Oscar Peterson Plays Duke Ellington
Oscar Peterson Plays Duke Ellington is an album by Canadian jazz pianist Oscar Peterson, of songs associated with Duke Ellington released in 1952 on Clef Records. Peterson re-recorded much of the music for his 1959 album Oscar Peterson Plays the Duke Ellington Songbook. "I Got It Bad" – 3:17 "In a Mellow Tone" – 3:09 "Just A-Sittin' and A-Rockin'" – 3:45 "Take the "A" Train" – 3:19 "Sophisticated Lady" – 3:01 "Cotton Tail" – 3:53 "Prelude to a Kiss" – 3:19 "Things Ain't What They Used to Be" – 3:16 "Rockin' in Rhythm" – 2:56 "Never No Lament" – 3:01 "Don't Get Around Much Anymore" – 4:00 "John Hardy's Wife" – 3:24All music composed by Duke Ellington, with the exception of "Take the "A" Train", "Things Ain't What They Used to Be", "John Hardy's Wife", other composers and lyricists indicated. Oscar Peterson – piano Barney Kessel – guitar Ray Brown – double bass Jazz Discography entry for Oscar Peterson plays Duke Ellington
Sammy Cahn
Sammy Cahn was an American lyricist and musician. He is best known for his romantic lyrics to films and Broadway songs, as well as stand-alone songs premiered by recording companies in the Greater Los Angeles Area, he and his collaborators had a series of hit recordings with Frank Sinatra during the singer's tenure at Capitol Records, but enjoyed hits with Dean Martin, Doris Day and many others. He played the violin, he won an Oscar 4 times for his songs, including the popular song "Three Coins in the Fountain". Among his most enduring songs is "Let It Snow! Let It Snow! Let It Snow!", cowritten with Jule Styne in 1945. Cahn was born Samuel Cohen in the Lower East Side of New York City, the only son of Abraham and Elka Reiss Cohen, who were Jewish immigrants from Galicia ruled by Austria-Hungary, his sisters, Pearl and Evelyn, all studied the piano. His mother did not approve of Sammy studying it though, feeling that the piano was a woman's instrument, so he took violin lessons. After three lessons and following his bar mitzvah, he joined a small dixieland band called Pals of Harmony, which toured the Catskill Mountains in the summer and played at private parties.
This new dream of Cahn's destroyed. Some of the side jobs he had were playing violin in a theater-pit orchestra, working at a meat-packing plant, serving as a movie-house usher, freight-elevator operator, restaurant cashier, porter at a bindery. At age 16, he was watching vaudeville, of which he had been a fan since the age of 10, he witnessed Jack Osterman singing a ballad Osterman had written. Cahn was inspired and, on his way home from the theater, wrote his first lyric, titled "Like Niagara Falls, I'm Falling for You – Baby." Years he would say "I think a sense of vaudeville is strong in anything I do, anything I write. They call it'a vaudeville finish,' and it comes through in many of my songs. Just sing the end of'All the Way' or'Three Coins in the Fountain'—'Make it mine, make it mine, MAKE IT MINE!' If you let people know they should applaud, they will applaud."Much of Cahn's early work was written in partnership with Saul Chaplin. They first met. Cahn said, "I'd learned a few chords on the piano, maybe two, so I'd tried to write a song.
Something I called'Shake Your Head from Side to Side.'" Billed as "Cahn and Chaplin", they composed witty special material for Warner Brothers' musical short subjects, filmed at Warners' Vitaphone studio in Brooklyn, New York. "There was a legendary outfit on West 46th Street and Pransky... they were the MCA, the William Morris of the Borscht Belt. I got a room in their offices, we started writing special material. For anybody who'd have us—at whatever price." They did not make much money, but they did work with up-and-comers Milton Berle, Danny Kaye, Phil Silvers, Bob Hope. One of his childhood friends was Lou Levy, who had gone from neighborhood bum to blackface dancer with the Jimmie Lunceford Orchestra. Lyric writing has always been a thrilling adventure for me, something I've done with the kind of ease that only comes with joy! From the beginning the fates have conspired to help my career. Lou Levy, the eminent music publisher, lived around the corner and we met the day I was leaving my first music publisher's office.
