1.
Chicago
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Chicago, officially the City of Chicago, is the third-most populous city in the United States. With over 2.7 million residents, it is the most populous city in the state of Illinois, and it is the county seat of Cook County. In 2012, Chicago was listed as a global city by the Globalization and World Cities Research Network. Chicago has the third-largest gross metropolitan product in the United States—about $640 billion according to 2015 estimates, the city has one of the worlds largest and most diversified economies with no single industry employing more than 14% of the workforce. In 2016, Chicago hosted over 54 million domestic and international visitors, landmarks in the city include Millennium Park, Navy Pier, the Magnificent Mile, Art Institute of Chicago, Museum Campus, the Willis Tower, Museum of Science and Industry, and Lincoln Park Zoo. Chicagos culture includes the arts, novels, film, theater, especially improvisational comedy. Chicago also has sports teams in each of the major professional leagues. The city has many nicknames, the best-known being the Windy City, the name Chicago is derived from a French rendering of the Native American word shikaakwa, known to botanists as Allium tricoccum, from the Miami-Illinois language. The first known reference to the site of the current city of Chicago as Checagou was by Robert de LaSalle around 1679 in a memoir, henri Joutel, in his journal of 1688, noted that the wild garlic, called chicagoua, grew abundantly in the area. In the mid-18th century, the area was inhabited by a Native American tribe known as the Potawatomi, the first known non-indigenous permanent settler in Chicago was Jean Baptiste Point du Sable. Du Sable was of African and French descent and arrived in the 1780s and he is commonly known as the Founder of Chicago. In 1803, the United States Army built Fort Dearborn, which was destroyed in 1812 in the Battle of Fort Dearborn, the Ottawa, Ojibwe, and Potawatomi tribes had ceded additional land to the United States in the 1816 Treaty of St. Louis. The Potawatomi were forcibly removed from their land after the Treaty of Chicago in 1833, on August 12,1833, the Town of Chicago was organized with a population of about 200. Within seven years it grew to more than 4,000 people, on June 15,1835, the first public land sales began with Edmund Dick Taylor as U. S. The City of Chicago was incorporated on Saturday, March 4,1837, as the site of the Chicago Portage, the city became an important transportation hub between the eastern and western United States. Chicagos first railway, Galena and Chicago Union Railroad, and the Illinois, the canal allowed steamboats and sailing ships on the Great Lakes to connect to the Mississippi River. A flourishing economy brought residents from rural communities and immigrants from abroad, manufacturing and retail and finance sectors became dominant, influencing the American economy. The Chicago Board of Trade listed the first ever standardized exchange traded forward contracts and these issues also helped propel another Illinoisan, Abraham Lincoln, to the national stage
2.
Los Angeles
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Los Angeles, officially the City of Los Angeles and often known by its initials L. A. is the cultural, financial, and commercial center of Southern California. With a census-estimated 2015 population of 3,971,883, it is the second-most populous city in the United States, Los Angeles is also the seat of Los Angeles County, the most populated county in the United States. The citys inhabitants are referred to as Angelenos, historically home to the Chumash and Tongva, Los Angeles was claimed by Juan Rodríguez Cabrillo for Spain in 1542 along with the rest of what would become Alta California. The city was founded on September 4,1781, by Spanish governor Felipe de Neve. It became a part of Mexico in 1821 following the Mexican War of Independence, in 1848, at the end of the Mexican–American War, Los Angeles and the rest of California were purchased as part of the Treaty of Guadalupe Hidalgo, thereby becoming part of the United States. Los Angeles was incorporated as a municipality on April 4,1850, the discovery of oil in the 1890s brought rapid growth to the city. The completion of the Los Angeles Aqueduct in 1913, delivering water from Eastern California, nicknamed the City of Angels, Los Angeles is known for its Mediterranean climate, ethnic diversity, and sprawling metropolis. Los Angeles also has an economy in culture, media, fashion, science, sports, technology, education, medicine. A global city, it has been ranked 6th in the Global Cities Index, the city is home to renowned institutions covering a broad range of professional and cultural fields, and is one of the most substantial economic engines within the United States. The Los Angeles combined statistical area has a gross metropolitan product of $831 billion, making it the third-largest in the world, after the Greater Tokyo and New York metropolitan areas. The city has hosted the Summer Olympic Games in 1932 and 1984 and is bidding to host the 2024 Summer Olympics and thus become the second city after London to have hosted the Games three times. The Los Angeles area also hosted the 1994 FIFA mens World Cup final match as well as the 1999 FIFA womens World Cup final match, the mens event was watched on television by over 700 million people worldwide. The Los Angeles coastal area was first settled by the Tongva, a Gabrielino settlement in the area was called iyáangẚ, meaning poison oak place. Gaspar de Portolà and Franciscan missionary Juan Crespí, reached the present site of Los Angeles on August 2,1769, in 1771, Franciscan friar Junípero Serra directed the building of the Mission San Gabriel Arcángel, the first mission in the area. The Queen of the Angels is an honorific of the Virgin Mary, two-thirds of the settlers were mestizo or mulatto with a mixture of African, indigenous and European ancestry. The settlement remained a small town for decades, but by 1820. Today, the pueblo is commemorated in the district of Los Angeles Pueblo Plaza and Olvera Street. New Spain achieved its independence from the Spanish Empire in 1821, during Mexican rule, Governor Pío Pico made Los Angeles Alta Californias regional capital
3.
Jazz
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Jazz is a music genre that originated amongst African Americans in New Orleans, United States, in the late 19th and early 20th centuries, and developed from roots in Blues and Ragtime. Since the 1920s jazz age, jazz has become recognized as a form of musical expression. Jazz is characterized by swing and blue notes, call and response vocals, polyrhythms, Jazz has roots in West African cultural and musical expression, and in African-American music traditions including blues and ragtime, as well as European military band music. Although the foundation of jazz is deeply rooted within the Black experience of the United States, different cultures have contributed their own experience, intellectuals around the world have hailed jazz as one of Americas original art forms. As jazz spread around the world, it drew on different national, regional, and local musical cultures, New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. In the 1930s, heavily arranged dance-oriented swing big bands, Kansas City jazz, bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging musicians music which was played at faster tempos and used more chord-based improvisation. Cool jazz developed in the end of the 1940s, introducing calmer, smoother sounds and long, modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock rhythms, electric instruments. In the early 1980s, a form of jazz fusion called smooth jazz became successful. Other styles and genres abound in the 2000s, such as Latin, the question of the origin of the word jazz has resulted in considerable research, and its history is well documented. It is believed to be related to jasm, a term dating back to 1860 meaning pep. The use of the word in a context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a context in New Orleans was in a November 14,1916 Times-Picayune article about jas bands. In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, When Broadway picked it up. That was dirty, and if you knew what it was, the American Dialect Society named it the Word of the Twentieth Century. Jazz has proved to be difficult to define, since it encompasses such a wide range of music spanning a period of over 100 years. Attempts have been made to define jazz from the perspective of other musical traditions, in the opinion of Robert Christgau, most of us would say that inventing meaning while letting loose is the essence and promise of jazz. As Duke Ellington, one of jazzs most famous figures, said, although jazz is considered highly difficult to define, at least in part because it contains so many varied subgenres, improvisation is consistently regarded as being one of its key elements
4.
Decca Records
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Decca Records began as a British record label established in 1929 by Edward Lewis. Its U. S. label was established in late 1934 by Lewis along with American Deccas first president Jack Kapp and later American Decca president Milton Rackmil. In 1937, as a result of anticipating Nazi aggression leading to World War II, Lewis sold American Decca, the British label was renowned for its development of recording methods, while the American company developed the concept of cast albums in the musical genre. Both wings are now part of the Universal Music Group, which is owned by Vivendi, the US Decca label was the foundation company that evolved into UMG. The name Decca was coined by Wilfred S. Samuel by merging the word Mecca with the initial D of their logo Dulcet or their trademark Dulcephone, Samuel, a linguist, chose Decca as a brand name as it was easy to pronounce in most languages. The name dates back to a gramophone called the Decca Dulcephone patented in 1914 by musical instrument makers Barnett Samuel. That company was renamed the Decca Gramophone Co. Ltd. Within years, Decca Records Ltd. was the second largest record label in the world, Decca bought the UK branch of Brunswick Records and continued to run it under that name. In the 1950s the American Decca studios were located in the Pythian Temple in New York City, in classical music, Decca had a long way to go from its modest beginnings to catch up with the established HMV and Columbia labels. The pre-war classical repertoire on Decca was not extensive, but was select, heinrich Schlusnus made important pre-war lieder recordings for Decca. John Culshaw, who joined Decca in 1946 in a junior post and he revolutionised recording – of opera, in particular. Hitherto, the practice had been to put microphones in front of the performers, Culshaw was determined to make recordings that would be a theatre of the mind, making the listeners experience at home not second best to being in the opera house, but a wholly different experience. To that end he got the singers to move about in the studio as they would onstage, used sound effects and different acoustics. His skill, coupled with Decca engineering, took Decca into the first flight of recording companies and his pioneering recording of Wagners Der Ring des Nibelungen conducted by Georg Solti was a huge artistic and commercial success. In the wake of Deccas lead, artists such as Herbert von Karajan, Joan Sutherland, however, Culshaw was, strictly speaking, not the first to do this. Far from being a mere rendering of the score, the 3-LP album set used sound effects to recreate the production as if the listener were watching a stage performance of the work. Until 1947, American Decca issued British Decca classical music recordings, afterwards, British Decca took over distribution through its new American subsidiary London Records. American Decca actively re-entered the classical music field in 1950 with distribution deals from Deutsche Grammophon, American Decca began issuing its own classical music recordings in 1956 when Israel Horowitz joined Decca to head its classical music operations
5.
