Saturday, September 05, 2009
Saturday, May 30, 2009
VOCALIST, EDUCATOR BARBARA MORRISON LAUNCHES EXCITING NEW JAZZ SHOW ON KGIL 1260, AM BEVERLY HILLS, SANTA MONICA AND LOS ANGELES!
JazzTimes
05/30/09 • By wen mew
Saturday, May 30, 2009
VOCALIST, EDUCATOR BARBARA MORRISON KICKS OFF EXCITING NEW JAZZ SHOW ON KGIL 1260, AM BEVERLY HILLS, SANTA MONICA AND LOS ANGELES!
BARBARA'S new jazz show LADY B is one the best jazz shows in the world as there is no better show when the programmer knows the music inside and out. The only other shows which are comparable are also hosted by musicians MARIAN MCPARTLAND AND DEE DEE BRIDGEWATER. BARBARA'S show is far superior to BRUCE LUNDVALL'S SHOW which features his BLUE NOTE CATALOG!
BARBARA'S theme song is her excellent recording of LOS ANGELES, LOS ANGELES, THE CITY BY THE SEA composed by HAROLD A. GARRISON JR.
She opened the show with Theo Sanders's SOKO from bassist HENRY FRANKLIN's "HOME COOKING" featuring an exciting full toned soprano solo by AZAR LAWRENCE with great help from pianist THEO SANDERS AND PERCUSSIONIST RAMON BANDA.
Next was some exciting early DIANA KRALL with TROMBONIST VINCE BENEDETTI recorded in Germany in 1990. Benedetti played a great bone solo on THE NEWS, and Krall never sounded better.
MARK WINKLER gave us EASY THE HARD WAY. WINKLER is a very talented composer, vocalist along the lines of BOBBY TROUP.
Barbara then presented two of her favorite pianists PHIL WRIGHT, who's been music director for CHESS RECORDS, NANCY WILSON, ABBY LINCOLN, ERNIE ANDREWS and more, and vocalist-pianist JOHN HARKINS, formerly from Chicago, but now the most in demand pianist in Sydney, Australia where Barbara performs every year.
Next came two of the greatest guitarists in the world, WES MONTGOMERY AND KENNY BURRELL. Barbara played Wes's A DAY IN THE LIFE by the BEATLES, and one of Kenny's very sensitive and delicate versions of MOOD INDIGO.
Barbara featured a tune her arranger BILL LISTON wrote for his son and then closed with SOFT WINDS which showcased fine trumpet, bone, guitar, and tenor solos from the Al Aarons aggregation!
THIS SHOW IS A MUST FOR JAZZ LOVERS EVERYWHERE! KGIL 1260 AM
Posted by wen mew at 7:21 PM
ROBERTA GAMBARINI with Slide Hampton Salzau 2004
roberta and slide speak for themselves! don't forget Roberta's new CD SO in LOVE. http://wenjaz.blogspot.com JAZZ TIMES
Friday, May 22, 2009
ROBERTA GAMBARINI'S SO in LOVE, spring, summer, fall 2009
SO in LOVE is a CD of compassion and passion of Roberta's love of life, her fellow musicians, her audiences, and her love of music! Each of us will have our favorite tracks as my tastes will likely differ from yours; however I believe we will agree that this CD is likely to be one of the best vocal albums of 2008. 2009, and one of the finest vocal CD's of all time.
The CD opens and closes with just Tamir Hendelman and Roberta playing and singing the lovely notes of SO in LOVE and OVER THE RAINBOW as pure as the snow white cover of the CD and CD jacket. This is a CD of purity of sound and enunciaton from Tamir's first notes to Roberta's last notes in OVER THE RAINBOW. As Duke and Wayne Shorter have both said that there is no beginning and ending in music, it just keeps moving. You'll find that Roberta's first CD'S in America, EASY TO LOVE, YOU ARE THERE, AND NOW SO in LOVE, tell her life's story, and it will continue! Next month June in Toronto, she's showcasing her virtuosity with just bassist NEIL SWAINSON.
SO in LOVE is as perfect a CD as any I've ever heard; however two tracks were recorded after 9/11 in 2001, and Roberta's voice undoubtedly has matured in 8 years. However George Mraz's bass work on those two tracks, YOU MUST BELIEVE IN SPRING and Medley from Cinema Pardiso is outstanding.