This led to a partnership. Lou and I wrote "Rhythm is Our Business," material for Jimmie Lunceford's orchestra, which became my first ASCAP copyright. I'd been churning out "special lyrics" for special occasions for years and this helped facilitate my tremendous speed with lyric writing. Many might have written these lyrics better—but none faster! Glen Gray and Tommy Dorsey became regular customers and through Tommy came the enduring and most satisfying relationship of my lyric writing career – Frank Sinatra; the song became the Orchestra's signature song. The duo worked for Glen Gray's Casa Loma Orchestra and their premiere at Paramount Theatre, they worked for Andy Kirk and his Clouds of Joy and they wrote Until the Real Thing Comes Along. Cahn wrote the lyrics to "Love and Marriage,", used as the theme song for the FOX TV show Married... with Children. The song debuted in a 1955 television production of Our Town, won an Emmy Award in 1956; this was only one of many songs that Jimmy Van Heusen wrote for Frank Sinatra.
They were "almost considered to be his personal songwriters."Cahn contributed lyrics for two otherwise unrelated films about the Land of Oz, Journey Back to Oz and The Wizard of Oz. The former were composed with Van Heusen, the latter with Allen Byrns, Joe Hisaishi, Yuichiro Oda. Cahn became a member of the Songwriters Hall of Fame in 1972, he took over the presidency of that organization from his friend Johnny Mercer when Mercer became ill. Cahn died on January 1993, at the age of 79 in Los Angeles, California from heart failure, his remains were interred in the Westwood Village Memorial Park Cemetery. He changed his last name from Cohen to Kahn to avoid confusion with comic and MGM actor Sammy Cohen and again from Kahn to Cahn to avoid confusion with lyricist Gus Kahn, he was married twice: first in 1945 to vocalist and former Goldwyn girl Gloria Delson with whom he had two children. They divorced after 18 years of marriage. In 1965, she re-married Mike Franks. In 1970, he married Virginia Curtis, a former fashion coordinator for the clothes designer Donald Brooks.
He was the father of Laurie Cahn and jazz/fusion guitarist Steve Khan who, early
Buddy Bregman
Louis Isidore "Buddy" Bregman was an American arranger and conductor. Bregman was born in Chicago, his father was an executive in the steel industry. His uncle was songwriter Jule Styne, he spent summers in Hollywood with Styne. Bregman wrote his first arrangement. After two years at the University of California in Los Angeles, he left to pursue a career in music, he wrote an arrangement for the song "Bazoom I Need Your Lovin'" by The Cheers, written by Jerry Leiber and Mike Stoller. In 1955 he was appointed orchestra leader for the Gary Crosby Show on CBS radio. At the age of 25 Bregman became head of artists and repertoire at Verve Records and run by Norman Granz, after meeting with Granz at the home of Rosemary Clooney and José Ferrer, he arranged and conducted Verve's first single and first album, both featuring vocals by Anita O'Day. In 1956 Bregman arranged and conducted three albums which were certified platinum by the RIAA; the first two recordings in Ella Fitzgerald's Songbooks were arranged by Bregman: the Cole Porter and Richard Rodgers entries.
He arranged several of Fitzgerald's early Verve singles. Learning that Bing Crosby was out of his exclusive contract at Decca, in 1956 Bregman conceived and conducted Bing Sings Whilst Bregman Swings, certified platinum. During the same year, he was arranger and conductor for The Greatest!! Count Basie Plays, Joe Williams Sings Standards. Bregman arranged and conducted on albums for Toni Harper, Jane Powell, Ricky Nelson, for his friend Fred Astaire, including several of Astaire's own songs. Bregman arranged and conducted tracks such as "Let There Be Love" for Bobby Shaw and "The Wayward Wind" for Gogi Grant. In addition, he produced a selection of his own instrumental albums, such as The Gershwin Anniversary Album, Funny Face & Other Gershwin Tunes, Swinging Kicks, Swingin' Standards, Dig Buddy in Hi-Fi, Symphony of the Golden West, Anita O'Day – Rules of the Road, That Swing. After leaving Verve, he became music director for The Eddie Fisher Show his own show, The Music Shop, he was involved in creating the scores or orchestrations for several motion pictures in this period: Five Guns West, Crime in the Streets and The Wild Party, The Pajama Game, including scoring all of the Bob Fosse dance numbers, The Delicate Delinquent, Born Reckless, Secret of the Purple Reef, The Cat Burglar.
