Bette Midler Big Noise from Winnetka Mp3, Flac, Wma

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Bette Midler Big Noise From Winnetka mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: Big Noise From Winnetka Country: US Released: 1979 Style: Disco MP3 version RAR size: 1321 mb FLAC version RAR size: 1306 mb WMA version RAR size: 1105 mb Rating: 4.1 Votes: 888 Other Formats: MOD FLAC VQF MP2 AAC MIDI AUD Tracklist A Big Noise From Winnetka 3:36 B Big Noise From Winnetka 3:36 Companies, etc. Published By – Bregman, Vocco & Conn, Inc. Phonographic Copyright (p) – Atlantic Manufactured By – Atlantic Recording Corporation Record Company – Warner Communications Mastered At – Atlantic Studios Pressed By – Specialty Records Corporation Credits Lyrics By [Additional] – Bette Midler, Marc Shaiman Mastered By – GP* Producer – Arif Mardin Written-By – Bob Crosby, Bob Haggart, Gil Rodin, Ray Bauduc Notes Atlantic mono/stereo dj promo in company sleeve From Atlantic LP 16004 - "Thighs And Whispers" Promotion Copy - Not For Sale A - Mono B - Stereo Barcode and Other Identifiers Rights Society: ASCAP Matrix / Runout (A-Side Label): A-37687 SP Matrix / Runout (B-Side Label): ST-A-37687 SP Matrix / Runout (A-Side Runout Etching): A-37687-1 @tGP 1-1 Matrix / Runout (B-Side Runout Etching): ST-A-37687-1 @tGP 1-1 Other versions Category Artist Title (Format) Label Category Country Year AT 3628 Bette Midler Big Noise From Winnetka (7", Promo) Atlantic AT 3628 Canada 1979 3628 Bette Midler Big Noise From Winnetka (7", Single) Atlantic 3628 US 1979 K 11412 Bette Midler Big Noise From Winnetka (7") Atlantic K 11412 UK 1979 3628 Bette Midler Big Noise From Winnetka (7", Single) Atlantic 3628 US 1979 3628 Bette Midler Big Noise From Winnetka (7", Promo) Atlantic 3628 Canada 1979 Related Music albums to Big Noise From Winnetka by Bette Midler Bette Midler - The Rose Bette Midler - Married Men Coryell / Mouzon - Rock 'N' Roll Lovers Bette Midler - For The Boys - Music From The Motion Picture Bette Midler - Under The Boardwalk Bette MIdler - Moonlight Dancing Bette Midler - Paradise Bette Midler - Beast Of Burden.

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Introduction
Notes Introduction 1. Although throughout this book, the identification of a Jewish "race" is associ ated with an anti-Semitic impulse, Jewish usage of "racial" terminology indi cates a certain ambivalence. See Harriet D. Lyons and Andrew P. Lyons, "A Race or Not a Race: The Question of Jewish Identity in the Year of the First Universal Races Congress;' in Ethnicity, Identity, and History, ed. Joseph B. Maier and Chaim I. Waxman, 499-518 (New Brunswick: Transaction Books, 1983). Even today, many Jews use the term "the Jewish race" with pride. 2. The Haskalah, or Jewish Enlightenment, which began in late eighteenth century, Germany, was a response to the European Enlightenment. Middle-class Jews, anxious to distance themselves from the ghetto and religious prejudice, sought to modernize Jewish communities by exposing them to secular thought. The Maskilim (the proponents of the Haskalah) believed that Jews were persecuted because they differed from dominant communities in terms of culture, language, education, dress and manners. By modernizing their schools, learning the spo ken language of the country in which they lived, and adapting their manners to those of their neighbors, it was hoped that individual Jews would be treated like any other citizens. 3. Steve Allen, Funny People (New York: Stein and Day, 1981), 11. 4. Most of the women listed here are not discussed further in this book, although I would like to suggest that they could be. Also, this study does not confine itself (at least in its earlier chapters) to comic performance. I present this list self consciously and order it alphabetically as an attempt at organization.
