Louis Armstrong Satchmo Serenades Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Louis Armstrong Satchmo Serenades mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Satchmo Serenades Country: Germany Released: 1973 MP3 version RAR size: 1242 mb FLAC version RAR size: 1965 mb WMA version RAR size: 1322 mb Rating: 4.9 Votes: 847 Other Formats: MP1 VOX ASF RA WAV MIDI MP4 Tracklist Hide Credits (When We Are Dancing) I Get Ideas A1 3:20 Written-By – Cochran*, Sanders* A Kiss To Build A Dream On A2 3:00 Written-By – Kalmar*, Ruby*, Hammerstein II* Cold, Cold Heart A3 3:10 Written-By – Williams* Because Of You A4 3:10 Written-By – Hammerstein*, Wilkinson* I'll Walk Alone A5 3:10 Written-By – Styne - Cahn* Congratulations To Someone A6 2:40 Written-By – Frisch*, Alfred* La Vien En Rose B1 3:20 Written-By – Louiguy, David* C'est Si Bon (It's So Good) B2 3:05 Written-By – Hornez*, Betti*, Seelen* Maybe It's Because B3 3:10 Written-By – Ruby*, Scott* I'll Keep The Lovelight Burning (In My Heart) B4 2:55 Written-By – Benjamin*, Weiss* I Can't Afford To Miss This Dream B5 2:40 Written-By – Waldman*, Friedlander* Sittin'In The Sun (Countin' Ther Money) B6 2:55 Written-By – Berlin* Companies, etc. Record Company – TELDEC »Telefunken-Decca« Schallplatten GmbH Credits Vocals, Orchestrated By – Louis Armstrong Barcode and Other Identifiers Matrix / Runout (Side 1): MG 4354 Matrix / Runout (Side 2): MG 4355 Rights Society: GEMA Other versions Category Artist Title (Format) Label Category Country Year Louis Armstrong Louis Armstrong With With Orchestra Orchestra Directed By DL 8211 Decca DL 8211 US 1952 Directed By Sy Sy Oliver - Satchmo Oliver Serenades (LP, Album) Louis Armstrong With Louis Armstrong Orchestra Directed By Verve 543 792-2, With Orchestra 543 792-2, Sy Oliver - Satchmo Records, Europe 2000 DL 5401 Directed By Sy DL 5401 Serenades (CD, Comp, Decca Oliver RE, RM, Dig) Satchmo Serenades COPS 5190 Louis Armstrong Coral COPS 5190 Germany 1973 (LP, Album) Louis Armstrong With Louis Armstrong 314 543 Orchestra Directed By Verve 314 543 With Orchestra 792-2, DL Sy Oliver - Satchmo Records, 792-2, DL US 2000 Directed By Sy 5401 Serenades (CD, Comp, Decca 5401 Oliver RE, RM, Dig) Louis Armstrong Louis Armstrong With With Orchestra Orchestra Directed By MVCM-273 Decca MVCM-273 Japan 1992 Directed By Sy Sy Oliver - Satchmo Oliver Serenades (CD, Album) Related Music albums to Satchmo Serenades by Louis Armstrong Louis Armstrong With Sy Oliver And His Orchestra - La Vie En Rose Louis Armstrong - Louis Armstrong's Great Hits - Recorded Live Louis Armstrong - Satchmo . A Musical Autobiography Of Louis Armstrong Louis Armstrong - High Society Louis Armstrong - Hello Satchmo - His Golden Favorites Louis Armstrong - Hello, Dolly! Louis Armstrong - Hello Dolly Hugo Winterhalter Orchestra - A Kiss To Build A Dream On/Autumn Rhapsody/Beyond the Blue Horizon/The Terry Theme.

Copy Link

Recommended publications

Guide to Ella Fitzgerald Papers
Guide to Ella Fitzgerald Papers NMAH.AC.0584 Reuben Jackson and Wendy Shay 2015 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Music Manuscripts and Sheet Music, 1919 - 1973................................... 5 Series 2: Photographs, 1939-1990........................................................................ 21 Series 3: Scripts, 1957-1981.................................................................................. 64 Series 4: Correspondence, 1960-1996.................................................................
