#dixieland film

[powerlineprincess]

Kinda wanna watch Dixieland kinda wanna avoid a cry fest cause it reminds me of home and my baby when we first met, and how we went on to make it out of our home town to better things. Reminds me of how my baby thought I could never love a mf like him. I don't want the movie to end badly with them not making it or the main guy getting his head popped...its literally the same reason I can BARELY ever listen to Preacher's Daughter because its too real for me its like describing my life back to me and making me look dead at it as it claws my eyelids back. I can't listen unless I need a good cry lol. I got the early homeschooled and insulated years right beside all the chaos, then I got out to "secular" school and my desire pulled me straight into the pure chaos and wildness of small town NC, from 13 onward. Still in church every Sunday, high as kite and no longer virgin white. Anyway, now I'm just reminiscing.

[stevebattle]

P.J. by Sega Enterprises, Ltd.  (1980). P.J. Pizzazz was Sega's answer to Atari's Chuck E. Cheese's Pizza Time Theatre. "The first P.J. Pizzazz was opened in West Covina, California's Eastland Center shopping mall in June 1980. Each venue contained pinball machines, Skee-Ball, and "Hit City", an area where customers could play the latest upright arcade machines. For one token, children could play in a ball pit or bounce in an inflatable bounce house. Pizza was made and served in the restaurant area of the venue, and Dixieland bands, cartoonists and magicians would perform regularly. Also featured were giant television screens for sporting events, films and announcements. The chain also had a mascot, a simple animatronic robot character named "P.J." who mingled with guests and delivered them personalized messages during their visit." – Sega Retro

[bradydugan8]

The Jungle Book (1967)

The Jungle Book is a wonderful coming of age animated musical film that follows Mowgli as he learns to grasp his identity of man. The music in this film is a combination of a rich score, songs lacking in cultural authenticity, and a framed structure that is easily interpreted.

In what ways does the film’s score situate the story with its narrative context?

Because the film is a coming of age story, while situated within a dangerous jungle where Mowgli's life is at stake, the score is composed of jazz that communicates four main emotions. Those are mystery, danger, curiosity, and happiness. Mowgli, making his way through the jungle with the help of Baloo and Bagheera, is either in a mysterious situation, in a dangerous situation, filled with curiosity, or completely blissful. This is communicated through the score which establishes that the jungle is a mysterious and dangerous place. It then goes on to communicate when Mowgli is not in danger and exploring or filled with happiness. The opening credits that show the darkness of the jungle combined with the mysterious score perfectly set the scene for Mowgli's trek through it.

How do songs use character performance to push cultural authenticity in the film’s diegesis?

The cultural authenticity in this film is lacking. Even though the film takes place in the jungles of India, the style of music performed by the characters and executed in the score is composed of jazz, Dixieland jazz, barbershop quartets and pop. Other than the small uses of snake charming music, which originates from India, the styles are all American or European. Although the film lacks this crucial cultural authenticity, the performances of the characters are upbeat which through the genre of the music, makes a fun film. The "Trust in Me" number, in which Kha the snake hypnotizes Mowgli, is a standout use of culturally authentic music to craft a scene of danger which leads Mowgli down his path of mistrusting everyone. After this plot point, Mowgli realizes he has to have his guard up at all times and additionally, he cannot rely on anyone to save him from Shere Khan.

In what ways does the film use musical "framing" to structure the score within familiarized styles?

The structure of the films score progresses from mystery and intrigue in the beginning, to curiosity and happiness in the middle, to danger and fear in the ending. This structure helps progress the narrative of the film and encompass the many emotions Mowgli feels as a result of the situations he's in. This rising and falling of conflict reflected in the score helps structure the film and relates to other styles as it is easily understood. In the final fight scene amongst Mowgli, Shere Khan, and Baloo, the dramatic crashes of the jazz score aid the emphasis on the climax.

[dijidweeeb]

Album Cover - Junk Shop Special - Jazz Collector Series LP

Cover art by illustrator, animator and graphic artist Gene Deitch. Two singles from Australia of Dixieland jazz from the 1920’s. On the Swaggie label. Johnny Dodds, King Oliver, etc.   Among many accomplishments, including an Oscar for Best Animated Film, Deitch, in the 1940’s and 50’s, was a frequent contributor to Record Changer magazine, a magazine for jazz record collectors.

[mildewandrot]

ethel cain coded films and tv:

Film:

Carrie (1976)

Possession (1981)

Winter's Bone (2010)

Martha Marcy May Marlene (2011)

Prisoners (2013)

Rich Hill [documentary] (2014)

Gone Girl (2014)

Dixieland (2015)

The Witch (2015)

Raw (2016)

American Honey (2016)

Nocturnal Animals (2016)

Katie Says Goodbye (2016)

Saint Maid (2019)

I'm thinking of ending things (2020)

The Devil All The Time (2020)

Bones and All (2022)

Pearl (2022)

The Wonder (2022)

God's Creatures (2022)

TV:

Friday Night Lights (2006)

True Blood (2009)

True Detective (2014)

The Sinner (2017)

Sharp Objects (2018)

Midnight Mass (2021)

Under The Banner of Heaven (2022)

Devil In Ohio (2022)

Love and Death (2023)

[shefanispeculator]

Blake Shelton, Brad Paisley, Jason Aldean and More Honor Alabama With "CMT Giants: Alabama" | News | CMT

BLAKE SHELTON, BRAD PAISLEY, JASON ALDEAN AND MORE HONOR ALABAMA WITH "CMT GIANTS: ALABAMA"

"CMT GIANTS: ALABAMA" WILL AIR IN THE COMING MONTHS ON CMT.

January 17, 2024

Country Music Hall of Fame band Alabama has been a country music staple for five decades, and bolstered by CMT, some of the genre's biggest stars are gathering to celebrate the group.

Blake Shelton, Brad Paisley, Evander Holyfield, Jason Aldean, Jamey Johnson, Lionel Richie, Little Big Town, Lorrie Morgan, Luke Bryan, Martina McBride, Old Dominion, Pam Tillis, Riley Green, Sam Hunt, and Vince Gill will gather at Belmont University's Fisher Center for the Performing Arts in Nashville to film a two-hour television special that will air later this year.

Shelton with Wariner, Paisley, Johnson, Aldean, Little Big Town, Old Dominion, Tillis and Morgan, Green and Hunt will pay tribute to the group by singing some of Alabama's biggest hits.

Holyfield, Richie, Bryan, McBride, Gill and more will participate virtually and in person as they share stories about the group and what Alabama means to country music.

There will also be a new interview with Alabama's Randy Owen and Teddy Gentry to allow members to reflect on their career.

Alabama is known for hit songs including "Mountain Music," "Roll On," "Dixieland Delight," "If You're Gonna Play In Texas (You Gotta Have A Fiddle In The Band)," "My Home's In Alabama," "Feels So Right," "Song Of The South" and more.

