Podcasts about West End Blues

Take a trip with us to the most revolutionary decade in jazz (1923-1933), when a young Louis Armstrong was creating a new improvisational vocabulary in real-time. This isn't the “Wonderful World” Satchmo most know, but the young gunner whose genius trumpet solos on “West End Blues” and “Tight Like This” were toppling trumpet kings. We break down Pops' evolution from King Oliver's second to pioneering frontman, explore his inventive scat singing (supposedly born when he dropped his lyric sheet), and trace how his massive popularity caught the attention of Chicago gangsters – careful now! From his recordings with Earl “Fatha” Hines to “Black and Blue” – the first jazz song addressing racism – hear exactly why we say there would be no jazz without Louis Armstrong.Link to Spotify PlaylistABOUT OPEN STUDIO------------------------------------------------------------------------------------------------------------------------------------------------------------As the premier online jazz education platform, with an ever-expanding course library and 20,000+ members, Open Studio (OS) has everything you need to excel and thrive on your jazz journey.Featuring everything from beginner to advanced lessons, engaging courses from A-list instructors, step-by-step curriculum, real-time classes and a thriving and incredibly supportive community, OS is the perfect platform to level up your jazz playing, whether you're a total beginner, or an advanced pro-level improvisor.Try OS Membership today! → https://osjazz.link/about

Winging It: Improv's Power & Peril in the Time of AI & Trump (Spring, 2024) is Randy Fertel's third book, his second on improvisation. Creating something impromptu and without effort challenges our assumption that everything of value depends upon long study, tradition, and hard work. Improvisation comes to disrupt all that. The gesture all improvisations share—I will create this on the fly, or as Donald Trump has it, my gut knows more than many brains—defies rationality and elevates embodied emotions, instinct, and intuition. Claiming to be free of serious purpose, improvisation only pursues pleasure. Or, so it says. Through the lens of neuroscience, bioevolution, and well-known cultural texts, Winging It explores the links among the many disciplines improv informs—from Louis Armstrong's “West End Blues” to the hip-hop masterpiece Hamilton. It defines what connects Kerouac's On the Road, rock and roll, improv comedy, Fred Astaire's tap, detective fiction, the Marvel Cinematic Universe, psychedelics, hookup culture, AI, even politics—in particular, the reign of the Improviser-in-Chief Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Winging It: Improv's Power & Peril in the Time of AI & Trump (Spring, 2024) is Randy Fertel's third book, his second on improvisation. Creating something impromptu and without effort challenges our assumption that everything of value depends upon long study, tradition, and hard work. Improvisation comes to disrupt all that. The gesture all improvisations share—I will create this on the fly, or as Donald Trump has it, my gut knows more than many brains—defies rationality and elevates embodied emotions, instinct, and intuition. Claiming to be free of serious purpose, improvisation only pursues pleasure. Or, so it says. Through the lens of neuroscience, bioevolution, and well-known cultural texts, Winging It explores the links among the many disciplines improv informs—from Louis Armstrong's “West End Blues” to the hip-hop masterpiece Hamilton. It defines what connects Kerouac's On the Road, rock and roll, improv comedy, Fred Astaire's tap, detective fiction, the Marvel Cinematic Universe, psychedelics, hookup culture, AI, even politics—in particular, the reign of the Improviser-in-Chief Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Winging It: Improv's Power & Peril in the Time of AI & Trump (Spring, 2024) is Randy Fertel's third book, his second on improvisation. Creating something impromptu and without effort challenges our assumption that everything of value depends upon long study, tradition, and hard work. Improvisation comes to disrupt all that. The gesture all improvisations share—I will create this on the fly, or as Donald Trump has it, my gut knows more than many brains—defies rationality and elevates embodied emotions, instinct, and intuition. Claiming to be free of serious purpose, improvisation only pursues pleasure. Or, so it says. Through the lens of neuroscience, bioevolution, and well-known cultural texts, Winging It explores the links among the many disciplines improv informs—from Louis Armstrong's “West End Blues” to the hip-hop masterpiece Hamilton. It defines what connects Kerouac's On the Road, rock and roll, improv comedy, Fred Astaire's tap, detective fiction, the Marvel Cinematic Universe, psychedelics, hookup culture, AI, even politics—in particular, the reign of the Improviser-in-Chief Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

Winging It: Improv's Power & Peril in the Time of AI & Trump (Spring, 2024) is Randy Fertel's third book, his second on improvisation. Creating something impromptu and without effort challenges our assumption that everything of value depends upon long study, tradition, and hard work. Improvisation comes to disrupt all that. The gesture all improvisations share—I will create this on the fly, or as Donald Trump has it, my gut knows more than many brains—defies rationality and elevates embodied emotions, instinct, and intuition. Claiming to be free of serious purpose, improvisation only pursues pleasure. Or, so it says. Through the lens of neuroscience, bioevolution, and well-known cultural texts, Winging It explores the links among the many disciplines improv informs—from Louis Armstrong's “West End Blues” to the hip-hop masterpiece Hamilton. It defines what connects Kerouac's On the Road, rock and roll, improv comedy, Fred Astaire's tap, detective fiction, the Marvel Cinematic Universe, psychedelics, hookup culture, AI, even politics—in particular, the reign of the Improviser-in-Chief Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Winging It: Improv's Power & Peril in the Time of AI & Trump (Spring, 2024) is Randy Fertel's third book, his second on improvisation. Creating something impromptu and without effort challenges our assumption that everything of value depends upon long study, tradition, and hard work. Improvisation comes to disrupt all that. The gesture all improvisations share—I will create this on the fly, or as Donald Trump has it, my gut knows more than many brains—defies rationality and elevates embodied emotions, instinct, and intuition. Claiming to be free of serious purpose, improvisation only pursues pleasure. Or, so it says. Through the lens of neuroscience, bioevolution, and well-known cultural texts, Winging It explores the links among the many disciplines improv informs—from Louis Armstrong's “West End Blues” to the hip-hop masterpiece Hamilton. It defines what connects Kerouac's On the Road, rock and roll, improv comedy, Fred Astaire's tap, detective fiction, the Marvel Cinematic Universe, psychedelics, hookup culture, AI, even politics—in particular, the reign of the Improviser-in-Chief Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Louis Armstrong's earliest recorded solos resonated with personality, charisma, and rhythmic swing — enough to transform both instrumental and vocal jazz. Featuring "Chimes Blues," "Snake Rag," "Heebie Jeebies," "Sugar Foot Stomp," "West End Blues," and many others.

Vaterfigur: Vor 120 Jahren kommt Earl «Fatha» Hines zur Welt. Als Pianist von Louis Armstrong war Earl Hines an frühen Meilensteinen der Jazzgeschichte beteiligt, am «West End Blues» zum Beispiel. Seine eigene Band diente dann vielen späteren Bebop-Helden als Sprungbrett (Dizzy Gillespie, Charlie Parker) - und mit seiner eigenen Fernseh-Show wurde er endgültig zum Star. Wie aus dem umtriebigen jungen Mann aus Pittsburgh ein «Fatha» wurde, und wie er nebenher aus dem Begleitinstrument Piano auch im Bandkontext ein solistisches Instrument machte, das diskutiert der Pianist Chris Wiesendanger in der JazzCollection mit Jodok Hess. Die gespielten Titel (CD-Titel | Label): * Weatherbird (Louis Armstrong: Hot Fives and Sevens, Vol. 3 | JSP) * Rosetta (Earl Hines and His Orchestra 1942-1945 | Classics Records) * It Had to Be You (Earl Hines and His Orchestra 1941 | Classics Records) * Midnight in New Orleans (Earl Hines and His Orchestra 1945-1947 | Classics Records) * Shoe Shine Boy (Classic Trio Sessions | Lonehill Jazz) * You Brought a New Kind of Love to Me (Mostly Fats | EPM) * Sophisticated Lady (Earl Hines Plays Duke Ellington | New World Records) * A Toodle-Do, Toodle-Do (Duet | MPS) * But Not For Me (Just You, Just Me | Black and Blue)

The Queens of the Blues podcast celebrates the prolific female blues music from the early 1920's to present times. This show, entitled “West End Blues” is entirely about Eva Taylor.#evataylor #irenegibbins

In 1964, Louis Armstrong knocked the Beatles off the top of the charts with his recording of “Hello, Dolly!” becoming, at age 62, the oldest artist to ever hit number one on the Billboard Hot 100. Sixty years later, Louis Armstrong remains a beloved cultural figure, his oft-imitated voice still instantly recognizable. But Armstrong is more than a source of levity — his artistry and innovations when he made his first recordings a century ago in 1923 set the template for the modern pop star. On this centennial episode, hear Armstrong as you've never heard him: a defiant, pathbreaking musician whose voice resonates in every hit record.  Songs Discussed Louis Armstrong - Hello, Dolly! King Oliver's Creole Jazz Band - Dippermouth Blues Fletcher Henderson & His Orchestra - Sugar Foot Stomp Louis Armstrong & His Hot Seven - Potato Head Blues, West End Blues, Big Butter And Egg Man, Heebie Jeebies Louis Armstrong - Ain't Misbehavin', Dinah, I'm a Ding Dong Daddy (From Dumas), Black And Blue, Swing That Music Bing Crosby, The Mills Brothers - Dinah The Boswell Sisters - Heebie Jeebies Ella Fitzgerald - Mack The Knife - Live At The Deutschlandhalle, Berlin, 1960 Joey Ramone - What a Wonderful World Ghostface Killah - The Forest Jon Batiste - What A Wonderful World More Read Terry Teachout's brilliant biography of Armstrong, Pops Visit the Louis Armstrong House Museum in Queens, NY Listen to Lil Hardin Armstrong's 1968 interview with Chris Albertson for Riverside Records Learn more about your ad choices. Visit podcastchoices.com/adchoices

