Louis Armstrong The Complete Guide

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1 Louis Armstrong The Complete Guide PDF generated using the open source mwlib toolkit. See for more information. PDF generated at: Sat, 07 Sep :42:34 UTC

2 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

3 "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

4 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 Born August 4, 1901 New Orleans, Louisiana, U.S. Died July 6, 1971 (aged 69) Corona, Queens, New York City, U.S. Genres Occupations Instruments Dixieland, jazz, swing, traditional pop Musician trumpet, cornet, vocals Years active c Associated acts Joe "King" Oliver, Ella Fitzgerald, Kid Ory 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.

5 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 ( ), abandoned the family when Louis was an infant and took up with another woman. His mother, Mary "Mayann" Albert ( ), then left Louis and his younger sister Beatrice Armstrong Collins ( ) 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 exposure to music. He brought in some money as a paperboy and also by finding discarded food and selling it to restaurants, but it was not Handcolored etching Louis Armstrong by Adi Holzer 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 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

6 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. Through all his riverboat experience Armstrong s musicianship began to mature and expand. At twenty, he could read music and he started to be featured in extended trumpet solos, one of the first jazzmen to do this, injecting his own personality and style into his solo turns. He had learned how to create a unique sound and also started using singing and patter in his performances. [15] In 1922, Armstrong joined the exodus to Chicago, where he had been invited by his mentor, Joe "King" Oliver, to join his Creole Jazz Band and where he could make a sufficient income so that he no longer needed to supplement his music with day labor jobs. It was a boom time in Chicago and though race relations were poor, the Windy City was teeming with jobs for black people, who were making good wages in factories and had plenty to spend on entertainment. "Muggles" 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 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.

7 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 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 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. "Mack The Knife" Heebie Jeebies by Louis Armstrong and his Hot Five Armstrong getting fitted for a hat, about Armstrong quickly adapted to the more tightly controlled style of Henderson, playing trumpet and even experimenting with the trombone and the other members quickly took up Armstrong s emotional, expressive pulse. Soon his act included singing and telling tales of New Orleans characters, especially preachers. [18] The Henderson Orchestra was playing in the best venues for white-only patrons, including the famed Roseland Ballroom, featuring the classy arrangements of Don Redman. Duke Ellington s orchestra would go to Roseland to catch Armstrong s performances and young hornmen around town tried in vain to outplay him, splitting their lips in their attempts. 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.

8 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 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]

9 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. The All Stars Following a highly successful small-group jazz concert at New York Town Hall on May 17, 1947, featuring Armstrong with trombonist/singer Jack Teagarden, Armstrong's manager Joe Glaser dissolved the Armstrong big band on August 13, 1947 and established a six-piece small group featuring Armstrong with (initially) Teagarden, Earl Hines and other top swing and dixieland musicians, most of them ex-big band leaders. The new group was announced at the opening of Billy Berg's Supper Club. 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 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, Louis Armstrong in 1953 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

10 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 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. Autograph of Armstrong on the muretto of Alassio 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 African American performers little access beyond their public 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.

11 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. Armstrong and race Armstrong was largely accepted into white society, both on stage and off, a privilege reserved for very few African-American public figures, and usually those of either exceptional talent and fair skin-tone. As his fame grew, so did his access to the finer things in life usually denied to a black man, even a famous one. His renown was such that he dined in the best restaurants and stayed in hotels usually exclusively for whites. [40] Armstrong's autograph from the 1960s 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 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.

12 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 Horn playing and early jazz In his early years, Armstrong was best known for his virtuosity with the cornet and trumpet. The greatest trumpet playing of his early years can be heard on his Hot Five and Hot Seven records, as well as the Red Onion Jazz Babies. The improvisations he made on these records of New Orleans jazz standards and popular songs of the day are unsurpassed by later jazz performers. The older generation of New Orleans jazz musicians often referred to their improvisations as "variating the melody." Armstrong's improvisations were daring and sophisticated for the time, while often subtle and melodic.

13 Louis Armstrong 10 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. Colleagues and followers During his long career he played and sang with some of the most important instrumentalists and vocalists of the time; among them were Bing Crosby, Duke Ellington, Fletcher Henderson, Earl Hines, the singing brakeman Jimmie Rodgers, Bessie Smith and perhaps most famously Ella Fitzgerald. His influence upon Bing Crosby is particularly important with regard to the subsequent development of popular music: Crosby admired and copied Armstrong, as is evident on many of his early recordings, notably "Just One More Chance" (1931). The New Grove Dictionary of Jazz describes Crosby's debt to Armstrong in precise detail, although it does not acknowledge Armstrong by name: Crosby... was important in introducing into the mainstream of popular singing an Afro-American concept of song as a lyrical extension of speech... His techniques easing the weight of the breath on the vocal cords, passing into a head voice at a low register, using forward production to aid distinct enunciation, singing on consonants (a practice of black singers), and making discreet use of appoggiaturas, mordents, and slurs to emphasize the text were emulated by nearly all later popular singers. Armstrong recorded three albums with Ella Fitzgerald: Ella and Louis, Ella and Louis Again, and Porgy and Bess for Verve Records, with the sessions featuring the backing musicianship of the Oscar Peterson Trio and drummer Buddy Rich. His recordings Satch Plays Fats, all Fats Waller tunes, and Louis Armstrong Plays W.C. Handy in the 1950s were perhaps among the last of his great creative recordings, both being considered masterpieces. His participation in Dave Brubeck's high-concept jazz musical The Real Ambassadors was critically acclaimed. For the most part, however, his later output was criticized as being overly simplistic or repetitive.

14 Louis Armstrong 11 Hits and later career Armstrong had many hit records including "Stardust", "What a Wonderful World", "When The Saints Go Marching In", "Dream a Little Dream of Me", "Ain't Misbehavin'", "You Rascal You,"and "Stompin' at the Savoy." "We Have All the Time in the World" was featured on the soundtrack of the James Bond film On Her Majesty's Secret Service, and enjoyed renewed popularity in the UK in 1994 when it featured on a Guinness advert. It reached number 3 in the charts on being re-released. In 1964, Armstrong knocked The Beatles off the top of the Billboard Hot 100 chart with "Hello, Dolly!", which gave the 63-year-old performer a U.S. record as the oldest artist to have a number one song. His 1964 song "Bout Time" was later featured in the film Bewitched. Armstrong performed in Italy at the 1968 Sanremo Music Festival where he sang "Mi Va di Cantare" [56] alongside his friend, the Eritrean-born Italian singer Lara Saint Paul. [57] In February 1968, he also appeared with Lara Saint Paul on the Italian RAI television channel where he performed "Grassa e Bella," a track he sang in Italian for the Italian market and C.D.I. label. [58] In 1968, Armstrong scored one last popular hit in the United Kingdom with the highly sentimental pop song "What a Wonderful World", which topped the British charts for a month; however, the single did not chart at all in America. The song gained greater currency in the popular consciousness when it was used in the 1987 movie Good Morning, Vietnam, its subsequent re-release topping many charts around the world. Armstrong even appeared on the October 28, 1970, Johnny Cash Show, where he sang Nat King Cole's hit "Rambling Rose" and joined Cash to re-create his performance backing Jimmie Rodgers on "Blue Yodel No. 9". 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. Literature, radio, films and TV Armstrong appeared in more than a dozen Hollywood films, usually playing a band leader or musician. His most familiar role was as the bandleader cum narrator in the 1956 musical, High Society, in which he sang the title song and performed a duet with Bing Crosby on "Now You Has Jazz". In 1947, he played himself in the movie New Orleans opposite Billie Holiday, which chronicled the demise of the Storyville district and the ensuing exodus of musicians from New Orleans to Chicago. [59] In the 1959 film, The Five Pennies (the story of the cornetist Red Nichols), Armstrong played himself as well as singing and playing several classic numbers. With Danny Kaye Armstrong performed a duet of "When the Saints Go Marching In" during which Kaye impersonated Armstrong. Armstrong also had a part in the film alongside James Stewart in The Glenn Miller Story in which Glenn (played by Stewart) jammed with Armstrong and a few other noted musicians of the time. He was the first African American to host a nationally broadcast radio show in the 1930s. In 1969, Armstrong had a cameo role in the film version of Hello, Dolly! as the bandleader, Louis, to which he sang the title song with actress Barbra Streisand. His solo recording of "Hello, Dolly!" is one of his most recognizable performances.

15 Louis Armstrong 12 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 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]

16 Louis Armstrong 13 Awards and honors 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 Year Category Title Genre Label Result 1964 Male Vocal Performance "Hello, Dolly!" Pop Kapp Winner Grammy Hall of Fame Recordings of Armstrong were inducted into the Grammy Hall of Fame, which is a special Grammy award established in 1973 to honor recordings that are at least twenty-five years old, and that have "qualitative or historical significance." [63][64] Grammy Hall of Fame Year recorded Title Genre Label Year inducted Notes 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 (Standing on the Corner)" Country (Single) Victor 2007 Jimmie Rodgers (Featuring Louis Armstrong) 1932 "All of Me" Jazz (Single) Columbia Porgy and Bess Jazz (Album) Verve 2001 with Ella Fitzgerald 1964 "Hello Dolly!" Pop (Single) Kapp "Heebie Jeebies" Jazz (Single) OKeh "What a Wonderful World" Jazz (Single) ABC "Mack the Knife" Jazz (Single) Columbia "St. Louis Blues" Jazz (Single) Columbia 1993 Bessie Smith with Louis Armstrong, cornet 1928 "West End Blues" Jazz (Single) OKeh 1974 Rock and Roll Hall of Fame The Rock and Roll Hall of Fame listed Armstrong's West End Blues on the list of 500 songs that shaped Rock and Roll. [65] Year recorded Title Label Group 1928 West End Blues Okeh Louis Armstrong and his Hot Five

17 Louis Armstrong 14 Inductions and honors In 1995, the U.S. Post Office issued a Louis Armstrong 32 cents commemorative postage stamp. Year inducted Title Results Notes 2007 Louisiana Music Hall of Fame 2007 Gennett Records Walk of Fame, Richmond, Indiana 2007 Long Island Music Hall of Fame 2004 Nesuhi Ertegün Jazz Hall of Fame at Jazz at Lincoln Center 1990 Rock and Roll Hall of Fame Early influence 1978 Big Band and Jazz Hall of Fame 1952 Down Beat Jazz Hall of Fame 1960 [] Hollywood Walk of Fame Star at 7601 Hollywood Blvd. 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 ( ) 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.

18 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 th 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, 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 ( / 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, 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. ( / www. time. com/ time/ time100/ artists/ profile/ armstrong. html) TIME, Stanley Crouch, June 8, "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, [5] When is Louis Armstrong's birthday? ( / www. louisarmstronghouse. org/ about/ faq. htm#la5) The Official Site of the Louis Armstrong House & Archives. [6] Current Biography 1944, pp [9] Teachout, Terry. "Satchmo and the Jews" ( / www. commentarymagazine. com/ viewarticle. cfm/ satchmo-and-the-jews-15265?page=all) Commentary magazine, Nov [10] "The Karnofsky Project" ( / www. karnofsky. org/ name. html). [11] Current Biography 1944 p. 16. [12] Bergreen, 1997, p. 78. [13] Bergreen, 1997, p [14] "Satchuated" ( / www. villagevoice. com/ music/ 0316,giddins,43368,22. html) Gary Giddins, Village Voice April 16 22, Retrieved October 17, [15] Bergreen, 1997, p [16] Bergreen, 1997, p [17] [18] Bergreen, 1997, p [19] Bergreen, 1997, p [20] Bergreen, 1997, p [21] Bergreen, 1997, p [22] Bergreen, 1997, p [24] Nairn: Earl "Fatha" Hines: ( / vimeo. com/ ) - 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

19 Louis Armstrong 16 [27] Bergreen, 1997, p [28] Collier (1985), p221-2 [29] Bergreen, 1997, p [30] Bergreen, 1997, p [31] Hale, James (editor of Jazzhouse.org), Danny Barcelona ( ), Drums, Armstrong All-Star, The Last Post, 2007 ( / www. jazzhouse. org/ gone/ lastpost2. php3?edit= ). Retrieved July 4, [32] Penny M. Von Eschen. Satchmo Blows up the World: Jazz Ambassadors Play the Cold War. (Cambridge, MA: Harvard University Press, 2004; ISBN ), [33] Meckna, Michael; Satchmo, The Louis Armstrong Encyclopedia, Greenwood Press, Connecticut & London, [34] Bergreen, 1997, p [35] Krebs, Albin. "Louis Armstrong, Jazz Trumpeter and Singer, Dies" ( / www. nytimes. com/ learning/ general/ onthisday/ bday/ html), The New York Times, July 7, Accessed October 1, "Louis Armstrong, the celebrated jazz trumpeter and singer, died in his sleep yesterday morning at his home in the Corona section of Queens." [39] Armstrong, 1954, pp [41] Collier (1985), p [43] See also, from September 23, 2007, * David Margolick, The Day Louis Armstrong Made Noise ( / www. nytimes. com/ 2007/ 09/ 23/ opinion/ 23margolick. html). [45] Bergreen, 1997, p [46] Teachout, Terry (2009) Pops: A Life of Louis Armstrong pp [47] Louis Armstrong, "Christmas Through the Years," Laserlight [48] Satchmo.net. 'Red Beans and Ricely yours, Louis Armstrong.' [49] Jive Dictionary ( / www. cabcalloway. cc/ _vti_bin/ shtml. exe/ jive_dictionary. htm), by Cab Calloway: "Barbecue (n.) the girl friend, a beauty." Retrieved February 10, [50] Elie p [53] Bergreen, 1997, p. 4. [55] Michael Cogswell, Louis Armstrong: The Offstage Story of Satchmo (Collector's Press, Portland, Oregon, 2003) ISBN pp [56] "Hit Parade Italia" Hit Parade Italia Festival di Sanremo 1968 ( / www. hitparadeitalia. it/ sanremo/ edizioni/ htm). [57] "Mi va di cantare" Lara Saint Paul lavocedelledonne.it ( / www. lavocedelledonne. it/ cantante. aspx?id_cantante=126). [58] Louis Armstrong: "Grassa e bella" Louis Armstrong Discography ( / michaelminn. net/ armstrong/ index. php?section8). [59] IMDb.com ( / www. imdb. com/ title/ tt / ) [61] IMDb.com ( / www. imdb. com/ title/ tt / ) [66] See Ken Burns' Jazz CD Set liner notes. Further reading Armstrong, Louis, Satchmo: My Life in New Orleans. originally 1954 ISBN Armstrong, Louis and Thomas Brothers, Armstrong, in His Own Words: Selected Writings ISBN X Bergreen, Laurence, "Louis Armstrong: An Extravagant Life" ISBN Brothers, Thomas, "Louis Armstrong's New Orleans" ISBN Cogswell, Michael, Armstrong: The Offstage Story ISBN Elie, Lolis Eric, A Letter from New Orleans. Originally printed in Gourmet. Reprinted in Best Food Writing 2006, Edited by Holly Hughes, ISBN Jones, Max and Chilton, John, Louis Armstrong Story ISBN Meckna, Michael, Satchmo: The Louis Armstrong Encyclopedia.2004 ISBN Storb, Ilse, "Louis Armstrong: The Definitive Biography" ISBN Teachout, Terry, Pops - A life of Louis Armstrong. 2009; ISBN