Following So In Love, Jake Hanna and Roberta open DAY IN AND DAY OUT, and Roberta appropriately pays tribute to "Jake Hanna's drums" during the tune. The two do an entire chorus before Tamir and Chuck Berghofer come in. Tamir plays a fine solo at a fairly brisk tempo.
Tamir and Roberta do the verse to GET OUT OF TOWN, and Roberta's longtime buddy JAMES MOODY joins them with gorgeous sound and choice of notes. Once in tempo with Chuck and Jake, Roberta is right in the pocket. Roberta often uses this tune to get her rhythm section in the groove during live performances, and the groove is there on the CD. Moody plays beautifully as usual, but I think he was special on this CD, just like his most recent CD with HANK JONES, "OUR DELIGHT".
CRAZY and HERE,THERE AND EVERYWHERE are likely to expand Roberta's audience base. Roy Hargrove's flugelhorn adds to Roberta's wonderful performance of CRAZY as does Jake's brush work.
THAT OLD BLACK MAGIC, one of Roberta's mainstays in live performance featured a driving ERIC GUNNISON on piano, Neil Swainson, bass and Montez Coleman, drums. Gunnison plays the entire piano from one end to the other; Roberta cooks and wails!
ESTATE featured GERALD CLAYTON who played a beautiful solo on ONLY TRUST YOUR HEART. (Roberta's grammy nominated EASY TO LOVE). ESTATE composed by Italian composers BRUNO MARTINO and BRUNO BRIGHETTI; so Roberta does it in Italian, one of the at least 4 languages in which Roberta performs. Once in tempo, Jake plays the drums with just his hands. Gerald's solo, lyrical as usual with a wonderful choice of notes, a young man who tells a very mature story when he plays.
GOLDEN SLUMBERS/HERE, THERE AND EVERYWHERE, Roberta is singing to the children of the world. You can bet some young ROBERTA GAMBARINIS out there will hear this and follow in Roberta's footsteps. Slumbers seques into the Beatles tune in waltz tempo. The rhythm section of Tamir, Chuck and Jake groove.
I SEE YOUR FACE BEFORE ME. a Schwartz/Dietz gem "screamed for a tenor saxophone solo" in Roberta's mind, and indeed MOODY DID PRODUCE A MIRACLE!
Roberta, Neal Swainson and Montez Coleman kick off FROM THIS MOMENT ON at a tempo of maybe 240. This is the burner of the CD. Eric comes in on the second chorus, and the four blaze away. Split second modulations, Eric shows off his very clean chops. Roberta's forte scatting at fast tempos; (you never want to follow one of Roberta's solos unless you're a FRANK WESS, MOODY OR ROY HARGROVE.)
I actually identify YOU MUST BELIEVE IN SPRING with great versions by PHIL WOODS AND BILL EVANS. Roberta's is GEORGE MRAZ. This tune was a savior for Roberta as she witnessed first hand the horrors of 9/11 from her midtown apartment. On the 15th when commercial flights resumed, Roberta wisely got the hell out of NYC and retreated to the beauty of BIG SUR to record this piece.
JEFF HAMILTON joins Chuck, Tamir, Moody, and Roy Hargrove to help Roberta produce a gorgeous version of THIS IS ALWAYS. The horns trade phrases beautifully and delicately, and no one steps on or gets in the way of the other, lucious closing harmony.
YOU AIN'T NOTHING BUT A JAMF is Roberta's tribute to friend JOHNNY GRIFFIN and the blues! Roberta wrote the lyrics to Griffin's tune and wails and solos as a great laid back blues singer.
The MEDLEY FROM CINEMA PARADISO tells Roberta's story of someone who has had to leave her country for a better life or for greater opportunities.
Hundreds of people have recorded OVER THE RAINBOW, but Roberta's and Tamir's version is as fresh as any considering this tune is 70 years old this year and won the academy award in 1939.
It's hard to single out any track on this cd and say it's the best. THIS IS A COMPLETE PACKAGE!
Tuesday, April 07, 2009
Sunday, April 05, 2009
Monday, March 30, 2009
ROBERTA GAMBARINI, CYRUS CHESTNUT THE LAST WEEKEND IN MARCH 2009, PORGY AND BESS JAZZ CLUB, HOLLAND
Milt Hinton Jazz Perspectives Series Presents Roberta Gambarini
With all due caution about overstatement, let me say that I don't know of a better pure jazz vocalist than Roberta Gambarini. She shows us all that the art of jazz singing is alive and well. During the past few years she has become almost a cult figure, thrilling live international audiences, becoming the subject of enthusiastic discussions on various internet jazz chat forums, and being hailed by numerous insiders as perhaps today"s finest young jazz singer. --"All About Jazz" (2006, in response to Ms. Gambarini's album "Easy to Love."