In the early 1960s Bregman became a director. After producing several TV specials in Europe, he was hired by David Attenborough for BBC 2 in 1964. In 1966, he was appointed head of light entertainment for the weekday ITV company Rediffusion London. Bregman wrote Jump Jim Crow – a musical for the Royal Shakespeare Company – and moved into London-based independent TV and film production, he produced and directed The New-Fangled Wandering Minstrel Show, a film starring Olivia Newton-John and Georgie Fame. After returning to the United States, Bregman worked as a producer and director on television programs. In late 2004, Bregman was tasked with arranging and conducting a 16-track vocal album of old and newer pop/jazz standards, it features an 18-piece big band of West Coast sidemen Hubert Laws, Ricky Woodard, Charles Owens, George Bohannon, Bobby Rodriguez, Patrice Rushen, Roberto Miranda, others. These sessions were recorded over two days in May 2006 at the Quincy Jones / Michael Jackson designed signature studio,'D', at Westlake Recording Studios, with the UCLA's and CJO's Charley Harrison serving as MD.
The album was self-produced by actor and amateur baritone, Tom Mark. Vocals were recorded by Mark at Westlake Recording Studios in May and November 2006. Bregman recorded'scratch' vocals against each and every one of his own session-tracks during studio downtime at Westlake. Bregman was married to actress Suzanne Lloyd from 1961 to 1988. On January 8, 2017, she confirmed that Bregman had died from complications of Alzheimer's disease, which he had suffered from for many years. Buddy Bregman at Haines His Way Buddy Bregman on IMDb
Double bass
The double bass, or the bass, is the largest and lowest-pitched bowed string instrument in the modern symphony orchestra. It is a standard member of the orchestra's string section, as well as the concert band, is featured in concertos and chamber music in Western classical music; the bass is used in a range of other genres, such as jazz, 1950s-style blues and rock and roll, psychobilly, traditional country music, bluegrass and many types of folk music. The bass is a transposing instrument and is notated one octave higher than tuned to avoid excessive ledger lines below the staff; the double bass is the only modern bowed string instrument, tuned in fourths, rather than fifths, with strings tuned to E1, A1, D2 and G2. The instrument's exact lineage is still a matter of some debate, with scholars divided on whether the bass is derived from the viol or the violin family; however the body shape where it curves into the neck matches the viol family whereas in the rest of the violin family, the body meets the neck with no blending curve.
The double bass is played by plucking the strings. In orchestral repertoire and tango music, both arco and pizzicato are employed. In jazz and rockabilly, pizzicato is the norm. Classical music uses the natural sound produced acoustically by the instrument, as does traditional bluegrass. In jazz and related genres, the bass is amplified; the double bass stands around 180 cm from scroll to endpin. However, other sizes are available, such as a 1⁄2 or 3⁄4, which serve to accommodate a player's height and hand size; these sizes do not reflect the size relative to 4⁄4 bass. It is constructed from several types of wood, including maple for the back, spruce for the top, ebony for the fingerboard, it is uncertain whether the instrument is a descendant of the viola da gamba or of the violin, but it is traditionally aligned with the violin family. While the double bass is nearly identical in construction to other violin family instruments, it embodies features found in the older viol family. Like other violin and viol-family string instruments, the double bass is played either with a bow or by plucking the strings.