Musicraft Records
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Musicraft Records was a record company and label established in 1937 in New York City. Musicrafts catalog encompassed many different musical styles, including music, folk, jazz, Latin, popular vocal. According to the New York Public Library, the first original cast album, composer/musician Walter Gross was an A&R executive and arranger for the label in the late 1940s. International music entrepreneur Peter Fritsch was an executive for Musicraft in the late 1940s before leaving to found Lyrichord Discs, after Musicrafts demise, jazz authority and promoter Albert Marx acquired the labels catalog and reissued many titles on his Discovery Records label. List of record labels Time Magazine story about Musicraft Records, December 9,1940 Musicraft discography
6.
Capitol Records
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Capitol Records, LLC is an American record label which operates as a division of the Capitol Music Group. The label was founded as the first West Coast-based record label in the United States in 1942 by three industry insiders named Johnny Mercer, Buddy DeSylva and Glenn Wallichs, in 1955, the label was acquired by the British music conglomerate EMI as its North American subsidiary. EMI was later acquired by Universal Music Group in 2012 and was merged with the company in 2013, making Capitol Records, Capitol Records circular headquarter building located in Los Angeles is a recognized landmark of California. Mercer first raised the idea of starting a company while golfing with Harold Arlen. By 1941, Mercer was a songwriter and a singer with multiple successful releases. Mercer next suggested the idea to Wallichs while visiting his record store, Wallichs expressed interest in the idea and the pair negotiated an agreement whereby Mercer would run the company and identify their artists, while Wallichs managed the business side. On February 2,1942, Mercer and Wallichs met with DeSylva at a Hollywood restaurant to inquire about the possibility of investment of the company from Paramount Pictures, while DeSylva declined the proposal, he handed the pair a check worth $15,000. On March 27,1942, the three men incorporated as Liberty Records, in May 1942, the application was amended to change the companys name to Capitol Records. On April 6,1942, Mercer supervised Capitols first recording session where Martha Tilton recorded the song Moon Dreams, on May 5, Bobby Sherwood and his orchestra recorded two tracks in the studio. On May 21, Freddie Slack and his orchestra recorded three tracks in the studio, one with the orchestra, one with Ella Mae Morse called Cow-Cow Boogie, on June 4,1942, Capitol opened its first office in a second-floor room south of Sunset Boulevard. On that same day, Wallichs presented the companys first free record to Los Angeles disc jockey Peter Potter, on June 5,1942, Paul Whiteman and his Orchestra recorded four songs at the studio. On June 12, the recorded five more songs in the studio. On June 11, Tex Ritter recorded Jingle Jangle Jingle and Goodbye My Little Cherokee for his first Capitol recording session, and the songs formed Capitols 110th produced record. 133 - Get On Board Little Chillun - July 31,1942 - is a Freddie Slack/Ella Mae Morse/Mellowaires recording that might be the first rock n roll record and she has sometimes been called the first rock n roll singer. A good example is her 1942 recording of song which, with strong gospel, blues, boogie. Bone Walker recorded Mean Old World a pioneering example of the use of electric guitar. The earliest recording artists included co-owner Mercer, Whiteman, Tilton, Morse, Margaret Whiting, Jo Stafford, the Pied Pipers, Johnnie Johnston, Tex Ritter, Capitols first gold single was Morses Cow Cow Boogie in 1942. Capitols first album was Capitol Presents Songs By Johnny Mercer, a three 78-rpm disc set with recordings by Mercer, Stafford and the Pied Pipers, all with Westons Orchestra
7.
Bethlehem Records
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Bethlehem Records was a jazz record company and label founded by Gus Wildi in 1953. Bethlehem is remembered for its releases from the 1950s. Producers included Creed Taylor and Teddy Charles, Bethlehem released the first albums recorded by singers Chris Connor in 1954, Nina Simone in 1958, and singer/actress Julie London. London did not record an album for the label. She recorded four songs that would later be released on the compilation LP Bethlehems Girlfriends in 1955, in 1958, Bethlehem began a distributing deal with King Records. In 1962, it was sold and absorbed by King, after Syd Nathans death in 1968, King was acquired by Starday Records and relaunched as Starday and King Records. It was acquired in 1970 by Lin Broadcasting and in 1972 by Tennessee Recording & Publishing, at that time, Bethlehem was purchased by the Cayre brothers Salsoul Records, who initially intended to release its back catalog for inexpensive 8-track tapes in the 1970s. In 1993, the Bethlehem name was revived as Bethlehem Music Company and it was licensed by the Verse Music Group in 2010. During 2013–2014, Verve and Naxos reissued the 1950s catalogue on LP, CD and this included music by Art Blakey, Chris Connor, Paula Castle, John Coltrane, Dexter Gordon, Nina Simone, Mel Tormé, and Zoot Sims. The BCP1000 Series of 10 inch LP records commenced in September 1954, the BCP Deluxe Series of 12 inch LP records commenced in 1955 and ran until 1960. Early releases consisted of reissues of 10 inch albums from the BCP1000 Series, the 6000 series of 12 inch LP records commenced in 1956 and ran until 1964. List of record labels The Pictorial Discography of 1000 Series Bethlehem Discography
8.
Concord Records
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Concord Records is an American record label based in Beverly Hills, California. The labels artists have won 14 Grammy Awards and 88 Grammy nominations, Concord issues live recordings from festivals and other venues, including a series of piano recitals from Maybeck Recital Hall in Berkeley, California, by many well-known pianists. Concords labels included Concord Picante for Latin jazz and Concord Concerto for classical music, Concord also includes The Jazz Alliance, founded around 1990 to issue programs from Marian McPartlands radio broadcast Piano Jazz. In 1999 Concord Records was purchased by a led by Hal Gaba. Its offices were moved from Concord to Beverly Hills in 2002 and its catalog was increased in 2004 with the purchase of Fantasy Records, which meant acquiring Prestige, Stax and Specialty. The company resulting from the merger came to be known as Concord Music Group and that same year, Concord partnered with Starbucks to release Ray Charless Genius Loves Company, which won eight Grammy Awards, including Album of the Year. On December 19,2005, it was announced that the group had purchased Telarc Records and its subsidiary Heads Up, in 2007, Concord started the Hear Music label in association with Starbucks, signing such artists as Paul McCartney, Joni Mitchell, and John Mellencamp. Although Starbucks ceased to be a partner an year later, Concord kept Hear active, having a Top 5 album in 2010 with Carole King. In 2008, Village Roadshow Pictures Group and Concord Music Group completed their merger, kenny G signed to Concord in early 2008, Herb Alpert in early 2009. On June 5,2009, Dave Koz signed to Concord, Concord Music Group purchased Rounder Records in 2010. In 2010, it was announced that Paul McCartneys solo and Wings catalogs would be distributed by Concord Music Group. In March 2013, Wood Creek Capital purchased Concord Music Group from Village Entertainment, in December 2015, R. E. M. announced that they would transfer their Warner Bros. Records recordings from 1988 to 2011 to Concord Records. Casey Abrams Shayne Pilpel List of record labels
9.
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
10.
