Beruflich Dokumente
Kultur Dokumente
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Contents
Articles
Overview 1
Louis Armstrong 1
Albums 19
Louis Armstrong and Duke Ellington: The Great Summit/Complete Sessions 19
The Complete Ella Fitzgerald & Louis Armstrong on Verve 20
Ella and Louis 23
Ella and Louis Again 25
High Society 28
Louis Armstrong Meets Oscar Peterson 30
Louis Armstrong Plays W.C. Handy 32
Porgy and Bess 34
The Real Ambassadors 37
Struttin' 41
Songs 42
"Alexander's Ragtime Band" 42
"April in Paris" 44
"Autumn in New York" 46
"Back Home Again in Indiana" 51
"Basin Street Blues" 53
"Big Butter and Egg Man" 54
"Blue Moon" 55
"Blueberry Hill" 59
"Do You Know What It Means to Miss New Orleans?" 62
"Dream a Little Dream of Me" 63
"El Choclo" 69
"Georgia on My Mind" 72
"Gone Fishin'" 76
"Heebie Jeebies" 77
"Hello, Dolly!" 79
"Jeepers Creepers" 82
"A Kiss to Build a Dream On" 83
"Let's Do It, Let's Fall in Love" 83
"Mack the Knife" 86
"Muggles" 91
"Muskrat Ramble" 93
"Nobody Knows the Trouble I've Seen" 95
"Now You Has Jazz" 96
"On a Little Bamboo Bridge" 97
"Pennies from Heaven" 97
"Potato Head Blues" 99
"Shine" 100
"Skokiaan" 102
"St. James Infirmary Blues" 114
"St. Louis Blues" 116
"Standing on the Corner (Blue Yodel No. 9)" 121
"Stardust" 122
"Stars Fell on Alabama" 125
"That Lucky Old Sun" 126
"La Vie en rose" 127
"We Have All the Time in the World" 135
"West End Blues" 136
"What a Wonderful World" 138
"When the Saints Go Marching In" 141
"When You're Smiling" 146
References
Article Sources and Contributors 147
Image Sources, Licenses and Contributors 151
Article Licenses
License 152
1
Overview
Louis Armstrong
Louis Armstrong
Louis Armstrong's stage personality matched his flashy cornet and trumpet playing. Armstrong is also known for his raspy singing voice.
Background information
Occupations Musician
Louis Armstrong[1] (August 4, 1901 – July 6, 1971),[2] nicknamed Satchmo[3] or Pops, was an American jazz
trumpeter and singer from New Orleans, Louisiana.
Coming to prominence in the 1920s as an "inventive" trumpet and cornet player, Armstrong was a foundational
influence in jazz, shifting the focus of the music from collective improvisation to solo performance. With his
instantly-recognizable gravelly voice, Armstrong was also an influential singer, demonstrating great dexterity as an
improviser, bending the lyrics and melody of a song for expressive purposes. He was also skilled at scat singing
(vocalizing using sounds and syllables instead of actual lyrics).
Renowned for his charismatic stage presence and voice almost as much as for his trumpet-playing, Armstrong's
influence extends well beyond jazz music, and by the end of his career in the 1960s, he was widely regarded as a
profound influence on popular music in general. Armstrong was one of the first truly popular African-American
entertainers to "cross over", whose skin-color was secondary to his music in an America that was severely racially
divided. He rarely publicly politicized his race, often to the dismay of fellow African-Americans, but took a
well-publicized stand for desegregation during the Little Rock Crisis. His artistry and personality allowed him
socially acceptable access to the upper echelons of American society that were highly restricted for a black man.
Louis Armstrong 2
Early life
Armstrong often stated that he was born on July 4, 1900,[4] a date that
has been noted in many biographies. Although he died in 1971, it was
not until the mid-1980s that his true birth date of August 4, 1901 was
discovered by researcher Tad Jones through the examination of
baptismal records.[5] Armstrong was born into a very poor family in
New Orleans, Louisiana, the grandson of slaves. He spent his youth in
poverty, in a rough neighborhood of Uptown New Orleans, known as
“Back of the Town”, as his father, William Armstrong (1881–1922),
abandoned the family when Louis was an infant and took up with
another woman. His mother, Mary "Mayann" Albert (1886–1942),
then left Louis and his younger sister Beatrice Armstrong Collins
(1903–1987) in the care of his grandmother, Josephine Armstrong, and
at times, his Uncle Isaac. At five, he moved back to live with his
mother and her relatives, and saw his father only in parades.
He attended the Fisk School for Boys, where he likely had early
Handcolored etching Louis Armstrong by Adi
exposure to music. He brought in some money as a paperboy and also Holzer 2002.
by finding discarded food and selling it to restaurants, but it was not
enough to keep his mother from prostitution. He hung out in dance halls close to home, where he observed
everything from licentious dancing to the quadrille. For extra money he also hauled coal to Storyville, the famed
red-light district, and listened to the bands playing in the brothels and dance halls, especially Pete Lala's where Joe
"King" Oliver performed and other famous musicians would drop in to jam.
After dropping out of the Fisk School at age eleven, Armstrong joined a quartet of boys who sang in the streets for
money. But he also started to get into trouble. Cornet player Bunk Johnson said he taught Armstrong (then 11) to
play by ear at Dago Tony's Tonk in New Orleans,[6] although in his later years Armstrong gave the credit to Oliver.
Armstrong hardly looked back at his youth as the worst of times but instead drew inspiration from it, “Every time I
close my eyes blowing that trumpet of mine—I look right in the heart of good old New Orleans... It has given me
something to live for.”[7]
He also worked for a Lithuanian-Jewish immigrant family, the Karnofskys, who had a junk hauling business and
gave him odd jobs. They took him in and treated him as almost a family member, knowing he lived without a father,
and would feed and nurture him.[8] He later wrote a memoir of his relationship with the Karnofskys titled, Louis
Armstrong + the Jewish Family in New Orleans, La., the Year of 1907. In it he describes his discovery that this
family was also subject to discrimination by "other white folks' nationalities who felt that they were better than the
Jewish race... I was only seven years old but I could easily see the ungodly treatment that the White Folks were
handing the poor Jewish family whom I worked for." Armstrong wore a Star of David pendant for the rest of his life
and wrote about what he learned from them: "how to live—real life and determination."[9] The influence of
Karnofsky is remembered in New Orleans by the Karnofsky Project, a non-profit organization dedicated to accepting
donated musical instruments to "put them into the hands of an eager child who could not otherwise take part in a
wonderful learning experience."[10]
Armstrong developed his cornet playing seriously in the band of the New Orleans Home for Colored Waifs, where
he had been sent multiple times for general delinquency, most notably for a long term after firing his stepfather's
pistol into the air at a New Year's Eve celebration, as police records confirm. Professor Peter Davis (who frequently
appeared at the Home at the request of its administrator, Captain Joseph Jones)[11] instilled discipline in and
provided musical training to the otherwise self-taught Armstrong. Eventually, Davis made Armstrong the band
leader. The Home band played around New Orleans and the thirteen-year-old Louis began to draw attention by his
Louis Armstrong 3
cornet playing, starting him on a musical career.[12] At fourteen he was released from the Home, living again with
his father and new stepmother and then back with his mother and also back to the streets and their temptations.
Armstrong got his first dance hall job at Henry Ponce’s where Black Benny became his protector and guide. He
hauled coal by day and played his cornet at night.
He played in the city's frequent brass band parades and listened to older musicians every chance he got, learning
from Bunk Johnson, Buddy Petit, Kid Ory, and above all, Joe "King" Oliver, who acted as a mentor and father figure
to the young musician. Later, he played in the brass bands and riverboats of New Orleans, and began traveling with
the well-regarded band of Fate Marable, which toured on a steamboat up and down the Mississippi River. He
described his time with Marable as, "going to the University," since it gave him a much wider experience working
with written arrangements.
In 1919, Joe Oliver decided to go north and resigned his position in Kid Ory's band; Armstrong replaced him. He
also became second trumpet for the Tuxedo Brass Band, a society band.[13]
Career
On March 19, 1918, Louis married Daisy Parker from Gretna, Louisiana. They
adopted a 3-year-old boy, Clarence Armstrong, whose mother, Louis' cousin
Flora, died soon after giving birth. Clarence Armstrong was mentally disabled
(the result of a head injury at an early age) and Louis would spend the rest of his
life taking care of him.[14] Louis' marriage to Parker failed quickly and they
separated. She died shortly after the divorce.
Oliver's band was the best and most influential hot jazz band in Chicago in the
early 1920s, at a time when Chicago was the center of the jazz universe.
"Skokiaan"
Armstrong lived like a king in Chicago, in his own apartment with his own
private bath (his first). Excited as he was to be in Chicago, he began his
career-long pastime of writing nostalgic letters to friends in New Orleans. As Armstrong’s reputation grew, he was
challenged to “cutting contests” by hornmen trying to displace the new phenom, who could blow two hundred high
C’s in a row.[16] Armstrong made his first recordings on the Gennett and Okeh labels (jazz records were starting to
boom across the country), including taking some solos and breaks, while playing second cornet in Oliver's band in
1923. At this time, he met Hoagy Carmichael (with whom he would collaborate later) who was introduced by friend
Bix Beiderbecke, who now had his own Chicago band.
Louis Armstrong 4
Armstrong enjoyed working with Oliver, but Louis' second wife, pianist Lil
Hardin Armstrong, urged him to seek more prominent billing and develop his
newer style away from the influence of Oliver. Armstrong took the advice of his
wife and left Oliver's band. For a year Armstrong played in Fletcher Henderson's
band in New York on many recordings. After playing in New York, Armstrong
returned to Chicago, playing in large orchestras; there he created his most
important early recordings.[17] Lil had her husband play classical music in church
concerts to broaden his skill and improve his solo play and she prodded him into
wearing more stylish attire to make him look sharp and to better offset his
"Mack The Knife"
growing girth. Lil’s influence eventually undermined Armstrong’s relationship
with his mentor, especially concerning his salary and additional moneys that
Oliver held back from Armstrong and other band members. Armstrong and
Oliver parted amicably in 1924. Shortly afterward, Armstrong received an
invitation to go to New York City to play with the Fletcher Henderson Orchestra,
the top African-American band of the day. Armstrong switched to the trumpet to
blend in better with the other musicians in his section. His influence upon
Henderson's tenor sax soloist, Coleman Hawkins, can be judged by listening to
the records made by the band during this period.
During this time, Armstrong made many recordings on the side, arranged by an old friend from New Orleans, pianist
Clarence Williams; these included small jazz band sides with the Williams Blue Five (some of the best pairing
Armstrong with one of Armstrong's few rivals in fiery technique and ideas, Sidney Bechet) and a series of
accompaniments with blues singers, including Bessie Smith, Ma Rainey, and Alberta Hunter.
Armstrong returned to Chicago in 1925 due mostly to the urging of his wife, who wanted to pump up Armstrong’s
career and income. He was content in New York but later would concede that she was right and that the Henderson
Orchestra was limiting his artistic growth. In publicity, much to his chagrin, she billed him as “the World’s Greatest
Trumpet Player”. At first, he was actually a member of the Lil Hardin Armstrong Band and working for his wife.[19]
He began recording under his own name for Okeh with his famous Hot Five and Hot Seven groups, producing hits
such as "Potato Head Blues", "Muggles", (a reference to marijuana, for which Armstrong had a lifelong fondness),
and "West End Blues", the music of which set the standard and the agenda for jazz for many years to come.
Louis Armstrong 5
The group included Kid Ory (trombone), Johnny Dodds (clarinet), Johnny St. Cyr (banjo), wife Lil on piano, and
usually no drummer. Armstrong’s bandleading style was easygoing, as St. Cyr noted, "One felt so relaxed working
with him, and he was very broad-minded . . . always did his best to feature each individual."[20] His recordings soon
after with pianist Earl "Fatha" Hines (most famously their 1928 Weatherbird duet) and Armstrong's trumpet
introduction to "West End Blues" remain some of the most famous and influential improvisations in jazz history.
Armstrong was now free to develop his personal style as he wished, which included a heavy dose of effervescent
jive, such as "whip that thing, Miss Lil" and "Mr. Johnny Dodds, Aw, do that clarinet, boy!"[21]
Armstrong also played with Erskine Tate’s Little Symphony, actually a quintet, which played mostly at the Vendome
Theatre. They furnished music for silent movies and live shows, including jazz versions of classical music, such as
"Madame Butterfly," which gave Armstrong experience with longer forms of music and with hosting before a large
audience. He began to scat sing (improvised vocal jazz using non-sensical words) and was among the first to record
it, on "Heebie Jeebies" in 1926. The recording was so popular that the group became the most famous jazz band in
the United States, even though they had not performed live to any great extent. Young musicians across the country,
black or white, were turned on by Armstrong’s new type of jazz.[22]
After separating from Lil, Armstrong started to play at the Sunset Café for Al Capone's associate Joe Glaser in the
Carroll Dickerson Orchestra, with Earl Hines on piano, which was soon renamed Louis Armstrong and his
Stompers,[23] though Hines was the music director and Glaser managed the orchestra. Hines and Armstrong became
fast friends as well as successful collaborators.[24]
Armstrong returned to New York, in 1929, where he played in the pit orchestra of the successful musical Hot
Chocolate, an all-black revue written by Andy Razaf and pianist/composer Fats Waller. He also made a cameo
appearance as a vocalist, regularly stealing the show with his rendition of "Ain't Misbehavin'", his version of the
song becoming his biggest selling record to date.[25]
Armstrong started to work at Connie's Inn in Harlem, chief rival to the Cotton Club, a venue for elaborately staged
floor shows,[26] and a front for gangster Dutch Schultz. Armstrong also had considerable success with vocal
recordings, including versions of famous songs composed by his old friend Hoagy Carmichael. His 1930s recordings
took full advantage of the new RCA ribbon microphone, introduced in 1931, which imparted a characteristic warmth
to vocals and immediately became an intrinsic part of the 'crooning' sound of artists like Bing Crosby. Armstrong's
famous interpretation of Hoagy Carmichael's "Stardust" became one of the most successful versions of this song ever
recorded, showcasing Armstrong's unique vocal sound and style and his innovative approach to singing songs that
had already become standards.
Armstrong's radical re-working of Sidney Arodin and Carmichael's "Lazy River" (recorded in 1931) encapsulated
many features of his groundbreaking approach to melody and phrasing. The song begins with a brief trumpet solo,
then the main melody is stated by sobbing horns, memorably punctuated by Armstrong's growling interjections at the
end of each bar: "Yeah! ..."Uh-huh" ..."Sure" ... "Way down, way down." In the first verse, he ignores the notated
melody entirely and sings as if playing a trumpet solo, pitching most of the first line on a single note and using
strongly syncopated phrasing. In the second stanza he breaks into an almost fully improvised melody, which then
evolves into a classic passage of Armstrong "scat singing".
As with his trumpet playing, Armstrong's vocal innovations served as a foundation stone for the art of jazz vocal
interpretation. The uniquely gritty coloration of his voice became a musical archetype that was much imitated and
endlessly impersonated. His scat singing style was enriched by his matchless experience as a trumpet soloist. His
resonant, velvety lower-register tone and bubbling cadences on sides such as "Lazy River" exerted a huge influence
on younger white singers such as Bing Crosby.
The Depression of the early Thirties was especially hard on the jazz scene. The Cotton Club closed in 1936 after a
long downward spiral, and many musicians stopped playing altogether as club dates evaporated. Bix Beiderbecke
died and Fletcher Henderson’s band broke up. King Oliver made a few records but otherwise struggled. Sidney
Bechet became a tailor and Kid Ory returned to New Orleans and raised chickens.[27]
Louis Armstrong 6
Armstrong moved to Los Angeles in 1930 to seek new opportunities. He played at the New Cotton Club in Los
Angeles with Lionel Hampton on drums. The band drew the Hollywood crowd, which could still afford a lavish
night life, while radio broadcasts from the club connected with younger audiences at home. Bing Crosby and many
other celebrities were regulars at the club. In 1931, Armstrong appeared in his first movie, Ex-Flame. Armstrong was
convicted of marijuana possession but received a suspended sentence.[28] He returned to Chicago in late 1931 and
played in bands more in the Guy Lombardo vein and he recorded more standards. When the mob insisted that he get
out of town,Wikipedia:Please clarify Armstrong visited New Orleans, got a hero’s welcome and saw old friends. He
sponsored a local baseball team known as “Armstrong’s Secret Nine” and got a cigar named after himself.[29] But
soon he was on the road again and after a tour across the country shadowed by the mob, Armstrong decided to go to
Europe to escape.
After returning to the United States, he undertook several exhausting tours. His agent Johnny Collins’ erratic
behavior and his own spending ways left Armstrong short of cash. Breach of contract violations plagued him.
Finally, he hired Joe Glaser as his new manager, a tough mob-connected wheeler-dealer, who began to straighten out
his legal mess, his mob troubles, and his debts. Armstrong also began to experience problems with his fingers and
lips, which were aggravated by his unorthodox playing style. As a result he branched out, developing his vocal style
and making his first theatrical appearances. He appeared in movies again, including Crosby's 1936 hit Pennies from
Heaven. In 1937, Armstrong substituted for Rudy Vallee on the CBS radio network and became the first African
American to host a sponsored, national broadcast.[30] He finally divorced Lil in 1938 and married longtime girlfriend
Alpha.
After spending many years on the road, Armstrong settled permanently in Queens, New York in 1943 in contentment
with his fourth wife, Lucille. Although subject to the vicissitudes of Tin Pan Alley and the gangster-ridden music
business, as well as anti-black prejudice, he continued to develop his playing. He recorded Hoagy Carmichael's
Rockin' Chair for Okeh Records.
During the subsequent thirty years, Armstrong played more than three hundred gigs a year. Bookings for big bands
tapered off during the 1940s due to changes in public tastes: ballrooms closed, and there was competition from
television and from other types of music becoming more popular than big band music. It became impossible under
such circumstances to support and finance a 16-piece touring band.
This group was called Louis Armstrong and his All Stars and included at various
times Earl "Fatha" Hines, Barney Bigard, Edmond Hall, Jack Teagarden,
Trummy Young, Arvell Shaw, Billy Kyle, Marty Napoleon, Big Sid Catlett,
Cozy Cole, Tyree Glenn, Barrett Deems, Joe Darensbourg and the
Louis Armstrong in 1953
Filipino-American percussionist, Danny Barcelona. During this period,
Armstrong made many recordings and appeared in over thirty films. He was the
first jazz musician to appear on the cover of Time Magazine on February 21, 1949.
In 1964, he recorded his biggest-selling record, "Hello, Dolly!" The song went to No. 1 on the pop chart, making
Armstrong (age 63) the oldest person to ever accomplish that feat. In the process, Armstrong dislodged The Beatles
Louis Armstrong 7
from the No. 1 position they had occupied for 14 consecutive weeks with three different songs.[31]
Armstrong kept up his busy tour schedule until a few years before his death in 1971. In his later years he would
sometimes play some of his numerous gigs by rote, but other times would enliven the most mundane gig with his
vigorous playing, often to the astonishment of his band. He also toured Africa, Europe, and Asia under sponsorship
of the US State Department with great success, earning the nickname "Ambassador Satch " and inspiring Dave
Brubeck to compose his jazz musical The Real Ambassadors [32]
While failing health restricted his schedule in his last years, within those limitations he continued playing until the
day he died.
Death
Armstrong died of a heart attack in his sleep on July 6, 1971 at the age of 69,[33] 11 months after playing a famous
show at the Waldorf-Astoria's Empire Room.[34] He was residing in Corona, Queens, New York City, at the time of
his death.[35] He was interred in Flushing Cemetery, Flushing, in Queens, New York City.[36] His honorary
pallbearers included Bing Crosby, Ella Fitzgerald, Dizzy Gillespie, Pearl Bailey, Count Basie, Harry James, Frank
Sinatra, Ed Sullivan, Earl Wilson, Alan King, Johnny Carson and David Frost.[37] Peggy Lee sang The Lord's Prayer
at the services while Al Hibbler sang "Nobody Knows the Trouble I've Seen" and Fred Robbins, a long-time friend,
gave the eulogy.[38]
Personal life
Personality
Armstrong was a colorful character. His own biography vexes
biographers and historians, because he had a habit of telling tales,
particularly of his early childhood, when he was less scrutinized, and
his embellishments of his history often lack consistency.
He was not only an entertainer. Armstrong was a leading personality of
the day who was so beloved by America that gave even the greatest
Autograph of Armstrong on the muretto of African American performers little access beyond their public
Alassio celebrity, that he was able to live privately a life of access and
privilege accorded to few other African Americans.
He tried to remain politically neutral, which gave him a large part of that access, but often alienated him from
members of the black community who looked to him to use his prominence with white America to become more of
an outspoken figure during the Civil Rights Era of U.S. history.
Nicknames
The nicknames Satchmo and Satch are short for Satchelmouth. Like many things in Armstrong's life, which was
filled with colorful stories both real and imagined, many of his own telling, the nickname has many possible origins.
The most common tale that biographers tell is the story of Armstrong as a young boy dancing for pennies in the
streets of New Orleans, who would scoop up the coins off of the streets and stick them into his mouth to avoid
having the bigger children steal them from him. Someone dubbed him "satchel mouth" for his mouth acting as a
satchel. Another tale is that because of his large mouth, he was nicknamed "satchel mouth" which became shortened
to Satchmo.
Early on he was also known as Dipper, short for Dippermouth, a reference to the piece Dippermouth Blues.[39] and
something of a riff on his unusual embouchure.
Louis Armstrong 8
The nickname Pops came from Armstrong's own tendency to forget people's names and simply call them "pops"
instead. The nickname was soon turned on Armstrong himself. It was used as the title of a 2010 biography of
Armstrong by Terry Teachout.
whites.[40]
It was a power and privilege that he enjoyed, although he was very careful not to flaunt it with fellow performers of
color, and privately, he shared what access that he could with friends and fellow musicians.
That still did not prevent members of the African-American community, particularly in the late 1950s to the early
1970s, from calling him an Uncle Tom, a black-on-black racial epithet for someone who kowtowed to white society
at the expense of their own racial identity.
He was criticized for accepting the title of "King of The Zulus" for Mardi Gras in 1949. In the New Orleans
African-American community it is an honored role as the head of leading black Carnival Krewe, but bewildering or
offensive to outsiders with their traditional costume of grass-skirts and blackface makeup satirizing southern white
attitudes.
Some musicians criticized Armstrong for playing in front of segregated audiences, and for not taking a strong
enough stand in the civil rights movement.[41]
Billie Holiday countered, however, "Of course Pops toms, but he toms from the heart."[42]
The few exceptions made it more effective when he did speak out. Armstrong's criticism of President Eisenhower,
calling him "two-faced" and "gutless" because of his inaction during the conflict over school desegregation in Little
Rock, Arkansas in 1957 made national news.
As a protest, Armstrong canceled a planned tour of the Soviet Union on behalf of the State Department saying "The
way they're treating my people in the South, the government can go to hell" and that he could not represent his
government abroad when it was in conflict with its own people.[43] Six days after Armstrong's comments,
Eisenhower ordered Federal troops to Little Rock to escort students into the school.[44]
The FBI kept a file on Armstrong, for his outspokenness about integration.[45]
Religion
When asked about his religion, Armstrong would answer that he was raised a Baptist, always wore a Star of David,
and was friends with the Pope.[] Armstrong wore the Star of David in honor of the Karnofsky family, who took him
in as a child and lent him the money to buy his first cornet. Louis Armstrong was, in fact, baptized as a Catholic at
the Sacred Heart of Jesus Church in New Orleans,[] and he met popes Pius XII and Paul VI, though there is no
evidence that he considered himself Catholic. Armstrong seems to have been tolerant towards various religions, but
also found humor in them.
Louis Armstrong 9
Personal habits
Purging
Armstrong was also greatly concerned with his health and bodily functions. He made frequent use of laxatives as a
means of controlling his weight, a practice he advocated both to personal acquaintances and in the diet plans he
published under the title Lose Weight the Satchmo Way. Armstrong's laxative of preference in his younger days was
Pluto Water, but he then became an enthusiastic convert when he discovered the herbal remedy Swiss Kriss. He
would extol its virtues to anyone who would listen and pass out packets to everyone he encountered, including
members of the British Royal Family. (Armstrong also appeared in humorous, albeit risqué, cards that he had printed
to send out to friends; the cards bore a picture of him sitting on a toilet—as viewed through a keyhole—with the
slogan "Satch says, 'Leave it all behind ya!'")[] The cards have sometimes been incorrectly described as ads for Swiss
Kriss.[46]
In a live recording of "Baby, It's Cold Outside" with Velma Middleton, he changes the lyric from "Put another record
on while I pour" to "Take some Swiss Kriss while I pour."[47]
Love of food
The concern with his health and weight was balanced by his love of food, reflected in such songs as "Cheesecake",
"Cornet Chop Suey,"[48] though "Struttin’ with Some Barbecue" was written about a fine-looking companion, not
about food.[49] He kept a strong connection throughout his life to the cooking of New Orleans, always signing his
letters, "Red beans and ricely yours..."[50]
Claimed offspring
Though Armstrong married four times and loved children, he had no legitimate offspring.[51] However, in December
2012, 57-year-old Sharon Preston-Folta claimed to be his daughter, from a 1950s affair between Armstrong and
Lucille "Sweets" Preston, a dancer at the Cotton Club.[52]
Writings
Armstrong’s gregariousness extended to writing. On the road, he wrote constantly, sharing favorite themes of his life
with correspondents around the world. He avidly typed or wrote on whatever stationery was at hand, recording
instant takes on music, sex, food, childhood memories, his heavy "medicinal" marijuana use—and even his bowel
movements, which he gleefully described.[53] He had a fondness for lewd jokes and dirty limericks as well.
Social organizations
Louis Armstrong was not, as is often claimed, a Freemason. Although he is usually listed as being a member of
Montgomery Lodge No. 18 (Prince Hall) in New York, no such lodge has ever existed. Armstrong states in his
autobiography, however, that he was a member of the Knights of Pythias, which is not a Masonic group.[54]
Music
He often essentially re-composed pop-tunes he played, making them more interesting. Armstrong's playing is filled
with joyous, inspired original melodies, creative leaps, and subtle relaxed or driving rhythms. The genius of these
creative passages is matched by Armstrong's playing technique, honed by constant practice, which extended the
range, tone and capabilities of the trumpet. In these records, Armstrong almost single-handedly created the role of
the jazz soloist, taking what was essentially a collective folk music and turning it into an art form with tremendous
possibilities for individual expression.
Armstrong's work in the 1920s shows him playing at the outer limits of his abilities. The Hot Five records,
especially, often have minor flubs and missed notes, which do little to detract from listening enjoyment since the
energy of the spontaneous performance comes through. By the mid-1930s, Armstrong achieved a smooth assurance,
knowing exactly what he could do and carrying out his ideas to perfection.
He was one of the first artists to use recordings of his performances to improve himself. Armstrong was an avid
audiophile. He had a large collection of recordings, including reel-to-reel tapes, which he took on the road with him
in a trunk during his later career. He enjoyed listening to his own recordings, and comparing his performances
musically. In the den of his home, he had the latest audio equipment and would sometimes rehearse and record along
with his older recordings or the radio.[55]
Vocal popularity
As his music progressed and popularity grew, his singing also became very important. Armstrong was not the first to
record scat singing, but he was masterful at it and helped popularize it. He had a hit with his playing and scat singing
on "Heebie Jeebies" when, according to some legends, the sheet music fell on the floor and he simply started singing
nonsense syllables. Armstrong stated in his memoirs that this actually occurred. He also sang out "I done forgot the
words" in the middle of recording "I'm A Ding Dong Daddy From Dumas."
Such records were hits and scat singing became a major part of his performances. Long before this, however,
Armstrong was playing around with his vocals, shortening and lengthening phrases, interjecting improvisations,
using his voice as creatively as his trumpet.
Stylistic range
Armstrong enjoyed many types of music, from blues to the arrangements of Guy Lombardo, to Latin American
folksongs, to classical symphonies and opera. Armstrong incorporated influences from all these sources into his
performances, sometimes to the bewilderment of fans who wanted him to stay in convenient narrow categories.
Armstrong was inducted into the Rock and Roll Hall of Fame as an early influence. Some of his solos from the
1950s, such as the hard rocking version of "St. Louis Blues" from the WC Handy album, show that the influence
went in both directions.
He was heard on such radio programs as The Story of Swing (1937) and
This Is Jazz (1947), and he also made countless television appearances,
especially in the 1950s and 1960s, including appearances on The
Tonight Show Starring Johnny Carson.
Many of Armstrong's recordings remain popular. Almost four decades
since his passing, a larger number of his recordings from all periods of
his career are more widely available than at any time during his
lifetime. His songs are broadcast and listened to every day throughout
the world, and are honored in various movies, TV series, commercials,
and even anime and video games. "A Kiss to Build a Dream On" was
included in the video game Fallout 2, accompanying the intro
cinematic. It was also used in the 1993 film Sleepless in Seattle and the
2005 film Lord of War. His 1923 recordings, with Joe Oliver and his
Creole Jazz Band, continue to be listened to as documents of ensemble
style New Orleans jazz, but more particularly as
ripperWikipedia:Explain jargon jazz records in their own right. All too
Armstrong played a bandleader in the television
often, however, Armstrong recorded with stiff, standard orchestras
production, "The Lord Don't Play Favorites", on
leaving only his sublime trumpet playing as of interest. "Melancholy Producers' Showcase in 1956.
Blues," performed by Armstrong and his Hot Seven was included on
the Voyager Golden Record sent into outer space to represent one of the greatest achievements of humanity. Most
familiar to modern listeners is his ubiquitous rendition of "What a Wonderful World". In 2008, Armstrong's
recording of Edith Piaf's famous "La Vie En Rose" was used in a scene of the popular Disney/Pixar film WALL-E.
The song was also used in parts, especially the opening trumpets, in the French film Jeux d'enfants (Love Me If You
Dare.)
Argentine writer Julio Cortázar, a self-described Armstrong admirer, asserted that a 1952 Louis Armstrong concert at
the Théâtre des Champs-Élysées in Paris played a significant role in inspiring him to create the fictional creatures
called Cronopios that are the subject of a number of Cortázar's short stories. Cortázar once called Armstrong himself
"Grandísimo Cronopio" (The Great Cronopio).
Armstrong appears as a minor fictionalized character in Harry Turtledove's Southern Victory Series. When he and
his band escape from a Nazi-like Confederacy, they enhance the insipid mainstream music of the North. A young
Armstrong also appears as a minor fictionalized character in Patrick Neate's 2001 novel Twelve Bar Blues, part of
which is set in New Orleans, and which was a winner at that year's Whitbread Book Awards.