The Grammy-nominated Italian-born songstress Roberta Gambarini surprises many with her full throated jazz stylings. She made her singing debut at the age of 17 in jazz clubs around Northern Italy. A year later she moved to Milan where she got national recognition. In 1998, she moved to the US, where she finished third place among hundreds in the prestigious Thelonious Monk International Jazz Vocal Competition. Since then, she has performed with Herbie Hancock, Christian McBride, and the Dizzy Gillespie All Star Big Band. In 2006, she began to tour with her own trio, and the Groovin High label released her American debut album, "Easy to Love", which became a nominee as "Best Jazz Album" at the Grammy Awards 2007. In the same year, she became nominee as "Best Jazz Singer" at the Italian Jazz Awards - Luca Flores. Early in 2008, Gambarini released a new CD 'You Are There', a collaboration with the legendary Hank Jones on piano. She has also performed at the Puerto Rico Heineken Jazz Fest with top class musicians like James Moody and Roy Hargrove; and the Monterey Jazz Festival, singing at the premiere of Dave Brubeck´s commissioned piece "Cannery Row Suite", which got Gambarini rave reviews. Catch the unforgettable Roberta Gambarini live and close-up at Baruch Performing Arts Center"s intimate Engelman Recital Hall, which the NY Times called "one of the best small performance venues in NYC."
Thursday, December 4, 2008 @ 7:00 pm
Friday, March 20, 2009
CELEBRATING DUKE 112TH WITH FREE CONCERTS AT UCLA SCHOENBERG HALL APRIL 4, 5 hosted by KENNY BURRELL!
Friday, March 06, 2009
Thursday, February 26, 2009
A HIGHLIGHT OF LOUIE BELLSON'S FUNERAL WAS LOUIE HIMSELF VIA A BILLY TAYLOR PROFILE WHICH HAD BEEN AIRED ABOUT 15 YRS. AGO ON CBS SUNDAY MORNING!
The BILLY TAYLOR profile showed a pic of LOUIE WINNING THE GENE KRUPA DRUM COMPETITION AS A TEENAGER, AND SHOWED LOUIE PLAYING ONE OF HIS FIRST BIG TIME GIGS WITH BENNY GOODMAN. ALSO THERE WERE EXCERPTS OF LOUIE AS THE EDUCATOR WITH COLLEGE STAGE BANDS AND SHOWCASED HIS SYMPHONIC AND SACRED MUSIC COMPOSITIONS!
AND OF COURSE LOUIE PLAYING WITH DUKE. In my posting below BOB UDKOFF told of how Louie was called for the gig with Duke. "Duke never liked to fire anyone, especially someone with whom he started like SONNY GREER. so during a performance in Los Angeles DUKE pointed to SONNY to play one solo after another until SONNY FELL OFF THE STAGE AND BROKE HIS ANKLE, then the call was out for SID CATLETT AND LOUIE BELLSON!"
LOUIE BELLSON: 1924-2009, by Bruce Klauber
February 17th, 2009
Louie Bellson, master drummer, composer, arranger, educator and the last of the certifiable swing era percussion stars, passed away on Februrary 14 at the age of 84.
As a player and as a human being, there will never, ever be another like him. Whether at a clinic, a master class, recording session, or after a performance, he took the time to answer every question, sign every autograph, and fulfill every request. He spoke ill of no one.
His playing was just like he was. Beyond category, eras or labels. Stylistically, his was an “all-purpose” way of playing that fit with everything. Though grounded in swing, and indeed, his first major job was with Benny Goodman, this was an artist who played with everyone from Louis Armstrong and Harry James to Charlie Parker and Dizzy Gillespie. Technically, most percussion experts agree that he was the only one who could come close to equalling Buddy Rich’s speed and dexterity. And via his ground-breaking use of two bass drums, he took Buddy’s technique a step beyond.
But whatever he played, and no matter what the setting, he never let his technique get in the way of taste. He played for the situation, and in his long and varied career, “the situation” included a lot of session work, backing the likes of Sammy Davis, Jr. and Tony Bennett, subbing for “The Tonight Show” orchestra, or acting as musical director for his first wife, entertainer Pearl Bailey.
