Beruflich Dokumente
Kultur Dokumente
Overview
This discussion will deal with the development of Popular Song in the United States and how it relates to jazz. We will talk about important Tin Pan Alley composers, and listen to some of their music in it s original form, and then compare how jazz musicians alter the songs to fit their personal style.
The Great American Songbook is a hypothetical construct that seeks to represent the best American songs of the 20th century principally from Broadway theatre, musical theatre, and Hollywood musicals, from the 1920s to 1960, including dozens of songs of enduring popularity. The Great American Songbook became (and remains) a vital part of the repertoire of jazz musicians, who describe such songs simply as "jazz standards".
The start of Tin Pan Alley is usually dated to about 1885, when a number of music publishers set up shop in the same district of Manhattan. The end of Tin Pan Alley is less clear cut. Some date it to the start of the Great Depression in the 1930s when the phonograph and radio supplanted sheet music as the driving force of American popular music, while others consider Tin Pan Alley to have continued into the 1950s when earlier styles of American popular music were upstaged by the rise of rock & roll.
Called Tin Pan Alley because of the noise of all the songpluggers playing simultaneously Songplugger-pianist who played tunes all day in order to sell them Before the invention of Radio, songs were deemed successful by sheet music sales Middle class tended to have pianos in their home as entertainment Music was only marketed towards adults
Coon songs were a genre of music popular in the United States and around the Englishspeaking world from 1880 to 1920, that presented a racist and stereotyped image of blacks. By the mid-1880s, coon songs were a national craze; over 600 such songs were published in the 1890s. The most successful songs sold millions of copies. To take advantage of the fad, composers "add[ed] words typical of coon songs to previously published songs and rags."
Coon songs, ironically, contributed to the development and acceptance of authentic African-American music. Elements from coon songs were incorporated into turn-of-thecentury African American folk songs, as was revealed by Howard W. Odum's 1906-1908 ethnomusicology fieldwork. Similarly, coon songs lyrics influenced the vocabulary of the blues, culminating with Bessie Smith's singing in the 1920s
Stephen Foster
Stephen Collins Foster (July 4, 1826 January 13, 1864), known as the "father of American music", was the pre-eminent songwriter in the United States of the 19th century. His songs such as "Oh! Susanna", "Camptown Races", "Old Folks at Home" ("Swanee River"), "Hard Times Come Again No More", "My Old Kentucky Home", "Old Black Joe", "Jeanie with the Light Brown Hair", and "Beautiful Dreamer" remain popular over 150 years after their composition.
Camptown Races
http://www.youtube.com/watch?v=C4NVg8i8i 1Y
W.C. Handy
William Christopher Handy (November 16, 1873 March 28, 1958) was a blues composer and musician. He was widely known as the "Father of the Blues". Handy remains among the most influential of American songwriters. Though he was one of many musicians who played the distinctively American form of music known as the blues, he is credited with giving it its contemporary form. While Handy was not the first to publish music in the blues form, he took the blues from a regional music style with a limited audience to one of the dominant national forces in American music.
Cole Porter
Cole Albert Porter (June 9, 1891 October 15, 1964) was an American composer and songwriter. Born to a wealthy family in Indiana, he defied the wishes of his domineering grandfather and took up music as a profession. Classically trained, he was drawn towards musical theatre. After a slow start, he began to achieve success in the 1920s, and by the 1930s he was one of the major songwriters for the Broadway musical stage. Unlike most successful Broadway composers, Porter wrote both the lyrics and the music for his songs.
George Gershwin
George Gershwin (September 26, 1898 July 11, 1937) was an American composer and pianist.[1][2] Gershwin's compositions spanned both popular and classical genres, and his most popular melodies are widely known. Among his best known works are the orchestral compositions Rhapsody in Blue (1924) and An American in Paris (1928), as well as the opera, Porgy and Bess (1935). He wrote most of his vocal and theatrical works, including more than a dozen Broadway shows, in collaboration with his elder brother, lyricist Ira Gershwin. George Gershwin composed music for both Broadway and the classical concert hall, as well as popular songs that brought his work to an even wider public. His compositions have been used in numerous films and on television, and many became jazz standards recorded in numerous variations. Countless singers and musicians have recorded Gershwin songs.
Irving Berlin
Irving Berlin (May 11, 1888 September 22, 1989) was an American composer and lyricist of Jewish heritage, widely considered one of the greatest songwriters in American history. Wrote hundreds of songs, legend before he was 30, total of 1500 songs in his 60 year career Composer George Gershwin called him "the greatest songwriter that has ever lived", and composer Jerome Kern concluded that "Irving Berlin has no place in American music he is American music."
Remember-song by Al Jolson
http://www.youtube.com/watch?v=M8_E4_y RU7Q
Jerome Kern
Jerome David Kern (January 27, 1885 November 11, 1945) was an American composer of musical theatre and popular music. One of the most important American theatre composers of the early 20th century, he wrote more than 700 songs, used in over 100 stage works, including such classics as "Ol' Man River", "Can't Help Lovin' Dat Man", "A Fine Romance", "Smoke Gets in Your Eyes", "All the Things You Are", "The Way You Look Tonight", "Long Ago (and Far Away)" and "Who?".