George Shearing
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Sir George Shearing, OBE was a British jazz pianist who for many years led a popular jazz group that recorded for Discovery Records, MGM Records and Capitol Records. The composer of over 300 titles, including the jazz standard Lullaby of Birdland, had multiple albums on the Billboard charts during the 1950s, 1960s, 1980s and 1990s and he died of heart failure in New York City, at the age of 91. Born in Battersea, London, Shearing was the youngest of nine children and he was born blind to working class parents, his father delivered coal and his mother cleaned trains in the evening. He started to learn piano at the age of three and began training at Linden Lodge School for the Blind, where he spent four years. Though he was offered scholarships, Shearing opted to perform at a local pub. He joined a band during that time and was influenced by the records of Teddy Wilson. Shearing made his first BBC radio broadcast during this time after befriending Leonard Feather, in 1940, Shearing joined Harry Parrys popular band and contributed to the comeback of Stéphane Grappelli. Shearing won seven consecutive Melody Maker polls during this time, around that time he was also a member of George Evanss Saxes n Sevens band. In 1947, Shearing emigrated to the United States, where his harmonically complex style mixing swing, bop, one of his first performances was at the Hickory House. He performed with the Oscar Pettiford Trio and led a quartet with Buddy DeFranco. Shearing said of this hit that it was as accidental as it could be and he became known for a piano technique known as Shearings voicing, a type of double melody block chord, with an additional fifth part that doubles the melody an octave lower. In 1956, Shearing became a citizen of the United States. He continued to play with his quintet, with augmented players through the years and he created his own label, Sheba, that lasted a few years. Along with dozens of stars of his day, Shearing appeared on ABCs The Pat Boone Chevy Showroom. Earlier, he had appeared on the networks reality show, The Comeback Story. In 1970, he began to phase out his by-now-predictable quintet, later, Shearing played with a trio, as a soloist and increasingly in a duo. Among his collaborations were sets with the Montgomery Brothers, Marian McPartland, torff, Jim Hall, Hank Jones and Kenny Davern. In 1979, Shearing signed with Concord Records, and recorded for the label with Mel Tormé and this collaboration garnered Shearing and Tormé two Grammys, one in 1983 and another in 1984
11.
Jazz standard
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There is no definitive list of jazz standards, and the list of songs deemed to be standards changes over time. Songs included in major book publications and jazz reference works offer a rough guide to which songs are considered standards. Not all jazz standards were written by jazz composers, many are originally Tin Pan Alley popular songs, Broadway show tunes or songs from Hollywood musicals – the Great American Songbook. In Europe, jazz standards and fake books may include some traditional folk songs or pieces of ethnic music that have been played with a jazz feel by well known jazz players. A commonly played song can only be considered a jazz standard if it is played among jazz musicians. The jazz standard repertoire has some overlap with blues and pop standards, the most recorded jazz standard was W. C. Handys St. Louis Blues for over 20 years from the 1930s onward, today, the place is held by Body and Soul by Johnny Green. The most recorded standard composed by a musician is Thelonious Monks Round Midnight. From its conception at the change of the century, jazz was music intended for dancing. Edison, Inc. on Blue Amberol in December 1916 and in 1917, the first record with Jass on the label, The Original Dixieland One-Step was issue 18255 by Victor Talking Machine Company in 1917. Originally simply called jazz, the music of jazz bands is today often referred to as Dixieland or New Orleans jazz. Ragtime songs Twelfth Street Rag and Tiger Rag have become popular numbers for jazz artists, as have blues tunes St. Louis Blues, Tin Pan Alley songwriters contributed several songs to the jazz standard repertoire, including Indiana and After Youve Gone. Others, such as Some of These Days and Darktown Strutters Ball, were introduced by vaudeville performers, the most often recorded standards of this period are W. C. Handys St. Louis Blues, Turner Layton and Henry Creamers After Youve Gone and James Hanley, a period known as the Jazz Age started in the United States in the 1920s. Jazz had become popular music in the country, although older generations considered the music immoral, dances such as the Charleston and the Black Bottom were very popular during the period, and jazz bands typically consisted of seven to twelve musicians. Important orchestras in New York were led by Fletcher Henderson, Paul Whiteman, however, Chicagos importance as a center of jazz music started to diminish toward the end of the 1920s in favor of New York. In the early years of jazz, record companies were eager to decide what songs were to be recorded by their artists. Popular numbers in the 1920s were pop hits such as Sweet Georgia Brown, Dinah, the first jazz artist to be given some liberty in choosing his material was Louis Armstrong, whose band helped popularize many of the early standards in the 1920s and 1930s
12.
Composer
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A composer is a person who creates or writes music, which can be vocal music, instrumental music or music which combines both instruments and voices. The core meaning of the term refers to individuals who have contributed to the tradition of Western classical music through creation of works expressed in written musical notation, many composers are also skilled performers, either as singers, instrumentalists, and/or conductors. Examples of composers who are well known for their ability as performers include J. S. Bach, Mozart. In many popular genres, such as rock and country. For a singer or instrumental performer, the process of deciding how to perform music that has previously composed and notated is termed interpretation. Different performers interpretations of the work of music can vary widely, in terms of the tempos that are chosen. Composers and songwriters who present their own music are interpreting, just as much as those who perform the music of others, although a musical composition often has a single author, this is not always the case. A piece of music can also be composed with words, images, or, in the 20th and 21st century, a culture eventually developed whereby faithfulness to the composers written intention came to be highly valued. This musical culture is almost certainly related to the esteem in which the leading classical composers are often held by performers. The movement might be considered a way of creating greater faithfulness to the original in works composed at a time that expected performers to improvise. In Classical music, the composer typically orchestrates her own compositions, in some cases, a pop songwriter may not use notation at all, and instead compose the song in her mind and then play or record it from memory. In jazz and popular music, notable recordings by influential performers are given the weight that written scores play in classical music. The level of distinction between composers and other musicians varies, which issues such as copyright and the deference given to individual interpretations of a particular piece of music. In the development of European classical music, the function of composing music initially did not have greater importance than that of performing it. The preservation of individual compositions did not receive attention and musicians generally had no qualms about modifying compositions for performance. In as much as the role of the composer in western art music has seen continued solidification, for instance, in certain contexts the line between composer and performer, sound designer, arranger, producer, and other roles, can be quite blurred. The term composer is often used to refer to composers of music, such as those found in classical, jazz or other forms of art. In popular and folk music, the composer is usually called a songwriter and this is distinct from a 19th-century conception of instrumental composition, where the work was represented solely by a musical score to be interpreted by performers
13.
The Christmas Song
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The Christmas Song is a classic Christmas song written in 1945 by Bob Wells and Mel Tormé. According to Tormé, the song was written during a hot summer. In an effort to cool by thinking cool, the most-performed Christmas song was born. I saw a spiral pad on his piano with four written in pencil. Bob didnt think he was writing a song lyric and he said he thought if he could immerse himself in winter he could cool off. Forty minutes later that song was written, I wrote all the music and some of the lyrics. The Nat King Cole Trio first recorded the early in 1946. First recording, Recorded at WMCA Radio Studios, New York City, label credit, The King Cole Trio. Not issued until 1989, when it was included on the various-artists compilation Billboard Greatest Christmas Hits Rhino R170637 / R270637, second recording, Recorded at WMCA Radio Studios, New York City, August 19,1946. Label credit, The King Cole Trio with String Choir, issued November 1946 as Capitol 311. Third recording, Recorded at Capitol Studios, Hollywood, August 24,1953 and this was the songs first magnetic tape recording. Label credit, The King Cole Trio with String Choir, issued November 1953 as the new Capitol 90036 / F90036. Correct label credit issued on October 18,1954 as Capitol 2955 / F2955, label credit, Nat King Cole with Orchestra Conducted by Nelson Riddle. This recording is available on the 1990 Cole compilation CD Cole, Christmas, & Kids and it was also included, along with both 1946 recordings, on the 1991 Mosaic Records box set The Complete Capitol Recordings of the Nat King Cole Trio. This version is played on the radio during the Christmas season and is nearly identical to the popular 1961 recording. It is easy to tell apart from the 1961 version in that the final notes sounds faster, fourth recording, Recorded at Capitol Studios, New York City, March 30,1961. This rendition, the first recorded in stereo, is played on radio stations during the Christmas season. The instrumental arrangement is identical to the 1953 version, but the vocals are much deeper
14.
