Jazzapedia 1 In The Mood For Love
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Contents Articles Jazz fusion
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Henry Mancini
10
Baby I Love You (Aretha Franklin song)
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Aretha Franklin
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Ivan Lins
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Johnny Mercer
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Esperanza Spalding
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Esperanza (Esperanza Spalding album)
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Hello, Young Lovers (song)
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Rodgers and Hammerstein
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Angela Bofill
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Chrisette Michele
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The Look of Love (1967 song)
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Feel Like Makin' Love (Roberta Flack song)
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Roberta Flack
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Phoebe Snow
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References Article Sources and Contributors
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Image Sources, Licenses and Contributors
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Article Licenses License
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Jazz fusion
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Jazz fusion Jazz fusion Stylistic origins
Jazz, free jazz, post-bop, blues rock, psychedelic rock, funk, 20th-century classical
Cultural origins
Late 1960s, United States
Typical instruments Electric guitar, piano, electric piano, drums, saxophone, trumpet, electronic keyboards, bass guitar, vocals Derivative forms
Smooth jazz, acid jazz, progressive rock, krautrock Other topics List of jazz fusion artists
Jazz fusion, fusion, or jazz-rock are variants of a musical fusion genre that developed from mixing funk and R&B rhythms and the amplification and electronic effects of rock music, complex time signatures derived from non-Western music and extended, typically instrumental compositions with a jazz approach to lengthy group improvisations, often using wind and brass and displaying a high level of instrumental technique. It was created around the late 1960s.The term "jazz rock" is often used as a synonym for "jazz fusion" as well as for music performed by late 1960s and 1970s-era rock bands that added jazz elements to their music.
Trumpeter Miles Davis in 1989
After a decade of popularity during the 1970s, fusion expanded its improvisatory and experimental approaches through the 1980s and 1990s. Fusion albums, even those that are made by the same group or artist, may include a variety of styles. Rather than being a codified musical style, fusion can be viewed as a musical tradition or approach.
History 1960s Allmusic Guide states that "until around 1967, the worlds of jazz and rock were nearly completely separate". While in the USA modern jazz and electric R&B may have represented opposite poles of blues-based Afro-American music, however, the British pop music of the beat boom developed out of the skiffle and R&B championed by well-known jazzmen such as Chris Barber. Many UK pop musicians were steeped in jazz, though the word "rock" itself was barely used before the late 1960s except to refer to 1950s rock and roll. The prominent fusion guitarist John McLaughlin, for example, had played what Allmusic describes as a "blend of jazz and American R&B" with Georgie Fame and the Blue Flames[1] as early as 1962 and continued with The Graham Bond Organisation (with Jack Bruce and Ginger Baker) whose style Allmusic calls "rhythm & blues with a strong jazzy flavor".[2] Bond himself had begun playing straight jazz with Don Rendell while Manfred Mann, who recorded a Cannonball Adderley tune on their first album, when joined by Bruce turned out the 1966 EP record Instrumental Asylum, which undoubtedly fused jazz and rock.[3]
Jazz fusion These developments, though, made little overt impression in the USA. Hence music critic Piero Scaruffi argues that "credit for "inventing" jazz-rock goes to Indiana-born jazz vibraphonist Gary Burton, who "began to experiment with rock rhythms on The Time Machine (1966)". Burton recorded what Scaruffi calls "the first jazz-rock album, Duster" in 1967, with guitarist Larry Coryell.[4] Scaruffi argues that Coryell is "another candidate to inventor of jazz-rock", in that the Texas-born guitarist released the jazz-rock recording Out of Sight And Sound in 1966.[5] Trumpeter and composer Miles Davis had a major influence on the development of jazz fusion with his 1968 album entitled Miles in the Sky. It is the first of Davis' albums to incorporate electric instruments, with Herbie Hancock and Ron Carter playing electric piano and bass guitar, respectively. Davis furthered his explorations into the use of electric instruments on another 1968 album, Filles de Kilimanjaro, with pianist Chick Corea and bassist Dave Holland. In 1969 Davis fully introduced the electric instrument approach to jazz with In a Silent Way, which can be considered Davis's first fusion album. Composed of two side-long suites edited heavily by producer Teo Macero, this quiet, static album would be equally influential upon the development of ambient music. It featured contributions from musicians who would all go on to spread the fusion evangel with their own groups in the 1970s: Shorter, Hancock, Corea, pianist Josef Zawinul, John McLaughlin, Holland, and Williams. Williams quit Davis to form the group The Tony Williams Lifetime with McLaughlin and organist Larry Young. Their debut record of that year Emergency! is also cited as one of the early acclaimed fusion albums. Jazz-rock The term, "jazz-rock" (or "jazz/rock") is often used as a synonym for the term "jazz fusion". However, some make a distinction between the two terms. The Free Spirits have sometimes been cited as the earliest jazz-rock band.[6] During the late 1960s, at the same time that jazz musicians were experimenting with rock rhythms and electric instruments, rock groups such as Cream and the Grateful Dead were "beginning to incorporate elements of jazz into their music" by "experimenting with extended free-form improvisation". Other "groups such as Blood, Sweat & Tears directly borrowed harmonic, melodic, rhythmic and instrumentational elements from the jazz tradition".[7] Scaruffi notes that the rock groups that drew on jazz ideas (he lists Soft Machine, Colosseum, Caravan, Nucleus, Chicago, and Frank Zappa) turned the blend of the two styles "upside down: instead of focusing on sound, rockers focused on dynamics" that could be obtained with amplified electric instruments. Scaruffi contrasts "Davis' fusion jazz [which] was slick, smooth and elegant, while "progressive-rock" was typically convoluted and abrasive." Frank Zappa released the solo album Hot Rats (1969).[8][9] and had a major jazz influence mainly consisting on long instrumental pieces[10] and later he also released two LPs in 1972 which were very jazz-oriented called "The Grand Wazoo" and "Waka/Jawaka". Prolific jazz artists such as George Duke and Aynsley Dunbar played on these LPs. Allmusic states that the term jazz-rock "may refer to the loudest, wildest, most electrified fusion bands from the jazz camp, but most often it describes performers coming from the rock side of the equation." The guide states that "jazz-rock first emerged during the late '60s as an attempt to fuse the visceral power of rock with the musical complexity and improvisational fireworks of jazz. Since rock often emphasized directness and simplicity over virtuosity, jazz-rock generally grew out of the most artistically ambitious rock subgenres of the late '60s and early '70s: psychedelia, progressive rock, and the singer/songwriter movement." Allmusic lists the following jazz-rock categories: • • • •
Singer-songwriter jazz-rock (Joni Mitchell, Van Morrison, Tim Buckley) Jam- and improvisation-oriented rock groups (Traffic, Santana, Cream), Jazz-flavored R&B or pop songs with less improvisation (Blood, Sweat & Tears, Chicago, Steely Dan) Groups with "quirky, challenging, unpredictable compositions" (Frank Zappa, Soft Machine, Hatfield and the North)
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Jazz fusion
1970s Davis' Bitches Brew sessions, recorded in August 1969 and released the following year, mostly abandoned jazz's usual swing beat in favor of a rock-style backbeat anchored by electric bass grooves. The recording "...mixed free jazz blowing by a large ensemble with electronic keyboards and guitar, plus a dense mix of percussion."[11] Davis also drew on the rock influence by playing his trumpet through electronic effects and pedals. While the album gave Davis a gold record, the use of electric instruments and rock beats created a great deal of consternation amongst some more conservative jazz critics. Davis also proved to be an able talent-spotter; much of 1970s fusion was performed by bands started by alumni from Davis' ensembles, including The Tony Williams Lifetime, Weather Report, The Mahavishnu Orchestra, Return to Forever, and Herbie Hancock's funk-infused Headhunters band. In addition to Davis and the musicians who worked with him, additional important figures in early fusion were Larry Coryell and Billy Cobham with his album Spectrum. Herbie Hancock first continued the path of Miles Davis with his Trumpeter Miles Davis performing in experimental fusion albums, such as Crossings in 1972, but soon after that he Rio de Janeiro in 1984 became an important developer of "jazz-funk" with his seminal albums Head Hunters 1973 and Thrust in 1974. Later in the 1970s and early 1980s Hancock took a more commercial approach. Hancock was one of the first jazz musicians to use synthesizers. At its inception, Weather Report was an avant-garde experimental jazz group, following in the steps of In A Silent Way. The band received considerable attention for its early albums and live performances, which featured pieces that might last up to 30 minutes. The band later introduced a more commercial sound, which can be heard in Joe Zawinul's hit song "Birdland". Weather Report's albums were also influenced by Weather Report began as an experimental group, but eventually different styles of Latin, African, and European music, garnered a huge following offering an early world music fusion variation. Jaco Pastorius, an innovative fretless electric bass player, joined the group in 1976 on the album Black Market, was co-producer (with Zawinul) on 1977's Heavy Weather, and is prominently featured on the 1979 live recording 8:30. Heavy Weather is the top-selling album of the genre. In England, the jazz fusion movement was headed by Nucleus, led by Ian Carr, and whose key players Karl Jenkins and John Marshall both later joined the seminal jazz rock band Soft Machine, leaders of what became known as the Canterbury scene. Their best-selling recording, Third (1970), was a double album featuring one track per side in the style of the aforementioned recordings of Miles Davis. A prominent English band in the jazz-rock style of Blood, Sweat & Tears and Chicago was If, who released a total of seven records in the 1970s.
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Chick Corea formed his band Return to Forever in 1972. The band started with Latin-influenced music (including Brazilians Flora Purim as vocalist and Airto Moreira on percussion), but was transformed in 1973 to become a jazz-rock group that took influences from both psychedelic and progressive rock. The new drummer was Lenny White, who had also played with Miles Davis. Return to Forever's songs were distinctively melodic due to the Corea's composing style and the bass playing style of Stanley Clarke, who is often regarded with Pastorius as the most influential Fusion band Return to Forever in 1976 electric bassists of the 1970s. Guitarist Bill Connors joined Corea's band in 1973, recording Hymn of the Seventh Galaxy. Connors describes his sound as a mix of Clapton and Coltrane. Guitarist Al Di Meola, who started his career with Return to Forever in 1974, soon became an important fusion guitarist. John McLaughlin formed a fusion band, the Mahavishnu Orchestra, with drummer Billy Cobham, violinist Jerry Goodman, bassist Rick Laird and keyboardist Jan Hammer. The band released their first album, The Inner Mounting Flame, in 1971. Hammer pioneered the use of the Minimoog synthesizer with distortion effects and, with his mastery of the pitch bend wheel, made it sound very much like an electric guitar. The sound of the Mahavishnu Orchestra was influenced by both psychedelic rock and classical Indian sounds The band's first lineup split after two studio and one live albums, but McLaughlin formed another group under same name which included Jean-Luc Ponty, a jazz violinist, who also made a number of important fusion recordings under his own name as well as with Frank Zappa, drummer Narada Michael Walden, keyboardist Gayle Moran, and bassist Ralph Armstrong. McLaughlin also worked with Latin-rock guitarist Carlos Santana in the early 1970s. Initially Santana's San Francisco-based band blended Latin salsa, rock, blues, and jazz, featuring Santana's clean guitar lines set against Latin instrumentation such as timbales and congas. But in their second incarnation, heavy fusion influences had become central to the 1973–1976 Santana band. These can be clearly heard in Santana's use of extended improvised solos and in the harmonic voicings of Tom Coster's keyboard playing on some of the groups' mid-1970s recordings. In 1973 Santana recorded a nearly two-hour live album of mostly instrumental, jazz-fusion music, Lotus, which was only released in Europe and Japan for more than twenty years. French jazz violinist Jean-Luc Ponty performed on both acoustic violin and on amplified, electronic effect-modified electric violins
Other influential musicians that emerged from the fusion movement during the 1970s include fusion guitarist Larry Coryell with his band The Eleventh House, and electric guitarist Pat Metheny. The Pat Metheny Group, which was founded in 1977, made both the jazz and pop charts with their second album, American Garage (1980). Although jazz performers criticized the fusion movement's use of rock styles and electric and electronic instruments, even seasoned jazz veterans like Buddy Rich, Maynard Ferguson and Dexter Gordon eventually modified their music to include fusion elements. The influence of jazz fusion did not only affect the US and Europe. The genre was very influential in Japan in the late 1970s, eventually leading to the formation of Casiopea and T-Square. T-Square's song Truth would later become the theme for Japan's Formula One racing events. The late 70's saw the emergence of the Steve Morse led fusion band, The Dixie Dregs. This band was notable for being the first band to equally fuse the sounds of rock, jazz, country, funk, classical, bluegrass and Celtic into a type of unified whole, distinguishing them
Jazz fusion
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from all other fusion acts of the 1970s.
1980s Smooth jazz By the early 1980s, much of the original fusion genre was subsumed into other branches of jazz and rock, especially smooth jazz, a sub-genre of jazz which is influenced stylistically by R&B, funk and pop. Smooth jazz can be traced to at least the late 1960s. Producer Creed Taylor worked with guitarist Wes Montgomery on three popular records. Taylor founded CTI Records. Many established jazz performers recorded for CTI (including Freddie Hubbard, Chet Baker, George Benson and Stanley Turrentine). The records recorded under Taylor's guidance were typically aimed as much at pop audiences as at jazz fans. In the mid- to late-1970s, smooth jazz became established as a commercially viable genre. It was pioneered by such artists as Lee Ritenour, Larry Carlton, Grover Washington, Jr., Spyro Gyra (with songs such as "Morning Dance"), George Benson, Chuck Mangione, Sérgio Mendes, David Sanborn, Tom Scott, Dave and Don Grusin, Bob James and Joe Sample. The merging of jazz and pop/rock music took a more commercial direction in the late 1970s and early 1980s, in the form of compositions with a softer sound palette that could fit comfortably in a soft rock radio playlist. The Allmusic guide's article on Fusion states that "unfortunately, as it became a money-maker and as rock declined artistically from the mid-'70s on, much of what was labeled fusion was actually a combination of jazz with easy-listening pop music and lightweight R&B."[12] Artists such as Al Jarreau, Kenny G, Ritenour, James and Sanborn among others were leading purveyors of this pop-oriented mixture (also known as "west coast" or "AOR fusion"). This genre is most frequently called "smooth jazz" and is not considered "True Fusion" among the listeners of both mainstream jazz and jazz fusion, who find it to rarely contain the improvisational qualities that originally surfaced in jazz decades earlier, deferring to a more commercially viable sound more widely enabled for commercial radio airplay in the United States. David Sanborn had a string of crossover hits
Music critic Piero Scaruffi has called pop-fusion music "...mellow, bland, in the 1980s. romantic music" made by "mediocre musicians" and "derivative bands." Scaruffi criticized some of the albums of Michael and Randy Brecker as "trivial dance music" and stated that alto saxophonist David Sanborn recorded "[t]rivial collections" of "...catchy and danceable pseudo-jazz".[13] Kenny G in particular is often criticized by both fusion and jazz fans, and some musicians, while having become a huge commercial success. Music reviewer George Graham argues that the “so-called ‘smooth jazz’ sound of people like Kenny G has none of the fire and creativity that marked the best of the fusion scene during its heyday in the 1970s”.[14] Other styles Although the meaning of "fusion" became confused with the advent of "smooth jazz", a number of groups helped to revive the jazz fusion genre beginning in the mid-to-late 1980s. In the 1980s, a critic argued that "...the promise of fusion went unfulfilled to an extent, although it continued to exist in groups such as Tribal Tech and Chick Corea's Elektric Band". Many of the most well-known fusion artists were members of earlier jazz fusion groups, and some of the fusion "giants" of the 1970s kept working in the genre.
Jazz fusion Miles Davis continued his career after having a lengthy break in the late 1970s. He recorded and performed fusion throughout the 1980s with new young musicians and continued to ignore criticism from fans of his older mainstream jazz. While Davis' works of the 1980s remain controversial, his recordings from that period have the respect of many fusion and other listeners. In 1985 Chick Corea formed a new fusion band called the Chick Corea Elektric Band, featuring young musicians such as drummer Dave Weckl and bassist John Patitucci, as well as guitarist Frank Gambale and saxophonist Eric Marienthal.
1990s–2000s Joe Zawinul's fusion band, The Zawinul Syndicate, began adding more elements of world music during the 1990s. One of the notable bands that became prominent in the early 1990s is Tribal Tech, led by guitarist Scott Henderson and bassist Gary Willis. Henderson was a member of both Corea's and Zawinul's ensembles in the late 1980s while putting together his own group. Tribal Tech's most common lineup also includes keyboardist Scott Kinsey and drummer Kirk Covington – Willis and Kinsey have both recorded solo fusion projects. Henderson has also been featured on fusion projects by drummer Steve Smith of Vital Information which also include bassist Victor Wooten of the eclectic Bela Fleck and the Flecktones, recording under the banner Vital Tech Tones. Allan Holdsworth is a guitarist who performs in jazz, fusion, and rock styles. Other guitarists such as Eddie Van Halen, Steve Vai and Yngwie Malmsteen have praised his fusion playing. He often used a SynthAxe guitar synthesizer in his recordings of the late 1980s, which he credits for expanding his composing and playing options. Holdsworth has continued to release fusion recordings and tour worldwide. Another former Soft Machine guitarist, Andy Summers of The Police, released several fusion albums in the early 1990s. Guitarists John Scofield and Bill Frisell have both made fusion recordings over the past two decades while also exploring other musical styles. Scofield's Pick Hits Live and Still Warm are fusion examples, while Frisell has maintained a unique approach in drawing heavy influences from traditional music of the United States. Japanese fusion guitarist Kazumi Watanabe released numerous fusion albums throughout 1980s and 1990s, highlighted by his works such as Mobo Splash and Spice of Life. Brett Garsed and T. J. Helmerich are also watched as prominent fusion guitar players, having released several albums together since the beginning of the 1990s (Quid Pro Quo (1992), Exempt (1994), Under the Lash of Gravity (1999), Uncle Moe's Space Ranch (2001), Moe's Town (2007)) and collaborating in many other projects or releasing solo albums (Brett Garsed – Big Sky) all them falling in the genre. The saxophonist Bob Berg, who originally came to prominence as a member of Miles Davis's bands, recorded a number of fusion albums with fellow Miles band member and guitarist Mike Stern. Stern continues to play fusion regularly in New York City and worldwide. They often teamed with the world-renowned drummer Dennis Chambers, who has also recorded his own fusion albums. Chambers is also a member of CAB, led by bassist Bunny Brunel and featuring the guitar and keyboard of Tony MacAlpine. CAB 2 garnered a Grammy nomination in 2002. MacAlpine has also served as guitarist of the metal fusion group Planet X, featuring keyboardist Derek Sherinian and drummer Virgil Donati. Another former member of Miles Davis's bands of the 1980s that has released a number of fusion recordings is saxophonist Bill Evans, highlighted by 1992's Petite Blonde.
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Fusion shred guitar player, and session musician Greg Howe has released solo albums such as Introspection (1993), Uncertain Terms (1994), Parallax (1995), Five (1996), Ascend (1999), Hyperacuity (2000), Extraction (2003) with electric bassist Victor Wooten and drummer Dennis Chambers, and Sound Proof (2008). Howe combines elements of rock, blues and Latin music with jazz influences using a technical, yet melodic guitar style. Drummer Jack DeJohnette's Parallel Realities band featuring fellow Miles's alumni Dave Holland and Herbie Hancock, along with Pat Metheny, recorded and toured in 1990, highlighted by a Fusion guitarist Pat Metheny DVD of a live performance at the Mellon Jazz Festival in Philadelphia. Jazz bassist Christian McBride released two fusion recordings drawing from the jazz-funk idiom in Sci-Fi (2000) and Vertical Vision (2003). Other significant recent fusion releases have come from keyboardist Mitchel Forman and his band Metro, former Mahavishnu bassist Jonas Hellborg with the late guitar virtuoso Shawn Lane, and keyboardist Tom Coster, and Marbin with their unique blend of jazz, rock, blues, gospel, and Israeli folk music.
Influence on rock music According to bassist/singer Randy Jackson, jazz fusion is an exceedingly difficult genre to play; "I [...] picked jazz fusion because I was trying to become the ultimate technical musician-able to play anything. Jazz fusion to me is the hardest music to play. You have to be so proficient on your instrument. Playing five tempos at the same time, for instance. I wanted to try the toughest music because I knew if I could do that, I could do anything."[15] Jazz-rock fusion's technically challenging guitar solos, bass solos and odd metered, syncopated drumming started to be incorporated in the technically focused progressive metal genre in the early 1990s. Progressive rock, with its affinity for long solos, diverse influences, non-standard time signatures, complex music and changing line-ups had very similar musical values as jazz fusion. Some prominent examples of progressive rock mixed with elements of fusion is the music of Gong, Ozric Tentacles and Emerson, Lake & Palmer. The death metal band Atheist produced albums Unquestionable Presence in 1991 and Elements in 1993 containing heavily syncopated drumming, changing time signatures, instrumental parts, acoustic interludes, and Latin rhythms. Meshuggah first attracted international attention with the 1995 release Destroy Erase Improve for its fusion of fast-tempo death metal, thrash metal and progressive metal with jazz fusion elements. Cynic recorded a complex, unorthodox form of jazz-fusion-influenced experimental death metal with their 1993 album Focus. In 1997, G.I.T. guitarist Jennifer Batten under the name of Jennifer Batten's Tribal Rage: Momentum released Momentum – an instrumental hybrid of rock, fusion and exotic sounds. Another, more cerebral, all-instrumental progressive jazz fusion-metal band Planet X released Universe in 2000 with Tony MacAlpine, Derek Sherinian (ex-Dream Theater) and Virgil Donati (who has played with Scott Henderson from Tribal Tech). The band blends fusion-style guitar solos and syncopated odd-metered drumming with the heaviness of metal. Tech-prog-fusion metal band Aghora formed in 1995 and released their first album, self-titled Aghora, recorded in 1999 with Sean Malone and Sean Reinert, both former members of Cynic. Gordian Knot, another Cynic-linked experimental progressive metal band released its debut album in 1999 which explored a range of styles from jazz-fusion to metal. The Mars Volta is extremely influenced by jazz fusion, using progressive, unexpected turns in the drum patterns and instrumental lines. The style of Uzbek prog band FromUz is described as "prog fusion". In lengthy instrumental jams, the band transitions from fusion of rock and ambient world music to jazz and progressive hard rock tones.[16]
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Jazz fusion
Influential recordings This section lists a few of the jazz fusion artists and albums that are considered to be influential by prominent jazz fusion critics, reviewers, journalists, or music historians. Albums from the late 1960s and early 1970s include Miles Davis' ambient-sounding In a Silent Way (1969) and his rock-infused Bitches Brew (1970). Davis' A Tribute to Jack Johnson (1971) has been cited as "the purest electric jazz record ever made" and "one of the most remarkable jazz-rock discs of the era".[17][18] His controversial album On the Corner (1972) has been viewed as a strong forerunner of the musical techniques of post punk, hip hop, drum and bass, and electronic music. Throughout the 1970s, Weather Report released albums ranging from its 1971 self-titled disc Weather Report (1971) (which continued the style of Miles Davis album Bitches Brew) to 1979's 8:30. Chick Corea's Latin-oriented fusion band Return to Forever released influential albums such as 1973's Light as a Feather. In that same year, Herbie Hancock's Head Hunters infused jazz-rock fusion with a heavy dose of Sly and the Family Stone-style funk. Virtuoso performer-composers played an important role in the 1970s. In 1976, fretless bassist Jaco Pastorius released Jaco Pastorius; electric and double bass player Stanley Clarke released School Days; and keyboardist Chick Corea released his Latin-infused My Spanish Heart, which received a five star review from Down Beat magazine. In the 1980s, Chick Corea produced well-regarded albums, including Chick Corea Elektric Band (1986), Light Years (1987) & Eye of the Beholder (1988). In the early 1990s, Tribal Tech produced two albums, Tribal Tech (1991) and Reality Check (1995). Canadian bassist-composer Alain Caron released his album Rhythm 'n Jazz in 1995. Mike Stern released Give And Take in 1997. Fusion music generally receives little radio broadcast airplay in the United States, owing perhaps to its complexity, usual lack of vocals, and frequently extended track lengths. European radio is friendlier to fusion music, and the genre also has a significant following in Japan and South America. A number of Internet radio stations feature fusion music, including dedicated channels on services such as AOL Radio, Pandora and Yahoo! Launchcast.
Further reading • Jazz Rock Fusion " The People, The Music ", Julie Coryell et Laura Friedman, Ed. Hal Leonard. ISBN 0-440-54409-2 pbk. • Jazz Rock A History, Stuart Nicholson, Éd. Canongate • Power, Passion and Beauty – The Story of the Legendary Mahavishnu Orchestra, Walter Kolosky, Éd. Abstract Logix Books • Jazz Hot Encyclopédie " Fusion ", Guy Reynard, Éd. de L'instant • Weather Report - Une Histoire du Jazz Electrique, Christophe Delbrouck, Éd. Le Mot et le Reste, ISBN 978-2-915378-49-8 • The Extraordinary and Tragic Life of Jaco Pastorius (10th Anniversary Edition) backbeatbooks. by Bill Milkowski • Jeff's book : A chronology of Jeff Beck's career 1965–1980 : from the Yardbirds to Jazz-Rock. Rock 'n' Roll Research Press, (2000). ISBN 978-0-9641005-3-4
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Notes [1] [2] [3] [4] [5] [6] [7]
Georgie Fame | AllMusic (http:/ / www. allmusic. com/ artist/ georgie-fame-p4229) Graham Bond | AllMusic (http:/ / www. allmusic. com/ artist/ graham-bond-p15995/ biography) Manfred Mann | AllMusic (http:/ / www. allmusic. com/ artist/ manfred-mann-p417071/ biography) A History of Jazz Music (http:/ / www. scaruffi. com/ history/ jazz17a. html) A History of Jazz Music (http:/ / www. scaruffi. com/ history/ jazz17e. html) Unterberger 1998, pg. 329 The Jazz/Rock Fusion Page:a site is dedicated to Jazz Fusion and related genres with a special emphasis on Jazz/Rock fusion (http:/ / www. liraproductions. com/ jazzrock/ htdocs/ histhome. htm) [8] . Retrieved on January 2, 2008. [9] Miles, 2004, Frank Zappa, p. 194. [10] Lowe, 2006, The Words and Music of Frank Zappa, p. 74. [11] Jazzitude | History of Jazz Part 8: Fusion (http:/ / www. jazzitude. com/ essential_fusion. htm) [12] Available online at: [13] Piero Scaruffi, 2006. Available at: http:/ / www. scaruffi. com/ history/ jazz17a. html [14] George Graham review – Available online at: http:/ / webcache. googleusercontent. com/ search?q=cache:5Z0ukGXTz54J:georgegraham. com/ reviews/ methgrp. html [15] " (http:/ / books. google. com/ books?id=K3v6gPypo14C& pg=PT72& lpg=PT72& dq=randy+ jackson+ jazz+ fusion& source=bl& ots=dIxlm8kU2s& sig=hvfMvfnUtMALepMw9ZduUre5S0U& hl=en& ei=ypoVTcjLHYqCsQPlycSXCg& sa=X& oi=book_result& ct=result& resnum=6& ved=0CDkQ6AEwBQ#v=onepage& q& f=false)". books.google.com. Retrieved 24 December 2010. [16] Music review of Overlook CD by Fromuz (2008) [RockReviews] (http:/ / www. rockreviews. org/ reviewpage. php?ID=624) [17] Jurek, Thom. [ Review: A Tribute to Jack Johnson]. Allmusic. Retrieved on 2010-01-13. [18] Fordham, John. Review: A Tribute to Jack Johnson (http:/ / www. guardian. co. uk/ music/ 2005/ apr/ 01/ jazz. shopping). The Guardian. Retrieved on 2010-01-13.
References • Unterberger, Richie (1998). Unknown Legends of Rock 'n' Roll: Psychedelic Unknowns, Mad Geniuses, Punk Pioneers, Lo-fi Mavericks & More. Backbeat Books. ISBN 978-0-87930-534-5.
External links • Jazzfusion.tv: (http://jazzfusion.tv/bootlegaudio.html) The Web's largest open access source for non-commercially-released Classic Jazz Fusion Audio Recordings, circa 1970s–1980s, curated by Rich Rivkin, featuring works by most of the artists referenced in the above article. • A History of Jazz-Rock Fusion (http://liraproductions.com/jazzrock/htdocs/histhome.htm) by Al Garcia, a writer for Guitar Player Magazine’s Spotlight column who also performs in the group Continuum. • BendingCorners (http://www.bendingcorners.com/) a monthly non-profit podcast site of jazz and jazz-inspired grooves including fusion, nu-jazz, and other subgenres • Miles Beyond, web site dedicated to the jazz-rock of Miles Davis (http://www.miles-beyond.com) • Miles Davis at the Isle Of Wight, 1970, excerpt From Call It Anything (http://video.google.com/ videoplay?docid=9148945501609681876&q=Miles+Davis&hl=en) • Jazz Concert (http://www.ejazz.cz/jazz-concert-venues), here you can find electric-jazz concert venues all over the world. • Don Ellis, Tanglewood, MA, playing an electric trumpet, excerpt from Indian Lady (http://perso.modulonet.fr/ ~liballet/DonEllis/tanglewood.wmv) • ProGGnosis: Progressive Rock & Fusion (http://www.ProGGnosis.com/) Powerful database with Artist, Record Title and Individual Band Member search capabilities. Contains reviews and discographies, album covers and links. ProGGnosis has been on-line with progressive rock and fusion information Since Feb 2000. • JazzRock-Radio.com: Artist Promotional Radio Show streaming Jazz Fusion, Jazz Rock from 70s to new releases from all over the globe. (http://www.JazzRock-Radio.com/)
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Henry Mancini
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Henry Mancini Henry Mancini Background information Birth name
Enrico Nicola Mancini
Born
April 16, 1924 Cleveland, Ohio, USA
Died
June 14, 1994 (aged 70) Los Angeles, California, USA
Genres
Film scores, easy listening, jazz
Occupations Composer, arranger, conductor Instruments Piano, Piccolo
Enrico Nicola "Henry" Mancini (April 16, 1924 – June 14, 1994) was an American composer, conductor and arranger, who is best remembered for his film and television scores. He won a record number of Grammy Awards, plus a posthumous Grammy Lifetime Achievement Award in 1995. His best-known works include the jazz-idiom theme to The Pink Panther film series ("The Pink Panther Theme") and the theme to the Peter Gunn television series. Mancini had a long collaboration with the film director Blake Edwards and won numerous Academy Awards for the songs in Edwards films, including "Moon River" from Breakfast at Tiffany's, "Days of Wine and Roses" and for the score to Victor Victoria.
