Podcasts about Mildred Bailey

Whenever The Flood appears in public — as it did at Bahnhof WVrsthaus & Biergarten earlier this month — it positions itself the way most bands do at gigs: in a simple straight line politely facing the audience.Nothing novel in that, of course, just the time-honored way of letting players and listeners make eye contact, feeding off each other's reactions as the music rolls along.However, an entirely different geometry — a circle, not a line — frames the music that has always been featured in The Flood's weekly podcasts.A Table at the Center of the SongsA table in the middle of the Bowen House's library has been the center of the Floodisphere's weekly rehearsal for more than three decades now. Almost all of the nearly 800 episodes of the podcast have been recorded in that room, with a recorder happily stationed at the center of the table and all the players and visitors gathered around it.More than one visitor to The Flood band room, imagining the years of music those walls have heard, has commented on the space's “vibe,” as if its years of music are somehow preserved in the walls and between the very pages of the books on the shelves.Honestly, that's a little too new-age-y for some of us. Still, there's no doubt that as much fun as the guys have at gigs, it never compares to the joy in the music made around that table each week. Here's a sample from last week's gathering.About the SongAs reported here earlier, “All of Me” — the featured song in this week's podcast — was an original “bad boy song” from the 1930s. "I peddled my song up and down the street,” composer Gerald Marks once noted, “and every single publisher turned it down.”The problem was Seymour Simons' lyric. Oh, its moaning over lonely lips and empty arms was pretty standard fare, but it was that follow-up line — "Why not take all of me?" — that publishers found, well, downright dirty by 1930s standards. It was not until a superstar of the day — songstress Belle Baker — embraced it that the song showed promise. Baker first incorporated “All of Me” it into her act in Detroit, where it received seven encores. A few days later, she introduced it on the radio in New York.After that, the song took off. In 1931, Mildred Bailey recorded it with Paul Whiteman's orchestra; it went to the top of the US pop charts. Within weeks, two more versions also were charting, including Louis Armstrong's rendition which reached No. 1 and Ben Selvin's and his orchestra, which hit No. 19. Now, of course, the song's a standard. Jazz critic Ted Gioia believes the definitive version was recorded in 1941 by Billie Holiday. Click here for more of the song's history, as reported in an earlier Flood Watch article.More About That TableBy the way, the table at the center of The Flood's world also was the starting point for the band's first legacy film, 2018's “Flood and Friends.” If you'd like to see the guys reminiscing about some of the many good people who have visited that room over the years, give this a view below: 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

Cette semaine à mâmawi musique, Moe Clark plonge dans l'histoire du jazz, en nous faisant redécouvrir la reine du swing des années 1930, Mildred Bailey, qui a vient de la Première Nation de Coeur d'Alene, dont les membres sont aussi connus sous le nom de Skitswish. Assistante à la recherche Geraldine Eguiluz.

Support us on Patreonhttps://www.patreon.com/user?u=4279967Jack Benny TV Videocasthttps://open.spotify.com/show/6BDar4CsgVEyUloEQ8sWpw?si=89123269fe144a10Jack Benny Show OTR Podcast!https://open.spotify.com/show/3UZ6NSEL7RPxOXUoQ4NiDP?si=987ab6e776a7468cJudy Garland and Friends OTR Podcasthttps://open.spotify.com/show/5ZKJYkgHOIjQzZWCt1a1NN?si=538b47b50852483dStrange New Worlds Of Dimension X-1 Podcasthttps://open.spotify.com/show/6hFMGUvEdaYqPBoxy00sOk?si=a37cc300a8e247a1Buck Benny YouTube Channelhttps://r.search.yahoo.com/_ylt=AwrOoc1Q5bllBgQA469XNyoA;_ylu=Y29sbwNncTEEcG9zAzEEdnRpZAMEc2VjA3Ny/RV=2/RE=1707891281/RO=10/RU=https%3a%2f%2fwww.youtube.com%2f%40BuckBenny/RK=2/RS=nVp4LDJhOmL70bh7eeCi6DPNdW4-Support us on Patreonhttps://www.patreon.com/user?u=4279967

Features vintage recordings by Bob Chester, Glenn Miller and Mildred Bailey.  Ronnaldo plays an old ad by Adler Elevator Shoes. Consider supporting The Big Band and Swing Podcast by becoming a Hepcat.  Learn more at SupportSwing.com. * The music featured in this podcast is considered Public Domain.  Artists are credited within the podcast.

Mildred Bailey (c.1900-1951) was a Native American jazz singer during the 1930s, known as "The Queen of Swing", "The Rockin' Chair Lady", and "Mrs. Swing.” She was a major pioneer of the “swing” style of singing that became synonymous with jazz vocals. For Further Reading: Weather Bird: Jazz at the Dawn of its Second Century Mildred Bailey: Queen of Swing Indigenous Pop: Native American Music from Jazz to Hip Hop “Mrs. Swing” Rocks the House – The Story of Mildred Bailey This month, we're diving into the "Divas" of history, examining how the label has been used from many angles, whether describing women pejoratively... or with admiration. History classes can get a bad rap, and sometimes for good reason. When we were students, we couldn’t help wondering... where were all the ladies at? Why were so many incredible stories missing from the typical curriculum? Enter, Womanica. On this Wonder Media Network podcast we explore the lives of inspiring women in history you may not know about, but definitely should. Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we’ll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more. Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures. Womanica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Grace Lynch, Maddy Foley, Brittany Martinez, Edie Allard, Lindsey Kratochwill, Carmen Borca-Carrillo, Taylor Williamson, Sara Schleede, Paloma Moreno Jimenez, Luci Jones, Abbey Delk, Hannah Bottum, Adrien Behn, Alyia Yates, and Vanessa Handy. Special thanks to Shira Atkins. Original theme music composed by Miles Moran. Follow Wonder Media Network: Website Instagram Twitter See omnystudio.com/listener for privacy information.

The gruesome twosome are here and they are talking soups, turkeys and Michael Jackson's flight food.

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,

Estudios Radio AM 750 Alejandro Dolina, Patricio Barton, Gillespi Introducción • Entrada0:02:12 • Disimular lo que nos duele: del profesionalismo a los malos argumentos0:03:02 Segmento Inicial • Protocolo en una playa nudista0:13:06 • Oyentes0:40:11 Segmento Dispositivo • Giovanni della Porta0:43:35 • "Criollita, Decí que Sí" ♫ (Carlos Gardel/Alfredo Le Pera) Canta Gardel, de la serie de canciones grabadas en Nueva York, 1934. Segmento Humorístico • Me tengo que mudar1:08:48 Sordo Gancé / Manuel Moreira / Trío Sin Nombre • Presentación1:29:18 • "Añoranzas" ♫ (José María Aguilar) Canta Gardel, 1928. • ""A Novidade ♫ (Letra para un instrumental que Os Paralamas Do Sucesso pidieron a Gilberto Gil, que andaba por Florianópolis de gira; dictada por Gil a Herbert Vianna en una llamada telefónica al estudio) Aparece editada con arreglo de Os Paralamas en el disco, Selvagem?, 1986. Versión de Gil (la que Moreira interpreta), Acústico Mtv, 1994. • "El Tercer Hombre" ♫ (The Third Man Theme, conocido como The Harry Lime Theme) De Anton Karas para la banda sonora de la película, The Third Man, 1949. • "All Of Me" ♫ (Gerald Marks/Seymour Simons, 1931) Mildred Bailey, 1931. Toca Louis Armstrong, 1932. Canta Billie Holiday, 1941. Versión con letra en portugués (Haroldo Barbosa) del álbum Brasil, João Gilberto (con Caetano y Gil), 1981. Disse alguém, que há bem no coração, um salão, onde o amor descança.... • ""Sucu Sucu ♫ (Tarateño Rojas, 1959) Orquesta Varela-Varelita, voz de René Varela.

Features vintage music by Les Brown, Mildred Bailey and Gene Krupa.  Ronnaldo reads some listener mail. Consider supporting The Big Band and Swing Podcast by becoming a Hepcat.  Learn more at SupportSwing.com. * The music featured in this podcast is considered Public Domain.  Artists are credited within the podcast.

This week, the Bad Piano Player deep dives into the career of 1930s-40s Native American Jazz singer Mildred Bailey. Known as The Queen Of Swing and The Rockin' Chair Lady. Born on the Coeur D'Alene reservation and the woman who introduced Bing Crosby to the music of Louis Armstrong. It's gonna be epic, kids. Tune in!

Episode 271, World War Two Love Songs, presents timeless classics performed by Mildred Bailey, Perry Como, Benny Goodman, Helen Forrest, Lester Lanin, Judy Garland and many more.   45 RPM, Music of the 40s and... Read More The post Episode 271, World War Two Love Songs appeared first on Sam Waldron.

We're listening to great female vocalists of the 1920s, 30s, and 40s this week, but we're going to stretch our definition of “jazz” a bit. There are so many great singers to choose from, like Billie Holiday and Ella Fitzgerald, of course, but I also love some of the more mainstream, popular singers of the day. Annette Hanshaw, Ivie Anderson, Nina Mae McKinney, Connie Boswell, Mildred Bailey, and others.

During radio's classic era it was very rare for artists of color to have the opportunity to host or headline a drama, comedy, or variety shows. But there were a few performers that defied the odds. One was Mildred Bailey, a Native-American jazz singer who was raised on an Indian reservation in Idaho. She grew up in a musical family, and got a job demonstrating sheet music when she as a teenager. Bailey was a big fan of African-Americans Louis Armstrong, Ethel Waters, and Bessie Smith. After coming to the attention of superstar Bing Crosby, Bailey began singing with big bands in the 1920s, later having three of her records hit Number One on the charts. CBS gave Bailey her own nationwide radio show in 1944, after hearing her sing in New York City night clubs. You're going to hear Mildred Bailey on the Benny Goodman Camel Caravan Show in 1939, and on her own show in 1944 and 1945. More at http://krobcollection.com

For Video Edition, Please Click and Subscribe Here: https://www.youtube.com/watch?v=6mVPPLzo9wc&t=34s Are you curious to learn the secrets of cabaret success? In this episode, we will discuss how to create a successful cabaret show, from the planning stages all the way through to performance.  Amanda King: With the sound and soul of a classic chanteuse, it's no surprise that Amanda King showcases a catalog of music gems from the 1930s, 40s, and 50s embodying many of the figures who make up the vivid tapestry that is American Popular Music and Jazz. Possessing a smoothness of voice and surety of style, she has been hailed by New York Times critic Stephen Holden as one of the nightclub world's “exceptional rising talents.” Catch her LIVE as part of Capital Cabaret in Washington DC March 23 Karen Mason has starred on Broadway, Off-Broadway, television, and recording: and “has few peers when it comes to ripping the roof off with her amazing voice that knows no bounds!” (TheatreScene.net) Karen is a 13-time MAC Award winner, has won the MAC Award for Major Female Vocalist of the Year for six consecutive years, and recently was the recipient of the 2019 MAC Lifetime Achievement Award. Karen Mason brings back her critically acclaimed tribute to Kander & Ebb to Birdland Monday March 20th Daryl Sherman: One of the top swing singers to emerge during the past 30 years, Daryl Sherman has a light high voice that is influenced by Mildred Bailey and also by Ella Fitzgerald, Sylvia Syms, Billie Holiday, Blossom Dearie, and Barbara Carroll. Honored this year with a special Bistro award for Enduring Artistry! Perhaps her most renowned gig was a 14-year run at Manhattan's Waldorf-Astoria, where she played Cole Porter's Steinway.

In episode 77 I talk to Lydia Gammill from Gustaf about Mildred Bailey, a Native American jazz singer during the 1930s, known as "The Queen of Swing", "The Rockin' Chair Lady" and "Mrs. Swing". She recorded the songs "For Sentimental Reasons", "It's So Peaceful in the Country", "Doin' The Uptown Lowdown", "Trust in Me", "Where Are You?", "I Let a Song Go Out of My Heart", "Small Fry", "Please Be Kind", "Darn That Dream", "Rockin' Chair", "Blame It on My Last Affair", and "Says My Heart". She had three records that reached number one on the popular charts.

Making a Scene Presents an Interview with Linda CaroneLINDA CARONE IS A VINTAGE JAZZ AND BLUES VOCALIST:a niche song stylist and interpreter of popular music from the 1920's and beyond.An early passion for jazz and blues developed upon first hearing the raw and emotive melancholy of Billie Holiday. This inspiration laid the foundation for growth as a vocalist and as an artist. Linda's musical journey was further influenced by jazz and blues vocalists like Ella Fitzgerald, Carmen McRae, Mildred Bailey, Helen Humes, Valaida Snow and Lil Armstrong.

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Features vintage music by The Merry Macs, Mildred Bailey, Jerry Gray and Duke Ellington.  Ronnaldo also plays a wacky ad from Old Spice and we learn a little about Gene Austin. Consider supporting The Big Band and Swing Podcast by becoming a Hepcat.  Learn more at SupportSwing.com. * All music in this podcast are Creative Commons.  Artists are credited within the podcast.

