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Louis Daniel Armstrong, nicknamed "Satchmo", "Satch", and "Pops", was an American trumpeter and vocalist. He was among the most influential figures in jazz. His career spanned five decades and several eras in the history of jazz. He received numerous accolades including the Grammy Award for Best Male Vocal Performance for Hello, Dolly! in 1965, as well as a posthumous win for the Grammy Lifetime Achievement Award in 1972, and induction into the National Rhythm & Blues Hall of Fame in 2017.
Thomas Wright "Fats" Waller was an American jazz pianist, organist, composer, and singer. His innovations in the Harlem stride style laid much of the basis for modern jazz piano. A widely popular star in the jazz and swing eras, he toured internationally, achieving critical and commercial success in the United States and Europe. His best-known compositions, "Ain't Misbehavin'" and "Honeysuckle Rose", were inducted into the Grammy Hall of Fame in 1984 and 1999.
Clarence Williams was an American jazz pianist, composer, promoter, vocalist, theatrical producer, and publisher.
Shine is a popular song with lyrics by Cecil Mack and Tin Pan Alley songwriter Lew Brown and music by Ford Dabney. It was published in 1910 by the Gotham-Attucks Music Publishing Company and used by Aida Overton Walker in His Honor the Barber, an African-American road show. According to Perry Bradford, himself a songster and publisher, the song was written about an actual man named Shine who was with George Walker when they were badly beaten during the New York City race riot of 1900.
Harry Brooks was an American writer of popular songs, jazz pianist and composer in the 1920s to the early 1950s.
"Frankie and Johnny" is a murder ballad, a traditional American popular song. It tells the story of a woman, Frankie, who finds her man Johnny making love to another woman and shoots him dead. Frankie is then arrested; in some versions of the song she is also executed.
"Just a Gigolo" is a popular song, adapted by Irving Caesar into English in 1929 from the Austrian tango "Schöner Gigolo, armer Gigolo", composed in 1928 in Vienna by Leonello Casucci to lyrics written in 1924 by Julius Brammer.
"I'll Get By (As Long as I Have You)" is a popular song with music by Fred E. Ahlert and lyrics by Roy Turk. The song was published in 1928. Versions by Nick Lucas, Aileen Stanley and, most successfully, Ruth Etting, all charted in America in 1929.
"Nobody's Sweetheart", also known as "Nobody's Sweetheart Now" and "You're Nobody's Sweetheart Now", is a popular song, written in 1924, with music by Billy Meyers and Elmer Schoebel, and lyrics by Gus Kahn and Ernie Erdman. The song is a jazz and pop standard.
"Everybody Loves My Baby", also known as "Everybody Loves My Baby, but My Baby Don't Love Nobody but Me", is a popular and jazz standard song composed by Spencer Williams in 1924. Lyrics were written by Jack Palmer.
"Honeysuckle Rose" is a 1929 song composed by Thomas "Fats" Waller with lyrics by Andy Razaf. It was introduced in the 1929 Off-Broadway revue "Load of Coal" at Connie's Inn as a soft-shoe dance number. Waller's 1934 recording was inducted into the Grammy Hall of Fame in 1999.
"Mississippi Mud" is a 1927 song written by Harry Barris, first sung by Bing Crosby as a member of Paul Whiteman's Rhythm Boys. Its musical composition entered the public domain on January 1, 2023.
"(What Did I Do to Be So) Black and Blue" is a 1929 jazz standard composed by Fats Waller with lyrics by Harry Brooks and Andy Razaf. It was introduced in the Broadway musical Hot Chocolates (1929) by Edith Wilson. In the show, Wilson originally sang the song from a bed with white sheets, but the bed was removed after the first show due to the judgement that it was too suggestive. The show also included Waller's hit compositions "Ain't Misbehavin'" and "Honeysuckle Rose".
Liza Mae "May" Alix was an American cabaret and jazz vocalist.
The period from the end of the First World War until the start of the Depression in 1929 is known as the "Jazz Age". Jazz had become popular music in America, although older generations considered the music immoral and threatening to cultural values. Dances such as the Charleston and the Black Bottom were very popular during the period, and jazz bands typically consisted of seven to twelve musicians. Important orchestras in New York were led by Fletcher Henderson, Paul Whiteman and Duke Ellington. Many New Orleans jazzmen had moved to Chicago during the late 1910s in search of employment; among others, the New Orleans Rhythm Kings, King Oliver's Creole Jazz Band and Jelly Roll Morton recorded in the city. However, Chicago's importance as a center of jazz music started to diminish toward the end of the 1920s in favor of New York.
"Your Feet's Too Big" is a song composed in 1936 by Fred Fisher with lyrics by Ada Benson. It has been recorded by many artists, notably the Ink Spots and by Fats Waller in 1939. The song became associated with Waller who ad-libbed his own lyrics such as "Your pedal extremities are colossal, to me you look just like a fossil" and his catchphrase, "You know, your pedal extremities really are obnoxious. One never knows, do one?" It was performed in the 1978 revue of Waller tunes, Ain't Misbehavin'.
"You Rascal You" is an American song written by Sam Theard in 1929, and legally titled "I'll Be Glad When You're Dead." The lyrics take the form of threats and complaints leveled against a man who has repaid the singer's hospitality and kindness by running off with the singer's wife.
"Viper's Drag" is a stride piano composition by the jazz pianist, composer, and arranger Thomas "Fats" Waller.
Hot Chocolates is a musical revue with music by Fats Waller and Harry Brooks and book by Andy Razaf. It was originally titled Tan Town Topics in hopes it would be picked up by Broadway. Performed at the Hudson Theater in New York City, it was directed by Leonard Harper and ran for 219 performances from June 20, 1929, to December 14, 1929. It is also referred to as Connie's Hot Chocolates. It was staged, directed and produced by Leonard Harper. While the revue featured music and singing, including the subsequent hit "Aint Misbehavin'," it was praised for the cast's dancing, including its male and female chorus lines.
References
- ↑ Rust, Brian (1975). The American Dance Band Discography 1917–1942: Arthur Lange to Bob Zurke. New Rochelle, New York: Arlington House. p. 1454. ISBN 978-0870002489.
- ↑ Wilson, Jeremy. "Jazz Standards Song and Instrumentals (Ain't Misbehavin')". Jazzstandards.com. Retrieved June 4, 2009.
- ↑ Brothers, Thomas (2014). Louis Armstrong: Master of Modernism. New York, NY: W.W. Norton & Company. pp. 346–47. ISBN 978-0-393-06582-4.
- ↑ Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 451. ISBN 1-904994-10-5.
- ↑ Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 83. ISBN 1-904994-10-5.
- ↑ "Internet Movie Database". imdb.com. 17 November 1943. Retrieved June 14, 2017.
- ↑ "Internet Movie Database". imdb.com. 15 September 1944. Retrieved June 14, 2017.
- ↑ Paymer, Marvin E.; Post, Don E. (1999). Sentimental Journey: Intimate Portraits of America's Great Popular Songs, 1920-1945. Noble House Publishers. p. 146. ISBN 978-1-881907-09-1.