Early life Mancini was born in the Little Italy neighborhood of Cleveland, and was raised near Pittsburgh, in the steel town of West Aliquippa, Pennsylvania. His parents emigrated from the Abruzzo region of Italy. Mancini's father, Quinto (born March 13, 1893, Scanno, Italy) was a steelworker, who made his only child begin piccolo lessons at the age of eight.[1] When Mancini was 12 years old, he began piano lessons. Quinto and Henry played flute together in the Aliquippa Italian immigrant band, "Sons of Italy". After graduating from Aliquippa High School in 1942, Mancini attended the renowned Juilliard School of Music in New York. In 1943, after roughly one year at Juilliard, his studies were interrupted when he was drafted into the United States Army. In 1945, he participated in the liberation of a concentration camp in southern Germany.
Career Newly discharged, Mancini entered the music industry. Entering 1946, he became a pianist and arranger for the newly re-formed Glenn Miller Orchestra, led by 'Everyman' Tex Beneke. After World War II, Mancini broadened his skills in composition, counterpoint, harmony and orchestration during studies opening with the composers Ernst Krenek and Mario Castelnuovo-Tedesco.[2] In 1952, Mancini joined the Universal Pictures music department. During the next six years, he contributed music to over 100 movies, most notably The Creature from the Black Lagoon, It Came from Outer Space, Tarantula, This Island Earth, The Glenn Miller Story (for which he received his first Academy Award nomination), The Benny Goodman Story and Orson Welles' Touch of Evil. During this time, he also wrote some popular songs. His first hit was a single by Guy Lombardo and His Royal Canadians titled I Won't Let You Out of My Heart. Mancini left Universal-International to work as an independent composer/arranger in 1958. Soon after, he scored the television series Peter Gunn for writer/producer Blake Edwards. This was the genesis of a relationship in which
Henry Mancini Edwards and Mancini collaborated on 30 films over 35 years. Along with Alex North, Elmer Bernstein, Leith Stevens and Johnny Mandel, Henry Mancini was a pioneer of the inclusion of jazz elements in the late romantic orchestral film and TV scoring prevalent at the time. Mancini's scores for Blake Edwards included Breakfast at Tiffany's (with the standard "Moon River") and Days of Wine and Roses (with the title song, "Days of Wine and Roses"), as well as Experiment in Terror, The Pink Panther (and all of its sequels), The Great Race, The Party, and Victor Victoria. Another director with whom Mancini had a longstanding partnership was Stanley Donen (Charade, Arabesque, Two for the Road). Mancini also composed for Howard Hawks (Man's Favorite Sport?, Hatari! – which included the well-known "Baby Elephant Walk"), Martin Ritt (The Molly Maguires), Vittorio de Sica (Sunflower), Norman Jewison (Gaily, Gaily), Paul Newman (Sometimes a Great Notion, The Glass Menagerie), Stanley Kramer (Oklahoma Crude), George Roy Hill (The Great Waldo Pepper), Arthur Hiller (Silver Streak),[3] Ted Kotcheff (Who Is Killing the Great Chefs of Europe?), and others. Mancini's score for the Alfred Hitchcock film Frenzy (1972) in Bachian organ andante, for organ and an orchestra of strings was rejected and replaced by Ron Goodwin's work. Mancini scored many TV movies, including The Thorn Birds and The Shadow Box. He wrote many television themes, including Mr. Lucky (starring John Vivyan and Ross Martin), NBC Mystery Movie, What's Happening!!, Tic Tac Dough (1990 version) and Once Is Not Enough. In the 1984–85 television season, four series featured original Mancini themes: Newhart, Hotel, Remington Steele, and Ripley's Believe It or Not. Mancini also composed the "Viewer Mail" theme for Late Night with David Letterman.[] Mancini composed the theme for NBC Nightly News used beginning in 1975, and a different theme by him, titled Salute to the President was used by NBC News for its election coverage (including primaries and conventions) from 1976 to 1992. Salute to the President was only published in a school-band arrangement, although Mancini performed it frequently with symphony orchestras on his concert tours. Songs with music by Mancini were staples of the easy listening genre from the 1960s to the 1980s. Some of the artists who have recorded Mancini songs include Andy Williams, Paul Anka, Pat Boone, Anita Bryant, Jack Jones, Frank Sinatra, Perry Como, Connie Francis, Eydie Gorme, Steve Lawrence, Trini Lopez, George Maharis, Johnny Mathis, Jerry Vale, Ray Conniff, The Lennon Sisters, The Lettermen, Herb Alpert, Eddie Cano, Frank Chacksfield, Warren Covington, Percy Faith, Ferrante & Teicher, Horst Jankowski, Andre Kostelanetz, Peter Nero, Liberace, Mantovani, Tony Bennett, Julie London, Wayne Newton, Arthur Fiedler and the Boston Pops Orchestra, Peggy Lee, Al Martino, Jim Nabors, and Matt Monro. Lawrence Welk held Mancini in very high regard, and frequently featured Mancini's music on The Lawrence Welk Show (Mancini made at least one guest appearance on the show). Mancini recorded over 90 albums, in styles ranging from big band to light classical to pop. Eight of these albums were certified gold by The Recording Industry Association of America. He had a 20-year contract with RCA Records, resulting in 60 commercial record albums that made him a household name among artists of easy-listening music. Mancini's earliest recordings in the 1950s and early 1960s were of the jazz idiom; with the success of Peter Gunn, Mr. Lucky, and Breakfast at Tiffany's, Mancini shifted to primarily recording his own music in record albums and film soundtracks. (Relatively little of his music was written for recordings compared to the amount that was written for film and television.) Beginning with his 1969 hit arrangement of Nino Rota's A Time for Us (as his only Hot 100 top 10 entry, the #1 hit "Love Theme from Romeo and Juliet") and its accompanying album A Warm Shade of Ivory, Mancini began to function more as a piano soloist and easy-listening artist primarily recording music written by other people. In this period, for two of his best-selling albums he was joined by trumpet virtuoso and The Tonight Show bandleader Doc Severinsen. Among Mancini's orchestral scores are (Lifeforce, The Great Mouse Detective, Sunflower, Tom and Jerry: The Movie, Molly Maguires, The Hawaiians), and darker themes (Experiment in Terror, The White Dawn, Wait Until Dark, The Night Visitor). Mancini was also a concert performer, conducting over fifty engagements per year, resulting in over 600 symphony performances during his lifetime. He conducted nearly all of the leading symphonies of the world, including the
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Henry Mancini London Symphony Orchestra, the Israel Philharmonic, the Boston Pops, the Los Angeles Philharmonic and the Royal Philharmonic Orchestra. One of his favorites was the Minnesota Orchestra, where he debuted the Thorn Birds Suite in June 1983. He appeared in 1966, 1980 and 1984 in command performances for the British Royal Family. He also toured several times with Johnny Mathis and also with Andy Williams, who had each sung many of Mancini's songs; Mathis and Mancini collaborated on the 1986 album The Hollywood Musicals.
Cameos Mancini occasionally acted in cameo and voice roles. Shortly before his death in 1994, he made a one-off cameo appearance in the first season of the sitcom series Frasier, as a call-in patient to Dr. Frasier Crane's radio show. Mancini voiced the character Al, who speaks with a melancholy drawl and hates the sound of his own voice, in the episode "Guess Who's Coming to Breakfast?" Moments after Mancini's cameo ends, Frasier's radio broadcast plays "Moon River" to underscore a particularly heartfelt apology. Mancini also had an uncredited performance as a pianist in the 1967 movie Gunn, the movie version of the series Peter Gunn, the score of which was originally composed by Mancini himself. In the 1966 Pink Panther cartoon Pink, Plunk, Plink, the panther commandeered an orchestra and proceeded to conduct Mancini's theme for the series. At the end, the shot switched to rare live action, and Mancini was seen alone applauding in the audience.
Death and legacy Mancini died of pancreatic cancer in Los Angeles on June 14, 1994. He was working at the time on the Broadway stage version of Victor/Victoria, which he never saw on stage. Mancini was survived by his wife of 43 years, singer Virginia "Ginny" O'Connor, with whom he had three children. They had met while both were members of the Tex Beneke orchestra, just after World War II. In 1948, Ginny was one of the founders of the Society of Singers, a non-profit organization which benefits the health and welfare of professional singers worldwide. Additionally the Society awards scholarships to students pursuing an education in the vocal arts. One of Mancini's twin daughters, Monica Mancini, is a professional singer; her sister Felice runs The Mr. Holland's Opus Foundation (MHOF). His son Christopher is a music publisher and promoter in Los Angeles. In 1996, the Henry Mancini Institute, an academy for young music professionals, was founded by Jack Elliott in Mancini's honor, and was later under the direction of composer-conductor Patrick Williams. By the mid 2000s, however, the institute could not sustain itself and closed its doors on December 30, 2006. However, the American Society of Composers, Authors and Publishers (ASCAP) Foundation "Henry Mancini Music Scholarship" has been awarded annually since 2001. While still alive, Henry created a scholarship at UCLA and the bulk of his library and works are archived in the music library at UCLA. In 2005, the Henry Mancini Arts Academy was opened as a division of the Lincoln Park Performing Arts Center. The Center is located in Midland, Pennsylvania, minutes away from Mancini's hometown of Aliquippa. The Henry Mancini Arts Academy is an evening-and-weekend performing arts program for children from pre-K to grade 12, with some classes also available for adults. The program includes dance, voice, musical theater, and instrumental lessons. The American Film Institute ranked Mancini's songs Moon River in the No. 4 and Days of Wine and Roses in No. 39 on their list of the greatest songs and his score for The Pink Panther No. 20 on their list of the greatest film scores. His scores for Breakfast at Tiffany's (1961), Charade (1963), Hatari! (1962), Touch of Evil (1958) and Wait Until Dark (1967) were also nominated for the list.
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Henry Mancini
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Awards Mancini was nominated for an unprecedented 72 Grammy's, winning 20.[4] Additionally he was nominated for 18 Academy Awards, winning four.[5] He also won a Golden Globe Award and was nominated for two Emmys. Mancini won a total of four Oscars for his music in the course of his career. He was first nominated for an Academy Award in 1955 for his original score of The Glenn Miller Story, on which he collaborated with Joseph Gershenson. He lost out to Adolph Deutsch and Saul Chaplin's Seven Brides for Seven Brothers. In 1962, he was nominated in the Best Music, Original Song category for "Bachelor in Paradise" from the film of the same name, in collaboration with lyricist Mack David. That song did not win. However, Mancini did receive two Oscars that year: one in the same category, for the song "Moon River" (shared with lyricist Johnny Mercer), and one for "Best Scoring of a Dramatic or Comedy Picture" for Breakfast at Tiffany's. The following year, he and Mercer took another Best Original Song award for "Days of Wine and Roses", another eponymous theme song. His next eleven nominations went for naught, but he finally garnered one last statuette working with lyricist Leslie Bricusse on the score for Victor Victoria, which won the Academy Award for "Best Original Song Score and Its Adaptation or Best Adaptation Score". All three of the films for which he won were directed by Blake Edwards. His score for Victor/Victoria was adapted for the 1995 Broadway musical of the same name. On April 13, 2004, the United States Postal Service honored Mancini with a 37 cent commemorative stamp. The stamp shows Mancini conducting with a list of some of his most famous movies and TV show themes in the background and was painted by artist Victor Stabin. The stamp is Scott catalog number 3839.
Discography Hit singles Year
Single
Peak chart positions
US US AC
US Country
UK
1960 "Mr. Lucky"
21
—
—
—
1961 "Theme from the Great Imposter"
90
—
—
—
"Moon River"
11
1
—
44
1962 "Theme from Hatari"
95
—
—
—
1963 "Days of Wine and Roses"
33
10
—
—
"Banzai Pipeline"
93
—
—
—
"Charade"
36
15
—
—
1964 "The Pink Panther Theme"
31
10
—
—
"A Shot in the Dark"
97
—
—
—
"Dear Heart"
77
14
—
—
"How Soon"
—
—
—
10
117 23
—
—
—
27
—
—
1966 "Hawaii (Main Theme)"
—
6
—
—
1967 "Two For the Road"
—
17
—
—
—
4
—
—
1965 "The Sweetheart Tree" "Moment to Moment"
"Wait Until Dark"
Henry Mancini
14 1968 "Norma La De Guadalajara"
—
21
—
—
"A Man, a Horse and a Gun"
—
36
—
—
1
1
—
—
"Moonlight Sonata"
87
15
—
—
"There Isn't Enough to Go Around"
—
39
—
—
115 17
—
—
"Darling Lili"
—
26
—
—
1971 "Love Story"
13
2
—
—
—
14
—
42
—
38
—
—
92
—
2
—
1973 "Oklahoma Crude"
—
38
—
—
1974 "Hangin' Out"(with the Mouldy Seven)
—
21
—
—
1975 "Once Is Not Enough"
—
45
—
—
1976 "African Symphony"
—
40
—
—
—
38
—
—
1977 "Theme from Charlie's Angels""
45
22
—
—
1980 "Ravel's Bolero"
101 —
—
—
1984 "The Thornbirds Theme"
—
—
23
1969 "Love Theme from Romeo and Juliet"
1970 "Theme from Z (Life Goes On)"
"Theme from Cade's County" 1972 "Theme from the Mancini Generation" "All His Children" (with Charley Pride)
"Slow Hot Wind"
—
"—" denotes a title that did not chart, or was not released in that territory.
Albums •
The Versatile Henry Mancini, Liberty LRP 3121
•
Music of Hawaii, RCA Victor LSP-3713
•
The Mancini Touch, RCA Victor LSP 2101
•
Brass on Ivory, RCA Victor LSP-3756
•
The Blues & the Beat, RCA Victor LSP-2147
•
A Warm Shade of Ivory, RCA Victor LSP-3757
•
Mr. Lucky Goes Latin, RCA Victor LSP-2360
•
Big Latin Band, RCA Victor LSP-4049
•
Our Man in Hollywood, RCA Victor LSP-2604
•
Six Hours Past Sunset, RCA Victor LSP-4239
•
Uniquely Mancini, RCA Victor LSP-2692
•
Theme music from Z & Other Film Music, RCA Victor LSP-4350
•
The Best of Mancini, RCA Victor LSP-2693
•
Big Screen-Little Screen, RCA Victor LSP-4630
•
Mancini Plays Mancini, RCA Camden CAS-2158
•
This Is Henry Mancini, RCA Victor VPS6029
•
Everybody's Favorite, RCA Camden CXS-9034
•
Music from the TV Series "The Mancini Generation", RCA Victor LSP-4689
•
Concert Sound of Henry Mancini, RCA Victor LSP-2897
•
The Academy Award Songs, RCA Victor LSP-6013
•
Dear Heart and Other Songs, RCA Victor LSP-2990
•
Brass, Ivory & Strings (with Doc Severinsen), RCA APL1-0098
•
Theme Scene, RCA Victor LSP-3052
•
The Theme Scene, RCA AQLI-3052
•
Debut Conducting the Philadelphia Orchestra, RCA Victor LSP-3106
•
Country Gentleman, RCA APD1-0270 (Quadraphonic)
•
The Best of Vol. 3, RCA Victor LSP-3347
•
Hangin' Out, RCA CPL1-0672
•
The Latin Sound of Henry Mancini, RCA Victor LSP-3356
•
Symphonic Soul, RCA APD1-1025 (Quadraphonic)
•
A Merry Mancini Christmas, RCA Victor LSP-3612
•
Mancini's Angels, RCA CPL1-2290
•
Pure Gold, RCA Victor LSP-3667
•
(with Johnny Mathis), The Hollywood Musicals, Columbia FC 40372
•
Mancini Country, RCA Victor LSP-3668
•
The Pink Panther Meets Speedy Gonzales, Koch Schwann CD
•
Mancini '67, RCA Victor LSP-3694
•
The Legendary Henry Mancini, BMG Australia 3-CD set
Henry Mancini
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Soundtracks •
The Music from Peter Gunn, RCA Victor LSP-1956
•
The Glass Menagerie, MCA MCAD 6222
•
More Music from Peter Gunn, RCA Victor LSP-2040
•
The Great Mouse Detective, Varèse Sarabande VSD 5359
•
Music from Mr. Lucky, RCA Victor LSP-2198
•
The Hawaiians, UAS 5210
•
Bachelor in Paradise, Film Score Monthly FSMCD vol. 7 Nr. 18
•
Lifeforce, BSXCD 8844
•
High Time, RCA Victor LSP-2314
•
The Molly Maguires, Bay Cities BCD 3029
•
Breakfast at Tiffany's: Music from the Motion Picture, RCA Victor LSP-2362 •
Nightwing
•
A Change of Seasons
•
Oklahoma Crude, RCA APL1 0271
•
Mr. Hobbs Takes a Vacation, Intrada special collection vol. 11
•
The Pink Panther Strikes Again, UA-LA 694
•
Experiment in Terror, RCA Victor LSP-2442
•
Revenge of the Pink Panther, EMI 791113-2
•
Hatari!, RCA Victor LSP-2559
•
Santa Claus: The Movie, EMI SJ 17177
•
Charade, RCA Victor LSP-2755
•
Silver Streak, Intrada special collection vol. 5
•
The Pink Panther, RCA Victor LSP 2795
•
Sometimes a Great Notion, Decca DL 79185
•
The Great Race, RCA Victor LSP-3402
•
Son of the Pink Panther, Milan 21-16461-2
•
Arabesque, RCA Victor LSP-3623
•
Sunflower, SLC SLCS 7035
•
What Did You Do in the War, Daddy?, RCA Victor LSP-3648
•
The Thief Who Came to Dinner, WB BS 2700
•
Two for the Road, RCA Victor LSP-3802
•
The Thorn Birds, Varèse Sarabande 30206 65642 8
•
Gunn, RCA Victor LSP-3840
•
Tom and Jerry – The Movie, MCA MCD 10721
•
The Party, RCA Victor LSP-3997
•
Touch of Evil, Movie Sound MSCD 401
•
Me, Natalie, Columbia OS 3350
•
Victor Victoria, GNP Crescendo GNPD 8038
•
Darling Lili, RCA LSPX-1000
•
W.C. Fields and Me, MCA 2092
•
Visions of Eight, RCA Victor ABL1-0231
•
Who Is Killing the Great Chefs of Europe?, Epic SE 35692
•
The Great Waldo Pepper, MCA 2085
•
Without a Clue
•
Gaily, Gaily, UAS 5202
Selected filmography •
The Glenn Miller Story - 1953
•
Sunflower - 1970
•
Abbott and Costello Go to Mars - 1953
•
Sometimes a Great Notion - 1970
•
Law and Order - 1953
•
The Hawaiians - 1970
•
City Beneath the Sea - 1953
•
The Molly Maguires - 1970
•
Destry - 1954
•
Frenzy (Rejected Score) - 1972
•
The Private War of Major Benson - 1955
•
The Thief Who Came To Dinner - 1973
•
Tarantula - 1955
•
The White Dawn - 1974
•
This Island Earth - 1955
•
The Return of the Pink Panther - 1975
•
Mister Cory - 1957
•
The Great Waldo Pepper - 1975
•
Touch of Evil - 1958
•
Silver Streak - 1976
•
High Time - 1960
•
W.C. Fields and Me - 1976
•
Bachelor in Paradise - 1961
•
The Pink Panther Strikes Again - 1976
•
The Great Impostor - 1961
•
Revenge of the Pink Panther - 1978
•
Breakfast at Tiffany's - 1961
•
House Calls - 1978
•
Days of Wine and Roses - 1962
•
10 - 1979
•
Hatari! - 1962
•
Mommie Dearest - 1981
•
Mr. Hobbs Takes a Vacation - 1962
•
Victor Victoria - 1982
•
Experiment in Terror - 1962
•
Trail of the Pink Panther - 1982
•
Charade - 1963
•
Curse of the Pink Panther - 1983
•
The Pink Panther - 1963
•
Harry & Son - 1984
•
A Shot in the Dark - 1964
•
Santa Claus: The Movie - 1985
Henry Mancini
16 •
Man's Favorite Sport? - 1964
•
The Great Mouse Detective - 1986
•
The Great Race - 1965
•
That's Life! - 1986
•
Moment to Moment - 1965
•
Blind Date - 1987
•
Arabesque - 1966
•
Without a Clue - 1988
•
What Did You Do in the War, Daddy? - 1966 •
Physical Evidence - 1989
•
Two for the Road - 1967
•
Ghost Dad - 1990
•
Wait Until Dark - 1967
•
Fear - 1990
•
The Party - 1968
•
Switch - 1991
•
Gaily, Gaily - 1969
•
Tom and Jerry: The Movie - 1992
•
Son of the Pink Panther - 1993
Bibliography •
Mancini, Henry: Sounds And Scores: a practical guide to professional orchestration (Book on orchestration of popular music, 1962)
•
Büdinger, Matthias: 'Henry Mancini remembered' (in: Soundtrack, vol. 13, No. 51)
•
Mancini, Henry: Did they mention the music? (Autobiography, with Gene Lees, 1989)
•
Büdinger, Matthias: 'Whistling Away The Dark' In: Film Score Monthly, # 45, p. 7
•
Thomas, Tony: Music For The Movies (1973)
•
Büdinger, Matthias: 'Henry Mancini 1924–1994' In: Film Score Monthly, # 46/47, p. 5
•
Thomas, Tony: Film Score (1979)
•
Büdinger, Matthias: 'Feeling Fancy Free' (in: Film Score Monthly, vol. 10, No. 2)
•
Larson, Randall: 'Henry Mancini: On Scoring Lifeforce and Santa Claus' (interview)(in: CinemaScore, No. 15, 1987)
•
Brown, Royal S.: Overtones and undertones – reading film music (1994)
•
Büdinger, Matthias: 'An interview with Henry Mancini' (in: Soundtrack, vol. 7, No. • 26, 1988)
•
Büdinger, Matthias: 'Henry Mancini' (in: Soundtrack, vol. 13, No. 50, 1994)
Caps, John: Henry Mancini: Reinventing Film Music (2012)
References [1] Show 23 – Smack Dab in the Middle on Route 66. [Part 2], The Music Men. [Part 1] : UNT Digital Library (http:/ / digital. library. unt. edu/ ark:/ 67531/ metadc19778/ m1/ ) [2] Chapter 5 Page 51, "Did They Mention the Music". (Autobiography with Gene Lees) [3] Appendix, pg 239 "Did They Mention the Music". (Autobiography with Gene Lees) [4] Appendix, pg 235. "Did They Mention the Music" (Autobiography with Gene Lees) [5] Appendix, pg 236. "Did They Mention the Music" (Autobiography with Gene Lees)
External links • Official website (http://www.henrymancini.com) • Henry Mancini (http://www.oxfordmusiconline.com/subscriber/article/grove/music/17597?q=mancini& search=quick&pos=5&_start=1#firsthit) at Oxford Music Online (http://www.oxfordmusiconline.com/ subscriber/) • Henry Mancini (http://www.imdb.com/name/nm49/) at the Internet Movie Database • Henry Mancini (http://www.ibdb.com/person.asp?ID=12100) at the Internet Broadway Database • Henry Mancini (http://www.findagrave.com/cgi-bin/fg.cgi?GRid=6848602&page=gr) at Find A Grave • Henry Mancini (http://www.allmusic.com/artist/p1902) at AllMusic • Henry Mancini (http://www.spaceagepop.com/mancini.htm), Space Age Pop • A Henry Mancini discography (http://bjbear71.com/Hank/collection.html) • Joe Reisman scores, 1945–1986 (http://www.nypl.org/sites/default/files/archivalcollections/pdf/musreism. pdf) Music Division, New York Public Library for the Performing Arts. • Henry Mancini (http://www.soundtrackinfo.com/composer.asp?id=131&s=y), Soundtrackinfo
Henry Mancini • A Mancini anthology (http://www.soundtrackfan.com/mancini/) • Memories of Henry Mancini (http://www.americanmusicpreservation.com/MemoriesHenryMancini.htm) • The story behind the making of the music from Peter Gunn, including interviews with the musicians and sound engineers (http://www.morningsonmaplestreet.com/petergunn1.html) • Henry Mancini interview (http://digital.library.unt.edu/ark:/67531/metadc19778/m1/) recorded 5.9.1968 (http://www.library.unt.edu/resolveuid/37d2a581e31df743d9a3fd80b49e28cb) on the Pop Chronicles
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Baby I Love You (Aretha Franklin song)
18
Baby I Love You (Aretha Franklin song) "Baby I Love You" Single by Aretha Franklin from the album Aretha Arrives B-side
"Goin' Down Slow"
Released
1967
Format
7" single
Genre
Soul
Length
2:44
Label
Atlantic
Writer(s)
Jimmy Holiday, Ronnie Shannon
Producer
Jerry Wexler
Certification
Gold Aretha Franklin singles chronology
"Respect" (1967)
"Baby I Love You" (1967)
"(You Make Me Feel Like) A Natural Woman" (1967)
"Baby I Love You" is a popular song by R&B singer Aretha Franklin. It was the only single release from her Aretha Arrives album in 1967, the song was a huge hit. It peaked at #4 on the Billboard Hot 100 Singles chart and spent two weeks at number-one on the Hot Rhythm & Blues Singles chart. It was featured in Martin Scorsese's 1990 film Goodfellas. A live recording featured on the album Aretha in Paris (1968). There have been several other famous musicians who have covered Aretha Franklin's "Baby I Love You", such as Lisa Marie Presley in 1989, Jimmy Holiday in 1966-72, Donny Hathaway, Roberta Flack in 1972, B.B. King, The Bar-Kays in 1971, Erma Franklin in 1969, Irma Thomas in 1988, and Otis Rush in 1969, and various other musicians.
Chart positions Charts
U.S. Billboard Hot 100
Peak position 4
U.S. Billboard Hot Rhythm & Blues 1 (2 weeks)
Baby I Love You (Aretha Franklin song)
19
References External links • Full lyrics of this song (http://www.metrolyrics.com/baby-i-love-you-lyrics-aretha-franklin.html) at MetroLyrics Preceded by "I Was Made to Love Her" by Stevie Wonder
Billboard's Hot Rhythm & Blues number one single August 26 - September 2, 1967
Succeeded by "Cold Sweat" by James Brown
Aretha Franklin
20
Aretha Franklin Aretha Franklin
Background information Birth name
Aretha Louise Franklin
Born
March 25, 1942 Memphis, Tennessee, U.S.
Origin
Detroit, Michigan, U.S.
Genres
R&B, soul, jazz, gospel
Occupations
Singer
Instruments
Vocals, piano
Years active
1956–present
Labels
J.V.B., Columbia, Atlantic, Arista, RCA
Associated acts
Sweet Inspirations, Carolyn Franklin, Erma Franklin, Cissy Houston, Whitney Houston, George Benson, George Michael, Michael McDonald, Eurythmics, Luther Vandross, Lauryn Hill, celine dion
Aretha Louise Franklin (born March 25, 1942) is an American singer and musician. Franklin began her career singing gospel at her father, minister C. L. Franklin's church as a child. In 1960, at age 18, Franklin embarked on a secular career, recording for Columbia Records only achieving modest success. Following her signing to Atlantic Records in 1967, Franklin achieved commercial acclaim and success with songs such as "Respect", "(You Make Me Feel Like) A Natural Woman" and "Think". These hits and more helped her to gain the title The Queen of Soul by the end of the 1960s decade. Franklin eventually recorded a total of 88 charted singles on Billboard, including 77 Hot 100 entries and twenty number-one R&B singles, becoming the most charted female artist in the chart's history. Franklin also recorded acclaimed albums such as I Never Loved a Man the Way I Love You, Lady Soul, Young, Gifted & Black and Amazing Grace before experiencing problems with her record company by the mid-1970s. After her father was shot in 1979, Franklin left Atlantic and signed with Arista Records, finding success with a relatively small role in the film, The Blues Brothers and with the albums, Jump to It and Who's Zoomin' Who?. In 1998, Franklin won international acclaim for singing the opera aria, "Nessun Dorma", at the Grammys of that year replacing Luciano Pavarotti. Later that same year, she scored her final Top 40 recording with "A Rose Is Still a Rose". Franklin has won a total of 18 Grammy Awards and is one of the best-selling female artists of all time, having sold over 75 million records worldwide. Franklin has been honored throughout her career including a 1987 induction into the Rock and Roll Hall of Fame, in which she became the first female performer to be inducted. She was inducted to
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the UK Music Hall of Fame in 2005. In August 2012, Franklin was inducted into the GMA Gospel Music Hall of Fame. Franklin is listed in at least two all-time lists on Rolling Stone magazine, including the 100 Greatest Artists of All Time, in which she placed number 9, and the 100 Greatest Singers of All Time in which she placed number 1.
Early life Aretha Louise Franklin was born in Memphis, Tennessee, the daughter of Barbara (née) Siggers and Clarence LaVaughn Franklin. Her father, who went by the nickname, "C. L.", was an itinerant preacher originally from Shelby, Mississippi, while her mother was an accomplished piano player and vocalist.[1] Alongside Aretha, her parents had three other children while both C. L. and Barbara had children from outside their marriage. The family relocated to Buffalo, New York when Aretha was two. Prior to her fifth birthday, C. L. Franklin permanently relocated the family to Detroit, Michigan where he founded the Baptist church, New Bethel. Franklin's parents had a troubled marriage due to stories of C. L. Franklin's philandering and in 1948, they separated, with Barbara relocating back to Buffalo with her son, Vaughn, from a previous affair.
Aretha Franklin's birthplace at 406 Lucy Ave. in Memphis, Tennessee.