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¶7櫥«Q }欻' / * #376;扎 #732;†
120825bk Teagarden2 REV 29/3/06 8:46 PM Page 8 Track 14: John Fallstitch, Pokey Carriere, Sid Jack Lantz, trombones; Merton Smith, Vic Rosi, Feller, trumpets; Jack Teagarden, Jose Bob Derry, Bert Noah, Dave Jolley, saxes; Guttierez, Seymour Goldfinger, Joe Ferrall, Norma Teagarden, piano; Charles Gilruth, trombones; Danny Polo, clarinet, alto sax; Tony guitar; Lloyd Springer, bass; Frank Horrington, Antonelli, Joe Ferdinando, alto sax; Art Moore, drums Art Beck, tenor sax; Ernie Hughes, piano; Track 19: Charlie Teagarden, trumpet; Jack Arnold Fishkin, bass; Paul Collins, drums Teagarden, Moe Schneider, trombones; Matty Track 15: John Fallstitch, Pokey Carriere, Matlock, clarinet, tenor sax; Ray Sherman, Truman Quigley, trumpets; Jack Teagarden, piano; Bill Newman, guitar, banjo; Morty Corb, Jose Guttierez, Seymour Goldfinger, Joe Ferrall, bass; Ben Pollack, drums trombones; Danny Polo, clarinet, alto sax; Tony Track 20: Charlie Teagarden, trumpet; Jack Antonelli, Joe Ferdinando, alto sax; Art Moore, Teagarden, trombone; Jay St. John, clarinet; Art Beck, tenor sax; Ernie Hughes, piano; Norma Teagarden, piano; Kass Malone, bass; Arnold Fishkin, bass; Paul Collins, drums Ray Bauduc, drums Track 16: John Fallstitch, Pokey Carriere, Truman Quigley, trumpets; Jack Teagarden, Also available ... Jose Guttierez, Seymour Goldfinger, Joe Ferrall, trombones; Danny Polo, clarinet, alto sax; Tony Antonelli, Joe Ferdinando, alto sax; Art Moore, Art Beck, tenor sax; Ernie Hughes, piano; Perry Botkin, guitar; Arnold Fishkin, bass; Paul Collins, drums Track
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Jazzletter PO Box 240, Oiai CA93024-0240
GerE Lrc Ad Libitwm & Jazzletter PO Box 240, Oiai CA93024-0240 Rodin, Dick Morgan, Benny Goodman and Glenn Miller had The Glenn Miller Years II a suite. We all moved into that, practically the whole band, with the exception of Pollack, sleeping on chairs, couches, of the apartment was 1411' The Pollack band was booked to play at the Little Club on the floor, anywhere. The number came up: Room l4l l,with Benny 44th Street in New York, and opened there in March 1928. And that is how that title We hadbeen out ofwork about five weeks Bud Freeman years later recalled that the band's personnel at Goodman's Boys. home and said, 'I've got a recording date that time included himself, Gil Rodin, and Benny Goodman when Benny came can get some money, buy some food, on saxes; Glenn on trombone, Al Harris on trumpet, Jimmy with Brunswick. We McPartland playing jazzcornet, Goodman's brother Harry on eat."' least in that period of the big bands, bass, Vic Briedis on piano, Dick Morgan on guitar, and of (Jazz mtsicians, at have always found charming and course Pollack on drums. had a term, that I for one to staying in someone else's hotel Freeman said, "We were only there a couple of months and inventive: they referred paying for it as "ghosting.") were continually getting in trouble with the boss. We were room without registering or o'We Miller, myself and two or jusl an independent bunch of individuals and were always made that date. Goodman, playing different kinds of numberclike Blue and fluffing the boss off and getting just as fed up with him as he three more, we named Room l4l l.
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THE JERRY GRAY STORY – 1947 [Updated Jun 15, 2018 – Version JG.002E]
THE JERRY GRAY STORY – 1947 [Updated Jun 15, 2018 – Version JG.002e] January 26, 1947 [Sunday]: Jerry Gray arranged tunes made famous by Glenn Miller for New York City-based “Here’s To Ya” broadcast over the CBS radio network, January 26, 1947, 2:30 – 3:00 pm local time, performed by the Phil Davis Orchestra [including Trigger Alpert and Bernie Privin] and the Hires Hands vocal group [including Bill Conway]. Sponsored by Hires Root Beer. Moonlight Serenade – arranged by Jerry Gray Don’t Sit Under The Apple Tree – arranged by Jerry Gray Moonlight Cocktail – arranged by Jerry Gray A String Of Pearls – arranged by Jerry Gray Serenade In Blue – arranged by Jerry Gray In The Mood – arranged by Jerry Gray Chattanooga Choo Choo – arranged by Jerry Gray _______________ Harrisburg Telegraph [Harrisburg, Pennsylvania], Jan 18, 1947, Page 19: NEW SUNDAY MUSICAL SHOW HEARD ON WHP ‘Here’s To Ya’ Opens Jan. 26; Stars Louise Carlyle, Phil Hanna, Phil Davis “Here’s To Ya,” sparkling half-hour of popular and familiar music, featuring Contralto Louise Carlyle, Baritone-Emcee Phil Hanna, Phil Davis’ orchestra, and the Hires Hands singing group, starts on the Columbia network and WHP Sunday, January 26, 2:30-3 p.m. “Here’s To Ya” will be the first of a series of new shows to be added to the WHP schedule during the first few weeks of 1947 daytime schedule. Time and all information on the new programs will be announced in the near future on this page. Louise Carlyle, feminine star of “Here’s To Ya,” got her first big break several years ago as vocalist with her brother Russ’ orchestra.