The Romance of Helen Trent
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The Romance of Helen Trent was a radio soap opera which aired on CBS from October 30,1933 to June 24,1960 for a total of 7,222 episodes. The show was created by Frank and Anne Hummert, who were among the most prolific producers during the radio soap era, the storyline revolved around a 35-year-old dressmaker who fascinates men as she works her way up to become the chief Hollywood costumer designer. Helen was played by three different actresses, Virginia Clark did the role for 11 years, and Julie Stevens portrayed Helen for 16 years. Stevens, who had finished playing the title role on the radio soap Kitty Foyle, was only 22 when she joined the cast. She continued in the role from 1944 to the cancellation in 1960. Stevens said she saw Helen as being similar to Edith Head, Stevens felt her character was boring and remembered the director allowed the actors to fall around and scream with laughter during rehearsals. We had to keep our sanity, by air time we had gotten it all out of our systems and could be dead serious about the story. During the 7,222 episodes, Helen never married, however, she had a long-running beau, Gil Whitney. An unusual incident occurred during a 1948 broadcast, as documented in Tune in Tomorrow, the memoir by Mary Jane Higby, as Gil attempted to convince Helen of his love for her, Helen again demurred and hesitated. Suddenly, a voice came over the airwaves, saying, Ah, for chrissakes, lay the dame, as crew members tried to locate the voice inside the studio, the man proceeded to give sexually graphic examples of what Gil should do with Helen. In spite of the shock, there were few protests from listeners, list of radio soaps LaGuardia, Robert. The Romance of Helen Trent, a story based on the radio program, begins on page 30 of the July 1940 issue of Radio. American Studies at the University of Virginia, The Romance of Helen Trent John R
15.
Jack Armstrong, the All-American Boy
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Jack Armstrong, the All-American Boy was a radio adventure series which maintained its popularity from 1933 to 1951. The program originated at WBBM in Chicago on July 31,1933, gale later served as President of the Ad Council. Early popularity led to commissioning of a radio serial broadcast, only the adventures were a product of Gales imagination. There was a real Jack Armstrong, a member of Sam Gales college fraternity, the adventures which captivated listeners each week were entirely fictitious, and led to good-natured ribbing throughout Armstrongs life. Another creation of Sam Gales fertile mind was the iconic Betty Crocker, the radio serial maintained its popularity from 1933 to 1951. Frequently, Uncle Jim Fairfield would have to visit an exotic part of the world in connection with his business, and he would take Jack Armstrong, many of the adventures provided listeners with the equivalent of a travelogue, providing facts about the lands they were visiting. The show was created by writer Robert Hardy Andrews, throughout its broadcast span, the program offered radio premiums that usually related to the adventures in which Jack and his friends were involved. In the Jack Armstrong movie serial of 1947, ace science whiz Armstrong must free his friend from a fortress after he is kidnapped by a villain who wants his help in building a death ray. That same year the Parents Institute began publishing their Jack Armstrong comic book which had a 13-issue run, leslie N. Daniels, Jr. wrote the Big Little Book, Jack Armstrong and the Ivory Treasure. Daniels tale was based on a 1937 Talbot Mundy radio script which Mundy had first written as his novel The Ivory Trail, bob Schoenke also drew a newspaper comic strip based on the radio series between 1947 and 1949. A short Jack Armstrong animated TV pilot was developed by Hanna-Barbera for a television series. However, when negotiations for rights to the characters collapsed, the series was reworked into what became the animated adventure Jonny Quest. Some of the Jack Armstrong footage survived in the credits for Jonny Quest. Timothy Bottoms portrayed Jack Armstrong in the game, American Hero. Jack Armstrong entered the National Radio Hall of Fame in 1989
16.
Harry James
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Harry Haag James was an American musician who is best known as a trumpet playing band leader who led a big band from 1939 to 1946. He broke up his band for a period in 1947. He was also an actor in a number of pictures that usually featured his bands in some way. Harry James was born in Albany, Georgia, the son of Myrtle Maybelle, an acrobat and horseback rider, and Everett Robert James, a bandleader in a traveling circus, the Mighty Haag Circus. By the age of 10 he was taking lessons from his father. Each day, James was given one page to learn from the Arbans book and was not allowed to any other pastime until he had learned that particular page. In 1931, his family settled in Beaumont, Texas and it was here, at 15 years of age, that James began playing in local dance bands. James played regularly with Herman Waldmans band, and at one performance was noticed by nationally popular Ben Pollack, in 1935 he joined Pollacks band, but at the start of 1937 left to join Benny Goodmans orchestra, where he stayed through 1938. He was nicknamed The Hawk early in his career for his ability to sight-read, a common joke was that if a fly landed on his written music, Harry James would play it. His low range had an associated with the cornet and even the flugelhorn. With financial backing from Goodman, in January 1939 James debuted his own big band in Philadelphia, Pennsylvania and this big band became known as Harry James and His Music Makers. His hit You Made Me Love You was in the Top 10 during the week of December 7,1941 and he and his band were featured in three films, Private Buckaroo, Two Girls and a Sailor and Springtime in the Rockies. He toured with the band into the 1980s, and to day the Harry James Orchestra still exists. His was the first name band to employ vocalist Frank Sinatra, in 1939, James signed Sinatra to a one-year contract, of which Sinatra worked seven months before leaving to sing for Tommy Dorsey He wanted to change Sinatras name to Frankie Satin but Sinatra refused. His later band included drummer Buddy Rich and his featured vocalist was Helen Forrest. Johnny MacAfee was featured on the sax and vocals and Corky Corcoran was a youthful sax prodigy and his orchestra succeeded Glenn Millers on a program sponsored by Chesterfield Cigarettes in 1942, when Miller disbanded his orchestra to enter the Army. In 1945, James and his orchestra had a replacement program for Danny Kayes program on CBS. He also led the orchestra for Call for Music, which was broadcast on CBS February 13,1948 - April 16,1948 and he played trumpet in the 1950 film Young Man with a Horn, dubbing Kirk Douglas
17.
Chico Marx
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Leonard Marx, known professionally as Chico Marx, was an American comedian, musician, bandleader, actor and film star. He was a member of the Marx Brothers and his persona in the act was that of a charming, dim-witted albeit crafty con artist, seemingly of rural Italian origin, who wore shabby clothes and sported a curly-haired wig and Tyrolean hat. In virtually every film that includes the trio of the Marx Brothers, Chico is seen working with Harpo Marx. Leonard was the oldest of the Marx Brothers to live past early childhood, in addition to his work as a performer, he played an important role in the management and development of the act in its early years. He was born on March 22,1887 in Manhattan, New York City, billing himself as Chico, he used an Italian persona for his onstage character, stereotyped ethnic characters were common with vaudevillians. His non-Italian-ness was specifically referred to three times on film, in Duck Soup, when Chico impersonates Groucho but retains his accent, Margaret Dumont asks what happened to his voice. Chico replies, Well, maybe sometime I go to Italy, to which Dumont replies, Your dialect is perfect. Fiorello, Well, I wouldnt know about that, Im a stranger here myself. Quentin Quayle, Can you talk Indian. Joe Panello, I was born in Indianapolis, hammer asks him if he knew what an auction was, in which he responds I come from Italy on the Atlantic Auction. He originally started playing only his right hand and fake playing with his left. Chico eventually acquired a better teacher and learned to play the piano correctly, as a young boy, he gained jobs playing piano to earn money for the Marx family. Sometimes Chico even worked playing in two places at the same time and he would acquire the first job with his piano-playing skills, work for a few nights, and then substitute Harpo on one of the jobs. In the brothers last film, Love Happy, Chico plays a piano, Lyons plays some ornate riffs on the violin, Chico comments, Look-a, Mister Lyons, I know you wanna make a good impression, but please dont-a play better than me. In a record album about the Marx Brothers, narrator Gary Owens stated that although Chicos technique was limited, the opposite was true of Harpo, who reportedly could play only two tunes on the piano, which typically thwarted Chicos scam and resulted in both brothers being fired. Groucho Marx once said that Chico never practiced the pieces he played, instead, before performances he soaked his fingers in hot water. He was known for shooting the keys of the piano and he played passages with his thumb up and index finger straight, like a gun, as part of the act. Chico became the manager of the Marx Brothers after their mother, Minnie. As manager, he cut a deal to get the brothers a percentage of a films gross receipts—the first of its kind in Hollywood, for a while in the 1930s and 1940s, Chico led a big band. Singer Mel Tormé began his career singing with the Chico Marx Orchestra
18.
