The Montana Kaimin, October 7, 1927
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King Oliver, Jelly Roll, and Satchmo 14 3 Bix, Austin High, and Chicago Style 31 4 Pops and Smack 41
THE JAZZ AGE This page intentionally left blank ARNOLD SHAW THE JAZZ AGE Popular Music in the 1920's Oxford University Press New York Oxford OXFORD UNIVERSITY PRESS Oxford New York Toronto Delhi Bombay Calcutta Madras Karachi Petaling Jaya Singapore Hong Kong Tokyo Nairobi Dar es Salaam Cape Town Melbourne Auckland and associated companies in Berlin Ibadan Copyright © 1987 by Ghita Milgrom Shaw First published in 1987 by Oxford University Press, Inc., 200 Madison Avenue, New York, New York 10016 First issued as an Oxford University Press paperback, 1989 Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press, Inc. Library of Congress Cataloging-in-Publication Data Shaw, Arnold. The Jazz Age. Bibliography: p. Includes index. 1. Music, Popular (Songs, etc.)—United States—History and criticism. 2. Jazz music—United States. 3. Musical revue, comedy, etc.— United States. 4. United States—History—1919-1933. I. Title. ML3477.S475 1987 780'.42'0973 86-33234 ISBN 0-19-503891-6 ISBN 0-19-506082-2 (pbk.) Lyrics from "Night and Day" by Cole Porter © 1921 Warner Bros. Inc. (Renewed). All Rights Reserved. Used by permission. "I've Come to Wive it Wealthily in Padua" by Cole Porter, Copyright © 1948 by Cole Porter. Copyright Renewed & Assigned to John F. Wharton, as Trustee of the Cole Porter Musical & Literary Property Trusts. Chappell & Co., Inc., owner of publication and allied rights throughout the world. -
G O O D Speed M U Sic a Ls
GOODSPEED MUSICALS TEACHER’S INSTRUCTIONAL GUIDE The Max Showalter Centerfor Education inMusical Theatre GOOD NEWS! Goodspeed Opera House April 12 - June 22, 2013 _________ MUSIC AND LYRICS BY B.G. DeSYLVA, LEW BROWN & RAY HENDERSON BOOK BY LAWRENCE SCHWAB, B.G. DESYLVA & FRANK MANDEL Teacher’s Instructional Guide ADAPTED BY TABLE OF CONTENTS JEREMY DESMON How to Use the Guides..........................................................................................3 LIGHTING DESIGN BY CHARLIE MORRISON ABOUT THE SHOW: Show Synopsis............................................................................................4 COSTUME DESIGN BY TRACY CHRISTENSEN Character Summary..............................……….…………………………...6 Meet the Writers..........................................…...………………………..…..7 SCENIC DESIGN BY COURT WATSON Behind the Scenes: Set Design...............................................................9 Behind the Scenes: Costume Design...................................................10 DIRECTED AND CHOREOGRAPHED BY BACKGROUND AND THEMATIC MATERIAL: VINCE PESCE Football in the 1920s................................................................................11 PRODUCED FOR GOODSPEED Sororities and Fraternities in the 1920s....................................................13 MUSICALS BY MICHAEL P. PRICE The Roaring ‘20s: Youth in Society..........................................................14 Presenting a Timeless Trope....................................................................15 LESSONS: Middle School -
Broadway Sheet Music Collection Print Collection 31 Finding Aid Prepared by Siduri Beckman
Broadway sheet music collection Print Collection 31 Finding aid prepared by Siduri Beckman. Last updated on July 26, 2016. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 2016 June 28 Broadway sheet music collection Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 4 Administrative Information........................................................................................................................... 5 Controlled Access Headings..........................................................................................................................5 Collection Inventory...................................................................................................................................... 7 - Page 2 - Broadway sheet music collection Summary Information Repository University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts Title Broadway sheet music collection Call number Print Collection 31 Date [inclusive] 1918-1929 Extent 2 linear feet (6 boxes) Language English Language Note The bulk of the material is -