There is a pivotal scene in Stardust Memories (1980) in which Woody Allen is overwhelmed by a recording of
Armstrong's "Stardust" and experiences a nostalgic epiphany.[60] The combination of the music and the perfect
moment is the catalyst for much of the film's action, prompting the protagonist to fall in love with an ill-advised
woman.[61]
Louis Armstrong 13
Grammy Awards
Armstrong was posthumously awarded the Grammy Lifetime Achievement Award in 1972 by the Academy of
Recording Arts and Sciences. This Special Merit Award is presented by vote of the Recording Academy's National
Trustees to performers who, during their lifetimes, have made creative contributions of outstanding artistic
significance to the field of recording.[62]
Grammy Award
1929 "St. Louis Blues" Jazz (Single) OKeh 2008 with Bessie Smith
1928 "Weather Bird" Jazz (Single) OKeh 2008 with Earl Hines
1930 "Blue Yodel No. 9 Country (Single) Victor 2007 Jimmie Rodgers (Featuring Louis Armstrong)
(Standing on the Corner)"
1958 Porgy and Bess Jazz (Album) Verve 2001 with Ella Fitzgerald
1925 "St. Louis Blues" Jazz (Single) Columbia 1993 Bessie Smith with Louis Armstrong, cornet
1928 West End Blues Okeh Louis Armstrong and his Hot Five
Louis Armstrong 14
Legacy
The influence of Armstrong on the development of jazz is virtually immeasurable. Yet, his irrepressible personality
both as a performer, and as a public figure later in his career, was so strong that to some it sometimes overshadowed
his contributions as a musician and singer.
As a virtuoso trumpet player, Armstrong had a unique tone and an extraordinary talent for melodic improvisation.
Through his playing, the trumpet emerged as a solo instrument in jazz and is used widely today. He was a masterful
accompanist and ensemble player in addition to his extraordinary skills as a soloist. With his innovations, he raised
the bar musically for all who came after him.
Though Armstrong is widely recognized as a pioneer of scat singing, Ethel Waters precedes his scatting on record in
the 1930s according to Gary Giddins and others.[66] Billie Holiday and Frank Sinatra are just two singers who were
greatly indebted to him. Holiday said that she always wanted Bessie Smith's 'big' sound and Armstrong's feeling in
her singing. Even special musicians like Duke Ellington have praised Armstrong through strong testimonials. Duke
Ellington said, "If anybody was a master, it was Louis Armstrong." In 1950, Bing Crosby, the most successful
vocalist of the first half of the 20th century, said, "He is the beginning and the end of music in America."
On August 4, 2001, the centennial of Armstrong's birth, New Orleans's airport was renamed Louis Armstrong
International Airport in his honor.
In 2002, the Louis Armstrong's Hot Five and Hot Seven recordings (1925–1928) are preserved in the United States
National Recording Registry, a registry of recordings selected yearly by the National Recording Preservation Board
for preservation in the National Recording Registry of the Library of Congress.[67]
The US Open tennis tournament's former main stadium was named Louis Armstrong Stadium in honor of Armstrong
who had lived a few blocks from the site.[68]
Today, there are many bands worldwide dedicated to preserving and honoring the music and style of Satchmo,
including the Louis Armstrong Society located in New Orleans, LA.
Louis Armstrong 15
House
The house where Louis Armstrong lived for close to 28 years was declared a National Historic Landmark in 1977
and is now a museum. The Louis Armstrong House Museum, at 34-56 107th Street (between 34th and 37th
Avenues) in Corona, Queens, presents concerts and educational programs, operates as a historic house museum and
makes materials in its archives of writings, books, recordings and memorabilia available to the public for research.
The museum is operated by the City University of New York's Queens College, following the dictates of Lucille
Armstrong's will.
The museum opened to the public on October 15, 2003. A new visitors center is planned.[]
Discography
For complete listings, see Louis Armstrong's works by album or song:
• Louis Armstrong albums
• Louis Armstrong songs
Notes
[1] He preferred that his name be pronounced Louie. "It's like Louis Armstrong—he spelled his name Louis, but he liked it to be said as Louie,"
recalls Louie Bellson (http:/ / www. jazzprofessional. com/ interviews/ Louie Bellson_12. htm). Armstrong was registered as "Lewie" for the
1920 U.S. Census. On various live records he's called "Louie" on stage, such as on the 1952 "Can Anyone Explain?" from the live album In
Scandinavia vol.1. It should also be noted that "Lewie" is the French pronunciation of "Louis" and is commonly used in Louisiana. However,
when referring to himself in "Hello Dolly!," he pronounces his name as "Lewis" ("Hello, Dolly. This is Lewis, Dolly"), pronouncing the 's'.
[2] Armstrong said he was not sure exactly when he was born, but celebrated his birthday on July 4. He usually gave the year as 1900 when
speaking in public (although he used 1901 on his Social Security and other papers filed with the government). Using Roman Catholic Church
documents from when his grandmother took him to be baptized, New Orleans music researcher Tad Jones established Armstrong's actual date
of birth as August 4, 1901. With various other collaborative evidence, this date is now accepted by Armstrong scholars. See also age
fabrication Armstrong had no middle name, but a 1949 Time magazine profile gave him the middle name of Daniel. The census and baptismal
records confirm he had no middle name.
[3] For "satchel-mouth."
[4] The TIME 100. Louis Armstrong. (http:/ / www. time. com/ time/ time100/ artists/ profile/ armstrong. html) TIME, Stanley Crouch, June 8,
1998. "For many years it was thought that Armstrong was born in New Orleans on July 4, 1900, a perfect day for the man who wrote the
musical Declaration of Independence for Americans of this century. But the estimable writer Gary Giddins discovered the birth certificate that
proves Armstrong was born Aug. 4, 1901." Retrieved January 8, 2009.
[5] When is Louis Armstrong's birthday? (http:/ / www. louisarmstronghouse. org/ about/ faq. htm#LA5) The Official Site of the Louis
Armstrong House & Archives.
[6] Current Biography 1944, pp. 15–17.
[9] Teachout, Terry. "Satchmo and the Jews" (https:/ / www. commentarymagazine. com/ viewarticle. cfm/
satchmo-and-the-jews-15265?page=all) Commentary magazine, Nov. 2009.
[10] "The Karnofsky Project" (http:/ / www. karnofsky. org/ name. html).
[11] Current Biography 1944 p. 16.
[12] Bergreen, 1997, p. 78.
[13] Bergreen, 1997, p. 142.
[14] "Satchuated" (http:/ / www. villagevoice. com/ music/ 0316,giddins,43368,22. html) Gary Giddins, Village Voice April 16–22, 2003.
Retrieved October 17, 2007.
[15] Bergreen, 1997, p. 170.
[16] Bergreen, 1997, p. 199.
[17] www.britannica.com
[18] Bergreen, 1997, p. 247.
[19] Bergreen, 1997, p. 260.
[20] Bergreen, 1997, p. 274.
[21] Bergreen, 1997, p. 264.
[22] Bergreen, 1997, p. 267.
[24] Nairn: Earl "Fatha" Hines: (https:/ / vimeo. com/ 58414566) - see External Links/Video clips below.
[26] Morgenstern, Dan. “Louis Armstrong and the development & diffusion of Jazz”, Louis Armstrong a Cultural Legacy, Marc H Miller e.d.,
Queens Museum of Art in association with University of Washington Press, 1994 pg110
Louis Armstrong 16
Further reading
• Armstrong, Louis, Satchmo: My Life in New Orleans. originally 1954 ISBN 0-306-80276-7
• Armstrong, Louis and Thomas Brothers, Armstrong, in His Own Words: Selected Writings. 1999 ISBN
0-19-514046-X
• Bergreen, Laurence, "Louis Armstrong: An Extravagant Life". 1997 ISBN 0-553-06768-0
• Brothers, Thomas, "Louis Armstrong's New Orleans". 2006 ISBN 0-393-06109-4
• Cogswell, Michael, Armstrong: The Offstage Story. 2003 ISBN 1-888054-81-6
• Elie, Lolis Eric, A Letter from New Orleans. Originally printed in Gourmet. Reprinted in Best Food Writing 2006,
Edited by Holly Hughes, ISBN 1-56924-287-9
• Jones, Max and Chilton, John, Louis Armstrong Story. 1988 ISBN 0-306-80324-0
• Meckna, Michael, Satchmo: The Louis Armstrong Encyclopedia.2004 ISBN 0-313-30137-9
• Storb, Ilse, "Louis Armstrong: The Definitive Biography". 1999 ISBN 0-8204-3103-6
• Teachout, Terry, Pops - A life of Louis Armstrong. 2009; ISBN 978-0-15-101089-9
Louis Armstrong 17
External links
• louis-armstrong.net – Sony BMG Music Entertainment (http://www.louis-armstrong.net)
• Louis Armstrong by Nat Hentoff (http://www.gadflyonline.com/archive/MarchApril00/
archive-louisarmstrong.html)
• Obituary, NY Times (http://www.nytimes.com/learning/general/onthisday/bday/0804.html)
• Quotes and tributes (http://www.satchmo.com/louisarmstrong/quotes.html)
• Discography (http://www.michaelminn.net/armstrong)
• Filmography (http://www.imdb.com/name/nm0001918/) @ imdb.com (http://www.imdb.com)
• The Louis Armstrong Society Jazz Band (http://www.larmstrongsoc.org)
• Louis Armstrong: A Life in Music (http://www.life.com/image/first/in-gallery/40982/
louis-armstrong-a-life-in-music) – slideshow by Life magazine
• Seeing Black jazz critic (http://www.seeingblack.com/x040901/armstrong.shtml) on the Uncle Tom question
• the official website of the Louis Armstrong House & Archives (http://www.louisarmstronghouse.org/)
• "Louis Armstrong Transcription Project – john p birchall" (http://www.themeister.co.uk/dixie/dixieland_jazz.
htm)
• Louis Armstrong (http://pbskids.org/jazz/nowthen/louis.html) at pbskids.org
• Louis Armstrong (http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=36) at Find A Grave
• David Margolick, The Day Louis Armstrong Made Noise (http://www.nytimes.com/2007/09/23/opinion/
23margolick.html)
• Smithsonian (http://www.npg.si.edu/exh/armstrong/index.htm) Louis Armstrong: A Cultural Legacy
• Louis Armstrong at NPR Music (http://www.npr.org/templates/story/story.php?storyId=15185958)
• Louis Armstrong in Athens (http://blog.dlg.galileo.usg.edu/?p=2445), Blog of the Digital Library of Georgia
• Louis Armstrong: discography and early recordings (RealPlayer format) (http://redhotjazz.com/louie.html) on
the Red Hot Jazz website.
• Milestone Louis Armstrong recordings (http://www.threeperfectminutes.com/search/label/Louis Armstrong)
at Three Perfect Minutes
• Louis Armstrong's autobiography online book
• "Satchmo – My Life in New Orleans(1954)" free download (http://www.archive.org/details/
satchmomylifeinn001956mbp)
• "Satchmo – My Life in New Orleans" (http://www.questia.com/PM.qst?a=o&d=6017805) another website
• Louis Armstrong (http://topics.nytimes.com/top/reference/timestopics/people/a/louis_armstrong/index.
html) collected news and commentary at The New York Times
• Works by or about Louis Armstrong (http://worldcat.org/identities/lccn-n50-1506) in libraries (WorldCat
catalog)
• Louis Armstrong (http://www.discogs.com/artist/Louis+Armstrong) discography at Discogs
Video clips
• "Now You Has Jazz" (http://www.youtube.com/watch?v=hxzCz6g_pCM)
• "Blueberry Hill" (http://www.youtube.com/watch?v=3Xy5JsrQg_Y)
• "Stompin' At The Savoy" (http://www.youtube.com/watch?v=VraBEa3U_Wg) Germany, 1959
• "Tiger Rag" (http://www.youtube.com/watch?v=9LHdvQmpk0M)
• "C'est si bon (http://www.youtube.com/watch?v=OFCS7kZwxug) 1962
• "Dream a Little Dream" (http://www.youtube.com/watch?v=R-xzfwDAn1I) photo slide show
• "Louis Armstrong and Frank Sinatra – The Birth of The Blues" (http://www.youtube.com/
watch?v=X_i3GpYkkvE) – The Edsel Show
• "What a Wonderful World" (http://www.youtube.com/watch?v=E2VCwBzGdPM&feature=related)
Louis Armstrong 18
• Nairn, Charlie, (1975): Earl "Fatha" Hines: (https://vimeo.com/58414566). 1hr documentary, with much about
Louis Armstrong, filmed at Blues Alley jazz club, Washington DC. Produced and directed by Charlie Nairn for
UK ATV Television, 1975. Many refs to Louis Armstrong. Original 16mm film, plus out-takes of additional
tunes, archived in British Film Institute Library at bfi.org.uk; also at http://www.itvstudios.com; DVD copies
with the "Jean Gray Hargrove Music Library" (which holds the The Earl Hines Collection/Archive), University of
California, Berkeley, California; also at University of Chicago "Hogan Jazz Archive", Tulane University New
Orleans and at the Louis Armstrong House Museum Libraries: see also www.jazzonfilm.com/documentaries.
19
Albums
Released 1961
Genre Jazz
Label Roulette
Louis Armstrong and Duke Ellington: The Great Summit/Complete Sessions is a 1961 jazz album by jazz giants
Duke Ellington and Louis Armstrong. A limited edition double CD from 2000 not only contains the recordings from
the two original LPs, but also a CD of alternate takes. They both lead a small band - Louis Armstrong's All Stars, and
play classic compositions by Ellington such as "Mood Indigo" and "Black And Tan Fantasy". A classic jazz album.
Track listing
First CD
Original albums Together for the First Time and The Great Reunion
1. "Duke's Place"
2. "I'm Just a Lucky So-and-So"
3. "Cotton Tail"
4. "Mood Indigo"
5. "Do Nothing till You Hear from Me"
6. "Beautiful American"
7. "Black and Tan Fantasy"
8. "Drop Me Off in Harlem"
9. "The Mooche"
10. "In a Mellow tone"
11. "It Don't Mean a Thing (If It Ain't Got That Swing)"
12. "Solitude"
13. "Don't Get Around Much Anymore"
14. "I'm Beginning to See the Light"
15. "Just Squeeze Me (But Please Don't Tease Me)"
16. "I Got It Bad (and That Ain't Good)"
Louis Armstrong and Duke Ellington: The Great Summit/Complete Sessions 20
17. "Azalea"
Personnel
• Duke Ellington — piano
• Louis Armstrong — trumpet, vocals
• Barney Bigard — clarinet
• Trummy Young — trombone
• Mort Herbert — double Bass
• Danny Barcelona — drums
Released 1997
Genre Jazz
Length 90:45
Label Verve
The Complete Ella Fitzgerald The Complete Ella Fitzgerald & Louis Armstrong Jukebox Ella: The Complete Verve
Songbooks on Verve Singles, Vol. 1
(1994) (1997) (2003)
Together for the First The Complete Ella Fitzgerald & Louis Armmstrong on Complete New York Town Hall & Boston Symphony Hall
Time Verve Concerts
(1961) (1997) (2006)
Professional
ratings
Review scores
Source Rating
Allmusic [1]
The Complete Ella Fitzgerald & Louis Armstrong on Verve is a 1997 compilation album of the recordings made
by the American jazz musicians Ella Fitzgerald and Louis Armstrong, on the Verve label, between 1956 and 1957.
The 47 tracks are collated from the three studio albums they recorded together, and two of the tracks (Tracks 19 and
20 on Disc Two) are from a 1957 concert at the Hollywood Bowl.
The three albums are:
• Ella and Louis (1956)
• Ella and Louis Again (1957)
• Porgy and Bess (1958)
Track listing
Disc One
1. "Can't We Be Friends?" (Paul James, Kay Swift) – 3:45
2. "Isn't This a Lovely Day?" (Irving Berlin) – 6:14
3. "Moonlight in Vermont" (John Blackburn, Karl Suessdorf) – 3:40
4. "They Can't Take That Away from Me" (George Gershwin, Ira Gershwin) – 4:36
5. "Under a Blanket of Blue" (Jerry Livingston, Al J. Neiburg, Marty Symes) – 4:16
6. "Tenderly" (Walter Gross, Jack Lawrence) – 5:05
7. "A Foggy Day" (G. Gershwin, I. Gershwin) – 4:31
8. "Stars Fell on Alabama" (Mitchell Parish, Frank Perkins) – 3:32
9. "Cheek to Cheek" (Berlin) – 5:52
10. "The Nearness of You" (Hoagy Carmichael, Ned Washington) – 5:40
11. "April in Paris" (Vernon Duke, Yip Harburg) – 6:33
Disc Two
1. "Don't Be That Way" (Benny Goodman, Mitchell Parish, Edgar Sampson) – 5:01
2. "Makin' Whoopee" (Walter Donaldson, Gus Kahn) – 3:59
3. "They All Laughed" (G. Gershwin, I. Gershwin) – 3:50
4. "Comes Love" (Lew Brown, Sam H. Stept, Charles Tobias) – 2:28
5. "Autumn in New York" (Vernon Duke) – 6:00
6. "Let's Do It (Let's Fall in Love)" (Cole Porter) – 8:44
7. "Stompin' at the Savoy" (Goodman, Andy Razaf, Sampson, Chick Webb) – 5:16
8. "I Won't Dance" (Dorothy Fields, Oscar Hammerstein II, Otto Harbach, Jerome Kern, Jimmy McHugh) – 4:47
9. "Gee Baby, Ain't I Good to You" (Razaf, Don Redman) – 4:11
10. "Let's Call the Whole Thing Off" (G. Gershwin, I. Gershwin) – 4:15
11. "These Foolish Things" (Harry link, Holt Marvell, Jack Strachey) – 7:40
The Complete Ella Fitzgerald & Louis Armstrong on Verve 22
References
Ella and Louis 23
Released 1957
Length 54:06
Label Verve
MGV-4003
Ella Fitzgerald Sings the Cole Porter Ella and Ella Fitzgerald Sings the Rodgers & Hart
Songbook Louis Songbook
(1956) (1956) (1956)
Ella and Louis is a 1956 studio album by Ella Fitzgerald and Louis Armstrong, accompanied by the Oscar Peterson
Quartet. Having previously collaborated in the late 1940s for the Decca label, this was the first of three albums that
Fitzgerald and Armstrong were to record together for Verve Records.
The Album
Norman Granz, the founder of the Verve label, selected eleven ballads for Fitzgerald and Armstrong, mainly played
in a slow or moderate tempo.
The success of Ella and Louis was replicated by Ella and Louis Again and Porgy and Bess. All three were released
as The Complete Ella Fitzgerald & Louis Armstrong on Verve.
Verve released the album also as one of the first ones in Super Audio Compact Disc (SACD).
Reception
Ella and Louis 24
Professional
ratings
Review scores
Source Rating
Allmusic []
Writing for Allmusic, music critic Scott Yanow wrote of the album "Ella Fitzgerald and Louis Armstrong make for a
charming team on this CD... this is primarily a vocal set with the emphasis on tasteful renditions of ballads."[]
Jasen and Jones called the set a "pinnacle of popular singing".[1]
The Penguin Guide to Jazz compiled by Richard Cook and Brian Morton, rated the album with four stars.
Track listing
Re-released by PolyGram-Verve on Cd in 1989: Verve-PolyGram 825 373-2.
Side One:
1. "Can't We Be Friends?" (Paul James, Kay Swift) – 3:47
2. "Isn't This a Lovely Day?" (Irving Berlin) – 6:16
3. "Moonlight in Vermont" (John Blackburn, Karl Suessdorf) – 3:42
4. "They Can't Take That Away from Me" (George Gershwin, Ira Gershwin) – 4:39
5. "Under a Blanket of Blue" (Jerry Livingston, Al J. Neiburg, Marty Symes) – 4:18
6. "Tenderly" (Walter Gross, Jack Lawrence) - 5:10
Side Two:
1. "A Foggy Day" (G. Gershwin, I. Gershwin) – 4:32
2. "Stars Fell on Alabama" (Mitchell Parish, Frank Perkins) – 3:34
3. "Cheek to Cheek" (Berlin) – 5:53
4. "The Nearness of You" (Hoagy Carmichael, Ned Washington) – 5:42
5. "April in Paris" (Vernon Duke, Yip Harburg) – 6:33
Personnel
• Louis Armstrong - vocals, trumpet
• Ella Fitzgerald - vocals
• Ray Brown - bass
• Herb Ellis - guitar
• Oscar Peterson - piano
• Buddy Rich - drums
Ella and Louis 25
Additional personnel
• Val Valentin - session engineer
• Phil Stern - photography
Sources
[1] Black Bottom Stomp: Eight Masters of Ragtime and Early Jazz, by David A. Jasen and Gene Jones, 272 pages, Routledge Chapman & Hall
(September 2001), ISBN 0-415-93641-1, ISBN 978-0-415-93641-5]
Released 1957
Length 90:26
Label Verve
MGV 4006-2
Ella Fitzgerald Sings the Rodgers & Hart Ella and Louis Ella Fitzgerald Sings the Duke Ellington
Songbook Again Songbook
(1956) (1957) (1957)
Ella and Louis Again is a 1957 studio album by Ella Fitzgerald and Louis Armstrong. It is the "sequel" to their 1956
album, Ella and Louis, in contrast to their previous collaboration Ella and Louis, this album does not only feature
duets. It was reissued in 2006 on a 2 CD-set as Verve 0602517036918.
Reception
Ella and Louis Again 26
Professional
ratings
Review scores
Source Rating
Allmusic []
Writing for Allmusic, music critic Alex Henderson wrote of the album "One could nit-pick about the fact that
Satchmo doesn't take more trumpet solos, but the artists have such a strong rapport as vocalists that the trumpet
shortage is only a minor point. Seven selections find either Fitzgerald or Armstrong singing without the other,
although they're together more often than not on this fine recording."[]
Track listing
For the original 1957 double LP, Verve MGV 4006-2
Side One:
1. "Don't Be That Way" (Benny Goodman, Mitchell Parish, Edgar Sampson) – 5:01
2. "Makin' Whoopee" - Louis Armstrong solo vocal (Walter Donaldson, Gus Kahn) – 3:59
3. "They All Laughed" (George Gershwin, Ira Gershwin) – 3:50
4. "Comes Love" - Ella Fitzgerald solo vocal (Lew Brown, Sam H. Stept, Charles Tobias) – 2:28
5. "Autumn in New York" (Vernon Duke) – 6:00
Side Two:
1. "Let's Do It, Let's Fall in Love" - Louis Armstrong solo vocal (Cole Porter) – 8:44
2. "Stompin' at the Savoy" (Goodman, Andy Razaf, Sampson, Chick Webb) – 5:16
3. "I Won't Dance" (Dorothy Fields, Oscar Hammerstein II, Otto Harbach, Jerome Kern, Jimmy McHugh) – 4:47
4. "Gee, Baby, Ain't I Good to You" (Razaf, Don Redman) – 4:11
Side Three:
1. "Let's Call the Whole Thing Off" (G. Gershwin, I. Gershwin) – 4:15
2. "These Foolish Things" - Ella Fitzgerald solo vocal (Harry Link, Holt Marvell, Jack Strachey) – 7:40
3. "I've Got My Love to Keep Me Warm" (Irving Berlin) – 3:12
4. "Willow Weep for Me" - Louis Armstrong solo vocal (Ann Ronell) – 4:21
5. "I'm Putting All My Eggs in One Basket" (Berlin) – 3:28
Side Four:
1. "A Fine Romance" (Fields, Kern) – 3:56
2. "Ill Wind" - Ella Fitzgerald solo vocal (Harold Arlen, Ted Koehler) – 3:45
3. "Love Is Here to Stay" (G. Gershwin, I. Gershwin) – 4:01
4. "I Get a Kick out of You" - Louis Armstrong solo vocal (Porter) – 4:21
5. "Learnin' the Blues" (Delores Vicki Silvers) – 7:11
Ella and Louis Again 27
Personnel
• Louis Armstrong - vocals, and trumpet on tracks 5, 7, 9, 13, 17 and 19.
• Ella Fitzgerald - vocals
• Ray Brown - double bass
• Herb Ellis - guitar
• Oscar Peterson - piano
• Louie Bellson - drums
References
High Society 28
High Society
High Society
Soundtrack album by Bing Crosby
Released 1956
Label Capitol
Bing: A Musical High Songs I Wish I Had Sung the First Time
Autobiography Society Around
(1954) (1956) (1956)
High Society is a 1956 soundtrack album, featuring Bing Crosby, Frank Sinatra, Louis Armstrong and Grace Kelly.
This was Crosby's fifth LP album, and his first recorded for Capitol Records. It was the soundtrack for the MGM
feature film High Society, also released in 1956.
Crosby's exclusive recording contract with Decca Records expired at the end of 1955 and he chose to go freelance.
After his recording of "True Love" with Grace Kelly went gold, Crosby joked that it was the only gold record to
feature a real-life princess. "True Love" was the only song in the album to be nominated for an Academy Award.
Track listing
1. "High Society" (Overture) - Johnny Green, conducting the MGM Studio Orchestra
2. "High Society Calypso" - Louis Armstrong and His Band
3. "Little One" - Bing Crosby
4. "Who Wants to Be a Millionaire?" - Celeste Holm, Frank Sinatra
5. "True Love" - Bing Crosby, Grace Kelly
6. "You're Sensational" - Frank Sinatra
7. "I Love You, Samantha" - Bing Crosby
8. "Now You Has Jazz" - Louis Armstrong and His Band, Bing Crosby
9. "Well, Did You Evah!" - Bing Crosby, Frank Sinatra
10. "Mind if I Make Love to You?" - Frank Sinatra
All songs written by Cole Porter.
High Society 29
Chart positions
Chart Year Peak
position
[1] 1957 1
UK Albums Chart
Credits
• Louis Armstrong Performer, Primary Artist, Trumpet, Vocals
• Louis Armstrong & His Big Band Ensemble
• Saul Chaplin Adaptation, Music Supervisor
• Bing Crosby Performer, Primary Artist, Vocals
• John Green Adaptation, Conductor, Music Supervisor
• Celeste Holm Performer, Primary Artist, Vocals
• Grace Kelly Performer, Primary Artist
• Skip Martin Orchestration
• Cole Porter Composer, Primary Artist
• Cole Porter Orchestra Performer, Primary Artist
• Nelson Riddle Orchestration
• Conrad Salinger Orchestration
• Frank Sinatra Performer, Primary Artist, Vocals
• Charles Walters Director
References
Louis Armstrong Meets Oscar Peterson 30
Released 1957
Recorded July 31, 1957 and October 14, 1957, at Capitol Studios, Hollywood, Los Angeles, California
Genre Jazz
Length 70:02
Label Verve
Professional
ratings
Review scores
Source Rating
Allmusic [1]
Louis Armstrong Meets Oscar Peterson is a 1957 studio album by Louis Armstrong, accompanied by Oscar
Peterson.[2]
The album was reissued in 1997 on CD with four bonus tracks, recorded at the sessions that produced Ella and Louis
Again.[3]
Track listing
1. "That Old Feeling" (Lew Brown, Sammy Fain) – 2:42
2. "Let's Fall in Love" (Harold Arlen, Ted Koehler) – 3:14
3. "I'll Never Be the Same" (Gus Kahn, Matty Malneck, Frank Signorelli) – 3:29
4. "Blues in the Night" (Arlen, Johnny Mercer) – 5:10
5. "How Long Has This Been Going On?" (George Gershwin, Ira Gershwin) – 5:56
6. "I Was Doing All Right" (G. Gershwin, I. Gershwin) – 3:20
7. "What's New?" (Sonny Burke, Bob Haggart) – 2:40
8. "Moon Song" (Sam Coslow, Arthur Johnston) – 4:31
9. "Just One of Those Things" (Cole Porter) – 4:02
10. "There's No You" (Tom Adair, Hal Hopper) – 2:14
11. "You Go to My Head" (J. Fred Coots, Haven Gillespie) – 6:24
12. "Sweet Lorraine" (Cliff Burwell, Mitchell Parish) – 5:11
Louis Armstrong Meets Oscar Peterson 31
Bonus tracks
• "I Get a Kick out of You" (Porter) – 4:16
2. "Makin' Whoopee" (Walter Donaldson, Kahn) – 3:55
3. "Willow Weep for Me" (Ann Ronell) – 4:16
4. "Let's Do It (Let's Fall in Love)" (Porter) – 8:42
Personnel
Performance
• Louis Armstrong – trumpet, vocals
• Oscar Peterson – piano
• Herb Ellis – guitar
• Ray Brown – double bass
• Louie Bellson – drums
Production
• Leonard Feather – liner notes
• Val Valentin – engineer
• Norman Granz – producer
References
[1] [ Allmusic review]
[3] Louis Armstrong Meets Oscar Peterson (http:/ / www. vervemusicgroup. com/ artist/ releases/ default. aspx?pid=9815& aid=2679) Verve
Music Group. Accessed July 13, 2008.
Louis Armstrong Plays W.C. Handy 32
Released 1954
Genre Jazz
Length 76:37
Label Columbia
Professional
ratings
Review scores
Source Rating
Allmusic [1]
Louis Armstrong Plays W. C. Handy is a 1954 studio release by Louis Armstrong and His All Stars, described by
Allmusic as "Louis Armstrong's finest record of the 1950s" and "essential music for all serious jazz collections".[2]
Columbia CD released the album on CD in 1986 in a much altered form, with alternative versions in place of many
of the original songs, but restored the original with its 1997 re-issue, which also included additional tracks: a brief
interview by the producer, George Avakian, with W. C. Handy; a joke told by Louis Armstrong; and several
rehearsal versions of the songs.
