Louis Armstrong La Vie En Rose Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

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.
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]
  • Inventaire Du Théâtre Du Chatelet
    Aller à l'accueil de l'Association de la Régie Théâtrale FONDS THEATRE DU CHATELET Origine du fonds : don du Théâtre Inventaire du Théâtre du Chatelet Inventaire établi par Francine Delacroix et Marie-Odile Gigou 1. Pièces de théâtre dans l’ordre alphabétique L’Aiglon Edmond Rostand. (1946 – 1969) - 3 programmes. 1964 ( ?). Renée Saint-Cyr, Pierre Vaneck, Jacques Dumesnil Autre distribution avec Erik Vanden Avec Renée Faure, Michel Le Royer, Jacques Sereys, Robert Vidalin dans le rôle de Flambeau - 2 programmes, plus petits Maurice Lehmann, directeur. Suzanne Dantès, Jeanne Boitel, (duc de Reichtadt), Henri Nassiet (Metternich) Suzanne Dantès, Guy Parzy (Reichstadt), Henri Nassiet - Coupures de presse - 1 Programme grand format (Maurice Lehman directeur. 1949 : Gala exceptionnel pour le monument d’Edmond Rostand à Cambo : Mony Dalmès, Jeanne Boitel, Jean Weber, Marguerite Jamois, se répartissant le rôle du duc de Reichstadt, Maurice Escande (Metternich), Pierre Morin (Flambeau), Jeanne Prouvost (Maris-Louise) - Photos dédicacées (Ghislaine… , 1 de Jean Weber) Annie du Far West – D’Herbert et Dorothy Fiels. Musique d’Irving Berly. 1950 -2 Programmes (dont une invitation 23 février 1950 à Madame Flammant + 1 double avec Lily Fayol et Marcel Merkès). -Dossier de presse dont une coupe du théâtre du Chatelet avec les dessins des décors. Photos (certaines sans nom, Georges Henri) L’As du volant Henri de Gorsse. 1927. Direction Alexandre Fontanes. - Texte de la pièce - Coupure de presse - 1 programme (avec Louis Dean) + 1 programme double du Fonds général A qui le milliard Henri de Gorsse. 1924 Direction Alexandre Fontanes - Texte de la pièce - 1 coupure de presse - 1 photo L’Auberge du cheval blanc H.
    [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]
  • "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 Piano Solo | Twelfth 12Th Street Rag 1914 Euday L
    Box Title Year Lyricist if known Composer if known Creator3 Notes # "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 piano solo | Twelfth 12th Street Rag 1914 Euday L. Bowman Street Rag 1 3rd Man Theme, The (The Harry Lime piano solo | The Theme) 1949 Anton Karas Third Man 1 A, E, I, O, U: The Dance Step Language Song 1937 Louis Vecchio 1 Aba Daba Honeymoon, The 1914 Arthur Fields Walter Donovan 1 Abide With Me 1901 John Wiegand 1 Abilene 1963 John D. Loudermilk Lester Brown 1 About a Quarter to Nine 1935 Al Dubin Harry Warren 1 About Face 1948 Sam Lerner Gerald Marks 1 Abraham 1931 Bob MacGimsey 1 Abraham 1942 Irving Berlin 1 Abraham, Martin and John 1968 Dick Holler 1 Absence Makes the Heart Grow Fonder (For Somebody Else) 1929 Lewis Harry Warren Young 1 Absent 1927 John W. Metcalf 1 Acabaste! (Bolero-Son) 1944 Al Stewart Anselmo Sacasas Castro Valencia Jose Pafumy 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Accidents Will Happen 1950 Johnny Burke James Van Huesen 1 According to the Moonlight 1935 Jack Yellen Joseph Meyer Herb Magidson 1 Ace In the Hole, The 1909 James Dempsey George Mitchell 1 Acquaint Now Thyself With Him 1960 Michael Head 1 Acres of Diamonds 1959 Arthur Smith 1 Across the Alley From the Alamo 1947 Joe Greene 1 Across the Blue Aegean Sea 1935 Anna Moody Gena Branscombe 1 Across the Bridge of Dreams 1927 Gus Kahn Joe Burke 1 Across the Wide Missouri (A-Roll A-Roll A-Ree) 1951 Ervin Drake Jimmy Shirl 1 Adele 1913 Paul Herve Jean Briquet Edward Paulton Adolph Philipp 1 Adeste Fideles (Portuguese Hymn) 1901 Jas.
    [Show full text]
  • Louis Armstrong Satchmo Serenades Mp3, Flac, Wma
    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
    [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]
  • James W. Phillips Collection
    JAMES W. PHILLIPS COLLECTION RUTH T. WATANABE SPECIAL COLLECTIONS SIBLEY MUSIC LIBRARY EASTMAN SCHOOL OF MUSIC UNIVERSITY OF ROCHESTER Processed by Gigi Monacchino, spring 2013 Revised by Gail E. Lowther, winter 2019 1 TABLE OF CONTENTS Description of Collection . 3 Description of Series . 5 INVENTORY Sub-Group I: Composer Subdivision Series 1: Irving Berlin . 7 Series 2: George Gershwin, Victor Herbert, and Jerome Kern . 35 Series 3: Jerome Kern and Cole Porter . 45 Series 4: Cole Porter and Richard Rodgers . 60 Series 5: Richard Rodgers . 72 Series 6: Richard Rodgers and Sigmund Romberg . 86 Sub-Group II: Individual Sheet Music Division . 92 Sub-Group III: Film and Stage Musical Songs . 214 Sub-Group IV: Miscellaneous Selections . 247 2 DESCRIPTION OF COLLECTION Accession no. 2007/8/14 Shelf location: C3B 7,4–6 Physical extent: 7.5 linear feet Biographical sketch James West Phillips (b. August 11, 1915; d. July 2, 2006) was born in Rochester, NY. He graduated from the University of Rochester in 1937 with distinction with a Bachelor of Arts in Mathematics; he was also elected to the academic honors society Phi Beta Kappa. In 1941, he moved to Washington, DC, to work in the Army Ordnance Division of the War Department as a research analyst. He left that position in 1954 to restore a house he purchased in Georgetown. Subsequently, in 1956, he joined the National Automobile Dealers Association as a research analyst and worked there until his retirement in 1972. He was an avid musician and concert-goer: he was a talented pianist, and he composed music throughout his life.
    [Show full text]