[hooked-on-elvis]

"Danny" (1958)

FROM THE "KING CREOLE" SOUNDTRACK ALBUM, RELEASED ON SEP. 19, 1958

ELVIS PRESLEY: (1) January 1958, during record session for the soundtrack to the "King Creole" film (Paramount Pictures). (2) "King Creole" photo shoot. Early March 1958.

Written by Fred Wise and Ben Weisman. Recorded for the motion picture King Creole. Recorded February 11, 1958 at Paramount Scoring Stage. Vocals: Elvis and The Jordanaires. Guitar: Scotty Moore, Tiny Timbrell. Bass: Bill Black, Ray Siegel. Drums: D.J. Fontana, Bernie Mattionson, Piano: Dudley Brooks. (Info: elvisthemusic.com)

THE RECORDING SESSION

Soundtrack Recordings for Paramount’s King Creole January 15–16 and 23, 1958 at Radio Recorders and February 11, 1958 at Paramount Soundstage, Hollywood. King Creole gave Elvis his most challenging movie role yet. Based on the Harold Robbins novel A Stone for Danny Fisher, it presented an opportunity to work with the acclaimed Hungarian-born director Michael Curtiz (whose work included Casablanca) and placed Elvis alongside accomplished actors such as Carolyn Jones [as Ronnie, Maxie's mistress], Walter Matthau [as Maxie Fields, the local gangster], and Dean Jagger [as Mr. Fisher, Danny's father]. The music was to be an integral part of this serious and rather dark story of a young singer (in the novel he’d been a boxer) trying to make it in the nightclubs of New Orleans. Traditional New Orleans music had its own very specific African-American roots, and Elvis always pointed to New Orleans R&B (Fats Domino was probably its leading exemplar) as instrumental to his development. But Elvis hadn’t gone over all that well in New Orleans when he appeared there three times in 1955, and the Memphis brand of rock ’n’ roll was very different from the New Orleans tradition. To help create an authentic Dixieland sound, Paramount hired some of L.A.’s best session players for the recording: a four-piece brass section augmented by bass player Ray Siegel, who doubled on tuba. Elvis’s own band was supplemented again by piano player Dudley Brooks, and by a second drummer at an extra recording date later when the complexity and variety of the rhythms proved too much for Bill Black and D. J. [Fontana] to handle. With fourteen musicians in the band, this was by far the largest group Elvis had ever worked with in the studio, but for engineer Thorne Nogar it would be business as usual. Elvis’s support team included Paramount musical director Charles O’Curran as well as Jerry Leiber and Mike Stoller, who had just signed on as producers for RCA. As Elvis’s favorite writers of the moment they brought material to the session, along with other Elvis Presley Music regulars like Aaron Schroeder and Claude DeMetrius, who sent in two infectious rock ’n’ roll originals. The ever-dependable Ben Weisman and his partner, Fred Wise, came up with “Danny” as a proposed title cut, along with several other new songs.

Excerpt: "Elvis Presley: A Life in Music" by Ernst Jorgensen. Foreword by Peter Guralnick (1998)

The Dixieland-flavored King Creole sessions. On January, 1958 Elvis worked on the soundtrack for King Creole at Radio Recorders and at Paramount's Soundstage in Hollywood, CA.

LYRICS — "DANNY" (Fred Wise/Ben Weisman)

My name should be trouble My name should be woe For trouble and heartache Is all that I know But Danny, yes, Danny is my name My life has been empty My heart has been torn It must have been rainy, oh, yeah The night I was born Oh Danny, oh Danny is my name I'm so afraid of tomorrow So tired of today They say that love is the answer But love never came my way I'm writing a letter To someone I know So if you should find it, yes, And if you're alone Oh Danny, yes, Danny is my name Oh Danny, yes, Danny is my name

Elvis Presley as Danny Fisher in scenes from "King Creole" (Paramount Pictures, 1958), directed by Michael Curtiz.

[rougedraconteur]

I have a feeling, with Taylor Hanson’s huge recording session coming up, and D’s early and notable involvement, according to Variety, that we will see his birthday evolve into a huge party at the bar with many of these musical folks dropping in to promote this recording. Did he reach out to Harry Styles at his recent L.A. concert? Possibly, though Harry’s team might be reluctant for him to participate in something that could make him a target, being so high-profile. And all his Songwriters, Glee, Broadway pals? Dhani Harrison? Other pop, country, and rock music pals? Didn’t he host some awards this past weekend for the Songwriting industry? I forgot to write down that date.

And Mardi Gras is coming up, he is serving as King for one of the largest parade Krewes, that will most likely be “anniversary party” in NOLA with the “friends” team. That particular Krewe is a huge event, with one of the largest memberships numbering in the thousands, and founded by musicians, like Harry Connick’s family, to be specific. Many of the jazz, blues, Dixieland, zydeco, country, Americana, Cajun, and all other styles of music will be part of that parade and the huge parties that accompany it. We should be seeing a LOT of D coming up, at least what they want us to see. Plenty of opportunities for both staged images, and what will look like bts images, probably with photogs like Jenny Anderson, who normally covers NYC now for him and is part of that NYC “friends” team. Maybe the wedding photog from NOLA will come back into play, it seems like he is building a base team there now, too, showing up recently working on a film crew there with pals like Top Gun Maverick and former Scream Queens star Glen Powell, part of the Murphy stable. NOLA is one of the top 5 film cities, RM has filmed there A LOT, so there are locals at all levels who are qualified for set work and need jobs. If one is trying to break into an indie film market, this would be a good place to start, for movies, tv, documentaries, music videos, you name it.

These Mardi Gras Krewe events are HUGE, with masks and costumes, so virtually anyone can also go unseen if they want to. It’s one of the most unique towns in America, there is a real culture, heirarchy, history there, a freedom and artistry, and people of all kinds are deeply intertwined. And the L.A. events are standard practice: if you wanna keep getting the call, and the cash, you take what they want you to take, make it look like whatever they are selling this week, and stay out of dark corners and back rooms. It may be harder to establish a loyal and dependable team there, since there are so many opportunities and so many paps, but that is becoming a tougher market since the pandemic.

D is making a strong push for Social Justice Influencer in the Music Community. He has already made a lot of friends and key connections in the industry, and is a huge and valuable Connector (Malcolm Gladwell, Tipping Point) of People and Projects; helped and is helping a lot of people on the way up, and fanboys and brings attention for younger audiences for others that may have needed a boost. 2023 is another building block year of events keyed to becoming a John Legend level Music Influencer respected in the industry. He is doing all the grunt work and hustle, not many people work that hard on so many levels, and he is building a strong base of support that lifts all boats.