The Vocal Arrangements of Ed Smalle and Frank J. Black: Seven Performance Editions of Songs for Male Quartet Made Popular by the Revelers
PHILLIPS, CRAIG ALAN, D.M.A. The Vocal Arrangements of Ed Smalle and Frank J. Black: Seven Performance Editions of Songs for Male Quartet Made Popular by The Revelers. (2017) Directed by Dr. Carla LeFevre. 94 pp. Organized in 1925, The Revelers were an influential American popular musical act. Among the most successful artists performing on radio and recording during the late 1920s and 1930s, The Revelers—a quintet comprising four singers and a pianist—were integral both to the mainstreaming of jazz and to the promotion of American songwriters Jerome Kern, Richard Rodgers, and George Gershwin, among others. Their pioneering style influenced a generation of vocal groups, serving as a template for subsequent jazz- inflected acts including the Ink Spots, Comedian Harmonists, and The Boswell Sisters. The Revelers sold millions of records, conducted acclaimed international tours, and, due to their long-standing tenure on the NBC radio network, garnered a reputation as the world’s premier vocal ensemble. The purpose of this document is the preservation of select arrangements composed for The Revelers by Ed Smalle (1887–1968) and Frank J. Black (1898–1969) through the creation of modern performance editions. Seven editions of songs made popular by The Revelers were constructed using handwritten charts drawn from a recently discovered collection of scores that was once the property of the original group. The songs selected provide a cross-section of styles and suitably represent the creative output of Smalle and Black. The score collection is unique, containing the only extant copies of hundreds of historic, unpublished arrangements composed by Smalle and Black for The Revelers. -
ARMSTRONG, Louis, & His Orchestra
DEBUT PEAK WKS ARTIST (no B-side) = single-faced disc DATE POS CHR Song Title or cylinder record B-side Label & Number ARMSTRONG, Louis, & His Orchestra All-Time: 38 Born Daniel Louis Armstrong on 8/4/1901 in New Orleans, Louisiana. Died of heart failure on 7/6/1971 (age 69). Legendary jazz singer/trumpet player. Nicknamed “Satchmo.” Moved to Chicago in 1922 to join King Oliver‘s band. Formed own band in 1926. Known for his uniquely raspy, scat-tinged vocals. Numerous appearances on radio, TV and in movies. Also see Fletcher Henderson, King Oliver, Bessie Smith, Clara Smith and Clarence Williams. AWARDS: Grammy: Lifetime Achievement 1972 R&R Hall of Fame: 1990 (Early Influence) 1)All Of Me 2)I’m In The Mood For Love 3)You Can Depend On Me 4)Love, You Funny Thing! 5)Chinatown, My Chinatown 7/17/26 8 2 1 Muskrat Ramble....................................................................................................................Heebie Jeebies [I] Okeh 8300 4/9/27 13 3 2 Big Butter And Egg Man From The West...........................................................................Sunset Cafe Stomp Okeh 8423 10/29/27 16 2 3 Keyhole Blues .........................................................................................................................Melancholy Blues Okeh 8496 also see #42 below 12/10/27 12 3 4 Potato Head Blues.........................................................................................................Put ‘Em Down Blues [I] Okeh 8503 LOUIS ARMSTRONG & HIS HOT SEVEN (above 2) 5/12/28 10 3 5 Hotter Than -
