Gloomy Sunday and Other Bright Moments
Gloomy Sunday and Other Bright Moments is an album by jazz trombonist and arranger Bob Brookmeyer recorded in 1961 for the Verve label. Brookmeyer said: "I consider it my joy. I took many creative risks here, most based on the heels of working with Bill. I used double reeds and other instrument configurations I hadn't used before. My attitude toward the orchestration was a big step forward in my development". AllMusic awarded the album 4 stars. "Caravan" - 3:40 "Why Are You Blue" - 4:22 "Some of My Best Friends" - 5:10 "Gloomy Sunday" - 5:40 "Ho Hum" - 4:40 "Detour Ahead" - 4:30 "Days Gone By. - 5:00 "Where, Oh Where" - 3:45 Bob Brookmeyer - valve trombone Bernie Glow, Joe Newman, Doc Severinsen, Clark Terry, Nick Travis - trumpet Wayne Andre, Billy Byers, Bill Elton, Alan Raph - trombone Wally Kane - bassoon Eddie Caine - alto saxophone, flute Phil Woods - alto saxophone, clarinet Gene Quill, Eddie Wasserman - alto saxophone Phil Bodner - tenor saxophone, English horn Al Cohn - tenor saxophone Gene Allen - baritone saxophone, bass clarinet Eddie Costa - vibraphone, percussion Hank Jones - piano George Duvivier - bass Mel Lewis - drums Bob Brookmeyer, Ralph Burns, Al Cohn, Gary McFarland, Eddie Sauter - arranger
Mr. Music (album)
Mr. Music is an album by saxophonist and arranger Al Cohn recorded in late 1954 for the RCA Victor label. Allmusic awarded the album 2 stars. "Something for Lisa" - 6:29 "Count Every Star" - 3:09 "Cabin in the Sky" - 3:06 "Move" - 7:19 "Never Never Land" - 5:30 "La Ronde" - 2:47 "This Reminds Me of You" - 3:16 "Breakfast with Joe" - 4:09 "Cohn My Way" - 2:55 Al Cohn - tenor saxophone Joe Newman - trumpet Billy Byers, Frank Rehak - trombone Hal McKusick, Gene Quill - alto saxophone Sol Schlinger - baritone saxophone Sanford Gold - piano Billy Bauer, Sir Osbert Haberdasher - guitar Buddy Jones, Milt Hinton - bass Osie Johnson - drums Manny Albam, Ralph Burns, Johnny Carisi, Al Cohn - arranger
Quincy Delight Jones Jr. is an American record producer, musician and film producer. His career spans six decades in the entertainment industry with a record 80 Grammy Award nominations, 28 Grammys, a Grammy Legend Award in 1992. Jones came to prominence in the 1950s as a jazz arranger and conductor, before moving on to work in pop music and film scores. In 1969, Jones and his songwriting partner Bob Russell became the first African-Americans to be nominated for an Academy Award for Best Original Song, for "The Eyes of Love" from the film Banning. Jones was nominated for an Academy Award for Best Original Score for his work on the 1967 film In Cold Blood, making him the first African-American to be nominated twice in the same year. In 1971, he became the first African-American to be the musical director and conductor of the Academy Awards ceremony. In 1995, he was the first African-American to receive the Academy's Jean Hersholt Humanitarian Award, he has tied with sound designer Willie D. Burton as the second most Oscar-nominated African-American, with seven nominations each.
Jones was the producer, with Michael Jackson, of Jackson's albums Off the Wall and Bad, as well as the producer and conductor of the 1985 charity song "We Are the World", which raised funds for victims of famine in Ethiopia. In 2013, Jones was inducted into the Rock & Roll Hall of Fame as the winner, alongside Lou Adler, of the Ahmet Ertegun Award, he was named one of the most influential jazz musicians of the 20th century by Time magazine. Quincy Delight Jones Jr. was born on the South Side of Chicago on March 14, 1933, the son of Sarah Frances, a bank officer and apartment complex manager, Quincy Delight Jones Sr. a semi-professional baseball player and carpenter from Kentucky. Jones' paternal grandmother was an ex-slave in Louisville, Jones would discover that his paternal grandfather was Welsh. With the help of the author Alex Haley in 1972 and Mormon researchers in Salt Lake City, Jones discovered that his mother's ancestors included James Lanier, a relative of poet Sidney Lanier. Jones said, "He had a baby with my great-grandmother, my grandmother was born there.