Contrary to popular notion, Franklin's mother didn't abandon her children and Aretha would recall seeing her mother in Buffalo during summertime while Barbara also frequently visited her children in Detroit.[2] Franklin's mother died on March 7, 1952, prior to Franklin's tenth birthday. Several women, including Franklin's grandmother Rachel, and Mahalia Jackson took turns helping with the children at the Franklin home.[3] During this time, Franklin learned how to play piano by ear.[4] Franklin's father's emotionally-driven sermons resulted in him being known as the man with the "million-dollar voice" and earning over thousands of dollars for sermons in various churches across the country.[5][6] Franklin's celebrity led to his home being visited by various celebrities including gospel musicians Clara Ward, James Cleveland and early Caravans members Albertina Walker and Inez Andrews as well as Martin Luther King, Jr., Jackie Wilson and Sam Cooke.[7][8]
Music career Beginnings Just after her mother's death, Aretha began singing solos at New Bethel, debuting with the hymn, "Jesus, Be a Fence Around Me".[3] Four years later, when Aretha was 14, her father began managing her, bringing her on the road with him during his so-called "gospel caravan" tours for her to perform in various churches. He helped his daughter get signed to her first recording deal with J.V.B. Records, where her first album, Songs of Faith, was issued in 1956. Two singles were released to gospel radio stations including "Never Grow Old" and "Precious Lord, Take My Hand". Franklin sometimes traveled with the Caravans and The Soul Stirrers during this time and developed a crush on Sam Cooke, who was then singing with the Soul Stirrers prior to his secular career. After turning 18, Aretha confided to her father that she aspired to follow Sam Cooke to record pop music. Serving as her manager, C. L. agreed to the move and helped to produce a two-song demo that soon was brought to the attention of Columbia Records, who agreed to sign her in 1960. Franklin was signed as a "five-percent artist".[9] During this period, Franklin would be coached by choreographer Cholly Atkins to prepare for her pop performances. Before signing with Columbia, Sam Cooke tried to persuade Aretha's father to have his label, RCA sign Aretha. He had also been persuaded by local record label owner Berry Gordy to sign Aretha and her elder sister Erma to his Tamla label. Aretha's father felt the label wasn't established enough yet. Aretha's first Columbia single, "Today I Sing the Blues",
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was issued in September 1960 and later reached the top ten of the Hot Rhythm & Blues Sellers chart.
Initial success In January 1961, Columbia issued Aretha's debut album, Aretha: With The Ray Bryant Combo. The album featured her first single to chart the Billboard Hot 100, "Won't Be Long", which also peaked at number 7 on the R&B chart. Mostly produced by Clyde Otis, Franklin's Columbia recordings saw her recording in diverse genres such as standards, vocal jazz, blues, doo-wop and rhythm and blues. Before the year was out, Franklin scored her first top 40 single with her rendition of the standard, "Rock-a-Bye Your Baby with a Dixie Melody", which also included the R&B hit, "Operation Heartbreak", on its b-side. "Rock-a-Bye" became her first international hit, reaching the top 40 in Australia and Canada. By the end of 1961, Franklin was named as a "new-star female vocalist" in Down Beat magazine.[10] In 1962, Columbia issued two more albums, The Electrifying Aretha Franklin and The Tender, the Moving, the Swinging Aretha Franklin, the latter of which charted number 69 on the Billboard Pop LPs chart. By 1964, Franklin began recording more pop music, reaching the top ten on the R&B chart with the ballad, "Runnin' Out of Fools" in early 1965. She had two R&B charted singles in 1965 and 1966 with the songs "One Step Ahead" and "Cry Like a Baby" while also reaching the Easy Listening charts with the ballads "You Made Me Love You" and "(No, No) I'm Losing You". By the mid-1960s, Aretha was netting $100,000 from countless performances in nightclubs and theaters.[10] Also during that period, Franklin appeared on rock and roll shows such as Hollywood A Go-Go and Shindig!. However, it was argued that Franklin's potential was neglected at the label. Columbia executive John H. Hammond later said he felt Columbia didn't understand Aretha's early gospel background and failed to bring that aspect out further during her Columbia period.
Commercial success In January 1967, choosing not to renew her Columbia contract after six years with the company, Franklin signed to Atlantic Records. That month, Aretha traveled to Muscle Shoals, Alabama to record at FAME Studios to record the song, "I Never Loved a Man (The Way I Love You)" in front of the musicians of the famed Muscle Shoals Rhythm Section. The song was later issued that February and shot up to number-one on the R&B chart, while also peaking at number nine on the Billboard Hot 100, giving Aretha her first top ten pop single. The song's b-side, "Do Right Woman, Do Right Man", reached the R&B top 40, peaking at number 37. In April, Atlantic issued her frenetic version of Otis Redding's "Respect", which shot to number-one on both the R&B and pop charts and later became her signature song and was later hailed as a civil rights and feminist anthem. Aretha's debut Atlantic album, I Never Loved a Man the Way I Love You, also became commercially successful, later going gold. Aretha scored two more top ten singles in 1967 including "Baby I Love You" and "(You Make Me Feel Like A) Natural Woman". Franklin's rapport with producer Jerry Wexler helped in the creation of the majority of Aretha's peak recordings with Atlantic. In 1968, she issued the top-selling albums, Lady Soul and Aretha Now, which included some of Franklin's most popular hit singles including "Chain of Fools", "Ain't No Way", "Think" and "I Say a Little Prayer". In February 1968, Franklin earned the first two of her Grammys including the debut category for Best Female R&B Vocal Performance.[11] On February 16, 1968, Aretha was honored with a day in her honor and was greeted by longtime friend Martin Luther King, Jr. who gave her the SCLC Drum Beat Award for Musicians just two months prior to his death.[12][13][14] In June 1968, she appeared on the cover of Time magazine. "Respect" "Respect" was a huge hit for Franklin, it became a signature song for her.
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Franklin's success expanded during the early 1970s in which she recorded top ten singles such as "Spanish Harlem", "Rock Steady" and "Day Dreaming" as well as the acclaimed albums, Spirit in the Dark, Young, Gifted & Black and her gospel album, Amazing Grace, which sold over two million copies. In 1971, Franklin became the first R&B performer to headline Fillmore West, later recording the live album, Aretha Live at Fillmore West.[15] Franklin's career began experiencing issues while recording the album, Hey Now Hey (The Other Side of the Sky), which featured production from Quincy Jones. Despite the success of the single, "Angel", the album bombed upon its release in 1973. Franklin continued having R&B success with songs such as "Until You Come Back to Me" and "I'm in Love" but by 1975, her albums and songs were failing to become a success. After Jerry Wexler left Atlantic for Warner Bros. Records in 1976, Franklin worked on the soundtrack to the film, "Sparkle", with Curtis Mayfield. The album yielded Aretha's final top 40 hit of the decade, "Something He Can Feel", which also peaked at number-one on the R&B chart. Franklin's follow-up albums for Atlantic including Sweet Passion, Almighty Fire and La Diva bombed on the charts and in 1979, Franklin opted to leave the company.
Later years In 1980, Franklin signed with Clive Davis' Arista Records and that same year, gave a command performance at the Royal Albert Hall in front of Queen Elizabeth. Aretha also made an acclaimed guest role as a waitress in the comedy musical, The Blues Brothers. Franklin's first Arista album, Aretha, featured the #3 R&B hit, "United Together" and her Grammy-nominated cover of Otis Redding's "I Can't Turn You Loose". The follow-up, 1981's Love All the Hurt Away, included her famed duet of the title track with George Benson while the album also included her Grammy-winning cover of Sam & Dave's "Hold On, I'm Comin'". Franklin returned to the Gold standard - for the first time in seven years - with the album, Jump to It. Its title track was her first top 40 single on the pop charts in six years.
Franklin performing on April 21, 2007, at the Nokia Theater in Dallas, Texas.
In 1985, inspired by her desire to have a "younger sound" in her music, her fourth Arista album, Who's Zoomin' Who, became her first album to be certified platinum, after selling well over a million copies, thanks to the hits, "Freeway of Love", the title track and "Sisters Are Doing It for Themselves".[16] The following year's Aretha album nearly matched this success with the hit singles "Jumpin' Jack Flash", "Jimmy Lee" and "I Knew You Were Waiting for Me", her international number-one duet with George Michael. During that period, Aretha provided vocals to the theme songs of the shows, A Different World and Together. In 1987, she issued her third gospel album, One Lord, One Faith, One Baptism, which was recorded at her late father's New Bethel church, followed by Through the Storm in 1989. Franklin's 1991 album, What You See is What You Sweat flopped on the charts. Franklin returned to the charts in 1993 with the dance song, "A Deeper Love" and returned to the top 40 with the song, "Willing to Forgive" in 1994. In 1998, Franklin returned to the top 40 with the Lauryn Hill-produced song, "A Rose Is Still a Rose", later issuing the album of the same name, which went gold. That same year, Franklin earned international acclaim for her performance of "Nessun Dorma" at the Grammy Awards. Her final Arista album, So Damn Happy, was released in 2003 and featured the Grammy-winning song, "Wonderful". In 2004, Franklin announced that she was leaving Arista after over 20 years with the label. To complete her Arista obligations, Aretha issued the duets compilation album, Jewels in the Crown: All-Star Duets with the Queen, in 2007. The following year, she issued the holiday album, This Christmas, Aretha, on DMI Records. In January 2009, Franklin again made international headlines for performing "My Country 'Tis of Thee" at President Barack Obama's inaugural ceremony with her church hat becoming a popular topic online. In 2010, Franklin accepted an honorary degree from Yale University. In 2011, under her own label, Aretha's Records, she issued the album, Aretha: A Woman Falling Out Of Love. As of 2013, Franklin is now signed
Aretha Franklin under RCA Records and is currently working again with Clive Davis. A new album is in the works with producers Babyface and Danger Mouse planning to work with Franklin.
Music style and image Franklin has often been described as a great singer and musician due to "vocal flexibility, interpretive intelligence, skillful piano-playing, her ear, her experience."[17] Franklin's voice has been described as being a "powerful mezzo-soprano voice" and has been praised for her arrangements and interpretations of other artists' hit songs.[18] Of describing Franklin's voice as a youngster on her first album, Songs of Faith, released when she was just fourteen, Jerry Wexler explained that Franklin's voice "was not that of a child but rather of an ecstatic hierophant."[19] Franklin's image went through rapid changes throughout her career. During the 1960s, Franklin was known for wearing bouffant hairdos and extravagant dresses that were sometimes surrounded enveloped in either mink fur or feathers. In the 1970s, embracing her roots, Franklin briefly wore the Afro hairdo and wore Afrocentric styled clothing admired by her peers. In the mid-1970s, after dropping weight, Franklin began wearing slinkier attire. By the 1980s, she had settled on wearing nightgowns and extravagant dresses.
Personal life Aretha is the mother of four sons. Her first two children, Clarence (born January 28, 1955), and Edward (born January 22, 1957), were born before her 13th and 15th birthdays. She has never identified the father of either child. During that period, Aretha's grandmother, Rachel, and sister, Erma, raised Aretha's boys while she pursued her musical career and other options including "hanging out with my friends."[20] Rachel lived in a guest house behind her son C. L. Franklin's LaSalle Street home, with the Franklins having moved there Aretha Franklin and William Wilkerson watching from their Boston Street residence during the late 1950s. Aretha's third Roger Federer at the 2011 US Open. child, Ted White, Jr., was born in 1964. Today he is known as Teddy Richards and is a professional musician, often playing guitar in his mother's band. In 1970, an affair with her road manager, Ken Cunningham, resulted in the birth of Aretha's fourth son, Kecalf. (His name was devised from the first initials of his parents' names.) Aretha had married the much older Ted White in 1961, despite strong objections from her father. After a contentious marriage that involved domestic violence, she divorced him in 1969.[21] She married actor Glynn Turman on April 11, 1978 at her father's New Bethel Baptist Church. Aretha subsequently became a stepmother to Turman's three children. They split in late 1982 and officially divorced in early 1984. In 2012, Aretha Franklin again announced plans to walk down the aisle with her longtime companion Willie Wilkerson. Within several weeks of the announcement, Aretha called the wedding off. Aretha's sisters Erma and Carolyn were also professional musicians and often sang background on Aretha's hits. In 1969, following her divorce from Ted White, her brother, minister Cecil Franklin presided as her manager, a position he kept until his death from lung cancer on December 26, 1989. Youngest sister Carolyn preceded Cecil in death in April 1988 following a long bout with breast cancer. Erma Franklin later died of throat cancer in September 2002. Franklin's half-brother, Vaughn (born December 24, 1934) and half-sister Carl Kelley (née Jennings; born 1940) are still alive. Kelley is C. L. Franklin's daughter by Mildred Jennings, a then 12-year-old congregant of New Salem Baptist Church in Memphis, where C. L. was pastor.[22] Aretha was performing at the Aladdin Hotel in Las Vegas, on June 10, 1979, when her father was shot twice at point blank range in his Detroit home.[23] After six months in Henry Ford Hospital, the Franklin family returned their father back to his home with round the clock nursing care. The shooting had left C. L. in a coma. Aretha moved back
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Aretha Franklin to Detroit in late 1982 to assist with the care of her father, who died at Detroit's New Light Nursing Home on July 27, 1984.[24] Franklin has been romantically linked to many musicians such as Sam Cooke and Dennis Edwards, formerly of The Temptations. Some of her music business friends have included Dionne Warwick, Mavis Staples, and Cissy Houston, who began singing with Aretha as member of the Sweet Inspirations. Cissy sang background on Franklin's classic hit, "Ain't No Way". Aretha first met her daughter, Whitney, in the early 1970s. She was made an honorary aunt and Whitney often referred to her as "Auntie Ree". Whitney Houston died in February 2012. Franklin stated she was surprised by her death. She had initially planned to perform at Houston's memorial service on February 18 but her representative claimed that Aretha suffered a mild leg spasm and was unable to attend. In response to criticism of her non-attendance, she stated, "God knows I wanted to be there, but I couldn't." Aretha Franklin is a registered Democrat.[25]
Weight issues and health problems Franklin dealt with weight issues for years. In 1974, she dropped 40 pounds during a crash diet.[26] Franklin maintained the weight loss until 1978.[27] Franklin again lost the weight in the early 1990s prior to releasing the album, What You See Is What You Sweat, gaining it back again after a year and a half. Franklin later admitted to years of yo-yo dieting. Following her surgery to get rid of an undisclosed tumor, Franklin lost 85 lbs. In 2012, she admitted she had gained some of the weight back. During her heyday, it's been noted that Franklin had dealt with alcoholism and also had an addiction to chain smoking, smoking at least ten packs of cigarettes a day. Franklin quit smoking in 1992.[28] Franklin admitted in 1994 that her smoking was "messing with my voice".[29] She later admitted in 2003 that following her quitting cigarettes, her weight "ballooned".[30] In 2010, Franklin canceled a number of concerts after she decided to have surgery for an undisclosed tumor. Discussing the events in 2011, she stated the surgery Franklin had would "add 15 to 20 more years" to her life. She denied that the ailment had anything to do with pancreatic cancer as it was rumored. On May 19, 2011 Aretha Franklin had her comeback show in the Chicago theatre, an outstanding concert.[31] In May 2013, Franklin canceled two performances to deal with an undisclosed medical treatment. Later in the same month, Franklin canceled three more concerts in June and planned to return to perform in July. However, a July 27 show in Clarkston, Michigan was canceled due to continued medical treatment. In addition, Franklin canceled an appearance at an MLB luncheon in Chicago honoring her commitment to civil rights on an August 24 date. She also canceled a September 21 performance in Atlanta due to her health recovery. During a phone interview with The Associated Press on August 21, Franklin stated that she had a "miraculous" recovery from her undisclosed illness but had to cancel shows and appearances until she was at 100% health, stating she was "85% healed". Aretha has since returned to live performing, including a Christmas concert at Detroit's Motor City Casino. [citation needed]
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Legacy In 1987, Franklin was the first female performer inducted into the Rock and Roll Hall of Fame.[32] Two years earlier, the Michigan government labeled her voice as a "natural resource".[33] Franklin received her star on the Hollywood Walk of Fame in 1979. In 1994, she received a medal from the Kennedy Center Honors and that year won the NARAS Lifetime Achievement Award. She won the NARAS Grammy Legend award four years prior. In 1999, she earned the National Medal of Arts. In 2005, she received the Presidential Medal of Freedom. Franklin was inducted to the UK Music Hall of Fame in 2005, becoming the second female performer to be honored after Madonna. In 2008, she received the MusiCares Person of the Year prior to performing at that year's Grammys. That same year, she was listed in the top 20 of artists on the Billboard Hot 100 all-time top artists list.[34] In 2012, she was inducted to the GMA Gospel Music Hall of Fame. Franklin has been described as "the voice of the civil rights movement, the voice of black America" and a "symbol of black equality". She was also listed as number 1 on Rolling Stone's list of the Greatest Singers of All Time. In February 2011, following news of her surgery and recovery, the Grammy Awards paid tribute to the singer with a medley of her classics by singers such as Christina Aguilera, Florence Welch, Jennifer Hudson, Martina McBride and Yolanda Adams.[35]
Aretha Franklin wipes a tear after being honored with the Presidential Medal of Freedom on November 9, 2005, at the White House. Seated with her are fellow recipients Robert Conquest, left, and Alan Greenspan
A wax sculpture of Aretha Franklin on display at Madame Tussauds in New York City.
List of number-one R&B singles 1. "I Never Loved a Man (The Way I Love You)" (1967) 2. "Respect" (1967) 3. "Baby I Love You" (1967) 4. "Chain of Fools" (1967) 5. "(Sweet Sweet Baby) Since You've Been Gone" (1968) 6. "Think" (1968) 7. "Share Your Love with Me" (1969) 8. "Call Me" (1970) 9. "Don't Play That Song (You Lied)" (1970) 10. "Bridge Over Troubled Water" (1971) 11. 12. 13. 14. 15. 16. 17. 18.
"Spanish Harlem" (1971) "Day Dreaming" (1972) "Angel" (1973) "Until You Come Back to Me (That's What I'm Gonna Do)" (1973) "I'm in Love" (1974) "Something He Can Feel" (1976) "Break It to Me Gently" (1977) "Jump to It" (1982)
19. "Get It Right" (1983) 20. "Freeway of Love" (1985)
Aretha Franklin
Filmography • • • • • • •
Black Rodeo (1972) (documentary) The Blues Brothers (1980) Listen Up: The Lives of Quincy Jones (1990) (documentary) Blues Brothers 2000 (1998) Tom Dowd & the Language of Music (2003) (documentary) The Zen of Bennett (2012) (documentary) Muscle Shoals (2013) (documentary)
References [1] [2] [3] [4] [5] [6] [7]
Bego 2010, p. 11. McAvoy 2002, pp. 19-20. McAvoy 2002, p. 22. McAvoy 2002, pp. 20-21. Dobkin 2006, p. 48. Feiler 2009, p. 248. http:/ / articles. chicagotribune. com/ 2012-12-19/ entertainment/ ct-ent-1220-inez-andrews-obit-20121219_1_albertina-walker-gospel-inez-andrews
[8] http:/ / www. nytimes. com/ 2012/ 12/ 22/ arts/ music/ inez-andrews-gospel-singer-dies-at-83. html?_r=0 [9] Ebony 1964, p. 88. [10] Ebony 1964, p. 85. [11] Natalie Cole broke Franklin's "Best Female R&B Vocal Performance" winning streak with her 1975 single "This Will Be (An Everlasting Love)" (which, ironically, was originally offered to Franklin). [12] Dobkin 2006, p. 5. [13] Whitaker 2011, p. 315. [14] Bego 2010, p. 107. [15] – from the Bill Graham archives; requires free login. [16] Rolling Stone magazine, "Aretha Franklin's New Wave of Pop" by Eliza Graham, page 11. [17] Dobkin 2006, p. 8. [18] Whitaker 2011, p. 312. [19] McMahon 2000, p. 373. [20] Ebony 1995, p. 32. [21] Bego 2010, pp. 125-126. [22] Salvatore, Nick, Singing in a Strange Land: C. L. Franklin, the Black Church, and the Transformation of America, Little Brown, 2005, Hardcover ISBN 0-316-16037-7, pp. 61–62 [23] Baltimore Afro-American 1979. [24] Jet 1984. [25] On an ABC promo aired on July 27, 2010, announcing Franklin and Condoleezza Rice's appearing together in concert there was a segment in which Franklin was being interviewed and she said herself, "I am a Democrat". [26] Ebony 1974. [27] Bego 2010, pp. 162-165. [28] Bego 2010, p. 305. [29] Ebony 1995, p. 30. [30] Jet 2003, pp. 62-63. [31] Aretha Franklin in glorious form at Chicago Theatre, http:/ / articles. chicagotribune. com/ 2011-05-20/ entertainment/ ct-live-0521-aretha-franklin-review-20110520_1_chicago-theatre-glorious-form-soul [32] Ebony 1995, p. 29. [33] Bego 2010, p. 238. [34] The Billboard Hot 100 All-Time Top Artists (http:/ / www. billboard. com/ bbcom/ specials/ hot100/ charts/ top100-artists-20. shtml). Billboard.com. Retrieved on July 8, 2011. [35] Grammy Awards tribute to Aretha Franklin (http:/ / www. grammy. com/ news/ stars-to-join-for-aretha-franklin-tribute) Franklin has been cited as a major influence of singers such as Jennifer Hudson, Jill Scott, and many others.
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Sources • Bego, Mark (Feb 10, 2010). Aretha Franklin: The Queen of Soul (http://books.google.com/ books?id=ErKigdCXUwoC&printsec=frontcover&dq=aretha+franklin+mark+bego&hl=en&sa=X& ei=VbWVUYWmNInM9gSf5YHoAg&ved=0CC0Q6AEwAA). Da Capo Press. ISBN 978-0-78675-229-4. • Dobkin, Matt (2006). I Never Loved A Man The Way I Love You: Aretha Franklin, Respect, and the Making Of A Soul Music Masterpiece (http://books.google.com/books?id=lHJC0ne4zbAC&pg=PA6=false). New York: St. Martin's Griffin. ISBN 0-312-31828-6. • Feiler, Bruce (October 6, 2009). America's Prophet (http://books.google.com/books?id=q3iAylx3HosC& pg=PA248&dq=the+man+with+the+million+dollar+voice&hl=en&sa=X& ei=QJ6jUYHfG5DI9QS5xICoCw&ved=0CDMQ6AEwAQ#v=onepage&q=the man with the million dollar voice&f=false). HarperCollins. ISBN 978-0-06193-925-9. • McAvoy, Jim (2002). Aretha Franklin (http://books.google.com/books?id=5KX-3vLoH8EC& printsec=frontcover&dq=aretha+franklin&hl=en&sa=X&ei=7rSVUe2MK4WK8QTHm4GYBw& ved=0CEMQ6AEwBA#v=onepage&q=aretha franklin&f=false). Infobase Publishing. ISBN 978-1-43812-161-1. • McMahon, Thomas (2000). Creative and Performing Artists for Teens. Gale Group. ISBN 978-0-78763-975-4. • "Queen of Soul's Father Rev. C. L. Franklin, 69, Dies After 5 Years In Coma" (http://books.google.com/ books?id=4LADAAAAMBAJ&pg=PA15&dq=c.l.+franklin+shot&hl=en&sa=X& ei=hp6eUbnUM4vc9QS5yoCgAw&ved=0CDEQ6AEwATgK#v=onepage&q=c.l.franklin shot&f=false). Jet. • "Rev. C. L. Franklin shot" (http://news.google.com/newspapers?nid=2205&dat=19790612& id=noIlAAAAIBAJ&sjid=V_UFAAAAIBAJ&pg=914,3602210). Baltimore Afro-American. June 12, 1979. • "Aretha Franklin Returns With Soulful CD, 'So Damn Happy'" (http://books.google.com/ books?id=W7UDAAAAMBAJ&pg=PA58&dq=aretha+franklin+jet+2003&hl=en&sa=X& ei=z5WjUb-9LYfg8wS6xoG4DQ&ved=0CDkQ6AEwAw#v=onepage&q&f=false). Jet. September 29, 2003. • "Aretha Talks About Men, Marriage, Music & Motherhood" (http://books.google.com/ books?id=rNPfKQbqO84C&pg=PA28&dq=aretha+franklin+ebony+1994&hl=en&sa=X& ei=Y5OjUZuxB4i29gSrloGgBQ&ved=0CCwQ6AEwADgK#v=onepage&q=aretha franklin ebony 1994& f=false). Ebony. April 1995. • "Swingin' Aretha" (http://books.google.com/books?id=RAVl_KwcBuAC&pg=PA85&dq=aretha+franklin+ swinging'+aretha&hl=en&sa=X&ei=UraVUe6ZGo3I9QSmvoHQAw&ved=0CE8Q6AEwBjgK#v=onepage& q=aretha franklin swinging' aretha&f=false). Ebony. • "The New Aretha" (http://books.google.com/books?id=JN4DAAAAMBAJ&pg=PA10&dq=aretha+ franklin+loses+weight+1974&hl=en&sa=X&ei=cp-iUfOBIY--9QSZgoHACw& ved=0CD0Q6AEwAg#v=onepage&q=aretha franklin loses weight 1974&f=false). Ebony. • Whitaker, Matthew C. (March 1, 2011). Icons of Black America: Breaking Barriers and Crossing Boundaries [Three Volumes] (Google eBook) (http://books.google.com/books?id=RSGhEUq5bp0C&pg=PA312& dq=aretha+franklin+powerful+voice&hl=en&sa=X&ei=ebeVUYnxKZPI9QTChYD4Cg& ved=0CFUQ6AEwBw#v=onepage&q=aretha franklin powerful voice&f=false). ABC-CLIO. ISBN 978-0-31337-643-6.
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External links • • • • •
Aretha Franklin (http://www.legacyrecordings.com/artists/aretha-franklin) at Legacy Recordings Appearances (http://www.c-spanvideo.org/arethafranklin) on C-SPAN Aretha Franklin (http://www.imdb.com/name/nm0291349/) at the Internet Movie Database Aretha Franklin (http://www.npr.org/artists/15662553/aretha-franklin) at NPR Music Aretha Franklin (http://topics.nytimes.com/top/reference/timestopics/people/f/aretha_franklin/index.html) collected news and commentary at The New York Times • Works by or about Aretha Franklin (http://worldcat.org/identities/lccn-n84-28907) in libraries (WorldCat catalog) • Aretha Franklin (http://www.answers.com/topic/aretha-franklin) at Answers.com • Aretha Franklin (http://www.discogs.com/artist/Aretha+Franklin) discography at Discogs
Ivan Lins Ivan Guimarães Lins (born June 16, 1945) is a Latin Grammy-winning Brazilian musician. He has been an active performer and songwriter of Brazilian popular music (MPB) and jazz for over 30 years. His first hit, “Madalena,” was recorded by Elis Regina in 1970. Beyond his own performance of his compositions, Simone is a notable and respected interpreter. His 1989 hit song "Love Dance" is one of the most re-recorded songs in musical history. Testifying to Lins's importance as a composer is the frequency with which tribute albums and new covers of his compositions appear. His jazz classics have been recorded by many notable international artists including Sarah Vaughan, Ella Fitzgerald, Barbra Streisand, Quincy Jones, George Benson, the Manhattan Transfer, Diane Schuur, Carmen McRae, Nancy Wilson, Eliane Elias, Patti Austin, Sting, Toots Thielemans, Take 6, Lee Ritenour, David Benoit, Carlos do Carmo, Mark Murphy, Dave Grusin, Sérgio Mendes, Michael Bublé and Shirley Horn, among countless others.
Ivan Lins (November 2007).
Life Ivan Lins was born in Rio de Janeiro. He spent several years in Boston, Massachusetts, while his father, a naval engineer, continued his graduate studies at M.I.T., studied at the Military College in Rio. He later received a degree in industrial chemical engineering from the Federal University of Rio de Janeiro. He considered a career in volleyball before discovering his considerable musical talent. Ivan Lins currently resides in Rio de Janeiro, Brazil.
Work Ivan Lins has released albums regularly and penned several standards, such as "Love Dance," "Começar de Novo" (Starting Over) (the English lyric version is titled "The Island," with lyrics by Alan and Marilyn Bergman), and "Velas Içadas," which have made their way north into the American jazz lexicon. He recorded in English for Reprise/Warner Bros. Records in the early 1990s. In the mid-eighties, Lins recorded a jazz fusion album with Dave Grusin and Lee Ritenour titled "Harlequin" which was a critical and commercial success. Lins also composed the soundtrack for the Brazilian film Dois Córregos.
Ivan Lins Lins' longtime composing partner is Vitor Martins. Their songs typically feature lush harmony with a distinctive jazz sensibility. One signature voicing he often employs in his own performances is the delayed addition of a ♯11 to a sus13 chord, or the delayed addition of a ♭9 to a sus13 chord. Ivan Lins appeared as guest performer on the albums Dois Mundos (1998) and Recorded in Rio (2003) of the Dutch artist Josee Koning. He also appeared on the album Call Me Irresponsible (2007) of the artist Michael Bublé and with singer/songwriter Paula Cole on her 2007 CD, Courage (Paula Cole album), singing a duet with her on the song "Hard to be Soft". Jazz reporter and music critic David Adler[1] reported Lins’s October 2000 Carnegie Hall concert performance and tribute to him. The event corresponded with the tribute album titled A Love Affair, released by Telarc Records. Headline performers from diverse genres participated in celebrating the man and his music on the recording and in the world-class performance hall, a noteworthy accomplishment in the history of any musician. Lins maintains an active touring schedule, including a 2003 appearance at the Blue Note in New York City. In May, 2008, he returned to New York, performing with Rosa Passos at Jazz at Lincoln Center. Ivan Lins is a political artist and musical icon in his country.
Awards In 2005, he won two Latin Grammy Awards; Album of the Year and Best MPB (Música Popular Brasileira) Album for Cantando Histórias. He became the first Brazilian artist and Portuguese-language artist to win the Latin Grammy for Album of the Year. No other Brazilian artist or Portuguese-language artist has won the award since then. Ivan Lins was nominated for three Latin Grammy Awards in 2009 for his latest album, Regência: Vince Mendoza performed with the Metropole Orchestra. He was nominated for Record of the Year ("Arlequim Desconhecido") and Album of the Year. He won the award for Best MPB (Música Popular Brasileira) Album.
