Podcasts about Kenny Clarke

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

Des de principis dels anys 40 del segle XX, el segell discogr

durée : 00:25:02 - Rhoda Scott, organiste et chanteuse de jazz (4/5) - par : Alex Dutilh - Si elle affectionne les duos orgue – batterie (avec Daniel Humair ou Kenny Clarke, notamment), Rhoda Scott brille aussi en soliste du fameux Thad Jones-Mel Lewis Orchestra au Village Vanguard, comme au côté du saxophoniste de la Panthère rose ou de la voix de David Linx. - réalisé par : Gilles Blanchard

Sessi

Michelle Coltrane and Maggie LePique discuss her Mother, Alice Coltrane and the year-long celebration currently underway that's being called “The Year of Alice.”This celebration spans 2024-2025 and features previously unreleased music and reissues, brand new community programming, a multimedia museum exhibit, specially curated concerts, newly choreographed ballet works and much more.Jazz musician, composer, bandleader and spiritual and devotional leader, Alice Coltrane was born in Detroit, Michigan in 1937 to Solon and Annie McLeod, the fifth of six children. By the age of nine, she played organ during services at Mount Olive Baptist church.In the early 60's she began playing jazz as a professional in Detroit with her own trio and as a duo with vibist Terry Pollard.Alice Coltrane would go on to collaborate and performed with Kenny Clarke, Kenny Burrell, Ornette Coleman, Pharaoh Sanders, Charlie Haden, Roy Haynes, Jack DeJonette, Carlos Santana and more.Mrs Coltrane's interest in gospel, classical, and jazz music led to the creation of her own innovative style. Her proficiency on keyboard, organ, and harp was remarkable and her artistry matured into amazing arrangements and compositions.Her twenty recordings cover a time span from Monastic Trio (1968) to Translinear Light (2004).Michelle discusses at length one of the events here in Southern California that is part of the Year of Alice.Here in L.A. the exhibition Alice Coltrane, Monument Eternal at the Hammer Museum in Westwood is inspired by the life and legacy of jazz musician, composer and bandleader as well a spiritual and devotional leader, Alice Coltrane.This exhibition is part of a larger initiative called “The Year of Alice," and in partnership with the John & Alice Coltrane Home, Impulse Records, The New York Historical Society, the Detroit Jazz Festival and more.The exhibition presents works by contemporary American artists paired with items Coltrane's personal archive and features a range of mediums including video, performance, and sculpture together with Coltrane's archival hand-written correspondence, unreleased audio recordings, and rarely seen video footage.Upcoming event with Michelle Coltrane:Sai Anantam Devotional EnsemblePresented by CAP UCLA and Hammer MuseumSun, Apr 13, 2025 at 6:30pm The NimoyThe Year of Alice events include:Reissues of Alice Coltrane's albums and previously unreleased musicSpecially curated concerts in cities including New York, Brooklyn, Detroit, and CaliforniaA multimedia museum exhibitNewly choreographed dance worksCommunity programming and an Oral History ProjectDiscussions about Coltrane's life and workPartners in the celebration are:Impulse! RecordsDetroit Jazz FestivalHammer MuseumAlonzo King LINES BalletThe New York Historical SocietyShapeshifter LabLyon & Healey HarpsSource: https://thecoltranehome.org/2024/03/16/let-the-year-of-alice-begin/Source: https://www.alicecoltrane.com/Source: https://hammer.ucla.edu/exhibitions/2025/alice-coltrane-monument-eternalHost Maggie LePique, a radio veteran since the 1980's at NPR in Kansas City Mo. She began her radio career in Los Angeles in the early 1990's and has worked for Pacifica stSend us a textSupport the show@profileswithmaggielepique@maggielepique

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.

FRANK FOSTER QUINTET “NEW FACES, NEW SOUNDS” Hackensack, N.J., May 5, 1954Gracias, How I spent the night, Blues for Benny, Out of nowhereBenny Powell (tb) Frank Foster (ts) Gildo Mahones (p) Percy Heath (b) Kenny Clarke (d) AARON PARKS “INVISIBLE CINEMA” Brooklyn, NY, January 20-22, 2008Travelers (mm out), Nemesis (1,2), Riddle me this, PraiseAaron Parks (p,mellotron-1,glockenspiel-1,keyboards-2) Mike Moreno (g) Matt Penman (b) Eric Harland (d) ROBERT HURST “UNREHURST, VOLUME 2 – LIVE SMOKE” New York, March 16 & 17, 2007I love youRobert Glasper (p) Robert Hurst (b) Chris Dave (d) Continue reading Puro Jazz 05 de marzo, 2025 at PuroJazz.

FRANK FOSTER QUINTET “NEW FACES, NEW SOUNDS” Hackensack, N.J., May 5, 1954Gracias, How I spent the night, Blues for Benny, Out of nowhereBenny Powell (tb) Frank Foster (ts) Gildo Mahones (p) Percy Heath (b) Kenny Clarke (d) AARON PARKS “INVISIBLE CINEMA” Brooklyn, NY, January 20-22, 2008Travelers (mm out), Nemesis (1,2), Riddle me this, PraiseAaron Parks (p,mellotron-1,glockenspiel-1,keyboards-2) Mike Moreno (g) Matt Penman (b) Eric Harland (d) ROBERT HURST “UNREHURST, VOLUME 2 – LIVE SMOKE” New York, March 16 & 17, 2007I love youRobert Glasper (p) Robert Hurst (b) Chris Dave (d) Continue reading Puro Jazz 05 de marzo, 2025 at PuroJazz.

Diese Sendung hat Joachim Böskens zusammengestellt. Das LIVE- Anspiel ist diesmal: „Quando, quando, quando“ in einer Version von Micheal Bublé und Nelly Furtado (2012) Folgende Titel sind zu hören: 1. Get Out Of Town Kenny Clarke / Francy Boland Big Band 2. The Duke Gerry Mulligan/Dave Brubeck Trio 3. Don't be that Way Anita O'Day 4. Journey into melody Stanley Turrentine 5. „Quando, quando, quando“ Micheal Bublé/Nelly Furtado 6. But not for me Grentperez 7. All to soon Peggy Lee/George Shearing 8. Indiana Kid Ory's Creole Für Titelwünsche und Anregungen schreiben Sie gern an: jazztime.mv@ndr.de Keep Swingin' !!!