Track listing
Side 1
1. "St. Louis Blues" (Handy) - 8:50
2. "Yellow Dog Blues" (Handy) - 4:16
3. "Loveless Love" (Handy) - 4:28
4. "Aunt Hagar's Blues" (Brymn, Handy) - 4:57
5. "Long Gone (From Bowling Green)" (Handy, Smith) - 5:08
Louis Armstrong Plays W.C. Handy 33
Side 2
1. "Memphis Blues" (Handy, Norton) - 2:59
2. "Beale Street Blues" (Handy) - 4:56
3. "Ole Miss Blues" (Handy) - 3:25
4. "Chantez Les Bas (Sing 'Em Low)" (Handy) - 4:48
5. "Hesitating Blues" (Handy) - 5:20
6. "Atlanta Blues (Make Me a Pallet on the Floor)" (Elman, Handy) - 4:33
Personnel
Performers
• Louis Armstrong – trumpet, vocals
• Barney Bigard – clarinet
• Barrett Deems – drums
• Billy Kyle – piano
• Velma Middleton – vocals
• Arvell Shaw – bass
• Trummy Young – trombone
Production
• Rene Arsenault – production assistant
• George Avakian – producer, engineer, liner notes, reissue producer
• Gina Bello – design assistant
• Steven Berkowitz – reissue series
• Jennifer Ebert – packaging manager
• Kevin Gore – reissue series
• Randall Martin – reissue design
• Patti Matheny – A&R, artist coordination
• Seth Rothstein – project director, project manager
• Cozbi Sanchez-Cabrera – art direction, reissue art director
• Mark Wilder – engineer, digital mastering
Louis Armstrong Plays W.C. Handy 34
References
[1] [ Allmusic review]
External links
• Louis Armstrong Plays W. C. Handy (http://www.michaelminn.net/armstrong/sessions5/s540712.html), from
The Louis Armstrong Discography (http://www.michaelminn.net/armstrong/) by Scott Johnson with
adaptations by Michael Minn, 1997–2007
Released 1957
Length 66:04
Label Verve
MGV 4011-2
I've Got the World On a Porgy and Louis Armstrong Meets Oscar
String Bess Peterson
(1957) (1957) (1957)
Porgy and Bess is a 1957 studio album by jazz vocalist and trumpeter Louis Armstrong, and singer Ella Fitzgerald
collaborating on this recording of selections from George and Ira Gershwin's Porgy and Bess. In 2001, it was
awarded with a Grammy Hall of Fame Award, a special achievement prize established in 1973 to honor recordings
that are at least twenty-five years old, and that have "qualitative or historical significance."[1] The album was
originally issued on the Verve label as Verve MGV 4011-2, then reissued on PolyGram on CD in 1990, as
Verve-PolyGram 827 475-2.
The album is considered the most musically successful amongst the jazz vocal versions of the opera and was
released to coincide with the 1959 movie version.
The arranger on this album, Russell Garcia, had previously arranged the first jazz vocal recording of the album,
1956's, The Complete Porgy and Bess.
Porgy and Bess 35
Reception
Professional
ratings
Review scores
Source Rating
Allmusic []
The Allmusic review of the album claimed "What's really great about the Ella and Louis version is Ella, who handles
each aria with disarming delicacy, clarion intensity, or usually a blend of both... Pops sounds like he really savored
each duet, and his trumpet work — not a whole lot of it, because this is not a trumpeter's opera — is
characteristically good as gold. This marvelous album stands quite well on its own, but will sound best when
matched with the Ray Charles/Cleo Laine version, especially the songs of the Crab Man, of Peter the Honey Man,
and his wife, Lily the Strawberry Woman."[]
Track listing
All songs written by George Gershwin, Ira Gershwin and Dubose Heyward, unless otherwise indicated.
Original LP (Verve MGV 4011-2)
Side One:
1. "Overture" (George Gershwin) – 10:52
2. "Summertime" – 4:58
3. "I Wants to Stay Here" – 4:38
4. "My Man's Gone Now" – 4:02
5. "I Got Plenty O' Nuttin'" – 3:52
6. "Buzzard Song" – 2:58
7. "Bess, You Is My Woman Now" – 5:28
Side Two:
1. "It Ain't Necessarily So" (George Gershwin, Ira Gershwin) – 6:34
2. "What You Want Wid Bess?" – 1:59
3. "A Woman Is a Sometime Thing" – 4:47
4. "Oh, Doctor Jesus" – 2:00
5. Medley: "Here Come de Honey Man"/"Crab Man"/"Oh, Dey's So Fresh and Fine" – 3:29
6. "Bess, Oh Where's My Bess?" – 2:36
7. "Oh Lawd, I'm on My Way!" – 2:57
Porgy and Bess 36
Orchestra
• Russell Garcia - Arranger, Conductor
• Vincent DeRosa - French horn
• Frank Beach - Trumpet
• Buddy Childers - Trombone
• Cappy Lewis
• Milt Bernhart
• Marshall Cram
• James Henderson
• Lloyd Ulyate
• Victor Arno - Violin
• Robert Barene
• Jacques Gasselin
• Joseph Livoti
• Dan Lube
• Amerigo Marino
• Bill Miller
• Erno Neufeld
• Marshall Sosson
• Robert Sushel
• Gerald Vinci
• Tibor Zelig
• Myron Bacon - Viola
• Abraham Hochstein
• Raymond Menhennick
• Myron Sandler
• Justin Di Tullio - Cello
• Kurt Reher
• William Van Den Burg
• Tony Rizzi - Guitar
• Joe Mondragon - Double Bass
• Chorus
Porgy and Bess 37
References
[1] Grammy Hall of Fame Database (http:/ / www. grammy. org/ recording-academy/ awards/ hall-of-fame)
External links
• Notes on August 18-19 1957 session (http://www.satchography.com/sessions6/s570818.html) and October 14
1957 session (http://www.satchography.com/sessions6/s571014a.html) from Satchography.com
• Notes on August 18-19 1957 session (http://www.jazzdisco.org/verve/1957-dis/c/#570818) and October 14
1957 session (http://www.jazzdisco.org/verve/1957-dis/c/#571014b) from the Jazz Discography Project
• Ella Fitzgerald and Louis Armstrong: Porgy and Bess (http://www.discogs.com/master/173483) at Discogs
(list of releases)
The Real Ambassadors is a jazz musical developed in the late 1950s and early 1960s by Dave and Iola Brubeck, in
collaboration with Louis Armstrong and his band. It addressed the U.S. Civil Rights Movement, the music business,
America’s place in the world during the Cold War, the nature of God, and a number of other themes. It was set in a
fictional African nation called Talgalla, and its central character was based on Armstrong.[1]
Background
In writing this work, the Brubecks drew upon experiences they and their friends and colleagues had touring various
parts of the world on behalf of the U.S. State Department. The Brubecks and Armstrong (among many other
musicians such as Dizzy Gillespie, Benny Goodman, and Duke Ellington) were part of a campaign by the State
Department to spread American culture and music around the world during the Cold War, especially into countries
whose allegiances were not well defined or that were perceived as being at risk of aligning with the Soviet Union.
Fittingly, The Real Ambassadors was about the important role that musicians play as unofficial ambassadors for their
countries.[2]
Among the events referenced, directly or indirectly, were the 1956 student riots in Greece in which stones were
thrown at the U.S. Embassy, which dissipated following performances by Dizzy Gillespie; Louis Armstrong’s 1956
visit to Ghana as the guest of Prime Minister Kwame Nkrumah; and Armstrong’s dispute with the Eisenhower
Administration and President Eisenhower personally over the handling of the 1957 Central High School Crisis in
Little Rock, Arkansas.
The Real Ambassadors 38
Released 1962
Genre Jazz
Label Columbia
The musical’s soundtrack album was recorded in September and December of 1961 in the Columbia Records
recording studio on 30th Street in New York City, and was released the following year. It was produced by Teo
Macero. Performers included Dave Brubeck and his band (including bassist Gene Wright and drummer Joe Morello,
but not including saxophonist Paul Desmond); Louis Armstrong and his band (including trombonist Trummy Young
and pianist Billy Kyle); vocalese group Lambert, Hendricks & Ross; and vocalist Carmen McRae. Its most recent
release was on compact disc on June 14, 1994 by Sony’s Legacy label.[3]
The musical was performed in a cut down version of ten tunes with Iola Brubeck narrating live at the Monterey Jazz
Festival in 1962 by Brubeck and his band; Armstrong and his band; Lambert, Hendricks & Bavan; and Carmen
McRae. Television cameras, though present, did not capture the performance, and it has not been performed since.[1]
Connecticut jazz vocalist Dianne Mower has been making efforts to bring about a Broadway revival of the show. A
slide/vocal clip of Louis Armstrong singing the title tune at Monterey can be found here [4]
Social Impact
The Real Ambassadors was able to capture the often complicated, and sometimes contradictory politics of the State
Departments tours during the Cold War Era. Addressing African and Asian nation building in addition to the U.S.
civil rights struggle, it satirically portrayed the international politics of the tour.[] The musical also addressed the
prevailing racial issues of the day, but did so within the context of witty satire. Below is an excerpt of Armstrong's
opening lines to the piece "They Say I Look Like God".
They say I look like God.
Could God be black? My God!
If all are made in the image of thee,
Could thou perchance a zebra be?
Louis Armstrong, The Real Ambassadors, "They Say I Look Like God".
Despite Iola Brubeck's intention for some of her lyrics to be light and humorous in presentation [believing that some
of the messages would be better accepted, if presented in a satirical manner], Armstrong saw this performance as an
opportunity for him to address many of the racial issues that he had struggled with for his entire career, and he made
a request to sing the song straight. In one 2009 interview with Dave Brubeck, he remarked on Armstrong's
seriousness: "Now, we wanted the audience to chuckle about the ridiculous segregation, but Louis was cryin'... and
every time we wanted Louis to loosen up, he'd sing 'I'm really free. Thank God Almighty, I'm really free'."[5] After
The Real Ambassadors 39
years of demeaning roles in his public performances, the collaboration in The Real Ambassadors offered Armstrong
material that was closer to his own sensibility and outlook.[]
The recording with the Iola Brubeck lyrics being presented dead seriously, with the Brubeck jazz-blues melody sung
by Armstrong against the gorgeous background vocal parts Dave Brubeck had written for Lambert, Hendricks and
Ross to sing, combined with Brubeck's subtle piano 'comping, was done in one take, and reportedly everyone there
in the recording studio in 1961 was then crying their eyes out.
Later, at the live performance of "The Real Ambassadors" with Armstrong at the Monterey Jazz Festival in 1962,
Lambert, Hendricks and Bavan put on sackcloths and hoods over their heads (they then lifted the hoods up to sing
their parts) just before "They Say I Look Like God" started. Dave Brubeck still regrets not having $750 in cash on
hand (which the camera crew filming at the 1962 Monterey Jazz Festival stated was the fee required to film the
performance), and feels that it was a "terrible goof" that the live performance wasn't filmed.
Track listing
1. “Everybody's Comin' ["Everybody's Jumpin' "]” (1:45)
2. “Cultural Exchange” (4:38)
3. “Good Reviews” (2:05)
4. “Remember Who You Are” (2:29)
5. “My One Bad Habit” (2:37)
6. “Lonesome” (2:24) *
7. “Summer Song” (3:14)
8. “King for a Day” (3:40)
9. “Blow Satchmo” (0:44)
10. “The Real Ambassador” (3:08)
11. “Nomad” (2:51) *
12. “In The Lurch ["Two Part Contention" theme]” (2:28)
13. “One Moment Worth Years” (4:17)
14. “You Swing Baby ["The Duke"]” (2:31) *
15. “Summer Song” (2:32) *
16. “They Say I Look Like God” (5:26)
17. “I Didn’t Know Until You Told Me” (2:58)
18. “Since Love Had Its Way” (2:31)
19. “Easy As You Go” (2:32) *
20. “Swing Bells / Blow Satchmo / Finale ["Watusi Drums" theme and "Blow Satchmo (reprise)"]” (6:05)
Asterisked selections appeared on the 1994 CD release, but not on the original LP release. All songs by Dave
Brubeck and Iola Brubeck - except "My One Bad Habit" is by Dave Brubeck, Iola Brubeck and Ella Fitzgerald
The Real Ambassadors 40
References
Penny M. Von Eschen. Satchmo Blows up the World: Jazz Ambassadors Play the Cold War. (Cambridge, MA:
Harvard University Press, 2004). ISBN 0674015010.
Notes
[1] Von Eschen, Penny M. Satchmo Blows the World, 2004, p.81, 89-90
[3] Stern, Chip. Liner notes for The Real Ambassadors, 1994, Columbia/Legacy CK57663.
[4] http:/ / www. therealambassadors. com/ 2. htm
External links
• Dianne Mower's The Real Ambassadors site (http://www.therealambassadors.com/index.htm)
• Interview with Penny Von Eschen on The Real Ambassadors (http://www.jerryjazzmusician.com/mainHTML.
cfm?page=voneschen.html#The Real Ambassadors album)
• The Real Ambassadors at Allmusic (http://www.allmusic.com/album/r206112)
• NPR Interview with Dave Brubeck on The Real Ambassadors by Patrick Jarenwattananon (http://www.npr.org/
blogs/ablogsupreme/2009/06/dave_brubeck_on_the_real_ambas.html)
Struttin' 41
Struttin'
Struttin'
Studio album by Louis Armstrong with Edmond Hall's All Stars
Struttin' is a 1996 jazz album performed by Louis Armstrong with Edmond Hall's All Stars.
Track listing
No. Title Length
8. "Confessin'" 4:07
Songs
Lyrics
The opening lines establish the African-American context:
Oh ma honey . . . ain't you goin' to the leaderman, the
ragged meter man
and:
If you care to hear the Swanee River played in ragtime
The new style included new ways of playing traditional
instruments as well:
Cover, 1911 sheet music
There's a fiddle with notes that screeches
Like a chicken
And the clarinet is a colored pet
History
Vaudeville singer Emma Carus, famed for her "female baritone", is said to have been largely responsible for
successfully introducing the song in Chicago and helping contribute to its immense popularity. It became identified
with her, and soon worked its way back to New York where Al Jolson also began to perform it.[2]
The song has been recorded by many artists, including Byron G. Harlan & Arthur Collins, Victor Military Band, Ted
Lewis & his band, Boswell Sisters, The Andrews Sisters, Louis Armstrong, Ray Charles, Johnnie Ray, Bee Gees,
Bing Crosby, Ella Fitzgerald, George Formby, Al Jolson, Liberace, Billy Murray, Liza Minnelli, Sid Phillips, Don
Patterson & Sonny Stitt, Sarah Vaughan & Billy Eckstine, Jorgen Ingmann, Bessie Smith and Julie Andrews.
The song had a presence on the charts for five straight decades. According to Newsweek Magazine:
• Four different versions of the tune charted at # 1, # 2, # 3 and # 4 in 1911 including one by Arthur Collins which
stayed at number one for 10 weeks.
• Bessie Smith's version made the top 20 in 1927.
• Louis Armstrong made the top 20 with it in 1937.
• A duet by Bing Crosby and Connee Boswell hit #1 in 1938.
• Johnny Mercer charted a swing version in 1945.
• Bing Crosby recorded another duet version, and hit the top-20 in 1947 with Al Jolson.
• Nellie Lutcher put it on the R&B charts in 1948.
• Bob Wills put it on the c&w charts in the same decade.
"Alexander's Ragtime Band" 43
• Donald O'Connor sang it on the silver screen in 20th Century Fox's musical There's No Business Like Show
Business in 1954.
• Johnnie Ray recorded his version in 1954.
• Ella Fitzgerald scored with it in 1958, and received a Grammy for her Irving Berlin anthology in 1959.
• Ray Charles recorded it in 1959 for his album The Genius of Ray Charles.
• Bee Gees used the music in their tour in 1974, and sang it on The Midnight Special TV show in 1973.[3]
• The Grateful Dead refer to it in the lyrics of "Ramble On Rose".[4]
The tune of the song was played in Broadway Folly, 1930 Oswald the Lucky Rabbit film.[5]
A 1938 film of the same name was loosely based on the song.
The song is referenced in the Emerson, Lake and Palmer song "Karn Evil 9".
A version of the song set to a disco beat was recorded by Ethel Merman for her infamous Ethel Merman Disco
Album in 1979.
A snippet of the chorus of "Alexander's Ragtime Band" can be heard toward the end of Taco's 1982 cover of "Puttin'
on the Ritz", a number 4 hit in the United States.
The song was used in Tennessee politics by Lamar Alexander, a trained pianist, Governor of Tennessee and U.S.
Senator, who performed the song for campaign events, including during his 1996 run for the Republican presidential
nomination.
The song was in the White Star Line Songbook on board the R.M.S. Titanic and was played in the 1st Class Lounge
early on in the sinking. This is portrayed in James Cameron's 1997 blockbuster, Titanic.
The Georgia Tech Pep Band plays the song before every men's and women's home basketball games.
In 1998, this song was added in Kidsongs Adventures in Biggleland: Meet the Biggles.
Nowadays,Wikipedia:Manual of Style/Dates and numbers#Chronological items Liza Minnelli tends to open her
concerts with the song.[citation needed]
Notes
[1] Berlin, E. A. King of Ragtime, Oxford University Press, 1994, p. 210.
[2] Bergreen, Laurence. As Thousands Cheer: The Life of Irving Berlin (Viking, 1990) p. 67.
External links
• "Alexander's Ragtime Band" performed by Billy Murray (http://cylinders.library.ucsb.edu/search.
php?query=alexander's ragtime band 10522&num=1) (Cylinder Preservation and Digitization Project)
• "Alexander's Ragtime Band" (http://library.duke.edu/digitalcollections/hasm.a5378/pg.1/) from Historic
American Sheet Music: 1910-1920 - The Digital Scriptorium (http://scriptorium.lib.duke.edu/scriptorium/)
• "Alexander's Ragtime Band" Centennial Tribute (http://www.americanmusicpreservation.com/
AlexandersRagtimeBandCentennial.htm)
"April in Paris" 44
"April in Paris"
"April in Paris"
Music by Vernon Duke
Published 1932
Language English
"April in Paris" is a song composed by Vernon Duke with lyrics by E. Y. Harburg in 1932 for the Broadway
musical Walk A Little Faster. The original 1933 hit was performed by Freddy Martin, and the 1952 remake (inspired
by the movie of the same name) was by the Sauter-Finegan Orchestra, whose version made the Cashbox Top 50.
Composer Alec Wilder writes, "There are no two ways about it: this is a perfect theater song. If that sounds too
reverent, then I'll reduce the praise to 'perfectly wonderful,' or else say that if it's not perfect, show me why it isn't."[1]
It has been performed by many artists, including Louis Armstrong, Count Basie, Bill Evans, Charlie Parker,
Coleman Hawkins, Frank Sinatra, Mary Kaye Trio, Billie Holiday, Thelonious Monk, Ella Fitzgerald, Sarah
Vaughan, Benny Goodman, Dinah Shore, Glenn Miller, Doris Day, Alex Chilton, Tommy Dorsey, Blossom Dearie,
Wynton Marsalis, Andy Williams, and Dawn Upshaw. Basie's 1955 recording is the most famous, and that particular
performance was inducted into the Grammy Hall of Fame.[2] On this recording, trumpeter Thad Jones played his
famous "Pop Goes the Weasel" solo, and Basie directs the band to play the shout chorus "one more time," then "one
more once."
• Shirley Bassey recorded the song for her 1959 album "The Fabulous Shirley Bassey".
• Sammy Davis, Jr. recorded the song for his album "When the Feeling Hits You!" (1965)
The song is also featured in the film Blazing Saddles.[citation needed]
The song is also featured on the game Grand Theft Auto 4.
"April in Paris" 45
Literature
• Ted Gioia The Jazz Standards: A Guide to the Repertoire Oxford University Press; Oxford 2012; ISBN
978-0199937394
References
[2] Count Basie - April In Paris - Verve Records (http:/ / www. vervemusicgroup. com/ product. aspx?ob=prd& src=list& pid=9896)
External links
• "April in Paris" (http://www.jazzstandards.com/compositions-1/aprilinparis.htm) at JazzStandards.com (http:/
/www.jazzstandards.com)
"Autumn in New York" 46
"Autumn in
New York"
Music by Vernon Duke
Written 1934
Language English
"Autumn in New York" is a jazz standard composed by Vernon Duke in 1934 for the Broadway musical Thumbs
Up! which opened on December 27, 1934, performed by J. Harold Murray. Many versions of the song have been
recorded over the years by numerous musicians and singers.
Jazz versions have been performed by Charlie Parker, Billie Holiday, Stan Kenton, Sarah Vaughan and Sheila
Jordan. A duet of the song was also recorded by Louis Armstrong and Ella Fitzgerald. Among the instrumental
performances of the tune is a legendary version by guitarist Tal Farlow.
Notable recordings
• 1946 – Charlie Parker
• 1947 – Bud Powell
• 1949 – Frank Sinatra
• 195? – Arthur Godfrey
• 195? – Gunnar Johnson
• 195? – Shafi Hadi Sextet
• 1950 – Jo Stafford
• 1951 – Barbara Carroll
• 1951 – Charles Mingus
• 1951 – Charlie Mariano
• 1951 – Mary Lou Williams
• 1951 – Stan Kenton
• 1952 – Billie Holiday
• 1952 – Modern Jazz Quartet
• 1952 – Oscar Peterson
• 1952 – Teddy Wilson
• 1952 – Dan Terry and His Orchestra
• 1953 – Bob Freeman Trio
• 1953 – Buddy DeFranco
• 1953 – Johnny Smith
• 1953 – Sal Salvador
• 1953 – Sonny Stitt
• 1954 – Buddy Banks and Bobby Jaspar
• 1954 – Chet Baker
• 1954 – Clifford Brown
• 1954 – Gene Krupa
"Autumn in New York" 47
External links
• Song information at JazzStandards.com [1]
References
[1] http:/ / www. jazzstandards. com/ compositions-1/ autumninnewyork. htm
"Back Home Again in Indiana" 51
In 1934, Joe Young, Jean Schwartz, and Joe Ager wrote "In a
Little Red Barn (on a Farm down in Indiana)", which not only
incorporated all the same key words and phrases above, but whose
chorus had the same harmonic structure as "Indiana". In this
respect it was a contrafact of the latter (see "A jazz standard"
below).
A jazz standard
In 1917 it was one of the current pop tunes selected by Columbia
Records to be recorded by the Original Dixieland Jazz Band, who
released it as a Columbia 78, A2297, backed with "Darktown Strutters'
Ball". This lively instrumental version by the ODJB was one of the
earliest jazz records issued and sold well. The tune became a jazz
standard. For years, Louis Armstrong and his All Stars would open
each public performance with the number.
Albert Nicholas, clarinetist, with The Big Chief Jazz Band recorded it
on Oslo August 29, 1955. Released on the 78 rpm record Philips
P 53037 H.
Its chord changes undergird the Miles Davis bop composition "Donna
Columbia 78, A2297, ODJB, 1917.
Lee", one of jazz's best known contrafacts (a composition that overlays
a new melody over an existing harmonic structure). Other lesser known
contrafacts include Fats Navarro's "Ice Freezes Red" and Lennie Tristano's "Ju-Ju".
"Back Home Again in Indiana" 52
An Indiana signature
Back Home Again in Indiana, James F. Hanley and Ballard MacDonald, 1917, Paull-Pioneer Music Corp.
Performed by the Homestead Trio, published by Edison Records
Since 1946, it has been an annual tradition for the chorus of the song to be performed at the Indianapolis 500
automobile race. In most years since 1972, it has been sung by actor and singer Jim Nabors. Nabors' version alters
several of the lyrics, replacing "shining" with "burning", "all" with "out", "from" with "through", and "then" with
"how". The singing is backed by the Purdue All-American Marching Band. It is performed immediately following
"The Star-Spangled Banner", the Invocation, and the rendering of "Taps". The song is accompanied by a large
balloon release near the end. The Indiana State Marching Sycamores also have a rendition of this song that is played
at every event.
The song is also featured prominently at the Indiana State Museum where a steam clock plays the tune at the top of
every hour. [1]
Since 1991 Indianapolis TV station WISH-TV used components of the song in their news themes; and since 1997
Fort Wayne TV station WANE-TV (WISH-TV's sister station owned by LIN TV) has also used components of the
song in their news themes. Stephen Arnold Music's Newsleader and "Counterpoint with Indiana" (aka WISH-TV
News Music Package) and 615 Music's "In-Sink V.4" (aka "In-Sink with Indiana") are news music themes that have
the "Back Home Again in Indiana" Signature.
It is also used to open every Little 500 bicycle race held at Indiana University.
Chords
I VI7 II7 II7 V7 V7 I I7
IV iv I I II7 II7 V7 V7
I VI7 II7 II7 V7 III7 vi vi
I III7 vi II7 I-VI7 II7-V7 I I
External links
• Song lyrics on Wikisource
References
[1] http:/ / www. in. gov/ ism/ Exhibits_Collections/ BuildingFeatures/ stmclk. aspx
"Basin Street Blues" 53
Other recordings
Bob Wills and his Texas Playboys also recorded a version during the group's heyday with Tommy Duncan. Louis
Prima also recorded the song on his 1957 album The Wildest! as did Dr. John on his 1992 album Goin' Back to New
Orleans. Bob Wills' official version contains slightly different lyrics than those heard on Bob Wills' Anthology.
Instead of Basin Street being the place where the "dark and light folks" meet, as sung on the recording, the printed
lyrics state that Basin Street is the place where the "young and old folks" meet.
Connee Boswell recorded the song theatrically with Bing Crosby in 1937.
A rendition of this song by Ella Fitzgerald with the Sy Oliver orchestra can be found on the Decca release "Lullabies
of Birdland".
Jo Stafford recorded a duet version with Frankie Laine.
An instrumental version of this song was recorded by Miles Davis and was released as the opening track of his 1963
album Seven Steps to Heaven.
Liza Minnelli performed the number at her 2008-9 concert Liza's at The Palace...!.
"Basin Street Blues" was used on the soundtrack for The Curious Case of Benjamin Button
In 2008, saxophonist David Sanborn covered the song from his album "Here & Gone."[1]
The song has also been re-imagined by Canadian turntablist Kid Koala, by manipulating the vinyl live.
Sam Cooke recorded a version in 1963, although with different lyrics. He performed the song live on The Tonight
Show and The Mike Douglas Show.
In his live recording made at the Monterey Jazz festival in 1963, Jack Teagarden claims that the words we usually
associate with the song were written by Teagarden and his fellow trombonist Glenn Miller when they were asked to
arrange the song for an early Ben Pollack recording. Neither name appears on the song credits.
References
External links
• "Basin Street Blues" Louis Prima (Tp.) (http://www.youtube.com/watch?v=IijXXXpUefM)
• "Basin Street Blues" Jack Teagarden (Tb.&Vo.) and his Orchestra (http://www.youtube.com/
watch?v=JHR3KNak-Ic) - We can hear the verse with "Won't you come along with me/Around the
Mississippi...".
"Big Butter and Egg Man" 54
Recorded 1926
Genre Jazz
"Big Butter and Egg Man" is a 1926 jazz song written by Percy Venable. Venable was a record producer at the
Sunset Cafe and wrote the song for Louis Armstrong and singer May Alix.[1] The song is often played by Dixieland
bands, and is considered a jazz standard.[2]
According to pianist Earl Hines, Alix would often tease the young Armstrong during performances. Armstrong was
known to be timid, and had a crush on the beautiful vocalist. At times, Armstrong would forget the lyrics and just
stare at Alix, and band members would shout "Hold it, Louis! Hold it."[3]
Armstrong's cornet solo on the 1926 recording is one of his most highly acclaimed performances.[1][4]
"The most important aspect of this solo, and indeed of Armstrong's playing on the record as a whole, is
the air of easy grace with which he carries the melody. He is utterly confident, utterly sure what he has
to say is important and will be listened to."[1] – James Lincoln Collier, Armstrong's biographer
The song name was a 1920s slang term for a big spender, a traveling businessman in the habit of spending large
amounts of money in nightclubs.[5] The song is also known as "I Want a Big Butter and Egg Man" or "Big Butter
and Egg Man from the West".
Notes
[1] Louis Armstrong: An American Genius. James Lincoln Collier. Oxford University Press US, 1985. ISBN 0-19-503727-8. pp. 175–176
[2] All Music Guide to Jazz: The Definitive Guide to Jazz Music. Vladimir Bogdanov, Chris Woodstra and Stephen Thomas Erlewine. Backbeat
Books, 2002. ISBN 0-87930-717-X. p. 140
[3] The original Hot Five recordings of Louis Armstrong. Gene Henry Anderson, Michael J. Budds. Pendragon Press, 2007. ISBN
1-57647-120-9. p.111
Originally from The World of Earl Hines (New York: Scribner's, 1977; reprinted New York: Da Capo Press, 1983), p. 49
[4] In the Course of Performance: Studies in the World of Musical Improvisation. Bruno Nettl, Melinda Russell. University of Chicago Press,
1998. ISBN 0-226-57410-5. p. 205
[5] The City in Slang: New York Life and Popular Speech. Irving Lewis Allen. Oxford University Press US, 1995. ISBN 0-19-509265-1. p. 77
"Blue Moon" 55
"Blue Moon"
"Blue Moon"
Music by Richard Rodgers
Published 1935
"Blue Moon" is a classic popular song. It was written by Richard Rodgers and Lorenz Hart in 1934, and has become
a standard ballad. The song has been covered as a released single by artists such as Billie Holiday, Dean Martin, Mel
Torme, Elvis Presley, Bob Dylan, Beady Eye, Frank Sinatra, Julie London and Cliff Richard. In 1961 it became a
doo-wop hit when recorded by The Marcels. The song has featured in musical films such as Grease.
Lyrics
The lyric presumably refers to an English idiomatic expression: "once in a blue moon" means "very rarely". (The
origin of the expression is unclear; see article "blue moon"). The narrator of the song is relating a stroke of luck so
unlikely that it must have taken place under a blue moon. The title relies on a play on words, since blue is also the
colour of melancholy, and indeed the narrator is sad and lonely until he finds love. The song is noted for its ending
with the exaggerated baritone "blue moon".
History
Richard Rodgers and Lorenz Hart were contracted to Metro-Goldwyn-Mayer in May 1933. They were soon
commissioned to write the songs for Hollywood Party, a film that was to star many of the studio's top artists. Richard
Rodgers later recalled, "One of our ideas was to include a scene in which Jean Harlow is shown as an innocent
young girl saying—or rather singing—her prayers. How the sequence fitted into the movie I haven't the foggiest
notion, but the purpose was to express Harlow's overwhelming ambition to become a movie star ('Oh Lord, if you're
not busy up there,/I ask for help with a prayer/So please don't give me the air . . .')." The song was not even recorded
and MGM Song #225 "Prayer (Oh Lord, make me a movie star)" dated June 14, 1933, was registered for copyright
as an unpublished work on July 10, 1933.[1]
Lorenz Hart wrote new lyrics for the tune to create a title song for the 1934 film Manhattan Melodrama: "Act
One:/You gulp your coffee and run;/Into the subway you crowd./Don’t breathe, it isn’t allowed".[2] The song, which
was also titled "It's Just That Kind of Play", was cut from the film before release, and registered for copyright as an
unpublished work on March 30, 1934. The studio then asked for a nightclub number for the film. Rodgers still liked
the melody so Hart wrote a third lyric: "The Bad in Every Man" ("Oh, Lord . . . /I could be good to a lover,/But then
I always discover/The bad in ev’ry man"[2]), which was sung by Shirley Ross. The song, which was also released as
sheet music, was not a hit.[1]
After the film was released by MGM, Jack Robbins—the head of the studio's publishing company[3]—decided that
the tune was suited to commercial release but needed more romantic lyrics and a punchier title. Hart was initially
reluctant to write yet another lyric but he was persuaded.[1] The result was "Blue moon/you saw me standing
alone/without a dream in my heart/without a love of my own".
