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Music
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Music is an art form and cultural activity whose medium is sound organized in time. The common elements of music are pitch, rhythm, dynamics, different styles or types of music may emphasize, de-emphasize or omit some of these elements. The word derives from Greek μουσική, Ancient Greek and Indian philosophers defined music as tones ordered horizontally as melodies and vertically as harmonies. Common sayings such as the harmony of the spheres and it is music to my ears point to the notion that music is often ordered and pleasant to listen to. However, 20th-century composer John Cage thought that any sound can be music, saying, for example, There is no noise, the creation, performance, significance, and even the definition of music vary according to culture and social context. There are many types of music, including music, traditional music, art music, music written for religious ceremonies. For example, it can be hard to draw the line between some early 1980s hard rock and heavy metal, within the arts, music may be classified as a performing art, a fine art or as an auditory art. People may make music as a hobby, like a teen playing cello in a youth orchestra, the word derives from Greek μουσική. According to the Online Etymological Dictionary, the music is derived from mid-13c. Musike, from Old French musique and directly from Latin musica the art of music and this is derived from the. Greek mousike of the Muses, from fem. of mousikos pertaining to the Muses, from Mousa Muse. In classical Greece, any art in which the Muses presided, Music is composed and performed for many purposes, ranging from aesthetic pleasure, religious or ceremonial purposes, or as an entertainment product for the marketplace. With the advent of recording, records of popular songs. Some music lovers create mix tapes of their songs, which serve as a self-portrait. An environment consisting solely of what is most ardently loved, amateur musicians can compose or perform music for their own pleasure, and derive their income elsewhere. Professional musicians sometimes work as freelancers or session musicians, seeking contracts and engagements in a variety of settings, There are often many links between amateur and professional musicians. Beginning amateur musicians take lessons with professional musicians, in community settings, advanced amateur musicians perform with professional musicians in a variety of ensembles such as community concert bands and community orchestras. However, there are many cases where a live performance in front of an audience is also recorded and distributed. Live concert recordings are popular in classical music and in popular music forms such as rock, where illegally taped live concerts are prized by music lovers
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Performance
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A performance, in the performing arts, generally comprises an event in which a performer or group of performers present one or more works of art to an audience. Usually the performers participate in rehearsals beforehand, the means of expressing appreciation can vary by culture. Chinese performers will clap with the audience at the end of a performance, in Japan, folk performing-arts performances commonly attract individuals who take photographs, sometimes getting up to the stage and within inches of performers faces. Sometimes the dividing line between performer and the audience may become blurred, as in the example of theatre where audience members get involved in the production. Theatrical performances can take place daily or at some other regular interval, performances can take place at designated performance spaces, or in a non-conventional space, such as a subway station, on the street, or in somebodys home. Theatrical performances, especially when the audience is limited to only a few observers and this increase takes place in several stages relative to the performance itself, including anticipatory activation, confrontation activation and release period. The same physiological reactions can be experienced in other mediums, such as instrumental performance, heart rate shares a strong, positive correlation with the self reported anxiety of performers. Other physiological responses to public performance include perspiration, secretion of the adrenal glands, a performance may also describe the way in which an actor performs. In a solo capacity, it may refer to a mime artist, comedian, conjurer. Audio electronics Entertainment Live sound mixing Performance science Rock festival Sound technology Spectacle Stadium Stagecraft Theater
3.
Orchestra
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The term orchestra derives from the Greek ὀρχήστρα, the name for the area in front of a stage in ancient Greek theatre reserved for the Greek chorus. A full-size orchestra may sometimes be called an orchestra or philharmonic orchestra. The actual number of employed in a given performance may vary from seventy to over one hundred musicians, depending on the work being played. The term chamber orchestra usually refers to smaller-sized ensembles of about fifty musicians or fewer, the typical orchestra grew in size throughout the 18th and 19th centuries, reaching a peak with the large orchestras called for in the works of Richard Wagner, and later, Gustav Mahler. Orchestras are usually led by a conductor who directs the performance with movements of the hands and arms, the conductor unifies the orchestra, sets the tempo and shapes the sound of the ensemble. The first violin, commonly called the concertmaster, also plays an important role in leading the musicians, the typical symphony orchestra consists of four groups of related musical instruments called the woodwinds, brass, percussion, and strings. The orchestra, depending on the size, contains almost all of the instruments in each group. Chamber orchestra usually refers to smaller-sized ensembles, a chamber orchestra might employ as many as fifty musicians. The term concert orchestra may also be used, as in the BBC Concert Orchestra, the so-called standard complement of doubled winds and brass in the orchestra from the first half of the 19th century is generally attributed to the forces called for by Beethoven. The composers instrumentation almost always included paired flutes, oboes, clarinets, bassoons, horns, the exceptions to this are his Symphony No. 4, Violin Concerto, and Piano Concerto No,4, which each specify a single flute. Beethoven carefully calculated the expansion of this particular timbral palette in Symphonies 3,5,6, the third horn in the Eroica Symphony arrives to provide not only some harmonic flexibility, but also the effect of choral brass in the Trio movement. Piccolo, contrabassoon, and trombones add to the finale of his Symphony No.5. A piccolo and a pair of trombones help deliver the effect of storm and sunshine in the Sixth, for several decades after his death, symphonic instrumentation was faithful to Beethovens well-established model, with few exceptions. Apart from the core orchestral complement, various instruments are called for occasionally. These include the guitar, heckelphone, flugelhorn, cornet, harpsichord. Saxophones, for example, appear in some 19th- through 21st-century scores.6 and 9 and William Waltons Belshazzars Feast, and many other works as a member of the orchestral ensemble. The euphonium is featured in a few late Romantic and 20th-century works, usually playing parts marked tenor tuba, including Gustav Holsts The Planets, cornets appear in Pyotr Ilyich Tchaikovskys ballet Swan Lake, Claude Debussys La Mer, and several orchestral works by Hector Berlioz
4.
Concert band
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On rare occasions, additional non traditional instruments may be added to such ensembles such as piano, harp, synthesizer, or electric guitar. A concert bands repertoire includes original compositions, transcriptions/arrangements of orchestral compositions, light music. Though the instrumentation is similar, a band is distinguished from the marching band in that its primary function is as a concert ensemble. The standard repertoire for the band does, however, contain concert marches. One notable and influential original symphonic work for band was Gustav Holsts First Suite in E-Flat, written in 1909, following Holst, a variety of British, American, Canadian and Australian composers wrote for the medium, including Percy Grainger, James Swearingen and Ralph Vaughan Williams. The wind ensemble could be said to be modeled on the section of a Wagner orchestra. While many people consider the ensemble to be one player on a part. Full band pieces usually require doubling or tripling of the clarinet parts, according to Fennell, the wind ensemble was not revolutionary, but developed naturally out of the music that led him to the concept. Professional concert bands not associated with the military are rare, lesbian & Gay Big Apple Corps, New York, New York, conducted by Kelly Watkins Municipal Band of Charlottesville, Inc. Other large competitions include the World Music Competition, held in the Netherlands, instrumentation for the wind band is not standardized, composers will frequently add or omit parts. Instrumentation differs depending on the type of ensemble, middle and high school bands frequently have more limited instrumentation and fewer parts. This is both to limit the difficulty for inexperienced players and because schools frequently do not have access to the common instruments. The standard concert band will have several players on each part, depending on available personnel, a concert band can theoretically have as many as 200 members from a set of only 35 parts. Also, it is common to see two tubas playing the part in a wind ensemble. Complicated percussion parts are common in concert pieces, often requiring many percussionists. Many believe this is a difference between the orchestra—which usually lacks a large battery of percussion—and the concert band. While in older transcriptions and concert works, the timpani were treated as its own section as in the orchestra, today, in bands, consequently, the timpani player often will double on other percussion instruments. Contemporary compositions often call on players to use unusual instruments or effects, for example, several pieces call on the use of a siren while others will ask players to play recorders, a glass harmonica, or to sing
5.
Musical ensemble
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A musical ensemble, also known as a music group or musical group, is a group of people who perform instrumental and/or vocal music, with the ensemble typically known by a distinct name. Some music ensembles consist solely of instruments, such as the jazz quartet or the orchestra, some music ensembles consist solely of singers, such as choirs and doo wop groups. In classical music, trios or quartets either blend the sounds of musical instrument families or group together instruments from the instrument family. In jazz ensembles, the instruments typically include wind instruments, one or two chordal comping instruments, an instrument, and a drummer or percussionist. Jazz ensembles may be instrumental, or they may consist of a group of instruments accompanying one or more singers. In rock and pop ensembles, usually called rock bands or pop bands, there are usually guitars and keyboards, one or more singers, Music ensembles typically have a leader. In jazz bands, rock and pop groups and similar ensembles, in classical music, orchestras, concert bands and choirs are led by a conductor. In orchestra, the concertmaster is the instrumentalist leader of the orchestra, in orchestras, the individual sections also have leaders, typically called the principal of the section. Conductors are also used in big bands and in some very large rock or pop ensembles. In Western classical music, smaller ensembles are called chamber music ensembles, the terms duet, trio, quartet, quintet, sextet, septet, octet, nonet and dectet describe groups of two up to ten musicians, respectively. A group of musicians, such as found in The Carnival of the Animals, is called either a hendectet or an undectet. A soloist playing unaccompanied is not an ensemble because it contains one musician. A string quartet consists of two violins, a viola and a cello, there is a vast body of music written for string quartets, as it is seen as an important genre in classical music. A woodwind quartet usually features a flute, an oboe, a clarinet, a brass quartet features two trumpets, a trombone and a tuba. A saxophone quartet consists of a saxophone, an alto saxophone, a tenor saxophone. The string quintet is a type of group. It is similar to the quartet, but with an additional viola, cello, or more rarely. Terms such as piano quintet or clarinet quintet frequently refer to a string quartet plus a fifth instrument
6.
Modulation (music)
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In music, modulation is most commonly the act or process of changing from one key to another. This may or may not be accompanied by a change in key signature, modulations articulate or create the structure or form of many pieces, as well as add interest. Treatment of a chord as the tonic for less than a phrase is considered tonicization, Modulation is the essential part of the art. Without it there is music, for a piece derives its true beauty not from the large number of fixed modes which it embraces. The modulating dominant is the dominant of the quasi-tonic, the pivot chord is a predominant to the modulating dominant and a chord common to both the keys of the tonic and the quasi-tonic. For example, in a modulation to the dominant, ii/V-V/V-V could be a chord, modulating dominant. For example, G major and D major share 4 chords in common, G, B minor and this can be easily determined by a chart similar to the one below, which compares chord qualities. The I chord in G major—a G major chord—is also the IV chord in D major, so I in G major, any chord with the same root note and chord quality can be used as the pivot chord. However, chords that are not generally found in the style of the piece are not likely to be chosen as the pivot chord. The most common chords are the predominant chords in the new key. In analysis of a piece that uses this style of modulation, an enharmonic modulation takes place when one treats a chord as if it were spelled enharmonically as a functional chord in the destination key, and then proceeds in the destination key. There are two types of enharmonic modulations, dominant seventh/augmented sixth, and diminished seventh. A diminished seventh chord meanwhile, can be respelled in multiple ways to form a diminished seventh chord in a key a minor third. C♯-E-G-B♭, A-C♯-E-G, D-F♯-A takes us to the key of D major - a parallel modulation, enharmonically, C♯-E-G-B♭, A-C♯-E-G = A-C♯-E-G, C♯-E-G♯ modulates to C# minor - a major seventh modulation/half-step descending. C♯-E-G-B♭, C♯-E♭-G-B♭ = E♭-G-B♭-D♭, A♭-C-E♭ leads to A♭ major - a minor third AND relative modulation, in short, lowering any note of a diminished seventh chord a half tone leads to a dominant seventh chord, the lowered note being the root of the new chord. Raising any note of a seventh chord a half tone leads to a half-diminished seventh chord. This means that any diminished chord can be modulated to eight different chords by simply lowering or raising any of its notes and this type of modulation is particularly common in Romantic music, in which chromaticism rose to prominence. Other types of enharmonic modulation include the augmented triad and French sixth, augmented triad modulation occurs in the same fashion as the diminished seventh, that is, to modulate to another augmented triad in a key, a major third or minor sixth away
7.