Born Luigi Paulino Alfredo Francesco Antonio Balassoni on July 6, 1924, in Rock Falls, Illinois, Bellson’s interest in drums began at the age of three. As a teen, he came up with the idea of using another bass drum as a part of the drum kit and in fact, his design for it won him an ‘A’ in high school art class (the problem was getting a drum company to build a kit to his specs, until the Gretsch Drum Company stepped forward several years later). In 1941, he won the national Gene Krupa Drum Contest sponsored by Slingerland drums, beating out more than 40,000 other drummers.
His first major job was with the big band of Ted FioRito, then Benny Goodman grabbed him in 1942. During the 1940s, he spent most of his time in the bands of Goodman and Tommy Dorsey, with several timeouts to lead his own small
groups.
In the early 1950s, Louie Bellson made history.
In 1951, Duke Ellington was running into problems. Three of his biggest stars–drummer Sonny Greer, alto saxophonist Johnny Hodges and trombonist Lawrence Brown left Duke to work in a small group led by Hodges. The savvy Ellington raided the Harry James band that year–the caper was known as “the great James robbery”–and enticed altoist Willie Smith, valve trombonist Juan Tizol and drummer Bellson to join the Ellington band. The drummer is generally credited as reviving Duke’s band and inspiring it to swing like it never did before. And, Duke encouraged Bellson’s composing and arranging talents, performing and recording what became two, Duke Ellington hits, “Skin Deep” and “The Hawk Talks.”
A year later, he made national headlines when he married entertainer Pearl Bailey. In 1952, tolerance for interracial marriage was not at a particularly high level, in this country, and those early years, spent in the public spotlight, were not easy for them. Still, the union flourished and lasted until Bailey’s death in 1990.
Over the years, he returned to the Ellington fold from time to time on an as-needed basis, often for Duke’s special Sacred Concerts. Likewise, he frequently deputized in the bands of Count Basie, Harry James, Woody Herman and countless others.
In the 1970s and 1980s, he became more involved in leading — and composing and arranging for–his own orchestras, and in the jazz education movement. He’s written over a dozen drum instruction books and participated in a number of videos. SInce the 1970s, he’s been the recipient of numerous awards, among the first being named a “Duke Ellington Fellow” by Yale University in 1977.
He continued playing, composing and recording until just a few months ago, with his final CD a collaboration with trumpeter Clark Terry.
Hudson Music and yours truly were involved in a number of performance-oriented and instructional projects with Louie Bellson through the years. He added wonderful commentary on the “Gene Krupa: Jazz Legend” project, and he narrated the monumental, “Legends of Jazz Drumming” videos. And along with Roy Haynes, Elvin Jones and Max Roach, he was the subject of the 1998 Zildjian Lifetime Achievement Awards video. Whatever the project, he was, without exception, knowledgeable, thoughtful, enthusiastic, tireless, encouraging, funny, and always swinging. In one session of filming. Bellson commented on almost 100 drummers in jazz history, including a number of contemporary players. He knew what they all contributed, and spoke of how they all were and are important. Like Gene Krupa, Bellson was a perpetual student, always listening and always learning. Personally? He personified the world “gentleman.” Whenever we saw each other, he always told me how important my work was and how much of a contribution I continued making.
Louie Bellson is survived by his wife, Francine, who helped guide her husband’s career since their marriage in 1991. “Francine has been a blessing to me,” Bellson said some years back. “I’m a man who got two blessings–with Pearl 38 years and I thought that was the end but–here comes Francine. She’s been so great. When Pearl passed away, the first two years I was OK during the day, but at nighttime when I wasn’t performing, I was lonesome. All of sudden Francine came, and I thought I was hallucinating. But she brought me back to reality again.”
Rest in peace, Maestro. And keep swingin’.
Dr. Bruce H. Klauber
Saturday, February 21, 2009
IN LESS THAN A MONTH IT WILL BE 54 YEARS SINCE THE PASSING OF BIRD. HIS INFLUENCE WILL CERTAINLY PREVAIL ANOTHER 54 YEARS!