20 Louis Armstrong 17 External links louis-armstrong.net Sony BMG Music Entertainment ( www. louis-armstrong. net) Louis Armstrong by Nat Hentoff ( www. gadflyonline. com/ archive/ MarchApril00/ archive-louisarmstrong. html) Obituary, NY Times ( www. nytimes. com/ learning/ general/ onthisday/ bday/ html) Quotes and tributes ( www. satchmo. com/ louisarmstrong/ quotes. html) Discography ( www. michaelminn. net/ armstrong) Filmography ( www. imdb. com/ name/ nm / imdb.com ( www. imdb. com) The Louis Armstrong Society Jazz Band ( www. larmstrongsoc. org) Louis Armstrong: A Life in Music ( www. life. com/ image/ first/ in-gallery/ 40982/ louis-armstrong-a-life-in-music) slideshow by Life magazine Seeing Black jazz critic ( www. seeingblack. com/ x040901/ armstrong. shtml) on the Uncle Tom question the official website of the Louis Armstrong House & Archives ( www. louisarmstronghouse. org/ ) "Louis Armstrong Transcription Project john p birchall" ( www. themeister. co. uk/ dixie/ dixieland_jazz. htm) Louis Armstrong ( pbskids. org/ jazz/ nowthen/ louis. html) at pbskids.org Louis Armstrong ( www. findagrave. com/ cgi-bin/ fg. cgi?page=gr& GRid=36) at Find A Grave David Margolick, The Day Louis Armstrong Made Noise ( www. nytimes. com/ 2007/ 09/ 23/ opinion/ 23margolick. html) Smithsonian ( www. npg. si. edu/ exh/ armstrong/ index. htm) Louis Armstrong: A Cultural Legacy Louis Armstrong at NPR Music ( www. npr. org/ templates/ story/ story. php?storyid= ) Louis Armstrong in Athens ( blog. dlg. galileo. usg. edu/?p=2445), Blog of the Digital Library of Georgia Louis Armstrong: discography and early recordings (RealPlayer format) ( redhotjazz. com/ louie. html) on the Red Hot Jazz website. Milestone Louis Armstrong recordings ( 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 ( www. archive. org/ details/ satchmomylifeinn001956mbp) "Satchmo My Life in New Orleans" ( www. questia. com/ PM. qst?a=o& d= ) another website Louis Armstrong ( 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 ( worldcat. org/ identities/ lccn-n ) in libraries (WorldCat catalog) Louis Armstrong ( www. discogs. com/ artist/ Louis+ Armstrong) discography at Discogs Video clips "Now You Has Jazz" ( www. youtube. com/ watch?v=hxzcz6g_pcm) "Blueberry Hill" ( www. youtube. com/ watch?v=3xy5jsrqg_y) "Stompin' At The Savoy" ( www. youtube. com/ watch?v=vrabea3u_wg) Germany, 1959 "Tiger Rag" ( www. youtube. com/ watch?v=9lhdvqmpk0m) "C'est si bon ( www. youtube. com/ watch?v=ofcs7kzwxug) 1962 "Dream a Little Dream" ( www. youtube. com/ watch?v=r-xzfwdan1i) photo slide show "Louis Armstrong and Frank Sinatra The Birth of The Blues" ( www. youtube. com/ watch?v=x_i3gpykkve) The Edsel Show "What a Wonderful World" ( www. youtube. com/ watch?v=e2vcwbzgdpm& feature=related)

21 Louis Armstrong 18 Nairn, Charlie, (1975): Earl "Fatha" Hines: ( vimeo. com/ ). 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, 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 / 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

22 19 Albums Louis Armstrong and Duke Ellington: The Great Summit/Complete Sessions Louis Armstrong and Duke Ellington: The Great Summit/Complete Sessions Studio album by Duke Ellington & Louis Armstrong Released 1961 Recorded Genre Length Label Producer April 3 4, 1961 RCA Studios, New York City Jazz 67:31 (first disc) 57:56 (second disc) Roulette Bob Thiele 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)"

23 Louis Armstrong and Duke Ellington: The Great Summit/Complete Sessions "Azalea" Second CD, Alternate Takes 1. "In a Mellotone" 2. "I'm Beginning to See the Light" 3. "Do Nothin' Till You Hear From Me" 4. "Don't Get Around Much Anymore" 5. "Duke's Place" 6. "Drop Me Off in Harlem" 7. "I'm Just a Lucky So-and-So" 8. "Azalea" 9. "Black and Tan Fantasy" 10. "Band Discussion on 'Cotton Tail'" Personnel Duke Ellington piano Louis Armstrong trumpet, vocals Barney Bigard clarinet Trummy Young trombone Mort Herbert double Bass Danny Barcelona drums The Complete Ella Fitzgerald & Louis Armstrong on Verve The Complete Ella Fitzgerald & Louis Armstrong on Verve Compilation album by Ella Fitzgerald, Louis Armstrong Released 1997 Recorded Genre Jazz Length 90:45 Label Producer Verve Norman Granz Ella Fitzgerald chronology The Complete Ella Fitzgerald Songbooks (1994) The Complete Ella Fitzgerald & Louis Armstrong on Verve (1997) Jukebox Ella: The Complete Verve Singles, Vol. 1 (2003) Louis Armstrong chronology

24 The Complete Ella Fitzgerald & Louis Armstrong on Verve 21 Together for the First Time (1961) The Complete Ella Fitzgerald & Louis Armmstrong on Verve (1997) Complete New York Town Hall & Boston Symphony Hall Concerts (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 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: "The Nearness of You" (Hoagy Carmichael, Ned Washington) 5: "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: "Let's Call the Whole Thing Off" (G. Gershwin, I. Gershwin) 4: "These Foolish Things" (Harry link, Holt Marvell, Jack Strachey) 7:40

25 The Complete Ella Fitzgerald & Louis Armstrong on Verve "I've Got My Love to Keep Me Warm" (Berlin) 3: "Willow Weep for Me" (Ann Ronell) 4: "I'm Putting all My Eggs in One Basket" (Berlin) 3: "A Fine Romance" (Fields, Kern) 3: "Ill Wind" (Harold Arlen, Ted Koehler) 3: "Our Love is Here to Stay" (G. Gershwin, I. Gershwin) 4: "I Get a Kick Out of You" (Porter) 4: "Learnin' the Blues" (Delores Vicki Silvers) 7: "You Won't Be Satisfied (Until You Break My Heart)" (Freddie James, Larry Stock) 3: "Undecided" (Sydney Robin, Charlie Shavers) 3:39 Disc Three 1. Overture (G. 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 8. "It Ain't Necessarily So" (G. Gershwin, I. Gershwin) 6:34 9. "What You Want Wid Bess?" 1: "Woman Is a Sometime Thing" 4: "Oh, Doctor Jesus" 2: Medley: "Here Come de Honey Man"/"Crab Man"/"Oh, Dey's So Fresh and Fine" 3: "There's a Boat Dat's Leavin' Soon for New York" 4: "Oh Bess, Oh Where's My Bess?" 2: "Oh, Lawd, I'm on My Way!" 2:57 All songs on disc three written by George and Ira Gershwin and Dubose Heyward, unless otherwise indicated. References

26 Ella and Louis 23 Ella and Louis Ella and Louis Studio album by Ella Fitzgerald, Louis Armstrong Released 1957 Recorded August 16, 1956 Capitol Studios, Los Angeles Genre Vocal jazz Length 54:06 Label Producer Verve MGV-4003 Norman Granz Ella Fitzgerald chronology Ella Fitzgerald Sings the Cole Porter Songbook (1956) Ella and Louis (1956) Ella Fitzgerald Sings the Rodgers & Hart Songbook (1956) Louis Armstrong chronology The Great Chicago Concert (1956) Ella and Louis (1956) I've Got the World On a String (1957) 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

27 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 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

28 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 , ISBN ] Ella and Louis Again Ella and Louis Again Studio album by Ella Fitzgerald, Louis Armstrong Released 1957 Recorded July 23, July 31 and August 13, 1957 in Los Angeles Genre Vocal jazz Length 90:26 Label Producer Verve MGV Norman Granz Ella Fitzgerald chronology Ella Fitzgerald Sings the Rodgers & Hart Songbook (1956) Ella and Louis Again (1957) Ella Fitzgerald Sings the Duke Ellington Songbook (1957) Louis Armstrong chronology Louis Under the Stars (1957) Ella and Louis Again (1956) Porgy and Bess (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 Reception

29 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 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

30 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

31 High Society 28 High Society High Society Soundtrack album by Bing Crosby Released 1956 Recorded January 1956 Genre Label Traditional pop Capitol Bing Crosby chronology Bing: A Musical Autobiography (1954) High Society (1956) Songs I Wish I Had Sung the First Time Around (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 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.

32 High Society 29 Chart positions Chart Year Peak UK Albums Chart [1] position Preceded by The King and I by Original Soundtrack UK Albums Chart number-one album 16 February February 1957 Succeeded by The King and I by Original Soundtrack 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

33 Louis Armstrong Meets Oscar Peterson 30 Louis Armstrong Meets Oscar Peterson Released 1957 Louis Armstrong Meets Oscar Peterson Studio album by Louis Armstrong & Oscar Peterson Recorded Genre July 31, 1957 and October 14, 1957, at Capitol Studios, Hollywood, Los Angeles, California Jazz Length 70:02 Label Producer Verve Norman Granz Louis Armstrong chronology Porgy and Bess (1957) Louis Armstrong Meets Oscar Peterson (1957) Louis and the Angels (1957) 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: "There's No You" (Tom Adair, Hal Hopper) 2: "You Go to My Head" (J. Fred Coots, Haven Gillespie) 6: "Sweet Lorraine" (Cliff Burwell, Mitchell Parish) 5:11

34 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 ( / www. vervemusicgroup. com/ artist/ releases/ default. aspx?pid=9815& aid=2679) Verve Music Group. Accessed July 13, 2008.

35 Louis Armstrong Plays W.C. Handy 32 Louis Armstrong Plays W.C. Handy Louis Armstrong Plays W. C. Handy Studio album by Louis Armstrong and His All Stars Released 1954 Recorded Jul 12, 1954 Genre Jazz Length 76:37 Label Producer Columbia George Avakian Louis Armstrong and His All Stars chronology Satchmo at Pasadena (1951) Louis Armstrong Plays W. C. Handy (1954) Satch Plays Fats (1955) 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

36 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: CD bonus tracks 1. "George Avakian's Interview with W. C. Handy - 2:44 2. "Loveless Love" (Handy) - 5:55 3. "Hesitating Blues" (Handy) - 5:38 4. "Alligator Story" - 0:47 5. "Long Gone (From Bowling Green)" (Handy, Smith) - 7:53 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

37 Louis Armstrong Plays W.C. Handy 34 References [1] [ Allmusic review] External links Louis Armstrong Plays W. C. Handy ( www. michaelminn. net/ armstrong/ sessions5/ s html), from The Louis Armstrong Discography ( www. michaelminn. net/ armstrong/ ) by Scott Johnson with adaptations by Michael Minn, Porgy and Bess Porgy and Bess Studio album by Ella Fitzgerald, Louis Armstrong Released 1957 Recorded August & October 14, 1957 Los Angeles Chicago Genre Jazz, light opera Length 66:04 Label Producer Verve MGV Norman Granz Ella Fitzgerald chronology Like Someone in Love (1957) Porgy and Bess (1957) Ella at the Opera House (1958) Louis Armstrong chronology I've Got the World On a String (1957) Porgy and Bess (1957) Louis Armstrong Meets Oscar Peterson (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 , then reissued on PolyGram on CD in 1990, as Verve-PolyGram 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.

38 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 ) 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

39 Porgy and Bess 36 Cast and orchestra Louis Armstrong - Vocals, Trumpet Ella Fitzgerald - Vocals Paul Smith - Piano Alvin Stoller - Drums 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

40 Porgy and Bess 37 References [1] Grammy Hall of Fame Database ( / www. grammy. org/ recording-academy/ awards/ hall-of-fame) External links Notes on August session ( www. satchography. com/ sessions6/ s html) and October session ( www. satchography. com/ sessions6/ s571014a. html) from Satchography.com Notes on August session ( www. jazzdisco. org/ verve/ 1957-dis/ c/ #570818) and October session ( www. jazzdisco. org/ verve/ 1957-dis/ c/ #571014b) from the Jazz Discography Project Ella Fitzgerald and Louis Armstrong: Porgy and Bess ( www. discogs. com/ master/ ) at Discogs (list of releases) The Real Ambassadors The Real Ambassadors Original Cast Recording Music Productions Dave and Iola Brubeck Louis Armstrong 1962 Monterey Jazz Festival 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.

41 The Real Ambassadors 38 Recording and performance The Real Ambassadors Soundtrack album Released 1962 Recorded September, December th Street Studio, New York City Genre Label Producer Jazz Columbia Teo Macero 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? He's watchin' all the Earth. He's watched us from our birth. And if He cared if you black or white, He'd a mixed one color, one just right. Black or white... One just right... 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

42 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. Releases and catalog numbers Columbia OL 5850 (1962) Columbia CBS (UK) Sony/CBS (1990 "I Love Jazz" CD reissue) Sony/CBS Legacy CK (US CD reissue) [6] 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

43 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 Notes [1] Von Eschen, Penny M. Satchmo Blows the World, 2004, p.81, [3] Stern, Chip. Liner notes for The Real Ambassadors, 1994, Columbia/Legacy CK [4] / www. therealambassadors. com/ 2. htm External links Dianne Mower's The Real Ambassadors site ( www. therealambassadors. com/ index. htm) Interview with Penny Von Eschen on The Real Ambassadors ( www. jerryjazzmusician. com/ mainhtml. cfm?page=voneschen. html#the Real Ambassadors album) The Real Ambassadors at Allmusic ( www. allmusic. com/ album/ r206112) NPR Interview with Dave Brubeck on The Real Ambassadors by Patrick Jarenwattananon ( www. npr. org/ blogs/ ablogsupreme/ 2009/ 06/ dave_brubeck_on_the_real_ambas. html)

44 Struttin' 41 Struttin' Struttin' Studio album by Louis Armstrong with Edmond Hall's All Stars Released March 19, 1996 Genre Label Jazz, Dixieland, Swing Drive Archive Struttin' is a 1996 jazz album performed by Louis Armstrong with Edmond Hall's All Stars. Track listing No. Title Length 1. "Dippermouth Blues" 2:08 2. "Mahogany Hall Stomp" 2:48 3. "Muskrat Ramble" 2:19 4. "St. Louis Blues" 2:48 5. "Rockin' Chair" 4:29 6. "Tiger Rag" 4:28 7. "Black And Blue" 3:58 8. "Confessin'" 4:07 9. "Struttin' With Some Barbeque" 1: "Lazy River" 3: "You Rascal You" 3: "Save It Pretty Mama" 2:49

45 42 Songs "Alexander's Ragtime Band" "Alexander's Ragtime Band" is a song by Irving Berlin. It was his first major hit, in There is some evidence, although inconclusive, that Berlin borrowed the melody from a draft of "A Real Slow Drag" by Scott Joplin that had been submitted to a publisher. [1] 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: There's a fiddle with notes that screeches Cover, 1911 sheet music 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 Louis Armstrong made the top 20 with it in A duet by Bing Crosby and Connee Boswell hit #1 in Johnny Mercer charted a swing version in 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 Bob Wills put it on the c&w charts in the same decade.

46 "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 Johnnie Ray recorded his version in Ella Fitzgerald scored with it in 1958, and received a Grammy for her Irving Berlin anthology in 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 [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 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 [citation needed] concerts with the song. Notes [1] Berlin, E. A. King of Ragtime, Oxford University Press, 1994, p [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 ( cylinders. library. ucsb. edu/ search. php?query=alexander's ragtime band 10522& num=1) (Cylinder Preservation and Digitization Project) "Alexander's Ragtime Band" ( library. duke. edu/ digitalcollections/ hasm. a5378/ pg. 1/ ) from Historic American Sheet Music: The Digital Scriptorium ( scriptorium. lib. duke. edu/ scriptorium/ ) "Alexander's Ragtime Band" Centennial Tribute ( www. americanmusicpreservation. com/ AlexandersRagtimeBandCentennial. htm)

47 "April in Paris" 44 "April in Paris" "April in Paris" Music by Lyrics by Vernon Duke E.Y. Harburg Published 1932 Language Recorded by English Louis Armstrong Count Basie (1955) Doris Day Tommy Dorsey Bill Evans Ella Fitzgerald Benny Goodman Coleman Hawkins Billie Holiday Dean Martin Glenn Miller Thelonious Monk Charlie Parker Frank Sinatra Dinah Shore Kurt Elling Alex Chilton Dawn Upshaw and Nina Simone. "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) [citation needed] The song is also featured in the film Blazing Saddles. The song is also featured on the game Grand Theft Auto 4.

