In the album's liner notes, Larry Carr writes of Wiley, who came to New York from her home state of Oklahoma, "Her singing was intimate and intelligent, warm and wistful, sweet and sensual. Wiley sings the first refrain, then comes an instrumental break, followed by Lee singing the second half of the second refrain. She omits both verses and the reprise because of their specificity with regard to the character in the show for which the song was written.
For Rhoda Koenig , this is the "supreme" recording of the song because Wiley captures both of its major themes. In her hands, "the song trembles with the sound of innocence meeting experience.
What Lee did, according to Rhoda Koenig , was "to fix the change in style from the s" during which the standard was either sopranos from the world of operetta or flappers from the world of the Charleston. Lee changed the tempo to "very, very slow" presenting the song in an intimate, even sensual confessional style that was previously, except for Wiley, unheard.
The track begins and ends with the first refrain sung at a slow, deliberate tempo filled with a reserved emotion. Lee's vocal is preceded by a piano Intro. In the photo montage on the music-video at left, the pianist pictured is Teddy Wilson, who often played with Goodman -- but not here. In the photo below, from , it looks to be Powell. After Lee sings there is an instrumental conclusion by the Goodman Orchestra in the same spirit -- with two brief Goodman clarinet breaks.
This suggests that the OKeh got the show title from the sheet music published in even before the show went into tryouts and before the show title Smarty had been replaced by Funny Face. It was not unusual for sheet music publishers to distribute these early versions of the music to promote early recordings, which was beneficial to everybody. Music-Video : same track as on album above. We are not certain if that is Powell at the piano in the photo.
We are sure it's not Teddy Wilson. These tracks were created in and , remastered from the Fitzgerald vinyl albums Ella Sings Gershwin Decca and Songs in a Mellow Mood Decca plus eight other standards added. Of the accompaniment by pianist Ellis Larkins, Ron Wynn writes at CD Universe that he was "long a favorite of vocalists everywhere for his ability to support without intruding," which left her "sublime voice, to interpret and dissect sentiments, themes, and moods with the touch of a master.
For this recording, visit the Cafe Songbook Lyrics Lounge , this page. Notes on Twelve Nights in Hollywood : From through c. The live recordings were originally made under the supervision of Norman Granz, founder of jazz labels Verve and later Pablo during two gigs Ella had at the club during and Some of the tracks had never been heard since the original performances until the advent of this set. Notes : Armstrong is relatively faithful to Ira Gershwin's lyric, singing Verse 1, Refrain 1 and then skipping Verse 2 finishing with Refrain 2.
In the article he notes, "As his trumpet embouchure deteriorated and his gravelly voice deepened in middle age, he began to devote more time to singing standard ballads, and this lovely performance [of "How Long Has This Been Going On?
He had recorded many such songs in his OKeh Record days, but on the Verve recording, "the combination of his home-style singing with the urbane backing of Peterson's trio gave them a special quality all their own. Peterson's trio consisted of himself piano , Herb Ellis guitar , and Louie Bellson drums. Amazon reviewer Relaxin' writes of the album, "On that great Verve. Satchmo is not encumbered by that saccharine pop stuff of his later years, nor is he too Bourbon Street to bear.
Instead, he swings gracefully, wittily, almost effortlessly from track to track. Notes : For iTunes reviewer Michael G. Nastos, was the greatest year for modern jazz recording, Detroit was the "hotspot" and "It was here that Trane connected with pianist Tommy Flanagan, subsequently headed for the East Coast, and recorded this seminal hard bop album.
In tow were fellow Detroiters — drummer Louis Hayes, bassist Doug Watkins, and guitarist Kenny Burrell, with the fine trumpeter from modern big bands Idrees Sulieman as the sixth wheel. This performance of the song is regarded as "quintessential Flanagan, and quite indicative of the Midwestern Motor City flavor Flanagan and his many peers brought into the mainstream jazz of the day and beyond.
