A Salute to the Golden Age of American Popular Music

We salute the music from Broadway, Hollywood, New Orleans, Tin Pan Alley and the "melody makers;" i.e. the bands and singers that brought the music to us via the radio, recordings and live events in the period from the 1920's to the 1960's. This is the golden period of Gershwin, Cole Porter, Irving Berlin, Jerome Kern, Richard Rodgers, Larry Hart, Oscar Hammerstein, Johnny Mercer, Hoagy Carmichael, Jimmy Van Heusen, Harold Arlen, Harry Warren, etc.

Thursday, May 27, 2010

Frank Sinatra and his signature song "My Way"



FRANK SINATRA


My hero as a child in New Jersey was the Hoboken born singer/actor Francis Albert Sinatra. You may have heard of him. Frank was leading the music scene in seven different decades! His first commecial recording was back in 1938 when he was the lead vocalist for a newly formed band that had a leader who was even skinnier than he was. His name: Harry James (his real name!).  Harry started Frank on his road to music immortality and quickly agreed after one year to release Sinatra to join the top band of Tommy Dorsey. 

Frank and Harry were close friends for the rest of their lives. Frank soon became the number one male band vocalist under Tommy's leadership. It was from Tommy, that Frank learned the importance of breath control for a singer. All of these points are stories for another day.

To start...here is a short tale about the song that became his signature song in the last phase of his extraordinary career..."My Way."  A song whose 40th anniversary is being heralded with the reissue of the 1969 album. "My Way." It was quite possibly the single most popular number from the final act of Sinatra's career. And in concert after concert over a 25-year period, he never hesitated to tell audiences exactly what he thought of it:
-- "I hate this song -- you sing it for eight years, you would hate it too!" (Caesars Palace, 1978)
-- "And of course, the time comes now for the torturous moment -- not for you, but for me." (L.A. Amphitheater, 1979)
-- "I hate this song. I HATE THIS SONG! I got it up to here [with] this God damned song!" (Atlantic City, 1979)
And yet, in many of those same introductions, he told the crowd that the song had been "very good to me -- and singers like me." "My Way"  helped keep the Chairman on the road in the '70s, '80s and '90s. Sinatra quickly learned that audiences wouldn't let him off the stage until he gave them "My Way." Even when he tried to end a show without it, he was dragged back on to do it as an encore.

Per the WSJ, "My Way" did the most to cement Frank Sinatra's position as the leading interpreter of what was becoming known as The Great American Songbook. It was written by two guys who belonged to the rock 'n' roll camp, one of whom (Paul Anka) was a Canadian of Lebanese descent, while the other (Claude François) was of French and Italian background and had been born and raised in Egypt. Both were better known as singers than songwriters -- Mr. Anka having started as a teenybopper idol of the early Elvis era, and François specializing in Eurotrash "covers" of American and British hits. 

Sinatra must have been elated in the 1980s when he was finally able to switch to "New York, New York" as his concert closer. As late as 1986, "My Way,"  which led an entire generation to believe that Sinatra was a raging egomaniac,  was the last song in the world for which Frank Sinatra would have wanted to be remembered, even though he sang it , acted it, really, so vividly and convincingly that it became one of the major milestones of American popular music."  This is the man the New York Times called "The Greatest Entertainer of the 20th Century.'

Here is Frank on stage in Las Vegas singing "My Way."

Sunday, May 23, 2010

The song 'Laura'...the lyrics written after the movie's release!









 
"Laura" by David Raksin and Johnny Mercer


David Raksin had written the melody to accompany the film, and even without words, it fit perfectly into the haunting atmosphere of the story of Laura Hunt. But without words, it was believed that the song would not go much further.

Even after the film became a hit, and the tune earned its own following, musicologist Alec Wilder in his book, American Popular Song, remembers first hearing the melody.
"Unanimously it was concluded (by the publishers) that so complex a melody would be highly impractical to publish."

It needed a lyric, and the obvious choice to write the words about "Laura" was Johnny Mercer. This was a period, the mid-40's, when Hollywood and theater musicals were becoming more integrated with story, character and song. Mercer was unbeatable in writing good songs, whether or not they were part of a libretto. 
In 1945, Mercer was in New York with Harold Arlen writing a theater score for St. Louis Woman. (The show failed, but great songs came out of it, including standards like, "Come Rain or Come Shine," and "I Wonder What Became of Me.") He received a request from RKO Studios to write a lyric to Raksin's melody.

By now, months had passed and the public was familiar with the film and its theme. The melody, "Laura," was closely identified with the popular mystery. Mercer was faced with writing a lyric that would continue the theme of a haunting woman thought to be dead, a woman to whom men were irresistibly drawn. The result was one of Mercer's most popular and enduring songs.