A couple of cheery and cheeky wartime songs. George Formby with Ukelele Man. Not nearly enough ukelele playing on it quite frankly. Next Dave Willis with ARP( Air raid patrol.) More commonly known as My Wee Gas Mask. Probably the best known Scottish song from WW2. Joe Corrie was a Fife coal miner, poet and playright. His style was naturalistic and his subject matter the working class. He was pretty much ignored by the Scottish theatre establishment of the time. Here we have The shilling a week man. A humerous tale of money owed, performed in broad Scots. Humerous it maybe but for many life was 'hand to mouth' and the shilling a week man was a fact of life.  Bunny Berigan's blues boys with Chicken and Waffles and then he plays trumpet on Gold diggers of 1933 with The bell boys of Broadway. Two from the magnificent Mildred Bailey with her orchestra- St Louis Blues and with her Oxford Greys- Arkanas Blues. Great vocals from her. We split those two tracks with Charlie Barnet and Wandering blues, vocals by Mary Ann McCall. Ring dem bells from The Harlem Footwarmers(1929.) They also performed under 25 aliases and members included Duke Ellington and Cottie Williams. Johnny Dodds and his orch- Red onion blues. His brother 'Baby' Dodds is on drums. Bit of Boogie from Will Brady's six Texan hot dogs- Basin Street boogie(1941) Not the best condition but Taft Jordon and his mob play Devil in the moon. Taft only made two records with own group but played with the best, from Ella to Ellington. His trumpet can be heard on Miles Davis's Sketches of Spain. Quite an acolade to be asked to play trumpet with Miles! E.C Kirkeby Wallace bandleader, songwriter, vocalist and manager. He looked after Fats Waller. He also started the Californian Ramblers while working at Columbia. Benny Goodman with Blues in the night, vocals by Peggy Lee. Early peggy. She certainly hits some uncharactistic high notes toward the end. We finish with Freddy Gardner and his Swing Orch. The self composed 10am Blues from 1939. A great track from this forgotten British saxphonist, who died young at 39. Its an Indian pressing on the Rex label. 

For Video Edition, Please Click and Subscribe Here: https://youtu.be/r-t5C2KGEW8 Daryl Sherman has been a part of the New York City jazz/cabaret scene since the mid-70s and she is one of the rare singing pianists equally talented in both roles. Sherman is a unique stylist with charm, quick wit, chemistry with her audiences and ability to make herself at home in any musical setting. When Artie Shaw formed a new band after his retirement, Sherman was his chosen singer, calling her "a first rate singer –musician”. Her CDs continue in regular rotation on Cable TV's Music Choice, Pandora,WNYC, WBGO Radio, BBC, Spotify. She's guested on Marian McPartland's NPR Piano Jazz (also guest host!) In Manhattan she's played Birdland Jazz, Jazz at Kitano, Mezzrow , Dizzy's Coca Cola, Iridium jazz club and the Algonquin's Oak Room. She's been a favorite at Highlights in Jazz concert series, Mabel Mercer Foundation Cabaret Convention, and Bryant Park Jazz Piano series, Midtown Jazz at St Peter's and JVC Jazzfest in NYC plus in Newport. Daryl has performed and recorded with notables: Artie Shaw, Dave McKenna, Ruby Braff , Joe Temperley, Dick Hyman, Mike Renzi, Bucky & John Pizzarelli, Jay Leonhart, Boots Maleson, Harvie S, Warren Vache, Bob Dorough , Jon-Erik Kellso, Scott Robinson, Houston Person, Wycliffe Gordon, Harry Allen, Scott Hamilton, Ken Peplowski, Wycliffe Gordon, Howard Alden, James Chirillo, The Anderson Twins, AND her dad, trombonist, Sammy Sherman. “Delightful, swinging, signature jazz sound, a stylistic compendium of Billie Holiday, Mildred Bailey and Blossom Dearie.' - Stephen Holden, New York Times

Selección exclusiva con lo mejor de las jazeras consentidas de Radio Chupankla. Mildred Bailey, Billie Holliday, Ella Fitzgerald, Sarah Vaughan y Nina simone en tres mixtapes únicos.

In this Podcast Extra of "The Big Band and Swing Podcast" we celebrate the birthday of a very talented vocalist,  The Queen of Swing herself - Mildred Bailey.  Bailey was born on February 27th, 1907 in Tekoa, Washington.  * All music in this podcast are Creative Commons.  Artists are credited within the podcast.

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

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

Stevie Salas is one of the most respected guitarists in the world today. He has played with the who's who of music royalty including: George Clinton Justin Timberlake Buddy Miles T.I. Mick Jagger Rod Stewart and so many others. Stevie has sold well over 2 million solo records while contributing to well over 70 different albums. Stevie also brought to the screen the documentary, RUMBLE: The Indians Who Rocked The World. This profound documentary tells the story of the essential, and, until now, missing chapter in the history of American music: the Indigenous influence. Featuring music icons CHARLEY PATTON, MILDRED BAILEY, LINK WRAY, BUFFY SAINTE-MARIE, JIMI HENDRIX, JESSE ED DAVIS, ROBBIE ROBERTSON, REDBONE, RANDY CASTILLO, TABOO and others. RUMBLE shows how these talented Native musicians helped shape the soundtracks of our lives. Image from Billboard

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This show has, Hiphop, Folk, Latin, Country, Spoken Word an episode of the Native Roots of Jazz on Mildred Bailey, and more. Brought to you by Turtle Island Radio and Pantheon Podcasts. Please, during this difficult time when artists can not play to live audiences, if you like the music you hear, go out and buy some of it. :) Tracks on this week's show are: Reyna Tropical - Luna Joey Nowyuk - Here to Stay (Maanipugut) Mandee Rae - Free Elemantra - To Know Better TheRa11n - Swing My Way Nick The Native - High Waisted Jeans Antithesis Crew & Sara Jones - Tecumseh Speech To The Osage Native Roots of Jazz: Mildred Bailey Mildred Bailey - Willow Tree Mildred Bailey - Rockin' Chair Black Eyed Creez - We Danced Caitlin Goulet - Take Me Down Xango-Guapo - MEXICA MOVEMENT I Have A Dream Aysanabee - Howling Kanen - Tshukain Christa Couture - Like Water Like Earth Mozart Gabriel - Hold Back (Acoustic) Audiopharmacy & Azeem & Ward Ramsal & Teao Sense - Translucent https://tunesfromturtleisland.euhttps://www.facebook.com/tunesfromturtleislandhttps://www.instagram.com/tunes.from.turtle.island/All songs on this podcast are owned by the artist(s) and are used for educational purposes only. All songs can be found for purchase or streaming wherever you get your great music. Please pick up these amazing tracks and support these artists.

This show has, Hiphop, Folk, Latin, Country, Spoken Word an episode of the Native Roots of Jazz on Mildred Bailey, and more. Brought to you by Turtle Island Radio and Pantheon Podcasts. Please, during this difficult time when artists can not play to live audiences, if you like the music you hear, go out and buy some of it. :) Tracks on this week's show are: Reyna Tropical - Luna Joey Nowyuk - Here to Stay (Maanipugut) Mandee Rae - Free Elemantra - To Know Better TheRa11n - Swing My Way Nick The Native - High Waisted Jeans Antithesis Crew & Sara Jones - Tecumseh Speech To The Osage Native Roots of Jazz: Mildred Bailey Mildred Bailey - Willow Tree Mildred Bailey - Rockin' Chair Black Eyed Creez - We Danced Caitlin Goulet - Take Me Down Xango-Guapo - MEXICA MOVEMENT I Have A Dream Aysanabee - Howling Kanen - Tshukain Christa Couture - Like Water Like Earth Mozart Gabriel - Hold Back (Acoustic) Audiopharmacy & Azeem & Ward Ramsal & Teao Sense - Translucent https://tunesfromturtleisland.eu https://www.facebook.com/tunesfromturtleisland https://www.instagram.com/tunes.from.turtle.island/ All songs on this podcast are owned by the artist(s) and are used for educational purposes only. All songs can be found for purchase or streaming wherever you get your great music. Please pick up these amazing tracks and support these artists.

Songs include: Three Little Fishies, Gone Fishin, Don't Fish In My Sea, Fish For Supper, Saturday Night Fish Fry and Fishin Around. Performers include: Kay Kyser, Louis Armstrong, Bing Crosby, Lee Konitz, Louis Jordan, Ma Rainey, Lionel Hampton and Mildred Bailey.

 Here’s a song that’s celebrating its 90th birthday this year. “All of Me” was written in 1931 by Gerald Marks and Seymour Simons. It was an early hit for vocalist Mildred Bailey, recording with Paul Whiteman’s orchestra, and for Louis Armstrong. Of course, the definitive version came a decade later when Billie Holiday made her great 1941 rendition of it. And then a brand new generation learned the song through Willie Nelson’s inclusion of the tune on his landmark 1978 “Stardust” album, which featured hits of the great American songbook. The Flood started doing the song a couple of decades ago, but it got a new burst of energy at a recent rehearsal in Michelle’s singing twinned with Veezy’s sax solo.

1 - I Wonder Where My Baby Is Tonight? - Henry Burr - 19252 - I Wonder Where My Baby is To-night - Paul Whiteman and His Orchestra – 19253 - Hvad Man Har Mistet - Unknown from Denmark - 19264 - The Lost Child - The Stripling Brothers - 19285 - Gone - Irving Kaufman with Sam Lanin and his Orchestra – 19306 - Where Is My Good Man At - Memphis Minnie - 19337 - But Where Are You? - Johnny McKeever with George Hall and his Hotel Taft Orchestra – 19368 - Lost - Ruth Etting - 19369 - Hvor er du - Unknown from Denmark – 193610 - Where Are You? - Mildred Bailey and her Orchestra - 193711 - Lost in Meditation - Duke Ellington and his Famous Orchestra – 193812 - Lost John - Sanders Terry of Durham, N. C. - 193813 - Where - Harriet Hilliard with Ozzie Nelson and his Orchestra – 194114 - Where You At - George Handy with the Vivien Garry Quartet - 194515 - Where Is My Bess? - Frank Sinatra with the Axel Stordahl Orchestra – 194616 - Gone - Bus Moten and his Men - 194917 - Gone, Gone, Gone (But Not Forgotten) - Roy Acuff and his Smoky Mountain Boys – 1951

Shellac Stack No. 210 sits by the fire with Jerry Baker's Orchestra and visits the Charleston Ball with the Georgia Melodians. We also hear from Mildred Bailey, the Double-Quintet, Fred Van Eps, Jack Miller, Benny Goodman, Johnny Maddox, Bert Williams, and others. Support the Shellac Stack on Patreon: patreon.com/shellacstack — Thank you!

durée : 00:59:33 - Vrai ou faux ? - par : Nathalie Piolé - La playlist jazz de Nathalie Piolé. - réalisé par : Fabien Fleurat

Lighter Than A Feather - Red Norvo's Hickory House Band 1936 Small group featuring arrangements by Norvo and Eddie Sauter before Norvo's big band with Mildred Bailey came together (although she guests on one live side, as do Red McKenzie and Mae Questal). With Stew Pletcher, Herbie Haymer, Don McCook, Ram Ramirez, Howard Smith, Dave Barbour, Pete Peterson and Moe Purtill. --- Support this podcast: https://anchor.fm/john-clark49/support

"Swing dance" is a group of dances that developed with the swing style of jazz music in the 1920s-1950s, the origin of the dances predating popular "swing era" music. The most well-known of these dances is Lindy Hop, a fusion of jazz, tap, breakaway, and Charleston, which originated in Harlem in the early 1920s, but includes a number of other styles such as Balboa, Shag, West Coast Swing, and Boogie Woogie. “Sunday Swing” highlights the music of the swing era and the dances that thrived in the ballrooms and dance halls. Danny Lane guides you through a one hour swing session. Do the Lindy Hop or choose your favorite dance. Just keep swingin'. ***** Join the conversation on Facebook at https://www.facebook.com/profile.php?id=100008232395712 ***** or by email at: dannymemorylane@gmail.com ***** ***** You’ll hear: 1) Here We Go Again by Glenn Miller & His Orchestra 2) A-Tisket A-Tasket by Patti Austin (with The WDR Big Band [A German Band]) 3) On Green Dolphin Street by Chuck Sagle & His Orchestra 4) Flying Home by Lionel Hampton & His Orchestra [with Illinois Jacquet, tenor sax solo] 5) Sportsman's Mambo by Bill Elliott Swing Orchestra 6) I Can't Give You Anything But Love by Louis Armstrong 7) Oh! Lady Be Good by Count Basie & His Orchestra 8) The Dipsy Doodle by Tommy Dorsey & His Orchestra (with Edythe Wright, vocal) 9) In the Groove At the Grove by Chick Webb 10) Bluebirds in the Moonlight by Benny Goodman & His Orchestra (with Mildred Bailey, vocal) 11) Bandstand Boogie by Les Elgart And His Orchestra 12) Take The "A" Train by The Delta Rhythm Boys 13) Honeysuckle Rose by Jazz At The Philharmonic Allstars 14) Hey Pachuco! by Royal Crown Revue 15) Jazzocracy by Jimmie Lunceford 16) When I Get Low I Get High by Ella Fitzgerald & Chick Webb and His Orchestra 17) Davenport Blues by Adrian Rollini & His Orchestra 18) Rockin' In Rhythm by Duke Ellington

Herschel Evans . .Basie's "other" tenor sax player doing sideman sessions with Harry James, Lionel Hampton and Mildred Bailey. Hear Chris Griffin, Vernon Brown, Benny Carter, Dave Matthews, Charlie Shavers, Teddy Wilson and Jess Stacy among others! Studio recordings and a jam session from the Bill Savory collection. --- Support this podcast: https://anchor.fm/john-clark49/support

Join us in the MAKE BELIEVE BALLROOM. On this week’s showJess Stacy’s Monumental Solo.The Andrews Sisters 13 Weeks with Glenn Miller.Red Norvo, the only xylophonist to lead a big band!Reminiscences and music with Harry James, Benny Goodman and Bea Wain.Additional music by The Rhythm Boy’s, Mildred Bailey, Larry Clinton Orchestra, Paul Whiteman, Ted Heath, Dick Haymes and Frank Sinatra.