Friday, February 06, 2009
JOHNNY MERCER CENTENNIAL.COM
Doing The) Shorty George 1942 Johnny Mercer Jerome Kern You Were Never Lovelier A
(Introduction To) One Step, Two Step 1959 Johnny Mercer Harold Arlen Saratoga A
(I've Got) A Lot In Common With You 1943 Johnny Mercer Harold Arlen The Sky's The Limit A
(Theme Of) The Square Dance 1949 Johnny Mercer Robert Emmett Dolan Texas, Li'l Darlin' G
(You Can Tell When There's) Love In A Home 1956 Johnny Mercer Gene De Paul Li'l Abner A
13th Street Rag 1949 Johnny Mercer Wingy Manone A
1st Auto Theme 1954 Johnny Mercer Daddy Long Legs G
1st Chinese Theme 1954 Johnny Mercer Daddy Long Legs G
3rd Day Rag 1954 Johnny Mercer Daddy Long Legs G
About Face Johnny Mercer Edward Albertson Honor of West Point G
Ac-cent-tchu-ate The Positive 1944 Johnny Mercer Harold Arlen Here Come The Waves A
Affable Balding Me 1949 Johnny Mercer Robert Emmett Dolan Texas, Li'l Darlin' A
After All These Years Johnny Mercer Johnny Mercer G
After Twelve O'clock 1932 John H. Mercer Hoagy Carmichael A
Afterbeat, The 1959 Johnny Mercer Fred Astaire A
Ah Loves Ya 1950 Johnny Mercer Harold Arlen The Petty Girl A
Ain't Nature Grand 1952 Johnny Mercer Arthur Schwartz Dangerous When Wet A
Air-Minded Executive 1940 Johnny Mercer Bernie Hanighen A
Al Fresco 1959 Johnny Mercer Harold Arlen Saratoga A
All Mucked Up 1974 Johnny Mercer Andre Previn Good Companions G
All Over The World Johnny Mercer Johnny Mercer G
All Through The Night 1941 Johnny Mercer Arthur Schwartz All Through The Night A
Alphabet Of Love Begins And Ends With You 1932 Johnny Mercer & Hilda Gottlieb Lewis E. Gensler A
Amazing What Love Can Do 1940 Johnny Mercer Hoagy Carmichael I Walk With Music A
Ambiguous Means I Love You 1951 Johnny Mercer Johnny Mercer Top Banana A
And Points Beyond 1974 Johnny Mercer Andre Previn Good Companions G
And So To Bed 1946 Johnny Mercer Robert Emmett Dolan A
And The Angels Sing 1939 Johnny Mercer Ziggy Elman And The Angels Sing (1944) A
Angels Cried, The 1948 Johnny Mercer Johnny Mercer A
Anne Johnny Mercer Edward Albertson Honor Of West Point G
Another Case Of Blues 1930 Johnny Mercer Richard Myers Tattle Tales A
Antonia 1954 Johnny Mercer Howard Jackson A
Any Old Day Johnny Mercer Johnny Mercer G
Any Place I Hang My Hat Is Home 1946 Johnny Mercer Harold Arlen St. Louis Woman A
Any Similiarity Is Just Coincidental Johnny Mercer Hoagy Carmichael C
Any Way The Wind Blows Johnny Mercer Johnny Mercer Mike G
Are You Gonna Throw Me Down Johnny Mercer Johnny Mercer G
Aren't You The Charming One 1952 Johnny Mercer Milton Samuels G
Ariane 1957 Johnny Mercer Matt Malneck Love In The Afternoon A
Around The Bend 1953 Johnny Mercer Johnny Mercer A
Art Of Conversation Has Declined, The 1955 Johnny Mercer Alan Bergman That's Life A
Arthur Murray Taught Me Dancing In A Hurry 1942 Johnny Mercer Victor Schertzinger The Fleet's In A
As Fair As Her Name 1962 Johnny Mercer Robert Emmett Dolan Foxy D
As Long As You Live (You'll Be Dead If You Die) 1938 Johnny Mercer Bernie Hanighen Mr. Chump A
At Last 1984 Johnny Mercer Barry Manilow A
At The Jazz Band Ball 1950 Johnny Mercer D.J. LaRocca, L. Shields, H.W. Ragas, E.B. Edwards A
Audition Dance 1942 Johnny Mercer Jerome Kern You Were Never Lovelier J
Autumn Leaves 1950 Johnny Mercer Joseph Kozma Autumn Leaves (1956) A