Notes : " The Book of Ballads in question is the Great American Songbook , and Carmen McRae breathes new life into some of its most dog-eared pages on this wonderful session that heralded the close of her Kapp Records tenure.
In her hands, the songs pulse with energy and life. Arranger Frank Hunter and a supporting trio led by pianist Don Abney also merit commendation for nuanced, evocative backings that afford McRae the necessary space to do her thing. Also added are two sessions, the one for "Let's Get Lost," the song Baker sang for a James Dean documentary, and a complete session from Baker's first inch LP dedicated to his singing.
Notes : Garland introduces "How Long Has This Been Going On" into her repertoire at this historical Carnegie Hall concert performing it with a small jazz ensemble, unlike most of the numbers in the concert where she is accompanied by full orchestra.
Originally a two LP album, The CD album was first released on one CD in with more than half of the original vinyl content edited out. This Capitol 2 CD set restores the full content along with some on-stage dialogue that was not included on the original album. Recorded live at Carnegie Hall, New York, New York on Ap ril 23, , called by some at the time the greatest concert in the history of show business.
Notes : Ben Webster, a master alto sax player, especially on ballads, from the Ellington orchestra and Harry 'Sweets' Edison a first class trumpeter from the Basie band joined together to record this album in June, , in New York. They play together on three tracks and are featured on their own on the others, all of which are gems. Notes : This studio album marks Charles' return to Atlantic Records. True to Life received a Grammy nomination for best vocal album.
Notes : The extended title of the album as printed on the album cover riffs on the song title as a question of extended collaboration between singer and instrumentalists Oscar Peterson, piano; Joe Pass, Guitar; Louis Belson, drums and Ray Brown Bass. Sarah chooses to sing the second verse followed by the second refrain, with a repeat of the second half of the refrain and many variations on the title line at the conclusion.
Both singer and players stretch themselves out on the title track. Music-Video : same track as on album shown above Please complete or pause one video before starting another. Morrison sings the first refrain. Music-Video : The live performance below in San Sebastian, Spain, , is not the one on the album which dates from three years earlier in London.
Notes : The jazz here is laid-back California. Scaggs' gravelly voice fits this perfectly as he is faithful to the lyric with the exception of adding a few "likes" "like wow" and "like tell me now" to make Ira Gershwin's colloquial expressions more early 21st century than early twentieth. He eliminates the verse s staying within Ira's first refrain for the entire track. This may remove some of the meaning but also provides overall unity and works fine.
Music-Video : same track as on album above Please complete or pause one video before starting another. Charlap's longtime rhythm section--bassist Peter Washington and drummer Kenny Washington who are unrelated --are on hand here, and the trio's utterly telepathic interplay makes every track sound effortless, whether they're gliding through the upbeat 'Who Cares?
Submit comments on songs, songwriters, performers, etc. Feel free to suggest an addition or correction. Please read our Comments Guidelines before making a submission. Posting of comments is subject to the guidelines. Not all comments will be posted. The year given is for when the studio track was originally laid down or when the live performance was given. Written : Music by : George Gershwin. Words by : Ira Gershwin. Written for but cut from Funny Face show, then introduced on Broadway in Rosalie show, Page Menu.
On the Main Stage at Cafe Songbook. He Loves and She Loves 2. Critics Corner. One reason for this may be that the first seven lines cut to the chase, to the song's emotional center by means of their sensuosity expressed through Ira's masterful use of the colloquial: I could cry salty tears; Where have I been all these years?
Phrases that are found in everyday speech, nothing more than pieces of "vernacular junk" get "lifted into the romantic space of a lyric" because the vernacular has become part and parcel of the poetry of the age.
These titles, as well as much of the content of the lyrics they head, are created out of what H. Mencken "dubbed 'The American Language'. Lyrics Lounge. Robert Kimball, Ed. Knoph, ; reprinted as paperback by Da Capo Press, Add a video. Add lyrics on Musixmatch.
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