One of the best (and most underrated) Jazz singers of the 1930's was Mildred Bailey - a member of the Coeur D'Alene native American tribe, she grew up in Seattle where, with her brother Al Rinker, began performing in the Jazz style of the 1920's. After being hired by Paul Whiteman, she began singing on recording sessions in New York in the early 30's. She married Red Norvo in 1933 and was featured with his band, being billed as "Mr. and Mrs. Swing" until the early 40's. During that time she made many recording sessions with Jazz players who appreciated her style. The three sessions on this show feature Bunny Berigan, Johnny Hodges, Chris Griffin, Chu Berry, Mary Lou Williams, Teddy Wilson, Floyd Smith and others as well as first rate singing. --- Support this podcast: https://anchor.fm/john-clark49/support

NADIE NADIA is a Washington DC based blues and jazz singer songwriter project. Influenced by Billie Holiday, Karen Dalton, and Mildred Bailey, each one of NADIE NADIA's songs aim to reflect and connect the shared human condition. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

STANDARD SEMANAL“Old folks” (Mildred Bailey-Don Byas-Ben Webster)Ezequiel Campos nos trae su tema de jazz del Baúl de los Recuerdos (louis amstrong 1)-JAZZ RECUERDO ANIVERSARIO.- Julian Priester - Spiritsville .-JAZZ ACTUALIDAD .- RUBEN REINALDO y KELY GARCIA-ACUAREL PROG.Nº 670.- Dos horas para el análisis y repaso a la historia y actualidad que generan esta música americana . Todo en el tono que acostumbra este programa, en dos secciones JAZZ ANIVERSARIO y JAZZ ACTUALIDAD importantes novedades y diferentes canales de comunicación que se ofrecerán al oyente. STANDARD SEMANAL.- “Old folks” (Mildred Bailey-Don Byas-Ben Webster) Y como final de mes Ezequiel Campos nos trae su tema de jazz del Baúl de los Recuerdos (louis amstrong 1) JAZZ RECUERDO ANIVERSARIO.- Julian Priester - Spiritsville Spiritsville es el segundo álbum dirigido por el trombonista de jazz estadounidense Julian Priester, que se grabó en 1960 para elsello filial Jazzland de Riverside . [1] Listado de pistas [ editar ] Todas las composiciones de Julian Priester, excepto las indicadas. 1. "Chi-Chi" ( Charlie Parker ) - 4:43 2. "Zancada azul" - 6:15 3. " Podría ser la primavera " ( Richard Rodgers , Oscar Hammerstein II ) - 5:47 4. "Excursión" (Walter Benton) - 5:42 5. "Spiritsville" - 7:31 6. " Mi romance " (Rodgers, Lorenz Hart ) - 5:50 7. "El vals de Donna" - 5:32 Personal [ editar ] • Julian Priester - trombón • Walter Benton - saxo tenor (pistas 1, 2 y 4-7) • Charles Davis - saxofón barítono (pistas 1, 2 y 4-7) • McCoy Tyner - piano • Sam Jones - bajo • Art Taylor - batería JAZZ ACTUALIDAD .- RUBEN REINALDO y KELY GARCIA-ACUAREL Free Code Jazz Records, 2020 Músicos: Rubén Reinaldo y Kely García Grabación, mezcla y máster: Jose Luis Gómez (Sito) Remasterización final: Arturo Sabugueiro Fotografía: Óscar García (Sombra Graphics) Diseño Gráfico: Alberto Groba Montaje de textos: Rafael Alonso Grabado en estéreo con microfonía de alta sensibilidad directa a los amplificadores y mediante tomas enteras en vivo sin metrónomo. Grabación realizada en Estudios Musicales Galicia Música en Vigo, durante sesiones sueltas ecualizando y microfoneando individualmente cada pieza aprovechando nuestros pocos ratos libres como profesores de guitarra entre marzo y agosto de 2019.

Blues in Chicago with Dave Katzman and an interview with vocalist Petra Van Nuis and guitarist Andy Brown.   About Andy Brown   Andy Brown is a guitarist based in Chicago. Born in New York in 1975, he has played professionally for over twenty five years. He has had a varied performing career that has included stints in Cincinnati and New York City. Since coming to Chicago in 2003, Andy has been fortunate to work at many of the area's finest jazz venues with his own bands, as well as playing his unique brand of solo jazz guitar. He has backed visiting jazz names at places including The Jazz Showcase, Ravinia and the Harris Theater. Currently he plays solo guitar every Thursday at The Green Mill, leads his quartet every Wednesday at Andy's Jazz Club and performs with his trio bi-weekly at Winter’s Jazz Club. As a sideman he has performed with internationally know jazz musicians including Scott Hamilton, Howard Alden, Harry Allen, Warren Vaché, Ken Peplowski, Hod O’Brien, Rebecca Kilgore, Judy Carmichael, John Pisano, Michael Feinstein, Anat Cohen, Kurt Elling and many others. He has also worked with many names on the Chicago jazz scene including Russ Phillips, Don Stiernberg, Chris Foreman, Eric Schneider, Bobby Lewis and Judy Roberts. His love of great tunes, as well as accompanying skills have made him a favorite with vocalists. Married to frequent partner vocalist Petra van Nuis, Andy has worked with many of Chicago's finest singers. Andy also had the good fortune to accompany Barbra Streisand when she appeared on the Oprah Winfrey Show in 2009. Andy has made many festival and club appearances around the world. Highlights include Dizzy’s Club at Jazz at Lincoln Center, the Chautauqua Jazz Party, the Chicago Jazz Festival, the Cleveland Classic Jazz Party, as well as festivals in Rio de Janeiro, the Netherlands, Germany and throughout the United States. Andy has provided the music for a wide variety of parties and private events. In 2012, his trio was invited by the Chicago Mayor's office to perform for the Nobel Peace Prize dinner in Chicago where invited guests included U.S. presidents Bill Clinton and Jimmy Carter, as well as the Dalai Lama and Mikhail Gorbachev. Also in 2012, Andy's trio was hired by the U.S. State Department to provide music for the opening night gala at the NATO summit held in Chicago. Andy enjoys being a member of several bands besides his own. He works often with vocalist Petra van Nuis, either in duo or larger groups, including Petra's Recession Seven. They have worked together all over Chicago and in venues throughout the country, as well as tours of Europe and Canada. Since 2009, Andy has co-led a two-guitar quartet with renowned guitarist Howard Alden. In 2013, Delmark Records released a CD of the group entitled "Heavy Artillery" which received four stars in Downbeat magazine and was featured in their annual Albums Of The Year issue. Andy plays regularly with jazz mandolinist Don Stiernberg's trio. They have worked at festivals in Germany and Brazil, as well as throughout the United States. He is also a member of trombonist Russ Phillips' group, both with Russ' Quartet and his Windy City All-Stars. Andy has been featured on a wide array of recordings. As a leader, his latest is the 2016 Delmark Records release “Direct Call” which received four stars in Downbeat magazine. His previous Delmark release “Soloist” was his first solo jazz guitar recording and received warm reviews from critics and fans alike. 2015 marked the release of organist Chris Foreman's debut recording "Now Is The Time” which featured Andy on several cuts. In 2016, mandolinist Don Stiernberg released a CD titled “Good Numbers” featuring Andy on acoustic archtop guitar. Andy has collaborated on four CDs with Petra van Nuis, the most recent being their 2017 duet release “Lessons Lyrical." Andy had the good fortune to learn directly from several guitar masters, including Cal Collins, Ted Greene, and Howard Alden. His most important mentor was the late Kenny Poole, who called Andy his protégé.   About Petra   Petra van Nuis (pronounced Pay-tra van Nouse) is a Chicago-based jazz vocalist who has been described in Downbeat Magazine as having "a light, gorgeous, and fairly delicate voice...a gift for melody and plenty of rhythmic confidence." A Chicagoan since 2003, Petra sings at all the finest jazz venues in town including the Jazz Showcase, the Green Mill, Andy's Jazz Club, Winter's, Fitzgerald's, the City Winery, and the Old Town School of Folk Music. Chicago's Department of Cultural Affairs has presented Petra's groups at the Chicago Cultural Center and Chicago Summer Dance. The Jazz Institute of Chicago has featured Petra's Recession Seven band at the Chicago Jazz Festival and Jazz City. Petra has been interviewed and her music featured on Chicago's WGN for Rick Kogan's "After Hours" show and on WBEZ's "Morning Shift" with Tony Sarabia. Outside of Chicago, Petra plays at jazz festivals such as the Cleveland Classic Jazz Party, the Roswell Jazz Festival and Joe Boughton's Chautauqua Jazz Party with such renowned musicians as Dan Barrett, Nicki Parrott, Ken Peplowski, John Di Martino, Dan Block, Scott Robinson, Frank Tate, Hal Smith, Rossano Sportiello, and Duke Heitger. Petra's latest project, Because We're Night People, is a live recording of night-themed standards which was awarded 4 stars by DownBeat Magazine and included in their "Top Rated Albums of 2019" listing. Revered Chicago pianist Dennis Luxion blends his signature impressionistic harmony with Petra's lush vocals. This CD was re-issued in Japan on the Japanese label Muzak in October 2018 and was used as in-flight music on All Nippon Airways (Japan's largest airline) in January/February 2019. Germany's Jazzpodium Magazine hails Petra's seventeen year musical collaboration with her husband, guitarist Andy Brown, as "a magical musical dialogue, which can only partially be described as blind understanding." Petra and Andy's romantic style has been enjoyed in intimate club settings around the country including Shanghai Jazz (Madison, NJ), the Kerrytown Concert House (Ann Arbor, MI), Night Town (Cleveland,OH), the Saugatuck Center for the Arts (Saugatuck, MI), and the Blue Wisp Jazz Club (Cincinnati, OH). Several European tours have brought the duo to Germany (Traditional Jazz Hall Stuttgart, Jazzhaus Heidelberg, Mampf Frankfurt, Le Pirate, Jazz Club Neustadt, Jazz Club 77, Musikhaus Birlkehof) to the Netherland's (Gorinchem Jazz Festival, Culuurschip Thor, Jazz Hall 72, Stichting Jazz Zevenbergen) and to Belgium (Jazz Cafe Hopper). With the re-release of the duo's 2017 CD Lessons Lyrical and their 2009 CD Far Away Places on Japan's Muzak label, Petra and Andy continue to spread their swinging sounds far and wide. Petra and Andy often augment their duo with bass and drums forming the Petra van Nuis/ Andy Brown Quartet. In addition to Chicago performances, the quartet frequently tours the Midwest having played for the West Michigan Jazz Society (Grand Rapids, MI), Polyrhytms (Davenport,IA), the Firefly Jazz Club (Ann Arbor, MI), the Wilson Center for the Arts (Milwaukee, WI), the Detroit Institute for the Arts (Detroit, MI), and headlined the 32nd Michelob Women In Jazz Festival (Dayton, OH). At the start of the Great Recession in September 2008, Petra's Recession Seven, a Chicago-style early swing/trad jazz band was born at Chicago's legendary Green Mill. This seven piece ensemble features an all-star line up of internationally known Chicago veterans including trombonist Russ Phillips, reed man Eric Schneider, and trumpeter Bob Ojeda. Festival appearances include the 32nd Elkhart Jazz Festival, 33rd annual Chicago Jazz Festival, the 34th, 35th, 37th, 40th and 42nd annual Cedar Basin Jazz Festival, Fitzgerald's 29th annual American Music Festival, the Juvae Jazz Society's 25th anniversary Festival, and the Illiana Club of Traditional Jazz's 40th anniversary Jazz Festival. The band regularly travels to regional jazz societies such as the Madison Jazz Society, the Starr-Gennett Foundation, the "Masters of Swing" series at Cincinnati's Xavier University, the Lafayette Jazz Club, and the Indianapolis Jazz Club. The American Rag, in a review of the band's 2011 on location recording Live In Chicago praises "a killer of a band that grabs your attention and doesn't give it back until they are finished playing." You may have heard selections from Petra's 2006 debut CD A Sweet Refrain on digital cable's Music Choice, where it regularly rotates on the "Singers & Swing" channel. In a review, Los Angeles Jazz Scene critic Scott Yanow notes "a sweet voice, a straightforward delivery....one hears touches of Billie Holiday, Blossom Dearie, and Mildred Bailey in her phrasing, but not in the sound of her voice which is distinctive." This CD is a throwback to the classic vocal recordings of the 50's with a blend of duo, quartet, quintet, and tight two-horn sextet arrangements by bassist/arranger Joe Policastro. In 2012, these arrangements were recreated with the teaming of Petra and Andy with four Canadian musicians at Edmonton's famed Yardbird Suite. In 2015, two songs from this CD were selected by famed Japanese jazz writer/historian/record producer Yasukuni Terashima to be included in the compilation CD For Jazz Vocal Fans Only on the Japanese label Disk Union. Petra continues to play with Chicago's finest instrumentalists including Bobby Lewis, Art Davis, Kim Cusack, Larry Harris, Greg Fishman, Chris White, Joe Adamik, Joe Policastro, Bob Rummage, Andy Schumm, Jeremy Kahn, Judy Roberts, Phil Gratteau, Don Stille, Dan Delorenzo, Tom Bartlett, Mike Schlick, Bill Overton, Bradley Williams, Ron Dewar, John Otto, Stewart Miller, and Don Stiernberg.