Tonight's Jazz Feature is this show's usual tribute to The Season and a long standing tradition. It's known as the "Bags' Groove Session". The music is truly classic and always worth hearing. Miles Davis is the nominal leader on trumpet with Milt Jackson on vibes, Thelonious Monk on piano, Percy Heath on bass and Kenny Clarke on drums. A meeting of Jazz Masters indeed. All of this was recorded on December 24,1954 and the whole date has a Christmassy feel to it even though that certainly wasn't the intention. We'll hear the 4 master takes from this timeless date and is our Christmas Jazz Feature. Merry Christmas to all!

DIZZY GILLESPIE Y CHANO POZO New York, December 22, 1947 Algo bueno [Woody'n you]Dizzy Gillespie (tp,vcl) Dave Burns, Elmon Wright, Benny Bailey, Lammar Wright, Jr. (tp) William Shepherd, Ted Kelly (tb) Howard Johnson, John Brown (as) Joe Gayles, George “Big Nick” Nicholas (ts) Cecil Payne (bar) John Lewis (p) Al McKibbon (b) Kenny Clarke (d) Chano Pozo (bgo,cga,vcl) CHARLIE PARKER / MACHITO AND HIS AFRO CUBAN ORCHESTRA New York, January, 1949 Okiedoke (1) Caravan (2)Mario Bauza, Frank “Paquito” Davilla, Bob Woodlen (tp) Gene Johnson, Fred Skerritt (as) Jose Madera, Sr. Continue reading Puro Jazz 9 de diciembre, 2024 at PuroJazz.

DIZZY GILLESPIE Y CHANO POZO New York, December 22, 1947 Algo bueno [Woody'n you]Dizzy Gillespie (tp,vcl) Dave Burns, Elmon Wright, Benny Bailey, Lammar Wright, Jr. (tp) William Shepherd, Ted Kelly (tb) Howard Johnson, John Brown (as) Joe Gayles, George “Big Nick” Nicholas (ts) Cecil Payne (bar) John Lewis (p) Al McKibbon (b) Kenny Clarke (d) Chano Pozo (bgo,cga,vcl) CHARLIE PARKER / MACHITO AND HIS AFRO CUBAN ORCHESTRA New York, January, 1949 Okiedoke (1) Caravan (2)Mario Bauza, Frank “Paquito” Davilla, Bob Woodlen (tp) Gene Johnson, Fred Skerritt (as) Jose Madera, Sr. Continue reading Puro Jazz 9 de diciembre, 2024 at PuroJazz.

M

CHARLIE PARKER “Charlie Parker's Reboppers” – New York, November 26, 1945Ko-ko (2,3), Billie's bounce (1,3), Now's the time (1,3)Miles Davis (tp-1) Dizzy Gillespie (tp-2,p-3) Charlie Parker (as) Argonne Thornton (p-4) “Charlie Parker All Stars” – New York, May 8, 1947Donna LeeMiles Davis (tp) Charlie Parker (as) Bud Powell (p) Tommy Potter (b) Max Roach (d) “CHICAGO RHYTHMDIZZY GILLESPIEKINGS” “Dizzy Gillespie Sextet” – New York, February 28, 1945Groovin' high, Dizzy atmosphereDizzy Gillespie (tp) Charlie Parker (as) Clyde Hart (p) Remo Palmieri (g) Slam Stewart (b) Cozy Cole (d) “Dizzy Gillespie And His All Star Quintet” – New York, May 11, 1945Salt peanuts (dg,ens vcl),Dizzy Gillespie (tp,vcl) Charlie Parker (as) Al Haig (p) Curly Russell (b) Sidney Catlett “Shaw ‘Nuff” – New York, May 15, 1946Oop Bop Sha BamDizzy Gillespie (tp, vo) Sonny Stitt (as) Milt Jackson (vib) Al Haig (p) Ray Brown (b) Kenny Clarke (d) Gil Fuller, Alice Roberts (vo) THELONIOUS MONK “Thelonious Monk Trio” – New York, October 24, 1947Ruby my dear, Well you needn't, Off minorThelonious Monk (p) Gene Ramey (b) Art Blakey (d) “Thelonious Monk Quintet” – New York, November 21, 1947Monk's mood, ‘Round midnight George Tait (tp) Sahib Shihab (as) [aka Edmund Gregory (as) ] Thelonious Monk (p) Bob Paige (b) Art Blakey (d) “BUD POWELL TRIO” Linden, NJ, August 1949I'll remember April, Somebody loves me, I should careBud Powell (p) Curly Russell (b) Max Roach (d) New York, May 1, 1951Un poco locoBud Powell (p) Curly Russell (b) Max Roach (d) Continue reading Puro Jazz 04 de noviembre, 2024 at PuroJazz.

CHARLIE PARKER “Charlie Parker's Reboppers” – New York, November 26, 1945Ko-ko (2,3), Billie's bounce (1,3), Now's the time (1,3)Miles Davis (tp-1) Dizzy Gillespie (tp-2,p-3) Charlie Parker (as) Argonne Thornton (p-4) “Charlie Parker All Stars” – New York, May 8, 1947Donna LeeMiles Davis (tp) Charlie Parker (as) Bud Powell (p) Tommy Potter (b) Max Roach (d) “CHICAGO RHYTHMDIZZY GILLESPIEKINGS” “Dizzy Gillespie Sextet” – New York, February 28, 1945Groovin' high, Dizzy atmosphereDizzy Gillespie (tp) Charlie Parker (as) Clyde Hart (p) Remo Palmieri (g) Slam Stewart (b) Cozy Cole (d) “Dizzy Gillespie And His All Star Quintet” – New York, May 11, 1945Salt peanuts (dg,ens vcl),Dizzy Gillespie (tp,vcl) Charlie Parker (as) Al Haig (p) Curly Russell (b) Sidney Catlett “Shaw ‘Nuff” – New York, May 15, 1946Oop Bop Sha BamDizzy Gillespie (tp, vo) Sonny Stitt (as) Milt Jackson (vib) Al Haig (p) Ray Brown (b) Kenny Clarke (d) Gil Fuller, Alice Roberts (vo) THELONIOUS MONK “Thelonious Monk Trio” – New York, October 24, 1947Ruby my dear, Well you needn't, Off minorThelonious Monk (p) Gene Ramey (b) Art Blakey (d) “Thelonious Monk Quintet” – New York, November 21, 1947Monk's mood, ‘Round midnight George Tait (tp) Sahib Shihab (as) [aka Edmund Gregory (as) ] Thelonious Monk (p) Bob Paige (b) Art Blakey (d) “BUD POWELL TRIO” Linden, NJ, August 1949I'll remember April, Somebody loves me, I should careBud Powell (p) Curly Russell (b) Max Roach (d) New York, May 1, 1951Un poco locoBud Powell (p) Curly Russell (b) Max Roach (d) Continue reading Puro Jazz 04 de noviembre, 2024 at PuroJazz.