Autumn Twilight 1953 Johnny Mercer Joseph S. Dubin A
Aw Come On Now 1944 Johnny Mercer Johnny Mercer A
Aye Lad 1974 Johnny Mercer Andre Previn Good Companions G
Baby 1959 Johnny Mercer Steve Allen E
Baby Doll 1951 Johnny Mercer Harry Warren The Belle of New York A
Baby Don' t You Quit Now 1967 Johnny Mercer Jimmy Rowles E
Baby-O 1962 Johnny Mercer Johnny Rotella A
Baby's Born, A 1958 Johnny Mercer Harold Arlen Blues Opera A
Bachelor Dinner Song 1945 Johnny Mercer Harry Warren The Belle of New York A
Back Stretch Rambler 1958 Johnny Mercer Harold Arlen The Blues G
Bad Humor Man (TIng-A-Ling) 1940 Johnny Mercer Jimmy McHugh You'll Find Out A
Ballad Of Alvarez Kelly 1966 Johnny Mercer Johnny Green Alvarez Kelly A
Ballads Of A Private Eye Johnny Mercer Johnny Mercer Mike G
Barefoot In The Park 1967 Johnny Mercer Neal Hefti Barefoot In The Park E
Barrelhouse Beguine 1942 Johnny Mercer Jerome Kern You Were Never Lovelier E
Bathtub Ran Over Again 1934 Johnny Mercer Michael H. Cleary A
Be Happy Johnny Mercer Johnny Mercer G
Be My Guest 1951 Johnny Mercer Johnny Mercer Top Banana A
Beautiful Forever 1965 Johnny Mercer Frederic Spielman E
Beauty From Ashes 1958 Johnny Mercer Beauty From Ashes G
Bees n' Flowers 1958 Johnny Mercer Harold Arlen The Blues G
Bells of Honolulu 1936 Johnny Mercer Franz Steininger A
Beneath The Curtain Of The Night 1934 Johnny Mercer Alfredo Brito A
Bernardine 1957 Johnny Mercer Johnny Mercer Bernardine A
Best Love Of All, The Johnny Mercer Robert Emmett Dolan Messr. Marco Polo D
Betsy And Me Johnny Mercer Johnny Mercer Mike G
Better Days 1971 Johnny Mercer & Gilbert Martinez Gilbert Martinez E
Betting Calls 1958 Johnny Mercer Harold Arlen The Blues G
Beyond The Moon 1931 Johnny Mercer & Johnny Gruelle Gay Stephens A
Bi-Focal Fred 1951 Johnny Mercer Johnny Mercer Top Banana G
Big Beautiful Ball, A 1966 Johnny Mercer John Williams Not With My Wife You Don't A
Big Movie Show In The Sky, The 1949 Johnny Mercer Robert Emmett Dolan Texas, Li'l Darlin' A
Bilbao Song, The 1961 Johnny Mercer Kurt Weill Happy End G
Bittersweet 1966 Johnny Mercer Mike Corda E
Black Magic 1958 Johnny Mercer Harold Arlen The Blues G
Bless Yore Beautiful Hide 1954 Johnny Mercer Gene De Paul Seven Brides For Seven Brothers A
Bless Your Heart 1951 Johnny Mercer Johnny Mercer A
Blossom 1956 Johnny Mercer Duke Ellington A
Blow De Whistle 1958 Johnny Mercer Harold Arlen The Blues G
Blue Rain 1939 Johnny Mercer Jimmy Van Heusen A
Bluebird 1977 Johnny Mercer G
Blues Improvisation Johnny Mercer Johnny Mercer A
Blues In The Night 1941 Johnny Mercer Harold Arlen Blues In The Night A
Blues Opera (Free And Easy) 1955 Johnny Mercer Harold Arlen Blues Opera A
Blues Theme 1955 Johnny Mercer Daddy Long Legs A
Bob White (Whatcha Gonna Swing Tonight) 1937 Johnny Mercer Bernie Hanighen Hollywood Hotel A
Boit A, Boit La Johnny Mercer Johnny Mercer B
Bon Apetit I (Menu Song) 1959 Johnny Mercer Harold Arlen Saratoga E
Bon Apetit II (Menu Song) 1959 Johnny Mercer Harold Arlen Saratoga E
Bon Apetit III (Menu Song) 1959 Johnny Mercer Harold Arlen Saratoga E
Bon Apetit IV (Menu Song) 1959 Johnny Mercer Harold Arlen Saratoga E
Bon Vivant 1962 Johnny Mercer Robert Emmett Dolan Foxy A
Bonne Nuit 1952 Johnny Mercer Johnny Mercer A
Bouquet 1963 Johnny Mercer Percy Faith A
