Podcasts about luther henderson

This week's episode is the first in what I hope will be a series featuring vocalists who performed with Duke Ellington, Today's artist is the playful and sophisticated Joya Sherrill (20 August 1924 – 28 June 2010) who, by a series of happy “accidents,” became one of the best-remembered and most enduring of Ellington's songsters while still a teenager. For she was not only a musically- and vocally-gifted singer, she was also a lyricist and composer. She herself composed the lyrics to the Billy Strayhorn classic “Take the ‘A' Train,” as well as another Ellington standard, “Kissing Bug,” she also was the first singer to record “I'm Beginning to See the Light” and numerous other Ellington and Strayhorn standards. Though she left the Ellington Orchestra before 1950, she continued to appear with them in various projects, including his 1957 television extravaganza A Drum Is a Woman (alongside soprano Margaret Tynes), and My People, his 1963 extravaganza commemorating the centenary of the Emancipation Proclamation. She also performed with the Benny Goodman Orchestra on their 1962 tour of Russia, and was the first African American host of a children's television program, Time for Joya (later renamed Joya's Fun School) which began in 1970 and ran in reruns until 1982 on local New York television. In this endeavor she was assisted by another powerhouse Black musician, Luther Henderson, who also arranged and conducted her altogether individual 1959 studio album, Sugar and Spice, which put a sophisticated spin on old Mother Goose rhymes. As late as 1994 she continued to perform and record the music of Duke Ellington and others. Here is an artist whose combination of élan and exuberance is well worth rediscovering and celebrating. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.  

Ruth Brown wins the 1989 Tony Award for Best Actress in a Musical for her performance in Black and Blue. The musical stage play emphasizes black culture with jazz, blues and dance between WWI and WWII. A little history: Originally created at Theatre Musical de Paris. (EXCERPT) https://youtu.be/MidXL4DOzoM Black and blue stage play: Black and Blue (1989 Original Broadway Cast) by Original Broadway cast. Angela Hall, Eugene Fleming; Sir Roland Hanna; Jerome Richardson; Kyme,Bernard Manners, Frederick J. Boothe, Ted Levy, Kevin Ramsey, Claude Williams;Carrie Smith;, Jimmy Slyde, BunnyBriggs; Ruth Brown & Linda Hopkins; Sir Roland Hanna, Haywood Henry, Britt Woodman, Emory Thompson, Grady Tate, Billy Butler; The Musicians DRG (CDSBL19001) photo: theater mania.com Music orchestrated by Sy Johnson; Music arranged by Sy Johnson; Additional arrangements by Luther Henderson; Additional orchestrations by Luther Henderson; Featuring songs by Ellas McDaniel ("I'm a Woman"), W. C. Handy ("St. Louis Blues"), Spencer Williams ("Everybody Loves My Baby", "Royal Garden Blues"), Clarence Williams ("Royal Garden Blues"), J. Turner Layton ("After You've Gone"), Andy Razaf ("If I Can't Sell It, I'll Keep Sittin' on It"), Alex Hill ("If I Can't Sell It, I'll Keep Sittin' on It"), Louis Armstrong ("I Want a Big Butter and Egg Man"), Percy Venable ("I Want a Big Butter and Egg Man"), Jimmy McHugh ("I Can't Give You Anything But Love"), Doc Daugherty ("I'm Confession"), Ellis Reynolds ("I'm Confession"), Duke Ellington ("Black and Tan Fantasy", "Come Sunday", "Daybreak Express", "In a Sentimental Mood", "East St. Louis Toodle-oo", "Mystery Song"), Bubber Miley ("Black and Tan Fantasy", "East St. Louis Toodle-oo"), Jimmie Lunceford ("Rhythm Is Our Business"), Saul Chaplin ("Rhythm Is Our Business"), Porter Grainger ("T'Ain't Nobody's Bizness If I Do"), Everett Robbins ("T'Ain't Nobody's Bizness If I Do"), Thomas "Fats" Waller ("That Rhythm Man", "Black and Blue"), Harry Brooks ("That Rhythm Man"), John Green ("Body and Soul"), Harry Akst ("Am I Blue"), Benny Goodman ("Stompin' at the Savoy"), Chick Webb ("Stompin' at the Savoy"), Edgar Sampson ("Stompin' at the Savoy"), Eubie Blake ("Memories of You"), Leslie Johnakins ("Wednesday Night Hop"), Andy Kirk ("Wednesday Night Hop"), Harold Arlen ("I've Got a Right to Sing the Blues"), Big Maybelle Smith ("Cry Like a Baby"), Sy Johnson ("Swinging") and Leroy Kirkland ("Cry Like a Baby"); Featuring songs with lyrics by Henry Creamer ("After You've Gone"), Ellas McDaniel ("I'm a Woman"), Jack Palmer ("Everybody Loves My Baby"), Andy Razaf ("If I Can't Sell It, I'll Keep Sittin' on It", "That Rhythm Man", "Black and Blue", "Stompin' at the Savoy", source YT/pd/cc enjoy the excerpts! --- Support this podcast: https://anchor.fm/stringer5/support