Discography • • • • • • • • • • • • • • • • • • •
Agora (1970) Deixa O Trem Seguir (1971) Quem Sou Eu (1972) Modo Livre (1974) Chama Acesa (1975) Somos Todos Iguais Nesta Noite (1977) Começar de novo (1977) Nos Dias de Hoje (1978) A Noite (1979) Novo Tempo (1980) Daquilo Que Eu Sei (1981) Depois dos Temporais (1983) Juntos (1984) Ivan Lins (1986) Mãos (1987) Love Dance (1988) Amar Assim (1989) Awa Yiô (1993) A Doce Presença de Ivan Lins (1994)
• Anjo de Mim (1995) • I'm Not Alone (1996)
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Ivan Lins • • • • • • • • • • • • • •
Acervo Especial, Vol. 2 (1997) Ivan Lins/Chucho Valdés/Irakere/Ao Vivo (1996) Viva Noel: Tributo a Noel Rosa Vols. 1, 2 (1997) Live at MCG (1999) Dois Córregos (1999) Um Novo Tempo (1998) A Cor Do Pôr-Do-Sol (2000) Jobiniando (2001) Love Songs - A Quem Me Faz Feliz (2002) I Love Mpb - Amor (2004) Cantando Histórias (2004) Acariocando (2006) Saudades de Casa (2007) Regência: Vince Mendoza (2009)
References [1] AllAboutJazz.com (http:/ / www. allaboutjazz. com/ php/ article. php?id=1691)
External links • Live performance photographs (http://brucecmoore.com/pages/ivanlins.html) • Official Web site (http://www.ivanlins.com.br) • Selected discography (http://www.glennslayden.com/ivan_lins/default.asp)
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Johnny Mercer
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Johnny Mercer Johnny Mercer
Johnny Mercer, c. 1947 Background information Birth name
John Herndon Mercer
Born
November 18, 1909 Savannah, Georgia
Died
June 25, 1976 (aged 66) Hollywood, Los Angeles, California
Occupations
songwriter, lyricist
Years active
1930–1976
Associated acts
Richard A. Whiting, Harry Warren, Harold Arlen, Hoagy Carmichael, Henry Mancini
John Herndon "Johnny" Mercer (November 18, 1909 – June 25, 1976) was an American lyricist, songwriter and singer. He was also a co-founder of Capitol Records. He is best known as a lyricist, but he also composed music. He was also a popular singer who recorded his own songs as well as those written by others. From the mid-1930s through the mid-1950s, many of the songs Mercer wrote and performed were among the most popular hits of the time. He wrote the lyrics to more than fifteen hundred songs, including compositions for movies and Broadway shows. He received nineteen Academy Award nominations, and won four.
Early life Mercer was born in Savannah, Georgia. His father, George Anderson Mercer, was a prominent attorney and real estate developer, and his mother, Lillian Elizabeth (née Ciucevich), George Mercer’s secretary and then second wife, was the daughter of Croatian and Irish immigrants who came to America in the 1850s. Lillian's father was a merchant seaman who ran the Union blockade during the U.S. Civil War.[1] Mercer was George's fourth son, first by Lillian. His great-grandfather was Confederate General Hugh Weedon Mercer and he was a direct descendant of
Johnny Mercer American Revolutionary War General Hugh Mercer, a Scottish soldier-physician who died at the Battle of Princeton. Mercer was also a distant cousin of General George S. Patton.[2] The construction of Mercer House in Savannah was started by General Hugh Weedon Mercer in 1860 (although never finished by him; the next owners of the house finished it), later the home of Jim Williams, whose trial for murder was the centerpiece of John Berendt's book Midnight in the Garden of Good and Evil. Neither the General nor Mercer himself, ever lived there. Mercer liked music as a small child and attributed his musical talent to his mother, who would sing sentimental ballads. Mercer's father also sang, mostly old Scottish songs. His aunt told him he was humming music when he was six months old and later she took him to see minstrel and vaudeville shows where he heard “coon songs” and ragtime.[3] The family’s summer home “Vernon View” was on the tidal waters and Mercer’s long summers there among mossy trees, saltwater marshes, and soft, starry nights inspired him years later.[4] Mercer’s exposure to black music was perhaps unique among the white songwriters of his generation. As a child, Mercer had African-American playmates and servants, and he listened to the fishermen and vendors about him, who spoke and sang in the dialect known as “Geechee”. He was also attracted to black church services. Mercer later stated, “Songs always fascinated me more than anything."[5] He had no formal musical training but was singing in a choir by six and at 11 or 12 he had memorized almost all of the songs he had heard and became curious about who wrote them. He once asked his brother who the best songwriter was, and his brother said Irving Berlin, among the best of Tin Pan Alley. Despite Mercer's early exposure to music, his talent was clearly in creating the words and singing, not in playing music, though early on he had hoped to become a composer. In addition to the lyrics that Mercer memorized, he was an avid reader and wrote adventure stories. His attempts to play the trumpet and piano were not successful, and he never could read musical scores with any facility, relying instead on his own notation system.[6] As a teenager in the Jazz Era, he was a product of his age. He hunted for records in the black section of Savannah and played such early black jazz greats as Ma Rainey, Bessie Smith, and Louis Armstrong. His father owned the first car in town, and Mercer’s teenage social life was enhanced by his driving privilege, which sometimes verged on recklessness.[7] The family would motor to the mountains near Asheville, North Carolina to escape the Savannah heat and there Mercer learned to dance (from Arthur Murray himself) and to flirt with Southern belles, his natural sense of rhythm helping him on both accounts. Later, Mercer wrote a humorous song called "Arthur Murray Taught Me Dancing In a Hurry." Mercer attended exclusive Woodberry Forest boys prep school in Virginia until 1927. Though not a top student, he was active in literary and poetry societies and as a humor writer for the school’s publications. In addition, his exposure to classic literature augmented his already rich store of vocabulary and phraseology. He began to scribble ingenious, sometimes strained, rhymed phrases for later use. Mercer was also the class clown and a prankster, and member of the "hop" committee that booked musical entertainment on campus.[8] Mercer was already somewhat of an authority on jazz at an early age. His yearbook stated, “No orchestra or new production can be authoritatively termed ‘good’ until Johnny’s stamp of approval has been placed upon it. His ability to ‘get hot’ under all conditions and at all times is uncanny”.[9] Mercer began to write songs, an early effort being ‘’Sister Susie, Strut Your Stuff.” and quickly learned the powerful effect songs had on girls.[10] Given his family’s proud history and association with Princeton, New Jersey, and Princeton University, Mercer was destined for school there until his father’s financial setbacks in the late 1920s changed those plans. He went to work in his father’s recovering business, collecting rent and running errands, but soon grew bored with the routine and with Savannah, and looked to escape.
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Johnny Mercer
Career Starting out Mercer moved to New York in 1928, when he was 19. The music he loved, jazz and blues, was booming in Harlem and Broadway was bursting with musicals and revues from George Gershwin, Cole Porter, and Irving Berlin. Vaudeville, though beginning to fade, was still a strong musical presence. Mercer’s first few jobs were as a bit actor (billed as John Mercer). Holed up in a Greenwich Village apartment with plenty of time on his hands and a beat-up piano to play, Mercer soon returned to singing and lyric writing.[11] He secured a day job at a brokerage house and sang at night. Pooling his meager income with that of his roommates, Mercer managed to keep going, sometimes on little more than oatmeal. One night he dropped in on Eddie Cantor backstage to offer a comic song, but although Cantor didn’t use the song, he began encouraging Mercer’s career.[12] Mercer's first lyric, for the song "Out of Breath (and Scared to Death of You)", composed by friend Everett Miller, appeared in a musical revue The Garrick Gaieties in 1930. Mercer met his future wife at the show, chorus girl Ginger Meehan. Meehan had earlier been one of the many chorus girls pursued by the young crooner Bing Crosby. Through Miller’s father, an executive at the famous publisher T. B. Harms, Mercer's first song was published.[13] It was recorded by Joe Venuti and his New Yorkers. The 20-year-old Mercer began to hang out with other songwriters and to learn the trade. He traveled to California to undertake a lyric writing assignment for the musical Paris in the Spring and met his idols Bing Crosby and Louis Armstrong. Mercer found the experience sobering and realized that he much preferred free-standing lyric writing to writing on demand for musicals. Upon his return, he got a job as staff lyricist for Miller Music for a $25-a-week draw which give him a base income and enough prospects to win over and marry Ginger in 1931.[14] The new Mrs. Mercer quit the chorus line and became a seamstress, and to save money the newlyweds moved in with Ginger’s mother in Brooklyn. Johnny did not inform his own parents of his marriage until after the fact, perhaps in part because he knew that Ginger being Jewish would not sit comfortably with some members of his family, and he worried they would try to talk him out of marrying her. In 1932, Mercer won a contest to sing with the Paul Whiteman orchestra, but it did not help his situation significantly. He made his recording debut, singing with Frank Trumbauer's Orchestra, on April 5 of that year. Mercer then apprenticed with Yip Harburg on the score for Americana, a Depression-flavored revue famous for "Brother, Can You Spare a Dime?" (not a Mercer composition), which gave Mercer invaluable training. After several songs which didn’t catch fire, during his time with Whiteman, he wrote and sang "Pardon My Southern Accent". Mercer’s fortunes improved dramatically with a chance pairing with Indiana-born Hoagy Carmichael, already famous for the standard "Stardust", who was intrigued by the “young, bouncy butterball of a man from Georgia”.[15] The two spent a year laboring over "Lazybones", which became a hit one week after its first radio broadcast, and each received a large royalty check of $1250.[16] A regional song in pseudo-black dialect, it captured the mood of the times, especially in rural America. Mercer became a member of ASCAP and a recognized “brother” in the Tin Pan Alley fraternity, receiving congratulations from Irving Berlin, George Gershwin, and Cole Porter among others. Paul Whiteman lured Mercer back to his orchestra (to sing, write comic skits and compose songs), temporarily breaking up the working team with Carmichael. During the golden age of sophisticated popular song of the late Twenties and early Thirties, songs were put into revues with minimal regard for plot integration. The 1930s saw a shift from revues to stage and movie musicals using song to further the plot. Demand diminished accordingly for the pure stand-alone songs that Mercer preferred. Thus, although he had established himself in the New York music world, when Mercer was offered a job in Hollywood to compose songs and perform in low-budget musicals for RKO, he accepted and followed idol Bing Crosby west.
34
Johnny Mercer
Hollywood years It was only when Mercer moved to Hollywood in 1935 that his career was assured. Writing songs for movies offered two distinct advantages. The use of sensitive microphones for recording and of the lip-synching of pre-recorded songs liberated songwriters from dependence on the long vowel endings and long sustained notes required for live performance. Performers such as Fred Astaire and Ginger Rogers could now sing more conversationally and more nonchalantly. Mercer, as a singer, was attuned to this shift and his style fitted the need perfectly.[17] Mercer's first Hollywood assignment was not the Astaire-Rogers vehicle of which he had dreamed but a B-movie college musical, Old Man Rhythm, to which he contributed two undistinguished songs and even worse acting. His next project, To Beat the Band, was another flop, but it did lead to a meeting and a collaboration with Fred Astaire on the moderately successful Astaire song "I’m Building Up to an Awful Let-Down". Though all but overwhelmed by the glitter of Hollywood, Mercer found his beloved jazz and nightlife lacking. As he wrote, “Hollywood was never much of a night town. Everybody had to get up too early... the movie people were in bed with the chickens (or each other).”[18] Mercer was now in Bing Crosby’s hard-drinking circle and enjoyed Crosby’s company and hipster talk. Unfortunately, Mercer also began to drink more at parties and was prone to vicious outbursts when under the influence of alcohol, contrasting sharply with his ordinarily genial and gentlemanly behavior.[19] Mercer’s first big Hollywood song "I'm an Old Cowhand from the Rio Grande" was inspired by a road trip through Texas (he wrote both the music and the lyric). It was performed by Crosby in the film Rhythm on the Range in 1936, and from thereon the demand for Mercer as a lyricist took off. His second hit that year was "Goody Goody". In 1937, Mercer began employment with the Warner Brothers studio, working with the veteran composer Richard Whiting (Ain't We Got Fun?), soon producing his standard, "Too Marvelous for Words", followed by "Hooray for Hollywood". After Whiting’s sudden death from a heart attack, Mercer joined forces with Harry Warren and created "Jeepers Creepers", which earned Mercer his first Oscar nomination for Best Song. It was given a memorable recording by Louis Armstrong. Another hit with Warren in 1938 was "You Must Have Been a Beautiful Baby". The pair also created "Hooray For Spinach", a comic song produced for the film Naughty But Nice in 1939. During a lull at Warners, Mercer revived his singing career. He joined Bing Crosby’s informal minstrel shows put on by the "Westwood Marching and Chowder Club," which included many Hollywood luminaries and brought together Crosby and Bob Hope.[20] A duet "Mr. Crosby and Mr. Mercer" was recorded and became a hit in 1938. In 1939, Mercer wrote the lyrics to a melody by Ziggy Elman, a trumpet player with Benny Goodman. The song was "And the Angels Sing" and, although recorded by Bing Crosby and Count Basie, it was the Goodman version with vocal by Martha Tilton and memorable trumpet solo by Elman that became the Number One hit. Years later, the title was inscribed on Mercer's tombstone. Mercer was invited to the Camel Caravan radio show in New York to sing his hits and create satirical songs with the Benny Goodman orchestra, then becoming the emcee of the nationally broadcast show for several months. Two more hits followed shortly, "Day In, Day Out" and "Fools Rush In", and Mercer in short order had five of the top ten songs on the popular radio show Your Hit Parade.[21] Mercer also started a short-lived publishing company during his stay in New York. On a lucky streak, Mercer undertook a musical with Hoagy Carmichael, but Walk With Music (originally called Three After Three) was a bomb, with story quality not matching that of the score. Another disappointment for Mercer was the selection of Johnny Burke as the long-term songwriter for the Hope-Crosby "Road" pictures. Mercer was thirty and his life and career were riding high. Shortly thereafter, Mercer met an ideal musical collaborator in the form of Harold Arlen whose jazz and blues-influenced compositions provided Mercer's sophisticated, idiomatic lyrics a perfect musical vehicle. Now Mercer's lyrics began to display the combination of sophisticated wit and southern regional vernacular that characterize some of his best songs. Their first hit was "Blues in the Night" (1941), which Arthur Schwartz claimed
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Johnny Mercer was “probably the greatest blues song ever written.”[22] They went on to compose "One for My Baby (and One More for the Road)" (1941), "That Old Black Magic" (1942), and "Come Rain or Come Shine" (1946) among others. Frank Sinatra was particularly successful with the first two and Bing Crosby with the third. "Come Rain" was Mercer’s only Broadway hit, composed for the show St. Louis Woman with Pearl Bailey. "On the Atchison, Topeka and the Santa Fe" was a big smash for Judy Garland in the 1946 film The Harvey Girls, and earned Mercer the first of his four Academy Awards for Best Song, after eight unsuccessful nominations. Mercer re-united with Hoagy Carmichael with "Skylark" (1941), and the Oscar-winning "In the Cool, Cool, Cool of the Evening" (1951). With Jerome Kern, Mercer created You Were Never Lovelier for Fred Astaire and Rita Hayworth in the movie of the same name, as well as "I'm Old Fashioned". Mercer co-founded Capitol Records (originally “Liberty Records”) in Hollywood in 1942, along with producer Buddy DeSylva and record store owner Glen Wallichs. He also co-founded Cowboy Records. Mercer by the mid-1940s enjoyed a reputation as one of the premier Hollywood lyricists. He was adaptable, listening carefully and absorbing a tune and then transforming it into his own style. Like Irving Berlin, he was a close follower of cultural fashion and changing language, which in part accounted for the long tenure of his success. Mercer preferred to have the music first, taking it home and working on it. He claimed composers had no problem with this method provided that he returned with the lyrics. Only with Arlen and Whiting did Mercer occasionally work side-by-side. Mercer was often asked to write new lyrics to already popular tunes. The lyrics to "Laura", "Midnight Sun", and "Satin Doll" were all written after the melodies had become hits. He was also asked to compose English lyrics to foreign songs, the most famous example being "Autumn Leaves", based on the French "Les Feuilles Mortes".
1950s In the 1950s, the advent of rock and roll and the transition of jazz into "bebop" cut deeply into Mercer’s natural audience, and dramatically reduced venues for his songs. His continual string of hits came to an end but many great songs were still to come. Mercer wrote for some MGM films, including Seven Brides for Seven Brothers (1954) and Merry Andrew (1958). He collaborated on three Broadway musicals in the 1950s—Top Banana (1951), Li'l Abner (1956), and Saratoga (1959). Mercer made occasional television appearances. In the 1953–1954 season, he guest starred as himself on ABC's Jukebox Jury, a musical/quiz program on which celebrities judge the latest releases from the recording companies.[23] In 1954, he appeared on NBC's The Donald O'Connor Show. His more successful songs of the 1950s include "The Glow-Worm" (sung by the Mills Brothers) and "Something’s Gotta Give". In 1961, he wrote the lyrics to "Moon River" for Audrey Hepburn in Breakfast at Tiffany's and for Days of Wine and Roses, both with music by Henry Mancini, and Mercer received his third and fourth Oscars for Best Song. The back-to-back Oscars were the first time a songwriting team had achieved that feat.[24] Mercer, also with Mancini, wrote Charade for the 1963 Cary Grant-Audrey Hepburn romantic thriller with the same name. The Tony Bennett classic "I Wanna Be Around" was written by Mercer in 1962 and the Sinatra hit "Summer Wind" in 1965. An indication of the high esteem in which Mercer was held can be observed in that in 1964 he became the only lyricist to have his work recorded as a volume of Ella Fitzgerald's celebrated 'Songbook' albums for the Verve label. Yet Mercer always remained humble about his work, attributing much to luck and timing. He was fond of telling the story of how he was offered the job of doing the lyrics for Johnny Mandel's music on The Sandpiper, only to have the producer turn his lyrics down. The producer offered the commission to Paul Francis Webster and the result was The Shadow of Your Smile which became a huge hit, winning the 1965 Oscar for Best Original Song. In 1969, Mercer helped publishers Abe Olman and Howie Richmond found the National Academy of Popular Music's Songwriters Hall of Fame. In 1971, Mercer presented a retrospective of his career for the "Lyrics and
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Johnny Mercer Lyricists Series" in New York, including an omnibus of his "greatest hits" and a performance by Margaret Whiting. It was recorded live as An Evening with Johnny Mercer.[25] In 1974, he collaborated on the West End production The Good Companions. He also recorded two albums of his songs in London in 1974, with the Pete Moore Orchestra, and with the Harry Roche Constellation, later compiled into a single album and released as "...My Huckleberry Friend: Johnny Mercer Sings the Songs of Johnny Mercer".
Personal life In 1931, Mercer married Ginger Meehan, a chorus girl, later a seamstress; and in 1940, the Mercers adopted a daughter, Amanda ("Mandy"), when he was 30. In 1941, shortly after the death of his father, Mercer began an intense affair with 19-year old Judy Garland while she was engaged to composer David Rose. Garland married Rose to stop the affair, but the effect on Mercer lingered, adding to the emotional depth of his lyrics. Their affair revived later. Mercer stated that his song "I Remember You" was the most direct expression of his feelings for Garland.[26] In 1961, his daughter Amanda gave birth to Mercers' first grandson, Jim Corwin.
Death In 1975, Paul McCartney approached Mercer for a collaboration but Mercer was ill, and an inoperable brain tumor was diagnosed.[27] He died on June 25, 1976, in Bel Air, California. Mercer was buried in Savannah's historic Bonaventure Cemetery. The simple line drawing caricature adorning his memorial bench is in fact a reproduction of a self-portrait.
Singing style Well regarded also as a singer, with a folksy quality, Mercer was a natural for his own songs such as "Ac-Cent-Tchu-Ate the Positive", "On the Atchison, Topeka and the Santa Fe", "One for My Baby (and One More for the Road)", and "Lazybones". He was considered a first-rate performer of his own work. It has been said that he penned "One for My Baby (and One More for the Road)"—one of the great torch laments of all times—on a napkin while sitting at the bar at P. J. Clarke's when Tommy Joyce was the bartender. The next day Mercer called Joyce to apologize for the line "So, set 'em up, Joe," "I couldn't get your name to rhyme." ATCO Records issued Two of a Kind in 1961, a duet album by Bobby Darin and Johnny Mercer with Billy May and his Orchestra, produced by Ahmet Ertegün.
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Johnny Mercer
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Posthumous success In his last year, Mercer became fond of pop singer Barry Manilow, in part because Manilow's first hit record was of a song titled "Mandy", which was also the name of Mercer's daughter Amanda. After Mercer's death in 1976 from a brain tumor, his widow, Ginger Mehan Mercer, arranged to give some unfinished lyrics he had written to Manilow to possibly develop into complete songs. Among these was a piece titled "When October Goes", a melancholy remembrance of lost love. Manilow applied his own melody to the lyric and issued it as a single in 1984, when it became a top 10 Adult Contemporary hit in the United States. The song has since become a jazz standard, with notable recordings by Rosemary Clooney, Nancy Wilson, and Megon McDonough, among other performers. Mercer was honored by the United States Postal Service with his portrait placed on a stamp in 1996. Mercer's star on the Hollywood Walk of Fame at 1628 Vine Street is a block away from the Capitol Records building at 1750 Vine Street.
Self-portrait and signature of Johnny Mercer from bench at his grave in Bonaventure Cemetery in Savannah, Georgia.
Mercer was given tribute in John Berendt's book Midnight in the Garden of Good and Evil. The Hoagy Carmichael/Johnny Mercer song "Skylark", sung by k.d.lang, features prominently in the movie and the movie soundtrack is a tribute album to Johnny Mercer, containing 14 Mercer songs performed by a variety of jazz and pop recording artists. The Johnny Mercer Collections, including his papers and memorabilia, are preserved in the library of Georgia State University in Atlanta. GSU occasionally holds events showcasing Mercer's works. In November 2009, a statue of Mercer was unveiled in Ellis Square in Savannah, Georgia, his hometown and birthplace. The Complete Lyrics of Johnny Mercer was published by Knopf [28] in October 2009.The Complete Lyrics contains the texts to nearly 1,500 of his lyrics, several hundred of them appearing in print for the first time.
Academy Awards Mercer won four Academy Awards for Best Original Song: • • • •
"On the Atchison, Topeka and the Santa Fe" (1946) (music by Harry Warren) for The Harvey Girls "In the Cool, Cool, Cool of the Evening" (1951) (music by Hoagy Carmichael) for Here Comes The Groom "Moon River" (1961) (music by Henry Mancini) for Breakfast at Tiffany's "Days of Wine and Roses" (1962) (music by Henry Mancini) for Days of Wine and Roses
In 2009 Clint Eastwood produced a documentary film on Johnny Mercer's life and work called "The Dream's on Me" (Turner Classic Movies). After airing on Turner Classic Movies, the film was nominated for a Primetime Emmy in the category of Outstanding Nonfiction Special. It is currently available as a Warner Brothers DVD.
Johnny Mercer
Songs Lyrics by Mercer, unless noted. He wrote many other songs, some of which have entered the Great American Songbook: • • • • • • • • • • • • •
"Lazy Bones" (1933) (music by Hoagy Carmichael) "Save the Bones for Henry Jones" "Moon Dreams" with Chummy MacGregor "P.S. I Love You" (1934) (music by Gordon Jenkins) "Goody Goody" (1936) (music by Matty Malneck) "I'm an Old Cowhand from the Rio Grande" (1936) "Hooray for Hollywood" (1937) (music by Richard A. Whiting) "Too Marvelous for Words" (1937) (music by Richard A. Whiting) "You Must Have Been a Beautiful Baby" (1938) (music by Harry Warren) "Jeepers, Creepers!" (1938) (music by Harry Warren) "And the Angels Sing" (1939) (music by Ziggy Elman) "Day In, Day Out" (1939) (music by Rube Bloom) "I Thought About You" (1939) (music by Jimmy Van Heusen)
• • • • • • • • • • • • • •
"Wings Over the Navy" (1939) (music by Harry Warren) "Cuckoo in the Clock" (1939) (music by Walter Donaldson) "Fools Rush In" (1940) (music by Rube Bloom) "Blues in the Night" (1941) (music by Harold Arlen) "I Had Myself a True Love" (music by Harold Arlen) "I Remember You" (1941) (music by Victor Schertzinger) "Tangerine" (1941) (music by Victor Schertzinger) "This Time the Dream's on Me" (1941) (music by Harold Arlen) "Hit the Road to Dreamland" (1942) (music by Harold Arlen) "That Old Black Magic" (1942) (music by Harold Arlen) "Trav'lin' Light" (1942) (music by Jimmy Mundy and James Osborne "Trummy" Young) "Skylark" (1942) (music by Hoagy Carmichael) "Dearly Beloved" (1942) (music by Jerome Kern) "I'm Old Fashioned" (1942) (music by Jerome Kern)
• "My Shining Hour" (1943) (music by Harold Arlen) • "One for My Baby (and One More for the Road)" (1943) (music by Harold Arlen; theme song of the 1957–1958 NBC detective series, Meet McGraw, starring Frank Lovejoy) • "Dream" (1943) (words and music by Johnny Mercer) • "Ac-Cent-Tchu-Ate the Positive" (1944) (music by Harold Arlen) • "Out of This World" (1945) (music by Harold Arlen) • "On the Atchison, Topeka and the Santa Fe" (1945) (music by Harry Warren) • "Laura" (1945) (music by David Raksin) • "Come Rain or Come Shine" (1946) (music by Harold Arlen) • "Any Place I Hang My Hat Is Home" (1946) (music by Harold Arlen) • "Autumn Leaves" (1947) (music by Joseph Kosma) • "The Glow-Worm" (1952) (music Paul Lincke) • "I Wanna Be A Dancing Man" (1952) (music by Harry Warren) • "Satin Doll" (1953) (music by Duke Ellington and Billy Strayhorn) • "Midnight Sun" (1954) (music by Lionel Hampton and Sonny Burke) • "Something's Gotta Give" (1954) (words and music by Johnny Mercer)
39
Johnny Mercer • • • • • • • • • • • •
"Jubilation T. Cornpone" (1956) (music by Gene de Paul) "I'm Past My Prime" (1956) (music by Gene de Paul) "Moon River" (1961) (music by Henry Mancini) "Days of Wine and Roses" (1962) (music by Henry Mancini) "I Wanna Be Around" (1962) (words and music by Johnny Mercer and Sadie Vimmerstedt) "Charade" (1963) (music by Henry Mancini) "Lorna" (1964) (music by Mort Lindsey) "Emily" (1964) (music by Johnny Mandel) "Summer Wind" (1965) (music by Henry Mayer) "Whistling Away the Dark" (1970) (music by Henry Mancini; from the film Darling Lili) "Drinking Again" (with Doris Tauber) "When October Goes" (music by Barry Manilow)
Sources and references Bibliography • Bach, Bob & Mercer, Ginger (1982). Our Huckleberry Friend: The Life, Times, and Lyrics of Johnny Mercer. Lyle Stuart. ISBN. • Furia, Phillip (1990). Poets of Tin Pan Alley. Oxford University Press. ISBN. • Furia, Phillip (2003). Skylark: The Life and Times of Johnny Mercer. St. Martin's Press. ISBN. • Kimball, Robert, et al (2009). The Complete Lyrics of Johnny Mercer. Knopf. ISBN. • Lees, Gene (2004). Portrait of Johnny: The Life of John Herndon Mercer. Hal Leonard. ISBN. • Wilder, Alec (1990). American Popular Song. Oxford University Press. ISBN. • Will, Max (1997). They're Playing Our Song. Da Capo Press. ISBN.
