Harold Jacob "Hecky" Rome was an American composer and writer for musical theater. He was born in Hartford and graduated from Hartford Public High School, he chose to go to Trinity College, but transferred because he felt like a "townie". Rome played piano in local dance bands such as Eddie Wittstein's and was writing music while studying architecture and law at Yale University. While at Yale, he pledged to Tau Epsilon Phi, he graduated in 1929 with a Bachelor of Arts, continued into Yale Law School. After graduation, he worked as an architect in New York City, but continued to pursue his musical interests, arranging music for local bands and writing material for revues at Green Mansions, a Jewish summer resort in the Adirondacks. Much of the music Rome was writing at this time was conscious and of little interest to Tin Pan Alley. In 1937, he made his Broadway debut as co-writer and lyricist of the topical revue Pins and Needles. Pins and Needles was written for a small theatrical production directed by Samuel Roland.
After a 2-week professional run, it was adapted for performances by members of the then-striking International Garment Workers' Union as an entertainment for its members. Because Roland was associated with left-wing causes, he was asked by ILGWU president David Dubinsky to withdraw; the show was a huge success, running for 1108 performances, prompted George S. Kaufman and Moss Hart to invite Rome to collaborate on another topical revue, Sing Out the News, in 1938. In 1949, he wrote the English lyrics of the French song Mais qu’est-ce que j’ai?, written in 1947 by Henri Betti and Édith Piaf. The title song became What Can I Do?. In the early 1940s, Rome wrote songs for several revues and shows, but it was not until after the end of World War II that he had his next real success with Call Me Mister, his first full-fledged musical was Wish You Were Here in 1952. Additional Broadway credits include Fanny, Destry Rides Again, I Can Get It for You Wholesale, in which Barbra Streisand made her Broadway debut, The Zulu and the Zayda, which dealt with racial and religious intolerance.
He wrote the lyrics for La Grosse Valise, which enjoyed a short run at the 54th Street Theater in 1965. In 1970, he wrote a musical adaptation of Gone with the Wind entitled Scarlett for a Tokyo production with a Japanese cast, it was staged in English with little success in London and Los Angeles. Rome's music and/or lyrics can be heard in such films as Rear Window, Anchors Aweigh, Thousands Cheer, Babes on Broadway. In 1991, Rome was presented with a special Drama Desk Award for his "distinctive contribution to musical theater." That same year, he was inducted into the American Theater Hall of Fame. Rome was a painter and art collector, he died of a stroke in New York City at the age of 85. 1937: Pins and Needles 1946: Call Me Mister 1952: Wish You Were Here 1954: Fanny 1959: Destry Rides Again 1962: I Can Get It for You Wholesale – "Miss Marmelstein", "Who Knows?" 1965: The Zulu and the Zayda Sources Harold Rome at the Internet Broadway Database The Harold Rome Papers, Irving S. Gilmore Music Library, Yale University
Body and Soul (Coleman Hawkins album)
Body and Soul is an album by the jazz tenor saxophonist Coleman Hawkins, including recordings made between 1939 and 1956. It takes its name from one of Hawkins' most famous performances — a 1939 recording of "Body and Soul". "Meet Doctor Foo" – 2:32 "Fine Dinner" – 2:33 "She's Funny That Way" – 3:14 "Body and Soul" – 3:00 "When Day Is Done" – 3:15 "The Sheik of Araby" – 2:56 "My Blue Heaven" – 2:46 "Bouncing with Bean" – 3:03 "Say It Isn't So" – 2:57 "Spotlite" – 3:06 "April in Paris" – 3:06 "How Strange" – 3:02 "Half Step Down, Please" – 3:02 "Angel Face" – 3:12 "There Will Never Be Another You" – 2:57 "The Bean Stalks Again" – 3:24 "Body and Soul" – 4:51 "I Love Paris" – 3:30 "Under Paris Skies" – 2:45 Coleman Hawkins – Tenor saxophone Tommy Lindsay – Trumpet Joe Guy – Trumpet Early Hardy – Trombone Jackie Fields – Alto saxophone Eustis Moore – Alto saxophone Gene Rodgers – Piano William Oscar Smith – Double Bass Arthur Herbert – Drums Thelma Carpenter – Vocals on "She's Funny That Way"
Frederick Loewe, was an Austrian-American composer. He collaborated with lyricist Alan Jay Lerner on a series of Broadway musicals, including My Fair Lady and Camelot, both of which were made into films. Loewe was born in Germany, to Viennese parents Edmond and Rosa Loewe, his father was a noted Jewish operetta star who performed throughout Europe and in North and South America. Loewe grew up in Berlin and attended a Prussian cadet school from the age of five until he was thirteen. At an early age Loewe learned to play piano by ear and helped his father rehearse, he began composing songs at age seven, he attended a music conservatory in Berlin, one year behind virtuoso Claudio Arrau, studied with Ferruccio Busoni and Eugene d'Albert. He won the coveted Hollander Medal awarded by the school and gave performances as a concert pianist while still in Germany. At 13, he was the youngest piano soloist to appear with the Berlin Philharmonic. In 1924, his father received an offer to appear in New York City, Loewe traveled there with him, determined to write for Broadway.