Disney+, PLEASE film a music series with this guy, he is like a walking music encyclopedia, and his fanboying is contageous. If Derek Hough can travel the world exploring dancing for Nat Geo (though I have yet to see any of it), then absolutely D can showcase music.

[brookston]

Holidays 1.30

Holidays

Bloody Sunday (a.k.a. Bogside Massacre Anniversary Day; Northern Ireland)

Cash Register Day

Change Your Voicemail Greeting Day

Congressional Brawl Day

CTE Awareness Day

Day of Azerbaijani Customs (Azerbaijan)

Day of Saudade (Brazil)

Denise D’Ascenzo Day (Connecticut)

Draw A Dinosaur Day [ website ]

Escape Day

Festival of Peace

Fred Korematsu Day (California, Florida, Hawaii, Virginia)

Hi-Yo, Silver Day

Inane Answering Message Day

International Day of Electronic Technicians

Ka Moloka’i Makahiki (Hawaii)

Martyrdom of Mahatma Gandhi

Martyrs' Day (India)

National Escape Day

National Flirt A Little Bit Day

National Maxwell Day

National Write to Congress Day

Primate Day (Indonesia)

School Day of Non-Violence and Peace (Spain)

Season for Nonviolence begins [thru 4.4]

Social Media Day (UN)

Teacher’s Day (Spain)

Women Peerage Day (UK)

World Neglected Tropical Diseases Day

Yodel For Your Neighbors Day

Food & Drink Celebrations

National Croissant Day

5th & Last Monday in January

Aukland Day (New Zealand) [Monday closest to 29th]

Bubble Wrap Appreciation Day [Last Monday]

Independence Days

Republic of Westland (Declared; 2010) [unrecognized]

Feast Days

Adelelmus of Burgos (Christian; Saint)

Aldegondes (Christian; Saint)

Anthony the Great (Coptic Church)

Armentarius of Pavia (Christian; Saint)

Barsimaeus (Christian; Saint)

Balthildes (Christian; Saint)

Charles, King (Various Provinces of the Anglican Communion; Martyr)

Exercise Your Brain Day (Pastafarian)

Februalia begins (Purification Festival; Ancient Rome) [through 2.2]

Fox, Chicken & Bear (Muppetism)

Hippolytus of Rome (Christian; Saint)

Hyacintha Mariscotti (Christian; Saint)

Ice T Day (Church of the SubGenius; Saint)

Martina (Christian; Saint)

Matthias of Jerusalem (Christian; Saint)

Mutien-Marie Wiaux (Christian; Saint)

Pax (Ancient Roman Festival of Peace)

Saraswati Day (Goddess of Knowledge; Bali)

Savina (Christian; Saint)

Three Holy Hierarchs (Eastern Orthodox)

Tyrtæus (Positivist; Saint)

Lucky & Unlucky Days

Sakimake (先負 Japan) [Bad luck in the morning, good luck in the afternoon.]

Uncyclopedia Bad to Be Born Today (because Hitler was elected.)

Premieres

The Americans (TV Series; 2013)

Around the World in 80 Days (Novel; 1873)

Blue Suede Shoes, recorded by Elvis Presley (Song; 1956)

City Lights (Film; 1931)

The Darktown Strutters’ Ball, recorded by The Original Dixieland Jazz Band (Song; 1917)

The Double: A Petersburg Poem, by Fyodor Dostoevsky (Novel; 1846)

Great Expectations (Film; 1998)

Honey, recorded by Bobby Goldsboro (Song; 1968)

I Fall to Pieces, by Patsy Cline (Song; 1961)

The Lone Ranger (Radio Show; 1933)

Outrageous Fortune (Film; 1987)

Red Hot, recorded by Billy Lee Riley (Song; 1956)

Rooftop Concert, by The Beatles (Live Concert; 1969)

Taken (Film; 2009)

Today’s Name Days

Gerd, Gerhard, Josef, Valerius (Austria)

Tvrtko, Valerije, Zdeslav, Zdravko (Croatia)

Zdislava (Czech Republic)

Valerius (Denmark)

Valmo, Valter (Estonia)

Valtteri (Finland)

Gildas (France)

Gerd, Gerhard, Josef (Germany)

Varsamia (Greece)

Adél (Hungary)

Aquilino, Costanzo, Valerio, Vitale (Italy)

Aivars, Valērijs (Latvia)

Aivaras, Girkantas, Valerijus, Žibutė (Lithuania)

Herdis, Hermann, Hermod (Norway)

Franciszek Salezy, Gilda, Hanna, Walerian, Waleriana, Waleriusz, Zdzisław (Poland)

Ignatie (Romania)

Gašpar (Slovakia)

Valerio, Valero (Spain)

Diana (Sweden)

Gilda, Goldie, Sheldon, Shelley, Shelly, Shelton, Ophrah, Oprah (USA)

Today is Also…

Day of Year: Day 30 of 2023; 335 days remaining in the year

ISO: Day 1 of week 5 of 2023

Celtic Tree Calendar: Luis (Rowan) [Day 9 of 28]

Chinese: Month 1 (Jia-Yin), Day 9 (Wu-Zi)

Chinese Year of the: Rabbit (until February 10, 2024)

Hebrew: 8 Shevat 5783

Islamic: 8 Rajab II 1444

J Cal: 30 Aer; Lastday [30 of 30]

Julian: 16 January 2023

Moon: 71%: Waxing Gibbous

Positivist: 2 Homer (2nd Month) [Tyrtæus)

Runic Half Month: Elhaz (Elk) [Day 5 of 15]

Season: Winter (Day 40 of 90)

Zodiac: Aquarius (Day 9 of 30)

[jpbjazz]

LÉGENDES DU JAZZ

RED NICHOLS, POUR UN PENNY DE PLUS

‘’Much of his vast recorded output was released in Europe, where he was regarded by early jazz critics as the equal, if not the superior, of Louis Armstrong and Bix Beiderbecke (...). Nichols' chief fault was an overly stiff, academic approach to jazz trumpet, but he did recognize merit as far as other jazz musicians were concerned and made some wonderful small group recordings.’’

-Michael Brooks

Né le 8 mai 1905 à Ogden, en Utah, Ernest Loring "Red" Nichols était le fils d’un professeur de musique. Enfant prodige, Nichols avait commencé à jouer du cornet à l’âge de cinq ans.

Nichols a joué avec le groupe de son père à partir de l’âge de douze ans. Nichols a été fortement influencé par le Original Dixieland Jazz Band puis par Bix Beiderbecke. Nichols avait entendu Beiderbecke jouer pour la première fois sur un enregistrement de George Olsen intitulé ‘’You’ll Never Get To Heaven With Those Eyes.’’ Nichols a également joué une transcription du solo de Beiderbecke sur le classique “Jazz Me Blues” qui avait été enregistré le 18 février 1924.

