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AL JOLSON - The World's Greatest Entertainer



Jolson: Biography

The man we know as Al Jolson, was born Asa Yoelson in the 1880s. (There were no birth certificates in those days although the year is generally accepted to have been 1885. He chose May 26th as his birthday because he liked the idea of being born in spring). He emigated with his family from their native villlage of Srednik in Russian Lithuania and settled in Washington DC.
His beloved mother died when he was nine, an event which haunted him throughout the rest of his life, and he and his elder brother defied their cantor father and ran away from home to seek their fortunes on the fringes of show business.

From a post-earthquake appearance at the National Theatre, San Francisco, where he first coined the phrase "You ain't seen nothin' yet", he joined a minstrel troupe and quickly made his way up the showbiz ladder until he was signed by the powerful Shubert Brothers to appear in the revue at their newly built Winter Garden Theatre (March 1911). A series of starring vehicles: Sinbad, Bombo, Big Boy, often with Jolson as Gus, his black-face comic creation, set the seal on his reputation as Broadways most charismatic performer.

He also appeared in a string of Sunday Night concerts at the Winter Garden, because he considered that was the only way fellow showbiz people could see their 'master' at work.

In 1927 Jolson played the lead in the Jazz Singer, which had been a hit broadway show starring George Jessel who had hoped to get the role for himself, but Jolson was a sensation and the success of the first recognisable talkie saved Warner Bros. from bankruptcy.

A grateful Holllywood rushed him into The Singing Fool (1928)  which was an even bigger box office hit - thanks to the million-selling recording of the lachrymose 'Sonny Boy'. This sentimental song was written by Jolson's frequent collaborators, Brown and Henderson as a joke. But they, like Jolson himself ended up crying all the way to the bank as the The Singing Fool grossed the enormous sum of $5.5m - only to be exceeded by Gone With The Wind, 11 years later.

In the 1930s Jolson may have been America's highest paid entertainer, earning $17,500 a week in 1932, but the decade brought him professional disappointment. The public grew tired of the formulaic films he was making at Warner Bros., and a radical change of tone to Hallelujah, I'm a Bum, for United Artists in 1933 failed to arrest the decline. He was even eclipsed by his third wife Ruby Keeler during her brief reign as Warner Bros. favorite ingenue.

His supporting roles in Rose of Washington Square (1939) and Swanee River (1940), a midly successful return to Broadway for Hold On To Your Hats (1940) and a brief cameo as himself in the Gershwin biopic Rhapsody in Blue (1944) seemed to accelerate the downward spiral.  But in entertaining the troups as part of USO - United Service Organisations - Jolson recaptured his power to electrify and enchant an audience, and the runaway success of the 1946 film The Jolson Story where he supplied the singing voice to the acting of Larry Parks heralded a triumphant comeback.

He died of a heart attack in San Francisco on October 23 1950 ...

Jolson: The Entertainer
Al Jolson called himself The World's Greatest Entertainer - and no-one ever argued with him about it. That alone could set the man apart from most other showbusiness people. It seems the epitome of - to use a word that figured largely in his vocabulary - chuttzpah, but as Larry Adler who saw him at work told me, "He was not Lying when he made that claim. It was an established fact."
As Adler also said, "All sorts of people like Chaplin and Chevalier say they were influenced by Al Jolson, I was influenced by Al Jolson - and I only play a mouth organ." And it was true. Elvis Presley sang "Are You Lonesome Tonight" - and used precisely the same arrangement and speaking format as Jolson had done a decade earlier. Bing Crosby, Eddie Fisher and Franky Vaughan all said that Jolson was their principal influence. Tom Jones says his greatest ambition was always to star in a remake of The Jolson Story, the 1946 film which marked Al's comeback, and which led to his being voted, just before his death four years later, America's favorite male singer.

After Bing Cosby came Perry Como and a young upstart called Frank Sinatra. Sinatra was a guest at the same party at which Jolson had the entire guest list in the palm of his hand singing his favorite songs, like Rockabye Your Baby With A Dixie Melody, Swanee and April Showers. Someone asked the then young Blue Eyes to sing too. "I can't follow that," he said - and walked out.

That gives some idea of the man's domination of an audience. He did it for thousands on Broadway in the 1920s, and to just a handful in World War Two. He could spot a couple of lonely GIs on a street corner and tell them "My name's Jolson and I sing. Do you want to hear me?" They always did, and he always would, there and then.

Well he knew they wanted to hear him. At the Winter Garden on Broadway, Al sold tickets at the box office - because he wanted to be sure that the customers wouldn't pass him by. If they asked where they were to be singing, he refused to let them in. "You see Jolson, you don't ask for special seats. Just to see him is enough" he said. And in a way he was right. Other entertainers played to audiences. Al Jolson made love to them - and it was always a two-way love affair. Three of his four wives sued him for divorce could easily have cited the audience as the 'other woman' in his life - for whatever he did on stage had the power of a momentary 'affair'.