References [1] Gene Lees, Portrait of Johnny: The Life of John Herndon Mercer’’, Pantheon Books, New York, 2004, ISBN 0-375-42060-6, p.15. [2] Lees, 2004, p. 11. [3] Philip Furia, ‘’Skylark: The Life and Times of Johnny Mercer’’, St. Martin’s Press, New York, 2003, ISBN 0-312-28720-8, p. 11. [4] Lees, 2004, p. 21. [5] Furia, 2003, pp. 12–13. [6] Lees, 2004, p. 28. [7] Furia, 2003, p.22. [8] Furia, 2003, p.25. [9] Furia, 2003, p.26. [10] Lees, 2004, p. 32. [11] Furia, 2003, p.39. [12] Lees, 2004, p. 58. [13] Lees, 2004, p. 61. [14] Furia, 2003, p.61. [15] Furia, 2003, p.70. [16] Furia, 2003, p.73. [17] Furia, 2003, p.79. [18] Lees, 2004, p. 115. [19] Furia, 2003, p.83. [20] Furia, 2003, p.106. [21] Furia, 2003, p. 111. [22] Bob Bach and Ginger Mercer, Our Huckleberry Friend: The Life, Times, and Lyrics of Johnny Mercer, Lyle Stuart, Secaucus New Jersey, 1982, ISBN 0-8184-0331-4, p.98 [23] Jukebox Jury: Research Video, Inc.: Music Footing Licensing Agency and Vintage Television Footage Archive [24] Roger Hall,A Guide to Film Music: Songs and Scores, PineTree Press, 2007, p. 13. [25] DRG 5176
40
Johnny Mercer [26] Furia, 2003, pp. 130–131. [27] Furia, 2003, p. 264. [28] http:/ / www. randomhouse. com/ catalog/ display. pperl?isbn=9780307265197
External links • Johnny Mercer Too Marvelous for Words Exhibit (http://www.georgiamusic.org/index. php?option=com_content&view=article&id=119&Itemid=124/) at the Georgia Music Hall of Fame • (Almost) Too Marvelous For Words: Johnny Mercer (http://mercerjohnny.blogspot.com/) • Johnny Mercer's entry at the Songwriters' Hall of Fame (http://www.songwritershalloffame.org/ exhibit_home_page.asp?exhibitId=18) • Johnny Mercer (http://www.imdb.com/name/nm0006197/) at the Internet Movie Database • Johnny Mercer (http://www.ibdb.com/person.asp?ID=12137) at the Internet Broadway Database • Johnny Mercer (http://www.lortel.org/LLA_archive/index.cfm?search_by=people&first=Johnny& last=Mercer&middle=) at the Internet Off-Broadway Database • Johnny Mercer Collection (http://library.gsu.edu/1247.html) in the Georgia State University Library Special Collections & Archives • Johnny Mercer Foundation (http://www.johnnymercerfoundation.org/) • • • • • •
Johnny Mercer's Grave in Savannah (http://www.geckotales.com/bonaventure_cemetery.htm) List of Johnny Mercer songs on CD (http://www.johnnymercer.com/ralph.htm) List of compilations of Johnny Mercer songs (http://johnnymercer.com/intro/intro.htm#g) Johnny Mercer Song Lyric Database (http://mercerlyrics.com) Johnny Mercer in Hollywood (http://www.americanmusicpreservation.com/JohnnyMercerTribute.htm) Mercer's entry at ASCAP with over 600 entries (http://www.ascap.com/ace/search.cfm?requesttimeout=300& mode=results&searchstr=6624000&search_in=c&search_type=exact&search_det=t,s,w,p,b,v& results_pp=20&start=1)
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Esperanza Spalding
42
Esperanza Spalding Esperanza Spalding
Spalding performing at the Newport Jazz Festival on August 10, 2008 Background information Born
October 18, 1984 Portland, Oregon United States
Genres
Jazz, jazz fusion, bossa nova, neo soul
Occupations
Musician, composer, educator, bandleader
Instruments
Vocals, upright bass, bass guitar
Years active
2000–present
Labels
Heads Up International, Hush Records, Merge Records
Associated acts Stanley Clarke, Patti Austin, Joe Lovano Website
esperanzaspalding.com
[1]
Esperanza Spalding (born October 18, 1984) is an American jazz bassist, cellist and singer, who draws upon many genres in her own compositions. She has won three Grammy Awards, including the Grammy Award for Best New Artist at the 53rd Grammy Awards, making her the first jazz artist to win the award.[2]
Esperanza Spalding
Biography Early life and early education Spalding grew up in the King neighborhood of Portland, Oregon, a neighborhood she has described as "ghetto" and "pretty scary".[3] Her mother raised her and her brother as a single parent.[4] Her father is African American and her mother is of Welsh, Native American, and Hispanic descent.[5] Spalding also has an interest in the music of other cultures, including that of Brazil,[6] commenting: "With Portuguese songs, the phrasing of the melody is intrinsically linked with the language, and it's beautiful." Spalding's mother shares her interest in music, having nearly become a touring singer herself. But while Spalding cites her mother as a powerful influence who encouraged her musical expansion, she attributes her inspiration for pursuing a life in music to watching classical cellist Yo-Yo Ma perform on an episode of Mister Rogers' Neighborhood when she was four. By the time Spalding was five, she had taught herself to play the violin and was playing with the Chamber Music Society of Oregon. Spalding stayed with the group until she was 15 and left as concertmaster. Due to a lengthy illness when she was a child, Spalding spent much of her elementary school years being homeschooled, but also attended King Elementary School in northeast Portland. During this time, she also found the opportunity to pick up instruction in music by listening to her mother's college teacher instruct her mother in guitar. According to Spalding, when she was about 8, her mother briefly studied jazz guitar in college; Spalding says: "Going with her to her class, I would sit under the piano. Then I would come home and I would be playing her stuff that her teacher had been playing". Spalding also played oboe and clarinet before discovering the double bass in high school. She is able to sing in English, Spanish and Portuguese.[7] Spalding had begun performing live in clubs in Portland, Oregon as a teenager, securing her first gig at 15 in a blues club, when she could play only one line on bass. One of the seasoned musicians with which she played that first night invited her to join the band's rehearsals "so she could actually learn something", and her rehearsals soon grew into regular performances spanning almost a year. According to Spalding, it was a chance for her to stretch as a musician, reaching and growing beyond her experience. Her early contact with these "phenomenal resources", as she calls the musicians who played with her, fostered her sense of rhythm and helped nurture her interest in her instrument. She does not consider herself a musical prodigy; "I am surrounded by prodigies everywhere I go, but because they are a little older than me, or not a female, or not on a major label, they are not acknowledged as such", said Spalding. Spalding had intended to play cello, but discovered the bass during a one-year stint at age 14 at the performing arts high school, The Northwest Academy, to which she had won a scholarship.[][8] The school was not a good fit, but the bass was. Spalding found high school "easy – and boring" and dropped out. When she was 15 or 16 years old, Spalding started writing lyrics for music for the local indie rock/pop group Noise for Pretend, touching on any topic that came to mind. Although she had taken a few private voice lessons, which taught her how to project her voice, her primary singing experience had come from "singing in the shower", she said, before she started performing vocals for Noise for Pretend. Her desire to perform live evolved naturally out of the compositional process, when she would sing and play simultaneously to see how melody and voice fit together, but she acknowledges that performing both roles can be challenging.[9] In a 2008 interview, she said, "[W]hat can be difficult is being a singer, in the sense that you are engaged with the audience, and really responsible for emoting, and getting into the lyrics, melody, etc., and being an effective bassist/band leader". Spalding left high school at 16 and, after completing her GED, enrolled on a music scholarship in the music program at Portland State University, where she remembers being "the youngest bass player in the program". Although she lacked the training of her fellow students, she feels that her teachers nevertheless recognized her talent. She decided to apply to Berklee College of Music on the encouragement of her bass teacher, and did well enough in her audition to receive a full scholarship. In spite of the scholarship, Spalding found meeting living expenses a challenge, so her
43
Esperanza Spalding friends arranged a benefit concert that paid her airfare and a little extra. Spalding's savings did not last long. Broke and exhausted,[10] she considered leaving music and entering political science, a move jazz guitarist and composer Pat Metheny discouraged, telling Spalding she had "the 'X Factor'" and could make it if she applied herself. During her time at Berklee, her primary bass instructor was John Lockwood.[citation needed]
2004–07: Musical beginnings, teaching and Junjo Gary Burton, Executive Vice President at Berklee, said in 2004 that Spalding had "a great time feel, she can confidently read the most complicated compositions, and she communicates her upbeat personality in everything she plays". Ben Ratliff wrote in The New York Times on July 9, 2006, that Spalding's voice is "light and high, up in Blossom Dearie's pitch range, and [that] she can sing quietly, almost in a daydream" and that Spalding "invents her own feminine space, a different sound from top to bottom."[11] Spalding was the 2005 Spalding performing at the Umbria Jazz Festival in Perugia, Italy on recipient of the Boston Jazz Society scholarship for July 12, 2007 outstanding musicianship. Almost immediately after graduation from college later the same year, Spalding was hired by Berklee College of Music, becoming one of the youngest instructors in the institution's history, at age 20. As a teacher, Spalding tries to help her students focus their practice through a practice journal, which can help them recognize their strengths and what they need to pursue. Her debut album, Junjo, was released on April 18, 2006, on the Ayva Music label.[12][13] It was created to display the dynamic that she felt among her trio. Though Junjo was released solely under her name, Spalding considers it "a collaborative effort".
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Esperanza Spalding
2008–10: Esperanza When asked in 2008 why she plays the bass instead of some other instrument, Spalding said that it was not a choice, but the bass "had its own arc" and resonated with her.[] Spalding has said that, for her, discovering the bass was like "waking up one day and realizing you're in love with a co-worker." By the time she randomly picked up the bass in music class and began experimenting with it, she had grown bored with her other instruments. Her band teacher showed her a blues line for the bass that she later used to secure her first gig. After that, she went in to play the bass daily and gradually fell in love. Ratliff wrote in The New York Times again, two years later, on May 26, 2008, that one of Spalding's central gifts is "a light, fizzy, optimistic drive that's in her melodic bass playing and her elastic, small-voiced singing," but that "the music is missing a crucial measure of modesty."[14] He added: "It's an attempt at bringing this crisscrossing [of Stevie Wonder and Wayne Shorter] to a new level of definition and power, but its vamps and grooves are a little obvious, and it pushes her first as a singer-songwriter, which isn't her primary strength." Pat Metheny said in 2008 it was immediately obvious "that she had a lot to say and was also unlike any musician I had ever run across before. Her unique quality is something that goes beyond her pretty amazing musical Spalding performing on December 10, 2009 at skills; she has that rare 'x' factor of being able to transmit a certain the Nobel Peace Prize Concert of 2009 personal kind of vision and energy that is all her own." Andrés Quinteros wrote in the Argentinian periodical, 26Noticias on October 28, 2008, that Spalding is one of the greatest new talents on the jazz scene today.[15] Patti Austin hired Spalding to tour with her internationally after Spalding's first semester at Berklee, where Spalding supported the singer on the Ella Fitzgerald tribute tour "For Ella." In 2008, Spalding recalled the tour as educational, helping her learn to accompany a vocalist and also how to sustain energy and interest playing the same material nightly. She continued to perform with Austin periodically for three years. During the same period, while at Berklee, Spalding studied under saxophonist Joe Lovano, before eventually touring with him. They began as a trio, expanding into a quartet before joining quintet US5 and traveling across the United States from New York to California. As of 2008, she was also in the process of developing several courses for students at Berklee, including one that focuses "on transcribing as a tool for learning harmony and theory." Due to touring commitments, Spalding stopped giving classes at Berklee. She lives in New York and Austin, Texas.
45
Esperanza Spalding
46 Esperanza is Spalding's second studio album. Being exposed to many different cultural impressions while growing up, Spalding sings in three languages: English, Spanish and Portuguese.[16] After Spalding's Grammy win in February 2011, the album entered the Billboard 200 at 138. With Esperanza, Spalding's material was meant to be more reflective of herself as an artist, with musicians selected to best present that material. Ed Morales wrote in PopMatters on June 23, 2008, that Esperanza is "a sprawling collage of jazz fusion, Brazilian, and even a touch of hip-hop." Siddhartha Mitter wrote in The Boston Globe on May 23, 2008, that "the big change" in Esperanza "is the singing.... This makes it a much more accessible album, and in some ways more conventional."[17]
Spalding performing at the Northsea Jazz Festival, 2009
On December 10, at the 2009 Nobel Peace Prize ceremonies, Spalding performed at Oslo City Hall in honor of the 2009 Laureate U.S. President Barack Obama and again at the Nobel Peace Prize Concert the following day. She was personally selected by Obama, as per the tradition of one laureate-invited-artist to perform.
Spalding also was the featured final act for the opening night of the 2009 Park City Jazz Festival in Park City, Utah. She closed the show with a number along with bass artists Brian Bromberg and Sean O'Bryan Smith, who also performed earlier that day. As a tribute to Prince, Spalding was invited to sing along with Patti LaBelle, Alicia Keys and Janelle Monáe. Spalding performed the 1987 hit single "If I Was Your Girlfriend." On February 7, 2010, Spalding became the most searched person and second most searched item on Google Search as a result of her appearance the previous evening on the PBS television program Austin City Limits.[18][19]
Since 2011: Chamber Music Society and Radio Music Society In November 2011, Spalding won "Jazz Artist of the Year" at the Boston Music Awards. Spalding collaborated with Tineke Postma on the track "Leave Me a Place Underground" from the album The Dawn of Light in 2011.[20] She also collaborated with Terri Lyne Carrington on the album The Mosaic Project, where she features on the track "Crayola". Spalding sings a duet with Nicholas Payton on the track "Freesia" from the 2011 album Bitches.[21] In the 53rd 2011 Grammy Awards, she won the Grammy Award for Best New Artist, defeating teen pop recording artist Justin Bieber, indie rock band Florence and the Machine, folk band Mumford and Sons and hip-hop rapper Drake.[22] Bieber's fans targeted Spalding on the Internet and her Wikipedia page, stating that she was not as popular as Bieber and that he should have won the award. They also incorrectly edited her Wikipedia page.[23] Chamber Music Society is the third album by Spalding. After her surprise Grammy win, the album re-entered the Billboard 200 at number 34 with sales of 18,000.[24] A video was made for the song "Little Fly".[25] The song is a poem by William Blake set to music by Spalding. A vinyl version of the album was released in February 2011. This version of the album included a bonus track, "Morning", that is to be included in the tracklist of her upcoming Radio Music Society album.[26] Commenting on the album, NPR Music's Patrick Jarenwattananon wrote that, "the finished product certainly exudes a level of sophisticated intimacy, as if best experienced with a small gathering in a quiet, wood-paneled room."[27]
Esperanza Spalding Spalding was the best-selling contemporary jazz artist of 2011, and her album Chamber Music Society was the best-selling contemporary jazz album.[28] On February 26, 2012, Spalding performed at the 84th Academy Awards, singing the Louis Armstrong standard "What a Wonderful World", alongside the Southern California Children's Chorus to accompany the video montage that celebrated the film industry greats who died in 2011 and early 2012. Radio Music Society is Spalding's fourth studio album, released by record label Heads Up International on March 20, 2012.[29][30][31] Spalding hoped this album would showcase jazz musicians in an accessible manner suitable for mainstream radio, while incorporating her own musical compositions with covers of such artists as the Beach Boys and Shorter. She also plans to record an album with Milton Nascimento in the future.[32] Spalding appeared on Later... with Jools Holland.[33] In November 2013, Spalding released a protest/action single "We Are America" on Vimeo http:/ / vimeo. com/ 79294714 to activate Guantánamo prison camps in a new, protest music Guantánamo prison camps, with cameo performances by Stevie Wonder Harry Belafonte to the refrain of “Let ’em out.” Read more here: http:/ / www. miamiherald. com/ 2013/ 11/ 18/ 3762233/ let-em-go-esperanza-spalding-sings. html#storylink=cpy
Artistry Influences and attitude toward music and jazz Spalding was mentored by Thara Memory. She has cited jazz bassists Ron Carter and Dave Holland as important influences on her music; Carter for the "orchestration" of his playing and Holland for the way his compositional method complements his personal style. She has described the saxophone player Shorter, and singer-songwriter Milton Nascimento, as heroes. She has also noted her preference for the music of Brazil. Spalding has said she loves fusion music and was influenced by a "wonderful arc that started 40 years ago where people kept incorporating modern sounds into their music". She has expressed concerns that jazz has wandered from its roots, suggesting that jazz has lost its street value and its relevance to "the Black experience to the Black Diaspora and beyond" now that has been co-opted by the "seasoned 'art' community". She has noted that, in its early days, jazz was "popular dance music" and "the music of young people who considered themselves awfully hip", and believes "hip-hop, or neo-soul [...] is our 'jazz' now as far as the role these genres play in the music genre lineage". Spalding, who has expressed a desire to be judged for her musicianship rather than her sex appeal, believes that female musicians must take responsibility to avoid oversexualizing themselves. And, in order to write original music, one must read and stay informed about the world. She has said she models her career on those of Madonna and Ornette Coleman.
47
Esperanza Spalding
48
Spalding alternates between upright bass and bass guitar in her performances.
Instruments Electric bass • Fender Jaco Pastorius Jazz Bass (fretless) • Godin A5 (semi-acoustic, 5-string, fretless)
Upright bass • 7/8 double bass (manufacturer unknown)
Philanthropy During her 2012 tour, Spalding donated a portion of proceeds from merchandise sales to the non-profit organization Free the Slaves.[34] The organization, based in Washington, D.C., works to combat human trafficking around the world.
Discography Solo albums List of albums, with selected chart positions Title
Album details
Peak chart positions
Sales
US US CAN NOR FRA SWI SWE Jazz Junjo
• • •
Released: April 18, 2006 Label: Ayva Musica Formats: Vinyl, CD, digital download
–
–
–
–
–
–
–
Esperanza
• • •
Released: May 20, 2008 Label: Heads Up International Formats: CD, digital download
138
3
–
12
–
–
37
Released: August 17, 2010 Label: Heads Up International Formats: vinyl, CD, digital download
34
1
81
13
92
–
–
Released: March 20, 2012 Label: Heads Up International Formats: CD, digital download
10
1
41
33
94
75
–
Chamber Music Society • • • Radio Music Society
• • •
•
[35]
US: 114,000
Esperanza Spalding
49
Music videos List of music videos date released Song
Year
"Little Fly"
July 15, 2011
"Black Gold"
January 31, 2012
"Radio Song"
March 19, 2012
"Crowned & Kissed"
June 29, 2012
"I Can't Help It"
July 3, 2012
"We Are America"
November 18, 2013
Collaborative albums List of albums, with selected chart positions Title
Album details
Peak chart positions
Sales
US CAN NOR FRA SWI Blanket Music • (with Noise For Pretend) •
Release date: October 30, 2001 Label: Hush Records
–
–
–
–
–
Happy You Near • (with Noise For Pretend) •
Release date: July 2, 2002 Label: Hush Records
–
–
–
–
–
Transfiguration of Vincent (with M. Ward)
• •
Release date: March 18, 2003 Label: Merge Records
–
–
–
–
–
Duende (with Nando Michelin)
• •
Release date: November 21, 2006 Label: Fresh Sound New Talent
–
–
–
–
–
The Toys of Men (with Stanley Clarke)
• •
Release date: October 16, 2007 Label: Heads Up International
–
–
–
–
–
Big Neighborhood (with Mike Stern)
• •
Release date: August 11, 2009 Label: Heads Up International
–
–
–
–
–
Reencontro (with Nando Michelin)
• •
Release date: January 4, 2010 Label: Blue Music Group
–
–
–
–
–
Awards and nominations
Esperanza Spalding
Year
50
Event
2011 Grammy Awards Boston Music Awards
Work
Result
N/A
Best New Artist
Won
N/A
Jazz Artist of the Year
Won
Best Contemporary Jazz Artist/ Group
Won
2012 Soul Train Music Awards N/A 2013 Grammy Awards
Award
"Radio Music Society" Best Jazz Vocal Album "Radio Music Society" Best Long Form Music Video "City Of Roses"
Best Instrumental Arrangement Accompanying Vocalist(s)
Won Nominated Won
References [1] http:/ / esperanzaspalding. com [2] Esperanza Spalding has won the GRAMMY® Award for Best New Artist (http:/ / smoothjazzbuzz. wordpress. com/ 2011/ 02/ 14/ esperanza-spalding-has-won-the-grammy®-award-for-best-new-artist/ ). Smooth Jazz Buzz. February 14, 2011. Retrieved February 15, 2011. [3] Symister-Masterson, Cheryl K. (September 2006). "Esperanza Spalding: It's Natural" (http:/ / www. jazzreview. com/ article/ review-4970. html) (). Jazz Review. [4] "Biography" (http:/ / www. esperanzaspalding. com/ cms/ ?page_id=10). Esperanza Spalding. [5] Ramírez, Deborah (August 14, 2008). "Touching Bass – Jazz Phenom Sings, Plays and Talks Norah Jones". South Florida Sun-Sentinel. [6] Carpenter, Ellen (July 27, 2008). "Up to Her Ears: A Night Out with Esperanza Spalding" (http:/ / www. nytimes. com/ 2008/ 07/ 27/ fashion/ 27nite. html). The New York Times. [7] Dickens, Tad (February 4, 2009). "Pop, Funk and All That Jazz". The Roanoke Times. [8] De Barros, Paul (January 15, 2008). "A Hopeful Outlook for Jazz – Esperanza Spalding". The Seattle Times. [9] Billyjam (June 27, 2008). "Amoeblog Interview with Esperanza Spalding" (http:/ / www. amoeba. com/ blog/ 2008/ 06/ jamoeblog/ amoeblog-interview-with-esperanza-spalding. html). Amoeblog. [10] Humphries, Stephen (May 30, 2008). "Jazz prodigy Esperanza Spalding, still eager to teach – and learn" (http:/ / www. csmonitor. com/ The-Culture/ Music/ 2011/ 0214/ Esperanza-Spalding-Grammy-talent-evident-back-in-2008). The Christian Science Monitor. [11] Ratliff, Ben (July 9, 2006). "Suite for Gas Pump and Coffin Lid" (http:/ / www. nytimes. com/ 2006/ 07/ 09/ arts/ music/ 09play. html). The New York Times. [12] Esperanza Spalding – Junjo (http:/ / ayvamusica. com/ index. php?/ nada/ esperanza-spalding---junjo/ ) [13] [ Junjo – Review]. Allmusic. [14] Ratliff, Ben (May 26, 2008). "Critics' Choice; That Ladies' Man With Some New Lines" (http:/ / query. nytimes. com/ gst/ fullpage. html?res=9E05E0DC1430F935A15756C0A96E9C8B63). The New York Times. [15] Quinteros, Andrés (October 28, 2008). "Esperanza Spalding y su jazz en Buenos Aires" (http:/ / www. 26noticias. com. ar/ esperanza-spalding-y-su-jazz-en-buenos-aires-77286. html) (in Spanish). 26Noticias. [16] Esperanza Spalding (http:/ / www. browardpalmbeach. com/ 2008-08-14/ music/ esperanza-spalding/ ) [17] Mitter, Siddhartha (May 23, 2008). "Making a statement: Bassist Spalding adds lyrics to her many jazz talents" (http:/ / www. boston. com/ ae/ music/ articles/ 2008/ 05/ 23/ making_a_statement). The Boston Globe. [18] "InsideLux: Esperanza Spalding: The Trendiest Artist According to Google" (http:/ / www. insidelux. com/ 2010/ 02/ 07/ esperanza-spalding-the-trediest-artist-according-to-google/ ). February 7, 2010. [19] "Austin City Limits: Esperanza Spalding / Madeleine Peyroux (Full Episode)" (http:/ / video. pbs. org/ video/ 1397474775/ ). Austin City Limits. PBS. February 5, 2010. [20] Challenge Records (March 2011). "Tineke Postma – The Dawn Of Light" (http:/ / www. challenge. nl/ product/ 1291373451). [21] [ Allmusic]. [22] (http:/ / www. huffingtonpost. com/ 2011/ 02/ 14/ esperanza-spalding-grammy-best-new-artist_n_822741. html) "Esperanza Spalding Grammy Best New Artist 2011". [23] "Esperanza Spalding Wins Grammy and New Middle Name" (http:/ / perezhilton. com/ 2011-02-14-esperanza-spalding-wins-grammy-and-new-middle-name). Perez Hilton. [24] "The Week in Music Sales: Justin Bieber Scores Second No. 1 Album" (http:/ / www. hollywoodreporter. com/ news/ week-music-sales-justin-bieber-160821). The Hollywood Reporter. [25] "Littly Fly Music Video on Concord Records" (http:/ / www. youtube. com/ watch?v=w2JRGv91urY). (via YouTube). [26] Gerson, Robbie (June 8, 2011). "Grammy Award Winning Artist Releases Breakthrough Album on Vinyl" (http:/ / www. audaud. com/ article. php?ArticleID=9009). Audiophile Audition. Retrieved July 3, 2011. [27] Jarenwattananon, Patrick (August 8, 2010). "First Listen: Esperanza Spalding, 'Chamber Music Society'" (http:/ / www. npr. org/ templates/ story/ story. php?storyId=129003770). NPR Music. Retrieved February 16, 2011.
Esperanza Spalding
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[28] (December 14, 2011). "Billboard's Year Music" (http:/ / www. esperanzaspalding. com/ cms/ ?p=2011). Esperanza Spalding. Retrieved February 27, 2012. [29] Esperanza Spalding to Release ‘Radio Music Society’ on March 20 (http:/ / thejazzline. com/ news/ 2012/ 01/ esperanza-spalding-to-release-radio-music-society-on-march-20/ ) [30] Esperanza Spalding to Record 'Radio Music Society' Album in May (http:/ / www. billboard. com/ articles/ news/ 472823/ esperanza-spalding-to-record-radio-music-society-album-in-may). [31] Esperanza Spalding Releasing New Album – Radio Music Society (http:/ / www. glidemagazine. com/ articles/ 57981/ esperanza-spalding-releasing-new-album-radio-music-society. html) [32] Graff, Gary (March 1, 2011). "Esperanza Spalding to Record 'Radio Music Society' Album in May" (http:/ / www. billboard. com/ articles/ news/ 472823/ esperanza-spalding-to-record-radio-music-society-album-in-may). Billboard. Retrieved April 28, 2011. [33] Esperanza on Later... with Jools Holland (http:/ / bbc. in/ ndFlT6). [34] Free the Slaves blog. (http:/ / ftsblog. net/ tag/ esperanza-spalding/ . ) [35] azcentral.com (http:/ / www. azcentral. com/ thingstodo/ music/ articles/ 20120405esperanza-spalding-cancels-phoenix-date. html?nclick_check=1)
Further reading • Murphy, Sarah, "Student Profile: Esperanza Spalding" (http://www.berklee.edu/profiles/spalding.html), Berklee College of Music, April 2004 • Colapinto, John (March 15, 2010). "Profiles: New Note". The New Yorker 86 (4): 32–39.
External links • esperanzaspalding.com (http://esperanzaspalding.com), her official website • Esperanza Spalding (http://www.allmusic.com/artist/mn0000394325) at AllMusic • Esperanza Spalding interview for OnTheGig.com (http://interviews.onthegig.com/2010/10/ esperanza-spalding-jazz-bassist.html) • Esperanza Spalding Video Interview at allaboutjazz.com (http://news.allaboutjazz.com/news.php?id=28671#. Ur6xNSix9To) • Who is Esperanza Spalding and how did she beat Justin Bieber? interview for Billboard.com (http://www. thestar.com/entertainment/music/grammys/article/ 938328--who-is-esperanza-spalding-and-how-did-she-beat-justin-bieber?bn=1) • Video: Performance and interview at The Roots Picnic (2011) (http://www.societyhae.com/video/ esperanza-spaldingthe-roots) • Oregon Art Beat: Watch Esperanza Spalding Sing "City of Roses" (http://watch.opb.org/video/2334161096) Awards and achievements Preceded by Zac Brown Band
Grammy Award for Best New Artist 2011
Succeeded by Bon Iver
Esperanza (Esperanza Spalding album)
52
Esperanza (Esperanza Spalding album) Esperanza Studio album by Esperanza Spalding Released
20 May 2008
Recorded 2007 at Wellspring Sound (Acton, Massachusetts) & Big Time Audio (Jonesborough, Tennessee). Genre
Jazz, Latin jazz, Cuban jazz
Label
Heads Up
Producer Esperanza Spalding Martin Walters (Co-producer) Niño Josele (Co-producer for track 12) Daniel Florestano (Associate producer) Dave Love (Executive producer) Esperanza Spalding chronology
Junjo Esperanza (2006) (2008)
Chamber Music Society (2010)
Professional ratings Review scores Source Allmusic
Rating [1]
Esperanza is the second studio album by the American bassist and vocalist Esperanza Spalding. It was released on 20 May 2008.[2] Being exposed to many different cultural impressions while growing up, Spalding sings in three different languages here: English, Spanish and Portuguese.[3] After Spalding's Grammy win in February 2011, the album entered the Billboard 200 at 138.
Track listing All songs written and composed by Esperanza Spalding, except where noted. 1. 2. 3. 4. 5. 6. 7. 8.
"Ponta de Areia" (Milton Nascimento, Fernando Brant) - 5:39 "I Know You Know" - 3:46 "Fall In" - 3:57 "I Adore You" - 7:27 "Cuerpo y Alma (Body & Soul)" (Edward Heyman, Robert Sour) - 8:01 "She Got to You" - 4:29 "Precious" - 4:24 "Mela" - 6:57
9. "Love in Time" - 5:47 10. "Espera" - 4:40
Esperanza (Esperanza Spalding album)
53
11. "If That's True" - 7:33 12. "Samba em Preludio" (Vinícius de Moraes, Baden Powell) - 5:11
Personnel • • • • • • • •
Esperanza Spalding - electric bass, acoustic bass, vocals Leo Genovese - piano, Wurlitzer organ (track 7), Fender Rhodes piano (track 10) Jamey Haddad - percussion Otis Brown - drums Horacio Hernandez - drums (tracks 4 and 8) Ambrose Akinmusire - trumpet (tracks 8 and 11) Donald Harrison - saxophone (tracks 6 and 11) Gretchen Parlato - background vocals (tracks 1 and 4)
Chart performance Esperanza spent over 70 weeks on the Billboard Top Jazz Albums Chart.[4] Chart (2010)
[5][6] Peak position
Billboard 200
138
Billboard Catalog Albums
16
Billboard Top Independent Albums
40
Billboard Top Jazz Albums
3
Billboard Heatseekers
12
Swedish Albums Chart
37
Norwegian Albums Chart
12
References [1] [2] [3] [4] [5] [6]
[ Allmusic review] [ Allmusic review on Esperanza] Esperanza Spalding (http:/ / www. browardpalmbeach. com/ 2008-08-14/ music/ esperanza-spalding/ ) All Music Guide review of Chamber Music Society (http:/ / www. allmusic. com/ album/ chamber-music-society-r1830209) [ Billboard Charts] International Chart Positions (http:/ / lescharts. com/ showitem. asp?interpret=Esperanza+ Spalding& titel=Esperanza& cat=a)
Hello, Young Lovers (song)
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Hello, Young Lovers (song) "Hello, Young Lovers" Song from The King and I Published 1951 Writer
Oscar Hammerstein II
Composer Richard Rodgers
"Hello, Young Lovers" is a show tune from the 1951 Rodgers and Hammerstein musical, The King and I. It is sung by Anna, played by Gertrude Lawrence in the original Broadway production, by Valerie Hobson in the original London West End production, and by Deborah Kerr in the film version (although voiced-over by Marni Nixon). The heroine Anna sings this song when she tells the wives of the King of Siam about her late husband, and sympathises with the plight of Tuptim, the Burmese slave girl. Among popular versions were ones by: • Perry Como • Guy Lombardo (with vocal by Kenny Martin). • Deep River Boys recorded "Hello, Young Lovers" in Oslo on August 24, 1956. It was released on the extended play Hello young lovers (HMV 7EGN 12). • Earl Grant recorded this song on his 1958 album The End. • Andy Williams included his version of it on the 1959 album Andy Williams Sings Rodgers and Hammerstein. • Bobby Darin also sang the piece, although he sped up the tempo so it was a much faster piece. It would also be covered by • Frank Sinatra in a much slower tempo on his 1965 album September of My Years. • Marvin Gaye has a version that was unreleased, it appeared on the box set 'The Marvin Gaye Collection'. • Paul Anka had a significant revival in 1960, in the swinging Bobby Darin style. • Philip Quast also covered this song in his Live at the Donmar album. • The Temptations released an uptempo, big band version on their album, In A Mellow Mood in 1967. • Mark Murphy covered the piece on his 1993 album Very Early. • The SuperJazz Big Band of Birmingham, Alabama recorded the song on the 2001 CD, UAB SuperJazz, Featuring Ellis Marsalis. • Kevin Spacey covered this song on his original soundtrack 2004 of Beyond the Sea.
Rodgers and Hammerstein
Rodgers and Hammerstein Richard Rodgers (1902–1979) and Oscar Hammerstein II (1895–1960) were an influential, innovative and successful American musical theatre writing team, usually referred to as Rodgers and Hammerstein. They created a string of popular Broadway musicals in the 1940s and 1950s, initiating what is considered the "golden age" of musical theatre.[1] With Rodgers composing the music and Hammerstein writing the lyrics, five of their Broadway shows, Oklahoma!, Carousel, South Pacific, The King and I and The Sound of Music, were outstanding successes, as was the television broadcast of Rodgers (left) and Hammerstein (right), with Irving Berlin (middle) and Helen Cinderella. Among the many accolades their Tamiris, watching auditions at the St. James Theatre in 1948 shows (and film versions) garnered were thirty-four Tony Awards,[2] fifteen Academy Awards, the Pulitzer Prize, and two Grammy Awards. Their musical theatre writing partnership has been called the greatest of the 20th century.