[Show full text]
Louis Armstrong La Vie En Rose Mp3, Flac, Wma
Louis Armstrong La Vie En Rose mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: La Vie En Rose Country: US Released: 1950 MP3 version RAR size: 1901 mb FLAC version RAR size: 1486 mb WMA version RAR size: 1352 mb Rating: 4.1 Votes: 455 Other Formats: AIFF AC3 ASF AU DMF MIDI MP2 Tracklist Hide Credits La Vie En Rose A 3:20 Written-By – Louiguy, Mack David C'est Si Bon B 2:59 Written-By – Andre Hornez*, Henri Betti, Jerry Seelen Credits Orchestra – Sy Oliver And His Orchestra Vocals [Vocal Chorus By] – Louis Armstrong Other versions Category Artist Title (Format) Label Category Country Year Louis Armstrong Louis Armstrong With Sy 12 993 With Sy Oliver And Oliver And His Orchestra - Brunswick 12 993 Europe 1964 His Orchestra La Vie En Rose (7") Louis Armstrong, Sy Louis Armstrong, Oliver And His Orchestra - 27113 Sy Oliver And His Decca 27113 Canada Unknown La Vie En Rose / C'est Si Orchestra Bon (Shellac, 10") Related Music albums to La Vie En Rose by Louis Armstrong Louis Armstrong And His Hot Seven - The Louis Armstrong Story, Volume II: Louis Armstrong And His Hot Seven Louis Armstrong, King Oliver, Bessie Smith, - Louis Armstrong, King Oliver and Bessie Smith – The Blues Heritage Louis Armstrong And His All-Stars, The Sy Oliver Choir - Louis And The Good Book Louis Armstrong - Louis Armstrong Vol.16 Louis Armstrong - Hello Satchmo - His Golden Favorites Louis Armstrong - Satchmo Serenades Louis Armstrong - Ella Fitzgerald - Dream A Little Dream Of Me / Can Anyone Explain? Ella Fitzgerald & Louis Armstrong - Can Anyone Explain / Dream A Little Dream Of Me.
[Show full text]
Jumpin' Punkins by Mercer Ellington Arranged by Duke Ellington Unit 1
Jumpin’ Punkins By Mercer Ellington Arranged by Duke Ellington Unit 1: Composer Mercer Ellington was born in Washington D.C., on March 11, 1919. He was the son of world famous composer, pianist, and bandleader, Duke Ellington. He tried for his entire life to escape from under the shadow of his famous father. A talented trumpet player, Mercer studied music with his father and wrote his first composition, “Pigeons and Peppers”, at the age of eighteen. Mercer, a classically trained musician, studied music in New York at Columbia University and the Institute of Musical Arts at Juilliard. He had several professions in life including salesman, disk jockey, record company executive, trumpet player, and aide to his father. Mercer performed in Sy Oliver’s Band after WWII, led his own band for a number of years, and then served as music director for Della Reese in 1960. He took over as leader of the Ellington Orchestra after his father’s death in 1974. He even won a Grammy with the Ellington Orchestra in 1988 for “Digital Duke.” This recording actually pulled together many of the former greats of the Ellington Orchestra including Clark Terry, Norris Turney and special guest artists including Branford Marsalis and Sir Roland Hanna. Mercer also wrote a biography of his father entitled “Duke Ellington in Person,” offering a personal account of Duke Ellington from a son’s perspective. Unit 2: Composition Mercer wrote Jumpin’ Punkins (1941) after being asked by his father, Duke, to join the band as a writer. It is believed that even though Mercer composed several compositions during this two-year period, Duke actually arranged this chart for the Ellington Orchestra himself.
[Show full text]
Guide to the Leonard Gaskin Papers
Guide to the Leonard Gaskin Papers NMAH.AC.0900 Vanessa Broussard-Simmons and Dr. Theodore Hudson 2019 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 2 Container Listing ............................................................................................................. 4 Series 1: Personal Papers, 1937-2006, undated..................................................... 4 Series 2: Diaries and Planners, 1947-2004............................................................. 7 Series 3: Business Records, 1939-2000, undated................................................. 10 Series 4: Photographic Materials, 1956-2003, undated......................................... 12 Series 5: Scrapbooks, 1923-2004, undated..........................................................
