Albany Leon "Barney" Bigard was an American jazz clarinetist known for his 15-year tenure with Duke Ellington. He played tenor saxophone. Bigard was born in New Orleans to a family of Creoles; the son of Alexander and Emanuella Bigard, he had Alexander Jr. and Sidney. His uncle, Emile Bigard, was a jazz violinist, he studied music and clarinet with Lorenzo Tio. In the early 1920s he moved to Chicago, where he worked with others. During this period, much of his recording, including with clarinetist Johnny Dodds, was on tenor saxophone, which he played with great lyricism, as on Oliver's "Someday Sweetheart". In 1927 Bigard joined Duke Ellington's orchestra in New York, where he was part of the Harlem Renaissance, he played with Ellington until 1942. They played at the Cotton Club until 1931 toured nonstop for over a decade. With Ellington, he was the featured clarinet soloist, while doing section work on tenor saxophone. After leaving Ellington's orchestra, Bigard moved to California, he did soundtrack work for Hollywood film studios and had an onscreen featured role with an all-star band led by Louis Armstrong in the film New Orleans.
He began working with trombonist Kid Ory's group during the late 1940s. He worked with Armstrong's touring band, the All Stars, others. Bigard appeared and played in the movie St. Louis Blues, with Nat King Cole, Ella Fitzgerald, Pearl Bailey and Eartha Kitt. Bigard wrote an autobiography entitled With The Duke, he is credited as composer or co-composer on several numbers, notably the Ellington standard "Mood Indigo". The first version of the song "Caravan" was recorded in Hollywood, 18 December 1936, performed as an instrumental by Barney Bigard and His Jazzopators. Two takes were recorded and were issued, although L-0373-2 is by far the more found take; the band members were Cootie Williams, Juan Tizol, Barney Bigard, Harry Carney, Duke Ellington, Billy Taylor, Sonny Greer. All of the players were members of the Duke Ellington Orchestra, drawn upon to record small-group sides. Though Ellington was present at the recording date, the session leader was Bigard. In keeping with Ellington's formation of small groups featuring his primary soloists, Bigard continued to be featured under his own name on Variety and subsequently Vocalion Records and OKeh through 1940.
When Ellington signed with Victor in 1940, Bigard recorded for Bluebird under his own name. He sat in with the Glenn Miller Orchestra for some of their biggest hits, such as "Moonlight Serenade", "Little Brown Jug", "Tuxedo Junction". Bigard was a member of Louis Armstrong's All Stars before and after Edmond Hall joined. Bigard can be seen with the All Stars in the movie The Glenn Miller Story. After World War II, Bigard recorded under his own name for Signature Records, Black & White, Selmer Records, Keynote in 1944–45, he recorded an album for Liberty in 1957 and an album for French Vogue Records as "Barney Bigard-Claude Luter Quintet" in 1966. Bigard died on June 1980, in Culver City, California, he was 74. With Louis and The Duke – Barney Bigard's autobiography Barney Bigard on IMDb Barney Bigard at the Internet Broadway Database
Day Dreams (Doris Day album)
Day Dreams is the title of a Doris Day album released by Columbia Records on June 13, 1955. The catalog number was CL-624. Eight of the twelve tracks had been issued as a 10" LP under the title You're My Thrill. "You're My Thrill" "Bewitched and Bewildered" "Imagination" "I've Only Myself to Blame" "I'm Confessin'" "Sometimes I'm Happy" "You Go to My Head" "I Didn't Know What Time It Was" "If I Could Be with You" "Darn That Dream" "When Your Lover Has Gone" "That Old Feeling"
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
You Can't Have Everything
You Can't Have Everything is a 1937 Fox musical film directed by Norman Taurog and produced by Darryl F. Zanuck; the movie stars Alice Faye and Don Ameche, was the film debut for Gypsy Rose Lee. Judith Poe Wells is a would-be playwright who has no money; as a result of ordering a meal in a restaurant where she cannot afford to pay, she meets George Macrae, a musical writer with a lot of power. He offers her play North Winds to producer Sam Woods, he knows it isn't any good. Alice Faye – Judith Poe Wells Don Ameche – George Macrae Al Ritz – Al Ritz Jimmy Ritz – Jimmy Ritz Harry Ritz – Harry Ritz Charles Winninger – Sam Gordon Gypsy Rose Lee – Lulu Riley Arthur Treacher – Bevins Tony Martin – Bobby Walker David Rubinoff – Rubinoff and His Violin You Can't Have Everything Sung by Alice Faye. Revel Chopsticks Performed by The Ritz Brothers Danse Rubinoff Instrumental and played by David Rubinoff Long Underwear Sung and danced by The Ritz Brothers and chorus The Loveliness of You Sung by Tony Martin Afraid to Dream Sung by Don Ameche.
Revel in 1960, along with "A Hundred Years From Today" by J. Young, N. Washington, V. Young, "What Every Girl Should Know" by R. Wells, D. Holt and "Mood Indigo" by D. Ellington, I. Mills, A. Bigard You Can't Have Everything on IMDb You Can't Have Everything at AllMovie You Can't Have Everything at the TCM Movie Database You Can't Have Everything at the American Film Institute Catalog You Can't Have Everything film clip on YouTube
Doris Day is an American actress and animal welfare activist. After she began her career as a big band singer in 1939, her popularity increased with her first hit recording "Sentimental Journey". After leaving Les Brown & His Band of Renown to embark on a solo career, she recorded more than 650 songs from 1947 to 1967, which made her one of the most popular and acclaimed singers of the 20th century. Day's film career began during the latter part of the Classical Hollywood Film era with the 1948 film Romance on the High Seas, its success sparked her twenty-year career as a motion picture actress, she starred in a series of successful films, including musicals and dramas. She played the title role in Calamity Jane, starred in Alfred Hitchcock's The Man Who Knew Too Much with James Stewart, her most successful films were the bedroom comedies she made co-starring Rock Hudson and James Garner, such as Pillow Talk and Move Over, respectively. She co-starred in films with such leading men as Clark Gable, Cary Grant, David Niven, Rod Taylor.