Previous work and partnerships Prior to their partnership, both Rodgers and Hammerstein achieved success independently. Rodgers had collaborated for more than two decades with Lorenz Hart. Among their many Broadway hits were the shows A Connecticut Yankee (1927), Babes in Arms (1937), The Boys from Syracuse (1938), Pal Joey (1940), and By Jupiter (1942), as well as many successful film projects.[3] Hammerstein, a co-writer of the popular Rudolf Friml 1924 operetta Rose-Marie, and Sigmund Romberg operettas The Desert Song (1926) and The New Moon (1928), began a successful collaboration with composer Jerome Kern on Sunny (1925), which was a hit. Their 1927 musical Show Boat is considered to be one of the masterpieces of the American musical theatre.[4] Other Hammerstein/Kern collaborations include Sweet Adeline (1929) and Very Warm for May (1939). Although the last of these was panned by critics, it contains one of Kern and Hammerstein's best-loved songs, "All the Things You Are".[5] By the early 1940s, Hart had sunk deeper into alcoholism and emotional turmoil, and he became unreliable, prompting Rodgers to approach Hammerstein to ask if he would consider working with him.[6]
Early work: Oklahoma!, Carousel, and State Fair Oklahoma! Independently of each other, Rodgers and Hammerstein had been attracted to making a musical based on Lynn Riggs' stage play Green Grow the Lilacs. When Jerome Kern declined Hammerstein's offer to work on such a project and Hart refused Rodgers' offer to do the same, Rodgers and Hammerstein began their first collaboration. The result, Oklahoma! (1943), marked a revolution in musical drama. Although not the first musical to tell a story of emotional depth and psychological complexity, Oklahoma! introduced a number of new storytelling elements and techniques.
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Rodgers and Hammerstein These included its use of song and dance to convey plot and character rather than act as a diversion from the story and the firm integration of every song into the plot-line. Oklahoma! was originally called Away We Go! and opened at the Shubert Theatre in New Haven in March 1943. Only a few changes were made before it opened on Broadway, but three would prove significant: the addition of a show-stopping number, "Oklahoma!"; the deletion of the musical number "Boys and Girls Like You and Me", which would soon after be replaced with a reprise of "People Will Say We're in Love"; and the decision to re-title the musical after the song. The original Broadway production opened on March 31, 1943, at the St. James Theatre. Although the typical musical of the time was usually written around the talents of a specific performer, such as Ethel Merman or Fred Astaire, no stars were used in the production. Ultimately the original cast included Alfred Drake (Curly), Joan Roberts (Laurey), Celeste Holm (Ado Annie), Howard Da Silva (Jud Fry), Betty Garde (Aunt Eller), Lee Dixon (Will Parker) and Joseph Bulloff (Ali Hakim). Marc Platt danced the role of "Dream Curly", and Katharine Sergava danced the part of "Dream Laurey". In Oklahoma!, the story and the songs were considered more important than sheer star power. Nevertheless, the production ran for a then-unprecedented 2,212 performances, finally closing on May 29, 1948. Many enduring musical standards come from this show, among them Oh, What a Beautiful Mornin', The Surrey with the Fringe on Top, I Cain't Say No, the aforementioned People Will Say We're in Love, and Oklahoma!. In 1955 it was made into an Academy Award-winning musical film, the first feature shot with the Todd-AO 70 mm widescreen process. The film starred Gordon MacRae and Shirley Jones, and its soundtrack was #1 on the 1956 album charts. The film was literally shot in two versions, the Todd-AO one, distributed by Mike Todd's Magna productions and RKO, and a Cinemascope one for theatres not able to handle Todd-AO, which at that time used a curved screen reminiscent of Cinerama, as well as six-track stereophonic sound. The Cinemascope version, which made use of the standard rectangular Cinemascope screen and four-track stereo, was released by Twentieth Century-Fox a year after the Todd-AO version, and is the one that most audiences have seen. In later years, it became possible to show a Todd-AO film on a Cinemascope screen without having to shoot two versions in two different formats. After their initial success with Oklahoma!, the pair took a break from working together and Hammerstein concentrated on the musical Carmen Jones, a Broadway version of Bizet's Carmen with the characters changed to African Americans in the contemporary South, for which he wrote the book and lyrics. The musical was adapted to the screen in 1954, and scored a Best Actress Oscar nomination for leading lady Dorothy Dandridge.
Carousel The original production of Carousel was directed by Rouben Mamoulian and opened at Broadway's Majestic Theatre on April 19, 1945, running for 890 performances and closing on May 24, 1947. The cast included John Raitt, Jan Clayton, Jean Darling, Christine Johnson and Bambi Linn. From this show came the hit musical numbers "The Carousel Waltz" (an instrumental), "If I Loved You", "June Is Bustin' Out All Over", and "You'll Never Walk Alone". Carousel was also revolutionary for its time – adapted from Ferenc Molnár's play Liliom, it was one of the first musicals to contain a tragic plot about an antihero;[7] it also contained an extended ballet that was crucial to the plot, and several extended musical scenes containing both sung and spoken material, as well as dance. The 1956 film version of Carousel, made in CinemaScope 55, again starred Gordon MacRae and Shirley Jones, the same leads as the film version of Oklahoma! Carousel is also unique among the Rodgers and Hammerstein musicals for not having an overture; both the stage and film versions began with the familiar Carousel Waltz. This music was included in John Mauceri's Philips Records CD of the complete overtures of Rodgers and Hammerstein with the Hollywood Bowl Orchestra. It was also included in Rodgers' rare 1954 album for Columbia Records with the composer conducting the New York Philharmonic Orchestra.[8]
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Rodgers and Hammerstein
State Fair In 1945, a Technicolor musical film version of Phil Stong's novel State Fair, with songs and script by Rodgers and Hammerstein, was released. The film, a remake of a 1933 non-musical Will Rogers film of the same name, starred Jeanne Crain, Dana Andrews, Dick Haymes, and Vivian Blaine. This was the only time the pair ever wrote a score directly for film. It was a great success, winning Rodgers and Hammerstein their lone Oscar, for the song "It Might as Well Be Spring", but it was also unadventurous material for them, compared with several of their Broadway shows. In 1962, an unsuccessful remake of the musical film was released. In 1969, the St. Louis Municipal Opera presented the world stage premiere of State Fair starring Ozzie and Harriet Nelson.[9] The production was directed by James Hammerstein, supervised by Richard Rodgers and choreographed by Tommy Tune. State Fair finally arrived on Broadway on March 27, 1996, with Donna McKechnie and Andrea McArdle, produced by David Merrick, and received five Tony Award nominations.
South Pacific and important subsequent works South Pacific South Pacific opened on Broadway on April 7, 1949, and ran for over five years. Its songs Bali Ha'i, Younger Than Springtime, and Some Enchanted Evening have become standards. The play is based upon two short stories by James A. Michener from his book Tales of the South Pacific, which itself was the winner of the Pulitzer Prize for Fiction in 1948. For their adaptation, Rodgers and Hammerstein, along with co-writer Joshua Logan, won the Pulitzer Prize for Drama in 1950. The original cast starred Mary Martin as the heroine Nellie Forbush and opera star Ezio Pinza as Emile de Becque, the French plantation owner. Also in the cast were Juanita Hall, Myron McCormick and Betta St. John. The 1958 film version, also directed by Logan, starred Mitzi Gaynor, Rossano Brazzi, John Kerr, Ray Walston, and Juanita Hall. Brazzi, Kerr, and Hall had their singing dubbed by others.
The King and I Based on Margaret Landon's Anna and the King of Siam—the story of Anna Leonowens, governess to the children of King Mongkut of Siam in the early 1860s—Rodgers and Hammerstein's musical The King and I opened on Broadway on March 29, 1951, starring Gertrude Lawrence as Anna and a mostly unknown Yul Brynner as the king. This musical featured the hit songs "I Whistle a Happy Tune", "Hello, Young Lovers", "Getting to Know You", "We Kiss in a Shadow", "Something Wonderful", "I Have Dreamed", and "Shall We Dance?". It was adapted for film in 1956 with Brynner re-creating his role opposite Deborah Kerr (whose singing was largely dubbed by Marni Nixon). Brynner won an Oscar as Best Actor for his portrayal, and Kerr was nominated as Best Actress. Brynner reprised the role twice on Broadway in 1977 and 1985 and in a short-lived TV sitcom in 1972, Anna and the King.
Cinderella Based on the fairytale character and story of Cinderella, Rodgers and Hammerstein created their only collaborative effort written for television. Cinderella aired on March 31, 1957, on CBS. More than 107 million viewers saw the broadcast, and Andrews was nominated for an Emmy Award for her performance.[10][11][12] Rodgers and Hammerstein originally signed to work with NBC, but CBS approached them, offering the chance to work with Julie Andrews, and the two quickly agreed. Rodgers stated, "What won us over was the chance to work with Julie." Andrews played Cinderella, with Edith Adams as the Fairy Godmother, Kaye Ballard and Alice Ghostley as stepsisters Joy and Portia, and Jon Cypher as Prince Christopher. Though it was broadcast in color, and the major networks all had the new (B&W) videotape recorders from Ampex, a black and white kinescope is all that remains.
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Rodgers and Hammerstein It featured songs still treasured today, "My Own Little Corner", "Ten Minutes Ago I Met You" and "Impossible: It's Possible." After the success of the 1957 production, another version was presented in 1965 and shown annually on CBS, starring Lesley Ann Warren, Celeste Holm and Walter Pidgeon, and yet another television version in 1997 on ABC, starring Brandy, Whitney Houston, Bernadette Peters, and Whoopi Goldberg. Stage versions were also presented in London and elsewhere, and the musical finally was given a Broadway production, with a revised book by Douglas Carter Beane, and incorporating four songs from the Rodgers and Hammerstein catalogue, in 2013.
Flower Drum Song Based on a 1957 novel by C. Y. Lee, Flower Drum Song takes place in San Francisco's Chinatown in the late 1950s. The original 1958 production was directed by dancer/singer/actor Gene Kelly. The story deals with a young Chinese woman who illegally comes to America in hopes of marrying a wealthy young Chinese-American man, who is already in love with a Chinatown nightclub dancer. The young man's parents are traditional Chinese and want him to marry the new Chinese immigrant, but he is hesitant until he falls in love with her. Though this musical did not achieve the popularity of the team's five most famous musicals, it was nevertheless a success, and broke new ground by using a mostly Asian cast. The 1961 film adaptation was a lavish, but much criticized, Ross Hunter production released by Universal Studios. A Broadway revival in 2002 starring Lea Salonga had a rewritten plot by playwright David Henry Hwang but retained the inter-generational and immigrant themes as well as most of the original songs.
The Sound of Music The Sound of Music, Rodgers and Hammerstein's last work together, told the story of the von Trapp family. Starring Mary Martin as Maria and Theodore Bikel as Captain von Trapp, it opened on Broadway at the Lunt-Fontanne Theatre on November 16, 1959, garnering much praise and numerous awards. It has been frequently revived ever since. The show was made into a film in 1965 starring Julie Andrews as Maria and Christopher Plummer as the Captain. It won five Oscars, including Best Picture and Best Director, Robert Wise. Hammerstein died in August 1960, before the film was made, so when Rodgers wrote two new songs for the film ("I Have Confidence" and "Something Good"), he wrote the lyrics as well.[13] The Sound of Music probably contains more hit songs than any other Rodgers and Hammerstein musical, likely because of the phenomenal success of the film version, which was the most financially successful film adaptation of a Broadway musical ever made. It also contained many memorable songs, including the title song, "Do-Re-Mi", "My Favorite Things", "Climb Ev'ry Mountain" "So Long, Farewell", "Sixteen Going on Seventeen", and "Edelweiss".
Legacy Rodgers and Hammerstein re-worked the musical theatre genre. Early 20th-century musicals, except for the Princess Theatre musicals and a few important examples like Hammerstein and Jerome Kern's Show Boat, were usually whimsical or farcical, and usually built around a star. Because the efforts of Rodgers and Hammerstein were so successful, many musicals followed that contained thought-provoking plots with mature themes, and in which all the aspects of the play, dance, song, and drama, were combined in an integrated whole. Stephen Sondheim has cited Rodgers and Hammerstein as having had a crucial influence on his work. [14] Rodgers and Hammerstein also use the technique of what some call the "formula musical". While some hail this approach, others criticize it for its predictability. The term "formula musical" may refer to a musical with a predictable plot, but it also refers to the casting requirements of Rodgers & Hammerstein characters. Typically, any musical from this team will have the casting of a strong baritone lead, a dainty and light soprano lead, a supporting lead tenor, and a supporting alto lead. Although there are exceptions to this generalization, it simplifies the audition process, and gives audiences an idea of what to expect vocally from a Rodgers and Hammerstein musical. However, this formula had been used in Viennese operetta, such as The Merry Widow.
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Rodgers and Hammerstein
59
William A. Everett and Paul R. Laird wrote that Oklahoma!, "like Show Boat, became a milestone, so that later historians writing about important moments in twentieth-century theatre would begin to identify eras according to their relationship to Oklahoma!"[15] In The Complete Book of Light Opera, Mark Lubbock adds, "After Oklahoma!, Rodgers and Hammerstein were the most important contributors to the musical-play form – with such masterworks as Carousel, The King and I and South Pacific. The examples they set in creating vital plays, often rich with social thought, provided the necessary encouragement for other gifted writers to create musical plays of their own."[] In 1950, the team of Rodgers and Hammerstein received The Hundred Year Association of New York's Gold Medal Award "in recognition of outstanding contributions to the City of New York." In addition to their enduring work, Rodgers and Hammerstein were also honored in 1999 with a United States Postal Service stamp commemorating their partnership. The Richard Rodgers Theatre in New York City is named after Rodgers. Forbes named Rodgers and Hammerstein second on its list of top-earning dead celebrities in 2009 at $235 million. The original film arrangements of the team's music have been restored and performed at the Proms concerts in London's Royal Albert Hall by the John Wilson Orchestra.[citation needed]
On television and film Rodgers and Hammerstein appeared on live telecasts several times. They were guests on the very first broadcast of Toast of the Town, the original name of The Ed Sullivan Show, when it debuted on CBS in June 1948. They were the mystery guests on episode number 298 of What's My Line, which first aired on February 19, 1956; blindfolded panelist Bennett Cerf was able to correctly identify them.[16] The pair made a rare feature film appearance in MGM's 1953 production Main Street to Broadway, in which Rodgers played the piano and Hammerstein sang a song they had written.[17] They also appeared in the trailer for the film version of South Pacific in 1958.[citation needed]
Social issues While Rodgers and Hammerstein's work contains cheerful and often uplifting songs, they departed from the comic and sentimental tone of early 20th century musicals by seriously addressing issues such as racism, sexism and classism in many of their works. For example, Carousel concerns domestic violence, while South Pacific addresses racist views by westerners of Pacific islanders, and racism generally. Based on the true story of the von Trapp family, The Sound of Music explores the views of Austrians to the takeover of Austria by the Third Reich.
Work •
1943 Oklahoma! •
•
•
•
•
1955 Pipe Dream
•
1957 Cinderella (television)
1956 film version
1945 State Fair (film) • •
1953 Me and Juliet
1955 film version
1945 Carousel •
•
1962 remake 1996 stage version
1947 Allegro
• • • •
1958 Flower Drum Song • •
•
1949 South Pacific • •
1958 film version 2001 TV version
•
1958 and 2013 stage versions 1965 remake 1997 remake
1961 film version 2002 revival (rewritten book with one new song)
1959 The Sound of Music •
1965 film version
Rodgers and Hammerstein
60 •
1951 The King and I • • •
•
1993 A Grand Night for Singing (revue)
1956 film version 1972 Television series 1999 animated film
Notes [1] Gordon, John Steele. Oklahoma'!' (http:/ / www. americanheritage. com/ articles/ magazine/ ah/ 1993/ 1/ 1993_1_58. shtml). Retrieved June 13, 2010 [2] Rodgers and Hammerstein began writing together before the era of the Tonys. Oklahoma! opened in 1943 and Carousel in 1945, but the first Tonys were not awarded until 1947. [3] Rodgers and Hart Biography (http:/ / www. guidetomusicaltheatre. com/ biographies/ rodgers_hart. htm) Guide to Musical Theatre, accessed April 5, 2009 [4] "Show Boat" (http:/ / www. theatrehistory. com/ american/ musical005. html), theatrehistory.com, excerpted from The Complete Book of Light Opera. Lubbock, Mark. New York: Appleton-Century-Crofts, 1962. pp. 807–08. [5] Wilson, Jeremy. "All the Things You Are (1939)" (http:/ / www. jazzstandards. com/ compositions-0/ allthethingsyouare. htm). jazzstandards.com, accessed March 15, 2010 [6] Layne, Joslyn. [ Lorenz Hart Biography] at Allmusic, accessed September 23, 2009 [7] Hyland, William G. Richard Rodgers. New Haven, Conn.: Yale University Press, 1998, p. 158. ISBN 978-0-300-07115-3 [8] "Richard Rodgers Conducts Richard Rodgers (http:/ / www. amazon. com/ dp/ B000WZKCLA), Columbia Odyssey, ASIN B000WZKCLA amazon.com, accessed December 20, 2012 [9] "Dorothy Manners" (http:/ / news. google. com/ newspapers?nid=1350& dat=19690605& id=RFpIAAAAIBAJ& sjid=rQEEAAAAIBAJ& pg=6983,3544219) Toledo Blade, June 5, 1969 [10] Gans, Andrew. "Lost Cinderella Footage On View at NYC's Museum of TV & Radio" (http:/ / www. playbill. com/ news/ article/ 70412-Lost-Cinderella-Footage-On-View-at-NYCs-Museum-of-TV-Radio), Playbill.com, June 20, 2002, accessed December 22, 2012 [11] Julie Andrews: Awards & Nominees (http:/ / www. emmys. com/ celebrities/ julie-andrews), Emmys.com, accessed December 22, 2012 [12] The Nielsen TV rating for the program was 18,864,000 "homes reached during an average minute" of the broadcast. " Ratings (http:/ / americanradiohistory. com/ Archive-BC/ BC-1957/ 1957-05-06-BC. pdf)", Broadcasting-Telecasting, 6 May 1957, p. 51 [13] Hischak, Thomas. The Rodgers and Hammerstein Encyclopedia (2007), p. 170. Greenwood Publishing Group. ISBN 0-313-34140-0 [14] Hammerstein biography on PBS (http:/ / www. pbs. org/ wnet/ broadway/ stars/ hammerstein_o. html), pbs.org, accessed November 29, 2008 [15] Everett, William A.; Laird, Paul (2002), The Cambridge Companion to the Musical, Cambridge University Press, p. 124, ISBN 0-521-79639-3 [16] http:/ / www. tv. com/ whats-my-line/ episode-298/ episode/ 95448/ summary. html [17] Main Street to Broadway overview (http:/ / movies. nytimes. com/ movie/ 30893/ Main-Street-to-Broadway/ overview)
References • Nolan, Frederick (2002). The Sound of Their Music: The Story of Rodgers and Hammerstein. New York: Applause Books. ISBN 1-55783-473-3.
External links • Rodgers and Hammerstein (http://www.rnh.com) Official Site • Rodgers and Hammerstein biography (http://www.rnh.com/people_detail.asp?sub=bio&div=people& id=R_Hamm) Biography at Official Site • Rodgers and Hammerstein (http://www.discogs.com/artist/Rodgers+&+Hammerstein) Discography at Discogs • Rodgers and Hammerstein (http://www.time.com/time/time100/artists/profile/hammerstein4.html) Time magazine's "100 most influential artists" • Rodgers and Hammerstein (http://c250.columbia.edu/c250_celebrates/remarkable_columbians/ rodgers_hammerstein.html) Columbia University Encyclopedia • Theodore S. Chapin, of the Rodgers and Hammerstein Organization, discusses their copyright license philosophy (http://fora.tv/2009/08/29/Rodgers_and_Hammerstein_in_the_21st_Century) at Jacob's Pillow PillowTalk,
Rodgers and Hammerstein
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August 29, 2009
Angela Bofill Angela Bofill Born
May 3, 1954
Origin
The Bronx, New York, United States
Genres
R&B, dance, jazz
Occupations Singer, songwriter, Years active 1978–2004 Labels
Arista Records (1978–1988) Capitol Records (1988) Jive Records (1993) Shanachie Records (1996-2006)
Angela Tomasa Bofill (born on May 3, 1954, in Brooklyn) is an American R&B and jazz singer and songwriter.
Early life and success Angela Bofill was born to a white Cuban father and a black Afro-Latino Puerto Rican mother. She performed with Ricardo Marrero & the Group and Dance Theater of Harlem chorus prior to being introduced to Dave Grusin and Larry Rosen (of the jazz label GRP Records) by her friend, the jazz flautist Dave Valentin.[1] Grusin and Rosen signed Bofill and produced her first album, Angie, in 1978. Angie was well received both critically and commercially and included the chart single "This Time I'll Be Sweeter" (co-written by Gwen Guthrie), as well as Bofill's sprawling jazz composition, "Under the Moon and Over the Sky". Less than a year later, a second album, Angel of the Night was released and outperformed its predecessor. The album included the chart singles "What I Wouldn't Do (For the Love of You)" and the up tempo title track, as well as the self-written song "I Try" (covered by Will Downing in 1991). The reception of these albums positioned Bofill as one of the first Latina singers to find success in the R&B and jazz markets. Following the release of Angel of the Night, the head of Arista, Clive Davis, (whose label had a distribution deal with GRP at the time) showed interest in Bofill, and she switched labels for the release of her next album, Something About You in 1981. The album, produced by Narada Michael Walden, was an attempt to move Bofill into more mainstream R&B and pop material, but performed less well than her earlier releases, despite the relative success of the singles "Holdin' Out for Love" and the title track, which both reached the R&B Top 40.[2] The following year Bofill and Walden reunited for Too Tough, this time achieving a major hit with the title track, which reached #5 on the R&B chart and spent four weeks at #2 on the Dance chart, as well as a Top 20 follow-up single "Tonight I Give In".[3] Several months later, Bofill released her final collaboration with Walden, Teaser. The album failed to match the success of Too Tough but did produce one Top 20 R&B hit, "I'm On Your Side", which has since been covered by several artists, most notably Jennifer Holliday, who had a Top 10 hit with it in 1991.[4]
Angela Bofill
62
Later career She recorded two more modestly successful albums for Arista with the help of The System and George Duke, before leaving the label in the mid-1980s. Following the birth of her daughter, Bofill moved to Capitol Records and the producer Norman Connors for Intuition in 1988. It was her last notable chart success, with Bofill's cover version of Gino Vannelli's "I Just Wanna Stop" reaching #11 on the R&B chart. She recorded three more albums over the next eight years of varying quality but limited commercial success, and provided backing vocals on a number of other albums for artists including Diana Ross, Kirk Whalum and for Connors' own Eternity in 2000.[2] Bofill continued to perform live (with a sizable audience internationally, particularly in Asia) and appeared in a number of stage plays during this time, including God Don’t Like Ugly and What A Man Wants, What A Man Needs. She also regularly toured the US and Europe in multi-artist jazz shows.
Health issues and recent years Angela Bofill suffered a stroke on January 10, 2006 and was subsequently paralyzed on her left side. Bofill convalesced at Sutter Hospital in Santa Rosa, California. She was released from intensive care on January 15 and required speech and physical therapy. Because Bofill did not have health insurance, a benefit concert was organized to pay her hospital bills. The show, planned by manager Rich Engel along with the New York radio stations Kiss FM and CD 101.9, was held on March 11 at the Bergen Performing Arts Center in Englewood, New Jersey. Similar events followed, and other aid was sought from the Rhythm and Blues Foundation.[5] Her album Live in Manila (recorded in 2004) was released during this time. Unfortunately, Bofill suffered another massive stroke in July 2007, which required a long period of therapy and left both her speech and mobility impaired. Although she lost her ability to sing after her second stroke, in recent years Bofill did return to the stage (at the suggestion of manager Engel) in "The Angela Bofill Experience." The show consists of Bofill recounting her life and career, joined by artists such as Maysa Leak, Phil Perry and Melba Moore, performing Bofill's biggest hits and signature songs. In 2012, Bofill was profiled and interviewed for the TVOne documentary series, Unsung.[6]
Discography Studio albums Year
Album
Chart positions Record label US
US US R&B Jazz
1978 Angie
47
20
5
1979 Angel of the Night
34
10
2
1981 Something About You
61
13
4
1983 Too Tough
40
6
—
81
20
21
1984 Let Me Be the One
—
39
—
1985 Tell Me Tomorrow
—
53
—
1988 Intuition
—
38
—
Capitol
1993 I Wanna Love Somebody —
51
—
Jive
1996 Love in Slow Motion
—
—
Shanachie
Teaser
—
"—" denotes the album failed to chart
GRP/Arista
Arista
Angela Bofill
63
Live albums Year
Album
Chart positions Record label
2006 Live from Manila
US
US R&B
—
—
Black Angel
"—" denotes the album failed to chart
Compilation albums Year
Album
Chart positions Record label US
US R&B
1986 The Best of Angela Bofill
—
—
1999 The Definitive Collection
—
—
2003 Platinum & Gold Collection
—
—
2004 The Best of Angela Bofill
—
—
Arista
BMG
"—" denotes the album failed to chart
Singles Year
Single
Chart positions US
1979 "This Time I'll Be Sweeter"
Album
US US US R&B A/C Dance
104
23
39
—
Angie
—
18
—
—
Angel of the Night
1980 "Angel of the Night"
—
67
—
—
1981 "Something About You"
—
21
—
—
1982 "Holdin' Out for Love"
—
26
—
—
—
—
—
—
—
5
—
2
"Tonight I Give In"
—
12
—
—
"I'm on Your Side"
—
20
—
—
1984 "Special Delivery"
—
65
—
34
—
59
—
15
—
84
—
—
"Who Knows You Better"
—
—
—
—
"Tell Me Tomorrow"
—
72
—
—
—
—
—
—
—
—
—
—
"What I Wouldn't Do (For the Love of You)"
"Break It to Me Gently" 1983 "Too Tough"
"Can't Slow Down" 1985 "Let Me Be the One"
1986 "I Don't Wanna Come Down (From Love)" "Still in Love"
Something About You
Too Tough
Teaser
Let Me Be the One
Tell Me Tomorrow
Angela Bofill
64 1988 "I Just Wanna Stop"
—
11
—
—
1989 "Love Is in Your Eyes"
—
—
—
—
1992 "Love Was Never" (with Marion Meadows & Gene Rice)
—
70
—
—
Keep It Right There
1993 "I Wanna Love Somebody"
—
—
—
—
I Wanna Love Somebody
—
—
—
—
"Heavenly Love"
Intuition
"—" denotes the single failed to chart
Awards • American Music Awards: 1984 - Best R&B/Soul Female Artist (nominated) • Bay Area Music Awards] (Bammies): 1984 Outstanding Black Contemporary Artist/Group
References [1] [2] [3] [4] [5] [6]
http:/ / www. soulmusic. com/ index. asp?S=3& T=3& ART=2247 Angela Bofill | SoulTracks - Soul Music Biographies, News and Reviews (http:/ / www. soultracks. com/ angela_bofill. htm) http:/ / www. allmusic. com/ album/ too-tough-mw0000472354/ awards http:/ / www. allmusic. com/ album/ im-on-your-side-mw0000264296/ awards Chaka Khan: Angela Bofill Has Stroke (http:/ / 65. 18. 149. 205/ cgi-bin/ ultimatebb. cgi?ubb=get_topic;f=17;t=000745) http:/ / www. soultracks. com/ unsung-angela-bofill
External links • • • • • •
Angela Bofill official website (http://www.angelabofill.com) Angela Bofill (http://www.soultracks.com/angela_bofill.htm) on Soul Tracks Biography (http://music.yahoo.com/ar-271671-bio--Angela-Bofill) on Yahoo! Music Angel Bofill (http://www.soulmusic.com/angelabofill.htm) on SoulMusic.com Artist profile (http://www.gospelcity.com/dynamic/artist-articles/artists/22) on GospelCity Artist biography (http://highstakesent.com/artist.php?f_artist=Angela+Bofill) on High Stakes Entertainment
Chrisette Michele
65
Chrisette Michele Chrisette Michele
Michele performing in Brooklyn, New York, August 2007 Background information Born
December 8, 1982 Central Islip, New York
Origin
Patchogue, New York, U.S.
Genres
R&B, soul, jazz, hip hop soul
Occupations
Singer-songwriter
Instruments
Vocals, piano
Years active
2006–present
Labels
Motown Records
[1]
Associated acts Nas, will.i.am, Rick Ross, Game, Ne-Yo Website
www.thisischrisettemichele.com
[2]
Chrisette Michele Payne (born December 8, 1982), known professionally as Chrisette Michele, is an American Grammy Award-winning R&B and soul singer-songwriter. She is signed to the Motown Records and won a Grammy Award for Best Urban/Alternative Performance in 2009 for her song "Be OK".
Chrisette Michele
Biography Michele was born in Central Islip, New York, and grew up in Patchogue. Her father was a deacon and her mother a choir director. Michele led gospel choirs in high school. She attended Five Towns College in Dix Hills, New York, and graduated with a vocal performance degree.
Music career Beginnings Michele has been featured on several hip hop albums. She is on The Game's album LAX on "Let Us Live". On Jay-Z's Kingdom Come she was featured on the second single "Lost One", while on Nas' Hip Hop Is Dead, she was featured three times: on the album's second single "Can't Forget About You", the Kanye West-produced "Still Dreaming", and the final track "Hope". She also appeared on the bonus track "Slow Down", from Ghostface Killah's The Big Doe Rehab.
I Am (2007) Michele's debut album, I Am, was released on June 18, 2007. The song "Your Joy" was released on iTunes as a free single of the week. The album spawned four singles: "If I Have My Way", "Best of Me", "Be OK", and "Love Is You". The album's lead single "If I Have My Way" charted at number four on US Billboard's Hot Adult R&B Airplay and number twenty-four on the Hot R&B/Hip-Hop Songs. "Best of Me" charted on the Hot Adult Contemporary Tracks at number twenty-one. In December 2007, "Be OK" was released as the third single, charting at number sixty-four on the Hot R&B/Hip-Hop Songs and number twenty-one on the Hot Adult R&B Airplay. In 2008, "Love Is You" was released as the album's fourth and final single; it reached number ninety on the Hot R&B/Hip-Hop Songs and number twenty on the Hot Adult R&B Airplay.
Epiphany (2009) In 2008, Michele appeared on the track "Rising Up" from The Roots' album Rising Down. Michele guest starred as herself in The CW's Girlfriends, in the episode entitled "What's Black-a-Lackin'?", which originally aired on February 11, 2008. She also wrote a song for Tyler Perry's House of Payne entitled "I've Gotta Love Jones". From May to July 2008 Michele embarked on a nationwide co-headlining tour with fellow soul singer Raheem DeVaughn called the Art of Love Tour; Solange Knowles served as the opening act.[3] In September 2008, Michele performed twice at the Evening of Stars: A Tribute to Patti Labelle. In mid-2008, Michele began recording for her second album, Epiphany. In January 2009, the album's title track was released as the lead single.[4] Released on May 5, 2009, the album debuted at number one on the Billboard 200 selling 83,000 copies in its opening week. Michele has worked with rapper Rick Ross and Canadian rapper/singer Drake on the fourth single of Ross's album Teflon Don called "Aston Martin Music". The song was released on October 5, 2010.