Art music
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Art music is an umbrella term that refers to musical traditions, implying advanced structural and theoretical considerations and a written musical tradition. Serious or cultivated music are frequently used as a contrast for ordinary. After the 20th century, art music was divided into two extensions, serious music and light music and this term is mostly used to refer to music descending from the tradition of Western classical music. He explains that each of three is distinguishable from the others according to certain criteria. Musician Catherine Schmidt-Jones defines art music differently, as a music which requires more work by the listener to fully appreciate than is typical of popular music. In her view, his can include the more challenging types of jazz and rock music, the term may also refer to, The classical/art music traditions of several different cultures around the world, Some forms of jazz, excluding most forms generally considered popular music. Jazz is generally considered popular music, the term refers primarily to classical traditions that focus on formal styles, invite technical and detailed deconstruction and criticism, and demand focused attention from the listener. In strict western practice, art music is considered primarily a musical tradition, preserved in some form of music notation, as opposed to being transmitted orally, by rote. According to the academic Tim Wall, the most significant example of the struggle between Tin Pan Alley, African American, vernacular and art discourses was in jazz. As early as the 1930s, artists attempted to cultivate ideas of jazz, taking it away from its perceived vernacular. In the second half of the 20th century, there was a trend in American culture in which the boundaries between art and pop music became increasingly blurred. Beginning in 1966, the degree of social and artistic dialogue among rock musicians dramatically accelerated for bands who fused elements of composed music with the musical traditions of rock. During the late 1960s and 1970s, progressive rock bands represented a form of music that combined rock with high art musical forms either through quotation, illusion. Progressive music may be equated with explicit references to aspects of art music, Music genre Progressive music Traditional music Rockwell, John. Popular Music Takes a Serious Turn
8.
Pictures at an Exhibition
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Pictures at an Exhibition is a suite of ten pieces composed for the piano by Russian composer Modest Mussorgsky in 1874. The suite is Mussorgskys most famous composition and has become a showpiece for virtuoso pianists. It has become known through various orchestrations and arrangements produced by other musicians and composers. It was probably in 1868 that Mussorgsky first met artist, architect, both men were devoted to the cause of an intrinsically Russian art and quickly became friends. They likely met in the home of the influential critic Vladimir Stasov, according to Stasovs testimony, in 1868, Hartmann gave Mussorgsky two of the pictures later featured in Pictures at an Exhibition. In 1870, Mussorgsky dedicated the song of the cycle The Nursery to Hartmann. Stasov remarked that Hartmann loved Mussorgskys compositions, and particularly liked the Scene by the Fountain in his opera Boris Godunov. Mussorgsky abandoned the scene in his original 1869 version, but at the requests of Stasov and Hartmann, the years 1873–74 are associated with the staging of Boris Godunov, the zenith of Mussorgskys career as a composer—at least from the standpoint of public acclaim. The composers triumph was overshadowed, however, by the critical drubbing he received in the press, other circumstances conspired to dampen Mussorgskys spirits. Golenishchev-Kutuzov wrote, banner was held by Mussorgsky alone, all the members had left it. Hartmanns sudden death on 4 August 1873 from an aneurysm shook Mussorgsky along with others in Russias art world, the loss of the artist, aged only 39, plunged the composer into deep despair. Stasov helped organize an exhibition of over 400 Hartmann works in the Imperial Academy of Arts in Saint Petersburg in February. Mussorgsky lent to the exhibition the two pictures Hartmann had given him, and viewed the show in person, I am writing the 4th No. —the transitions are good. I want to more quickly and steadily. My physiognomy can be seen in the interludes, so far I think its well turned. The music depicts his tour of the exhibition, with each of the ten numbers of the serving as a musical illustration of an individual work by Hartmann. Five days after finishing the composition, he wrote on the page of the manuscript a tribute to Vladimir Stasov. One month later, he added an indication that he intended to have it published, in music for these illustrations, as Mussorgsky called them, he represented, children, Baba Yaga in her wooden house on chicken legs, catacombs, gates, and even rattling carts
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Modest Mussorgsky
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Modest Petrovich Mussorgsky was a Russian composer, one of the group known as The Five. He was an innovator of Russian music in the romantic period and he strove to achieve a uniquely Russian musical identity, often in deliberate defiance of the established conventions of Western music. Many of his works were inspired by Russian history, Russian folklore, such works include the opera Boris Godunov, the orchestral tone poem Night on Bald Mountain and the piano suite Pictures at an Exhibition. For many years Mussorgskys works were known in versions revised or completed by other composers. Many of his most important compositions have posthumously come into their own in their original forms, the spelling and pronunciation of the composers name has occasioned some confusion. The family name derives from a 15th- or 16th-century ancestor, Roman Vasilyevich Monastyryov, who appears in the Velvet Book, Roman Vasilyevich bore the nickname Musorga, and was the grandfather of the first Mussorgsky. The composer could trace his lineage to Rurik, the legendary 9th-century founder of the Russian state, in Mussorgsky family documents the spelling of the name varies, Musarskiy, Muserskiy, Muserskoy, Musirskoy, Musorskiy, and Musurskiy. The baptismal record gives the name as Muserskiy. In early letters to Mily Balakirev, the composer signed his name Musorskiy, the g made its first appearance in a letter to Balakirev in 1863. Mussorgsky used this new spelling to the end of his life, the addition of the g to the name was likely initiated by the composers elder brother Filaret to obscure the resemblance of the names root to an unsavory Russian word, мусoр — n. m. The first syllable of the originally received the stress, and does so to this day in Russia. The mutability of the vowel in the versions of the name mentioned above gives evidence that this syllable did not receive the stress. Doubling the consonant thus reinforces its voiceless sibilant /s/ sound, Mussorgsky was born in Karevo, Toropets Uyezd, Pskov Governorate, Russian Empire,400 km south of Saint Petersburg. His wealthy and land-owning family, the family of Mussorgsky, is reputedly descended from the first Ruthenian ruler, Rurik. At age six Mussorgsky began receiving lessons from his mother. His progress was sufficiently rapid that three years later he was able to perform a John Field concerto and works by Franz Liszt for family, at 10, he and his brother were taken to Saint Petersburg to study at the elite German language Petrischule. While there, Modest studied the piano with the noted Anton Gerke, in 1852, the 12-year-old Mussorgsky published a piano piece titled Porte-enseigne Polka at his fathers expense. Mussorgskys parents planned the move to Saint Petersburg so that both their sons would renew the tradition of military service
10.
Maurice Ravel
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Joseph Maurice Ravel was a French composer, pianist and conductor. He is often associated with impressionism along with his elder contemporary Claude Debussy, in the 1920s and 1930s Ravel was internationally regarded as Frances greatest living composer. After leaving the conservatoire Ravel found his own way as a composer, developing a style of great clarity, incorporating elements of baroque, neoclassicism and, in his later works, jazz. He liked to experiment with form, as in his best-known work, Boléro. He made some arrangements of other composers music, of which his 1922 version of Mussorgskys Pictures at an Exhibition is the best known. As a slow and painstaking worker, Ravel composed fewer pieces than many of his contemporaries. Among his works to enter the repertoire are pieces for piano, chamber music, many of his works exist in two versions, a first, piano score and a later orchestration. Some of his music, such as Gaspard de la nuit, is exceptionally difficult to play. Ravel was among the first composers to recognise the potential of recording to bring their music to a wider public, from the 1920s, despite limited technique as a pianist or conductor, he took part in recordings of several of his works, others were made under his supervision. Ravel was born in the Basque town of Ciboure, France and his father, Pierre-Joseph Ravel, was an educated and successful engineer, inventor and manufacturer, born in Versoix near the Franco-Swiss border. His mother, Marie, née Delouart, was Basque but had grown up in Madrid, in 19th-century terms, Joseph had married beneath his status – Marie was illegitimate and barely literate – but the marriage was a happy one. Both Ravels parents were Roman Catholics, Marie was also something of a free-thinker, a trait inherited by her elder son and he was baptised in the Ciboure parish church six days after he was born. The family moved to Paris three months later, and there a younger son, Édouard, was born and he was close to his father, whom he eventually followed into the engineering profession. Maurice was particularly devoted to their mother, her Basque-Spanish heritage was an influence on his life. Among his earliest memories were folk songs she sang to him, the household was not rich, but the family was comfortable, and the two boys had happy childhoods. Ravel senior delighted in taking his sons to factories to see the latest mechanical devices, in later life, Ravel recalled, Throughout my childhood I was sensitive to music. My father, much better educated in art than most amateurs are, knew how to develop my taste. There is no record that Ravel received any formal schooling in his early years
11.
George Gershwin
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George Jacob Gershwin was an American composer and pianist. Gershwins compositions spanned both popular and classical genres, and his most popular melodies are widely known, among his best-known works are the orchestral compositions Rhapsody in Blue and An American in Paris as well as the opera Porgy and Bess. Gershwin studied piano under Charles Hambitzer and composition with Rubin Goldmark, Henry Cowell and he began his career as a song plugger, but soon started composing Broadway theatre works with his brother Ira Gershwin, and Buddy DeSylva. He moved to Paris intending to study with Nadia Boulanger, who refused him, after returning to New York City, he wrote Porgy and Bess with Ira and the author DuBose Heyward. Initially a commercial failure, Porgy and Bess is now considered one of the most important American operas of the twentieth century, Gershwin moved to Hollywood and composed numerous film scores until his death in 1937 from a malignant brain tumor – glioblastoma multiforme. Gershwins compositions have been adapted for use in films and for television. Many celebrated singers and musicians have covered his songs, Gershwin was of Russian Jewish and Ukrainian Jewish ancestry. His grandfather, Jakov Gershowitz, had served for 25 years as a mechanic for the Imperial Russian Army to earn the right of travel and residence as a Jew. His teenage son, Moishe Gershowitz, worked as a cutter for womens shoes. Moishe Gershowitz met and fell in love with Roza Bruskina, the daughter of a furrier in Vilnius. She and her family moved to New York due to increasing anti-Jewish sentiment in Russia, Moishe, faced with compulsory military service if he remained in Russia, moved to America as soon as he could afford to. Once in New York, he changed his first name to Morris, Gershowitz lived with a maternal uncle in Brooklyn, working as a foreman in a womens shoe factory. When he married Rose on July 21,1895, Gershowitz soon Americanized his name to Gershwine. Their first child was born on December 6,1896, Gershwin then moved his family into a second-floor apartment on Brooklyns Snediker Avenue. Their second son, soon to be renamed George, was born at there on September 26,1898 and his birth certificate identifies him as Jacob Gershwine, with the surname pronounced Gersh-vin in the Russian and Yiddish immigrant community. He was named after his grandfather, the one time Russian army mechanic, American practice by then was to give children a first and a middle name, but had no other. He changed the spelling of his name to Gershwin when he became a professional musician, George and Ira lived in many different residences, as their father changed dwellings with each new enterprise which he became involved in. Mostly, the boys grew up around the Yiddish Theater District and they frequented the local Yiddish theaters, with George occasionally appearing onstage as an extra
12.