In orchestral repertoire and tango music, both arco and pizzicato are employed. In jazz and rockabilly, pizzicato is the norm, except for some solos and occasional written parts in modern jazz that call for bowing. In classical pedagogy all of the focus is on performing with the bow and producing a good bowed tone. Bowed notes in the lowest register of the instrument produce a dark, mighty, or menacing effect, when played with a fortissimo dynamic. Classical bass students learn all of the different bow articulations used by other string section players, such as détaché, staccato, martelé, sul ponticello, sul tasto, tremolo and sautillé; some of these articulations can be combined. Classical bass players do play pizzicato parts in orchestra, but these parts require simple notes, rather than rapid passages. Classical players perform both bowed and pizz notes using vibrato, an effect created by rocking or quivering the left hand finger, contacting the string, which transfers an undulation in pitch to the tone.
Vibrato is used to add expression to string playing. In general loud, low-register passages are played with little or no vibrato, as the main goal with low pitches is to provide a clear fundamental bass for the string section. Mid- and higher-register melodies are played with more vibrato; the speed and intensity of the vibrato is varied by the performer for an emotional and musical effect. In jazz and other related genres, much or all of the focus is on playing pizzicato. In jazz and jump blues, bassists are required to play rapid pizzicato walking basslines for extended periods; as well and rockabilly bassists develop virtuoso pizzicato techniques that enable them to play rapid solos that incorporate fast-moving triplet and sixteenth note figures. Pizzicato basslines performed by leading jazz professionals are much more difficult than the pizzicato basslines that Classical bassists encounter in the standard orchestral literature, which are whole notes, half notes, quarter notes, occasional eighth note passages.
In jazz and related styles, bassists add semi-percussive "ghost notes" into basslines, to add to the rhythmic feel and to add fills to a bassline. The double bass player stands, or sits on a high stool, leans the instrument against their body, turned inward to put the strings comfortably in reach; this stance is a key reason for the bass's sloped shoulders, which mark it apart from the other members of the violin family—the narrower shoulders facilitate playing the strings in their higher registers. The double bass is regarded as a modern descendant of the string family of instruments that originated in Europe in the 15th century, as such has been described as a bass Violin. Before the 20th century many double basses had only three strings, in contrast to the five to six strings typical of instruments in the viol family or the four strings of instruments in the violin family; the double bass's proportions are di
Ray Brown (musician)
Raymond Matthews Brown was an American jazz double bassist known for extensive work with Oscar Peterson and Ella Fitzgerald. Ray Brown was born October 13, 1926 in Pittsburgh and took piano lessons from the age of eight. After noticing how many pianists attended his high school, he thought of taking up the trombone but was unable to afford one. With a vacancy in the high school jazz orchestra, he took up the upright bass. A major early influence on Brown's bass playing was Jimmy Blanton, the bassist in the Duke Ellington band; as a young man Brown became well known in the Pittsburgh jazz scene, with his first experiences playing in bands with the Jimmy Hinsley Sextet and the Snookum Russell band. After graduating high school, having heard stories about the burgeoning jazz scene on 52nd Street in New York City, he bought a one-way ticket to New York, he arrived in New York at the age of 20, met up with Hank Jones, with whom he had worked, was introduced to Dizzy Gillespie, looking for a bass player.
Gillespie hired Brown on the spot, he soon played with such established musicians as Art Tatum and Charlie Parker. In 1948, Brown left Dizzy's band to start a trio with Charlie Smith. From 1946 to 1951, Brown played in Gillespie's band. Brown, along with the vibraphonist Milt Jackson, drummer Kenny Clarke, pianist John Lewis formed the rhythm section of the Gillespie band. Lewis and Jackson formed the Modern Jazz Quartet. Brown became acquainted with singer Ella Fitzgerald when she joined the Gillespie band as a special attraction for a tour of the southern United States in 1947; the two married that year, together they adopted a child born to Fitzgerald's half-sister Frances, whom they christened Ray Brown, Jr. Fitzgerald and Brown divorced in 1953, bowing to the various career pressures both were experiencing at the time, though they would continue to perform together. From 1951 to 1965, Brown was a member of the Oscar Peterson Trio; the trio included a guitarist until 1958. After Ellis left the group, Peterson decided to continue the trio with drummer Ed Thigpen.