66
Chrisette Michele
Let Freedom Reign (2010) Michele released her third studio album, Let Freedom Reign, in 2010. The album includes the singles, "I'm a Star" and "Goodbye Game". The album features Michele performing hip-hop, R&B, as well as the dance-pop influenced "So Cool". The album debuted at number 25 on the U.S. Billboard 200 chart, selling 42,000 copies in its first week.
Better (2013–present) Grammy Award winner Chrisette Michele returned to the recording studio, and is gearing up for the release of her fourth album entitled, Better. "I need every record to be dynamic and exactly what I'm going through and experiencing right now," said Chrisette. The album was released on June 11, 2013 through Motown Records. The album debuted at number 12 on the U.S. Billboard 200 chart, selling 27,000 copies in its first week. It has been nominated for a 2014 Grammy Award for Best R&B Album.
Discography Studio albums • 2007: I Am • 2009: Epiphany • 2010: Let Freedom Reign • 2013: Better Mixtapes • 2010: Love Thy Brother • 2012: Audio Visual Presentation: Audrey Hepburn
Tours • • • • •
The Art of Love Tour (with Raheem DeVaughn) (2008) The Epiphany Tour (2010) Woman to Woman Tour (supporting Keyshia Cole) (2013) Liberation Tour (supporting Mary J. Blige) (2013) Appreciation Tour (supporting Jaheim) (2013)
Awards and nominations Vibe Music Award • 2008, Breakthrough Artist of the Year (Nominated) Grammy Award • 2008, Best Female R&B Vocal Performance: "If I Have My Way" (Nominated) • 2009, Best Urban/Alternative Performance: "Be OK" (Won) • 2014, Best R&B Album: Better (Pending) BET Award • 2010, Centric Award: (Nominated) • 2008, Best New Artist: (Nominated) BET J/Centric • 2008, Virtual Awards: Soul Approved: (Won) • 2008, Female Artist of the Year: (Nominated)
67
Chrisette Michele
68
NAACP Image Awards • 2008, Outstanding New Artist: (Nominated) Soul Train Awards • 2009, Best R&B/Soul Female Artist: (Nominated) • 2013, Best R&B/Soul Female Artist: (Nominated) Urban Music Awards • 2009, Best Female Act: (Nominated)
References [1] Gamboa, Glenn. " Chrisette Michele has an 'Epiphany' (http:/ / www. newsday. com/ entertainment/ music/ ny-etmusic0312702273apr30,0,5395858. story)", Newsday, May 3, 2009. [2] http:/ / www. thisischrisettemichele. com/ [3] GRAMMY Nominated Chrisette Michele to Co-Headline "The Art of Love Tour" (http:/ / www. universalmusic. com/ artist-news/ grammy-nominated-chrisette-michele-returns-to-the-road-co-headlining-âthe-art-of-love-to) [4] New Music: Chrisette Michele "Epiphany" Off New Album - Listen Now! (http:/ / www. defjam. com/ site/ artist_news. php?artist_id=611& news_id=107116)
External links • • • •
Official website (http://www.thisischrisettemichele.com) Chrisette Michele (http://www.defjam.com/site/artist_home.php?artist_id=611) on Def Jam Recordings Chrisette Michele (http://www.allmusic.com/artist/p865620) at AllMusic Chrisette Michele (http://www.imdb.com/name/nm2689121/) at the Internet Movie Database
The Look of Love (1967 song) "The Look of Love" Ursula Andress inspired Burt Bacharach to compose "The Look of Love" watching her in an early cut of the film Casino Royale. The track is played while Vesper Lynd seduces Evelyn Tremble, observed through a man-size aquarium. film soundtrack by Dusty Springfield from the album Casino Royale Soundtrack Released
January 29, 1967
Recorded
Philips Studios, London
Genre
Pop music
Length
4:11
Label
Colgems
Writer
Hal David
Composer
Burt Bacharach
Producer
Phil Ramone Cover versions Brasil '66, Isaac Hayes Casino Royale Soundtrack track listing
"The Look Of Love" (Instrumental Version) by Herb Alpert & The Tijuana Brass "The Look of Love" "What's New Pussycat?"
The Look of Love (1967 song)
69
Music sample The Look of Love
"The Look of Love" Single by Sérgio Mendes & Brasil '66 from the album Look Around Released
1968
Genre
Bossa nova
Label
A&M
Writer(s)
• •
Burt Bacharach Hal David
"The Look Of Love" Single by El Chicano from the album "Viva Tirado" Released
1970
Format
Album
Recorded 1970 Length
2:04
Label
Kapp MCA
Writer(s) Burt Bacharach Hal David
"The Look of Love" is a popular song composed by Burt Bacharach and Hal David and sung by English pop singer Dusty Springfield, which appeared in the 1967 spoof James Bond film Casino Royale. In 2008, the song was inducted into the Grammy Hall of Fame.[1] It also received a Best Song nomination in the 1968 Academy Awards.
Songwriters The music was written by Burt Bacharach, and was originally intended to be an instrumental. But later Hal David added the lyrics, and the song was published in 1967. According to Bacharach, the melody was inspired by watching Ursula Andress in an early cut of the film.[citation needed]
Recordings Early recordings The song was originally recorded by Dusty Springfield for the Casino Royale soundtrack, receiving an Oscar nomination and reaching the US Top 40. Phil Ramone the soundtrack's engineer recorded the song separately from the rest of the film tracks. Springfield re-recorded the song the same year in London, featuring a throaty saxophone solo, and released it as the B-side of "Give Me Time". Claudine Longet recorded the song on her 1967 album of the same title. Lainie Kazan also recorded "The Look of Love" (arranged by Pat Williams) on her 1967 album Love is Lainie. Nina Simone also recorded "The Look of Love" in 1967 on her album Silk & Soul. Sérgio Mendes' hit rendition on the Sérgio Mendes & Brasil '66 album Look Around reached #4 on the pop charts after their performance in the Academy Awards telecast in March 1968. The lead vocal on this single was handled by Janis
The Look of Love (1967 song) Hansen, not Lani Hall, a rarity in the early Brasil '66 canon. Andy Williams released a version in 1967 on his album, Love, Andy. Soul group The Delfonics also covered the song in 1968 on their album La La Means I Love You.
Later recordings Isaac Hayes covered the song for his 1970 album ...To Be Continued. While Hayes used the same lyrics, his cover includes a unique instrumental which has been heavily sampled on R&B and hip-hop records. El Chicano covered "The Look of Love" on their 1970 album, Viva Tirado .
Additional recordings • Barbara Acklin – Love Makes a Woman (1968) • The Aztec Sapphire - Covered it during their Bigleap Session with a live performance at Bigleap Music & Post in Cape Town,South Africa.[2] • Beegie Adair (with the Jeff Steinberg Orchestra) – I'll Take Romance (2002) • Patti Austin – Street of Dreams (1999) • Anita Baker – Rhythm of Love (1994) • Shirley Bassey – I Capricorn (1972) • Louie Bellson – Break through ! (1968) • Willie Bobo – Talkin' Verve (1968) • Chris Botti – A Thousand Kisses Deep (2003). (Chantal Kreviazuk provides the guest vocals). Botti also recorded it on Live: With Orchestra and Special Guests (2006) with Paula Cole and Burt Bacharach. Sy Smith performed the song during Botti's 2009 tour. Smith's version of the song appears on Botti's concert DVD, Chris Botti in Boston. In 2011, Botti recruited Lisa Fischer to perform the song for his 2011 tour. • Odell Brown – Ducky (1967) • Ray Bryant – Sound Ray (1969) • Jean Carne with Grover Washington, Jr. – Collaborations (2002) • El Chicano – Viva Tirado (1970) • Steve Cole – Moonlight (2010) • Deacon Blue – Four Bacharach & David Songs (EP, 1990) • Dominique Dalcan – Les années bleues (1992) • The Jimmy Dorsey Orchestra under the Direction of Lee Castle – • Will Downing – R&B & Smooth Jazz Singer • Larry Goldings & Harry Allen – When Larry Met Harry (2010) • Kelly Harland – • Gene Harris – Coldwater Flat (1968) • Isaac Hayes – ...To Be Continued (1970), Live at the Sahara Tahoe (1973) • Susanna Hoffs – • Ahmad Jamal – Tranquility (1968) • Jack Jones – • Ronan Keating – When Ronan Met Burt (2011) • Barney Kessel – • Gladys Knight & The Pips – • Diana Krall (with the London Symphony Orchestra) – The Look of Love (2001) and Live in Paris (2002). Krall's record went platinum and made the top 10 of the Billboard 200. It topped the Canadian album charts and went quadruple platinum in Canada. • Claudine Longet – 1967 • Amanda Lear –
70
The Look of Love (1967 song) • • • • • • • • • • • • • • • •
Eliot Lewis – Master Plan (released June 2003); Eliot Lewis – The Originals (released September 2010) Ramsey Lewis – Up Pops (1967) Shelby Lynne – Just a Little Lovin' (pays tribute to Dusty Springfield) Sergio Mendes (featuring Fergie) – Encanto) The Meters – The Meters (1969) Sitti Navarro (Philippine bossa nova singer) – My Bossa Nova Trijntje Oosterhuis – Diana Ross & The Supremes (Ross would cover the song again decades later, solo) Marilyn Scott – Smooth Jazz Singer Robert Shames, Composer/multi-instrumentalist, arranged a noteworthy version for string quartet in 2007 to much critical acclaim. Nina Simone – Silk and Soul (1967) Slum Village – Fan-Tas-Tic (Vol. 1) (1997) Jimmy Sommers – Time Stands Still (2006) Telex (band) – Sex (Birds and Bees) Tokyo Ska Paradise Orchestra – Moods for Tokyo Ska: We Don't Know What Ska Is (1997) Stanley Turrentine – Return of the Prodigal Son (1967), The Look of Love (1968)
• • • • • • • • • •
The Tymes – People (1969) Vanilla Fudge – David T. Walker – Dionne Warwick – Julian Lloyd Webber recorded a version for cello in 2006. Tony Joe White – Reuben Wilson – The Cisco Kid (1973) Bobby Womack – Faye Wong – The Zombies – (during live performances)
References in pop culture • The song is played in a scene, with Peter Sellers and Ursula Andress, from the movie "Casino Royale James Bond 007!" (1967). • Austin Powers: International Man of Mystery (1997), Susanna Hoffs of The Bangles sings the tune. • In Yamaha DGX-series keyboards, "The Look of Love" is featured as a demo song. • An instrumental version is featured in the film The Boys in the Band (1970), directed by William Friedkin. • A character hums it in the film Alive (1993). • It was used in a McDonald's television commercial in the mid-1990s. • In the film Dead Presidents (1995) Isaac Hayes' version is in a scene where the characters Kirby, Joe, and Anthony are driving along after Anthony's rocky return from the Vietnam War. • The song is used (anachronistically) in the film Catch Me If You Can (2002) during a romantic scene set in 1964. • The song is played during Rachel and Heck's wedding in the film Imagine Me & You. • The song is also featured in the film, I Think I Love My Wife (2007), written and directed by Chris Rock. Erica Canales sings the song produced by Marcus Miller. • The song appears in the The Simpsons episode, The War of the Simpsons as one of the song playing at the house party. • The song appears in an episode of "The Sarah Silverman Program" titled "Vow Wow". • The song is featured in the film "Toast (film)" (2010).
71
The Look of Love (1967 song)
72
• The song was deleted from the 2012 season 5 premier of Mad Men before airing because the song was not yet released during the time of the episode. • The song is used in the film The Look of Love (2013), sung by Imogen Poots. • The song was also adapted by the hip hop artist Jay-Z for his song ''Can I Live'' on the Reasonable Doubt album.
References [1] "Grammy Hall of Fame Award (http:/ / www. grammy. org/ recording-academy/ awards/ hall-of-fame#l). Grammy.org. Retrieved 21 December 2012 [2] http:/ / www. youtube. com/ watch?v=ZtIjIcOQim0
External links • Sérgio Mendes interview by Pete Lewis, 'Blues & Soul' July 2008 (http://www.bluesandsoul.com/feature/303/ bands_gets_a_brazilian/)
Feel Like Makin' Love (Roberta Flack song) "Feel Like Makin' Love" Single by Roberta Flack from the album Feel Like Makin' Love Released
June 10, 1974
Genre
Soul, R&B
Length
2:55
Label
Atlantic
Writer(s)
Eugene McDaniels
Producer
Rubina Flake Roberta Flack singles chronology
"Jesse" (1973)
"Feel Like Makin' Love" (1974)
"Feelin' That Glow" (1975)
"Feel Like Makin' Love" Roberta Flack's "Feel Like Makin' Love" from Feel Like Makin' Love
Problems playing this file? See media help.
"Feel Like Makin' Love" is a song composed by singer-songwriter Eugene McDaniels, and recorded originally by soul singer-songwriter Roberta Flack. The song has been covered by several R&B and jazz artists.
Feel Like Makin' Love (Roberta Flack song)
73
Roberta Flack version Released nine months before the album of the same title, the song became one of the greatest musical successes of 1974, as well as of Roberta Flack's recording career. It scored a week at #1 on the Billboard Hot 100 singles chart, making it Flack's third #1 single. It also had five weeks at #1 on the Hot Soul Singles chart. and two weeks at #1 on the Adult Contemporary chart. Flack produced the record under the pseudonym Rubina Flake. It went on to receive three Grammy nominations for Flack: Record of the Year, Song of the Year, and Best Pop Vocal Performance, Female.
Chart history Charts (1974)
Peak position
U.S. Billboard Hot 100
1
U.S. Billboard Hot Soul Singles
1
U.S. Billboard Easy Listening
1
D'Angelo version "Feel Like Makin' Love" Single by D'Angelo from the album Voodoo Released
April 8, 2000
Format
Maxi-single, promo.
Recorded
1999 Electric Lady Studios (New York, New York)
Genre
Funk, neo soul, R&B, quiet storm
Label
Virgin SPRO-10019
Producer
J. Dilla, D'Angelo D'Angelo singles chronology
"Send It On" (2000)
"Feel Like Makin' Love" (2000)
"Be Here" (2002)
Audio sample file info · help
"Feel Like Makin' Love" was covered by American R&B and neo soul musician D'Angelo for his second studio album Voodoo (2000). It was released April 8, 2000, on Virgin Records as the album's fifth and last single. His cover version features a quiet storm sound and heavy use of multi-tracking for vocals.[1] It was initially planned as a duet with R&B singer Lauryn Hill.[2] Although tapes were sent via FedEx between the two, the collaboration between D'Angelo and Hill was aborted and the song was instead recorded solo. According to producer and drummer
Feel Like Makin' Love (Roberta Flack song)
74
Questlove, the duet failed to materialize due to "too many middle men.... I don't think Lauryn and D ever talked face-to-face." Mistakenly, some critics who later reviewed the album's track assumed that Lauryn Hill's vocals are present in the recording. According to Questlove's review of Voodoo at Okayplayer, the song's production was also managed by late hip hop producer J Dilla, as Questlove stated "jay dee did the lauryn track".[3] Dilla, however, did not receive an official credit for the song.[4] As a single, "Feel Like Makin' Love" was Voodoo's least successful, as it only reached #109 on the Billboard Hot R&B/Hip-Hop Singles & Tracks chart.
Chart history Chart (2000)
Peak positions [5]
Hot R&B/Hip-Hop Singles & Tracks
109
Other versions It was covered by Bob James (as an instrumental for his 1974 album "One"), and by George Benson (for his 1983 album "In Your Eyes"), both under the title Feel Like Making Love. Marlena Shaw included a cover on Who Is This Bitch, Anyway? (1974). Roy Ayers covered it on his 1974 album Change up the Groove. Shirley Bassey covered it on her 1975 album Good, Bad but Beautiful, as did Isaac Hayes on his 1978 release Hotbed. Paul Mauriat featured an orchestral version of the song on his 1987 album Love Is Blue. In 1996, jazz guitarist Larry Coryell covered it on his album "Sketches of Coryell". Lumidee covered it in her 2007 album, Unexpected, and released it as a single, peaking at #90 on the Hot 100. Monty Alexander recorded a jazz quartet version of the song in October 1974, released then on 'Live and Sunshine', and re-released in 2007 on 'Alexander The Great - Monty Swings On MPS'. The recording is with Ernest Ranglin (guitar), Eberhard Weber (b), and Kenny Clare (drums). This same version is also featured on Ranglin's 1976 album "Ranglypso". Junior Jack sampled the chorus in his single "Luv 2 U".
Notes [1] Neal, Mark Anthony. Review: Voodoo (http:/ / www. popmatters. com/ music/ reviews/ d/ dangelo-voodoo. shtml). PopMatters. Retrieved on 2008-08-09. [2] Sinclair, Tom. Body & Soul: Voodoo (http:/ / www. ew. com/ ew/ article/ 0,,275277,00. html). Entertainment Weekly. Retrieved on 2009-06-04. [3] Thompson, Ahmir 'Questlove'. " Review: Voodoo (http:/ / google. com/ search?q=cache:vyUtXwTo0IAJ:theroots. com/ qreviewdangelo. htm)". ?uestcorner/Okayplayer: 1999. Archived from the original (http:/ / www. okayplayer. com/ theroots/ viewreview. jsp?rid=6) on 2008-08-09. [4] D'Angelo (2000), pp. 5–24. [5] Billboard Music Charts - Feel Like Makin' Love (http:/ / www. billboard. com/ bbcom/ esearch/ searchResult. jsp?exp=y& Ntt=Feel+ Like+ Makin'+ Love+ D'Angelo& Ntk=Keyword& Ntx=mode+ matchallpartial& nor=10& an=bbcom& N=37& Ns=FORMATTED_DATE|0). Nielsen Business Media, Inc. Retrieved on 2008-08-09.
Feel Like Makin' Love (Roberta Flack song)
References • Saul Williams, D'Angelo (2000). Voodoo (CD issue liner notes). Virgins Records America, Inc., 338 N. Foothill Road, Beverly Hills, CA 90210.
External links • Feel Like Making Love by D'Angelo on Yahoo! Music (http://music.yahoo.com/track/2006354)
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Roberta Flack
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Roberta Flack Roberta Flack
Roberta Flack in concert in 1992 Background information Born
10 February 1937 Black Mountain, North Carolina, U.S.
Genres
Jazz, soul, folk, R&B
Occupations
Singer-songwriter, musician
Instruments
Vocals, piano
Years active
1969–present
Labels
Atlantic (1968-1996) Angel / Capitol (1997) RAS / 429 / Sony/ATV (2011-present)
Associated acts
Donny Hathaway Peabo Bryson Maxi Priest
Website
www.robertaflack.com
[1]
Roberta Cleopatra Flack (born February 10, 1937) is an American singer, songwriter, and musician who is notable for jazz, soul, R&B, and folk music. She may be best known for her Hot 100 #1 singles "The First Time Ever I Saw Your Face", "Killing Me Softly with His Song", and "Feel Like Makin' Love"; and for "Where Is the Love" and "The Closer I Get to You", two of her many duets with Donny Hathaway. "The First Time Ever I Saw Your Face" won the 1973 Grammy Record of the Year and "Killing Me Softly with His Song" won the same award at the Grammy Awards of 1974. She shares the distinction with U2 as the only artists to win the award in consecutive years.
Early life Flack lived with a musical family, born in Black Mountain, North Carolina to parents Laron LeRoy (October 11, 1911 – July 12, 1959) and Irene Flack (September 28, 1911 – January 17, 1981) a church organist, on February 10, 1939 (1937 according to the 1940 United States Census[2]) and raised in Arlington, Virginia.[3] She first discovered the work of African American musical artists when she heard Mahalia Jackson and Sam Cooke sing in a predominantly African-American Baptist church. When Flack was 9, she started having interest in playing the piano, and during her early teens, Flack so excelled at classical piano that Howard University awarded her a full music scholarship. By age 15, she entered Howard University, making her one of the youngest students ever to enroll there. She eventually changed her major from
Roberta Flack piano to voice, and became an assistant conductor of the university choir. Her direction of a production of Aida received a standing ovation from the Howard University faculty. Flack is a member of Delta Sigma Theta sorority and was made an honorary member of Tau Beta Sigma by the Eta Delta Chapter at Howard University for her outstanding work in promoting music education. Roberta Flack became a student teacher at a school near Chevy Chase, Maryland. She graduated from Howard University at 19 and began graduate studies in music, but the sudden death of her father forced her to take a job teaching music and English for $2800 a year in Farmville, North Carolina.
Career Early career Before becoming a professional singer-songwriter, Flack taught school in Washington, D.C. at Browne Junior High and Rabaut Junior High. She also taught private piano lessons out of her home on Euclid St. NW. During this period, her music career began to take shape on evenings and weekends in Washington, D.C. area night spots. At the Tivoli Club, she accompanied opera singers at the piano. During intermissions, she would sing blues, folk, and pop standards in a back room, accompanying herself on the piano. Later, she performed several nights a week at the 1520 Club, again providing her own piano accompaniment. Around this time, her voice teacher, Frederick "Wilkie" Wilkerson, told her that he saw a brighter future for her in pop music than in the classics. She modified her repertoire accordingly and her reputation spread. [citation needed]
1970s Les McCann discovered Flack singing and playing jazz in a Washington nightclub. He later said on the liner notes of what would be her first album "First Take" noted below, "Her voice touched, tapped, trapped, and kicked every emotion I've ever known. I laughed, cried, and screamed for more...she alone had the voice." Very quickly, he arranged an audition for her with Atlantic Records, during which she played 42 songs in 3 hours for producer Joel Dorn. In November 1968, she recorded 39 song demos in less than 10 hours. Three months later, Atlantic reportedly recorded Roberta's debut album, First Take, in a mere 10 hours. Flack later spoke of those studio sessions as a "very naive and beautiful approach... I was comfortable with the music because I had worked on all these songs for all the years I had worked at Mr. Henry's." Flack's cover version of "Will You Love Me Tomorrow" hit number seventy-six on the Billboard Hot 100 in 1972. Her Atlantic recordings did not sell particularly well, until actor/director Clint Eastwood chose a song from First Take, "The First Time Ever I Saw Your Face", for the sound track of his directorial debut Play Misty for Me; it became the biggest hit of the year for 1972 - spending six consecutive weeks at #1 and earning Flack a million-selling Gold disc. The First Take album also went to #1 and eventually sold 1.9 million copies in the United States. Eastwood, who paid $2,000 for the use of the song in the film,[4] has remained an admirer and friend of Flack's ever since. It was awarded the Grammy Award for Record Of The Year in 1973. In 1983, she recorded the end music to the Dirty Harry film Sudden Impact at Eastwood's request. Roberta Flack soon began recording regularly with Donny Hathaway, scoring hits such as the Grammy-winning "Where Is the Love" (1972) and later "The Closer I Get to You" (1978) - both million-selling gold singles. Flack and Hathaway recorded several duets together, including two LPs, until Hathaway's 1979 death. [citation needed] On her own, Flack scored her second #1 hit in 1973, "Killing Me Softly with His Song" written by Charles Fox and Norman Gimbel, and originally performed by Lori Lieberman. It was awarded both Record Of The Year and Best Pop Vocal Performance, Female at the 1974 Grammy Awards. Its parent album was Flack's biggest-selling disc, eventually earning Double Platinum certification. 1974 also saw Flack sing the lead on a Sherman Brothers song called "Freedom", which featured prominently at the opening and closing of the movie Huckleberry Finn.
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Roberta Flack
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1980s Roberta Flack had a 1982 hit single with "Making Love", written by Burt Bacharach (the title track of the 1982 film of the same name), which reached #13. She began working with Peabo Bryson with more limited success, charting as high as #5 on the R&B chart (plus #16 Pop and #4 Adult Contemporary) with "Tonight, I Celebrate My Love" in 1983. Her next two singles with Bryson, "You're Looking Like Love To Me" and "I Just Came Here To Dance," fared better on adult contemporary (AC) radio than on pop or R&B radio. In 1986, Flack sang the theme song entitled "Together Through the Years" for the NBC television series, Valerie later known as The Hogan Family. The song was used throughout the show's six seasons. Oasis was released in 1988 and failed to make an impact with pop audiences, though the title track reached #1 on the R&B chart and a remix of "Uh-Uh Ooh-Ooh Look Out (Here It Comes)" topped the dance chart in 1989. Flack found herself again in the US Top 10 with the hit song "Set the Night to Music", a 1991 duet with Jamaican vocalist Maxi Priest that peaked at #6 on the Billboard Hot 100 charts and #2 AC. Flack's smooth R&B sound lent itself easily to Easy Listening airplay during the 1970s, and she has had four #1 AC hits.
Flack performing in Boston, Mass., on August 28, 2013
Later career In 1999, a star with Flack's name was placed on the Hollywood Walk of Fame. That same year, she gave a concert tour in South Africa, to which the final performance was attended by President Nelson Mandela. In 2010, she appeared on the 52nd Annual Grammy Awards, singing a duet of "Where Is The Love" with Maxwell. In February 2012, Flack released Let it Be Roberta, an album of Beatles covers including "Hey Jude" and "Let it Be". It is her first recording in over eight years. Flack knew John Lennon and Yoko Ono, as both households moved in 1975 into the The Dakota apartment building in New York City, and had apartments across the hall from each other. Flack has stated that she has already been asked to do a second album of Beatles covers. She is currently involved in an interpretative album of the Beatles' classics.[5]
Personal life Flack is a member of the Artist Empowerment Coalition, which advocates the right of artists to control their creative properties. She is also a spokesperson for the American Society for the Prevention of Cruelty to Animals; her appearance in commercials for the ASPCA featured "The First Time Ever I Saw Your Face". In the Bronx section of New York City, the Hyde Leadership Chart School's after-school music program is called "The Roberta Flack School of Music" and is in partnership with Flack, who founded the school, which provides free music education to underprivileged students. Between 1966 to 1972, she was married to Stephen Novosel. Flack is the aunt of the professional ice skater Rory Flack Burghart. According to a DNA analysis, she descended, mainly, from people of Cameroon. Concerns about her health as she passed age 60, drove Flack, 62, to lose more than 30 lbs. Her method: a weight-loss program that included mesotherapy, a procedure practiced mainly overseas that includes multiple injections into the mesoderm—the middle layer of skin—of drugs that supposedly break down fat. Under treatment by Manhattan Dr. Lionel Bissoon, one of 20 mesotherapy practitioners in the U.S., Flack says, she noticed results immediately. "I saw
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my chins disappear," she says. "The fat dissolved in front of my eyes. I could feel my ribs! I haven't felt them since I was 15." [6]
In pop culture Her collaboration with Donny Hathaway is mentioned in the song "What A Catch, Donnie" on Fall Out Boy's fifth studio album, Folie à Deux. American experimental producer Flying Lotus had a song named after her ("RobertaFlack") on his Los Angeles album. In 1991, Hong Kong singer Sandy Lam recorded a covered version of "And So It Goes" called "微 涼" in the album 夢 了 、 瘋 了 、 倦 了. Although it was not officially promoted by the record company, it was played by many DJs. In the Red Hot Chili Peppers' song "My Lovely Man", on the album Blood Sugar Sex Magik, Anthony Kiedis sang "I listen to Roberta Flack, but I know you won't come back."
Accolades Flack was inducted into the North Carolina Music Hall of Fame in 2009.
Grammy Awards The Grammy Awards are awarded annually by the National Academy of Recording Arts and Sciences. Flack has received four awards from thirteen nominations. Year
Recipient
Award
1972 "You've Got a Friend" (with Donny Hathaway)
Best R&B Vocal Performance by a Group
1973 "The First Time Ever I Saw Your Face"
Record of the Year
Quiet Fire
Best Pop Vocal Performance, Female
"Where Is the Love" (with Donny Hathaway)
Best Pop Vocal Performance by a Duo, Group or Chorus
1974 Killing Me Softly "Killing Me Softly with His Song"
1975 "Feel Like Makin' Love"
Result Nominated Won Nominated Won
Album of the Year
Nominated
Record of the Year
Won
Best Pop Vocal Performance, Female
Won
Record of the Year
Nominated
Best Pop Vocal Performance, Female
Nominated
1979 "The Closer I Get to You" (with Donny Hathaway) Best Pop Vocal Performance by a Duo or Group
Nominated
1981 Roberta Flack Featuring Donny Hathaway
Best R&B Vocal Performance, Female
Nominated
Best R&B Performance by a Duo or Group with Vocal
Nominated
Best Traditional Pop Vocal Performance
Nominated
"Back Together Again" (with Donny Hathaway) 1995 Roberta
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80
American Music Awards The American Music Awards is an annual awards ceremony created by Dick Clark in 1973. Flack has received one award from six nominations. Year
Recipient
1974
Award
Result
Favorite Female Artist (Pop/Rock)
Nominated
Favorite Female Artist (Soul/R&B)
Won
"Killing Me Softly with His Song" Favorite Single (Pop/Rock) 1975
Favorite Female Artist (Soul/R&B) Nominated "Feel Like Makin' Love"
1979
Nominated
Favorite Single (Soul/R&B)
Nominated
Favorite Female Artist (Soul/R&B) Nominated
References [1] http:/ / www. robertaflack. com/ [2] "United States Census, 1940," index and images, FamilySearch (https:/ / familysearch. org/ pal:/ MM9. 1. 1/ KW96-CGH : accessed 21 Aug 2013), Roberta Flack in entry for Aileen Council, 1940. [3] [ Robert Flack Biography at Allmusic.com]. [4] McGillagan (1999), p.194 [5] http:/ / www. robertaflack. com/ biography. php [6] Adato, A., Stoynoff, N., Nolan, C., & Breu, G. (2003). Scaling Down. People, 59(2), 109
Bibliography • McGilligan, Patrick (1999). Clint: The Life and Legend. Harper Collins. ISBN 0-00-638354-8.
External links • • • •
Official web site (http://www.robertaflack.com/) Roberta Flack (http://www.imdb.com/name/nm0280808/) at the Internet Movie Database Roberta Flack (http://www.allmusic.com/artist/p4266) at Allmusic Peter Reilly's review of Quiet Fire (http://web.archive.org/web/20080213225623/http://www.geocities. com/flackfiles/peterreillyquietfire.html) • Roberta Flack (http://www.wlatalent.com/roster/roberta_flack/artistprofile.htm) at Wenig-Lamonica Associates
Phoebe Snow
81
Phoebe Snow Phoebe Snow Background information Birth name
Phoebe Ann Laub
Born
[1][2] July 17, 1950 New York City, U.S.
Died
April 26, 2011 (aged 60) Edison, New Jersey, U.S.