There is another verse that comes before the usual start of the song. Both Eric Clapton and Rod Stewart used it in
their recent versions of the song. The last line of this extra verse is "Life was a bitter cup for the saddest of all
men."[citation needed]
Robbins licensed the song to Hollywood Hotel, a radio program that used it as the theme. On January 15, 1935,
Connee Boswell recorded it for Brunswick Records. It subsequently was featured in at least seven more MGM films
"Blue Moon" 56
including the Marx Brothers' At the Circus and Viva Las Vegas.[1] Part of the song was in the musical Grease.
The Frank Sinatra recording of the song appears on the radio stations in the video game Fallout: New Vegas.
Strong similarities between Rodgers's melody and the opening of the 2nd movement of Sergei Taneyev's Piano
Quartet in E, Op.20, published by Belaieff in 1907 have been noted.Wikipedia:Avoid weasel words
Cover versions
"Blue Moon"
Single by Mel Tormé
B-side "Again"
Released 1949
Recorded 1949
Genre Jazz
Label Capital
Mel Tormé did a cover version of "Blue Moon" that reached the Billboard charts in 1949. It was released by Capitol
Records as catalog number 15428. It first reached the Best Seller chart on April 8, 1949, and lasted five weeks on the
chart, peaking at number 20. The record was a two-sided hit, as the flip side, "Again", also charted.[][5]
"Blue Moon"
Single by Elvis Presley
Length 2:31
Label RCA
Writer(s) [4]
Richard Rodgers, Lorenz Hart
"I Love You Because" / "Trying to Get to "Just Because" / "Blue "Money Honey" / "One-Sided Love
You" Moon" Affair"
(1956) (1956) (1956)
"Blue Moon" 57
12 tracks
Side one
1. "Blue Suede Shoes"
2. "I'm Counting on You"
3. "I Got a Woman"
4. "One-Sided Love Affair"
5. "I Love You Because"
6. "Just Because"
Side two
• "Tutti Frutti"
2. "Trying to Get to You"
3. "I'm Gonna Sit Right Down and Cry (Over You)"
4. "I'll Never Let You Go"
5. "Blue Moon"
6. "Money Honey"
"Blue Moon"'s first crossover recording to rock and roll came from Elvis Presley in 1956. His cover version of the
song was included on his self-titled debut album Elvis Presley.
In Jim Jarmusch's 1989 film "Mystery Train", the three distinct stories that make up the narrative are linked by a
portion of Elvis Presley's version of "Blue Moon" (as heard on a radio broadcast) and a subsequent offscreen
gunshot, which are heard once during each story, revealing that the three stories occur simultaneously in real time.
"Blue Moon"
Single by The Marcels
Recorded 1961
Length 2:15
Label Colpix
Writer(s) [4]
Richard Rodgers, Lorenz Hart
Certification Gold
"Blue "Summertime"
Moon" (1961)
(1961)
"Blue Moon" 58
The Marcels, a doo-wop group, also recorded the track for their album Blue Moon. In 1961, the Marcels had three
songs left to record and needed one more. Producer Stu Phillips did not like any of the other songs except one that
had the same chord changes as "Heart and Soul" and "Blue Moon". He asked them if they knew either, and one knew
"Blue Moon" and taught it to the others, though with the bridge or release (middle section - "I heard somebody
whisper...") wrong.[] The famous introduction to the song ("bomp-baba-bomp" and "dip-da-dip") was an excerpt of
an original song that the group had in its act.
Reception
The record reached number one on the Billboard Pop chart for three weeks and number one on the R&B chart.[] It
also peaked at #1 on the UK Singles Chart. The Marcels' version of "Blue Moon" sold a million copies, and was
awarded a gold disc.[] It is featured in The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. The
Marcels doo-wop version is one of three different versions used in the 1981 film An American Werewolf in London.
Their version of the song is referenced in the 1962 Academy Award nominated animated short Disney musical film,
A Symposium on Popular Songs during the song, "Puppy Love Is Here to Stay" written by Robert & Richard
Sherman.
Chart performance
R&B Chart []
1
Choral adaptations
A version suitable for performance by chamber choir arranged by David Blackwell is in the collection "In the Mood"
published by Oxford University Press.
References
[1] Brent, Bill. 'The Story of Blue Moon', Weekly Bugle (http:/ / www. weeklybugle. com/ music/ bluemoon. htm). Retrieved June 6, 2005.
[2] Kanfer, Stefan. 'Richard Rodgers: Enigma Variations', City Journal, Autumn 2003.
[3] Martini, Alessandro. 'Song: Blue Moon', LorenzHart.org (http:/ / www. lorenzhart. org/ moonsng. htm). Retrieved June 6, 2005.
[4] Hart, Lorenzo; Hart, Dorothy; Kimball, Robert. The Complete Lyrics of Lorenz Hart (New York: Knopf, 1986). ISBN 0-394-54680-6
[5] http:/ / www. allmusic. com/ artist/ mel-torm-p7700/ biography
[6] http:/ / www. allmusic. com/ artist/ the-marcels-p4841/ charts-awards/ billboard-singles
[7] http:/ / www. chartstats. com/ release. php?release=2687
"Blueberry Hill" 59
"Blueberry Hill"
"Blueberry Hill"
Single by Fats Domino
Released 1956
Length 2:28
Louis Armstrong's 1949 recording charted in the Billboard Top 40, reaching #29.[4] It was an international hit in
1956 for Fats Domino and has become a rock and roll standard. It reached #2 for three weeks on the Billboard Top
40 charts, becoming his biggest pop hit, and spent eight non-consecutive weeks at #1 on the R&B Best Sellers
chart.[5] The version by Fats Domino was also ranked #82 in Rolling Stone magazine's list of the 500 Greatest Songs
of All Time.[6] The song was Domino's greatest hit and remains the song most associated with him.
"Blueberry Hill" 60
In popular culture
• In the popular 1970s sitcom Happy Days, set in the 1950s, lead character Richie Cunningham, played by Ron
Howard, would often sing "I found my thrill..." (the first line of Domino's 1950s version of "Blueberry Hill") in
reference to pretty girls he dated or wanted to date.
• It is one of the songs that the time traveling James Cole enjoys in the film, 12 Monkeys, and the song is later sung
by the scientists upon his return to the future.
• This song is also used in a scene near the beginning of the film "The Man Who Fell to Earth", starring David
Bowie.
• The song is purportedly named after a "make-out" spot in Taos, New Mexico.
• Joe Edwards' restaurant on the Delmar Loop in St. Louis, Missouri, where Chuck Berry frequently plays, is
named after the song.
• The Far Side, a comic written by Gary Larson, features a comic parodying the lyrics of this song. A man is talking
in a phone booth on top of a hill named "Blueberry Hill." He says into the phone "Norm? This is Mitch. ... You
were right--I found my drill." The parody is of the line "found my thrill on Blueberry Hill."
• Prime Minister of Russia Vladimir Putin made a cover performance of the song on December 10, 2010 before an
audience of international film and television celebrities, in support of a charity for ill children. Videos of his
performance quickly went viral worldwide.[9][10]
References
[2] The Singing Hill (http:/ / www. imdb. com/ title/ tt0034192/ ) Retrieved April 11, 2012.
[3] The Glenn Miller Orchestra, "Blueberry Hill" Chart Position (http:/ / musicvf. com/ song. php?id=106292) Retrieved April 11, 2012.
[4] Louis Armstrong, "Blueberry Hill" Chart Position (http:/ / musicvf. com/ song. php?id=26592) Retrieved April 11, 2012.
[8] Bruce Cockburn Songs (http:/ / cockburnproject. net/ songs& music/ bh. html) Retrieved April 11, 2012.
External links
• SongFacts: Blueberry Hill (http://www.songfacts.com/detail.php?id=2078)
• "Blueberry Hill" (http://www.wikifonia.org/node/2838) - Lead sheet at wikifonia.org
References
[1] Bruce Forsberg, 2008 (http:/ / users. tns. net/ ~forsbergweb/ abbott_costello_log. pdf)
Published 1931
Language English
"Dream a Little Dream of Me" is a song, from c.1931, with music by Fabian Andre and Wilbur Schwandt[1] and
lyrics by Gus Kahn. It was first recorded in February 1931 by Ozzie Nelson and also by Wayne King and His
Orchestra, with vocal by Ernie Birchill. More than 60 other versions have been recorded, but some of the highest
chart ratings were in 1968 by Mama Cass Elliot with The Mamas & the Papas.
Disputed attribution
In February 2013, the W.B. Nickerson Cape Cod History Archives discovered[2] a partial score to the song dated
January 6, 1930, in the Milton Adolphus papers.[3] Adolphus appears to have composed the song under contract with
lyrics by Schwandt, with subsequent authorship assigned by the rights holders to Andre.
Early recordings
"Dream a Little Dream of Me" was recorded by Ozzie Nelson and his Orchestra, with vocal by Nelson, on February
16, 1931 for Brunswick Records. Two days later, Wayne King and His Orchestra, with vocal by Ernie Birchill,
recorded the song for Victor Records. "Dream a Little Dream of Me" was also an early signature tune of Kate Smith.
In the summer of 1950, seven recordings of "Dream a Little Dream of Me" were in release, with the versions by
Frankie Laine and Jack Owens reaching the US Top 20 at respectively #18 and #14: the other versions were by
Cathy Mastice, Ella Fitzgerald, Louis Jordan, Vaughn Monroe, Dinah Shore and a duet version by Bing Crosby and
Georgia Gibbs. Other traditional pop acts to record "Dream a Little Dream of Me" include Louis Armstrong, Barbara
Carroll, Nat King Cole, Doris Day, Joni James, and Dean Martin.
The song was again recorded in 1968 by Mama Cass Elliot with The Mamas & the Papas, and then by Anita Harris.
More than 40 other versions followed, including by the Mills Brothers, Sylvie Vartan, Henry Mancini, The Beautiful
South, Anne Murray, Erasure, Michael Bublé, and Italian vocal group Blue Penguin (see below: List of recorded
versions).
"Dream a Little Dream of Me" 64
from the album The Papas & The Mamas and Dream a Little Dream
"Dream a Little Dream of Me" was recorded for the Mamas & the Papas April 1968 album release The Papas & The
Mamas. The group had often sung the song for fun, having been familiarized with it by member Michelle Phillips,
whose father had been friends with the song's co-writer, Fabian Andre, in Mexico City where Michelle Phillips'
family had resided when she was a young girl. "Mama" Cass Elliot suggested to group leader John Phillips that the
group record "Dream a Little Dream of Me". According to him she was unhappy while recording the song, objecting
to its campiness. However, Elliot herself would later tell Melody Maker: "I tried to sing it like it was 1943 and
somebody had just come in and said, 'Here's a new song.' I tried to sing it as if it were the first time."
By the time of the album's release, there were strong indications that the Mamas & the Papas were set to disband, a
perception strengthened by the failure of the lead single "Safe in My Garden". Having an opportunity to promote the
group's best-known member as a soloist, Dunhill Records gave a June 1968 single release to the "Dream a Little
Dream of Me" track with the credit reading - to John Phillips' displeasure - [4]"Mama Cass with the Mamas & the
Papas"; in its UK release the artist credit simply read "Mama Cass". Promoted in the US press and on billboards with
a photograph of a discreetly but obviously nude Elliot lying in a bed of daisies,[5] "Dream a Little Dream of Me"
peaked at #12 on the Billboard Hot 100 that August (its Cash Box peak was #10 and in Record World it reached #8).
"Dream a Little Dream of Me" 65
The Billboard Easy Listening chart ranked the single as high as #2.[6] In the UK "Dream a Little Dream of Me"
reached #11 that September; the track also afforded Mama Cass a hit in Ireland (#13) and South Africa (#8). In
Australia the Go-Set Top 40 chart ranked "Dream a Little Dream of Me" at #1 for the weeks of 4 & 11 September
1968. [7] "Dream a Little Dream" was released as a single in Europe in 1992 - credited to the Mamas and the Papas
and featuring that group's #1 hit "Monday, Monday" as the B-side - to reach #5 in Germany and #22 in Switzerland.
A slightly different version of "Dream a Little Dream of Me" was included on Elliot's solo debut album, Dream a
Little Dream.[5]
• The Finnish rendering: "Elän Yhä Muistoissain", was a 1969 single release by Anki
• German versions were recorded in 1976 by Daliah Lavi: "Schließ Mich Ein In Deinen Traum" (include me in
your dream), and in 2007 by Barbara Schöneberger: "Sag Es Mir In Deinem Traum" (tell me in your dream)
• French singer Enzo Enzo sang a French version ("Les yeux ouverts") on her 1990 album Enzo Enzo.
• Norwegian singer Sissel Kyrkjebø sang it on her 1991 Gift of Love album.
• Laura Fygi included the song on her 1991 solo debut album Introducing.
• It was recorded in the style of the The Mamas & the Papas, vocals Terry Hall and Salad for The Help Album in
1995.
• It was covered by Chicago on their 1995 album Night and Day Big Band. The song was recorded featuring Jade
on backing vocals and Paul Shaffer on piano.
• Children's entertainers Sharon, Lois & Bram recorded the song on their 1995 album Let's Dance!.
• Sung by Czech singer Lucie Bílá as "Hvězdy jako hvězdy" (Stars like Stars) which became also the name of her
1998 album.
• Covered by Candye Kane on her 1998 album Swango.
• Korean composer and pianist Yiruma (이루마) plays this song on his 2001 album First Love: Piano Collection.
• Performed by British group The Beautiful South on the 2001 album Solid Bronze and the 1995 US release of
Carry On up the Charts. They recorded a version in French for the movie French Kiss, which was re-used in the
film The Devil Wears Prada. Both English and French versions can be found as B-sides on CD 2 of their single
"Don't Marry Her"
• Anita Meyer on her 2009 album release Tears Go By, recorded with Metropole Orkest
• Recorded by Tony Bennett and k.d. lang, released in 2002 on their duet album A Wonderful World.
• Recorded by American jazz pianist Eyran Katsenelenbogen on his 2002 solo album It's Reigning Kats & Dogs &
Bogen and on his 2009 album 88 Fingers
• Goth musician Rozz Williams performed a live cover of the song which appears on the 2003 live album Accept
the Gift of Sin.
• American indie rock band My Morning Jacket performed the song in 2004 for Early Recordings: Chapter 2:
Learning, a compilation.
• Former Albuquerque, New Mexico, rockabilly singer turned torch diva, Bernadette Seacrest and "her Yes Men"
recorded an uptempo version for their album, No More Music by The Suckers. The album was released in 2004 on
the ThrillBomb label [8]. Seacrest has since moved to Atlanta, Ga.
• Recorded by Anne Murray on her 2004/2005 album I'll Be Seeing You / All of Me.
• Recorded by Dala (Sheila Carabine and Amanda Walther) on the 2005 album Angels & Thieves.
• Performed by Diana Krall on the 2007 album We All Love Ella: Celebrating The First Lady Of Song, a tribute to
Ella Fitzgerald.[9]
• German power metal band Blind Guardian performed a heavy metal rendition on their 2007 single "Another
Stranger Me".
• Recorded by English barrelhouse blues/boogie band Tipitina on their 2007 album "I Wish I Was In New Orleans"
• Recorded by Nicole Atkins on her 2008 album Nicole Atkins Digs Other People's Songs.
• Recorded by Claw Boys Claw on their 2008 album Pajama day.
• Jimmy Demers performs this song on his debut album Dream A Little (2008).
• Performed by Max Raabe and the Palast Orchester on their 2008 album and live show "Heute nacht oder nie".
• Helen Schneider recorded the song as "Dream a Little Dream" making it the title cut of her 2008 album of
standards.
• Recorded by Mark Weber for his 2008 jazz-pop album, When I Fall In Love.
• Recorded by French Singer Matthieu Boré on the 2009 album FriZZAnte!!.
• British synthpop duo Erasure released their own version to celebrate Christmas 2009. As of December 2009[10] it
can be heard via streaming audio on their website at www.erasureinfo.com [11].
"Dream a Little Dream of Me" 67
References
[1] Co-catalog (http:/ / cocatalog. loc. gov), Library of Congress.
[2] Handwritten score posted by Nickerson Library (https:/ / www. facebook. com/ photo. php?fbid=562677187085228& set=a.
383265401693075. 96782. 159056164114001& type=1& theater)
[3] Nickerson Archives → Manuscripts (http:/ / www. capecod. edu/ web/ nickerson/ manuscripts)
[4] New York Times 14 July 1968 p.D22
[5] Fiegel, Eddi. Dream a Little Dream of Me: the Life of "Mama" Cass Elliot (London: Sidgwick & Jackson. 2005. ISBN 0-283-07331-4)
pp.256, 261.
[7] http:/ / www. poparchives. com. au/ gosetcharts/ 1968/ 1968. html
[8] http:/ / www. thrillbomb. com
[9] http:/ / www. ejazznews. com/ modules. php?op=modload& name=News& file=article& sid=8021& mode=thread& order=0& thold=0
[10] http:/ / en. wikipedia. org/ w/ index. php?title=Dream_a_Little_Dream_of_Me& action=edit
[11] http:/ / www. erasureinfo. com
[12] According to the web site www.Musique de pub.tv, seen the 18 September 2011,
External links
• NPR audio piece on "Dream a Little Dream of Me" being one of the 100 most important American musical works
of the 20th century (http://www.npr.org/programs/specials/vote/100list.html#D)
"El Choclo" 69
"El Choclo"
"El Choclo"
("The Corn Cob")
Published 1903
Language Spanish
Form Tango
Recorded by Georgia Gibbs, Louis Armstrong, Nat King Cole, Connie Francis, Guy Lombardo
"El Choclo" (Spanish: meaning "The Ear of Corn" more accurately "The Corn Cob") is a popular song written by
Ángel Villoldo, an Argentine musician. Allegedly written in honour of and taking its title from the nickname of the
proprietor of a nightclub, who was known as El Choclo.
It is probably one of the most popular tangos in Argentina.
The piece was premiered in Buenos Aires, Argentina in 1903 – the date appears on a program of the venue – at the
elegant restaurant "El Americano" on 966 Cangallo Street (today Teniente General Perón) by the orchestra led by
Jose Luis Roncallo.
El Choclo has been recorded (without vocals) by many dance orchestras, especially in Argentina.
A number of vocal versions were recorded in 1952, but the most popular was the one by Georgia Gibbs, which
reached #2 on the Billboard chart. [1] [2] Tony Martin's version reached #6, Toni Arden's #14, Billy Eckstine's #16,
Louis Armstrong's #20, and Guy Lombardo's version reached #30. There are Spanish versions of "Kiss of Fire" by
Connie Francis and Nat King Cole. In 1953 Olavi Virta and Metro-Tytöt released a Finnish version, titled
"Tulisuudelma", which means "Kiss of Fire". The Finnish words, by "Kullervo" (Tapio Kullervo Lahtinen), closely
follow the English. In 2001 the hip-hop group Delinquent Habits made the song known to a new generation when
they released "Return of the tres", which relies heavily on samplings from a Mariachi version of the classical tango.
"El Choclo" 70
Lyrics
The original lyrics by Villoldo specifically sang about the corn cob as food. He later wrote another version titled
"Cariño Puro". Another version was written by Marambio Catán, but the most popular remains Enrique Santos
Discépolo's (1947), which sing about Tango as a way of life.
Recorded versions
• Toni Arden (1952)
• Louis Armstrong (1952)
• Dick Beavers
• Nat King Cole (1959)
• Billy Eckstine (1952)
• Lester Ferguson
• Connie Francis
• Georgia Gibbs (1952)
• David Hughes
• Mickey Katz Parody entitled Kiss of Meyer
• Guy Lombardo and his Royal Canadians (vocal: Kenny Gardner) (1952)
• Tony Martin (1952)
• Anne Shelton
• Victor Silvester
• Caterina Valente
• Billy Vaughn Orchestra
• Victor Orchestra (1912)
• Jimmy Young (1952)
• Chico Vasquez & Bill Aken - Guitar duet (1970)
• Ikue Mori (1995)
• Julio Iglesias (1996)
• Violetta Villas (1993)
• Olavi Virta (1915–1972) of Finland (1953)
• Hugh Laurie Feat Gaby Moreno (2013)
Alan Sherman sang a parody of the song as "Kiss of Meyer", which starts out like a Jewish song with the "Dye Dee
Dye Dee Dye", and ending the song with a brief quote of "Whatever Lola Wants" as "Whatever Meyer Wants/
Meyer Gets/ That is his name? His name is Meyer Getz"? The instrumental version by 'Chico & Bill' (Chico
Vasquez and Bill Aken) in their 1970 album was notable because they were joined in the studio on that one
recording by Les Paul and Chet Atkins who were both long time family friends of Aken's parents.
"El Choclo" 71
References
[1] Billboard April 19, 1952 (http:/ / books. google. com/ books?id=gB4EAAAAMBAJ& printsec=frontcover& source=gbs_navlinks_s) See
page 30 Best Selling Pop Records
[2] Billboard April 5, 1952. http:/ / books. google. com/ books?id=hB4EAAAAMBAJ& q=kiss+ of+ fire see page 52
External links
• TodoTango article on El Choclo (http://www.todotango.com/english/biblioteca/cronicas/el_choclo.asp)
• El Choclo sheet music (http://www.todotango.com/english/las_obras/partitura.aspx?id=24)
"Georgia on My Mind"
"Georgia on My Mind"
Single by Ray Charles
Genre Jazz
Length 3:35
"Georgia on My Mind" is a song by Hoagy Carmichael and Stuart Gorrell, closely associated with the cover version
by Ray Charles, a native of Georgia, who recorded it for his 1960 album The Genius Hits the Road. It became the
official state song of the State of Georgia in 1979.[1]
Original version
The chorus of Georgia
Air National Guard Band of the Southwest - 2.65 MB
Written in 1930 by Hoagy Carmichael (music) and Stuart Gorrell (lyrics). Gorrell wrote the lyrics for Hoagy's sister,
Georgia Carmichael.[2] However, the lyrics of the song are ambiguous enough to refer either to the state or to a
woman named "Georgia". Carmichael's 1965 autobiography, Sometimes I Wonder, records the origin: a friend,
saxophonist and bandleader Frankie Trumbauer, suggested: "Why don't you write a song called 'Georgia'? Nobody
lost much writing about the South." Thus, the song is universally believed to have been written about the state.
The song was first recorded on September 15, 1930, in New York by Hoagy Carmichael and His Orchestra with Bix
Beiderbecke on muted cornet and Hoagy Carmichael on vocals. It featured Eddie Lang on guitar. The recording was
part of Beiderbecke's last recording session.[3] The recording was released as Victor 23013 with "One Night in
Havana".
"Georgia on My Mind" 73
Cover versions
The song has been covered by many artists, significant among them: Richard Manuel, Louis Armstrong, Dean
Martin, Glenn Miller, Brenda Lee, Zac Brown Band, Michael Bublé, Michael Bolton, Dave Brubeck, Anita O'Day,
Mildred Bailey, Ella Fitzgerald, Rebecca Parris, Jo Stafford, Gladys Knight, Gene Krupa, Grover Washington, Jr.,
James Brown, Usher, Fats Waller, Billie Holiday, Nat Gonella and The Georgians, Django Reinhardt, Wes
Montgomery, John Mayer, Jerry Lee Lewis, The Righteous Brothers, Tom Jones, Maceo Parker, Crystal Gayle, Van
Morrison, Willie Nelson, Coldplay, The Joel Haynes Trio (with Denzel Sinclair) and the Spencer Davis Group (with
Steve Winwood on vocals), Tony Rice, Arturo Sandoval, instrumental version by Oscar Peterson, and Al Hirt.[4]
Bing Crosby recorded this song twice: in 1956 with Buddy Cole and his trio and in 1975 with Paul Smith and Band
for the LP A Southern Memoir.
Frankie Trumbauer had the first major hit recording in 1931, when his recording made the top ten on the charts.
Trumbauer had suggested that Carmichael compose the song. Another 1931 hit version was Mildred Bailey's vocal
made with members of Paul Whiteman's Orchestra (Victor 22880).
On 30 July 1963, Lou Rawls recorded the song for his album Tobacco Road.
The song was a standard at performances by Ronnie Hawkins and The Hawks in the late 1950s and early 1960s,
where it was sung by pianist Richard Manuel. When The Hawks split off on their own and became The Band, they
kept the song as part of their repertoire. They recorded a studio version of the song for Jimmy Carter's presidential
bid in 1976, which was released as a single that year as well as on their 1977 album Islands.[5]
Cold Chisel's version of the song appeared on the album Barking Spiders Live: 1983 and has become a staple of their
live shows. Guitarist Ian Moss still performs the song and a live version is included in his Let's All Get Together
album.
American R&B and boogie-woogie pianist and singer Little Willie Littlefield recorded a version for his 1994 album
Yellow Boogie & Blues.
American Idol contestant Matt Giraud performed this song during Hollywood Week Second Solo Performance. In
2006, saxophonist Gerald Albright covered the song off the album New Beginnings.[6][7]
In 2009, Hong Kong singer Khalil Fong covered the song in his album Timeless.
The song is also associated with the Spirit of Atlanta Drum and Bugle Corps [8]. "Georgia [9]" was originally
featured in their 1979 show and the corps continues to perform it today. Currently the piece is performed as a
warmup or in a formal setting by Spirit's members and alumni.
Ray Charles
It was not until Ray Charles' 1960 recording on The Genius Hits the Road, that the song became a major hit, reaching
the number one spot for one week in November 1960 on the U.S. Billboard Hot 100. On March 7, 1979, in a mutual
symbol of reconciliation after conflict over civil rights issues, he performed it before the Georgia General Assembly
(the state legislature). After this performance, the connection to the state was firmly made, and then the Assembly
adopted it as the state song on April 24.
Although there is no actual evidence to that effect, according to the 2004 film Ray, Charles was lifted from a
supposed lifetime ban implemented since 1962.[10][11]
This version of the song was played with a video montage each time, that Georgia Public Television went off the air
nightly. With the advent of 24-hour broadcasting, it is rarely used now, the last time being in 2009 for the permanent
sign-off of GPB's analog TV stations on February 17.
The song was used as the theme song to the CBS sitcom Designing Women (set in Atlanta), initially as an
instrumental (performed by Doc Severinsen), and later in a recording by Ray Charles. Charles' version was also
sampled for rap group Field Mob's 2005 single, "Georgia", featuring Jamie Foxx and Ludacris.
"Georgia on My Mind" 74
Sometime after 2000, Charles invited the Italian singer Giorgia Todrani to sing the song with him after learning, that
she was named in honor of the song.
Jamie Foxx and Alicia Keys, backed by Quincy Jones and his Orchestra, performed a new arrangement in honor of
Ray Charles at the 2005 Grammy Awards.
Willie Nelson
Willie Nelson recorded "Georgia" on his 1978 album Stardust. It was released as single, peaked at #1 for a single
week and total of 16 weeks on a country chart.[12] A year later, Willie Nelson won a Grammy award for Best Male
Country Vocal Performance.
Chart performance
Cultural significance
• In 2003, Rolling Stone magazine named "Georgia on My Mind" the 44th greatest song of all time.[citation needed]
• The title of the song was used as the state of Georgia's license plate slogan exclusively from January 1997 through
November 2003
• The song was one of the songs of the 1996 Summer Olympics held in Atlanta.[citation needed]
• In the television show Quantum Leap, the Ray Charles version of the song is used in several episodes. Most often,
it is used as a leitmotif associated with the star-crossed relationship between Al Calavicci and his beloved first
wife Beth, who had remarried when she believed Al dead at the hands of the Vietcong. It is the last song heard in
the series' finale, "Mirror Image", as Sam returns to the events of "M.I.A." to inform Beth that Al was still alive,
preserving their marriage.
• The song is featured at the end of the House episode "Saviors" performed by Hugh Laurie.
• The Ray Charles version is prominently heard in the 2004 biographical film Ray, during the end credits and at the
last scene, where Mr. Charles (Jamie Foxx) is honored by having been lifted from his life-time ban in Georgia and
by having Georgia On My Mind as the state's theme song.
• The Willie Nelson version was featured twice in the Monk episode, "Mr. Monk and the Red-Headed Stranger",
when Willie offers to let Adrian Monk (Tony Shalhoub) accompany his backing band on clarinet during a live
radio broadcast of the song in honor of it being Monk's late wife, Trudy's favorite song (Monk instead whistles
the melody this time around due to mysophobia and the clarinet not being played by Monk himself; Willie later
compliments him on his whistling of the song's melody). The song is featured again at the end of the episode
when Monk plays clarinet while Willie sings, both in front of where Trudy is buried.
• Lil Wayne samples the song for his rap "Georgia Bush".
• In an interview with a Turkish newspaper, Hurriyet, former Pink Floyd member Roger Waters stated as “ I was
about 15. In the middle of the night with friends, we were listening jazz. It was Georgia on My Mind’s Ray
Charles version. Then I thought ‘One day, if I make some people feel only one twentieths of what I am feeling
now, it will be quite enough for me.’ ”[13]
"Georgia on My Mind" 75
• In 2013, Bennett the Sage of That Guy with the Glasses claimed the Ray Charles version to the best #1 song in
Billboard history, stating "At the end of the day, this is one of the most beautiful songs to ever be put to record...if
this is the best song to ever hit #1, is this also the best song in pop history?...I wouldn't have any objections if it
were."[14]
Lyrics
The original lyrics, including the commonly excised introductory verse, are in the Georgia Code under license. The
location in the 2011 code is section 50-3-60, Official song.
References
[2] The Hoagy Carmichael Collection (http:/ / webapp1. dlib. indiana. edu/ metsnav/ hoagy/ navigate. do?pn=1& size=large& oid=http:/ / fedora.
dlib. indiana. edu:9090/ fedora/ get/ iudl:26519/ METADATA) Retrieved June 30, 2012.
[4] Al Hirt, The Greatest Horn in the World (http:/ / www. discogs. com/ Al-Hirt-The-Greatest-Horn-In-The-World/ release/ 2804221) Retrieved
April 6, 2013.
[8] http:/ / en. wikipedia. org/ wiki/ Spirit_of_Atlanta
[9] http:/ / en. wikipedia. org/ wiki/ Georgia_on_my_mind
[12] Willie Nelson's "Georgia on My Mind" Chart Positions (http:/ / musicvf. com/ song. php?id=48897) Retrieved June 30, 2012.