Frank Sinatra
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Francis Albert Sinatra was an American singer, actor, and producer who was one of the most popular and influential musical artists of the 20th century. He is one of the music artists of all time. Born in Hoboken, New Jersey, to Italian immigrants, Sinatra began his career in the swing era with bandleaders Harry James. Sinatra found success as a solo artist after he signed with Columbia Records in 1943 and he released his debut album, The Voice of Frank Sinatra, in 1946. Sinatras professional career had stalled by the early 1950s, and he turned to Las Vegas and his career was reborn in 1953 with the success of From Here to Eternity, with his performance subsequently winning an Academy Award and Golden Globe Award for Best Supporting Actor. Sinatra released several critically lauded albums, including In the Wee Small Hours, Come Fly with Me, Only the Lonely and Nice n Easy. Sinatra left Capitol in 1960 to start his own label, Reprise Records. It was followed by 1968s collaboration with Duke Ellington, using his Las Vegas shows as a home base, he toured both within the United States and internationally until a short time before his death in 1998. Sinatra forged a successful career as a film actor. After winning an Academy Award for From Here to Eternity, he starred in The Man with the Golden Arm and he appeared in various musicals such as On the Town, Guys and Dolls, High Society, and Pal Joey, winning another Golden Globe for the latter. Toward the end of his career, he associated with playing detectives. Sinatra would later receive the Golden Globe Cecil B, on television, The Frank Sinatra Show began on ABC in 1950, and he continued to make appearances on television throughout the 1950s and 1960s. While Sinatra never formally learned how to read music, he had a natural, intuitive understanding of it, a perfectionist, renowned for his impeccable dress sense and cleanliness, he always insisted on recording live with his band. His bright blue eyes earned him the popular nickname Ol Blue Eyes, Sinatra led a colorful personal life, and was often involved in turbulent affairs with women, such as with his second wife Ava Gardner. He went on to marry Mia Farrow in 1966 and Barbara Marx in 1976, Sinatra had several violent confrontations, usually with journalists he felt had crossed him, or work bosses with whom he had disagreements. He was honored at the Kennedy Center Honors in 1983, was awarded the Presidential Medal of Freedom by Ronald Reagan in 1985, Sinatra was also the recipient of eleven Grammy Awards, including the Grammy Trustees Award, Grammy Legend Award and the Grammy Lifetime Achievement Award. After his death, American music critic Robert Christgau called him the greatest singer of the 20th century, Francis Albert Sinatra was born on December 12,1915, in an upstairs tenement at 415 Monroe Street in Hoboken, New Jersey. He was the child of Italian immigrants Antonino Martino Marty Sinatra
19.
Higher and Higher (film)
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Higher and Higher is a 1944 musical film starring Michèle Morgan, Jack Haley, and Frank Sinatra, loosely based on a 1940 Broadway musical written by Gladys Hurlbut and Joshua Logan. The film version, written by Jay Dratler and Ralph Spence with additional dialogue by William Bowers and Howard Harris, the film has songs by Jimmy McHugh and Harold Adamson, as well as one song by Rodgers and Hart, Disgustingly Rich, that remains from the stage production. The household staff of millionaire Cyrus Drake hasnt been paid for months when his bankruptcy is announced, the valet, Mike OBrien, helps with the transformation, unaware that Millie is secretly in love with him. Asked if shed ever been courted, Millie mentions that she likes the way a man next door sometimes sings to her. The social secretary Sandy begins to teach Millie the proper etiquette, no one there knows Victor cant even pay his hotel bill. Hes hoping to catch a girl to pay off his own debts. Millie isnt in love, but agrees to him for everyones sake. Mike mistakenly thinks shes in love with Frank, so he helps Millie get out of the wedding at the last minute, to his surprise, Frank ends up paired up with Katherine, which frees Mike and Millie to finally begin their romance. Higher and Higher marked the second of Sinatras forty-plus film roles, the film made a profit of $780,000. Higher and Higher at the American Film Institute Catalog Higher and Higher at the Internet Movie Database Higher and Higher at the TCM Movie Database Higher and Higher at AllMovie
20.
Good News (1947 film)
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Good News is a 1947 American MGM musical film based on the 1927 stage production of the same name. It starred June Allyson, Peter Lawford, Mel Tormé, the screenplay by Betty Comden and Adolph Green was directed by Charles Walters in Technicolor. Three additional songs were written for the film, The French Lesson, Pass That Peace Pipe, and An Easier Way, Good News was the second adaptation of the stage musical, after the 1930 film Good News. The 1947 film was a sanitized version of the musical. The film is set in 1927 at fictional Tait College, where football is all the rage, taits football star Tommy Marlowe is a prime catch for the college girls. Tommy tells his friend and non-playing teammate Bobby Turner that the trick to attracting girls is to no interest. New student Pat McClellan resists his advances, cutting Tommy down to size at a party, Pat is interested in French, so Tommy enlists part-time school librarian Connie Lane to help him study the language. He gradually falls for Connie, who comes from a poor background, meanwhile, Babe Doolittle is seeking to leave a relationship with football player Beef so she can get involved with Bobby Turner. At a local shop, Babe advises Pat not to lose her temper. Connie grows attracted to Tommy, who she feels is not interested, Tommy asks Connie to the prom, but reneges when Pat shows interest. In the end, Tait wins the big game, Tommy pairs off with Connie, Beef pairs off with Pat, the college bursts out into song in a production number. June Allyson as Connie Lane Peter Lawford as Tommy Marlowe Patricia Marshall as Pat McClellan Joan McCracken as Babe Doolittle Ray McDonald as Bobby Turner Mel Tormé as Danny Robert E and this musical number survives and is included as an extra on the DVD. The film was a box office disappointment, earning $2,545,000 in the US and Canada and $411,000 elsewhere, edens, Martin and Blane were nominated for the Academy Award for Best Song for Pass That Peace Pipe. Good News at the Internet Movie Database Good News at AllMovie Good News at the TCM Movie Database Good News at the American Film Institute Catalog DVD information about the 1947 film version
21.
The Pied Pipers
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The Pied Pipers is an American popular singing group originally formed in the late 1930s. They had several chart hits through the 1940s, both under their own name and in association with Tommy Dorsey and with Frank Sinatra, multi-instrumentalist Spencer Clark was also a member at one point. Paul Weston and Axel Stordahl, who were arrangers for Tommy Dorseys big band, Weston had a jam session at his home and a visiting advertising executive signed the octet for Dorseys radio program, broadcast in New York City. They sang with Dorseys orchestra for six weeks before a British representative of the sponsor objected to some of the songs in their repertoire. They went back to California, but in the time they had been in New York had recorded two records for RCA Victor Records. While in Los Angeles, the group was reduced to a quartet, Jo Stafford, her then-husband John Huddleston, and Chuck Lowry from the original eight, and Billy Wilson. They were getting very little work, however, and were on the threshold of disbanding when they received a call from Tommy Dorsey. Dorsey said he could not afford to hire eight Pipers but would be happy to have them join him if they could cut the number down to a quartet, as they had already done that, and with only one unemployment check remaining, they were happy to comply. In 1939, they moved to Chicago, with Clark Yocum, although Paul Weston left Dorsey to become Dinah Shores music director about that time, he was to figure in the fortunes of the group again. In 1940, Dorsey hired another vocalist, Frank Sinatra, who had sung in a quartet, The Hoboken Four. Sinatra and the Pipers teamed to record a hit, Ill Never Smile Again, in that year. The group had more chart hits with Dorsey, ten of them with Sinatra. Also, Jo Stafford herself had a hit, Yes Indeed. Around Thanksgiving,1942, Tommy Dorsey became angry at one of the Pipers for sending him in the direction at a railroad station in Portland, Oregon. The Pipers, out of loyalty, resigned en masse. At that moment, the #1 record on the charts was There Are Such Things sung by Frank Sinatra and the Pied Pipers, the last RCA record they did with Dorsey. They returned to Los Angeles and signed with Capitol Records, where Paul Weston was now working, Huddleston left to join the war effort, and Hal Hopper rejoined the group to replace him. The group also backed Johnny Mercer on a number of sides, and in 1944 Jo Stafford had a hit on her own, ahead of the Pipers, and after a couple more hits, she left for good to pursue a solo career
22.