We traced this all the way back to the Laniers, the same family as Tennessee Williams." Learning that the Lanier immigrant ancestors were French Huguenots who had court musicians among their ancestors, Jones attributed some of his musicianship to them. For the 2006 PBS television program African American Lives, Jones had his DNA tested, genealogists researched his family history again, his DNA revealed he is African but is 34% European in ancestry, on both sides of his family. Research showed that he has English, French and Welsh ancestry through his father, his mother's side is of West and Central African descent the Tikar people of Cameroon. His mother had European ancestry, such as Lanier male ancestors who fought for the Confederacy, making him eligible for Sons of Confederate Veterans. Among his ancestors is Betty Washington Lewis, a sister of president George Washington. Jones is a direct descendant of Edward I of England, whose ancestors included French, Polish and Swiss nobility. Jones' family moved to Chicago as part of the Great Migration.
Jones had a younger brother, who became an engineer for the Seattle television station KOMO-TV and died in 1998. Jones was introduced to music by his mother, who always sang religious songs, by his next-door neighbor, Lucy Jackson; when Jones was five or six, Jackson played stride piano next door, he would listen through the walls. Lucy recalled; when Jones was young, his mother suffered from a schizophrenic breakdown and was admitted to a mental institution. His father divorced his mother and married Elvera Jones, who had three children of her own named Waymond and Katherine. Elvera and Quincy Sr. had three children together: Jeanette and future U. S. District Judge Richard. In 1943, Jones and his family moved to Bremerton, where his father got a wartime job at the Puget Sound Naval Shipyard. After the war, the family moved to Seattle. In high school, he developed his skills as a arranger, his classmates included Charles Taylor, who played saxophone and whose mother, Evelyn Bundy, was one of Seattle's first society jazz band leaders.
Jones and Taylor began playing music together, at the age of 14 they played with a National Reserve band. Jones has said he got much more experience with music growing up in a smaller city because he otherwise would have faced too much competition. At age 14, Jones introduced himself to 16-year-old Ray Charles after watching him play at the Black Elks Club. Jones cites Charles as an early inspiration for his own music career, noting that Charles overcame a disability to achieve his musical goals, he has credited his father's sturdy work ethic with giving him the means to proceed and his loving strength with holding the family together. Jones has said his father had a rhyming motto: "Once a task is just begun, never leave until it's done. Be the labor great or small, do it well or not at all." In 1951, Jones earned a scholarship to Seattle University, where a young Clint Eastwood—also a music major—watched him play in the college band. After one semester, Jones transferred to what is now the Berklee College of Music in Boston on another scholarship.
While studying at Berklee, he played at Izzy Ort's Bar & Grille with Bunny Campbell and Preston Sandiford, whom he cited as important musical influences. He left his studies after receiving an offer to tour as a trumpeter, p
Benjamin David Goodman was an American jazz clarinetist and bandleader known as the "King of Swing". In the mid-1930s, Goodman led one of the most popular musical groups in the United States, his concert at Carnegie Hall in New York City on January 16, 1938 is described by critic Bruce Eder as "the single most important jazz or popular music concert in history: jazz's'coming out' party to the world of'respectable' music."Goodman's bands started the careers of many jazz musicians. During an era of racial segregation, he led one of the first integrated jazz groups, he performed nearly to the end of his life. Goodman was the ninth of twelve children born to poor Jewish emigrants from the Russian Empire, his father, David Goodman, came to America in 1892 from Warsaw in partitioned Poland and became a tailor. His mother, Dora Grisinsky, came from Kovno, they met in Baltimore and moved to Chicago before Goodman's birth. With little income and a large family, they moved to the Maxwell Street neighborhood, an overcrowded slum near railroad yards and factories, populated by German, Italian, Polish and Jewish immigrants.
