Song (1955) lyrics by Frances Landesman; music by Thomas Wolfe, Jr.; Recorded in 1961 by Ella Fitzgerald (another Virginia native!), her version contributed to the tune's becoming a jazz standard. Her final phrase descends to the very lowest end of her register, for an unforgettable effect (click on the link, then click on the PLAY button in the upper right hand window).
http://www.last.fm/music/Ella+Fitzgerald/_/Spring+Can+Really+Hang+You+Up+the+Most
Trivia: Lyricist Fran Landesman, born in New York, is known as the Dorothy Parker of jazz. She continues working from her present-day home in London.
The poignant lyric can perhaps trace an inspiration back to T. S. Eliot's "April Is the Cruelest Month," the opening lines from "The Waste Land" (1922). Quite a pedigree! The song is a narrative about being out of phase with the seasons, describing a winter romance that faded long before the arrival of spring, a time when everyone else is focused on the hope and bloom of new love. "All I've got to show is a splinter for my little fling...love seemed sure around the New Year, now it's April and love is just a ghost...spring arrived on time, only what became of you, dear? Spring can really hang you up the most."
Here, a contemporary performance by chanteuse Jane Monheit.
And a video of a live performance by tenor sax man Stan Getz:
A complete performance of the song by June Christy (arranged by Pete Rugolo)
www.last.fm/music/June+Christy/_/Spring+Can+Really+Hang+You+Up+The+Most?autostart
Saturday, January 31, 2009
Thursday, January 29, 2009
Something Cool
Performed by June Christy (1955)
Written by Hollywood composer/lyricist Billy Barnes.
"Something Cool" is an unusual jazz standard that became June Christy's signature song. Its lyrics are an extended narrative, full of emotional complexity.
In response to an offer to buy her a drink, a girl in a bar tells you she wants "something cool." It's warm here, she tells us, and she's far from home. She can't seem to remember your name, but she must know you from somewhere, because she never drinks with strangers. You offer her a cigarette:
"A cigarette? / Well, I don't smoke them as a rule /
But I'll have one / it would be fun / with something cool."
She tells you about her glory days, when she lived in a large house, had lots of suitors and took trips to Paris. But that's in the past. Returning to the moment:
"About a date? / Oh wait / I'm such a fool /
He's just a guy / who stopped to buy me /Something cool."
This ballad contains so much narrative, emotional baggage and character development, that it is a unique entry in the library of jazz standards.
Written by Hollywood composer/lyricist Billy Barnes.
"Something Cool" is an unusual jazz standard that became June Christy's signature song. Its lyrics are an extended narrative, full of emotional complexity.
In response to an offer to buy her a drink, a girl in a bar tells you she wants "something cool." It's warm here, she tells us, and she's far from home. She can't seem to remember your name, but she must know you from somewhere, because she never drinks with strangers. You offer her a cigarette:
"A cigarette? / Well, I don't smoke them as a rule /
But I'll have one / it would be fun / with something cool."
She tells you about her glory days, when she lived in a large house, had lots of suitors and took trips to Paris. But that's in the past. Returning to the moment:
"About a date? / Oh wait / I'm such a fool /
He's just a guy / who stopped to buy me /Something cool."
This ballad contains so much narrative, emotional baggage and character development, that it is a unique entry in the library of jazz standards.
Wednesday, January 28, 2009
Moonlight in Vermont
Nat King Cole Trio
Early in his career, Nat King Cole formed a ground breaking trio in 1937, playing piano with Oscar Moore on guitar and Wesley Prince on bass (no drums!). Prior to that, Nat was known primarily as a jazz pianist – not a singer. But with the King Cole Trio (as it was known) he played a mixture of novelty songs, jazz and pop tunes, often with unison singing from all three members, as well as his own lead vocals.
When Prince was drafted into the Army, Johnny Miller took over on bass in 1942, but by this time, Nat's singing was more prominent in their performances. The trio kept going until Nat's career really took off as a ballad singer, backed mainly by orchestras. By that point, Nat was not playing much piano, which was a pity, since he was a brilliant and influential jazz pianist.