HIGHLIGHTS FROM EPISODE 4:Janet Fitch talks about seeing a three-hour concert with Leonard Cohen; Joni Mitchell; what she'd ask Patti Smith, Björk, Neil Young, and Leonard Cohen if she could; creating an “I will survive” music playlist; Amy Winehouse; Janis Joplin; X; Nico; Jackson Brown.Janet and I talk about some of the major themes of her novel ‘Paint it Black'; grief and the aftermath of suicide; the significance of the title of her novel; the freedom that punk rock gives fans and musicians alike; why ‘Paint it Black' is a punk rock novel as opposed to a more generalized rock novel; how each of the three main characters in ‘Paint it Black' has their own distinct soundtrack; classical music and early 20th century Americana music; L.A. punk, especially The Germs and The Cramps; the deaths of John Lennon and Darby Crash; the changing punk scene in L.A. in the early ‘80s; how the Ingmar Bergman film ‘Persona' influenced the creation of Janet's novel; Janet's experience as a student filmmaker in the ‘80s; the 1913 poem “Trans-Siberian Prose and Little Jeanne from France”; the movie adaptation of ‘Paint it Black'.Pleasant Gehman talks about the beginning of the L.A. punk scene and her involvement in it. She mentions various bands and iconic L.A. punk rock venues, becoming friends with Darby Crash and Pat Smear of The Germs before they were in The Germs and dating Pat Smear, smoking pot with Tony Curtis, rooming with Belinda Carlisle and smoking pot with Screamin' Jay Hawkins at Disgraceland, hanging out with Joan Jett.To hear more from Pleasant about her involvement with some of the hottest punk bands in L.A. in the early ‘80s, including The Cramps, The Weirdos, Blondie, The Damned, X, and Black Flag, and how the scene began to deteriorate, listen to the outtake from this episode in the Rock is Lit Vault.Nicole Panter shares her memories of being friends with and managing The Germs; Darby Crash's childhood; why Germs shows were a trainwreck; Darby's abuse of alcohol and drugs; the making of The Germs' album, including Joan Jett's involvement; ‘The Decline of Western Civilization' documentary, in which Nicole and The Germs are featured; why Nicole stopped managing the band; Darby's fascination with Adam Ant; how Nicole heard about Darby's death; Nicole's dislike of the biopic about Darby and The Germs, ‘What We Do Is Secret', and The Germs reunion tour with the actor who played Darby in the film, Shane West; the legacy of The Germs. CLIPS OF MUSIC PLAYED IN THE EPISODE IN ORDER OF APPEARANCE:"Paint it Black" by the Rolling Stones"Land" by Patti SmithBrahms Piano Concerto No. 2 in B-flat major Op. 82, played by Yuja Wang with the Munich Philharmonic, conducted by Valery Gergiev, Dec 1, 2018“West End Blues” by Louis Armstrong“What We Do Is Secret” by The Germs“Human Fly” by The CrampsErich Wolfgang Korngold: ‘Kings Row', Main Title, music for the 1941 film“Our Way” by The Germs“Media Blitz” by The Germs“American Leather” by The GermsTwo short clips from the 1981 documentary 'The Decline of Western Civilization', directed by Penelope Spheeris,  featuring Darby Crash and The Germs appear in the episode. CONTACTS: Janet Fitch's websiteJanet Fitch Twitter, @JanetFitch323Janet Fitch Instagram, @janetfitch323Pleasant Gehman's websitePleasant Gehman Twitter, @PleasantGehman1Pleasant Gehman Instagram, @princessofhollywoodThe Devil's Music With Pleasant Gehman podcastBelle, Book, and Candle, Instagram, @belle_book_and_candleNicole Panter Instagram, @poseypChristy Alexander Hallberg's websiteChristy Alexander Hallberg Instagram, @christyhallbergChristy Alexander Hallberg Twitter, @ChristyHallbergChristy Alexander Hallberg YouTubeRock is Lit Vault

HIGHLIGHTS FROM EPISODE 4: Janet Fitch talks about seeing a three-hour concert with Leonard Cohen; Joni Mitchell; what she'd ask Patti Smith, Björk, Neil Young, and Leonard Cohen if she could; creating an “I will survive” music playlist; Amy Winehouse; Janis Joplin; X; Nico; Jackson Brown. Janet and I talk about some of the major themes of her novel ‘Paint it Black'; grief and the aftermath of suicide; the significance of the title of her novel; the freedom that punk rock gives fans and musicians alike; why ‘Paint it Black' is a punk rock novel as opposed to a more generalized rock novel; how each of the three main characters in ‘Paint it Black' has their own distinct soundtrack; classical music and early 20th century Americana music; L.A. punk, especially The Germs and The Cramps; the deaths of John Lennon and Darby Crash; the changing punk scene in L.A. in the early ‘80s; how the Ingmar Bergman film ‘Persona' influenced the creation of Janet's novel; Janet's experience as a student filmmaker in the ‘80s; the 1913 poem “Trans-Siberian Prose and Little Jeanne from France”; the movie adaptation of ‘Paint it Black'. Pleasant Gehman talks about the beginning of the L.A. punk scene and her involvement in it. She mentions various bands and iconic L.A. punk rock venues, becoming friends with Darby Crash and Pat Smear of The Germs before they were in The Germs and dating Pat Smear, smoking pot with Tony Curtis, rooming with Belinda Carlisle and smoking pot with Screamin' Jay Hawkins at Disgraceland, hanging out with Joan Jett. To hear more from Pleasant about her involvement with some of the hottest punk bands in L.A. in the early ‘80s, including The Cramps, The Weirdos, Blondie, The Damned, X, and Black Flag, and how the scene began to deteriorate, listen to the outtake from this episode in the Rock is Lit Vault. Nicole Panter shares her memories of being friends with and managing The Germs; Darby Crash's childhood; why Germs shows were a trainwreck; Darby's abuse of alcohol and drugs; the making of The Germs' album, including Joan Jett's involvement; ‘The Decline of Western Civilization' documentary, in which Nicole and The Germs are featured; why Nicole stopped managing the band; Darby's fascination with Adam Ant; how Nicole heard about Darby's death; Nicole's dislike of the biopic about Darby and The Germs, ‘What We Do Is Secret', and The Germs reunion tour with the actor who played Darby in the film, Shane West; the legacy of The Germs.   CLIPS OF MUSIC PLAYED IN THE EPISODE IN ORDER OF APPEARANCE: "Paint it Black" by the Rolling Stones "Land" by Patti Smith Brahms Piano Concerto No. 2 in B-flat major Op. 82, played by Yuja Wang with the Munich Philharmonic, conducted by Valery Gergiev, Dec 1, 2018 “West End Blues” by Louis Armstrong “What We Do Is Secret” by The Germs “Human Fly” by The Cramps Erich Wolfgang Korngold: ‘Kings Row', Main Title, music for the 1941 film “Our Way” by The Germs “Media Blitz” by The Germs “American Leather” by The Germs Two short clips from the 1981 documentary 'The Decline of Western Civilization', directed by Penelope Spheeris, featuring Darby Crash and The Germs appear in the episode.   CONTACTS:  Janet Fitch's website Janet Fitch Twitter, @JanetFitch323 Janet Fitch Instagram, @janetfitch323 Pleasant Gehman's website Pleasant Gehman Twitter, @PleasantGehman1 Pleasant Gehman Instagram, @princessofhollywood The Devil's Music With Pleasant Gehman podcast Belle, Book, and Candle, Instagram, @belle_book_and_candle Nicole Panter Instagram, @poseyp Christy Alexander Hallberg's website Christy Alexander Hallberg Instagram, @christyhallberg Christy Alexander Hallberg Twitter, @ChristyHallberg Christy Alexander Hallberg YouTube Rock is Lit Vault Learn more about your ad choices. Visit megaphone.fm/adchoices

It's our 100th episode! To celebrate this Same Difference milestone, we're taking a look at the King-Oliver-written-but-made-famous-by-Satchmo classic "West End Blues". Join AJ and Johnny as they listen to and discuss versions by King Oliver, Louis Armstrong, Jelly Roll Morton, Doc Severinsen, Cornet Chop Suey, and new-to-us artist Etta Baker.

MPR Producer Ella Barnes reflects on her relationship with her father and her father's trumpet. Music Credit: Take the A Train, Duke Ellington; Gymnopedies 1, Blue Dot Sessions; West End Blues, Louis Armstrong; It's Been a Long, Long Time, Harry James; Fast Track, FHS Jazz Band; I Remember Clifford, Lee Morgan

Is someone listening in? Today, we round out our discussion on Amnesiac. We find a surprising Brian Eno connection on "Hunting Bears," before spending an inordinate amount of time on "Like Spinning Plates" and "Life in a Glasshouse." Austin finally listens to early Louis Armstrong, while Nick admits to enjoying the music from the latest pop sensation. Plus, we pick out our favorite tracks from the album. Songs Discussed: 3:08 - "Hunting Bears" 12:16 - "Like Spinning Plates" 25:28 - "Life in a Glasshouse" 37:36 - Amnesiac Awards https://www.amazon.com/Amnesiac-Limited-Radiohead/dp/B00005BJC7 (Radiohead's Amnesiac book CD) https://www.youtube.com/watch?v=JCNdsm3YLAg ("Zawinul/Lava" by Brian Eno) https://www.amazon.com/Everything-its-Right-Place-Analyzing/dp/0190629231 ("Everything in Its Right Place: Analyzing Radiohead" by Brad Osborn) https://1000logos.net/radiohead-logo/ (Radiohead" "Modified Bear" logo) https://www.jstor.org/stable/24045402 (Ear Training with the Music of Radiohead on JSTOR) https://variety.com/2021/music/news/olivia-rodrigo-paramore-good-4-u-misery-business-1235048791/ (Olivia Rodrigo Adds Paramore to Songwriting Credits on ‘Good 4 U') https://www.youtube.com/watch?v=h4NxUb3anN0 (“Like Spinning Plates” reversed) https://www.youtube.com/watch?v=LnIHVvEwbLk (Live version of “Like Spinning Plates”) https://www.youtube.com/watch?v=4hXB2YOiQjA&list=OLAK5uy_nRpAZH7sowKe89QHDbhM0I7luZMXxtNe4&index=6 ("The Windows Of The World" by Isaac Hayes from Live at the Sahara) https://www.simonandschuster.com/books/Cloud-Cuckoo-Land/Anthony-Doerr/9781982168438 ("Cloud Cuckoo Land" by Anthony Doerr) https://en.wikipedia.org/wiki/Vivarium_(film) (Vivarium) https://www.youtube.com/watch?v=BTxhgmk_ofk (“West End Blues” by Louis Armstrong ) https://www.youtube.com/watch?v=JGPvGkgbQ_E (“St. James Infirmary” by Louis Armstrong) https://en.wikipedia.org/wiki/Humphrey_Lyttelton (Humphrey Lyttelton) https://www.youtube.com/watch?v=4qDSVlfXqlE (“Life in a Glasshouse” on Meeting People is Easy) The "I Can't" Award: Most Improved Song Austin - “Like Spinning Plates” Nick - “Pulk/Pull Revolving Doors” The "Creep" Award: The Best Song, Begrudgingly or Not Nick - “Pyramid Song” Austin - “Pyramid Song” The "Blow Out" Award: Our Personal Favorite Song Austin - “Life in a Glasshouse” Nick - “Life in a Glasshouse”

