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Playlist: Music

Compiled By: Roland Foster

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Music and music related episodes.

Episode #171 - Sun Records R&B Story Pt. 1

From Matt "The Cat" Baldassarri | Part of the Juke In The Back With Matt The Cat series | 59:01

This week's "Juke In The Back" spotlights the most influential and important record label of all-time, Sun Records. In part 1 of this 2 part series, you'll hear nearly all of Sun's legendary rhythm & blues releases during 1952 and '53 as Matt The Cat gives you the story behind the story on Sun's R&B sides.

Jitbtitlemedium_small Sam Phillips of Sun Records Sun Records R&B Story Pt. 1

This week, the "Juke In The Back" salutes the most influential and important record label of all-time, Sun Records. Sam Phillips started the legendary label in Memphis, TN in March, 1952 after successfully recording the debut sides from B.B. King, Ike Turner, Phineas Newborn and Howlin' Wolf and selling the masters to RPM Records in LA and Chess Records in Chicago. This is part one of a two part feature, leading up to Phillips' groundbreaking, pop culture shifting discovery of Elvis Presley in July, 1954. Matt The Cat examines nearly every rhythm & blues side that Sun Released during 1952 and '53 on this in-depth look into one of America's most treasured music catalogs. That little yellow label from Memphis is in the spotlight all week on the "Juke In The Back," America's showcase for 1940s and '50s Rhythm & Blues.

Episode #172 - Sun Records R&B Story Pt. 2

From Matt "The Cat" Baldassarri | Part of the Juke In The Back With Matt The Cat series | 59:00

On Part 2 of the "Juke In The Back"'s tribute to Sun Records' early R&B releases, Matt The Cat features Elvis' first, historic professional recording as well as other great records from Little Milton, James Cotton and many more.

Jitbtitlemedium_small Sam Phillips & Elvis Presley at Sun Records Sun Records R&B Story Pt. 2

On Part 2 of "Juke In The Back"'s 2 part series on Sun Records' early R&B releases, Matt The Cat spotlights 1954 and '55. This was the most important year and a half in Sun's history. In July, 1954, a young former truck driver named Elvis Presley entered 706 Union Avenue in Memphis and laid down the a song that would lead to the rock n' roll explosion of the mid-1950s. Sun founder, the late Sam Phillips recalls that historic recording as Matt The Cat spins classic Sun R&B from the likes of Billy "The Kid" Emerson, Little Milton, James Cotton and Roscoe Gordon. This is the thrilling conclusion to the "Juke In The Back" tribute to the most important and influential label in the history of rock n' roll.

Episode #381 - Sam Cooke

From Matt "The Cat" Baldassarri | Part of the Juke In The Back With Matt The Cat series | 59:01

Few African Americans accomplished so much (songwriter, revered singer, entrepreneur) during the 1950s as the legendary Sam Cooke. This week, Matt The Cat, along with author Peter Guralnick look at the life and early music of Sam Cooke, from his gospel roots to his R&B/pop breakthrough.

Jitbtitlemedium_small Sam CookeSam Cooke

The "Juke In The Back" features a full hour of Sam Cooke, one of the distinctive and expressive voices ever pressed in wax. Cooke's early period singing gospel with the renowned Soul Stirrers is often cited, but hardly ever featured. Matt The Cat focuses on Sam Cooke's early days from 1951 to 1957, begriming with his recordings with the Soul Stirrers up through his R&B and pop breakthrough of 1957. Matt is joined by author Peter Guralnick, who wrote the definitive biography on Cooke called "Dream Boogie: The Triumph Of Sam Cooke," filling in the background on one of the 20th Century's most revered singers. Cooke was also a noted songwriter, producer and entrepreneur, starting his own SAR Records in the late 1950s. Few African-American artists went further during the 1950s while jamming the juke boxes with tremendous gospel, R&B and pop hits. Hear the man who invented soul, this week on the "Juke In The Back."

Episode #380 - Elvis' R&B Influences

From Matt "The Cat" Baldassarri | Part of the Juke In The Back With Matt The Cat series | 59:01

Elvis Presley's early music was a blend of Hillbilly, Country, Gospel and R&B. This week's "Juke In The Back" explored the enormous debt Elvis owed to his Rhythm & Blues idols and in turn, the debt the music owes to Elvis.

Jitbtitlemedium_small Early ElvisElvis' Rhythm & Blues Influences

40 years ago this week, we lost the "King Of Rock n' Roll. Much has been written about Elvis’ enormous impact and popularity over the years, but it’s almost impossible to overstate the cultural shift that took place as he rose to fame in 1956. Elvis was a musical sponge. He absorbed all the music that moved him and those around him, from Country and Hillbilly to Gospel, Pop, R&B and Blues. This week’s “Juke In The Back” focuses solely on the rhythm & blues that motivated Elvis’ early career. During the end of his first session with Sam Phillips, Elvis cut into an inspired rendition of a semi-forgotten Arthur Crudup gem and rock n’ roll was literally born. From the New Orleans R&B of Smiley Lewis, to the jump blues of Wynonie Harris, Elvis dug it all and made each song uniquely his own. He wasn’t copying his R&B idols, he was merely using their material as a springboard for his own blend of the White and the Black. Sam Phillips was right when he said that it would take a White cat with an African-American feel to propel this exciting R&B music into the mainstream and lucky for us, he found that in Elvis Presley. Matt The Cat presents many surprises in this week’s “Juke In The Back,” dedicated to Elvis’ strongest musical influence: Rhythm & Blues.

Episode #324 - Willie Mae "Big Mama" Thornton

From Matt "The Cat" Baldassarri | Part of the Juke In The Back With Matt The Cat series | 59:00

Willie Mae Thornton was a trailblazer, who in making her own rules paved the way for other groundbreaking female artists like Janis Joplin and Madonna. Known as "Big Mama," Thornton scored her only hit record in early 1953 when "Hound Dog" topped the national Rhythm & Blues Charts, but her career spanned from 1950 to well into the 1970s. This week, Matt The Cat dusts off Big Mama Thornton's best sides from Peacock Records and even digs up her first recordings for the E&W label under the group name, The Harlem Stars (1950).

Jitbtitlemedium_small Big Mama ThorntonWillie Mae "Big Mama" Thornton

Willie Mae Thornton was a trailblazer, who in making her own rules paved the way for other groundbreaking female artists like Janis Joplin and Madonna. Known as "Big Mama," Thornton scored her only hit record in early 1953 when "Hound Dog" topped the national Rhythm & Blues Charts, but her career spanned from 1950 to well into the 1970s. Elvis not only recorded "Hound Dog," which was written by the young, white songwriting duo of Jerry Leiber and Mike Stoller, but he also took much of his swagger from Thornton, who was known to be blatantly tough and sexual on stage. Besides "Hound Dog," her other signature song, "They Call Me Big Mama," ranks among her best material, along with "Rock A Bye Baby," "Mischievous Boogie" and "My Man Called Me." Big Mama is also uncredited on a duet with friend Johnny Ace called "Yes, Baby" from 1953. She wrote many of her own songs, but like many artists of her day, did not own the publishing rights, so when Joplin recorded her "Ball and Chain," Big Mama Thornton didn't get any royalties from it. This week, Matt The Cat dusts off Big Mama Thornton's best sides from Peacock Records and even digs up her first recordings for the E&W label under the group name, The Harlem Stars (1950). 

The R&B Chronicles - Aretha Franklin

From WHRV | Part of the The R&B Chronicles series | 59:47

Exploration of R&B Music

Aretha_franklin_small Perhaps more than any other genre of popular American music culture, soul music is the result of the combination and merging of previous styles and sub-styles in the 50's and 60's. At it's inception soul music combined the African American concepts of gospel and blues sensibilities in creating a passionate, soulful and musical presentation of the African American spirit. Rhythm and Blues is itself a combination of blues and jazz and developed in the 40's as small groups of predominately African American musicians built upon the blues tradition which morphed itself into soul music coming into the 50's. "The R&B Chronicles" is a weekly musical biography that will focus on classic R&B and soul music and feature many of the great artists and groups.... such as Otis Redding, James Brown, Aretha Franklin, The Temptations, Stevie Wonder, Ray Charles, Earth, Wind and Fire and many more. "The R&B Chronicles" airs Friday evenings at 7pm on 89.5 WHRV-FM. Hosted and produced by Jae Sinnett.

The Byrds (part 2): Farther Along

From Joyride Media | Part of the The Byrds: There is a Season / Farther Along series | 59:05

The Second of two one-hour documentaries on The Byrds, covering 1968 to 1972: the groundbreaking country-rock years.

Unissued_small The second of two one-hour documentaries on The Byrds, the continuously groundbreaking band who bridged the gaps between The Beatles, Bob Dylan, Pete Seeger, the Beach Boys, the Los Angeles psychedelic underground and classic country. Each hour is hosted by singer-songwriter Laura Cantrell, and covers a distinct period of their prolific history that can either be aired as one two-part series, or as your choice of two insightful one-hour programs. FARTHER ALONG picks up the story in 1968 and details how the Byrds' legendary Act I was followed by one of rock history's most fascinating second acts. Despite their lower record sales, the Byrds' later incarnations alternately defined and re-defined "country-rock," thanks to the influential contributions by folks like Gram Parsons and guitarist Clarence White. As with the first segment, FARTHER ALONG feature the wide range of music that made The Byrds of the 60s most influential bands, along with comments by its two longest-lasting members: Roger McGuinn and Chris Hillman. Writers David Fricke, Anthony DeCurtis, Lenny Kaye and Byrds historian Sid Griffin are also interviewed. Instead of being directed by the singular vision of one leader, The Byrds were consistently led by everybody's contributions - from their original five members to the musicians involved with their later years. "They all brought something new and something defining," says journalist David Fricke, "and it all became part of the Byrds sound. They didn?t change the Byrds to the degree that it changed the sound. What they did became the Byrds." Broadcast Window: Begins late September 2006, available for all USA radio broadcasters at no cost. 9/30 update: In addition to the 0:59 version posted on the audio page, there is also a 0:54 "news-hole" show in two parts - a 1:00 billboard and the 53:00 program.

The Byrds (part 1): There is a Season

From Joyride Media | Part of the The Byrds: There is a Season / Farther Along series | 59:05

The first of two one-hour documentaries on The Byrds, covering 1964 to 1967: the hitmaking years of the band's original five members.

Tambourine_small The first of two one-hour documentaries on The Byrds, the continuously groundbreaking band who bridged the gaps between The Beatles, Bob Dylan, Pete Seeger, the Beach Boys, the Los Angeles psychedelic underground and classic country. Their memorable music set the stage for everyone from the Eagles to Tom Petty to R.E.M. Each hour is hosted by singer-songwriter Laura Cantrell, and covers a distinct period of their prolific history that can either be aired as one two-part series, or as your choice of two insightful one-hour programs.

THERE IS A SEASON covers 1964-1967, the all-too-brief hitmaking years of the Byrds' original five members - Roger McGuinn, David Crosby, Chris Hillman, Gene Clark and Michael Clarke. They were an electrified folk band who topped the charts with some of the decades' most innovative singles and albums. By 1967, their musical harmony was engulfed by the off-stage disharmony that pushed them to reach those heights. Instead of being directed by the singular vision of one leader, The Byrds were consistently led by everybody's contributions - from their original five members to the musicians involved with their later years.

