Songs in a Mellow Mood
Songs in a Mellow Mood is a 1954 studio album by Ella Fitzgerald, accompanied by the pianist Ellis Larkins. The complete album was re-issued as part of Pure Ella. Side one "I'm Glad There Is You" – 3:10 "What Is There to Say?" – 3:22 "People Will Say We're in Love" – 3:12 "Please Be Kind" – 3:36 "Until the Real Thing Comes Along" – 2:58 "Makin' Whoopee" – 3:07Side two "Imagination" – 2:38 "Stardust" – 4:03 "My Heart Belongs to Daddy" – 2:39 "You Leave Me Breathless" – 3:07 "Baby, What Else Can I Do?" – 3:50 "Nice Work If You Can Get It" – 2:38 Ella Fitzgerald - vocals Ellis Larkins - piano
Speak Love (Hugh Sheridan album)
Speak Love is the first studio album by the Packed to the Rafters star, Hugh Sheridan. It was released on 20 November 2009 in Australia. "Speak Love" "All About Me" "Alright" "Do It Again" "Higher Love" "Never Let You Go" "Perfect Mistake" "There She Goes" "Your Love" "Nothing Hurts Like Love" "Short Skirt/Long Jacket" "One" "Ain't No Other Smile" The album did not reach the top 100 on release, but peaked at #86 in the week ending 13 December 2009. An editor at Amazon.com said'The album "Speak love" is a contemporary collection of unique original r&b/soul pop songs' Dan Murphy from'Same Same' said the album's second single, "All About Me", is catchy and has a healthy dose of rock/pop sensibility, however he criticised the album saying "the rest of the album is quite bland. Yes, the guy can sing, they don’t stand out in a crowd and will become disposable radio filling tunes within weeks of release"
Miss Ella Fitzgerald & Mr Gordon Jenkins Invite You to Listen and Relax
Miss Ella Fitzgerald & Mr Gordon Jenkins Invite You to Listen and Relax is a collection of material recorded by Ella Fitzgerald between 1949 and 1954, all tracks were arranged by Gordon Jenkins. All tracks were only available on 78rpm singles; the album was compiled and released by Decca in 1955. "I Wished on the Moon" – 3:08 "Baby" – 2:44 "I Hadn't Anyone Till You" – 3:02 "A Man Wrote a Song" – 3:11 "Who's Afraid" – 2:45 "Happy Talk" – 2:25 "Black Coffee" – 3:03 "Lover's Gold" – 3:04 "I'm Gonna Wash That Man Right Outa My Hair" – 2:53 "Dream a Little Longer" – 2:59 "I Need" – 2:40 "Foolish Tears" – 2:57 Ella Fitzgerald – vocal Gordon Jenkins – arranger
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
William James "Count" Basie was an American jazz pianist, organist and composer. In 1935, Basie formed his own jazz orchestra, the Count Basie Orchestra, in 1936 took them to Chicago for a long engagement and their first recording, he led the group for 50 years, creating innovations like the use of two "split" tenor saxophones, emphasizing the rhythm section, riffing with a big band, using arrangers to broaden their sound, others. Many musicians came to prominence under his direction, including the tenor saxophonists Lester Young and Herschel Evans, the guitarist Freddie Green, trumpeters Buck Clayton and Harry "Sweets" Edison and singers Jimmy Rushing, Helen Humes, Thelma Carpenter, Joe Williams. William Basie was born to Harvey Lee Basie in Red Bank, New Jersey, his father worked as a caretaker for a wealthy judge. After automobiles replaced horses, his father became a groundskeeper and handyman for several wealthy families in the area. Both of his parents had some type of musical background.
His father played the mellophone, his mother played the piano. She took in laundry and baked cakes for sale for a living, she paid 25 cents a lesson for Count Basie's piano instruction. Not much of a student in school, Basie dreamed of a traveling life, inspired by touring carnivals which came to town, he finished junior high school but spent much of his time at the Palace Theater in Red Bank, where doing occasional chores gained him free admission to performances. He learned to improvise music appropriate to the acts and the silent movies. Though a natural at the piano, Basie preferred drums. Discouraged by the obvious talents of Sonny Greer, who lived in Red Bank and became Duke Ellington's drummer in 1919, Basie at age 15 switched to piano exclusively. Greer and Basie played together in venues. By Basie was playing with pick-up groups for dances and amateur shows, including Harry Richardson's "Kings of Syncopation"; when not playing a gig, he hung out at the local pool hall with other musicians, where he picked up on upcoming play dates and gossip.
