Bookmark/Share this page:
Most popular «Cab Calloway and His Orchestra»'s youtube video clips:
Jumpin Jive - Cab Calloway and the Nicholas Brothers
Insert this video to your blog/website (HTML code):
Link to this video (Email & IM):
Link to this video (Websites & Blogs):
Click thumbnail to play video
Title: 1937 Jitterbug: Benny Goodman & His Orch. - "Peckin' "
Description: Benny Goodman & His Orch. - Peckin' (H.James /B.Pollack), Victor 1937 --------------------------------------- The term "jitterbug" comes from an early 20th century slang used to describe alcoholics who suffered from the "jitters" (delirium tremens). During the early 1900s, the term became associated with dancers who danced without any control or knowledge of the dance. In the Swing era, the term was adopted by band leader Cab Calloway to describe the swing dancers who, as he put it „look like a bunch of jitterbugs out there on the floor", due to their fast often bouncy movements. Calloway's 1935 recording of "Call of the Jitter Bug" and the film "Cab Calloway's Jitterbug Party" popularized use of the word "jitterbug". Lyrics to "Call of the Jitter Jug" clearly demonstrate the association between the word jitterbug, and the consumption of alcohol. "If you'd like to be a jitter bug, First thing you must do is get a jug, Put whiskey, wine and gin within, And shake it all up and then begin. Grab a cup and start to toss, You are drinking jitter sauce! Don't you worry, you just mug, And then you'll be a jitter bug!" World War II facilitated the spread of jitterbug to Europe. For instance, by May 1944 in preparation for D-Day, there were nearly 2 million American troops stationed throughout Britain. Time Magazine reported that American troops stationed in France in 1945 „jitterbugged", and by 1946 jitterbug had become a craze in England.
Description: Benny Goodman & His Orch. - Peckin' (H.James /B.Pollack), Victor 1937 --------------------------------------- The term "jitterbug" comes from an early 20th century slang used to describe alcoholics who suffered from the "jitters" (delirium tremens). During the early 1900s, the term became associated with dancers who danced without any control or knowledge of the dance. In the Swing era, the term was adopted by band leader Cab Calloway to describe the swing dancers who, as he put it „look like a bunch of jitterbugs out there on the floor", due to their fast often bouncy movements. Calloway's 1935 recording of "Call of the Jitter Bug" and the film "Cab Calloway's Jitterbug Party" popularized use of the word "jitterbug". Lyrics to "Call of the Jitter Jug" clearly demonstrate the association between the word jitterbug, and the consumption of alcohol. "If you'd like to be a jitter bug, First thing you must do is get a jug, Put whiskey, wine and gin within, And shake it all up and then begin. Grab a cup and start to toss, You are drinking jitter sauce! Don't you worry, you just mug, And then you'll be a jitter bug!" World War II facilitated the spread of jitterbug to Europe. For instance, by May 1944 in preparation for D-Day, there were nearly 2 million American troops stationed throughout Britain. Time Magazine reported that American troops stationed in France in 1945 „jitterbugged", and by 1946 jitterbug had become a craze in England.
Title: Jumpin Jive - Cab Calloway and the Nicholas Brothers
Description: Here's a clip from the movie "Stormy Weather" (1943) featuring Cab Calloway and his orchestra performing "Jumpin Jive". After awhile they let the Nicholas Brothers jump in and lend their feet to the action. ==================== Note that must moderate the comments here now because of some bad apples. Sorry...
Description: Here's a clip from the movie "Stormy Weather" (1943) featuring Cab Calloway and his orchestra performing "Jumpin Jive". After awhile they let the Nicholas Brothers jump in and lend their feet to the action. ==================== Note that must moderate the comments here now because of some bad apples. Sorry...
Title: Minnie the Moocher with Cab Calloway & Betty Boop
Description: Starting with a phenomenal live moment where Cab Calloway free-form dances to his orchestra swinging slow & sweet to St. James Infirmary. Then things get rolling. Home life is tough for Betty, so she hits the road with her friend Bimbo. They venture into a haunted forest and seek refuge in a dark cave. Within, they encounter the alter-ego of Cab and his band, the ghost of walrus backed by a symphony of skeletons, monsters, and condemned ghouls. The ending is quite spectacular. See more lost treasures at: http://www.weirdovideo.com
Description: Starting with a phenomenal live moment where Cab Calloway free-form dances to his orchestra swinging slow & sweet to St. James Infirmary. Then things get rolling. Home life is tough for Betty, so she hits the road with her friend Bimbo. They venture into a haunted forest and seek refuge in a dark cave. Within, they encounter the alter-ego of Cab and his band, the ghost of walrus backed by a symphony of skeletons, monsters, and condemned ghouls. The ending is quite spectacular. See more lost treasures at: http://www.weirdovideo.com
Title: Cab Calloway and his orchestra- Soundie
Description: Here is a soundie of Cab Calloway playing "Minnie the Moocher" Enjoy!
Description: Here is a soundie of Cab Calloway playing "Minnie the Moocher" Enjoy!
