Albany Leon "Barney" Bigard was an American jazz clarinetist known for his 15-year tenure with Duke Ellington. He played tenor saxophone. Bigard was born in New Orleans to a family of Creoles; the son of Alexander and Emanuella Bigard, he had Alexander Jr. and Sidney. His uncle, Emile Bigard, was a jazz violinist, he studied music and clarinet with Lorenzo Tio. In the early 1920s he moved to Chicago, where he worked with others. During this period, much of his recording, including with clarinetist Johnny Dodds, was on tenor saxophone, which he played with great lyricism, as on Oliver's "Someday Sweetheart". In 1927 Bigard joined Duke Ellington's orchestra in New York, where he was part of the Harlem Renaissance, he played with Ellington until 1942. They played at the Cotton Club until 1931 toured nonstop for over a decade. With Ellington, he was the featured clarinet soloist, while doing section work on tenor saxophone. After leaving Ellington's orchestra, Bigard moved to California, he did soundtrack work for Hollywood film studios and had an onscreen featured role with an all-star band led by Louis Armstrong in the film New Orleans.
He began working with trombonist Kid Ory's group during the late 1940s. He worked with Armstrong's touring band, the All Stars, others. Bigard appeared and played in the movie St. Louis Blues, with Nat King Cole, Ella Fitzgerald, Pearl Bailey and Eartha Kitt. Bigard wrote an autobiography entitled With The Duke, he is credited as composer or co-composer on several numbers, notably the Ellington standard "Mood Indigo". The first version of the song "Caravan" was recorded in Hollywood, 18 December 1936, performed as an instrumental by Barney Bigard and His Jazzopators. Two takes were recorded and were issued, although L-0373-2 is by far the more found take; the band members were Cootie Williams, Juan Tizol, Barney Bigard, Harry Carney, Duke Ellington, Billy Taylor, Sonny Greer. All of the players were members of the Duke Ellington Orchestra, drawn upon to record small-group sides. Though Ellington was present at the recording date, the session leader was Bigard. In keeping with Ellington's formation of small groups featuring his primary soloists, Bigard continued to be featured under his own name on Variety and subsequently Vocalion Records and OKeh through 1940.
When Ellington signed with Victor in 1940, Bigard recorded for Bluebird under his own name. He sat in with the Glenn Miller Orchestra for some of their biggest hits, such as "Moonlight Serenade", "Little Brown Jug", "Tuxedo Junction". Bigard was a member of Louis Armstrong's All Stars before and after Edmond Hall joined. Bigard can be seen with the All Stars in the movie The Glenn Miller Story. After World War II, Bigard recorded under his own name for Signature Records, Black & White, Selmer Records, Keynote in 1944–45, he recorded an album for Liberty in 1957 and an album for French Vogue Records as "Barney Bigard-Claude Luter Quintet" in 1966. Bigard died on June 1980, in Culver City, California, he was 74. With Louis and The Duke – Barney Bigard's autobiography Barney Bigard on IMDb Barney Bigard at the Internet Broadway Database
Midnight in Paris (album)
Midnight in Paris is an album by American pianist and bandleader Duke Ellington recorded in 1962 for the Columbia label. The album features performances of compositions associated with Paris; the Allmusic review by Scott Yanow awarded the album 1½ stars and stated "One of the odder Duke Ellington collections... Pretty music but far from essential". "Under Paris Skies" – 2:41 "I Wish You Love" – 3:50 "Mademoiselle de Paris" – 3:20 "Comme Çi Comme Ça" – 3:03 "Speak to Me of Love" – 2:02 "A Midnight in Paris" – 3:33 " My Heart Sings" – 2:03 "Guitar Amour" – 4:57 "The Petite Waltz" – 4:14 "Paris Blues" – 4:21 "Javapachacha" – 3:56 "No Regrets" – 2:12 "The River Seine" – 2:14Recorded at Columbia Studio A, New York on January 30, 1962, January 31, 1962, February 27, 1962, June 21, 1962, June 26, 1962. Duke Ellington – piano Billy Strayhorn - piano Ray Nance - cornet Cat Anderson, Shorty Baker, Bill Berry, Roy Burrowes, Howard McGhee - trumpet Lawrence Brown, Buster Cooper, Lyle Cox - trombone Chuck Connors - bass trombone Jimmy Hamilton - clarinet, tenor saxophone Johnny Hodges - alto saxophone Russell Procope - alto saxophone, clarinet Paul Gonsalves - tenor saxophone Harry Carney - baritone saxophone, bass clarinet Aaron Bell - bass Sam Woodyard - drums
The Complete Porgy and Bess
This 1956 recording based on George Gershwin's opera Porgy and Bess was the second "complete" recording of the opera after the 1951 version, the first recording of the work to feature jazz singers and musicians instead of operatic singers and a classical orchestra. Russell Garcia arranged Gershwin's work for the Bethlehem Orchestra, the Duke Ellington Orchestra, the Australian Jazz Quintet, the Pat Moran Quartet and the Stan Levey Group. Mel Tormé sang the role of Frances Faye the role of Bess; the Ellington Orchestra plays "Summertime" as the overture, but does not appear elsewhere on the album. Released by Bethlehem Records in 1956. Highlights from this recording released by Bethlehem as BCP 6040 and BCP 6009. On CD: Bethlehem Records #BET6028-2, Rhino Records #75828. Mel Tormé Frances Faye Johnny Hartman Betty Roche George Kirby Sallie Blair Frank Rosolino Loulie Jean Norman Joe Derise Bob Dorough Pat Moran Quartet Duke Ellington Orchestra): Duke Ellington, piano. "Various Artists: George Gershwin's Porgy and Bess".