The Manhattan Transfer
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The Manhattan Transfer is a jazz vocal group founded in 1969 that has explored a capella, vocalese, swing, standards, Brazilian jazz, rhythm and blues, and pop music. There have been two editions of the Manhattan Transfer, with Tim Hauser the only person to be part of both, the first group consisted of Hauser, Erin Dickins, Marty Nelson, Pat Rosalia, and Gene Pistilli. The second version of the group, formed in 1972, consisted of Hauser, Alan Paul, Janis Siegel, in 1979, after Massé was badly injured in a car accident, she was replaced by Cheryl Bentyne. The groups long-time pianist, Yaron Gershovsky, accompanied the group on tour, Trist Curless from the Los Angeles a cappella group m-pact became a permanent member in October 2014 following Hausers death. In 1969, Tim Hauser formed a group in New York City called the Manhattan Transfer after the novel by John Dos Passos. The group consisted of Erin Dickins, Marty Nelson, and Pat Rosalia and this group made one album, Jukin, which looked at the music of the past critically and satirically, rather than respectfully as in all later incarnations of the group. The album was commercially and critically, and the group broke up. Three years later, Hauser met Laurel Massé while he was a cab driver, soon after, he met Janis Siegel and Alan Paul and started another version of the Manhattan Transfer. After performing in clubs in New York City, the quartet released its album with guest appearances by bona fide jazz musicians Randy Brecker, Jon Faddis. The Manhattan Transfer lacked the condescension of the album, presenting instead serious vocalese renditions of Java Jive and Tuxedo Junction. During the summer of 1975, the group hosted a variety show on TV. Their next album, Coming Out, produced Chanson dAmour, which was a one hit in England. In 1978, Laurel Massé was in a car accident and dropped out of the group and she was replaced by Cheryl Bentyne. The groups next album, Extensions, produced the hit Twilight Zone, Extensions featured a cover version of Birdland, an instrumental by the jazz fusion group Weather Report, with lyrics by Jon Hendricks of Lambert, Hendricks, and Ross. One of the most popular recordings of 1980, Birdland won the Grammy Award for Best Jazz Fusion Performance. In 1981, the Manhattan Transfer made music history by becoming the first group to win Grammy awards for popular and jazz categories in the same year. Both of these appeared on the groups fifth album, Mecca for Moderns. In 1982, the group won another Grammy, for Best Jazz Vocal Performance, Duo or Group, the song was featured on the soundtrack to the Burt Reynolds film Sharkys Machine
23.
Pitch (music)
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Pitch can be determined only in sounds that have a frequency that is clear and stable enough to distinguish from noise. Pitch is a major attribute of musical tones, along with duration, loudness. Pitch may be quantified as a frequency, but pitch is not a purely objective physical property, Pitch is an auditory sensation in which a listener assigns musical tones to relative positions on a musical scale based primarily on their perception of the frequency of vibration. Pitch is closely related to frequency, but the two are not equivalent, frequency is an objective, scientific attribute that can be measured. Pitch is each persons subjective perception of a wave, which cannot be directly measured. However, this not necessarily mean that most people wont agree on which notes are higher and lower. Sound waves themselves do not have pitch, but their oscillations can be measured to obtain a frequency and it takes a sentient mind to map the internal quality of pitch. However, pitches are usually associated with, and thus quantified as frequencies in cycles per second, or hertz, by comparing sounds with pure tones, Complex and aperiodic sound waves can often be assigned a pitch by this method. According to the American National Standards Institute, pitch is the attribute of sound according to which sounds can be ordered on a scale from low to high. That is, high pitch means very rapid oscillation, and low pitch corresponds to slower oscillation, despite that, the idiom relating vertical height to sound pitch is shared by most languages. At least in English, it is just one of many deep conceptual metaphors that involve up/down, the exact etymological history of the musical sense of high and low pitch is still unclear. There is evidence that humans do actually perceive that the source of a sound is slightly higher or lower in vertical space when the frequency is increased or reduced. The pitch of tones can be ambiguous, meaning that two or more different pitches can be perceived, depending upon the observer. In a situation like this, the percept at 200 Hz is commonly referred to as the missing fundamental, Pitch depends to a lesser degree on the sound pressure level of the tone, especially at frequencies below 1,000 Hz and above 2,000 Hz. The pitch of lower tones gets lower as sound pressure increases, for instance, a tone of 200 Hz that is very loud seems one semitone lower in pitch than if it is just barely audible. Above 2,000 Hz, the pitch gets higher as the sound gets louder, theories of pitch perception try to explain how the physical sound and specific physiology of the auditory system work together to yield the experience of pitch. In general, pitch perception theories can be divided into place coding, place theory holds that the perception of pitch is determined by the place of maximum excitation on the basilar membrane. However, a purely place-based theory cannot account for the accuracy of pitch perception in the low, temporal theories offer an alternative that appeals to the temporal structure of action potentials, mostly the phase-locking and mode-locking of action potentials to frequencies in a stimulus
24.
Scat singing
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In vocal jazz, scat singing is vocal improvisation with wordless vocables, nonsense syllables or without words at all. Scat singing is a technique that requires singers with the ability to sing improvised melodies. Though scat singing is improvised, the lines are often variations on scale and arpeggio fragments, stock patterns and riffs. As well, scatting usually incorporates musical structure, will Friedwald has compared Ella Fitzgerald to Chuck Jones directing his Roadrunner cartoon—each uses predetermined formulas in innovative ways. The deliberate choice of scat syllables also is a key element in vocal jazz improvisation, syllable choice influences the pitch articulation, coloration, and resonance of the performance. Syllable choice also differentiated jazz singers personal styles, Betty Carter was inclined to use sounds like louie-ooie-la-la-la while Sarah Vaughan would prefer shoo-doo-shoo-bee-ooo-bee, the choice of scat syllables can also be used to reflect the sounds of different instruments. Humor is another important element of scat singing, cab Calloway exemplified the use of humorous scatting. In addition to such uses of language, humor is communicated in scat singing through the use of musical quotation. Leo Watson, who performed before the canon of American popular music and this is called using a compression. The 1958 song The Witch Doctor by Ross Bagdasarian Sr. creator of Alvin, Ella Fitzgerald, who performed later, was able to draw extensively on popular music in her singing. For example, in her 1960 recording of How High the Moon live in Berlin, she quotes over a dozen songs, including The Peanut Vendor, Heat Wave, A-Tisket, A-Tasket, and Smoke Gets in Your Eyes. Though Louis Armstrongs 1926 recording of Heebie Jeebies is often cited as the first song to employ scatting, one early master of ragtime scat singing was Gene Greene who recorded scat choruses in his song King of the Bungaloos and several others between 1911 and 1917. Entertainer Al Jolson scatted through a few bars in the middle of his 1911 recording of That Haunting Melody, Gene Greens 1917 From Here to Shanghai, which featured faux-Chinese scatting, and Gene Rodemichs 1924 Scissor Grinder Joe and Some of These Days also pre-date Armstrong. Cliff Ukulele Ike Edwards scatted an interlude on his 1923 Old Fashioned Love in lieu of using an instrumental soloist, harry Barris, one of Paul Whitemans The Rhythm Boys, along with Bing Crosby, scatted on several songs, including Mississippi Mud, which Barris wrote in 1927. One of the female singers to use scat was Aileen Stanley. Jelly Roll Morton credited Joe Sims of Vicksburg, Mississippi, as the creator of scat around the turn of the 20th century. Morton, Oh and that was way before Louis Armstrongs time. By the way, scat is something that a lot of people dont understand, but I must take the credit away, since I know better. The first man ever did a scat number in history of this country was a man from Vicksburg, Mississippi, by the name of Joe Sims
25.
Copacabana (nightclub)
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The Copacabana is a New York City nightclub. Many entertainers such as Danny Thomas, Pat Cooper and the team of Martin and Lewis. The Barry Manilow song Copacabana is named after the club, part of the 2003 Yerba Buena song Guajira is set there. The night club was used as a setting in the films, Goodfellas, Raging Bull, Tootsie, The Purple Rose of Cairo, Carlitos Way, The French Connection, Martin and Lewis and it was also used in several plays, including Barry Manilows Copacabana. Also the musical film Copacabana, starring Groucho Marx and Carmen Miranda, the Copacabana opened in November 10,1940, at 10 East 60th Street in New York City. Although Monte Prosers name was on the lease, he had a powerful partner, Proser, a native Englishman, was a well-connected nightclub owner and press agent whose various clients included Walt Disney, Maria Montez, Mary Pickford, and the Ziegfeld Follies. However, by 1948, such pressure had lessened, Proser was out, the Copacabana had Brazilian decor and Latin-themed orchestras, while the menu featured Chinese food. The club was known for its chorus line, The Copacabana Girls. In 1944 Harry Belafonte, then a member of the U. S. Navy, was denied entry with a date, eventually Podell was persuaded to change his policy, and Belafonte returned in the 1950s as a headliner at the club. Sammy Davis Jr. shattered attendance records with his run in May 1964, in July 1965 the Supremes made their debut there, resulting in Motown Records booking the Temptations, Martha and the Vandellas, and Marvin Gaye to perform at the Copa over the next few years. The Supremes also recorded an album there in 1965 that just missed the Top 10. Marvin Gaye also recorded an album, as did The Temptations. The Supremes, who proved to be the most successful of all the Motown acts, released The Supremes, Live at the Copa Expanded Edition in 2012, featuring the much-sought-after original repertoire. Dean Martin and Jerry Lewis were frequent performers at the club and performed their last show there on July 25,1956 and this nightclub achieved a degree of notoriety due to a May 16,1957, incident involving members of the New York Yankees. Sammy Davis, Jr. happened to be the headliner, during the performance, a group of apparently intoxicated bowlers started to interfere with Davis act, even hurling racial slurs at him. This behavior incensed the Yankees, especially Martin, since his teammate was Elston Howard, tensions erupted between the two factions, and the resulting fracas made newspaper headlines. Several of the Yankees were fined, one of the bowlers, a Bronx deli owner, ended up with a concussion and a broken jaw, and sued Bauer for aggravated assault, the case was thrown out for insufficient evidence. Martin was later traded from the Yankees to the Kansas City Athletics and it was closed for three years in 1973 after Jules Podell died, when it reopened in 1976, at the height of the disco fad, it would operate as a discothèque
26.