He got some jobs in Asbury Park at the Jersey Shore, played at the Hong Kong Inn until a better player took his place. Around 1920, Basie went to Harlem, a hotbed of jazz, where he lived down the block from the Alhambra Theater. Early after his arrival, he bumped into Sonny Greer, by the drummer for the Washingtonians, Duke Ellington's early band. Soon, Basie met many of the Harlem musicians who were "making the scene," including Willie "the Lion" Smith and James P. Johnson. Basie toured in several acts between 1925 and 1927, including Katie Krippen and Her Kiddies as part of the Hippity Hop show, his touring took him to Kansas City, St. Louis, New Orleans, Chicago. Throughout his tours, Basie met many jazz musicians, including Louis Armstrong. Before he was 20 years old, he toured extensively on the Keith and TOBA vaudeville circuits as a solo pianist and music director for blues singers and comedians; this provided an early training, to prove significant in his career. Back in Harlem in 1925, Basie gained his first steady job at Leroy's, a place known for its piano players and its "cutting contests."
The place catered to "uptown celebrities," and the band winged every number without sheet music using "head arrangements." He met Fats Waller, playing organ at the Lincoln Theater accompanying silent movies, Waller taught him how to play that instrument.. As he did with Duke Ellington, Willie "the Lion" Smith helped Basie out during the lean times by arranging gigs at "house-rent parties," introducing him to other leading musicians, teaching him some piano technique. In 1928, Basie was in Tulsa and heard Walter Page and his Famous Blue Devils, one of the first big bands, which featured Jimmy Rushing on vocals. A few months he was invited to join the band, which played in Texas and Oklahoma, it was at this time. The following year, in 1929, Basie became the pianist with the Bennie Moten band based in Kansas City, inspired by Moten's ambition to raise his band to the level of Duke Ellington's or Fletcher Henderson's. Where the Blue Devils were "snappier" and more "bluesy," the Moten band was more refined and respected, playing in the "Kansas City stomp" style.
In addition to playing piano, Basie was co-arranger with Eddie Durham. Their "Moten Swing", which Basie claimed credit for, was acclaimed and was an invaluable contribution to the development of swing music, at one performance at the Pearl Theatre in Philadelphia in December 1932, the theatre opened its door to allow anybody in who wanted to hear the band perform. During a stay in Chicago, Basie recorded with the band, he played four-hand piano and dual pianos with Moten, who conducted. The band improved with several personnel changes, including the addition of tenor saxophonist Ben Webster; when the band voted Moten out, Basie took over for several months, calling the group "Count Basie and his Cherry Blossoms." When his own band folded, he rejoined Moten with a newly re-organized band. A year Basie joined Bennie Moten's band, played with them until Moten's death in 1935 from a failed tonsillectomy; when Moten died, the band tried to stay together but couldn't make a go of it
Lew Brown was a lyricist for popular songs in the United States. During World War I and the Roaring Twenties, he wrote lyrics for several of the top Tin Pan Alley composers Albert Von Tilzer. Brown was one third of a successful songwriting and music publishing team with Buddy DeSylva and Ray Henderson from 1925 until 1931. Brown wrote or co-wrote many Broadway shows and Hollywood films. Among his most-popular songs are "Button Up Your Overcoat", "Don't Sit Under the Apple Tree", "Life Is Just a Bowl of Cherries", "That Old Feeling", "The Birth of the Blues". Brown was born December 1893, in Odessa, Russian Empire, part of today's Ukraine; when he was five, his family settled in New York City. He attended DeWitt Clinton High School but, at the suggestion of a teacher, he left to pursue his songwriting career without graduating. Lew Brown was married first to Sylvia Fiske to Catherine "June" Brown until his death, he had two daughters from Naomi Brown Greif and Arlyne Brown Mulligan. The latter was married to the prominent jazz saxophonist Gerry Mulligan.
Brown started writing for Tin Pan Alley in 1912 and collaborated with established composers, like Albert Von Tilzer. Two of their well-known works that year were " Kentucky Sue" and "I'm the Lonesomest Gal in Town". Brown wrote a string of popular World War I songs during 1914–1918, teaming with Von Tilzer, Al Harriman, other composers. In 1925, Brown formed his most-successful songwriting partnership with Buddy DeSylva and Ray Henderson, their cheerful hits, such as "Button Up Your Overcoat" and "The Birth of the Blues", earned lasting appreciation for "the rich variety of verbal mosaics" and "the suggestive imagery, their trademark". DeSylva left in 1931 but Brown and Henderson continued scoring Broadway shows. Brown worked with other composers, like Sammy Fain. "Brown in 1939 estimated that he had written or collaborated on about 7,000 songs."Brown wrote the lyrics to "Don't Sit Under the Apple Tree", which appeared in the film Private Buckaroo. Recordings by Glenn Miller and by the Andrews Sisters popularized the song with World War II soldiers and radio audiences.