[14] http:/ / thatguywiththeglasses. com/ bt/ the-sage/ specials/ 40343-the-top-20-best-number-one-songs
External references
• Georgia-state-song web-page (http://www.sos.state.ga.us/state_symbols/state_song.html)
External links
• Full lyrics of this song (http://www.metrolyrics.com/georgia-on-my-mind-lyrics-ray-charles.html) at
MetroLyrics
"Gone Fishin'"
Gone Fishin' is a song written by Nick and Charles Kenny and recorded by Bing Crosby and Louis Armstrong in
1951.[1][2]
The song was later recorded by Pat Boone, Gene Autrey, The Manhattan Transfer and Arthur Godfrey with the
Cherry Sisters.[3]
The song title, and its usage within the lyrics, are an example of the use of the verb 'to go' together with the gerund of
a verb which is a leisure activity or, as in this case, the meaning of the verb as a leisure activity is understood.[4]
References
"Heebie Jeebies" 77
"Heebie Jeebies"
"Heebie Jeebies"
Released 1926
Genre Jazz
Length 2:52
"Heebie Jeebies" is a composition written by Boyd Atkins which achieved fame when it was recorded by Louis
Armstrong in 1926. The recording on Okeh Records by Louis Armstrong and his Hot Five includes a famous chorus
in which Louis does scat singing.
Many people name this recording of "Heebie Jeebies" as the first ever that featured singer improvisation. A popular
legend (apparently originating from a 1930s claim by Richard M. Jones) says that Louis Armstrong dropped his lyric
sheet while recording the song and for lack of words to sing, began to improvise vocally, and thereby created the
technique of scat singing. This story, though indeed popular is disputable; the experts have come to the consensus
that it is untrue. Nevertheless, the inventiveness of Armstrong's use of scatting impressed many when the record first
came out. Mezz Mezzrow's book Really the Blues recounts the amazed and delighted reactions of Frank
Teschmacher, Bix Beiderbecke, and other musicians on first hearing the record. Louis Armstrong gathered quite a
following of singers who later became some of the jazz greats: Ella Fitzgerald, Cab Calloway, Leo Watson, etc.
Armstrong was asked frequently about the dropped music story in his later years, giving conflicting answers.
Possibly tired of repeatedly denying the story, he took to using such ambiguous descriptions as "They tell me that's
how scat singin' got started."
Another notable and endearing feature of the record is the hokum coda, in which a line is delivered too early, leaving
the break over which it should have been spoken completely empty.
Various other recordings of the tune followed in the 1920s and 1930s. The Boswell Sisters performed the tune on
radio, record, and in the film The Big Broadcast. Chick Webb made a notable recording with an arrangement by
Benny Carter.
"Heebie Jeebies" 78
References
• Who Wrote that Song? Dick Jacobs & Harriet Jacobs, published by Writer's Digest Books, 1993
"Scat Singing." Jazz Music Made Easy. Web. 05 Oct. 2010.
<http://www.jazz-music-made-easy.com/scat-singing.html>.
"Hello, Dolly!" 79
"Hello, Dolly!"
"Hello, Dolly!"
Single by Louis Armstrong
Released 1964
Format 45 rpm
Length 2:27
"Hello, Dolly!" is the title song of the popular 1964 musical of the same name. Louis Armstrong's version was
inducted in the Grammy Hall of Fame in 2001.
The music and lyrics were written by Jerry Herman, who also wrote the scores for many other popular musicals
including Mame and La Cage aux Folles.
History
"Hello, Dolly!" was first sung by Carol Channing, who starred as Dolly Gallagher Levi in the original 1964
Broadway cast. In December 1963, at the behest of his manager, Louis Armstrong made a demonstration recording
of "Hello, Dolly!" for the song's publisher to use to promote the show.[1] Hello, Dolly! opened on January 16, 1964 at
the St. James Theatre in New York City, and it quickly became a major success.
The same month, Kapp Records released Armstrong's publishing demo as a commercial single. His version reached
number one on the U.S. Billboard Hot 100, ending The Beatles' streak of three number-one hits in a row over 14
consecutive weeks (they also held the top three spots) and becoming the biggest hit of Armstrong's career, followed
by a gold-selling album of the same name.[2] The song also spent nine weeks atop the adult contemporary chart
shortly after the opening of the musical. The song also made Armstrong the oldest artist to hit #1 on the Hot 100 in
the rock era.
"Hello, Dolly!" won the Grammy Award for Song of the Year in 1965, and Armstrong received a Grammy for Best
Vocal Performance, Male. Louis Armstrong also performed the song (together with Barbra Streisand) in the popular
1969 film Hello, Dolly!.
"Hello, Dolly!" 80
Lyrics
The song's refrain is
Hello, Dolly! Well, hello, Dolly!
It's so nice to have you back where you belong!
The first line of the refrain in Armstrong's recording is
Hello, Dolly! This is Louis, Dolly!
Footnotes
[1] [ All Music: Hello, Dolly! history]
[2] Bronson, Fred. The Billboard Book of Number 1 Hits (2003), Billboard Books, ISBN 0-8230-7677-6
[3] Al Hirt, Cotton Candy (http:/ / www. allmusic. com/ album/ cotton-candy-mw0000919101) Retrieved April 7, 2013.
[4] Carol Channing sings to Sammy the Snake (http:/ / www. youtube. com/ watch?v=0-UMlJhgQbY)
[5] http:/ / en. wikipedia. org/ wiki/ Hello,_Dolly!_(song)#endnote_Herman-lawsuit
References
1. ^ Jerry Herman (with Marilyn Stasio). Showtune: A Memoir. New York: Donald I. Fine Books, 1996,
pp. 102–108.
"Jeepers Creepers"
"Jeepers Creepers" is a popular 1938 song and jazz standard. The music was written by Harry Warren and the
lyrics by Johnny Mercer, for the 1938 Warner Brothers movie Going Places. It was premiered by Louis Armstrong
and has since been covered by many other artists.[1]
Overview
This song was featured in the 1938 film Going Places starring Dick Powell, Anita Louise and Ronald Reagan. Louis
Armstrong appears in the part of Gabriel, the trainer of a race horse named Jeepers Creepers. Jeepers Creepers is a
very wild horse and can only be soothed enough to let someone ride him when Gabriel plays the song "Jeepers
Creepers" on his trumpet or sings it to him. Gabriel wrote the song specifically for the horse. (The phrase "jeepers
creepers", a slang expression and minced oath euphemism for Jesus Christ, predates both the song and film.)
Although the song was written as a romance, it has garnered a reputation for creepiness in recent years due to its use
in the 2001 horror film Jeepers Creepers,[citation needed] in which the song plays each time a demon known as "The
Creeper" appears.
The lyrics of the song are:
"Jeepers Creepers, where'd ya get those peepers?
Jeepers Creepers, where'd ya get those eyes?"
Popular culture
• This song is featured in a 1939 Warner Bros. cartoon short of the same name.
• In the 1942 film Yankee Doodle Dandy, "Jeepers Creepers" is sung by a group of kids who pass by the house of
George M. Cohan (played by James Cagney).
• Bing Crosby recorded the song on his 1956 album "Bing Sings Whilst Bregman Swings."
• The 1957 cartoon short Show Biz Bugs has Daffy Duck performing a tap-dance number to the song.
• Hayley Mills recorded this song in 1962 on the American Buena Vista label (F-395)
• In the 1975 movie The Day of the Locust, the character Faye Greener (Karen Black) sings the song whenever she
wants to disturb her father. Louis Armstrong's recording of the song plays over the film's closing credits.
• In 1988, "Peek-a-Boo", the first single from Siouxsie and the Banshees's ninth studio album Peepshow, was found
to be too similar to the lyrics of "Jeepers Creepers". To remedy the situation and to avoid legal action, Siouxsie
and the Banshees gave co-songwriting credit on "Peek-a-Boo" to Warren and Mercer.
• Mr. Show features an extended musical sequence involving the Gospel of Jeepers Creepers.
• The song and title was featured prominently in the 2001 horror movie Jeepers Creepers when The Creeper is
nearby (it is released by United Artists, which at one point held the rights to Going Places).
• A recording of the song was made by The Puppini Sisters on their 2006 debut album Betcha Bottom Dollar.
• The Hi-Lo's included the song on their 2006 A Musical Thrill album.
References
"A Kiss to Build a Dream On" 83
In Fiction
• The song was featured in the soundtrack of the 1993 film Sleepless In Seattle and the 1951 film The Strip.[]
• It was played as a background track during Yuri and Ava's party in the 2005 film Lord of War.[citation needed]
• It was featured in the introductory sequence of the 1998 video game Fallout 2.
• The Bollywood picture Parineeta has a song based on the original tune called Kaisi Paheli Zindagani.
• It was featured as Jenny's favorite song in The Cry of the Owl.[1]
Notes
One commentator saw the phrase Let's do "it" as a euphemistic reference to a proposition for a sexual intercourse.[]
According to this argument, Let's do it was a pioneer pop song to declare openly "sex is fun". According to it, several
suggestive lines include a couplet from verse 4: "Moths in your rugs do it, What's the use of moth-balls?" and "Folks
in Siam do it, Think of Siamese twins" (verse 1) and "Why ask if shad do it? Waiter, bring me shad roe" (verse 3)
and "Sweet guinea-pigs do it, Buy a couple and wait" (verse 5).[] There's also a report that Porter's original version
included the even more risqué line, "Roosters with a doodle and a cock do it" [citation needed]. If true, this was
probably replaced by one of the lines in the verse 2 couplet "Penguins in flocks, on the rocks, do it, Even little
cuckoos, in their clocks, do it."
The nature of the song, "Let's Fall in Love," is such that it has lent itself over the years to the regular addition of
contemporary or topical stanzas. For example, in 1955 the line "Even Liberace, we assume, does it" was added by
Noël Coward in his cabaret performance of the song[] although Coward's lyrics were entirely and completely
rewritten as a topical piece, with none of Porter's lyrics remaining.[1]
Legacy
"Let's Do It"
2011 performance of "Let's Do It" by Linda November and Artie Schroeck in Nevada
The song has been revived many times since 1928, although usually with only a limited portion of the original
lyrics.[] A punk rock version performed by Joan Jett and Paul Westerberg was used as the theme song in the 1995
movie Tank Girl, and later in a more classical version in a musical revue number within the film. In the revue, the
song is at first performed by stage actress Ann Magnuson, but is taken over by star Lori Petty after she places duct
tape over Magnuson's mouth. It was originally recorded with Joan Jett and Greg Graffin, but Atlantic Records did
not want them using Graffin so they deleted his voice and recorded Westerberg's. Joan Jett and Greg Graffin's
version of "Let's Do It" was eventually released in 2000 on the compilation CD Laguna Tunes (Blackheart Records).
The White Stripes' song, "Forever For Her (Is Over For Me)" from their 2005 album Get Behind Me Satan borrows
lyrics and themes from this song:
"So let's do it, just get on a plane and just do it // Like the birds and the bees and get to it"
Brazilian singers Chico Buarque and Elza Soares recorded a Portuguese adaptation by Carlos Rennó, "Façamos -
Vamos Amar" on Buarque's 2002 album "Duetos". It adds even more nations, animals and groups.
The song is featured prominently in Woody Allen's 2011 film Midnight in Paris. Actor Yves Heck played Cole
Porter in the movie.
by the singer and well-known Broadway star Mary Martin (with Ray Sinatra's orchestra), recorded in 1944. Another
example is Billie Holiday, in 1941.[] Peggy Lee with the Benny Goodman orchestra recorded a version in 1941 with
these lyrics (see the CD "The Essential Benny Goodman" published by Columbia/Bluebird/Legacy (88697 09491
2)).
Porter changed the opening to the now famous refrain: "Birds do it, Bees do it" when he realized that the line was
offensive.[]
Notable recordings
• Dorsey Brothers & their Orchestra (vocal, Bing Crosby) (1928)
• Rudy Vallée and His Connecticut Yankees (1928)
• Mary Martin - Mexican Hayride (1944)
• Eartha Kitt with Henri René and his orchestra. Recorded in New York City on October 5, 1951. It was released by
RCA Victor Records as catalog number 20-5737 (in USA)[2] and by EMI on the His Master's Voice label as
catalog number B 10778. The song was also released on the LP That Bad Eartha (1953)
• Dinah Washington - "In the Land of Hi-Fi" (1956)
• Louis Armstrong - Ella and Louis Again (1957), Louis Armstrong Meets Oscar Peterson (1957)
• Al Hirt - The Greatest Horn in the World (1961)[3]
• Hildegard Knef - Träume heißen Du ("Sei mal verliebt" — German version, 1968)
• Ella Fitzgerald - Ella Fitzgerald Sings the Cole Porter Songbook (1956), The Stockholm Concert, 1966 (1966),
Montreux '75 (1975)
• John Inman - I'm Free (1977)
• Kim Basinger - The Marrying Man (1991)
• Joan Jett and Paul Westerberg of The Replacements recorded a punk version for the soundtrack of Tank Girl
• Susannah McCorkle - Easy to Love—The Songs of Cole Porter (1996)
• Lee Wiley - Hot House Rose (1996), Sings Porter and Gershwin (2004)
• Dee Dee Bridgewater - Dear Ella (1997)
• Frank Sinatra - Frank Sinatra in Hollywood 1940-1964 (2001)
• Come Shine - Come Shine (2001)
• Chico Buarque and Elza Soares – Façamos - Vamos Amar (Brazilian version, 2002)
• Alanis Morissette - Alanis Morissette: The Collection (2005) (Originally released on the soundtrack of De-Lovely)
• Diana Ross - Blue (recorded in 1973, unreleased until 2006)
• James Newman - Skins (Newman performed the song (as his character Tony) in the episode "Tony" of the U.S.
version of the U.K. drama Skins.)
• Yves Heck - Heck played the physical role while Conal Fowkes provided the voice as Cole Porter in the 2011
Woody Allen film Midnight In Paris
• Wonder Pets—In the episode "Save the Puppy", they sang a spoof of the song about how everyone needs to
"wee-wee, pee-pee, tinkle" using the lyrics "Dogs do it, frogs do it, even funny winking hogs do it...".
• The Sesame Street song "Let's Lay an Egg" is a spoof of the song, using the lyrics "Snails do it, slugs do it. Even
tiny Twiddlebugs do it!...".
• The Secret Life of the American Teenager (TV Series) - ( Molly Ringwald sings an upbeat version for the show's
theme song, which she also stars in as Anne Juergens.) "Falling in love is such a easy thing to do. Birds Can do it,
We can do it. Let's stop talking, Let's get to it. Let's fall in love" (Theme Song) (2008-2012)
"Let's Do It, Let's Fall in Love" 86
References
[2] RCA Victor Records in the 20-5500 to 20-5999 series (http:/ / www. 78discography. com/ RCA205500. htm)
[3] Al Hirt, The Greatest Horn in the World (http:/ / www. discogs. com/ Al-Hirt-The-Greatest-Horn-In-The-World/ release/ 2804221) Retrieved
April 6, 2013.
External links
• Full lyrics of this song (http://www.metrolyrics.com/lets-do-it-lets-fall-in-love-lyrics-alanis-morissette.html)
at MetroLyrics
Und der Haifisch, der hat Zähne, And the shark, it has teeth,
Und die trägt er im Gesicht. And it wears them in the face.
Und Macheath, der hat ein Messer, And Macheath, he has a knife,
Doch das Messer sieht man nicht. But the knife can't be seen.
"Mack the Knife" 87
French translation
The song was translated into French as La complainte de Mackie by André Mauprey and Ninon Steinhoff and
popularized by Catherine Sauvage.[4]
Released 1956
Format 7"
Genre Jazz
Length 3:25
Writer(s) Kurt Weill, Bertolt Brecht, English lyrics Marc Blitzstein, arr. Turk Murphy
The song was first introduced to American audiences in 1933 in the first English-language production of The
Threepenny Opera. The English lyrics were by Gifford Cochran and Jerrold Krimsky.[5] That production, however,
was not successful, closing after a run of only ten days. In the best known English translation, from the Marc
Blitzstein 1954 version of The Threepenny Opera, which played Off-Broadway for over six years,[6] the words are:
Oh the shark has pretty teeth dear,
And he shows them pearly white
Just a jack-knife has Macheath dear
And he keeps it out of sight.
Blitzstein's translation provides the basis for most of the popular versions we know today, including those by Louis
Armstrong (1956) and Bobby Darin (1959—Darin's lyrics differ slightly), and most subsequent swing versions.
Weill's widow, Lotte Lenya, the star of both the original 1928 German production and the 1954 Blitzstein Broadway
version, was present in the studio during Armstrong's recording. He spontaneously added her name to the lyrics,
"Mack the Knife" 88
Denn die einen sind im Dunkeln There are some who are in darkness
Und die andern sind im Licht And the others are in light
Und man siehet die im Lichte And you see the ones in brightness
Die im Dunkeln sieht man nicht Those in darkness drop from sight
1994 translation
A much darker translation by Robert David MacDonald and Jeremy Sams into English was used for the 1994
Donmar Warehouse theatrical production in London. The new translation attempted to recapture the original tone of
the song:
Though the shark's teeth may be lethal
Still you see them white and red
But you won't see Mackie's flick knife
Cause he slashed you and you're dead
Popular song
Format 7"
"Mack the Knife" was introduced to the United States hit parade by Louis Armstrong in 1956, but the song is most
closely associated with Bobby Darin, who recorded his version at Fulton Studios on West 40th Street, New York
City, on December 19, 1958 (with Tom Dowd engineering the recording). In 1959 Darin's version reached number
one on the Billboard Hot 100 and number six on the Black Singles chart, and earned him a Grammy Award for
Record of the Year. Dick Clark had advised Darin not to record the song because of the perception that, having come
from an opera, it wouldn't appeal to the rock & roll audience. In subsequent years, Clark recounted the story with
good humor. Frank Sinatra, who recorded the song with Quincy Jones on his "L.A. Is My Lady" album, called
Darin's the "definitive" version. Darin's version hit #3 on Billboard's All Time Top 100.[7] In 2003, the Darin version
was ranked #251 on Rolling Stone's "The 500 Greatest Songs of All Time" list. On BBC Radio 4's Desert Island
Discs, pop mogul Simon Cowell named "Mack the Knife" the best song ever written.
Brecht's original German language version was appropriated for a series of humorous and surreal blackout skits by
television pioneer Ernie Kovacs, showing, between skits, the vibrating soundtrack line, as displayed on an
oscilloscope.
Ella Fitzgerald made a famous live recording in 1960 (released on Ella in Berlin: Mack the Knife) in which, after
forgetting the lyrics after the first verse, she improvised new lyrics in a performance that earned her a Grammy
Award. Robbie Williams also recorded the song on his 2001 album Swing When You're Winning, and performed it as
the first song after the arrival of the Queen during the Diamond Jubilee Concert in 2012, referencing Princesses
Beatrice and Eugenie. Other notable versions include performances by Jimmie Dale Gilmore, Tony Bennett,
Marianne Faithfull, Nick Cave, Brian Setzer, Kevin Spacey, Westlife, and Michael Bublé. Swiss band The Young
Gods radically reworked the song in industrial style, while jazz legend Sonny Rollins recorded an instrumental
version entitled simply "Moritat" in 1956. A 1959 instrumental performance by Bill Haley & His Comets was the
final song the group recorded for Decca Records. Tito Puente also recorded an instrumental version. Salsa musician
Rubén Blades recorded an homage entitled "Pedro Navaja".[8] Brazilian composer Chico Buarque, in his loose
adaptation of Threepenny Opera (Ópera do Malandro), made two versions called "O Malandro" and "O Malandro
No. 2", with lyrics in Portuguese.
The song has been parodied many times. Steve Martin parodied "Mack the Knife" in his opening monologue to the
premiere of Saturday Night Live's third season in 1977. In the mid-1980s, McDonald's introduced Mac Tonight, a
character whose signature song was based on "Mack the Knife." American political parodists the Capitol Steps used
the tune for their song "Pack the Knife" on their 2002 album When Bush Comes to Shove.
The chorus to the song "Haifisch" by Rammstein is inspired by "Mack the Knife".
"Mack the Knife" 90
References
[4] Song: La complainte de Mackie at secondhandsongs.com (http:/ / www. secondhandsongs. com/ work/ 115819)
[5] Threepenny Opera | IBDB: The official source for Broadway Information (http:/ / www. ibdb. com/ production. php?id=11750)
[6] Threepenny Opera | IBDB: The official source for Broadway Information (http:/ / www. ibdb. com/ production. php?id=13510)
[7] The Billboard Hot 100 All-Time Top Songs (10–01) (July 2008) (http:/ / www. billboard. com/ specials/ hot100/ charts/ top100-titles-10.
shtml)
[8] Pedro Navaja on MaestraVida.com (http:/ / www. maestravida. com/ pedronavaja. html)
External links
• Bertolt Brecht sings "Die Moritat von Mackie Messer" (https://www.youtube.com/watch?v=_QXJ3OXWaOY)
on YouTube (2:48)
• Everything you ever wanted to know about "Mack the Knife" (http://mobydicks.com/lecture/Brechthall/
messages/70.html)
• Bobby Darin "Mack the Knife" website (http://www.bobbydarin.net/macklyrics.html)
• What's the story behind "Mack the Knife"? (The Straight Dope) (http://www.straightdope.com/columns/read/
2155/whats-the-story-behind-mack-the-knife)
• ibdb.com info on the 7 Broadway productions (http://www.ibdb.com/show.php?id=8696)
• Steve Martin's comedy monologue on Saturday Night Live parodying "Mack the Knife" (http://snltranscripts.jt.
org/77/77amono.phtml)
• Full lyrics of this song (http://www.metrolyrics.com/mack-the-knife-lyrics-louis-armstrong.html) at
MetroLyrics
"Muggles"
"Muggles" is the title of a recording by Louis Armstrong and His
Orchestra, recorded in Chicago on December 7, 1928. The title
refers to the use of the word "muggles" as a slang term for
marijuana amongst jazz musicians of the 1920s and 1930s.
Armstrong was an enthusiastic user of marijuana, which was legal
in most American states at the time.
This was the only side issued from the recording session that day. It is one of the last 4 sides Armstrong made before
moving to New York City where, while Armstrong remained magnificent, especially without Hines (who had been
"Muggles" 92
his musical director in Chicago), the bands backing him up were often less interesting, and he switched from
recording original compositions to covering popular songs.
"Muggles" is regardedWikipedia:Avoid weasel words as one of Armstrong's masterpieces. It was originally issued
on Okeh 8703, a 78 RPM disc in Okeh's race record series. The recording has been reissued numerous times, and is
available on compact disc. "Muggles" has been covered by later jazz musicians, including Nicholas Payton.
"Muskrat Ramble" 93
"Muskrat Ramble"
"Muskrat Ramble"
Music by Kid Ory
Written 1926
"Muskrat Ramble" is a jazz composition written by Kid Ory in 1926. It was first recorded on February 26, 1926 by
Louis Armstrong and his Hot Five, and became the group's most frequently recorded piece.[] It was a prominent part
of the Dixieland revival repertoire in the 1930s and 1940s, and was recorded by Bob Crosby, Roy Eldridge, Lionel
Hampton, Woody Herman, Muggsy Spanier, Chet Atkins, Lu Watters, and Al Hirt,[1] among others.[] It is considered
a part of the jazz standard repertoire.[2][3] Owing to a misprint, or the record company's sensibilities, the tune was
titled "Muskat Ramble" on its initial release.[]
Ory has said that he originally composed the tune in 1921, and that the title was made up by Lil Hardin at the
recording session. Armstrong, on the other hand, has claimed in an interview to have written the tune himself, and
that it was Ory who only named it.[] Sidney Bechet has said that it was originally an old Buddy Bolden tune called
"The Old Cow Died and the Old Man Cried".[4] The estate of Kid Ory sued Country Joe and the Fish for copyright
infringement in 2001 alleging that the "Feel Like I'm Fixin to Die Rag" of Woodstock fame lifted its tune from Ory's
ramble. This suit was dismissed due to the lateness of the filing.
Ray Gilbert wrote lyrics to the originally instrumental tune in 1950. Following a decree by the Classification
Committee of the American Society of Composers, Authors and Publishers (ASCAP) in 1956, Gilbert is entitled to a
third of all performance credits of the tune, both vocal and instrumental.[5]
A version with Gilbert's lyrics was recorded by Phil Harris and His Dixieland Syncompators (Vocalist: Phil Harris)
in Hollywood on February 24, 1950. It was released by RCA Victor Records as catalog number 20-3273 (in USA)
and by EMI on the His Master's Voice label as catalog number B 9927.
A recording with Big Chief Jazzband was made in Oslo on January 8, 1954. It was released on the 78 rpm record His
Master's Voice A.L. 3371.
The tune contains a 32-bar ensemble section at the beginning, followed by 16-bar solo sections for the trombone,
cornet and clarinet. After the solos, an ensemble section of 32 bars is played, followed by a two-bar trombone tag.[]
Ory's tag at the end is almost always copied in performances.[6] In the ensemble sections, the clarinet, cornet and
trombone play a three-part counterpoint line typical of 1920s New Orleans bands.[7]
In 2003 Country Joe McDonald was sued for copyright infringement over his signature song, specifically the "One,
two, three, what are we fighting for?" chorus part, as derived from Muskrat Ramble. The suit was brought by Ory's
daughter Babette, who held the copyright at the time. Since decades had already passed from the time McDonald
composed his song in 1965, Ory based her suit on a new version of it recorded by McDonald in 1999. The court
however upheld McDonald's laches defense, noting that Ory and her father were aware of the original version of the
song, with the same questionable section, for some three decades without bringing a suit. In 2006, Ory was ordered
to pay McDonald $750,000 for attorney fees and had to sell her copyrights to do so.
"Muskrat Ramble" 94
Personnel
The original 1926 recording was made with the following personnel:[8]
• Louis Armstrong – cornet
• Kid Ory – trombone
• Johnny St. Cyr – banjo
• Johnny Dodds – clarinet
• Lil Hardin – piano
Notes
[1] Al Hirt, Our Man in New Orleans (http:/ / www. discogs. com/ Al-Hirt-Our-Man-In-New-Orleans/ release/ 1528310) Retrieved April 10,
2013.
References
• Anderson, Gene Henry; Budds, Michael J. (2007). The Original Hot Five Recordings of Louis Armstrong.
Pendragon Press. ISBN 1-57647-120-9.
• Bayles, Martha (1996). Hole in Our Soul: The Loss of Beauty and Meaning in American Popular Music.
University of Chicago Press. ISBN 0-226-03959-5.
• Giddins, Gary (2004). Weather Bird: Jazz at the Dawn of Its Second Century. Oxford University Press US.
ISBN 0-19-515607-2.
• Kernfeld, Barry Dean (1995). The Blackwell Guide to Recorded Jazz. Wiley-Blackwell. ISBN 0-631-19552-1.
• Scott, Derek B. (2003). From the Erotic to the Demonic: On Critical Musicology. Oxford University Press US.
ISBN 0-19-515195-X.
• Wintz, Cary D.; Finkelman, Paul (2004). Encyclopedia of the Harlem Renaissance. Taylor & Francis.
ISBN 1-57958-458-6.
External links
• Muskrat Ramble (http://www.jazzstandards.com/compositions-3/muskratramble.htm) at JazzStandards.com
"Nobody Knows the Trouble I've Seen" 95
Variations
• The song appeared as "Nobody Knows The Trouble I've Had" in Slave Songs of the United States with additional
verses. Modern [3][4]
• The Jubilee Singers sang a song with a similar chorus and with different music and verses, entitled "Nobody
Knows the Trouble I See".
• The second line ("Nobody knows my sorrow") or fourth line is changed in some renditions to be "Nobody knows
but Jesus".
"Nobody Knows the Trouble I've Seen" 96
Classic variations
On the late 19th century african-american music begun to appear in classical music art forms, in arrangements made
by black composers such as Samuel Coleridge-Taylor, Henry Thacker Burleigh and James Rosamond Johnson.
Johnson made an arrangement of "Nobody Knows the Trouble I See" for voice and piano in 1917, when he was
directing the New York Music School Settlement for Colored People.[5]
American violinist Maud Powell was the first white solo concert artist in perform classical arrangements of spirituals
in concerts where she also interpreted classical and contemporary pieces by composers like Dvorak and Sibelius.
After Powell's suggestion, J. R. Johnson made an arrangement of "Nobody Knows the Trouble I See" for piano and
violin in 1919. Powell got to play this in a fall program she organized and then died that november.[6] Recent
interpretations of the classical version of this spiritual has been made by Chicago's violinist Rachel Barton Pine, who
has been working over Powell's legacy.[7]
References
[1] Joel Whitburn, Pop Memories 1890-1954 (1986), Record Research Inc.
[2] Black and White Records (http:/ / www. 78discography. com/ BlackandWhite. htm)
[3] Slave Songs of the United States (http:/ / www. marcus-brinkmann. de/ slave-songs. html)
[4] Nobody Knows The Trouble I've Had (http:/ / docsouth. unc. edu/ church/ allen/ allen. html#slsong55)
External links
• Louis Armstrong playing the song (1962) (http://www.youtube.com/watch?v=SVKKRzemX_w)
Notable recordings
• Bing Crosby and Louis Armstrong - High Society (1956)
• Billy Crystal and The Muppets - Muppets Tonight episode (1996)
References
"On a Little Bamboo Bridge" 97
Trivia
Years later, in the 1960s, Armstrong recorded two songs written by Al Sherman's sons, Richard and Robert Sherman.
Those songs were "'Bout Time" and "Ten Feet off the Ground", originally from the Walt Disney musical film, The
One and Only, Genuine, Original Family Band.
“
On a little bamboo bridge
By the waters of Kalua
”
Beneath Hawaiian skies
I fell in love with you
Literary Sources
• Sherman, Robert B. Walt's Time: from before to beyond, Santa Clarita: Camphor Tree Publishers, 1998.
Legacy
• Frank Sinatra recorded the song twice: the first with Nelson Riddle for 1956's Songs for Swingin' Lovers! and
again in 1962 with Count Basie for Sinatra–Basie: An Historic Musical First.
• Polly Bergen and Gordon MacRae sang a medley, which included "Pennies from Heaven" on her 1958 NBC
variety show, The Polly Bergen Show.[2]
• Andy Williams released a version on his 1964 album, The Wonderful World of Andy Williams.
• Sarah Vaughan recorded the song for her 1957 album, Swingin' Easy
• The episode of Roseanne where the Conners win the state lottery jackpot of $108 million is entitled "Millions
from Heaven."
• The Louis Prima version was used in the 2003 film Elf[3] and in the film Igor.
• Regis Philbin sang this song for the soundtrack to the game show Who Wants To Be A Millionaire.[4]
• Hugh Brannum, as "Smilin' Green Jeans", sang this song as an insert on Captain Kangaroo, anachronistically
dating the insert "Smilin' Green Jeans, 1932"; the song was not composed until 1936.