Songbirds. Archived from the original on 2000-09-29. Production notes from the Jazz Discography Project
Anatomy of a Murder
Anatomy of a Murder is a 1959 American courtroom drama crime film produced and directed by Otto Preminger. The screenplay by Wendell Mayes was based on the novel of the same name written by Michigan Supreme Court Justice John D. Voelker under the pen name Robert Traver. Voelker based the novel on a 1952 murder case; the film stars James Stewart, Lee Remick, Ben Gazzara, Eve Arden, George C. Scott, Arthur O'Connell, Kathryn Grant, Brooks West, Orson Bean, Murray Hamilton; the judge was played by Joseph N. Welch, a real-life lawyer famous for dressing down Joseph McCarthy during the Army-McCarthy hearings, it has a musical score by Duke Ellington, who appears in the film, has been described by a law professor as "probably the finest pure trial movie made". In 2012, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally or aesthetically significant". In the Upper Peninsula of Michigan, small-town lawyer Paul Biegler, a former district attorney who lost his re-election bid, spends most of his time fishing, playing the piano, hanging out with his alcoholic friend and colleague Parnell McCarthy and sardonic secretary Maida Rutledge.
One day, Biegler is contacted by Laura Manion, to defend her husband US Army Lieutenant Frederick "Manny" Manion, arrested for the first-degree murder of innkeeper Bernard "Barney" Quill. Manion claims that Quill raped his wife. With such a motivation, getting Manion cleared of murder would be difficult, but Manion claims to have no memory of the event, suggesting that he may be eligible for a defense of irresistible impulse—a version of a temporary insanity defense. Biegler's folksy speech and laid-back demeanor hide a sharp legal mind and a propensity for courtroom theatrics that has the judge busy keeping things under control. However, the case for the defense does not go well since the local district attorney is assisted by high-powered prosecutor Claude Dancer from the Attorney General's office. Furthermore, the prosecution tries at every instance to block any mention of Manion's motive for killing Quill. Biegler manages to get the rape of Laura Manion into the record and Judge Weaver agrees to allow the matter to be part of the deliberations.
During cross-examination, Dancer insinuates that Laura flirted with other men, including the man she claimed raped her. Psychiatrists give conflicting testimony to Manion's state of mind at the time. Dancer says that Manion may have suspected Laura of cheating on him because he asked his wife, a Catholic, to swear on a rosary that Quill raped her; this raises doubt as to. Quill's estate is to be inherited by Mary Pilant. McCarthy learns that she is in fact Quill's daughter, a fact she is anxious to keep secret since she was born out of wedlock. Biegler, losing the case, tries to persuade Pilant that Al Paquette, the bartender who witnessed the murder, may know if Quill admitted to him of raping Laura but Paquette is covering this up, either because he loves Pilant or out of loyalty to Quill. Through Pilant, Biegler is unable to get Paquette to testify on behalf of Manion. During the trial, Laura claims. Pilant, unaware of any details of the case, testifies that she found the panties in the inn's laundry room.
Biegler suggests Quill may have attempted to avoid suspicion by dropping the panties down the laundry chute, located next to his room. Dancer tries to establish; when Dancer asserts forcibly that Quill was Pilant's lover and that Pilant lied to cover this fact, Pilant shocks everyone by stating that Quill was her father. Manion is found "not guilty by reason of insanity". After the trial, Biegler decides to open a new practice, with a newly sober McCarthy as his partner; the next day, Biegler and McCarthy travel to the Manions' trailer park home to get Manion's signature on a promissory note which they hope will suffice as collateral for a needed loan. It turns out the Manions have vacated the trailer park, the trailer park superintendent commenting that Laura Manion had been crying. Manion left a note for Biegler, indicating that his flight was "an irresistible impulse", the same justification Biegler used during the trial. Biegler states. On July 31, 1952, Lt. Coleman A. Peterson killed Maurice Chenoweth in Big Bay, Michigan.
