Showing posts with label Marion Harris. Show all posts
Showing posts with label Marion Harris. Show all posts

Sunday, May 13, 2018

One Morning in May

Victor 24505-A (1933)
Hoagy Carmichael composed One Morning in May and Mitchell Parish wrote the lyrics. However, Carmichael's initial version of the song had its debut at the shown Victor disc recorded October 10, 1933 as an instrumental performed by the composer at the piano featuring a swinging combo


Vocalist Marion Harris
Other artists and orchestras of the time seem to have favoured the song performed with the lyrics by Mitchell Parish changing the music into a ballad, an example is the version recorded by Marion Harris in April 1934


One Morning in May was adopted by jazz musicians and later versions comprise both vocal and instrumenal versions of the song. Here I'll concentrate on some instrumental examples uploaded at You Tube. Firstly, Benny Carter and his orchestra recorded a swinging version in 1958, inserted below


Dusko Goykovich (photo by OhWeh, 2010 - Wikimedia)
Jazz trumpeter Dusko Goykovich recorded a great instrumental version of One Morning in May at his 2001 CD entitled In My Dreams


Another contemporary instrumental issue of One Morning in May was recorded by pianist Bill Charlap in a trio setting at his 2001 album entitled Stardust


Vibraphonist Lars Erstrand (You Tube)
The last example here of a contemporary instrumental version of One Morning in May was recorded by Swedish vibraphonist Lars Erstrand with Finish clarinetist Antti Sarpila in 2004 at the album entitled We've Got a Heartful of Music

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Jo
keepitswinging.domain@gmail.com

Retrospect Keep Swinging (old) Oscar Aleman Choro Music Flexible Records Hit of the Week-Durium Friends of the Keep Swinging blog Keep Swinging Contributions

Saturday, December 5, 2015

Nobody's Sweetheart

Original Sheet front illustration (1924)
Nobody's Sweetheart was published in 1924 with music by Billy Meyers and Elmer Schoebel, and lyrics by Gus Kahn and Ernie Erdman. The song was introduced by Ted Lewis  in the revue The Passing Show of 1923.
Part of music sheet front
Jazz musicians took an immediate liking to the tune, and ever since its inception it has been a favorite of jazz players and listeners everywhere.

Isham Jones and his orchestra
Isham Jones and his orchestra was one of the first 'hot' dance bands to record a version of Nobody's Sweetheart in February 1924


The lyrics of Nobody's Sweetheart are about a female character who challenges the norm and morality of the the bourgeois, the text reads: 
You're nobody's sweetheart now.
They don't baby you somehow.
Fancy hose, silken gown--
You'd be out of place in your own hometown. 
When you walk down the avenue,
They just can't believe that it's you.
Painted lips, painted eyes, 
Wearing a bird of paradise--
It all seems wrong somehow that
You're nobody's sweetheart now.

Marion Harris
Vaudeville singer Marion Harris  had a hit with Nobody's Sweetheart in 1929 


Cab Calloway and his orchestra
Bandleader Cab Calloway and his orchestra had success with the recording of Nobody's Sweetheart with vocal by the leader 1930


During the 1930s Nobody's Sweetheart became part of the standard book of the swing jazz ensemble, here I'll focus on two recordings made on December 5, 1938.

Freddie Valier's String Swing - Robert Normann far right
The guitarist Robert Normann recorded his first session with Freddie Valier's String Swing in Oslo on December 5, 1938. Among the four recordings was a version of Nobody's Sweetheart featuring a great solo by Robert Normann, inserted below


Oscar Alemán in the 1930s
Also on December 5, 1938, this time in Copenhagen, another version of Nobody's Sweetheart was recorded. Oscar Alemán recorded his solo version of the tune while on tour in Scandinavia with Josephine Baker - the recording is an unaccompanied solo for guitar by a master of the instrument


This particular recording by Oscar Alemán - together with the three other tunes recorded at the same session - was my step stone 35 years ago to embark on a research adventure of the complete discography of Oscar Alemán. Until recently the online discography patiently and carefully collected by Hans Koert has been the most complete listing of Alemán's recorded legacy. Now a revised and updated version of the material including newly found items has been made available by Andrés 'Tito' Liber. You may read more about it at the Oscar Alemán blog that also has the links to an uploaded and free accessible version of the discography, here 
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Jo
keepitswinging.domain@gmail.com


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Tuesday, December 2, 2014

After You've Gone

Sheet music front
'After You've Gone' is a 1918 popular song composed by Turner Layton, with lyrics written by Henry Creamer. It was recorded by Marion Harris on July 22, 1918 and released on Victor 18509. 'After You’ve Gone,' joins 'St. Louis Blues' (1914) and 'Indiana' (1917) as the top three pre-1920s jazz standards. Few compositions of the early 20th century endured the transition to the smooth swing sound of the 1930s and beyond. - Al Jolson introduced 'After You’ve Gone' to the vaudeville audience in 1918. Within a year several other artists had recorded the song, but it was Marion Harris’s rendition that became the most popular.

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In the early 1920s Harris was a popular singer in vaudeville and Broadway shows. One of the first white women to sing blues and jazz songs, she favored songs by African-American writers.

Marion Harris
Marion Harris explained her preference by saying, “You usually do best what comes naturally, so I just naturally started singing Southern dialect songs and the modern blues songs.” Harris recorded 'After You’ve Gone' for the Victor Record label, but in 1920 when that label refused to allow her to record W.C. Handy’s 'St. Louis Blues,' she left the label and moved over to Columbia Records, where she did record 'St. Louis Blues,' which became a hit.

Bessie Smith
Another female singer, Bessie Smith - The Empress of The Blues - recorded 'After You've Gone' in 1927, and this version adds the true blues feeling to the tune, a magnificent example of how a natural talent transforms the lyrics of the song to a personal statement - the core experience of blues as well as jazz, I think



Benny Goodman Trio
As mentioned above, 'After You've Gone' was one of the pre-1920s tunes that endured the transition to the swing sound of the 1930s. Many jazz artists and bands recorded the tune in the 1930s and made it a part of the standard repertoire. One of the recordings since hailed as a classic was made by the Benny Goodman Trio in July 1935. Enjoy this swinging version featuring Benny Goodman (clarinet), Teddy Wilson (piano) and Gene Krupa (drums)



Freddy Taylor
One of the famous European recordings of 'After You've Gone' was made on May 4th 1936 by Django Reinhardt and the Quintette du Hot Club de France featuring Freddy Taylor as vocalist. Personnel featured are: Stéphane Grappelli (v); Django Reinhardt (g solo); Joseph Reinhardt, Pierre "Baro" Ferret (g); Lucien Simoens (b); Freddy Taylor (vo)



Despues de haberte ido ( =After You've Gone)
Oscar Alemán y su Conjunto de Jazz recorded 'After You've Gone' for Odeon on October 29th 1955, and only Alemán's great guitar solo in this recording rescues the tune from the syrupy strings in the accompaniment, - an example of a jazz standard almost being spoiled by the usual expectations of record producers and a public only interested in pop ditties. However, mind Alemán's excellent playing and timing that exposes the tune on the edge of swing jazz and pop

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Jo
keepitswinging.domain@gmail.com 


Retrospect Keep Swinging (old) Oscar Aleman Choro Music Flexible Records Hit of the Week-Durium Friends of the Keep Swinging blog Keep Swinging Contributions