Creative Vision
CREATIVE VISION Vince Pesce, Director/Choreographer and Jeremy Desmon, Book Adaptation What is your vision for Good News!? Tell us about your inspirations. VINCE PESCE: The Roaring Twenties. A time of prosperity, modernity, and lovely gals flapping their way into our hearts. The Jazz Age. Good News! is a prime example of this glorious time of new beginnings. Who wouldn’t want to toy with such a delicious show filled with songs like “The Varsity Drag”, “The Best Things in Life Are Free”, “Button Up your Overcoat”, and “Life is Just a Bowl of Cherries”? Well, the good folks of the Goodspeed Opera House, Jeremy Desmon (who adapted the book), and I jumped at the chance to finesse this piece and make it relevant and exciting for the audience of today. We focused on making these highly entertaining characters clear and believable while adding lots of comic hijinks. That’s where Jeremy Desmon comes in. He has managed to create a book that is beaming with 1920s charm, lovable comical characters, and a romantic couple that is destined to be together. Jeremy has created the perfect storm—a book that is funny, allows us to break into dance without stopping the plot, and still remains sincere. We also managed to pull in a few “new” DeSylva, Brown & Henderson tunes never before used in the show (“If You Haven’t Got Love” and “Here Am I, Broken‐Hearted”). David Krane, our dance music arranger, came on board to create brand‐new dance music that will knock your socks off. Good News! is loaded with dance, so it was important to get someone like David, who did the arrangements for the Chicago movie as well as many Broadway shows, to bring our vision to life. -
Other Astor Labels
AUSTRALIAN RECORD LABELS ASTOR DISTRIBUTED LABELS 1952 TO 1982 COMPILED BY MICHAEL DE LOOPER © BIG THREE PUBLICATIONS, JUNE 2019 1 ASTOR LABELS INCLUDED IN THIS LISTING ABC 1979–1980 EUROPA 1972–1979 OVATION 1980–1981 AMARET 1969–1970 FABLE / BOOTLEG –1982 PLAYBOY 1972–1978 AMERICAN INTERNATIONAL 1979 FULL MOON 1979–1981 PRT / PRECISION 1980–1982 ASH 1977 GALLERIA DEL CORSO 1962 RED BIRD 1964–1966 ATTIC 1977–1980 GENERATION 1971–1972 REPRISE 1963–1966 AUDIO BOOK 1959 GO!! 1964–1967 RIALTO 1980–1982 AUDIO FIDELITY 1963–1969 GOLDEN HOUR 1969–1980 ROUGH DIAMOND 1981–1982 BARNABY 1974–1976 GRT / JANUS 1972–1978 ROXBURY 1977 BLUEPRINT 1980–1981 GULL 1974–1976 SCEPTER 1972–1975 B.T. PUPPY 1967–1970 HI FI RECORD 1959–1966 SCOPE 1966–1967 CAMERON INDIGO 1976–1979 SCORE 1968 CASABLANCA 1974–1980 KAMA SUTRA 1966–1968 SOMERSET / SONIC 1972–1975 CHELSEA 1977 KARATE 1966 SWEET PEACH 1970–1971 CLEF 1954–1958 LA RECORDS 1979 TRIP 1975 COLPIX 1963–1965 LISMOR 1979 TWIN HITS 1963–1964 CREAM 1977–1981 MAGIC MOON 1981–1982 UP FRONT DANDELION 1971 MERCURY 1952–1962 VANGUARD 1956–1980 DAWN 1970–1975 MOTOWN 1978–1982 VERVE 1956–1967 ELEKTRA 1966–1970 NIXA 1953–1959 WESTBOUND 1971–1972 ENSIGN 1981–1982 ORFEON 1961 2 ABC RECORDS PREVIOUSLY DISTRIBUTED THROUGH RCA. DISTRIBUTION PASSED TO ASTOR WHEN ABC WAS SOLD TO MCA IN 1979. MOST LP’S WERE REISSUES (‘RI’), AND MANY HAD AN MCA LABEL. 45’S AB 12449 PINBALL, THAT’S ALL / MY MUSIC BILL WRAY 8.79 AB 12451 (IF LOVING YOU IS WRONG) I DON’T WANT TO BE RIGHT / I FEEL THE HURT COMING ON BARBARA MANDRELL 7.79 AB 12456 CHEATER’S KIT / STOLEN WINE TOMMY OVERSTREET 8.79 AB 12458 LAY DOWN BESIDE ME / I WOULD LIKE TO SEE YOU AGAIN DON WILLIAMS 9.79 AB 12459 YOU CAN DO IT / I DON’T WANT YOU TO LEAVE ME AL HUDSON & THE PARTNERS 8.79 AB 12463 SAIL AWAY / THE ONLY ONE OAK RIDGE BOYS 8.79 TO MCA MAIN CATALOGUE IN 1979 LP’S ABCD 752 CABARET RI SOUNDTRACK ABCX 758 CAN’T BUY A THRILL RI STEELY DAN ABCX 767 THE BEST OF B. -
MUSICAL THEATRE a History
