not under Public Domain.

The Pals X Devin Cuddy  Episode 245 - Presented By Hardbite Chips. Canadian based and every chip is made with no preservatives, no GMOs, no trans fat, no gluten, no cholesterol! Devin Cuddy is a singer-songwriter born, bred and based in Toronto. After attending York University for Jazz Piano, Devin cut his teeth performing at Toronto's Cameron House, where he was inspired by the local singer-songwriter scene. He began his career alone at the piano, and soon found himself on a national stage on tour with Blue Rodeo; the opening act for his dad, lead singer Jim Cuddy.  The Devin Cuddy Band has now released several works under the Cameron House label: JUNO-nominated Volume One (2012), Kitchen Knife (2016), and Amy's Dream EP (2018). His ever-expanding catalogue and charismatic stage presence have garnered a quickly-growing following from coast to coast to coast. He infuses his music with the influences nearest to his heart - Randy Newman, Steve Earle, Jelly Roll Morton and Dr. John to name a few.  Follow him at @devincuddy and us @thepalspodcast / @yourpalrick @danigalarneau

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

*Note: We decided to delay our planned episode for this week, so instead we are releasing one of the bonus episodes from our Patreon feed. Sources: Pamela D Arcineaux, "The Storyville Madam Who Challenged Jim Crow, and Won," The Historic New Orleans Collection, available at https://www.hnoc.org/publications/first-draft/storyville-madam-who-challenged-jim-crow-and-won Storyville Guidebooks to Sin, Images Available at https://www.hnoc.org/virtual/storyville/guidebooks-sin "The Sex Workers of Storyville," The Historic New Orleans Collection, available at https://www.hnoc.org/virtual/storyville/sex-workers-storyville Rotten Tomatoes: https://www.rottentomatoes.com/tv/interview_with_the_vampire/s01 Caroline Framke, https://variety.com/2022/tv/reviews/interview-with-the-vampire-review-amc-anne-rice-1235388669/  Gilbert King, https://www.smithsonianmag.com/history/the-portrait-of-sensitivity-a-photographer-in-storyville-new-orleans-forgotten-burlesque-quarter-166324443/ "Brothels & Music"  The Historic New Orleans Collection, https://www.hnoc.org/virtual/storyville/music-and-musicians Jelly Roll Morton to Earle Cornwall, 27 April 1938, http://hnoc.minisisinc.com/thnoc/catalog/3/1214  Light Townsend Cummins, Judith Kelleher Schafer, Edward F. Haas, and Michael L. Kurtz, Louisiana: A History (Malden, MA:Wiley Blackwell, 2014, 6th edition) 313-15.

First we'll hear some early Ella Fitzgerald with Chick Webb, Jelly Roll Morton, Quintetto Ritmico di Milano, and Charlie Parker. Then we have a set from our featured artist, Chico Hamilton, followed by Duke Ellington, Ella again, Lee Morgan, Vince Guaraldi & Bola Sete, Boogaloo Joe Jones, and Stan Getz.