When people saw Jolson on stage, it was an experience that they never forgot. Maurice Chevalier said that he went to see a Jolson performance and felt he "had to get back on the boat".

After all, what other entertainer would come into a theatre perhaps half an hour after the curtain should have gone up, walk down the centre of the auditorium with his hat and coat over his arm - and ask if they minded if he made up in front of them? More than that, as a gesture of apology, he handed out boxes of chocolates to the customers. "I hope you understand:" he said "I was having dinner in the restaurant around the corner and they had this swell piano player there, I got a little carried away. Please forgive me." They not only forgave him, they clapped, they cheered and they blew kisses.

They loved him for it. His talent was a commodity with which he was always totally generous. Once he went to the income tax office to settle his account - and ended up singing to the startled collectors. Other taxpayers in the room reported that they had never had more fun parting with their money.

On Broadway, he was the first ever to earn $10,000 a week - and that was before the First World War, in which he was the first to entertain troops. He was the first to go overseas after the Japanese attacked Pearl Harbour and again the first to go to Korea, just a few weeks before his death.

In fact, Jolson was the first to do most things in showbiz. He was the first to take a show on the road, to have a runway slicing the auditorium from the stage to the back of the house, to appear on a flickering green image which turned out to be America's first TV broadcast - and then, when the first LPs were issued in Britain, a Jolson record was among them.

But the first for which he is best known, of course, was the Jazz Singer, when the screen first learned to talk. Yet he was never as happy in the movie studio as in the theatre, perhaps because he couldn't interrupt the cast of the film the way he could those playing in a live theatre.

Night after night, in the middle of a show, he'd stop the entire cast while in full flow, race to the footlights and ask the audience: "Do you want to see them - or do you want me?" He knew the answer. They always wanted him. That was why he could always tell them with confidence: "You ain't heard nothin' yet."

Michael Freedland is a biographer of Al Jolson.
The musical Jolson is based on his original idea.

The Two Faces of Jolson
Large scale musical biographies are often the most popular productions in both provincial and West End theatres, but there is one feature of "Jolson" which arouses the kind of interest and at times, fierce debate not generated by other shows. That is the practice of 'blacking up'. Although white people pretending to be black makes many people uneasy, any fact based story of Al Jolson's stormy career in the theatre and the cinema must show this aspect of his performances since it was a central part of his dramatic personality.

When talking about the reasons why white people 'blacked up', it is difficult to refer to hard facts; this is partly because it is such a sensitive issue and people seem to feel obliged to take one of two sides in the argument. 'Blacking up' is seen as being either merely a theatrical convention, or a racist insult. My interest in the matter stems from having had close links with the theatre and from being a keen student of black history and popular culture. The idea of 'blackface' is something which I find strange but fascinating since there is much more to it than either of those two sides suggest.

It is a sensitive issue because it is part of the long, hard, complex history of slavery and racial relations. Some people hace argued that blackface is a celebration of black musical performance and is not, therefore, insulting. The idea needs to be brought about alongside the accounts of the conditions under which North American blacks in the late nineteenth and early twentieth century lived, and the discrimination and violence they faced. In other words 'blacking up' is not the simple case of being either insulting and offensive, or a harmless honouring of black music. It is much more complex than that - and that is where the fascination lies.

It has been suggested that some black Americans did not object to 'blackface': indeed they even'blacked up' themselves. There is an element of truth in thsi last point but the historical background needs to be considered too. Following the American civil war (1861 - 1865), black Americans wanting to work in the entertainment world were forced to adopt the styles of performance which conformed to white people's expectations and ideas about how black people thought, felt, and behaved. These ideas about black people's lives did not match up with the reality of their experiences but many black performers adopted these styles in order to make a living and survive. It was common, therefore to see black performers in what were known as 'ethnic' theatres perform in 'blackface' for their white audiences., They would act the lazy, comic docile characters who shuffled, muttered and crooned in their quaint 'negro' language. Very few black performers would have been allowed to perform those roles as white people did. Certainly a real black male character would not have been allowed to touch a white woman or to show disrespect to his white masters, as did the 'blacked up' Al Jolson.

From the outset many people, both black and white, felt that putting on 'blackface' was a cruel send-up of black culture. However, to see it as simply insulting does not give the whole picture either. There may well be an element of celebration of black performance in the tradition, but perhaps it is tinged with an element of envy. This sense of envy surfaced publicly during the 1920s and 30s (sometimes known as the 'Jazz Age'). Many white people felt that mainstream white American culture was lacking in excitement and was too dependant on the European cultures on which is as based: one way of putting it was to say that there was not enough that was distinctively American. By contrast black culture, especially the music and the dancing, was seen as vibrant and exciting - often producing new crazes. At the same time though, many saw the blues and jazz music as something which was destructive and immoral. Here again there is a sense that white Americans were in two minds about how they felt about black people and their culture.