Guaranteed to get you out of that “lockdown funk” - The Swingin’ With Danny Lane series highlights the music of the swing era and the dances that thrived in the ballrooms and dance halls. Danny Lane guides you through a two hour swing session. Do the Lindy Hop or choose your favorite dance. Just keep swingin'. You’ll hear: 1) Carioca by Artie Shaw & His Orchestra 2) Mr. Zoot Suit by Ingrid Lucia & The Flying Neutrinos 3) Sugar Foot Stomp by Benny Goodman & His Orchestra 4) Drop Me Off in Harlem by Louis Armstrong 5) Little Brown Jug by The American Patrol Orchestra 6) Shoo-Shoo Baby by The Andrews Sisters 7) 9:20 Special by Duke Ellington and His Orchestra 8) Stray Cat Strut by Brian Setzer & The Stray Cats 9) Minor Blues by Django Reinhardt and His Orchestra of The Ox On The Roof 10) Massachusetts by Gene Krupa Band (w/ Anita O'Day, Vocal) 11) Celery Stalks At Midnight by Bradley Band 12) 'Tain't What You Do (It's The Way That You Do It) by Billy May 13) Broadway by Count Basie 14) Alright, Okay, You Win by Bette Midler 15) Hot Lips ("When He Plays Jazz He's Got - Hot Lips") by Henry Busse and the Shuffle Rhythm Band 16) Hey Boy, Hey Girl by Oscar McLollie & Jeanette Baker (w/ The Honey Jumpers) 17) The Flat Foot Floogie by Slim & Slam (Slam Stewart & Slim Gaillard & His Flat Foot Floogie Boys) 18) Swing Lover by Indigo Swing (w/ Johnny Boyd, vocal) 19) C Jam Blues by The Sarasota Jazz Project (w/ Luke Jones, trumpet solo; George McLain, sax; and Rodney Rojas, alto sax) 20) Jackie Robinson (Brooklyn Dodgers) - Radio Call Bob Wolff 21) Here We Go Again by Glenn Miller & His Orchestra 22) A-Tisket A-Tasket by Patti Austin and The WDR Big Band 23) On Green Dolphin Street by Chuck Sagle & His Orchestra 24) Flying Home by Lionel Hampton & His Orchestra [w/ Illinois Jacquet, tenor sax solo] 25) I Can't Give You Anything But Love by Louis Armstrong 26) Oh! Lady Be Good by Count Basie & His Orchestra 27) The Dipsy Doodle by Tommy Dorsey & His Orchestra (w/ Edythe Wright, vocal) 28) In the Groove At the Grove by Chick Webb 29) Bluebirds in the Moonlight by Benny Goodman & His Orchestra (w/ Mildred Bailey, vocal) 30) Bandstand Boogie by Les Elgart And His Orchestra 31) Take The "A" Train by The Delta Rhythm Boys 32) Honeysuckle Rose by Jazz At The Philharmonic Allstars 33) Hey Pachuco! by The Royal Crown Revue 34) Jazzocracy by Jimmie Lunceford 35) When I Get Low I Get High by Ella Fitzgerald & Chick Webb and His Orchestra 36) Rockin' In Rhythm by Duke Ellington 37) Davenport Blues by Adrian Rollini & His Orchestra Join the conversation on Facebook at https://www.facebook.com/profile.php?id=100008232395712 or by email at dannymemorylane@gmail.com

Music and song from the years between the two World Wars. As always we steer away from the big names. Claude Hopkins starts us off with Washington Shuffle. He was born in Virginia and was a talented stride piano player and arranger. In 1925 he went to Europe as the musical director of The Revue Negre. Josephine Baker was a performer in that Revue. Next Cliff Edwards, Ukelele Ike,  the voice of Jiminy Cricket and friend to Buster Keaton.  Then we have Hawaiiian music from Frank Ferrara followed by three on the Zonophone label- International Novelty Quarette, Bud Billings and Carson Robinson and Esther Coleman. Next we have the extrememly pukka Uncle Mac, BBC Radio children's presenter with some nursery rhymes. Early jazz follows from Jasper Taylor's State Street Boys, 1926 and from the same year The Vernons sing the very understanding ' I don't care what you used to be.' Two from the prolific Jay Wilber, one under his name, the other under The Connecticut Collegians. Harry Reser, another prolific band leader, under the name The Clevelanders. From the north east of Scotland the tongue twisting 'McGinty's Meal and Ale'. Sing along if you can!! We finish with Mildred Bailey, The Queen of Swing from 1938 with ' As long as you live you'll be dead when you die.'                                                               If you want to put faces to some of the artists I play, check out the Forgotten Songs  playlist here:  https://www.youtube.com/playlist?list=PLlpnr4lkJ8eJEpJ9t_k2U-hOXxP4x0U67

Largely a local charity/ thrift shop haul. Its a crackerly start. Early country from the Carson Robinson Trio, on lovely brown shellac. Leake County Revellers from 1925. Early jazz from Husk O'Hara and The Friars Society Orch and New Orleans Rhythm Kings. Flanaghan and Allen. The Street Singer- Arthur Tracey, born in Ukraine in 1899 as Abba Avrom Tracovusky.  Died at the ripe old age of 98 Jean Goldkette and his orch, featuring vocals by Hoagy Carmichael. Mildred Bailey, Queen of Swing. Joe Masala Septet  with Adele Girard on harp. She taught Harpo Marks the harp. La Palma, FRench singer. First play on a new favorite- Bob Skyles and his Sky rockets. Fabulous western swing. Theere are others too!

Show 86, “The Age of Jazz,” presents 16 vocal and instrumental jazz recordings, most from the 1940s. Performers include well-known names like Mildred Bailey, Dave Brubeck, and Jo Stafford as well as lesser-known talents like... Read More The post Show 86, “The Age of Jazz,” appeared first on Sam Waldron.

Juanita Spinelli ran a gang of embarrassingly awful Northern Californian crooks who could barely rob enough gas stations to stay afloat. And yet three years after forming her gang, she was walking toward the gas chamber, while citizens across the country clamored that it wasn’t right to execute a woman. (Become a Patreon supporter for rewards and bonus content! And here’s the slideshow of California’s death row inmates that I mention at the end of the episode…) Sources: All Juanita Spinelli coverage from The San Francisco Examiner, 1940-1941“Murder Ring in State Broken,” Santa Maria Times, 16 April 1940“Robbery-Gang Killing Explained,” The Los Angeles Times, 17 April 1940“Woman Seized as Murder Ring Head,” Leader-Telegram, 17 April 1940“Gang is Indicted in Sacramento For Slaying of Youth,” Reno Gazette-Journal, 23 April 1940“Aided Slayers to Save Child,” Muncie Evening Press, 25 May 1940“'Duchess’ Gang Aid Admits Throwing Victim Into River,” Oakland Tribune, 27 May 1940“A Woman Condemned to Die,” Lincoln News Messenger, 13 Feb 1941“‘The Duchess’ to Die for Gang Slaying,” The Press Democrat, 19 June 1941“Murderess Snatched from Death’s Shadow,” The Press Democrat, 20 June 1941“Death Awaits Mrs. Spinelli,” The Los Angeles Times, 20 Nov 1941“‘The Duchess’ Dies in Gas Chamber,” The Roseville Press, 21 Nov 1941“Many Pleas Made For Duchess’ Life,” Oakland Tribune, 21 Nov 1941“‘Duchess’ Quiet in Execution,” Santa Cruz Evening News, 21 Nov 1941“Aides to ‘Duchess’ Executed; Laugh and Pray at Finish,” The Los Angeles Times, 29 Nov 1941“These Interesting People,” Oakland Tribune, 4 Nov 1946 "Big Names from the Big House,” Santa Cruz Sentinel, 17 Dec 2000“The Death of a Duchess,” Daily News, 29 June 2003“Timeline: Capital Punishment in California,” Southern California Public Radio“California Death Penalty Suspended; 737 Inmates Get Stay of Execution,” New York Times, 12 March 2019“The most notorious inmates on California's death row,” SF Gate, 13 March 2019“These are the 737 inmates on California's death row,” LA Times, 13 March 2019 Music: “Guilty” by Richard A. Whiting, Harry Akst, and Gus Kahn, sung by Anna Telfer.“Me and the Blues,” sung by Mildred Bailey, from archive.org Learn more about your ad choices. Visit megaphone.fm/adchoices

Show 53, “The Jazz Age,” features a variety of jazz performances, both vocal and instrumental, from the 1930s through the 1950s.  Performers include Anita O’Day, Tex Beneke, The Andrews Sisters, Mildred Bailey, Woody Herman, Louis... Read More The post Episode 53, “The Jazz Age,” appeared first on Sam Waldron.

Singers include: Billie Holiday, Louis Armstrong, Ella Fitzgerald, Mel Torme, Jimmy Rushing, Anita O'Day, Mildred Bailey, Maxine Sullivan & Nat King Cole. Songs include: Blue Moon, Jimmy's Blues, When Your Lover Has Gone, Lady Be Good,  Sweet Loraine, Night in Tunisia & More Than You Know.

Songs include: Love Is Just Around the Corner, A Table In a Corner, Blue Skies Are Just Around the Corner, There Are Bad Times Just Around the Corner and Dark Corners. Musicians include: Ben Webster, Jack Hylton, Bing Crosby, Mildred Bailey, Noel Coward, Rex Stewart and Artie Shaw.

Joe and Les kick off their exploration of this romantic standard with a performance by Mildred Bailey, before delving into three other renditions of this classic. From the storytelling of the lyrics to stunning harmonies, Joe and Les give you the low-down on all the things in “All the Things You Are.”        