Brown recorded extensively as a session musician for producer Norman Granz during the 1950s alongside Peterson. After leaving the Oscar Peterson Trio, Brown concentrated on studio work in Los Angeles. Brown guested as a bass player on "Razor Boy", the second track on Steely Dan's second album, Countdown to Ecstasy, released in 1973. From 1974 to 1982, Brown performed and recorded a series of albums with guitarist Laurindo Almeida and flautist Bud Shank, drummer Shelly Manne under the name The L. A. Four. In the 1980s and 1990s Brown continued to refine his bass playing style. In his years he recorded and toured extensively with pianist Gene Harris. In the early 1980s, Brown met Diana Krall in a restaurant in Nanaimo, British Columbia. According to Jeff Hamilton, in an interview recorded on the Diana Krall Live in Rio DVD, he first heard Krall play at a workshop and, impressed with her piano skills, introduced her to bassist John Clayton. Hamilton and Clayton both encouraged Krall to move to Los Angeles to study under others.
In 1990, he teamed up with pianist Bobby Enriquez and drummer Al Foster, for Enriquez's album, The Wildman Returns. Around the same time, Brown made seven albums with pianist André Previn when, after a hiatus of two decades, Previn returned to jazz to perform and record regurlarly again between 1989 and 2002: After Hours, Old Friends, Kiri Sidetracks; the Jazz Album, What Headphones?, André Previn and Friends Play Show Boat, Jazz at the Musikverein. Brown and Previn had recorded together before in the 1960s on 4 To Go! and Right as the Rain. An hour-long film, Together on Broadway; the Making of Sidetracks documents the work on the album Kiri Sidetracks. The Jazz Album. Brown played for a time with the "Quartet" with Monty Alexander, Milt Jackson, Mickey Roker. After that he toured again with his own trio, with several young pianists such as Benny Green, Geoffrey Keezer, Larry Fuller; the last edition of the Ray Brown Trio included drummer Karriem Riggins. With that trio, Brown continued to perform until his death in 2002.
Ray Brown married Ella Fitzgerald in 1947. The couple adopted a son, Ray Jr. but the marriage did not last long, as work kept them apart. Ray and Ella divorced in 1953, but remained friends and worked together. Brown died in his sleep July 2002, after having played golf, before a show in Indianapolis. In 1995, Brown was awarded an Honorary Doctorate of Music from Berklee College of Music. In 2001, Brown was awarded the Austrian Cross of Honour for Science and Art, 1st class and in 2003, he was inducted into the DownBeat Jazz Hall of Fame, he was awarded his first Grammy for his composition, "Gravy Waltz", a tune which would be used as the theme song for The Steve Allen Show. Brown, Ray. Ray Brown's Bass Method: Essential Scales and Exercises. Hal Leonard Corporation. ISBN 978-0793594566. List of jazz bassists Ray Brown at the Hard Bop Homepage Ray Brown Biogr
Cole Porter
Cole Albert Porter was an American composer and songwriter. Born to a wealthy family in Indiana, he defied the wishes of his domineering grandfather and took up music as a profession. Classically trained, he was drawn to musical theatre. After a slow start, he began to achieve success in the 1920s, by the 1930s he was one of the major songwriters for the Broadway musical stage. Unlike many successful Broadway composers, Porter wrote the lyrics as well as the music for his songs. After a serious horseback riding accident in 1937, Porter was left disabled and in constant pain, but he continued to work, his shows of the early 1940s did not contain the lasting hits of his best work of the 1920s and'30s, but in 1948 he made a triumphant comeback with his most successful musical, Kiss Me, Kate. It won the first Tony Award for Best Musical. Porter's other musicals include Fifty Million Frenchmen, DuBarry Was a Lady, Anything Goes, Can-Can and Silk Stockings, his numerous hit songs include "Night and Day", "Begin the Beguine", "I Get a Kick Out of You", "Well, Did You Evah!", "I've Got You Under My Skin", "My Heart Belongs to Daddy" and "You're the Top".