Rhapsody in Blue
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Rhapsody in Blue is a 1924 musical composition by American composer George Gershwin for solo piano and jazz band, which combines elements of classical music with jazz-influenced effects. He asked Gershwin to contribute a piece for an all-jazz concert he would give in Aeolian Hall in February 1924. Gershwin declined on the grounds that, as there would certainly be need for revisions to the score, an article entitled What Is American Music. In a phone call to Whiteman next morning, Gershwin was told that Whitemans rival Vincent Lopez was planning to steal the idea of his experimental concert, Gershwin was finally persuaded to compose the piece. Since there were only five left, Gershwin hastily set about composing a piece, and on the train journey to Boston. And there I suddenly heard, and even saw on paper – the complete construction of the Rhapsody, no new themes came to me, but I worked on the thematic material already in my mind and tried to conceive the composition as a whole. I heard it as a sort of musical kaleidoscope of America, of our vast melting pot, of our unduplicated national pep, by the time I reached Boston I had a definite plot of the piece, as distinguished from its actual substance. Gershwin began his work on January 7 as dated on the manuscript for two pianos. The piece was titled American Rhapsody during composition, many important and influential composers of the time such as John Philip Sousa and Sergei Rachmaninoff were present. The event has since become historic specifically because of its premiere of the Rhapsody, the purpose of the experiment, as told by Whiteman in a pre-concert lecture in front of many classical music critics and highbrows, was to be purely educational. It would at least provide a stone which will make it very simple for the masses to understand. The program was long, including 26 separate musical movements, divided into 2 parts and 11 sections, bearing such as True form of jazz and Contrast. Gershwins latest composition was the second to last piece, many of the numbers sounded similar and the ventilation system in the concert hall was broken. People in the audience were losing their patience, until the clarinet glissando that opened Rhapsody in Blue was heard, the Rhapsody was performed by Whitemans band, with an added section of string players, and George Gershwin on piano. Gershwin improvised some of what he was playing, and he did not write out the part until after the performance. The opening clarinet glissando came into being during rehearsal when, as a joke on Gershwin, Gorman played the opening measure with a noticeable glissando, adding what he considered a humorous touch to the passage. Reacting favourably to Gormans whimsy, Gershwin asked him to perform the opening measure that way at the concert, by the end of 1927, Whitemans band had played the Rhapsody eighty-four times, and its recording sold a million copies. To get the piece onto two sides of a 12-inch record it had to be played at a faster speed than it would usually have in concert
13.
Tempo
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In musical terminology, tempo is the speed or pace of a given piece or subsection thereof, how fast or slow. Tempo may be separated from articulation, or articulation may be indicated along with tempo, while the ability to hold a steady tempo is a desirable skill, tempo is changeable, and often indicated by a conductor or drummer. While practicing, an electronic or mechanical device, a metronome, may indicate the tempo, in other words, it is the speed at which a passage of music is or should be played. A piece of musics tempo is written at the start of the score. This means that a note value is specified as the beat. The greater the number of beats per minute, the smaller the amount of time between successive beats, and thus faster a piece must be played. For example, a tempo of 60 beats per minute signifies one beat per second, while a tempo of 120 beats per minute is twice as rapid, signifying one beat every 0.5 seconds. Beethoven was one of the first composers to use the metronome, with the advent of modern electronics, bpm became an extremely precise measure. Music sequencers use the bpm system to denote tempo, instead of beats per minute, some 20th-century composers specify the total playing time for a piece, from which the performer can derive tempo. Tempo is as crucial in contemporary music as it is in classical, in electronic dance music, accurate knowledge of a tunes bpm is important to DJs for the purposes of beatmatching. Some musical pieces do not have a mathematical time indication, in classical music it is customary to describe the tempo of a piece by one or more words. Before the metronome, it was difficult to specify the tempo of a composition, yet, after the metronomes invention, musicians continued to use these words, often additionally indicating the mood of the piece. This blurred the distinction between tempo and mood indicators. For example, presto and allegro both indicate a speedy execution, but allegro also connotes joy, presto, on the other hand, simply indicates speed. Additional Italian words also indicate tempo and mood, for example, the agitato in the Allegro agitato of the last movement of George Gershwins piano concerto in F has both a tempo indication and a mood indication. In some cases, the conventions that governed musical composition were so strong that composers didnt need to indicate tempo, for example, the first movement of Bachs Brandenburg Concerto No.3 has no tempo or mood indication whatsoever. To provide movement names, publishers of recordings resort to ad hoc measures, for marking the Brandenburg movement Allegro. In Renaissance music, performers understood most music to flow at a tempo defined by the tactus, the mensural time signature indicated which note value corresponded to the tactus
14.
Meter (music)
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The metre of music is its rhythmic structure, the patterns of accents heard in regularly recurring measures of stressed and unstressed beats at the frequency of the musics pulse. A variety of systems exist throughout the world for organising and playing music, such as the Indian system of tala. Later music for such as the pavane and galliard consisted of musical phrases to accompany a fixed sequence of basic steps with a defined tempo. The term is not very precisely defined, macPherson preferred to speak of time and rhythmic shape, Imogen Holst of measured rhythm. This perception and abstraction of rhythmic measure is the foundation of human instinctive musical participation, rhythms of recurrence arise from the interaction of two levels of motion, the faster providing the pulse and the slower organizing the beats into repetitive groups. Once a metric hierarchy has been established, we, as listeners, a definition of musical metre requires the possibility of identifying a repeating pattern of accented pulses — a pulse-group — which corresponds to the foot in poetry. Frequently a pulse-group can be identified by taking the accented beat as the first pulse in the group, frequently metres can be broken down into a pattern of duples and triples. The level of musical organisation implied by musical metre includes the most elementary levels of musical form, metrical rhythm, measured rhythm, and free rhythm are general classes of rhythm and may be distinguished in all aspects of temporality. Measured rhythm is where each time value is a multiple or fraction of a time unit. Free rhythm is where there is neither, some music, including chant, has freer rhythm, like the rhythm of prose compared to that of verse. Some music, such as some graphically scored works since the 1950s and non-European music such as Honkyoku repertoire for shakuhachi, may be considered ametric. Senza misura is an Italian musical term for without metre, meaning to play without a beat, Metric levels may be distinguished, the beat level is the metric level at which pulses are heard as the basic time unit of the piece. Faster levels are division levels, and slower levels are multiple levels, a rhythmic unit is a durational pattern which occupies a period of time equivalent to a pulse or pulses on an underlying metric level. In duple metre, each measure is divided into two beats, or a multiple thereof, for example, in the time signature 24, each measure contains two quarter-note beats, and with the time signature 68, each measure contains two dotted-quarter-note beats. Corresponding quadruple metres are 44, with 2 ×2 =4 quarter-note beats per measure, triple metre is a metre in which each measure is divided into three beats, or a multiple thereof. For example, in the time signature 34, each contains three quarter-note beats, and with a time signature of 98, each measure contains three dotted-quarter beats. Simple metre and compound metre are distinguished by the way the beats are subdivided, Simple metre or simple time is a metre in which each beat of the measure divides naturally into two equal parts. The top number in the signature will be 2,3,4,5
15.
Key (music)
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In music theory, the key of a piece is a group of pitches, or scale upon which a music composition is created in classical, Western art, and Western pop music. Notes and chords other than the tonic in a piece create varying degrees of tension, the key may be in the major or minor mode, although major is assumed in a phrase like this piece is in C. Popular songs are usually in a key, and so is classical music during the common practice period, longer pieces in the classical repertoire may have sections in contrasting keys. Methods that establish the key for a piece can be complicated to explain. The key signature is not always a reliable guide to the key of a written piece, occasionally, a piece in a mode such as Mixolydian or Dorian is written with a major or minor key signature appropriate to the tonic, and accidentals throughout the piece. Pieces in modes not corresponding to major or minor keys may sometimes be referred to as being in the key of the tonic. A piece using some type of harmony, resolving e. g. to A. An instrument may be said to be in a key, an unrelated usage referring to the pitches considered natural for that instrument. For example, modern trumpets are usually in the key of B♭, a key relationship is the relationship between keys, measured by common tones and nearness on the circle of fifths. The key usually identifies the tonic note and/or chord, the note and/or major or minor triad that represents the point of rest for a piece. For example, the key of G includes the following pitches, G, A, B, C, D, E, and F♯, and its corresponding tonic chord is G—B—D. Most often at the beginning and end of traditional pieces during the common practice period, a key may be major or minor. Music can be described as being in the Dorian mode, or Phrygian, languages other than English may use other key naming systems. Although many musicians confuse key with scale, a scale is a set of notes typically used in a key, while the key is the center of gravity. All of these notes and chords, however, are used in patterns that serve to establish the primacy of the tonic note. Cadences are particularly important in the establishment of key, even cadences that do not include the tonic note or triad, such as half cadences and deceptive cadences, serve to establish key because those chord sequences imply a unique diatonic context. Short pieces may stay in a single key throughout, more elaborate pieces may establish the main key, then modulate to another key, or a series of keys, then back to the original key. In the Baroque it was common to repeat a phrase of music, called a ritornello
16.
Instrumentation (music)
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In music, instrumentation is the particular combination of musical instruments employed in a composition, and the properties of those instruments individually. Instrumentation is sometimes used as a synonym for orchestration, the haunting second movement of Schubert’s Trio in E flat exemplifies the variety and interest that is possible with just three instruments. Kern Holoman, G. W. Hopkins, Paul Griffiths, the New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. The New Harvard Dictionary of Music, pp.397, 575-577, in The Cambridge Companion to Schubert, edited by Christopher H. Gibbs, 72–98. Cambridge and New York, Cambridge University Press, a Treatise on Instrumentation, A Practical Guide to Orchestration
17.
Joe Cocker
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John Robert Joseph Joe Cocker, OBE was an English singer and musician. He was known for his gritty voice, spasmodic body movement in performance, Cockers cover of the Beatles With a Little Help from My Friends reached number one in the UK in 1968. He performed the live at Woodstock in 1969 and at the Party at the Palace concert for the Golden Jubilee of Elizabeth II in 2002. His version also became the song for the TV series The Wonder Years. His 1974 cover of You Are So Beautiful reached number five in the US, Cocker was the recipient of several awards, including a 1983 Grammy Award for his US number one Up Where We Belong, a duet with Jennifer Warnes. Cocker was ranked number 97 on Rolling Stones 100 greatest singers list, Cocker was born on 20 May 1944 at 38 Tasker Road, Crookes, Sheffield. He was the youngest son of a servant, Harold Cocker. According to differing family stories, Cocker received his nickname of Joe either from playing a game called Cowboy Joe. Cockers main musical influences growing up were Ray Charles and Lonnie Donegan, Cockers first experience singing in public was at age 12 when his elder brother Victor invited him on stage to sing during a gig of his skiffle group. In 1960, along with three friends, Cocker formed his first group, the Cavaliers, for the groups first performance at a youth club, they were required to pay the price of admission before entering. Cocker was not related to fellow Sheffield-born musician Jarvis Cocker, despite a rumour to this effect, in 1961, under the stage name Vance Arnold, Cocker continued his career with a new group, Vance Arnold and the Avengers. The name was a combination of Vince Everett, Elvis Presleys character in Jailhouse Rock, the group mostly played in the pubs of Sheffield, performing covers of Chuck Berry and Ray Charles songs. Cocker developed an interest in music and sought out recordings by John Lee Hooker, Muddy Waters, Lightnin Hopkins. In 1963, they booked their first significant gig when they supported the Rolling Stones at Sheffield City Hall, in 1964, Cocker signed a recording contract as a solo act with Decca and released his first single, a cover of the Beatles Ill Cry Instead. Despite extensive promotion from Decca lauding his youth and working-class roots, after Cocker recorded the single, he dropped his stage name and formed a new group, Joe Cockers Blues Band. There is only one recording of Joe Cockers Blues Band on an EP given out by The Sheffield College during Rag Week. In 1966, after a hiatus from music, Cocker teamed up with Chris Stainton. The Grease Band was named after Cocker read an interview with jazz keyboardist Jimmy Smith, like the Avengers, Cockers group mostly played in pubs in and around Sheffield
18.