Despite the inner turmoil that resulted in a revolving cast of characters, the Byrds always used those changes as opportunities to further their musical evolution. "They all brought something new and something defining," says journalist David Fricke, "and it all became part of the Byrds sound. They didn't change the Byrds to the degree that it changed the sound. What they did became the Byrds."

Both segments feature the wide range of music that made The Byrds of the 60s most influential bands, along with comments by its two longest-lasting members: Roger McGuinn and Chris Hillman. Writers David Fricke, Anthony DeCurtis, Lenny Kaye and Byrds historian Sid Griffin are also interviewed.

UpFront Soul #2015.18 - Joan Armatrading Interview Special

From WERU | Part of the UpFront Soul with Sanguine Fromage series | 01:57:59

We start the show with an interview with Joan Armatrading, who is currently on her last major world tour. (Rest assured, she's not retiring!) We'll round out the show with humor from jazz saxophone legend Eddie Harris, brand-new soul from Allen Stone, and old and new tracks from Little Jackie, plus more funk, soul, and jazz than you can safely lift.

Joan_armatrading_giggle_hands_small We start the show with an interview with Joan Armatrading, who is currently on her last major world tour. (Rest assured, she's not retiring!) We'll round out the show with humor from jazz saxophone legend Eddie Harris, brand-new soul from Allen Stone, and old and new tracks from Little Jackie, plus more funk, soul, and jazz than you can safely lift.

UpFront Soul is the new incarnation of The Nightfly with Sanguine Fromage. We've been bringing you 120 minutes of soulful sounds every week since 2011. The music remains the same... only the name has changed. For Nightfly archives, visit http://www.prx.org/series/34144-upfront-soul-formerly-the-nightfly-with-sanguine

UpFront Soul Playlist #2015.18

Hour 1
 Joan Armatrading "Back to the Night"
 Joan Armatrading "Join the Boys"
 Yusef Lateef "Russell and Elliot"
 Eddie Harris "Eddie Atlantic"
 Little Jackie "Go Hard or Go Home"
 George Fenton And Jonas Gwangwa "The Funeral (September 25, 1987)"
 Allen Stone "Upside"
 Joan Armatrading "Close To Me"
 Roberta Flack "Go Up Moses"

Hour 2
 The Cougars "I Wish It Would Rain"
 The Simms Twins "That's Where It's At"
 Little Jackie "It's Like That"
 Raphael Saadiq "Keep Marchin'"
 Billy Preston "I Am Coming"
 The Impressions "Keep on Pushing"
 Nina Simone "Oooh Child"
 The Menahan Street Band "The Crossing"
 William DeVaughn "Be Thankful For What You've Got"
 Dyke & The Blazers "We Got More Soul"
 King Curtis "Soulin'"
 Babatunde Lea "The Creator Has a Master Plan"
 Sam Cooke "Havin' a Party"

WoodSongs 867F: Sweet Honey in the Rock

From WoodSongs Old-Time Radio Hour | Part of the WoodSongs series | 59:02

On this week's WoodSongs broadcast, folksinger Michael Johnathon welcomes Grammy winning folk and civil rights legends, an all-woman, African-American a capella ensemble and Grammy Award-winning troupe Sweet Honey in the Rock.

Ws835_sweet_honey_in_the_rock_prx_small

SWEET HONEY IN THE ROCK are Grammy winning folk and civil rights legends, an all-woman, African-American a capella ensemble and Grammy Award-winning troupe who express their history as African-American women through song, dance, and even sign language. While there is no doubt the uniqueness of Sweet Honey is the message, her musical sound is what attracts first-time listeners. Described in the magazine High Fidelity as breathtaking excursions into harmony singing and neck-hair raising in Downbeat, one is startled at the many musical guises through which the message may appear. At one time the message comes in the form of a low-down blues; at another it is presented through the 19th century Negro Spiritual; then as the song of a field worker or a chain-gang member; now as a mother singing a sweet lullaby to her child; often as ceremonial African chant with all of its rhythmic/melodic motives that border on becoming a mantra; again as a reggae song steeped in African punctuated rhythms; now as a rousing gospel song with congregational responses; or as a children’s song, with rhythms that crave a ring play.
WoodSongs Kids: Students  of SCAPA Vocals will be performing the civil rights anthem “We Shall Overcome”.

Paul Ingles' Music Showcase #011 - Right on Target, So Direct: Bob Dylan's BLOOD ON THE TRACKS (Hour 1)

From Paul Ingles | Part of the Paul Ingles' Music Archive Showcase series | 59:00

Hour 1 of a celebration and exploration of "Blood on the Tracks," the Bob Dylan album voted his best in a Rolling Stone magazine fan survey. Music writers, musicians, and fans offer comments about Dylan's 1975 release and host Paul Ingles talks with several of the studio musicians who worked with Dylan to re-record half of the album in the last days of 1974 in Minneapolis, Minnesota.

Showcase_banner_small

Hour 1 of 2

Musicians, music writers and fans recall what made Bob Dylan’s fifteenth studio album the #1 favorite in a 2012 Rolling Stone Magazine fan poll of all of Dylan’s albums.  We’re also hearing from some of the Minneapolis studio musicians who were surprised to be called in to work with Bob Dylan in the last week of December 1974 – re-recording half of an album that Dylan had recorded in New York three months earlier – an album that seemed finished and was ready to be pressed, shipped and sent to stores.  But Dylan wanted to make some changes so his brother David assembled a local studio band in Minnesota.

Host Paul Ingles talks with
Kevin Odegard, Billy Peterson, and Bill Berg - three of the session musicians on Blood on the Tracks .  Our other commentators are musicians Shawn Colvin, Mary Gauthier, Peter Mulvey, and Jon Spurney.  Also music writers Anthony DeCurthis, Ann Powers, Paul Zollo, Ross Altman, Ashley Kahn and Harvey Kubernik. 

Paul Ingles' Music Showcase #012 - Right on Target, So Direct: Bob Dylan's BLOOD ON THE TRACKS (Hour 2)

From Paul Ingles | Part of the Paul Ingles' Music Archive Showcase series | 59:00

Hour 2 of a celebration and exploration of "Blood on the Tracks," the Bob Dylan album voted his best in a Rolling Stone magazine fan survey. Music writers, musicians, and fans offer comments about Dylan's 1975 release and host Paul Ingles talks with several of the studio musicians who worked with Dylan to re-record half of the album in the last days of 1974 in Minneapolis, Minnesota.

Showcase_banner_small

Hour 2 of 2

Musicians, music writers and fans recall what made Bob Dylan’s fifteenth studio album the #1 favorite in a 2012 Rolling Stone Magazine fan poll of all of Dylan’s albums.  We’re also hearing from some of the Minneapolis studio musicians who were surprised to be called in to work with Bob Dylan in the last week of December 1974 – re-recording half of an album that Dylan had recorded in New York three months earlier – an album that seemed finished and was ready to be pressed, shipped and sent to stores.  But Dylan wanted to make some changes so his brother David assembled a local studio band in Minnesota.

Host Paul Ingles talks with
Kevin Odegard, Billy Peterson, and Bill Berg - three of the session musicians on Blood on the Tracks .  Our other commentators are musicians Shawn Colvin, Mary Gauthier, Peter Mulvey, and Jon Spurney.  Also music writers Anthony DeCurthis, Ann Powers, Paul Zollo, Ross Altman, Ashley Kahn and Harvey Kubernik. 


SONGLIST

If You See Her Say Hello
Shelter From The Storm
Buckets of Rain
All Along the Watchtower
Knocking on Heaven's Door
Baby Can I Follow You Down
Blowing in the Wind
If You See Her Say Hello
Tangled Up In Blue
Call Letter Blues
Sara
Idiot Wind 


Border Radio: The Big Jukebox in the Sky

From Texas Folklife | 58:56

An hour-long music special on the story of Border Radio. Toe tapping music from hillbilly, western swing, Mexican conjunto and contemporary, rhythm and blues, and good ole rock and roll.

Borderradioimage_small Border Radio: The Great Big Jukebox in the Sky: (Stereo) An hour-long music special on the story of Border Radio. Lots of good toe tapping music from hillbilly, western swing, Mexican conjunto and contemporary, rhythm and blues, and good ole rock and roll. Between the 1930s through the 1960s, mega-watt "border blaster" stations set up just across the Mexican border to evade U.S. broadcast regulations, and beamed programming across the United States and as far away as Europe. For the first time, American listeners heard ?race music,? rhythm and blues, and a diverse span of music from ?hillbilly? to gospel that carried the voices and sounds of Mexico and the Southwest to a vast audience. The first in a series of taped-for-radio specials, Border Radio: The Big Juke Box in the Sky features Texas musicians, including Rick Trevi?o from Grammy-winning Los Super Seven; Austin?s own blues diva, Miss Lavelle White; rock and roller Joe King Carrasco; traditional conjunto from South Texas; and contemporary Tex-Mex rocker, Patricia Vonne. Border Radio?s most famous dee-jay, Wolfman Jack, makes a fictional dramatic appearance. Other special guests on Border Radio include Dallas ?Nevada Slim? Turner, one of border radio?s original cowboy singers and pitchmen, and a surprise appearance by Kinky Friedman, humorist and wildcard gubernatorial candidate for Texas in 2006. Border Radio: the Great Big Jukebox in the Sky is produced for radio by Ginger Miles, and executive-produced by Texas Folklife, made possible in part by a grant from National Endowment for the Arts.

Show # 1122

From Stephen R Webb | Part of the Stuck in the Psychedelic Era series | 01:57:00

How can you be in two places at once when you're not anywhere at all?

Logo_small As you may have guessed, this week's show culminates with the first side of a classic Firesign Theatre album making its Stuck in the Psychedelic Era debut. There are a couple other artists not heard on the show before as well: a New York band called the Insect Trust and a solo track from legendary songwriter John D. Loudermilk. There are also several progressions through the years this week, featuring a handful of familiar tunes from familiar artists and quite a few not-so-familiar tunes from people you have probably heard other stuff from.

Technical note to stations: this week's show runs exactly one minute short, so plan accordingly. A pox upon fuzzy math!

A Vietnam Soundscape

From WHRV | 59:00

Vietnam was the first war fought to a soundtrack, with over 4000 war-related songs written and recorded between 1965-73. The lyrics were patriotic, controversial and often protest centered and were the essential to America. Join WHRV host Jae Sinnett as he takes you on a journey, celebrating the best music of the Vietnam era and focusing on the stories and artists behind the music.

16014181738_1fb6301b2a_b_small During World War I, soldiers carried song books in their kit bags. In World War II, some soldiers had access to radios and could hear Glenn Miller and the Army-Air Force Band perform. Others were lucky enough to catch Bob Hope headline a USO show. During the Korean War the military set up its own radio network, Armed Forces Radio (Korea). Vietnam had all these outlets and more. Its GIs brought their own radios and instruments from home. They bought records and swapped tapes of their favorite music. They listened to official outlets as was as pirate stations and Radio Hanoi – which would play American popular music as an enticement to get soldiers to tune in. Whether they preferred Country, Soul or Rock & Roll, music was their soundtrack to the war. Vietnam was the first war fought to a soundtrack, with over 4000 war-related songs written and recorded between 1965-73. The lyrics were patriotic, controversial and often protest centered and were the essential to America.  Join WHRV host Jae Sinnett as he takes you on a journey, celebrating the best music of the Vietnam era and focusing on the stories and artists behind the music.  