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Great Instrumental
I grew up during the heyday of pop instrumental music in the 1950s and the 1960s (there were 30 instrumental hits in the Top 40 in 1961), and I would listen to the radio faithfully for the 30 seconds before the hourly news when they would play instrumentals (however the first 45’s I bought were vocals: Bimbo by Jim Reeves in 1954, The Ballad of Davy Crockett with the flip side Farewell by Fess Parker in 1955, and Sixteen Tons by Tennessee Ernie Ford in 1956). I also listened to my Dad’s 78s, and my favorite song of those was Raymond Scott’s Powerhouse from 1937 (which was often heard in Warner Bros. cartoons). and to records that my friends had, and that their parents had - artists such as: (This is not meant to be a complete or definitive list of the music of these artists, or a definitive list of instrumental artists – rather it is just a list of many of the instrumental songs I heard and loved when I was growing up - therefore this list just goes up to the early 1970s): Floyd Cramer (Last Date and On the Rebound and Let’s Go and Hot Pepper and Flip Flop & Bob and The First Hurt and Fancy Pants and Shrum and All Keyed Up and San Antonio Rose and [These Are] The Young Years and What’d I Say and Java and How High the Moon), The Ventures (Walk Don't Run and Walk Don’t Run ‘64 and Perfidia and Ram-Bunk-Shush and Diamond Head and The Cruel Sea and Hawaii Five-O and Oh Pretty Woman and Go and Pedal Pusher and Tall Cool One and Slaughter on Tenth Avenue), Booker T.
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WARNER BROS. / WEA RECORDS 1970 to 1982
AUSTRALIAN RECORD LABELS WARNER BROS. / WEA RECORDS 1970 to 1982 COMPILED BY MICHAEL DE LOOPER © BIG THREE PUBLICATIONS, APRIL 2019 WARNER BROS. / WEA RECORDS, 1970–1982 A BRIEF WARNER BROS. / WEA HISTORY WIKIPEDIA TELLS US THAT... WEA’S ROOTS DATE BACK TO THE FOUNDING OF WARNER BROS. RECORDS IN 1958 AS A DIVISION OF WARNER BROS. PICTURES. IN 1963, WARNER BROS. RECORDS PURCHASED FRANK SINATRA’S REPRISE RECORDS. AFTER WARNER BROS. WAS SOLD TO SEVEN ARTS PRODUCTIONS IN 1967 (FORMING WARNER BROS.-SEVEN ARTS), IT PURCHASED ATLANTIC RECORDS AS WELL AS ITS SUBSIDIARY ATCO RECORDS. IN 1969, THE WARNER BROS.-SEVEN ARTS COMPANY WAS SOLD TO THE KINNEY NATIONAL COMPANY. KINNEY MUSIC INTERNATIONAL (LATER CHANGING ITS NAME TO WARNER COMMUNICATIONS) COMBINED THE OPERATIONS OF ALL OF ITS RECORD LABELS, AND KINNEY CEO STEVE ROSS LED THE GROUP THROUGH ITS MOST SUCCESSFUL PERIOD, UNTIL HIS DEATH IN 1994. IN 1969, ELEKTRA RECORDS BOSS JAC HOLZMAN APPROACHED ATLANTIC'S JERRY WEXLER TO SET UP A JOINT DISTRIBUTION NETWORK FOR WARNER, ELEKTRA, AND ATLANTIC. ATLANTIC RECORDS ALSO AGREED TO ASSIST WARNER BROS. IN ESTABLISHING OVERSEAS DIVISIONS, BUT RIVALRY WAS STILL A FACTOR —WHEN WARNER EXECUTIVE PHIL ROSE ARRIVED IN AUSTRALIA TO BEGIN SETTING UP AN AUSTRALIAN SUBSIDIARY, HE DISCOVERED THAT ONLY ONE WEEK EARLIER ATLANTIC HAD SIGNED A NEW FOUR-YEAR DISTRIBUTION DEAL WITH FESTIVAL RECORDS. IN MARCH 1972, KINNEY MUSIC INTERNATIONAL WAS RENAMED WEA MUSIC INTERNATIONAL. DURING THE 1970S, THE WARNER GROUP BUILT UP A COMMANDING POSITION IN THE MUSIC INDUSTRY. IN 1970, IT BOUGHT ELEKTRA (FOUNDED BY HOLZMAN IN 1950) FOR $10 MILLION, ALONG WITH THE BUDGET CLASSICAL MUSIC LABEL NONESUCH RECORDS.