Title: Saint Louis Blues - Roman N. Orleans Few Stars - Cotton Club
Description: Live at the Cotton Club - Rome, Italy. Michael Supnick - cornet, trombone Gianni Sanjust - clarinet Michele Pavese - trombone, leader "Peter" Ricci - banjo Gianluca Galvani - Sousaphone http://www.michaelsupnick.com/michelepavese.html http://www.cambiamusica.it Realization and editing by Antonio Parisi adservice@tiscali.it "St. Louis Blues" is an American popular song composed by William Christopher Handy in the blues style. It remains a fundamental part of jazz musicians' repertoire. It was also one of the first blues songs to succeed as a pop song; it has been performed by numerous musicians of all styles from Louis Armstrong and Bessie Smith to Glenn Miller and the Boston Pops Orchestra. It has been called "the jazzman's Hamlet". Published in September of 1914 by Handy's own company, it later gained such popularity that it inspired the dance step the "Foxtrot". The version with Bessie Smith and Louis Armstrong on cornet was inducted in the Grammy Hall of Fame in 1993. The 1929 version by Louis Armstrong & His Orchestra (with Henry "Red" Allen) was inducted there in 2008. Though the name of the song may imply that it is about events in the city of St. Louis, Missouri, it instead refers to a sophisticated woman from that city who has stolen the affection of the singer's lover. The opening line, "I hate to see that evenin' sun go down" may be one of the more recognizable lyrics in pop music, and set the tone for many subsequent blues songs. Handy said he had been inspired by a chance meeting with a black woman on the streets of St. Louis, Missouri distraught over her husband's absence, who lamented: "Ma man's got a heart like a rock cast in de sea", a key line of the song. Details of the story vary but agree on the meeting and the phrase. The form is unusual in that the verses are the familiar standard twelve bar blues in common time with three lines of lyrics, the first two lines repeated, but it also has a 16-bar bridge written in the habanera rhythm, popularly called the "Spanish Tinge". While many other old blues are simple and repetitive in form, the St. Louis Blues has multiple complementary and contrasting strains, similar to classic ragtime compositions. Handy said in writing "St. Louis Blues" his objective was "to combine ragtime syncopation with a real melody in the spiritual tradition." Since the 1910s, the number has enjoyed great popularity not only as a song but also as an instrumental. Many of jazz's most well known artists in history have given renowned performances of the tune. The following is an incomplete list of the hundreds of musicians of renown who recorded "St. Louis Blues", chosen as examples that are early in their careers and in the era of its greatest popularity. * 1920 Marion Harris * 1921 Original Dixieland Jass Band * 1922 W. C. Handy * 1925 Bessie Smith and Louis Armstrong * 1927 Sylvester Weaver * 1929 Louis Armstrong & "Red" Allen * 1930 Rudy Vallee, Cab Calloway, the Mills Brothers, the Boswell Sisters * 1935 Bob Wills * 1939 Benny Goodman * 1940 Earl Hines * 1943 Glenn Miller * 1949 Art Tatum * 1954 Louis Armstrong * 1957 Louis Prima * 1970 Jula de Palma "beat version" * 1976 The Flamin' Groovies * 1985 Doc Watson * 2001 Dexter Romweber Other recordings include Artie Shaw, The Esquire Boys, and "The Merri Men" (a spin-off group from Bill Haley & His Comets). It was also recorded on piano rolls. It also has been used in the Malcolm McLaren song "About Her" from the soundtrack of the motion picture Kill Bill Vol II. The song covers both "St. Louis Blues" and a Zombies song "She's Not There". http://en.wikipedia.org/wiki/St._Louis_Blues_%28song%29
Description: Live at the Cotton Club - Rome, Italy. Michael Supnick - cornet, trombone Gianni Sanjust - clarinet Michele Pavese - trombone, leader "Peter" Ricci - banjo Gianluca Galvani - Sousaphone http://www.michaelsupnick.com/michelepavese.html http://www.cambiamusica.it Realization and editing by Antonio Parisi adservice@tiscali.it "St. Louis Blues" is an American popular song composed by William Christopher Handy in the blues style. It remains a fundamental part of jazz musicians' repertoire. It was also one of the first blues songs to succeed as a pop song; it has been performed by numerous musicians of all styles from Louis Armstrong and Bessie Smith to Glenn Miller and the Boston Pops Orchestra. It has been called "the jazzman's Hamlet". Published in September of 1914 by Handy's own company, it later gained such popularity that it inspired the dance step the "Foxtrot". The version with Bessie Smith and Louis Armstrong on cornet was inducted in the Grammy Hall of Fame in 1993. The 1929 version by Louis Armstrong & His Orchestra (with Henry "Red" Allen) was inducted there in 2008. Though the name of the song may imply that it is about events in the city of St. Louis, Missouri, it instead refers to a sophisticated woman from that city who has stolen the affection of the singer's lover. The opening line, "I hate to see that evenin' sun go down" may be one of the more recognizable lyrics in pop music, and set the tone for many subsequent blues songs. Handy said he had been inspired by a chance meeting with a black woman on the streets of St. Louis, Missouri distraught over her husband's absence, who lamented: "Ma man's got a heart like a rock cast in de sea", a key line of the song. Details of the story vary but agree on the meeting and the phrase. The form is unusual in that the verses are the familiar standard twelve bar blues in common time with three lines of lyrics, the first two lines repeated, but it also has a 16-bar bridge written in the habanera rhythm, popularly called the "Spanish Tinge". While many other old blues are simple and repetitive in form, the St. Louis Blues has multiple complementary and contrasting strains, similar to classic ragtime compositions. Handy said in writing "St. Louis Blues" his objective was "to combine ragtime syncopation with a real melody in the spiritual tradition." Since the 1910s, the number has enjoyed great popularity not only as a song but also as an instrumental. Many of jazz's most well known artists in history have given renowned performances of the tune. The following is an incomplete list of the hundreds of musicians of renown who recorded "St. Louis Blues", chosen as examples that are early in their careers and in the era of its greatest popularity. * 1920 Marion Harris * 1921 Original Dixieland Jass Band * 1922 W. C. Handy * 1925 Bessie Smith and Louis Armstrong * 1927 Sylvester Weaver * 1929 Louis Armstrong & "Red" Allen * 1930 Rudy Vallee, Cab Calloway, the Mills Brothers, the Boswell Sisters * 1935 Bob Wills * 1939 Benny Goodman * 1940 Earl Hines * 1943 Glenn Miller * 1949 Art Tatum * 1954 Louis Armstrong * 1957 Louis Prima * 1970 Jula de Palma "beat version" * 1976 The Flamin' Groovies * 1985 Doc Watson * 2001 Dexter Romweber Other recordings include Artie Shaw, The Esquire Boys, and "The Merri Men" (a spin-off group from Bill Haley & His Comets). It was also recorded on piano rolls. It also has been used in the Malcolm McLaren song "About Her" from the soundtrack of the motion picture Kill Bill Vol II. The song covers both "St. Louis Blues" and a Zombies song "She's Not There". http://en.wikipedia.org/wiki/St._Louis_Blues_%28song%29