Welcome to episode four of A History of Rock Music in Five Hundred Songs. Today we’re looking at Louis Jordan and “Choo Choo Ch’Boogie” —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. Louis Jordan’s music is now in the public domain, so there are many different compilations available, of different levels of quality. This four-CD set is very cheap and has most of the classic tracks on. And here’s a similarly-priced collection of Chick Webb. There aren’t many books on Louis Jordan as an individual, and most of the information here comes from books on other musicians, but this one is probably worth your while if you want to investigate more. And for all the episodes on pre-1954 music, one invaluable source is the book “Before Elvis” by Larry Birnbaum. Transcript We’ve spent a lot of time in 1938 in this podcast, haven’t we? First there was Flying Home, first recorded in 1939, but where we had to talk about events from 1938. Then we had “Roll ‘Em Pete”, recorded in 1938. And “Ida Red”, recorded in 1938. 1938 is apparently the real year zero for rock and roll — whether you come at it from the direction of blues and boogie, or jazz, or country and western music, 1938 ends up being the place where you start. Eighty years ago this year.   And 1938 is also the year that one man made his solo debut, and basically put together all the pieces of rock and roll in one place.   If you’ve seen the Marx Brothers film A Day At The Races — well, OK, if you’ve not seen A Day At The Races, you really should, because while it’s not the best film the Marx Brothers ever made, it’s still a good Marx Brothers film, and it’ll brighten up your day immensely to watch it, so go and watch that, and then come back and listen to the rest of this. And if you haven’t watched all their earlier films, watch those too. Except The Cocoanuts, you can skip that one. Go on. I can wait.   OK, now you’ve definitely seen the Marx Brothers film A Day At The Races, so you’ll remember the dance sequence where Ivie Anderson sings “All God’s Chillun Got Rhythm”, and the amazing dancers in that scene.   [Ivy Anderson “All God’s Chillun Got Rhythm”]   That’s a dance called the Lindy Hop — you might remember that as the dance the “booglie wooglie piggy” did in a song we excerpted in episode two, it was named after Charles Lindbergh, the famous airman and Nazi sympathiser — and the people dancing it are Whitey’s Lindy Hoppers. And they were responsible for a controversy, on the night of Benny Goodman’s first Carnegie Hall concert — the one we talked about in episode one — that is still talked about in jazz eighty years later.   [Chick Webb “Stompin’ At The Savoy”]   That’s “Stompin’ at the Savoy” by Chick Webb, one of the most famous swing recordings ever, though it was later recorded by Benny Goodman in an even more fanous version. The Savoy Ballroom was where Whitey’s Lindy Hoppers used to dance — there was an entire corner of the ballroom set off for them, even though the rest of the floor was for the other dancers. The Savoy was where the Lindy Hop was invented, and it was the place to dance, because it was where Chick Webb, the real king of swing played.   We’ve seen a few kings of swing so far — Benny Goodman was the person most associated with the name, and he had the name longest. A few people called Bob Wills that, too, though he mostly billed himself as the king of Western swing. But Chick Webb was the person who deserved the title more than anyone else. He was a small man, who’d contracted tuberculosis of the spine as a child, and he’d taken up the drums as a kind of therapy. He’d been playing professionally since he was eleven, and by the time he was thirty he was leading what was, bar none, the best swing band in New York for dancing. People called him the King of Swing before Goodman, and his band was an absolute force of nature when it came to getting people to do the Lindy Hop. Benny Goodman admired Webb’s band enough that he bought the band’s arrangements and used them himself — all of the Goodman band’s biggest crowd-pleasers, at least the ones that weren’t arrangements he’d bought off Fletcher Henderson, he bought from Edgar Sampson, the saxophone player who did most of Webb’s arrangements. Sampson is the one who wrote “Stompin’ at the Savoy”, which we just heard.   There was a rivalry there — Goodman’s band was bigger in every sense, but Webb’s band was more popular with those who knew the real deal when they heard it. And in 1937, the Savoy hosted a cutting contest between Webb’s Savoy Orchestra and Goodman’s band.   A cutting contest was a tradition that came from the world of stride piano players — the same world that boogie woogie music grew out of. One musician would play his best (and it usually was a “his” — this was a very macho musical world) and then a second would try to top him — playing something faster, or more inventive, or more exciting, often a reworking of the song the first one had played — and then the first would take another turn and try to get better than the second had. They’d keep going, each trying to outdo the other, until a crowd decided that one or the other was the winner.   And that 1937 cutting contest was a big event. The Savoy had two bandstands, so they would have one band start as soon as the other one finished, so people could dance all night. Chick Webb’s band set up on one stage, Goodman’s on another. Four thousand dancers crowded the inside of the ballroom, and despite a police cordon outside to keep trouble down, another five thousand people outside tried to hear what was happening.   And Chick Webb’s band won, absolutely. Gene Krupa, Goodman’s drummer (one of the true greats of jazz drumming himself) later said “I’ll never forget that night. Webb cut me to ribbons!”   And that just was the most famous of many, many cutting contests that Chick Webb’s band won. The only time Chick Webb ever definitely lost a cutting contest was against Duke Ellington, but everyone knew that Chick Webb and Duke Ellington weren’t really trying to do the same kind of thing, and anyway, there’s no shame at all in losing to Duke Ellington.   Count Basie, though, was a different matter. He was trying to do the same kind of thing as Chick Webb, and he was doing it well. And on the night of Benny Goodman’s Carnegie Hall concert, Webb and Basie were going to engage in their own cutting contest after hours. For all that the Goodman Carnegie Hall show was important — and it was — the real jazz fans knew that this after-show party was going to be the place to be. Basie had already played the Carnegie hHall show, guesting with Goodman’s band, as had Basie’s tenor sax player Lester Young, but here they were going to get to show off what they could do with their own band.   Basie’s band was on top form at that time, with his new vocalists Jimmy Rushing, a great blues shouter, and Billie Holiday, who was just then becoming a star. Chick Webb had a couple of good vocalists too, though — his new teenage singer, Ella Fitzgerald, in particular, was already one of the great singers.   [Chick Webb – Ella]   And everyone was in the audience. Goodman’s band, Mildred Bailey, Ivie Anderson (who we heard before in that Marx Brothers clip), Red Norvo the vibraphone player, Duke Ellington. Every musician who mattered in the jazz scene was there to see if Basie could beat Chick Webb.   And… there was a dispute about it, one which was never really resolved in Webb’s lifetime.   Because Webb won — everyone agreed, when it came to a vote of the audience, Webb’s band did win, though it was a fairly close decision. Again, the only band to ever beat Chick Webb was Duke Ellington.   But everyone also agreed that Basie’s band had got people dancing more. A lot more.   What nobody realised at the time was that Whitey’s Lindy Hoppers had gone on strike. Chick Webb had misheard a discussion between a couple of the dancers about how good the Basie band was going to be that night, assumed that they were saying Basie was going to be better than him, and got into a huff. Webb said “I don’t give a good Goddam what those raggedy Lindy Hoppers think or say. Who needs ’em? As far as I’m concerned they can all go to hell. And their Mammies too.”   After this provocation, Whitey issued an ultimatum to his Lindy Hoppers. That night, they were only going to dance to Basie, and not to Webb. So even though most of the audience preferred Webb’s band, every time they played a song all the best dancers, the ones who had an entire quarter or so of the ballroom to themselves to do their most exciting and visual dances, all sat down, and it looked like the Webb band just weren’t exciting the crowd as much as the Basie band.   Of course, the Basie band were good that night, as well. When you’ve got the 1938 Count Basie band, with Jimmy Rushing and Billie Holiday singing, you’re going to get a good show. Oh, and they persuaded Duke Ellington to come up and play a piano solo — and then all the band joined in with him, unrehearsed and unprompted.   But despite all that, Webb’s band still beat them in the audience vote.   That’s how good Webb’s band were, and it’s also how good his two big stars were. One of those stars, Ella Fitzgerald, we’ve already mentioned, but the other one was an alto sax player who also took the male lead vocals – we heard him singing with Ella earlier. This sax player did a lot of the frontman job for Webb’s band and was so important to the band in those years that, allegedly, some people thought he was Chick Webb. That man was Louis Jordan.   [Chick Webb I Can’t Dance I Got Ants In My Pants]   Louis Jordan was a good sax player, but what he really was was a performer. He was someone who could absolutely sell a song, with wit and humour and a general sense of hipness that could possibly be matched at that time only by Cab Calloway and Slim Gaillard, and Jordan was a better musician than either of them. He was charming, and funny, and tuneful, and good looking, and he knew it.   He knew it so well, in fact, that shortly after that show, he started making plans — he thought that he and Ella were the two important ones in the Webb band, and he planned to form his own band, and take her, and much of the rest of the band with him. Webb found out and fired Jordan, and Ella and most of the band remained loyal to Webb.   In fact, sadly, Jordan would have had what he wanted sooner rather than later anyway. Chick Webb’s disability had been affecting him more, and he was only continuing to perform because he felt he owed it to his musicians — he would often pass out after a show, literally unable to do anything else. He died, aged thirty-four, in June 1939, and Ella Fitzgerald became the leader of his band, though like many big bands it eventually broke up in the mid-forties.   So if Jordan had held on for another few months, he would have had a good chance at being the leader of the Louis Jordan and Ella Fitzgerald band, and history would have been very different. As it was, instead, he formed a much smaller group, the Elks Rendez-vous Band, made up of members of Jesse Stone’s band (you’ll remember him from episode two, he wrote “Shake, Rattle, and Roll”). And on December 20, 1938 — ten days before “Roll ‘Em Pete” — Louis Jordan and his Elks Rendez-vous Band went into the studio for the first time, to record “Honey in the Bee Ball” and “Barnacle Bill the Sailor”.   [excerpt of “Honey in the Bee Ball”]   Shortly after that, they changed their name to Louis Jordan and his Tympany Five.   Before we talk about them more, I want to briefly talk about someone else who worked with Jordan. I want to talk about Milt Gabler. Gabler is someone we’ll be seeing a lot of in this story, and he’s someone who already had an influence on it, but here’s where he becomes important.   You see, even before his influence on rock and roll, Gabler had made one important contribution to music. He had started out as the owner of a little record shop, and he had a massive passion for good jazz music — and so did his customers. And many of those customers had wanted to get hold of old records, now out of print. So in 1935 Gabler started his own record label, and licensed those out of print recordings by people like Bix Beiderbecke and Bessie Smith, becoming the owner of the very first ever reissue record label. His labels pioneered things like putting a full list of all the musicians on a record on the label — the kind of thing that real music obsessives cared far more about than executives who only wanted to make money.   After he had some success with that, he branched out into making new records, on a new label, Commodore. That would have stayed a minor label, but for one thing.   In 1939, one of his regular customers, Billie Holiday, had a problem. She’d been performing a new song which she really wanted to record, but her current label, Columbia, wasn’t interested. That song was too political even for her producer, John Hammond — the man who, you will remember from previous episodes, persuaded Benny Goodman to integrate his band and who put on shows that same year sponsored by the Communist Party. But the song was too political, and too inflammatory, even for him. The song, which became Billie Holiday’s best-known performance, was “Strange Fruit”, and it was about lynching.   [insert section of Strange Fruit here].   Billie Holiday could not get her label to put that track out, under any circumstances. But she knew Milt Gabler might do it — he’d been recording several small group tracks with Lester Young, who was Holiday’s colleague and friend in the Basie band. As Gabler was a friend of hers, and as he was politically left-leaning himself, he eventually negotiated a special deal with Columbia, Holiday’s label, that he could produce her for one session and put out a single recording by her, on Commodore.   That recording sold over a million copies, and became arguably the most important recording in music history. In December 1999, Time Magazine called it the “song of the century”. And in 2017, when the black singer Rebecca Ferguson was invited to play at Donald Trump’s inauguration, she agreed on one condition — that the song she performed could be “Strange Fruit”. She was disinvited.   As a result of “Strange Fruit”‘s success, Milt Gabler was headhunted away from his own label, and became a staff producer at Decca records in 1941. There he was responsible for producing many of the greatest records of the forties — not least that famous Lionel Hampton version of “Flying Home” we looked at towards the end of episode one — and he began a long collaboration with Louis Jordan — remember him? This is a story about Louis Jordan.   Jordan’s new band had a sound unlike anything else of the time — Clarence “Gatemouth” Brown later claimed that Jordan had most of the responsibility for the decline of the big bands, saying “He could play just as good and just as loud with five as 17. And it was cheaper.”   And while we’ve talked before about a whole raft of economic and social reasons for the decline of the big bands, there was a lot of truth in that statement — while there were sometimes actually as many as seven or eight members of the Tympany Five, the original lineup was just Jordan plus one trumpet, one sax, piano, bass, and drums, and yet their recordings did sound almost as full as many of the bigger bands.   The style they were playing in was a style that later became known as “jump band” music, and it was a style that owed a lot to Lionel Hampton’s band, and to Count Basie. This is a style of music that’s based on simple chord changes — usually blues changes. And it’s based on the concept of the riff.   We haven’t really talked much about the idea of riffs yet in this series, but they’re absolutely crucial to almost all popular music from the twentieth century. A riff is, in its conception, fairly straight forward. It’s an instrumental phrase that gets repeated over and over. It can act as the backbone to a song, but it can also be the basis for variation and improvisation — when you “riff on” something, you’re coming up with endless variations and permutations of it.   Riffs were important in swing music — generally they were a sort of back-and-forth in those. You’d have the saxophones play the riff, and then the trumpets and trombones repeat it after them. But swing wasn’t just about riffs — with a big orchestra, you had to have layers and stuff for all the musicians to do.   In jump band music, on the other hand, you strip everything back. The track becomes about the riff, the solos, and the vocal if there is one, and that’s it. You play that riff over the simplest possible changes, you play it to a rhythm that will get everyone dancing — often a boogie rhythm — and you make everything about the energy of the performance.   Jordan’s band did that, and they combined it with Jordan’s own unique stage personality. Jordan, remember, had been the male singer in a band whose female singer was Ella Fitzgerald. You don’t keep a job like that very long if you’re not good.   Now, Jordan wasn’t good in the same way as Ella was — no-one was good in the same way as Ella Fitzgerald — but what he was very good at was putting personality into his vocals. One thing we haven’t talked much about yet in this series is the way that there was a whole tradition of jive singing which dates back at least to the 1920s and Cab Calloway:   [excerpt from “Reefer Man”]   Jive singers weren’t usually technically great, but they had personality. They were hip, and they often used made up words of their own. They were clever, and funny, and sophisticated, and they were often singing about the underworld or drug use or prostitution or other such disreputable concepts — when they weren’t just singing nonsense words like Slim Gaillard anyway.   [Excerpt of “Flat Foot Floogie”]   And Louis Jordan was very much in the mould of singers like Gaillard or Calloway or Fats Waller, all of whom we could easily do episodes on here if we were going far enough back into rock’s prehistory. But Jordan is the way that that stream became part of the rhythm of rock music.   Most of Jordan’s songs were written by Jordan himself, although he’s not the credited writer on many of them — rather, his then-wife, Fleecie Moore, is credited for contractual reasons. Jordan and Moore later split up after multiple separate occasions where she stabbed him, but she retained credit on the songs. So, for example, she’s credited on “Caldonia”, which is a perfect example of Jordan’s comedy jump band style.   [Louis Jordan: Caldonia]   “Choo Choo Ch’Boogie,” Jordan’s biggest hit, was slightly different. From early 1943 — just after Gabler started producing his records — Jordan had been having occasional crossover hits on the country charts. These days, his music sounds to us clearly like it’s blues or R&B — in fact he’s basically the archetype of a jump blues musician — but remember how we’ve talked about Western Swing using so many swing and boogie elements? If you were making boogie music then, you were likely to appeal to the same audience that was listening to Bob Wills, just as much as you were to the audience that was listening to Big Joe Turner.   And because of this crossover success, Jordan started recording occasional songs that were originally aimed at the white country market. “Choo Choo Ch’Boogie” was co-written by Gabler, but the other songwriters were pure country and western writers — Denver Darling, one of the writers, was a hillbilly singer who recorded songs such as “My Little Buckaroo”, “I’ve Just Gotta Be A Cowboy” and “Ding Dong Polka”, while the other writer, Vaughn Horton, wrote “Dixie Cannonball” and “Muleskinner Blues”.   So “Choo Choo Ch’ Boogie” was, in conception, a hillbilly boogie, but in Louis Jordan’s hands, it was almost the archetypal rhythm and blues song:   [insert section of Choo Choo Ch’Boogie here]   You can hear from that how much it resembles the Bob Wills music we heard last week — and how the song itself would fit absolutely into the genre of Western Swing. There’s only really the lack of a fiddle or steel guitar to distinguish the styles. But you can also hear the horn-driven pulse, and the hip vocals, that characterise rhythm and blues. Those internal rhymes and slangy lyrics — “take me right back to the track, Jack” — come straight from the jive school of vocals, even though it’s a country and western song.   If there’s any truth at all to the claim that rock and roll was the mixing of country and western music with rhythm and blues, this is as good a point as any to say “this is where rock and roll really started”. Essentially every musician in the early rock and roll period was, to a greater or lesser extent, copying the style of Louis Jordan’s 1940s records. And indeed “Choo Choo Ch’ Boogie” was later covered by another act Milt Gabler produced — an act who, more than any other, based their style on Jordan’s. But we’ll come to Bill Haley and his Comets in a few episodes time.   For now, we want to listen to the way that jump band music sounds. This is not music that sounds like it’s a small band. That sounds like a full horn section, but you’ll notice that during the sax solo the other horns just punch in a little, rather than playing a full pad under it — the arrangement is stripped back to the basics, to what’s necessary. This is a punchy track, and it’s a track that makes you want to dance.   [sax solo excerpt]   And this is music that, because it’s so stripped down, relies on vocal personality more than other kinds. This is why Louis Jordan was able to make a success of this — his jive singing style gives the music all the character that in the larger bands would be conveyed by other instruments.   But also, notice the lyrics — “the rhythm of the clickety clack”. It’s that backbeat again, the one we’ve been talking about. And the lyrics here are all about that rhythm, but also about the rhythm of the steam trains.   That mechanical steam train rhythm is one of the key influences in blues, rhythm and blues, and rock and roll — rock and roll started at almost exactly the point that America changed from being a train culture to being a car culture, and over the coming weeks we’ll see that transition happen in the music. By the 1960s people would be singing “Nobody cares about the railroads any more” or about “the last of the good old fashioned steam powered trains”, but in the 1940s and early fifties the train still meant freedom, still meant escape, and even once that had vanished from people’s minds, it was still enshrined in the chug of the backbeat, in the choo choo ch’boogie.   And so next week we’ll be talking a lot more about the impact of trains in rock and roll, as we take our final look at the Carnegie Hall concerts of 1938…   Patreon As always, this podcast only exists because of the donations of my backers on Patreon. If you enjoy it, why not join them?