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Ladyslipper Tenth Anniversary
Ladyslipper Tenth Anniversary Resource Guide apes by Women T 1986 About Ladyslipper Ladyslipper is a North Carolina non-profit, tax- 1982 brought the first release on the Ladys exempt organization which has been involved lipper label: Marie Rhines/Tartans & Sagebrush, in many facets of women's music since 1976. originally released on the Biscuit City label. In Our basic purpose has consistently been to 1984 we produced our first album, Kay Gard heighten public awareness of the achievements ner/A Rainbow Path. In 1985 we released the of women artists and musicians and to expand first new wave/techno-pop women's music al the scope and availability of musical and liter bum, Sue Fink/Big Promise; put the new age ary recordings by women. album Beth York/Transformations onto vinyl; and released another new age instrumental al One of the unique aspects of our work has bum, Debbie Tier/Firelight Our purpose as a been the annual publication of the world's most label is to further new musical and artistic direc comprehensive Catalog and Resource Guide of tions for women artists. Records and Tapes by Women—the one you now hold in your hands. This grows yearly as Our name comes from an exquisite flower the number of recordings by women continues which is one of the few wild orchids native to to develop in geometric proportions. This anno North America and is currently an endangered tated catalog has given thousands of people in species. formation about and access to recordings by an expansive variety of female musicians, writers, Donations are tax-deductible, and we do need comics, and composers.
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How the Crosby Band Got Started HOW DO YOU KNOW
>• 1.1941 Chicago. June 1, 1940 CROSBY ANNIVERSARY ISSUE DOWN BEAT on that. In fact, it has been his genial nature and his willingness to let some of the more technical ‘Got to Feel How the Crosby Band Got Started problems be handled by others in • the band better qualified that has Choice of Three ers. We were guaranteed $5,000 been the biggest factor in the suc in two weeks by Cork and believe cess of the band. Well to me, we earned it. Then came two We play the music we like—the Leaders Offered weeks at Tybee Beach in Savan- music we feel. We don’t call it nah, our first location. It was a “2-beat” or “4-beat” or anything Play Well’ BY GIL RODIN terrific click, much to our surprise, else. It’s just the music we like. and Willie Harr, who operated the Matty Matlock and Bob Haggart BY EDDIE MILLER bat Tommy was busy and I had to Beach, recommended us for the have the ability to write down There isn’t any two ways about talk with Cork O’Keefe. That was Adolphus Hotel in Dallas. what we all agree is the music we it—tiie boys in a band must feel when Rockwell-O’Keefe was begin- That also was a fine date. should play. And we just go ahead well in order to play well. One of oing to be a big booking combine. Everyone seemed to go for the and play it. the big reasons why the Crosby Cork listened to some of our rec band.
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2021 Breeze Show Choir Catalog
Previously Arranged Titles (updated 2/24/21) Specific details about each arrangement (including audio samples and cost) are available at https://breezetunes.com . The use of any of these arrangements requires a valid custom arrangement license purchased from https://tresonamusic.com . Their licensing fees typically range from $180 to $280 per song and must be paid before you can receive your music. Copyright approval frequently takes 4-6 weeks, sometimes longer, so plan accordingly. If changes to the arrangement are desired, there is an additional fee of $100. Examples of this include re-voicing (such as from SATB to another voice part), rewriting band parts, making cuts, adding an additional verse, etc. **Arrangements may be transposed into a different key free of charge, provided that the change does not make re-voicing necessary** For songs that do not have vocal rehearsal tracks, these can be created for $150/song. To place an order, send an e-mail to [email protected] or submit a license request on Tresona listing Garrett Breeze as the arranger, Tips for success using Previously Arranged Titles: • Most arrangements can be made to work in any voicing, so don’t be afraid to look at titles written for other combinations of voices than what you have. Most SATB songs, for example, can be easily reworked for SAT. • Remember that show function is one of the most important things to consider when purchasing an arrangement. For example, if something is labelled in the catalog as a Song 2/4, it is probably not going to work as a closer.