The Beatles
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The Beatles were an English rock band, formed in Liverpool in 1960. With members John Lennon, Paul McCartney, George Harrison and Ringo Starr, the Beatles built their reputation playing clubs in Liverpool and Hamburg over a three-year period from 1960, with Stuart Sutcliffe initially serving as bass player. The core of Lennon, McCartney and Harrison went through a succession of drummers, including Pete Best, before asking Starr to join them. They acquired the nickname the Fab Four as Beatlemania grew in Britain the next year, from 1965 onwards, the Beatles produced increasingly innovative recordings, including the albums Rubber Soul, Revolver, Sgt. Peppers Lonely Hearts Club Band, The Beatles and Abbey Road, after their break-up in 1970, they each enjoyed successful musical careers of varying lengths. McCartney and Starr, the members, remain musically active. Lennon was shot and killed in December 1980, and Harrison died of cancer in November 2001. The Beatles are the band in history, with estimated sales of over 600 million records worldwide. They have had more number-one albums on the British charts and sold more singles in the UK than any other act, according to the RIAA, the Beatles are also the best-selling music artists in the United States, with 178 million certified units. In 2008, the group topped Billboard magazines list of the all-time most successful Hot 100 artists, as of 2016 and they have received ten Grammy Awards, an Academy Award for Best Original Song Score and fifteen Ivor Novello Awards. The group was inducted into the Rock and Roll Hall of Fame in 1988 and they were also collectively included in Time magazines compilation of the twentieth centurys 100 most influential people. In March 1957, John Lennon, then aged sixteen, formed a group with several friends from Quarry Bank school. They briefly called themselves the Blackjacks, before changing their name to the Quarrymen after discovering that a local group was already using the other name. Fifteen-year-old Paul McCartney joined as a rhythm guitarist shortly after he, in February 1958, McCartney invited his friend George Harrison to watch the band. The fourteen-year-old auditioned for Lennon, impressing him with his playing, after a month of Harrisons persistence, they enlisted him as their lead guitarist. By January 1959, Lennons Quarry Bank friends had left the group, the three guitarists, billing themselves at least three times as Johnny and the Moondogs, were playing rock and roll whenever they could find a drummer. They used the name until May, when they became the Silver Beetles, before undertaking a tour of Scotland as the backing group for pop singer. By early July, they had changed their name to the Silver Beatles, allan Williams, the Beatles unofficial manager, arranged a residency for them in Hamburg, but lacking a full-time drummer they auditioned and hired Pete Best in mid-August 1960
19.
With a Little Help from My Friends
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With a Little Help from My Friends is a song by the Beatles, written by John Lennon and Paul McCartney, from the album Sgt. Peppers Lonely Hearts Club Band issued worldwide in June 1967, the song was written for and sung by the Beatles drummer Ringo Starr as the character Billy Shears. Peppers Lonely Hearts Club Band and featuring A Day in the Life as its B-side, was reissued as a single in the U. S. in August 1978 and in the U. K. in September 1978. With a Little Help from My Friends was ranked No.311 on Rolling Stones list of the 500 Greatest Songs of All Time, Lennon and McCartney finished writing this song in mid-March 1967, written specifically as Starrs track for the album. McCartney said, It was pretty much co-written, John and I doing a song for Ringo. In 1970 Lennon stated, Paul had the line about a little help from my friends and he had some kind of structure for it, and we wrote it pretty well fifty-fifty from his original idea. But in 1980 Lennon said, This is Paul, with a help from me. What do you see when you turn out the light/ I cant tell you and it was briefly called Bad Finger Boogie, supposedly because Lennon composed the melody on a piano using his middle finger after having hurt his forefinger. Lennon and McCartney deliberately wrote a tune with a limited range – except for the last note, speaking in the Anthology, Starr insisted on changing the first line which originally was What would you think if I sang out of tune. Would you throw ripe tomatoes at me and he changed the lyric so that fans would not throw tomatoes at him should he perform it live. The songs composition is well documented as Hunter Davies was present. The song is partly in the form of a conversation in which the other three Beatles sing a question — e. g, would you believe in a love at first sight. Where Starr answers, Yes, Im certain that it all the time. The Beatles began recording the song on 29 March 1967, the day before they posed for the Sgt and they recorded 10 takes of the song, wrapping up sessions at 5,45 in the morning. The backing track consisted of Starr on drums, McCartney playing piano, Harrison playing lead guitar and Lennon beating a cowbell. At dawn, Starr trudged up the stairs to head home – but the other Beatles cajoled him into doing his lead vocal then and there, the following day they added tambourine, backing vocals, bass and more electric guitar. After he is singing, Starr tells the audience Peace and love. peace and love is the only way. and good night. Since 2008, the band segued right into Give Peace a Chance, during which Starr comes back onstage, Starr performed the song with George Harrison, Eric Clapton and Elton John at the 1987 Princes Trust Concert at Wembley Arena, London
20.
Cream (band)
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Cream were a 1960s British rock supergroup power trio consisting of bassist/singer Jack Bruce, drummer Ginger Baker, and guitarist/singer Eric Clapton. The groups third album, Wheels of Fire, was the worlds first platinum-selling double album, the band is widely regarded as the worlds first successful supergroup. In their career, they more than 15 million copies of their albums worldwide. The bands biggest hits were I Feel Free, Sunshine of Your Love, White Room, Crossroads, and Badge. The band made a significant impact on the music of the time. They also had an impact on American southern rock leading groups The Allman Brothers Band, the bands live performances influenced progressive rock acts such as Rush. The band was inducted into the Rock and Roll Hall of Fame in 1993 and they were included in both Rolling Stone and VH1s lists of the 100 Greatest Artists of All Time, at number 67 and 61 respectively. They were also ranked number 16 on VH1s 100 Greatest Artists of Hard Rock, by July 1966, Eric Claptons career with The Yardbirds and John Mayall & the Bluesbreakers had earned him a reputation as the premier blues guitarist in Britain. Clapton, however, found the environment of Mayalls band confining, in 1966, Clapton met Ginger Baker, then the leader of the Graham Bond Organisation, which at one point featured Jack Bruce on bass guitar, harmonica and piano. Baker felt stifled in the Graham Bond Organisation and had tired of Graham Bonds drug addictions. I had always liked Ginger, explained Clapton, Ginger had come to see me play with the Bluesbreakers. After the gig he drove me back to London in his Rover, I was very impressed with his car and driving. He was telling me that he wanted to start a band, each was impressed with the others playing abilities, prompting Baker to ask Clapton to join his new, then-unnamed group. Clapton immediately agreed, on the condition that Baker hire Bruce as the groups bassist, according to Clapton, Clapton had met Bruce when the bassist/vocalist briefly played with the Bluesbreakers in November 1965, the two also had worked together as part of a one-shot band called Powerhouse. Impressed with Bruces vocals and technical prowess, Clapton wanted to work with him on an ongoing basis, in contrast, while Bruce was in Bonds band, he and Baker had been notorious for their quarrelling. Their volatile relationship included on-stage fights and the sabotage of one anothers instruments, after Baker fired Bruce from the band, Bruce continued to arrive for gigs, ultimately, Bruce was driven away from the band after Baker threatened him at knifepoint. Baker and Bruce put aside their differences for the good of Bakers new trio, the band was named Cream, as Clapton, Bruce, and Baker were already considered the cream of the crop amongst blues and jazz musicians in the exploding British music scene. Initially, the group were referred to and billed as The Cream, but starting officially with its first record releases, before deciding upon Cream, the band considered calling themselves Sweet n Sour Rock n Roll
21.
Cross Road Blues
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Cross Road Blues is a blues song written and recorded by American blues artist Robert Johnson in 1936. Johnson performed it as a piece with his vocal and acoustic slide guitar in the Delta blues-style. Bluesman Elmore James revived the song recordings in 1954 and 1960–1961. English guitarist Eric Clapton with Cream popularized the song as Crossroads in the late 1960s and their blues rock interpretation inspired many cover versions and the Rock and Roll Hall of Fame included it as one of the 500 Songs That Shaped Rock and Roll. Rolling Stone placed it at three on the magazines list of the Greatest Guitar Songs of All Time in recognition of Claptons guitar work. Little is known about Johnsons life and musical career, although his recordings are well documented, in October 1936, Johnson auditioned for music store owner and sometime talent scout H. C. Speir in Jackson, Mississippi, Speir passed on Johnsons contact information to Ernie Oertle, after a second audition, Oertle arranged for Johnson to travel to San Antonio, Texas, for a recording session. Johnson recorded 22 songs for ARC over three days from November 23 to 27,1936, during the first session, he recorded his most commercially appealing songs. They mostly represented his original pieces and reflected current, piano-influenced musical trends, the songs include Terraplane Blues along with Sweet Home Chicago and I Believe Ill Dust My Broom, which became blues standards after others recorded them. A second and third recording date took place in San Antonio after a two-day break, Johnson reached back into his long-standing repertoire for songs to record. The material reflects the styles of blues performers Charley Patton and Son House. Evokes the themes of damnation and redemption, darkness and light, glimpses into the musicians inner life, and all its attendant turmoils. Cross Road Blues was recorded during Johnsons third session in San Antonio, the sessions continued at an improvised studio in Room 414 at the Gunter Hotel. ARC producers Art Satherley and Don Law supervised the recording and used a portable disc cutting machine and it is unknown what input, if any, they had into Johnsons selection of material to record or how to present it. Two similar takes of the song were recorded, a crossroads or an intersection of rural roads is one of the few landmarks in the Mississippi Delta, a flat featureless plain between the Mississippi and Yazoo rivers. It is part of the iconography and various businesses use the name, such as gas stations, banks. A crossroads is also where cars are likely to slow down or stop. In the simplest reading, Johnson describes his grief at being unable to catch a ride at an intersection before the sun sets, however, many see different levels of meaning and some have attached a supernatural significance to the song
22.
Ike Turner
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Izear Luster Ike Turner, Jr. was an American musician, bandleader, songwriter, arranger, talent scout, and record producer. An early pioneer of rock and roll, he is most popularly known for his work in the 1960s and 1970s with his then-wife Tina Turner in the Ike & Tina Turner Revue. Turner began playing piano and guitar when he was eight, forming his group and he employed the group as his backing band for the rest of his life. His first recording, Rocket 88, credited to Jackie Brenston and his Delta Cats, in 1951 is considered a contender for first rock and roll song. Relocating to St. Louis, Missouri, in 1954, he built the Kings into one of the most renowned acts on the club circuit. There he met singer Anna Mae Bullock, whom he renamed Tina Turner, forming The Ike & Tina Turner Revue, Turner recorded for many of the key R&B record labels of the 1950s and 1960s, including Chess, Modern, Trumpet, Flair and Sue. With the Ike & Tina Turner Revue, he graduated to larger labels Blue Thumb, throughout his career Turner won two Grammy Awards and was nominated for three others. With his former wife, Turner was inducted into the Rock and Roll Hall of Fame in 1991, addicted to cocaine and crack for at least 15 years, Turner was convicted of drug offenses, serving seventeen months in prison between July 1989 and 1991. He spent the rest of the 1990s free of his addiction, near the end of his life, he returned to live performance as a front man and, returning to his blues roots, produced two albums that were critically well received and award-winning. Turner has frequently referred to as a great innovator of Rock and Roll by contemporaries such as Little Richard. Phil Alexander described Turner as the cornerstone of modernday rock n roll, Turner was born in Clarksdale, Mississippi, on November 5,1931, to Beatrice Cushenberry, a seamstress, and Isaiah Luster Turner, a Baptist minister. The younger of their two children, Turner had a sister named Ethel May. Turner believed that he had named after his father. Turner said that when he was young he witnessed his father beaten. His father lived for three years as an invalid in a tent in the yard before succumbing to his injuries. Writer and blues historian Ted Drozdowski told a different version of the story and his mother then married a man called Philip Reeves. Turner said his stepfather was a violent alcoholic and that they often argued, after one fight Turner knocked out his stepfather with a piece of wood. He then ran away to Memphis, where he lived rough for a few days before returning to his mother and he reconciled with his stepfather years later, buying a house for him in the 1950s around the time Turners mother died
23.