CANNONBALL ADDERLEY “PARIS 1960” Paris, France, November 25, 1960Bohemia after dark, JeannineNat Adderley (cnt) Cannonball Adderley (as) Victor Feldman (p) Sam Jones (b) Louis Hayes (d) JOHN COATES, JR. “PORTRAIT” New York, November 17, 1955 & April 23, 1956 (1)Let's get lost, Love is the sweetest thing, Coates oats (1)John Coates, Jr. (p) Wendell Marshall (b) Kenny Clarke (d) OLIVER NELSON, f/ KENNY DORHAM “MEET OLIVER NELSON” Englewood Cliffs, NJ, October 30, 1959Jams and jellies, Passion flower, Booze blues babyKenny Dorham (tp) Oliver Nelson (ts) Ray Bryant (p) Wendell Marshall (b) Art Taylor (d) Continue reading Puro Jazz 22 de agosto, 2024 at PuroJazz.

CANNONBALL ADDERLEY “PARIS 1960” Paris, France, November 25, 1960Bohemia after dark, JeannineNat Adderley (cnt) Cannonball Adderley (as) Victor Feldman (p) Sam Jones (b) Louis Hayes (d) JOHN COATES, JR. “PORTRAIT” New York, November 17, 1955 & April 23, 1956 (1)Let's get lost, Love is the sweetest thing, Coates oats (1)John Coates, Jr. (p) Wendell Marshall (b) Kenny Clarke (d) OLIVER NELSON, f/ KENNY DORHAM “MEET OLIVER NELSON” Englewood Cliffs, NJ, October 30, 1959Jams and jellies, Passion flower, Booze blues babyKenny Dorham (tp) Oliver Nelson (ts) Ray Bryant (p) Wendell Marshall (b) Art Taylor (d) Continue reading Puro Jazz 22 de agosto, 2024 at PuroJazz.

Longtime sax player with Basie's band, Wess was a dependable sideman and section player who was also one of the first great jazz flute players. Here, he displays his tenor sax and flute on three sessions - one with Kenny Clarke for Riverside (with Henry Coker, Charlie Fowlkes and Milt Jackson - on piano!), one for Jazztone with Urbie Green (strange bedfellows - Ruby Braff, Med Flory, Freddie Green, Sir Charles Thompson) and one track from the Joe Newman session for Vanguard with Frank Foster, Matthew Gee and Johnny Acea. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

Three great sessions by the pioneering bebop drummer when he was visiting the US from his home in Europe. The first was in Hollywood and features saxophonists Frank Morgan and Walter Benton along with Milt Jackson and Gerald Wiggins. The second is in NY with the Kenny Clarke-Ernie Wilkins Septet featuring the alto and tenor of Wilkins as well as his swinging arrangements and compositions (and Cecil Payne, George Barrow, Eddie Bert and Hank Jones). In between is the last - the 1955 Savoy session that represented the debut of the Adderleys - Cannonball and Nat, along with Jerome Richardson, Donald Byrd and Horace Silver. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

Tonight's Jazz Feature is an indirect tribute to my late Mother, whose Birthday Anniversary is today: May 20. This album was one of her favorites. It is a classic by the great vibist and Modern Jazz pioneer, Milt Jackson. Jackson and his co-star here is flutist and tenor saxophonist Frank Wess. Wess of course is one of the great practitioners of Jazz flute. The rhythm section is superb and led by Hank Jones on piano and indeed he's one of the finest. Eddie Jones (no relation to Hank) is solid on bass and Kenny Clarke is his usual masterful self on drums. All of this was recorded for Savoy Records on October 28, 1955 and it's one of Milt Jackson's many gems and is tonight's Jazz feature. Enjoy!

FRANK FOSTER QUINTET NEW FACES, NEW SOUNDS Hackensack, N.J., May 5, 1954Gracias, How I spent the night, Blues for Benny, Out of nowhere Benny Powell (tb) Frank Foster (ts) Gildo Mahones (p) Percy Heath (b) Kenny Clarke (d) AARON PARKS INVISIBLE CINEMA Brooklyn, NY, January 20-22, 2008Travelers (mm out), Nemesis (1,2), Riddle me this, PraiseAaron Parks (p,mellotron-1,glockenspiel-1,keyboards-2) Mike Moreno (g) Matt Penman (b) Eric Harland (d) ROBERT HURST UNREHURST, VOLUME 2 – LIVE “SMOKE” New York, March 16 & 17, 2007I love youRobert Glasper (p) Robert Hurst (b) Chris Dave (d) Continue reading Puro Jazz 13 Mayo 2024 at PuroJazz.

FRANK FOSTER QUINTET NEW FACES, NEW SOUNDS Hackensack, N.J., May 5, 1954Gracias, How I spent the night, Blues for Benny, Out of nowhere Benny Powell (tb) Frank Foster (ts) Gildo Mahones (p) Percy Heath (b) Kenny Clarke (d) AARON PARKS INVISIBLE CINEMA Brooklyn, NY, January 20-22, 2008Travelers (mm out), Nemesis (1,2), Riddle me this, PraiseAaron Parks (p,mellotron-1,glockenspiel-1,keyboards-2) Mike Moreno (g) Matt Penman (b) Eric Harland (d) ROBERT HURST UNREHURST, VOLUME 2 – LIVE “SMOKE” New York, March 16 & 17, 2007I love youRobert Glasper (p) Robert Hurst (b) Chris Dave (d) Continue reading Puro Jazz 13 Mayo 2024 at PuroJazz.