Welcome to episode four of A History of Rock Music in Five Hundred Songs. Today we're looking at Louis Jordan and "Choo Choo Ch'Boogie" ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. Louis Jordan's music is now in the public domain, so there are many different compilations available, of different levels of quality. This four-CD set is very cheap and has most of the classic tracks on. And here's a similarly-priced collection of Chick Webb. There aren't many books on Louis Jordan as an individual, and most of the information here comes from books on other musicians, but this one is probably worth your while if you want to investigate more. And for all the episodes on pre-1954 music, one invaluable source is the book "Before Elvis" by Larry Birnbaum. Transcript We've spent a lot of time in 1938 in this podcast, haven't we? First there was Flying Home, first recorded in 1939, but where we had to talk about events from 1938. Then we had "Roll 'Em Pete", recorded in 1938. And "Ida Red", recorded in 1938. 1938 is apparently the real year zero for rock and roll -- whether you come at it from the direction of blues and boogie, or jazz, or country and western music, 1938 ends up being the place where you start. Eighty years ago this year.   And 1938 is also the year that one man made his solo debut, and basically put together all the pieces of rock and roll in one place.   If you've seen the Marx Brothers film A Day At The Races -- well, OK, if you've not seen A Day At The Races, you really should, because while it's not the best film the Marx Brothers ever made, it's still a good Marx Brothers film, and it'll brighten up your day immensely to watch it, so go and watch that, and then come back and listen to the rest of this. And if you haven't watched all their earlier films, watch those too. Except The Cocoanuts, you can skip that one. Go on. I can wait.   OK, now you've definitely seen the Marx Brothers film A Day At The Races, so you'll remember the dance sequence where Ivie Anderson sings "All God's Chillun Got Rhythm", and the amazing dancers in that scene.   [Ivy Anderson "All God's Chillun Got Rhythm"]   That's a dance called the Lindy Hop -- you might remember that as the dance the "booglie wooglie piggy" did in a song we excerpted in episode two, it was named after Charles Lindbergh, the famous airman and Nazi sympathiser -- and the people dancing it are Whitey's Lindy Hoppers. And they were responsible for a controversy, on the night of Benny Goodman's first Carnegie Hall concert -- the one we talked about in episode one -- that is still talked about in jazz eighty years later.   [Chick Webb "Stompin' At The Savoy"]   That's "Stompin' at the Savoy" by Chick Webb, one of the most famous swing recordings ever, though it was later recorded by Benny Goodman in an even more fanous version. The Savoy Ballroom was where Whitey's Lindy Hoppers used to dance -- there was an entire corner of the ballroom set off for them, even though the rest of the floor was for the other dancers. The Savoy was where the Lindy Hop was invented, and it was the place to dance, because it was where Chick Webb, the real king of swing played.   We've seen a few kings of swing so far -- Benny Goodman was the person most associated with the name, and he had the name longest. A few people called Bob Wills that, too, though he mostly billed himself as the king of Western swing. But Chick Webb was the person who deserved the title more than anyone else. He was a small man, who'd contracted tuberculosis of the spine as a child, and he'd taken up the drums as a kind of therapy. He'd been playing professionally since he was eleven, and by the time he was thirty he was leading what was, bar none, the best swing band in New York for dancing. People called him the King of Swing before Goodman, and his band was an absolute force of nature when it came to getting people to do the Lindy Hop. Benny Goodman admired Webb's band enough that he bought the band's arrangements and used them himself -- all of the Goodman band's biggest crowd-pleasers, at least the ones that weren't arrangements he'd bought off Fletcher Henderson, he bought from Edgar Sampson, the saxophone player who did most of Webb's arrangements. Sampson is the one who wrote "Stompin' at the Savoy", which we just heard.   There was a rivalry there -- Goodman's band was bigger in every sense, but Webb's band was more popular with those who knew the real deal when they heard it. And in 1937, the Savoy hosted a cutting contest between Webb's Savoy Orchestra and Goodman's band.   A cutting contest was a tradition that came from the world of stride piano players -- the same world that boogie woogie music grew out of. One musician would play his best (and it usually was a "his" -- this was a very macho musical world) and then a second would try to top him -- playing something faster, or more inventive, or more exciting, often a reworking of the song the first one had played -- and then the first would take another turn and try to get better than the second had. They'd keep going, each trying to outdo the other, until a crowd decided that one or the other was the winner.   And that 1937 cutting contest was a big event. The Savoy had two bandstands, so they would have one band start as soon as the other one finished, so people could dance all night. Chick Webb's band set up on one stage, Goodman's on another. Four thousand dancers crowded the inside of the ballroom, and despite a police cordon outside to keep trouble down, another five thousand people outside tried to hear what was happening.   And Chick Webb's band won, absolutely. Gene Krupa, Goodman's drummer (one of the true greats of jazz drumming himself) later said "I'll never forget that night. Webb cut me to ribbons!"   And that just was the most famous of many, many cutting contests that Chick Webb's band won. The only time Chick Webb ever definitely lost a cutting contest was against Duke Ellington, but everyone knew that Chick Webb and Duke Ellington weren't really trying to do the same kind of thing, and anyway, there's no shame at all in losing to Duke Ellington.   Count Basie, though, was a different matter. He was trying to do the same kind of thing as Chick Webb, and he was doing it well. And on the night of Benny Goodman's Carnegie Hall concert, Webb and Basie were going to engage in their own cutting contest after hours. For all that the Goodman Carnegie Hall show was important -- and it was -- the real jazz fans knew that this after-show party was going to be the place to be. Basie had already played the Carnegie hHall show, guesting with Goodman's band, as had Basie's tenor sax player Lester Young, but here they were going to get to show off what they could do with their own band.   Basie's band was on top form at that time, with his new vocalists Jimmy Rushing, a great blues shouter, and Billie Holiday, who was just then becoming a star. Chick Webb had a couple of good vocalists too, though -- his new teenage singer, Ella Fitzgerald, in particular, was already one of the great singers.   [Chick Webb – Ella]   And everyone was in the audience. Goodman's band, Mildred Bailey, Ivie Anderson (who we heard before in that Marx Brothers clip), Red Norvo the vibraphone player, Duke Ellington. Every musician who mattered in the jazz scene was there to see if Basie could beat Chick Webb.   And… there was a dispute about it, one which was never really resolved in Webb's lifetime.   Because Webb won -- everyone agreed, when it came to a vote of the audience, Webb's band did win, though it was a fairly close decision. Again, the only band to ever beat Chick Webb was Duke Ellington.   But everyone also agreed that Basie's band had got people dancing more. A lot more.   What nobody realised at the time was that Whitey's Lindy Hoppers had gone on strike. Chick Webb had misheard a discussion between a couple of the dancers about how good the Basie band was going to be that night, assumed that they were saying Basie was going to be better than him, and got into a huff. Webb said "I don't give a good Goddam what those raggedy Lindy Hoppers think or say. Who needs 'em? As far as I'm concerned they can all go to hell. And their Mammies too."   After this provocation, Whitey issued an ultimatum to his Lindy Hoppers. That night, they were only going to dance to Basie, and not to Webb. So even though most of the audience preferred Webb's band, every time they played a song all the best dancers, the ones who had an entire quarter or so of the ballroom to themselves to do their most exciting and visual dances, all sat down, and it looked like the Webb band just weren't exciting the crowd as much as the Basie band.   Of course, the Basie band were good that night, as well. When you've got the 1938 Count Basie band, with Jimmy Rushing and Billie Holiday singing, you're going to get a good show. Oh, and they persuaded Duke Ellington to come up and play a piano solo -- and then all the band joined in with him, unrehearsed and unprompted.   But despite all that, Webb's band still beat them in the audience vote.   That's how good Webb's band were, and it's also how good his two big stars were. One of those stars, Ella Fitzgerald, we've already mentioned, but the other one was an alto sax player who also took the male lead vocals – we heard him singing with Ella earlier. This sax player did a lot of the frontman job for Webb's band and was so important to the band in those years that, allegedly, some people thought he was Chick Webb. That man was Louis Jordan.   [Chick Webb I Can't Dance I Got Ants In My Pants]   Louis Jordan was a good sax player, but what he really was was a performer. He was someone who could absolutely sell a song, with wit and humour and a general sense of hipness that could possibly be matched at that time only by Cab Calloway and Slim Gaillard, and Jordan was a better musician than either of them. He was charming, and funny, and tuneful, and good looking, and he knew it.   He knew it so well, in fact, that shortly after that show, he started making plans -- he thought that he and Ella were the two important ones in the Webb band, and he planned to form his own band, and take her, and much of the rest of the band with him. Webb found out and fired Jordan, and Ella and most of the band remained loyal to Webb.   In fact, sadly, Jordan would have had what he wanted sooner rather than later anyway. Chick Webb's disability had been affecting him more, and he was only continuing to perform because he felt he owed it to his musicians -- he would often pass out after a show, literally unable to do anything else. He died, aged thirty-four, in June 1939, and Ella Fitzgerald became the leader of his band, though like many big bands it eventually broke up in the mid-forties.   So if Jordan had held on for another few months, he would have had a good chance at being the leader of the Louis Jordan and Ella Fitzgerald band, and history would have been very different. As it was, instead, he formed a much smaller group, the Elks Rendez-vous Band, made up of members of Jesse Stone's band (you'll remember him from episode two, he wrote "Shake, Rattle, and Roll"). And on December 20, 1938 -- ten days before "Roll 'Em Pete" -- Louis Jordan and his Elks Rendez-vous Band went into the studio for the first time, to record "Honey in the Bee Ball" and "Barnacle Bill the Sailor".   [excerpt of "Honey in the Bee Ball"]   Shortly after that, they changed their name to Louis Jordan and his Tympany Five.   Before we talk about them more, I want to briefly talk about someone else who worked with Jordan. I want to talk about Milt Gabler. Gabler is someone we'll be seeing a lot of in this story, and he's someone who already had an influence on it, but here's where he becomes important.   You see, even before his influence on rock and roll, Gabler had made one important contribution to music. He had started out as the owner of a little record shop, and he had a massive passion for good jazz music -- and so did his customers. And many of those customers had wanted to get hold of old records, now out of print. So in 1935 Gabler started his own record label, and licensed those out of print recordings by people like Bix Beiderbecke and Bessie Smith, becoming the owner of the very first ever reissue record label. His labels pioneered things like putting a full list of all the musicians on a record on the label -- the kind of thing that real music obsessives cared far more about than executives who only wanted to make money.   After he had some success with that, he branched out into making new records, on a new label, Commodore. That would have stayed a minor label, but for one thing.   In 1939, one of his regular customers, Billie Holiday, had a problem. She'd been performing a new song which she really wanted to record, but her current label, Columbia, wasn't interested. That song was too political even for her producer, John Hammond -- the man who, you will remember from previous episodes, persuaded Benny Goodman to integrate his band and who put on shows that same year sponsored by the Communist Party. But the song was too political, and too inflammatory, even for him. The song, which became Billie Holiday's best-known performance, was "Strange Fruit", and it was about lynching.   [insert section of Strange Fruit here].   Billie Holiday could not get her label to put that track out, under any circumstances. But she knew Milt Gabler might do it -- he'd been recording several small group tracks with Lester Young, who was Holiday's colleague and friend in the Basie band. As Gabler was a friend of hers, and as he was politically left-leaning himself, he eventually negotiated a special deal with Columbia, Holiday's label, that he could produce her for one session and put out a single recording by her, on Commodore.   That recording sold over a million copies, and became arguably the most important recording in music history. In December 1999, Time Magazine called it the "song of the century". And in 2017, when the black singer Rebecca Ferguson was invited to play at Donald Trump's inauguration, she agreed on one condition -- that the song she performed could be "Strange Fruit". She was disinvited.   As a result of "Strange Fruit"'s success, Milt Gabler was headhunted away from his own label, and became a staff producer at Decca records in 1941. There he was responsible for producing many of the greatest records of the forties -- not least that famous Lionel Hampton version of "Flying Home" we looked at towards the end of episode one -- and he began a long collaboration with Louis Jordan -- remember him? This is a story about Louis Jordan.   Jordan's new band had a sound unlike anything else of the time -- Clarence "Gatemouth" Brown later claimed that Jordan had most of the responsibility for the decline of the big bands, saying "He could play just as good and just as loud with five as 17. And it was cheaper."   And while we've talked before about a whole raft of economic and social reasons for the decline of the big bands, there was a lot of truth in that statement -- while there were sometimes actually as many as seven or eight members of the Tympany Five, the original lineup was just Jordan plus one trumpet, one sax, piano, bass, and drums, and yet their recordings did sound almost as full as many of the bigger bands.   The style they were playing in was a style that later became known as "jump band" music, and it was a style that owed a lot to Lionel Hampton's band, and to Count Basie. This is a style of music that's based on simple chord changes -- usually blues changes. And it's based on the concept of the riff.   We haven't really talked much about the idea of riffs yet in this series, but they're absolutely crucial to almost all popular music from the twentieth century. A riff is, in its conception, fairly straight forward. It's an instrumental phrase that gets repeated over and over. It can act as the backbone to a song, but it can also be the basis for variation and improvisation -- when you "riff on" something, you're coming up with endless variations and permutations of it.   Riffs were important in swing music -- generally they were a sort of back-and-forth in those. You'd have the saxophones play the riff, and then the trumpets and trombones repeat it after them. But swing wasn't just about riffs -- with a big orchestra, you had to have layers and stuff for all the musicians to do.   In jump band music, on the other hand, you strip everything back. The track becomes about the riff, the solos, and the vocal if there is one, and that's it. You play that riff over the simplest possible changes, you play it to a rhythm that will get everyone dancing -- often a boogie rhythm -- and you make everything about the energy of the performance.   Jordan's band did that, and they combined it with Jordan's own unique stage personality. Jordan, remember, had been the male singer in a band whose female singer was Ella Fitzgerald. You don't keep a job like that very long if you're not good.   Now, Jordan wasn't good in the same way as Ella was -- no-one was good in the same way as Ella Fitzgerald -- but what he was very good at was putting personality into his vocals. One thing we haven't talked much about yet in this series is the way that there was a whole tradition of jive singing which dates back at least to the 1920s and Cab Calloway:   [excerpt from "Reefer Man"]   Jive singers weren't usually technically great, but they had personality. They were hip, and they often used made up words of their own. They were clever, and funny, and sophisticated, and they were often singing about the underworld or drug use or prostitution or other such disreputable concepts -- when they weren't just singing nonsense words like Slim Gaillard anyway.   [Excerpt of "Flat Foot Floogie"]   And Louis Jordan was very much in the mould of singers like Gaillard or Calloway or Fats Waller, all of whom we could easily do episodes on here if we were going far enough back into rock's prehistory. But Jordan is the way that that stream became part of the rhythm of rock music.   Most of Jordan's songs were written by Jordan himself, although he's not the credited writer on many of them -- rather, his then-wife, Fleecie Moore, is credited for contractual reasons. Jordan and Moore later split up after multiple separate occasions where she stabbed him, but she retained credit on the songs. So, for example, she's credited on "Caldonia", which is a perfect example of Jordan's comedy jump band style.   [Louis Jordan: Caldonia]   "Choo Choo Ch'Boogie," Jordan's biggest hit, was slightly different. From early 1943 -- just after Gabler started producing his records -- Jordan had been having occasional crossover hits on the country charts. These days, his music sounds to us clearly like it's blues or R&B -- in fact he's basically the archetype of a jump blues musician -- but remember how we've talked about Western Swing using so many swing and boogie elements? If you were making boogie music then, you were likely to appeal to the same audience that was listening to Bob Wills, just as much as you were to the audience that was listening to Big Joe Turner.   And because of this crossover success, Jordan started recording occasional songs that were originally aimed at the white country market. "Choo Choo Ch'Boogie" was co-written by Gabler, but the other songwriters were pure country and western writers -- Denver Darling, one of the writers, was a hillbilly singer who recorded songs such as "My Little Buckaroo", "I've Just Gotta Be A Cowboy" and "Ding Dong Polka", while the other writer, Vaughn Horton, wrote "Dixie Cannonball" and "Muleskinner Blues".   So "Choo Choo Ch' Boogie" was, in conception, a hillbilly boogie, but in Louis Jordan's hands, it was almost the archetypal rhythm and blues song:   [insert section of Choo Choo Ch'Boogie here]   You can hear from that how much it resembles the Bob Wills music we heard last week -- and how the song itself would fit absolutely into the genre of Western Swing. There's only really the lack of a fiddle or steel guitar to distinguish the styles. But you can also hear the horn-driven pulse, and the hip vocals, that characterise rhythm and blues. Those internal rhymes and slangy lyrics -- "take me right back to the track, Jack" -- come straight from the jive school of vocals, even though it's a country and western song.   If there's any truth at all to the claim that rock and roll was the mixing of country and western music with rhythm and blues, this is as good a point as any to say "this is where rock and roll really started". Essentially every musician in the early rock and roll period was, to a greater or lesser extent, copying the style of Louis Jordan's 1940s records. And indeed "Choo Choo Ch' Boogie" was later covered by another act Milt Gabler produced -- an act who, more than any other, based their style on Jordan's. But we'll come to Bill Haley and his Comets in a few episodes time.   For now, we want to listen to the way that jump band music sounds. This is not music that sounds like it's a small band. That sounds like a full horn section, but you'll notice that during the sax solo the other horns just punch in a little, rather than playing a full pad under it -- the arrangement is stripped back to the basics, to what's necessary. This is a punchy track, and it's a track that makes you want to dance.   [sax solo excerpt]   And this is music that, because it's so stripped down, relies on vocal personality more than other kinds. This is why Louis Jordan was able to make a success of this -- his jive singing style gives the music all the character that in the larger bands would be conveyed by other instruments.   But also, notice the lyrics -- "the rhythm of the clickety clack". It's that backbeat again, the one we've been talking about. And the lyrics here are all about that rhythm, but also about the rhythm of the steam trains.   That mechanical steam train rhythm is one of the key influences in blues, rhythm and blues, and rock and roll -- rock and roll started at almost exactly the point that America changed from being a train culture to being a car culture, and over the coming weeks we'll see that transition happen in the music. By the 1960s people would be singing "Nobody cares about the railroads any more" or about "the last of the good old fashioned steam powered trains", but in the 1940s and early fifties the train still meant freedom, still meant escape, and even once that had vanished from people's minds, it was still enshrined in the chug of the backbeat, in the choo choo ch'boogie.   And so next week we'll be talking a lot more about the impact of trains in rock and roll, as we take our final look at the Carnegie Hall concerts of 1938…   Patreon As always, this podcast only exists because of the donations of my backers on Patreon. If you enjoy it, why not join them?