48 "April in Paris" 45 Literature Ted Gioia The Jazz Standards: A Guide to the Repertoire Oxford University Press; Oxford 2012; ISBN References [2] Count Basie - April In Paris - Verve Records ( / www. vervemusicgroup. com/ product. aspx?ob=prd& src=list& pid=9896) External links "April in Paris" ( / www. jazzstandards. com/ compositions-1/ aprilinparis. htm) at JazzStandards.com ( / www. jazzstandards. com)

49 "Autumn in New York" 46 "Autumn in New York" For the 2000 film directed by Joan Chen, see Autumn in New York (film). For the 1950 album by Jo Stafford, see Autumn in New York (Jo Stafford album). "Autumn in New York" Music by Written 1934 Vernon Duke Language Form English Jazz standard "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

50 "Autumn in New York" Shelly Manne 1954 Tal Farlow 1955 Bobby Short 1955 George Wallington 1955 Hampton Hawes 1955 Johnny Costa 1955 Lawrence Brown 1956 Ella Fitzgerald 1956 Jeri Southern 1956 Kenny Dorham 1956 Louis Armstrong 1956 Norrie Paramor 1956 Phineas Newborn 1956 Sanford Gold 1956 The Modern Jazz Quartet 1956 Sarah Vaughan 1957 Ella Fitzgerald and Louis Armstrong 1957 Frank Sinatra 1957 Al Haig 1958 Ahmad Jamal 1958 André Previn 1958 Kenny Burrell 1958 Red Callender 196? Enoch Light and Command All-Stars 1960 Roosevelt Wardell 1961 Ramsey Lewis 1962 The Three Sounds 1962 Walt Dickerson 1963 Johnny Mathis 1963 Mel Tormé 1964 Caterina Valente 1965 Jimmy Roselli 1971 Shirley Bassey 1972 Art Van Damme 1974 George Shearing 1974 Tete Montoliu 1975 Stéphane Grappelli with Slam Stewart 1976 Larry Coryell 1977 George Coleman 1977 Bing Crosby 1978 Dudley Moore Trio 1979 Chico Freeman 1980 Adam Makowicz 1980 Dardanelle 1981 Heath Brothers 1981 Marian McPartland 1981 Warren Vaché

51 "Autumn in New York" Gordon Lee 1983 New York Pops 1983 Great Jazz Trio 1983 Jay McShann 1984 Kenny Barron 1985 Fumio Karashima 1985 Jonathan & Darlene Edwards 1985 Tiziana Ghiglioni with Melillo 1986 Niels Lan Doky 1986 Nuclear Whales Saxophone Orchestra 1987 Al Cohn 1987 Paul Cacia 1988 Cedar Walton & the VIP Trio 1988 Roland Hanna 1988 Yehudi Menuhin 1989 Harry Connick, Jr Louis Hayes Sextet 1990 Cecil Brooks III 1990 Claude Williamson Trio 1990 Eddie Harris Quartet 1990 Richard Rodney Bennett 1990 Steve Kuhn 1991 Massimo Urbani 1991 Rosemary Clooney 1991 Walter Bishop, Jr Greg Gisbert 1992 Jeff Linsky 1992 Paul Weston 1992 Ray Anthony Orchestra 1993 Curtis Fuller 1993 Indigo 1993 Susan Freeman 1993 The Manhattan Project 1994 Sandra King 1994 Franco d'andrea, Giovanni Tommaso and Roberto Gatto 1994 Allan Vache 1994 Errol Parker 1994 Hideaki Yoshioka 1994 Jo Stafford 1994 Joe Lovano and Aldo Romano 1994 Martin Litton 1995 Anthony Braxton and Mario Pavone 1995 Bill Broughton & Orchestra of the Americas 1995 Bireli Lagrene, Minh Doky Nder and Ceccarelli 1995 Mark Whitfield 1995 Naima 1995 Phil Woods, Vincent Herring, Antonio Hart

52 "Autumn in New York" Anders Persson Trio 1996 Bill Mays 1996 Claude Gordon 1996 David "Fathead" Newman 1996 Dennis Rowland 1996 Ewan Svensson Trio 1996 Ralph Marterie 1996 The Hi-Lo's 1996 The Sentimental Strings 1996 Valery Ponomarev 1997 Alvaro Is Rojas 1997 Bruce Barth 1997 Carol Kidd 1997 Carol Sloane & Clark Terry 1997 Frederick Washington, Jr Kimiko Itoh 1997 Nat Simpkins 1997 Putte Wickman 1997 Rob McConnell & The Boss Brass 1998 Arthur Prysock 1998 Dexter Gordon 1998 Ebony Big Band 1998 Lena Horne 1998 Mark Turner 1998 Paul Kendall 1998 Singers Unlimited 1998 Sweet Jazz Trio 1999 David Liebman and John Scofield 1999 David Murray 1999 Dawn Upshaw 1999 Helge Schneider 1999 Martin Taylor, David Grisman, Acoustic Jazz Quartet 1999 Ron Affif 1999 Sun Ra 2000 Mark Turner and Tad Shull 2000 Al Porcino 2000 Buddy Weed 2000 Charlie Byrd 2000 Elly Rosenthal 2000 Jamey Aebersold 2000 John Stetch 2000 Mike Hatchard and Herbie Flowers 2000 Russ Peterson 2000 Si Perkoff 2000 The Drummonds 2000 Yvonne Washington 2001 Andy Ezrin

53 "Autumn in New York" Armando Noriega 2001 Gene Ammons and Sonny Stitt 2001 Saisa 2001 Susan Sutton Trio 2001 The Pete Cater Big Band 2001 Polly Bergen 2002 Ann Crumb 2002 Karen Mason 2002 Lisa Ives 2002 Lol Coxhill 2002 Lori Bell 2002 Marcel Azzola and Dany Doriz 2002 Percy Faith 2002 Ron Eschete 2002 The Dutch Jazz Orchestra & Jerry van Rooyen 2002 Carl Saunders 2003 Bobby Hackett 2003 Charlie Spivak 2003 Christine Andreas 2003 Donald Brown 2003 Gianni Basso and Roberto Sellani 2003 Jim Hartog 2003 Joe Augustine 2003 Joe Wilder 2003 John Hicks and Elise Wood 2003 Pete Malinverni 2003 Roger Rosenberg 2003 Sheila Jordan 2003 Stevie Holland 2003 Theano 2004 Eileen Mager 2009 Frode Kjekstad 2009 Heath Brothers 2011 Ferit Odman External links Song information at JazzStandards.com [1] References [1] / www. jazzstandards. com/ compositions-1/ autumninnewyork. htm

54 "Back Home Again in Indiana" 51 "Back Home Again in Indiana" "(Back Home Again in) Indiana" is a song composed by Ballard MacDonald and James F. Hanley, first published in January While it is not the official state song of the U.S. state of Indiana ("On the Banks of the Wabash"), it is perhaps the best-known song that pays tribute to the Hoosier State. Origin and influence The tune was introduced as a Tin Pan Alley pop-song of the time. It contains a musical quotation from the already well known "On the Banks of the Wabash, Far Away", as well as repetition of some key words and phrases from the lyrics of the latter: moonlight, candlelight, fields, new-mown hay, sycamores, and of course the Wabash River. 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) sheet music cover 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, Released on the 78 rpm record Philips P H. Its chord changes undergird the Miles Davis bop composition "Donna Columbia 78, A2297, ODJB, 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".

55 "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 Problems playing this file? See media help. 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] / www. in. gov/ ism/ Exhibits_Collections/ BuildingFeatures/ stmclk. aspx

56 "Basin Street Blues" 53 "Basin Street Blues" "Basin Street Blues" is a song often performed by Dixieland jazz bands, written by Spencer Williams. The song was published in 1926 and made famous in a recording by Louis Armstrong in The famous verse with the lyric "Won't you come along with me/to the Mississippi..." was later added by Glenn Miller and Jack Teagarden. The Basin Street of the title refers to the main street of Storyville, the notorious red-light district of the early 20th-century New Orleans, just north of the French Quarter. It became a red light district in approximately 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 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 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.) ( www. youtube. com/ watch?v=iijxxxpuefm) "Basin Street Blues" Jack Teagarden (Tb.&Vo.) and his Orchestra ( www. youtube. com/ watch?v=jhr3knak-ic) - We can hear the verse with "Won't you come along with me/around the Mississippi...".

57 "Big Butter and Egg Man" 54 "Big Butter and Egg Man" "Big Butter and Egg Man" Single by Louis Armstrong and his Hot Five B-side Sunset Cafe Stomp Released December 1926 Recorded 1926 Genre Writer(s) Producer Jazz Percy Venable Percy Venable "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, ISBN pp [2] All Music Guide to Jazz: The Definitive Guide to Jazz Music. Vladimir Bogdanov, Chris Woodstra and Stephen Thomas Erlewine. Backbeat Books, ISBN X. p. 140 [3] The original Hot Five recordings of Louis Armstrong. Gene Henry Anderson, Michael J. Budds. Pendragon Press, ISBN 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, ISBN p. 205 [5] The City in Slang: New York Life and Popular Speech. Irving Lewis Allen. Oxford University Press US, ISBN p. 77

58 "Blue Moon" 55 "Blue Moon" "Blue Moon" Music by Richard Rodgers Lyrics by Lorenz Hart 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 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, [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, 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 [citation needed] men." 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

59 "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 Mel Tormé cover "Blue Moon" Single by Mel Tormé B-side "Again" Released 1949 Format 10" single Recorded 1949 Genre Label Writer(s) Jazz Capital Richard Rodgers, Lorenz Hart [4] Mel Tormé did a cover version of "Blue Moon" that reached the Billboard charts in It was released by Capitol Records as catalog number 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] Elvis Presley cover "Blue Moon" Single by Elvis Presley from the album Elvis Presley A-side "Just Because" Released August 31, 1956 Recorded August 19, 1954 Genre Rock and roll Length 2:31 Label Writer(s) RCA Richard Rodgers, Lorenz Hart [4] Elvis Presley singles chronology "I Love You Because" / "Trying to Get to You" (1956) "Just Because" / "Blue Moon" (1956) "Money Honey" / "One-Sided Love Affair" (1956)

60 "Blue Moon" 57 Elvis Presley track listing 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 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. The Marcels' cover "Blue Moon" Single by The Marcels from the album Blue Moon B-side "Goodbye to Love" Released February 1961 Format 7" single Recorded 1961 Genre Rock and roll, R&B Length 2:15 Label Writer(s) Producer Certification Colpix Richard Rodgers, Lorenz Hart [4] Stu Phillips Gold The Marcels singles chronology "Blue Moon" (1961) "Summertime" (1961)

61 "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 Chart (1961) U.S. Billboard Hot 100 UK Singles Chart R&B Chart Peak position 1 [6] 1 [7] 1 [] Preceded by "Wooden Heart" by Elvis Presley UK number one single (The Marcels version) May 4-11, 1961 (two weeks) Succeeded by "On The Rebound" by Floyd Cramer 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 ( www. weeklybugle. com/ music/ bluemoon. htm). Retrieved June 6, [2] Kanfer, Stefan. 'Richard Rodgers: Enigma Variations', City Journal, Autumn [3] Martini, Alessandro. 'Song: Blue Moon', LorenzHart.org ( www. lorenzhart. org/ moonsng. htm). Retrieved June 6, [4] Hart, Lorenzo; Hart, Dorothy; Kimball, Robert. The Complete Lyrics of Lorenz Hart (New York: Knopf, 1986). ISBN [5] / www. allmusic. com/ artist/ mel-torm-p7700/ biography [6] / www. allmusic. com/ artist/ the-marcels-p4841/ charts-awards/ billboard-singles [7] / www. chartstats. com/ release. php?release=2687

62 "Blueberry Hill" 59 "Blueberry Hill" "Blueberry Hill" Single by Fats Domino from the album This Is Fats Domino! B-side "Honey Chile" Released 1956 Genre Rock And Roll Length 2:28 Label Imperial Records 5407 Writer(s) Vincent Rose, Larry Stock, Al Lewis Fats Domino singles chronology "When My Dreamboat Comes Home" (1956) "Blueberry Hill" (1956) "The Rooster Song" (1957) "Blueberry Hill" is a popular song published in 1940 best remembered for its 1950s rock n' roll version by Fats Domino. The music was written by Vincent Rose, the lyrics by Larry Stock and Al Lewis. It was recorded six times in Victor Records released the recording by the Sammy Kaye Orchestra with vocals by Tommy Ryan on May 31, 1940 (catalog #26643, with the flip side "Maybe"; matrix #51050 [1] ). Gene Krupa's version was issued on OKeh Records (#5672) on June 3 and singer Mary Small did a vocal version on the same label with Nat Brandwynne's orchestra, released June 20, 1940 on OKeh Records #5678. Other 1940 recordings were by: The Glenn Miller Orchestra on Bluebird Records (10768), Kay Kyser, Russ Prime Minister of Russia Vladimir Putin singing Blueberry Hill on a charity concert in Morgan, Gene Autry (also in the 1941 film The Singing Hill [2] ), Connee Boswell, and Jimmy Dorsey. The largest 1940 hit was by The Glenn Miller Orchestra, where it reached #1. [3] 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.

63 "Blueberry Hill" 60 Selected list of recorded versions Gene Autry (1940) (the original version, from the movie The Singing Hill) (1940) The Glenn Miller Orchestra(vocal by Ray Eberle) (1941) (The most famous version in the 1940s. Recorded in Chicago on May 13, It was released by Bluebird Records as catalog number 10768A (i USA) [7] and by EMI on the His Master's Voice label as catalog numbers BD 5632 and MH 92) Russ Morgan and His Orchestra (vocal by Carol Kaye) (1941) Kay Kyser and His Orchestra (vocal by Harry Babbitt) (1941) Louis Armstrong with Gordon Jenkins' Orchestra and Choir (1949) (with different lyrics) Fats Domino (1956) Scatman Crothers (1957) Elvis Presley (1957) Little Richard (1958) Ricky Nelson (1958) Andy Williams (1959) Duane Eddy (1959) Conway Twitty (1959) Carl Mann (1959) Bill Haley & His Comets (1960) John Barry Orchestra (1960) Buster Brown (1960) Skeeter Davis (1961) Cliff Richard (1962) San Remo Golden Strings (1966) The Loved Ones, Australia, (1966) The Everly Brothers (1967) Led Zeppelin (1970 on the Led Zeppelin bootleg recording Live on Blueberry Hill) Freddy Fender (1970s) Loretta Lynn (1971) Jerry Lee Lewis (1973, Southern Roots) Ellen McIlwaine (1975) The Beach Boys (1976) Billy "Crash" Craddock (1977) Adriano Celentano (1977) Link Wray (1982) Mud (1982) Jah Wobble (1980, Betrayal - The Legend Lives On) Yellowman (1987) Little Willie Littlefield on his album Singalong with Little Willie Littlefield (1990) Bruce Cockburn with Margo Timmins (1999) [8] Jimmy Clanton (2006, played in Boomtown Casino) Johnny Hallyday with Chris Isaak (2007, La Cigale, live album recorded 2006 Flashback Tour) Elton John (2007, Goin' Home: A Tribute to Fats Domino) Brenda Lee

64 "Blueberry Hill" 61 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 ( www. imdb. com/ title/ tt / ) Retrieved April 11, [3] The Glenn Miller Orchestra, "Blueberry Hill" Chart Position ( musicvf. com/ song. php?id=106292) Retrieved April 11, [4] Louis Armstrong, "Blueberry Hill" Chart Position ( musicvf. com/ song. php?id=26592) Retrieved April 11, [8] Bruce Cockburn Songs ( cockburnproject. net/ songs& music/ bh. html) Retrieved April 11, External links SongFacts: Blueberry Hill ( / www. songfacts. com/ detail. php?id=2078) "Blueberry Hill" ( / www. wikifonia. org/ node/ 2838) - Lead sheet at wikifonia.org Preceded by "Honky Tonk" (Part 1 & 2) by Bill Doggett Billboard R&B Best Sellers in Stores number-one single November 3, 1956 Succeeded by "Blue Monday" by Fats Domino

65 "Do You Know What It Means to Miss New Orleans?" 62 "Do You Know What It Means to Miss New Orleans?" "Do You Know What It Means to Miss New Orleans" is a song written by Eddie DeLange and Louis Alter, which was first heard in the movie New Orleans in 1947, where it was performed by Louis Armstrong and sung by Billie Holiday. Recorded by several artists, including Louis Armstrong (his rendition of the song has also been the theme song for TVs "Frank's Place") Billie Holiday Marilyn Maxwell on the Abbott and Costello Radio Show - April 17, 1947 [1] Eddie Condon Frankie Laine Fats Domino Jonah Jones Pete Fountain Ricky Nelson Al Hirt Marcia Hines featured on album 'Live Across Australia' Miracle ML703 Stéphane Grappelli Maura O'Connell Raul Seixas Dardanelle Alliance Hall Dixieland Band Harry Connick Jr. (with Dr. John) (Connick also played the song during a concert for the victims of Hurricane Katrina.) Alison Krauss Fats Domino Yoshio Toyama & Don Sutton Martin Taylor & Chet Atkins Tara Darnell Janet Carroll The Manhattan Transfer Lavay Smith & Her Red Hot Skillet Lickers Suede Victoria Williams Preservation Hall Jazz Band Stefano Bollani Ray Stevens - New Orleans Moon Paul Sanchez/Shamarr Allen - Meet Me On Frenchmen Street Linnzi Zaorski - Hot Wax and Whisky Take 6 & Aaron Neville - The Standard Eyran Katsenelenbogen - 88 Fingers Jimmy Buffett- Encores Also recorded by: Nat King Cole; Rosemary Clooney; Four Vagabonds; Lee Wiley.

66 "Do You Know What It Means to Miss New Orleans?" 63 References [1] Bruce Forsberg, 2008 ( / users. tns. net/ ~forsbergweb/ abbott_costello_log. pdf) "Dream a Little Dream of Me" "Dream a Little Dream of Me" Music by Fabian Andre, Wilbur Schwandt Lyrics by Gus Kahn Published 1931 Language Recorded by English (numerous, see text) "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).

67 "Dream a Little Dream of Me" 64 Cass Elliot version "Dream a Little Dream of Me" Single by Mama Cass with the Mamas & the Papas from the album The Papas & The Mamas and Dream a Little Dream B-side Midnight Voyage (the Mamas & the Papas) Released June 1968 Format Length Label 7" single 3:15 3:22 (Mama Cass' album version) Dunhill (USA) Stateside (UK) The Mamas and the Papas chronology "Safe In My Garden" (1968) "Dream a Little Dream of Me" (1968) "For The Love Of Ivy" (1968) Cass Elliot chronology "Dream a Little Dream of Me" (1968) "California Earthquake" (1968) "Dream a Little Dream of Me" The Mamas and Papas' version, with solo voice by Cass Elliot, released as a single during Problems playing this file? See media help. "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).