"West End Blues" Louis Armstrong and His Hot Fives Louis Armstrong, Earl Hines, Jimmy Strong, Fred Robinson, Mancy Carr, Zutty Singleton. El tema es una composición de Joe "King" Oliver. © Pachi Tapiz, 2021 Más información acerca de Louis Armstrong and His Hot Fives West End Blues En Tomajazz https://www.tomajazz.com/web/?s=WEST+END+BLUES&submit=Search En Wikipedia https://en.wikipedia.org/wiki/West_End_Blues Más información sobre JazzX5 JazzX5 es un minipodcast de HDO de la Factoría Tomajazz presentado, editado y producido por Pachi Tapiz. JazzX5 comenzó su andadura el 24 de junio de 2019. Todas las entregas de JazzX5 están disponibles en https://www.tomajazz.com/web/?cat=23120 / https://www.ivoox.com/jazzx5_bk_list_642835_1.html. En Tomajazz hemos abierto un canal de Telegram para que estés al tanto, al instante, de los nuevos podcast. Puedes suscribirte en https://t.me/TomajazzPodcast.

Em 28 de junho de 1928, Louis Armstrong, então com 26 anos, entra num estúdio de gravação acompanhado de cinco colegas instrumentistas de jazz. Ao sair, tinha mudado a história da música popular. A gravação que Armstrong e seu Hot Five tinham acabado de realizar foi uma canção chamada West End Blues, composta e gravada alguns meses antes pelo mentor de Armstrong, Joe "King" Oliver.----Quer contribuir com Opera Mundi via PIX? Nossa chave é apoie@operamundi.com.br (Razão Social: Última Instancia Editorial Ltda.). Desde já agradecemos!Assinatura solidária:www.operamundi.com.br/apoio★ Support this podcast ★

Bio Is The New  Black #6 - Entretien avec Anne-Lyse Renon, Design graphique dans les pratiques de la science

En los Estados Unidos febrero es el Mes de la Historia Negra​. Aprovechamos el primer día de este mes especial para escuchar temas de algunas de las figuras más importantes de la música negra. Playlist: Snatch It Back and Hold It – Junior Wells; Run On For A Long Time – The Blind Boys of Alabama; Midnight Special, The Gallow's Pole, God's Gonna Cut You Down, Yonder Comes the Blues – Odetta; Soldier, Amazing Grace, Down By the Riverside, The Last Time – The Blind Boys of Alabama; Another Man Done Gone, Why Don't You Do Right, West End Blues – Carolina Chocolate Drops; A Little Bit, 99 and 1/2, Eyes On the Prize – Mavis Staples. Escuchar audio

Her dad leaves to pursue a career in Jazz banjo, raised by her mom's mother-in law, truancy sends her to the House of Good Shepard Childs prison and after finally being paroled to her mother. At age 10 she drops out of school to work at her mother's diner.She finds a job running errands in a brothel, where she 1st the hears West End Blues. Her mother leaves her for NYC. Only days after being in reunited with her mother in NYC, she's sex trafficked at the brothel her mom works at. Luckily, it's raided by the police, but since sex work is illegal, her and her mom are sent to prison. After release, she started singing in night clubs in Harlem, New York. She changes her name and dives straight into the NYC Jazz scene. She makes her record debut with Benny Goodman, Riffin' the Scotch becomes her 1st big hit!Leave an Anonymous SpeakPipe Voice Msg: www.crimeinmusic.comTweet Us: www.twitter.com/crimeinmusicIG: www.instagram.com/crimeinusicFaceBook: www.facebook.com/crimeinmusicThis show is part of Pantheon Podcasts

Her dad leaves to pursue a career in Jazz banjo, raised by her mom's mother-in law, truancy sends her to the House of Good Shepard Childs prison and after finally being paroled to her mother. At age 10 she drops out of school to work at her mother's diner.She finds a job running errands in a brothel, where she 1st the hears West End Blues. Her mother leaves her for NYC. Only days after being in reunited with her mother in NYC, she's sex trafficked at the brothel her mom works at. Luckily, it's raided by the police, but since sex work is illegal, her and her mom are sent to prison. After release, she started singing in night clubs in Harlem, New York. She changes her name and dives straight into the NYC Jazz scene. She makes her record debut with Benny Goodman, Riffin' the Scotch becomes her 1st big hit!Leave an Anonymous SpeakPipe Voice Msg: www.crimeinmusic.comTweet Us: www.twitter.com/crimeinmusicIG: www.instagram.com/crimeinusicFaceBook: www.facebook.com/crimeinmusicThis show is part of Pantheon Podcasts

Her dad leaves to pursue a career in Jazz banjo, raised by her mom’s mother-in law, truancy sends her to the House of Good Shepard Childs prison and after finally being paroled to her mother. At age 10 she drops out of school to work at her mother's diner. She finds a job running errands in a brothel, where she 1st the hears West End Blues. Her mother leaves her for NYC. Only days after being in reunited with her mother in NYC, she’s sex trafficked at the brothel her mom works at. Luckily, it’s raided by the police, but since sex work is illegal, her and her mom are sent to prison.  After release, she started singing in night clubs in Harlem, New York. She changes her name and dives straight into the NYC Jazz scene. She makes her record debut with Benny Goodman, Riffin’ the Scotch becomes her 1st big hit! Leave an Anonymous SpeakPipe Voice Msg: www.crimeinmusic.com Tweet Us: www.twitter.com/crimeinmusic IG: www.instagram.com/crimeinusic FaceBook: www.facebook.com/crimeinmusic This show is part of Pantheon Podcasts

Her dad leaves to pursue a career in Jazz banjo, raised by her mom’s mother-in law, truancy sends her to the House of Good Shepard Childs prison and after finally being paroled to her mother. At age 10 she drops out of school to work at her mother's diner. She finds a job running errands in a brothel, where she 1st the hears West End Blues. Her mother leaves her for NYC. Only days after being in reunited with her mother in NYC, she’s sex trafficked at the brothel her mom works at. Luckily, it’s raided by the police, but since sex work is illegal, her and her mom are sent to prison.  After release, she started singing in night clubs in Harlem, New York. She changes her name and dives straight into the NYC Jazz scene. She makes her record debut with Benny Goodman, Riffin’ the Scotch becomes her 1st big hit! Leave an Anonymous SpeakPipe Voice Msg: www.crimeinmusic.com Tweet Us: www.twitter.com/crimeinmusic IG: www.instagram.com/crimeinusic FaceBook: www.facebook.com/crimeinmusic This show is part of Pantheon Podcasts

A look into the life of Louis Armstrong and his major success as a singer and trumpeter. Credited Songs: “Chimes Blues” and “West End Blues” by Louis Armstrong. Be sure to follow the new Instagram page @blacktorpodcast. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/gabe-moses/support

Edición especial de Ruta 61 dedicada a todos los profesionales sanitarios y no sanitarios del sistema de salud. Playlist: Snatch It Back and Hold It – Junior Wells; Turn the Heat Up – Shemekiah Copeland; Heart of Gold, When Can I See the Valley, Mesi Bondye, Girl, Kamen sa w fè, Too Blue, Manman Mwen, Song For A Dark Girl, Love Again Blues, Rose Marie, Latibonit, Search, Lonely House, Changing Tide – Leyla McCalla; West End Blues, Boodle-De-Bum-Bum – Carolina Chocolate Drops. Escuchar audio

After their excursion to the docks, everyone tries to relax. Nox gets the band back together, Simon taps a keg, Kitty dabbles in chemistry, and Roman isn't herself. Transcript: https://bit.ly/2WXE0dM Instagram: https://instagram.com/therealmscast/ Twitter: https://twitter.com/therealmscast Website: https://therealmscast.com/ Patreon: https://www.patreon.com/ManyRealms Music Many Realms Theme by Nik October (http://softonline.me) Slash Pine by Shahar Haziza Rhythmic Motion by Nick Poss Locked in Silence by Assaf Alayon 1 M by James Parm 3 Point Landing by Victor Spiegel Yells in the Haunted Church by Jon Gegelman Different Distance by Arid Garden

Dear listener,  Where to begin with such an influential piece of music. Michelle believes, "This is about the blues, the blues scale, the blues feel, blues style and form. It's fundamentally what was groundbreaking about improvisation."  Karl's take? "It's about classical cornet method meeting the rest of that stuff."  They are of course referring to "West End Blues" written by King Oliver in 1928. By the time Oliver wrote "West End Blues," his protege, Louis Armstrong, had formed a studio band that recorded as either the Hot Five or Hot Seven, depending on its size.  You may know Armstrong for some of his later hits like "Hello, Dolly" and "What a Wonderful World" but "West End Blues" will always hail as a mile marker in the evolution of jazz. For starters, its 15-second opening cadenza has become one of the most influential and hard-to-copy solos in jazz history.  Tune in to hear more music and ideas, brought to you by Online Great Books.

Vi fortsätter vårt samtal med Bagarmossens stolthet Gus Loxbo från jazzkapellet Pombo. Vi söker det gemensamma i nyare svensk jazz via Elin Larsson Group, Esbjörn Svensson Trio och The Thing, men går även till rötterna med Louis Armstrongs bejublade intro till "West End Blues" och flummar iväg med Borbetomagus, Robyn Hitchcock och Philemon Arthur & the Dung. I det fasta inslag som ändå troligen kommer att få heta "Bisarra hörnan" - nu med improviserad jingel! - får vi bland annat höra hur musik av The Living ECK Master från den nyandliga rörelsen Eckankar låter. Hell Sugmad!