Money was a constant problem. On Sundays, his father took the children to free band concerts in Douglas Park, the first time Goodman experienced live professional performances. To give his children some skills and an appreciation for music, his father enrolled ten-year-old Goodman and two of his brothers in music lessons at the Kehelah Jacob Synagogue. During the next year Goodman joined the boys club band at Hull House, where he received lessons from director James Sylvester. By joining the band, he was entitled to spend two weeks at a summer camp near Chicago, it was the only time. He received two years of instruction from classically trained clarinetist Franz Schoepp; when he was 17, his father was killed by a passing car after stepping off a streetcar. His father's death was "the saddest thing that happened in our family", Goodman said, he attended Lewis Institute in 1924 as a high-school sophomore and played clarinet in a dance hall band. His early influences were New Orleans jazz clarinetists who worked in Chicago, such as Jimmie Noone, Johnny Dodds, Leon Roppolo.
He learned becoming a strong player at an early age, soon playing in bands. He made his professional debut in 1921 at the Central Park Theater on the West Side of Chicago, he entered Harrison Technical High School in Chicago in 1922. At fourteen he became a member of the musicians' union and worked in a band featuring Bix Beiderbecke. Two years he joined the Ben Pollack Orchestra and made his first recordings in 1926. Goodman moved to New York City and became a session musician for radio, Broadway musicals, in studios. In addition to clarinet, he sometimes played alto baritone saxophone. In a Victor recording session on March 21, 1928, he played alongside Glenn Miller, Tommy Dorsey, Joe Venuti in the All-Star Orchestra directed by Nathaniel Shilkret, he played with the bands of Red Nichols, Ben Selvin, Ted Lewis, Isham Jones and recorded for Brunswick under the name Benny Goodman's Boys, a band that featured Glenn Miller. In 1928, Goodman and Miller wrote "Room 1411", released as a Brunswick 78.
He reached the charts for the first time when he recorded "He's Not Worth Your Tears" with a vocal by Scrappy Lambert for Melotone. After signing with Columbia in 1934, he had top ten hits with "Ain't Cha Glad?" and "I Ain't Lazy, I'm Just Dreamin'" sung by Jack Teagarden, "Ol' Pappy" sung by Mildred Bailey, "Riffin' the Scotch" sung by Billie Holiday. An invitation to play at the Billy Rose Music Hall led to his creation of an orchestra for the four-month engagement; the orchestra recorded "Moonglow", which became a number one hit and was followed by the Top Ten hits "Take My Word" and "Bugle Call Rag". NBC hired for Goodman for the radio program Let's Dance. John Hammond asked Fletcher Henderson if he wanted to write arrangements for Goodman, Henderson agreed. During the Depression, Henderson disbanded his orchestra. Goodman hired Henderson's band members to teach his musicians. Goodman's band was one of three to perform on Let's Dance, playing arrangements by Henderson along with hits such as "Get Happy" and "Limehouse Blues" by Spud Murphy.
Goodman's portion of the program was broadcast too late at night to attract a large audience on the east coast. He and his band remained on Let's Dance until May of that year when a strike by employees of the series' sponsor, forced the cancellation of the radio show. An engagement was booked at Manhattan's Roosevelt Grill filling in for Guy Lombardo, but the audience expected "sweet" music and Goodman's band was unsuccessful. Goodman spent six months performing on Let's Dance, during that time he recorded six more Top Ten hits for Columbia. On July 31, 1935, "King Porter Stomp" was released with "Sometimes I'm Happy" on the B-side, both arranged by Henderson and recorded on July 1. In Pittsburgh at the Stanley Theater some members of the audience danced in the aisles, but these arrangements had little impact on the tour until August 19 at McFadden's Ballroom in Oakland, California. Goodman and his band, which included Bunny Berrigan, drummer Gene Krupa, singer Helen Ward were met by a large crowd of young dancers who cheered the music they had heard on Let's Dance.
Herb Caen wrote, "from the first note, the place was in an uproar." One night at Pismo Beach, the show was a flop, the band thought the overwhelming reception in Oakland had been a fluke. The next night, August 21, 1935, at the Palomar Ballroom in Los A
Edward Kennedy "Duke" Ellington was an American composer and leader of a jazz orchestra, which he led from 1923 until his death over a career spanning more than fifty years. Born in Washington, D. C. Ellington was based in New York City from the mid-1920s onward and gained a national profile through his orchestra's appearances at the Cotton Club in Harlem. In the 1930s, his orchestra toured in Europe. Although considered to have been a pivotal figure in the history of jazz, Ellington embraced the phrase "beyond category" as a liberating principle and referred to his music as part of the more general category of American Music rather than to a musical genre such as jazz; some of the jazz musicians who were members of Ellington's orchestra, such as saxophonist Johnny Hodges, are considered to be among the best players in the idiom. 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 wrote more than one thousand compositions.