M

CHARLES MCPHERSON REVERENCE Smoke Jazz Club, NYC, lanzamiento 26 abril, 2024.Surge, Blues for Lonnie in ThreeCharles McPherson (sa) Terell Stafford (t) Jeb Patton (p) David Wong (b) Billy Drummond (dr) PHINEAS NEWBORN, JR. HERE IS PHINEAS New York, May 3-4, 1956Celia, Newport blues (p solo), Daahoud (1), Afternoon in Paris (1)Phineas Newborn, Jr. (p) Calvin Newborn (g-1) Oscar Pettiford (b) Kenny Clarke (d) GENE AMMONS / SONNY STITT GENE AMMONS BAND New York, March 5, 1950Blues up and down, You can depend on me, New Blues up and down, Bye bye (1)Bill Massey (tp-1) Eph Greenlea (tb-1) Gene Ammons (ts) Sonny Stitt (ts,bar) Duke Jordan (p) Tommy Potter (b) Jo Jones (d) New York, October 28, 1950Stringin' the jug (pt 1)(pt 2), A lover is blue (ss out)Gene Ammons, Sonny Stitt (ts) Junior Mance (p) Eugene Wright (b) Wesley Landers (d) Continue reading Puro Jazz 07 Mayo 2024 at PuroJazz.

CHARLES MCPHERSON REVERENCE Smoke Jazz Club, NYC, lanzamiento 26 abril, 2024.Surge, Blues for Lonnie in ThreeCharles McPherson (sa) Terell Stafford (t) Jeb Patton (p) David Wong (b) Billy Drummond (dr) PHINEAS NEWBORN, JR. HERE IS PHINEAS New York, May 3-4, 1956Celia, Newport blues (p solo), Daahoud (1), Afternoon in Paris (1)Phineas Newborn, Jr. (p) Calvin Newborn (g-1) Oscar Pettiford (b) Kenny Clarke (d) GENE AMMONS / SONNY STITT GENE AMMONS BAND New York, March 5, 1950Blues up and down, You can depend on me, New Blues up and down, Bye bye (1)Bill Massey (tp-1) Eph Greenlea (tb-1) Gene Ammons (ts) Sonny Stitt (ts,bar) Duke Jordan (p) Tommy Potter (b) Jo Jones (d) New York, October 28, 1950Stringin' the jug (pt 1)(pt 2), A lover is blue (ss out)Gene Ammons, Sonny Stitt (ts) Junior Mance (p) Eugene Wright (b) Wesley Landers (d) Continue reading Puro Jazz 07 Mayo 2024 at PuroJazz.

Tonight's Jazz Feature has been an important part of tonight's Christmas Jazz Show for many years and tradition will continue with the famous and lasting Christmas Eve (1954) recording session with the Miles Davis All-Stars. It's sometimes known as the "Bags' Groove Session" as that tune written by Milt Jackson is the opener. The All-Stars are of course, Miles Davis on trumpet, Milt Jackson on vibes, Thelonious Monk on piano, Percy Heath on bass and Kenny Clarke on drums. Four tunes were recorded and the session has gone into Jazz History as a very important document and timeless music. The men creating this music were just playing what they always played doing it so very well. The tunes are "Bags' Groove by Milt Jackson, Bemsha swing by Thelonious Monk, The Man I Love by the Gershwin Brothers, and Miles Davis', Swing Spring. The spirit of Christmas seems to be evident throughout the session without any actual reference to Christmas music, There will be more tributes to Christmas tonight so when the big day rolls around..... Merry Christmas to Jazz fans everywhere and to a brighter 2024.

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

M

M

The great trumpeter and tenor saxophonist were on tour with Benny Goodman's Sextet (which never recorded) in the spring of 1950 and were engaged, singly and together, for three recording dates for Vogue. Joined by Goodman bandmates Dick Hyman and Ed Shaughnessy on one session and Gerald Wiggins and Kenny Clarke on the other two (with Pierre Michelot on all sides), Eldridge and Sims created a prototype for mainstream jazz! --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

▪ Kenny Clarke: 52nd Street Theme ▪ Lee Morgan: Party Time ▪ John Coltrane: Blue Train ▪ Ornette Coleman: The Circle With A Hole In The Middle ▪ Chet Baker: That Old Feeling ▪ Herbie Hancock: Speak Like A Child … Lees verder →

Musicians include: Dizzy Gillespie, Charlie Parker, Bud Powell, Kenny Clarke, Leo Parker, Gerald Wiggins and Thelonious Monk. Works include: April In Paris, Coast To Coast, Fluid Drive, Limehouse Blues, Bye Bye and No Figs. 

M

M

M

Hun blev barnestjerne, da hun som otteårig sammen med faren Otto Hænning sang "Giftes med farmand". Senere fulgte en succesfuld schlager-karriere i Tyskland, som mange stadig vil associere hende med. Men det har altid været jazzen, Gitte Hænning brændte for - og det kan høres. I dag sætter Ida Rud spotlyset på hendes forrygende jazzflair med udgangspunkt i albummet Out Of This World fra 1969. Vært: Ida Rud. www.dr.dk/p8jazz (sendt første gang den 28. januar.)

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

Miles on the side - Miles Davis recording as a sideman in the 1950's with Lee Konitz, Al Cohn and Cannonball Adderley - with Sal Mosca, Billy Bauer, Max Roach, Kenny Clarke, Art Blakey, Zoot Sims, Sonny Truitt, Hank Jones, John Lewis and others! --- Support this podcast: https://anchor.fm/john-clark49/support

• Intro to the topic - part 3 of in the series on "Greatest Label of All-Time"• Blue Note - the label that brought the "cool" and "vibe" of jazz to the world (Thelonious Monk, Bud Powell, Art Blakey, John Coltrane, Horace Silver, Grant Green, Herbie Hancock, Miles Davis, Kenny Clarke, Freddie Roach and more) and its revival including Norah Jones and Amos Lee.• Island Records - with legends like Jimmy Cliff, Toots, Bob Marley & The Wailers, Richard Thompson, John Martyn, Cat Stevens, Nick Drake and U2.

• Intro to the topic - part 3 of in the series on "Greatest Label of All-Time"• Blue Note - the label that brought the "cool" and "vibe" of jazz to the world (Thelonious Monk, Bud Powell, Art Blakey, John Coltrane, Horace Silver, Grant Green, Herbie Hancock, Miles Davis, Kenny Clarke, Freddie Roach and more) and its revival including Norah Jones and Amos Lee.• Island Records - with legends like Jimmy Cliff, Toots, Bob Marley & The Wailers, Richard Thompson, John Martyn, Cat Stevens, Nick Drake and U2.