68 "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 [7] "Dream a Little Dream" was released as a single in Europe in 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] Anita Harris version The release of the Mama Cass single of "Dream a Little Dream of Me" prompted a cover by Anita Harris which was recorded at Olympic Studios in a session produced by Mike Margolis with Alan Tew as musical director. Released 26 July 1968, the Harris version debuted in the UK Top 50 dated 10 August 1968 at #46 ahead of the Cass version at #49 although the latter would vault into the Top 30 and then Top 20 over the next two weeks while the Harris version would never reach the Top 30. However Harris' version of "Dream a Little Dream of Me" would maintain a lower chart presence throughout the ascendancy of the Cass version with Harris' single peaking at #33 the week after Cass's peak at #11. Both Cass and Harris's versions of the song have an inaccurate rendering of the middle eight bars [citation needed]. List of recorded versions Ozzie Nelson recorded on February 16, Wayne King and his orchestra vocals Ernie Birchill recorded this song on February 18, Dorsey Brothers Orchestra, with vocal by Scrappy Lambert, recorded the song on February 26, Teddy Raph & his orchestra recorded this song on April 6, 1931, with vocal by Smith Ballew. Jack Leon And His Band, in August 1931 with vocalist Les Allen. Frankie Laine on June 13, Vaughn Monroe on September 8, Doris Day recorded on August 23, 1957 with Paul Weston/ album Day by Night Ella Fitzgerald and Louis Armstrong (both separately and as a duet) Barbara Carroll The Nat King Cole trio Joni James in 1962 Dean Martin Jack Owens Dinah Shore Bing Crosby recorded the song on February 19, 1957 for his album Bing With A Beat. The Mamas & the Papas recorded the song on their 1968 album The Papas & The Mamas; this version was released as a single credited to lead singer Mama Cass Anita Harris had a UK single release 26 July A sound-alike cover of Cass Elliot's version appeared on the 1968 album Top of the Pops, Volume 2. Sung in Italian by French singer Sylvie Vartan as Nostalgia (Nostalgy), in She also sang a version in French ("Les Yeux Ouverts"). Recorded by Henry Mancini for his 1969 album A Warm Shade of Ivory. Included on the Mills Brothers 1969 album of the same name, released by Pickwick Records. Recorded in Spanish as "Sueño Que Estoy Junto A Ti" by Caterina Valente on her 1969 album Nothing But Aces recorded with the Edmundo Ros Orchestra; another Spanish rendering: "Sueño En Gris", was recorded by Ana Belen for her album A La Sombra De Un León (1988)

69 "Dream a Little Dream of Me" 66 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 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 As of December 2009[10] it can be heard via streaming audio on their website at [11].

70 "Dream a Little Dream of Me" 67 Performed by Vassilikos on his 2009 album Vintage. Performed by Michael Bublé on his 2010 EP Special Delivery. Sung by the barbershop quartet OC Times on their 2010 album Destinations. Chapel Club - Surfacing (and Ewan Pearson Remix) The Television show Glee performed by character Artie Abrams. Season One, Episode 19 "Dream On" Eddie Vedder on his solo album Ukulele Songs. A Drum & Bass track using Elliot's version was recorded in 2010 by Drew "Kaos" Freeman The Courteeners as a B-side to "No You Didn't, No You Don't". Recorded by Asian Pop Queen Tracy Huang on her 2012 album Tracy Lullaby. Performed by Davina and The Vagabonds on their Live at the Times album. Sung by opera singer and coloratura soprano Sumi Jo for her classical crossover album released in Korea. Performances in other media It was the theme song in the 1989 movie Dream a Little Dream. The movie features two versions: One is a solo by Mickey Thomas, and the other is a duet with Mickey Thomas and Mel Tormé. At the beginning of the 1989 movie The Dream Team, a little old man sitting in the sanatorium sings it very sweetly. (The little old man is singer-accordionist Bill Goffi.) The version of Mama Cass was in 1990 in France the theme song of the commercial for the velvety smooth yogurt drink Yop from Yoplait. [12] In Jim Henson's Muppet*Vision 3D, Miss Piggy sings the song as a loosely parodied version of Mama Cass. Burgess Meredith sang the song as a lullaby to the girl playing his great-granddaughter (Allie, played by Katie Sagona) in the 1995 movie Grumpier Old Men. The song is heard in the final scene of the 1996 movie Beautiful Thing, as the two main characters dance outside their apartment complex. A few verses were sung by John Crichton, portrayed by Ben Browder, in the Farscape episode "Dream a Little Dream". The song is featured in Anand Tucker's 2010 movie Leap Year. It can be heard during the final scene and closing credits of the 2010 Jude Law movie Repo Men. It is performed by the Egyptian actress Youssra in the 2006 movie The Yacoubian Building. Performed live by Zooey Deschanel at fashion designer Erin Fetherston's 2007 show. Performed by Pete Doherty and Carl Barat as a party piece during the first iteration of The Libertines. Most recently they performed it at the Hackney Empire on April 12, 2007, during a surprise reunion show for the duo. Carl often tap-dances during the performance. Sung by Bobbi Eakes on the June 14, 2007, broadcast of ABC's All My Children. The character Artie Abrams, portrayed by Kevin McHale, sings the song on Glee in the episode "Dream On". The Ella Fitzgerald and Louis Armstrong duet version of the song is featured in the 2011 Hallmark movie The Lost Valentine. Used for the opening and closing credits for the HBO film Cinema Verite. During the mid- to late 1980s, the talking and singing teddy bear Teddy Ruxpin (made by Worlds Of Wonder [WOW] and voiced and sung by Phil Baron) came out during one Valentine season, with a kit that included not only a Tux, but a book and animation tape where he sang several old love songs. Included in this tape was "Dream a Little Dream of Me" plus "I Only Have Eyes for You" and "Someone to Watch over Me". The song provides the title for Season 3 Episode 10 of Supernatural. An instrumental version of the song features in adverts for Premier Inn.

71 "Dream a Little Dream of Me" 68 References [1] Co-catalog ( / cocatalog. loc. gov), Library of Congress. [2] Handwritten score posted by Nickerson Library ( / www. facebook. com/ photo. php?fbid= & set=a & type=1& theater) [3] Nickerson Archives Manuscripts ( / 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 ISBN ) pp.256, 261. [7] / www. poparchives. com. au/ gosetcharts/ 1968/ html [8] / www. thrillbomb. com [9] / www. ejazznews. com/ modules. php?op=modload& name=news& file=article& sid=8021& mode=thread& order=0& thold=0 [10] / en. wikipedia. org/ w/ index. php?title=dream_a_little_dream_of_me& action=edit [11] / www. erasureinfo. com [12] According to the web site 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 ( / www. npr. org/ programs/ specials/ vote/ 100list. html#d)

72 "El Choclo" 69 "El Choclo" "El Choclo" ("The Corn Cob") Sheet music for "El Choclo" Written by Ángel Villoldo Published 1903 Language Form Recorded by Spanish Tango 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.

73 "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 ( ) 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.

74 "El Choclo" 71 References [1] Billboard April 19, 1952 ( books. google. com/ books?id=gb4eaaaambaj& printsec=frontcover& source=gbs_navlinks_s) See page 30 Best Selling Pop Records [2] Billboard April 5, / books. google. com/ books?id=hb4eaaaambaj& q=kiss+ of+ fire see page 52 External links TodoTango article on El Choclo ( / www. todotango. com/ english/ biblioteca/ cronicas/ el_choclo. asp) El Choclo sheet music ( / www. todotango. com/ english/ las_obras/ partitura. aspx?id=24) Preceded by Blue Tango Cash Box magazine best selling record chart #1 record May 31, 1952 July 19, 1952 Succeeded by Auf Wiederseh n Sweetheart

75 "Georgia on My Mind" 72 "Georgia on My Mind" "Georgia on My Mind" Single by Ray Charles from the album The Genius Hits the Road B-side "Carry Me Back to Old Virginny" Released September 1960 Genre Jazz Length 3:35 Label Writer(s) ABC Records (USA), Stateside/EMI (UK & Europe) Hoagy Carmichael (music) Stuart Gorrell (lyrics) Ray Charles singles chronology "Tell the Truth" (1960) "Georgia on My Mind" (1960) "Ruby" (1960) "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 [1] Original version The chorus of Georgia Air National Guard Band of the Southwest MB Problems playing this file? See media help. 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 with "One Night in Havana".

76 "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 [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.

77 "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 Chart (1978) Peak position U.S. Billboard Hot Country Singles 1 U.S. Billboard Hot Canadian RPM Country Tracks 1 Canadian RPM Top Singles 86 Canadian RPM Adult Contemporary Tracks 16 Cultural significance [citation needed] In 2003, Rolling Stone magazine named "Georgia on My Mind" the 44th greatest song of all time. The title of the song was used as the state of Georgia's license plate slogan exclusively from January 1997 through November 2003 [citation needed] The song was one of the songs of the 1996 Summer Olympics held in Atlanta. 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]

78 "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 , Official song. References [2] The Hoagy Carmichael Collection ( webapp1. dlib. indiana. edu/ metsnav/ hoagy/ navigate. do?pn=1& size=large& oid= / fedora. dlib. indiana. edu:9090/ fedora/ get/ iudl:26519/ METADATA) Retrieved June 30, [4] Al Hirt, The Greatest Horn in the World ( www. discogs. com/ Al-Hirt-The-Greatest-Horn-In-The-World/ release/ ) Retrieved April 6, [8] / en. wikipedia. org/ wiki/ Spirit_of_Atlanta [9] / en. wikipedia. org/ wiki/ Georgia_on_my_mind [12] Willie Nelson's "Georgia on My Mind" Chart Positions ( musicvf. com/ song. php?id=48897) Retrieved June 30, [14] / thatguywiththeglasses. com/ bt/ the-sage/ specials/ the-top-20-best-number-one-songs External references Georgia-state-song web-page ( / www. sos. state. ga. us/ state_symbols/ state_song. html) External links Full lyrics of this song ( / www. metrolyrics. com/ georgia-on-my-mind-lyrics-ray-charles. html) at MetroLyrics Preceded by "Save the Last Dance for Me" by The Drifters Preceded by "Do You Know You Are My Sunshine" by The Statler Brothers Preceded by "She Can Put Her Shoes Under My Bed (Anytime)" by Johnny Duncan U.S. Billboard Hot 100 number one single (Ray Charles version) November 14, 1960 (one week) Billboard Hot Country Singles number-one single (Willie Nelson version) June 10, 1978 RPM Country Tracks number one single (Willie Nelson version) June 3-June 10, 1978 Succeeded by "Stay" by Maurice Williams & the Zodiacs Succeeded by "Two More Bottles of Wine" by Emmylou Harris Succeeded by "Night Time Magic" by Larry Gatlin

79 "Gone Fishin'" 76 "Gone Fishin'" Gone Fishin' is a song written by Nick and Charles Kenny and recorded by Bing Crosby and Louis Armstrong in [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

80 "Heebie Jeebies" 77 "Heebie Jeebies" "Heebie Jeebies" Single by Louis Armstrong and his Hot Five Released 1926 Recorded February 26, 1926 Chicago, Illinois, U.S. Genre Jazz Length 2:52 Label Writer(s) OKeh (Cat no A) Boyd Atkins "Heebie Jeebies" is a composition written by Boyd Atkins which achieved fame when it was recorded by Louis Armstrong in 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.

81 "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 <

82 "Hello, Dolly!" 79 "Hello, Dolly!" "Hello, Dolly!" Single by Louis Armstrong B-side A Lot of Livin' To Do Released 1964 Format 45 rpm Recorded December 3, 1963 Genre Pop, Jazz Length 2:27 Label Kapp (573) Writer(s) Producer Jerry Herman Mickey Kapp "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 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!.

83 "Hello, Dolly!" 80 Notable cover versions "Hello, Dolly!" is a pop standard, and has been covered by many artists, including: Carol Channing (1964) sang a variation of the song, titled "Hello, Lyndon!" Petula Clark (1964) in English, French, and Spanish Bobby Darin (1964) Duke Ellington (1964) Ella Fitzgerald for her (1964) albums Hello, Dolly! and Ella at Juan-Les-Pins Judy Garland and Liza Minnelli (1964) Marvin Gaye (1964) Benny Goodman (1964) Al Hirt on his 1964 album, Cotton Candy [3] Joni James from her 1964 album Put On a Happy Face Muslim Magomayev Frank Sinatra for his (1964) album It Might As Well Be Swing Frankie Vaughan (1964) Lawrence Welk (1964) Andy Williams (1964) Herb Alpert's Tijuana Brass (1964) Alvin and the Chipmunks for their album The Chipmunks Sing with Children (1965) Sammy Davis, Jr. (1965) Mary Martin (1965) The Bachelors (1966) Pearl Bailey (1967) Violetta Villas (1968) Matt Monro (1968) Pinky and Perky (1968) Barbra Streisand (1969) Ethel Merman (1970) Jean-Jacques Perrey - Moog Indigo (album) The song was entirely instrumental and re-created with a moog styling. Annie Cordy (1972) Lou Rawls (1979) Cab Calloway (1991) Wayne Newton (1992) Liza Minnelli (1997) Nancy Wilson (2001) Harry Connick, Jr. for his (2007) album Oh, My NOLA Zooey Deschanel 2007, in the movie "Raving" Sinatra's rendition of the song, recorded with the Count Basie Orchestra, features new lyrics, improvised by Sinatra, which pay tribute to Louis Armstrong.

84 "Hello, Dolly!" 81 Hello, Dolly! on Sesame Street In 1984, Carol Channing had appeared on "Sesame Street" and sang a parody of the song called "Hello, Sammy!", a love song being sung by Carol to a character known as Sammy the Snake (as voiced by Jim Henson). Carol, in this parody segment, serenades Sammy telling him just how much she loves and adores him while Sammy coils himself around Carol's arms. They are soon joined by 4 giant swaying letter S's wearing top hats. Carol ends the song by telling Sammy just how much she'd miss him and the way he hisses if they ever parted. Carol's song includes lyrics such as "So..turn on your charm, Sammy/Coil yourself around my arm, Sammy/Sammy the Snake, I'll stake a claim on you" [4] 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! The "Sunflower" controversy As successful as the stage show and title song itself turned out to be, however, the tune "Hello, Dolly!" became caught up in a lawsuit which could have endangered timely plans for bringing the musical to the silver screen. Mack David ( ), an Academy Award-nominated composer also known for his compositions for television, sued for infringement of copyright, because the first four bars of Herman's show number, "Hello, Dolly!", were the same as those in the refrain of David's song "Sunflower" from As he recounts in his memoirs, Herman had never heard "Sunflower" before the lawsuit, and wanted a chance to defend himself in court, but, for the sake of those involved in the show and the potential film, he reluctantly agreed to pay a settlement before the case would have gone to trial.[5] Footnotes [1] [ All Music: Hello, Dolly! history] [2] Bronson, Fred. The Billboard Book of Number 1 Hits (2003), Billboard Books, ISBN [3] Al Hirt, Cotton Candy ( / www. allmusic. com/ album/ cotton-candy-mw ) Retrieved April 7, [4] Carol Channing sings to Sammy the Snake ( / www. youtube. com/ watch?v=0-umljhgqby) [5] / 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 Preceded by "Can't Buy Me Love" by The Beatles Preceded by "Navy Blue" by Diane Renay Billboard Hot 100 number-one single (Louis Armstrong version) May 9, 1964 Billboard Easy Listening number-one single (Louis Armstrong version) March 28 May 23, 1964 Succeeded by "My Guy" by Mary Wells Succeeded by "Love Me with All Your Heart" by The Ray Charles Singers

85 "Jeepers Creepers" 82 "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

86 "A Kiss to Build a Dream On" 83 "A Kiss to Build a Dream On" "A Kiss to Build a Dream On" is a song composed by Bert Kalmar, Harry Ruby and Oscar Hammerstein II in [] It was recorded by Louis Armstrong in [] It was also performed by Armstrong as well as by Mickey Rooney with William Demarest, by Sally Forrest, and by Kay Brown (virtually the entire cast performed part or all of the song) in the 1951 film "The Strip," and was a sort of recurring theme in the film. Another popular recording was made by one of the movies guest-stars, Monica Lewis, and in early 1952, the version by Hugo Winterhalter and his Orchestra, with vocalist Johnny Parker, made it to the Pop 20 chart in the United States. Sung by Richard Chamberlain, the song gained considerable exposure due to its being on the 'B' side of his 1962 hit: "Theme from Dr. Kildare (Three Stars Will Shine Tonight)". Rod Stewart covered the song in his 2004 album, Stardust: the Great American Songbook 3. In Fiction The song was featured in the soundtrack of the 1993 film Sleepless In Seattle and the 1951 film The Strip. [] [citation needed] It was played as a background track during Yuri and Ava's party in the 2005 film Lord of War. 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 "Let's Do It, Let's Fall in Love" "Let's Do It, Let's Fall in Love" (also known as "Let's Do It (Let's Fall in Love)" or simply "Let's Do It") is a popular song written in 1928 by Cole Porter. It was introduced in Porter's first Broadway success, the musical Paris (1928) by French chanteuse Irène Bordoni for whom Porter had written the musical as a starring vehicle. [] Bordoni's husband and Paris producer Ray Goetz convinced Porter to give Broadway another try with this show. [] The song was later used in the English production of Wake Up and Dream (1929) [] and was used as the title theme music in the 1933 Hollywood movie, Grand Slam starring Loretta Young and Paul Lukas. In 1960 it was also included in the film version of Cole Porter's Can-Can. [] History Cole Porter, composer of Let's Do It, Let's Fall in Love The first of Porter's famous "list songs", it features a string of suggestive and droll comparisons and examples, preposterous pairings and double-entendres, dropping famous names and events, drawing unexpectedly from highbrow and popular culture. Porter was a strong admirer of the Savoy Operas of Gilbert & Sullivan, many of whose stage works featured similar comic list songs. [] The first refrain covers human ethnic groups, the second refrain birds, the third refrain marine life, the fourth refrain insects (plus centipedes) and the fifth refrain non-human mammals.