Today’s episode, the second in my Black History Month series, is a tribute to the extraordinary African American tenor Charles Holland (1909-1987) whose career spanned more than four decades. Early appearances as a vocalist with the band of Luther Henderson and the Hall Johnson Negro Choir led to his Hollywood film debut and to appearances on the Broadway stage. In 1949, frustrated with the lack of career opportunities for an African American tenor, Charles Holland departed for Europe, where he enjoyed a distinguished career. Late in his life he experienced an extraordinary career resurgence through an association with American conductor Dennis Russell Davies, which led to his belated Carnegie Hall solo recital debut in 1982 at the age of 73, as well as serving as the inspiration for Laurie Anderson’s surprise 1981 pop hit, O Superman. Musical excerpts include live and studio recordings over more than 40 years and a wide swath of genres. Countermelody is a new podcast devoted to the glories of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great classical and opera singers of the past and present with the help of guests from the classical music field: singers, conductors, composers, coaches, agents, and voice teachers. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please also visit the Countermelody website for updates, additional content, and to pledge your support. www.countermelodypodcast.com

In this episode of the Tony Sandler Podcast, Tony pays tribute to Luther Henderson, arranger for Polly Bergen, who wrote the closer for the "First 20 Years". We also get the details behind one of Sandler & Young's most famous songs, Mr. Boom Boom. Then Tony opens up about one of the most difficult, and one of the most stressful moments of his career, a moment that almost broke up a duo that was on the verge of taking off. It was their series of performances at the Nevele Hotel, that kept the duo employed. Their performances at that hotel received standing ovations. Big love from everyone, except Lou Walter's, father of Barbara Walters, who didn't give the duo the reaction Tony expected. It was that reaction that almost drove Tony away for good. That's until Val Irving, from the Jackson, Irving and Durante (Jimmy Durante) vaudeville act, took Sandler & Young under his wing. Listen to what happens next in episode 5 of the Tony Sandler Podcast. To learn more and watch the great performances mentioned in this episode, head here: https://www.sandlerandyoung-legacy.com/  