Boys Will Be Boys -- Girls Will Be Girls 1935 Johnny Mercer Lewis E. Gensler Old Man Rhythm A
Brasilia (Serenata Negra) 1961 Johnny Mercer Pagano & Madinez & Loti A
Break It Up Cinderella 1940 Johnny Mercer Hoagy Carmichael I Walk With Music A
Breakfast At Tiffany's 1962 Johnny Mercer Henry Mancini Breakfast At Tiffany's G
Bride's Wedding Day Song , A 1945 Johnny Mercer Harry Warren The Belle of New York H
Bully Boys, The Johnny Mercer Johnny Mercer Mike G
Buona Fortuna (Salud) 1957 Johnny Mercer Saul Chaplin Merry Andrew A
Busy Little Bumble Bee 1964 Johnny Mercer Harry Warren E
But They Better Not Wait Too Long Johnny Mercer Hoagy Carmichael C
By Jove Johnny Mercer Robert Emmett Dolan G
By The Way 1954 Johnny Mercer Vernon Duke G
Cake Call 1958 Johnny Mercer Harold Arlen The Blues G
Cake Song 1958 Johnny Mercer Harold Arlen Blues Opera E
Cakewalk Your Lady 1946 Johnny Mercer Harold Arlen St. Louis Woman A
California's Melodyland 1965 Johnny Mercer Johnny Mercer E
Call Him Dad (The Old Man) Johnny Mercer Johnny Mercer G
Calling All Squares 1941 Johnny Mercer Bernie Hanighen E
Calypso Song 1950 Johnny Mercer Harold Arlen The Petty Girl A
Camaraderie 1974 Johnny Mercer Andre Previn Good Companions G
Camptown Races 1945 Johnny Mercer Stephen Foster A
Can't Teach My Old Heart New Tricks 1988 Johnny Mercer Barry Manilow B
Can't Teach My Old Heart New Tricks 1937 Johnny Mercer Richard A. Whiting Hollywood Hotel A
Captains Of The Clouds 1942 Johnny Mercer Harold Arlen Captains Of The Clouds A
Caribees, The 1948 Johnny Mercer Robert Emmett Dolan Mr. Peabody And The Mermaid A
Carnival Stall Song 1974 Johnny Mercer Andre Previn Good Companions G
Case Of Rape, A 1964 Johnny Mercer Robert Emmett Dolan Foxy A
Cast Your Bread Upon The Water 1963 Johnny Mercer Johnny Mercer E
C-A-T Spells Cat 1955 Johnny Mercer Johnny Mercer Daddy Long Legs A
Cat With Nine Lives, A Johnny Mercer Johnny Mercer Mike G
Cedar Point Parade 1973 Johnny Mercer Robert G. Friedman E
Celestial Caliope 1954 Johnny Mercer Daddy Long Legs G
Celia's First Essay 1964 Johnny Mercer Robert Emmett Dolan Foxy D
Celia's Lament 1963 Johnny Mercer Robert Emmett Dolan Foxy A
Central Park 1935 Johnny Mercer Matt Malneck Let's Make Music A
C'est La Guerre 1952 Johnny Mercer Arthur Schwartz Dangerous When Wet A
Champagne Fo' De Lady 1958 Johnny Mercer Harold Arlen Blues Opera E
Charade 1963 Johnny Mercer Henry Mancini Charade A
Charleston Johnny Mercer Johnny Mercer G
Charmed Existence, A 1957 Johnny Mercer Saul Chaplin Merry Andrew E
Cheat On Me 1964 Johnny Mercer Gene di Novi E
Chez Le Pere Nazaire Johnny Mercer Johnny Mercer B
Child Of The Wild, A 1962 Johnny Mercer Robert Emmett Dolan Foxy E
Chimney Corner Dream 1951 Johnny Mercer Robert Emmett Dolan A
Chin Up, Stout Fellow 1957 Johnny Mercer Saul Chaplin Merry Andrew A
Chinquipin Bush 1946 Johnny Mercer Harold Arlen St. Louis Woman A
Christmas Spirit, The Johnny Mercer Johnny Mercer G
Cinderella Waltz, The 1958 Johnny Mercer Al Mack A
Cindy 1946 Johnny Mercer, Jo Stafford, Paul Weston Johnny Mercer, Jo Stafford, Paul Weston A
Circus Is Coming To Town, The 1947 Johnny Mercer Bernie Hanighen A
Clink Your Glasses 1949 Johnny Mercer Sammy Cahn Always Leave Them Laughing H
Clouds In The Sky 1958 Johnny Mercer Harold Arlen The Blues G
College November 1953 Johnny Mercer Lew Quadling A