• Lena Zavaroni recorded the song for her 1974 album, Ma! (He's Making Eyes At Me).
• Rosemary Clooney recorded the song for her 1978 Bing Crosby tribute album, Rosie Sings Bing.
"Pennies from Heaven" 98
• Shirley Bassey sang this song on episode 504 of The Muppet Show.
• "Pennies from Heaven" provided the title for the celebrated 1978 BBC television series and the 1981 film
adaptation of it — as well as being featured in both.
• This song was used in the film Corrina, Corrina in 1994, and appears on the soundtrack.[5]
• Anita O'Day recorded the song for what would be her final album, Indestructible!, released in 2006.
• The original, as well as the Louis Prima version, appears in the 2010 game Mafia 2.
• Sung by Rose Murphy on the soundtrack of the otherwise-silent 2011 film The Artist
• A live two-piano performance by Bert van den Brink and Clare Fischer was recorded and released in 2001 on
Bert van den Brink Invites Clare Fischer.
• A line-by-line parody also exists, "Bennie's [or Benny's] from Heaven," lyrics possibly by Eddie Jefferson, telling
the story of a "second lieutenant names Spears," returning home to his wife "after being overseas three years," to
find a baby in the house.
References
[1] Original Soundtrack, Pennies from Heaven (http:/ / www. allmusic. com/ album/ pennies-from-heaven-original-soundtrack-r84506)
[3] Elf: Music From The Major Motion Picture (http:/ / www. amazon. co. uk/ dp/ B000BBGBII)
[4] Who Wants to Be a Millionaire: The Album (http:/ / www. allmusic. com/ album/ who-wants-to-be-a-millionaire-the-album-r489662I)
[5] Original Soundtrack, Corrina Corrina (http:/ / www. allmusic. com/ album/ corrina-corrina-original-soundtrack-r229017I)
External links
• Full lyrics of this song (http://www.metrolyrics.com/pennies-from-heaven-lyrics-billie-holiday.html) at
MetroLyrics
"Potato Head Blues" 99
Genre Jazz
"Potato Head Blues" is a Louis Armstrong composition regarded as one of his finest recordings. It was made by
Louis Armstrong and his Hot Seven[1] for Okeh Records in Chicago, Illinois on May 10, 1927. It was recorded
during a remarkably productive week in which Armstrong's usual Hot Five was temporarily expanded to seven
players by the addition of tuba and drums;[] over five sessions the group recorded twelve sides.
Not strictly speaking a "blues," the chord structure is a 32-bar form in the same neighborhood as "(Back Home
Again in) Indiana." The recording features notable clarinet work by Johnny Dodds, and the stop-time solo chorus in
the last half of the recording is one of Armstrong's most famous solos.[] The last, hot "ride out" chorus is an example
of this New Orleans jazz custom brought to the level of genius through Armstrong's inspired melodic playing.
Critic Thomas Ward called this recording "one of the most astonishing accomplishments in all of twentieth century
music."[]
Tallulah Bankhead said that she played it in her dressing room every day during intermission while she appeared on
Broadway for the invigorating effect it gave her.
In Woody Allen's 1979 film, Manhattan, the character Isaac Davis (played by Allen) lists Armstrong's recording of
"Potato Head Blues" as one of the reasons that life is worth living.
References
[1] Louis Armstrong, in his own words: selected writings (http:/ / books. google. co. uk/ books?id=fdxDDe-fb8sC& pg=RA1-PA52&
dq=Potato+ Head+ Blues+ louis& lr=& cd=10#v=onepage& q=Potato Head Blues louis& f=false)
"Shine" 100
"Shine"
Shine (originally titled That's Why They Call Me Shine) is a popular song with lyrics by Cecil Mack and Tin Pan
Alley songwriter Lew Brown and music by Ford Dabney. It was published in 1910 by Gotham-Attucks and used by
Ada Walker in His Honor the Barber, an African-American road show.
It was later recorded by jazz and jazz influenced artists such as Louis Armstrong, Ella Fitzgerald, Benny Goodman
and Frankie Laine, usually without the explanatory introduction. It also featured as one of the songs sung by Sam
(Dooley Wilson) and the band at Rick's Cafe in the movie Casablanca. According to Perry Bradford, himself a
songster and publisher, the song was written about an actual man named Shine who was with George Walker when
they were badly beaten during the New York City race riot of 1900.[1]
John William Sublett (aka John W. Bubbles) animates "Shine" brilliantly in a song-and-dance number in the 1943
movie, Cabin in the Sky.
Albert Nicholas, clarinet, with The Big Chief Jazz Band recorded it in Oslo on August 29, 1955. Released on the 78
rpm record Philips P 53037 H.
Ry Cooder recorded the song complete with introduction in 1978.
References
[1] http:/ / www. jass. com/ cmack. html
"Skokiaan" 102
"Skokiaan"
"Skokiaan"
Single by The African Dance Band of the Cold Storage Commission of Southern Rhodesia
A-side "Skokiaan"
Recorded 1947
Genre Tsaba-Tsaba
</pre>
"Skokiaan" is a popular tune originally written by Rhodesian (Zimbabwean) musician August Musarurwa (d.1968)
(usually identified as August Msarurgwa on record labels) in the tsaba-tsaba big band style that succeeded marabi.
Skokiaan (Chikokiyana in Shona) [1] refers to an illegal self-made alcoholic beverage typically brewed over one day
that may contain a dangerous ingredient, such as methylated spirits.[2][3] The tune has also been recorded as
"Sikokiyana," "Skokiana," and "Skokian."
Within a year of its 1954 release in South Africa, at least 19 cover versions of "Skokiaan" appeared. The Rhodesian
version reached No 17 in the United States, while a cover version by Ralph Marterie climbed to No 3. All versions
combined propelled the tune to No 2 on the Cash Box charts that year. Its popularity extended outside of music, with
several urban areas in the United States taking its name. Artists who produced their own interpretations include
Louis Armstrong, Bill Haley, Herb Alpert, Brave Combo, Hugh Masekela and Kermit Ruffins. The Wiggles also
covered this song on their Furry Tales album. The music itself illustrates the mutual influences between Africa and
the wider world.
History
Rhodesia (Zimbabwe)
"Skokiaan" originally was composed & first recorded as a sax and trumpet instrumental by the African Dance Band
of the Cold Storage Commission of Southern Rhodesia (now Zimbabwe) under leadership of August Musarurwa
(possibly in 1947 – anthropologist David Coplan seems to be the sole source for this date).[4] [5] The band comprised
two saxophones, two banjos, traps, and a bass.[6] Several tunes played by the Cold Storage Band were recorded by
ethnomusicologist Hugh Tracey in June 1951.[7] On Tracey's recording, Musarurwa also apparently played for the
Chaminuka Band.[8] Musarurwa copyrighted "Skokiaan", probably in 1952.
Ethnomusicologist Thomas Turino describes "Skokiaan" as having "a four-bar I-IV-V progression in 4/4 meter...The
main melodic strain (A) begins with a long held trill...played by the sax on the dominant pitch...followed by an
undulating, descending melody. The A strain is contrasted with sections of riffing that follow the harmonic
progression fairly closely...before the main melody returns." Towards the end of the original recording a short
trumpet solo "is overlapped by Musarurwa's sax". The melody throughout "is carried by the sax".[9]
Skokiaan's significance is that it shows how Africa influenced American jazz in particular and popular music in
general. Musarurwa's 1947 and 1954 recordings illustrate how unique the indigenous forms of jazz were that
emerged in Africa in response to global music trends. While African jazz was influenced from abroad, it also
contributed to global trends.[10]
"Skokiaan" 103
"Skokiaan" has been adapted to various musical stylings, from jazz to mento/reggae (Sugar Belly and the
Canefields), and Rock and Roll. The tune has been arranged for strings (South Africa's Soweto String Quartet) and
steel drums (Trinidad and Tobago's Southern All Stars[11]). A merengue version was recorded in the Dominican
Republic by Antonio Morel y su Orquesta in the 1950s, with saxophone alto arrangement by Felix del Rosario.[12] A
number of reggae versions of the song also exist, and marimba covers are particularly popular.
"Skokiaan" has been recorded many times, initially as part of a wave of world music that swept across the globe in
the 1950s, spurred on in Africa by Hugh Tracey and in the United States by Alan Lomax, to name two. "Skokiaan"
gained popularity outside Africa at the same time as the indigenous South African export, "Mbube" ("Wimoweh").
The sheet music was eventually released in 17 European and African languages.[13] In France in 1955 the orchestra
of Alix Combelle recorded a cover of "Skokiaan" on the Phillips label.[14][15] Jacques Hélian also recorded a version.
Performers recorded "Skokiaan" in Finland (Kipparikvartetti), Germany (James Last and Bert Kaempfert), and
Sweden (Lily Berglund), among others. In the United Kingdom, vocal versions were recorded by South African
singer Eve Boswell and Alma Cogan.
But it was in the United States that "Skokiaan" peaked on the charts, where it was recorded by musicians as varied as
The Four Lads and Johnny Hodges. Hodges's version is notable not only because he recorded the tune with Erroll
Garner but because his band at the time included John Coltrane in a minor role.[16]
United States
In 1954 Gallotone Records released a version of "Skokiaan" by Musarurwa and the Bulawayo Sweet Rhythms
Band.[17] After 170,000 copies were sold in South Africa, the president of London Records, E R Lewis, forwarded "a
couple of copies" to London's offices in New York. Meanwhile, a pilot had brought the original version from South
Africa to the USA, and given it to Bill Randle of the radio station WERE (1300 AM) in Cleveland. Although the
copy was cracked, Randle was so impressed by what he heard that he asked Walt McQuire of London's New York
office to send him a new copy. After Randle played the record four times, interest soared. London Records shipped
6,000 copies to New York from Britain, followed in September 1954 by a further 20,000.[18][19]
Bulawayo Sweet Rhythms' original version took off and reached No 17 on the Billboard Best Sellers in Stores
chart.[20] Whether London Records' was a new recording, or a re-release of the Cold Storage Band's old recording
under a new name, is uncertain. The band's original name was changed, no doubt for easier Western consumption,[21]
perhaps by the record company, or by the band itself.
"Skokiaan" 104
on the compilation album, Incredibly Strange Music Vol. 2). It was not the first such treatment of "Skokiaan": Spike
Jones and the City Slickers recorded a "Japanese Skokiaan" in 1954, written by band member Freddie Morgan, a
banjo player and vocalist (RCA VICTOR 47-5920).[37][38]
But true to its origins, "Skokiaan" remained a favourite among brass instrumentalists. In 1978 Herb Alpert and Hugh
Masekela recorded the song as a brass duet with a disco flavor.[39] The tune put "Alpert on the R&B chart for the
first time in his career".[40] One of the most recent brass recordings was by Kermit Ruffins' 2002 on his album, Big
Easy.
Spike Jones recorded a novelty song entitled "Japanese Skokiaan" back in the 1950s with a Japanese accent. The
song mentions about going to Tokyo.
Misconceptions
Despite its Southern Rhodesian origins, record companies frequently added "South African Song" in brackets to the
song's title, as was the case with recordings by Louis Armstrong, The Four Lads, Bill Haley, and Bert Kaempfert.
This may have been due to misunderstandings about the difference between what was then Southern Rhodesia, and
South Africa, two countries in the Southern Africa region. As described in the introduction, "Skokiaan" was
composed by a Southern Rhodesian, who was recorded by a South African record company. The lyrics were later
added by an American, Tom Glazer. Misled by Glazer's lyrics, some take "Skokiaan" to mean "Happy happy",
leading to "Happy Africa" as an alternative title for the music.[6][10] Again, as stated earlier, the term actually refers
to a type of illicitly brewed alcoholic beverage (i.e. "moonshine").
Why the tune was associated with "a Zulu drinking song",[41][42] as it was in a 1954 Down Beat article,[18] is unclear.
The Zulu is an ethnic grouping found in South Africa; composer August Musarurwa was a Shona from Southern
Rhodesia (now Zimbabwe). The term skokiaan does occur in both Zulu and Shona. Both are part of the Bantu
language grouping and so share similar roots. An early identification of skokiaan as a Zulu word which circulated in
Johannesburg's slums is found in a scholarly article by Ellen Hellman, dated 1934.[43] Musarurwa himself did not
call his tune "a Zulu drinking song". The scanty fragments of his life history does not reveal that he spent time in
South Africa, either.[44] There is in South Africa no popular association of "Skokiaan" with a Zulu song. Was
Musarurwa's tune influenced by a putative Zulu song? It seems unlikely, although not impossible. Southern
Rhodesian migrant labourers moved back and forth between their home country and the mines of South Africa,
located mostly around Johannesburg. Such journeys, often by train, led to the emergence of the song Shosholoza.
While Shosholoza has become very popular among South Africans, who often sing it to encourage their sports
teams, its origins, like that of "Skokiaan", are Southern Rhodesian.
Position in charts
[23] Peak
Cash Box Best Selling Singles (1954)
position
[24] Peak
U.S. Billboard Best Sellers in Stores (1954)
position
[50] Peak
U.S. Billboard Hot 100 (1954)
position
[36] Peak
U.S. Billboard Hot 100 (1960)
position
1947 The African Dance Band of the Cold Storage GALLO-Gallotone JIVE GB.1152 Zimbabwe
Commission of Southern Rhodesia
Bulawayo Sweet Rhythms Band London Records 1491/ Decca F10350 Zimbabwe
The Four Lads with Neal Hefti Orchestra Columbia Records 40306 Canada
[57] Finland
Reino Helismaa
Nico Carstens and his Orchestra and Chorus [67][68] South Africa
Columbia 33JSX 11015
Skokiaan UK
[121] Canada
Chikoro Marimba
[126] USA
The Revelairs
[127]
The Titans
[9]
Antonio Morel Y Su Orquesta
References
[1] Kutema Musasa (http:/ / www. dandemutande. org/ Catalog/ ?cat=Music& artist=ChingodzaMusekiwa), by Musekiwa Chingodza.
Dandemutande Catalog, Track 2. Retrieved 5 February 2008.
[2] Saungweme T, Khumalo H, Mvundura E, et al. (http:/ / www. ncbi. nlm. nih. gov/ pubmed/ 10695182?dopt=Abstract) 1999. Iron and alcohol
content of traditional beers in rural Rhodesia. The Central African Journal of Medicine 45(6):136-40. Retrieved 5 February 2008.
[3] Muponde, Richard. (http:/ / www. chronicle. co. zw/ inside. aspx?sectid=2738& livedate=3/ 18/ 2006 12:00:00 AM& cat=1) 2006. Granny
fined for brewing kachasu. Chronicle, 18 March. Retrieved 5 February 2008.
[4] Coplan, David B. (http:/ / www. webcitation. org/ 5VWJNmdSR). 2006. Sophiatown and South African Jazz: Re-appropriating a Cultural
Identity. Africultures, 1 April. Retrieved 5 February 2008. (Archived by WebCite).
[5] OneHitWonder Central (http:/ / www. onehitwondercentral. com/ forum/ thread. cfm?threadid=2494). Subject: Forgotten Music. Retrieved 5
February 2008.
[6] .Turino, Thomas. 2000. Nationalists, Cosmopolitans, and Popular Music in Zimbabwe. University of Chicago Press, p.141.
[7] Hugh Tracey, 1903–1977. (http:/ / www. swp-records. com/ pages/ index_html. html) SWP Records. Retrieved 5 February 2008.
[8] Various: Bulawayo Jazz – Southern Rhodesia (http:/ / web. archive. org/ web/ 20060923040507/ http:/ / www. musicwords. nl/ central/
2006-17. htm). 2006. Music and Words. musicwords.nl Retrieved online from internetarchive.org 5 February 2008.
[9] .Turino, Thomas. 2000. Nationalists, Cosmopolitans, and Popular Music in Zimbabwe. University of Chicago Press, p.143.
[10] Samuelson, Meg. 2007. Yvonne Vera's Bulawayo: Modernity, (Im)mobility, Music, and Memory. Research in African Literatures, Vol. 38
Issue 2, pp. 26, 33 note 10.
[11] Taylor, Lori E and Leah Gross. (http:/ / www. folklife. si. edu/ resources/ Center/ Archives/ Finding_Aids/ Emory_Cook/
Cook_Recordings_Inventory. doc) 2005. Cook Recordings Inventory. Retrieved 5 February 2008.
[12] Austerlitz, Paul. 2005. Jazz Consciousness: Music, Race, and Humanity. Wesleyan University Press, pp. 105–106.
[13] Stone, Ruth M. 1999. The Garland Handbook of African Music. Routledge, p. 346.
[14] Dansez avec Alix Combelle et son grand orchestre. (http:/ / www. lectura. fr/ fr/ catalogues/ resultats. cfm?aur_offset=20& mode=cat&
aur_npp=10& aut=Combelle Alix& for=oui& cub=RD OU DN). Retrieved 5 February 2008.
[15] Dansez avec Alix Combelle et son grand orchestre. (http:/ / ring. cdandlp. com/ vinylazur/ photo_grande/ 21601017. gif) Album cover.
Retrieved 5 February 2008.
[16] Coltrane, John. (http:/ / www. tower. com/ details/ details. cfm?wapi=105972599) 2004. John Coltrane – Complete Studio Sessions With
Johnny Hodges. Definitive Classics 11258. Retrieved 10 February 2008.
[17] Music from the Hugh Tracey archives. (http:/ / www. muzikifan. com/ tracey. html). Retrieved 5 February 2008.
[18] 1954 (http:/ / bp1. blogger. com/ _thlFYTjJbmQ/ RylbBJt6i3I/ AAAAAAAACcM/ X4L_H_AKdD4/ s1600-h/ skokiaanDB9. 8. 54. jpg). S.
African Tune Latest Smash on Discs in U.S. Downbeat Magazine, 8 September. Retrieved 10 February 2008.
"Skokiaan" 110
[19] 1955. (http:/ / www. time. com/ time/ magazine/ article/ 0,9171,807032,00. html?promoid=googlep) Top Jock. Time Magazine, 14 February.
Retrieved 10 February 2008.
[20] New Pop Records. (http:/ / www. time. com/ time/ magazine/ article/ 0,9171,820184-1,00. html) 1954. Time Magazine, 13 September.
Retrieved 5 February 2008.
[21] Highlife Piccadilly (http:/ / www. mustrad. org. uk/ articles/ african. htm). African Music on 45 rpm records in the UK, 1954–1981.
Retrieved 5 February 2008.
[22] Cruz Ayala, José G. (http:/ / web. archive. org/ web/ 20091022065028/ http:/ / geocities. com/ ~galaxiamusical/ haleysko. html) no date. A
brief research on the historical background of "Skokian [sic] á go go". "Bill Haley Tribute, Part II, from "La Historia del Rock 'N' Roll".
Retrieved 6 February 2008.
[23] The Cash Box Best Selling Singles. (http:/ / hometown. aol. com/ randypny/ cashbox/ 19541016. html) 1954. Week ending 16 October
1954. Retrieved 5 February 2008.
[24] LostAvenger. 2004. Old Billboard Charts from the 1940s & 1950s. ukmix.org. Retrieved 7 February 2008.
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"Skokiaan" 113
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External links
Audio
• 2007. 78s fRom HeLL (http://learning2share.blogspot.com/2007/04/
78s-from-hell-in-mood-by-bulawayo-sweet.html): The Bulawayo Sweet Rhythms Band – In The Mood (1954).
I'm learning to share. Tuesday, 10 April. Blog with extensive visual material on "Skokiaan", including newspaper
clippings, record label, and full mp3 download.
• Full audio recording of 1954 version of "Skokiaan" by the Bulawayo Sweet Rhythms Band at Beat the Devil blog
by Brain Nation, 2 May 2005. (http://boppin.com/2005/05/skokiaan.html).
• Recordings of Musarurwa (Msarurgwa) and other Zimbwabwean jazz artists between 1950 and 1952 by
ethnomusicologist Hugh Tracey (http://ilam.ru.ac.za/page.php?pID=4) on CD (http://www.swp-records.
com/pages/index_html.html).
• Audio versions of the song by the Four Lads, Perez Prado, Bill Haley, and Louis Armstrong and Hugh Masakela
(http://www.shapirobernstein.com/mbr/shapiro_song_display.asp?misn=2804) (requires RealMedia,
registration).
• MP3 sample of Kutsinhira Cultural Arts Center's 2002 Zimbabwean marimba arrangement of "Skokiaan"
(Sikokiyana). Opens sound file directly. (http://www.dandemutande.org/Catalog/Music/Sounds/
Kutsinhira_Musimboti_05Sikokiyana.mp3)
• Full versions of "Skokiaan" by Kermit Ruffins (http://www.last.fm/music/Kermit+Ruffins/_/Skokiaan) as
well as St. Petersburg Ska-Jazz Review (http://www.last.fm/music/St.+Petersburg+Ska-Jazz+Review/_/
Skokiaan) and Joe Goldmark (http://www.last.fm/music/Joe+Goldmark/_/Skokiaan?autostart).
Visual
• Sheet music of the song Skokiaan. (http://www.kwela.co.uk/wp-content/skokiaan.pdf)
• Images (http://www.caminogardens.com/africausa.html) and history of Africa U.S.A. (http://www.
africa-usa.com/history.htm).
• Photograph (http://meltingpot.fortunecity.com/navarino/212/face/face004-mahubesound.html) of the
Bulawayo Sweet Rhythms Band. (Archived by WebCite at http://www.webcitation.org/5VazeN1Hv).
"St. James Infirmary Blues" 114
Performers
The Animals released a version in 1968 on their album, Every One of Us.
Performer/Actor Hugh Laurie included a rendition on his 2011 album Let Them Talk [1].
In February 2012, Trombone Shorty and Booker T. Jones performed an instrumental version as the opening number
of the "Red, White, and Blues" concert at the White House.[2]
The White Stripes covered the song on their debut album The White Stripes.
The song was also featured and used as inspiration for the 2013 World Premiere Musical The Unfortunates at the
Oregon Shakespeare Festival, in Ashland, OR.
References
[1] http:/ / en. wikipedia. org/ wiki/ Let_Them_Talk
External links
• Historical investigation by Rob Walker (http://nonotes.wordpress.com/)
• St. James Infirmary (1928) (http://www.jazzstandards.com/compositions-2/stjamesinfirmary.htm) at
jazzstandards.com
• "St. James Infirmary Blues" (http://prewarblues.org/2008/07/
so-young-so-cold-so-fair-the-saint-james-infirmary-blues/) recordings collection
• Sarah Vowell discusses the song's history (http://www.salon.com/ent/col/vowe/1999/10/06/onesong/index.
html) at Salon.com
• Betty Boop cartoon (http://www.archive.org/details/bb_snow_white) includes a performance by Cab
Calloway
"St. Louis Blues" 116
Written by W. C. Handy
Published 1914
Form Blues
"Saint Louis Blues" is a popular American song composed by W. C. Handy in the blues style. It remains a
fundamental part of jazz musicians' repertoire. It was also one of the first blues songs to succeed as a pop song. It has
been performed by numerous musicians of all styles from Louis Armstrong and Bessie Smith to Count Basie, Glenn
Miller, Guy Lombardo, and the Boston Pops Orchestra. It has been called "the jazzman's Hamlet".[1] Published in
September 1914 by Handy's own company, it later gained such popularity that it inspired the dance step the
"Foxtrot".
The version with Bessie Smith and Louis Armstrong on cornet was inducted in the Grammy Hall of Fame in 1993.
The 1929 version by Louis Armstrong & His Orchestra (with Henry "Red" Allen) was inducted there in 2008.
History
Handy said he had been inspired by a chance meeting with a woman on the streets of St. Louis distraught over her
husband's absence, who lamented, "Ma man's got a heart like a rock cast in de sea", a key line of the song.[2][3]
Details of the story vary. Robert Palmer states that Handy encountered the melody in St. Louis, Missouri, in 1892,
when he was out of work. It had numerous one-line verses "and they would sing it all night."[4]
At the time of his death in 1958, Handy was earning royalties upwards of US$25,000 annually for the song. The
original published sheet music is available online at the United States Library of Congress in a searchable database
of African-American music from Brown University.[5]
"St. Louis Blues" 117
Analysis
The form is unusual in that the verses are the now familiar standard twelve-bar blues in common time with three
lines of lyrics, the first two lines repeated, but it also has a 16-bar bridge written in the habanera rhythm, popularly
called the "Spanish Tinge", and identified by Handy as tango[] Handy's tango-like rhythm is notated as a dotted
quarter note, followed by an eighth, and two quarter notes, with no slurs or ties, and is seen in the introduction as
well as the sixteen-measure bridge.[6]
Excerpt from "St. Louis Blues" by W.C. Handy (1914). The left hand plays the habanera rhythm.
While blues became often simple and repetitive in form, "Saint Louis Blues" has multiple complementary and
contrasting strains, similar to classic ragtime compositions. Handy said his objective in writing "Saint Louis Blues"
was "to combine ragtime syncopation with a real melody in the spiritual tradition."[7]
With traditional New Orleans and New Orleans style bands, the tune is one of a handful that includes a set traditional
solo. The clarinet solo with a distinctive series of rising partials was first recorded by Larry Shields on the 1921
Original Dixieland Jass Band record. It is not found on any earlier recordings nor published orchestrations of the
tune. Shields is often credited with creating this solo; however, alternative claims have been made for other early
New Orleans clarinetists, including Emile Barnes.
Performances
Released 1925
Genre Blues
Length 3:11
Writer(s) W. C. Handy
Writing about the first time "St Louis Blues" was played (1914),[8] Handy notes that "The one-step and other dances
had been done to the tempo of Memphis Blues... When St Louis Blues was written the tango was in vogue. I tricked
the dancers by arranging a tango introduction, breaking abruptly into a low-down blues. My eyes swept the floor
anxiously, then suddenly I saw lightning strike. The dancers seemed electrified. Something within them came
suddenly to life. An instinct that wanted so much to live, to fling its arms to spread joy, took them by the heels."[]
Researcher Guy Marco, in his book Encyclopedia of Recorded Sound in the United States, stated that the first audio
recording of "Saint Louis Blues" was by Al Bernard in July 1918 on the record company label Aeolian-Vocalion
(cat. no. 12148). This is however not true, since Columbia's house band, directed by Charles A. Prince, had recorded
"St. Louis Blues" 118
a released instrumental version already in December 1915 (Columbia A5772). Bernard's version may have been the
first US issue to include the lyrics though. However, by then Ciro's Club Coon Orchestra, a group of black American
artists appearing in Britain, had already recorded a version including the lyrics in September 1917 (UK Columbia
699).
Since the 1910s, the number has enjoyed great popularity not only as a song but also as an instrumental.
Many of jazz's most well-known artists in history have given renowned performances of the tune. The following is
an incomplete list of the hundreds of musicians of renown who recorded "Saint Louis Blues," chosen as examples
that are early in their careers and in the era of its greatest popularity.
This list of songs or music-related items is incomplete; you can help by expanding it [9].
• 1920 – Marion Harris
• 1921 – Original Dixieland Jass Band
• 1922 – W. C. Handy
• 1925 – Bessie Smith, backed by Louis Armstrong on cornet and Fred Longshaw on harmonium.
• 1926 – Fats Waller recorded as an organ solo for Victor Records.
• 1927 - Wild Man Blues
• 1927 – Sylvester Weaver
• 1928 – Al Bernard as "John Bennett" (Madison 1642)[10]
• 1929 – Louis Armstrong & His Orchestra with Henry "Red" Allen
• 1930 – Rudy Vallee, Cab Calloway, the Mills Brothers, the Boswell Sisters, Jim Jackson
• 1933 – The Whiskey Bottle Boys, played on a water bottle xylophone
• 1934 – Paul Robeson recorded it in London on February 20, 1934. It was released by EMI on the His Master's
Voice label B 8219.
• 1935 – Django Reinhardt and Stephane Grappelli
• 1935 – Bob Wills
• 1939 – Benny Goodman
• 1940 – Earl Hines rendition titled "Boogie Woogie On The St. Louis Blues". Hines can be heard saying, "Aw,
play it till 1951", the year the original copyright was to expire.
• 1943 – Glenn Miller "St. Louis Blues -- March" as played by the U.S. Army Air Force Band, of which Miller was
the commander.
• 1945 - Eddie Rosner
• 1945 – Annie Laurie with the Dallas Bartley Band for Cosmo Records.[]
• 1945 - Maurice Rocco
• 1949 – Art Tatum
• 1952 – Chet Atkins on his first recording, Chet Atkins' Gallopin' Guitar
• 1953 – Billy Eckstine with Metronome All-Stars: recorded by Roy Eldridge, Kai Winding, John LaPorta, Warne
Marsh, Lester Young, Teddy Wilson, Billy Bauer, Eddie Safranski, Terry Gibbs, Max Roach
• 1954 – Louis Armstrong recorded the song numerous times, including a version on Louis Armstrong Plays W.C.
Handy.
• 1950s – Moon Mullican sang and played the song on the Grand Ol' Opry.
• 1956 – The Teen Kings, featuring Roy Orbison - "St. Louis Blues" and other songs recorded at KOSA-TV,
Odessa, Texas, 1956.
• 1957 – Louis Prima recorded the song on the album The Wildest Comes Home!.
• 1958 – The release of St. Louis Blues, a biopic of Handy, who had died earlier in the year. The star of the film,
Nat King Cole, recorded an album of songs from the film, and fellow star, Ella Fitzgerald incorporated the song
into her repertoire.
• 1959 – John Fahey recorded the song on the album Blind Joe Death, re-recorded in 1967.
"St. Louis Blues" 119
• 1964 – Judy Garland and Martha Raye performed it as the final piece in a medley of Glenn Miller songs on The
Judy Garland Show.
• 1964 – Chuck Berry recorded a version for Chuck Berry in London.
• 1967 – Mina sang an orchestra version at Italian TV program Sabato Sera (Saturday night).
• 1967 – Jaki Byard recorded with his trio (Byard: piano, David Izenzon: bass, Elvin Jones: drums) for Sunshine of
My Soul.
• 1968 – Paul McCartney used this song to set the mood for the recording sessions for 'Hey Jude' and The Beatles
can be heard busking the tune on the many bootleg recordings of the sessions.
• 1970 – Jula de Palma sang a beat version of this song in a successful concert recorded on the LP Jula al Sistina.
• 1973 – Enrique Villegas
• 1976 – The Flamin' Groovies on Shake Some Action (Chuck Berry's version)
• 1985 – Doc Watson recorded the song on the album Pickin' the Blues and has played his version for many years.
• 1986 – Hank Williams Jr. recorded the song as part of a medley on Montana Cafe.