Fred Robbins (broadcaster)
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Fred Robbins was a popular American radio personality who went on to become a television host and celebrity interviewer. Robbins was born in Baltimore, Maryland and was a graduate of the Baltimore City College, Fred Robbins, an American disc jockey and T. V. show host, was born Fred Rubin. Robbins attended Baltimore City College and then graduated from the University of Baltimore in 1938, while at University of Baltimore, Robbins was the Features and Radio Editor of The Baloo and he was also a member of the Tennis Team and Dramatic Club. He began a career in broadcasting, at a Baltimore station, Robbins later became the disc jockey of the Robbins Nest radio show on WINS, WABC and WNEW in New York, and the host of television variety and quiz shows there. He was briefly the host of The Talent Shop and Cavalcade of Bands for the DuMont TV network, from 1953 through 1956, he was the announcer/host, and Coca-Colas spokesman, on Coke Time with Eddie Fisher on NBC. Robbins did interview programs for radio networks and filmed nearly 100 behind-the-scenes features on movie making. Robbins starred or played himself in more than two television shows or movies from the 1940s through the 1980s. He was also a feature interviewer for CNNs Showbiz Tonight and wrote profiles of celebrities for many magazines, Robbins started his career at Baltimore radio stations before moving to New York City where his career flourished. On October 29,1966, Robbins interviewed Beatles member John Lennon on the set of the movie How I Won the War in Carboneras, Robbins also had an hour-long disc-jockey program that was syndicated via electrical transcription. In 1948 the trade publication Broadcasting noted that the show was carried by more than 100 stations and he was immortalised by two jazz compositions, one by Billy Strayhorn called Snibor, his name spelt backwards. This was first recorded by the Duke Ellington Orchestra in 1947, the other composition was called Robbins Nest by Sir Charles Thompson and recorded by many artists. Robbins died of lymphoma on June 23,1992 at the Lenox Hill Hospital in Manhattan, carter Harman, Bop, Skee, Re or Be, ‘It’s Still Got to Swing’. New York Times Historical 1857 – Current File, “Lennon Interview, Carboneras, Spain with Fred Robbins 29 October 1966. ”
27.
Tenor
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Tenor is a type of classical male singing voice whose vocal range is one of the highest of the male voice types. The tenors vocal range lies between C3, the C one octave below middle C, and A4, the A above middle C, in solo work, this range extends up to C5, or tenor high C. The low extreme for tenors is roughly A♭2, at the highest extreme, some tenors can sing up to two Fs above middle C. The tenor voice type is divided into the leggero tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor. The name tenor derives from the Latin word tenere, which means to hold, in medieval and Renaissance polyphony between about 1250 and 1500, the tenor was the structurally fundamental voice, vocal or instrumental. All other voices were normally calculated in relation to the tenor, until the late 16th century introduction of the contratenor singers, the tenor was usually the highest voice, assuming the role of providing a foundation. It was also in the 18th century that tenor came to signify the male voice that sang such parts, thus, for earlier repertoire, a line marked tenor indicated the parts role, and not the required voice type. Indeed, even as late as the century, partbooks labelled tenor might contain parts for a range of voice types. The vocal range of the tenor is one of the highest of the voice types. Within opera, the lowest note in the tenor repertoire is probably A♭2 in Rossinis rarely performed La donna del lago in the role of Rodrigo di Dhu. Within more frequently performed repertoire, Mime and Herod both call for an A2, a few tenor roles in the standard repertoire call for a tenor C. Some of the few top Cs in the operatic repertoire are either optional or interpolated by tradition. However, the highest demanded note in the standard operatic repertoire is D5. Some operatic roles for tenors require a darker timbre and fewer high notes, in the leggero repertoire, the highest note is F5, therefore, very few tenors can, given the raising of concert pitch since its composition, have this role in their repertoire without transposition. Within the tenor voice type category are seven generally recognized subcategories, leggero tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, Mozart tenor, Also known as the tenore di grazia, the leggero tenor is essentially the male equivalent of a lyric coloratura. This voice is light, agile, and capable of executing difficult passages of fioritura, the typical leggero tenor possesses a range spanning from approximately C3 to E♭5, with a few being able to sing up to F5 or higher in full voice. In some cases, the chest register of the leggero tenor may extend below C3, voices of this type are utilized frequently in the operas of Rossini, Donizetti, Bellini and in music dating from the Baroque period. Leggero tenor roles in operas, The lyric tenor is a warm voice with a bright, full timbre that is strong but not heavy
28.
LP record
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The LP is an analog sound storage medium, a vinyl record format characterized by a speed of 33 1⁄3 rpm, a 12 or 10 inch diameter, and use of the microgroove groove specification. Introduced by Columbia in 1948, it was adopted as a new standard by the entire record industry. Apart from a few relatively minor refinements and the important later addition of stereophonic sound, the new product was a 12- or 10-inch fine-grooved disc made of vinyl and played with a smaller-tipped microgroove stylus at a speed of 33 1⁄3 rpm. Each side of a 12-inch LP could play for more than 20 minutes, although the LP was suited to classical music because of its extended continuous playing time, it also allowed a collection of ten or more pop music recordings to be put on a single disc. The use of the word album persisted for the one-disc LP equivalent, the prototype of the LP was the soundtrack disc used by the Vitaphone motion picture sound system, developed by Western Electric and introduced in 1926. For soundtrack purposes, the less than five minutes of playing time of side of a conventional 12-inch 78 rpm disc was not acceptable. The sound had to play continuously for at least 11 minutes, long enough to accompany a full 1, the disc diameter was increased to 16 inches and the speed was reduced to 33 1⁄3 revolutions per minute. Unlike their smaller LP descendants, they were made with the same large standard groove used by 78s, unlike conventional records, the groove started at the inside of the recorded area near the label and proceeded outward toward the edge. Like 78s, early soundtrack discs were pressed in an abrasive shellac compound, syndicated radio programming was distributed on 78 rpm discs beginning in 1928. The desirability of a longer continuous playing time soon led to the adoption of the Vitaphone soundtrack disc format, 16-inch 33 1⁄3 rpm discs playing about 15 minutes per side were used for most of these electrical transcriptions beginning about 1930. Transcriptions were variously recorded inside out like soundtrack discs or with an outside start, some transcriptions were recorded with a vertically modulated hill and dale groove. This was found to allow deeper bass and also an extension of the frequency response. Neither of these was necessarily an advantage in practice because of the limitations of AM broadcasting. Today we can enjoy the benefits of those higher-fidelity recordings, even if the radio audiences could not. Initially, transcription discs were pressed only in shellac, but by 1932 pressings in RCA Victors vinyl-based Victrolac were appearing, by the late 1930s, vinyl was standard for nearly all kinds of pressed discs except ordinary commercial 78s, which continued to be made of shellac. Use of the LPs microgroove standard began in the late 1950s, the King Biscuit Flower Hour is a late example, as are Westwood Ones The Beatle Years and Doctor Demento programs, which were sent to stations on LP at least through 1992. RCA Victor introduced a version of a long-playing record for home use in September 1931. These Program Transcription discs, as Victor called them, played at 33 1⁄3 rpm and used a somewhat finer and they were to be played with a special Chromium Orange chrome-plated steel needle
29.