This proved to be difficult, he took other odd jobs, including cattle punching, gold mining and prize fighting. He found work playing piano in German clubs in Yorkville and in movie theaters as the accompanist for silent films. In 1931, he married Ernestine Zerline. Childless, they divorced in 1957. Loewe began to visit the Lambs Club, a hangout for theater performers, producers and directors, he credited The Lambs for keeping him working until his career expanded, left a share of his royalties of Brigadoon to The Lambs Foundation. He met Alan Jay Lerner there in 1942, their first collaboration was a musical adaptation of Barry Connor's farce The Patsy, called Life of the Party, for a Detroit stock company. It enjoyed a nine-week run and encouraged the duo to join forces with Arthur Pierson for What's Up?, which opened on Broadway in 1943. It ran for 63 performances and was followed by The Day Before Spring, which ran on Broadway from November 1945 to April 1946, their first hit was Brigadoon, a romantic fantasy set in a mystical Scottish village, directed by Robert Lewis with choreography by Agnes de Mille.
The musical ran on Broadway from March 1947 to July 1948 and won the 1947 New York Drama Critics' Circle award as Best Musical. It was followed in 1951 by the less successful Gold Rush story Paint Your Wagon. In 1956, Lerner and Loewe's My Fair Lady was produced on Broadway, their adaptation of George Bernard Shaw's Pygmalion, with the leads, Henry Higgins and Eliza Doolittle, being played by Rex Harrison and Julie Andrews, was a huge hit on Broadway and London. The musical won the Tony Award for Best Musical. Metro-Goldwyn-Mayer took notice and commissioned them to write the film musical Gigi, which won nine Academy Awards, including Best Picture, their next Broadway musical was Camelot in 1960. The production starred Julie Andrews and Robert Goulet. According to Playbill, "The show achieved an unprecedented advance sale of three and a half million dollars, propelled in part by a preview on the Ed Sullivan Show that featured its stars, Richard Burton and Julie Andrews." Camelot ran for 873 performances.
Loewe decided to retire to Palm Springs, not writing anything until he was approached by Lerner to augment the Gigi film score with additional tunes for a 1973 stage adaptation, which won him his second Tony, this time for Best Original Score. In 1974 they collaborated on a musical film version of The Little Prince, based on the classic children's tale by Antoine de Saint-Exupéry; this film was a critical failure, but the soundtrack recording and the film itself are in print on CD and DVD. Loewe and Lerner were nominated for the 1974 Academy Award for Best Song and Best Adapted or Original Song Score. Loewe was inducted into the Songwriters Hall of Fame in 1972. Seven years in 1979, he was inducted into the American Theater Hall of Fame. Loewe remained in Palm Springs until his death at 86; the cause of death was cardiac arrest, according to an artist and longtime friend. He had a Golden Palm Star on the Palm Springs Walk of Stars dedicated to him in 1995, he was buried in the Desert Memorial Park in California.