There are many reasons why the Al Jolson story continues to attract an audience: the rise from poverty, to fame and fortune, the romances and the conflicts are the aspects of his personal life which make for a rich and interesting biography. There is however, no easy answer to the question of why Jolson and so many other white performers thought they could get their message better acrosss by putting on burnt cork or boot polish, but it is not a question which should be simplified or ignored. To do so is to sweep an important detail of the development of popular culture under the carpet. And that is in nobody's interest.

Dr M Young
Lecturer, Writer and Critic

Source: http://www.jolson.org/

Golden Classics of

1. Anniversary Song
Written by Al Jolson and Saul Chaplin

Oh, how we danced on the night we were wed
We vowed our true love, though a word wasn't said
The world was in bloom, there were stars in the skies
Except for the few that were there in your eyes

Dear, as I held you close in my arms
Angels were singing a hymn to your charms
Two hearts gently beating, murmuring low
"Darling, I love you so"

The night seemed to fade into blossoming dawn
The sun shone anew but the dance lingered on
Could we but recall that sweet moment sublime
We'd find that our love is unaltered by time

Darling, I love you so

The night seemed to fade into blossoming dawn
The sun shone anew but the dance lingered on
Could we but recall that sweet moment sublime
We'd find that our love is unaltered by time

2. You Made Me Love You (I Didn't Want To Do It)
Words by Joe McCarthy, Music by James V. Monaco

Verse 1: I've been worried all day long, don't know if I'm right or wrong,
I can't help just what I say. Your love makes me speak this way.
Why, oh! Why should I feel blue, once I used to laugh at you,
But now I'm crying, no use denying, there's no one else but you will do.

Chorus 1: You made me love you, I didn't want to do it, I didn't want to do it.
You made me want you, and all the time you knew it, I guess you always knew it.
You made me happy sometime, you made me glad.
But there were times dear, you made me feel so bad.
You made me sigh for I didn't want to tell you, I didn't want to tell you.
I want some love that's true, yes I do, deed I do, you know I do.
Give me give me what I cry for, you know you've got the brand of kisses that I'd die for.
You know you made me love you.

Verse 2: I had pictured in my mind, some day I would surely find,
Someone handsome (gorgeous), someone true, but I never thought of you.
Now my dream of love is o'er, I want you and nothing more,
Come on, enfold me, come on and hold me just like you never did before,

Chorus 2: You made me love you, I didn't want to do it, I didn't want to do it.
You made me want you, and all the time you knew it, I guess you always knew it.
You made me happy sometime, you made me glad.
But there were times dear, you made me feel so bad.
You made me sigh for I didn't want to tell you, I didn't want to tell you.
I want some love that's true, yes I do, deed I do, you know I do.
Give me give me give me give me what I cry for,
You know you've got the brand of kisses that I'd die for.
You know you made me love you.
You know you made me love you.

3. Where Did Robinson Crusoe Go With Friday on Saturday Night
Words by Sam M. Lewis and Joe Young and Music by George W. Meyer

Verse 1: Thousands of years ago or maybe more,
Out on an island on a lonely shore,
Robinson Crusoe landed one fine day,
No rent to pay, And no wife to obey;
His good man Friday was his only friend,
He didn't borrow or lend;
They built a little hut, Lived there till Friday, But
Saturday night it was shut.

Chorus 1:* Where did Robinson Crusoe go, with Friday on Saturday night?
Ev'ry Saturday night they would start in to roam,
And on Sunday morning they'd come staggering home.
They went hunting for rabbit when the weather grew colder,
But Crusoe came home with a hare (or hair) on his shoulder.
So where did Robinson Crusoe go, with Friday on Saturday night?

Chorus 2:* Where did Robinson Crusoe go, with Friday on Saturday night?
One fine Saturday night they had nothing to do,
So they started counting all the girlies they knew.
Friday counted to thirteen, and Crusoe said "Brother,
You know thirteen's unlucky, lets go get another.
So where did Robinson Crusoe go, with Friday on Saturday night?

Verse 2: Robinson Crusoe was a good old scout,
Robinson Crusoe knew his way about,
He'd go out hunting chickens now and then,
But he knew when he was chasing a hen;
Once he told Friday "you must stay at home,
I've got to go out alone;"
Friday felt very blue, He said "It's wrong of you,
Couldn't you fix it for two?"

Chorus 3: Where did Robinson Crusoe go, with Friday on Saturday night?
Ev'ry Saturday night they would start in to roam,
And on Sunday morning they'd come staggering home.
On this island lived wild men in cannibal trimmin';
And where there are wild men there must be wild women,
So where did Robinson Crusoe go, with Friday on Saturday night?

* There are some lyrics not printed in the original score, but are included in Al Jolson's recording released in 1916 when the piece was published.