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How to Use This Songfinder
as of 3.14.2016 How To Use This Songfinder: We’ve indexed all the songs from 26 volumes of Real Books. Simply find the song title you’d like to play, then cross-reference the numbers in parentheses with the Key. For instance, the song “Ac-cent-tchu-ate the Positive” can be found in both The Real Book Volume III and The Real Vocal Book Volume II. KEY Unless otherwise marked, books are for C instruments. For more product details, please visit www.halleonard.com/realbook. 01. The Real Book – Volume I 10. The Charlie Parker Real Book (The Bird Book)/00240358 C Instruments/00240221 11. The Duke Ellington Real Book/00240235 B Instruments/00240224 Eb Instruments/00240225 12. The Bud Powell Real Book/00240331 BCb Instruments/00240226 13. The Real Christmas Book – 2nd Edition Mini C Instruments/00240292 C Instruments/00240306 Mini B Instruments/00240339 B Instruments/00240345 CD-ROMb C Instruments/00451087 Eb Instruments/00240346 C Instruments with Play-Along Tracks BCb Instruments/00240347 Flash Drive/00110604 14. The Real Rock Book/00240313 02. The Real Book – Volume II 15. The Real Rock Book – Volume II/00240323 C Instruments/00240222 B Instruments/00240227 16. The Real Tab Book – Volume I/00240359 Eb Instruments/00240228 17. The Real Bluegrass Book/00310910 BCb Instruments/00240229 18. The Real Dixieland Book/00240355 Mini C Instruments/00240293 CD-ROM C Instruments/00451088 19. The Real Latin Book/00240348 03. The Real Book – Volume III 20. The Real Worship Book/00240317 C Instruments/00240233 21. The Real Blues Book/00240264 B Instruments/00240284 22.
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Radio Mirror Will, If There Ore
.WIN A hKlb IKIP lU HOLLYWOOD! see page 32 $ MJ^rt fLO R. nother Hilarious AC K BENNY 'ACATION BROADCASr funny as his program w Beginning IGHWAY TO HAPPINESS LICE FAYE'S ROMANTIC LIFE LUKHF «Hn Ai.irf fAYi i: A U > ; / — — — Nearly 200 Styles and Sizes "Mail the Coupop! You'll get Approved by a real thrill out of this catalog Good — (I did). You'll find nearly HousekaepiiiK 200 styles and sizes of Heat- Institute ers, Ranges and Furnaces many illustrated in beautiful users for 37 years. Everybody has a good culating Heaters— Oil Heaters—Garage word for Kalamazoo. Kalamazoo ships all at pastel colors— actually more Heaters—Furnaces (free plans) — any product on 30 days trial. You make up Kalamazoo FACTORY PRICES. You'll bargains than in 20 big stores. your mind in your own home as I did. No see the 'Oven that Floats in Flame' As Little as 12c a Day urging ! Service is fast—24 hour shipments. porcelain enamel oven bottoms—cop- The Kalamazoo guarantee is — satisfac- per-lined reservoirs and dozens of other "You'll be amazed to find how tion or money back — and no red tape. features. You'll read about Kalamazoo far your pennies stretch. Some New Ranges—New Heaters Prize Winners. A whole bookful of inter- stoves cost as little as 12c a esting facts about cooking and heating. day at the FACTORY PRICE "In this new Kalamazoo Catalog you'll "My suggestion is:— mail the coupon —and 18 months to pay, if you see new modem stoves of sparkling beauty Porcelain Coal AT ONCE for free Catalog! Don't take wish.Termsallof us can afford.
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Grandladyjazz00teagrich.Pdf
University of California Berkeley of California Regional Oral History Office University California The Bancroft Library Berkeley, Norma Teagarden GRAND LADY OF PIANO JAZZ With Introductions by Cyra McFadden and Marilyn Unsworth Interviews Conducted by Caroline Crawford 1992-1994 Copyright 1994 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well -placed witnesses to major events in the development of Northern California, the West, and the Nation. Oral history is a modern research technique involving an interviewee and an informed interviewer in spontaneous conversation. The taped record is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The resulting manuscript is typed in final form, indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ************************************ All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Norma Teagarden dated March 28, 1994. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. No part of the manuscript may be quoted for publication without the written permission of the Director of The Bancroft Library of the University of California, Berkeley.
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