Lees, Gene. The Musical Worlds of Lerner and Loewe, U of Nebraska Press, ISBN 0-8032-8040-8 Frederick Loewe Foundation – official website Frederick Loewe at the Internet Broadway Database Frederick Loewe at the Songwriters Hall of Fame Frederick Loewe on IMDb John "J-Cat" Griffith. "Frederick Loewe". Composer. Find a Grave. Retrieved June 30, 2011
The Hawk in Paris
The Hawk in Paris is an album by saxophonist Coleman Hawkins featuring compositions related to Paris performed with an orchestra arranged and conducted by Manny Albam, recorded in 1956 for the RCA Records subsidiary Vik label. Scott Yanow of AllMusic states, "Manny Albam's arrangements avoid being muzaky and quite are creative and witty. What could have been a novelty or an insipid affair is one of Coleman Hawkins's more memorable albums". "April in Paris" – 3:53 "Mon Homme" – 3:19 "Under Paris Skies" – 2:46 "Mimi" – 3:08 "La Chnouf" – 3:07 "La Vie en Rose" – 2:37 "La Mer" – 3:33 "Paris in the Spring" – 3:15 "I Love Paris" – 3:31 "Mademoiselle de Paree" – 3:19 "Chiens Perdus Sans Collier" – 2:58 "Tu N' Peux T' Figurer" – 3:22 Coleman Hawkins – tenor saxophone Manny Albam – arranger, conductor Romeo Penque – saxophone, flute Al Epstein – saxophone Nick Travis – trumpet Urbie Green, Chauncey Welsch – trombone Ray Beckenstein – flute Tosha Samaroff, Paul Gershman, Leo Kruczek, Max Cahn, Alvin Rudintsky, Jack Zayde, Sy Miroff – violin Lucien Schmit, George Ricci, Pete Makis – cello Janet Putnam – harp Marty Wilson – vibraphone Hank Jones – piano Barry Galbraith – guitar Arnold Fishkind – bass Osie Johnson – drums
Betty Comden was one-half of the musical-comedy duo Comden and Green, who provided lyrics and screenplays to some of the most beloved and successful Hollywood musicals and Broadway shows of the mid-20th century. Her writing partnership with Adolph Green, called "the longest running creative partnership in theatre history", lasted for six decades, during which time they collaborated with other leading entertainment figures such as the famed "Freed Unit" at MGM, Jule Styne, Leonard Bernstein, wrote the musical comedy film Singin' in the Rain. Betty Comden was born Basya Cohen in Brooklyn, New York, to Leo Cohen, a lawyer, Rebecca, an English teacher. Both were observant Jews. Basya "attended Erasmus Hall High School and studied drama at New York University, graduating in 1938," according to The New York Times. In 1938, mutual friends introduced her to an aspiring actor. Along with the young Judy Holliday and Leonard Bernstein and Green formed a troupe called the Revuers, which performed at the Village Vanguard, a club in Greenwich Village.
Due to the act's success, the Revuers appeared in the 1944 film Greenwich Village, but their roles were so small they were noticed, they returned to New York. Comden and Green's first Broadway show was in 1944, with On the Town, a musical about three sailors on leave in New York City, an expansion of a ballet entitled Fancy Free on which Bernstein had been working with choreographer Jerome Robbins. Comden and Green wrote the book and lyrics, their next musical, Billion Dollar Baby in 1945, with music by Morton Gould was not a success, their 1947 show Bonanza Bound closed out-of-town and never reached Broadway. Comden and Green headed to California and soon found work at MGM, they wrote the screenplays for Good News and The Barkleys of Broadway, adapted On the Town for Frank Sinatra and Gene Kelly, scrapping most of Bernstein's music at the request of Arthur Freed, who did not care for the Bernstein score. The duo reunited with Gene Kelly for their most successful project, the classic Singin' in the Rain, about Hollywood in the final days of the silent film era.
Comden and Green provided the screenplay. They followed this with another hit, The Band Wagon, in which the characters of Lester and Lily, a husband-and-wife musical-writing team, were patterned after themselves, they were Oscar-nominated twice, for their screenplays for The Band Wagon and It's Always Fair Weather. They earned three Screen Writers Guild Awards: for the two aforementioned movies as well as On the Town. Comden and Green's stage work of the 1950s included Two on the Aisle, starring Bert Lahr and Dolores Gray, with music by Jule Styne; the score, including the standards "Just in Time", "Long Before I Knew You", "The Party's Over", proved to be one of their richest. The duo contributed additional lyrics to the 1954 musical Peter Pan and streamlined Die Fledermaus for the Metropolitan Opera, collaborated with Styne on songs for the play-with-music Say, Darling. In 1958, they appeared on Broadway in A Party with Betty Comden and Adolph Green, a revue that included some of their early sketches.