4. Rock-a-Bye Your Baby With A Dixie Melody
Words by Sam M. Lewis and Joe Young and Music by Jean Schwartz

Verse 1: Mammy mine, Your little rollin' stone that rolled away; strolled away;
Mammy mine, Your rollin' stone is rollin' home today; there to stay.
Just to see your smilin' face, Smile a welcome sign;
When I'm in your fond embrace, Listen Mamy mine.

Chorus: Rock-a-bye your baby with a Dixie melody;
When you croon, croon a tune, from the heart of Dixie.
Just hang my cradle, Mammy mine, Right on that Mason Dixon Line,
And swing it from Virginia, to Tennessee with all the love that's in yer.
"Weep no more my lady," sing that song again for me;
And "Old Black Joe,"* just as though you had me on your knee;
A million baby kisses I'll deliver, The minute that you sing the Swanee River;
Rock-a-bye your rock-a-bye baby with a Dixie melody.

Verse 2: Any time, I hear a Mammy sing her babe to sleep; slumber deep;
That's the time, The shadows 'round my heart begin to creep; and I weep.
Wonder why I went away, What a fool I've been;
Take me back to yesterday, in your arms again.

Chorus: Rock-a-bye your baby with a Dixie melody;
When you croon, croon a tune, from the heart of Dixie.
Just hang my cradle, Mammy mine, Right on that Mason Dixon Line,
And swing it from Virginia, to Tennessee with all the love that's in yer.
"Weep no more my lady," sing that song again for me;
And "Old Black Joe,"* just as though you had me on your knee;
A million baby kisses I'll deliver, The minute that you sing the Swanee River;
Rock-a-bye your rock-a-bye baby with a Dixie melody.

* Later editions and recordings used the less offensive "Sing soft and low,".

5. Swanee
Words by Irving Caesar, Music by George Gershwin

Verse: I've been away from you a long time,
I never though I'd miss you so.
Somehow I feel, Your love is real, Near you I long to be.
The birds are singing, in its songtime,
The banjos strummin' soft and low,
I know that you, Yearn for me too, Swanee You're calling me.

Chorus: Swanee, How I love you How I love you, My dear old Swanee.
I'd give the world to be, among the folks in D-I-X-I-Even know my
Mammy's, Waiting for me, Praying for me, Down by the Swanee
The folks up north will see me no more, When I go to the Swanee shore
(I'll be happy, I'll be happy)

Tag: Swanee, Swanee, how I love my dear old Swanee.
Mammy, Mammy, I love the old foks at home.

6. Avalon
Words and Music by Vincent Rose and Al Jolson

Verse 1: Ev'ry morning mem'ries stray
Across the sea where flying fishes play.
And as the night is falling, I find that I'm recalling,
That blissful all enthralling day;

Chorus: I found my love in Avalon, beside the bay.
I left my love in Avalon, and sail'd away.
I dream of her and Avalon, from dusk 'til dawn.
And so I think I'll travel on, to Avalon.

Verse 2: Just before I sail'd away,
She said the word I long'd to hear her say.
I tenderly caress'd her, close to my heart I press'd her,
Upon that golden yesterday;

Chorus: I found my love in Avalon, beside the bay.
I left my love in Avalon, and sail'd away.
I dream of her and Avalon, from dusk 'til dawn.
And so I think I'll travel on, to Avalon.

7. My Mammy
Words by Sam M. Lewis and Joe Young and Music by Walter Donaldson

Verse 1: Ev'ry thing seem lovely, When you start to roam.
The birds are singing the day that you stray, But wait until you are further away.
Things won't be so lovely, When you're all alone,
Here's what you'll keep saying, When you're far from home.

Chorus: Mam-my, Mam-my,
The sun shines East, the sun shines West,
But I've just learned where the sun shines best.
Mam-my, Mam-my,
My heart strings are tangled around Alabamy.
I'se a comin', sorry that I made you wait.
I'se a comin', hope and pray I'm not too late.
Mam-my, Mam-my,
I'd walk a million miles for one of your smiles my Mam-my.

Verse 2: We all start our travels, Searching for a friend.
If you went searching down deep in your mind, You know you just left the best pal behind.
After all our travles, Where do we all wend,
Back home to our first love, At the journey's end.

Chorus: Mam-my, Mam-my,
The sun shines East, the sun shines West,
But I've just learned where the sun shines best.
Mam-my, Mam-my,
My heart strings are tangled around Alabamy.
I'se a comin', sorry that I made you wait.
I'se a comin', hope and pray I'm not too late.
Mam-my, Mam-my,
I'd walk a million miles for one of your smiles my Mam-my.

8. April Showers
Words by B.G. DeSylva and Music by Louis Silvers

Verse 1: Life is not a highway strewn with flowers,
Still it holds a goodly share of bliss,
When the sun gives way to April showers,
Here's the point that you should never miss.