Ellington recorded songs written by his bandsmen, for example Juan Tizol's "Caravan", "Perdido", which brought a Spanish tinge to big band jazz. In the early 1940s, Ellington began a nearly thirty-year collaboration with composer-arranger-pianist Billy Strayhorn, whom he called his writing and arranging companion. With Strayhorn, he composed many extended compositions, or suites, as well as additional short pieces. Following an appearance at the Newport Jazz Festival, in July 1956, Ellington and his orchestra enjoyed a major revival and embarked on world tours. Ellington recorded for most American record companies of his era, performed in several films, scored several, composed a handful of stage musicals. Ellington was noted for his inventive use of the orchestra, or big band, for his eloquence and charisma, his reputation continued to rise after he died, he was awarded a posthumous Pulitzer Prize Special Award for music in 1999. Ellington was born on April 29, 1899, to James Edward Ellington and Daisy Ellington in Washington, D.
C. Both his parents were pianists. Daisy played parlor songs and James preferred operatic arias, they lived with his maternal grandparents at 2129 Ida Place, NW, in the West End neighborhood of Washington, D. C. Duke's father was born in Lincolnton, North Carolina, on April 15, 1879, moved to Washington, D. C. in 1886 with his parents. 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 era's 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 and teach him to live elegantly. Ellington's childhood friends noticed that his casual, offhand manner, his easy grace, his dapper dress gave him the bearing of a young nobleman, began calling him "Duke."
Ellington credited his friend 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. So he called me Duke."Though Ellington took piano lessons, he was more interested in baseball. "President Roosevelt would come by on his horse sometimes, stop and watch us play", he recalled. 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 write music. "I would play the'Soda Fountain Rag' as a one-step, two-step, waltz and fox trot", Ellington recalled. "Listeners never knew. I was established as having my own repertoire." In his autobiography, Music is my Mistress, Ellington wrote that he missed more lessons than he attended, feeling at the time that playing the piano was not his talent.
Ellington started sneaking into Frank Holiday's Poolroom at the age of fourteen. Hearing the poolroom pianists play ignited Ellington's love for the instrument, he began to take his piano studies seriously. Among the many piano players he listened to were Doc Perry, Lester Dishman, Louis Brown, Turner Layton, Gertie Wells, Clarence Bowser, Sticky Mack, Blind Johnny, Cliff Jackson, Claude Hopkins, Phil Wurd, Caroline Thornton, Luckey Roberts, Eubie Blake, Joe Rochester, Harvey Brooks. Ellington began listening to, imitating ragtime pianists, not only in Washington, D. C. but in Philadelphia and Atlantic City, where he vacationed with his mother during the summer months. He would sometimes hear strange music played by those who could not afford much sheet music, so for variations, they played the sheets upside down. Henry Lee Grant, a Dunbar High School music teacher, gave him private lessons in harmony. With the additional guidance of Washington pianist and band leader Oliver "Doc" Perry, Ellington learned to read sheet music, project a professional style, improve his technique.
Ellington was inspired by his first encounters with stride pianists James P. Johnson and Luckey Roberts. In New York he took advice from Will Marion Cook, Fats Waller, Sidney Bechet. Ellington started to play gigs in cafés and clubs in and aro
Harold Arlen was an American composer of popular music who composed over 500 songs, a number of which have become known worldwide. In addition to composing the songs for the 1939 film The Wizard of Oz, including the classic "Over the Rainbow", Arlen is a regarded contributor to the Great American Songbook. "Over the Rainbow" was voted the 20th century's No. 1 song by the Recording Industry Association of America and the National Endowment for the Arts. Arlen was born in New York, United States, the child of a cantor, his twin brother died the next day. He learned to play the piano as a youth, formed a band as a young man, he achieved some local success as a pianist and singer before moving to New York City in his early twenties, where he worked as an accompanist in vaudeville and changed his name to Harold Arlen. Between 1926 and about 1934, Arlen appeared as a band vocalist on records by The Buffalodians, Red Nichols, Joe Venuti, Leo Reisman, Eddie Duchin singing his own compositions. In 1929, Arlen composed his first well-known song: "Get Happy".