It was a critical and commercial success, they brought an updated version back to Broadway in 1977. The pair wrote the screenplay for Auntie Mame in 1958; the New York Times movie review from that year lays it out as follows: In its superficial racing across several strata of rich society, it does catch some glimpses of behavior that flash a few glints of irony. The picture is every bit as potent, than the play; the stage play, as written by Jerome Lawrence and Robert E. Lee from the novel of Patrick Dennis, was more like a movie script in its pile-up of pictorial business and its multiplicity of scenes; the invitation to expansion was hand-engraved in the play. Now it has been accepted by screenwriters Betty Comden and Adolph Green and by the director, Morton DaCosta, who has reveled in the greater physical range. Comden and Green's Broadway work in the 1960s included four collaborations with Jule Styne, they wrote the lyrics for Do Re Mi, the book and lyrics for Subways Are For Sleeping, Fade Out – Fade In, Hallelujah, Baby!
Their Hallelujah, Baby! Score won a Tony Award. Comden and Green wrote the libretto for the 1970 musical Applause, an adaptation of the film All About Eve, wrote the book and lyrics for 1978's On the Twentieth Century, with music by Cy Coleman. Comden played Letitia Primrose in that musical when original star Imogene Coca left the show. Comden and Green's final musical hit was 1991's The Will Rogers Follies, providing lyrics to Cy Coleman's music; the duo's biggest failure was 1982's A Doll's Life, an attempt to figure out what Nora did after she abandoned her husband in Henrik Ibsen's A Doll's House, which ran for only five performances, although they received Tony Award nominations for its book and score. In 1980, Comden was inducted into the Songwriters Hall of Fame. And, in 1981, she was inducted into the American Theatre Hall of Fame. In the early 1980s, Comden acted in Wendy Wasserstein's play Isn't It Romantic, portraying the lead character's mother. In 1984, filmmaker Sidney Lumet directed a film about Greta Garbo, Garbo Talks, starring Anne Bancroft and Ron Silver.
The producers of the film were sure that the real Garbo either could not be located
Oscar Hammerstein II
Oscar Greeley Clendenning Hammerstein II was an American librettist, theatrical producer, e director of musicals for 40 years. He won 4 Tony Awards and two Academy Awards for Best Original Song. Many of his songs are standard repertoire for vocalists and jazz musicians, he co-wrote 851 songs. Hammerstein was the playwright in his partnerships. Hammerstein collaborated with numerous composers, such as Jerome Kern, with whom he wrote Show Boat, Vincent Youmans, Rudolf Friml, Richard A. Whiting, Sigmund Romberg, but he is best known for his collaborations with Richard Rodgers, as the duo Rodgers and Hammerstein, whose collaborations include Oklahoma!, South Pacific, The King and I, The Sound of Music. Oscar Greeley Clendenning Hammerstein II was born in New York City, the son of Alice Hammerstein and theatrical manager William Hammerstein, his grandfather was the German theatre impresario Oscar Hammerstein I. His father was from a Jewish family, his mother was the daughter of Scottish and English parents.
He attended the Church of the Divine Paternity, now the Fourth Universalist Society in the City of New York. Although Hammerstein's father managed the jorgeotto Theatre for his father and was a producer of vaudeville shows, he was opposed to his son's desire to participate in the arts. Hammerstein attended Columbia University and studied at Columbia Law School until 1917; as a student, he engaged in numerous extracurricular activities. These included playing first base on the baseball team, performing in the Varsity Show and becoming an active member of Pi Lambda Phi, a Jewish fraternity; when he was 19, still a student at Columbia, his father died of Bright's disease, June 10, 1914, symptoms of which doctors attributed to scarlet fever. On the train trip to the funeral with his brother, he read the headlines in the New York Herald: "Hammerstein's Death a Shock to the Theater Circle." The New York Times wrote, "Hammerstein, the Barnum of Vaudeville, Dead at Forty." When he and his brother arrived home, they attended their father's funeral with their grandfather, more than a thousand others, at Temple Israel in Harlem, took part in the ceremonies held in the Jewish tradition.
Two hours "taps was sounded over Broadway," writes biographer Hugh Fordin. After his father's death, he participated in his first play with the Varsity Show, entitled On Your Way. Throughout the rest of his college career, Hammerstein performed in several Varsity Shows. After quitting law school to pursue theatre, Hammerstein began his first professional collaboration, with Herbert Stothart, Otto Harbach and Frank Mandel, he went on to form a 20-year collaboration with Harbach. Out of this collaboration came his first musical, Always You, for which he wrote the book and lyrics, it opened on Broadway in 1920. In 1921 Hammerstein joined The Lambs club. Throughout the next forty years, Hammerstein teamed with many other composers, including Jerome Kern, with whom Hammerstein enjoyed a successful collaboration. In 1927, Kern and Hammerstein had their biggest hit, Show Boat, revived and is still considered one of the masterpieces of the American musical theatre. "Here we come to a new genre — the musical play as distinguished from musical comedy.