Creedence Clearwater Revival
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Creedence Clearwater Revival, often informally abbreviated to Creedence or CCR, was an American rock band active in the late 1960s and early 1970s. The band consisted of lead vocalist, lead guitarist, and primary songwriter John Fogerty, his rhythm guitarist Tom Fogerty, bassist Stu Cook. Their musical style encompassed the roots rock, swamp rock, the band performed at 1969s famed Woodstock Festival. After four years of chart-topping success, the group disbanded acrimoniously in late 1972, Fogertys ongoing disagreements with Saul Zaentz, owner of their label Fantasy Records, created further protracted court battles. As a result, John Fogerty refused to perform with the two other surviving former members at CCRs 1993 induction into the Rock and Roll Hall of Fame. Creedence Clearwater Revivals music is still a staple of U. S. radio airplay, Rolling Stone ranked the band 82nd on its list of the 100 greatest artists of all time. John Fogerty, Doug Clifford, and Stu Cook met at Portola Junior High School in El Cerrito, calling themselves The Blue Velvets, the trio began playing instrumentals and juke box standards, as well as backing Fogertys older brother Tom at live gigs and in the recording studio. The records success was the subject of a National Educational Television special, for the bands first release, Fantasy co-owner Max Weiss renamed the group the Golliwogs. Band roles changed during this period, Stu Cook switched from piano to bass guitar and Tom Fogerty from lead vocals to rhythm guitar, John became the bands lead vocalist and primary songwriter. In Tom Fogertys words, I could sing, but John had a sound, in 1966, the group suffered a setback when John Fogerty and Doug Clifford, having received draft notices, enlisted in the military. Fogerty joined the Army Reserve while Clifford joined the United States Coast Guard Reserve, in 1967, Saul Zaentz bought Fantasy Records and offered the band a chance to record a full-length album on the condition that they change their name. Having never liked the Golliwogs, in part because of the charge of the name. Zaentz and the agreed to come up with ten suggestions each, but he enthusiastically agreed to their first, Creedence Clearwater Revival. Rejected contenders for the name included Muddy Rabbit, Gossamer Wump, and Creedence Nuball and the Ruby. “Finally, John put together the three names and we surrendered to the inevitable, ” Stu laugh, “A name weirder than Buffalo Springfield or Jefferson Airplane. ”By 1968, John Fogerty and Doug Clifford had been discharged from military service, and all four members had quit their jobs to begin an intense schedule of rehearsing and playing full-time at clubs. AM radio programmers around the U. S. A. took note when the song Susie Q from their debut album received substantial airplay in the San Francisco Bay Area. A remake of a 1956 song by rockabilly singer Dale Hawkins and it would be CCRs only Top 40 hit not written by John Fogerty. Two other singles from the debut were released, a cover of Screamin Jay Hawkinss I Put A Spell On You and Porterville, after their breakthrough, CCR began touring and started work on their second album, Bayou Country, at RCA Studios in Los Angeles
24.
Proud Mary
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Proud Mary is a rock song written by John Fogerty and first recorded by his band Creedence Clearwater Revival. The song was released by Fantasy Records as a single from the second studio album, Bayou Country. The single is considered to have been released in early January 1969 although at least one source states that it came out just before Christmas 1968. The song became a hit in the United States, peaking at #2 on the Billboard Hot 100 in March 1969. In a 1969 interview, Fogerty said that he wrote it in the two days after he was discharged from the National Guard. The line Left a good job in the city was written following Fogertys discharge from the National Guard, Burke recalls, “We went to Muscle Shoals and recorded Proud Mary, which they didn’t like at all. They thought it was stupid to record a song Proud Mary, I was explaining to them that it was a very big record, but it’s a very white record, a pop record. We will redo the record, open up the doors for it to get on the r&b charts and it was a Solomon Burke record made in Muscle Shoals. We proved that we can make a hit record without Jerry Wexler eating sandwiches with us and this record was a hit without anybody’s help. Proud Mary was only promoted by Tamiko Jones and myself, John Fogerty, the songs composer, was impressed by Burkes version of his song, Two thousand miles away this man had crawled right up inside my head to learn what Proud Mary was all about. Sure, its great when someone sings your song, but when he understands it, reworked as a celebration of black consciousness, his potent mix of gospel and country – the kind that defined his earlier sides for Atlantic – and driven by a Southern funk-like strut. It returned Burke to the US R&B Top 20, with the single reaching #15 on the R&B charts, according to Burke in a 2002 interview, I was in Vegas for sixteen weeks at the Sands Hotel. I missed this record being a hit, because we weren’t there to promote the record, we had no backing. The greatest thing I ever did was tell Ike Turner, “Hey man, you should get on this record… I think you, Ike & Tina Turner first covered Proud Mary in 1970. The Turners version was rearranged by Soko Richardson and Ike Turner. After the lyrics are first sung softly by the Turners, the song is turned into a funk rock vamp with Tina. Following the original release and its success, Ike and Tina included the song in their live act. It was also performed in 1971 and 1974, the Turners performed the song on Soul Train on April 22,1972
25.
Yes (band)
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Yes are an English rock band formed in London in 1968 by singer Jon Anderson and bassist Chris Squire. The band has undergone numerous formations throughout its history, nineteen musicians have been full-time members, since June 2015, it has consisted of guitarist Steve Howe, drummer Alan White, keyboardist Geoff Downes, singer Jon Davison, and bassist Billy Sherwood. Yes adopted several changes in style, from rearranged covers to progressive and art rock in the 1970s. They have sold 13.5 million RIAA-certified albums in the US, Yes changed their name from Mabel Greers Toyshop and performed rearranged covers of rock, pop, blues and jazz songs as evident on their first two albums. Yes toured as a rock act that earned the band a reputation for their elaborate stage sets, light displays. The success of Roundabout, the single from Fragile, cemented their popularity across the decade, in 1983, Yes reformed with a new line-up that included guitarist Trevor Rabin and a more commercial and pop-oriented musical direction. The result was 90125, their album which contained the US number one single. From 1990 to 1992, Yes were an eight-member formation after they merged with Anderson Bruford Wakeman Howe to release Union, since 1994, Yes have released albums with varied levels of success and completed tours from 1997 to 2004. After a four-year break in activity, they resumed touring in 2008 and continue to release albums, Yes are one of the most successful, influential, and longest-lasting progressive rock bands. In 1985, they won a Grammy Award for Best Rock Instrumental Performance with Cinema, Yes have headlined annual progressive rock-themed cruises since 2013 named Cruise to the Edge. Their discography spans 21 studio albums, the band will be inducted into the Rock and Roll Hall of Fame in April 2017. In 1967, bassist Chris Squire joined the rock band Mabel Greers Toyshop, with singer and guitarist Clive Bayley, drummer Bob Hagger and they played at the Marquee Club in Soho, London where Jack Barrie, owner of the nearby La Chasse club, saw them perform. There was nothing outstanding about them, he recalled, the musicianship was very good, Barrie introduced Squire to singer Jon Anderson, a worker at the bar in La Chasse, who found they shared interests in Simon & Garfunkel and harmony singing. That evening at Squires house they wrote Sweetness, which was included on the first Yes album, meanwhile, Banks had left Mabel Greers Toyshop to join Neat Change, but he was dismissed by this group on 7 April 1968. In June 1968, Hagger was replaced in the nascent Yes by Bill Bruford, who had placed an advertisement in Melody Maker, finally, the classically trained organist and pianist Tony Kaye, of Johnny Taylors Star Combo and The Federals, became the keyboardist and the fifth member. The newborn band rehearsed in the basement of The Lucky Horseshoe cafe on Shaftesbury Avenue between 10 June and 9 July 1968, Anderson suggested that they call the new band Life while Squire suggested that it be called World. At Banks suggestion, the first gig under the new brand followed at a camp in East Mersea. Early sets were formed of songs from artists such as the Beatles
26.
Count Basie
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William James Count Basie was an American jazz pianist, organist, bandleader, and composer. His mother taught him to play the piano and he started performing in his teens, dropping out of school, he learned to operate lights for vaudeville and to improvise accompaniment for silent films at a local movie theater in his home town of Red Bank, New Jersey. By 16 years old, he played jazz piano at parties, resorts. In 1924, he went to Harlem, where his career expanded, he toured with groups to the major jazz cities of Chicago, St. Louis. In 1929 he joined Bennie Motens band in Kansas City, in 1935, Basie formed his own jazz orchestra, the Count Basie Orchestra, and in 1936 took them to Chicago for a long engagement and their first recording. William Basie was born to Harvey Lee and Lillian Basie in Red Bank and his father worked as a coachman and caretaker for a wealthy judge. After automobiles replaced horses, his became an groundskeeper and handyman for several wealthy families in the area. Both of his parents had some type of musical background and his father played the mellophone, and his mother played the piano, in fact, she gave Basie his first piano lessons. She took in laundry and baked cakes for sale for a living and she paid 25 cents a lesson for piano instruction for him. Not much of a student in school, Basie dreamed of a traveling life and he finished junior high school but spent much of his time at the Palace Theater in Red Bank, where doing occasional chores gained him free admission to performances. He quickly learned to improvise music appropriate to the acts and the silent movies, though a natural at the piano, Basie preferred drums. Discouraged by the talents of Sonny Greer, who also lived in Red Bank and became Duke Ellingtons drummer in 1919. Greer and Basie played together in venues until Greer set out on his professional career, by then, Basie was playing with pick-up groups for dances, resorts, and amateur shows, including Harry Richardsons Kings of Syncopation. When not playing a gig, he hung out at the pool hall with other musicians. He got some jobs in Asbury Park at the Jersey Shore, around 1920, Basie went to Harlem, a hotbed of jazz, where he lived down the block from the Alhambra Theater. Early after his arrival, he bumped into Sonny Greer, who was by then the drummer for the Washingtonians, soon, Basie met many of the Harlem musicians who were making the scene, including Willie the Lion Smith and James P. Johnson. His touring took him to Kansas City, St. Louis, New Orleans, throughout his tours, Basie met many jazz musicians, including Louis Armstrong. Before he was 20 years old, he toured extensively on the Keith and TOBA vaudeville circuits as a solo pianist, accompanist, and music director for blues singers, dancers and this provided an early training that was to prove significant in his later career
27.
Big band
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A big band is a type of musical ensemble associated with playing jazz music and which became popular during the Swing Era from the early 1930s until the late 1940s. Big Bands evolved with the times and continue to this day, a big band typically consists of approximately 12 to 25 musicians and contains saxophones, trumpets, trombones, and a rhythm section. The terms jazz band, jazz ensemble, stage band, jazz orchestra and this does not, however, mean that each one of these names is technically correct for naming a big band specifically. The music is traditionally called charts, improvised solos may be played only when called for by the arranger. There are two periods in the history of popular bands. Beginning in the mid-1920s, big bands, then consisting of 10–25 pieces. At that time they played a form of jazz that involved very little improvisation, which included a string section with violins. A few bands also had violas and cellos, usually one or two along with them, the dance form of jazz was characterized by a sweet and romantic melody. Orchestras tended to stick to the melody as it was written and vocals would be sung, many of these artists changed styles or retired after the introduction of swing music. Although unashamedly commercial, these bands often featured front-rank jazz musicians - for example Paul Whiteman employed Bix Beiderbecke, there were also all-girl bands such as Helen Lewis and Her All-Girl Jazz Syncopators. Towards the end of the 1920s, a new form of Big Band emerged which was more authentically jazz and this form of music never gained the popularity of the sweet dance form of jazz. The few recordings made in form of jazz were labelled race records and were intended for a limited urban audience. Few white musicians were familiar with music, Johnny Mercer. The three major centres in this development were New York City, Chicago and Kansas City, some big ensembles, like the Joe King Oliver outfit played a kind of half arranged, half improvised jazz, often relying on head arrangements. Other great bands, like the one of Luis Russell became a vehicle for star instrumentalists, there the whole arrangement had to promote all the possibilities of the star, although they often contained very good musicians, like Henry Red Allen, J. C. Earl Hines became the star of Chicago with his Grand Terrace Cafe band, meanwhile, in Kansas City and across the Southwest, an earthier, bluesier style was developed by such bandleaders as Benny Moten and, later, by Jay McShann and Jesse Stone. Radio was a factor in gaining notice and fame for Benny Goodman. Soon, others challenged him, and the battles of the bands became a staple at theater performances featuring many groups on one bill
28.