Here are the Mercer lyrics;

Laura is the face in the misty light
Footsteps that you hear down the hall
The laugh that floats on a summer night

That you can never quite recall

And you see Laura on a train that is passing through
Those eyes how familiar they seem
She gave your very first kiss to you
That was Laura but she's only a dream


She gave your very first kiss to you
That was Laura
But she's only a dream

Here is Frank Sinatra's beautiful version.





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Why didn't Frank Sinatra star in the film version of 'Carousel?

Why didn't Frank Sinatra star in the film version of 'Carousel?

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Saturday, May 22, 2010

The top 100 movie musicals?


From the start of the new millenium, UK television channel, channel 4, ran a series of programs which ran through the top 100 of various genres, including films, film stars, war movies and musicals. the program was aired in 2003 and was made up of viewer votes both on their website and by phone. Channel 4 has a fairly youth based program stratergy and perhaps this is why some of the entries are surprising, it is also clear to see which programs and films were in the media at the time. Below is their top 100 list of greatest musicals, some you may have never heard of and some stretch the term musical to and beyond its limits, but it is a great list all the same, and if you can guess which musical is voted the greatest musical of all time? Simply scroll down to the number one spot to find out!

100: Lets Make Love 99: Miss Saigon
98: Bright Eyes 97: The Cotton Club
96: Lullaby of Broadway 95: Breaking Glass
94: Sholay 93: How to succeed in business without really trying
92: The Umbrellas of Cherbourg 91: Everyone Says I Love You
90: Cry Baby 89: A Little Night Music
88: For Me and My Gal 87: Million Dollar Mermaid
86: There's No Business Like Show Business 85: Funny Face
84: Ziegfeld Follies 83: A Star Is Born (Barbra Streisand)
82: Anything Goes 81: Yankee Doodle Dandy
80: Sweeney Todd: The Demon Barber of Fleet Street 79: All That Jazz
78: Hedwig and the Angry Inch 77: Porgy and Bess
76: Dancer in the Dark 75: Dil Se
74: Shall We Dance 73: Half a Sixpence
72: Godspell 71: Show Boat
70: Gigi 69: The Producers
68: Kiss Me Kate 67: Doctor Dolittle
66: Gypsy 65: The Jazz Singer
64: Easter Parade 63: Jailhouse Rock
62: Sweet Charity 61: Scrooge
60: Top Hat 59: Funny Girl
58: An American in Paris 57: Paint Your Wagon
56: Meet Me In St Louis 55: Hair
54: On the Town 53: Cinderella
52: Carmen Jones 51: Thoroughly Modern Millie
50: Hello Dolly 49: Muppets Take Manhattan
48: Gentlemen Prefer Blondes 47: Summer Holiday
46: A Chorus Line 45: A Star is Born (Judy Garland)
44: Tommy 43: Snow White and the Seven Dwarfs
42: Starlight Express 41: Carousel
40: 8 Mile 39: South Pacific
38: The Nightmare Before Christmas 37: White Christmas
36: Guys and Dolls 35: Oklahoma
34: High Society 33: Fiddler on the Roof
32:Seven Brides for Seven Brothers 31: Blood Brothers
30: Cats 29: Fame
28: Jesus Christ Superstar 27: Jungle Book
26: Annie 25: Calamity Jane
24: The Blues Brothers 23: The King and I
22: Evita 21: Little Shop of Horrors
20: Phantom of the Opera 19: Bugsy Malone
18: Joseph and the Amazing Technicolor Dreamcoat 17: Caberet
16: Willy Wonka and the Chocolate Factory 15: Les Miserables
14: The Lion King 13: Buffy the Vampire Slayer: Once More With Feeling
12: My Fair Lady 11: Chitty Chitty Bang Bang
10: Moulin Rouge 9: Oliver!
8: Chicago 7: The Rocky Horror Picture Show
6: Singing In The Rain 5: Mary Poppins
4: West Side Story 3: The Wizard of Oz
                                        2: The Sound of Music
                   1: Grease

Friday, May 21, 2010

Fats Waller born on this date



FATS WALLER 

Jazz great "Fats Waller was born 106 years ago on this date (May 21). Per AllAboutJazz: "He was music's first organist and one of the giants of piano jazz.  Thomas Wright “Fats” Waller was born on May 21, 1904 in Harlem into a musical family.  His family had moved to New York City from Virginia in the late 1880s and his father was the pastor of the Abyssinian Baptist Church in Harlem. His first exposure of music was in the form of church hymns and organ music, an instrument that he was taught to play by his mother and the church musical director. When he was about 6 or 7, his mother hired a piano tutor for him. He learned how to read and write music from his piano teacher but he preferred to play “by ear.”