Vi fortsätter vårt samtal med Bagarmossens stolthet Gus Loxbo från jazzkapellet Pombo. Vi söker det gemensamma i nyare svensk jazz via Elin Larsson Group, Esbjörn Svensson Trio och The Thing, men går även till rötterna med Louis Armstrongs bejublade intro till "West End Blues" och flummar iväg med Borbetomagus, Robyn Hitchcock och Philemon Arthur & the Dung. I det fasta inslag som ändå troligen kommer att få heta "Bisarra hörnan" - nu med improviserad jingel! - får vi bland annat höra hur musik av The Living ECK Master från den nyandliga rörelsen Eckankar låter. Hell Sugmad!

Dentro de nuestro habitual desorden en la cronología del programa, hoy vamos a escuchar Jazz. Nos vamos a centrar en un personaje que, al margen de los gustos musicales de cada uno, te guste el jazz o no, todo el mundo conoce. Ha conseguido salvar las barreras raciales, musicales, temporales y cualquier otra que se os ocurra. Hablamos de Louis Armstrong. Con ningún otro músico de la historia del jazz las opiniones son tan unánimes como sobre él. Hasta la llegada de Dizzy Gillespie en los cuarenta no hubo un solo trompetista de jazz que no hubiera seguido los pasos de Louis Armstrong, o Satchmo, como se le llamaba. El mismo Gillespie dijo: La posición de Louis Armatrong en la historia del Jazz no tiene parangón. Si no fuera por él, no estaríamos nosotros aquí. Por eso quiero agradecer literalmente a Louis Armstrong mi vida”. No podrá decir, en su tumba, que no fue un personaje querido y admirado. Claro que, no siempre fue así. Louis Armstrong nació en el seno de una familia muy pobre y en uno de los barrios marginales de Nueva Orleans. Todo fue a peor cuando su padre, William Armstrong, abandonó a la familia. Louis pasó sus primeros años en un difícil vecindario de las afueras de la ciudad. En 1910 fue detenido por primera vez y a lo largo de una época de su juventud se vería esporádicamente metido en algunos episodios delictivos. Se educó vagabundeando por las calles y trabajando de chatarrero. Desde niño fue consciente del terrible odio racial que existía en los Estados Unidos en las primeras décadas del siglo XX. Trabajó para una familia de inmigrantes judíos lituanos, los Karnofsky, quienes aceptaron al niño como a uno más de la familia. Louis siempre contaba cómo descubrió que esta familia blanca también era discriminada por «otros blancos», «yo tenía sólo siete años, pero podía notar el miserable trato que los blancos le daban a esta pobre familia judía para la cual trabajaba… de la cual aprendí cómo vivir una vida verdadera y con determinación». Esto lo dejó escrito en sus memorias: Louis Armstrong y la familia judía en Nueva Orleans. Vamos a escuchar Sweet Georgia Brown, interpretada por Armstrong en una grabación en directo. No existían antecedentes musicales en su familia, por lo que su interés por este arte surgió a partir de la escucha de las célebres bandas de Nueva Orleans. Cuando la música le llamó y no tenía un centavo para comprar su primera trompeta, el señor Karnofsky se la compró. Eternamente agradecido y a pesar de ser de fe baptista, Louis Armstrong llevó el resto de su vida una estrella de David colgando de su cuello en honor a su mecenas Aprendió, en primer lugar, a tocar la corneta en la banda de la Nueva Orleans Home for Colored Waifs, un reformatorio para niños negros abandonados a donde había sido enviado en varias ocasiones por delitos menores, como por ejemplo el haber disparado al aire durante una Nochevieja. Allí, aconsejado por el director del reformatorio y uno de sus profesores, optó definitivamente por la trompeta. En 1914, tras su salida del reformatorio, trabajó como vendedor de carbón, repartidor de leche, estibador de barcos bananeros y otros empleos del mismo tipo. Empezó también a trabajar en los cabarés de Storyville, donde estaban concentrados todos los locales nocturnos de la ciudad. Fue allí donde conoció y se empapó de la música de los grandes intérpretes del momento: Bunk Johnson, Buddy Petit y, sobre todo, de Joe King Oliver. Entre 1918 y 1919, ya con una bien ganada reputación como trompetista, fue contratado por el director de orquesta Kid Ory, gracias a una recomendación de su mentor Joe King Oliver, en ese momento trompeta principal de esta orquesta. Louis llegó por este camino a tocar en algunas de esas orquestas de Nueva Orleans, incluyendo aquellas que viajaban por los ríos, como la renombrada orquesta de Fate Marable, que realizó una gira en un buque de vapor a lo largo de todo el Misisipi. El propio Armstrong describiría esta época con Marable como «su estancia en la universidad», ya que le proporcionó una enorme experiencia en el trabajo con arreglos escritos. Cuando Joe Oliver abandonó la ciudad en 1919, Armstrong ocupó su lugar en la banda de Kid Ory, por entonces el grupo de swing más importante de la ciudad. En sus primeras grabaciones con la orquesta, allá por 1923, se incluyeron algunos solos como segunda trompeta de la banda; en 1924, sin embargo, ya era el solista más importante y más creativo del grupo. En febrero de este año se casó con Lillian Hardin, pianista de Oliver, quien lo animó a abandonar la orquesta para alcanzar mayores metas artísticas. Así, se separó amistosamente de Oliver y, se marchó a Nueva York. Su fama llegó rápidamente a oídos del mejor director de orquesta afroamericano del momento, Fletcher Henderson, que le ofreció un contrato para que se uniese a su banda, la Fletcher Henderson Orchestra, la principal banda afroamericana de la época. Armstrong debutó con ella el 29 de septiembre de 1924 en el Roseland Ballroom de Nueva York. Tras decidirse a aprender a leer música, en sólo un año revolucionó el estilo y la forma de tocar de sus compañeros y grabó con las mejores cantantes de blues de la época, como Bessie Smith. De esas grabaciones, 1925, escuchamos a la pareja en Careless Love Blues En este mismo año, 1925, empezó a grabar bajo su propio nombre para el sello OKeh acompañando a dos formaciones creadas por él llamadas Hot Five y Hot Seven, dependiendo evidentemente del número de músicos de cada formación, produciendo éxitos como «Potato Head Blues», «Muggles» (una referencia a la marihuana, la cual tendía a consumir desde siempre) o este que vamos a escuchar ahora: «West End Blues». Louis Armstrong West End Blues Armstrong continuó tocando con big bands, como por ejemplo las de Erskine Tate o la Carroll Dickerson. En 1929 vuelve a Nueva York para trasladarse a Los Angeles al año siguiente. Este hombre no podía parar quieto. Desde esta ciudad inicia una gira por Europa que duraría dos años y en la que obtuvo un éxito espectacular, particularmente en París. La aparición de Joe Glaser en 1935 como su representante y la contratación de la orquesta de Louis Russell como formación de apoyo de Armstrong, marcaron el curso de los acontecimientos durante el resto de la década, en la que Armstrong pasó de ser una simple figura del jazz a un destacado miembro de la industria del entretenimiento en general. En 1940, rompió su relación comercial con la big band de Russell y contrató a nuevos músicos: este nuevo grupo fue el principal apoyo con el que contó Armstrong hasta 1947. Tras pasar muchos años de gira, se asentó permanentemente en Queens, Nueva York, en 1943. Aunque no ajeno al control que del negocio musical ejercían los gánsteres por aquella época, Louis continuó desarrollando su técnica y su carrera musical. Durante los siguientes treinta años, Armstrong llegó a actuar una media de trescientas veces por año. En los años cuarenta, las big bands entraron en decadencia debido a los cambios en el gusto del público: muchas salas de baile cerraron y entre los nuevos medios de comunicación como la televisión y el auge de nuevos tipos de música, las big bands y el swing pasaron a un segundo lugar. Se hizo imposible mantener y financiar orquestas itinerantes de 16 músicos o más. Escuchamos ahora a la orquesta de Luis Russel acompañando a Louis Armstrong en Bessie Couldn’t Help It. Hacia 1947, Armstrong redujo su banda a cinco instrumentos, volviendo así al estilo Dixieland que lo había hecho famoso al principio de su carrera. Este grupo se llamaba All Stars y se presentaron el 13 de agosto de 1947 en el club Billy Berg's de Los Ángeles. En 1964, Armstrong grabó el que sería su tema más vendido: «Hello, Dolly». La canción obtuvo el puesto número uno en las listas de Estados Unidos, superando al grupo inglés The Beatles. Armstrong también obtuvo por el disco un premio Grammy al Mejor Cantante masculino y fue nominado a Mejor Disco del año. En este álbum se encuentra, también, otro tema clásico de Armstrong, «Jeepers Creepers». Como Hello, Dolly ya lo escuchamos en el anterior programa, hoy escucharemos este último. Jeepers Creepers. Armstrong trabajó hasta poco tiempo antes de su muerte y, aunque en ocasiones en sus últimos años se inclinase hacia algunas interpretaciones triviales, en otras era capaz de demostrar un todavía asombroso dominio de la técnica y de la intuición musical que dejaba perpleja a su propia banda. Bajo el patrocinio del Departamento de Estado de los Estados Unidos recorrió todo el mundo, tanto, que terminó por ser conocido como «Ambassador Satch» (embajador Satch). Debido a problemas de salud, restringió sus actuaciones a lo mínimo, aunque siguió tocando hasta el día de su muerte. Louis Armstrong sufrió un ataque al corazón en 1959, del cual se pudo recuperar para seguir tocando. Pero un segundo ataque al corazón en 1971, le obligó a guardar reposo durante dos meses. Se reunió nuevamente a tocar con su grupo el 5 de julio de ese mismo año y, al día siguiente, en Corona, Queens (Nueva York) murió mientras dormía por complicaciones de su corazón, casi un mes antes de cumplir 70 años de edad. Esto ha sido una grabación del famoso Saint Louis Blues, realizada en Nueva York en 1929. Armstrong se acercó a muchos tipos de música, desde el blues más enraizado a los arreglos más cursis de Guy Lombardo, desde las canciones folk hispanoamericanas a sinfonías y óperas clásicas. Armstrong incorporó influencias de todas estas fuentes en sus interpretaciones, a veces provocando el aturdimiento de sus fans, que querían que el artista se mantuviese en una línea más convencional. Mackie el Navaja, que es la canción que acabamos de escuchar fue compuesta en 1928. La letra es de Bertolt Brecht, y la música, de Kurt Weill. El año siguiente, 1929, la incorporaron a «La ópera de los tres centavos» obra de teatro escrita por los mismos autores. Durante su larga carrera, Armstrong tocó y cantó con los más importantes instrumentalistas y vocalistas; entre ellos, con Jimmie Rodgers, Bing Crosby, Duke Ellington, Fletcher Henderson, Bessie Smith y, especialmente, con Ella Fitzgerald. Armstrong grabó tres discos con Ella Fitzgerald: Ella and Louis, Ella and Louis Again y Porgy and Bess para Verve Records. Vamos a escuchar a estos dos monstruos: Armstron y Fitzgerald en Summertime. Algunos músicos criticaron a Armstrong por tocar ante audiencias segregadas, o sea, solo para blancos, y por no tomar una postura clara en el movimiento por los derechos civiles, sugiriendo que era un tío Tom, apodo absolutamente despectivo. Por el contrario, Louis Armstrong fue un apoyo financiero muy importante para Martin Luther King y para otros activistas por los derechos civiles, aunque siempre prefiriese trabajar en esos asuntos de forma muy discreta, sin mezclar sus ideas políticas con su trabajo como artista. Ahora bien, cuando se significó, sus declaraciones fueron muy efectivas: la crítica de Armstrong al presidente Eisenhower, llamándole «two-faced» (con dos caras) y «cobarde» debido a su inacción durante el conflicto de la segregación racial escolar en Little Rock, Arkansas, que fue noticia nacional en 1957.También protestó cancelando una gira por la Unión Soviética en nombre del Departamento de Estado diciendo que «por la forma en que están tratando a mi gente en el sur, el gobierno podría ir al infierno» y que él no podía representar a su gobierno fuera del país cuando estaba manteniendo un conflicto con su propio pueblo. También fue un tipo generoso, hasta el punto de decirse de él que había gastado tanto dinero en los demás como en sí mismo. En fin, un buen tipo. What A Wonderful World Y, bueno, para no perder la costumbre, otra vez nos hemos pasado de tiempo. Pero es que, nos venimos arriba y … Espero que os haya entretenido el programa y sabed que volveremos la próxima semana con más historias, más músicos y más música… mucha música. Hasta entonces… Buenas vibraciones.