[Show full text]
Count Basie and His Bands
NEW YORKJAZZ MUSEUM , . (:OU~T 13A,I~ and 171,13A~u, _.......-- · ' - . -~•,.,. - (:OU~T 13Ail~ and I-iii 13A~l)i Edited by Dan Morgenstern and Jack Bradley Biographies by Bill Esposito Dan Morgenstern Arnold J. Smith © Copyright 1975 by New York Jazz Museum Cover photo/Phil Stern Cover design/ Fran Greenberg WILLIAM "COUNT" BASIE A PROFILE OF HIS LI FE & MUSIC 1904 Born , August 21, at Red Bank, N.J. 1917 Starts as a drummer, switches to piano. 1919-20 Plays in local bands and stage shows in N. Y. and N.J. Takes lessons from Fats Waller. 1925-27 Tours theaters accompanying variety acts: Kate Crippen and Her Kids, Sonny Thompson Band, Gonzelle White. Vaudevillians ; first hears Kansas City style music in Tulsa, Walter Page Blue Devils; Gonzelle White Show folds in Kansas City; Accompanies Whitman Sisters in Kansas City . 1928 Join s Blue Devils in Dallas, Texas in July. 1929 Plays briefly with Elmer Payne and his Ten Royal Americans (summer). 1930 Basie and members of the Blue Devils join Benny Mote.n's band. 1934 Leaves Moten early in year to lead own band (under Mote.n's auspices) in Little Rock, Arkansas, then rejoins Moten. 1935 Death of Moten breaks up the famous Kansas City unit, after working a short time under Mote.n's brother Buster's leadership; returning to Kansas City, · works as a single, then with own trio before jointly leading "Barons of Rhythm" with altoist, Buster Smith. 1936 Broadcasts over Station WIXBY and is heard by John Hammond, famed jazz buff and sponsor, who initiates the band's first national tour; plays at Grand Terrace in Chicago - not a rousing success - then the Vendome Hotel in Buffalo, N.Y.
[Show full text]
ESSENTIAL Jazzeditions
JAZZ AT LINCOLN CENTER — WWW.JALC.ORG ESSENTIAL Jazz EDITIONS Essential Jazz Editions Edited by David N. Baker Essential Jazz Editions is a series of scores for jazz ensembles transcribed from classic jazz recordings. This 10-year project, begun in 1999, will ultimately represent the breadth of the jazz canon. A set of ﬁve charts is produced and published each year, beginning with early jazz standards and continuing throughout the history of the music. Each original transcription includes historical and performance notes. “What serious jazz musicians and teachers have been waiting for.” – Wynton Marsalis, Artistic Director, Jazz at Lincoln Center “All jazz players, regardless of their stylistic preferences, can learn a great deal by studying the masters of this music.” – David N. Baker, Artistic and Musical Director, Smithsonian Jazz Masterworks Orchestra PRICING INFORMATION: SET #1: New Orleans Jazz 1918-1927 & SET #2: Louis Armstrong, 1926-1929 Conductor’s Score and Parts: $25.00/title Conductor’s Score: $6.00/title SET #3: Music of the 1930s, Part I Conductor’s Score and Parts: $40.00/title Conductor’s Score: $8.00/title SET #4: Music of the 1930s, Part II SET #5: Music of the 1940s, Part I Conductor’s Score and Parts: $45.00/title Conductor’s Score: $9.00/title 10 ESSENTIAL Jazz EDITIONS 2005 CATALOG LEGEND: Title, year of recording, (Catalog Number) – Grade Level Composer / As recorded by Description Instrumentation SET #1: NEW ORLEANS JAZZ, 1918-1927 Black Bottom Stomp, 1926 (EJE9901) – VI Jelly Roll Morton / Jelly Roll Morton’s Red Hot Peppers Up-tempo New Orleans ensemble jazz Cl.; Cnt.
[Show full text]
Broadway Starts to Rock: Musical Theater Orchestrations and Character, 1968-1975 By
Broadway Starts to Rock: Musical Theater Orchestrations and Character, 1968-1975 By Elizabeth Sallinger M.M., Duquesne University, 2010 B.A., Pennsylvania State University, 2008 Submitted to the graduate degree program in Musicology and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Paul R. Laird Roberta Freund Schwartz Bryan Kip Haaheim Colin Roust Leslie Bennett Date Defended: 5 December 2016 ii The dissertation committee for Elizabeth Sallinger certifies that this is the approved version of the following dissertation: Broadway Starts to Rock: Musical Theater Orchestrations and Character, 1968-1975 Chair: Paul R. Laird Date Approved: 5 December 2016 iii Abstract In 1968, the sound of the Broadway pit was forever changed with the rock ensemble that accompanied Hair. The musical backdrop for the show was appropriate for the countercultural subject matter, taking into account the popular genres of the time that were connected with such figures, and marrying them to other musical styles to help support the individual characters. Though popular styles had long been part of Broadway scores, it took more than a decade for rock to become a major influence in the commercial theater. The associations an audience had with rock music outside of a theater affected perception of the plot and characters in new ways and allowed for shows to be marketed toward younger demographics, expanding the audience base. Other shows contemporary to Hair began to include rock music and approaches as well; composers and orchestrators incorporated instruments such as electric guitar, bass, and synthesizer, amplification in the pit, and backup singers as components of their scores.