At age 14 he won a talent contest playing a song he had learned by watching a pianola play it. That year he left school and worked at odd jobs for a year. In 1919 he got his first regular job when he was hired by a movie theatre to play organ accompaniment to the silent films.

His father wanted him to follow in his footsteps and go into a career in religion but he wanted to pursue his passion for music so in 1920, after his mother died, he moved out of his family's house and in with the family of pianist Russell Brooks where he met James P. Johnson and Willie “The Lion” Smith two of the giants of the Harlem stride. James P. Johnson took the young Waller under his wing and taught him the stride piano style and advanced his musical education in general.

In 1921 he was hired to play musical accompaniment on the organ at another silent movie theatre at a weekly salary of $50. A year later he made his recording debut for the Okeh label with a 78 of two of his own compositions. In 1923 he recorded a number of piano rolls for the QRS company in addition to additional sides both as a leader and as an accompanist to blues singers. For the next 4 years he recorded many sides for RCA Victor and became very popular.

According to one anecdote, one night in 1926 after finishing a performance, he was kidnapped by gangsters and forced to play at Al Capone's birthday party. In 1927 he recorded with the Fletcher Henderson Orchestra and in 1928 he had his Carnegie Hall debut. He met the poet and lyricist Andy Razaf in 1927 and the two collaborated on musicals the most of popular of which “Hot Chocolates,” with the song “Ain't Misbehavin',” opened in 1929.

Waller was married twice, from his first unsuccessful one he had a son Thomas Jr and from his second two sons: Maurice and Ronald.

In 1931 he toured Paris and upon his return to New York he formed his small combo “Fats Waller and His Rhythm” with whom he would perform and record until his death. He recorded for RCA hundreds of sides and also performed on radio broadcasts and starred in movies. In the mid 30s he regularly performed on the West Coast and in 1938 returned to Europe this time for a tour of the British Isles. The outbreak of war forced him to return to the US in 1939. He performed one more time at the Carnegie Hall and for the remainder of his life he toured the US especially the west coast.

In 1943 he starred in the film Stormy Weather and in December of that year while playing the Zanzibar Room in Hollywood he suffered a bout of influenza. He had to cut his engagement short in order to return home. Years of excessive drinking, overwork and his obesity took a toll on his health and the severe influenza led to complications. On December 15 1943, on the train back to New York, Thomas “Fats” Waller passed away near Kansas City from pneumonia."

In 1993 Waller was posthumously recognized by the Grammy Lifetime Achievement Award.  



Here is "Fats" Waller singing "It's A Sin To Tell A Lie."

Wednesday, May 19, 2010

Remember crooner Russ Columbo ?



                             RUSS COLUMBO

We remember singer Russ Columbo who helped set the standard for popular ballad crooners. 

In his personal appearances, Columbo was trim, debonair, and favored a spotless white suit of the sort George Raft wore in movies of the period. Despite the all-prevailing importance and popularity of Bing Crosby as a singer in the early '30s, it is impossible to imagine the advent of later Italian crooners such as Perry Como and Frank Sinatra without the influence of Russ Columbo. 

Likewise Columbo's repertoire, some of which he had a hand in creating, was adopted wholeheartedly by other romantic balladeers, including Nat King Cole, Herb Jeffries, and with most enthusiasm, Billy Eckstine. While Columbo was too early to be a true jazz singer, jazz singing itself would not be what it is if Columbo had never been on the scene.


Russ Columbo was born in New Jersey, and spent some of his formative years in Philadelphia before the family relocated to California when he was eight.

Columbo was a violin prodigy from the age of five, and the move to California was made in part to accommodate his lessons. He made his professional debut as a violinist at the Imperial Theater in San Francisco at the age of nine, and by the age of 17 he was making a living playing in small groups on Hollywood movie sets, providing tempo for silent movie shoots. Columbo also played violin in several Los Angeles-based bands before joining the Gus Arnheim Orchestra in 1928.

As talkies went into production, and Columbo quickly found work dubbing the singing voices of non-singing movie stars such as Gary Cooper and Lewis Stone. He also dubbed Betty Compson's violin in the film Street Girl (1929) and made his onscreen singing debut in a bit part in the film Dynamite (1929), directed by Cecil B. DeMille. At this time Columbo began to contribute occasional vocal choruses on Gus Arnheim records, such as "Peach of a Pair," and took the place of Bing Crosby as the band's featured vocalist when Crosby went to New York in 1930.

Columbo continued in synchronization work, as a bit player and even composed some music for movies into 1931, but it proved difficult to suppress his ambition to entertain as a frontline performer. Discouragingly, the depths of depression seemed hardly the time to get a new career off the ground.