Greil Marcus on Van Morrison

From KUOW | 18:02

Ross Reynolds interviews cultural critic Greil Marcus on the music of Van Morrison. Marcus's book is titled "When That Rough God Goes Riding".

Greil_marcus_when_that_rough_god_small

Culture critic Greil Marcus (‘Lipstick Traces’ ‘Weird Old America’) calls Van Morrison a singer who can be compared to no other in the history of modern music. Yet he dismisses seventeen years of Morrison's work as utterly forgettable. We’ll listen to stellar performances collected by the author as Marcus explains Van Morrison’s cranky genius. 

Biography of Leonard Cohen 1HR

From Steve Damien | 59:27

A one hour look at this Canadian singer songwriter, featuring various songs from his career.

Retro_title_for_ilike_small A Canadian songwriter, novelist, and poet who's still giving Dylan a run for his money, Leonard Cohen has become one of the most influential writers and singers of the last 5 decades. Cohen's songs and poetry have influenced countless other songwriters, and more than a thousand renditions of his work have been recorded. In this retrospective we will look at music from 8 of his albums, showing how his music mixes emotion and faith to bring an added complexity that most folk-era musicians never achieve.

Leonard Cohen: Evolution From Poet to Songwriter and Singer

From David Tarnow | 57:30

Leonard Cohen: How a shy, sensitive poet from Canada became a major recording artist. This one-hour radio show documents Leonard Cohen's very first recording session and how it came about.

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The story of how Leonard Cohen was first put on record by legendary Columbia Records producer John Hammond. It features original interviews with Hammond and Cohen, who both spoke to documentary maker David Tarnow about Cohen's journey from poet to songwriter and singer. Cohen describes his early years, what was behind the composing of some of his most memorable first songs and the people who made it possible for him to gain access to the Columbia recording studio and succeed there.

 

The Gram Parsons Story

From KSLU | Part of the Rock School series | 59:01

Biographical portrayal of the legendary Gram Parsons

Rs_logo_small Cecil Ingram Connor III, also know as Gram Parsons. Who is this guy, and why do we care about his death? Well, he created country rock. Credited for shoving Rock and Country together, Gram Parsons is even credited with influencing The Rolling Stones. Heard of Honky Tonk Woman? Gram Parsons wrote it. This and much more in this fun musical journey through Gram Parsons' brilliant career. Just wait to hear how he died!

Happiest Song in the World

From KSLU | Part of the Rock School series | 59:00

Empirical evidence shows that these songs are the happiest song in the world.

Rs_logo_small Empirical evidence shows that these songs are the happiest song in the world.

EuroVision Song Contest

From KSLU | Part of the Rock School series | 01:58:00

The EuroVision Song Contest is the biggest performance contest in the world, and is barely known in the US. Here's a full hour of background, info, and music about the EuroVision Song Contest.

Rs_logo_small The EuroVision Song Contest is the biggest performance contest in the world, and is barely known in the US.  Here's a full hour of background, info, and music about the EuroVision Song Contest.

George Martin

From KSLU | Part of the Rock School series | 59:00

What do you know about the 5th Beatle? The fifth Beatle was George Martin, the producer for the band. We are gonna tell you about his life, his background, and someone of the people he worked with.

Playing
George Martin
From
KSLU

Rs_logo_small What do you know about the 5th Beatle? The fifth Beatle was George Martin, the producer for the band. We are gonna tell you about his life, his background, and someone of the people he worked with. 

Allen Toussaint

From KSLU | Part of the Rock School series | 59:00

On this episode of Rock School, we will be celebrating the life of Allen Toussaint who recently passed away on November 10, 2015. We will play music by the great jazz musician and share personal stories about him.

Playing
Allen Toussaint
From
KSLU

Rs_logo_small On this episode of Rock School, we will be celebrating the life of Allen Toussaint who recently passed away on November 10, 2015. We will play music by the great jazz musician and share personal stories about him. 

Tribute to BB King

From KSLU | Part of the Rock School series | 59:00

This week we pay tribute to the legend who recently passed away.

Playing
Tribute to BB King
From
KSLU

Rs_logo_small This week we pay tribute to the legend who recently passed away.  

Literary References in Rock

From KSLU | Part of the Rock School series | 59:00

This is the 8th anniversary episode of Rock School. Dr. Joe Burns talks about literary references from bands like the Police, ColdPlay, the FatBoy Slim, etc.

Rs_logo_small This is the 8th anniversary episode of Rock School.  Dr. Joe Burns talks about literary references from bands like the Police, ColdPlay, the FatBoy Slim, etc.

British Invasion - Part One

From KSLU | Part of the Rock School series | 59:00

From the Beatles on the Ed Sullivan Show through Herman's Hermits chart toppers, this week we explore the beginning of the British Invasion of American music.

Rs_logo_small From the Beatles on the Ed Sullivan Show through Herman's Hermits chart toppers, this week we explore the beginning of the British Invasion of American music.

British Invasion - Part Two

From KSLU | Part of the Rock School series | 59:00

From the start of split opinions to The Monkees, this week we explore the pinnacle of the British Invasion of American music.

Rs_logo_small From the start of split opinions to The Monkees, this week we explore the pinnacle of the British Invasion of American music.

Back Up Singers

From KSLU | Part of the Rock School series | 59:00

Did you know Sheryl Crow, Whitney Houston, and Mariah Carey all got their starts from singing backup? In fact, a lot more artists than you think began as backup singers. This week on Rock School, Dr. Joe Burns and Beth West discuss your favorite artists who started as backup singers.

Playing
Back Up Singers
From
KSLU

Rs_logo_small Did you know Sheryl Crow, Whitney Houston, and Mariah Carey all got their starts from singing backup? In fact, a lot more artists than you think began as backup singers. This week on Rock School, Dr. Joe Burns and Beth West discuss your favorite artists who started as backup singers.

Rock and Roll Myths

From KSLU | Part of the Rock School series | 59:00

This week we cover some of the best known myths in rock and roll history and try to set the record straight. It's the truth behind the death of Sid Vicious, the lyrics to "Puff The Magic Dragon", Mick Jagger and David Bowie's sleepover, George Jones' lawnmower liquor runs and many more!

Playing
Rock and Roll Myths
From
KSLU

Rs_logo_small This week we cover some of the best known myths in rock and roll history and try to set the record straight.  It's the truth behind the death of Sid Vicious, the lyrics to "Puff The Magic Dragon", Mick Jagger and David Bowie's sleepover, George Jones' lawnmower liquor runs and many more!

The Miranda Grosvernor Story

From KSLU | Part of the Rock School series | 59:01

Miranda Grosverner, "The Muse of the Stars," a woman who does not exist was written of, spoken of, and sung about by many famous people in many genres.

Rs_logo_small Miranda Grosverner's story is one you are not going to believe. Miranda Grosverner does not exist. A figment of a woman, she was able to get many famous people From Billy Noel to Sting to write, speak, and dream about her. It all started with a phonecall to Hollywood. Who really is Miranda Grosverner? How was she finally uncovered here in Louisiana? All the answers to these questions can be found in this week's ROCK SCHOOL show!

Lecture Series: Protest Songs

From KSLU | Part of the Rock School series | 59:01

It is the first episode within a four episode series.

Rs_logo_small These episodes originated within a lecture but went on to be incorporated within Rock School. They decided to make a small four episode series out of it. Within, you will learn information and back story on some of the most influential and popular protest songs in music history.

Mx101 Ep18: Detroit Rock City, 7/19/2018

From KUNC & The Colorado Sound | Part of the Music 101 series | 57:00

Detroit has a rich rock history and on this week's episode of Music 101, we explore it, starting in the mid-1960's up until the early 1970's.

Music_101_recent_small Detroit has a rich rock history and on this week's episode of Music 101, we explore it, starting in the mid-1960's up until the early 1970's.

Mx101 Ep 12 : 50 Years Ago?! Albums Released in 1968, 6/7/2018

From KUNC & The Colorado Sound | Part of the Music 101 series | 57:00

It's hard to believe that 1968 was 50 years ago. This week on Music 101, we'll highlight some of the albums released in 1968.

Updated_logo_small It's hard to believe that 1968 was 50 years ago. This week on Music 101, we'll highlight some of the albums released in 1968. From Aretha Franklin's second huge album in less than a year to The Doors first and only number one album to other great albums that have made their mark in the 50 years since their release.

Mx101 Ep7: Vietnam and Campus Unrest, 5/3/2018

From KUNC & The Colorado Sound | Part of the Music 101 series | 56:59

This episode highlights the music of the Vietnam antiwar movement and its symbiotic relationship with college campuses of the era.

Music_101_recent_small The shootings in 1970 on the Kent State University and Jackson State College campuses horrified the antiwar movement. This episode highlights the music of the Vietnam antiwar movement and its symbiotic relationship with college campuses of the era and the increasingly involved students demonstrating to end the war.

Natural Woman: The Carole King Radio Special - Part Two

From On the Strip Radio Network | 59:16

Carole King's iconic career as a singer, songwriter, and pianist extraordinaire is celebrated with a two-part two-hour special.

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Part Two looks at her enormous career as a solo artist, from her Tapestry album that sold 25M copies worldwide through her sold-out tour in 2010 with longtime friend James Taylor.

Hosted by syndicated broadcaster Mike Etchart.

Natural Woman: The Carole King Radio Special - Part One

From On the Strip Radio Network | 59:09

Carole King's iconic career as a singer, songwriter, and pianist extraordinaire is celebrated with a two-part two-hour special.

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Part One looks at Carole King's early career when she wrote great hits for other artists - from her first songwriting hit in 1961 at aged 18 Will You Still Love Me Tomorrow to her huge hit for the Monkees Pleasant Valley Sunday. Included are such classic songs as Up on the Roof (The Drifters), Take Good Care of My Baby (Bobby Vee), One Fine Day (The Chiffons), I'm Into Something Good (Herman's Hermits), and many, many others.
 
Hosted by syndicated broadcaster Mike Etchart.

Everything Was Right: The Beatles' Revolver

From Paul Ingles | 01:58:00

Either a two-hour program (with optional 5:00 newscast length content in each hour that can be dropped), or a one-hour program (with additional newcast friendly 54:00 cut) in which musicians, writers, and Beatle fans explore what made Revolver one of the top rock albums of all time.

Showlogo1athumb_small NOW AVAILABLE TO ALL OF PUBLIC RADIO. "AWESOME! BEST PIECE OF RADIO I HAVE HEARD in ages. A must listen for any Beatles fan." PRX REVIEW by Jonathan Fahey When rock music critics and fans are asked to rank the top rock albums of all time, The Beatles' 1966 release Revolver either heads the list or falls into the top tier. To mark the 40th anniversary year of the album's release, award-winning producer and host Paul Ingles presents Everything Was Right: The Beatles' "Revolver" Ingles explores the landmark album's story and influence in depth, talking with historians, musicians, music critics, and fans and spotlighting each Revolver track (along with the 1966 single "Paperback Writer and Rain") The Beatles experimented with new sounds and subject matter on Revolver, pioneering psychedelic rock on some tracks and exhibiting extraordinary song-craft on others. Listeners learn about the sources for the tunes, the studio experiments The Beatles used to get their ground-breaking sounds, and the lasting impact of the collection on the pop/rock music scene. Among the guest commentators is Mark Lewisohn, author of The Beatles Recording Sessions. The only journalist to have listened to every second of the Beatles' studio recordings, Lewisohn is a major authority on the band's history. Everything Was Right also features music writers Jim Derogatis, Steve Turner, Jeff Sobul, and Stuart Maddow. Musicians Shawn Colvin, Mark Erelli, John Leventhal, Deborah Holland, Richard Goldman, David Gans, Kristy Kruger, and Jon Spurney join other Beatle fans to talk about their favorite tracks on what is arguably the greatest album by the greatest band of all time. "...it does do a solid job of dissecting the psychology, backstory and musicianship of each song note for delicious note. This is the kind of program that makes musical pedants like myself pant with delight...this documentary does offer solid journalism, excellent production values and a style that leaves most of the talking to the interviewees. Highly recommended." PRX REVIEW by Jonathan Groubert    "...relentless, meticulous work on the part of the producer and host, with a rich overflow of excellent interviews. Finally, once each song has been perfectly framed, they actually let you hear it in its entirety, or nearly. And it's like you're hearing it for the first time." PRX REVIEW by Marjorie Van Halteren

The Last Year In The Life of The Beatles - 1969/1970

From Paul Ingles | 01:58:01

A two-hour special that chronologically follows The Beatles through 1969 and 1970 as they record their final tracks, struggle with their company, squabble with each other, pursue other interests, and ultimately split apart.