MUSICAL THEATRE A History John Kenrick This book is dedicated to Mary Pinizzotto Kenrick Marotta and Frank Crosio. Neither my life nor this book would be possible without their unfailing support. CONTENTS Acknowledgments 9 Introduction “Let’s Start at the Very Beginning . .” 11 1 Ancient Times to 1850—“Playgoers, I Bid You Welcome!” 18 2 Continental Operetta (1840–1900)— “Typical of France” 35 3 American Explorations (1624–1880)— “The Music of Something Beginning” 50 4 Gilbert and Sullivan (1880–1900)— “Object All Sublime” 75 5 The Birth of Musical Comedy (1880–1899)— “It Belong’d to My Father Before I Was Born” 95 6 A New Century (1900–1913)—“Whisper of How I’m Yearning” 111 7 American Ascendance (1914–1919)—“In a Class Beyond Compare” 134 8 Al Jolson—“The World’s Greatest Entertainer” 156 9 The Jazz Age (1920–1929)—“I Want to Be Happy” 168 10 Depression Era Miracles (1930–1940)— “Trouble’s Just a Bubble” 207 11 A New Beginning (1940–1950)—“They Couldn’t Pick a Better Time” 238 8 CONTENTS 12 Broadway Takes Stage (1950–1963)— “The Street Where You Live” 265 13 Rock Rolls In (1960–1970)—“Soon It’s Gonna Rain” 298 14 New Directions (1970–1979)—“Vary My Days” 318 15 Spectacles and Boardrooms—“As If We Never Said Goodbye” 342 16 Musical Comedy Returns (The 2000s)— “Where Did We Go Right?” 370 Suggested Reading: An Annotated Bibliography 383 Recommended Web Resources 394 Index 395 ACKNOWLEDGMENTS It would be impossible for me to thank all the people who have inspired, assisted, and cajoled me in the process of creating this book, but a few curtain calls are in order. -
Capitol Records Discography, Continued
Capitol Records Discography, Continued Main Series (Continued from Part 4): EAP 1 600 – Jane Froman Sings – Jane Froman [1955] This is a 7 inch extended play 45 rpm record. The Song from Desiree (We Meet Again)/The Finger of Suspicion Points at You/I Wonder/I’ll Never Be the Same EAP 1 601 – Hank Thompson and the Brazos Valley Boys – Hank Thompson and the Brazos Valley Boys [1955] This is a 7 inch extended play 45 rpm record. New Green Light/If Lovin’ You is Wrong/Annie Over/Wake Up/Irene EAP 1 602 – Louvin Brothers – Louvin Brothers [1955] This is a 7 inch extended play 45 rpm record. Family Who Prays/I Love God's Way Of Living/Born Again/If We Forget God S 603 – Plain and Fancy (Original Cast) – Various Artists [1955] Overture/You Can't Miss It – Richard Derr and Shirl Conway/It Wonders Me – Gloria Marlowe/Plenty of Pennsylvania – Nancy Andrews, Douglas Fletcher Rodgers, Elaine Lynn/Young and Foolish – David Daniels and Gloria Marlowe/Why Not Katie? – Douglas Fletcher Rodgers/It's a Helluva a Way to Run a Love Affair – Shirl Conway//This Is All Very New to Me – Barbara Cook/Plain We Live – Stefan Schnabel/How Do You Raise a Barn?/Follow Your Heart – David Daniels, Gloria Marlowe and Barbara Cook/City Mouse, Country Mouse – Nancy Andrews/I'll Show Him – Barbara Cook/Take Your Time and Take Your Pick – Barbara Cook, Richard Derr and Shirl Conway/Finale 604 605 EAP 1 606 – Jimmy Heap – Jimmy Heap [1955] This is a 7 inch extended play 45 rpm record. -
Popular Music Part Three
PART THREE: P O P ULAR MUSIC Popular music is defined by Hutchinson’s Dictionary of Music as “twentieth- century music of great diversity that appeals to a wide audience. Characterized by strong rhythms of African origin, simple harmonic structures often repeated to strophic melodies, and the use of electrically amplified instruments, pop mu- sic generally includes the areas of jazz, rock, country and western, rhythm and blues, soul and others.” That wide-ranging definition might work for popular music of the second half and certainly the end of the twentieth century, but certainly not so generally for the first half or for the nineteenth century. The nineteenth and twentieth centuries both had popular music enjoyed by a “wide audience,” but the