Early in his career, Nat King Cole formed a ground breaking trio in 1937, playing piano with Oscar Moore on guitar and Wesley Prince on bass (no drums!). Prior to that, Nat was known primarily as a jazz pianist – not a singer. But with the King Cole Trio (as it was known) he played a mixture of novelty songs, jazz and pop tunes, often with unison singing from all three members, as well as his own lead vocals.
When Prince was drafted into the Army, Johnny Miller took over on bass in 1942, but by this time, Nat's singing was more prominent in their performances. The trio kept going until Nat's career really took off as a ballad singer, backed mainly by orchestras. By that point, Nat was not playing much piano, which was a pity, since he was a brilliant and influential jazz pianist.
Tuesday, January 27, 2009
How High the Moon
June Christy (vocals), Nat King Cole (piano), Mel Tormé (drums)
In the 1950s, when this was televised, music alone was able to transcend segregation. Here we have a black man (Cole), a Jew (Tormé – born with the surname Torma) and a white woman (Christy, who was Anita O’Day’s replacement in the Stan Kenton Orchestra) uniting in joyous music making. Many fans of Cole and Tormé in the latter part of their careers are not aware that Cole was a superb pianist, nor that Tormé played drums; they both gave up their respective instruments and later worked exclusively as vocalists.
In the 1950s, when this was televised, music alone was able to transcend segregation. Here we have a black man (Cole), a Jew (Tormé – born with the surname Torma) and a white woman (Christy, who was Anita O’Day’s replacement in the Stan Kenton Orchestra) uniting in joyous music making. Many fans of Cole and Tormé in the latter part of their careers are not aware that Cole was a superb pianist, nor that Tormé played drums; they both gave up their respective instruments and later worked exclusively as vocalists.
Monday, January 26, 2009
What a Wonderful World
George Adams (tenor sax)
Ben Sidran (piano)
Written by Bob Thiele (using the pseudonym George Douglas*) and George David Weiss**, What a Wonderful World was first recorded by Louis Armstrong in 1968. Intended as an antidote for the increasingly racially and politically charged climate of everyday life in the U.S., the song also has a hopeful, optimistic tone with regard to the future, with reference to newborn babies having much to look forward to. The song was not initially a hit in the United States, where it sold fewer than 1,000 copies, but was a major success in the UK, reaching number one on the singles chart, becoming the biggest-selling single of 1968. The song made Louis Armstrong the oldest male to top the UK charts, at sixty-six years and ten months old.
The song gradually became something of a standard and reached a new level of popularity. It was re-released in America shortly after Armstrong's death in 1971 and became a top ten hit. It is also a jazz standard, ranked number 945 at Jazzstandards.com.
*Some of the songs Thiele wrote are credited to George Douglas or Stanley Clayton. These are pseudonyms Thiele used, made from the names of his uncles, Stanley, Clayton, George, and Douglas. Thiele was a record producer and husband of singer Teresa Brewer.
**Weiss was president of the Songwriters Guild of America; among other notable songs he penned was Lullaby of Birdland.
Another rendition of this classic tune:
Duet by K.D. Lang & Tony Bennett
http://www.last.fm/music/Tony%2BBennett%2B%2526%2Bk.d.%2Blang/_/What+a+Wonderful+World?autostart
Ben Sidran (piano)
Written by Bob Thiele (using the pseudonym George Douglas*) and George David Weiss**, What a Wonderful World was first recorded by Louis Armstrong in 1968. Intended as an antidote for the increasingly racially and politically charged climate of everyday life in the U.S., the song also has a hopeful, optimistic tone with regard to the future, with reference to newborn babies having much to look forward to. The song was not initially a hit in the United States, where it sold fewer than 1,000 copies, but was a major success in the UK, reaching number one on the singles chart, becoming the biggest-selling single of 1968. The song made Louis Armstrong the oldest male to top the UK charts, at sixty-six years and ten months old.