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Although their fans didn't know it, the music The Beatles were making in 1969 turned out to be the last recordings they would ever make as a four-some.  When John Lennon, Paul McCartney, George Harrison and Ringo Starr gathered in the studio the day after New Year's that year, the last chapter of their remarkable journey began with the sometimes contentious Get Back / Let It Be sessions.  The band's business affairs began to unravel soon after and several members' minds started drifting toward getting off The Beatles' merry-go-round.  Still they managed to pull off one final masterpiece, Abbey Road, before being photographed together for the last time in August and formally closing the book on the Beatles early in 1970.
 
Award-winning producer Paul Ingles continues his documentation of The Beatles' story with The Last Year in the Life of The Beatles, a two-hour special that chronologically follows the band through 1969 as they record their final tracks, struggle with their company, squabble with each other, pursue other interests, and ultimately split apart.  Listeners will hear behind the scenes studio chatter, rehearsal takes of songs, and finished classics, mixed with informed commentary from a host of music writers, musicians and fans.  Clips from news events and other classic music from the tumultuous year that ended the 1960's will also be blended in.
 
Commentators include writers Steve Turner, Anthony DeCurtis, Mikal Gilmore, Richie Unterberger, Greg Kot, and Ann Powers, and musicians Shawn Colvin, Richard Goldman, Jon Spurney, and David Gans.

(Song List Will Be Posted Shortly)
 
Ingles has produced programs spotlighting many Beatles albums as well as documentaries on Joni Mitchell, Paul Simon, Shawn Colvin and Bob Dylan.  More information about his work is at www.paulingles.com.

A Spin Down Abbey Road (59:00 / 54:00)

From Paul Ingles | 58:59

Music writers, musicians and Beatles fans weigh in on The Beatles' Abbey Road, the album that turned out to have the last songs the band ever recorded together. It was released in September of 1969.

Beatles_abbey-road_small Award-Winning producer Paul Ingles adds another installment to his series of programs spotlighting The Beatles album releases with A Spin Down Abbey Road.  A panel of music writers, musicians and Beatles fans offer historical background on the tracks and their own personal feelings about this landmark album.  Their comments are woven through the music of Abbey Road.

Featured guests are music writers Anthony DeCurtis, Steve Turner, Ann Powers, Richie Unterberger, Jim Derogatis and Greg Kot.  Musician guests include Shawn Colvin, Glen Phillips, Richard Goldman, David Gans, Phil & Tim Hanseroth and Jon Spurney.


The Beatles Finale: Let It Be (59:00 / 54:00)

From Paul Ingles | 58:59

Music writers, musicians and fans offer a track-by-track assessment of the 12th and last official Beatles album, LET IT BE, released in May of 1970.

Let_it_be_small The word had been out for about a month that the legendary Beatles were splitting up, when fans were able to buy what would be their 12th and last official release.  The cover featured an individual photo of each Beatle, bordered by black under just three words, Let It Be.  While few would consider it one of the Beatles' best, there are still some undeniable classics, good rockers and some clues to the dissolution of the most famous band in music history.

In this program, producer Paul Ingles presents the 5th in his series of programs deconstructing great Beatles albums.  His panel of musicians, music writers and Beatle fans includes: Anthony DeCurtis- writer for Rolling Stone Magazine, Los Angeles Times Critic Ann Powers, Jim DeRogatis of the Chicago Sun-Times, Greg Kot of the Chicago Tribune, Beatle book authors Steve Turner and Richie Unterberger, and musicians David Gans, Jon Spurney, Richard Goldman and (in the 59:00 version only) Shawn Colvin.

Dan Ingram-All Mixed Up

From Peter Bochan | Part of the All Mixed Up series | 59:34

A Tribute to Dan Ingram who guided us through the sixties over Top 40 Music Radio Giant "77 WABC"-with airchecks, music and cultural atifacts including The Great Northeast Blackout of November 1965.

Dan_ingram_sm_small Celebrating radio pioneer and All American Top 40 DJ Dan Ingram with music from The Beatles, Snail Mail, The Bacon Brothers, Alice Cooper, Tom Petty, The Box Tops, Billy J. Kramer, Johnny Swim & Drew Holcomb & The Neighbors, Fred Rogers, Morrissey, PIXX, Childish Gambino, Margo Price, Camille Yarborough and Daniel Johnston

Some RESPECT for Aretha

From Paul Ingles | 59:00

Aretha Franklin's over 6 decade career is recalled by music documentarian Paul Ingles and a panel of music writers and commentators.

Aretha-franklin_small Aretha Franklin's over 6 decade career is recalled by music documentarian Paul Ingles and a panel of music writers and commentators in the wake of Aretha's August 2018 passing at the age of 76.

Featured in the program are 20 of Aretha's legendary performances and commentary from Ann Powers of NPR Music, Writer and educator Rob Bowman, writer Ashley Kahn, writer and musician John Kruth, and public radio host Gwen Thompkins.

RESPECT: The Aretha Franklin Story

From Garrett Stack | Part of the American Jukebox ® series | 01:58:00

The Queen of Soul earned that title with nearly 60 years of performing under her belt. This is a career-spanning tribute.

Aretha_show_aj_270_small American Jukebox® 270 RESPECT: The Aretha Franklin Story

In 1960, when Aretha Franklin was 18, she was signed to Columbia Records. But, there was little soul. For six long years in those studios, under boss of A&R Mitch Miller, they tried one formula after another. Nothing clicked with the public. Nine albums, 22 singles later, with scant sales, the two parted company in 1967. On to Atlantic Records.

Head of Atlantic, Ahmet Ertegun, knew Aretha had talent but was reluctant to sign her because of the dismal record sales at Columbia for over six years. Jerry Wexler convinced Ertegun to let him take Aretha down south to Muscle Shoals, Alabama, where Fame Studios had a killer rhythm section. Ertugun flew off to Europe to work on some other deals and Wexler and Franklin flew off to Alabama. 

Sure enough, Wexler's hunch paid off. Aretha blossomed in that environment and they cut two sides including I Never Loved A Man (The Way That I Love You). Atlantic released it and BOOM! It soared up the charts into the Top-10. (Of the 22 singles Columbia previously released, only one even reached the Top-50.) The Muscle Shoals crew was flown to New York to cut an album. They did - in one week. On that first album was Respect, an Otis Redding song aretha liked. No fancy Columbia orchestrations. No holding back Aretha. R-E-S-P-E-C-T burst into the consciousness of America, went to #1, and "Lady Soul" was soon to become "Queen."

On this edition of American Jukebox we take a career-spanning look at Aretha: Columbia, Atlantic, Arista, and live perfromances. 

Hail the Queen.

The Sound of Resistance: Protest or Pose

From WFHB | Part of the Interchange series | 55:38

We’ll look at three songs: “Strange Fruit” sung by Billie Holiday (and recently sampled by Kanye West); “We Almost Lost Detroit” by Gill Scott Heron; and “Warzone” by T.I. As our title suggests, we’ll discuss how we come to designate some songs as legitimate forms of protest, and how some songs might be better described as commercially opportunistic. So, songs as instruments of protest–or products of protest–or if they’re sometimes just products.

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“Protest or Pose” begins a series of programs under the heading The Sound of Resistance. Joining me in the studio is Rasul Mowatt, associate professor in The School of Public Health and the American Studies Department at Indiana University.

We’ll look at three songs: “Strange Fruit” sung by Billie Holiday (and recently sampled by Kanye West); “We Almost Lost Detroit” by Gill Scott Heron; and “Warzone” by T.I.

As our title suggests, we’ll discuss how we come to designate some songs as legitimate forms of protest, and how some songs might be better described as commercially opportunistic. So, songs as instruments of protest–or products of protest–or if they’re sometimes just products.

SEGMENT ONE: “Strange Fruit”
“Strange Fruit” is a song performed most famously by Billie Holiday, who first sang and recorded it in 1939. Written by teacher Abel Meeropol as a poem and published in 1937, it protested American racism, particularly the lynching of African Americans.

Southern trees bear strange fruit
Blood on the leaves and blood at the root
Black bodies swinging in the southern breeze
Strange fruit hanging from the poplar trees

Pastoral scene of the gallant south
The bulging eyes and the twisted mouth
Scent of magnolias, sweet and fresh
Then the sudden smell of burning flesh

Here is fruit for the crows to pluck
For the rain to gather, for the wind to suck
For the sun to rot, for the trees to drop
Here is a strange and bitter crop

SEGMENT TWO: “We Almost Lost Detroit”
The song “We Almost Lost Detroit”, written by Gil Scott Heron and on the 1977 album Bridges, recounts the story of the nuclear meltdown at the Enrico Fermi Nuclear Generating Station near Monroe, MI, in 1966. It was performed at the No Nukes concert in September 1979 at Madison Square Garden.

SEGMENT THREE: “Warzone” (2016)
T.I. has said the video is in response to the “All Lives Matter” slogan: “We wanted to give ‘the other side’ — and when I say the ‘other side’ I don’t mean police, I don’t mean white people, I mean people who think we’re just overreacting, the ‘All Lives Matter’ people — we wanted to give them the least amount of ammunition to oppose our message. (Rapper T.I. Presents Counterpoint to ‘All Lives Matter’ Crowd

dj-rasulGUEST
Rasul Mowatt is Associate Professor of American Studies and Associate Chair and Associate Professor in Recreation, Park and Tourism Studies with the School of Public Health at Indiana University.

RELATED
DJ Rasul talks lynching in popular music
DJ RasulDJ Rasul

MUSIC
“Rumble” by Link Wray
“Strange Fruit” by Billie Holiday
“Blood On the Leaves” Kanye West
“Strange Fruit” by Rokia Traoré
“We Almost Lost Detroit” by Gil Scott Heron
“We Almost Lost Detroit” by Dale Earnhardt Jr Jr
“Warzone” by T. I.
“We Almost Lost Detroit” by Ron Holloway (featuring Gil Scott Heron)

NEXT TIME
american-slave-coastThe Capitalized Womb…We’re joined by Constance and Ned Sublette, authors of The American Slave Coast: A History of the Slave-Breeding Industry. This is the brutal story of how the slavery industry made the reproductive labor of the people it referred to as “breeding women” essential to the young country’s expansion. The book’s narrative is driven by the power struggle between the elites of Virginia, the slave-raising “mother of slavery,” and South Carolina, the massive importer of Africans—a conflict that was central to American politics from the making of the Constitution through the debacle of the Confederacy.