Synopsis On today's date in 1907, the "Pomp and Circumstance" March No. 4 by Sir Edward Elgar had its premiere performance in London. Say "Pomp and Circumstance" to most people and they will start humming the tune of Number One, later set to words as "Land of Hope and Glory." That march accompanied many of us down the aisle at our high school or college graduations. In all, Elgar composed five "Pomp and Circumstance" marches, and meant to write a sixth, but just never got around to it. No. 1 is the most familiar, but No. 4 runs a close second, with another very noble, very British main tune. During World War II, Sir Alan Herbert fitted his "Song of Freedom" to this music and with its opening line of "All men must be free," it became an unofficial alternate British national anthem. Meanwhile on these shores, we note that one of America's classic chamber jazz ensembles was founded on today's date in 1951 in New York City , when the Modern Jazz Quartet was formed by pianist John Lewis, vibraphonist Milt Jackson, bassist Percy Heath, and drummer Kenny Clarke. Under the direction of Lewis, the Quartet fused jazz improvisation with classical forms and Baroque counterpoint. Instead of playing in smoky bars, MJQ made a point of playing in concert halls and even wore tuxes, asking audiences to afford their chamber jazz the same attention and respect usually reserved for classical music. Music Played in Today's Program Sir Edward Elgar (1857 - 1934) –Pomp and Circumstance (No. 4 London Philharmonic; Daniel Barenboim, cond.) Sony Classical 60789 Milt Jackson (1923 - 1999) –Blues in c (Modern Jazz Quartet) Atlantic 1652

Rencontre avec David Linx pour évoquer son parcours, le jazz, la vie, ses rencontres exceptionnelles - d'Ella Fitzgerald aux invités de cet album en passant par Kenny Clark, James Baldwin et bien d'autres - et son nouvel album Be my guest.David Linx est une personnalité étonnante. Son approche du jazz et de la vie, sa créativité et sa curiosité, sa liberté, son audace, ses réflexions sur le monde, ses propres remises en question, la dynamique de son esprit toujours en mouvement, ses engagements qu'il traduits dans sa façon de vivre et de créer, tout cela a de quoi intriguer. On sent que ce qui l'anime a été façonné de longue date, que c'est le fruit de multiples expériences, réflexions et dialogues et que rien n'est figé : le socle est solide mais l'esprit créatif bouillonne et célèbre toujours l'ouverture. Je ne vous en dis pas plus, écoutez l'interview pour découvrir son univers.David Linx a reçu récemment le prix Octave d'Honneur en Belgique pour l'ensemble de sa carrière, le prix Edison pour le meilleur album de l'année (Brel avec le Brussels Jazz Orchestra) et a été de nombreuses fois récompensé en France : prix Charles Cros, prix de l'Académie du Jazz, Victoires du Jazz. Skin In The Game son dernier opus de compositions originales chantées en anglais, a réuni un combo de leaders avec Gregory Privat au piano, Chris Jennings à la contrebasse, Arnaud Dolmen à la batterie et en invité de luxe Manu Codjia à la guitare. Entre ballades et titres plus rythmés, deux morceaux agrémentés de poèmes dits par Marlon Moore rajoutent une couleur de plus et rappellent le premier sublime album réalisé par David Linx avec l'écrivain James Baldwin en 1987. Skin In The Game, sorti en 2020 fut chaleureusement accueilli par les médias (Approved by Jazz Magazine, Choc Jazz Magazine) et vivement récompensé ( Les Victoires du Jazz 2019, l'Académie du Jazz, Coup de Cœur Charles Cros).“Ce projet est venu à moi très naturellement tel un inventaire qui se réclame, un peu comme si je retournais à l'école. Il est un hommage à la transmission, à l'esprit de curiosité indissociable et indispensable à cet apprentissage par soi-même.Ces duos sont une façon de continuer à évoluer encore et toujours et me rappellent ma jeunesse lorsque je me ruais sur tout ce que je ne connaissais pas, avec une curiosité qui est toujours intacte." David LinxÉcouter / Acheter l'album :Sur le site de CristalProdSur Apple Music Sur Spotify Sur DeezerVoir les clips et autres vidéos sur la chaîne YouTube de David LinxLa page Facebook de David LinxSo Sweet Planet, un site et un podcast indépendants !Soutenez mon travail sur Patreon, accédez à vos contenus exclusifs et vos épisodes sans publicité :https://www.patreon.com/sosweetplanet Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Sidney Bechet in Paris 1949, 52 and 57 . . all sessions featuring Bechet on soprano as the only horn, with Lil Armstrong, Zutty Singleton, Eddie Bernard, Pierre Michelot, Kenny Clarke, Al Leavitt, Martial Solal --- Support this podcast: https://anchor.fm/john-clark49/support