He composed scores for films from the 1930s to the 1950s, including Born to Dance, which featured the song "You'd Be So Easy to Love". Porter was born in Peru, the only surviving child of a wealthy family, his father, Samuel Fenwick Porter, was a druggist by trade. His mother, was the indulged daughter of James Omar "J. O." Cole, "the richest man in Indiana", a coal and timber speculator who dominated the family. J. O. Cole built the couple a house on his Peru-area property. After high school, Porter returned to his childhood home only for occasional visits. Porter's strong-willed mother began his musical training at an early age, he learned the violin at age six, the piano at eight, wrote his first operetta at ten. She falsified his recorded birth year, changing it from 1891 to 1893 to make him appear more precocious, his father, a shy and unassertive man, played a lesser role in Porter's upbringing, although as an amateur poet, he may have influenced his son's gifts for rhyme and meter. Porter's father was a talented singer and pianist, but the father-son relationship was not close.
J. O. Cole wanted his grandson to become a lawyer, with that in mind, sent him to Worcester Academy in Massachusetts in 1905. Porter brought an upright piano with him to school and found that music, his ability to entertain, made it easy for him to make friends. Porter did well in school and came home to visit, he became class valedictorian and was rewarded by his grandfather with a tour of France and Germany. Entering Yale University in 1909, Porter majored in English, minored in music, studied French, he was a member of Scroll and Key and Delta Kappa Epsilon fraternity, contributed to campus humor magazine The Yale Record. He was an early member of the Whiffenpoofs a cappella singing group and participated in several other music clubs. Porter wrote 300 songs while at Yale, including student songs such as the football fight songs "Bulldog" and "Bingo Eli Yale" that are still played at Yale today. During college, Porter became acquainted with New York City's vibrant nightlife, taking the train there for dinner and nights on the town with his classmates, before returning to New Haven, early in the morning.
He wrote musical comedy scores for his fraternity, the Yale Dramatic Association, as a student at Harvard – Cora, And the Villain Still Pursued Her, The Pot of Gold, The Kaleidoscope and Paranoia – which helped prepare him for a career as a Broadway and Hollywood composer and lyricist. After graduating from Yale, Porter enrolled in Harvard Law School in 1913, he soon felt that he was not destined to be a lawyer, and, at the suggestion of the dean of the law school, switched to Harvard's music department, where he studied harmony and counterpoint with Pietro Yon. Kate Porter did not object to this move. In 1915, Porter's first song on Broadway, "Esmeralda", appeared in the revue Hands Up; the quick success was followed by failure: his first Broadway production, in 1916, See America First, a "patriotic comic opera" modeled on Gilbert and Sullivan, with a book by T. Lawrason Riggs, was a flop, closing after two weeks. Porter spent the next year in New York City before going overseas during World War I.
In 1917, when the United States entered World War I, Porter moved to Paris to work with the Duryea Relief organization. Some writers have been skeptical about Porter's claim to have served in the French Foreign Legion, but the Legion lists Porter as one of its soldiers and displays his portrait at its museum in Aubagne. By some accounts, he served in North Africa and was transferred to the French Officers School at Fontainebleau, teaching gunnery to American soldiers. An obituary notice in The New York Times said that, while in the Legion, "he had a specially constructed portable piano made for him so that he could carry it on his back and entertain the troops in their bivouacs." Another account, given by Porter, is that he joined the recruiting department of the American Aviation Headquarters, according to his biographer Stephen Citron, there is no record of his joining this or any other branch of the forces. Porter maintained a luxury apartment in Paris, his parties were extrava
Buddy DeSylva
George Gard "Buddy" DeSylva was an American songwriter, film producer and record executive. He wrote or co-wrote many popular songs and along with Johnny Mercer and Glenn Wallichs, he founded Capitol Records. DeSylva was born in New York City, but grew up in California and attended the University of Southern California, where he joined the Theta Xi Fraternity, his father, Aloysius J. De Sylva, was better known to American audiences as the Portuguese-born actor, Hal De Forrest, his mother, Georgetta Miles Gard, was the daughter of Los Angeles police chief George E. Gard. DeSylva's first successful songs were those used by Al Jolson on Broadway in the 1918 Sinbad production, which included "I'll Say She Does". Soon thereafter he met Jolson and in 1918 the pair went to New York and DeSylva began working as a songwriter in Tin Pan Alley. In the early 1920s, DeSylva worked with composer George Gershwin. Together they created the experimental one-act jazz opera Blue Monday set in Harlem, regarded as a forerunner to Porgy and Bess ten years later.