CREDITS
Producer & Host: Doug Storm
Assistant Producer: Rob Schoon
Board Engineer: Jennifer Brooks
Executive Producer: Joe Crawford

Sound Opinions Presents: Music of the Civil Rights Movement

From Sound Opinions | Part of the Sound Opinions Specials series | 54:00

Sound Opinions explores the music of the Civil Rights Era. From Bob Dylan to Odetta to the Staples Singers, hosts Jim DeRogatis and Greg Kot remark upon the impact music made on the fight for civil rights in the 1960s.

Mlk_small Professional music critics Jim and Greg discuss influential and game-changning music from the 1960s that provided a soundtrack to the civil rights movement. They analyze tracks by artists like Sam Cooke, The Staple Singers, Bob Dylan, Nina Simone and more. They also chat with former Chicago WVON DJ Herb Kent.

593: Sound Opinions: Conversation With Mavis Staples, 4/7/2017

From Sound Opinions | Part of the Sound Opinions Episodes series | 59:00

As a member of her family group The Staple Singers and as a solo artist, Mavis Staples has used her huge voice to power the Civil Rights Movement and inspire generations. The gospel and soul legend joins hosts Jim DeRogatis and Greg Kot for an intimate discussion of her life and career.

Mavis_web_small As a member of her family group The Staple Singers and as a solo artist, Mavis Staples has used her huge voice to power the Civil Rights Movement and inspire generations. The gospel and soul legend joins hosts Jim DeRogatis and Greg Kot for an intimate discussion of her life and career.

Black History Special - We Shall Overcome: Civil-Rights Jazz

From WFIU | Part of the Night Lights Classic Jazz: Specials series | 58:59

A one-hour program of jazz music, exploring the connection between jazz and civil rights in 20th-century America. Perfect for Black History Month (February).

We-shall-overcome-image_small There was a strong relationship between jazz and civil rights in 20th-century America; musicians and many critics as well were advocates for equal rights for African-Americans, and jazz provided a cultural bridge between blacks and whites that helped to work as a force for integration. In the post-World War II era black musicians began to speak up, directly and indirectly, against racial injustice, and they also began to record works with titles or lyrics that referred explicitly to the struggle for equality.

This program includes music from Nina Simone (her take on the legendary anti-lynching song “Strange Fruit”), Sonny Rollins (his instrumental version of “The House I Live In,” first sung by Frank Sinatra in 1945, and co-written by Abel Meeropol, who also wrote “Strange Fruit”), John Coltrane (a live and complete performance of “Alabama” taken from Ralph Gleason’s Jazz Casual TV show), and Max Roach’s powerful “Prayer/Protest/Peace” from the 1960 album We Insist! Freedom Now Suite.

Black Vocal Harmony Groups of the 1930s & 40s

From WFIU | Part of the Night Lights Classic Jazz: Specials series | 59:01

A hour-long program of jazz music, exploring the music of African-American singing ensembles in the decades of the Great Depression and the Second World War.

Black-vocal-harmony-image_small The highly successful Mills Brothers inspired a large number of African-American singing ensembles in the decades of the Great Depression and the Second World War. Using only their voices and sometimes sparse instrumentation (guitars or tipples, which were a 10-stringed kind of ukulele), these groups combined jazz, pop, and gospel to produce recordings and styles that anticipated the rise of R & B, rock ‘n roll, and doo-wop in the 1950s.

We’ll hear the Spirits of Rhythm (featuring legendary hipster and scatter Leo Watson), the Golden Gate Quartet (who helped pioneer the “jubilee” gospel sound), the Four Vagabonds (an important transitional group between the jazz-jive vocal groups of the late 1930s and the black R & B groups of the 1950s), Cats and the Fiddle, the Ravens (their 1947 recording of “Ol’ Man River,” which included a bass vocal lead by Jimmy Ricks that served as a harbinger of the doo-wop movement to come), and more.

Black History Special - Say It Loud: Black-Pride Soul Jazz

From WFIU | Part of the Night Lights Classic Jazz: Specials series | 59:00

A one-hour program of jazz music, exploring the black-pride movement of the late 1960s and early 1970s. Perfect for Black History Month (February).

Say-it-loud-image_small As the black-pride movement gained momentum in the late 1960s and early 1970s, an increasing number of jazz artists began to incorporate the message into their music. We’ll hear records made by Lou Donaldson, Gil Scott-Heron, Freddie Roach, Jackie McLean, and others.  Hosted by David Brent Johnson.

A Beautiful Symphony of Brotherhood: A Musical Journey in the Life of Martin Luther King, Jr.

From WQXR | 58:00

In this hour-long special from WQXR and WNYC, host Terrance McKnight interweaves musical examples with Dr. King's own speeches and sermons to illustrate the powerful place that music held in his work--and examines how the musical community responded to and participated in Dr. King's cause.

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Martin Luther King, Jr. grew up listening to and singing church songs, and saw gospel and folk music as natural tools to further the civil rights movement.

In this hour-long special from WQXR and WNYC, host Terrance McKnight interweaves musical examples with Dr. King's own speeches and sermons to illustrate the powerful place that music held in his work--and examines how the musical community responded to and participated in Dr. King's cause.

Terrance McKnight is WQXR's Evening Host. He came to WQXR from WNYC, which he joined in 2008. He brings to his position wide and varied musical experience that includes performance, teaching and radio broadcast. An accomplished pianist, McKnight was also a member of the Morehouse College faculty, where he taught music appreciation and applied piano.

18-02: Words and Music in the Spirit of Martin Luther King Jr., 1/10/2018

From American Routes | Part of the American Routes series | 01:58:58

featuring Mavis Staples, Harry Belafonte, Albert Murray, Julian Bond, Mable John, and Captain Doc Hawley

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American Routes reflects on the legacy of Martin Luther King, Jr. in words and music. Join us as we speak with those who knew Dr. King, from music scholar Albert Murray and historian Julian Bond to musicians Mavis Staples, Harry Belafonte and Mable John. Also, Mississippi riverboat captain Doc Hawley shares a unique memory of Memphis. Plus songs of freedom, deliverance and hope to commemorate this holiday weekend.

Pete Seeger: A Life, part 1

From WAMC | Part of the Pete Seeger: A Life series | 58:47

Celebrate and remember legendary folk singer and activist Pete Seeger in this first hour Seeger talks about his early life, influences & teachers.

800px-pete_seeger2_-_6-16-07_photo_by_anthony_pepitone_small Celebrate and remember legendary folk singer and activist Pete Seeger in this first hour Seeger talks about his early life, influences & teachers.

Pete Seeger: A Life, part 2

From WAMC | Part of the Pete Seeger: A Life series | 58:18

In the is second hour of Pete Seeger: A Life, Seeger discusses the media, and his music career with the Almanac Singers & the Weavers.

800px-pete_seeger2_-_6-16-07_photo_by_anthony_pepitone_small In the is second hour of Pete Seeger: A Life, Seeger discusses the media, and his music career with the Almanac Singers & the Weavers.

The Afterlife of Otis Redding

From Open Source | Part of the Open Source with Christopher Lydon series | 58:59

Otis Redding’s five magnificent years in showbiz transformed the sound of soul music.

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Otis Redding’s five magnificent years in showbiz transformed the sound of soul music. His grainy, growling, and “squawking” voice kept the music rooted in the older traditions of the black church and black life in America. Yet his secularized sound—tempered with the sweetness of Sam Cooke, the flamboyant flair of Little Richard, and the showmanship of James Brown—also ushered in a new era of African American pop in the ’60s.

With a little help from his virtuosic, multiracial band, Redding’s appeal also managed to cross over to white audiences on stage. His show-stealing set at the Monterey Pop Festival led Grateful Dead guitarist Bob Weir to claim, after Redding’s performance, that he had “seen God on stage.” Chris’s brother Michael Lydon, a music journalist at the time, was also there covering the event. He described Otis’s appearance as “ecstasy, madness, loss, total screaming, fantastic.”

 

Six months later, that Monterey god died in a plane crash. “The crown prince of soul,” the Rolling Stone headline declared, “is dead.”

50 years after this tragic loss, we’re looking back at the living legacy of Otis Redding’s soul.

Jonathan Gould, author of the new biography, Otis Redding: An Unfinished Lifegives us the origin story—tracing Redding’s career from his humble gospel roots in Macon, Georgia to his magisterial turn onstage in Monterey, California. Redding’s death, for Gould, also punctuates the end of one era of soul music.

James Brown (left) backstage with Otis Redding (right)

Larry Watson, who sings and teaches the soul tradition at Berklee College of Music in Boston, hears a slightly different story. For him, Redding represents an ideal model of an unassimilated African voice. As he wrote to us in an email earlier this week:

Otis Redding is a special breed and one of our foremost classical voices. He represents royalty in African-centered, unapologetic musical Blackness without ever uttering one political slogan. His very presence and sound represent our collective ancestral memory. It is the rumblings of God’s unhappiness with the way we continue to treat one another. His sound is Blind Tom, Harriet Tubman, and Nat Turner. He is also the sound of that vulnerable Black Mother and the Motherless Child. His sound captures what Dubois and Malcolm and King eloquently wrote about. He was one of our main vessels allowing us to mourn and rejoice that we would see another day of life.
For Larry, you can hear everything you need to know about Otis’s technique in the difference between Sam Cooke’s original version of “A Change is Gonna Come” and Redding’s raw re-interpretation.

Janice Pendarvis, one of the legendary back-up singers featured in the documentary, Twenty Feet from Stardom, takes great delight in performing Redding’s music. She once sang “Dock of the Bay” in a rehearsal for the reggae legend Max Romeo. Still today, she hears Otis’s posthumous hit as a “perfect record,” but in order to really understand the nuances in Redding’s performance style, she says, listen to  “Try a Little Tenderness.”

 

Emily Lordi is a literary scholar of the soul tradition at UMass Amherst. She wrote a book on Redding’s iconic female contemporaries—from Mahalia to Aretha—and another on one of Otis’s successors, Donny Hathaway. As a scrupulous close reader of this generation of soul singers, she shows us how those little “Tenderness” tricks were later transformed–and in some sense distorted–by Kanye West and Jay-Z:

 

Ed Pavlic is a poet with a keen ear for the long history of black music in America—much of which he distilled in a book we love, Who Can Afford to Improvise? on the musical inheritance behind James Baldwin’s prose. He take us through the evolution of the Otis style and spirit that came roaring out of the church and is still moving in the world—particularly through younger singers like SZA and Ravyn Lenae. The key for Ed Pavlic is not the sound of any performer, but the sound of a community. 

As an added bonus, Pavlic also put together a special “continuous soul” playlist for us. The set of songs traces Pavlic’s history of an evolving tradition. Listen to it here:

 

Radiolab Show 1110: The Power of Music, 9/13/2017

From Radiolab | Part of the Radiolab Weekly series | 59:00

This hour, we explore some of the outer edges of the power of music by gathering up a band of biblical horn-blowers, paying a midnight visit to a corner of Mississippi where the devil is rumored to grant wishes, and by helping an angsty 18th century composer push some classical musicians to their physical and psychological limits.

Radiolab_small Sure, music can move us, but it can also save our lives, transform people into a legends, and even knock down walls (maybe). This hour, we explore some of the outer edges of the power of music by gathering up a band of biblical horn-blowers, paying a midnight visit to a corner of Mississippi where the devil is rumored to grant wishes, and by helping an angsty 18th century composer push some classical musicians to their physical and psychological limits.