Sammy Nestico
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Sammy Nestico is a composer and arranger of big band music. Nestico is best known for his arrangements for the Count Basie orchestra, Sammy Nestico has been a professional music arranger since 1941, when he became a staff arranger at age 17 for ABC radio station WCAE in Pittsburgh, Pennsylvania. During his career, he arranged music for the Count Basie Orchestra, the U. S. Air Force Band, in addition, he played trombone in the big bands of Tommy Dorsey, Woody Herman, Gene Krupa, and Charlie Barnet. In 1998–1999 Nestico was a professor at the University of Georgia, teaching commercial orchestration and he also directed music programs at Los Angeles Pierce College, Woodland Hills, California, Westinghouse Memorial High School, and Wilmerding, Pennsylvania. As orchestrator, he has worked on nearly seventy television programs, including Mission, Impossible, Mannix, Charlies Angels, and The Mod Squad. He has written jingles for Anheuser-Busch, Zenith, Ford Motor Company, Mattel Toys, Pittsburgh Paints, the National Guard, Dodge, Remington Bank. He has published nearly 600 numbers for school groups and many for professional big bands. He has conducted and recorded his arrangements with several leading European Radio Jazz Orchestras, including the BBC Big Band in London, Germanys SWR Big Band and NDR Big Band and the DR Big Band. Nestico received a Bachelors degree in education from Duquesne University in 1950. 3, Fun Time 2011 Fun Time & More Live With Count Basie Chairman of the Board Basie Straight Ahead Standing Ovation Have a Nice Day 88 Basie Street Fancy Pants With Frank Sinatra L. A. Previous winners are, Official site Score Exchange Sammy Nestico NAMM Oral History Interview
29.
Neal Hefti
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Neal Paul Hefti was an American jazz trumpeter, composer, songwriter, and arranger. He composed the music for the Batman television series of the 1960s, and scored the 1968 film The Odd Couple. He began arranging professionally in his teens, when he wrote charts for Nat Towles, after leaving Hermans band in 1946, Hefti concentrated on arranging and composing, although he occasionally led his own bands. He is especially known for his charts for Count Basie such as Lil Darlin, Neal Paul Hefti was born October 29,1922, to an impoverished family in Hastings, Nebraska. As a young child, he remembered his family relying on charity during the holidays and he started playing the trumpet in school at the age of eleven, and by high school was spending his summer vacations playing in local territory bands to help his family make ends meet. Growing up in, and near, a big city like Omaha, Hefti was exposed to some of the great bands and he also was able to see some of the virtuoso jazz musicians from New York that came through Omaha on tour. His early influences all came from the North Omaha scene and he said, Wed see Basie in town, and I was impressed by Harry Edison and Buck Clayton, being a trumpet player. And I would say I was impressed by Dizzy Gillespie when he was with Cab Calloway, I was impressed by those three trumpet players of the people I saw in person. I thought Harry Edison and Dizzy Gillespie were the most unique of the trumpet players I heard. In 1939, while still a junior at North High in Omaha, he got his start in the industry by writing arrangements of vocal ballads for local Mickey Mouse bands. Harold Johnson recalled that Heftis first scores for that band were Swingin On Lennox Avenue and More Than You Know, some material that he penned in high school also was used by the Earl Hines band. Two days before his high school graduation ceremony in 1941, he got an offer to go on tour with the Dick Barry band and he quickly was fired from the band after two gigs because he couldnt sight-read music well enough. Stranded in New Jersey because he didnt have money to get home to Nebraska. Shelly Manne, drummer with Bob Astor at the time, recalled that even then Heftis writing skills were quite impressive, and at night we didnt have nothing to do, and we were up at this place — Budd Lake. He said, What are we going to do tonight, I said, Why dont you write a chart for tomorrow. Neal was so great that hed just take out the paper, no score, — trumpet part, — trumpet part, — trombone part. I never forget, I couldnt believe it, Hefti wouldnt focus on arranging seriously for a few more years. As a member of Astors band, he concentrated on playing trumpet, after an injury forced him to leave Bob Astor, he stayed a while in New York
30.
Fletcher Henderson
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James Fletcher Hamilton Henderson, Jr. was an American pianist, bandleader, arranger and composer, important in the development of big band jazz and swing music. He was one of the most prolific black musical arrangers and and he helped bridge the gap between the Dixieland and the swing eras. He was often known as Smack Henderson, James Fletcher Henderson was born in Cuthbert, Georgia, in 1897. He grew up in a middle-class African-American family and his father, Fletcher H. Henderson Sr. was the principal of the nearby Howard Normal Randolph School from 1880 until 1942. His home, now known as the Fletcher Henderson House, is a historic site and his mother, a teacher, taught him and his brother Horace to play the piano. He began lessons by the age of six and his father would occasionally lock Fletcher in his room to practice for hours. By age 13, Henderson possessed an ability to read music. He pursued the studies with his mother and further engaged himself in lessons on European art, although a talented musician, Henderson decided to dedicate himself to math and science. At age 18 he moved to Atlanta, Georgia, and changed his name to Fletcher Henderson, giving up James and he attended Atlanta University and graduated in 1920 with a bachelors degree in chemistry and mathematics. After graduation, he moved to New York City to attend Columbia University for a degree in chemistry. Finding his job prospects in chemistry to be poor because of his race, after arriving in New York City, Henderson shared an apartment with a pianist who worked as a musician. During the 1920s, he played piano accompaniment for blues singers and he also led the backing group for Ethel Waters during one of her national tours. Before 1923, Hendersons group was more of a band than a jazz band. In 1922 he formed his own band, which was resident first at Club Alabam, then at the Roseland Ballroom, in the 1920s, he did not do very many band arrangements. Although Armstong played in the band for only a year, he influenced its members, Hendersons band boasted the formidable arranging talents of Don Redman from 1922 to 1927. Henderson developed his skills from 1931 to the mid-1930s. His band c.1925 included Howard Scott, Coleman Hawkins, Louis Armstrong, Charlie Dixon, Kaiser Marshall, Buster Bailey, Elmer Chambers, Charlie Green, Ralph Escudero, and Don Redman. In 1925, with Henry Troy, he wrote Gin House Blues, recorded by Bessie Smith and his other compositions include Soft Winds
31.
Benny Carter
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Bennett Lester Benny Carter was an American jazz alto saxophonist, clarinetist, trumpeter, composer, arranger, and bandleader. He was a figure in jazz from the 1930s to the 1990s. Carter performed with artists from several generations of jazz, and at major festivals. The National Endowment for the Arts honored Benny Carter with its highest honor in jazz, the NEA Jazz Masters Award for 1986. He was awarded the Grammy Lifetime Achievement Award in 1987, in 2000 he was awarded the National Endowment for the Arts, National Medal of Arts, presented by President Bill Clinton. Born in New York City in 1907, the youngest of six children, largely self-taught, by age fifteen, Carter was already sitting in at Harlem night spots. From 1924 to 1928, Carter gained professional experience as a sideman in some of New Yorks most prominent bands, as a youth, Carter lived in Harlem around the corner from Bubber Miley, who was Duke Ellingtons featured trumpeter. Carter was inspired by Miley and bought a trumpet, but when he found he couldnt play like Miley, johnson, Duke Ellington, and their respective groups. He first recorded in 1928 with Charlie Johnsons Orchestra, also arranging the titles recorded, Carters arrangements were sophisticated and very complex, and a number of them became swing standards which were performed by other bands. He also arranged for Duke Ellington during these years, Carter was noted for his arrangements. By the early 1930s he and Johnny Hodges were considered the leading players of the day. Carter also quickly became a leading trumpet soloist, having rediscovered the instrument and he recorded extensively on trumpet in the 1930s. Carters name first appeared on records with a 1932 Crown label release of Tell All Your Day Dreams to Me credited to Bennie Carter, Carters short-lived Orchestra played the Harlem Club in New York but only recorded a handful of records for Columbia, OKeh and Vocalion. The OKeh sides were issued under the name Chocolate Dandies and his trumpet solo on the October 1933 recording of Once Upon A Time by the Chocolate Dandies has long been considered a milestone solo achievement. These 14 sides plus four by Carters big band were only issued in England at the time, originally titled Spike Hughes, the musicians were mainly made up from members of Carters band. Two recordings that typify his sound are 1937s Honeysuckle Rose, recorded with Django Reinhardt and Coleman Hawkins in Europe, returning home in 1938, he quickly formed another orchestra, which spent much of 1939 and 1940 at Harlems famed Savoy Ballroom. His arrangements were much in demand and were featured on recordings by Benny Goodman, Count Basie, Duke Ellington, Lena Horne, Glenn Miller, Gene Krupa and he relocated to Los Angeles in 1943, and moved increasingly into studio work. Beginning with Stormy Weather in 1943, he arranged for dozens of feature films and television productions
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Billy Strayhorn
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His compositions include Take the A Train, Chelsea Bridge, A Flower Is a Lovesome Thing, and Lush Life. Strayhorn was born in Dayton, Ohio and his family soon moved to the Homewood section of Pittsburgh, Pennsylvania. However, his mothers family was from Hillsborough, North Carolina, Strayhorn spent many months of his childhood at his grandparents house in Hillsborough. In an interview, Strayhorn said that his grandmother was his influence during the first ten years of his life. He first became interested in music while living with her, playing hymns on her piano, Strayhorn returned to Pittsburgh, and attended Westinghouse High School, later attended by Erroll Garner and Ahmad Jamal. While still in school, he worked odd jobs to earn enough money to buy his first piano. While in high school, he played in the band, and studied under the same teacher, Carl McVicker. By age 19, he was writing for a professional musical, Strayhorn was then introduced to the music of pianists like Art Tatum and Teddy Wilson at age 19. These musicians guided him into the realm of jazz where he remained for the rest of his life and his first jazz exposure was in a combo called the Mad Hatters that played around Pittsburgh. He met Duke Ellington in December 1938, after an Ellington performance in Pittsburgh, here he first told, and then showed, the band leader how he would have arranged one of Dukes own pieces. Ellington was impressed enough to invite other members to hear Strayhorn. At the end of the visit, he arranged for Strayhorn to meet him when the returned to New York. Strayhorn worked for Ellington for the quarter century as an arranger, composer, occasional pianist. As Ellington described him, Billy Strayhorn was my right arm, my arm, all the eyes in the back of my head, my brain waves in his head. Strayhorns relationship with Ellington was always difficult to pin down, Strayhorn was a composer and arranger who seemed to flourish in Dukes shadow. Ellington was arguably a father figure and the band was affectionately protective of the diminutive, mild-mannered, unselfish Strayhorn, nicknamed by the band Strays, Weely, though Duke Ellington took credit for much of Strayhorn’s work, he did not maliciously drown out his partner. Ellington would make jokes onstage like, Strayhorn does a lot of the work, Strayhorn composed the bands best known theme, Take the A Train, and a number of other pieces that became part of the band’s repertoire. Strayhorn also arranged many of Ellingtons band-within-band recordings and provided harmonic clarity, taste, Strayhorn also often sat in on the piano with the Ellington Orchestra, both live and in the studio
33.