Title: Adrian Rollini & His Orchestra - A Hundred Years From Today
Description: Adrian Rollini was a child prodigy on piano; at age four he played a recital at the Waldorf Astoria Hotel in New York. He led his own band at age 14 and began playing with the California Ramblers in the early 20's. While in that band Rollini developed his distinctive style of bass saxophone playing. 1927 was a landmark year for jazz and Rollini, as not only did he participate in numerous sides, but he also got the job heading up the talent roster for the opening of the Club New Yorker. It was a short-lived organization, a who's-who of 1920s jazz, including Bix Beiderbecke, Eddie Lang, Joe Venuti, Frank Signorelli and Frank Trumbauer. Sadly, salary demands began to rise, and the club had its own shortcomings, which proved a bad combination in the end, and the arrangement only lasted for some 3 weeks.it was not long until other talent would be seeking his name. From Europe, a young English bandleader by the name of Fred Elizalde was leading a band in London at the Savoy Ballroom, and he was looking for the best American jazzmen to spice up his already hot sound. He found Rollini, as well as Chelsey Quealey, Bobby Davis, Tommy Felline and Jack Russin. They all agreed to join him in 1927 and stayed until September of 1928. He continued to work, recording with such artists as Lee Morse, The Dorsey Brothers, Ben Selvin and Jack Teagarden. The 1930s saw a shift in musical idea- away from the "hot" sound and towards a more centered, polished sound, and Rollini adapted. In 1932 he formed Adrian Rollini and his Orchestra (primarily a studio group assembled for recording), and they began to record in 1933. His other groups would include the Adrian Rollini Quintette and The Adrian Rollini Trio. He went on to play in hotels, as well as arranging and writing songs behind the scenes, collaborating with such names as Vaughan Monroe but he never did any big recording once the big band era really got underway. He also did a brief tour in the late 40's. Rollini settled in Florida where he last worked at the Eden Roc Hotel in September 1955. He also operated the Driftwood Lodge at Tavernier Key. He died in 1956 at the age of 52. Chick Bullock was a prolific vocalist from the '30s, whose entire career seems somewhat shrouded in mystery and confusion. Even the details of his birth provoke wide geographical disagreement. Bullock is described as being particularly shy of publicity who vanished into the Los Angeles real estate business rather than remain in the spotlight. Such descriptions of Bullock's life tend to leave out the fact that he suffered from an eye disease. that disfigured his face; obviously, this was a serious handicap for a performer in a genre known for handsome frontline singers. This meant that Bullock was banished to the recording studios. He made the most of it, and was responsible for some 500 sides. His group Chick Bullock's Levee Loungers was strictly a studio all-stars affair. Bullock's list of associates are top flight indeed: he sang with Duke Ellington, but turned down Paul Whiteman. He also recorded with artists such as Luis Russell and Cab Calloway and featured a host of jazz heavyweights on his own records including trumpeters Bunny Berigan and Bill Coleman, trombonists Jack Teagarden and Tommy Dorsey, saxophonist Jimmy Dorsey, violinist Joe Venuti and guitarist Eddie Lang. This lovely record, offering a Victor Young composition, was made for Vocalion on february 26th, 1934.
Description: Adrian Rollini was a child prodigy on piano; at age four he played a recital at the Waldorf Astoria Hotel in New York. He led his own band at age 14 and began playing with the California Ramblers in the early 20's. While in that band Rollini developed his distinctive style of bass saxophone playing. 1927 was a landmark year for jazz and Rollini, as not only did he participate in numerous sides, but he also got the job heading up the talent roster for the opening of the Club New Yorker. It was a short-lived organization, a who's-who of 1920s jazz, including Bix Beiderbecke, Eddie Lang, Joe Venuti, Frank Signorelli and Frank Trumbauer. Sadly, salary demands began to rise, and the club had its own shortcomings, which proved a bad combination in the end, and the arrangement only lasted for some 3 weeks.it was not long until other talent would be seeking his name. From Europe, a young English bandleader by the name of Fred Elizalde was leading a band in London at the Savoy Ballroom, and he was looking for the best American jazzmen to spice up his already hot sound. He found Rollini, as well as Chelsey Quealey, Bobby Davis, Tommy Felline and Jack Russin. They all agreed to join him in 1927 and stayed until September of 1928. He continued to work, recording with such artists as Lee Morse, The Dorsey Brothers, Ben Selvin and Jack Teagarden. The 1930s saw a shift in musical idea- away from the "hot" sound and towards a more centered, polished sound, and Rollini adapted. In 1932 he formed Adrian Rollini and his Orchestra (primarily a studio group assembled for recording), and they began to record in 1933. His other groups would include the Adrian Rollini Quintette and The Adrian Rollini Trio. He went on to play in hotels, as well as arranging and writing songs behind the scenes, collaborating with such names as Vaughan Monroe but he never did any big recording once the big band era really got underway. He also did a brief tour in the late 40's. Rollini settled in Florida where he last worked at the Eden Roc Hotel in September 1955. He also operated the Driftwood Lodge at Tavernier Key. He died in 1956 at the age of 52. Chick Bullock was a prolific vocalist from the '30s, whose entire career seems somewhat shrouded in mystery and confusion. Even the details of his birth provoke wide geographical disagreement. Bullock is described as being particularly shy of publicity who vanished into the Los Angeles real estate business rather than remain in the spotlight. Such descriptions of Bullock's life tend to leave out the fact that he suffered from an eye disease. that disfigured his face; obviously, this was a serious handicap for a performer in a genre known for handsome frontline singers. This meant that Bullock was banished to the recording studios. He made the most of it, and was responsible for some 500 sides. His group Chick Bullock's Levee Loungers was strictly a studio all-stars affair. Bullock's list of associates are top flight indeed: he sang with Duke Ellington, but turned down Paul Whiteman. He also recorded with artists such as Luis Russell and Cab Calloway and featured a host of jazz heavyweights on his own records including trumpeters Bunny Berigan and Bill Coleman, trombonists Jack Teagarden and Tommy Dorsey, saxophonist Jimmy Dorsey, violinist Joe Venuti and guitarist Eddie Lang. This lovely record, offering a Victor Young composition, was made for Vocalion on february 26th, 1934.