number of styles proliferated in the 1950s after the introduction of the long-playing (LP) record and multiplied again as the century ended amid a furor of compact disc (CD) reissues. Many of these newer styles found a specific audience. These audiences tended to narrow their focus and ceased to be the all-embracing “wide audience.” If we think of the original “wide audience” as a river, the roots of musical styles are the tributaries that feed it. As the river continues, it widens into a blended flow before it spreads out into a delta. In the process of creating the delta, the river disappears. To a great extent that is what has happened to popular music, especially in late twentieth-century America. Today’s mainstream “wide audience” is difficult to pinpoint, characterize, or even define. It does seem to have money, or at least some expendable income. -
Guide to the Sam Devincent Collection of Illustrated American Sheet Music, Series 4: Songwriters Volumes I and II
Guide to the Sam DeVincent Collection of Illustrated American Sheet Music, Series 4: Songwriters Volumes I and II NMAH.AC.0300.S04 NMAH Staff 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 Scope and Contents note.............................................................................................. 21 Biographies of Song Writers............................................................................................ 2 Arrangement note.......................................................................................................... 22 Bibliography.................................................................................................................... 22 Container Listing ........................................................................................................... 23 Subseries 4.1: Burt Bacharach and Hal David, 1943-1971.................................... 23 Subseries 4.2: Irving Berlin, 1907-1962................................................................. 23 Subseries 4.3: B. G. De Sylva, Lew Brown, and Ray Henderson, 1913-1941........ 34 Subseries 4.4: Sammy Cahn, 1936-1967............................................................. -
Inside Facts of Stage and Screen (August 30, 1930)
STAGE RADIO SCREEN PRICE 10 CENTS MUSIC Only Theatrical Newspaper on the Pacific Coast ESTABLISHED 1924 EDITED BY JACK JOSEPHS Published Every Saturday at 800-801 Warner Bros. Down- Vol. XII Entered as Second Class Matter, April 29, 1927, at Post- Saturday, August 30, 1930 No. 9 office, Los Angeles, Calif., under Act of March 3, 1879. town Building, 401 West Seventh St., Los Angeles, Calif. SPANISH TALKIES BOOED’ WORK OUTLOOK RIDDLE SCREEN IMPROVES FOR WITH BULLETS ALL BUT GIRLS TO VENT RAGE Immediate prospects for Because motion picture pro- work in the major studios is ducers insist on using a stilted very promising. A survey of version of the Spanish lan- the situation brings fort.h the guage, a version particularly heartening information that hateful to Latin Americans, will plentiful in jobs be all critics and audiences of Latin lines with the possible excep- America, from Sonora to, the tion of chorus work. nethermost tip of Chili, have All manner of pictures are emphatically rejected the scheduled to start into pro- duction forthwith and casting Spanish talking films made by is going on right merrily, par- American producers in Holly- ticularly in the dramatic field. wood. While there is not much ac- This condition has been tivity promised for musicals, growing for some time, but yet most of the studios assure only recently an audience in they plan one or pictures two one town “shot-up” the screen, with songs. while a picture was being run At 11 of their sched- UNIVERSAL off, and “boos” are the general uled 20 are yet to be made this rule, whenever films are shown year.