Grateful Dead's 1982 Show Highlights and Unpopular TunesLarry Mishkin, introduces a Grateful Dead show from August 28th, 1982, featuring an opener where Jerry Garcia stumbles over lyrics. Larry shares insights into the band's performance, suggesting they might have been dosed that day. He discusses the history of the Grateful Dead at Woodstock, why they were omitted from the film, and a song called "Keep Your Day Job," disliked by fans and dropped from their repertoire. Larry contrasts it with the successful breakout of "West LA Fadeaway" that night, highlighting the unique way the Grateful Dead introduced and refined songs in their concerts.Produced by PodConx  Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergRecorded on Squadcast INTRO:               Bertha                           Track No. 1                           3:16 – 4:46                            Great opener, as always.  One month after my first show and Jerry still can't remember the words.  So instead we focus on the jam.  He may fall short in lyrics but his playing is electric.  Story is that the band was supposedly dosed that day and the comments reflect that the band was “ON”. SHOW #1:          I Used To Love Her But It's All Over Now                           Track No. 7                           1:05 – 2:22                            It's All Over Now" is a song written by Bobby Womack and his sister-in-law Shirley Womack.[1] It was first released by The Valentinos, featuring Bobby Womack, in 1964. The Rolling Stones heard it on its release and quickly recorded a cover version, which became their first number-one hit in the United Kingdom, in July 1964.                         The Rolling Stones' version of "It's All Over Now" is the most famous version of the song. It was first released as a single in the UK, where it peaked at number 1 on the UK Singles Chart, giving the Rolling Stones their first number one hit.[5] It was the band's third single released in America, and stayed in the Billboard Hot 100 for ten weeks, peaking at number 26. Months later it appeared on their second American album 12 X 5. The song was a big hit in Europe and was part of the band's live set in the 1960s. Cash Box described it as a "contagious cover of the Valentinos' click" and "an infectious thumper that should head right for chartsville.”                         Covered by almost everybody in the music industry from the Stones to Ry Cooder to Nils Lofgren, Wide Spread Panic, Tom Petty & the Heartbreakers and even Molly Hatchet (Flirtin With Disaster)                         Covered by the Dead 154 times with Bobby singing.                        Frist on September 6, 1969  - Family Dog at the Great Hightway                        Last on July 2, 2995 – Deer Creek SHOW #2:       Day Job                        Track No. 10                        2:52 – 4:05                         First time played in concert.  Second set openerEventually played 57 times                        Last time on April 4, 1986 at Hartford Civic Center                         Per Robert Hunter in “A Box of Rain” collection of his lyrics, “this song was dropped from the Grateful Dead repertoire at the request of the fans. Seriously”  First song ever ‘rejected' by the Deadheads!  And the band listened to them and stopped playing it!                                But WHY was it so universally unpoplular?     “a lot of people thought it was the band making fun of/scolding deadheads who spent all their time following around the band. Hunter kind of hinted at that at one point in an interview I think.” “Hippies don't work” “It sucks” There are a few fans who liked the jamming or could relate to the song, but overall, NOPE.            SHOW #3:          West LA Fadeaway                           Track No. 12                           1:08 – 2:35                            Breakout version of this song, along with Day Job.  Five years later In The Dark was released with Wet LA on there, but Day Job did not make the cut.                                                     Dead would play this song 141 times in concert                           Last was June 30, 1995 at Three Rivers Stadium in Pittsburgh                            Always a fan favorite, great music, fun lyrics (only Hunter could work “copasetic” into song lyrics)  SHOW #4:          Playin' In The Band                           Track No. 14                           1:50 – 3:10                            Great version, very upbeat (a dosed band?) and sharp, Bobby right there with his inflection on PPPPLyaing in the BAAAnd, very sharp.  I like this clip because it shows the transition from the hard charging opening of the song into a more mellow sound that signifies the jumping off point for the band  into a Playin jam that could go anywhere.  In this case, almost 20 minutes before segueing into Drums>Space>The Wheel>The Other One>Truckin'>Black Peter>Playin Reprise.  What an amazing run of music.  Great tunes, great jamming, outside in Oregon, what else could a Head ask for?  Some clean Orange Sunshine or whatever the band was on!  OUTRO:              Dupree's Diamond Blues                           Track No. 20                           1:05 – 2:24                            This song was written by Hunter/GarciaIt appeared on the Dead's third album, Aoxomaxoa (released June 20, 1969).                           First played on January 24, 1969 at the Avalon Ballroom                           Last played on October 13, 1994 at MSG                           Played a total of 83 times.                            "Dupree's Diamond Blues" is based on an American folk song titled "Frankie Dupree," which was based on a real historical figure named Frank Dupree.According to In The Pine: Selected Kentucky Folksongs, Dupree tried robbing a diamond wedding ring from a jewelry store in Atlanta, Georgia, in 1921. He intended to give the ring to his girlfriend Betty. When a police officer showed up, Dupree shot him dead. He then fled to Chicago where he killed another officer and wounded others.Authorities eventually apprehended Dupree while he was getting his mail. They shipped him back to Atlanta where he was executed on September 1, 1922. Giggles:  The term "jelly roll" was once common African American slang for a woman's genitalia. The great ragtime pianist Jelly Roll Morton took his name from that very meaning. In 1924, Morton recorded an influential jazz song titled "Jelly Roll Blues," which is most likely what Hunter is referencing here.                          In the late ‘60's and early ‘70's the band played it more frequently.  Although more in the Americana style adopted by the Dead at the beginning of the ‘70's than the primal Dead from the ‘60's.  But it became linked with primal Dead by being part of so many shows from that period.  On the Fillmore West complete recordings for Feb. 27, 28 and March 1,2 on both the first and third night the band opened the second set with this song into Mountains of the Moon before launching in the Dark Star>St. Stephen>The Eleven>Lovelight suite made famous on Live Dead.  But after that it just kind of fell off the band's radar except for certain tours where it would show up for three or four shows before again getting pushed to the side.  Very enduring.

Great band that made numerous LPs for Decca from 1951-58 organized around themes - Jelly Roll Morton, Ragtime, King Oliver, ODJB, etc. Featuring the core members - Yank Lawson, Lou McGarity, Bill Stegmeyer, Lou Stein, Bob Haggart and Cliff Leeman, the group was occasionally expanded by Peanuts Hucko, Cutty Cutshall, Billy Butterfield, Bud Freeman and George Barnes - a selection of their dixieland and swing work! --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