Title: Nicholas Brothers in Down Argentine Way (1940)
Description: The Nicholas Bros perform the title song in Down Argentine Way. It was the very beginning of their golden years in the early 1940s. To be accurate, it's from 1940 to 1943. During the period, they appeared in six films in Hollywood - Down Argentine Way (1940), Tin Pan Alley (1940), The Great American Broadcast (1941), Sun Valley Serenade (1941), Orchestra Wives (1942) and the legendary Stormy Weather (1943). And this is definitely one of their bests. It's actually equal with the famous 'Jumpin' Jive' routine in Stormy Weather. By this time, the Bros, Fayard and Harold, had already been stars at Cotton Club in Harlem and also appeared in several films, such as Kid Millions (1934), The Big Broadcast Of 1936 (1935), Calling All Stars (1937), etc. They were already fabulous in the '30s. This film, however, tells that in those days the little brothers were, so to speak, only "Padawans". Now they were back on screen as "Jedi Knights"! In the first place, Irving Cummings, director of D.A.W., intended to edit and shorten the Bros' scene, while dance director Nick Castle made a claim for including it in its entirety. A test screening was held, where the audience raised a cheer for the Bros and shouted to the operator in the projection booth to rewind the film and show their dance sequence again (the operator actually did it), which settled the argument. It eventually survived and now you can watch it here. The Nicholas Bros were known as "the Show Stoppers" in the '30s. Nobody could follow them on stage. And they stopped the show literally even on the silver screen! Fayard and Harold appear again at the end of the movie and dance a bit. It also features Carmen Miranda singing 'Mama Yo Quiero' (as well as 'South American Way') which Harold would sing in Reckless Age (1944). You can see the D.A.W. routine enacted on the Colgate Comedy Hour aired on Dec 14, 1952. The Bros performed it also in the film Botta E Risposta (1950) in medley with the 'Jumpin' Jive'. Fayard Nicholas (10/20/1914 - 1/24/2006) is the man on the right. He was kind of a born dancer, a dance-crazy guy of the Astaire type. Watch every movement of his arms, hands and fingers when you see him dancing. Totally beautiful. You can compare it with the movement of Astaire's hands, for instance, in the 'Chanege Partners' number in Carefree (1938). Harold Nicholas (3/27/1921 - 7/3/2000) is on the left. He did singing, dancing, acting, impressions...a very versatile man of the Sammy Davis Jr type. Actually he was Davis' idol. They were the kings. NO ONE could touch them. Tap dancing is not an out-of-date thing, but still an exciting form of dance. One great thing about tap is that you can not only see it, but also HEAR it. Even a blind man could enjoy it. It creates beat, rhythm...which is the most fundamental thing for music. Yes, in the beginning THERE WAS RHYTHM. Hoofers wear tap shoes, just like Jedis wear lightsabers...an elegant weapon of a more civilized time. I call hoofers "Jedis of dance". More about the Nicholas Brothers: http://strongerthanparadise.blog122.fc2.com/blog-category-17.html MAY DA BEAT BE WITH U
Description: The Nicholas Bros perform the title song in Down Argentine Way. It was the very beginning of their golden years in the early 1940s. To be accurate, it's from 1940 to 1943. During the period, they appeared in six films in Hollywood - Down Argentine Way (1940), Tin Pan Alley (1940), The Great American Broadcast (1941), Sun Valley Serenade (1941), Orchestra Wives (1942) and the legendary Stormy Weather (1943). And this is definitely one of their bests. It's actually equal with the famous 'Jumpin' Jive' routine in Stormy Weather. By this time, the Bros, Fayard and Harold, had already been stars at Cotton Club in Harlem and also appeared in several films, such as Kid Millions (1934), The Big Broadcast Of 1936 (1935), Calling All Stars (1937), etc. They were already fabulous in the '30s. This film, however, tells that in those days the little brothers were, so to speak, only "Padawans". Now they were back on screen as "Jedi Knights"! In the first place, Irving Cummings, director of D.A.W., intended to edit and shorten the Bros' scene, while dance director Nick Castle made a claim for including it in its entirety. A test screening was held, where the audience raised a cheer for the Bros and shouted to the operator in the projection booth to rewind the film and show their dance sequence again (the operator actually did it), which settled the argument. It eventually survived and now you can watch it here. The Nicholas Bros were known as "the Show Stoppers" in the '30s. Nobody could follow them on stage. And they stopped the show literally even on the silver screen! Fayard and Harold appear again at the end of the movie and dance a bit. It also features Carmen Miranda singing 'Mama Yo Quiero' (as well as 'South American Way') which Harold would sing in Reckless Age (1944). You can see the D.A.W. routine enacted on the Colgate Comedy Hour aired on Dec 14, 1952. The Bros performed it also in the film Botta E Risposta (1950) in medley with the 'Jumpin' Jive'. Fayard Nicholas (10/20/1914 - 1/24/2006) is the man on the right. He was kind of a born dancer, a dance-crazy guy of the Astaire type. Watch every movement of his arms, hands and fingers when you see him dancing. Totally beautiful. You can compare it with the movement of Astaire's hands, for instance, in the 'Chanege Partners' number in Carefree (1938). Harold Nicholas (3/27/1921 - 7/3/2000) is on the left. He did singing, dancing, acting, impressions...a very versatile man of the Sammy Davis Jr type. Actually he was Davis' idol. They were the kings. NO ONE could touch them. Tap dancing is not an out-of-date thing, but still an exciting form of dance. One great thing about tap is that you can not only see it, but also HEAR it. Even a blind man could enjoy it. It creates beat, rhythm...which is the most fundamental thing for music. Yes, in the beginning THERE WAS RHYTHM. Hoofers wear tap shoes, just like Jedis wear lightsabers...an elegant weapon of a more civilized time. I call hoofers "Jedis of dance". More about the Nicholas Brothers: http://strongerthanparadise.blog122.fc2.com/blog-category-17.html MAY DA BEAT BE WITH U
Title: Ethel Ennis Tribute