"I Takes A Whole Lot Of Human Feeling" Carmen McRae: A Whole Lot Of Human Feeling (Groove Merchant Label, 1973) Carmen McRae, Joe Pass, Dick Shreve, Ray Brown, Larry Bunker, Frank Severino. El tema es obra de Micki Grant. ¿Sabías que? Carmen McRae nació en Harlem el 8 de abril de 1922 según algunas fuentes. En algunos otros sitios el año que se señala es 1920. Sea cual sea el año de nacimiento, sus padres eran inmigrantes jamaicanos. Su verdadero nombre fue Carmen Mercedes McRae. Comenzó a estudiar piano a los ocho años. En su casa escuchó a algunos gigantes del jazz como Louis Armstrong o Duke Ellington. Según algunas fuentes, ganó un concurso en el Apollo Theatre en 1939. Llamó la atención de Teddy Wilson por medio de su esposa Irene. Gracias a esta arreglista y compositora, en 1939 Billie Holiday grabó la composición de Carmen McRae "Dream of Life". McRae consideró durante toda su carrera a Billie Holiday como su influencia principal. En sus inicios como trabajadora fue pianista en el Minton's Playhouse, corista y trabajó como secretaria en una agencia gubernamental en Washington. En esa época conoció a figuras importantes como Dizzy Gillespie, Oscar Pettiford o Kenny Clarke, con quien se casó. En 1944 colabora con las big band de Benny Carter y Count Basie. Anteriormente hizo una audición para Benny Goodman, pero no colaboró con el clarinetista, porque le dijo que volviera cuando tuviera más experiencia. También trabajará como pianista de la Mercer Ellington Band. Será la primera ocasión en la que graba, aunque no con su apellido, sino con el de su marido, por lo que aparece acreditada como Carmen Clarke. En 1948 se traslada a Chicago, acompañando a George Kirby (un comediante), de quien se había enamorado. En la ciudad del viento y una vez finaliza esta relación, trabaja como pianista y cantante en el Archway Lounge. A principios de la década de los 50 regresa a Nueva York. Es en esos momentos cuando consigue un contrato discográfico y lanza definitivamente su carrera. Aunque habían vivido separados, todavía no se había divorciado de Kenny Clarke. Lo hará en 1956. Posteriormente se casará con el contrabajista Ike Isaacs a finales de los años 50. En su carrera musical colaboró con Dave Brubeck, Louis Armstrong, Benny Carter, George Shearing. En su obra discográfica hay homenajes a Billie Holiday (como no podía ser de otro modo), Thelonious Monk, Sarah Vaughan o Nat King Cole. Tuvo a lo largo de su carrera una larga trayectoria como cantante de clubs, a lo largo de más de cinco décadas. En la década de los años 60 su fama era internacional y se convirtió en una de las cantantes de jazz más veneradas en Japón. Actuó en múltiples ocasiones en el Monterey Jazz Festival y en los festivales de mayor renombre. Fue nominada en siete ocasiones a los Premios Grammy, aunque en ninguna de esas ocasiones logró el gramófono dorado. Abandonó su vida pública como cantante en 1991. Finalmente, falleció en 1994. Juan F. Trillo dedicó a la cantante la segunda entrega de su sección Tomajazz Remembers: https://www.tomajazz.com/web/?p=59263 Luis Escalante Ozalla le dedicó sendos programas de La Odisea de la Música Afroamericana: https://www.tomajazz.com/web/?p=50059 / https://www.tomajazz.com/web/?p=50139 © Pachi Tapiz, 2022 En anteriores episodios de JazzX5/HDO/LODLMA/Maltidos Jazztardos/Tomajazz Remembers… https://www.tomajazz.com/web/?p=62511 https://www.tomajazz.com/web/?p=62266 https://www.tomajazz.com/web/?p=62200 https://www.tomajazz.com/web/?p=61576 https://www.tomajazz.com/web/?p=47859 https://www.tomajazz.com/web/?p=59944 https://www.tomajazz.com/web/?p=60399 Más información sobre Carmen McRae https://www.carmenmcrae.com/ https://www.tomajazz.com/web/?s=mcrae&submit=Search Más información sobre JazzX5 JazzX5 es un minipodcast de HDO de la Factoría Tomajazz presentado, editado y producido por Pachi Tapiz. JazzX5 comenzó su andadura el 24 de junio de 2019. Todas las entregas de JazzX5 están disponibles en https://www.tomajazz.com/web/?cat=23120 / https://www.ivoox.com/jazzx5_bk_list_642835_1.html. Las sugerencias, quejas, felicitaciones, opiniones y el contacto en general en jazzx5 @ tomajazz.com También por WhatsApp en el teléfono de contacto. JazzX5 y los podcast de Tomajazz en Telegram En Tomajazz hemos abierto un canal de Telegram para que estés al tanto, al instante, de los nuevos podcast. Puedes suscribirte en https://t.me/TomajazzPodcast. Pachi Tapiz en Tomajazz https://www.tomajazz.com/web/?cat=17847

"I Remember April" Duke Jordan Trio: Two Loves (Steeplechase, 1973) ¿Sabías que? Duke Jordan nació el 1 de abril de 1922 en Brooklyn. Su nombre fue Irving Sidney Jordan. El apodo se debe a su admiración por Duke Ellington. Estudió piano durante su infancia y adolescencia: sus inicios profesionales fueron en 1933. En la década de los años 40 del siglo XX trabajó con Coleman Hawkins, Charlie Parker (entre 1946-1948, a quien acompañó en sus sesiones para el sello Dial), Roy Eldridge y Stan Getz. En la década de los 50 toca junto a Oscar Pettiford, Cecil Payne y Gene Ammons. En 1956 toca en Suecia con Rolf Ericson, en Francia con Kenny Clarke y Kenny Dorham. Compone en parte la música de la banda sonora Les Liasons Dangereuses en ese mismo año. Entre 1952 y 1962 estuvo casado con la cantante Sheila Jordan. Durante unos años abandonó su carrera musical. En los años 70 retomó su labor como pianista y se instala en Copenhague. Allí grabará en la discográfica danesa Steeplechase. Además de un buen puñado de discos, graba la primera referencia de este sello. En esa década graba más de veinte referencias en este sello. El 8 de agosto de 2006 falleció en Copenhague. © Pachi Tapiz, 2022 En anteriores episodios de JazzX5/HDO/LODLMA/Maltidos Jazztardos/Tomajazz Remembers… https://www.tomajazz.com/web/?p=62266 https://www.tomajazz.com/web/?p=62200 https://www.tomajazz.com/web/?p=61576 https://www.tomajazz.com/web/?p=47859 https://www.tomajazz.com/web/?p=59944 https://www.tomajazz.com/web/?p=60399 Más información sobre Duke Jordan https://www.allmusic.com/artist/duke-jordan-mn0000147245/biography Más información sobre JazzX5 JazzX5 es un minipodcast de HDO de la Factoría Tomajazz presentado, editado y producido por Pachi Tapiz. JazzX5 comenzó su andadura el 24 de junio de 2019. Todas las entregas de JazzX5 están disponibles en https://www.tomajazz.com/web/?cat=23120 / https://www.ivoox.com/jazzx5_bk_list_642835_1.html. Las sugerencias, quejas, felicitaciones, opiniones y el contacto en general en jazzx5 @ tomajazz.com También por WhatsApp en el teléfono de contacto. JazzX5 y los podcast de Tomajazz en Telegram En Tomajazz hemos abierto un canal de Telegram para que estés al tanto, al instante, de los nuevos podcast. Puedes suscribirte en https://t.me/TomajazzPodcast. Pachi Tapiz en Tomajazz https://www.tomajazz.com/web/?cat=17847