Dentro de nuestro habitual desorden en la cronología del programa, hoy vamos a escuchar Jazz. Nos vamos a centrar en un personaje que, al margen de los gustos musicales de cada uno, te guste el jazz o no, todo el mundo conoce. Ha conseguido salvar las barreras raciales, musicales, temporales y cualquier otra que se os ocurra. Hablamos de Louis Armstrong. Con ningún otro músico de la historia del jazz las opiniones son tan unánimes como sobre él. Hasta la llegada de Dizzy Gillespie en los cuarenta no hubo un solo trompetista de jazz que no hubiera seguido los pasos de Louis Armstrong, o Satchmo, como se le llamaba. El mismo Gillespie dijo: La posición de Louis Armatrong en la historia del Jazz no tiene parangón. Si no fuera por él, no estaríamos nosotros aquí. Por eso quiero agradecer literalmente a Louis Armstrong mi vida”. No podrá decir, en su tumba, que no fue un personaje querido y admirado. Claro que, no siempre fue así. Louis Armstrong nació en el seno de una familia muy pobre y en uno de los barrios marginales de Nueva Orleans. Todo fue a peor cuando su padre, William Armstrong, abandonó a la familia. Louis pasó sus primeros años en un difícil vecindario de las afueras de la ciudad. En 1910 fue detenido por primera vez y a lo largo de una época de su juventud se vería esporádicamente metido en algunos episodios delictivos. Se educó vagabundeando por las calles y trabajando de chatarrero. Desde niño fue consciente del terrible odio racial que existía en los Estados Unidos en las primeras décadas del siglo XX. Trabajó para una familia de inmigrantes judíos lituanos, los Karnofsky, quienes aceptaron al niño como a uno más de la familia. Louis siempre contaba cómo descubrió que esta familia blanca también era discriminada por «otros blancos», «yo tenía sólo siete años, pero podía notar el miserable trato que los blancos le daban a esta pobre familia judía para la cual trabajaba… de la cual aprendí cómo vivir una vida verdadera y con determinación». Esto lo dejó escrito en sus memorias: Louis Armstrong y la familia judía en Nueva Orleans. Vamos a escuchar Sweet Georgia Brown, interpretada por Armstrong en una grabación en directo. No existían antecedentes musicales en su familia, por lo que su interés por este arte surgió a partir de la escucha de las célebres bandas de Nueva Orleans. Cuando la música le llamó y no tenía un centavo para comprar su primera trompeta, el señor Karnofsky se la compró. Eternamente agradecido y a pesar de ser de fe baptista, Louis Armstrong llevó el resto de su vida una estrella de David colgando de su cuello en honor a su mecenas Aprendió, en primer lugar, a tocar la corneta en la banda de la Nueva Orleans Home for Colored Waifs, un reformatorio para niños negros abandonados a donde había sido enviado en varias ocasiones por delitos menores, como por ejemplo el haber disparado al aire durante una Nochevieja. Allí, aconsejado por el director del reformatorio y uno de sus profesores, optó definitivamente por la trompeta. En 1914, tras su salida del reformatorio, trabajó como vendedor de carbón, repartidor de leche, estibador de barcos bananeros y otros empleos del mismo tipo. Empezó también a trabajar en los cabarés de Storyville, donde estaban concentrados todos los locales nocturnos de la ciudad. Fue allí donde conoció y se empapó de la música de los grandes intérpretes del momento: Bunk Johnson, Buddy Petit y, sobre todo, de Joe King Oliver. Entre 1918 y 1919, ya con una bien ganada reputación como trompetista, fue contratado por el director de orquesta Kid Ory, gracias a una recomendación de su mentor Joe King Oliver, en ese momento trompeta principal de esta orquesta. Louis llegó por este camino a tocar en algunas de esas orquestas de Nueva Orleans, incluyendo aquellas que viajaban por los ríos, como la renombrada orquesta de Fate Marable, que realizó una gira en un buque de vapor a lo largo de todo el Misisipi. El propio Armstrong describiría esta época con Marable como «su estancia en la universidad», ya que le proporcionó una enorme experiencia en el trabajo con arreglos escritos. Cuando Joe Oliver abandonó la ciudad en 1919, Armstrong ocupó su lugar en la banda de Kid Ory, por entonces el grupo de swing más importante de la ciudad. En sus primeras grabaciones con la orquesta, allá por 1923, se incluyeron algunos solos como segunda trompeta de la banda; en 1924, sin embargo, ya era el solista más importante y más creativo del grupo. En febrero de este año se casó con Lillian Hardin, pianista de Oliver, quien lo animó a abandonar la orquesta para alcanzar mayores metas artísticas. Así, se separó amistosamente de Oliver y, se marchó a Nueva York. Su fama llegó rápidamente a oídos del mejor director de orquesta afroamericano del momento, Fletcher Henderson, que le ofreció un contrato para que se uniese a su banda, la Fletcher Henderson Orchestra, la principal banda afroamericana de la época. Armstrong debutó con ella el 29 de septiembre de 1924 en el Roseland Ballroom de Nueva York. Tras decidirse a aprender a leer música, en sólo un año revolucionó el estilo y la forma de tocar de sus compañeros y grabó con las mejores cantantes de blues de la época, como Bessie Smith. De esas grabaciones, 1925, escuchamos a la pareja en Careless Love Blues En este mismo año, 1925, empezó a grabar bajo su propio nombre para el sello OKeh acompañando a dos formaciones creadas por él llamadas Hot Five y Hot Seven, dependiendo evidentemente del número de músicos de cada formación, produciendo éxitos como «Potato Head Blues», «Muggles» (una referencia a la marihuana, la cual tendía a consumir desde siempre) o este que vamos a escuchar ahora: «West End Blues». Louis Armstrong West End Blues Armstrong continuó tocando con big bands, como por ejemplo las de Erskine Tate o la Carroll Dickerson. En 1929 vuelve a Nueva York para trasladarse a Los Angeles al año siguiente. Este hombre no podía parar quieto. Desde esta ciudad inicia una gira por Europa que duraría dos años y en la que obtuvo un éxito espectacular, particularmente en París. La aparición de Joe Glaser en 1935 como su representante y la contratación de la orquesta de Louis Russell como formación de apoyo de Armstrong, marcaron el curso de los acontecimientos durante el resto de la década, en la que Armstrong pasó de ser una simple figura del jazz a un destacado miembro de la industria del entretenimiento en general. En 1940, rompió su relación comercial con la big band de Russell y contrató a nuevos músicos: este nuevo grupo fue el principal apoyo con el que contó Armstrong hasta 1947. Tras pasar muchos años de gira, se asentó permanentemente en Queens, Nueva York, en 1943. Aunque no ajeno al control que del negocio musical ejercían los gánsteres por aquella época, Louis continuó desarrollando su técnica y su carrera musical. Durante los siguientes treinta años, Armstrong llegó a actuar una media de trescientas veces por año. En los años cuarenta, las big bands entraron en decadencia debido a los cambios en el gusto del público: muchas salas de baile cerraron y entre los nuevos medios de comunicación como la televisión y el auge de nuevos tipos de música, las big bands y el swing pasaron a un segundo lugar. Se hizo imposible mantener y financiar orquestas itinerantes de 16 músicos o más. Escuchamos ahora a la orquesta de Luis Russel acompañando a Louis Armstrong en Bessie Couldn’t Help It. Hacia 1947, Armstrong redujo su banda a cinco instrumentos, volviendo así al estilo Dixieland que lo había hecho famoso al principio de su carrera. Este grupo se llamaba All Stars y se presentaron el 13 de agosto de 1947 en el club Billy Berg's de Los Ángeles. En 1964, Armstrong grabó el que sería su tema más vendido: «Hello, Dolly». La canción obtuvo el puesto número uno en las listas de Estados Unidos, superando al grupo inglés The Beatles. Armstrong también obtuvo por el disco un premio Grammy al Mejor Cantante masculino y fue nominado a Mejor Disco del año. En este álbum se encuentra, también, otro tema clásico de Armstrong, «Jeepers Creepers». Como Hello, Dolly ya lo escuchamos en el anterior programa, hoy escucharemos este último. Jeepers Creepers. Armstrong trabajó hasta poco tiempo antes de su muerte y, aunque en ocasiones en sus últimos años se inclinase hacia algunas interpretaciones triviales, en otras era capaz de demostrar un todavía asombroso dominio de la técnica y de la intuición musical que dejaba perpleja a su propia banda. Bajo el patrocinio del Departamento de Estado de los Estados Unidos recorrió todo el mundo, tanto, que terminó por ser conocido como «Ambassador Satch» (embajador Satch). Debido a problemas de salud, restringió sus actuaciones a lo mínimo, aunque siguió tocando hasta el día de su muerte. Louis Armstrong sufrió un ataque al corazón en 1959, del cual se pudo recuperar para seguir tocando. Pero un segundo ataque al corazón en 1971, le obligó a guardar reposo durante dos meses. Se reunió nuevamente a tocar con su grupo el 5 de julio de ese mismo año y, al día siguiente, en Corona, Queens (Nueva York) murió mientras dormía por complicaciones de su corazón, casi un mes antes de cumplir 70 años de edad. Esto ha sido una grabación del famoso Saint Louis Blues, realizada en Nueva York en 1929. Armstrong se acercó a muchos tipos de música, desde el blues más enraizado a los arreglos más cursis de Guy Lombardo, desde las canciones folk hispanoamericanas a sinfonías y óperas clásicas. Armstrong incorporó influencias de todas estas fuentes en sus interpretaciones, a veces provocando el aturdimiento de sus fans, que querían que el artista se mantuviese en una línea más convencional. Mackie el Navaja, que es la canción que acabamos de escuchar fue compuesta en 1928. La letra es de Bertolt Brecht, y la música, de Kurt Weill. El año siguiente, 1929, la incorporaron a «La ópera de los tres centavos» obra de teatro escrita por los mismos autores. Durante su larga carrera, Armstrong tocó y cantó con los más importantes instrumentalistas y vocalistas; entre ellos, con Jimmie Rodgers, Bing Crosby, Duke Ellington, Fletcher Henderson, Bessie Smith y, especialmente, con Ella Fitzgerald. Armstrong grabó tres discos con Ella Fitzgerald: Ella and Louis, Ella and Louis Again y Porgy and Bess para Verve Records. Vamos a escuchar a estos dos monstruos: Armstron y Fitzgerald en Summertime. Algunos músicos criticaron a Armstrong por tocar ante audiencias segregadas, o sea, solo para blancos, y por no tomar una postura clara en el movimiento por los derechos civiles, sugiriendo que era un tío Tom, apodo absolutamente despectivo. Por el contrario, Louis Armstrong fue un apoyo financiero muy importante para Martin Luther King y para otros activistas por los derechos civiles, aunque siempre prefiriese trabajar en esos asuntos de forma muy discreta, sin mezclar sus ideas políticas con su trabajo como artista. Ahora bien, cuando se significó, sus declaraciones fueron muy efectivas: la crítica de Armstrong al presidente Eisenhower, llamándole «two-faced» (con dos caras) y «cobarde» debido a su inacción durante el conflicto de la segregación racial escolar en Little Rock, Arkansas, que fue noticia nacional en 1957.También protestó cancelando una gira por la Unión Soviética en nombre del Departamento de Estado diciendo que «por la forma en que están tratando a mi gente en el sur, el gobierno podría ir al infierno» y que él no podía representar a su gobierno fuera del país cuando estaba manteniendo un conflicto con su propio pueblo. También fue un tipo generoso, hasta el punto de decirse de él que había gastado tanto dinero en los demás como en sí mismo. En fin, un buen tipo. What A Wonderful World Y, bueno, para no perder la costumbre, otra vez nos hemos pasado de tiempo. Pero es que, nos venimos arriba y … Espero que os haya entretenido el programa y sabed que volveremos la próxima semana con más historias, más músicos y más música… mucha música. Hasta entonces… Buenas vibraciones.