Johnny Green
Johnny Green (10 October 1908 15 May 1989) was an American songwriter, composer, musical arranger, and conductorHis most famous song was one of his earliest, "Body and Soul". He had started his professional life as a stockbroker, pushed into it by his father, but he hated it and left to pursue music. After 1933 he had his own orchestra which he used to play around the country. He also, until 1940, conducted orchestras for the Jack Benny and Philip Morris records and radio shows.
Note: This version includes what is known as the verse, which is usually played before the chorus, which is the most recognizable part of the song. In jazz, playing the verse of Tin Pan Alley songs has slowly fallen out of favor, and with the exception of some older players, has become a lost art. The verse and chorus idea is comparable to the recitative and aria of European opera.
Among the most famous of these is the take recorded by Coleman Hawkins and His Orchestra on October 11, 1939, at their only recording session for Bluebird, a subsidiary of RCA Victor. The recording is unusual in that the song's melody is never directly stated in the recording; Hawkins' two-choruses of improvisation on the tune's chord progression constitute almost the entire take.
Johnny Mercer
John Herndon "Johnny" Mercer (November 18, 1909 June 25, 1976) was an American lyricist, songwriter and singer. He is best known as a lyricist, but he also composed music. He was also a popular singer who recorded his own songs as well as those written by others. From the mid-1930s through the mid-1950s, many of the songs Mercer wrote and performed were among the most popular hits of the time. He wrote the lyrics to more than fifteen hundred songs, including compositions for movies and Broadway shows. He received nineteen Academy Award nominations, and won four. Mercer was also a co-founder of Capitol Records.
Fools Rush In Goody Goody I Remember You I Thought About You I m An Old Cowhand Laura
Fats Waller
Fats Waller (May 21, 1904 December 15, 1943), born Thomas Wright Waller, was a jazz pianist, organist, composer, singer, and comedic entertainer. He was the youngest of four children born to Adaline Locket Waller and the Reverend Edward Martin Waller.
Wrote around 400 songs, sold many of them for cheap due to money problems Learned how to play stride by watching a player piano. Pianist James P. Johnson encouraged him to get classical lessons Johnson took him around to rent parties and cutting contests around Harlem, where Waller became one of the top stride pianists Collaborated frequently with friend Andy Razaf Wanted to do more serious music, but had a comedic nature and was always encouraged to be humorous Had tremendous appetite for food, died of pneumonia on a train in 1943 at the age of 39
Wow ..
His playing once put him at risk of injury. Waller was kidnapped in Chicago leaving a performance in 1926. Four men bundled him into a car and took him to the Hawthorne Inn, owned by gangster Al Capone. Fats was ordered inside the building, and found a party in full swing. Gun to his back, he was pushed towards a piano, and told to play. A terrified Waller realized he was the "surprise guest" at Al Capone's birthday party, and took comfort that the gangsters didn't intend to kill him. According to rumor, Waller played for three days. When he left the Hawthorne Inn, he was very drunk, extremely tired, and had earned thousands of dollars in cash from Capone and other party-goers as tips.
Honeysuckle Rose
http://www.youtube.com/watch?v=JYA3caFNv LQ&feature=related
Richard Rodgers (1902 1979) and Oscar Hammerstein II (1895 1960) were a well-known American songwriting duo, usually referred to as Rodgers and Hammerstein. They created a string of popular Broadway musicals in the 1940s and 1950s during what is considered the golden age of the medium. With Rodgers composing the music and Hammerstein writing the lyrics, five of their shows, Oklahoma!, Carousel, South Pacific, The King and I and The Sound of Music, were outstanding successes. In all, among the many accolades that their shows (and their film versions) garnered were thirty-four Tony Awards, fifteen Academy Awards, the Pulitzer Prize, and two Grammys.
My Favorite Things
http://www.youtube.com/watch?v=5eaGxLZrL uk&feature=related Julie Andrews from The Sound Of Music
The Brill Building is an office building located at 1619 Broadway on 49th Street in the Manhattan borough of New York City, just north of Times Square and further uptown from the historic musical Tin Pan Alley neighborhood. It is famous for housing music industry offices and studios where some of the most popular American music tunes were written. The building has been described as "the most important generator of popular songs in the Western world."[3]
Overlaps with the Tin Pan Alley era Building owners started renting to music publishers after 1931, generated lots of popular material during the Big Band era and also between the 50 s and the 60 s Vertically integrated in that songwriters could go from writing the song to having a hit using the resources within the building By 1962 the Brill Building contained 165 music businesses
Among the hundreds of hits written by this group are "Yakety Yak" (Leiber-Stoller), "Save the Last Dance for Me" (Pomus-Shuman), "The Look of Love" (Bacharach-David), "Breaking Up Is Hard to Do" (Sedaka-Greenfield), "Devil in Disguise" (Giant-Baum-Kaye), "The LocoMotion" (Goffin-King), "We Gotta Get Out of This Place" (Mann-Weil) and "River Deep, Mountain High" (Spector-Greenwich-Barry).
"The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There's also a negative side." Hunter S. Thompson
Debatable?
It is difficult to determine if songwriters from the latter half of the 20th century will fit into the Great American Songbook canon. For many, the Songbook era ended with rock and roll. Why would songs from the beginning of Rock and Roll to Today not fit into this categorization?
The Great American Songbook is not closed. -Vanessa Rubin, jazz singer Jazz Musicians lately are taking everything from Beatles tunes to Stevie Wonder, Motown, Nirvana, and even Britney Spears tunes. What makes a tune work in a jazz context and what makes it not worth the effort?