• 1994 – George Thorogood & the Destroyers performed the song with Johnnie Johnson at Mississippi Nights,
which was released on Thorogood's 1995 album Live: Let's Work Together
• 1998 – Stevie Wonder recorded the song on Herbie Hancock's jazz album Gershwin's World and won the two
Grammys in 1999.
• 1999 – Merle Haggard and Asleep at the Wheel performed "St. Louis Blues" on the Bob Wills tribute album Ride
with Bob.
• 2001 – Dexter Romweber
• 2001 – Aki Takase recorded the song for her album of the same name.
• 2002 – Peter Cincotti in his album On the Moon
• 2008 – David Sanborn covered the song from his 2008 release Here & Gone.[11]
• 2008 – Jack Rose on the album Dr. Ragtime & Pals/Self Titled
• 2013 - Hugh Laurie recorded a version for his album Didn't It Rain (Hugh Laurie album)
In popular culture
Films
A number of short and feature films have been entitled St. Louis Blues; see: St. Louis Blues (film).
"St. Louis Blues" is played in the 1914 Charles Chaplin film, The Star Boarder as well as later being sung by
Theresa Harris and played several times, including the opening credits, in the 1933 film Baby Face.[12] The song is
also sung by Marcellite Garner as Minnie Mouse in the 1931 animated short film, Blue Rhythm.[13] It is played a
number of times in the 1936 film, Banjo on my Knee, by Walter Brennan and is sung as a major production number
by the Hall Johnson Choir as Barbara Stanwyck looks on.[14]
As an instrumental, the song is featured in Lewis Milestone's early talkie, Rain, in which it comes to symbolize the
wanton ways of the main character Sadie Thompson, played by Joan Crawford.[15]
"St. Louis Blues" 120
Other
The St. Louis Blues NHL team is named after the W.C. Handy song, and their theme song is Miller's version of the
Handy composition.
The title of William Faulkner's short story "That Evening Sun" (published 1931) references the famous opening
lyrics from "Saint Louis Blues".
"About Her" by Malcolm McLaren (from Kill Bill Vol. 2 Original Soundtrack) samples this song – in particular the
line, "My man's got a heart... like a rock cast in the sea".
In Jean-Paul Sartre's existentialist play No Exit, Estelle talks about how she and Peter, one of her admirers, used to
dance to "Saint Louis Blues".
A unique oddity is the relationship of the "Saint Louis Blues" and the song "Memphis, Tennessee" by Chuck Berry.
The composers of these two songs lived in the other city; W.C. Handy was from Memphis, and Chuck Berry was
from St. Louis. Yet they both wrote the song most associated with the other's hometown.
Notes
[2] http:/ / bluesnet. hub. org/ readings/ st. louis. blues. html
[4] Palmer, Robert (1981: 42). Deep Blues.
[5] American Memory from the Library of Congress - Browse by (http:/ / memory. loc. gov/ cgi-bin/ query/ S?ammem/ aasm:@field(TITLE+
@od1(St+ + Louis+ blues+ )))
[6] click on Rudi Valee version cover image, then advance pages (http:/ / memory. loc. gov/ cgi-bin/ query/ S?ammem/ aasm:@field(TITLE+
@od1(St+ + Louis+ blues+ )))
[9] http:/ / en. wikipedia. org/ w/ index. php?title=Saint_Louis_Blues_(song)& action=edit
[10] Milton Brown and the Founding of Western Swing. Cary Ginell. 1994. University of Illinois Press. page 245, 246. ISBN 0-252-02041-3
[12] http:/ / www. imdb. com/ title/ tt0023775/ soundtrack
[13] http:/ / www. imdb. com/ title/ tt0021676/ soundtrack
[14] http:/ / www. imdb. com/ title/ tt0027331/ soundtrack
[15] http:/ / www. imdb. com/ title/ tt0023369/ soundtrack
References
• Handy, W.C. (1941). Bontemps, Arna Wendell, ed. Father of the Blues: An Autobiography. New York City:
Macmillan Company
External links
• The 20th Century's Greatest Hit (http://www.artofthemix.org/FindAMix/getcontents.asp?strmixid=90654)
• Sheet Music at Duke University digital collection (http://library.duke.edu/digitalcollections/hasm.a1311/pg.
1/)
• Full lyrics of this song (http://www.metrolyrics.com/st-louis-blues-lyrics-billie-holiday.html) at MetroLyrics
"Standing on the Corner (Blue Yodel No. 9)" 121
References
"Stardust" 122
"Stardust"
"Stardust"
A sign erected in front of the Gables in Bloomington, IN to commemorate Hoagy Carmichael, composer of "Stardust".
Published 1927
"Stardust" is an American popular song composed in 1927 by Hoagy Carmichael with lyrics added in 1929 by
Mitchell Parish. Originally titled "Star Dust", Carmichael first recorded the song at the Gennett Records studio in
Richmond, Indiana. The song, "a song about a song about love",[1] played in an idiosyncratic melody in medium
tempo, became an American standard, and is considered one of the most recorded songs of the 20th century, with
over 1,500 total recordings.[2] In 2004, Carmichael's original 1927 recording of the song was one of 50 recordings
chosen by the Library of Congress to be added to the National Recording Registry.
Composition
"Stardust" (the song's original title was "Star Dust", which has long been compounded into "Stardust")[3] was written
at the Keuka Hotel on Keuka Lake, a Finger Lake in Western New York, on an old upright piano, and first recorded
in Richmond, Indiana, for Gennett Records (Gennett 6311) by Carmichael, with Emil Seidel and his Orchestra and
the Dorsey brothers as "Hoagy Carmichael and His Pals," on October 31, 1927, as a peppy (but mid-tempo) jazz
instrumental. Carmichael said he was inspired by the types of improvisations made by Bix Beiderbecke.[4] The tune
at first attracted only moderate attention, mostly from fellow musicians, a few of whom (including Don Redman)
recorded their own versions of Carmichael's tune.
Mitchell Parish wrote lyrics for the song, based on his own and Carmichael's ideas, which were published in 1929. A
slower version had been recorded in October 1928, but the real transformation came on May 16, 1930, when
bandleader Isham Jones recorded it as a sentimental ballad.[5]
"Stardust" 123
Covers
Jones' recording became the first of many hit versions of the tune. Young baritone sensation Bing Crosby released a
version in 1931, and by the following year, over two dozen bands had recorded "Stardust." It was then covered by
almost every prominent band of that era. Versions have been recorded by Louis Armstrong, Dave Brubeck, Tommy
Dorsey, Tex Beneke with The Glenn Miller Orchestra (Recorded in New York City on February 1, 1947 and
released by RCA Victor Records as catalogue number 20-2016B[6] and by EMI on the His Master's Voice label as
catalogue number BD 5968), Frank Sinatra, Doris Day, Jan Garber, Fumio Nanri, Dizzy Gillespie, Nat King Cole
(considered by many to be the best), Mel Tormé, Connie Francis, Jean Sablon, Keely Smith, Terumasa Hino, Harry
Connick Jr, Hank Crawford, Ella Fitzgerald, Olavi Virta, The Peanuts, Django Reinhardt, Barry Manilow, John
Coltrane, Earl Grant, Willie Nelson, Billy Ward and His Dominoes, George Benson, Mina, Ken Hirai, Al Hirt, Los
Hombres Calientes and many others. Glenn Miller also released a recording of the song on V-Disc, No. 65A, with a
spoken introduction recorded with the AAFTC Orchestra which was released in December, 1943. Billy Ward and
His Dominoes had a #13 hit with the song on the Billboard Pop chart. However, it has been the Artie Shaw version
of 1941, with memorable solos by Billy Butterfield (trumpet) and Jack Jenney (trombone) that remains the favorite
orchestral version of the Big Band era. Ringo Starr recorded a version for his first solo album, Sentimental Journey,
in 1970, after the break-up of The Beatles.[] Sergio Franchi covered the song on his 1964 RCA Victor album The
Exciting Voice of Fergio Franchi. Rod Stewart recorded the song for his album "Stardust: The Great American
Songbook Volume III" (2004). Katie Melua recorded a cover on her EP Nine Million Bicycles in 2005. Michael
Bublé recorded it for his album "Crazy Love" released in 2009.
Certain recorded variations on the song have become notable. Armstrong recorded "Stardust" on November 4, 1931,
and on an alternate take inserted the lyric 'oh, memory' just before an instrumental break. This version became prized
over the issued take among jazz collectors, including Carmichael.[7] Thirty years later, Sinatra recorded just the verse
on his November 20, 1961 recording for his album Sinatra and Strings - much to Carmichael's initial chagrin,
although Hoagy is said to have changed his mind upon hearing the recording.
The early portion of the 1938 radio broadcast of The War of the Worlds by Orson Welles and the Mercury Theatre
included a rendition of the song played by the fictional "Ramón Raquello and his Orchestra". The actual band that
performed in the broadcast featured among others a young Mitch Miller.[]
In 1993, guitarist Larry Coryell covered the song from his album "Fallen Angel."[8][9]
Les Deux Love Orchestra included their version of Stardust on the 2001 album, "Music From Les Deux Cafés."
In 2006, David Benoit covered the song from his Standards album "Standards."[10]
While the song has been traditionally performed as a ballad, vocalist Kalil Wilson recorded an uptempo version of
the song for his 2009 album, "Easy to Love."
Willie Nelson's cover of the song was used to wake up the crew of Space Shuttle mission STS-97 on their second
flight day.[]
"Stardust" 124
Legacy
The original 1927 recording on Gennett Records by Hoagy Carmichael
and His Pals was inducted into the Grammy Hall of Fame in 1995. In
Captain Glenn Miller and the AAFTC Orchestra
1999, "Stardust" was included in the "NPR 100", a list compiled by
recording issued as V-Disc 65A in December,
National Public Radio of the 100 most important American musical 1943.
works of the 20th century.[11] In 2000, Swedish music reviewers voted
it as "the tune of the century", with Kurt Weill's "Mack the Knife" as second.[citation needed] In 2004, Carmichael's
original 1927 recording of the song was one of 50 recordings chosen that year by the Library of Congress to be
added to the National Recording Registry. The song is also used at a critical moment during Woody Allen's Stardust
Memories.
Notes
[1] Sudhalter 2003, p.XI. See also p.123: "..."Star Dust" is obviously a song about a song—a genre relatively rare in American popular music.
There had been such songs before: Irving Berlin's 1909 "That Mesmerizing Mendelssohn Tune" (about the great German composer's famed
Spring Song) is one example among many. But none had been a major song about a song—particularly a song that didn't actually exist. This
was new."
[5] Sudhalter 2002, p.139
[7] Armstrong, Louis. Portrait of the Artist As A Young Man 1923-1934. Columbia/Legacy 57176, 1994. Insert booklet, p. 26
References
• Forte, Allen (1995). "Ballads of Hoagy Carmichael, Arthur Schwartz, Vernon Duke, John Green, Burton Lane,
and Jimmy Van Heusen". The American Popular Ballad of the Golden Era, 1924-1950. Princeton University
Press. ISBN 0-691-04399-X.
• Sudhalter, Richard M. (2003). Stardust Melody: The Life and Music of Hoagy Carmichael. Oxford University
Press. ISBN 0-19-516898-4.
External links
• Stardust (http://www.bbc.co.uk/radio2/soldonsong/songlibrary/indepth/stardust.shtml) on Sold on Song
(BBC)
• "Stardust" (http://www.redhotjazz.com/songs/hoagy/stardust2.ra) (played by Hoagy Carmichael, 1933) The
Red Hot Jazz Archive (http://www.redhotjazz.com)
• "Stardust" (http://www.redhotjazz.com/Songs/Louie/lao/stardust.ra) (played by Louis Armstrong and his
Orchestra, 1931) The Red Hot Jazz Archive (http://www.redhotjazz.com)
• "Stardust" (http://www.redhotjazz.com/Songs/Louie/lao/stardust4.ra) (Alternative version played by Louis
Armstrong and his Orchestra, 1931) The Red Hot Jazz Archive (http://www.redhotjazz.com)
• "Stardust" (http://www.redhotjazz.com/songs/waller/stardust.ra) (played by Fats Waller, 1937) The Red Hot
Jazz Archive (http://www.redhotjazz.com)
"Stars Fell on Alabama" 125
History
One of the earliest recordings was by the Guy Lombardo orchestra, with his brother Carmen doing a vocal. This
version was recorded on August 27, 1934, and issued by Decca Records as catalog number 104.
The song was later performed by over 100 artists. Among them are: Lee Wiley, Ella Fitzgerald & Louis Armstrong;
John Coltrane; Jack Teagarden; Jimmy Buffett; Billie Holiday; Anita O'Day; Dean Martin; Kay Starr; Frank Sinatra;
Doris Day; Frankie Laine; Erroll Garner; Don Rondo;Kate Smith; Mel Torme; Renee Olstead; Ricky Nelson; Stan
Getz; Ben Webster; Vera Lynn; Tara Nevins; the Radcliffe Pitches; Ralph Marterie and Cannonball Adderley.
The title appears to have been borrowed from the title of the 1934 book of the same name by Carl Carmer.[1] It refers
to a spectacular occurrence of the Leonid meteor shower that had been observed in Alabama in November of 1833,
"the night the stars fell."[2] As reported by the Florence Gazette: "[There were] thousands of luminous bodies
shooting across the firmament in every direction. There was little wind and not a trace of clouds, and the meteors
succeeded each other in quick succession."
Residents of Alabama sometimes claim[citation needed] that the song refers to the Hodges Meteorite or
Sylacauga_(meteorite), history's only recorded instance of a human being struck by a meteorite and surviving, but
the meteorite strike occurred in 1954, twenty years after Perkins and Parish penned the tune.
Modern use
The Marching Southerners of Jacksonville State University in Jacksonville, Alabama, perform an arrangement of the
tune by previous band director John T. Finley at every home football game and exhibition. The song has become the
unofficial anthem of both the Southerners and Jacksonville State University.
In January 2002, the phrase "Stars Fell on Alabama" was added to Alabama's license plates, and the traditional
"Heart of Dixie" slogan was reduced to a smaller size. This design was replaced in early 2009 by another, which
depicts the Gulf Coast of Alabama and reads "Sweet Home Alabama".
References
• Hall, John. (Winter 2000) "The Night the Stars Fell." Alabama Heritage Magazine No. 55
• Code of Alabama: Section 32-6-54 (1951) and 32-6-54.1 (1997). The amendment removes the requirement for
special-purpose plates.
[1] Lewis Nichols, In and Out of Books, New York Times, Sept. 27, 1964.
[2] Southern Alabamian (http:/ / www. southalabamian. com/ news/ 2008-11-13/ editorials/ 022. html)
"That Lucky Old Sun" 126
1949 recordings
The biggest hit version of the song was by Frankie Laine. This recording was released by Mercury Records as
catalog number 5316. It first reached the Billboard magazine Best Seller chart on August 19, 1949 and lasted 22
weeks on the chart, peaking at #1.[]
The recording by Vaughn Monroe & His Orchestra was released by RCA Victor Records as catalog number 20-3531
(78 rpm) and 47-3018 (45 rpm) (in USA) and by EMI on the His Master's Voice label as catalog number B 9836. It
first reached the Billboard magazine Best Seller chart on September 16, 1949 and lasted 14 weeks on the chart,
peaking at #9.[]
The recording by Louis Armstrong was released by Decca Records as catalog number 24752. It first reached the
Billboard magazine Best Seller chart on October 14, 1949 and lasted 3 weeks on the chart, peaking at #24.[]
Frank Sinatra released his competing version of the song on the Columbia label catalog number 38608. It reached the
best sellers chart on October 29, 1949 and peaked at #16. Included on his The Best of The Columbia Years
1943–1952 album.
Other covers
• The Buffalo Bills, a barbershop quartet, recorded it as a solo for their tenor, Vern Reed.
• The rhythm and blues singer LaVern Baker released a version of the song in 1955 as the "A" side of a release on
Atlantic Records.
• Jerry Lee Lewis recorded an unreleased solo version at Sun Studios in 1956 or 1957.
• A version by Sam Cooke appeared on his debut LP Sam Cooke (1957 album)
• The Velvets released their doo wop version on Monument records around 1960/61.
• A version by Ray Charles appeared on his 1963 album Ingredients in a Recipe for Soul. (This recording is also
included as a bonus track on post-1988 CD reissues of Charles' landmark 1962 album Modern Sounds in Country
and Western Music.)
• Aretha Franklin recorded the song for her album "The Electrifying Aretha Franklin" (1962).
• Paul Williams recorded a version on the 1972 album Life Goes On
• Willie Nelson recorded a version on the 1976 album The Sound in Your Mind which was also released as an extra
track on the reissued Stardust: 30th Anniversary Legacy Edition.
• The Jerry Garcia Band performed a version on the Jerry Garcia Band live album in 1991.
American R&B and boogie-woogie pianist and singer Little Willie Littlefield recorded a version for his 1994 album
Yellow Boogie & Blues.
• Johnny Cash covered it on the album American III: Solitary Man in 2000.
• Brian Wilson premiered a song cycle inspired by the song entitled That Lucky Old Sun (A Narrative) at the Royal
Festival Hall, London, England on 10 September 2007.
• A duet with Kenny Chesney and Willie Nelson is included on Chesney's 2008 album Lucky Old Sun. This version
reached #56 on the Hot Country Songs chart, based on unsolicited airplay.
Dick Haymes Album: Once in a Lifetime
In Czech by Hana Hegerova. Also by Karel Gott, 1964.
"That Lucky Old Sun" 127
Chris Isaak recorded a cover for his 2011 album Beyond the Sun.
References
[1] .
Released 1947
Format 10"
"La Vie en rose" (French pronunciation: [la vi ɑ̃ ʁoz]) was the signature song of French singer Édith Piaf, written in
1945,[1] popularized in 1946, and released as a single in 1947.
Song history
The song's title can be translated as "Life in Rosy Hues" or "Life Through Rose-Colored Glasses"; its literal meaning
is "Life in Pink".[2]
The lyrics of the song were written by Édith Piaf herself, and the melody was composed by Marguerite Monnot[] and
Louis Guglielmi, known as Louiguy. Originally, the song was registered as being written by Louiguy only, since at
the time Piaf did not have necessary qualifications to be able to copyright her work with SACEM.[] Words "Quand il
me prend dans ses bras..." ("When he takes me in his arms...") came to her mind one evening in 1944, when she was
standing in front of an American man.[3] That gave the base for the rest of lyrics. Piaf offered the song to Marianne
Michel, who slightly modified the lyrics, changing "les choses" ("things") for "la vie" ("life"). English lyrics for the
song were later written by Mack David.[4]
Initially, Piaf's peers and songwriting team did not think the song would be successful, finding it weaker than the rest
of her repertoire. Having listened to their advice, the singer put the song aside, only to change her mind the next
year. The song was performed live in concert for the first time in 1946. It became a favorite with audiences.[] "La
"La Vie en rose" 128
Vie en rose" was the song that made Piaf internationally famous, with its lyrics telling about retaken love and
appealing to those who had survived the difficult wartime.[5]
"La Vie en rose" was released on a 10" single in 1947 by Columbia Records, a division of EMI, with "Un refrain
courait dans la rue" making the B-side. It met with a warm reception and sold a million copies in the USA.[6] It was
the biggest-selling single of 1948 in Italy, and the ninth biggest-selling single in Brazil in 1949.[] Piaf performed the
song in the 1948 French movie Neuf garçons, un coeur. The first of Piaf's albums to include "La Vie en rose" was
the 10" Chansons parisiennes, released in 1950. The song appeared on most of Piaf's subsequent albums, and on
numerous greatest hits compilations. The song went on to become Piaf's signature song and her trademark hit, sitting
with "Milord" and "Non, je ne regrette rien" among her best-known and most recognizable tunes. Encouraged by its
success, Piaf wrote 80 more songs in her career.[]
The song received a Grammy Hall of Fame Award in 1998.[7]
Track listing
• 10" Single[8]
A. "La Vie en rose"
B. "Un refrain courait dans la rue"
Chart performance
Chart Peak
[]
position
United States 23
As music in films
• Stage Fright (1950)
• Operation: Rabbit (1952) - instrumental only (uncredited)
• Duck! Rabbit, Duck! (1953) - hummed by a mischievous Daffy
Duck
• By the Light of the Silvery Moon (1953) - instrumental only
• Sabrina (1954) - as Sabrina Fairchild's song
French actress Marion Cotillard played Piaf in the
• Noches de Casablanca (1963) - sung by Sara Montiel 2007 film La Vie en rose
• The Cheap Detective (1978) - however, Eileen Brennan's character,
Betty DeBoop, doesn't sing the words, and just sings "La la la la la la la en rose"
• Bull Durham (1988)
• A Foreign Field (1993)
"La Vie en rose" 129
Other mentions
• Ian Fleming references the song in his first James Bond novel Casino Royale, when Bond is eating with Vesper
Lynd, and again in his fourth novel Diamonds Are Forever, when Bond chooses to skip it on the record player as
it has "painful memories".
• The Avengers BBC TV series used this song as an episode title. It was played repeatedly in a house in which
Emma Peel was held against her will by an enemy agent she had seduced and betrayed by utilizing the song.
• Lyrics from the song are quoted in Albert Cohen's 1968 novel Belle du Seigneur (chapter LVI).
• La Vie en Rose was the name of a spaceship in Mobile Suit Zeta Gundam and Mobile Suit Gundam ZZ, as well as
an episode title of Mobile Suit Gundam 0083: Stardust Memory.
• In the 1990s anime Di Gi Charat, the name Rabi~en~Rose is based in "La Vie en rose".
• "La Vie en rose" is mentioned in John Boyne's novel The Boy in the Striped Pyjamas, published in 2006.
• Canadian singer/songwriter Avril Lavigne has a tattoo saying 'La Vie en rose'
Cover versions
• Alex Swings Oscar Sings
• Andrea Bocelli
• Amália Rodrigues
• Amanda Lear[10]
• Aretha Franklin
• Audrey Hepburn
• BB King
• Belinda Carlisle
• Bette Midler
• Bing Crosby
• Brenda Lee
• Candan Erçetin
• Celine Dion
• Connie Francis
• Cyndi Lauper
• Dalida
• Danny Chan
• Danny Vera
• Dean Martin
• Diana Krall
• Evelina Sašenko
• Frank Chacksfield & His Orchestra
• Grace Jones
• Hadiqa Kiyani
• Herb Alpert
• Iggy Pop
• James Last & His Orchestra
• Jack Nicholson
• Jeff Buckley
• Jerry Vale
• Jo Stafford
• Joni James
"La Vie en rose" 131
• José Carreras
• Josephine Baker
• Julio Iglesias
• Katherine Jenkins
• La Toya Jackson
• Lesley Garrett
• Liza Minnelli
• Louis Armstrong
• London Symphony Orchestra
• London Philharmonic Orchestra
• Luciano Pavarotti
• Madeleine Peyroux
• Mantovani & His Orchestra
• Marija Naumova
• Marlene Dietrich
• Melissa Manchester
• Melody Gardot
• Mia Doi Todd
• Michael Bublé
• Milva
• Natacha Atlas
• National Philharmonic Orchestra
• Pablo Alborán
• Paula Cole
• Petula Clark
• Pearl Django
• Plácido Domingo
• Pomplamoose
• Raquel Bitton
• Royal Philharmonic Orchestra
• Richard Clayderman
• Sally Kellerman
• Sara Montiel
• Shirley Bassey
• Sophie Milman
• Taco
• Tatsuro Yamashita
• Thalía
• The Three Tenors
• Tony Bennett (with k.d. lang)
• Tony Martin
• Ute Lemper
• Yves Montand
• Yvette Giraud
• Zazie
"La Vie en rose" 132
Genre Disco
Label Island
Grace Jones covered "La Vie en rose" in 1977 for her debut album Portfolio. It was the third and the last single off
that album, and at the same time, her first single release on Island Records after having signed with the label.
The single version was heavily edited from its original album version being more than seven minutes long to a
3,5-minute track. Jones' fairly radical bossa nova/disco interpretation of Édith Piaf's signature tune became her first
international hit single and a staple of her repertoire. It was later performed as part of her 1981 A One Man Show,
then the only track from her disco era to be included in the show. In Spain and Mexico the track was billed as "La
Vida en rosa" on the 7" single release, although it was not a Spanish version of the song. Jones' recording of "La Vie
en rose" was later re-released a number of times in the early 1980s and finally reached #12 in the UK charts when
re-released as a double A-side with "Pull Up to the Bumper" in 1985.
Grace Jones about the song: "That's a very special song to me. Oh God, I cry every time I sing it. I had quite a few
French lovers, so every time I sing it I think about them."[11]
Music video
The music video for the song was made using the chroma key technique. It presents Grace dancing and singing the
song with the famous 1978 montage picture of herself in the background, which was later used for the cover of her
1985 Island Life compilation. The video begins with Grace wearing a rose-patterned coat. Having removed it, the
singer dances in a scant gold dress which reveals her right nipple as well as black underwear.
Track listings
• 7" Single (1977)[12][13]
A. "La Vie en rose" - 3:35
B. "I Need a Man" - 3:22
• 7" Italian Single (1977)[14]
"La Vie en rose" 133
Chart performance
Chart Peak
position
[17] 87
Canada
[18] 28
Canada (Dance/Urban)
[19] 2
France
[20] 3
Italy
[21] 4
Netherlands
Released 1993
Format 12", CD
Recorded 1993
Genre Pop
Length 4:58
Label AB Disques
American singer Donna Summer covered "La Vie en rose" in 1993 for the tribute album called Tribute to Edith Piaf
or Edith Piaf Tribute, on which several contemporary stars recorded interpretations of some of Piaf's best known
songs. Released on both vinyl and CD, the American release of the album and single contain a different mix of
"La Vie en rose" 134
Summer's synth-driven performance than the French release. These releases are among the most sought after of
Summer's collectables.[citation needed] The U.S. single features a variety of remixes by DJ Chris Cox.
Track listings
• 12" Single[22]
A. "La Vie en rose" - 4:58
B. "La Vie en rose" - 4:58
• 12" Maxi-Single[23]
A1. "La Vie en rose" (Techno Mix) - 7:36
A2. "La Vie en rose" (US Radio Mix) - 3:43
B1. "La Vie en rose" (Extended Soul Mix) - 7:40
B2. "La Vie en rose" (Full Bass Mix) - 4:25
• 12" Promotional Single[24]
A. "La Vie en rose" (Remodelled Mix)
B1. "La Vie en rose" (Radio Mix)
B2. "La Vie en rose" (12" Mix)
• CD Single[25]
1. "La Vie en rose" (US Radio Mix) - 3:43
2. "La Vie en rose" (Full Bass Mix) - 4:25
3. "La Vie en rose" (Extended Soul Mix) - 7:40
4. "La Vie en rose" (Stringapella Mix) - 5:43
References
[11] Slave to the Rhythm, track 4: "Operattack". (Island Records, 1985).
External links
• Full lyrics of this song (http://www.metrolyrics.com/la-vie-en-rose-lyrics-edith-piaf.html) at MetroLyrics
"We Have All the Time in the World" 135
Released 1969
Genre Jazz
"The Kinda Love "We Have All the Time in the "Give Peace a
Song" World" Chance"
(1969) (1969) (1970)
"We Have All the Time in the World" is a James Bond theme and popular song sung by Louis Armstrong. Its
music was composed by John Barry and the lyrics by Hal David. It is a secondary musical theme in 1969 James
Bond film On Her Majesty's Secret Service, the title theme being the instrumental "On Her Majesty's Secret
Service," also composed by Barry. The song title, "We Have All the Time in the World", is taken from James Bond's
final words in both the novel and the film, spoken after his wife's death. Louis Armstrong was too ill to play his
trumpet.[1] Barry chose Armstrong because he felt he could "deliver the title line with irony."[2]
The song was not registered in the music rating charts in the UK when first released, only becoming well known 25
years later, as part of a Guinness beer commercial after My Bloody Valentine chose to cover it for charity.
Armstrong's version was then re-released and reached number 3 in the UK Singles Chart. In 2005, a BBC survey
showed it is the third-most-popular love song played at weddings.[3]
In addition to My Bloody Valentine, "We Have All the Time in the World" has been covered by Iggy Pop, Fun
Lovin' Criminals, Vic Damone, Michael Ball, Giorgia Todrani, The Puppini Sisters, The Fairly Handsome Band,
Tindersticks, The Pale Fountains, Shirley Bassey (for a later withdrawn album of Bond themes), Thomas White
(musician) and Alfie Boe. Iggy Pop's version of it plays during the end credits of the film The Jacket.
When asked for his favourite Bond composition, John Barry cited both "We Have All..." and "Goldfinger".
"Goldfinger" because it perfected the "Bond Sound", and "We Have All..." because it was the finest piece of music
he had written for a Bond movie and because of the pleasure of working with Louis Armstrong.
"We Have All the Time in the World" 136
References
[1] On Her Majesty's Secret Service liner notes, On Her Majesty's Secret Service - Ultimate Edition (©2006 Metro-Goldwyn-Mayer Studios,
Inc.).
External links
• Full lyrics of this song (http://www.metrolyrics.com/we-have-all-the-time-in-the-world-lyrics-louis-armstrong.
html) at MetroLyrics
Released 1928
Recorded June 11, 1928
Genre Jazz
Label Brunswick
"West End Blues" is a multi-strain twelve-bar blues composition by Joe "King" Oliver. It is most commonly
performed as an instrumental, although it has lyrics added by Clarence Williams.
King Oliver and his Dixie Syncopators made the first recording for Brunswick Records on June 11, 1928.[1] An early
vocal version was waxed by Ethel Waters.
The "West End" of the title refers to the westernmost point of Lake Pontchartrain in Orleans Parish, Louisiana. In its
heyday, it was a thriving summer resort with live music, dance pavilions, seafood restaurants, and lake bathing.
Released 1928
Recorded June 28, 1928
Genre [2]
Traditional jazz, blues
By far the best known recording of "West End Blues" is the 3-minute-plus, 78 RPM recording made by Louis
Armstrong and His Hot Five on 28 June 1928.
Armstrong plays trumpet (and does some scat singing) backed by a band that included the pianist Earl Hines.
Armstrong played an eight-bar trumpet solo near the end of the record.
Other portions of this record also in high regard include the trumpet introduction by Armstrong that begins the song -
this cadenza incorporates an almost syncopated opening – the wordless 'scat' singing chorus by Armstrong where he
accompanies and varies a melody played by the clarinetist, and a piano solo by Hines. The number is closed by a
metallic click by drummer Zutty Singleton.