Johnny Cash: At Folsom Prison

From Joyride Media | 59:00

One-hour radio special takes you inside Folsom Prison for Johnny Cash's historic 1968 concert

Folsomcover_small IN 1968, JOHNNY CASH ENTERED CALIFORNIA’S NOTORIOUS FOLSOM PRISON TO PLAY A CONCERT. IT WASN’T HIS FIRST SHOW THERE, OR HIS LAST.  BUT THIS TIME, HE CAPTURED ON TAPE THE RAW ENERGY OF THE PRISONERS AND CAMRADERIE HE FELT WITH THEM. CASH KNEW THAT THERE WERE A LOT OF PEOPLE LIVING IN PRISONS LIKE FOLSOM THAT NEEDED TO BE TREATED LIKE HUMAN BEINGS.  IN TIME, HE BECAME A POWERFUL VOICE FOR PRISON REFORM.

WE’LL HEAR HIGHLIGHTS FROM CASH’S FOLSOM CONCERT AND TALK TO PEOPLE WHO WERE THERE TO SEE IT – FOLSOM PRISON GUARDS AND INMATES, JOURNALISTS WHO COVERED THE EVENT, CASH BIOGRAPHER MICHAEL STREISGUTH AND SPECIAL GUEST, MERLE HAGGARD.

Check out all of Joyride Media's Johnny Cash specials hosted by Rodney Crowell.

Wes Montgomery: 'The Unmistakable Jazz Guitar'

From NPR Music | Part of the Jazz Profiles series | 54:00

In his short but prolific recording career Wes Montgomery reinvented the jazz guitar, while his name -- and his sound -- became synonymous with the jazz guitar.

Montgomery250_small The jazz guitar of Wes Montgomery, deemed "the biggest, warmest, fattest sound on record," still reverberates today, nearly forty years after his death. The most influential, widely admired jazz guitarist since Charlie Christian's heyday, Wes re-invented the instrument with his thumb-plucking technique, his innovative approach to playing octaves, and his inventive, masterful execution of complex lines. In the short span of a 9 year recording career as a leader, his name became synonymous with the jazz guitar.

Ella Fitzgerald, 'First Lady of Song'

From NPR Music | Part of the Jazz Profiles series | 54:00

Her voice is instantly recognizable. Her youthful exuberance, pure sound and positive energy just make you feel good. Her incredible technical abilities were self-evident, but when she sang, she radiated a joy consistent with her own character both on and off the bandstand.

Ella---trey250_small Her voice is instantly recognizable. Her youthful exuberance, pure sound and positive energy just make you feel good. Her incredible technical abilities were self-evident, but when she sang, she radiated a joy consistent with her own character both on and off the bandstand.

Miles Davis, Part 1: Miles' Styles

From NPR Music | Part of the Jazz Profiles series | 54:00

Miles Davis was the personification of restless spirit, always pushing himself and his music into uncharted territory.

Miles_styles_color250_small Miles Davis was the personification of restless spirit, always pushing himself and his music into uncharted territory. He was an innovative lightning rod for musicians from all genres — particularly the brightest young players. Davis created some of the 20th century's most challenging and influential music.

Miles Davis, Part 2: 'Kind of Blue'

From NPR Music | Part of the Jazz Profiles series | 54:00

The best-selling jazz record of all time is a universally acknowledged masterpiece, revered as much by rock and classical music fans as by jazz lovers. The album is Miles Davis' Kind of Blue.

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Kind of Blue brought together seven now-legendary musicians in the prime of their careers: tenor saxophonist John Coltrane, alto saxophonist Julian "Cannonball" Adderley, pianists Bill Evans and Wynton Kelly, bassist Paul Chambers, drummer Jimmy Cobb and, of course, trumpeter Miles Davis.

Billie Holiday: 'Lady Sings the Blues'

From NPR Music | Part of the Jazz Profiles series | 54:00

Billie Holliday could take any song and make it her own. Her personal battles are legendary and it was that pain that fueled her songs. But, her impact on jazz was substantial.

Holiday250_small Few song-stylists of any era are as immediately distinctive and arresting as "Lady Day." Her rhythmic instinct for melodies brought vocals to the forefront of jazz expression. As for her voice itself: it remains one of the most influential, inimitable, simply incredible sounds of recorded music.

Thelonious Monk: 'Thelonious Himself'

From NPR Music | Part of the Jazz Profiles series | 54:00

Thelonious Monk's sound is one of the most recognizable in modern jazz. An original on and off the bandstand, he launch pad of modern bebop, and also created a body of work in its own orbit.

Monk200_small Thelonious Monk's sound is one of the most recognizable in modern jazz. An original on and off the bandstand, he launch pad of modern bebop, and also created a body of work in its own orbit.

Cab Calloway: 'A Hi De Ho Centennial'

From NPR Music | Part of the Jazz Profiles series | 54:00

A pop-culture icon, Calloway led one of the greatest bands of the Swing Era

Calloway75_small An energetic showman, a gifted singer, a talented actor and a fashion plate, Calloway was a legendary figure in American pop culture. That, and he led one of the greatest bands of the Swing Era.

Gene Ammons: 'The Jug'

From NPR Music | Part of the Jazz Profiles series | 54:00

The immense yet under sung tenor saxophonist helped shape what became known as soul jazz and R&B.

Ammons75_small Tenor saxophonist Gene Ammons had an ability to infuse originals and standards with preachy yet elegant clouds of sound. His immense talents helped the Chicago native to shape what came to be called soul jazz and R&B.

Bill Evans: 'Piano Impressionism'

From NPR Music | Part of the Jazz Profiles series | 54:00

Pianist Bill Evans turned out to be one of the most influential pianists of his generation. Before his untimely death in 1980, he had made nearly 100 recordings

Evans250_small Pianist Bill Evans turned out to be one of the most influential pianists of his generation. Before his untimely death in 1980, he had made nearly 100 recordings. He became well known for his work with Miles Davis and broke new ground with drummer Paul Motian and bassist Scott LaFaro in the development of the jazz trio.

Sarah Vaughn: Vocal Virtuosity

From NPR Music | Part of the Jazz Profiles series | 54:00

Behind Sarah Vaughn's striking voice, and unique musicianship, laid a heart and soul that continue to move people all over the world.

Vaughan250_small Singer Sarah Vaughan was affectionately known as both "Sassy" and "The Divine One." Only a singer capable of such a wide variety of expression, with both human and angelic qualities, could inspire such different yet accurate nicknames.

John Coltrane: Saxophone Icon, Part 1

From NPR Music | Part of the Jazz Profiles series | 54:00

John Coltrane's never-ending quest for musical improvement and self-awareness distinguished his playing and compositions in the '60s.

1coltrane250_small John Coltrane's never-ending quest for musical improvement and self-awareness distinguished his playing and compositions in the '60s. It was driven by an increasing spirituality, most potently unveiled in his 1964 recording A Love Supreme. Coltrane later created music of great turbulence and ecstasy, and he remains a powerful inspiration to artists of all disciplines.

John Coltrane: Saxophone Icon, Part 2

From NPR Music | Part of the Jazz Profiles series | 54:00

John Coltrane's never-ending quest for musical improvement and self-awareness distinguished his playing and compositions in the '60s.

2coltrane250_small John Coltrane's never-ending quest for musical improvement and self-awareness distinguished his playing and compositions in the '60s. It was driven by an increasing spirituality, most potently unveiled in his 1964 recording A Love Supreme. Coltrane later created music of great turbulence and ecstasy, and he remains a powerful inspiration to artists of all disciplines.

Jimmy Smith: Organ Grinder Swing

From NPR Music | Part of the Jazz Profiles series | 54:00

This tribute explores Smith's early days in Philadelphia and shows how he brought the Hammond organ to the forefront of jazz.

Smith250_small A critic once described organist Jimmy Smith as an "excitement merchant" creating a lush, soul-stirring sound that brings audiences to their feet. This tribute explores Smith's early days in Philadelphia and shows how he brought the Hammond organ to the forefront of jazz. We'll also explore his work with trios and big bands, and his work with jazz greats such as Wes Montgomery and Oliver Nelson.

Oscar Peterson: Piano Master

From NPR Music | Part of the Jazz Profiles series | 54:00

Famed jazz pianist Oscar Peterson commanded the entire keyboard with incredible dexterity, drive and precision. He performed around the world for more than 50 years, accruing countless honors, awards and critical accolades.

Peterson250_small Famed jazz pianist Oscar Peterson commanded the entire keyboard with incredible dexterity, drive and precision. He performed around the world for more than 50 years, accruing countless honors, awards and critical accolades. Though he would have been a success by any measure, Peterson always set his own high standards, and always fulfilled them.

Dave Brubeck: In His Own Sweet Way

From NPR Music | Part of the Jazz Profiles series | 54:00

Unlike the vast majority of jazz musicians, Dave Brubeck was blessed with both talent and commercial success. His renowned 1950s quartet recorded standards like "Take Five," "The Duke," and "In Your Own Sweet Way."

Brubeck250_small Unlike the vast majority of jazz musicians, Dave Brubeck was blessed with both talent and commercial success. His renowned 1950s quartet recorded standards like "Take Five," "The Duke," and "In Your Own Sweet Way." He was the first jazz artist to sell one million copies of an album, the second to appear on the cover of Time magazine. To this day, he sells out concert halls around the world.

Van Morrison’s Cosmic Accident

From Open Source | Part of the Open Source with Christopher Lydon series | 59:07

The Story of Astral Weeks

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In the annals of rock music albums, Van Morrison’s Astral Weeks is one of a kind. In an earthy medium, it’s a masterpiece of abstraction.  Indecipherable. Irresistible. Influential. Accidental, it seemed, from the first licks in a Boston studio, in the crisis year of 1968.  It comes back 50 years later from an imagination beyond time or place: murky fables of love confronting death, lyrics unlinked from the riotous news of its day. Built on misty memories of Belfast, Van Morrison’s home town in Northern Ireland, Astral Weekwas one 23-year-old castaway’s field day with jazz men, a brave stab at a soulful pop hit. It rings today with the authority of high art and the passions that make music.

The making of Van Morrison’s Astral Weeks album is the story of a mystical document from the realm of the miraculous. Van Morrison was a young Irishman on the loose and impatient in Boston and Cambridge 50 years ago. He had the full catalog of Irish tenors and black American blues singers in his head, John McCormack to Lead Belly. Then suddenly in March, 1968, he was live in a studio, not with a band really but with jazz players who barely knew one another, or their leader. Morrison had no tunes or harmonies written down, no instructions for his players. But then “a cloud came along,” said the recording engineer, “and we all hopped on… and we landed when it was done.” This is a cult classic of art being born, or made, when nobody knew quite what was happening. The story is wonderfully retold in book form, with a Boston accent, by the writer Ryan Walsh

Ryan Walsh—author of the new book, Astral  Weeks: A Secret History of 1968got hooked on Van Morrison’s poetry, then his chords, then the puzzle of why he couldn’t stop listening. This winter, he took us on a tour of Morrison’s Boston. We began at Ace Recording Studios, just off Boston Common on Boylston Place, were the birthpangs of Van Morrison’s Astral Weekswere first heard in demo form. 