Now... the play was the thing, everything else was subservient to that play. Now... came complete integration of song and production numbers into a single and inextricable artistic entity." Many years Hammerstein's wife Dorothy bristled when she heard a remark that Jerome Kern had written "Ol' Man River." "Indeed not," she retorted. "Jerome Kern wrote'dum, dum-dum.' My husband wrote'Ol' Man River'."Other Kern-Hammerstein musicals include Sweet Adeline, Music in the Air, Three Sisters, Very Warm for May. Hammerstein collaborated with Vincent Youmans, Rudolf Friml, Sigmund Romberg. Hammerstein's most successful and sustained collaboration began when he teamed up with Richard Rodgers to write a musical adaptation of the play Green Grow the Lilacs. Rodgers' first partner, Lorenz Hart planned to collaborate with Rodgers on this piece, but his alcoholism had become out of control, he was unable to write. Hart was not certain that the idea had much merit, the two therefore separated; the adaptation became the first Rodgers and Hammerstein collaboration, entitled Oklahoma!, which opened on Broadway in 1943.
It furthered the revolution begun by Show Boat, by integrating all the aspects of musical theatre, with the songs and dances arising out of and further developing the plot and characters. William A. Everett and Paul R. Laird wrote that this was a "show, like'Show Boat', became a milestone, so that historians writing about important moments in twentieth-century theatre would begin to identify eras according to their relationship to'Oklahoma.'" After Oklahoma!, Rodgers and Hammerstein were the most important contributors to the musical-play form – with such masterworks as Carousel, The King and I and South Pacific. The examples they set in creating vital plays rich with social thought, provided the necessary encouragement for other gifted writers to create musical plays of their own"; the partnership went on to produce these and other Broadway musicals such as Allegro, Me and Juliet, Pipe Dream, Flower Drum Song, The Sound of Music, as well as the musical film State Fair, the television musical Cinderella, all featured in the revue A Grand Night for Singing.
Hammerstein wrote the book and
The Hawk in Hi Fi
The Hawk in Hi Fi is an album by saxophonist Coleman Hawkins with an orchestra arranged and conducted by Billy Byers, recorded in early 1956 and released on the RCA Victor label. Scott Yanow of AllMusic states, "Hawkins is the main soloist throughout, he was still much in his prime 33 years after he first joined Fletcher Henderson's orchestra. However, Byers' arrangements are more functional than inspired, some of these selections are more easy listening than they are swinging". On PopMatters, Matt Cibula noted "Every song here is pretty amazing. Byers' arrangements are like simple rings, it might get a little soupy at times but there is nothing sentimental about any of these tracks, there is real wit and verve and intelligence behind every choice here. And when they swing, they swing it hard. “I Never Knew” rocks along nicely, as do a couple more Hawkins originals. The alternate takes are not revelatory—they sound a whole lot like the finished versions, with the solos maybe not quite as sharp".
All compositions by Coleman Hawkins except where noted "Body and Soul" – 5:00 "Little Girl Blue" – 3:04 "I Never Knew" – 3:07 "Dinner for One Please, James" – 3:12 "The Bean Stalks Again" – 3:25 "His Very Own Blues" – 3:03 "The Day You Came Along" – 4:10 "Have You Met Miss Jones?" – 3:06 "The Essence of You" – 3:30 "There Will Never Be Another You" – 3:00 "I'm Shooting High" – 2:36 "39-25-39" – 2:52 "There Will Never Be Another You" – 3:23 Additional track on CD release "There Will Never Be Another You" – 3:26 Additional track on CD release "Little Girl Blue" – 3:09 Additional track on CD release "Dinner for One Please, James" – 3:17 Additional track on CD release "I Never Knew" – 3:18 Additional track on CD release "Have You Met Miss Jones?" – 3:10 Additional track on CD release "Have You Met Miss Jones?" – 3:20 Additional track on CD release "Have You Met Miss Jones?" – 2:38 Additional track on CD release "The Day You Came Along" – 3:15 Additional track on CD release