87 "Let's Do It, Let's Fall in Love" 84 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 Problems playing this file? See media help. 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. Racial lyrics controversy In Porter's publication from 1928, the opening line for the chorus carried two non-derogatory racial references: Chinks and Japs. The original was: [] Chinks do it, Japs do it, up in Lapland little Laps do it... The original line can be heard in several early recordings of the song, such as a recording made by Dorsey Brothers & their Orchestra (featuring a vocal by a young Bing Crosby), [] Rudy Vallée, both in 1928, and a version of the song

88 "Let's Do It, Let's Fall in Love" 85 by the singer and well-known Broadway star Mary Martin (with Ray Sinatra's orchestra), recorded in Another example is Billie Holiday, in [] 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 ( )). 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, It was released by RCA Victor Records as catalog number (in USA) [2] and by EMI on the His Master's Voice label as catalog number B 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 (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) ( )

89 "Let's Do It, Let's Fall in Love" 86 References [2] RCA Victor Records in the to series ( www. 78discography. com/ RCA htm) [3] Al Hirt, The Greatest Horn in the World ( www. discogs. com/ Al-Hirt-The-Greatest-Horn-In-The-World/ release/ ) Retrieved April 6, External links Full lyrics of this song ( / www. metrolyrics. com/ lets-do-it-lets-fall-in-love-lyrics-alanis-morissette. html) at MetroLyrics "Mack the Knife" "Mack the Knife" or "The Ballad of Mack the Knife", originally "Die Moritat von Mackie Messer", is a song composed by Kurt Weill with lyrics by Bertolt Brecht for their music drama Die Dreigroschenoper, or, as it is known in English, The Threepenny Opera. It premiered in Berlin in 1928 at the Theater am Schiffbauerdamm. The song has become a popular standard. The Threepenny Opera A moritat (from mori meaning "deadly" and tat meaning "deed") is a medieval version of the murder ballad performed by strolling minstrels. In The Threepenny Opera, the moritat singer with his street organ introduces and closes the drama with the tale of the deadly Mackie Messer, or Mack the Knife, a character based on the dashing highwayman Macheath in John Gay's The Beggar's Opera (who was in turn based on the historical thief Jack Sheppard). The Brecht-Weill version of the character was far more cruel and sinister, and has been transformed into a modern anti-hero. The play opens with the moritat singer comparing Macheath (unfavorably) with a shark, and then telling tales of his robberies, murders, rapes, and arson. The song was a last minute addition, inserted just before its première in 1928, because Harald Paulsen, the actor who played Macheath, demanded that Brecht and Weill add another number that would more effectively introduce his character. [1] However, Weill and Brecht decided the song should not be sung by Macheath himself, opting instead to write the song for a street singer in keeping with the moritat tradition. At the première, the song was sung by Kurt Gerron, who played Police Chief Brown. Weill also intended the Moritat to be accompanied by a barrel organ, which was to be played by the singer. [2] At the premiere, though, the barrel organ failed, and the pit orchestra (a jazz band) had to quickly provide the accompaniment for the street singer. [3] Original German text German Und der Haifisch, der hat Zähne, Und die trägt er im Gesicht. Und Macheath, der hat ein Messer, Doch das Messer sieht man nicht. Literal English translation And the shark, it has teeth, And it wears them in the face. And Macheath, he has a knife, But the knife can't be seen.

90 "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] 1954 Blitzstein translation "A Theme from The Threepenny Opera (Mack the Knife)" Single by Louis Armstrong B-side "Back O' Town Blues" Released 1956 Format 7" Recorded Genre Los Angeles, California 28 September, 1955 Jazz Length 3:25 Label Columbia Coronet KS-349 (pictured, reached Nº1 in Australia) 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,

91 "Mack the Knife" 88 which already named several of Macheath's female victims. The rarely heard final verse not included in the original play, but added by Brecht for the 1930 movie expresses the theme, and compares the glittering world of the rich and powerful with the dark world of the poor: German Denn die einen sind im Dunkeln Und die andern sind im Licht Und man siehet die im Lichte Die im Dunkeln sieht man nicht English translation There are some who are in darkness And the others are in light And you see the ones in brightness Those in darkness drop from sight 1976 Manheim-Willett translation In 1976 the version translated by Ralph Manheim and John Willett opened on Broadway, later made into a movie version starring Raúl Juliá as "Mackie". Here is an excerpt: See the shark with teeth like razors All can read his open face And Macheath has got a knife, but Not in such an obvious place This is the version later performed by Sting and Nick Cave. It is also the version performed by Lyle Lovett on the soundtrack of the film Quiz Show (1994) the same movie features Darin's rendition over the opening credits 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 "Mack the Knife" Single by Bobby Darin from the album That's All B-side "Was There a Call for Me" Released August 1959 Format 7" Recorded Genre Length December 19, 1958 at Fulton Studios, New York City Pop, jazz, rock 3:11 (Album version) 3:04 (Single version)

92 "Mack the Knife" 89 Label Writer(s) Atco (U.S.) London (UK) Kurt Weill, Bertolt Brecht Marc Blitzstein, Turk Murphy (English version) Bobby Darin singles chronology "Dream Lover" (1959) "Mack the Knife" (1959) "Beyond the Sea" (1960) "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 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 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".

93 "Mack the Knife" 90 Selective list of recorded versions 1928/29 Bertolt Brecht 1954 Gerald Price, Broadway cast recording of The Threepenny Opera 1955 Lotte Lenya on the album Lotte Lenya Sings Berlin Theatre Songs of Kurt Weill 1956 Louis Armstrong #20 hit single Dick Hyman, instrumental Billy Vaughn, instrumental Sonny Rollins, jazz instrumental, on the album Saxophone Colossus 1957 Bing Crosby with Bob Scobey on the album Bing with a Beat 1958 Wolfgang Neuss with the Sender Freies Berlin Orchestra and Chorus conducted by Wilhem Brückner Rüggenburg (supervised and performed by Lotte Lenya) on the album Die Dreigroschenoper (CBS) 1959 Bobby Darin, U.S. and UK # Eartha Kitt on the album The Fabulous Eartha Kitt Bill Haley & His Comets on the album Strictly Instrumental Kenny Dorham on the album Quiet Kenny 1960 Jimmy Smith on the album Crazy! Baby 1960 Ella Fitzgerald on the album Ella in Berlin: Mack the Knife 1964 Dave Van Ronk on the albums Dave Van Ronk and the Ragtime Jug Stompers, in 1967 on Live at Sir George Williams University, and in 1992 on Let No One Deceive You 1965 Ben Webster on the album Stormy Weather 1968 The Doors on the album Live In Stockholm 1977 Peggy Lee on the album Live in London 1981 The Psychedelic Furs on the B-side of the single "Pretty in Pink", the 1994 album Here Came The Psychedelic Furs: B Sides and Lost Grooves, and the 2002 re-release of their self-titled first album 1984 Frank Sinatra on the album L.A. Is My Lady 1985 Sting on the album Lost in the Stars: The Music of Kurt Weill 1986 Dagmar Krause on the album Supply and Demand 1988 Ute Lemper on the album Ute Lemper sings Kurt Weill 1990 Roger Daltrey on the film soundtrack Mack the Knife Kenny Garrett on the album African Exchange Student 1991 The Young Gods on the album Play Kurt Weill 1994 Lyle Lovett on the soundtrack to Quiz Show Frank Sinatra with Jimmy Buffett on the album Duets II 1995 Nick Cave on the album September Songs: The Music of Kurt Weill 1999 Max Raabe on the album Die Dreigroschenoper, Ensemble Modern 2000 The Brian Setzer Orchestra on the album Vavoom! 2001 Robbie Williams on the album Swing When You're Winning

94 "Mack the Knife" 91 References [4] Song: La complainte de Mackie at secondhandsongs.com ( www. secondhandsongs. com/ work/ ) [5] Threepenny Opera IBDB: The official source for Broadway Information ( www. ibdb. com/ production. php?id=11750) [6] Threepenny Opera IBDB: The official source for Broadway Information ( www. ibdb. com/ production. php?id=13510) [7] The Billboard Hot 100 All-Time Top Songs (10 01) (July 2008) ( www. billboard. com/ specials/ hot100/ charts/ top100-titles-10. shtml) [8] Pedro Navaja on MaestraVida.com ( www. maestravida. com/ pedronavaja. html) External links Bertolt Brecht sings "Die Moritat von Mackie Messer" ( www. youtube. com/ watch?v=_qxj3oxwaoy) on YouTube (2:48) Everything you ever wanted to know about "Mack the Knife" ( mobydicks. com/ lecture/ Brechthall/ messages/ 70. html) Bobby Darin "Mack the Knife" website ( www. bobbydarin. net/ macklyrics. html) What's the story behind "Mack the Knife"? (The Straight Dope) ( www. straightdope. com/ columns/ read/ 2155/ whats-the-story-behind-mack-the-knife) ibdb.com info on the 7 Broadway productions ( www. ibdb. com/ show. php?id=8696) Steve Martin's comedy monologue on Saturday Night Live parodying "Mack the Knife" ( snltranscripts. jt. org/ 77/ 77amono. phtml) Full lyrics of this song ( 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, 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. The personnel of this recording were, in addition to Armstrong on trumpet, Fred Robinson, trombone; Jimmy Strong, clarinet; Earl Hines, piano; Mancy Carr (not "Cara" as his name has often been misspelled) on banjo, and Zutty Singleton on drums. "Muggles" is in the 12-bar blues form. It starts out with some rather modernistic Hines piano work for the time with Singleton playing sensitively on the brushes. Robinson then takes a gutsy Muggles by Louis Armstrong lead without breaking the mood, followed by a chorus by Strong showing the influence of Jimmie Noone. The rest of the band then stops for 2 measures while Armstrong starts a chorus on an adventuresome break subtly playing with the rhythm. The horns then play chords behind Armstrong's excellent 2 choruses of solo. The rhythm gently suggests double-time on the first chorus, giving a sense of acceleration without actually speeding up the tempo, then returns to the dreamy feel of the tune's beginning for the final chorus, with Hines creating fills behind Armstrong. 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

95 "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.

96 "Muskrat Ramble" 93 "Muskrat Ramble" Music by "Muskrat Ramble" Kid Ory Lyrics by Ray Gilbert Written 1926 Form Original artist Jazz standard Louis Armstrong and his Hot Five "Muskrat Ramble" is a jazz composition written by Kid Ory in 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 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, It was released by RCA Victor Records as catalog number (in USA) and by EMI on the His Master's Voice label as catalog number B A recording with Big Chief Jazzband was made in Oslo on January 8, It was released on the 78 rpm record His Master's Voice A.L 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 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.

97 "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 ( / www. discogs. com/ Al-Hirt-Our-Man-In-New-Orleans/ release/ ) Retrieved April 10, References Anderson, Gene Henry; Budds, Michael J. (2007). The Original Hot Five Recordings of Louis Armstrong. Pendragon Press. ISBN Bayles, Martha (1996). Hole in Our Soul: The Loss of Beauty and Meaning in American Popular Music. University of Chicago Press. ISBN Giddins, Gary (2004). Weather Bird: Jazz at the Dawn of Its Second Century. Oxford University Press US. ISBN Kernfeld, Barry Dean (1995). The Blackwell Guide to Recorded Jazz. Wiley-Blackwell. ISBN Scott, Derek B. (2003). From the Erotic to the Demonic: On Critical Musicology. Oxford University Press US. ISBN X. Wintz, Cary D.; Finkelman, Paul (2004). Encyclopedia of the Harlem Renaissance. Taylor & Francis. ISBN External links Muskrat Ramble ( / www. jazzstandards. com/ compositions-3/ muskratramble. htm) at JazzStandards.com

98 "Nobody Knows the Trouble I've Seen" 95 "Nobody Knows the Trouble I've Seen" Nobody Knows the Trouble I've Seen is a spiritual song. The song is well known and many cover versions of it have been done by artist such as Marian Anderson, Lena Horne, Louis Armstrong among others. Anderson had her first successful recording with a version of this song on the Victor label in [1] Horne recorded a version of the song in [2] Deep River Boys recorded their version in Oslo on August 29, It was released on the extended play Negro Spirituals Vol. 1 (HMV 7EGN 27). The song was arranged by Harry Douglas. Traditional Lyrics Louis Armstrong recorded his own cover of this song Nobody knows the trouble I've seen Nobody knows but Jesus Nobody knows the trouble I've seen Glory hallelujah! Sometimes I'm up, sometimes I'm down Oh, yes, Lord Sometimes I'm almost to the ground Oh, yes, Lord Although you see me going 'long so Oh, yes, Lord I have my trials here below Oh, yes, Lord If you get there before I do Oh, yes, Lord Tell all-a my friends I'm coming to Heaven! Oh, yes, Lord 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".

99 "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 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 (1986), Record Research Inc. [2] Black and White Records ( www. 78discography. com/ BlackandWhite. htm) [3] Slave Songs of the United States ( www. marcus-brinkmann. de/ slave-songs. html) [4] Nobody Knows The Trouble I've Had ( docsouth. unc. edu/ church/ allen/ allen. html#slsong55) External links Louis Armstrong playing the song (1962) ( / www. youtube. com/ watch?v=svkkrzemx_w) "Now You Has Jazz" "Now You Has Jazz" is a song written by Cole Porter for the 1956 film High Society, where it was introduced by Bing Crosby and Louis Armstrong. Notable recordings Bing Crosby and Louis Armstrong - High Society (1956) Billy Crystal and The Muppets - Muppets Tonight episode (1996) References

100 "On a Little Bamboo Bridge" 97 "On a Little Bamboo Bridge" "On a Little Bamboo Bridge" was a hit song in 1937 for iconic band leader Louis Armstrong. Music and Lyrics were written by Al Sherman and Archie Fletcher who were frequent collaborators. The copyright is held by Joe Morris Music Company, Incorporated. 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, "Pennies from Heaven" "Pennies from Heaven" is a 1936 American popular song with music by Arthur Johnston and words by Johnny Burke. It was introduced by Bing Crosby in the 1936 film of the same name. [1] It was recorded in the same year by Billie Holiday and afterwards performed by Louis Armstrong, Tony Bennett, Dinah Washington, Clark Terry, Frances Langford, Arthur Tracy, Big Joe Turner, Frank Sinatra, Stan Getz, Dean Martin, Gene Ammons, The Skyliners (a major hit in 1960), Louis Prima, Legion of Mary, Guy Mitchell, Rose Murphy and many other jazz and popular singers. The 1936 recording by Bing Crosby on Decca Records was inducted into the Grammy Hall of Fame in 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 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.