In April 1924, DeSylva married a Ziegfeld Follies dancer. In 1925, DeSylva became one third of the songwriting team with lyricist Lew Brown and composer Ray Henderson, one of the top Tin Pan Alley songwriters of the era; the team was responsible for the song Magnolia, popularized by Lou Gold's orchestra. The writing and publishing partnership continued until 1930, producing a string of hits and the perennial Broadway favorite Good News; the popularity of this team was so great that Gershwin's mother chided her sons for not being able to write the sort of hits turned out by the trio. DeSylva joined ASCAP in 1920 and served on the ASCAP board of directors between 1922 and 1930, he became a producer of screen musicals. DeSylva went under contract to Fox Studios. During this tenure, he produced movies such as The Little Colonel, The Littlest Rebel, Captain January, Poor Little Rich Girl and Stowaway. In 1941, he became the Executive Producer at Paramount Pictures, a position he would hold until 1944.
At Paramount, he was an uncredited executive producer for Double Indemnity, For Whom the Bell Tolls, The Story of Dr. Wassell and The Glass Key. Betty Hutton always credited DeSylva for launching her film career; the Paramount all-star extravaganza Star Spangled Rhythm, which takes place at the Paramount film studio in Hollywood, features a fictional movie executive named "B. G. DeSoto", a parody of DeSylva. In 1942, Johnny Mercer, Glenn Wallichs and DeSylva together founded Capitol Records, he founded the Cowboy label. He is sometimes credited as: Buddy De Sylva, Buddy DeSylva, Bud De Sylva, Buddy G. DeSylva and B. G. DeSylva. Buddy DeSylva died in Hollywood, aged 55, is buried at Glendale's Forest Lawn Memorial Park Cemetery. Desylva, Buddy, B. G. De Sylva, Lew Brown, Ray Henderson. Good News: vocal selection.: Chappell, n.d. OCLC 495863850 Henderson, Ray, B. G. De Sylva, Bud Green. Alabamy Bound. New York: Shapiro, Bernstein & Co, 1925. OCLC 645628000 De Sylva, B. G. Lew Brown, Ray Henderson. Magnolia.
1927. OCLC 918927178 Sonny Boy 1919 - La La Lucille 1922 - George White's Scandals of 1922 1922 - Orange Blossoms 1922 - The Yankee Princess 1923 - George White's Scandals of 1923 1924 - Sweet Little Devil 1924 - George White's Scandals of 1924 music by George Gershwin 1925 - Big Boy 1925 - Tell Me More! 1925 - George White's Scandals of 1925 1925 - Captain Jinks 1926 - George White's Scandals of 1926 1926 - Queen High 1927 - Good News 1927 - Manhattan Mary 1928 - George White's Scandals of 1928 1928 - Hold Everything! 1929 - Follow Thru 1930 - Flying High 1932 - Take a Chance Stepping Sisters My Weakness The Stork Club The 1956 Hollywood film The Best Things in Life Are Free, starring Gordon MacRae, Dan Dailey, Ernest Borgnine, depicted the De Sylva and Henderson collaboration. Ewen, David. Great Men of American Popular Song ASIN: B000OKLHXU Green, Stanley; the World Of Musical Comedy. Publisher: Da Capo Press. ISBN 0-306-80207-4 Buddy DeSylva at the Internet Broadway Database Buddy G. DeSylva on IMDb Buddy DeSylva and the 1909 Copyright Act Buddy DeSylva at the Internet Archive