Genres
Folk, blues, gospel, jazz, pop, rock, rock and roll, soft rock, soul
Occupations
Singer-songwriter
Instruments
Guitar, vocals
Years active
1972–2010
Labels
Shelter, Columbia, Atlantic, Eagle, House Of Blues
Associated acts Sisters of Glory
Phoebe Snow (born Phoebe Ann Laub; July 17, 1950 – April 26, 2011) was an American singer, songwriter, and guitarist, best known for her chart-topping 1975 hit "Poetry Man". She was described by The New York Times as a "contralto grounded in a bluesy growl and capable of sweeping over four octaves."
Personal life She was born in New York City in 1950, and raised in a musical household in which Delta blues, Broadway show tunes, Dixieland jazz, classical music, and folk music recordings were played around the clock. Her father, Merrill Laub, an exterminator by trade, had an encyclopedic knowledge of American film and theater and was also an avid collector and restorer of antiques. Her mother, Lili Laub, was a dance teacher who had performed with the Martha Graham group.[3] Snow grew up in Teaneck, New Jersey and graduated from Teaneck High School.[4] She subsequently attended Shimer College in Mount Carroll, Illinois, but did not graduate. As a student, she carried her prized Martin 000-18 acoustic guitar from club to club in Greenwich Village, playing and singing on amateur nights. Her stage name is a fictional advertising character created in the early 1900s for the Delaware, Lackawanna and Western Railroad: Phoebe Snow was a young woman who appeared dressed all in white. Also, a DL&W passenger train called the Phoebe Snow ran from Hoboken to Buffalo between 1949 and 1960. Snow was briefly married to Phil Kearns, and on December 10, 1975, she gave birth to a severely brain damaged daughter, Valerie Rose.[5] Snow resolved not to institutionalize Valerie, and cared for her at home until Valerie died on March 19, 2007, at the age of 31. Snow's efforts to care for Valerie nearly ended her career. She continued to take voice lessons, and she studied opera informally.[] Snow was Jewish and Buddhist.[6]
Phoebe Snow
Professional life It was at The Bitter End club in 1972 that Denny Cordell, a promotions executive for Shelter Records, was so taken by the singer that he signed her to the label and produced her first recording.[citation needed] She released an eponymous album, Phoebe Snow, in 1974. Featuring guest performances by The Persuasions, Zoot Sims, Teddy Wilson, David Bromberg, and Dave Mason, Snow's album went on to sell over a million copies in the United States and became one of the most acclaimed recordings of the era. [citation needed] This spawned a Top Five single on the Billboard Hot 100 with "Poetry Man" and was itself a Top Five album in Billboard, for which she received a nomination for the Grammy Award for Best New Artist.[7] The cover of Rolling Stone magazine followed, while she performed as the opening act for tours by Jackson Browne and Paul Simon (with whom she recorded the hit single "Gone at Last" in 1975). 1975 also brought the first of several appearances as a musical guest on Saturday Night Live, on which Snow performed both solo and in duets with Paul Simon and Linda Ronstadt. During the 1975 appearance, she was seven months pregnant with her daughter, Valerie. Her backup vocal is heard on Paul Simon's hit song "50 Ways To Leave Your Lover" along with Valerie Simpson and Patti Austin, from 1975. She also duets with him on the song gospel-tinged "Gone At Last". Both songs appear on Simon's Grammy-winning 1975 album "Still Crazy After All These Years". Legal battles took place between Snow and Shelter Records. Snow ended up signed to Columbia Records. Her second album, Second Childhood, appeared in 1976, produced by Phil Ramone. It was jazzier and more introspective, and was an RIAA Certified Gold Album for Phoebe, with the Gold Album awarded on July 9th, 1976. She moved to a more rock-oriented sound for It Looks Like Snow, released later in 1976 with David Rubinson producing. 1977 saw Never Letting Go, again with Ramone, while 1978's Against the Grain was helmed by Barry Beckett. After that Snow parted ways with Columbia; she would later say that the stress of her parental obligations degraded her ability to make music effectively. In 1979, she toured extensively throughout the U.S. and Canada with noted guitarist Arlen Roth as her lead guitarist and Musical Director. In 1981, Snow, now signed with Mirage Records, released Rock Away, recorded with members of Billy Joel's band; it spun off the Top 50 hit "Games". [citation needed]
The 1983 Rolling Stone Record Guide summed up Snow's career so far by saying: "One of the most gifted voices of her generation, Phoebe Snow can do just about anything stylistically as well as technically … The question that's still unanswered is how best to channel such talent." Snow spent long periods away from recording, often singing commercial jingles for AT&T and others in order to support herself and her daughter.[8] Later, in the 1990s, Snow's voice was featured on commercials for Cotton Incorporated and their The Fabric of Our Lives campaign. During the 1980s she also battled her own life-threatening illness. Wikipedia:Please clarify Snow returned to recording with Something Real in 1989 and gathered a few more hits on the Adult Contemporary charts. Also, Snow composed the Detroit's WDIV-TV Go 4 It! campaign in 1980. She sang Ancient Places, Sacred Lands composed by Steve Horelick [9] on Reading Rainbow's tenth episode The Gift of the Sacred Dog which was based on the book by Paul Goble and narrated by actor Michael Ansara. It was shot in Crow Agency, Montana in 1983. Snow performed in 1989 on stage at Avery Fisher Hall in New York City as part of Our Common Future, a five-hour live television broadcast originating from several countries. In 1990, she contributed a cover version of the Delaney & Bonnie song "Get Ourselves Together" to the Elektra compilation Rubáiyát which included Earth Wind & Fire guitarist Dick Smith. In 1992, she toured with Donald Fagen's New York Rock and Soul Revue and was featured on the group's album recorded live at the Beacon Theater in New York City. Throughout the 1990s she made numerous appearances on the Howard Stern radio show. She sang live for specials and birthday shows. In 1997, she sang the Roseanne theme song a cappella during the closing moments of the final episode. [10]
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In 1995, Snow participated in The Wizard of Oz in Concert: Dreams Come True at the Lincoln Center in New York City. In addition to Ms. Snow, the Concert featured performances by Jewel, Joel Grey, Roger Daltrey, Jackson Browne amongst others. Snow sang a very distinctive medley of "If I Only had a Brain; a Heart; the Nerve". An album of the concert was released on Compact Disc on Rhino Records as catalog number R2 72405. Snow joined the pop group, Zap Mama, who recorded its own version of "Poetry Man," in an impromptu duet on the PBS series, "Sessions At West 54th." Hawaiian girl group Na Leo also had a hit on the Adult Contemporary chart in 1999 with their cover version of "Poetry Man". In May 1998, Snow received the Cultural Achievement Award by New York City Mayor Rudolph Giuliani. She was also the recipient of a Don Kirschner Rock Award, several Playboy Music Poll Awards, New York Music Awards and the Clio Award.[citation needed] Snow performed for U.S. President Bill Clinton, First Lady Hillary Clinton, and his cabinet at Camp David in 1999. In 2003, Snow released her album Natural Wonder on Eagle Records, containing ten original tracks, her first original material in fourteen years. Snow performed at Howard Stern's wedding in 2008, and made a special appearance in the film Noah's Arc: Jumping the Broom as herself. Some of her music was also featured on the soundtrack of the film. Her Live album (2008) featured many of her hits as well as a cover of "Piece of My Heart".[citation needed]
Death Phoebe Snow suffered a cerebral hemorrhage on January 19, 2010 and slipped into a coma,[11] enduring bouts of blood clots, pneumonia, and congestive heart failure. Snow died on April 26, 2011 at age 60 in Edison, New Jersey.
Discography This list is incomplete; you can help by expanding it [12].
Albums • • • • • • • • •
1974: Snowbird 1974: Phoebe Snow (Platinum) 1976: Second Childhood (Gold) 1976: It Looks Like Snow 1977: Never Letting Go 1978: Against the Grain 1981: The Best of Phoebe Snow 1981: Rock Away 1989: Something Real
• • • • • • • •
1991: The New York Rock and Soul Revue: Live at the Beacon 1994: Phoebe Snow (Gold Disc) 1995: P.S. 1995: Good News In Hard Times (with The Sisters of Glory) 1998: I Can't Complain 2002: Very Best of Phoebe Snow 2003: Natural Wonder 2008: Live
Phoebe Snow
Compilations • 1981: The Best of Phoebe Snow • 1995: P.S. • 2001: The Very Best of Phoebe Snow
Singles •
"Poetry Man" b/wWikipedia:Please clarify "Easy Street" (non-album track included as a • "Mercy, Mercy, Mercy" (May 1981) – U.S. bonus on CD) (January 1975) – U.S. #5 Pop / #1 adult contemporary[citation needed] #52 pop "Harpo's Blues" (May 1975) – U.S. #20 adult contemporary[citation needed] • "Dreams I Dream" (with Dave Mason) "Gone at Last" (August 1975) (with Paul Simon and Jessy Dixon Singers) – U.S. #23 Pop / (January 1988) – U.S. #11 adult contemporary #9 adult contemporary[citation needed] • "Three Little Birds" duet with Gregory Abbott [13] "Shakey Ground"/"Don't Sleep with Your Eyes Closed" (January 1977) – U.S. #70 pop (2003) – pop Caribbean [citation needed] "Every Night" (January 1979) – UK #37 "Games" (February 1981) – U.S. #46 pop[citation needed] • "If I Can Just Get Through the Night" (April 1989) — U.S. #13 adult contemporary • "Something Real" (July 1989) — U.S. #29 adult contemporary
• • • • •
With other artists • • • • • • • • • •
"Hymn" (Aftertones album 1975) – with Janis Ian "You Really Got a Hold On Me" ("Bobby McFerrin" album 1982) – with [(Bobby McFerrin)] "Thankful N'Thoughtful" (Night Lines album 1984) – with Dave Grusin "Between Old and New York" (Night Lines album 1984) – with Dave Grusin "Tossin' and Turnin'" (Johnnie Be Back album 1991) – with Johnnie Johnson "Sometimes Love Forgets" ("Hot Spot") Elektra Asylum album 1980; [with Steve Goodman] "Gone at Last" ("Still Crazy After All These Years") Columbia album 1975; [with Paul Simon] "A Lover's Question" ("Portrait Of The Blues" album 1993) - with Lou Rawls "Baby I'm Yours" (Naked City feat. Jeff Golub) Atlantic Recording Company 1996; with Avenue Blue "One Too Many Mornings" (Steve Howe, "Portraits of Bob Dylan") 1999
References [1] Thursby, Keith (April 27, 2011). "Phoebe Snow dies at 60; singer of 1974 hit 'Poetry Man' (http:/ / www. latimes. com/ news/ obituaries/ la-me-phoebe-snow-20110427,0,5216521. story). Los Angeles Times. Retrieved April 27, 2011. [2] Matt Schudel (April 27, 2011). "Phoebe Snow, powerful singer of 1970s hit ‘Poetry Man,’ dies at 60" (http:/ / www. washingtonpost. com/ local/ obituaries/ phoebe-snow-powerful-singer-of-1970s-hit-poetry-man-dies-at-60/ 2011/ 04/ 27/ AFxN5x1E_story. html). The Washington Post. Retrieved April 27, 2011. [3] "The Blues of Phoebe Snow" by Don Shewey (http:/ / www. donshewey. com/ music_articles/ phoebe_snow. html) [4] Nash, Margo (June 22, 2003). "Still Singing, Still a Fan Of Trains" (http:/ / www. nytimes. com/ 2003/ 06/ 22/ nyregion/ still-singing-still-a-fan-of-trains. html), The New York Times. Retrieved October 10, 2007. "Her first record, Phoebe Snow (Shelter 1974), with the single "Poetry Man", went gold, and Snow, who had been discovered performing in a Greenwich Village coffeehouse, shortly after graduating from Teaneck High School, found herself a sudden success." [5] Holden, Stephen (October 21, 1983). "Things Are Looking Up Again For Phoebe Snow" (http:/ / www. nytimes. com/ 1983/ 10/ 21/ arts/ things-are-looking-up-again-for-phoebe-snow. html). The New York Times. Retrieved August 23, 2008. [6] Jewish Journal, May 2011; "Remembering my friend, Phoebe Snow" (http:/ / www. jewishjournal. com/ obituaries/ article/ remembering_my_friend_phoebe_snow_20110503) [7] Billboard (http:/ / www. billboard. com/ articles/ news/ 471865/ phoebe-snow-poetry-man-singer-dies) [8] "Music: Throwing In the Crying Towel" (https:/ / web. archive. org/ web/ 20110604065934/ http:/ / www. time. com/ time/ magazine/ article/ 0,9171,957579-2,00. html). Time. May 1, 1989. [9] http:/ / stevehmusic. com/ phoebesnow
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Phoebe Snow [10] tvseriesfinale.com "Roseanne: Episode 221 & 222 – Into That Good Night (part one & two) (http:/ / tvseriesfinale. com/ tv-show/ roseanne/ ), Retrieved May 16, 2013. [11] "Phoebe Snow, the Greatest Voice of Her Generation, Dies at 60" (http:/ / www. showbiz411. com/ 2011/ 04/ 26/ phoebe-snow-the-greatest-voice-of-her-generation-dies-at-58). Showbiz411. Retrieved April 26, 2011. [12] http:/ / en. wikipedia. org/ w/ index. php?title=Phoebe_Snow& action=edit [13] Discogs.com (http:/ / www. discogs. com/ Phoebe-Snow-Shakey-Ground-Dont-Sleep-With-Your-Eyes-Closed/ release/ 2129187)
External links • Unofficial fan site (http://www.vdebolt.com/phoebehome/) • Soul Covers by Michael Awkward featuring research on Phoebe Snow (http://www.dukeupress.edu/books. php3?isbn=978-0-8223-3997-7) • Phoebe's tribute to Valerie (http://www.phoebesnow.com/)
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Contributors: Another Believer, Ary29, Caladonia, Chubs730, Cosprings, Flores,Alberto, GoingBatty, Jugerhua, Koavf, Macdonald-ross, MenkinAlRire, Michaelfool, Oleway, Rothorpe, Tassedethe, Tbhotch, Tkynerd, 21 anonymous edits Hello, Young Lovers (song) Source: https://en.wikipedia.org/w/index.php?oldid=587659575 Contributors: Allenstone, BRG, Bearbalu100, Beetstra, Danaphile, Darintodream, Deb, Discographer, Durova, Gareth E Kegg, Jax 0677, JustAGal, LongLiveMusic, Magioladitis, Mandarax, Mbakkel2, Nickellmusic, Od Mishehu, Ondewelle, Piniricc65, Richhoncho, TonyTheTiger, Wolfer68, Yip1982, 11 anonymous edits Rodgers and Hammerstein Source: https://en.wikipedia.org/w/index.php?oldid=585754615 Contributors: 1966batfan, A8UDI, ABF, Abrothman, Addshore, After Midnight, Alansohn, AlbertSM, Aleenf1, Allformweek, Anivron, Antmusic, Arcadian, Arthena, BRG, Ballerinailina, Before My Ken, Beyond My Ken, Blethering Scot, Bobby122, Bobo192, Bodnotbod, Bovineboy2008, CLW, Caiaffa, Charles 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Article Sources and Contributors The Look of Love (1967 song) Source: https://en.wikipedia.org/w/index.php?oldid=589392692 Contributors: 78.26, Akerans, Aloy1016, Am86, Andycjp, Arjoccolenty, ArkansasTraveler, Auntof6, BANKABLE, BRG, Bep-and-matt, Bs308706, Calbookaddict, Cgilbert76, Chadwholovedme, Chie one, Classicpop, Coby1bs, Courcelles, Cutkiller, DA19, DavePretty, DeniseGaskins, Design, DrivermaticA8, Drmies, Ecstrakool, Eliedion, EoGuy, Explicit, Flyer22, GBS2, Garryw, George Ho, Gerstandhardt, Ghis62, Giovannii84, Graham87, Hmains, IXIA, InnocuousPseudonym, Jaan, Jpgordon, Jporco, Julie Chapman, JustAGal, Kind Tennis Fan, Kinkyturnip, Kusandra, LargsVegas, Loginnigol, LongLiveMusic, Magioladitis, MansLaughter, Marcel flaubert, Mattbrundage, MegX, MenkinAlRire, Monkeyconfessions, Morefun, MrDolomite, Muhandes, OfficeBoy, PatLadwig, Patrick Rogel, PeaceFrog70, Phildev, Piku, Protonk, RBBrittain, Rocket000, SMC, Sardaka, Sfpianist, ShelfSkewed, Sltchocum, SlubGlub, Solopiel, Stevouk, Suchalady, SwisterTwister, Sysmithfan, Telecineguy, Textorus, The Yeti, Thegn, Tolman1956, Tony Corsini, Tovojolo, Twas Now, Vstrad7, Wolfer68, Woohookitty, Yintan, 140 anonymous edits Feel Like Makin' Love (Roberta Flack song) Source: https://en.wikipedia.org/w/index.php?oldid=580533294 Contributors: Carlossfsu, Crystallina, DISEman, Dan56, Durova, Estnyboer, Gariseiro, Hmains, InnocuousPseudonym, Joy if, Klow, LilHelpa, LindsayH, Mike Halterman, Niceguyedc, Night Time, Nyctc7, Rogerb67, Starcheerspeaksnewslostwars, SwisterTwister, Tassedethe, TenPoundHammer, TonyTheTiger, Toussaint, Vytron, Wasted Time R, Wolfer68, Zephyrnthesky, Δ, 17 anonymous edits Roberta Flack Source: https://en.wikipedia.org/w/index.php?oldid=591868340 Contributors: All Hallow's Wraith, Andreas S., Angr, Aspects, Avario87, Azumanga1, Bashereyre, BillFlis, Brandon97, BrothaTimothy, CCRoxtar, CJBR, Calatayudboy, CarbonRod85, Carloskeyes, Carlossfsu, Catperson12, Cbustapeck, Ccson, Chensiyuan, Chocolatedon2k3, Clarke187, Clausule, Clay70, Clayguevara, Cosprings, Courcelles, Crasster, CrazyC83, Cricket02, Crisso, Crystallina, CutOffTies, D6, Dale Arnett, Dann258, Dantheman531, Darena mipt, Ddrane, Deb, Derek R Bullamore, Design, Dianergr, Dina, Dismas, Dma124, Doctorsundar, Dommccas, Dr. Blofeld, Drmagic, Duke53, ECHOforward, EditorE, Efage, Ericorbit, Esprit15d, Estevoaei, Evanreyes, Faustlin, Feudonym, FireDoug, Fraggle81, Freakofnurture, FuriousFreddy, GassyGuy, Geat, GeeJo, Ghirlandajo, Ghosts&empties, Gladco, Gorrrillla5, Grstain, Hayward62, Hokeman, Hotwine8, Incognito4me, InnocuousPseudonym, Iridescent, Isinbill, Japanese Searobin, Jax 0677, JoannaSerah, John Price, Johnleemk, Joncaire, Josh Rumage, Journalist, Jriver44, Juvancis, Jwc4jwc4, Kbh3rd, Khazar2, KieferSuth1985Marx, Kimiko20, Kl4m, Kleighred, Koavf, Lance Holdger, Leahtwosaints, Los2234, Luke Davis, MER-C, Malco23, Maninov4u, MartinezMD, Materialscientist, Mav, Mercury McKinnon, MiStAhB, MissMeka2011, Monegasque, Monni95, Moovi, Mr Frosty, Mschlindwein, Musiclover, Musicpvm, NPswimdude500, Night Time, Notdedyet, Nummer29, Oneiros, Oobopshark, Pandora, Paul A, Paul MacDermott, Paulburnett, Pcpcpc, Pineapplewafers, Pinkadelica, Project2501a, Pseudomonas, Pugetbill, Questors, R&Blover1996, RN1970, Ratesduty, Rich Farmbrough, Richhoncho, RickBurila, Ricky81682, Rigadoun, Rjhatl, Rjwilmsi,
[email protected], Robert Moore, Rory Flack, Runt, Sam Blacketer, Shkarter1985, Starcheerspeaksnewslostwars, Stormyhawn, Strombomboli, Sumoeagle179, Tapir2001, Targetpuller, Tassedethe, The Interior, The4thpip, Tinton5, TinyMark, Tipsarevic, TonyTheTiger, Typofixer76, Ufwuct, Unreal7, Velour, Voxii, W guice, Wasted Time R, Widr, Wolfer68, Woohookitty, Zippanova, Zumbo, נתן קלמן, ﺯﺭﺷﮏ, 203 anonymous edits Phoebe Snow Source: https://en.wikipedia.org/w/index.php?oldid=591606040 Contributors: Acjelen, After Midnight, Airproofing, Alansohn, Alicia4eva, All Hallow's Wraith, Angr, Anthropocentrism, Arlenroth, Arno Matthias, Aspects, Atgrrrl, Bearcat, BeniBB, Benuliak, Billyfutile, BlackLeon, Blewit, Boleyn2, Bongomatic, Bubba73, Bus stop, Bws2002, Computerup, Cricket02, D6, DCEdwards1966, Daniellebriseboisfan, Deb, Derek R Bullamore, Dismas, Donquixote99, Dreadarthur, Dtoliaferro, Evilphoenix, Flat Out, Gamaliel, Georgerbennett, Geraldnorth, Gladco, GoingBatty, Goodnightmush, Grabbitt, GraemeMcRae, GrahamHardy, Griot-de, Hailey C. Shannon, Hoverfish, Hydrargyrum, Iridescent, Ivan Zero, J. Van Meter, JClabaugh, Jim Michael, Jimmyeightysix, Joefulcher, Joel Russ, Jonathanoz, Joseleon12, Jtab4994, Kanimaki, Karaokegod, Karl 334, Kbdank71, Kiore, Koavf, Kurt Shaped Box, LegitimateAndEvenCompelling, Lighthead, Lightspout, Lscreative,
[email protected], MWB1138, Mark Lungo, Marrante, Masterknighted, Mcarling, Mchanges!, MegX, Mellery, Mgreason, Mocean, Mojo Hand, MooseBlaster, Mors Principium Est, MrsRuth, Muffin-Tulsa, Muhand, Mwp62, NatGertler, Neelix, Neptune's Trident, Nummer29, Nytimhunter, OmegaXmutantX, Only, Paul Erik, PeterZacSmith, Philip Trueman, Phoebe, Phyllis1753, Realkyhick, Richard Arthur Norton (1958- ), Rjwilmsi, Rlevse,
[email protected], Robert.Harker, RoswellAliens, Rsm99833, ScottyWright, Scwlong, Seb az86556, Shaundaily, ShelfSkewed, Shorelick, SimonHova, Singout, Sinshan, Smarkflea, Spalding, SpikeToronto, Stananson, Steelbeard1, Sunset c, Superastig, Symmerhill, Sysin, TarkusNYC, Tassedethe, Tastyfingers, Themfromspace, Tinton5, Treybien, Tribal44, Tubbyty, Tvoz, Ulric1313, Ultraviolet scissor flame, Uzerakount, Visviva, Volleyballgirl04, WallyFromColumbia, Wasted Time R, WhatamIdoing, Whywhenwhohow, Willgee, Wistlo, Worobiew, Zapptastic, Zephyrnthesky, 151 anonymous edits
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Image Sources, Licenses and Contributors
Image Sources, Licenses and Contributors File:Miles Davis 24.jpg Source: https://en.wikipedia.org/w/index.php?title=File:Miles_Davis_24.jpg License: Creative Commons Attribution 2.0 Contributors: Oliver Nurock @ ohjaygee Johannesburg/ Cape Town, South Africa File:Miles Davis 23.jpg Source: https://en.wikipedia.org/w/index.php?title=File:Miles_Davis_23.jpg License: Creative Commons Attribution 2.0 Contributors: Rui Britto File:Weatherreport.jpg Source: https://en.wikipedia.org/w/index.php?title=File:Weatherreport.jpg License: Public Domain Contributors: unnown File:Return to Forever 1976.jpg Source: https://en.wikipedia.org/w/index.php?title=File:Return_to_Forever_1976.jpg License: Creative Commons Attribution-Sharealike 2.0 Contributors: Tom Marcello Webster, New York, USA File:Jean-Luc Ponty.jpg Source: https://en.wikipedia.org/w/index.php?title=File:Jean-Luc_Ponty.jpg License: Creative Commons Attribution 2.0 Contributors: Claude Renault File:David Sanborn (2006).jpg Source: https://en.wikipedia.org/w/index.php?title=File:David_Sanborn_(2006).jpg License: Creative Commons Attribution-Sharealike 2.0 Contributors: Franco Folini File:PatMetheny.png Source: https://en.wikipedia.org/w/index.php?title=File:PatMetheny.png License: Public Domain Contributors: Crisneda2000, Dr. Shaggeman, Guitarpop, Mind meal, Samulili, 1 anonymous edits File:Aretha Franklin.png Source: https://en.wikipedia.org/w/index.php?title=File:Aretha_Franklin.png License: Public Domain Contributors: Atlantic Records File:Aretha Franklin birthplace 406 Lucy Ave Memphis TN 06.jpg Source: https://en.wikipedia.org/w/index.php?title=File:Aretha_Franklin_birthplace_406_Lucy_Ave_Memphis_TN_06.jpg License: Creative Commons Attribution 3.0 Contributors: Thomas R Machnitzki Image:Gnome-mime-sound-openclipart.svg Source: https://en.wikipedia.org/w/index.php?title=File:Gnome-mime-sound-openclipart.svg License: unknown Contributors: User:Eubulides File:arethafranklin.jpg Source: https://en.wikipedia.org/w/index.php?title=File:Arethafranklin.jpg License: Creative Commons Attribution 2.5 Contributors: Ryan Arrowsmith File:Aretha Franklin US Open 2011.jpg Source: https://en.wikipedia.org/w/index.php?title=File:Aretha_Franklin_US_Open_2011.jpg License: Creative Commons Attribution 2.0 Contributors: Boss Tweed from New York Image:Aretha Franklin honored with the Presidential Medal of Freedom.jpg Source: https://en.wikipedia.org/w/index.php?title=File:Aretha_Franklin_honored_with_the_Presidential_Medal_of_Freedom.jpg License: Public Domain Contributors: White House photo by Paul Morse Original uploader was Nrswanson at en.wikipedia File:ArethaFranklinMadameTussauds.PNG Source: https://en.wikipedia.org/w/index.php?title=File:ArethaFranklinMadameTussauds.PNG License: Creative Commons Attribution-Sharealike 2.0 Contributors: Ernio48, FlickreviewR, Judithcomm, Martin H., Materialscientist, SunOfErat Image:Ivan Lins.jpg Source: https://en.wikipedia.org/w/index.php?title=File:Ivan_Lins.jpg License: Creative Commons Attribution-Sharealike 2.0 Contributors: José Goulão from Lisbon, Portugal File:Johnny Mercer, New York, N.Y., between 1946 and 1948 (William P. Gottlieb 06121).jpg Source: https://en.wikipedia.org/w/index.php?title=File:Johnny_Mercer,_New_York,_N.Y.,_between_1946_and_1948_(William_P._Gottlieb_06121).jpg License: unknown Contributors: Freimut Bahlo, Kintetsubuffalo, Ras67, Ö File:Johnny Mercer.jpg Source: https://en.wikipedia.org/w/index.php?title=File:Johnny_Mercer.jpg License: Creative Commons Attribution 2.0 Contributors: Mark Coggins File:Esperanza spalding.jpg Source: https://en.wikipedia.org/w/index.php?title=File:Esperanza_spalding.jpg License: Creative Commons Attribution-Sharealike 2.0 Contributors: "Cowboy" Ben Alman http://www.benalman.com File:Esperanza Spalding2.jpg Source: https://en.wikipedia.org/w/index.php?title=File:Esperanza_Spalding2.jpg License: Creative Commons Attribution-Sharealike 2.0 Contributors: Original by Enrico Maioli and Derivative Work by Hugh Pickens File:Nobel Peace Price Concert 2009 Esperanza Spalding1.jpg Source: https://en.wikipedia.org/w/index.php?title=File:Nobel_Peace_Price_Concert_2009_Esperanza_Spalding1.jpg License: Creative Commons Attribution-Sharealike 3.0 Contributors: Harrywad File:Esperanze Spalding at North Sea Jazz 2009.jpg Source: https://en.wikipedia.org/w/index.php?title=File:Esperanze_Spalding_at_North_Sea_Jazz_2009.jpg License: Creative Commons Attribution-Sharealike 3.0,2.5,2.0,1.0 Contributors: JBreeschoten file:Esperanza Spalding - Estate fiesolana 2009 1.jpg Source: https://en.wikipedia.org/w/index.php?title=File:Esperanza_Spalding_-_Estate_fiesolana_2009_1.jpg License: Creative Commons Attribution 2.0 Contributors: Pennello file:Esperanza Spalding - Estate fiesolana 2009 2.jpg Source: https://en.wikipedia.org/w/index.php?title=File:Esperanza_Spalding_-_Estate_fiesolana_2009_2.jpg License: Creative Commons Attribution 2.0 Contributors: Pennello File:Star full.svg Source: https://en.wikipedia.org/w/index.php?title=File:Star_full.svg License: Public Domain Contributors: User:Conti from the original images by User:RedHotHeat File:Star empty.svg Source: https://en.wikipedia.org/w/index.php?title=File:Star_empty.svg License: Creative Commons Attribution-Sharealike 2.5 Contributors: Cathy Richards, Conti, Juiced lemon, Magasjukur2, Rocket000, Sarang, Tiptoety, 7 anonymous edits Image:Rodgers and Hammerstein and Berlin and Tamiris NYWTS.jpg Source: https://en.wikipedia.org/w/index.php?title=File:Rodgers_and_Hammerstein_and_Berlin_and_Tamiris_NYWTS.jpg License: Public Domain Contributors: Al Aumuller, World Telegram staff photographer File:Chrisette Michelle.jpg Source: https://en.wikipedia.org/w/index.php?title=File:Chrisette_Michelle.jpg License: Creative Commons Attribution-Sharealike 2.0 Contributors: Jalylah Burrell Brooklyn, NY File:Roberta Flack43.JPG Source: https://en.wikipedia.org/w/index.php?title=File:Roberta_Flack43.JPG License: Creative Commons Attribution-ShareAlike 3.0 Unported Contributors: Roland Godefroy File:Roberta Flack in August 2013.jpg Source: https://en.wikipedia.org/w/index.php?title=File:Roberta_Flack_in_August_2013.jpg License: Creative Commons Attribution-Sharealike 2.0 Contributors: Michael Borkson
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License
License Creative Commons Attribution-Share Alike 3.0 //creativecommons.org/licenses/by-sa/3.0/
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