In early 1931, composer and agent Con Conrad saw Russ Colombo perform at a Los Angeles nightclub, and was so impressed that he decided to take the aspiring singer under his wing. While traveling to New York by train, Columbo and Conrad wrote the song "You Call It Madness (But I Call It Love)" that would become Columbo's first hit and radio theme. Russ Columbo signed up for a stint with NBC Radio on a coast-to-coast broadcast, and soon was being touted as "the Romeo of Radio." His popularity was immediate, and before the end of 1931 Columbo was playing to sold-out houses in New York theaters. 

Columbo began to record for RCA Victor in September 1931. For about a year, radio fans witnessed "the battle of the baritones"; Conrad was building up Columbo's reputation by keeping the pressure on Bing Crosby, booking Columbo's engagements against Crosby's, even recording Crosby's songs with Columbo before Crosby could get in to record them at ARC. Then towards the end of 1932, the publicity machine stopped cold -- Conrad and Columbo had a falling out, and one by one Columbo's Victor recording contract, personal appearances and radio program were all cancelled.


Working as his own manager, Russ Columbo made the best of what was left of his reputation in a tough time. He mounted a modest tour of the U.S. with a band featuring such jazz greats as Gene Krupa and Benny Goodman. It wasn't hard to put together, as Columbo's was one of the few shows on the road in 1933. This kept him in the public eye, although it proved profitable mostly for the sidemen.

Back in New York, Columbo appeared in a Vitaphone short, entitled That Goes Double, in which he poked fun at his image as a Romantic "crooner." The short was well enough received that Columbo was invited back to Hollywood, signing a contract with Twentieth Century Pictures (later 20th Century Fox). Columbo was to make three feature films, Broadway Through a Keyhole, Moulin Rouge, and Wake Up and Dream (the last made by Universal). On August 31, 1934, Columbo was at the ARC studio in Los Angeles, making his first records in over a year -- they would prove his last. 

On September 2, 1934 Russ Columbo was visiting a friend, the Hollywood portrait photographer Lansing Brown, who was toying absentmindedly with an antique pistol he kept as a desk ornament. It fired accidentally, and the ball lodged in Columbo's brain. Surgery was attempted, but Russ Columbo died that evening at age 26." More to follow about Russ Columbo's strange death....was it murder?


 Thanks to the ALL MUSIC GUIDE.

 Here is Russ Columbo's recording of "All Of Me."

What does 'Perfidia' mean?

Q. Ok, I love the Glenn Miller version of 'Perfidia', but who wrote it and what does it mean?

A.'Perfidia' is Spanish for "perfidy", as in faithless, treacherous or false. The song was written by Alberto Domínguez (1911–1975), a Mexican composer and arranger.
The song is all about love and betrayal. Aside from the original Spanish, other renditions exist, including English and instrumental versions.
The English lyrics are by Milton Leeds. The song was published in 1939. Listen to Glenn Miller's version in our previous article.

Glenn Miller's Perfidia






One of Glenn Miller's biggest hits was the love song (lost love) "Perfidia."

Here are the lyrics;

To you my heart cries out, Perfidia,

For I found you, the love of my life, in somebody else’s arms

Your eyes are echoing perfidia,

Forgetful of our promise of love, you’re sharing another’s charms...



With a sad lament my dreams have faded like a broken melody

While the gods of love look down and laugh at what romantic fools we mortals be...



And now I know my love was not for you

And so I take it back with a sigh, perfidious one,

Goodbye...

The vocalists are Dorothy Claire and the Modernaires.

Billie Holiday...first black singer with a white big band?



Question: "Who was the first black singer with a big time white band?"

Answer: Most jazz historians believe Billie Holiday was the first when she joined Artie Shaw's Orchestra as lead vocalist. She began singing with the group in 1938. Despite the continuing support of the entire band, however, show promoters and radio sponsors soon began objecting to Holiday -- based on her unorthodox singing style almost as much as her race. After a series of escalating indignities, Holiday quit the band in disgust.

Here is Billie singing the great standard "I Can't Get Started (with you)"

Friday, May 14, 2010

Rosie meets Gershwin...Clooney sings "But Not For Me"


Here from a Jazz Festival in Japan is Rosemary Clooney singing one of the great love songs of The Great American Songbook.  The song is "But Not For Me," from George and Ira Gershwin. Rosemary's home on Roxbury Drive in Beverly Hills  (now demolished) had been the last home of George Gershwin (circa 1937). Her next door neighbor was George's brother, and lyricist, Ira. One of her best CD's is the "Songs of Ira Gershwin."