Durant une partie de l’année 1920, Nichols avait étudié à la Culver Military Academy, dont il avait été expulsé, à l'instar de son idole Bix Beiderbecke.

DÉBUTS DE CARRIÈRE

Au début des années 1920, Nichols s’est installé dans le Midwest. Le 25 mai 1923, à l’âge de dix-sept ans, Nichols avait fait ses débuts sur disque avec le groupe Syncopating Five d’Howard Lanin. Nichols avait éventuellement pris la direction du groupe qui avait été rebaptisé le Royal Palms Orchestra. Le groupe s’était particulièrement produit sur la Côte est, et plus particulièment à Atlantic City.

Même s’il avait enregistré deux chansons avec Howard Lanin en mai 1923, c’est surtout après avoir été associé au frère d’Howard, Sam Lanin, que la carrière de Nichols avait vraiment décollé. Après le démantèlement du Royal Palms Orchestra, Nichols a fait partie du Johnny Johnson Orchestra avec lequel il s’était installé à New York en 1923. À New York, Nichols avait rencontré le joueur de trombone Miff Mole, avec qui il avait joué durant une dizaine d’années. Avant de signer un contrat avec les disques Brunswick, Nichols et Mole, qui étaient devenus inséparables, avaient enregistré avec Pathé-Perfect sous le nom de Red Heads. En plus de Mole (qui avait participé à la plupart des enregistrements de Nichols en 1927-28 avant de se lancer dans une carrière de musicien de studio), Nichols avait également collaboré avec de futurs grands noms du jazz comme Glenn Miller, Jack Teagarden, Tommy Dorsey et Will Bradley au trombone, Pee Wee Russell, Benny Goodman et Frank Teschemacher à la clarinette, Bud Freeman, Eddie Miller, Babe Russin et Fud Livingston au saxophone ténor, Frankie Trumbauer au C-melody saxophone, Adrian Rollini au saxophone basse, Charlie Teagarden et Wingy Manone à la trompette, Dudley Fosdick au mellophone, Dick McDonough, Carl Kress et Eddie Condon à la guitare, Lennie Hayton, Joe Sullivan, Rube Bloom et Roy Bargy au piano, Joe Venuti au violon, Joe Tarto au tuba, Artie Bernstein à la contrebasse, Red McKenzie au chant et Gene Krupa, Chauncey Morehouse, Stan King, Dave Tough, Ray Bauduc et Ray McKinley à la batterie. Dans le film biographique ’’The Five Pennies’’, le personnage de Nichols prononçait souvent la réplique “Don’t worry, someday they’ll all be working for me.” Ironiquement, malgré le nombre impressionnant de futurs chefs d’orchestres qui avaient fait partie de son groupe, Nichols n’avait jamais vraiment connu de succès comme leader de ses propres formations à l’époque du swing.

Au début de sa carrière, Nichols avait également enregistré avec les disques Edison (1926), Victor (1927, 1928, 1930, 1931), Bluebird (1934, 1939), Variety (1937) et Okeh (1940). Parmi les nombreux artistes ou groupes avec lesquels Nichols avait enregistré de 1924 à 1926, on remarquait les Bailey’s Lucky Seven, les Charleston Seven, le Goofus Five, les Tennessee Tooters, le Lou Gold, les Melody Sheiks, les California Ramblers, les Lanin’s Red Heads, le Varsity Eight, les Five Birmingham Babies, Billy Wynne, les Little Ramblers, Bill Wirges, les Georgians, les Seven Missing Links, Ross Gorman, les Cotton Pickers, les Hottentots, Cliff Edwards, les Ipana Troubadours, les Walter Davidson’s Louisville Loons, le Original Memphis Five, les Broadway Bellhops, Bob Haring, Arnold Brilhart, Little Pilgrims Orchestra, Frank Signorelli, Jay C. Flippen, Jack Albin, Annette Hanshaw, Don Voorhees, John Clesi’s Areoleans, Evelyn Preer et Lee Morse, et on ne parlait que des formations orientées vers le jazz.

Nichols, qui savait lire la musique, avait facilement obtenu du travail comme musicien de studio. En décembre 1926, Nichols avait commencé à enregistrer avec Mole dans le cadre de différentes formations connues sous le nom de Red Nichols and His Five Pennies. En réalité, le nom du groupe était un peu trompeur, car très peu de ces formations étaient des quintets. Parmi les membres du groupe, on remarquait Jimmy Dorsey à la clarinette et au saxophone alto, Vic Berton (un batteur qui pensait comme un percussionniste et jouait parfois du tympani), Eddie Lang à la guitare et Arthur Schutt au piano.

Nichols a enregistré plus de cent pièces avec les Five Pennies pour les disques Brunswick. Même si la taille du groupe avait évolué avec les années, son nom était demeuré échangé. De 1926 à 1932, Nichols a également enregistré avec les Arkansas Travelers, les California Red Heads, les Louisiana Rhythm Kings, le Wabash Dance Orchestra, les Alabama Red Peppers, les Charleston Chasers, les Red and Miff's Stompers et les Miff Mole and His Little Molers. Nichols avait aussi dirigé des groupes plus importants sur certains enregistrements et dans le cadre des revues ‘’Strike Up The Band’’ et ‘’Girl Crazy.’’

Extrêmement prolifique, Nichols enregistrait parfois une vingtaine de pièces par semaine.

En plus de Nichols au cornet, de Mole et de Jimmy Dorsey au saxophone alto et à la clarinette, le groupe de Nichols avait été notamment composé au cours de la décennie suivante de Benny Goodman et de de Pee Wee Russel à la clarinette, de Glenn Miller et Jack Teagarden au trombone,de Joe Venuti au violon, d’Eddie Lang au banjo et à la guitare et de Gene Krupa à la batterie. Le groupe avait connu un succès inattendu avec la pièce "Ida, Sweet as Apple Cider", qui s’était vendue à plus d’un million de copies. La pièce s’était aussi mérité un disque d’or de la Recording Industry Association of America. La composition de Nichols intitulée "Nervous Charlie Stomp" avait même été enregistrée par l’orchestre de Fletcher Henderson.

En 1927, Nichols avait passé quelques mois dans l’orchestre de Paul Whiteman. Son remplaçant était nul autre que son idole Bix Beiderbecke.

À la fin des années 1920, Nichols a également enregistré avec les Miff Mole’s Molers, Peggy English, Carl Fenton, Sophie Tucker, Art Gillham, Cass Hagan’s Park Central Hotel Orchestra, les Midnight Airedales, Irving Brodsky et les Red Hot Dogs. En plus de jouer du cornet, Nichols était un arrangeur imaginatif qui, un peu comme Jelly Roll Morton, avait le don de combiner des musiciens établis avec des groupes spécialement réunis pour l’occasion. Les arrangements de Nichols étaient si complexes qu’il devait souvent faire appel aux meilleurs musiciens disponibles.