The song gradually became something of a standard and reached a new level of popularity. It was re-released in America shortly after Armstrong's death in 1971 and became a top ten hit. It is also a jazz standard, ranked number 945 at Jazzstandards.com.
*Some of the songs Thiele wrote are credited to George Douglas or Stanley Clayton. These are pseudonyms Thiele used, made from the names of his uncles, Stanley, Clayton, George, and Douglas. Thiele was a record producer and husband of singer Teresa Brewer.
**Weiss was president of the Songwriters Guild of America; among other notable songs he penned was Lullaby of Birdland.
Another rendition of this classic tune:
Duet by K.D. Lang & Tony Bennett
http://www.last.fm/music/Tony%2BBennett%2B%2526%2Bk.d.%2Blang/_/What+a+Wonderful+World?autostart
Sunday, January 25, 2009
Billy Taylor & Ben Webster
This 10-minute video documentary by Bret Primack (Jazz Video Guy) recounts the first time Washington DC based pianist Billy Taylor worked with tenor sax legend Ben Webster in NYC. Webster was known for his distinctive breathy lip-vibrato, especially evident on ballads.
In 1994, Billy Taylor was appointed to the position of artistic adviser on jazz for the John F. Kennedy Center for the Performing Arts, where his knowledge, expertise and influence are still in demand. In 1997, he was responsible for the launching of the Kennedy Center's Millennium Stage, where free jazz concerts are often featured.
In 1994, Billy Taylor was appointed to the position of artistic adviser on jazz for the John F. Kennedy Center for the Performing Arts, where his knowledge, expertise and influence are still in demand. In 1997, he was responsible for the launching of the Kennedy Center's Millennium Stage, where free jazz concerts are often featured.
Saturday, January 24, 2009
I Got Rhythm
Performed by pianists Billy Taylor & Ramsey Lewis
(video excerpt from Billy Taylor’s show Jazz Counterpoint)
Everyone would want to play piano if it could be this much fun!
"I Got Rhythm" was composed by George Gershwin with lyrics by Ira Gershwin in 1928 (published 1930), and became a widely-known jazz standard. It comes from the stage musical Girl Crazy, which yielded another hit song, "Embraceable You." Ethel Merman sang the song in the original Broadway production of the show. I Got Rhythm is iconic of the Gershwins, of swing, and of the 1920s.
Trivia: I Got Rhythm was originally published in the unusual key of D-flat major.
(video excerpt from Billy Taylor’s show Jazz Counterpoint)
Everyone would want to play piano if it could be this much fun!
"I Got Rhythm" was composed by George Gershwin with lyrics by Ira Gershwin in 1928 (published 1930), and became a widely-known jazz standard. It comes from the stage musical Girl Crazy, which yielded another hit song, "Embraceable You." Ethel Merman sang the song in the original Broadway production of the show. I Got Rhythm is iconic of the Gershwins, of swing, and of the 1920s.
Trivia: I Got Rhythm was originally published in the unusual key of D-flat major.
Thursday, January 22, 2009
Marian McPartland
In a Mist, composed in 1927 by cornetist Bix Beiderbecke
Since April 1979, pianist Marian McPartland has welcomed a stellar line-up of musicians for one hour of conversation and jazz improvisation on her award-winning radio program. Each week, McPartland, with her engaging personality and improvisational savvy, hosts a variety of performers in her radio living room. She has recently reached the 90-year-old mark, yet remains active as a performer and radio personality.
Piano Jazz is a forum for jazz legends and influential performers as well as up-and-coming talents. Oscar Peterson, Herbie Hancock, Dave Brubeck, Diana Krall, Max Roach, Cassandra Wilson and Tony Bennett are among the 500+ guests who have joined McPartland to create dynamic duets and discuss their lives and music.
A production of South Carolina Educational Radio and distributed nationally by NPR, Piano Jazz is the longest-running national performance program on public radio and was called "an oasis of intelligence and grace and probably the best hour of jazz on the airwaves" by The Washington Post.