Voelker was retained as defense attorney a few days later. The trial started on September 15, 1952, Assistant Attorney General Irving Beattie assisted Marquette County Prosecuting Attorney Edward Thomas. Voelker used a rare version of the insanity defense called irresistible impulse that had not been used in Michigan since 1886; the jury deliberated for four hours on September 23, 1952, before returning a verdict of not guilty by reason of insanity. Two days after Peterson was examined by a psychiatrist who judged him sane, he was released. Peterson and his wife were divorced soon after the trial. Hillsdale Circuit Court Judge Charles O. Arch, Sr. tried the case because of the illness of a local judge. The film was shot in several locations in the Upper Peninsula; some scenes were filmed in the Thunder Bay Inn in Big Bay, one block from the Lumberjack Tavern, the si
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
Swinging Suites by Edward E. and Edward G.
Swinging Suites by Edward E. & Edward G. is an album by American pianist and bandleader Duke Ellington recorded for the Columbia label in 1960 featuring a jazz interpretation of Peer Gynt by Grieg and Ellington's tribute to John Steinbeck's Sweet Thursday, co-written by Billy Strayhorn. The album was rereleased on CD as Three Suites along with Ellington's reworking of Tchaikovsky's The Nutcracker in 1990; the Allmusic review awarded the album 4½ stars. In the 1960s, the Royal Swedish Academy of Music made a statement, referring to a Swedish law paragraph called "Klassikerskyddet" in the copyright legislation, that Duke Ellington's jazz versions on the album were "offending to the nordic music culture". Ellington withdrew the case was never tried in court. In 1992, The New York Times reviewed a live performance of Ellington's Peer Gynt adaption: "The pieces, with their dense and gorgeous harmonies, lend themselves to live performance" and "the melody kept peeking around creamy harmonies, hurtling up-tempo sections abruptly merged with ballads".
Selections from "Peer Gynt" suites No. 1 and 2 written by Edward Grieg adapted by Duke Ellington"Morning Mood" – 4:24 "In the Hall of the Mountain King" – 2:33 "Solvejg's Song" – 3:59 "Ase's Death" – 3:47 "Anitra's Dance" – 2:58"Suite Thursday" written by Duke Ellington and Billy Strayhorn"Misfit Blues" – 4:09 "Schwiphti" – 3:04 "Zweet Zurzday" – 3:56 "Lay-By" – 4:50Recorded at Radio Recorders, Los Angeles on June 28, June 29, June 30, October 10, 1960. Duke Ellington – piano Willie Cook, Fats Ford, Eddie Mullins, Gerald Wilson – trumpet Ray Nance, – trumpet, violin Lawrence Brown, Matthew Gee, Booty Wood, Britt Woodman – trombone Juan Tizol – valve trombone Jimmy Hamilton – clarinet, tenor saxophone Johnny Hodges, Paul Horn – alto saxophone Russell Procope – alto saxophone, clarinet Paul Gonsalves – tenor saxophone Harry Carney – baritone saxophone Aaron Bell – bass Sam Woodyard – drums
National Film Registry
The National Film Registry is the United States National Film Preservation Board's selection of films deserving of preservation. The NFPB, established by the National Film Preservation Act of 1988, was reauthorized by acts of Congress in 1992, 1996, 2005, again in October 2008; the NFPB's mission, to which the NFR contributes, is to ensure the survival and increased public availability of America's film heritage. The 1996 law created the non-profit National Film Preservation Foundation which, although affiliated with the NFPB, raises money from the private sector; the NFPB adds to the NFR up to 25 "culturally or aesthetically significant films" each year, showcasing the range and diversity of American film heritage to increase awareness for its preservation. A film becomes eligible for inclusion ten years after its original release. For the first selection in 1989, the public nominated 1,000 films for consideration. Members of the NFPB developed individual ballots of possible films for inclusion.
The ballots were tabulated into a list of 25 films, modified by Librarian of Congress James H. Billington and his staff at the Library for the final selection. Since 1997, members of the public have been able to nominate up to 50 films a year for the NFPB and Librarian to consider; the NFR includes films ranging from Hollywood classics to orphan films. A film is not required to be feature-length, nor is it required to have been theatrically released in the traditional sense. In addition, television programs and foreign films are not excluded from consideration, although American films are given preference; the Registry contains newsreels, silent films, student films, experimental films, short films, music videos, films out of copyright protection or in the public domain, film serials, home movies, documentaries and independent films. As of the 2018 listing, there are 750 films in the Registry; the earliest listed film is Newark Athlete, the most recent is Brokeback Mountain. Counting the 11 multi-year serials in the NFR once each by year of completion, the year with the most films selected is 1939, with 19 films from that year chosen.
The time between a film's debut and its selection varies greatly. The longest span is 121 years; the shortest span is the minimum 10 years. This table is through the 2018 induction list. For purposes of this list, multi-year serials are counted only once by year of completion. Category:United States National Film Registry films National Recording Registry These Amazing Shadows, a 2011 documentary film that tells the history and importance of the registry National Film Registry homepage Classic Movie Hub: National Film Registry List These Amazing Shadows site for Independent Lens on PBS