Dans les années 1930, Nichols avait tenté de s’adapter au swing alors en effervescence, mais il avait beaucoup moins enregistré à partir de 1932. Nichols n’avait même pas enregistré du tout en 1933. L’année suivante, Nichols avait dirigé un groupe de onze musiciens appelé His World Famous Pennies. À la même époque, Nichols avait aussi dirigé des orchestres anonymes à la radio. Désormais considéré comme une relique du passé, Nichols avait été progressivement abandonné par ses musiciens qui avaient décidé de lancer leurs propres groupes. Le critique Michael Brooks écrivait:

‘’What went wrong? Part of it was too much, too soon. Much of his vast recorded output was released in Europe, where he was regarded by early jazz critics as the equal, if not the superior, of Louis Armstrong and Bix Beiderbecke. People who make fools of themselves usually find a scapegoat, and when the critics were exposed to the music of Duke Ellington, Benny Carter, Coleman Hawkins and others they turned on Nichols and savaged him, trashing him as unfairly as they had revered him. Nichols' chief fault was an overly stiff, academic approach to jazz trumpet, but he did recognize merit as far as other jazz musicians were concerned and made some wonderful small group recordings.’’

Durant la Crise des années 1930, Nichols avait gagné sa vie en se produisant dans des revues. Pendant un certain temps, Nichols avait aussi dirigé l’orchestre de Bob Hope, avant de s’installer en Californie.

Nichols avait épousé Willa Stutsman, une danseuse de la revue Scandals de George White, avec qui il avait eu une fille. En 1942, la fille du couple avait contracté la poliomyélite après qu’on lui ait diagnostiqué une méningite spinale. Jusqu’en 1943, on avait perdu toute trace de Nichols, qui s’était trouvé un emploi dans les chantiers maritimes afin de pouvoir mieux s’occuper de la santé de sa fille. Après s’être produit au Merry-Go-Round à Dayton, dans l’État de l’Ohio, Nichols avait fait son service militaire dans le cadre de la Seconde Guerre mondiale.

DERNIÈRES ANNÉES

En 1944, Nichols, qui n’avait rien perdu de son habileté au cornet à l’âge de trente-neuf ans, avait tenté un retour sur scène. Après avoir joué avec le Casa Loma Orchestra durant quelques mois, Nichols avait formé une nouvelle version de son groupe les Five Pennies, cette fois sous la forme d’un sextet qui s’était produit dans de petits clubs de Los Angeles. Le groupe avait joué par la suite dans de plus grandes salles comme le Zebra Room, le Tudor Room de l’Hôtel Palace à San Francisco et le Shearton de Pasadena, en Californie. À la suite du retour en force du Dixieland, Nichols avait aussi participé à des sessions avec Peggy Lee, Julia Lee, Phil Harris et Kay Starr. Il avait également fait des apparitions à la radio avec Bing Crosby.

Très populaires sur la scène locale, les Five Pennies mettaient souvent en vedette des artistes comme Heinie Beau ou Rosy McHargue à la clarinette et Herbie Haymer au saxophone ténor. L’une des pièces les plus populaires du groupe à cette époque était “Battle Hymn Of The Republic” (1949). Même si Nichols jouait parfois des arrangements innovateurs datant des années 1920, la plupart du temps le groupe interprétait une musique inspirée du Dixieland. Les Five Pennies s'étaient éventuellement dotés d'un son plus distinctif après qu’un saxophoniste basse et le joueur de trombone King Jackson se soient joints au groupe en 1949. Dans les années 1950, le groupe avait enregistré une série d’albums pour les disques Capitol, Jump et Audiophile et avait continué de se produire sur scène.

À la fin de sa carrière, Nichols a également joué le rôle d’ambassadeur de bonne volonté pour le Département d’État.

Nichols a participé à de nombreux films au cours de sa carrière. En 1929, Nichols a joué dans un court-métrage de la compagnie Vitaphone qui mettait également en vedette son groupe les Five Pennies ainsi que les musiciens Eddie Condon et Pee Wee Russell. En 1935, Nichols a fait une apparition dans le film ‘’The Parade of the Maestros’’ aux côtés de Ferde Grofe. En 1950, Nichols a participé au tournage du film ‘’Wabash Avenue.’’ L’année suivante, Nichols avait partagé la vedette avec Mickey Rooney et Jeanne Cagney dans le film ‘’Quicksand.’’ La même année, Nichols avait également eu un petit rôle dans le film ‘’Disc Jockey’’ aux côtés de Tommy Dorsey. En 1959, Nichols avait aussi fait une apparition dans le film ‘’The Gene Krupa Story.’’

En octobre 1956, Nichols avait participé à un épisode de l’émission de télévision ‘’This Is Your Life’’, dans lequel il avait été réuni avec ses anciens collaborateurs Miff Mole, Phil Harris et Jimmy Dorsey. Ces derniers avaient d’ailleurs remercié plus tard Nichols de s’être assuré que tous les membres du groupe avaient été payés.

En juin 1965, Nichols avait obtenu un contrat pour se produire avec les Five Pennies au Mint Hotel de Las Vegas. Le 28 juin, quelques jours après avoir participé à son premier concert, Nichols avait éprouvé des douleurs à la poitrine durant son sommeil. Nichols avait appelé la réception pour obtenir du secours, mais il était déjà mort au moment de l’arrivée de l’ambulance. Il était âgé de soixante ans. Le soir-même, le groupe avait rendu hommage à Nichols en se produisant comme prévu, avec un projecteur orienté vers la chaise vide du trompettiste.

À la suite du succès de l'émission ''This is your life'', Nichols avait fait l’objet en 1959 d’une film biographique intitulé ‘’The Five Pennies.’’ Le film, qui reposait sur une vision très romancée de la vie et de la carrière de Nichols, l’avait décrit comme un musicien irresponsable qui était la principale cause de ses propres malheurs. Le film mettait en vedette l’acteur Danny Kaye. Nichols, qui avait joué lui-même ses propres parties de cornet dans le film, avait également fait une apparition comme membre d’un groupe fictif appelé les "Clicquot Club Eskimos". Heureusement, la complicité de Nichols avec Louis Armstrong, qui avait également joué dans le film, avait contribué à contrebalancer les nombreuses erreurs historiques de la production. Par exemple, contrairement à ce que laissait entendre le film, Nichols n’avait jamais été chanteur.

Tentant par la suite de capitaliser sur le succès du film, Nichols avait enregistré d’autres disques pour Columbia. La pièce-titre de son dernier album “The Battle Hymn Of The Republic” (1959) était d’ailleurs tirée de la trame sonore du film. Par la suite, Nichols avait continué de se produire avec les Five Pennies dans la région de Los Angeles.