Duke Ellington
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Edward Kennedy Duke Ellington was an American composer, pianist, and bandleader of a jazz orchestra, which he led from 1923 until his death in a career spanning over fifty years. Ellington was based in New York City from the mid-1920s onward, in the 1930s, his orchestra toured in Europe. Some of the musicians who were members of Ellingtons orchestra, such as saxophonist Johnny Hodges, are considered to be among the best players in jazz, Ellington melded them into the best-known orchestral unit in the history of jazz. Some members stayed with the orchestra for several decades, a master at writing miniatures for the three-minute 78 rpm recording format, Ellington often composed specifically to feature the style and skills of his individual musicians. Ellington also recorded songs written by his bandsmen, for example Juan Tizols Caravan, and Perdido, after 1941, Ellington collaborated with composer-arranger-pianist Billy Strayhorn, whom he called his writing and arranging companion. With Strayhorn, he composed many extended compositions, or suites, following an appearance at the Newport Jazz Festival, in July 1956, Ellington and his orchestra enjoyed a major career revival and embarked on world tours. Ellington recorded for most American record companies of his era, performed in films, scoring several. His reputation continued to rise after he died, and he was awarded a special posthumous Pulitzer Prize for music in 1999, Ellington was born on April 29,1899, to James Edward Ellington and Daisy Ellington in Washington, D. C. Daisy primarily played parlor songs and James preferred operatic arias and they lived with his maternal grandparents at 2129 Ida Place, NW, in the West End neighborhood of Washington, D. C. Dukes father was born in Lincolnton, North Carolina, on April 15,1879, Daisy Kennedy was born in Washington, D. C. on January 4,1879, the daughter of a former American slave. James Ellington made blueprints for the United States Navy, when Ellington was a child, his family showed racial pride and support in their home, as did many other families. African Americans in D. C. worked to protect their children from the eras Jim Crow laws, at the age of seven, Ellington began taking piano lessons from Marietta Clinkscales. Daisy surrounded her son with dignified women to reinforce his manners, Ellingtons childhood friends noticed that his casual, offhand manner, his easy grace, and his dapper dress gave him the bearing of a young nobleman, and began calling him Duke. Ellington credited his chum Edgar McEntree for the nickname, I think he felt that in order for me to be eligible for his constant companionship, I should have a title. Though Ellington took piano lessons, he was interested in baseball. President Roosevelt would come by on his horse sometimes, and stop and watch us play, Ellington went to Armstrong Technical High School in Washington, D. C. He gained his first job selling peanuts at Washington Senators baseball games, in the summer of 1914, while working as a soda jerk at the Poodle Dog Café, Ellington wrote his first composition, Soda Fountain Rag. He created the piece by ear, as he had not yet learned to read, I would play the Soda Fountain Rag as a one-step, two-step, waltz, tango, and fox trot, Ellington recalled
34.
Jelly Roll Morton
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Ferdinand Joseph LaMothe, known professionally as Jelly Roll Morton, was an American ragtime and early jazz pianist, bandleader and composer who started his career in New Orleans, Louisiana. His composition Jelly Roll Blues, published in 1915, was the first published jazz composition, Morton was born into a creole of color family in the Faubourg Marigny neighborhood of downtown New Orleans, Louisiana. Sources differ as to his date, a baptismal certificate issued in 1894 lists his date of birth as October 20,1890, Morton. His World War I draft registration card showed September 13,1884 and he was born to F. P. Lamothe and Louise Monette. Hécaud helped choose his name, Ferdinand. His parents lived in a marriage and were not legally married. No birth certificate has been found to date, Ferdinand started playing music as a child, showing talent at an early age. After his parents separated, his mother married a man named Mouton, Ferdinand took his stepfathers surname and anglicized it as Morton. At the age of fourteen, Morton began working as a player in a brothel. In that atmosphere, he often sang smutty lyrics, he took the nickname Jelly Roll, while working there, he was living with his churchgoing great-grandmother, he convinced her that he worked as a night watchman in a barrel factory. After Mortons grandmother found out that he was playing jazz in a brothel, she kicked him out of her house. He said, When my grandmother found out that I was playing jazz in one of the houses in the District, she told me that I had disgraced the family. She told me that devil music would bring about my downfall. The cornetist Rex Stewart recalled that Morton had chosen the nom de plume Morton to protect his family from disgrace if he was identified as a whorehouse professor, Tony Jackson, also a pianist at brothels and an accomplished guitar player, was a major influence on Mortons music. Morton said that Jackson was the only pianist better than he was, around 1904, Morton also started touring in the American South, working with minstrel shows including Will Benbows Chocolate Drops, gambling and composing. His works Jelly Roll Blues, New Orleans Blues, Frog-I-More Rag, Animule Dance, and King Porter Stomp were composed during this period. He got to Chicago in 1910 and New York City in 1911, in 1912–14, Morton toured with his girlfriend Rosa Brown as a vaudeville act before settling in Chicago for three years. By 1914, he had started writing down his compositions, in 1915, his Jelly Roll Blues was arguably the first jazz composition ever published, recording as sheet music the New Orleans traditions that had been jealously guarded by musicians
35.
Eddie Sauter
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Edward Ernest Sauter was a composer and jazz arranger who achieved renown among musicians during the swing era. Sauter studied music at Columbia University and the Juilliard School and he began as a drummer and then played trumpet professionally, most notably with Red Norvos orchestra. Eventually he became an arranger for Norvo. From 1952 to 1958 Sauter was co-leader of the Sauter-Finegan Orchestra, between 1957 and 1959 he was Kurt Edelhagens successor as leader of the SWF orchestra in Baden-Baden, Germany. Sauter and Getz collaborated again during Sauters work composing the score for the 1965 film Mickey One and his television composing includes the third season theme to Rod Serlings Night Gallery. In 2003 he was inducted into the Big Band and Jazz Hall of Fame. Although Sauter is best known for his music, he also orchestrated a number of Broadway musicals, most notably 1776. His composition World Without Time is used as the music for the public affairs show The Open Mind. Sauter died of an attack in New York City April 21,1981. The Sauter-Finegan Orchestra, Inside the Sound, the Sauter-Finegan Orchestra, NBC Bandstand Live,1957. All Music Eddie Sauter at the Internet Movie Database Eddie Sauter at Find a Grave Jazz a la Sauter, Eddie Sauter
36.
Benny Goodman
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Benjamin David Benny Goodman was an American jazz and swing musician, clarinetist and bandleader, known as the King of Swing. In the mid-1930s, Goodman led one of the most popular groups in America. Goodmans bands launched the careers of many jazz artists. During an era of segregation, he led one of the first well-known integrated jazz groups. Goodman performed nearly to the end of his life while exploring an interest in classical music, Goodman was born in Chicago, the ninth of twelve children of poor Jewish immigrants from the Russian Empire. His father, David Goodman, came to America in 1892 from Warsaw in partitioned Poland and his mother, Dora, came from Kaunas, Lithuania. His parents met in Baltimore, Maryland, and moved to Chicago before Benny was born, hundreds of houses are unconnected with the street sewer. Money was a constant problem in the family, Bennys father earned at most $20 per week. On Sundays, his father took the children to free concerts in Douglas Park. The following year Benny joined the club band at Jane Addamss Hull House. By joining the band, he was entitled to two weeks at a summer camp about fifty miles from Chicago. It was the time he was able to get away from the bleak environment of his urban neighborhood. He also received two years of instruction from the classically trained clarinetist Franz Schoepp and his early influences were New Orleans jazz clarinetists working in Chicago, notably Johnny Dodds, Leon Roppolo and Jimmie Noone. Goodman learned quickly, becoming a player at an early age. Goodman made his debut in 1921 at the Central Park Theater on Chicagos West Side. He entered Harrison High School in Chicago in 1922 and he joined the musicians’ union in 1923 and by the age of 14 was in a band featuring Bix Beiderbecke. Goodman attended Lewis Institute in 1924 as a sophomore, while also playing the clarinet in a dance hall band. When Goodman was 16, he joined one of Chicagos top bands, when he was 17, his father was killed by a passing car after stepping off a streetcar
37.
Artie Shaw
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Artie Shaw was an American clarinetist, composer, bandleader, and actor. Also an author, Shaw wrote both fiction and non-fiction, widely regarded as one of jazzs finest clarinetists, Shaw led one of the United States most popular big bands in the late 1930s through the early 1940s. Though he had hit records, he was perhaps best known for his 1938 recording of Cole Porters Begin the Beguine. Prior to the release of Beguine, Shaw and his band had languished in relative obscurity for over two years and, after its release, he became a major pop artist within short order. The record eventually became one of the defining recordings. Musically restless, Shaw was also a proponent of what became known much later as Third Stream music. Shaw also recorded with jazz groups drawn from within the ranks of the various big bands he led. He served in the US Navy from 1942 to 1944, and, following his discharge in 1944, Shaw was born Arthur Jacob Arshawsky in New York City, the son of Sarah and Harry Arshawsky, who worked as a dressmaker and photographer. His family was Jewish, his father was from Russia, his mother from Austria, Shaw grew up in New Haven, Connecticut where, according to his autobiography, his natural introversion was deepened by local antisemitism. Shaw bought a saxophone by working in a store, and began learning the saxophone at 13, by 16, he switched to the clarinet. Returning to New York, he became a musician through the early 1930s. In 1929 and 1930, he played with Irving Aaronsons Commanders, where he was exposed to symphonic music, in 1935, Shaw first gained attention with his Interlude in B-flat at a swing concert at the Imperial Theater in New York. During the swing era, his big bands were popular hits like Begin the Beguine, Stardust, Back Bay Shuffle, Moonglow, Rosalie. The show was received, but forced to dissolve in 1937 because his bands sound was not commercial. His incorporation of stringed instruments could be attributed to the influence of classical composer Igor Stravinsky. S. However, after recording Any Old Time, she left the band due to hostility from audiences in the South as well as music company executives who wanted a more mainstream singer. His band became successful, and his playing was eventually recognized as equal to that of Benny Goodman. Longtime Duke Ellington clarinetist Barney Bigard cited Shaw as his favorite clarinet player, in response to Goodmans nickname, the King of Swing, Shaws fans dubbed him the King of the Clarinet
38.
Gil Evans
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Ian Ernest Gilmore Gil Evans was a Canadian jazz pianist, arranger, composer and bandleader. He is widely recognized as one of the greatest orchestrators in jazz, playing an important role in the development of jazz, modal jazz. He is best known for his collaborations with Miles Davis. Born in Toronto, Ontario, Canada, his name was changed early on from Green to Evans and his family moved to Stockton, California where he spent most of his youth. After 1946, he lived and worked primarily in New York City, living for many years at Westbeth Artists Community. Between 1941 and 1948, Evans worked as an arranger for the Claude Thornhill Orchestra. ”Evans modest basement apartment behind a New York City Chinese laundry soon became a place for musicians looking to develop new musical styles outside of the dominant bebop style of the day. Those present included the leading performer, Charlie Parker, as well as Gerry Mulligan. In 1948, Evans, with Miles Davis, Mulligan, and others, the Miles Davis-led group was booked for a week at the Royal Roost as an intermission group on the bill with the Count Basie Orchestra. Capitol Records recorded 12 numbers by the nonet at three sessions in 1949 and 1950 and these recordings were reissued on a 1957 Miles Davis LP titled Birth of the Cool. Later, while Davis was under contract with Columbia Records, producer George Avakian suggested that Davis could work with any of several arrangers, the three albums that resulted from the collaboration are Miles Ahead, Porgy and Bess, and Sketches of Spain. Another collaboration from this period, Quiet Nights was issued later, against the wishes of Davis, although these four records were marketed primarily under Daviss name, Evanss contribution was as important as Daviss. Their work coupled Evanss classic big band jazz stylings and arrangements with Daviss solo playing, Evans also contributed behind the scenes to Davis classic quintet albums of the 1960s. The demands of the score for Porgy and Bess were legendary, the limited time allotted for rehearsals revealed that the ability to read such a challenging score was not consistent among jazz musicians, and there are many audible errors. Evans was an influence on Daviss interest in non-jazz music. Davis died before the release of the album, from 1957 onwards Evans recorded albums under his own name. Tubist Bill Barber and trumpeter Louis Mucci from Thornhills band were both stalwarts in Evanss early ensembles, with Mucci finding a spot on nearly every pre1980s Evans recording. Among the featured soloists on these records were Lee Konitz, Jimmy Cleveland, Steve Lacy, Johnny Coles, in 1965 he arranged the big band tracks on Kenny Burrells Guitar Forms album. Evans was explicitly influenced by Spanish composers Manuel de Falla and Joaquín Rodrigo and his arrangements of pieces already well known to some listeners from their original cabaret, concert hall or Broadway stage arrangements, revealed aspects of the music in a wholly original way
39.