Cool jazz
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Cool jazz is a style of modern jazz music that arose in the United States after World War II. It is characterized by relaxed tempos and lighter tone, in contrast to the tense, Cool jazz often employs formal arrangements and incorporates elements of classical music. Broadly, the genre refers to a number of jazz styles employing a more subdued approach than that found in other contemporaneous jazz idioms. The term cool started being applied to music around 1953. Musicians from either of the previous categories who were active in California from the 1940s through the 1960s, exploratory music with a subdued effect by Teddy Charles, Chico Hamilton, John LaPorta, and their colleagues during the 1950s. Ted Gioia and Lee Konitz have each identified cornetist Bix Beiderbecke, Gioia cites Beiderbeckes softening of jazzs strong rhythmic impact in favor of maintaining melodic flow, while also employing complex techniques such as unusual harmonies and whole tone scales. Trumbauer, through his smooth and seemingly effortless saxophone work, greatly affected tenor saxophonist Lester Young, Youngs saxophone playing employed a light sound, in contrast to the full-bodied approach of players such as Coleman Hawkins. Young also had a tendency to play behind the beat, instead of driving it and he more strongly emphasized melodic development in his improvisation, rather than hot phrases or chord changes. While Youngs style initially alienated some observers, the school embraced it. Tanner, Gerow, and Megill point out that cool developed gradually, Miles Daviss solo on Charlie Parkers Chasin the Bird in 1947 and John Lewiss piano solo on Dizzie Gillespies record of Round Midnight in 1948 anticipated the Cool Era. In 1947, Woody Herman formed a band that included tenor saxophonists Stan Getz, Zoot Sims, and Herbie Steward, the result was the Four Brothers sound, in which four strong improvisers could still perform well as a coordinated, blended section. The Herman bands recording of Early Autumn launched Getzs career, in 1948, Miles Davis formed a nonet including Mulligan, Konitz, and Evans from Thornhills orchestra. Capitol Records recorded the group in 1949 and 1950 and these recordings, originally issued as 78 rpm records, were later compiled as Birth of the Cool. Gerry Mulligan explained that the idea behind Daviss Nonet was not to get away from bebop, as far as the Cool Jazz part of it, all of that comes after the fact of what it was designed to be. As for Davis, his concern at the time was simply to play with a lighter sound, the Miles Davis Nonets existence was brief, consisting only of a two-week September 1948 engagement at the Manhattans Royal Roost and the three recording dates that make up Birth of the Cool. These recordings were not widely appreciated until some years later, however, they prefigured the work of nonet members John Lewis and Gerry Mulligan. John Lewis went on to co-found the Modern Jazz Quartet, who incorporated classical forms, such as the fugue, tanner, Gerow, and Megill note that the Quartet played classical forms quite precisely. For example, the fugues they played were truly baroque in form except that the parts were improvised
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The Andrews Sisters
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The Andrews Sisters were an American close harmony singing group of the swing and boogie-woogie eras. The group consisted of three sisters, contralto LaVerne Sophia, soprano Maxene Angelyn, and mezzo-soprano Patricia Marie Patty, throughout their long career, the sisters sold well over 75 million records. Their 1941 hit Boogie Woogie Bugle Boy can be considered an example of rhythm. The Andrews Sisters harmonies and songs are still today, and have been covered by entertainers such as Bette Midler, Christina Aguilera, Pentatonix. The group was inducted into the Vocal Group Hall of Fame in 1998, writing for Bloomberg, Mark Schoifet said the sisters became the most popular female vocal group of the first half of the 20th century. They are still widely acclaimed today for their famous close harmonies, the sisters were born to Peter Andreos and Olga, their father was Greek and their mother Norwegian-American of the Lutheran faith. Following the collapse of their fathers Minneapolis restaurant, the sisters went on the road to support the family and they started their career as imitators of an earlier successful singing group, the Boswell Sisters who were popular in the 1930s. They followed this success with a string of best-selling records over the two years and they became a household name by the 1940s. Instrumental to the success over the years were their parents, their orchestra leader and musical arranger, Vic Schoen, and Jack and David Kapp. During World War II they entertained the Allied forces extensively in America, Africa and Italy, visiting Army, Navy, Marine and Coast Guard bases, war zones, hospitals, and munitions factories. They encouraged U. S. citizens to war bonds with their rendition of Irving Berlins song Any Bonds Today. While touring, they often treated three random servicemen to dinner when they were dining out. I. An ad in the 1951 Radio Annual showed photos of the Andrews as children, as singers, and as old women in the then-future year of 1975, sadly. In the 1950s, Patty Andrews decided to break away from the act to be a soloist and she had married the trios pianist, Walter Weschler, who then became the groups manager and demanded more money for Patty. Patty attributed the breakup to the deaths of their parents, We had been nearly all our lives. Then in one year our dream world ended and our mother died and then our father. All three of us were upset, and we were at each others throats all the time, in 1951, they recorded The Windmill Song which is an adaptation of the French song Maître Pierre written in 1948 by Henri Betti and Jacques Plante. The English lyrics were written by Mitchell Parish, the Andrews Sisters formally broke up in 1953
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Classical music
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Classical music is art music produced or rooted in the traditions of Western music, including both liturgical and secular music. The central norms of this tradition became codified between 1550 and 1900, which is known as the common-practice period, Western staff notation is used by composers to indicate to the performer the pitches, tempo, meter and rhythms for a piece of music. This can leave less room for such as improvisation and ad libitum ornamentation. The term classical music did not appear until the early 19th century, the earliest reference to classical music recorded by the Oxford English Dictionary is from about 1836. This score typically determines details of rhythm, pitch, and, the written quality of the music has enabled a high level of complexity within them, J. S. The use of written notation also preserves a record of the works, Musical notation enables 2000s-era performers to sing a choral work from the 1300s Renaissance era or a 1700s Baroque concerto with many of the features of the music being reproduced. That said, the score does not provide complete and exact instructions on how to perform a historical work, even if the tempo is written with an Italian instruction, we do not know exactly how fast the piece should be played. Bach was particularly noted for his complex improvisations, during the Classical era, the composer-performer Mozart was noted for his ability to improvise melodies in different styles. During the Classical era, some virtuoso soloists would improvise the cadenza sections of a concerto, during the Romantic era, Beethoven would improvise at the piano. The instruments currently used in most classical music were largely invented before the mid-19th century and they consist of the instruments found in an orchestra or in a concert band, together with several other solo instruments. The symphony orchestra is the most widely known medium for music and includes members of the string, woodwind, brass. The concert band consists of members of the woodwind, brass and it generally has a larger variety and number of woodwind and brass instruments than the orchestra but does not have a string section. However, many bands use a double bass. Many of the used to perform medieval music still exist. Medieval instruments included the flute, the recorder and plucked string instruments like the lute. As well, early versions of the organ, fiddle, Medieval instruments in Europe had most commonly been used singly, often self accompanied with a drone note, or occasionally in parts. From at least as early as the 13th century through the 15th century there was a division of instruments into haut, during the earlier medieval period, the vocal music from the liturgical genre, predominantly Gregorian chant, was monophonic, using a single, unaccompanied vocal melody line. Polyphonic vocal genres, which used multiple independent vocal melodies, began to develop during the medieval era, becoming prevalent by the later 13th
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Frederick Delius
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Frederick Theodore Albert Delius, CH was an English composer. Born in the north of England to a mercantile family. He was sent to Florida in the United States in 1884 to manage an orange plantation, there he soon neglected his managerial duties, and in 1886 returned to Europe. Having been influenced by African-American music during his stay in Florida. Deliuss first successes came in Germany, where Hans Haym and other conductors promoted his music from the late 1890s, in Deliuss native Britain, it was 1907 before his music made regular appearances in concert programmes, after Thomas Beecham took it up. After 1918 Delius began to suffer the effects of syphilis, contracted during his years in Paris. He became paralysed and blind, but completed some late compositions between 1928 and 1932 with the aid of an amanuensis, Eric Fenby. The lyricism in Deliuss early compositions reflected the music he had heard in America, as his skills matured, he developed a style uniquely his own, characterised by his individual orchestration and his uses of chromatic harmony. Deliuss music has been intermittently popular, and often subject to critical attacks. Delius was born in Bradford in Yorkshire and he was baptised as Fritz Theodore Albert Delius, and used the forename Fritz until he was about 40. He was the second of four born to Julius Delius and his wife Elise Pauline. Deliuss parents were born in Bielefeld, Westphalia, of Dutch origin, Juliuss father, Ernst Friedrich Delius, had served under Blücher in the Napoleonic Wars. Julius moved to England to further his career as a wool merchant, the Delius household was musical, famous musicians such as Joseph Joachim and Carlo Alfredo Piatti were guests, and played for the family. Despite his German parentage, the young Fritz was drawn to the music of Chopin and Grieg rather than the Austro-German music of Mozart and Beethoven, a preference that endured all his life. The young Delius was first taught the violin by a Mr. Bauerkeller of the Hallé Orchestra, from 1874 to 1878, Delius was educated at Bradford Grammar School, where the singer John Coates was his slightly older contemporary. He then attended the International College at Isleworth between 1878 and 1880, as a pupil he was neither especially quick nor diligent, but the college was conveniently close to London for Delius to attend concerts and opera. Julius Delius assumed that his son would play a part in the wool business. Deliuss first job was as the representative in Stroud in Gloucestershire
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