[Show full text]
Ella Fitzgerald 1944-1947
Ella Fitzgerald: syllabic choice in scat singing and her timbral syllabic development between 1944 and 1947 By Justin Garrett Binek 2 It is common in jazz discourse to praise Ella Fitzgerald as the greatest vocal improviser in the music’s history – Ella in fact declared herself to be exactly that1 - and this is part of the commonly accepted vocal jazz historical narrative. Improvisational methods praise her ideas as “excellent models for students of vocal jazz”2 and “musically and verbally inventive, filled with the joy of her creativity… represent[ing] the essence and pinnacle of scat singing”3; critical commentaries praise her “perfect balance between a steam enginelike propulsion and an ethereal playfulness”4; and reference books mention Fitzgerald as an exemplar of scat singing in definitions of the term5, using phrases like “It is mostly closely associated by the general public with Ella Fitzgerald and her many imitators.”6 Ella’s influence on other singers is illuminated in Chip Deffaa’s profile from Jazz Veterans: A Portrait Gallery7, written shortly before her death in 1996: “No living singer is more respected by other singers.” Deffaa quotes – among others – Annie Ross (“Like Charlie Parker, Ella can think it and execute it.”8), Jon Hendricks (“Ella’s a one-in-a-lifetime.”9), Anita O’Day (“The first time I heard Ella, in 1937, I said, ‘That is the girl. 1 Friedwald, Jazz Singing: America’s Great Voices from Bessie Smith to Bebop and Beyond, 282. 2 Madura, Getting Started with Vocal Improvisation, 29. 3 Stoloff, Scat! Vocal Improvisation Techniques, 8.
[Show full text]
Tommy Dorsey 1 9
TOMMY DORSEY 1 9 4 6 Prepared by: DENNIS M. SPRAGG CHRONOLOGY PART 1 - CHAPTER 12 Updated November 28, 2017 January 1946 INSIDE ORCHESTRAS – MUSIC “There has been considerable discussion in N. Y. about the reports of a fire at the Vogue Record Laboratories in Detroit, which is claimed to have destroyed masters of Art Mooney's first disks for that company. Apparently the feeling is that the first story was just an "out" for the company to evade promised release dates due to its inability to start production. Fire story, however, is on the level. Beside Mooney's masters, four sides by Charlie Shavers were destroyed. Shavers, trumpeter with Tommy Dorsey's band, had cut four jumpers with a small band.”1 TD – MCA SPAT LOOKS SETTLED “Tommy Dorsey's difficulties with Music Corp. of America, which led the leader several weeks ago to order MCA to stop booking his orchestra,, have been smoothed over. Dorsey and MCA execs had one or two meetings during the past week during which the differences were patched up. This was one dispute between the leader and MCA that was kept almost completely under cover. Its cause is still vague, although it is known that the friction was over money, not over the bookings. At any rate, Dorsey is again being submitted by the agency. He has nothing booked following the current Capitol theatre, N. Y. run and may go straight to the Coast after its completion. Incidentally, the, new contract between RCA Victor and Dorsey has been completed, It's a three-year deal, effective yesterday (Tues.) and replacing an old deal that still had more than a year to run.