Not long after this hit, Brown retired from songwriting. Brown and Fain's "That Old Feeling". "Don't Sit Under the Apple Tree" was inducted into the Grammy Hall of Fame. Von Tilzer, DeSylva and Henderson were all included in the inaugural class of the Songwriters Hall of Fame; the DeSylva and Henderson songwriting team was the subject of the 1956 musical biopic: The Best Things in Life Are Free. Brown was portrayed by Ernest Borgnine. Brown died of a heart attack at home in New York City on February 5, 1958. Cecil Mack and Lew Brown, "Shine". Music: Ford Dabney. 1910. Albert Von Tilzer and Lew Brown. " Kentucky Sue". New York: The York Music Co. 1912. OCLC 16992118 Albert Von Tilzer and Lew Brown. "I'm The Lonesomest Gal In Town". New York: The York Music Co. 1912. Edgar Leslie and Lew Brown. "They Start in to Battle Again". New York, 1914. Albert Von Tilzer and Lew Brown. "Au Revoir But Not Good Bye, Soldier Boy". Broadway Music, 1917. OCLC 459552706 Albert Von Tilzer and Lew Brown. "I May Be Gone for a Long, Long Time".
Broadway Music, 1917. OCLC 20119729 Albert Von Tilzer, Charles McCarron, Lew Brown. "What Kind of an American are You?". Broadway Music, 1917. OCLC 72437572 Darl MacBoyle and Lew Brown. "Since Johnny Got His Gun". Music: Albert Von Tilzer. New York, 1917. "I'll Come Back to You When It's All Over". Music: Kerry Mills. 1917. Al Harriman and Lew Brown. "I'm Writing to You, Sammy". New York, 1917. Al Harriman and Lew Brown. "I Can't Stay Here While You're Over There". New York, 1918. Lew Brown and Al Harriman. "I Wonder What They're Doing To-Night". Music: Jack Egan. New York, 1918. Al Harriman and Lew Brown. "We'll Do Our Share". Music: Jack Egan. New York, 1918. Will Clayton and Lew Brown. " Little Girl". New York, 1918. Albert Von Tilzer and Lew Brown. "I May Stay Away a Little Longer". New York, 1918. Albert Von Tilzer and Lew Brown. "Oh By Jingo!" 1919. Max Friedman, Lew Porter and Lew Brown. "Tillie Don't Be So Silly". New York, 1919. Albert Von Tilzer and Lew Brown. "Dapper Dan", 1921. "Last Night on the Back Porch". Music: Carl Schraubstader.
1923. Lew Brown and Sidney Clare. "Then I'll Be Happy". Music: Cliff Friend. 1925. Buddy DeSylva and Lew Brown. "The Birth of the Blues". Music: Ray Henderson. 1926. Buddy DeSylva and Lew Brown. "It All Depends on You". Music: Ray Henderson. 1926. Buddy DeSylva and Lew Brown. "Lucky Day". Music: Ray Henderson. 1926. Buddy DeSylva and Lew Brown. "The Best Things in Life Are Free". Music: Ray Henderson. 1927. Buddy DeSylva and Lew Brown. "So Blue". Music: Ray Henderson. 1927. Buddy DeSylva and Lew Brown. "The Varsity Drag". Music: Ray Henderson. 1927. OCLC 223326831 Buddy DeSylva and Lew Brown. "Button Up Your Overcoat". Music: Ray Henderson. 1928. Buddy DeSylva and Lew Brown. "You're the Cream in My Coffee". Music: Ray Henderson. 1928. Buddy DeSylva and Lew Brown. "Sonny Boy". Music: Ray Henderson. 1928. Buddy DeSylva and Lew Brown. "Together". Music: Ray Henderson. 1928. Buddy DeSylva and Lew Brown. "I'm A Dreamer, Aren't We All?". Music: Ray Henderson. 1929. Buddy DeSylva and Lew Brown. "Sunny Side Up". Music: Ray Henderson. 1929. Buddy DeSylva and Lew Brown.
"One More Time". Music: Ray Henderson. 1931. "Life Is Just a Bowl of Cherries". Music: Ray Henderson. 1931. "That's Why Darkies Were Born". Music: Ray Henderson. 1931. "Stand Up and Cheer". Music: Harry Akst. 1934. "That Old Feeling". Mus