Vic Schoen
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Victor Vic Schoen was an American bandleader, arranger, and composer whose career spanned from the 1930s until his death in 2000. Schoen wrote TV specials for Jack Carson Show, The Dave King Show, Ethel Merman, The Big Record with Patti Page, The Dinah Shore Show, Shirley MacLaine, Shirley Temple, Andy Williams, and Pat Boone. He is probably best remembered as the director and arranger for the Andrews Sisters. Vic Schoen was born in Brooklyn, New York and he is one of the very few composer-arrangers who was self-taught. Early in his life, he learned to play trumpet and would bring music into his school classes. Upon noticing that Schoen was not paying attention in class and writing music, his chemistry teacher stopped by his desk and said, Someone needs this chair more than you do. He eventually dropped out of school and started playing in nightclubs in New York City and in the bands of Leon Belasco, Gene Kardos. He also learned how to write big band arrangements at this time by trial, during this time Schoen met George Gershwin at a party in New York City in the mid-1930s. Schoen also wrote many of Count Basies earlier arrangements in the mid-1930s and he commented on the time when Basie paid him for some of his arrangements, He owed me some money one night after a gig. I had written several arrangements for him and he paid me one hundred dollars in single dollar bills, I walked out of that Harlem club with the biggest wad of cash in my pocket. I had never been so scared in my life, Schoen was also extremely impressed with the sound of the Basie band, There was quite a large difference in the way that the white bands played versus the black bands. When I would show up to Basies rehearsals to hear my arrangements sometimes I didnt even realize they were playing one of my charts, the unique way they played and phrased was so different than what I was used to hearing. Schoen met The Andrews Sisters while playing trumpet in Leon Belascos society orchestra in 1936, the sisters made only one 78 side with Belasco, early in 1937, which was not well received. The girls were packing their bags to go home to Minneapolis when Schoen. Decca Records A&R vice president Dave Kapp heard the broadcast and invited the sisters to his office, after a short audition he signed them to a contract. They made their first recording for Decca in October 1937 with Schoen arranging for their musical backup, Schoen described the earlier arrangements he wrote for the Andrews Sisters as having a quasi Dixieland feel. Schoen was backstage at a Yiddish Theatre in New York looking through a crate of sheet music. He found the song Bei Mir Bist Du Schoen written by Sholom Secunda with Yiddish lyrics by Jacob Jacobs, Schoen was attracted to the song because he liked that his name was part of the title
40.
Pete Rugolo
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Pietro Pete Rugolo was an Italian-born American jazz composer, arranger and record producer. Rugolo was born in San Piero Patti, Sicily and his family emigrated to the United States in 1920 and settled in Santa Rosa, California. He began his career in playing the baritone horn, like his father, but he quickly branched out into other instruments, notably the French horn. He received a degree from San Francisco State College, and then went on to study composition with Darius Milhaud at Mills College in Oakland, California. After he graduated, he was hired as an arranger and composer by guitarist and he spent World War II playing with altoist Paul Desmond in an Army band. After the war, Rugolo worked for Stan Kenton, who headed one of the most musically progressive big bands of the era and he and the songwriter Joe Greene collaborated on songs that made Kentons band one of Americas most popular. Rugolo provided arrangements and original compositions that drew on his knowledge of 20th-century music, gone for the Day and The Song Is June. Other singers he arranged for included Ernestine Anderson, Harry Belafonte, Nat King Cole, The Diamonds, Billy Eckstine, during this period he also worked for a while on film musicals at MGM, and served as an A&R director for Mercury Records in the late 1950s. Among his many albums were Adventures in Rhythm, Introducing Pete Rugolo, Rugolomania, An Adventure in Sound, Reeds in Hi-Fi, Rugolos arrangements for album The Four Freshmen and Five Trombones propelled the group to recognition in jazz circles. It was their best selling album of all time and they perform music from that album. He also provided scores for a number of TV movies and a few films, such as Jack the Ripper, The Sweet Ride, Underground Aces and Chu Chu. Rugolos small combo jazz music featured in a couple of numbers in the popular 1960 movie Where the Boys Are, while his work in Hollywood often demanded that he suppress his highly original style, there are some striking examples of Rugolos work in both TV and film. The soundtrack for the last movie on which he worked, This World, Then the Fireworks, Rugolo died, aged 95, on October 16,2011 in Sherman Oaks, California. He is survived by wife Edye, sons Peter and Tony,4 Frosty the Snowman 10th Anniversary Album The Nat King Cole Story With June Christy Something Cool The Misty Miss Christy Fair and Warmer. Gone for the Day This Is June Christy, recalls Those Kenton Days Off-Beat This Time of Year With Robert Clary Gigi With Buddy Collette Buddy Collettes Swinging Shepherds At the Cinema
41.
Johnny Richards
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Johnny Richards was a jazz arranger and composer. He was an arranger for some of the more adventurous performances by Stan Kentons big band in the 1950s and early 1960, such as Cuban Fire. Richards was born in Toluca, Mexico, as Juan Manuel Cascales, to a Spanish father, the family lived first in Los Angeles, California and later in San Fernando, California, where Joe, Johnny, and Chuck attended and graduated from San Fernando High School. In 1930 Richards was living in Fullerton, California, and attending Fullerton College, Richards worked in Los Angeles, California from the late 1930s to 1952. In 1952 he moved to New York City and he had been arranging for Stan Kenton since 1950 and continued to do so through the mid-1960s. He also led his own throughout his career. In addition, he wrote the music for the popular song Young at Heart, made famous by Frank Sinatra, Richards died October 7,1968, in New York, New York, of a brain tumor. Reviewers have deemed his style as being influenced by Duke Ellington, annotations of the Muses Something Else by Johnny Richards Wide Range Experiments in Sound The Rites of Diablo Walk Softly/Run Wild. My Fair Lady – My Way Aqui Se Habla Espagnol Mosaic Select 17 With Charlie Barnet The Capitol Big Band Sessions With Harry James Harry James And His Orchestra 1948-49 With Stan Kenton Cuban Fire. Back to Balboa Two Much. with Ann Richards Kentons West Side Story Adventures in Time as composer arranger, list of jazz arrangers allmusic biography of Richards Extensive biography of Richards
42.
Billy May
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Edward William Billy May, Jr was an American composer, arranger and trumpeter. He composed film and television music for The Green Hornet, The Mod Squad, Batman and he collaborated on films such as Pennies from Heaven, and orchestrated Cocoon, and Cocoon, The Return, among others. He also collaborated with satirist Stan Freberg on several classic 1950s and 1960s satirical music albums, with his own band, May had a hit single, Charmaine, in 1952, and he released an album, Sorta-May. May was born in Pittsburgh, Pennsylvania and he started out playing the tuba in the high school band. I sat in the rear of the stand, I didnt realize it at the time, but I was intrigued with becoming an arranger and an orchestrator. At the age of seventeen May began playing with Gene Olsens Polish-American Orchestra, after playing for a few local bands, May heard Charlie Barnets band on the radio in his hometown of Pittsburgh. May approached the bandleader and asked if he could write arrangements for the band and this happened in the summer of 1938. From 1938 to 1940, May wrote arrangements and played trumpet for Charlie Barnets big band and his arrangement of the Ray Noble composition Cherokee became a major hit of the swing music era. Mays caustic lyrics to the song called it swing and sweat with Charlie Barnet, bandleader Glenn Miller hired May away from Charlie Barnet in 1940. May points out that he was not responsible for any of the bands signature hits, may worked as an arranger for the bands of Glenn Miller and Les Brown before being hired as staff arranger first for the NBC radio network, then for Capitol Records. At Capitol, May wrote arrangements for many top artists and these included Frank Sinatra on the albums Come Fly with Me, Come Dance with Me. and Come Swing with Me. Nat King Cole on the albums Just One of Those Things, with Sinatra, Bobby Darin on the album Oh. Look at Me Now, Nancy Wilson on the albums Like In Love, Something Wonderful, Tender Loving Care, additionally, Mays orchestra was featured on many Capitol Records childrens projects, including cowboy star, Hopalong Cassidy. The result was a recreation of Welks sound as Freberg. Freberg has recounted that Welk was less than amused by the results, may also composed and conducted the music for Frebergs short-lived comedy radio series on CBS, which ran for fifteen episodes in 1957. His send-up of trashy horror-film music is notable, in 1959, May won the Grammy Award for Best Performance by an Orchestra. Much of Mays work for Capitol has been reissued on the Ultra-Lounge series of CDs, the Crosby-Clooney collaboration was a sequel to their earlier album on RCA Records, Fancy Meeting You Here, also arranged by May. & Edward K. and Trilogy 1, The Past, as well as the chart for one of Sinatras last ever solo recordings, in addition, May was the natural choice to arrange Sinatras knockabout duet with Sammy Davis Jr
43.
Thad Jones
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Thaddeus Joseph Thad Jones was an American jazz trumpeter, composer, and bandleader. Thad Jones was born in Pontiac, Michigan, on March 28,1923, to Henry and Olivvia Jones, a self-taught musician, Thad began performing professionally at the age of 16. He served in U. S. Army bands during World War II, after his military service, which included an association with the U. S. Military School of Music and working with bands in Des Moines and Oklahoma City. He was featured as a soloist on such tunes as April in Paris, Shiny Stockings. However, his contribution to Basies organization was nearly two dozen arrangements and compositions, which included The Deacon, H. R. H. Counter Block, and lesser known tracks such as Speaking of Sounds, in 1959 Jones played cornet on Thelonious Monks 5 by Monk by 5 album. Jones left the Basie Orchestra in 1963 to become a freelance arranger, in 1965 he and drummer Mel Lewis formed the Thad Jones/Mel Lewis Orchestra. The group started with informal jam sessions among New Yorks top studio musicians. They began performing at the Village Vanguard in February 1966, to wide acclaim and they won a 1978 Grammy Award for their album Live in Munich. Jones also taught at William Paterson College in New Jersey, which is now the site of the Thad Jones Archive, containing pencil scores, Jones big-band arranging style was unique, especially from the standpoint of featuring dissonant voicings in a tonal context. This required the members of his big band to play correctly in tune, minor 2nds and major 7ths are often featured in his voicings, especially when the entire band plays a long, powerful chord that some would describe as having bite. In January 1979, Thad suddenly moved to Copenhagen, Denmark, there he became the leader of The Danish Radio Big Band, and married a Danish woman. Jones transformed the Danish Radio Big Band into one of the worlds best, the result can be heard on a live-recording from the Montmartre in Copenhagen. In July 1979 Jones formed a new big band, Eclipse, with which he recorded a live album, several Americans were on the album, pianist Horace Parlan, baritonist Sahib Shihab, trumpeter Tim Hagans and trombonist/vocalist Richard B. Boone, along with trombonists Bjarne Thanning and Ture Larsen, trumpeter Lars Togeby, altoists Ole Thøger and Michael Hove, tenor saxophonist Bent Jædig, Jones further composed for the Danish Radio Big Band and taught jazz at the Royal Danish Conservatory in Copenhagen. He studied composition formally during this period, and also took up the valve trombone, in February 1985, Jones returned to the U. S. to take over the leadership of the Count Basie Orchestra, upon his former leaders death. He returned to his home in Copenhagen for the last few months of his life, in later years his playing ability was diminished due to lip injury, but his composing and arranging skills blossomed