Chorus: Though April showers may come your way,
They bring the flowers that bloom in May.
So if it's raining, have no regrets,
Because it isn't raining rain, you know, (It's raining violets,)
And where you see clouds upon the hills,
You soon will see crowds of daffodils,
So keep on looking for a blue bird, And list'ning for his song,
Whenever April showers come along.

Verse 2: I have learned to smile when skies are gloomy,
Smile although my heart's about to break,
When I know that trouble's coming to me,
Here's the happy attitude I take.

Chorus: Though April showers may come your way,
They bring the flowers that bloom in May.
So if it's raining, have no regrets,
Because it isn't raining rain, you know, (It's raining violets,)
And where you see clouds upon the hills,
You soon will see crowds of daffodils,
So keep on looking for a blue bird, And list'ning for his song,
Whenever April showers come along.

9. Toot, Toot, Tootsie, Goo'Bye
Words and Music by Gus Kahn, Ernie Erdman and Dan Russo

Verse 1: Yesterday I heard a lover sigh,
"Good-bye, oh me oh my."
Seven times he got aboard his train,
And seven times he hurried back to kiss his love again, and tell her:

Chorus: "Toot, toot, Tootsie, Goo'-Bye!
Toot, toot, Tootsie, don't cry,
The choo choo train that takes me,
Away from you, no words can tell how sad it makes me,
Kiss me, Tootsie, and then,
Do it over again.
Watch for the mail, I'll never fail,
If you don't get a letter then you'll know I'm in jail,
Tut, tut, Tootsie, don't cry,
Toot, toot, Tootsie, Goo' bye!"

Verse 2: When somebody says goodbye to me,
I'm sad as I can be,
Not so with this loving Romeo,
He seemed to take a lot of pleasure saying goodbye to his treasure:

Chorus: "Toot, toot, Tootsie, Goo'-Bye!
Toot, toot, Tootsie, don't cry,
The choo choo train that takes me,
Away from you, no words can tell how sad it makes me,
Kiss me, Tootsie, and then,
Do it over again.
Watch for the mail, I'll never fail,
If you don't get a letter then you'll know I'm in jail,
Tut, tut, Tootsie, don't cry,
Toot, toot, Tootsie, Goo' bye!"

10. California, Here I Come
Words and Music by Bud DeSylva, Al Jolson and Joseph Meyer

Verse 1: When the wintry winds are blowing, And the snow is starting in to fall,
Then my eyes turn westward, knowing That's the place I love the best of all.
California, I've been blue, Since I've been away from you
I can't wait til I get going, Even now I'm starting in to call, Oh,

Chorus: California, here I come, Right back where I started from.
Where bowers of flowers bloom in the sun,
Each morning at dawning, Birdies sing an' ev'rything.
A sunkist miss said, "Don't be late," That's why I can hardly wait!
Open up that Golden Gate, California, here I come.

Verse 2: Anyone who likes to wander, Ought to keep this saying in his mind,
"Absence makes the heart grow fonder," Of the good old place you leave behind.
When you've hit the trail a while, Seems you rarely see a smile;
That's why I must fly out younder, Where a frown is mighty hard to find! Oh,

Chorus: California, here I come, Right Back where I started from.
Where bowers of flowers bloom in the sun (or spring),
Each morning at dawning, Birdies sing an' ev'rything.
A sunkist miss said, "Don't be late," That's why I can hardly wait!
Open up that Golden Gate, California, here I come.

11. Sonny Boy
Words and music by Al Jolson, Bud G. DeSylva, Lew Brown and Ray Henderson

Verse 1: Climb upon my knee, Sonny Boy;
You are only three, Sonny Boy.
You've no way of knowing, There's no way of showing,
What you mean to me, Sonny Boy.

Chorus 1: When there are gray skies, I don't mind the gray skies
You make them blue, Sonny Boy.
Friends my forsake me, Let them all forsake me,
You'll pull me through, Sonny Boy.
You're sent from Heaven, And I know your worth;
You've made a heaven, For me right here on earth!
When I'm old and gray, dear, promise you won't stray, dear,
For I love you so, Sonny Boy.

Verse 2: You're my dearest prize, Sonny Boy;
Sent from out the skies, Sonny Boy.
Let me hold you nearer, One thing makes you dearer:
You've your mother's eyes, Sonny Boy.

Chorus 2: When there are gray skies, I don't mind the gray skies
You make them blue, Sonny Boy.
Friends my forsake me, Let them all forsake me,
You'll pull me through, Sonny Boy.
You're sent from Heaven, And I know your worth;
You've made a heaven, For me right here on earth!
*But if the angels grow lonely, Take you 'cause they're lonely,
I'll follow you, Sonny Boy.

* In the final chorus of the song in The Singing Fool, and on some recordings, Jolson speaks (sobs) the following tag:
And the angels, they grew lonely, And they took you because they were lonely,
Now I'm lonely too, Sonny Boy.