"West End Blues" 137
Footnotes
[1] Laird, Ross. Brunswick Records: A Discography of Recordings, 1916-1931, Greenwood Press (2001), p. 592. ISBN 0-313-30208-1
"What a Wonderful World" 138
B-side "Cabaret"
Format 7"
Recorded 1967
Length 2:21
"What a Wonderful World" is a song written by Bob Thiele (as "George Douglas") and George David Weiss. It
was first recorded by Louis Armstrong and released as a single in 1967. Thiele and Weiss were both prominent in the
music world (Thiele as a producer and Weiss as a composer/performer).[1] Armstrong's recording was inducted in the
Grammy Hall of Fame in 1999. The publishing for this song is controlled by Memory Lane Music Group, Carlin
Music Corp., and Bug Music, Inc.
History
Intended as an antidote for the increasingly racially and politically charged climate of everyday life in the United
States, the song also has a hopeful, optimistic tone with regard to the future, with reference to babies being born into
the world and having much to look forward to. The song was initially offered to Tony Bennett, who turned it
down.[2] Thereafter, it was offered to Louis Armstrong. George Weiss recounts in the book Off the Record:
Songwriters on Songwriting by Graham Nash that he wrote the song specifically for Louis Armstrong. George was
inspired by Louis’s ability to bring people of different colors together. The song was not initially a hit in the United
States, where it sold fewer than 1,000 copies because the ABC Records head Larry Newton did not like the song and
so did not promote it, but was a major success in the United Kingdom, reaching number one on the UK Singles
Chart. In the US, the song hit #116 on the Billboard Bubbling Under Chart. It was also the biggest-selling single of
1968 in the UK where it was among the last pop singles issued by HMV Records before becoming an exclusive
classical music label.[3] The song made Louis Armstrong the oldest male to top the chart, at sixty-six years and ten
months old. Armstrong's record was broken in 2009 when a cover version of "Islands in the Stream" recorded for
Comic Relief – which included 68-year-old Tom Jones – reached number one. Interestingly Tony Bennett did go on
to cover What A Wonderful World several times, in 2003 with K.D. Lang paying homage to his late friend Louis
Armstrong.
"What a Wonderful World" 139
ABC Records' European distributor EMI forced ABC to issue a What A Wonderful World album in 1968 (catalogue
number ABCS-650) which did not chart in the US due to ABC's non-promotion of it,[4] but did chart in the UK
where it was issued by Stateside Records with catalogue number SSL 10247 and peaked on the British chart at #37.
The song gradually became something of a standard and reached a new level of popularity. In 1978, Armstrong's
1967 recording was featured in the closing scenes of the first series of BBC radio's cult hit, The Hitchhiker's Guide to
the Galaxy, and was repeated for BBC's 1981 TV series of the same. In 1988, Armstrong's recording was featured in
the film Good Morning, Vietnam and was re-released as a single, hitting #32 on the US Billboard Hot 100 chart in
February 1988. The single charted at number one for the fortnight ending June 27, 1988 on the Australian chart.
The song was also used in the first five episodes of the ABC sitcom Family Matters.
In 2001, rappers Ghostface Killah, Raekwon and The Alchemist released "The Forest," a song which begins with
three lines of lyric adapted from "What a Wonderful World", altered to become "an invitation to get high" on
marijuana.[] The rappers and their record company, Sony Music Entertainment, were sued by the owners of "What a
Wonderful World," Abilene Music. The suit was thrown out of court after judge Gerard E. Lynch determined that the
altered lyric was indisputably a parody, transforming the uplifting original message to a new one with a darker
nature.[][5]
Notable versions
• 1967: Louis Armstrong, million selling original version
• 1989: Roy Clark covered this song on his album of the same name. His version peaked at number 73 on the
Billboard Hot Country Singles chart.[]
• 1990: Little Willie Littlefield recorded a version for his album Singalong with Little Willie Littlefield
• 1990: The Flaming Lips: on their album In a Priest Driven Ambulance
• 1993: Israel Kamakawiwo'ole: Hawaiian ukulele version (medley with "Somewhere Over the Rainbow") on the
album Facing Future. It has sold over 2.5 million copies in the United States and Canada alone.[]
• 1999: Anne Murray on her platinum release of the same name, which also spawned a book and video. The album
reached number one on the US Contemporary Christian charts, number 4 on the US Country charts, and number
38 on the top 200.
• 1999: Kenny G.: on his album Classics in the Key of G in which his sax solo was dubbed over Louis Armstrong's
recording
• 2001: Michael Bublé covered this song on his independent album BaBalu
• 2002: Canadian children's musician Raffi Cavoukian covered this on the album Let's Play
• 2002: Johnny Maestro & The Brooklyn Bridge: recorded a version for their CD "Peace On Earth"
• 2002: Joey Ramone on his posthumous album Don't Worry About Me
• 2003: Guy Sebastian on his album Just As I Am (more upbeat alternative arrangement by Sebastian)
• 2003: Tony Bennett and K.D. Lang sang duet on a selection of songs inspired by the legendary Louis Armstrong
on the album WONDERFUL WORLD 2003 [6] Produced by T Bone Burnett which included "What A Wonderful
World".
• 2003–2006: Celine Dion performed the song in her residency show in Las Vegas, A New Day.... The
performance was included in the 2004 live album, A New Day... Live in Las Vegas. A studio version was included
in the 2004 album Miracle.
• 2005: The Meads of Asphodel covered this song on the 'Damascus Steel' album with different lyrics
• 2004: LeAnn Rimes covered this song on her album of the same name
• 2007: Sarah Brightman recorded the song for her 2007 album Harem.
• 2007: Katie Melua: singing with Eva Cassidy's version to raise money for the Red Cross. This version reached #1
in the UK chart in December 2007.
• 2008: Kaitlyn Maher performed this song on the third season of America's Got Talent
"What a Wonderful World" 140
• 2011: Anna Graceman performed this song on America's Got Talent when she was eleven years old
• 2012: Esperanza Spalding performed the song at the 84th Academy Awards. Her rendition was released on
iTunes compilation Celebrate the Music- the 84th Academy Awards.
• 2012: Pat Byrne reached number 3 in the Irish Singles Chart after appearing on the Voice Of Ireland
References
[6] http:/ / www. wbr. com/ kdlang/ wonderful. html
External links
• How political is What A Wonderful World? (http://www.bbc.co.uk/news/magazine-16118157) BBC News
article about history and meaning of song
• What a Wonderful World (http://www.wikifonia.org/node/689) Lead sheet at wikifonia.org
• Full lyrics of this song (http://www.metrolyrics.com/what-a-wonderful-world-lyrics-louis-armstrong.html) at
MetroLyrics
Uses
Luther G. Presley,[2] who wrote the
lyrics, and Virgil Oliver Stamps, who
wrote the music, popularized the tune
as a gospel song.[3] A similar version
was copyrighted by R.E. Winsett.[4]
Although the song is still heard as a
slow spiritual number, since the mid
20th century it has been more
commonly performed as a "hot"
number.[citation needed] The tune is
particularly associated with the city of
New Orleans. A jazz standard, it has
been recorded by a great many jazz
and pop artists.
The Forerunners of Christ with Saints and Martyrs, a painting by Fra Angelico, 15th
Both vocal and instrumental renditions century
In New Orleans, the song is traditionally used as a funeral march at "jazz funerals". While accompanying the coffin
to the cemetery, a band plays the tune as a dirge. Returning from the interment, the band switches to the familiar
upbeat "hot" or "Dixieland" style of play.
The tune was brought into the early rock and roll repertory by Fats Domino and (as "The Saint's Rock and Roll") by
Bill Haley & His Comets. Haley's version eschewed the traditional lyrics in favor of verses that introduced the
members of his band (who then performed instrumental breaks).
It is nicknamed "The Monster" by some jazz musicians, as it seems to be a frequent request for Dixieland bands, and
some musicians dread being asked to play it several times a night. The musicians at Preservation Hall in New
Orleans got so tired of playing the song that in the 1960s a sign announcing the band's fee schedule ran $1 for
standard requests, $2 for unusual requests, and $5 for "The Saints". By 2012 the price had gone up to $20.[citation
needed]
This tune is a popular rallying song for sports teams. It is the anthem of Southampton F.C., St Patrick's Athletic, St
Kilda Football Club, St George Illawarra Dragons, Northampton Saints, Christies Beach Football Club, St Johnstone
Football Club and the St Helens RLFC. The song is played after every home goal scored by the St. Louis Blues.
The Rhodesian Light Infantry, also known as "The Saints", used it as their regimental march.
"When the Saints Go Marching In" 142
Lyrics
As with many numbers with long traditional folk use, there is no one "official" version of the song or its lyrics. This
extends so far as confusion as to its name, with it often being mistakenly called "When the Saints Come Marching
In". As for the lyrics themselves, their very simplicity makes it easy to generate new verses. Since the first, second,
and fourth lines of a verse are exactly the same, and the third standard throughout, the creation of one suitable line in
iambic tetrameter generates an entire verse.
It is impossible to list every version of the song, but a common standard version runs:
Oh, when the saints go marching in
Oh, when the saints go marching in
I want to be in that number
When the saints go marching in
Oh, when the drums begin to bang
Oh, when the drums begin to bang
I want to be in that number
When the saints go marching in
Oh, when the stars fall from the sky
Oh, when the stars fall from the sky
I want to be in that number
When the saints go marching in
Oh, when the moon turns red with blood
Oh, when the moon turns red with blood
I want to be in that number
When the saints go marching in
Oh, when the trumpet sounds its call
Oh, when the trumpet sounds its call
I want to be in that number
When the saints go marching in
Oh, when the fire begins to blaze
Oh, when the fire begins to blaze
I want to be in that number
When the saints go marching in
Oh, when the saints go marching in
Oh, when the saints go marching in
I want to be in that number
When the saints go marching in
Often the first two words of the common third verse line ("Lord, how") are sung as either "Oh, Lord" or even "Lord,
Lord."
Arrangements vary considerably. The simplest is just an endless repetition of the chorus. Verses may be alternated
with choruses, or put in the third of 4 repetitions to create an AABA form with the verse as the bridge.
One common verse in "hot" New Orleans versions runs (with considerable variation) like thus:
"When the Saints Go Marching In" 143
As gospel hymn
Recorded by bluesman Sleepy John Estes accompanied by second guitar and kazoo for Bluebird Records in Chicago,
1941 [5]
This song is available in the Elvis Presley compilation "Peace in the Valley: The Complete Gospel Recordings."
Sony BMG/Elvis Music [6]
Actor Hal Linden performed the song with Dr. Teeth and the Electric Mayhem during his guest appearance on The
Muppet Show.
With no lyrics
The rhythm of "When the Saints Go Marching In" was adapted by Dick Powell's Four Star Television for its legal
drama, The Law and Mr. Jones starring James Whitmore, which ran on ABC from 1960-1962.[11]
Big Chief Jazzband recorded the tune in Oslo on May 10, 1953. It was released on the 78 rpm record His Master's
Voice A.L. 3307.
Al Hirt released a version on his 1963 album, Our Man in New Orleans[12] and was also featured on his greatest hits
album, The Best of Al Hirt.[13]
It was recorded under the title of 'Revival' by Johnny and the Hurricanes. The band's management claimed
authorship.[14]
A portion of the song was also used in the "boss" music of the "Out of This Dimension" Easter egg stage in the game
Star Fox for the SNES.
A techno remix of this song, titled "Saints Go Marching," is a playable song in some versions of Dance Dance
Revolution.
The song has been used as a fight song for many schools, including Providence College and Saint Joseph's
University. The Baylor University Golden Wave Marching band plays the song during Baylor football games right
after a touchdown is scored. The song is also the inspiration for the nickname of the New Orleans Saints.
The musical Urinetown includes a parody homage of "Saints" entitled "Run, Freedom Run," as its protest theme.
An arrangement of "When the Saints Go Marching In" is also the official march of the Royal Hälsinge Air Force
Wing (F 15 Söderhamn) in Sweden.[15]
"When the Saints Go Marching In" 145
Popular culture
The children's television show Barney & Friends has a song called "Walk Across the Street" sung to this tune.[16]
References
• The Book of World Famous Music, Classical, Popular and Folk by James Fuld (1966)
[1] CyberHymnal: http:/ / hymntime. com/ tch/ htm/ w/ s/ a/ wsamarch. htm
[2] Luther Presley Collection (http:/ / web. archive. org/ web/ 20070731133944/ http:/ / archives. uca. edu/ special_collection/ m91-07. htm)
[3] "When the Saints Go Marching In" arranged by Luther G. Presley & Virgil O. Stamps, Starlit Crown (Pangburn, AR: Stamps-Baxter Music
Company, 1937).
[4] Ruth Winsett Shelton, editor. Best Loved Songs and Hymns (Dayton, TN: R. E. Winsett Music Company, 1961), Item 158.
[5] Illustrated Sleepy John Estes discography (http:/ / www. wirz. de/ music/ estesfrm. htm)
[6] Barnes & Noble.com - Audio Player: Peace in the Valley: The Complete Gospel Recordings [Box Set], Elvis Presley, CD (http:/ / music.
barnesandnoble. com/ search/ mediaplayer. asp?ean=078636799124& disc=3& track=1)
[7] Dave Walker, "'Who dat?' popularized by New Orleans Saints fans when 'everybody was looking for the sign'" (http:/ / www. nola. com/
saints/ index. ssf/ 2010/ 01/ who_dat_popularized_when_every. html), Times-Picayune, January 12, 2010, pp. A1, A10 (Saint Tammany
Edition).
[8] (http:/ / thekop. liverpoolfc. com/ _Oh-when-the-Reds-go-marching-in/ video/ 1693453/ 173471. html/ )
[9] Listen to When The Reds Go Marching In football song. Stoke MP3 FIFA 13 SCFC chant (http:/ / fanchants. co. uk/ football-songs/
stoke_city-chants/ when-reds-go-marching-scfc/ ). Fanchants.co.uk. Retrieved on 2013-07-29.
[10] Listen to Oh When The Spurs Go Marching In football song. Spurs MP3 FIFA 13 THFC chant (http:/ / fanchants. co. uk/ football-songs/
tottenham_hotspur-chants/ oh-when-the-spurs-go/ ). Fanchants.co.uk. Retrieved on 2013-07-29.
[11] ClassicTVThemes, The Law and Mr. Jones: http:/ / www. classicthemes. com/ 50sTVThemes/ themePages/ lawAndMrJones. html
[12] Al Hirt, Our Man in New Orleans (http:/ / www. discogs. com/ Al-Hirt-Our-Man-In-New-Orleans/ release/ 1528310) Retrieved April 10,
2013.
[13] Al Hirt, The Best of Al Hirt (http:/ / www. allmusic. com/ album/ the-best-of-al-hirt-mw0001227031) Retrieved April 11, 2013.
[14] Johnny and the Hurricanes (http:/ / www. history-of-rock. com/ johnny_and_the_hurricanes. htm)
[16] Gretchen Marie-Goode, "Walk Around The Block With Barney" (http:/ / articles. courant. com/ 1999-05-06/ entertainment/
9905050033_1_barney-friends-barney-videos-walk), Hartford Courant, May 6, 1999.
External links
• When The Saints Go Marching In (http://www.lyrics007.com/Louis Armstrong Lyrics/When The Saints Go
Marching In Lyrics.html) Louis Armstrong version
• Hymns Without Words (http://www.hymnswithoutwords.com/hymns/Oh_when_the_saints) - free MP3
recordings for download and use in services
"When You're Smiling" 146
"When You're Smiling" is a song by Larry Shay, Mark Fisher, and Joe Goodwin (June 6, 1889 - July 31, 1943), and
made famous by Louis Armstrong, who recorded it at least three times, in 1929, 1932, and 1956. Duke Ellington also
recorded it several times earlier in his career.
Many other recordings exist, for example those by Studies in Swing No.3, Louis Prima, Frank Sinatra, Nat King
Cole and Patti Page. Cliff Bruner brought it to the country charts in 1939. It was adopted by Leicester City F.C. as
the club anthem, and can be heard at many of the team's games. In 1961, Judy Garland performed the song at the
Judy at Carnegie Hall concert. Andy Williams released a version on his 1963 album, Days of Wine and Roses and
Other TV Requests. Dean Martin also sang it, sometimes parodying it as "When You're Drinkin'". Teddy Wilson &
His Orchestra, with Billie Holiday, performed this classic on January 6, 1938, in New York City for
Brunswick/Columbia, with Teddy Wilson on piano, Benny Morton on trombone, Buck Clayton on trumpet, Lester
Young on tenor sax, Freddie Green on guitar, Walter Page on bass and Jo Jones on drums.
Popular culture
The song is the official club anthem of English football club, Leicester City
In the film The Lonely Passion of Judith Hearne, Judith, played by Maggie Smith. sings the song to herself after a
night of drinking.
In the Seinfeld episode "The Jimmy", Mel Torme dedicates the song to Kramer.
It has also been sung by Rachel Berry (Lea Michele), a character on the TV series Glee, in the episode "Mattress".
The version recorded by Louis Armstrong was featured in an advertisement for Apple's new iPhone 4 in 2010.
The Louis Prima version is featured in the video game Mafia 2 and the movie Find Me Guilty, directed by Sidney
Lumet.
In the Nickelodeon TV series The Backyardigans, the song's tune is used in an episode titled "It's Great To Be A
Ghost!".
At the end of the 1995 Woody Allen movie Mighty Aphrodite the Greek chorus sings a version of this song.
At the end of the "Everybody Loves Raymond" episode "Sweet Charity" (Season 7, Episode 16), Debra Barone
(Patricia Heaton) sings the song in front of a group of unhappy hospital patients.
Renditions
• Rufus Wainwright - Rufus Does Judy at Carnegie Hall (2007)
Article Sources and Contributors 147
Louis Armstrong and Duke Ellington: The Great Summit/Complete Sessions Source: http://en.wikipedia.org/w/index.php?oldid=567772054 Contributors: Airproofing, BRG,
Ellingtonrecords, Gareth E Kegg, Headbomb, Iamzemasterraf, Koavf, Mhiji, ProfesserWheatleyOBE, RubenSchade, Slysplace, Squandermania, Starcheerspeaksnewslostwars, Tassedethe, Zidane
tribal, 5 anonymous edits
The Complete Ella Fitzgerald & Louis Armstrong on Verve Source: http://en.wikipedia.org/w/index.php?oldid=550772783 Contributors: Airproofing, BRG, Cdl obelix, Cmdrjameson,
Discographer, E-Kartoffel, Gareth E Kegg, Headbomb, InnocuousPseudonym, Jafeluv, KConWiki, Koavf, Mike Selinker, Owenbear317, Paul20070, Rich Farmbrough, RubenSchade,
ShelfSkewed, SlubGlub, Swanrizla, Tassedethe, Thaurisil, Фаренгейто, 3 anonymous edits
Ella and Louis Source: http://en.wikipedia.org/w/index.php?oldid=563674309 Contributors: Airproofing, BRG, BrownHairedGirl, Cdl obelix, Cmdrjameson, D6, Dan56, Daniel Olsen,
DemirBajraktarevic, Discographer, Dutchdean, E-Kartoffel, Gareth E Kegg, Gorgeous Ferns, Headbomb, InnocuousPseudonym, John9276, KenjiMizoguchi, Koavf, Leftfoot69, LilHelpa,
Magioladitis, Mike Selinker, Pousette, ProhibitOnions, Rich Farmbrough, RubenSchade, ShelfSkewed, Slysplace, Tassedethe, Timothybb, Wazow, 9 anonymous edits
Ella and Louis Again Source: http://en.wikipedia.org/w/index.php?oldid=544281533 Contributors: Airproofing, Cdl obelix, Chairman S., Cmdrjameson, Dan8700, DemirBajraktarevic,
Discographer, Dissolve, Dutchdean, E-Kartoffel, Gareth E Kegg, Headbomb, InnocuousPseudonym, Koavf, Magioladitis, Memphisto, Mike Selinker, Paul20070, Pousette, ProhibitOnions, Rich
Article Sources and Contributors 148
High Society Source: http://en.wikipedia.org/w/index.php?oldid=447860673 Contributors: Alcuin, Ary29, BRG, Classicrockfan42, Gareth E Kegg, Headbomb, Informationfountain,
Infrogmation, Koavf, Kookyunii, Moe Epsilon, Muhandes, Righteousskills, Rotlink, Sicamous, Starcheerspeaksnewslostwars, Station1, Tjmayerinsf, 4 anonymous edits
Louis Armstrong Meets Oscar Peterson Source: http://en.wikipedia.org/w/index.php?oldid=524647276 Contributors: Airproofing, E-Kartoffel, Gareth E Kegg, Headbomb, Mungo Kitsch,
RubenSchade, Trut-h-urts man
Louis Armstrong Plays W.C. Handy Source: http://en.wikipedia.org/w/index.php?oldid=563674325 Contributors: Airproofing, AndrewHowse, Chubbles, Cleanmateroomba, Dan56, Gareth E
Kegg, Headbomb, JumpBuckyJump, Koavf, Mlaffs, Moonriddengirl, MrFizyx, PJtP, Pichpich, RubenSchade, Swanrizla, Technopat, 4 anonymous edits
Porgy and Bess Source: http://en.wikipedia.org/w/index.php?oldid=544055823 Contributors: Adrian holovaty, Airproofing, BaronLarf, Caponsacchi, CarolGray, Chairman S., Cmdrjameson,
Dan8700, DemirBajraktarevic, Discographer, Dutchdean, E-Kartoffel, Fritz Saalfeld, Gareth E Kegg, Habiloid, Hadal, Headbomb, InnocuousPseudonym, Jafeluv, Jeff3000, Jojocool117, Koavf,
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Struttin' Source: http://en.wikipedia.org/w/index.php?oldid=525456901 Contributors: Calaka, Headbomb, J Milburn, RubenSchade, ShelfSkewed, UsagiM, 4 anonymous edits
"Alexander's Ragtime Band" Source: http://en.wikipedia.org/w/index.php?oldid=568094437 Contributors: 2134, AllyD, Alpha Quadrant, Babaluma, Bob bobato, Brianyoumans, Cburnett,
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"April in Paris" Source: http://en.wikipedia.org/w/index.php?oldid=563960019 Contributors: Antediluvian67, BRG, Bureau, CS42, Cielomobile, Cofax48, Colombaros, Darwinek, DianneD,
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"Autumn in New York" Source: http://en.wikipedia.org/w/index.php?oldid=544763379 Contributors: Arno Matthias, Berzokrm, Billadunlap, DH85868993, Download, Durova, Engelbaet,
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"Back Home Again in Indiana" Source: http://en.wikipedia.org/w/index.php?oldid=553283217 Contributors: Bhaii73, Carl savich, Charles Edward, Chr.K., Davodd, Dissolve, Doctorindy,
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"Basin Street Blues" Source: http://en.wikipedia.org/w/index.php?oldid=566918586 Contributors: Abeck502, Ahkond, Am86, BRG, Bcarson17, Beachcomber, Bguest, DastardlyMuttley,
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"Big Butter and Egg Man" Source: http://en.wikipedia.org/w/index.php?oldid=491613583 Contributors: Jafeluv, Popiloll
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"Blueberry Hill" Source: http://en.wikipedia.org/w/index.php?oldid=571943390 Contributors: 23skidoo, 2601:9:5680:DA:642F:EE6D:52E4:6628, Alansohn, Analogdemon, Aquarius Rising,
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"Do You Know What It Means to Miss New Orleans?" Source: http://en.wikipedia.org/w/index.php?oldid=556125399 Contributors: "D", AandCFan, BRG, Bib, Bruce1ee, Chinmusicpress,
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"Dream a Little Dream of Me" Source: http://en.wikipedia.org/w/index.php?oldid=571806813 Contributors: 313 TUxedo, Altenmann, Angel caboodle, ArmadilloFromHell, Asystole,
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"El Choclo" Source: http://en.wikipedia.org/w/index.php?oldid=567628582 Contributors: Alarics, Andycjp, BRG, Bonnie13J, Dargodon, Durova, Extraordinary Machine, FoCuSandLeArN,
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"Georgia on My Mind" Source: http://en.wikipedia.org/w/index.php?oldid=570597474 Contributors: 2134, AEMoreira042281, Abkahn, Acpride, Adambiswanger1, Agadant, Ahkond,
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"Gone Fishin'" Source: http://en.wikipedia.org/w/index.php?oldid=534209941 Contributors: Colonel Warden, Coyets, Darwinek, Kintetsubuffalo, PamD, Richhoncho, TakTak, 1 anonymous
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"Heebie Jeebies" Source: http://en.wikipedia.org/w/index.php?oldid=566767712 Contributors: Allecher, CWY2190, Dissolve, Hmwitcher, InfoPager, Infrogmation, JohnRogers, Jpgordon,
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"Hello, Dolly!" Source: http://en.wikipedia.org/w/index.php?oldid=561914247 Contributors: 10qwerty, 16x9, Another Believer, Artrockconspiracy, BD2412, BRG, Babsdude, Baseball Bugs,
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"Jeepers Creepers" Source: http://en.wikipedia.org/w/index.php?oldid=570112655 Contributors: Ammazzavampiri, Austinmayor, BRG, Berean Hunter, Cactus26, CelticJobber, Chris the
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"A Kiss to Build a Dream On" Source: http://en.wikipedia.org/w/index.php?oldid=535335131 Contributors: A Softer Answer, Academic Challenger, Ace Oliveira, Aeichler1, Brauhze,
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"Let's Do It, Let's Fall in Love" Source: http://en.wikipedia.org/w/index.php?oldid=571440193 Contributors: 113underground, A Nobody, ALOHARONN, AgadaUrbanit, Ajmilner, And we
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"Mack the Knife" Source: http://en.wikipedia.org/w/index.php?oldid=571495047 Contributors: 2134, 23skidoo, Addshore, Agent 86, Aivazovsky, AlbertSM, Ales Tosovsky, Alexnye, Am86,
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"Muggles" Source: http://en.wikipedia.org/w/index.php?oldid=543110816 Contributors: Cuchullain, Darwinek, Eekerz, Fudoreaper, Gyrofrog, Husond, Infrogmation, Mattisse, Nickyus,
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"Muskrat Ramble" Source: http://en.wikipedia.org/w/index.php?oldid=553827957 Contributors: Chanakal, Jafeluv, Jnocook, Lastofthebarons, LongLiveMusic, Mbakkel2, Wetman, 6
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"Now You Has Jazz" Source: http://en.wikipedia.org/w/index.php?oldid=507909075 Contributors: DennisIsMe, Durova, Gareth E Kegg, Pegship, Spellcast, Wizard188, 8 anonymous edits
"On a Little Bamboo Bridge" Source: http://en.wikipedia.org/w/index.php?oldid=263338513 Contributors: Howard352, Mike Selinker, Spartaz, Wolfer68
"Pennies from Heaven" Source: http://en.wikipedia.org/w/index.php?oldid=571815302 Contributors: 113underground, Alan W, AvicAWB, BRG, Billy Hathorn, Clarityfiend, DavidESpeed,
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"St. James Infirmary Blues" Source: http://en.wikipedia.org/w/index.php?oldid=569782579 Contributors: A7xabaer, Abelleis, Agadant, Ajshm, AllyD, Areaseven, Aymatth2, AzaToth,
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Tassedethe, TechnoFaye, TheOldJacobite, Tjmayerinsf, Tomasca, VinceBowdren, Wwallacee, Yasuna, 285 anonymous edits
"St. Louis Blues" Source: http://en.wikipedia.org/w/index.php?oldid=503195650 Contributors: 23skidoo, 2A01:E35:1390:2300:60F7:AE43:4410:316C, 78.26, Akramm1, AllyD, BD2412,
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Article Sources and Contributors 150
"Standing on the Corner (Blue Yodel No. 9)" Source: http://en.wikipedia.org/w/index.php?oldid=558495680 Contributors: Eric444, Hmains, JustAGal, Kjell Knudde, Lairor, MrFizyx,
Northamerica1000, Ortolan88, Otto42, Responsible?, Rich Farmbrough, ShelfSkewed, WikHead, 7 anonymous edits
"Stardust" Source: http://en.wikipedia.org/w/index.php?oldid=565051455 Contributors: 150 Music, 45750born, Abbowne, AdamWill, Algebraist, Alphawave, Artemisboy, BRG, Bib, C
colorado, CaesarGJ, Carl savich, Cathlec, Cdylans, ChrisReque, ColmDawson, DIDouglass, DMacks, Darwinek, Davemck, DavidFarmbrough, Discospinster, Draggleduck, E-Kartoffel, Ericjas,
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Wowser, Yeepsi, 110 anonymous edits
"Stars Fell on Alabama" Source: http://en.wikipedia.org/w/index.php?oldid=550976446 Contributors: 78.26, Accurizer, Allenstone, Anubisrwm, Army Brat 1972, BRG, Bd-kebek,
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TenPoundHammer, Tjmayerinsf, Twas Now, Weixlmj, 37 anonymous edits
"That Lucky Old Sun" Source: http://en.wikipedia.org/w/index.php?oldid=566028277 Contributors: 1jrb, Artrush, BRG, Boubou1961, Charolastra charolo, Colin41, EnDaLeCoMpLeX,
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Tassedethe, TenPoundHammer, Werldwayd, Woohookitty, 29 anonymous edits
"La Vie en rose" Source: http://en.wikipedia.org/w/index.php?oldid=571136781 Contributors: (jarbarf), 1000MHz, 16@r, 2T, 83d40m, 88marcus, AKeen, Aatman689, Accounting4Taste,
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"We Have All the Time in the World" Source: http://en.wikipedia.org/w/index.php?oldid=563726638 Contributors: 23skidoo, Adambiswanger1, Breakinguptheguy, BrownHairedGirl, Cherry
blossom tree, Cholmes75, Closedmouth, Cls14, CronoDroid, Darwinek, Expediter, Hansdecrock, Hattrem, Holiday56, Igordebraga, K1Bond007, Kingboyk, LilHelpa, Otterfan, PaulMison,
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"West End Blues" Source: http://en.wikipedia.org/w/index.php?oldid=545009848 Contributors: CLW, Caltas, Canthusus, Dan56, Deltabeignet, Deseret1956, Fredrik, Gyrofrog, Infrogmation,
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TheOldJacobite, Timotheus Canens, Winstonho0805, Wysinger, 26 anonymous edits
"When the Saints Go Marching In" Source: http://en.wikipedia.org/w/index.php?oldid=571810412 Contributors: 23skidoo, Abulsme, Adaml11600, Al Lemos, Alexthe5th, Andrew c,
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"When You're Smiling" Source: http://en.wikipedia.org/w/index.php?oldid=561760694 Contributors: AEMoreira042281, AlfonZ42, Andrewa, Another Believer, Bearcat, Clarityfiend,
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O.Koslowski, Ozzieboy, Richhoncho, Schempp, Tinlinkin, Waacstats, Wool Mintons, 山 田 晴 通, 47 anonymous edits
Image Sources, Licenses and Contributors 151
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