Description: Here is a famous song by the great singer Ethel Ennis. Baltimore native Ethel Ennis is a national treasure. Critics have hailed her as "the most accomplished singer performing today". That stature was earned by her magnificent voice, her brilliant compositions, her joyful performances and her collaboration with the finest musicians. She began performing at the age of 15 with a group called Abe Riley's Octet. She first won national recognition for her recording "Lullaby for Losers" in 1955. In 1958, she was selected by Benny Goodman as the female vocalist for his all-star band. Later, she was chosen as a featured singer on the Arthur Godfrey Show. After performing at the 1964 Newport Jazz Festival, she appeared with Duke Ellington and his Orchestra on television's "Bell Telephone Hour". She followed those amazing achievements by wowing them at the Monterey Jazz Festival in duets with Joe Williams. She returned to her hometown to perform in concerts with the Count Basie Band and the Baltimore Symphony Orchestra. During that same period, she shared the bill with Cab Calloway at Harlem's Apollo Theater and played supper clubs and concert halls all over the country. In the seventies, she founded the practice of singing the National Anthem a capella at Richard Nixon's 1973 presidential inauguration. She performed at the White House for Jimmy Carter as well. During the period, she became Baltimore's cultural ambassador, singing Chinese folk songs in Baltimore's sister city of Xiamen, China as well as performing in Rotterdam, Germany. In the 1980's, Ethel opened her own music club, "Ethel's Place" with her husband. They presented the world's greatest jazz musicians and broadcast live concerts to national audiences. They sold the club in 1988, each returning full-time to their artistic pursuits. She has still performed with Louis Armstrong, Wynton Marsalis, Stephane Grappelli, Ray Brown, Toots Thielmann, Phil Woods, Gerry Mulligan... Frank Sinatra once described her as "my kind of singer". A Downbeat reviewer once said of Ethel: "Her voice runs deep, exuding the personality of a sage who has lived many lives." Listen to this joyful song and have a pleasant trip!
Description: Here is a famous song by the great singer Ethel Ennis. Baltimore native Ethel Ennis is a national treasure. Critics have hailed her as "the most accomplished singer performing today". That stature was earned by her magnificent voice, her brilliant compositions, her joyful performances and her collaboration with the finest musicians. She began performing at the age of 15 with a group called Abe Riley's Octet. She first won national recognition for her recording "Lullaby for Losers" in 1955. In 1958, she was selected by Benny Goodman as the female vocalist for his all-star band. Later, she was chosen as a featured singer on the Arthur Godfrey Show. After performing at the 1964 Newport Jazz Festival, she appeared with Duke Ellington and his Orchestra on television's "Bell Telephone Hour". She followed those amazing achievements by wowing them at the Monterey Jazz Festival in duets with Joe Williams. She returned to her hometown to perform in concerts with the Count Basie Band and the Baltimore Symphony Orchestra. During that same period, she shared the bill with Cab Calloway at Harlem's Apollo Theater and played supper clubs and concert halls all over the country. In the seventies, she founded the practice of singing the National Anthem a capella at Richard Nixon's 1973 presidential inauguration. She performed at the White House for Jimmy Carter as well. During the period, she became Baltimore's cultural ambassador, singing Chinese folk songs in Baltimore's sister city of Xiamen, China as well as performing in Rotterdam, Germany. In the 1980's, Ethel opened her own music club, "Ethel's Place" with her husband. They presented the world's greatest jazz musicians and broadcast live concerts to national audiences. They sold the club in 1988, each returning full-time to their artistic pursuits. She has still performed with Louis Armstrong, Wynton Marsalis, Stephane Grappelli, Ray Brown, Toots Thielmann, Phil Woods, Gerry Mulligan... Frank Sinatra once described her as "my kind of singer". A Downbeat reviewer once said of Ethel: "Her voice runs deep, exuding the personality of a sage who has lived many lives." Listen to this joyful song and have a pleasant trip!
Title: Cats of the Jungle
Description: Montage of my two deranged cats (in order of appearance, Sinuhe and Quasar) set to Chant of the Jungle by Cab Calloway and His Orchestra.
Description: Montage of my two deranged cats (in order of appearance, Sinuhe and Quasar) set to Chant of the Jungle by Cab Calloway and His Orchestra.
Title: THE GATHERING OF THE BANDS -1934
Description: Full titles read: "THE GATHERING OF THE BANDS ! - Filmed at the 'Rhythm' Dance and Band Championship Display, London. Millions of listeners have heard Mantovani and his Orchestra from the 'Monseigneur' on the air - here's a topical glance of him on the screen." L/S of Mantovani and his string orchestra entertaining the crowds in the club. M/S and C/U of a technician recording the music on a disk recording device. Several shots of the band playing. Intertitle reads: "The King of the "Scat" singers - Cab Calloway dropped in." L/S of Cab Calloway speaking at a microphone holding a large trophy. He announces the winner of the Rhythm dance contest, Stan Harvard. Intertitle reads: "And another guest - the one and only Roy Fox with his famous Band, from the Cafe de Paris to make dancing feet step out." Various shots of Roy Fox and member of his jazz band playing and singing 'Dixie Lee'. Good footage of the guests dancing. L/S's and M/S's of Fox conducting the band
Description: Full titles read: "THE GATHERING OF THE BANDS ! - Filmed at the 'Rhythm' Dance and Band Championship Display, London. Millions of listeners have heard Mantovani and his Orchestra from the 'Monseigneur' on the air - here's a topical glance of him on the screen." L/S of Mantovani and his string orchestra entertaining the crowds in the club. M/S and C/U of a technician recording the music on a disk recording device. Several shots of the band playing. Intertitle reads: "The King of the "Scat" singers - Cab Calloway dropped in." L/S of Cab Calloway speaking at a microphone holding a large trophy. He announces the winner of the Rhythm dance contest, Stan Harvard. Intertitle reads: "And another guest - the one and only Roy Fox with his famous Band, from the Cafe de Paris to make dancing feet step out." Various shots of Roy Fox and member of his jazz band playing and singing 'Dixie Lee'. Good footage of the guests dancing. L/S's and M/S's of Fox conducting the band
Title: Minnie The Moocher!