Five decades after David Bowie's seminal tour, we reflect on the concerts that have left a mark.Billie HolidayCafé Society, New York City, early 1939The 23-year-old Billie Holiday was mostly unknown outside the jazz loop when she began her 1939 residency at this liberal New York club. Her understated, delicately implacable debut of Strange Fruit, a terrifying depiction of lynchings in the south, made a unique new vocal sound famous worldwide. The birth of bebopMinton's Playhouse, New York City, 1941Rising young originals such as Charlie Parker, Dizzy Gillespie and the guitarist Charlie Christian lived off commercial swing gigs in 1941, but they forged the revolutionary modern jazz style called bebop in tumultuous after-hours Harlem jam sessions, where Thelonious Monk and the drums innovator Kenny Clarke were in the house band. Buddy Holly and the CricketsUK tour, March 1958Britain had never seen a rock band before March 1958. Then, for 25 consecutive nights, came the first true rock band – guitar, bass and drums, a revolution in horn-rimmed specs. A schoolboy Keith Richards caught a London show, but many more future stars would see Buddy Holly on TV during his visit, when he appeared on Sunday Night at the London Palladium. Sister Rosetta Tharpe and Muddy WatersWhalley Range, Manchester, 7 May 1964It was the brilliant idea of the Granada TV producer Johnnie Hamp to film a selection of blues greats in south Manchester's derelict Wilbraham Road railway station, mocked up to looked like the deep south, with “wanted” posters, washtubs and even goats and chickens. About 200 people arrived by rail to see the Gospel and Blues Train: Sister Rosetta Tharpe, Muddy Waters, Sonny Boy Williamson, Cousin Joe, Otis Spann and the duo Sonny Terry & Brownie McGhee giving intense performances on the platform. Waters was mobbed by blues-mad youngsters. Tharpe arrived in a pony and trap and seized the opportunity presented by a Mancunian downpour to strap on an electric guitar and launch spontaneously into Didn't It Rain? Countless musicians, including Mick Jagger, Jimmy Page and John Paul Jones, subsequently told Hamp they were influenced by the show, which broadcast to millions and was instrumental in taking the blues explosion to the mainstream. Bob DylanNewport folk festival, Rhode Island, 25 July 1965 It was a Sunburst Fender Stratocaster that stole the show at Newport in 1965. Dylan's decision to play an electric guitar on a largely acoustic bill stunned the crowd, with many booing and jeering. Audiences for his world tour were similarly polarised, one disgruntled heckler in Manchester yelling: “Judas!” at the former folk hero. Essentially, it was the birth of folk rock – the real-time expansion of a genre. Frankie Valli and the Four SeasonsFranklin & Marshall College, Pennsylvania, 1966A show in a college gym was the breakthrough that made arena rock possible. The PA system supplied by the Clair brothers so impressed Valli that he took them on tour as his personal sound engineers. Other artists noticed the quality and soon they were in demand. Their sound systems spurred rock's spread to the big halls. The Velvet UndergroundThe Dom, New York City, 7 April 1966A former Polish wedding hall hosted the birth of the Exploding Plastic Inevitable. Andy Warhol showed films and worked the lights, his “superstars” danced and the Velvet Underground played at a volume witnesses tended to describe in terms of violence: rock music as envelopment and sensory assault. The BeatlesCandlestick Park, San Francisco, 29 August 1966The Beatles' final real gig wasn't a great show. The stadium was half-empty, the band at the end of their tether, struggling to recreate the sound of their latest recordings. But it represented a shift in rock music: no more Beatles gigs meant more time in the studio – and albums that would change everything, again. The 14 Hour Technicolor DreamAlexandra Palace, London, 29 April 1967British counterculture's coming-out ball. Every one of the country's psychedelic luminaries played – Pink Floyd, Soft Machine, Tomorrow and the Pretty Things among them. Performance art was provided by Yoko Ono, while the sense that the audience was as much part of the spectacle as the artists presaged 80s rave culture. Big Brother and the Holding CompanyJanis Joplin as part of Big Brother and the Holding CompanyJanis Joplin at Monterey as part of Big Brother and the Holding Company. Monterey pop festival, California, 17 June 1967Arriving at Monterey with a lesser-known San Francisco psychedelic bluesy rock band, 24-year-old Janis Joplin gleefully demolished every stereotype of the “demure” female singer. The hard-living, hard-rocking Texan's raucous, gut-wrenching performance attracted international attention and has been described as one of the greatest ever. Terry RileyPhiladelphia College of Art, 17 November 1967Not the birth of minimalism, but certainly its breakthrough. Riley's eight-hour set of tape manipulation and organ pulses, played to an audience seated on hammocks and cushions, generated an early recording of his classic Poppy Nogood and set the pace for electronic experimentalism in chill-out environments decades ahead. James Brown‘Are we together or we ain't?' James Brown calms stage invaders on 5 April 1968.Boston Garden, 5 April 1968The night after the assassination of Martin Luther King, violent protests spread across many US cities. In Boston, Brown's show was almost cancelled for fear it might become a hotspot for public outcry. Instead, the show was repurposed: broadcast live on TV and radio in an effort to ease the grief and tension. Fans climbed on stage as he sang I Can't Stand Myself (When You Touch Me); police officers rallied. Brown paused the song. “I'll be fine,” he told the officers, then turned to the stage invaders: “You're not being fair to yourselves and me, or your race. Now, I asked the police to step back, because I think I can get some respect from my own people … Are we together or we ain't?” The crowd cheered. The fans climbed down. Brown turned to the drummer: “Hit that thing, man.” Mahalia Jackson and Mavis StaplesHarlem cultural festival, New York City, 13 July 1969Effectively buried until the 2021 documentary Summer of Soul resurrected its memory, the 1969 Harlem cultural festival was possibly the greatest selection of black talent ever assembled, from Sly Stone and Stevie Wonder to Nina Simone. If you had to pick a highlight, Mahalia Jackson and Mavis Staples' charged performance of Take My Hand, Precious Lord might be it. Jimi HendrixJimi Hendrix at WoodstockWoodstock festival, New York, 18 August 1969Often cited as the gig that defined the 60s, the countercultural festival attracted half a million people to upstate New York. Hendrix's deconstruction of The Star-Spangled Banner was interpreted as a protest at the Vietnam war, while “three days of peace and love” showed that people power could change history. The WhoThe University of Leeds, 14 February 1970A Leeds Civic Trust blue plaque outside the university's refectory now honours the site of the incendiary live performance of the post-Tommy, Keith Moon-era Who captured on Live at Leeds, often cited as the greatest live rock album. Elton JohnThe Troubadour, Los Angeles, 25 August 1970Not quite overnight success, but close: Elton John walked on to the stage of a celebrity-packed Troubadour a largely unknown British singer-songwriter, and walked off it a star. Aside from the music, a backstage decision to wear an outrageous outfit and a burst of energetic showmanship midway through the gig helped: two lessons he has never forgotten. BB KingCook County jail, 10 September 1970Two years after Johnny Cash's turn at Folsom prison, the blues legend King performed in Chicago to an audience of 2,000 prisoners, mostly young and black. A subsequent live album highlighted the dire conditions at the jail, helping bring about prison reform, which became a lifelong cause for King. Aretha Franklin at Fillmore West5-7 March 1971Franklin's appearance at Fillmore West wasn't a star-making performance – she was already very much a star – but it featured the Queen of Soul at the peak of her powers, actively seeking to build a bridge to a post-hippy audience, covering Stephen Stills, Bread and the Beatles. Judging by the crowd's reaction, it worked. David BowieHammersmith Odeon, London, 3 July 1973The moment when David Bowie appears to announce his retirement during this show is astonishing: the crowd's screams become a vast howl of disappointment, peppered with yells of “No!” Did he mean it? Bob Marley & the WailersThe Lyceum, London, 17-18 July 1975Probably the most dynamic and exhilarating reggae concerts ever. Perhaps more importantly, the presentation was familiar enough to the rock establishment to allow them to feel comfortable with roots reggae. The Last WaltzWinterland Ballroom, San Francisco, 25 November 1976This Thanksgiving Day show was billed as the Band's “farewell concert appearance”. Sex PistolsRiver Thames, 7 June 1977Mick Smith, Consultant M: (619) 227.3118 E: mick.smith@wsiworld.com Commercials Voice Talent:https://www.spreaker.com/user/7768747/track-1-commercials Narratives Voice Talent:https://www.spreaker.com/user/7768747/track-2-narrativesDo you want a free competitive analysis? Let me know at:https://hubs.ly/Q0139TgJ0Website:https://www.wsiworld.com/mick-smithLinkedIn:https://www.linkedin.com/company/wsi-smith-consulting/Make an appointment:https://app.hubspot.com/meetings/mick-smithBe sure to subscribe, like, & review The Doctor of Digital™ Podcast:https://www.spreaker.com/show/g-mick-smith-phds-tracksSign up for the Doctor Up A Podcast course:https://doctor-up-a-podcast.thinkific.com/