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hey, I don't know much about Oliver King, could you told us more background about him?
Any good recording from him introduce? Thanks!

Source:  http://www.redhotjazz.com/kingo.html



Joe Oliver is one of the most important figures in early Jazz. When we use the phrase Hot Jazz, we are really referring to his style of collective improvisation (rather than solos). He was the mentor and teacher of Louis Armstrong. Louis idolized him and called him Papa Joe. Oliver even gave Armstrong the first cornet that Louis was to own. Oliver was blinded in one eye as a child, and often played while sitting in a chair, or leaning against the wall, with a derby hat tilted so that it hid his bad eye. Joe was famous for his using mutes, derbies, bottles and cups to alter the sound of his cornet. He was able to get a wild array of sounds out of his horn with this arsenal of gizmos. Bubber Miley is said to have been inspired by his sound. Oliver started playing in New Orleans around 1908. At various times he was a member of several of the marching bands like The Olympia, The Onward Brass Band, The Original Superior and the Eagle Band. He often worked in Kid Ory's band and in 1917 he was being billed as "King" by the bandleader. In 1919 he moved to Chicago with Ory and played in Bill Johnson's The Original Creole Orchestra at the Dreamland Ballroom. He toured with the band, but when he returned to Chicago in  1922 he started King Oliver's Creole Jazz Band at Lincoln Gardens (459 East 31st Street). Oliver imported his protˆmgˆm Louis Armstrong from New Orleans. The band also included Johnny Dodds , Honore Dutrey, Lil Hardin and Baby Dodds among others. The group's 1923 sessions were a milestone in Jazz, introducing the playing of Louis Armstrong to the world. Unfortunately the Creole Jazz Band gradually fell apart in 1924. Oliver went on to record a pair of duets with pianist Jelly Roll Morton that same year, and then took over Dave Peyton's band in 1925, renaming it the Dixie Syncopators. Oliver moved the band to New York in 1927, where he made some lousy business decisions, like turning down the regular gig at the Cotton Club, that went on to catapult Duke Ellington to fame. Oliver had a life long sweet tooth. He was famous for his love of sugar sandwiches, This of course led to dental problems that made playing his cornet very painful. On top of that he was suffering from a bad back. In 1929 Luis Russell took over the Dixie Syncopators and changed the name to Luis Russell and his Orchestra. Oliver continued to record until 1931, but he was quickly becoming a forgotten name. He continued to tour the South with various groups, until he ran out of money and settled in Georgia, where he worked as a janitor in a poolroom up until his death in 1938.


King Oliver's Creole Jazz Band - San Francisco 1921. Left to right: Ram Hall, Honore Dutrey, King Oliver, Lil Hardin-Armstrong, David Jones, Johnny Dodds, Jimmie Palao, Ed Garland

Enjoy Yourself: The Hits of Guy Lombardo

Enjoy Yourself (It's Later than You Think)

Artist: Guy Lombardo
Lyric by Herb Magidson, Music by Carl Sigman
Copyright 1949, Edward H. Morris & Company, Inc.


You work and work for years and years, you're always on the go,
You never take a minute off, too busy makin' dough.
Some day, you say, you'll have your fun when you're a millionaire.
Imagine all the fun you'll have in your old rockin' chair.


Enjoy yourself, it's later than you think;
Enjoy yourself, while you're still in the pink.
The years go by as quickly as a wink,
Enjoy yourself, enjoy yourself,
It's later than you think.

You're gonna take that ocean trip, no matter come what may,
You've got your reservations made, but you just can't get away.
Next year, for sure, you'll see the world, you'll really get around,
But how far can you travel when you're six feet underground?

Your heart of hearts, your dream of dreams, your ravishing brunette,
She's left you and she's now become somebody else's pet,
Lay down that gun, don't try, my friend, to reach the great beyond,
You'll have more fun by reaching for a redhead or a blonde!

Enjoy yourself, it's later than you think;
Enjoy yourself, while you're still in the pink.
The years go by as quickly as a wink,
Enjoy yourself, enjoy yourself,
It's later than you think.


You never go to nightclubs and you just don't care to dance,
You don't have time for silly things like moonlight and romance,
You only think of dollar bills tied neatly in a stack,
But, when you kiss a dollar bill, it doesn't kiss you back!


Enjoy yourself, it's later than you think;----¤éÀY²r°µ,¨ì¨Ì®a»´ÃP¤U
Enjoy yourself, while you're still in the pink.----­¹¹L±ß¶º, ­n¥ð®§µf¤@°}
The years go by as quickly as a wink,----------¤j®aºZ±Ô, µL½u¦³¦n¸`¥Ø
Enjoy yourself, enjoy yourself,-----------ÅwÅw¼Ö¼Ö, ¯º¯º½Í½Í
It's later than you think.-----------------§Ú¦a»ô»ô­¿¦ñ§A


¸ÕÅ¥:


http://www.towerrecords.com/prod ... artist=Guy+Lombardo

¤Þ¥Î:

­ì©«¥Ñ LouisLee ©ó 2006-8-21 01:33 µoªí


Source:  http://www.redhotjazz.com/kingo.html



Joe Oliver is one of the most important figures in early Jazz. W ...