101 "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 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 ( www. allmusic. com/ album/ pennies-from-heaven-original-soundtrack-r84506) [3] Elf: Music From The Major Motion Picture ( www. amazon. co. uk/ dp/ B000BBGBII) [4] Who Wants to Be a Millionaire: The Album ( www. allmusic. com/ album/ who-wants-to-be-a-millionaire-the-album-r489662i) [5] Original Soundtrack, Corrina Corrina ( www. allmusic. com/ album/ corrina-corrina-original-soundtrack-r229017i) External links Full lyrics of this song ( / www. metrolyrics. com/ pennies-from-heaven-lyrics-billie-holiday. html) at MetroLyrics

102 "Potato Head Blues" 99 "Potato Head Blues" "Potato Head Blues" Song by Louis Armstrong and his Hot Seven Recorded Genre Label Writer May 10, 1927 in Chicago, Illinois Jazz Okeh Records Louis Armstrong "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, 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 ( / 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)

103 "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, Released on the 78 rpm record Philips P H. Ry Cooder recorded the song complete with introduction in Louis Armstrong version The song was performed in a film short Rhapsody in Black and Blue by Armstrong. A 1931 recording by Armstrong with his Sebastian New Cotton Club Orchestra is a subset of the complete lyric of the 1910 version and the expanded later version, with added scat singing and long instrumental ending: [Instrumental opening ~35 sec.] Oh chocolate drop, that s me Cause, my hair is curly Just because my teeth are pearly Just because I always wear a smile Like to dress up in the latest style Cause I m glad I m livin Take troubles all with a smile Just because my color's shady Makes no difference, baby That s why they call me "Shine" [repeat words with scat and straight jazz instrumental ~2 min.] SHINE (That's Why They Call Me Shine) (Cecil Mack, Lew Brown)

104 "Shine" 101 Ry Cooder version with original introduction On his 1978 album Jazz, Ry Cooder performed the song in a "52nd Street" small band setting, with the introductory verse that explains what the song is all about. He noted that it had been written in 1910 near the end of the "Coon song era", and described it as a unique comment on the black face sensibilities of that genre. INTRODUCTION: When I was born they christened me plain Samuel Johnson Brown But I hadn't grown so very big, 'fore some folks in this town Had changed it 'round to "Sambo"; I was "Rastus" to a few Then "Chocolate Drop" was added by some others that I knew And then to cap the climax, I was strolling down the line When someone shouted, "Fellas, hey! Come on and pipe the shine!" But I don't care a bit. Here's how I figure it: Well, just because my hair is curly And just because my teeth are pearly Just because I always wear a smile Likes to dress up in the latest style* Just because I'm glad I'm livin' Takes trouble smilin', never whine Just because my color's shady Slightly different maybe That's why they call me shine. ALTERNATIVE LINE: Wear my jeans like a man of means (he always dresses in the latest style). References [1] / www. jass. com/ cmack. html

105 "Skokiaan" 102 "Skokiaan" "Skokiaan" Single by The African Dance Band of the Cold Storage Commission of Southern Rhodesia A-side B-side "Skokiaan" "In the Mood" Recorded 1947 Genre Label Writer(s) Tsaba-Tsaba GALLO-Gallotone Records (JIVE GB.1152) August Musarurwa </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 [7] On Tracey's recording, Musarurwa also apparently played for the Chaminuka Band. [8] Musarurwa copyrighted "Skokiaan", probably in 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]

106 "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.

107 "Skokiaan" 104 In 1954 covers of "Skokiaan" appeared on United States charts alongside Bulawayo Sweet Rhythms Band's original. The hitmakers included Ralph Marterie, who reached No 3 on the Cash Box chart. [22] Marterie's instrumental was featured on ABC Radio's The Martin Block Show as "the best new record of the week". It was the first time an instrumental had been selected for the show. [18] (A claim that charted versions by Ray Anthony (who supposedly reached No 18), by Cuban-Mexican Perez Prado (supposedly reached No 26), and by Louis Armstrong (a Dixieland version said to have reached No 29), could so far not be verified.) [18] On the Cash Box best-selling record charts, where all hit versions were combined, "Skokiaan" reached No 2 on 16 October [23] English lyrics were added in 1954 by American Tom Glazer for the Canadian group The Four 78 rpm record of Louis Armstrong's 1954 "Skokiaan" recording (part 1 of Lads. Glazer is perhaps better known for his On Top of Spaghetti (1963). On 4 August 1954 the Four Lads recorded (with Columbia Records) the only vocal version of "Skokiaan" that reached the United States charts, peaking at No 7 in the Billboard Best Sellers in Stores chart. [24] In line with the spirit of the times, Glazer's lyrics contain what Time arts columnist Richard Corliss describes as jovial "ethnographic condescension:" [25] "Oh-far away in Africa / Happy, happy Africa /...You sing a bingo bango bingo / In hokey pokey skokiaan." [26] Ethnomusicologist Thomas Turino points out that Glazer's depiction of the jungle setting is far removed from the topography of Southern Africa. But its one-size fits all "tropical paradise" idea was typical of exotic treatments at the time for songs from Latin American, Asia, and Hawaii. [27] Glazer's unwitting condescension seems to have been lost on Louis Armstrong, who in August 1954 recorded "Skokiaan" in two parts with Sy Oliver's Orchestra in New York (Decca 29256). Part 1 (the A side) is a purely instrumental version, while Part 2 (side B) has Armstrong singing the lyrics. [28] (Despite authoritative claims [6][29] that Armstrong recorded a version entitled "Happy Africa", this could not so far be substantiated from his discography.) [30] On his tour of Africa, Armstrong met Musarurwa in November Whether the two musicians jammed together, [31] or whether Armstrong just gave Musarurwa a jacket, [32] is unclear. In any case, the difference between the date that Armstrong recorded "Skokiaan" and the date of his meeting with Musarurwa appears to invalidate claims that Armstrong recorded "Skokiaan" after he came face to face with the Zimbabwean. "Skokiaan" became the theme song at Africa USA Park, a 300-acre (1.2 km 2 ) theme park founded in 1953 at Boca Raton, Florida by John P. Pedersen. The song was played all day long in the parking lot as guests arrived and was sold in the gift shop. The park boasted the largest collection of camels in the United States. After it closed, the site was converted to the Camino Gardens subdivision. [33] Other urban areas in the United States apparently influenced by the name of the song is Franklin, Ohio, which boasts a Skokiaan Drive, [34] and Skokie, Illinois, which has a Skokiana Terrace. [35] Bill Haley & His Comets recorded an instrumental version in 1959 that reached No 70 on the Billboard Hot 100 chart in Unfortunately except for reissues of "Rock Around the Clock", this would be the band's final chart hit in America! [22][36] "Skokiaan"'s popularity tracked the transition to electronic music, with an instrumental version recorded by moog pioneers Hot Butter in 1973 on the album More Hot Butter (preserved as a novelty item replete with "jungle" sounds 2).

108 "Skokiaan" 105 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 ). [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 [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. Other usages of the name A six-member band called Skokiaan formed in Liverpool in 1995 to play South African township jazz; they also recorded a version of the song. [45][46] The Liverpudlians are not the only band with a "Skokiaan"-related name. A South African township jazz band, led by Sazi Dlamini, lays claim to Skokiana. [47] Outside the music world, the name "Skokiaan" has been applied to various artifacts other than songs; the relation between these appellations and Musarurwa's music is unclear: a bronze sculpture by German artist Detlef Kraft is called Skokiaan [48] a modified version of the Centurion tank was named Skokiaan [49] the middle name of Zambian-born Australian rugby player George Gregan is Musarurwa.

109 "Skokiaan" 106 Position in charts Cash Box Best Selling Singles (1954) [23] Peak position Ralph Marterie & Orchestra Mercury Four Lads Columbia Bulawayo Sweet Rhythms Band London 1491 U.S. Billboard Best Sellers in Stores (1954) [24] Peak position Ralph Marterie & Orchestra Mercury Four Lads Columbia Bulawayo Sweet Rhythms Band London U.S. Billboard Hot 100 (1954) [50] Peak position Ralph Marterie & Orchestra Mercury U.S. Billboard Hot 100 (1960) [36] Peak position Bill Haley & His Comets 70 Chronological list of all versions "Skokiaan" has been recorded by these artists, and others: Year Artist Label Artist's country of origin 1947 The African Dance Band of the Cold Storage Commission of Southern Rhodesia GALLO-Gallotone JIVE GB.1152 Zimbabwe 1953 Jacques Hélian and his orchestra France 1954 The Shytans Bruce Records [51] USA Bulawayo Sweet Rhythms Band London Records 1491/ Decca F10350 Zimbabwe Alma Cogan HMV 7M 269 UK Bud Isaacs Enoch Light Brigade Orchestra RCA [52] Waldorf Music Hall 3304 [53] USA UK The Four Lads with Neal Hefti Orchestra Columbia Records Canada Jimmy Carroll and Orchestra Bell Records USA Preston Sandiford's Orchestra Big 4 Hits Records # USA Johnny Hodges and His Orchestra Norgran 124 [54] USA Lily Berglund Karusell K 99.S.1954 Sweden Louis Armstrong Olavi Virta Decca [55] Helmi [56] USA Finland Jerry Mengo et son orchestre Ducretet-Thomson 460V041, 500V057 France Perez Prado RCA Victor Cuba/ Mexico

110 "Skokiaan" 107 Ralph Marterie Mercury Records Italy/ USA Ray Anthony Capitol F-2896 USA Reino Helismaa [57] Ted Heath 1955 Alix Combelle and his orchestra Chris Barber's Jazz Band Kipparikvartetti 1956 Johnny Gomez & Orchestra 1957 Southern All Stars Decca F10368, Dutton Laboratories/ Vocalion CDLK 4251 [58] Philips NE; N R [59][60] PolyGram [61] Triola trlp 101 [62] Cook Records/Smithsonian COOK01180 [63] Cook Records/ Smitsonian Folkways Recordings [11] Finland UK France UK Finland Trinidad Trinidad 1958 Alix Combelle et son orchestre Philips BE France Ivo Robić 1959 Bill Haley & His Comets Nico Carstens and his Orchestra and Chorus 1961 The Fayros 1962 Bert Kaempfert Oliver Nelson 1963 Bill Black's Combo Paul Anka 1964 H. B. Barnum Jugoton, Zagreb SY 1025 [64] Decca and ED 2671 [65][66] Columbia 33JSX [67][68] RCA E 3.50; RCA Victor [69] Polydor [70] RCA 62VK701 [71] Hi-3 [72] RCA2614-STEREO [73] Imperial Records [74] Yugoslavia USA South Africa USA Germany USA USA Canada USA Johnny Baldini Combo Record 404 Italia 1965 Bob Moore Hickory Records # 1357 USA Carl Stevens James Last The Shangaans Mercury Records PPS 6030 [75] Polydor [76] EMI Records TWO 109; Columbia Mono 33JSX 76; Columbia Stereo Studio Two 109J [77][78] Germany South Africa 1967 Desmond Dekker (as "Pretty Africa") Pyramid PYR6020 Jamaica Zlatni Dečaci 1968 Blind Hog Jugoton EPY 3745 [79] Vulcan V-106 [80][81] Yugoslavia 1969 Sound Dimension (as "African Chant") Studio One Jamaica 1970 Nico Carstens 1972 Sugar Belly and the Canefields 1973 Hot Butter James, Jill and Jackson The Pasadena Roof Orchestra Columbia SCXJ [82] Port-O-Jam Records [83] Musicor MS-3254 [84] Imperial 5C [85] South Africa Jamaica USA Netherlands and Belgium UK

111 "Skokiaan" Josh Graves Matti Kuusla 1978 Herb Alpert and Hugh Masekela Kai Hyttinen Snowmen 1984 Brave Combo 1986 Vesa-Matti Loiri 1992 Boka Marimba 1994 Chaia Marimba 1995 Liberación 1996 African Jazz Pioneers Sauli Lehtonen Boka Marimba 1997 Kushinga Marimba Ensemble Epic KE [86][87] Rondo rolp 10 LP [88] A&M/Horizon Records 0819 [39] Gold disc gdl 2001 LP [89] Gold disc gds [90] Four Dots FD1010 [91] Flamingo fgl 4004 [92] Dandemutande 9 [93] Dandemutande 87-C [94] Disa 2016 [95] Intuition CD INT [96] Mtv mtvcd 101 [97] Dandemutande 143-C [98] Dandemutande 249-T [99] USA Finland Finland Finland USA Finland USA USA Mexico South Africa Finland USA Zimbabwe 1998 Zimbira Dandemutande CD [100] Australia [101] 1999 Joe Goldmark Skokiaan Zambezi Marimba Band 2000 Boereqanga Proteus The African Jazz Pioneers Fessor's Big City Band HMG3009 [102] Dandemutande 254-C [103] Nebula Bos Records [104] Dorian xcd Gallo [106] Storyville STC [107] USA UK USA South Africa USA [105] South Africa Denmark Kermit Ruffins [108] Basin Street Records USA Kutsinhira Cultural Arts Center 2003 Boka Marimba Soweto String Quartet 2005 Jimmy Smith Kuzanga Marimba Masanga Marimba Ensemble St.-Petersburg Ska-Jazz Review Dandemutande 389-C [109] Dandemutande 483-C [110] BMG Africa CDCLL 7052 [111] Empire Musicwerks/Hot JWP Music [112] Dandemutande 609-C [113] Dandemutande 600-C [114] ШнурОК [115] USA USA South Africa USA USA USA Russian Federation 2006 Binnsmead Marimba [116] USA Zinindika Mirimba Dandemutande 638-C [117] USA [118]

112 "Skokiaan" 109 Versions whose release dates are not known Artist Label Artist's country of origin Roland Alphonso Barsextett Ralph Dokin Chikoro Marimba [121] Gayle Larson and the Toppers Lonnie Donegan The Mertens Brothers The Pasadena Roof Orchestra Ray Colignon The Revelairs [126] The Titans [127] The Vikings Antonio Morel Y Su Orquesta [9] Jah Life [119] CBS [120] Tops-EP-242 [122] Xtra [123] Transatlantic Records [124] Philips P [125] RCA Victor [128] Jamaica Canada Belgium USA Belgium USA References [1] Kutema Musasa ( www. dandemutande. org/ Catalog/?cat=Music& artist=chingodzamusekiwa), by Musekiwa Chingodza. Dandemutande Catalog, Track 2. Retrieved 5 February [2] Saungweme T, Khumalo H, Mvundura E, et al. ( www. ncbi. nlm. nih. gov/ pubmed/ ?dopt=Abstract) Iron and alcohol content of traditional beers in rural Rhodesia. The Central African Journal of Medicine 45(6): Retrieved 5 February [3] Muponde, Richard. ( www. chronicle. co. zw/ inside. aspx?sectid=2738& livedate=3/ 18/ :00:00 AM& cat=1) Granny fined for brewing kachasu. Chronicle, 18 March. Retrieved 5 February [4] Coplan, David B. ( www. webcitation. org/ 5VWJNmdSR) Sophiatown and South African Jazz: Re-appropriating a Cultural Identity. Africultures, 1 April. Retrieved 5 February (Archived by WebCite). [5] OneHitWonder Central ( www. onehitwondercentral. com/ forum/ thread. cfm?threadid=2494). Subject: Forgotten Music. Retrieved 5 February [6].Turino, Thomas Nationalists, Cosmopolitans, and Popular Music in Zimbabwe. University of Chicago Press, p.141. [7] Hugh Tracey, ( www. swp-records. com/ pages/ index_html. html) SWP Records. Retrieved 5 February [8] Various: Bulawayo Jazz Southern Rhodesia ( web. archive. org/ web/ / / www. musicwords. nl/ central/ htm) Music and Words. musicwords.nl Retrieved online from internetarchive.org 5 February [9].Turino, Thomas Nationalists, Cosmopolitans, and Popular Music in Zimbabwe. University of Chicago Press, p.143. [10] Samuelson, Meg 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. ( www. folklife. si. edu/ resources/ Center/ Archives/ Finding_Aids/ Emory_Cook/ Cook_Recordings_Inventory. doc) Cook Recordings Inventory. Retrieved 5 February [12] Austerlitz, Paul Jazz Consciousness: Music, Race, and Humanity. Wesleyan University Press, pp [13] Stone, Ruth M The Garland Handbook of African Music. Routledge, p [14] Dansez avec Alix Combelle et son grand orchestre. ( 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 [15] Dansez avec Alix Combelle et son grand orchestre. ( ring. cdandlp. com/ vinylazur/ photo_grande/ gif) Album cover. Retrieved 5 February [16] Coltrane, John. ( www. tower. com/ details/ details. cfm?wapi= ) John Coltrane Complete Studio Sessions With Johnny Hodges. Definitive Classics Retrieved 10 February [17] Music from the Hugh Tracey archives. ( www. muzikifan. com/ tracey. html). Retrieved 5 February [18] 1954 ( bp1. blogger. com/ _thlfytjjbmq/ RylbBJt6i3I/ AAAAAAAACcM/ X4L_H_AKdD4/ s1600-h/ skokiaandb jpg). S. African Tune Latest Smash on Discs in U.S. Downbeat Magazine, 8 September. Retrieved 10 February 2008.