Rudy Van Gelder aveva allestito il suo primo studio di registrazione nel soggiorno della casa dei genitori, ad Hackensack, in New Jersey: a guardare le date di registrazione di alcune storiche incisioni del jazz moderno, bisogna dire che nei giorni prima di Natale del '54 in quello studio casalingo - e così importante nella storia del jazz - c'era decisamente un bel traffico. Il 24 dicembre, come abbiamo visto due puntate fa, Miles Davis incide alla testa di un gruppo con Thelonious Monk al piano, Milt Jackson al vibrafono, Percy Heath al contrabbasso e Kenny Clarke alla batteria; ma Jackson, Heath e Clarke erano stati al Van Gelder Studio anche il giorno prima, assieme al pianista John Lewis, come membri del Modern Jazz Quartet, che il 23 dicembre del '54 realizzò alcune tra le sue più classiche incisioni, fra cui Django, magnifica composizione di Lewis. Anni dopo, nel '71, il fortunato quartetto tenne il suo annuale concerto alla Town Hall di New York la vigilia di Natale, e in quella occasione regalò ai suoi fan un incontro con Paul Desmond, uno dei maggiori e più amati sassofonisti del jazz moderno: John Lewis si preoccupò di documentarlo con una registrazione, e dopo la morte di Desmond pensò di rendere omaggio al sassofonista ricavando dalla registrazione un album.

Fra i grandi inediti di ambito jazzistico venuti alla luce in questi ultimi anni, un posto di rilievo hanno senz'altro due inediti di Stan Getz di cui ci occupiamo in questa e nella prossima puntata. Live in Paris 1959 è stato pubblicato nel 2018 nella collana di grandi concerti parigini Live in Paris a cui ha dato vita Frémeaux et Associés, benemerita etichetta francese con un catalogo straordinario che va dal jazz alla world music alla canzone francese alle grandi interviste agli audiolibri (se volete ascoltare l'Etranger in versione integrale letto da Camus, ecco dove cercarlo). Live in Paris 1959 coglie il grande sassofonista in un momento molto particolare della sua vita e della sua carriera: nel '58 Getz al termine di una tournée decide di trattenersi in Europa - dove rimarrà fino alla fine del '60 - sia per stare vicino alla moglie svedese, sia per cercare di staccare dall'eroina. Dalla Danimarca, dove si stabilisce, si sposta in Europa, e suona con americani di passaggio o espatriati e con musicisti locali. A Parigi Getz è ben lieto di poter avere a fianco un batterista formidabile come Kenny Clarke, uno dei creatori della nuova concezione della batteria nel bebop, che poi nel '56 ha scelto di trasferirsi nella capitale francese. In queste registrazioni effettuate per lo più dal vivo all'Olympia e alcune in studio, Getz oltre che da Clarke è accompagnato da un altro americano ormai parigino di adozione, il chitarrista Jimmy Gourley, e da due francesi specializzati nell'accompagnare grandi jazzisti americani, Martial Solal - il più originale pianista europeo della sua generazione - e il contrabbassista Pierre Michelot, che nel '57 aveva partecipato (come del resto Kenny Clarke) all'incisione a Parigi della musica di Miles Davis per il film Ascensore per il patibolo.

The Jazz Show continues with our annual Christmas tradition as we've done for many years as we present this legendary Christmas Eve (1954) recording session with the Miles Davis All-Stars. The music here is not Christmas music per se but as always it carries the Christmas spirit. Perhaps because the session was held on Christmas Eve or it was just the incandescent sound of Miles Davis' horn or the bell-like vibrations of Milt Jackson's vibraharp.....perhaps a combination of both gives it that Christmas sound. The music here is classic and although the players were merely playing the way they always played, somehow they made the music produced here immortal. Pianist Thelonious Monk adds the spice and edge to the music and bassist Percy Heath is rock solid. Drum pioneer Kenny Clarke is so tasteful and hard swinging in an unobtrusive way that blends beautifully with Miles, Monk and Milt. This music is one of the finest examples of musical chemistry between five Jazz Masters. With this Jazz Feature and along with some other Christmas music heard tonight, that you won't hear in malls, the Jazz Show and myself Gavin Walker with you a very Merry Christmas.