Le film ‘’The Five Pennies’’ avait décroché quatre nominations au gala des Academy Award. L’épouse de Kaye, Sylvia Fine, avait composé la chanson-thème du film, ainsi que d’autres pièces apparaissant dans la production. La pièce "Poor Butterfly" de Nichols a été reprise dans le film de Woody Allen ‘’Bullets Over Broadway’’, qui a été publié en 1994. On peut également entendre l’enregistrement du standard "(Back Home Again in) Indiana" dans un autre film d'Allen tourné en 1999 et intitulé ‘’Sweet and Lowdown.’’

Red Nichols a été intronisé au sein du Big Band and Jazz Hall of Fame en 1986. Compositeur prolifique, Nichols a écrit ou co-écrit plusieurs pièces, dont "Hurricane" (avec Paul Mertz), You're Breakin' Me Down" (avec Glenn Miller), "Five Pennies", "Sugar" (avec Jack Yellen, Milton Ager et Frank Crum), "Bug-A-Boo", "The Parade of the 'Pennies'", "The King Kong", "Trumpet Sobs", "Get Cannibal", "Junk Man's Blues", "Delta Roll", "Corky", "Bugler's Lament", "Nervous Charlie Stomp" (qui a été enregistrée par Fletcher Henderson), "Last Dollar", "That's No Bargain" et "Blues at Midnight".

Considéré comme un des plus grands cornettistes à avoir émergé dans les années 1920, Nichols avait été longtemps sous-estimé, à la fois en raison de sa personnalité controversée (il préparait parfois ses solos à l’avance) et parce que sa tonalité était peut-être un peu trop influencée par le style de Bix Beiderbecke. En réalité, Nichols avait une tonalité plus cool que celle de Bix ainsi qu’un style beaucoup plus réservé.

Certains musiciens comme Eddie Condon n’avaient pas toujours été très tendres envers le jeu de Nichols. Le fait que les enregistrements de Nichols du début des années 1930 aient été mieux connus en Europe que ceux de ses compatriotes afro-américains n’avait guère contribué à le faire mieux connaître aux États-Unis. Certains des musiciens associés à Condon semblaient aussi avoir porté rancune à Nichols de son succès.

Au cours des dernières années, les disques Jazz Oracle ont publié trois coffrets de CD comprenant la quasi totalité des enregistrements de Nichols comme leader de 1926 à 1932. Même si Nichols avait été bien loin d’être un innovateur de la trempe de Louis Armstrong et de Bix Beiderbecke, il n’en était pas moins un des plus grands musiciens de l’histoire du jazz.

©-2024, tous droits réservés, Les Productions de l’Imaginaire historique

SOURCES:

‘’Red Nichols.’’ Wikipedia, 2023. ‘’Red Nichols.’’ All About Jazz, 2023. YANOW, Scott. ‘’Profiles in Jazz: Red Nichols.’’ The Syncopated Times, 1er février 2018.

[brookstonalmanac]

Holidays 1.30

Holidays

Bloody Sunday (a.k.a. Bogside Massacre Anniversary Day; Northern Ireland)

Cash Register Day

Change Your Voicemail Greeting Day

Congressional Brawl Day

CTE Awareness Day

Customs Officers Day (Azerbaijan)

Day of Azerbaijani Customs (Azerbaijan)

Day of Saudade (Brazil)

Day of Solidarity with Poland

Denise D’Ascenzo Day (Connecticut)

Draw A Dinosaur Day [ website ]

Escape Day

Felix IV, pope (Roman Catholic)

Festival of Peace

Franklin D. Roosevelt Day (Kentucky; Virgin Islands)

Fred Korematsu Day (California, Florida, Hawaii, Virginia)

Hellebore Day (French Republic)

Help America Vote Day

Hippolytus of Rome (Christian Orthodox)

Hi-Yo, Silver Day

Inane Answering Message Day

Indonesian Primate Day (Indonesia)

International Day of Electronic Technicians

Jazz Record Day

Ka Moloka’i Makahiki (Hawaii)

Martyrdom of Mahatma Gandhi

Martyrs' Day (India)

National Cleanliness Day (India)

National Comics Day (Brazil)

National Escape Day

National Flirt A Little Bit Day

National Maxwell Day

National Write to Congress Day

Primate Day (Indonesia)

Saudade Day (Brazil)

School Day of Non-Violence and Peace (Spain)

Season for Nonviolence begins [thru 4.4]

Social Media Day (UN)

Teacher’s Day (Spain)

Women’s Peerage Day (UK)

World Neglected Tropical Diseases Day

Yodel For Your Neighbors Day

Food & Drink Celebrations

National Croissant Day

5th & Last Tuesday in January

A.F.R.M.A. Fancy Rat & Mouse Day [Last Tuesday]

National Plan for Vacation Day [Last Tuesday]

Up Helly Aa Day (Scotland) [Last Tuesday]

Independence & Related Days

Republic of Westland (Declared; 2010) [unrecognized]

Festivals Beginning January 30, 2024

Iowa AG Expo (Des Moines, Iowa) [thru 2.1]

Key Western Fest (Key West, Florida) [thru 2.3]

Lerwick Up Helly Aa (Lerwick, Scotland)

Feast Days

Adelelmus of Burgos (Christian; Saint)

Aldegondes (Christian; Saint)

Anthony the Great (Coptic Church)

Armentarius of Pavia (Christian; Saint)

Barbara Tuchman (Writerism)

Barsimaeus (Christian; Saint)

Balthildes (Christian; Saint)

Bernardo Bellotto (Artology)

Charles, King (Various Provinces of the Anglican Communion; Martyr)

Day of Pax (Pagan)

Dianic Wicca Day (Everyday Wicca)

Exercise Your Brain Day (Pastafarian)

Feast of Sr. Basil the Great, St. Gregory the Theologian, and St. John Chrysostom (Roman Catholic)

Februalia begins (Purification Festival; Ancient Rome) [through 2.2]

Feriae Sementiva (Feast of Spring; Ancient Rome; Everyday Wicca)

Fox, Chicken & Bear (Muppetism)

Gelett Burgess (Writerism)

Hippolytus of Rome (Christian; Saint)

Hyacintha Mariscotti (Christian; Saint)

Imbolc Potato Chowder Day (Starza Pagan Book of Days)

Ice T Day (Church of the SubGenius; Saint)

Lloyd Alexander (Writerism)

Martina (Christian; Virgin, Martyr)

Matthias of Jerusalem (Christian; Saint)

Mutien-Marie Wiaux (Christian; Saint)

Pax (Ancient Roman Festival of Peace)

Puce and Ochre Day (Shamanism)

Richard Brautigan (Writerism)

Sadeh Festival (Ancient Iranian Midwinter Festival; Tajikistan)

Saraswati Day (Goddess of Knowledge; Bali)

Savina (Christian; Martyr)

Three Holy Hierarchs (Eastern Orthodox)

Tyrtæus (Positivist; Saint)

Lucky & Unlucky Days

Sensho (先勝 Japan) [Good luck in the morning, bad luck in the afternoon.]