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

Moondance is the album that established Van Morrison as a solo artist.  However, he was an accomplished musician before this, first as a multi-instrumentalist in Irish show bands of the late 50's, then as the lead singer of the band Them.  Moondance is either Morrison's second or third solo album…depending upon how you count it.  The first album entitled “Blowin' Your Mind!” was put out without Morrison's permission — or even knowledge, and he does not consider it to be a proper album.  However, he had signed a contract with Bang! Records without paying much attention to the details, and gave up much of his rights.  Nevertheless, this first album did contain Morrison's first solo pop single, “Brown-Eyed Girl,” which is one of this most popular today.After considerable wrangling and the death of producer Bert Berns, Morrison was able to put out an album on his own terms for Warner Brothers entitled “Astral Weeks.”  While this album would be praised in the future, it was considered a failure at the time, producing no singles and not receiving much promotion.Moondance is where it all comes together for Morrison.  It was more deliberately designed to have more accessible songs than the previous album, and it benefitted from the rising popularity of FM radio.  Morrison's growing confidence in his own abilities and his sense of independence from the producers also were beneficial on this album.  The result is an iconic album with a number of standards of 70's music.Bruce brings us this inspired album for this week's podcast. And It Stoned MeThis track leads off the album.  The song reminisces about days being a kid, going fishing, drinking stream water from a jar, and just being high on life.  The lyric about Jelly Roll may refer to jazz musician Jelly Roll Morton, an artist whom Morrison listened to with his father as a child.  Van Morrison's dad had one of the biggest record collections in the area.Into the MysticThis track is about a spiritual quest.  According to Wikipedia, Morrison says the song “is just about being part of the universe.”  While it was not released as a single when the album was released it has become one of Morrison's most popular song, the second most streamed song on Spotify behind “Brown Eyed Girl.”Glad TidingsA deeper cut, this track is the final song on the album and the final song recorded for the album.  The inspiration for the title was a letter Morrison received from a friend in London who had written on the envelope, “Glad Tidings from London.”  When Morrison wrote back he also included “Glad Tidings from New York” on the envelope.  The lyrics appear to address some of the issues Morrison had with Bert Berns and Bang! Records.MoondanceAs iconic as this song has become, it was not released as a single until September of 1977, seven-and-a-half years after the album.  Morrison developed it while living in Cambridge, Massachusetts.  He considers it a sophisticated song, one that Frank Sinatra could be seen singing.  ENTERTAINMENT TRACK:The Love Theme (from the motion picture "Airport" )This film was one of the first disaster movies that would form its own genre in the 1970's. STAFF PICKS:Friends by FeatherWayne gets the staff picks started with a pop group from Los Angeles.  Feather had a commercially oriented prog rock sound, with close harmonies and a bit of a country flavor.  “Friends” was on the Billboard Hot 100 for five weeks, with its highest position at number 79.  However, they did get a chance to showcase their song on Dick Clark's American Bandstand.Reflections of My Life by MarmaladeRob brings us a Scottish band that started in 1961 as the Gaylords.  This is their biggest hit making it to number 10 in the U.S.  The epic feel employs acoustic guitars and horns, and a guitar solo which employs studio effects that play the solo guitar riff backwards.Kentucky Rain by Elvis Presley Lynch's staff pick was recorded during Presley's landmark two-week sessions at American Sound Studio in Memphis.  These sessions produced two hit albums in 1969, but this song didn't make the cut for either album.  The single was on the charts during this month, rising as high as number 16 on the Billboard Hot 100, and features Ronnie Milsap on piano.Mississippi Queen by MountainBruce brings us a rocker to wrap up the staff picks.  This hard rock group was active primarily from 1969 through 1972, and this single went to number 21 on the Billboard Hot 100.  The opening cowbell originated when drummer Corky Laing got tired of the numerous retakes and just started using the cowbell to count off the song.  Bassist Felix Pappalardi liked the sound and kept it in the completed track.  INSTRUMENTAL TRACK:Viva Tirado (part 1) by El ChicanoThis Latin-jazz instrumental number was based on an original song about a bullfighter by Gerald Wilson.

5:02:18 – Another MAMMOTH assembly of Night Radio Magic, hosted and curated by The Appreciator, for your ears and brains and relief from the day to day crazed media that prevails!! Tia Juana by Jelly Roll Morton!! Vic and Sade from 1941 wherein Vic has to make a Big Catch in the middle of the […]

Chris Thomas King - The King of the Blues - Chris Thomas King is a multi-Grammy winning blues musician. He's also the author of, "The Blues: The Authentic Narrative of My Music and Culture." The Blues tells the unrealized history, that the genre was actually invented in New Orleans. It's also a fact that most modern music in the US is a descendant of the blues. Names like Buddy Bolden, Jelly Roll Morton, Bunk Johnson, Chevalier De Saint George, Dan Desdunes are among the most important players in the history, not only of the Blues, but of American music. Get his book on Amazon at Chris' history is informed in part by his upbringing working in his father Tabby's juke joint. The oral traditions passed down through the collected living memory of the musicians just a generation or 3 after the spawning of the genre were told at Tabby's. Chris is also a world-class musician. He's not just won multiple Grammys, but had his name announced more than once on the same night!  He's a successful stage and movie actor. He's a prolific song writer and an all round wonderful person. You are going to love meeting Chris Thomas King. Check out the Break It Down Store on Bonfire  Please support the Break It Down Show by doing a monthly subscription to the show  All of the money you invest goes directly to supporting the show!   For the  of this episode head to  Haiku Musician, author Kind of a regular here Chris Thomas King, y'all! Similar episodes:        ​Join us in supporting Save the Brave as we battle PTSD.  ​ ​ Executive Producer/Host: Pete A Turner    Producer: Damjan Gjorgjiev  ​ ​ ​​ ​​ ​​The Break It Down Show is your favorite best, new podcast, featuring 5 episodes a week with great interviews highlighting world-class guests from a wide array of shows.