It was on this date in 1928 that a 26-year-old Louis Armstrong and his band, the Hot Five, recorded "West End Blues." One night, an audience was so enraptured by the song that they carried Armstrong off the stage.

In the long-awaited return of our newly renamed Solo Discussion series, Peter and Adam go over the classic tune "West End Blues."If you're interested in the Open Studio Packs Peter and Adam mentioned in this episode, check out all of them here: https://www.openstudionetwork.com/courses/.Today's episode is sponsored by the Oxford American. The Oxford American is a magazine dedicated to documenting the complexity and vitality of the American South. Its award-winning annual music issue comes with a CD sampler and digital download - a must-have for any serious music fan. Recent issues have featured Nina Simone, Thelonious Monk, John Cage, and John Cage. Visit https://www.oxfordamerican.org/yhi today for a special subscription discount!Let us know what you think by leaving a ⭐⭐⭐⭐⭐⭐⭐ review, or head over to our YouTube channel and leave a comment for this episode.Interested in more jazz advice? Go here to browse our catalog of jazz lessons and courses available for purchase.Follow us on Facebook, Twitter & Instagram at:https://www.facebook.com/heyopenstudiohttps://twitter.com/heyopenstudiohttps://www.instagram.com/heyopenstudio See acast.com/privacy for privacy and opt-out information.

Por Pachi Tapiz. Miguel Calero (textos) y Neus Caamaño (ilustraciones), han publicado el libro ilustrado para adultos Black&Tan. Un viaje ilustrado a los orígenes del jazz (Avenauta, 2018), en el que repasan los orígenes del jazz. En HDO 493 Pachi Tapiz charla con los dos creadores acerca de esta magnífica obra. Además de la conversación se pueden escuchar algunos de los temas que sirven, en el libro, como complemento a las ilustraciones y palabras. En concreto suena Duke Ellington (“Black and Tan Fantasy”), Charley Patton (“High Water Everywhere”), Louis Armstrong (“I’ll be glad when you’re dead) You Rascal You”), Scott Joplin (“Maple Leaf Rag”), Ma Rainey (“See See Rider”), Jelly Roll Morton (“I Thought I Heard Buddy Bolden Said”), “West End Blues” y Original Dixieland Jass Band (“Dixie Jass Band One Step”). Como complemento a la charla, las músicas, y especialmente el libro, se recomienda la visita a la web https://blackandtanbook.wordpress.com/ en la que está recopilado parte del material que ha servido para ir dando forma al libro. Tomajazz: © Pachi Tapiz, 2019 HDO 493 te gustará… si te gusta el jazz… si te gusta el blues… si te gusta el jazz primigenio… HDO es un podcast de jazz e improvisación (libre en mayor o menor grado) que está editado, presentado y producido por Pachi Tapiz. Para quejas, sugerencias, protestas, peticiones, presentaciones y/u opiniones envíanos un correo a hdo@tomajazz.com

Segunda entrega "Diez de Armstrong". En el programa diez temas grabados entre 1928 y 1931 entre los que se incluyen el histórico "West End Blues", "St. James Infirmary", "St. Louis Blues" o "Weather Bird" grabado a dúo con Earl Hines. Tomajazz: © Pachi Tapiz, 2018 HDO es un podcast editado, presentado y producido por Pachi Tapiz.

Lequios Ophir Atlantis Doggerland Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Dallas Blues; Potato Head Blues; Ain’t Misbehavin’; Sweet Little Papa; Fireworks; Weather Bird; Weary Blues; Dropping Shucks; After You’ve Gone; West End Blues; Come Back Sweet Papa; Skip the Gutter; You Made Me Love You; Put ’em Down Blues; Song of […]

About to Happen Alternative rock Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Dallas Blues; Cornet Chop Suey; Sweet Savannah Sue; Black and Blue; Chicago Breakdown; Ory’s Creole Trombone; Georgia Grind; A Monday Date; West End Blues; Save It Pretty Mama; Oriental Strut; Put ’em Down Blues; Come Back Sweet Papa; Big Butter […]

Williamson Field House Williamson, West Virginia Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Basin Street Blues; Sweet Little Papa; The Last Time; Muggles; I’m Gonna Gitcha; West End Blues; I’m A Ding Dong Daddy (From Dumas); S.O.L. Blues; When You’re Smiling; Weary Blues; Save It Pretty Mama; No (Papa No); Cornet Chop […]

Face Down (Arashi song) Arashi Boy band SMAP ‘ Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Weather Bird; Put ’em Down Blues; West End Blues; Save It Pretty Mama; Oriental Strut; Alligator Crawl; Melancholy Blues; Irish Black Bottom; Skip the Guter; I’m a Ding Dong Daddy (From Dumas); Chicago Breakdown; The Last […]

Richard Wallace (rugby union) Rugby union positions Rugby union Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Heebie Jeebies; West End Blues; Beau Koo Jack; Dropping Shucks; Tight Like This; Who’s It?; I Ain’t Got Nobody; Chicago Breakdown; Georgia Grind; Weather Bird; Big Fat Ma and Skinny Pa; Muggles; Ain’t Misbehavin’; The Last […]

Harding, South Dakota Harding County, South Dakota Butte County, South Dakota Tyrannosaurus Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Alligator Crawl; Willie the Weeper; West End Blues; Sweet Little Papa; No One Else But You; Cornet Chop Suey; You Made Me Love You; Muskrat Ramble; Irish Black Bottom; I’m A Ding Dong […]