Description: This video features Scott Kohrherr, vocalist with the 18 piece Somers Dream Orchestra performing the song, "Minnie The Moocher" in concert. Secaucus Summer Concert Series, July 17, 2008 - Secaucus, NJ. Scott originally recorded this song with the Somers Dream Orchestra on their December, 1999 CD release, "A Mid-Somers Night Dream." The CD obtained #1 in sales on Amazon.com and remained in the top 10 in sales for three consecutive months. Although the camera is on a stationary tripod the video clearly displays the fun everyone has performing this number. It's a fun filled selection that encourages audience participation! This selection has since become a "signature" song of the Somers Dream Orchestra.
Description: This video features Scott Kohrherr, vocalist with the 18 piece Somers Dream Orchestra performing the song, "Minnie The Moocher" in concert. Secaucus Summer Concert Series, July 17, 2008 - Secaucus, NJ. Scott originally recorded this song with the Somers Dream Orchestra on their December, 1999 CD release, "A Mid-Somers Night Dream." The CD obtained #1 in sales on Amazon.com and remained in the top 10 in sales for three consecutive months. Although the camera is on a stationary tripod the video clearly displays the fun everyone has performing this number. It's a fun filled selection that encourages audience participation! This selection has since become a "signature" song of the Somers Dream Orchestra.
Title: Eadie Was A Lady-Cab Calloway Orch-1932
Description: Eadie Was A Lady-Cab Calloway Orchestra on Oriole 2626A(Dec.7-1932)
Description: Eadie Was A Lady-Cab Calloway Orchestra on Oriole 2626A(Dec.7-1932)
Title: "Somebody Stole My Gal" (Ted Weems, 1924)
Description: Here's the theme song (instrumental) of one of the early Jazz Age's finest combos, the Ted Weems Orchestra. More on Ted, the band and the tune from Wiki: ~~~~~~~~~~~~~~~~~ Wilfred Theodore (Ted) Weems (originally Wemyes) (26 September 1901 - 6 May 1963) was a United States bandleader and musician. Born in Pitcairn, Pennsylvania, Weems learned to play the violin and trombone. He attended the University of Pennsylvania, where he and his brother Art organized a small dance band. Going professional in 1923, Weems toured for the MCA Corporation, recording for several years on Victor Records. Somebody Stole My Gal became the band's first #1 hit in early 1924. Weems moved to Chicago with his band around 1928. The Ted Weems Orchestra had more chart success in 1929 with the novelty song "Piccolo Pete", and the #1 hit The Man from the South. The band gained popularity in the 1930s, making regular radio broadcasts. These included Jack Benny's Canada Dry program on NBC during the early 1930s, and the Fibber McGee & Molly program in the late 1930s. In 1936, the Ted Weems Orchestra gave singer Perry Como his first national exposure; Como recorded with the band (on Decca Records), beginning his long and successful career. Among Weems' other discoveries were whistler-singer Elmo Tanner, sax player and singer Red Ingle, Marilyn Maxwell, who left the band for an acting career, and arranger Joe Haymes, who created the band's unique jazz-novelty style. During World War II, Ted Weems enlisted in the United States Merchant Marine, directing the Merchant Marine Band. Reorganizing his big band in 1947, he made records for Mercury, including the hits Peg O' My Heart and Mickey. However, the biggest hit of Weems' career was a reissue on his former Victor label: the Weems Orchestra's 1933 recording of Heartaches topped the national charts for 13 weeks. Decca Records also seized the moment, and its reissue of I Wonder Who's Kissing Her Now with vocals by Perry Como became another major chart hit. Despite this sudden surfeit of popularity, the hits dried up after 1947. Weems toured until 1953. At that time he accepted a disc jockey position in Memphis, Tennessee, later moving on to a management position with the Holiday Inn hotel chain. Ted Weems died of emphysema in Tulsa, Oklahoma, in 1963. His son Ted Jr. led a revival band at times during the 1960s and 1970s. ~~~~~~~~~~~~ SOMEBODY STOLE MY GAL (Leo Wood) Florence Millett - 1918 Ted Weems & His Orch. (Instr.) - 1924 Fletcher Henderson & His Orch. - 1924 Bix Beiderbecke - 1928 Fred Elizalde & His Anglo American Band - 1928 Bennie Moten's Kansas City Orch. - 1930 Ted Lewis & His Band (vocal: Ted Lewis)- 1931 Cab Calloway & His Orch. - 1931 Billy Cotton & His Band - 1931 Fats Waller & His Rhythm - 1935 Count Basie & His Orch. - 1940 Benny Goodman & His Orch. - 1940 Johnnie Ray - 1953 Jimmy Roselli - 1967 Also recorded by: Merle Travis; Milton Brown; Harris Brother's Texans; The Musical Maniacs; Kid Ory; Chet Atkins; Dick Hyman; Bobby Darin; Pee Wee Hunt; Errol Garner; Mitch Miller; Moms & Dads; Tommy Dorsey: ...... and others. Gee, but I'm lonesome, lonesome and blue. I've found out something I never knew. I know now what it means to be sad, For I've lost the best gal I ever had; She only left yesterday, Somebody stole her away. Somebody stole my gal Somebody stole my pal Somebody came and took her away She didn't even say she was leavin' The kisses I love so He's getting now I know, And Gee! I know that she Would come to me if she could see Her broken hearted lonesome pal Somebody stole my gal Angels they say are only above I know that's wrong because my old love Sure is an angel, take it from me And she's all the angel I want to see Maybe she'll come back some day All I can do now is pray Somebody stole my gal Somebody stole my pal Somebody came and took her away She didn't even say she was leavin' The kisses I love so He's getting now I know And Gee! I know that she Would come to me if she could see Her broken hearted lonesome pal Somebody stole my gal. And Gee! I know that she Would come to me if she could see Her broken hearted lonesome pal Somebody stole my Somebody stole my Somebody stole my gal!