Uncyclopedia Bad to Be Born Today (because Hitler was elected.)

Premieres

Ali Baba (Ub Iwerks Comicolor Cartoon; 1936)

The Americans (TV Series; 2013)

Ancient History (Fleischer/Famous Popeye Cartoon; 1953)

The Animal Fair (Noveltoons Cartoon; 1959)

Around the World in 80 Days (Novel; 1873)

The Bean and the Bean, featuring Barney Bear (MGM Cartoon; 1948)

Blue Suede Shoes, recorded by Elvis Presley (Song; 1956)

Burning in Water, Drowning in Flame, by Charles Bukowski (Poetry; 1974)

Cats and Bruises (WB MM Cartoon; 1965)

City Lights (Film; 1931)

The Colossus of Maroussi, by Henry Miller (Travelogue; 1941)

The Darktown Strutters’ Ball, recorded by The Original Dixieland Jazz Band (Song; 1917)

The Double: A Petersburg Poem, by Fyodor Dostoevsky (Novel; 1846)

Experience and Education, by John Dewey (Science Book; 1938)

A Florentine Tragedy, by Alexander Zemlinsky and Oscar Wilde (Opera; 1917)

Great Expectations (Film; 1998)

The Guns of August, by Barbara W. Tuchman (History Book; 1962)

Honey, recorded by Bobby Goldsboro (Song; 1968)

I Fall to Pieces, by Patsy Cline (Song; 1961)

I Gopher You (WB MM Cartoon; 1954)

The Lone Ranger (Radio Show; 1933)

Music For Everybody (Disney Animated TV Special; 1966)

Olive Oil for President (Fleischer/Famous Popeye Cartoon; 1948)

Outrageous Fortune (Film; 1987)

Pigs Is Pigs (WB MM Cartoon; 1937)

The Plumber (Oswald the Lucky Rabbit Cartoon; 1933)

Posse Cat (Tom & Jerry Cartoon; 1954)

Red Hot, recorded by Billy Lee Riley (Song; 1956)

Rooftop Concert, by The Beatles (Live Concert; 1969)

Taken (Film; 2009)

Underwater Eyeball or The Deep Blue See (Rocky & Bullwinkle Cartoon, S3, Ep. 147; 1962)

Underwater Moose or The Aqua-Lunk (Rocky & Bullwinkle Cartoon, S3, Ep. 148; 1962)

The Witch of Pickyoon, Parts 3 & 4 (Underdog Cartoon, S1, Eps. 34 & 36 1965)

The Yogi Bear Show (Animated TV Series; 1961)

Today’s Name Days

Gerd, Gerhard, Josef, Valerius (Austria)

Tvrtko, Valerije, Zdeslav, Zdravko (Croatia)

Zdislava (Czech Republic)

Valerius (Denmark)

Valmo, Valter (Estonia)

Valtteri (Finland)

Gildas (France)

Gerd, Gerhard, Josef (Germany)

Varsamia (Greece)

Adél (Hungary)

Aquilino, Costanzo, Valerio, Vitale (Italy)

Aivars, Valērijs (Latvia)

Aivaras, Girkantas, Valerijus, Žibutė (Lithuania)

Herdis, Hermann, Hermod (Norway)

Franciszek Salezy, Gilda, Hanna, Walerian, Waleriana, Waleriusz, Zdzisław (Poland)

Ignatie (Romania)

Gašpar (Slovakia)

Valerio, Valero (Spain)

Diana (Sweden)

Gilda, Goldie, Sheldon, Shelley, Shelly, Shelton, Ophrah, Oprah (USA)

Today is Also…

Day of Year: Day 30 of 2024; 336 days remaining in the year

ISO: Day 2 of week 5 of 2024

Celtic Tree Calendar: Luis (Rowan) [Day 10 of 28]

Chinese: Month 12 (Yi-Chou), Day 20 (Gui-Si)

Chinese Year of the: Rabbit 4721 (until February 10, 2024)

Hebrew: 20 Shevat 5784

Islamic: 19 Rajab 1445

J Cal: 30 White; Lastday [30 of 30]

Julian: 17 January 2024

Moon: 79%: Waning Gibbous

Positivist: 2 Homer (2nd Month) [Tyrtæus)

Runic Half Month: Elhaz (Elk) [Day 6 of 15]

Season: Winter (Day 41 of 89)

Zodiac: Capricorn (Day 9 of 28)

[filmes-online-facil]

Assistir Filme Dixieland Online fácil

Assistir Filme Dixieland Online Fácil é só aqui: https://filmesonlinefacil.com/filme/dixieland/

Dixieland - Filmes Online Fácil

Um jovem, recém-lançado e imprevisível ex-con com má sorte, e uma garota sexy e sem lírio-da-porta com uma família perturbada, ficou presa em uma espiral descendente do crime e amor obsessivo, como eles tentam abandonar seus mortos Cidade final para uma vida melhor.

[travsd]

Gary Burghoff IS W*A*L*T*E*R

As we pen these words it is the 80th birthday of actor Gary Burghoff (b.1943), known almost exclusively for playing the character of “Radar” O’Reilley in both the film and television show M*A*S*H. Born in Connecticut but raised largely in Wisconsin (hence that accent), Burghoff studied tap dance and drumming in his youth; he was especially ardent about Dixieland Jazz. Later he studied acting at…

[rjmartin11]

Thanks for the tag, @vintageshanny!

Three upbeat songs by E.P.

Jailhouse Rock - I have always loved the upbeat typo of this song along with Elvis' young raspy grit. This is Roll N Rock gold!

Tiger Man - "I'm the king of jungle they call me the Tiger Man!" This plus Ronny Tutt on the drums to back E up is phenomenal and fun. It's funny how Tiger was Elvis' karate name, too. Just mixed well.

Dixieland Rock - most of the songs from the 1958 film King Creole are amazing and fun. This is just groovy. Again, Elvis, with that young raspy grit hitting my eardrum and sending shivers down my spine!

Taglist: @everythingpresley @epforeverohyes @pianginferno @powerofelvis @ab4eva @samfangirls @aliypop

Elvis Top Three - Upbeat Songs

In order to help the lovely @arrolyn1114 with a half-marathon training playlist, the question this time is - What are your top three upbeat Elvis songs? What instantly puts you in a good mood and makes you ready to dance (or work out)?