John Payne was one of the sidemen on Astral Weeks—the flute player who’d just dropped out of Harvard in 1968. He brought his flute and soprano sax over and shared his memories of playing with Van. In the decades since, he’s been a band leader and sideman for many headlining acts, including Bonnie Raitt and Phoebe Snow. Today, he’s a music teacher in Boston—you can find his own John Payne Music Center in Brookline Village, where he teaches the rising generation of horn players.

The late Lester Bangs was a champion of underdogs in the music market. He established himself as the soul of rock criticism with a essay on Van Morrison that sounds a bit like Harold Bloom on Shakespeare. The actor Erik Jensen, who plays Lester Bangs in a one-man show off Broadway, gave us the force of Bangs’s appreciation.

The Irish poet Paul Muldoon is also a lifelong fan of Astral Weeks. He grew up in the decade after Van Morrison, on the streets of Belfast that turn up in the lyrics of Morrison’s “Madame George”.


The Afterlife of Otis Redding

From Open Source | Part of the Open Source with Christopher Lydon series | 58:59

Otis Redding’s five magnificent years in showbiz transformed the sound of soul music. His grainy, growling, and “squawking” voice kept the music rooted in the older traditions of the black church and black life in America. Yet his secularized sound—tempered with the sweetness of Sam Cooke, the flamboyant flair of Little Richard, and the showmanship of James Brown—also ushered in a new era of African American pop in the ’60s.

With a little help from his virtuosic, multiracial band, Redding’s appeal also managed to cross over to white audiences on stage. His show-stealing set at the Monterey Pop Festival led Grateful Dead guitarist Bob Weir to claim, after Redding’s performance, that he had “seen God on stage.” Chris’s brother Michael Lydon, a music journalist at the time, was also there covering the event. He described Otis’s appearance as “ecstasy, madness, loss, total screaming, fantastic.”

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Otis Redding’s five magnificent years in showbiz transformed the sound of soul music. His grainy, growling, and “squawking” voice kept the music rooted in the older traditions of the black church and black life in America. Yet his secularized sound—tempered with the sweetness of Sam Cooke, the flamboyant flair of Little Richard, and the showmanship of James Brown—also ushered in a new era of African American pop in the ’60s.

With a little help from his virtuosic, multiracial band, Redding’s appeal also managed to cross over to white audiences on stage. His show-stealing set at the Monterey Pop Festival led Grateful Dead guitarist Bob Weir to claim, after Redding’s performance, that he had “seen God on stage.” Chris’s brother Michael Lydon, a music journalist at the time, was also there covering the event. He described Otis’s appearance as “ecstasy, madness, loss, total screaming, fantastic.”

Six months later, that Monterey god died in a plane crash. “The crown prince of soul,” the Rolling Stone headline declared, “is dead.”

50 years after this tragic loss, we’re looking back at the living legacy of Otis Redding’s soul.

Jonathan Gould, author of the new biography, Otis Redding: An Unfinished Lifegives us the origin story—tracing Redding’s career from his humble gospel roots in Macon, Georgia to his magisterial turn onstage in Monterey, California. Redding’s death, for Gould, also punctuates the end of one era of soul music.

James Brown (left) backstage with Otis Redding (right)

Larry Watson, who sings and teaches the soul tradition at Berklee College of Music in Boston, hears a slightly different story. For him, Redding represents an ideal model of an unassimilated African voice. As he wrote to us in an email earlier this week:

Otis Redding is a special breed and one of our foremost classical voices. He represents royalty in African-centered, unapologetic musical Blackness without ever uttering one political slogan. His very presence and sound represent our collective ancestral memory. It is the rumblings of God’s unhappiness with the way we continue to treat one another. His sound is Blind Tom, Harriet Tubman, and Nat Turner. He is also the sound of that vulnerable Black Mother and the Motherless Child. His sound captures what Dubois and Malcolm and King eloquently wrote about. He was one of our main vessels allowing us to mourn and rejoice that we would see another day of life.
For Larry, you can hear everything you need to know about Otis’s technique in the difference between Sam Cooke’s original version of “A Change is Gonna Come” and Redding’s raw re-interpretation.

Janice Pendarvis, one of the legendary back-up singers featured in the documentary, Twenty Feet from Stardom, takes great delight in performing Redding’s music. She once sang “Dock of the Bay” in a rehearsal for the reggae legend Max Romeo. Still today, she hears Otis’s posthumous hit as a “perfect record,” but in order to really understand the nuances in Redding’s performance style, she says, listen to  “Try a Little Tenderness.”

Emily Lordi is a literary scholar of the soul tradition at UMass Amherst. She wrote a book on Redding’s iconic female contemporaries—from Mahalia to Aretha—and another on one of Otis’s successors, Donny Hathaway. As a scrupulous close reader of this generation of soul singers, she shows us how those little “Tenderness” tricks were later transformed–and in some sense distorted–by Kanye West and Jay-Z:

Ed Pavlic is a poet with a keen ear for the long history of black music in America—much of which he distilled in a book we love, Who Can Afford to Improvise? on the musical inheritance behind James Baldwin’s prose. He take us through the evolution of the Otis style and spirit that came roaring out of the church and is still moving in the world—particularly through younger singers like SZA and Ravyn Lenae. The key for Ed Pavlic is not the sound of any performer, but the sound of a community. 

As an added bonus, Pavlic also put together a special “continuous soul” playlist for us. The set of songs traces Pavlic’s history of an evolving tradition. Listen to it here:

 

Thelonious Monk at 100

From Open Source | Part of the Open Source with Christopher Lydon series | 58:59

At Thelonious Monk’s hundredth birthday, it’s our ears that have changed, not his sound.

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At Thelonious Monk’s hundredth birthday, it’s our ears that have changed, not his sound.  Instead of odd angles and eccentricity we hear orchids in music, various and beautiful.  The truth of the man’s life is clearer, too: drawn back from the ragged edge to the creative center of classically American music.  

The quirky story of Thelonious Sphere Monk made a new sort of sense in Robin Kelley’ grand biography in 2009.  Monk was one of the be-bop revolutionaries, it’s always said, uptown in Manhattan in 1941, but Robin Kelley revealed him as a child of Fats Waller stride piano and all the music of 1930s Harlem and well beyond it.

 

He mumbled at the piano and danced around it. He showed up late sometimes, sometimes disappeared, and did time for small drug offenses. But inside Robin Kelley’s biography is an unshakably original, purposeful musician, ever a generous genius, an attentive father, son, and husband, in triumph and in trouble. 

What Monk did was take the oldest, rooted tradition of the piano, in Harlem, New York, all over the country. And then he combined it with a future we have yet to achieve. It’s collapsing space and time. And his whole approach to the piano is one that brings past and present and future together in one. And he had never ever left his roots as a stride pianist — all the way to the very last tune he ever played.

Monk wrote close to a hundred songs still being interpreted and reinvented. He was musician beyond category, or genre, or period, in Kelly’s persuasive account. It’s fun to see Monk now an African-American Emersonian. His line, for instance, that “the piano ain’t got no wrong notes,” resonates with Ralph Waldo Emerson’s war on conformity and consistency. “To believe your own sound,” paraphrasing Emerson’s line in Self Reliance, “that is genius.”  

Robin D. G. Kelley in conversation with Chris Lydon, December 18, 2009

Radiolab Show 405 : Pop Music, 3/16/2016

From Radiolab | Part of the Radiolab Weekly series | 59:00

Some songs have the nefarious power to stick mercilessly in our heads, and some songs have the transcendent allure to overcome cultural differences. We ask how songwriters create these songs seemingly out of the ether.

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This hour of Radiolab: pop music's pull. Some songs have the nefarious power to stick mercilessly in our heads, and some songs have the transcendent allure to overcome cultural differences. We ask how songwriters create these songs seemingly out of the ether, listen in on the music a deaf man hears, and examine the timeless appeal of the Elvis of Afghanistan.

Radiolab Show 1110: Power of Music, 3/18/2015

From Radiolab | Part of the Radiolab Weekly series | 59:00

Sure, music can move us, but it can also save our lives, transform people into a legends, and even knock down walls (maybe). This hour, we explore some of the outer edges of the power of music .

Radiolab_small Sure, music can move us, but it can also save our lives, transform people into a legends, and even knock down walls (maybe). This hour, we explore some of the outer edges of the power of music by gathering up a band of biblical horn-blowers, paying a midnight visit to a corner of Mississippi where the devil is rumored to grant wishes, and by helping an angsty 18th century composer push some classical musicians to their physical and psychological limits.

Episode #292 - Sister Rosetta Tharpe

From Matt "The Cat" Baldassarri | Part of the Juke In The Back With Matt The Cat series | 59:00

The "Juke In The Back" is proud to salute Sister Rosetta Tharpe, one of the most important and influential musical figures of the 20th Century. Matt The Cat presents Rosetta Tharpe's charting singles as well as her most influential Gospel sides, which become some of the bricks in the foundation of both R&B and Rock n' Roll. We'll hear her recordings with Lucky Millinder, Sammy Price, Marie Knight, The Dependable Boys and the Rosette Singers as well as a few of her V-Discs. Can I get an AMEN!

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The "Juke In The Back" is proud to salute Sister Rosetta Tharpe, one of the most important and influential musical figures of the 20th Century. Tharpe, who was born Rosetta Nubin, was popular immediately after her first Decca Recordings in 1938. She gained even more exposure while singing in-front of Lucky Millinder's big band during World War II. In 1944, she crossed musical barriers when her "Strange Things Happening Every Day" single crossed over to #2 on the national R&B lists, marking the first time a Gospel record had charted so high on a secular chart. Looking back, it's not that surprising when you consider that Rhythm & Blues Music is basically secular content, sung in a Gospel style with rhythm accompaniment. Not only did Sister Rosetta have an inspired, near-acrobatic vibrato voice, but she was also a virtuoso of the guitar. The novelty of a spiritual woman singing and playing the guitar soon gave way to her immense talents at doing both. This week, Matt The Cat presents Rosetta Tharpe's charting singles as well as her most influential Gospel sides, which become some of the bricks in the foundation of both R&B and Rock n' Roll. We'll hear her recordings with Lucky Millinder, Sammy Price, Marie Knight, The Dependable Boys and the Rosette Singers as well as a few of her V-Discs. Hallelujah, this is going to be an inspired show. Can I get an AMEN! 

Episode #458 - Paul "Hucklebuck" Williams

From Matt "The Cat" Baldassarri | Part of the Juke In The Back With Matt The Cat series | 59:01

This week, "Juke In The Back" presents one of the architects of the "honkin'" sax, Paul Williams. Williams' Sextette released some moderately successful instrumentals early on, before they hit paydirt with "The Huckle-Buck" in 1949. Matt The Cat digs deep into Williams' catalog for a plethora of killer R&B jump tunes that deserve more exposure on this week's "Juke In The Back."

Jitbtitlemedium_small Paul "Hucklebuck" WilliamsPaul "Hucklebuck" Williams 

This week, "Juke In The Back" presents one of the architects of the "honkin'" sax, Paul Williams. Many people associate that "honkin'" sax sound with West Coast Jump Blues, but it actually originated in 1947 with Paul Williams in Detroit. Savoy Records dug Williams' style as it was very different than their other sax great at the time, Charlie Parker. Williams' Sextette released some moderately successful instrumentals early on, before they hit paydirt with "The Huckle-Buck" in 1949. It was at a show in late 1948 that Williams and his group played a slowed down version of Parker's "Now's The Time" and saw the kids going crazy doing a new dance called The Hucklebuck. He knew he was on to something and rushed into the studio to cut "The Huckle-Buck." The record sparked a national dance craze and hit #1 on the R&B chart, where it remained for 14 week. "The Huckle-Buck" was the best selling record of 1949. From then on out, Paul Williams was known as Paul "Hucklebuck" Williams and the rest is history. Matt The Cat digs deep into Williams' catalog for a plethora of killer R&B jump tunes that deserve more exposure on this week's "Juke In The Back."