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114 "Skokiaan" 111 [52] Isaacs, Bud. ( web. archive. org/ web/ / / us. share. geocities. com/ imclumz/ 45s. txt) "Skokiaan" /"Yesterday's waltz". RCA. Retrieved 6 February [53] Edwards, David, Patrice Eyries and Mike Callahan. ( www. bsnpubs. com/ abc/ waldorf. html) Waldorf Music Hall Album Discography. Retrieved 5 February [54] Hodges, Johnny. ( www. jazzdisco. org/ verve/ norg100-78r-cat/ a/ ) Sweet As Bear Meat c/w Skokiaan. Norgran Records Catalog. Retrieved 5 February [55] DECCA ( www. 78discography. com/ Dec htm). DECCA Numerical Listing. DECCA The Online Discographical Project. Retrieved 26 November [56] Olavi Virta ( aanitearkisto. fi/ firs2/ nimike. php?id=kootut+ levyt+ osa ) Kootut levyt osa Helmi. Retrieved 5 February [57] Helismaa, Reino. ( www. antikvariaatti. net/ productcard. php?id=555& type=smallpublish) Skokiaan Afrikkalainen laulu -nuotit suom Reino Helismaa. Antikvariaatti.net. Retrieved 5 February [58] Decca Singles & Rarities. ( www. cduniverse. com/ productinfo. asp?pid= & BAB=E) Ted Heath and his music. cduniverse.com. Retrieved 5 February [59] Vian, Boris. ( www. parapharma. fr/ devianlamusique/ orchestral/ index. php) Dansez avec Alix Combelle. 33 tours 25 cm. De Vian la Zizique une discographie...chansons, textes et apophtegmes. Retrieved 5 February [60] Combelle, Alix. ( www. encyclopedisque. fr/ disque/ html) Dansez avec Alix Combelle Sélection 2. Retrieved 5 February [61] Chris Barber. ( www. cduniverse. com/ search/ xx/ music/ pid/ / a/ Live+ In Best+ Of+ Dixieland. htm) Live In Best Of Dixieland. cduniverse.com. Retrieved 5 February [62] Kipparikvartetti ( www. aanitearkisto. fi/ firs2/ ulko. php?id=skokiaan) Skokiaan. Retrieved 5 February [63] Jonny Gomez & Orchestra ( www. smithsonianglobalsound. org/ trackdetail. aspx?itemid=24384). Skokiaan. Recording details. Smithsonian Global Sound. Calypso. Retrieved 5 February [64] Robić, Ivo. ( www. barikada. com/ ex_yu_singles/ r. php) Ivo Robic uz Kvintet Nikice Kalogjere Zagreb. barikada.com. Retrieved 5 February [65] Decca ( rcs-discography. com/ rcs/ pics/ d06/ htm) Gordon, Terry. Rockin' Country Style. A discography of Country Rock and Roll and Related Records. Retrieved 5 February [66] Decca ED 2671 ( rcs-discography. com/ rcs/ pics/ d21/ htm) Gordon, Terry. Rockin' Country Style. A discography of Country Rock and Roll and Related Records. Retrieved 5 February [67] Carstens, Nico. ( www. rock. co. za/ legends/ nicocarstens/ carstens_index_2. html) Goue Plaat. Columbia. Retrieved 6 February [68] Carstens, Nico. ( www. vetseun. co. za/ anarkans/ bladsy/ nicocarstens. htm) Goue Plaat. Columbia. Retrieved 6 February [69] Holz, Charlie. ( www. singlesdb. com/ f/ fayros-_the. php) The Fayros. The Online Guide to Singles. Retrieved 5 February [70] Kaempfert, Bert ( www. kaempfert. de/ en/ discography/ disco_09. htm) A Swingin' Safari & Safari Swings Again. Polydor. Retrieved 5 February [71] Nelson, Oliver ( www. mosaicrecords. com/ discography. asp?number=233-md-cd) The Oliver Nelson Verve/Impulse Big Band Sessions #233. Retrieved 5 February [72] Black, Bill ( web. archive. org/ web/ / / us. share. geocities. com/ imclumz/ 45s. txt) The Untouchable Sound of the Bill Black Combo. Retrieved 5 February [73] Anka, Paul ( www. coverinfo. de) Our Man Around the World. RCA. Retrieved 5 February [74] Holz, Charlie ( www. singlesdb. com/ b/ h-b-_barnum. php). H.B. Barnum. The Online Guide to Singles. Retrieved 5 February [75] Matsubayashi, Kohji ( microgroove. jp/ mercury/ PPS6030. shtml). PPS-6030 African Sounds / Carl Stevens. Mercury. Retrieved 5 February [76] Last, James. ( ratorecordsblog. blogspot. com/ 2006_05_01_ratorecordsblog_archive. html) Hammond à gogo, Vol. 2. James Last und seine Hammond Combo. Polydor. Retrieved 5 February [77] The Shangaans. ( www. rock. co. za/ files/ shangaans_index. htm). The Shangaans...frontiers of Afrocentric rock. Discography: Jungle Drums. South African Rock Encyclopedia.. Retrieved 5 February [78] The Shangaans ( www. discogs. com/ release/ ) Jungle Drums. EMI. discogs.com. Retrieved 5 February [79] Zlatni Dečaci ( www. discogs. com/ Zlatni-Dečaci-Sam/ release/ ) Sadko. Jugoton. Retrieved 26 July [80] Blind Hog ( www. waykoolrecords. com/ pages/ 45rpmb. html). Retrieved 5 February [81] Blind Hog ( www. wegotrecords. com/ cgi/ 45s_catalog. php?start=3360) "Rockin' Pneumonia" / "Skokiaan." Way Kool Records. Retrieved 5 February [82] Carstens, Nico. ( www. rock. co. za/ legends/ nicocarstens/ carstens_index_5. html) Boere Brass. Columbia. Retrieved 5 February [83] Sugar Belly. ( www. mentomusic. com/ sugar. htm) "Skokian" & "Mother's Eyes". Port-O-Jam. Retrieved 8 February [84] Callahan, Mike, Dave Edwards and Patrice Eyries ( www. bsnpubs. com/ ua/ musicor html) Hot Butter Moog Hits. Musicor Album Discography, Part 3: Main Series MS 3200 to MS Retrieved 5 February [85] Gitlin, Alex. ( www. alexgitlin. com/ jersey. htm) Jack Jersey. Alex Gitlin's Music Site. Retrieved 5 February 2008.

115 "Skokiaan" 112 [86] Ankeny, Jason ( www. midomi. com/ index. php?action=main. artist& name=joshgraves& from=artist_bio). Josh Graves: Alone at Last. Midomi Fan Club. Retrieved 5 February [87] Lambert, Gerard ( rocky-52. net/ chanteursg/ graves_josh. htm). Josh Graves. Site perso de Gerard "Rocky" Lambert. Retrieved 5 February [88] Kuusla, Matti ( www. aanitearkisto. fi/ firs2/ ulko. php?id=skokiaan) "Skokiaan". Paita paita ja peppu. Retrieved 6 February [89] Hyttinen, Kai. ( www. aanitearkisto. fi/ firs2/ ulko. php?id=skokiaan) Elämän siteet. Retrieved 5 February [90] Snowmen ( www. aanitearkisto. fi/ firs2/ nimi. php?id=snowmen) "Skokiaan". Retrieved 5 February [91] Brave Combo ( www. brave. com/ bo/ discography/ wlddance. htm) World Dance Music. Four Dots. Retrieved 6 February [92] Vesa-Matti, Loiri. ( www. aanitearkisto. fi/ firs2/ ulko. php?id=skokiaan) "Skokiaan". Retrieved 6 February [93] Boka Marimba. ( www. dandemutande. org/ Catalog/?cat=Music& artist=bokamarimba) Dance Music of Zimbabwe. Dandemutande. Retrieved 6 February [94] Chaia Marimba. ( www. dandemutande. org/ Catalog/?cat=Music& artist=chaiamarimba) Chaia Marimba. Dandemutande. Retrieved 6 February [95] [ Liberacion.] Super Exitos. Disa. Retrieved 10 February [96] African Jazz Pioneers. ( www. jellyroll. com/ 04/ africanjazz. html) Live at the Montreux Jazz Festival. Jelly review. Retrieved 6 February [97] Lehtonen, Sauli ( www. aanitearkisto. fi/ firs2/ nimike. php?id=mun+ aika+ mennä+ on) Mun aika mennä on. Retrieved 6 February [98] Boka Marimba. ( www. dandemutande. org/ Catalog/?cat=Music& artist=bokamarimba#weavingtherhythms) Boka Marimba Live: Weaving the Rhythms. Dandemutande. Retrieved 6 February [99] skokiaan ( www. dandemutande. org/ Catalog/?track=skokiaan& catno=483) Kushinga Mambo. Dandemutande. Retrieved 6 February [100] Zimbira ( www. dandemutande. org/ Catalog/?cat=Music& artist=zimbira) One for Juan Fife. Retrieved 6 February [101] Zimbira ( web. archive. org/ web/ / members. austarmetro. com. au/ ~fatiland/ zimbira/ contacts. htm) Zimbira Home Page. Dandemutande. Retrieved 8 February [102] Goldmark, Joe ( www. globerecords. com/ cgi-bin/ db/ textcat. cgi) All Hat, No Cattle. HMG. Retrieved 6 February [103] Zambezi Marimba Band. ( www. dandemutande. org/ Catalog/?cat=Music& artist=zambezimarimbaband) Marimba Song. Dandemutande. Retrieved 6 February [104] Boereqanga. ( www. epinions. com/ musc_mu / display_~full_specs) Made In South Africa. Featuring Nico Carstens (accordion) and Dave Ledbetter (piano). Nebula Bos. Retrieved 6 February [105] Proteus 7. ( www. proteus7. com/ tracks. html#chacha) Cha Cha Lounge. Dorian. [106] Bowers, Jack ( www. allaboutjazz. com/ php/ article. php?id=9631) The African Jazz Pioneers: The Best Of The African Jazz Pioneers. Review. All About Jazz. Retrieved 6 February [107] Fessor's Big City Band ( www. cduniverse. com/ productinfo. asp?pid= & BAB=E) Kobophelo. Retrieved 6 February [108] Ruffins, Kermit. ( www. amazon. com/ dp/ B000XTDX16) The Big Easy. Basin Street. Retrieved 6 February [109] Kutsinhira Cultural Arts Center. ( www. dandemutande. org/ Catalog/?cat=Music& artist=kutsinhiraculturalartscenter) Musimboti. Dandemutande. Retrieved 6 February [110] Boka Marimba. ( www. dandemutande. org/ Catalog/?cat=Music& artist=bokamarimba) Serevende. Dandemutande. Retrieved 6 February [111] [ Soweto String Quartet] Our World. BMG Africa. Retrieved 6 February [112] Rickert, David. ( www. allaboutjazz. com/ php/ article. php?id=17964) The Fantastic Jimmy Smith. Review, All About Jazz. Retrieved 6 February [113] Kuzanga Marimba. ( www. dandemutande. org/ Catalog/?cat=Music& artist=kuzangamarimba) Living Happily, Free From Fear. Dandemutande. Retrieved 6 February [114] Masanga Marimba Ensemble. ( www. dandemutande. org/ Catalog/?cat=Music& artist=masangamarimbaensemble) Masanga Marimba Ensemble. Dandemutande. Retrieved 6 February [115] ( www. shnurok. spb. ru/ release/ index. htm?subaction=showfull& id= & archive=& start_from=& ucat=1& ) St.-Petersburg Ska-Jazz Review. Retrieved 1 March [116] Binnsmead Marimba ( cdbaby. com/ cd/ binnsmead) A Shadow's Reflection. CDBaby. Retrieved 6 February [117] Zinindika Mirimba. ( www. dandemutande. org/ Catalog/?cat=Music& artist=zinindikamarimba) Zinindika. Dandemutande. Retrieved 6 February [118] Zinindika Marimba. ( web. archive. org/ web/ / / www. zinindika. com) Zinindika home page. Retrieved 8 February [119] Alphonso ( www. discogs. com/ Scion-Success-Roland-Alphanso-Papa-Life-1-Title-Skokian/ release/ ). Retrieved 4 December [120] Dokin ( www. discogs. com/ release/ ). Noch Mehr Zum Tanzen Träumen Und Verliebtsein. Retrieved 6 February 2008.

116 "Skokiaan" 113 [121] Chikoro Marimba. ( www. members. shaw. ca/ chikoro/ cdabout. html) Dare You Not to Dance. Retrieved 6 February [122] Larson, Gayle. ( web. archive. org/ web/ / / us. share. geocities. com/ imclumz/ 45s. txt) "Shake,rattle&roll"/Skokiaan"/"This old house"/"if I give my heart to you". Retrieved 6 February [123] Donegan, Lonnie. ( www. selections. com/ AF932/ lonnie-donegan-early-years/ ) The Early Years. Xtra. Retrieved 6 February [124] The Pasadena Roof Orchestra ( www. discogs. com/ release/ ). The Pasadena Roof Orchestra. Transatlantic Records. Retrieved 6 February [125] Colignon, Ray. ( www. discogs. com/ release/ ) Come Dance With Me. Philips. Retrieved 10 February [126] [The Revelairs.]. Rare Surf, Vol. 2: South Bay Bands. Originally recorded ca Retrieved 10 February [127] The Titans. ( www. radiorumpusroom. com/ bdb/ pages/ bdb. mn80s. html) Free Flight: Unreleased Dove Recording Studio Cuts 1964 '69. Retrieved 6 February [128] The Vikings. ( www. rock. co. za/ files/ vikings_index. htm) Rock Party At The Club Pepsi. RCA Victor. Retrieved 6 February External links Audio s from HeLL ( 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 ( boppin. com/ 2005/ 05/ skokiaan. html). Recordings of Musarurwa (Msarurgwa) and other Zimbwabwean jazz artists between 1950 and 1952 by ethnomusicologist Hugh Tracey ( ilam. ru. ac. za/ page. php?pid=4) on CD ( 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 ( 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. ( www. dandemutande. org/ Catalog/ Music/ Sounds/ Kutsinhira_Musimboti_05Sikokiyana. mp3) Full versions of "Skokiaan" by Kermit Ruffins ( www. last. fm/ music/ Kermit+ Ruffins/ _/ Skokiaan) as well as St. Petersburg Ska-Jazz Review ( www. last. fm/ music/ St. + Petersburg+ Ska-Jazz+ Review/ _/ Skokiaan) and Joe Goldmark ( www. last. fm/ music/ Joe+ Goldmark/ _/ Skokiaan?autostart). Visual Sheet music of the song Skokiaan. ( www. kwela. co. uk/ wp-content/ skokiaan. pdf) Images ( www. caminogardens. com/ africausa. html) and history of Africa U.S.A. ( www. africa-usa. com/ history. htm). Photograph ( meltingpot. fortunecity. com/ navarino/ 212/ face/ face004-mahubesound. html) of the Bulawayo Sweet Rhythms Band. (Archived by WebCite at / www. webcitation. org/ 5VazeN1Hv).

117 "St. James Infirmary Blues" 114 "St. James Infirmary Blues" "St. James Infirmary Blues" is an American folksong of anonymous origin, though sometimes credited to the songwriter Joe Primrose (a pseudonym for Irving Mills). Louis Armstrong made it famous in his influential 1928 recording. Authorship and history "St. James Infirmary Blues" is based on an 18th-century traditional English folk song called "The Unfortunate Rake" (also known as "The Unfortunate Lad" or "The Young Man Cut Down in His Prime"), about a soldier who uses his money on prostitutes, and then dies of a venereal disease. Variations typically feature a narrator telling the story of a young man "cut down in his prime" (occasionally, a young woman "cut down in her prime") as a result of morally questionable behavior. For example, when the song moved to America, gambling and alcohol became common causes of the youth's death. There are numerous versions of the song throughout the English-speaking world. It evolved into other American standards such as "The Streets of Laredo." [] The title is said to be derived from St. James Hospital in London, a religious foundation for the treatment of leprosy. There is some difficulty in this since it was closed in 1532 when Henry VIII acquired the land to build St. James Palace. [] Another possibility is the Infirmary section of the St James Workhouse ( / www. workhouses. org. uk/ StJames/ ) which was opened in 1725 by the St James Parish in Poland Street, Piccadilly and continued well into the nineteenth century. This St James Infirmary was contemporaneous with the advent of the song. The tune of the earlier versions of the song, including the Bard of Armagh and the Unfortunate Rake, is in a major key and is similar to that of the Streets of Laredo. The jazz version, as played by Louis Armstrong, is in a minor key and appears to have been influenced by the chord structures prevalent in Latin American music, particularly the Tango. Like most such folksongs, there is much variation in the lyrics from one version to another. This is the first stanza as sung by Louis Armstrong: I went down to St. James Infirmary, Saw my baby there, Stretched out on a long white table, So cold, so sweet, so fair. Let her go, let her go, God bless her, Wherever she may be, She can look this wide world over, But she'll never find a sweet man like me.