Thanks bro!!

Bill Evan, John Coltrane, Chet Baker, Johnny Hartman,
Also, Stan Getz and Billie Halliday and Keith Jarrett

¤Þ¥Î:

­ì©«¥Ñ ¯ª¶³¹F´µ ©ó 2006-8-19 05:55 PM µoªí

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Lester Young and Billie Holiday : What a perfect partnership in jazz music!! Maybe you can benefit us by telling us more about Lester Young.

BTW, thanks for the songs by Billie Holiday at your thread. They are just great!

"....Any one who doesn't play jazz music like Lester Young is wrong!" one jazz critic said.

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­ì©«¥Ñ FeiJai ©ó 2006-8-20 01:51 PM µoªí


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BTW¡M¬JµMÁ¿¶} Jazz¡M¥i§_½Ð§A²³æ¤¶²Ð¤U¦U´Ú­ø¦P0¬J Jazz ¦P¥Nªí¤Hª«? Thank you ®Í¥ý¡C

Actually, I am quite surprised from the responses from different people. So guess I should contribute something.....

Bill Evans  

Bill Evans was born in Plainfield, New Jersey on August 16, 1929 and began his music studies at age 6. Classically trained on piano; he also studied flute and violin as a child. He graduated with a degree in piano performance and teaching from Southeastern Louisiana College (now University) in 1950, and studied composition at Mannes College of Music in New York. After a stint in the Army, he worked in local dance bands, and with clarenetist Tony Scott, Chicago-area singer Lucy Reed and guitarist Mundell Lowe, who brought the young pianist to the attention of producer Orrin Keepnews at Riverside Records.
Evans' first album was New Jazz Conceptions in 1956, which featured the first recording of his most loved composition, "Waltz for Debby". It's follow-up, Everybody Digs Bill Evans was not recorded for another two years; the always shy and self- deprecating pianist claiming he "had nothing new to say." He gradually got noticed in the NYC jazz scene, for his original piano sound and fluid ideas, when in 1958, Miles Davis asked him to join his group (which also featured John Coltrane and Cannonball Adderley) He stayed for nearly a year, touring and recording, and subsequently playing on the all-time classic Kind of Blue album -- as well as composing "Blue in Green", now a jazz standard. His work with Miles helped solidify Bill's reputation, and in 1959, Evans founded his most innovative trio with the now-legendary bassist Scott LaFaro and with Paul Motian on drums. The trio concept of equal interplay among the musicians was virtually pioneered by Evans, and these albums remain the most popular in his extensive catalog. They did two studio albums together in addition to the famous 'live" sessions at NYC's Village Vanguard in 1961. LaFaro's tragic death in a car accident a few weeks after the Vanguard engagement -- an event which personally devastated Bill -- sent the pianist into seclusion for a time, after which he returned to the trio format later in 1962, with Motian again, and Chuck Israels on bass.

Bill Evans (continued)

His 1963 Conversations With Myself album , in which he double and triple-tracked his piano, won him the first of many Grammy® awards and the following year he first toured overseas, playing to packed houses from Paris to Tokyo, now solidifying a worldwide reputation. The great bassist Eddie Gomez began a fruitful eleven year tenure with Bill in 1966, in various trios with drummers Marty Morell, Philly Joe Jones, Jack DeJohnette and others -- contributing to some of the most acclaimed club appearances and albums in Evans's career. His recorded output was considerable -- (for Riverside, Verve, Columbia, Fantasy and Warner Bros) over the years, and he also did sessions (especially early on) with some of the top names in jazz. Musicians like Charles Mingus, Art Farmer, Stan Getz, Oliver Nelson, Jim Hall, George Russell, Shelley Manne, Toots Theielmans, Kai Winding /J.J. Johnson, Hal McKusick and others all featured Evans. In the seventies, he recorded extensively-- primarily trio and solo piano now and then, but also including several quintet albums under his own name as well two memorable dates with singer Tony Bennett.

His last trio was formed in 1978, featuring the incomparably sensitive Marc Johnson on bass and drummer Joe LaBarbera, which rejuvenated the often-ailing pianist, who was elated with his new line-up, calling it "the most closely related" to his first trio (with LaFaro and Motian). He suffered yet more family problems and upheavals in his personal life, (often due to bouts with narcotics addiction) and yet brought a new dynamic musical vitality, a surer confidence, fresh energy and even more aggressive interplay to the trio's repertoire. Evans' health was deteriorating, however, though he insisted on working until he finally had to cancel midweek during an engagement at Fat Tuesday's in New York. He finally had to be taken to Mount Sinai Hospital on September 15, 1980, where he died from a bleeding ulcer, cirrhosis of the liver and bronchial pneumonia . He is buried next to his beloved brother Harry, in Baton Rouge, Louisiana.