Throughout the early and mid-1930s, Arlen and Koehler wrote shows for the Cotton Club, a popular Harlem night club, as well as for Broadway musicals and Hollywood films. Arlen and Koehler's partnership resulted in a number of hit songs, including the familiar standards "Let's Fall in Love" and "Stormy Weather". Arlen continued to perform as a pianist and vocalist with some success, most notably on records with Leo Reisman's society dance orchestra. Arlen's compositions have always been popular with jazz musicians because of his facility at incorporating a blues feeling into the idiom of the American popular song. In the mid-1930s, Arlen married, spent increasing time in California, writing for movie musicals, it was at this time that he began working with lyricist E. Y. "Yip" Harburg. In 1938, the team was hired by Metro-Goldwyn-Mayer to compose songs for The Wizard of Oz, the most famous of, "Over the Rainbow", for which they won the Academy Award for Best Music, Original Song, they wrote "Down with Love", "Lydia the Tattooed Lady", for Groucho Marx in At the Circus in 1939, "Happiness is a Thing Called Joe", for Ethel Waters in the 1943 movie Cabin in the Sky.
Arlen was a longtime friend and onetime roommate of actor Ray Bolger, who starred in The Wizard of Oz. In the 1940s, he teamed up with lyricist Johnny Mercer, continued to write hit songs like "Blues in the Night", "Out of this World", "That Old Black Magic", "Ac-Cent-Tchu-Ate the Positive", "Any Place I Hang My Hat Is Home", "Come Rain or Come Shine" and "One for My Baby". Arlen composed two defining tunes which bookend Judy Garland's musical persona: as a yearning, innocent girl in "Over the Rainbow" and a world-weary, "chic chanteuse" with "The Man That Got Away", the last written for the 1954 version of the film A Star Is Born. Arlen died of cancer at his Manhattan apartment at the age of eighty-one. 1905 Arlen born in Buffalo, New York 1920 He formed his first professional band, Hyman Arluck's Snappy Trio. 1921 Against his parents' wishes. 1923 With his new band – The Southbound Shufflers, performed on the Crystal Beach lake boat "Canadiana" during the summer of 1923. 1924 Performed at Lake Shore Manor during the summer of 1924.
1924 Wrote his first song, collaborating with friend Hyman Cheiffetz to write "My Gal, My Pal". Copyrighting the song as "My Gal, Won't You Please Come Back to Me?" and listed lyrics by Cheiffetz and music by Harold Arluck. 1925 Makes his way to New York City with The Buffalodians, with Arlen playing piano. 1926 Had first published song, collaborating with Dick George to compose "Minor Gaff" under the name Harold Arluck. 1928 Chaim Arluck renames himself a name that combined his parents' surnames. 1929 Landed a singing and acting role as Cokey Joe in the musical The Great Day. 1929 Composed his first well known song – "Get Happy" – under the name Harold Arlen. 1929 Signed a yearlong song writing contract with the George and Arthur Piantadosi firm. 1930–1934 Wrote music for the Cotton Club. 1933 At a party, along with partner Ted Koehler, wrote the major hit song "Stormy Weather" 1933 Billboard heralded Shakespeare as the most prolific playwright in history, Arlen as the most prolific composer. 1934 Wrote "Ill Wind" with lyrics by Ted Koehler for their last show at the Cotton Club Parade, in 1934, sung by Adelaide Hall 1935 Went back to California after being signed by Samuel Goldwyn to write songs for the film Strike Me Pink.
1937 Composed the score for the Broadway musical Hooray for What!. Married 22-year-old Anya Taranda, a celebrated Powers Agency model and former Earl Carroll and Busby Berkeley showgirl and one of the Original "Breck Girls". 1938 Hired by Metro-Goldwyn-Mayer to compose songs for The Wizard of Oz. 1938 While driving along Sunset Boulevard in Hollywood and stopping in front of Schwab's Drug Store, seeing a rainbow appear over Hollywood, came up with the song "Over the Rainbow". 1941 Wrote "Blues in the Night" 1942 Along with Johnny Mercer, he wrote one of his most famous songs, "That Old Black Magic". 1943 Wrote "My Shining Hour" 1944 While driving with songwriter partner Johnny Mercer came up with the song "Accentuate the Positive". 1945 In a single evening's work in October with Johnny Mercer came up with the song "Come Rain or Come Shine". 1949 Collaborated with Ralph Blane