Description: Here's the theme song (instrumental) of one of the early Jazz Age's finest combos, the Ted Weems Orchestra. More on Ted, the band and the tune from Wiki: ~~~~~~~~~~~~~~~~~ Wilfred Theodore (Ted) Weems (originally Wemyes) (26 September 1901 - 6 May 1963) was a United States bandleader and musician. Born in Pitcairn, Pennsylvania, Weems learned to play the violin and trombone. He attended the University of Pennsylvania, where he and his brother Art organized a small dance band. Going professional in 1923, Weems toured for the MCA Corporation, recording for several years on Victor Records. Somebody Stole My Gal became the band's first #1 hit in early 1924. Weems moved to Chicago with his band around 1928. The Ted Weems Orchestra had more chart success in 1929 with the novelty song "Piccolo Pete", and the #1 hit The Man from the South. The band gained popularity in the 1930s, making regular radio broadcasts. These included Jack Benny's Canada Dry program on NBC during the early 1930s, and the Fibber McGee & Molly program in the late 1930s. In 1936, the Ted Weems Orchestra gave singer Perry Como his first national exposure; Como recorded with the band (on Decca Records), beginning his long and successful career. Among Weems' other discoveries were whistler-singer Elmo Tanner, sax player and singer Red Ingle, Marilyn Maxwell, who left the band for an acting career, and arranger Joe Haymes, who created the band's unique jazz-novelty style. During World War II, Ted Weems enlisted in the United States Merchant Marine, directing the Merchant Marine Band. Reorganizing his big band in 1947, he made records for Mercury, including the hits Peg O' My Heart and Mickey. However, the biggest hit of Weems' career was a reissue on his former Victor label: the Weems Orchestra's 1933 recording of Heartaches topped the national charts for 13 weeks. Decca Records also seized the moment, and its reissue of I Wonder Who's Kissing Her Now with vocals by Perry Como became another major chart hit. Despite this sudden surfeit of popularity, the hits dried up after 1947. Weems toured until 1953. At that time he accepted a disc jockey position in Memphis, Tennessee, later moving on to a management position with the Holiday Inn hotel chain. Ted Weems died of emphysema in Tulsa, Oklahoma, in 1963. His son Ted Jr. led a revival band at times during the 1960s and 1970s. ~~~~~~~~~~~~ SOMEBODY STOLE MY GAL (Leo Wood) Florence Millett - 1918 Ted Weems & His Orch. (Instr.) - 1924 Fletcher Henderson & His Orch. - 1924 Bix Beiderbecke - 1928 Fred Elizalde & His Anglo American Band - 1928 Bennie Moten's Kansas City Orch. - 1930 Ted Lewis & His Band (vocal: Ted Lewis)- 1931 Cab Calloway & His Orch. - 1931 Billy Cotton & His Band - 1931 Fats Waller & His Rhythm - 1935 Count Basie & His Orch. - 1940 Benny Goodman & His Orch. - 1940 Johnnie Ray - 1953 Jimmy Roselli - 1967 Also recorded by: Merle Travis; Milton Brown; Harris Brother's Texans; The Musical Maniacs; Kid Ory; Chet Atkins; Dick Hyman; Bobby Darin; Pee Wee Hunt; Errol Garner; Mitch Miller; Moms & Dads; Tommy Dorsey: ...... and others. Gee, but I'm lonesome, lonesome and blue. I've found out something I never knew. I know now what it means to be sad, For I've lost the best gal I ever had; She only left yesterday, Somebody stole her away. Somebody stole my gal Somebody stole my pal Somebody came and took her away She didn't even say she was leavin' The kisses I love so He's getting now I know, And Gee! I know that she Would come to me if she could see Her broken hearted lonesome pal Somebody stole my gal Angels they say are only above I know that's wrong because my old love Sure is an angel, take it from me And she's all the angel I want to see Maybe she'll come back some day All I can do now is pray Somebody stole my gal Somebody stole my pal Somebody came and took her away She didn't even say she was leavin' The kisses I love so He's getting now I know And Gee! I know that she Would come to me if she could see Her broken hearted lonesome pal Somebody stole my gal. And Gee! I know that she Would come to me if she could see Her broken hearted lonesome pal Somebody stole my Somebody stole my Somebody stole my gal!
Title: Cozy Cole - Topsy, Part II
Description: Cozy Cole (October 17, 1909 -- January 31, 1981) was a jazz drummer who scored a #1 hit with the record "Topsy Part 2". The recording contained a lengthy drum solo, and was one of the few drum solo recordings that ever made the Billboard Hot 100 (1958) chart. The single was issued on the tiny Brooklyn-based Love Records label. William Randolph Cole was born in 1909 in East Orange, New Jersey. His first music job was with Wilber Sweatman in 1928. In 1930 he played for Jelly Roll Morton's Red Hot Peppers, recording an early drum solo on "Load of Cole". He spent 1931--33 with Blanche Calloway, 1933-34 with Benny Carter, 1935-36 with Willie Bryant, 1936-38 with Stuff Smith's small combo, and 1938-42 with Cab Calloway. In 1942, he was hired by CBS Radio music director Raymond Scott as part of network radio's first mixed-race orchestra. Cole appeared in music-related films, including a brief cameo in Don't Knock the Rock. Throughout the 1960s and 1970s Cole continued to perform in a variety of settings. He died of cancer in 1981, in Columbus, Ohio.
Description: Cozy Cole (October 17, 1909 -- January 31, 1981) was a jazz drummer who scored a #1 hit with the record "Topsy Part 2". The recording contained a lengthy drum solo, and was one of the few drum solo recordings that ever made the Billboard Hot 100 (1958) chart. The single was issued on the tiny Brooklyn-based Love Records label. William Randolph Cole was born in 1909 in East Orange, New Jersey. His first music job was with Wilber Sweatman in 1928. In 1930 he played for Jelly Roll Morton's Red Hot Peppers, recording an early drum solo on "Load of Cole". He spent 1931--33 with Blanche Calloway, 1933-34 with Benny Carter, 1935-36 with Willie Bryant, 1936-38 with Stuff Smith's small combo, and 1938-42 with Cab Calloway. In 1942, he was hired by CBS Radio music director Raymond Scott as part of network radio's first mixed-race orchestra. Cole appeared in music-related films, including a brief cameo in Don't Knock the Rock. Throughout the 1960s and 1970s Cole continued to perform in a variety of settings. He died of cancer in 1981, in Columbus, Ohio.