Songs include: You Are My Sunshine, Venus di Milo, The Moon Got In My Eyes, Mercury,  Jumpin Jupiter, On a Planet, Men From Mars and Meteor. Musicians include: Bing Crosby, Mildred Bailey, Adrian Boult, Wayne King, Miles, Davis, Woody Herman, Lennie Tristano and Tal Farlow.

On this week's show I am going to take a look at the area of New York City known as Harlem. There have been many songs written about that particular area so I thought it would be interesting to learn about it and explore some of the many songs that have Harlem in the title. Some of the bands we'll be hearing from include Duke Ellington, Mildred Bailey, Stan Kenton, Gene Krupa, Bunny Berigan, and Erskine Hawkins. I hope you enjoy this look at some of the many bands celebrating the spot of New York known as Harlem. Please visit this podcast at http://bigbandbashfm.blogspot.com

Singing songs that touch the heart, Mildred Bailey never achieved the fame she deserved.

Ever-popular song stylist Tony Bennett was McPartland's guest for the first time in 1990. Bennett vocalizes American popular songs like nobody else can. When he was starting out, a voice teacher, Miriam Spier, famously told him: "Don't imitate singers, imitate musicians." So, Bennett decided to emulate Art Tatum. He also credits his relaxed delivery to the inspiration of Mildred Bailey. On this edition of Piano Jazz, Bennett sings "Stay as Sweet as You Are" and "Imagination." There's no need to guess who's playing the accompaniment.

Shellac Stack No. 132 salutes the girls! From Glorianna to Isabelle to Evelina to Madelaine and Julia, we've got more than a dozen songs named after girls. Performers this time include the Ipana Troubadours, Ted Lewis, Mildred Bailey, Teddy Wilson, Ina Ray Hutton, Eddy Duchin, and many others.

Songs include: Cottontail, Cherokee, Woodchopper's Ball, Frenesi, Rocking Chair, I Can't Get Started and Lester Leaps In. Performers include: Lester Young, Woody Herman, Coleman Hawkins, Duke Ellington, Mildred Bailey, Artie Shaw, Django Reinhardt, Charlie Barnett and Art Tatum.

Let’s find out why by following the rabbit hole down into the influence of early blues singers like Mildred Bailey and Robert Johnson with singer-songwriter and recording artist - Vic Horvath. Perhaps the owner of Vinyl Envy put it best when he said: “Once somebody’s kind of into the blues, they’re there, like they may not come out for awhile.” In this episode, we learn how Vic got curious about early rock & roll music and how she dug deeper into where it was coming from. She talks about the role confidence – or no confidence plays in being a musician and some of the challenges she’s faced, like: “it’s difficult standing up in front of people and just kind of baring it all for them.” Vic also explains what making it in the music business means to her. Having a good teacher in the early stages of your career is critical for the development of a young musician and Vic talks about the influence of an early blues mentor who just took one look at her and said: “you don’t want to go the paper route, do you Vic?” Vic’s teacher also gave her this advice: “…you have to sacrifice a lot in relationships and in time and really dedicate yourself if you want to be good.” Vic clearly took those early lessons to heart and continues to passionately dedicate herself to her art. We’ll also hear a great track from her new album, ‘West Coast Reign.’ So, when you're lookin' for some sweet soul soothin' guitar bluesin,' give Vic Horvath a listen!

Show 11, “Music of Hoagy Carmichael,” includes 14 songs he wrote, from everlasting hits like “Stardust” to obscure-but-fun items like “When Love Goes Wrong.” Performers include Mildred Bailey, The Fleetwoods, The Four Preps, Julie London,... Read More The post Episode 11- Hoagy Carmichael appeared first on Sam Waldron.

Selections from Babes In Arms, Between the Devil, Pins and Needles, The Cradle Will Rock and I'd Rather Be Right. Performers include: Lena Horne, Mildred Bailey, Sophie Tucker, Vincent Lopez, Millie Weitz & Leo Reisman.

Songs include: And Her Tears Flowed Like Wine, If Teardrops Were Pennies, Brush Those Tears From Your Eyes, He's Not worth Your Tears and Too Many Tears. Performers include: Ambrose & His Orchestra, Mildred Bailey, Buddy Clark, Jimmy Rodgers, The Carter Family, The Ink Spots, Doris Day and Wesley Tuttle.

Shellac Stack No. 80 advises you to “Take Your Girlie to the Movies!” We explore “multiple method recording” with Blake Reynolds, listen to a pair of 1933 tangos, and relax with Bing and the Mills Brothers. We've got Mildred Bailey, Willie “The Lion” Smith, Mel Henke, Vaughn De Leath, Fats Waller, and more.