After her final film in 1968, she went on to star in the CBS sitcom The Doris Day Show. She was one of the top ten singers between 1951 and 1966; as an actress, she became the biggest female film star in the early 1960s, ranked sixth among the box office performers by 2012. In 2011, she released her 29th studio album, My Heart, which became a UK Top 10 album featuring new material. Among her awards, Day has received the Grammy Lifetime Achievement Award and a Legend Award from the Society of Singers. In 1960, she was nominated for the Academy Award for Best Actress, in 1989 was given the Cecil B. DeMille Award for lifetime achievement in motion pictures. In 2004, she was awarded the Presidential Medal of Freedom by President George W. Bush followed in 2011 by the Los Angeles Film Critics Association's Career Achievement Award, she is one of the last surviving stars of the Golden Age of Hollywood. Doris Mary Ann Kappelhoff was born on April 3, 1922, in Cincinnati, the daughter of Alma Sophia, a housewife, William Joseph Kappelhoff, a music teacher and choir master.
All of her grandparents were German immigrants. For most of her life, Day believed she had been born in 1924 and reported her age accordingly; the youngest of three siblings, she had two older brothers: Richard and Paul, two to three years older. Due to her father's alleged infidelity, her parents separated, she developed an early interest in dance, in the mid-1930s formed a dance duo with Jerry Doherty that performed locally in Cincinnati. A car accident on October 13, 1937, injured her right leg and curtailed her prospects as a professional dancer. While recovering from an auto accident, Day started to sing along with the radio and discovered a talent she did not know she had. Day said: "During this long, boring period, I used to while away a lot of time listening to the radio, sometimes singing along with the likes of Benny Goodman, Duke Ellington, Tommy Dorsey, Glenn Miller, but the one radio voice I listened to above others belonged to Ella Fitzgerald. There was a quality to her voice that fascinated me, I'd sing along with her, trying to catch the subtle ways she shaded her voice, the casual yet clean way she sang the words."Observing her daughter sing rekindled Alma's interest in show business, she decided Doris should have singing lessons.
She engaged Grace Raine. After three lessons, Raine told Alma that young Doris had "tremendous potential". Years Day said that Raine had the biggest effect on her singing style and career. During the eight months she was taking singing lessons, Day had her first professional jobs as a vocalist, on the WLW radio program Carlin's Carnival, in a local restaurant, Charlie Yee's Shanghai Inn. During her radio performances, Day first caught the attention of Barney Rapp, looking for a girl vocalist and asked if Day would like to audition for the job. According to Rapp, he had auditioned about 200 singers. While working for Rapp in 1939, she adopted the stage surname "Day", at Rapp's suggestion. Rapp felt that "Kappelhoff" was too long for marquees, he admired her rendition of the song "Day After Day". After working with Rapp, Day worked with bandleaders Jimmy James, Bob Crosby, Les Brown. While working with Brown, Day scored her first hit recording, "Sentimental Journey", released in early 1945, it soon became an anthem of the desire of World War II demobilizing troops to return home.
This song is still associated with Day, she rerecorded it on several occasions, including a version in her 1971 television special. During 1945–46, Day had six other top ten hits on the Billboard chart: "My Dreams Are Getting Better All the Time", "'Tain't Me", "Till The End of Time", "You Won't Be Satisfied", "The Whole World is Singing My Song", "I Got the Sun in the Mornin'". In the 1950s she became one of the highest paid singers in America. While singing with the Les Brown band and for nearly two years on Bob Hope's weekly radio program, she toured extensively across the United States, her popularity as a radio performer and vocalist, which included a second hit record "My Dreams Are Getting Better All the Time", led directly to a career in films. In 1941, Day appeared as a singer in three Soundies with the Les Brown band, her performance of the
Calamity Jane (album)
Calamity Jane was the name of a 10" LP album, released by Columbia Records on November 9, 1953, of songs sung by Doris Day and Howard Keel from the movie of the same name. In the UK, the album was released as a 10" minigroove album by Philips Records, catalogue number BBR8104. One of the tracks on this album, "Secret Love," was released as a single and became a major hit, reaching #1 on all charts; the album itself reached #2 on the Billboard magazine album charts. The album was combined with Day's 1951 album, I'll See You in My Dreams, on a compact disc, issued on June 12, 2001, by Collectables Records. All songs with lyrics by music by Sammy Fain. Although all songs were performed in the movie, only "The Deadwood Stage", "I Can Do Without You", "Higher Than A Hawk", "Secret Love" were directly recorded from the movie soundtrack.
Bright and Shiny (album)
Bright and Shiny is an album released by Columbia Records, featuring Doris Day backed by Neal Hefti's orchestra, on March 20, 1961. It was released in two forms. A song of the same name was composed for this album. Neal Hefti directed the orchestra; the album was combined with Day's 1959 album, Cuttin' Capers, on a compact disc, issued on November 13, 2001 by Collectables Records