Title: Billy May - T'Ain't What You Do
Description: Stereo: http://www.youtube.com/watch?v=mjD7zD0a4I0&fmt=18 When I was a kid about half past three My Dad said "Son, come here to me" Said things may come, and things may go But this is one thing you ought to know... Oh 't ain't what you do it's the way that you do it 'T ain't what you do it's the way that you do it 'T ain't what you do it's the way that you do it That's what gets results 'T ain't what you do it's the time that you do it 'T ain't what you do it's the time that you do it 'T ain't what you do it's the time that you do it That's what gets results You can try hard Don't mean a thing Take it easy, greasy Then your jive will swing Oh 't ain't what you do it's the place that you do it 'T ain't what you do it's the place that you do it 'T ain't what you do it's the place that you do it That's what gets results "T'ain't What You Do (It's the Way That You Do It)" is a song written by jazz musicians Melvin "Sy" Oliver and James "Trummy" Young. It was first recorded in 1939 by both Jimmie Lunceford and Ella Fitzgerald. The jazz tune was transformed into a pop song with ska elements in 1982. With the title slightly altered to "It Ain't What You Do....", it was included on Fun Boy Three's debut self-titled album, became a big hit in the UK, climbing to number four in the UK singles chart, but it was not available on a Bananarama album until 1988's Greatest Hits Collection. William E. May, better known as Billy May (1916 2004) was the last of the great arrangers who wrote regularly for Frank Sinatra, Billy May had several varied careers in and out of jazz. Jimmie Lunceford (1902 - 1947) was one of the most popular Harlem bandleaders in the 1930's. Advertised as "the perfect swing band," in large part due to the leader's discipline and showmanship, Lunceford's orchestra competed for public favor with the leading "big bands" of the era, including those of Duke Ellington, Count Basie, and Benny Goodman. Lunceford replaced Cab Calloway as leader of the famed Cotton Club's house band in 1934. The "Lunceford Style" influenced many bandleaders and arrangers through the 1950s including Tommy Dorsey, Sonny Dunham, and Sonny Burke. James "Trummy" Young (1912 - 1984) was a trombonist in the Swing Era. Although he was never really a star or a bandleader himself, he did have one hit with his version of "Margie," which he played and sang with Jimmie Lunceford's Orchestra. Young was originally a trumpeter, but by the time he debuted in 1928, he had switched to trombone. With Sy Oliver, he was responsible for writing "T'ain't What You Do (It's the Way That You Do It)". Melvin "Sy" Oliver (1910 - 1988) was a jazz arranger, trumpeter, composer, singer and bandleader. He joined Jimmie Lunceford's band in 1933 and contributed many hit arrangements to the band, including "My Blue Heaven" and "Ain't She Sweet". From CD: Sorta-May/Jimmie Lunceford In Hi-Fi Vocal by Trummie Young and the Ensemble
Description: Stereo: http://www.youtube.com/watch?v=mjD7zD0a4I0&fmt=18 When I was a kid about half past three My Dad said "Son, come here to me" Said things may come, and things may go But this is one thing you ought to know... Oh 't ain't what you do it's the way that you do it 'T ain't what you do it's the way that you do it 'T ain't what you do it's the way that you do it That's what gets results 'T ain't what you do it's the time that you do it 'T ain't what you do it's the time that you do it 'T ain't what you do it's the time that you do it That's what gets results You can try hard Don't mean a thing Take it easy, greasy Then your jive will swing Oh 't ain't what you do it's the place that you do it 'T ain't what you do it's the place that you do it 'T ain't what you do it's the place that you do it That's what gets results "T'ain't What You Do (It's the Way That You Do It)" is a song written by jazz musicians Melvin "Sy" Oliver and James "Trummy" Young. It was first recorded in 1939 by both Jimmie Lunceford and Ella Fitzgerald. The jazz tune was transformed into a pop song with ska elements in 1982. With the title slightly altered to "It Ain't What You Do....", it was included on Fun Boy Three's debut self-titled album, became a big hit in the UK, climbing to number four in the UK singles chart, but it was not available on a Bananarama album until 1988's Greatest Hits Collection. William E. May, better known as Billy May (1916 2004) was the last of the great arrangers who wrote regularly for Frank Sinatra, Billy May had several varied careers in and out of jazz. Jimmie Lunceford (1902 - 1947) was one of the most popular Harlem bandleaders in the 1930's. Advertised as "the perfect swing band," in large part due to the leader's discipline and showmanship, Lunceford's orchestra competed for public favor with the leading "big bands" of the era, including those of Duke Ellington, Count Basie, and Benny Goodman. Lunceford replaced Cab Calloway as leader of the famed Cotton Club's house band in 1934. The "Lunceford Style" influenced many bandleaders and arrangers through the 1950s including Tommy Dorsey, Sonny Dunham, and Sonny Burke. James "Trummy" Young (1912 - 1984) was a trombonist in the Swing Era. Although he was never really a star or a bandleader himself, he did have one hit with his version of "Margie," which he played and sang with Jimmie Lunceford's Orchestra. Young was originally a trumpeter, but by the time he debuted in 1928, he had switched to trombone. With Sy Oliver, he was responsible for writing "T'ain't What You Do (It's the Way That You Do It)". Melvin "Sy" Oliver (1910 - 1988) was a jazz arranger, trumpeter, composer, singer and bandleader. He joined Jimmie Lunceford's band in 1933 and contributed many hit arrangements to the band, including "My Blue Heaven" and "Ain't She Sweet". From CD: Sorta-May/Jimmie Lunceford In Hi-Fi Vocal by Trummie Young and the Ensemble
Comment it
Copied to
clipboard
clipboard