Iversenfjellet Metres above sea level Satellite Kwangmyŏngsŏng-3 Unit 2 Korean Central News Agency Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: After You’ve Gone; West End Blues; Savoy Blues; Don’t Jive Me; Muskrat Ramble; I Ain’t Got Nobody; I’m Not Rough; I’m a Ding Dong Daddy (From Dumas); Jazz Lips; The Last Time; […]

List of invasive species in Australia Echium plantagineum Salvation Jane (album) Miles Copeland III Miles Copeland Jr. Central Intelligence Agency Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: When You’re Smiling; No One Else But You; Cornet Chop Suey; I’m A Ding Dong Daddy (From Dumas); West End Blues; Song of the Islands; […]

Jon Simonssøn Lawspeaker Thing (assembly) Þorgnýr the Lawspeaker Snorri Sturluson Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Dallas Blues; Don’t Forget to Mess Around; Sugar Foot Stomp; West End Blues; Blue, Turning Grey Over You; Heebie Jeebies; Sugar Foot Strut; Willie the Weeper; Weather Bird; Dropping Shucks; Hotter Than That; Heah Me […]

USS Milwaukee USS H-3 (SS-30) Garfish Bycatch Illegal, unreported and unregulated fishing   Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Save It Pretty Mama; Don’t Forget to Mess Around; When You’re Smiling; Fireworks; Got No Blues; Sunset Cafe Stomp; Beau Koo Jack; Sugar Foot Strut; Black and Blue; West End Blues; S.O.L. […]

Lori Erica Ruff Franklin Delano Floyd Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Weary Blues; Don’t Jive Me; West End Blues; Weather Bird; No One Else But You; Potato Head Blues; Come Back Sweet Papa; I’m Gonna Gitcha; Save It Pretty Mama; Alligator Crawl; Song of the Islands; Sweet Little Papa; Basin […]

Robert Barker (painter) Cyclorama Eidophusikon Filmmaking Television Game show The Price Is Right Bob Barker MY Bob Barker Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Dropping Shucks; Muggles; You Made Me Love You; Basin Street Blues; Come Back Sweet Papa; Fireworks; West End Blues; Blue, Turning Grey Over You; When You’re Smiling; […]

Il dio serpente Zombie Tetraodontidae Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Tight Like This; Save It Pretty Mama; Don’t Forget to Mess Around; Sweet Little Papa; Chicago Breakdown; Weather Bird; Big Fat Ma and Skinny Pa; Potato Head Blues; West End Blues; I’m Gonna Gitcha; Wild Man Blues; Beau Koo Jack; […]

Winpak Winnipeg Canadian Museum for Human Rights Albuquerque, New Mexico Better Call Saul Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: S.O.L. Blues, West End Blues; Weather Bird; Sunset Cafe Stomp; Ain’t Misbehavin’; Dallas Blues; Savoy Blues; Sweet Savannah Sue; Song of the Islands; I’m Gonna Gitcha; I’m A Ding Dong Daddy (From […]

Young Kim (politician) History of the Korean Americans in Los Angeles History of the Armenian Americans in Los Angeles Zankou Chicken List of chicken restaurants Wienerwald (restaurant) Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Oriental Strut; When You’re Smiling; West End Blues; Alligator Crawl; Jazz Lips; Chicago Breakdown; Heah Me Talkin to […]

R. W. Apple, Jr. Rhodes Scholarship John MacBain Trader Classified Media   Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Blue, Turning Grey Over You; Willie the Weeper; Savoy Blues; Skip the Gutter; Sugar Foot Strut; West End Blues; I’m Gonna Gitcha; Georgia Grind; No (Papa No); Muskrat Ramble; The Last Time; Got […]

Myricetin ChemSpider Fork (software development) Unix wars Editor war Flaming (Internet) Forumwarz Trapped in the Closet Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: I Ain’t Got Nobody; Sweet Savannah Sue; Cornet Chop Suey; Fireworks; Heah Me Talkin To Ya; Muskrat Ramble; Black and Blue; West End Blues; Georgia Grind; The Last Time; […]

Internet I am lonely will anyone speak to me Web search engine Music Credits: Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Don’t Forget to Mess Around; Weary Blues; Sweet Savannah Sue; You Made Me Love You; Muskrat Ramble; I Ain’t Got Nobody; I Can’t Give You Anything But Love; West End Blues; […]

Female blues singers from the 1920s, including: Ma Rainey, Bessie Smith, Eva Taylor, Mamie Smith, Ethyl Waters, Lucille Bogan, Alberta Hunter and Mary Johnson.  Songs include: West End Blues, Careless Love, He's Your Dog, But He's Wearing My Collar, Bring It With You, Payroll Blues and Organ Grinder Blues.

“The public don’t understand jazz music as we musicians do. A diminished seventh don’t mean a thing to them, but they go for high notes. After all, the public is paying. If musicians depended on musicians at the box office they would starve to death.”–Louis Armstrong Brian Harker’s Louis Armstrong’s Hot Five and Hot Seven Recordings (Oxford University Press, 2011) is an artful jambalaya of rigorous musical analysis, thoughtful cultural contexts, and some provocative informed speculation as to how Armstrong absorbed, innovated, and consolidated the music we call jazz. Harker focuses his analysis and discussion on seven of Louis Armstrong’s “Hot Five” recordings, made during the period between 1925 and 1928. Harker’s recording-as-“snap-shot” approach illuminates how Armstrong used novelty, musical narrative, rhythmic variation, harmonic changes, “sweet” and “hot” elements,  and technical virtuosity in his vast recording repertoire. Harker also details how Armstrong relentlessly wedded his drive for self-improvement and creative expression to commercial realities, giving the reader fascinating anecdotes and back stories about this extraordinary African-American’s journey for personal and musical acceptance. Highlights of Harker’s song -by-song analysis include Armstrong’s “novelty” imitation of a clarinet’s cascading arpeggios in “Cornet Chop Suey,” his “telling a story” in “Big Butter and Egg Man,” his negotiation of harmonic changes in “Potato Head Blues,” his crowd-thrilling high note playing in “SOL Blues” and “Gully Low Blues,” his “sweet jazz” elements in “Savoy Blues” and his brilliant amalgam of all the afore-mentioned jazz elements in his masterpiece recording, “West End Blues.” Brian Harker, a Professor of Music at Brigham Young University and former professional trumpet player himself, has spent a good part of his life studying Louis Armstrong. And, he is quite interesting and provocative when he is a speculative detective. Some examples include how he shares the theory that some of Armstrong’s dynamic rhythmic experimentation was inspired by Armstrong’s association with the dance team of Brown and McGraw, or how Armstrong’s sustained high C virtuosity was influenced by his admiration for opera superstar Enrico Caruso as well as his competitive rivalry with trumpeter Reuben Reeves – or how Armstrong’s incorporating elements of “sweet music” (in Savoy Blues) may have been inspired by Armstrong’s own predilection for Guy Lombardo’s sweet jazz as a preferred musical background during his own romantic trysts.  This gives feel and flesh to the book and complements Harker’s studied analyses of Armstrong’s solo transcriptions. Louis Armstrong drew from everything and everyone around him. He constantly tried to improve himself musically and personally and yet, at the same time, resented the “putting on of airs,” all the while negotiating the politics of race and the brutal realities of the music and entertainment world. Harker’s thoughtful cultural introspections gives the reader a greater appreciation for what Armstrong himself had to endure and transcend during the Hot Five recording period of his career. According to Harker, Louis was most proud of his “color barrier” advances in radio and film and saw his Hot Five recordings as simply another pay... Learn more about your ad choices. Visit megaphone.fm/adchoices

“The public don’t understand jazz music as we musicians do. A diminished seventh don’t mean a thing to them, but they go for high notes. After all, the public is paying. If musicians depended on musicians at the box office they would starve to death.”–Louis Armstrong Brian Harker’s Louis Armstrong’s Hot Five and Hot Seven Recordings (Oxford University Press, 2011) is an artful jambalaya of rigorous musical analysis, thoughtful cultural contexts, and some provocative informed speculation as to how Armstrong absorbed, innovated, and consolidated the music we call jazz. Harker focuses his analysis and discussion on seven of Louis Armstrong’s “Hot Five” recordings, made during the period between 1925 and 1928. Harker’s recording-as-“snap-shot” approach illuminates how Armstrong used novelty, musical narrative, rhythmic variation, harmonic changes, “sweet” and “hot” elements,  and technical virtuosity in his vast recording repertoire. Harker also details how Armstrong relentlessly wedded his drive for self-improvement and creative expression to commercial realities, giving the reader fascinating anecdotes and back stories about this extraordinary African-American’s journey for personal and musical acceptance. Highlights of Harker’s song -by-song analysis include Armstrong’s “novelty” imitation of a clarinet’s cascading arpeggios in “Cornet Chop Suey,” his “telling a story” in “Big Butter and Egg Man,” his negotiation of harmonic changes in “Potato Head Blues,” his crowd-thrilling high note playing in “SOL Blues” and “Gully Low Blues,” his “sweet jazz” elements in “Savoy Blues” and his brilliant amalgam of all the afore-mentioned jazz elements in his masterpiece recording, “West End Blues.” Brian Harker, a Professor of Music at Brigham Young University and former professional trumpet player himself, has spent a good part of his life studying Louis Armstrong. And, he is quite interesting and provocative when he is a speculative detective. Some examples include how he shares the theory that some of Armstrong’s dynamic rhythmic experimentation was inspired by Armstrong’s association with the dance team of Brown and McGraw, or how Armstrong’s sustained high C virtuosity was influenced by his admiration for opera superstar Enrico Caruso as well as his competitive rivalry with trumpeter Reuben Reeves – or how Armstrong’s incorporating elements of “sweet music” (in Savoy Blues) may have been inspired by Armstrong’s own predilection for Guy Lombardo’s sweet jazz as a preferred musical background during his own romantic trysts.  This gives feel and flesh to the book and complements Harker’s studied analyses of Armstrong’s solo transcriptions. Louis Armstrong drew from everything and everyone around him. He constantly tried to improve himself musically and personally and yet, at the same time, resented the “putting on of airs,” all the while negotiating the politics of race and the brutal realities of the music and entertainment world. Harker’s thoughtful cultural introspections gives the reader a greater appreciation for what Armstrong himself had to endure and transcend during the Hot Five recording period of his career. According to Harker, Louis was most proud of his “color barrier” advances in radio and film and saw his Hot Five recordings as simply another pay... Learn more about your ad choices. Visit megaphone.fm/adchoices