Herbert Smith has had a remarkable career spanning a variety of musical genres.  Originally from Chicago, Herbert spent many years in Southern California prior to his move to São Paulo, Brazil eight years ago. We dig into similarities and differences between the musical scenes of Brazil and the United States, Brazilian musical traditions, language and how it affects the music of a specific culture, Herbert’s interesting life path, business skills, and much more! About Herbert: Herbert D. Smith currently lives in São Paulo, Brazil.  He has had a diverse international performance career for over 20 years, performing with tenor saxophone greats like Eddie Harris, Teddy Edwards, and Buddy Collette, pianists Art Hillery, Harold Land Jr., Ted Jackson, John Wood and George Cables, jazz vocalist Elaine Miles, guitarists Steve Cotter and John Chiodini, Mexican vocal stylist Sandra Valdivia, Capitol Records blues singer Betty Hall Jones, Basie trombonist Jimmie Cheatham, Dr. Ronald V. Myers, great jazz drummers Clayton Cameron of the Tony Bennett and Sammy Davis Jr. bands, the legendary Billy Higgins and Sherman Ferguson. As an orchestra section bassist, he has performed under Maestros Dr. Herbert Blomstedt and Dr. Jon Robertson in the Blomstedt Summer Orchestra, Riverside, California.   Smith also performed with the New American Orchestra in Hollywood under Music Director and Conductor Dr. Luther Henderson, and was Principal Bassist of the Riverside Civic Light Opera Orchestra.  Prior to coming to Brazil, Smith performed World Music for 3 years as house bassist at the Orange County California nightly "hotspot" “ The Caspian “ in Irvine, California. Smith was born and raised in Chicago, Illinois.  He started his music education at the famed Chicago Music College (CMC) of Roosevelt University. CMC former students consisted of Robert Lamm of the rock group "Chicago" and Jazz Saxophonist Steve Coleman of the Thad Jones Mel Lewis Orchestra. Through the advice and recommendation of the late Chicago Symphony Bassist Warren Benfield, Smith traveled to Madison Wisconsin to study with Jazz Bassist Richard Davis at the University of Wisconsin in Madison, then on to Milwaukee with Laura Synder currently with the Milwaukee Symphony. Smith received a scholarship to study in the Jazz Program at Livingston College of Rutgers University in Livingston, New Jersey under the direction of Bassist Larry Ridley.  As a young bassist in his 20's, Smith became the founder of the Los Angeles Bass Violin Choir, a group of prominent Los Angeles area bassists performing special arrangements by Smith and New York bassist Bill Lee. Bill Lee, father of director Spike Lee, and founder of the New York Bass Violin Choir, premiered many unique compositions and arrangements in his son's earlier films. Regular players consisted of Frederick Tinsley, the late Andy Simpkins, Herbie Lewis and George "Red" Callendar, John Heard, and classical double bass extraordinaire Bertram Turetsky. Additional players to perform with the bass choir were bassists Roberto Miranda, James Leary and Alan Jackson. Drummers Sherman Ferguson and Bill Douglass, and Pianist Cecil Lytle also performed with the choir.  Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle! Contrabass Conversations is sponsored by: Kolstein Music The Samuel Kolstein Violin Shop was founded by Samuel Kolstein in 1943 as a Violin and Bow making establishment in Brooklyn, New York. Now on Long Island, over 60 years later, Kolstein’s has built a proud reputation for quality, craftsmanship and expertise in both the manufacture and repair of a whole range of stringed instruments, and has expanded to a staff of twelve experts in restoration, marketing and production. Upton Bass String Instrument Company Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr. Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players. D'Addario Strings This episode is brought to you by D’Addario Strings! Check out their Zyex strings, which are synthetic core strings that produce an extremely warm, rich sound. Get the sound and feel of gut strings with more evenness, projection and stability than real gut.   A440 Violin Shop An institution in the Roscoe Village neighborhood for over 20 years, A440's commitment to fairness and value means that we have many satisfied customers from the local, national, and international string playing communities. Our clients include major symphony orchestras, professional orchestra and chamber music players, aspiring students, amateur adult players, all kinds of fiddlers, jazz and commercial musicians, university music departments, and public schools. Contrabass Conversations production team: Jason Heath, host Michael Cooper and Steve Hinchey, audio editing Mitch Moehring, audio engineer Trevor Jones, publication and promotion Krista Kopper, archival and cataloging Subscribe to the podcast to get these interviews delivered to you automatically!

"Go Tell It on the Mountain" arranged by Luther Henderson and "We Wish You a Merry Christmas" arranged by John Rutter and performed by the Cedar Valley Brass Quintet at the December 11 Festival of Lessons and Carols at River Falls United Methodist Church.

The Making of Jelly's Last Jam: In November 1992, SDC Foundation hosted a conversation with the creative team behind Jelly's Last Jam on Broadway: George C. Wolfe (book and direction), Hope Clarke (choreography), Susan Birkenhead (lyrics), Luther Henderson (music arrangement and additional music), Robin Wagman (set design) and Jules Fischer (lighting design) to discuss their creative process. They discuss the journey from workshops and a production at the Mark Taper Forum to the addition of Wagman, Fischer and Gregory Hines on its way to Broadway, and how each of the design elements and the addition of tap choreography helped to shape the show and discover the heart of the piece. George Wolfe and Luther Henderson talk about working with Jelly Roll Morton's music and manipulating it in order to create a piece that was about Jelly's personality and story as much as it was about what he created. Listen to this conversation for a fascinating discussion of the nature of collaboration at the heart of this production, and a sneak peek into the creation of an original Broadway show. Originally recorded - November 23, 1992. Running Time - 1:05:35 © 1992 SDCF

The Orchestrator - with Luther Henderson

In November 1992, SDC Foundation hosted a conversation with the creative team behind "Jelly's Last Jam" on Broadway: George C. Wolfe (book and direction), Hope Clarke (choreography), Susan Birkenhead (lyrics), Luther Henderson (music arrangement and additional music), Robin Wagman (set design) and Jules Fischer (lighting design) to discuss their creative process. They discuss the journey from workshops and a production at the Mark Taper Forum to the addition of Wagman, Fischer and Gregory Hines on its way to Broadway, and how each of the design elements and the addition of tap choreography helped to shape the show and discover the heart of the piece. George Wolfe and Luther Henderson talk about working with Jelly Roll Morton's music and manipulating it in order to create a piece that was about Jelly's personality and story as much as it was about what he created. Listen to this conversation for a fascinating discussion of the nature of collaboration at the heart of this production, and a sneak peak into the creation of an original Broadway show.