Jailhouse Rock - This one seems too obvious, but it never fails to get the job done. Right from the opening notes, this has me out on the dance floor, wooden chair and all. 😂

Got My Mojo Working - This song definitely pepped me up on the long drive to Memphis this summer. I really love the version on From Elvis in Nashville. He gets super into the song for five minutes, including dropping an F-bomb, and then ends by laughing and saying “that’s that mediocre sh*t we grew up on.” Elvis, you clearly loved it! 😂❤️

King Creole - I can’t not move and belt this out when it comes on. The energy that comes out of his vocal on this is just contagious. “When the King starts to do it, it’s as good as done.” ❤️

Honorable Mention - Runaway (or as Elvis spelled it in his notes, Runnaway 😍) - I just love his version of this, and I think it’s perfect for a running playlist.

Everyone please join in! I love seeing all the answers! 😘

@whositmcwhatsit @be-my-ally @thatbanditqueen @ellie-24 @vintagepresley @lookingforrainbows @prompted-wordsmith @flwrs4aust @iloveelvis @argeriant18 @loving-elvis @alienelvisobsession @ab4eva @manebioniclegali @deke-rivers-1957 @rjmartin11 @c-rosenn @elvisalltheway101 @satninroses @doll-elvis @devilsflowerr @missmaywemeetagain @presleysdarling @troubleinapinksuit @cryingabtab @generoustreemystic @samfangirls @animalloverthingsss @velvetelvis @everythingelvispresley @thememphisflash1935-1977 @arrolyn1114 @claire-elvisgirl @kendralavon7 @vintage-leisure @blighted-star @queenncreole @basicpresleygirl @lllsaslll @elvissbabygirl @powerofelvis

[sheetmusiclibrarypdf]

George Gershwin at the Piano "Oh, lady be good" (George Shearing) Sheet Music

George Gershwin at the Piano "Oh, lady be good" performed by George Shearing

with Sheet Music Download from our Library.

https://vimeo.com/694346364 "Oh, Lady Be Good!" is a 1924 song by George and Ira Gershwin. It was introduced by Walter Catlett in the Broadway musical Lady, Be Good! written by Guy Bolton, Fred Thompson, and the Gershwin brothers and starring Fred and Adele Astaire. The song was also performed by the chorus in the film Lady Be Good (1941), although the film is unrelated to the musical. Recordings in 1925 were by Paul Whiteman, Carl Fenton, and Cliff Edwards. A 1947 recording of the song became a hit for Ella Fitzgerald, notable for her scat solo. For her album Ella Fitzgerald Sings the George and Ira Gershwin Songbook (1959), it was sung as a ballad arranged by Nelson Riddle. Recorded versions

- Rob Agerbeek – Three of a Kind (1998) - Fred Astaire – rec. December 1952 – The Astaire Story - Count Basie – rec. February 4, 1939 (Decca) - Buck and Bubbles – rec. December 26, 1933 (Columbia) - Kenny Burrell - rec. August 25, 1959 - On View at the Five Spot Cafe (Blue Note) - Joe Carroll – The Man with the Happy Sound (1962) - Cliff "Ukulele Ike" Edwards – rec. January 2, 1925 - Carl Fenton and His Orchestra – recorded on December 11, 1924 (Brunswick) - Ella Fitzgerald – with Bob Haggart (1947) - Ella Fitzgerald – rec. 1959 – Ella Fitzgerald Sings the George and Ira Gershwin Songbook - Benny Goodman Trio – rec. April 27, 1936 as the B–side of China Boy (Victor) - The Gordons with Dizzy Gillespie and Stuff Smith – rec. April 17, 1957 - Jack Hylton and his Orchestra – rec. March 29, 1926 - Buddy Lee with the Gilt–Edged Four – rec. May 17, 1926 (Columbia) - Charlie Parker and Lester Young for Jazz at the Philharmonic, January 28, 1946 - Dianne Reeves – We All Love Ella: Celebrating the First Lady of Song (2007) - Slim & Slam – rec. May 3, 1938 (Vocalion) - Mel Tormé and Buddy Rich – Together Again: For the First Time (1978) - Paul Whiteman and His Orchestra – rec. December 29, 1924 (Victor) - John Wilson Orchestra– Gershwin in Hollywood, live at the Royal Albert Hall (2016) - Django Reinhardt- Django Reinhardt swing de Paris 4 CD set (2003) See also - List of 1920s jazz standards “When Lester Young played on the second chorus, the jazz world was introduced to another way of playing the tenor saxophone ... Jazz would never be the same.”- Chris Tyle As improvisational vehicles, many songs could not endure the transition from the loose Dixieland style of the “Roaring Twenties” to the smooth, swing sound of the 1930’s. They were dropped from jazz musicians’ catalogs, performances, and recordings and relegated to period collections and specialty bands. There are, however, a handful of songs written in the mid-twenties or earlier that have persisted as the topmost jazz standards: WC Handy’s “St. Louis Blues” (1914); the Ken Casey, Maceo Pinkard, Ben Bernie composition “Sweet Georgia Brown” (1925); and George and Ira Gershwin’s “The Man I Love” (1924) and “Oh, Lady Be Good” (1924). Walter Catlett introduced “Oh, Lady Be Good!” on the stage of the Liberty Theater December 1st 1924. The song was included in the Broadway Musical Lady, Be Good! a popular show that would run for 330 performances. The show starred Fred and Adele Astaire, Walter Catlett, Alan Edwards, Jayne Auburn, Kathlene Martyn, and Cliff Edwards. It opened to generally favorable reviews, with the critics raving about the Astaires’ footwork and the “jazzy” Gershwin score.  In 1925 “Oh, Lady Be Good!” went on to become a pop chart hit three times with Paul Whiteman and His Orchestra (1925, instrumental, #2) Carl Fenton and his Orchestra (1925, instrumental, #9) Cliff Edwards (1925, #13) Lady Be Good was one of several shows in 1924 that represented a significant departure from the romantic operetta style. According to Edward Jablonski’s book Gershwin: A Biography, these pioneering productions were “... brittle in tone, ‘smart,’ characterized by athletic dances, tongue-in-cheek love songs”; in other words, forerunners of the modern musical comedy.

Best site for sheet music download.

“Oh, Lady Be Good!” was one of a dozen songs in the all-Gershwin Broadway score. Also becoming hits were “So Am I,” “Little Jazz Bird,” “The Half of It, Dearie, Blues,” and “Fascinating Rhythm.” Lady Be Good was also a turning point in the career of Cliff Edwards. Edwards’ ukulele rendition of “Fascinating Rhythm” stole the show and would prove to be the beginning of a string of Broadway appearances for him. Read the full article

[mermaidinthecity]

Dixieland Premiere during the 2015 Tribeca Film Festival at SVA Theater in New York City - April 19, 2015