“The public don’t understand jazz music as we musicians do. A diminished seventh don’t mean a thing to them, but they go for high notes. After all, the public is paying. If musicians depended on musicians at the box office they would starve to death.”–Louis Armstrong Brian Harker’s Louis Armstrong’s Hot Five and Hot Seven Recordings (Oxford University Press, 2011) is an artful jambalaya of rigorous musical analysis, thoughtful cultural contexts, and some provocative informed speculation as to how Armstrong absorbed, innovated, and consolidated the music we call jazz. Harker focuses his analysis and discussion on seven of Louis Armstrong’s “Hot Five” recordings, made during the period between 1925 and 1928. Harker’s recording-as-“snap-shot” approach illuminates how Armstrong used novelty, musical narrative, rhythmic variation, harmonic changes, “sweet” and “hot” elements,  and technical virtuosity in his vast recording repertoire. Harker also details how Armstrong relentlessly wedded his drive for self-improvement and creative expression to commercial realities, giving the reader fascinating anecdotes and back stories about this extraordinary African-American’s journey for personal and musical acceptance. Highlights of Harker’s song -by-song analysis include Armstrong’s “novelty” imitation of a clarinet’s cascading arpeggios in “Cornet Chop Suey,” his “telling a story” in “Big Butter and Egg Man,” his negotiation of harmonic changes in “Potato Head Blues,” his crowd-thrilling high note playing in “SOL Blues” and “Gully Low Blues,” his “sweet jazz” elements in “Savoy Blues” and his brilliant amalgam of all the afore-mentioned jazz elements in his masterpiece recording, “West End Blues.” Brian Harker, a Professor of Music at Brigham Young University and former professional trumpet player himself, has spent a good part of his life studying Louis Armstrong. And, he is quite interesting and provocative when he is a speculative detective. Some examples include how he shares the theory that some of Armstrong’s dynamic rhythmic experimentation was inspired by Armstrong’s association with the dance team of Brown and McGraw, or how Armstrong’s sustained high C virtuosity was influenced by his admiration for opera superstar Enrico Caruso as well as his competitive rivalry with trumpeter Reuben Reeves – or how Armstrong’s incorporating elements of “sweet music” (in Savoy Blues) may have been inspired by Armstrong’s own predilection for Guy Lombardo’s sweet jazz as a preferred musical background during his own romantic trysts.  This gives feel and flesh to the book and complements Harker’s studied analyses of Armstrong’s solo transcriptions. Louis Armstrong drew from everything and everyone around him. He constantly tried to improve himself musically and personally and yet, at the same time, resented the “putting on of airs,” all the while negotiating the politics of race and the brutal realities of the music and entertainment world. Harker’s thoughtful cultural introspections gives the reader a greater appreciation for what Armstrong himself had to endure and transcend during the Hot Five recording period of his career. According to Harker, Louis was most proud of his “color barrier” advances in radio and film and saw his Hot Five recordings as simply another pay... Learn more about your ad choices. Visit megaphone.fm/adchoices

“The public don't understand jazz music as we musicians do. A diminished seventh don't mean a thing to them, but they go for high notes. After all, the public is paying. If musicians depended on musicians at the box office they would starve to death.”–Louis Armstrong Brian Harker's Louis Armstrong's Hot Five and Hot Seven Recordings (Oxford University Press, 2011) is an artful jambalaya of rigorous musical analysis, thoughtful cultural contexts, and some provocative informed speculation as to how Armstrong absorbed, innovated, and consolidated the music we call jazz. Harker focuses his analysis and discussion on seven of Louis Armstrong's “Hot Five” recordings, made during the period between 1925 and 1928. Harker's recording-as-“snap-shot” approach illuminates how Armstrong used novelty, musical narrative, rhythmic variation, harmonic changes, “sweet” and “hot” elements,  and technical virtuosity in his vast recording repertoire. Harker also details how Armstrong relentlessly wedded his drive for self-improvement and creative expression to commercial realities, giving the reader fascinating anecdotes and back stories about this extraordinary African-American's journey for personal and musical acceptance. Highlights of Harker's song -by-song analysis include Armstrong's “novelty” imitation of a clarinet's cascading arpeggios in “Cornet Chop Suey,” his “telling a story” in “Big Butter and Egg Man,” his negotiation of harmonic changes in “Potato Head Blues,” his crowd-thrilling high note playing in “SOL Blues” and “Gully Low Blues,” his “sweet jazz” elements in “Savoy Blues” and his brilliant amalgam of all the afore-mentioned jazz elements in his masterpiece recording, “West End Blues.” Brian Harker, a Professor of Music at Brigham Young University and former professional trumpet player himself, has spent a good part of his life studying Louis Armstrong. And, he is quite interesting and provocative when he is a speculative detective. Some examples include how he shares the theory that some of Armstrong's dynamic rhythmic experimentation was inspired by Armstrong's association with the dance team of Brown and McGraw, or how Armstrong's sustained high C virtuosity was influenced by his admiration for opera superstar Enrico Caruso as well as his competitive rivalry with trumpeter Reuben Reeves – or how Armstrong's incorporating elements of “sweet music” (in Savoy Blues) may have been inspired by Armstrong's own predilection for Guy Lombardo's sweet jazz as a preferred musical background during his own romantic trysts.  This gives feel and flesh to the book and complements Harker's studied analyses of Armstrong's solo transcriptions. Louis Armstrong drew from everything and everyone around him. He constantly tried to improve himself musically and personally and yet, at the same time, resented the “putting on of airs,” all the while negotiating the politics of race and the brutal realities of the music and entertainment world. Harker's thoughtful cultural introspections gives the reader a greater appreciation for what Armstrong himself had to endure and transcend during the Hot Five recording period of his career. According to Harker, Louis was most proud of his “color barrier” advances in radio and film and saw his Hot Five recordings as simply another pay... Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

“The public don't understand jazz music as we musicians do. A diminished seventh don't mean a thing to them, but they go for high notes. After all, the public is paying. If musicians depended on musicians at the box office they would starve to death.”–Louis Armstrong Brian Harker's Louis Armstrong's Hot Five and Hot Seven Recordings (Oxford University Press, 2011) is an artful jambalaya of rigorous musical analysis, thoughtful cultural contexts, and some provocative informed speculation as to how Armstrong absorbed, innovated, and consolidated the music we call jazz. Harker focuses his analysis and discussion on seven of Louis Armstrong's “Hot Five” recordings, made during the period between 1925 and 1928. Harker's recording-as-“snap-shot” approach illuminates how Armstrong used novelty, musical narrative, rhythmic variation, harmonic changes, “sweet” and “hot” elements,  and technical virtuosity in his vast recording repertoire. Harker also details how Armstrong relentlessly wedded his drive for self-improvement and creative expression to commercial realities, giving the reader fascinating anecdotes and back stories about this extraordinary African-American's journey for personal and musical acceptance. Highlights of Harker's song -by-song analysis include Armstrong's “novelty” imitation of a clarinet's cascading arpeggios in “Cornet Chop Suey,” his “telling a story” in “Big Butter and Egg Man,” his negotiation of harmonic changes in “Potato Head Blues,” his crowd-thrilling high note playing in “SOL Blues” and “Gully Low Blues,” his “sweet jazz” elements in “Savoy Blues” and his brilliant amalgam of all the afore-mentioned jazz elements in his masterpiece recording, “West End Blues.” Brian Harker, a Professor of Music at Brigham Young University and former professional trumpet player himself, has spent a good part of his life studying Louis Armstrong. And, he is quite interesting and provocative when he is a speculative detective. Some examples include how he shares the theory that some of Armstrong's dynamic rhythmic experimentation was inspired by Armstrong's association with the dance team of Brown and McGraw, or how Armstrong's sustained high C virtuosity was influenced by his admiration for opera superstar Enrico Caruso as well as his competitive rivalry with trumpeter Reuben Reeves – or how Armstrong's incorporating elements of “sweet music” (in Savoy Blues) may have been inspired by Armstrong's own predilection for Guy Lombardo's sweet jazz as a preferred musical background during his own romantic trysts.  This gives feel and flesh to the book and complements Harker's studied analyses of Armstrong's solo transcriptions. Louis Armstrong drew from everything and everyone around him. He constantly tried to improve himself musically and personally and yet, at the same time, resented the “putting on of airs,” all the while negotiating the politics of race and the brutal realities of the music and entertainment world. Harker's thoughtful cultural introspections gives the reader a greater appreciation for what Armstrong himself had to endure and transcend during the Hot Five recording period of his career. According to Harker, Louis was most proud of his “color barrier” advances in radio and film and saw his Hot Five recordings as simply another pay...

Lesser-known blues singers from the 1920s and 1930s.  Performers include: Josie Miles, Mary Johnson, Kathrine Henderson, Hattie McDaniel, Maggie Jones, Chippie Hill  and Edith Wilson. Songs inclue: West End Blues, Death Letter Blues, Boxcar Blues, I Thought I'd Do It & Home Town Blues.

Highlights from the National Recording Registry. Records include: West End Blues, T For Texas, The Poem of Fire and the Stars and Stripes Forever.  Performers include: Bessie Smith, Jimmie rogers, Leopold Stokowski, Benny Goodman and Thomas Edison.

This week Big Band Serenade presents Charlie Barnet. Music includes:"Cherokee"-1939,"The Right Idea"-1939,"I Can't Remember To Forget"-1940,"Harlem Speaks"-1941,"That Old Black Magic"-1942,"Skyliner"-1944,"West End Blues"-1944,"Cement Mixer"-1946,"Andy's Boogie"-1946,"East Side West Side"-1947(used in the opening) and "Pompton Turnpike" Purchase Charlie Barnet Music Here

Roy Plomley's castaway is writer and critic Jacques Brunius. Favourite track: West End Blues by Louis Armstrong's Hot Seven Book: Complete works by Lewis Carroll Luxury: Broken and unplayable pop record