Hit songs from Broadway musicals from 1928. Songs include: I Can't Give You Anything But Love, Diga Diga Do, How Long Has This Been Going On, Love Me Or Leave Me, Makin Whoopee, Lover Come Back to Me and Let's Do It, Let's Fall In Love. Performers include: Adelaide Hall, Paul Whiteman. Ella Fitzgerald, Billie Holiday, Eddie Cantor, Ruth Etting, Frank Sinatra, Mildred Bailey and the Mills Brothers.

Songs include: Jeepers Creepers, Over the Rainbow, Cheek to Cheek, The Way You Look Tonight, I've Got You Under My Skin, The Continental and Lullaby of Broadway. Performers include: Louis Armstrong, Bing Crosby, Mildred Bailey, Hal Kemp, Bea Wain, Peggy Lee, Leo Reisman and Fred Astaire.

Songs include: My Window Faces the South, Swanee, Mint Julep, Down South Camp Meeting, Alabama Jubilee and  Georgia On My Mind. Performers include: Phil Harris, Thomas "Fats" Waller, Mildred Bailey, Glenn Miller, Bill Monroe, Al Jolson and Jelly Roll Morton.

Love songs, both happy and sad, for Valentine's Day.  Songs include: Let Me Call You Sweetheart, Heart and Soul, You're So Darn Charming, Easy to Love and Don't Explain. Performers include: The Peerless Quartet, Thomas "Fats" Waller, Mildred Bailey, Hank Thompson, Johnny Mercer and Billie Holiday.

Songs about being thankful, including: Thanks For the Memory, I Want To Thank You Folks, Thanks a Million, Thank Your Father and Thank You Mr. Moon.  Performers include: Bing Crosby, Mildred Bailey, The Boswell Sisters, Louis Armstrong, Perry Como and Helen Kane.

The life and music of songwriter Irving Caesar.  Songs include: Tea For Two, Animal Crackers In My Soup, I Want To Be Happy, Swanee, Is It True What They Say About Dixie and Sometimes I'm Happy.  Performers include: Al Jolson, Mildred Bailey, Bing Crosby, Shirley Temple, Wingy Manone, Mildred Bailey and Jimmy Durrante.

"Mildred Bailey" features:A career retrospective for one of the top jazz vocalists of the era, beginning with early songs like "What Kind of Man Is You" and continuing through "Give Me Liberty or Give Me Love," "Cabin in the Pines," "Honeysuckle Rose," "Long About Midnight" and the steamy Cuban adventure "The Weekend of a Private Secretary" from 1936.

Este es el último programa de VOCES CON SWING en Radio Nacional de España. Desde septiembre de 2006 hemos hecho 275 programas en esta emisora. Semana tras semana, sin faltar ninguna, hemos intentado que los oyentes redescubrieran la mejor música moderna, grabada hace más de cincuenta años. También hemos tratado de convertir la radio en un imaginario salón de baile, lleno de música y canciones inolvidables. Pero nuestro tiempo en esta emisora toca ya a su fin. Deseo agradecer a Radio Nacional de España su amable acogida, las facilidades prestadas, y la gran calidad de sus equipos técnicos y humanos. Sobre todo, deseo expresar mi agradecimiento a los oyentes de VOCES CON SWING por compartir conmigo el placer de descubrir, degustar y saborear esta música maravillosa. Hasta siempre. José Luis Rubio. En este último programa escuchamos los siguientes discos: 'Grandfather's clock' (Orquesta Gene Krupa); 'Cuckoo in the clock' (Mildred Bailey, con Orquesta Red Norvo); 'Ya son las doce' (Benny Moré); 'After twelve o'clock' (Dick Roberston), 'One o'clock jump' (Orquesta Count Basie); 'Cinco minutos' (José Moro y Orquesta Casablanca); 'Madrugada' (Raúl Abril y Orquesta Martín de la Rosa); 'Les bruits de la nuit' (Orquesta Bernard Hilda); 'Silencio' (Carlos Gardel); 'El tiempo pasa' (Bonet de San Pedro); 'Ich hab' die ganze Nacht geweint' (Marlene Dietrich); 'My shining hour' (Diahann Carroll); 'Un minuto de silencio' (Lolita Garrido).Escuchar audio

Songs with lists, including: My Baby Just Cares For Me, Route 66, A, You're Adorable, It Might As Well Be Spring. I Wish That I Were Twins and These Foolish Things. Performers include: Billie Holiday, Mildred Bailey, Nat King Cole, Fats Waller and Jo Stafford.

Empezamos con la orquesta del batería Gene Krupa y su cantante Irene Daye, en 'Drum boogie', un disco de 1941. Aquel mismo año Krupa tocó este número en la película 'Bola de fuego', cantado por Bárbara Stanwyck. La película, una variación del cuento de Blancanieves y los Siete Enanitos, trata de una cantante de cabaret, novia de un gángster y fugitiva de la ley, que se refugia en la casa donde unos sabios ingenuos redactan una enciclopedia. En 1948 se rodó una nueva versión, 'Nace una canción', con los sabios convertidos en famosos músicos de jazz, como Louis Armstrong, Benny Goodman o Tommy Dorsey. Ahí Virginia Mayo cantaba 'Daddy-O'. En otra película americana, de 1941, Connie Boswell, rodeada de sonrientes mecanógrafas, soñaba despierta con La Habana y todavía notaba la sensación de la arena en sus zapatos. Dos años más tarde, en Italia, lo que tenía en el zapato Natalino Otto no era arena sino una una china: 'Ho un sassolino nella scarpa'. También sobre zapatos era 'Shoes with wings on' (Zapatos con alas), un número que estrenó Fred Astaire y que escuchamos en versión instrumental por el organista Guus Jansen. Otra canción sobre zapatos, concretamente sobre el oficio de zapatero, se estrenó en España en 1932 en un sainete de los hermanos Álvarez Quintero, con música de Francisco Alonso. La grabó Trini Avellí. Más antigua, de 1921, es la canción 'There'll be some changes made', el reproche de una persona que no ha sido tratada con la consideración que merece. La grabó en 1939 Mildred Bailey. También de cambiar de pareja habla otra canción que estrenó Fred Astaire y que escuchamos a Ella Fitzgerald, en un disco de 1958. Hoy nos deleitamos con dos discos de gramófono grabados en España a finales de los años cuarenta: 'Muñequita linda', por Mario Rey, y 'Mirando al mar', por Alfredo Alcácer. Terminamos con 'Multiplication', un disco grabado hace medio siglo por Bobby Darin para la película 'Cuando llegue Septiembre'. Escuchar audio

Empezamos con una escena de la película de 1936 'Ella, él y Asta', en la que Dorothy McNulty canta y baila la canción 'Blow that horn'. También en esa película se estrenó 'Smoke dreams' (Sueños de humo), que escuchamos en una grabación de 1937 por Mildred Bailey. Esta misma canción la grabó en España Rina Celi en 1941 con el título de 'Espiras de humo'. La orquesta de Artie Shaw, con la excelente cantante Pauline Byrne interpreta 'My fantasy', una melodía clásica que luego se utilizó para la canción 'Stranger in Paradise'. Pero esta grabación es muy anterior: del año 1940. También en este programa: 'Canción a quien la quiera' (por Alberto Rochi, con la Orquesta Martín de la Rosa); 'Pardonne-moi' (por Rina Ketty); de nuevo 'Pardonne-moi' (por el Cuarteto Florenzo); 'Tarde de otoño en Platerías' (García Guirao); 'La margarita' (Bonet de San Pedro); 'Adoración' (Los Chavales de España, con Alberto Rochi); y 'Summertime' (Louis Armstrong y Ella Fitzgerald). Escuchar audio

A Retro Musical Extravaganza. Presented entirely by the Retrobots, with a little help. A full hour of various collected love songs from the era of old time radio. The original play list was so long, it could have easily filled a second hour. Instead, the audio quality has been boosted a little so this will be a larger file. I hope you enjoy. Please make comments, and let me know what you think about seeing more, or fewer of these kinds of shows.   Playlist:   1. When Pa Was Courting Ma. Tex Beneky, Glenn Milller. 1938. 2. Almost Like Being in Love. Mildred Bailey. 3. I Can't Get Started With You. Skinny Ennis, Hal Kemp. 4. Why Doesn't Somebody Tell Me These Things. Marian Hutton, Glenn Miller. 1938. 5. Blues in the Night. Johnny Mercer, Ella May Morris, Pied Pipers. 1944. 6. Is You Is or Is You Ain't My Baby. Ozzie Nelson. 7. Rainy Day. Leah Raye, Phil Harris. 1933. 8. From the Top of Your Head. Hal Kemp. 9. I Must Have That Man. Ben Selven. 1928. 10. Extraordinary Gal. Phil Harris. 1933. 11. The Lady's In Love With You. Tex Beneky, Glenn Miller. 1939. 12. At Your Beck and Call. Mildred Bailey. 13. All of Me. Paul Whiteman. 14. You Always Keep Me in Hot Water. Caroline Cotton, Bob Wills. 15. You're Driving Me Crazy. Ben Selven. 1930. 16. What Have You Got That Gets Me. Marian Hutton, Glenn Miller. 1938. 17. You're So Darn Charming. Bob Allen, Hal Kemp. 18. I'm Thinking Tonight of My Blue Eyes. Tex Ann. 19. Let's Put Out the Light and Go to Bed. Paul Whiteman

Celebrating the 100th birthday of songwriter, Johnny Mercer.  Songs include: Lazy Bones, Too Marvelous For Words, I Thought About You and Day In Day Out. Performers include: The Mills Brothers, Mildred Bailey, Louis Armstrong and Tommy Dorsey.

The songs of lyricist, Johnny Burke.  Songs include: Swinging on a Star, I've Got a Pocketfull of Dreams. What's New and Pennies From Heaven. Performers include: Bing Crosby, Mildred Bailey, Billy Eckstein and Guy Lombardo.

Cover versions of Duke Ellington tunes.  Songs include: Mood Indigo, It Don't Mean a Thing, Take the A Train, All Too Soon and Caravan. Performers include: Benny Goodman, the Mills Brothers, Harry James, Valaida Snow and Mildred Bailey.

Songs with who, what, where, when, why and how in the title.  Songs include: Where Are You? ,Who's Sorry Now?, When Did You Leave Heaven? and How Can You Face Me? Performers include: Guy Lombardo, Mildred Bailey, Billie Holliday, Bing Crosby and the Casa Loma Orchestra.

The life and work of songwriter, Jimmy McHugh, including: I'm In the Mood For Love, I Can't Give You Anything But Love, On the Sunny Side of the Street, Coming In On a Wing And a Prayer and Where Are You. Artists include: The Mills Brothers, Duke Ellington, Francis Langford, Mildred Bailey, Gene Austin and Guy Lombardo.

Songs from the Great Depression, including: Brother Can You Spare a Dime?, Wrap Up Your Troubles in Dreams, Hobo Jungle Blues and When You Wish Upon a Star. Performers include: Mildred Bailey, Bing Crosby, Ted Lewis, Cliff Edwards and Sleepy John Estes.

Big Band Serenade presents Red Norvo & His Orchestra with Mildred Baily together they were Mr & Mrs Swing 1933-1945 The music in this program is listed in order of play;1) "Knockin' On Wood"  1933 2) "Hole In The Wall" 19333) "In A Mist" 19334) "Dance Of The Octopus" 1933 5) "Tea Time" 19386) "Now And Then" 19387) "Saving Myself For You" Vocal Mildred Bailey8) "Picture Me Without You" 1936 Vocal Mildred Bailey9) "Have Mercy" 1939 10)"Yours For A Song" 1939 11)"Who Blew Out The Flame" Vocal Mildred Bailey12)"Which Switch Witch" 194413)"Seven Come Eleven" 194414)"Blue In E Flat" 1935 *******Please Take Our Survey******

Big Band Serenade presents Paul Whiteman and his Orchestra,The Music on this program is from the 1930's & 1940's and is listed in order of play; 1)All Of Me-1932 vocal/Mildred Bailey,2)Side By Side-1927,3)Three On A Match-1932 w/Red McKenzie,4)Let's Put Out The Lights-1932 vocal/Ramona,5)Deep Purple-1934,6)Nobody's Sweeheart-1929,7)Out-o'-Town Gal-1928,8)Moon Love-1939 w/Moderaires,9)By The Sycamore Tree-1931,10)I'm In The Mood For Love-1935,11)Rise N Shine-1932Online Meetings Made Easy with GoToMeeting Try it Free for 45 days use Promo Code PodcastGo To GoDaddy & SAVE!!Use Promo Code Blu19

Big Band Serenade presents Mildred Bailey,The Music on this program is from the 1930's & 1940's and is listed in order of play; 1)Rockin' Chair-1932, 2)For Sentimental Reasons-1936, 3)With You On My Mind-1938, 4)Hold On-1939 w/Alec Wilder, 5)Fools Rush In-1940, 6)Don't Take Your Love From Me-1940, 7)Sometimes I'm Happy-1941, 8)It's The Natural Thing To Do-1937, 9)The Little Man Who Wasn't There-1939 10)You're The Moment of My Life-1939, 11)Right Or Wrong, 12)Just A Stone's Throw Away From Heaven, 13)At Your Beck And Call-1938, 14)Penthouse Seenade-1946, 15)Thanks For The Memory-1938Online Meetings Made Easy with GoToMeeting Try it Free for 45 days use Promo Code Podcast