[Show full text]
COUNT BASIE Vol.2
120736bk Basie2 2/9/04 10:20 PM Page 2 1. Rock-A-Bye Basie 3:06 9. How Long Blues 3:02 16. Let Me See 2:48 Recorded in New York except as noted (Shad Collins–Lester Young–Count Basie) (Leroy Carr) (Harry Edison–Count Basie) Transfers & Production: David Lennick Vocalion 4747, mx W 24239-1 Jimmie Rushing, vocal OKeh 6330, mx WCO 26600-A Digital Restoration: K&A Productions Recorded 19 March 1939 Vocalion 5010, mx WC 2634-A Recorded 20 March 1940 Recorded 24 June 1939, Chicago Original monochrome photo of Count Basie 2. Baby, Don’t Tell On Me 2:57 17. Blow Top 2:56 from Michael Ochs Archives / Redferns (Lester Young–Count Basie–Jimmie Rushing) 10. Dickie’s Dream 3:13 (Tab Smith) Jimmie Rushing, vocal (Lester Young–Count Basie) OKeh 5629, mx WCO 26870-B Vocalion 4747, mx W 24240-1 Count Basie's Kansas City Seven Recorded 31 May 1940 Personnel Recorded 19 March 1939 Vocalion 5118, mx B 25296-1 18. Gone With “What” Wind 2:48 COUNT BASIE ORCHESTRA 3. Jump For Me 3:13 Recorded 5 September 1939 (Count Basie–Benny Goodman) Buck Clayton, Ed Lewis, Harry “Sweets” (Count Basie) 11. Lester Leaps In 3:16 OKeh 5629, mx WCO 26871-B Edison, Shad Collins, trumpet; Dickie Wells, Vocalion 4886, mx W 24244-1 (Lester Young) Recorded 31 May 1940 Benny Morton, Dan Minor, trombones; Earl Recorded 20 March 1939 Count Basie's Kansas City Seven 19. Super Chief 3:27 Warren, alto; Lester Young, Buddy Tate, 4.
[Show full text]
Seldon Powell
1 The TENORSAX of SELDON POWELL Solographer: Jan Evensmo Last update: Feb. 16, 2021 2 Born: Lawrenceville, Virginia, Nov. 15, 1928 Died: New York, Jan. 25, 1997 Introduction: I remember very well our first encounter with Seldon Powell; through the exciting 1956 Atlantic album “Boss Of The Blues” with Joe Turner. We enjoyed his music very much from the start, and realizing the enormous number of recording sessions he had taken part in, we called him a ‘tenorsax potato’, suitable for all jazz dishes. It was meant as an honour. In our opinion, SP did never get the recognition he deserved History: First musical studies at Brooklyn and New York Conservatories 1947-49 and graduated at Juillard 1957. First job with the band of Betty Mays 1949, Tab Smith at Savoy Ballroom 1949 and Dec. 1949 with Lucky Millinder until 1951. Did army service 1951-52 playing in bands in France and Germany where he was stationed. After discharge returned to New York and played with Sy Oliver, Erskine Hawkins, Neal Hefti, Louis Bellson and Don Redman 1952-55. Studied at Juillard. In 1958 he travelled to Europe with Benny Goodman’s band, and then he played briefly with Woody Herman. In the 1960s he worked chiefly for ABC TV but also recorded heavily. His numerous recordings as a studio musician include many made in the late 1960s and early 1970s with soul and soul-jazz musicians, including Groove Holmes (ca. 1973) and sessions in the big bands that accompanied Gato Barbieri (1974) and Anthony Braxton and Dizzy Gillespie (both 1976).
[Show full text]
Jazzletter PO BOX 240, Ojai CA 93024-0240
Gene Lees Jazzletter PO BOX 240, Ojai CA 93024-0240 November 1998 Vol. 17 No. 11 Pencil-Pushers v p P made small marks on a big paper mounted on that board: score One sunny summer _ evening when was about thirteen, I saw paper, I realized within a few years. He was, I’m sure he explained crowds of people pouring into. the hockey arena in Niagara Falls, to me, writing “arrangements” for the band he played in. "I seem to Ontario. Curious to know what was attracting them, I parked my recall that he was the ﬁrst person to tell me the difference between bicycle behind the arena (in those days one had little fear that a major and minor chord. D I one’s bicycle would be stolen) and, in the manner of boys ofthat Because of him I was always aware that the musicians in a age, I sneaked in a back exit. What was going on was a big band. band weren’t just making it up, except in the solos. Somebody I remember watching as dark-skinned musicians in tuxedos wrote the passages they played together. assembled on the stage, holding bright shining brass instruments, . And so from my the earliest days I looked on the record labels taking their seats behind music stands. And then a man sat down for the parenthesized names under the song titles to see who wrote at the piano and played something and this assemblage hit me with a given piece. When the title wasn’t that of some popular song and a wall of sound I can still hear in.
[Show full text]