While Evans was open to new musical approaches that would not compromise his musical and artistic vision -- such as his occasional use of electric piano, and his brief associations with avant-garde composer George Russell -- he always insisted on the purity of the song structure and the noble history of the jazz tradition. It was a point the highly articulate Evans was quite forthcoming about in the various interviews he gave throughout his career. Consistently true to his own pianistic standards, he continued to enhance his own singular vision of music until the very end.

In his short life, Bill Evans was a prolific and profoundly creative artist and a genuinely compassionate and gentle man, often in the face of his recurring health problems and his restless nature. His rich legacy remains undiminished, and his compositions have enjoyed rediscovery by jazz players and even some classical musicians. Even twenty-five years after his passing, Bill Evans' music continues to influence musicians and composers everywhere and all those who have been deeply touched by his expressive genius and sensitive, lyrical artistry

Please visit http://www.billevanswebpages.com/ for more info.

One critic says that the way Bill Evans played is very "impressionistic". When you hear him play, you will sense his feelings. Not sure if anyone agrees or not.

Miles Davis says that hearing Bill Evans playing the piano is like hearing water cascading from the waterfall. Another interesting description. Just hear how he played his part in "So What" with the Miles Davis Group.

Some of his tunes:
Blue in Green (one of my favourites)
Alice in Wonderland
Gloria's Step
Spartacus Love Theme
Waltz For Debbie

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­ì©«¥Ñ LouisLee ©ó 2006-8-20 02:38 PM µoªí
7. My Mammy
Words by Sam M. Lewis and Joe Young and Music by Walter Donaldson

Verse 1: Ev'ry thing seem lovely, When you start to roam.
The birds are singing the day that you stray, But wait u ...

Well Done. Keep Going!!!

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­ì©«¥Ñ Viagra ©ó 2006-8-28 05:02 PM µoªí
Please visit http://www.billevanswebpages.com/ for more info.

One critic says that the way Bill Evans played is very "impressionistic". When you hear him play, you will sense his feeli ...

my favourite Bill Evans track..."Turn Out the Star"......

btw Thanks brother Louis introducing Oliver King to me...u are an expert!

cool

I am also a big fan of jazz -- let's discuss!

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­ì©«¥Ñ goldenbaby ©ó 2006-8-28 06:42 PM µoªí
Stan Getz ¡Bkenny Burrell¡B¥ò¦³¸ge«×¦³°ª¤H¤¶²Ð¬Jchick corea

Chick Corea is very good -- I watched him live once with his band (think it is called Return to Forever) @ Blue Note in NYC and he was great (and charged great as well!! )

However my favourite is still Bill Evans for his ballads and then the genius Thelonious Monk.  Keith Jarrett is also great and Duke is, well, Duke.

I have got most of Stan Getz's records and while his best know albums are bossa nova era, my personal choice for him is actually his earlier works (try to find his 3-record set called ROOST recordings -- < 300HKG in the package of orange).

And if you are new to the JAZZ world I will strongly recommend you try to find a 10-DVD set of "JAZZ : The Movie by Ken Burns".  It will tell you how jazz is evolved and the leading musicians in different stages (swing / big band / cool / bebop / bossa nova, etc).

Highly recommended.

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­ì©«¥Ñ KFC_HK ©ó 2006-9-1 02:06 PM µoªí


Chick Corea is very good -- I watched him live once with his band (think it is called Return to Forever) @ Blue Note in NYC and he was great (and charged great as well!! )

However my favo ...

I have several videos of Chick Corea's previous live performances. They are in general very good. One of my recommended performances of him is his "A Very Special Concert" with Joe Henderson, Stanley Clarke and Lenny White. Stan and Lenny were with him in his "Return to Forever" group. The track "500 Miles High" is just brilliant. Not only is Chick great, the way Stan improvises with the bass (in the middle part) is very melodic.

You should also try his "Remembering Bud Powell" concert. Another great event for collection.

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­ì©«¥Ñ KFC_HK ©ó 2006-9-1 02:09 PM µoªí
And if you are new to the JAZZ world I will strongly recommend you try to find a 10-DVD set of "JAZZ : The Movie by Ken Burns".  It will tell you how jazz is evolved and the leading music ...

Agree. Ken Burns did a very great job in this documentary and I admit that I learn a lot about jazz from just watching this documentary.

Related to this documentary is a set of jazz records with tunes selected by Ken Burns from different jazz players. Recommended for beginners in jazz listening!

Thanks, I want to get into listening to Jazz and this post helped me a lot