118 "St. James Infirmary Blues" 115 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] / en. wikipedia. org/ wiki/ Let_Them_Talk External links Historical investigation by Rob Walker ( nonotes. wordpress. com/ ) St. James Infirmary (1928) ( www. jazzstandards. com/ compositions-2/ stjamesinfirmary. htm) at jazzstandards.com "St. James Infirmary Blues" ( prewarblues. org/ 2008/ 07/ so-young-so-cold-so-fair-the-saint-james-infirmary-blues/ ) recordings collection Sarah Vowell discusses the song's history ( www. salon. com/ ent/ col/ vowe/ 1999/ 10/ 06/ onesong/ index. html) at Salon.com Betty Boop cartoon ( www. archive. org/ details/ bb_snow_white) includes a performance by Cab Calloway

119 "St. Louis Blues" 116 "St. Louis Blues" "St. Louis Blues" Sheet music cover 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 The 1929 version by Louis Armstrong & His Orchestra (with Henry "Red" Allen) was inducted there in 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]

120 "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 "Saint Louis Blues" Single by Bessie Smith Released 1925 Format Recorded Genre 78 rpm record January 14, 1925, New York City, NY Blues Length 3:11 Label Writer(s) Columbia Records D 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 ). This is however not true, since Columbia's house band, directed by Charles A. Prince, had recorded

121 "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] 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 Fats Waller recorded as an organ solo for Victor Records 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, It was released by EMI on the His Master's Voice label B 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 Glenn Miller "St. Louis Blues -- March" as played by the U.S. Army Air Force Band, of which Miller was the commander Eddie Rosner 1945 Annie Laurie with the Dallas Bartley Band for Cosmo Records. [] 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 The Teen Kings, featuring Roy Orbison - "St. Louis Blues" and other songs recorded at KOSA-TV, Odessa, Texas, Louis Prima recorded the song on the album The Wildest Comes Home! 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 John Fahey recorded the song on the album Blind Joe Death, re-recorded in 1967.

122 "St. Louis Blues" Judy Garland and Martha Raye performed it as the final piece in a medley of Glenn Miller songs on The Judy Garland Show Chuck Berry recorded a version for Chuck Berry in London Mina sang an orchestra version at Italian TV program Sabato Sera (Saturday night) Jaki Byard recorded with his trio (Byard: piano, David Izenzon: bass, Elvin Jones: drums) for Sunshine of My Soul 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 Jula de Palma sang a beat version of this song in a successful concert recorded on the LP Jula al Sistina 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 Hank Williams Jr. recorded the song as part of a medley on Montana Cafe 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 Merle Haggard and Asleep at the Wheel performed "St. Louis Blues" on the Bob Wills tribute album Ride with Bob Dexter Romweber 2001 Aki Takase recorded the song for her album of the same name 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 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]

123 "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] / 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 ( / memory. loc. gov/ cgi-bin/ query/ S?ammem/ + Louis+ blues+ ))) [6] click on Rudi Valee version cover image, then advance pages ( / memory. loc. gov/ cgi-bin/ query/ S?ammem/ + Louis+ blues+ ))) [9] / en. wikipedia. org/ w/ index. php?title=saint_louis_blues_(song)& action=edit [10] Milton Brown and the Founding of Western Swing. Cary Ginell University of Illinois Press. page 245, 246. ISBN [12] / www. imdb. com/ title/ tt / soundtrack [13] / www. imdb. com/ title/ tt / soundtrack [14] / www. imdb. com/ title/ tt / soundtrack [15] / www. imdb. com/ title/ tt / 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 ( www. artofthemix. org/ FindAMix/ getcontents. asp?strmixid=90654) Sheet Music at Duke University digital collection ( library. duke. edu/ digitalcollections/ hasm. a1311/ pg. 1/ ) Full lyrics of this song ( www. metrolyrics. com/ st-louis-blues-lyrics-billie-holiday. html) at MetroLyrics

124 "Standing on the Corner (Blue Yodel No. 9)" 121 "Standing on the Corner (Blue Yodel No. 9)" "Blue Yodel #9" (also called "Standing on the Corner" from the opening line) is a blues/country song by Jimmie Rodgers and is the ninth of his "Blue Yodels". Rodgers recorded the song on July 16, 1930 with an unbilled Louis Armstrong on trumpet and his wife Lil Hardin Armstrong on piano. [1] The song is set in Memphis at the corner of Beale Street and Main Street, a block from the current location of B.B. King's Blues Club. It tells a tale warning all the "rounders" in Memphis of the arrival a "Tennessee hustler". As he tells a policeman who demands his name: I said, you'll find my name on the back of my shirt I'm a Tennessee hustler and I don't have to work The song was selected as one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. In 1970 Armstrong recreated his performance in an appearance with Johnny Cash on The Johnny Cash Show. [2] The song has been covered by the Jerry Garcia Acoustic Band on Almost Acoustic, Jerry Garcia and David Grisman on Been All Around This World and Steve Earle on Shut Up And Die Like An Aviator. References

125 "Stardust" 122 "Stardust" "Stardust" A sign erected in front of the Gables in Bloomington, IN to commemorate Hoagy Carmichael, composer of "Stardust". Music by Lyrics by Hoagy Carmichael Mitchell Parish Published 1927 Original artist Recorded by Hoagy Carmichael's orchestra Many artists "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 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]

126 "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 B [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, 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 Michael Bublé recorded it for his album "Crazy Love" released in 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. []

127 "Stardust" 124 A 1953/54 version by Eddie Cochran was released in 1997 on the album Rockin' It Country Style. In 2007 The Japonize Elephants' Evan Farrell recorded Stardust which was released on the 2012 album Melodie Fantastique. Legacy The original 1927 recording on Gennett Records by Hoagy Carmichael and His Pals was inducted into the Grammy Hall of Fame in 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 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 Columbia/Legacy 57176, 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, Princeton University Press. ISBN X. Sudhalter, Richard M. (2003). Stardust Melody: The Life and Music of Hoagy Carmichael. Oxford University Press. ISBN External links Stardust ( www. bbc. co. uk/ radio2/ soldonsong/ songlibrary/ indepth/ stardust. shtml) on Sold on Song (BBC) "Stardust" ( www. redhotjazz. com/ songs/ hoagy/ stardust2. ra) (played by Hoagy Carmichael, 1933) The Red Hot Jazz Archive ( www. redhotjazz. com) "Stardust" ( www. redhotjazz. com/ Songs/ Louie/ lao/ stardust. ra) (played by Louis Armstrong and his Orchestra, 1931) The Red Hot Jazz Archive ( www. redhotjazz. com) "Stardust" ( www. redhotjazz. com/ Songs/ Louie/ lao/ stardust4. ra) (Alternative version played by Louis Armstrong and his Orchestra, 1931) The Red Hot Jazz Archive ( www. redhotjazz. com) "Stardust" ( www. redhotjazz. com/ songs/ waller/ stardust. ra) (played by Fats Waller, 1937) The Red Hot Jazz Archive ( www. redhotjazz. com)

128 "Stars Fell on Alabama" 125 "Stars Fell on Alabama" "Stars Fell on Alabama" is the title of a 1934 jazz standard composed by Frank Perkins with lyrics by Mitchell Parish. 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 (1951) and (1997). The amendment removes the requirement for special-purpose plates. [1] Lewis Nichols, In and Out of Books, New York Times, Sept. 27, [2] Southern Alabamian ( / www. southalabamian. com/ news/ / editorials/ 022. html)

129 "That Lucky Old Sun" 126 "That Lucky Old Sun" "That Lucky Old Sun" is a 1949 popular song with music by Beasley Smith and words by Haven Gillespie. Like "Ol' Man River", its lyrics contrast the toil and intense hardship of the singer's life with the obliviousness of the natural world. [1] 1949 recordings The biggest hit version of the song was by Frankie Laine. This recording was released by Mercury Records as catalog number 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 (78 rpm) and (45 rpm) (in USA) and by EMI on the His Master's Voice label as catalog number B 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 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 It reached the best sellers chart on October 29, 1949 and peaked at #16. Included on his The Best of The Columbia Years 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 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 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 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 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.

130 "That Lucky Old Sun" 127 Chris Isaak recorded a cover for his 2011 album Beyond the Sun. References [1]. Preceded by "You're Breaking My Heart" by Vic Damone US Billboard Best Sellers in Stores number-one single (Frankie Laine version) October 1 November 19, 1949 Succeeded by "Mule Train" by Frankie Laine "La Vie en rose" "La Vie en rose" Single by Édith Piaf from the album Chansons parisiennes B-side "Un refrain courait dans la rue" Released 1947 Format 10" Genre Label Writer(s) Traditional pop Columbia Records Édith Piaf (lyrics) Louiguy, Marguerite Monnot [] (melody) Édith Piaf singles chronology "Les trois cloches" (1946) "La Vie en rose" (1947) "Si tu partais" (1947) "La Vie en rose" (French pronunciation: [la vi ɑ ʁoz]) was the signature song of French singer Édith Piaf, written in 1945, [1] popularized in 1946, and released as a single in 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 It became a favorite with audiences. [] "La

131 "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 [] 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 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 [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 References in popular culture Two films about Piaf named after the song's title have been produced. The first one, a 1998 documentary, used archive footage and interviews with Raquel Bitton, and was narrated by Bebe Neuwirth. The 2007 biographical feature film La Vie en rose won Marion Cotillard an Academy Award for Best Actress for portraying Piaf in the film from childhood until her death at 47. [9] 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 Noches de Casablanca (1963) - sung by Sara Montiel 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) French actress Marion Cotillard played Piaf in the 2007 film La Vie en rose

132 "La Vie en rose" 129 Natural Born Killers (1994) Prêt-à-Porter (1994) French Kiss (1995) Sabrina (1995) A Soldier's Daughter Never Cries (1998) Summer of Sam (1999) View from the Top (2003) Love Me If You Dare (2003) Something's Gotta Give Deleted Scene (2003) Modigliani (2004) A World Without Thieves (2004) Valiant (2005) Lord of War (2005) The Yacoubian Building (2006) La Vie en rose (2007) Mister Lonely (2007) Jellyfish (2007) Fred Claus (2007) The Bucket List (2007) WALL-E (2008) The Wackness (2008) Map of the Sounds of Tokyo (2009) X-Men: First Class (2011) Monte Carlo (2011) As music in other media "La Vie en rose" appeared in the television show I Love Lucy in the episode entitled "Hollywood Anniversary", right before Desi Arnaz sang the song "The Anniversary Waltz". The episode was filmed and aired in Barbara Feldon sang "La Vie en rose" in a 1966 episode of Get Smart entitled "Casablanca". The song appeared in the television show Lois & Clark: The New Adventures of Superman, in the episode entitled "Pheromone, My Lovely" (1993). "La Vie en rose" appeared in an episode of Relic Hunter entitled "Memories of Montmarte". In "Cold Stones", the 76th episode of The Sopranos, Rosalie Aprile hums a throaty version of the song to comfort Carmela Soprano. The episode was aired in May In the 2006 Egyptian film The Yacoubian Building, chanteuse Christine (Youssra) includes "La Vie en rose" in her repertoire, singing it on at least one occasion for Zaki el Dessouki (Adel Imam). In the 1954 movie 'Sabrina' this song is mentioned and played many times throughout the movie. Actress Audrey Hepburn even sang part of this song. Steampunk chanteuse Veronique Chevalier does a parody version - which turns out to be about a battle with slugs. In the 2003 romantic comedy Something's Gotta Give, the song is played several times during scenes of Paris, and actor Jack Nicholson (Harry Sanborn) sings it during the closing credit roll. In the first season of The Voice (Australia), Rachael Leahcar performed "La Vie en rose" as her blind audition, receiving a standing ovation from the in-studio audience and the four celebrity coaches.

133 "La Vie en rose" 130 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 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

134 "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

135 "La Vie en rose" 132 Grace Jones version "La Vie en rose" Single by Grace Jones from the album Portfolio B-side "I Need a Man", "Tomorrow", "Send in the Clowns" Released October 1977 Format 7", 12" Genre Length Label Writer(s) Producer Disco 7:27 (full album version) 3:35 (single edit) Island Édith Piaf, Louigny, Mack David Tom Moulton Grace Jones singles chronology "Sorry" (1976) "La Vie en rose" (1977) "Do or Die" (1978) 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 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]

136 "La Vie en rose" 133 A. "La Vie en rose" - 3:35 B. "Tomorrow" - 5:48 7" Promotional Single (1977) [15] A. "La Vie en rose" - 3:35 B. "La Vie en rose" - 3:35 12" Mexican Single (1984) [16] A. "La Vida en rosa" ("La Vie en rose") - 7:27 B. "Manden a los payasos" ("Send in the Clowns") - 7:33 Chart performance Chart Peak position Canada [17] 87 Canada (Dance/Urban) [18] 28 France [19] 2 Italy [20] 3 Netherlands [21] 4 Donna Summer version "La Vie en rose" Single by Donna Summer from the album Tribute to Edith Piaf Released 1993 Format 12", CD Recorded 1993 Genre Pop Length 4:58 Label Writer(s) Producer AB Disques Édith Piaf, Louigny, Mack David Jacques Arnoul Donna Summer singles chronology "Carry On" (1992) "La Vie en rose" (1993) "Melody of Love (Wanna Be Loved)" (1994) 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

137 "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 ( / www. metrolyrics. com/ la-vie-en-rose-lyrics-edith-piaf. html) at MetroLyrics

138 "We Have All the Time in the World" 135 "We Have All the Time in the World" "We Have All the Time in the World" Single by Louis Armstrong from the album On Her Majesty's Secret Service B-side "Pretty Little Missy" Released 1969 Format Genre Label Writer(s) Producer 7-inch single Jazz United Artists Hal David, John Barry Phil Ramone Louis Armstrong singles chronology "The Kinda Love Song" (1969) "We Have All the Time in the World" (1969) "Give Peace a Chance" (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.

139 "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 ( / www. metrolyrics. com/ we-have-all-the-time-in-the-world-lyrics-louis-armstrong. html) at MetroLyrics "West End Blues" "West End Blues" Twelve-bar blues by Joe "King" Oliver Released 1928 Recorded June 11, 1928 Genre Label Composer Jazz Brunswick Joe "King" Oliver "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, [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. Louis Armstrong's recording "West End Blues" Twelve-bar blues by Louis Armstrong and His Hot Five Released 1928 Recorded June 28, 1928 Genre Composer Traditional jazz, blues [2] Joe "King" Oliver 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 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.

140 "West End Blues" 137 This recording was inducted in the Grammy Hall of Fame in Jazz writer and historian William Russell has commented that other jazz trumpeters would be better off avoiding the too frequent imitations of Armstrong's introduction on the number; while the most virtuosic may have the technical ability to duplicate Armstrong's notes, they still suffer in comparison to Armstrong's feeling and originality. Footnotes [1] Laird, Ross. Brunswick Records: A Discography of Recordings, , Greenwood Press (2001), p ISBN

141 "What a Wonderful World" 138 "What a Wonderful World" "What a Wonderful World" Single by Louis Armstrong from the album What a Wonderful World B-side "Cabaret" Released October 1967 Format 7" Recorded 1967 Genre Traditional pop Length 2:21 Label Writer(s) Producer ABC 10982, HMV Bob Thiele George David Weiss Bob Thiele Louis Armstrong singles chronology "Mi va de cantare" (1967) "What a Wonderful World" (1967) "Hello Brother" (1968) "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 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 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.

142 "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 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 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 : 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" : 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 : Kaitlyn Maher performed this song on the third season of America's Got Talent

143 "What a Wonderful World" : 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] / www. wbr. com/ kdlang/ wonderful. html External links How political is What A Wonderful World? ( www. bbc. co. uk/ news/ magazine ) BBC News article about history and meaning of song What a Wonderful World ( www. wikifonia. org/ node/ 689) Lead sheet at wikifonia.org Full lyrics of this song ( www. metrolyrics. com/ what-a-wonderful-world-lyrics-louis-armstrong. html) at MetroLyrics Preceded by "Congratulations" by Cliff Richard Preceded by "Bleeding Love" by Leona Lewis UK number one single Louis Armstrong version 24 April 1968 (for 4 weeks) UK Singles Chart number-one single (Katie Melua & Eva Cassidy version) December 16, December 22, 2007 Succeeded by "Young Girl" by Gary Puckett & The Union Gap Succeeded by "When You Believe" by Leon Jackson

144 "When the Saints Go Marching In" 141 "When the Saints Go Marching In" "When the Saints Go Marching In", often referred to as "The Saints", is an American gospel hymn. The precise origins of the song are not known. Though it originated as a Christian hymn, it is often played by jazz bands. The song is sometimes confused with a similarly titled composition "When the Saints are Marching In" from 1896 by Katharine Purvis (lyrics) and James Milton Black (music). [1] 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. Both vocal and instrumental renditions of the song abound. Louis Armstrong The Forerunners of Christ with Saints and Martyrs, a painting by Fra Angelico, 15th century was one of the first to make the tune into a nationally known pop tune in the 1930s. Armstrong wrote that his sister told him she thought the secular performance style of the traditional church tune was inappropriate and irreligious. Armstrong was in a New Orleans tradition of turning church numbers into brass band and dance numbers that went back at least to Buddy Bolden's band at the start of the 20th 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.