Episode #459 - 1949: Jukebox Rhythm Review, Pt. 1

From Matt "The Cat" Baldassarri | Part of the Juke In The Back With Matt The Cat series | 59:01

Once again, it's time to put the ol' Rockola Jukebox in the spotlight as we blast back 70 years on our annual Jukebox Rhythm Review. Matt The Cat loads up the Juke with the biggest jukebox hits of 1949. This week, in part one, we'll focus on the most requested records from the first half of 1949, so fill your pockets with nickels and get ready to jive n' wail to the biggest R&B tunes from the first half of 1949 on this week's "Juke In The Back" with Matt The Cat.

Jitbtitlemedium_small 1949: Jukebox Rhythm Review1949: Jukebox Rhythm Review, Pt. 1

Once again, it's time to put the ol' Rockola Jukebox in the spotlight as we blast back 70 years on our annual Jukebox Rhythm Review. Matt The Cat loads up the Juke with the biggest jukebox hits of 1949. This week, in part one, we'll focus on the most requested records from the first half of 1949 and next week, we'll cover the second half of the year. 1949 was a big year for artists' debut records to go to #1, as exemplified in this week's program by John Lee Hooker and Big Jay McNeely. Amos Milburn scores the first #1 of the year, while Paul Williams and Charles Brown score 2 of the biggest sellers. Sister Rosetta Tharpe hears music in the air, while Julia Lee gets a little bit naughty and Dinah Washington compliments her man with "You Satisfy," a song she recorded in 1947, but not issued by Mercury until the spring of 1949. So fill your pockets with nickels and get ready to jive n' wail to the biggest R&B tunes from the first half of 1949 on this week's "Juke In The Back" with Matt The Cat. 

Muhammad Ali (He Is The Greatest!)

From Howard Burchette | Part of the Soul Roots series | 57:01

Muhammad Ali (Cassius Clay) (January 17, 1942 – June 3, 2016) was referred to by everyone as the “Greatest” and the “Champ”. This one hour program is a musical dedication to his legacy.

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This program features musical works by a variety of artists providing tributes to Muhammad Ali . The artists gave homage to both Cassius Clay and Muhammad Ali in the style of the Blues, R&B, Funk, Disco, Reggae, Brazilian Samba and much much more. This is a fun program that your listeners will truely enjoy.

What is Soul? (A Definition of a Music)

From Howard Burchette | Part of the Soul Roots series | 59:59

SOUL is a feeling. SOUL is from the root. SOUL is Free. SOUL is Ray Charles. SOUL is James Brown. SOUL is Aretha Franklin. SOUL is Nina Simone. SOUL is Tina Turner. SOUL is Motown. SOUL is Stax. This is SOUL!

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What is Soul? This is Soul!

This program highlights some of the greatest recordings that make up what we call SOUL Music. This is a show that everyone will enjoy, which includes music from Motown, Stax and classic Atlantic Records recordings. Some of the artists featured are Ray Charles, James Brown, Aretha Franklin, Otis Redding, The Temptations, Marvin Gaye, Wilson Pickett, The Supremes and much more.

What is Soul ? This is Soul!

Music of the Brass Angel: John Coltrane

From Howard Burchette | Part of the Jazz Time series | 50:03

This musical introduction to the music of JOHN COLTRANE contains six songs and is one hour in length. It is divided into three segments which allow room for station IDs, public service announcements and other breaks.

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John William Coltrane only lived 41 years. He was born in Hamlet, North Carolina and served in the U. S. Navy Band in Hawaii during World War II. After the war he played saxophone with Eddie "Clean Head " Vinson Band , Dizzy Gillespie band , and Jimmy Heath . By 1958 he was a member of the Mile s Davis Quintet and in 1960 formed his own quartet which included pianist McCoy Tyner , drummer Elvin Jones , and bassist Jimmy Garrison . Eventually adding players like Eric Dolphy , and Pharaoh Sanders . John Coltrane influenced innumerable musicians, and remains one of the most significant tenor saxophonists in Jazz history / was an American jazz saxophonist and composer. Working in the bebop and hard bop idioms early in his career, Coltrane helped pioneer the use of modes in Jazz and later was at the forefront of free Jazz.

Odetta: The Queen of American Folk Music

From Dred-Scott Keyes | 55:21

This 55 min piece features excerpts from a Feb.24th tribute to folk singer Odetta at the Riverside Church in NYC. Performing artists include Pete Seeger, Peter Yarrow, David Amran, Josh White Jr., poet Sonia Sanchez, Sweet Honey In The Rock, Harry Belafonte and was hosted by Bernice Johnson Reagon and Tom Chapin.

Odetta5_prxcopy_small "Odetta:Queen of American Folk Music" is a  55 min piece features excerpts from a Feb.24th tribute to folk singer Odetta at the Riverside Church in NYC. Performing artists include Pete Seeger, Peter Yarrow, David Amran, Josh White Jr., poet Sonia Sanchez, Sweet Honey In The Rock, Harry Belafonte and was hosted by Bernice Johnson Reagon and Tom Chapin.

The King of the Blues: The Music of B.B. King

From Howard Burchette | Part of the D Natural BLUES series | 57:58

The great B.B. King passed away on May 14, 2015. He was one of the greatest Blues entertainers of all time. B.B. King’s recording career began in 1949 and he performed live dates up to the time of his death. This one hour special musical tribute to the “King of the Blues” contains some of his greatest hits from the 1950s, 1960s, and 1970s.

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The program “The King of the Blues: The Music of B.B. King” contains some of the greatest live recording of all time. BB King - Live at The Regal and B.B. King - Live In Cook County Jail are two classic albums by B.B. King and they are complimented by a track from the CD Live / Fillmore East - New York, NY June 19, 1971 . His 1969 signature piece The Thrill Is Gone is included which earned him a Grammy award in 1970. This is pure fun, listen to “The King of the Blues: The Music of B.B. King”.          

 

Two Hands, A Guitar & Genius = Wes Montgomery

From Howard Burchette | Part of the Jazz Time series | 52:35

TWO HANDS, A GUITAR & GENIUS = WES MONTGOMERY is a one hour program that looks at the musical life of Jazz guitarist WES MONTGOMERY. The ten recordings highlight Montgomery as a sideman, a leader of a small combo and his music accompanied by an orchestra.

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Wes Montgomery came out of a musical family and played with his brothers Monk and Buddy as the Montgomery Brothers . His solo career was short due to his untimely death; however history remembers him as one of the most influential guitarists of all time. This program is a brief look and an introduction to the genius of the Jazz Guitar Wes Montgomery.

Two Hands, A Guitar & Genius = Wes Montgomery is a one hour program divided into three sets leaving room for PSAs, the news, announcements, station IDs etc.



Jazz & the Civil Rights Movement

From Howard Burchette | Part of the Jazz Time series | 49:56

"Jazz & the Civil Rights Movement" is an important one hour program that features Jazz music as the background with comments concerning the Civil Rights Movement timeline as a narration.

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Jazz & the Civil Rights Movement is a one hour program devoted to seven classic Jazz recordings which focuses on the Civil Rights Movement. The subject matter pays attention to the sit in movement, the National Guard intervention to prevent integration at Little Rock Central High School, the Freedom Riders, the 16th Street Baptist Church bombing in Alabama, Rosa Parks and the Selma Marches.

The music is performed by Charles Mingus, Max Roach, John Coltrane, Clark Terry, Grant Green, Blue Mitchell and Art Blakey.

This one hour program is divided into three sets with room for the News, PSA's and announcements.

(Ball & Chain)The Musical story of Big Mama Thornton

From Howard Burchette | Part of the D Natural BLUES series | 55:36

Willie Mae "BIG MAMMA" THORNTON was a Blues singer, musician and songwriter. She had a short life and is best known for the songs "Hound Dog" and "Ball 'n' Chain". The songs were hits for her, but became mega hits later for ELVIS PRESLEY and JANIS JOPLIN. This one hour program is a short look at her musical life story.

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Big Mama Thornton (not to be confused with Big Maybelle ) was a unique Blues singer, drummer and harmonica player. She was born in Alabama and left home at age 14 to work on traveling shows and eventually settled in Houston, Texas during the late 1940’s. Her first release and hit was “Hound Dog ” recorded in 1951 at Houston under the leadership of band leader Johnny Otis . Her career would not blossom again until the mid and late 1960’s. She continued to record until the late 1970’s and she died at the age of 57 in 1984.  

This program includes some of the studio records of Big Mama Thornton as well as some of her exciting live performances. Including here is segments from the historic show with the Muddy Waters Blues Band as well as her live performance at the Newport Jazz Festival.

The radio listener of Blues, Jazz, R&B or Classic Rock will enjoy this one hour program; (Ball 'n' Chain)The Musical story of Big Mama Thornton .

Nancy Wilson - This Mother's Daughter

From Howard Burchette | Part of the Jazz Time series | 57:10

Nancy Wilson - This Mother's Daughter is a special music program highlighting the greatest recordings of the great lady of Jazz and song - Nancy Wilson.

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Nancy Wilson was one of the greatest voices of our time. She was elegant and classy. She was categorized as a Jazz singer, but she could sing anything. Most music producers thought that if they worked with a Nancy Wilson, they were working with the best of the business. 
This program contains a one hour short musical history of some of her greatest recordings. We call this presentation “Nancy Wilson - This Mother's Daughter.” 

Healing With Music

From With Good Reason | Part of the With Good Reason: Weekly Half Hour Long Episodes series | 29:01

For teenagers dealing with substance abuse issues, talking about what they’re feeling can be a challenge. So one music therapist uses rock and heavy metal to help them externalize their internal struggles.

Korn_small For teenagers dealing with substance abuse issues, talking about what they’re feeling can be a challenge. So music therapist Jim Borling uses rock and metal music to help them externalize their internal struggles. It may not sound like medicine, but Jim says music therapy is a powerful healing practice. Also featured: John Adam is the author of a new book called X and the City , an entertaining romp through the urban landscape using mathematical modeling as a way to understand how cities work. John uses math to explain aspects of urban life from population growth to something called “taxi cab geometry.”

The Rhythm Atlas 73: 2019-02-24

From Denis McGilvray | Part of the The Rhythm Atlas series | 58:58

On this weekly radio program, you'll hear an eclectic mix of fantastic music from around the globe. This episode features a look back at many of the international artists who won or were nominated at this year's Grammy Awards, as well as one song from the wonderful soundtrack of the Oscar nominated film 'Roma.'

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The Rhythm Atlas radio show explores music from all around the world - from Afrobeat to Zouk. The program airs on Sunday nights at 6:00 - 7:00 p.m. (Central Time, USA) on KWGS 89.5 FM - Public Radio Tulsa, and streaming live at PublicRadioTulsa.org online. The Rhythm Atlas is hosted and produced by Denis McGilvray at the studios of Public Radio Tulsa at the University of Tulsa. Each week’s program usually features an eclectic mix of musical styles from all over the globe, and some weeks the program is focused around a particular theme or holiday.