For Ms. McPartland's radio program (spring, 2000) about Bix Beiderbecke, go to:
www.npr.org/templates/story/story.php?storyId=98960166
For audio streams of dozens of her other Piano Jazz programs, visit:
Wednesday, January 21, 2009
At Last - first song at the Inaugural Balls
On January 20, 2009, President Barack Obama and First Lady Michelle danced to various renditions of this song at each of the 10 official balls honoring his inauguration. Beyoncé Knowles, who portrayed Etta James in the film Cadillac Records, sang the song live for the Obama's first dance during the Neighborhood Ball, the first they attended on the night of his inauguration.
I found a dream that I can speak to,
A dream that I can call my own.
I found a thrill to press my cheek to,
A thrill I've never known.
“At Last” (1941) was written by lyricist Mack Gordon and composer Harry Warren and debuted in the film musical Orchestra Wives, performed on screen by the Glenn Miller Orchestra. The song was a major hit for Miller, reaching number 14 on the Billboard pop charts in 1942. It soon became a standard, recorded by Nat King Cole (1957) and Etta James (1960), who was inducted into the Grammy Hall of Fame in 1999 for her recording of this song. Aside from the lyric, there was another facet of appropriateness in using this song at the inauguration of our nation's first black president, since Nat King Cole was the first black person to have a weekly radio and TV program (1956-57).
In this video clip from Orchestra Wives, the Glenn Miller Orchestra introduces the song to the public in its original form, as a swing tune (1942), far removed from the R&B version popularized by Etta James. Trivia: Note that Jackie Gleason (string bass) and Cesar Romero (piano) are in the orchestra! Gleason had a successful side career as a musician (composer, arranger and conductor), and Romero was an accomplished ballroom dancer. The film is of interest in that it depicts the lives of working big band musicians.
I found a dream that I can speak to,
A dream that I can call my own.
I found a thrill to press my cheek to,
A thrill I've never known.
“At Last” (1941) was written by lyricist Mack Gordon and composer Harry Warren and debuted in the film musical Orchestra Wives, performed on screen by the Glenn Miller Orchestra. The song was a major hit for Miller, reaching number 14 on the Billboard pop charts in 1942. It soon became a standard, recorded by Nat King Cole (1957) and Etta James (1960), who was inducted into the Grammy Hall of Fame in 1999 for her recording of this song. Aside from the lyric, there was another facet of appropriateness in using this song at the inauguration of our nation's first black president, since Nat King Cole was the first black person to have a weekly radio and TV program (1956-57).
In this video clip from Orchestra Wives, the Glenn Miller Orchestra introduces the song to the public in its original form, as a swing tune (1942), far removed from the R&B version popularized by Etta James. Trivia: Note that Jackie Gleason (string bass) and Cesar Romero (piano) are in the orchestra! Gleason had a successful side career as a musician (composer, arranger and conductor), and Romero was an accomplished ballroom dancer. The film is of interest in that it depicts the lives of working big band musicians.
Monday, January 19, 2009
At the Movies - Dave Koz & Friends
"Smooth Jazz" saxophone king Dave Koz released a concept album in 2007 that featured guests (Anita Baker, Chris Botti, Vanessa Williams and India.Arie, among others) on six of the dozen tracks. Unfortunately, the result is just one step ahead of elevator music*, but details revealed in some "making of..." videos give some valuable insights of the decisions that go into producing an album. All the tunes were movie themes: The Pink Panther, Somewhere, As Time Goes By, The Summer Knows, Schindler's List, etc.*But that's just me -- the album sold like hot cakes.
In this video, Anita Baker recalls hearing Koz mentioning the incipient project on his syndicated radio show while she was talking on the phone. Of interest is the trial and error method of finding the right key and other details that led to the final arrangement of her track: Somewhere (West Side Story). Ms. Baker also reveals that she preferred "Moon River" (ick!) to "Somewhere," but that track ultimately went to Barry Manilow (double ick!).
In this revealing video clip, Koz interviews esteemed lyricists Alan and Marilyn Bergman, regarding their 1973 academy award Best Song winner "The Way We Were".
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