Come On Li'l Augie 1946 Johnny Mercer Harold Arlen St. Louis Woman G
Come Rain Or Come Shine 1946 Johnny Mercer Harold Arlen St. Louis Woman A
Come Up And See Me Sometime Johnny Mercer Robert Emmett Dolan Messr. Marco Polo D
Comes The Revolution, Baby 1935 Johnny Mercer Lewis E. Gensler Old Man Rhythm A
Comet In The Sky, A 1967 Johnny Mercer Ronnell L. Bright E
Confidentially 1938 Johnny Mercer & Al Dubin Harry Warren Garden Of The Moon A
Conjur Man 1958 Johnny Mercer Harold Arlen Blues Opera A
Conversation While Dancing 1945 Johnny Mercer Paul Weston A
Corn Pickin' 1939 Johnny Mercer Harry Warren Naughty But Nice A
Could Be 1938 Johnny Mercer Walter Donaldson A
Countin' Our Chickens 1959 Johnny Mercer Harold Arlen Saratoga A
Country's In The Very Best Of Hands, The 1956 Johnny Mercer Gene De Paul Li'l Abner A
Cowboy From Brooklyn 1938 Johnny Mercer Harry Warren Cowboy From Brooklyn A
Crawled Up A Rainbow 1958 Johnny Mercer Harold Arlen The Blues G
Cream Puff 1962 Johnny Mercer Henry Mancini Mr. Hobbs Takes A Vacation A
Crying Eyes And An Empty Heart Johnny Mercer Rich Barcellona B
Cuckoo In The Clock 1939 Johnny Mercer Walter Donaldson A
Cure, The 1959 Johnny Mercer Harold Arlen Saratoga A
Curse 1958 Johnny Mercer Harold Arlen The Blues G
Daddy Long Legs 1955 Johnny Mercer Johnny Mercer Daddy Long Legs A
Dance Of Life, The 1974 Johnny Mercer Andre Previn Good Companions G
Dancing Through Life 1955 Johnny Mercer Johnny Mercer Daddy Long Legs A
Dark Is The Night 1933 Johnny Mercer Joseph Meyer A
Darkest Before The Dawn 1974 Johnny Mercer Andre Previn Good Companions G
Darling Lili 1969 Johnny Mercer Henry Mancini Darling Lili A
Darn Clever These Chinee 1939 Johnny Mercer Hoagy Carmichael I Walk With Music A
Day After Day After Day 1986 Johnny Mercer Barry Manilow B
Day In -- Day Out 1939 Johnny Mercer Rube Bloom A
Daybreak Blues, The 1955 Johnny Mercer Walter Weschler A
Daydreaming (All Night Long) 1938 Johnny Mercer Harry Warren Gold Diggers In Paris A
Days Of Wine And Roses 1962 Johnny Mercer Henry Mancini Days Of Wine And Roses A
De Right Answer 1958 Johnny Mercer Harold Arlen The Blues G
Dear Mirium 1944 Johnny Mercer Johnny Mercer E
Dearly Beloved 1942 Johnny Mercer Jerome Kern You Were Never Lovelier A
Deaux Amoureux Johnny Mercer Johnny Mercer B
Deep South In My Heart 1932 Johnny Mercer Archie Bleyer & Johnny Mercer A
Deirdre 1966 Johnny Mercer Michael Masser E
Derry Down Dilly 1952 Johnny Mercer Johnny Green Everything I Have Is Yours A
Dig You Most 1953 Johnny Mercer Johnny Mercer A
Dis Is De Day 1958 Johnny Mercer Harold Arlen The Blues G
Dis Little While 1958 Johnny Mercer Harold Arlen Blues Opera E
Dixie Isn't Dixie Any More 1936 Johnny Mercer Rube Bloom Lew Leslie's Blackbirds of 1936 A
Dixieland Band, The 1935 Johnny Mercer Bernie Hanighen A
Do My Eyes Deceive Me 1936 Johnny Mercer & Dave Dreyer Johnny Mercer & Dave Dreyer E
Dog Eat Dog 1959 Johnny Mercer Harold Arlen Saratoga A
Dog Is Man's Best Friend, A 1951 Johnny Mercer Johnny Mercer Top Banana G
Don't Ask Too Much Of Love 1930 Johnny Mercer Emmerich Kalman Paris In Spring A
Don't Play Me Cut Rate Johnny Mercer Johnny Mercer E
Don't Run Away From The Rain 1953 Johnny Mercer Johnny Mercer A
Don't Stop Me If You've Heard It Johnny Mercer Henry Souvaine E
Don't That Take The Rag Off'n The Bush 1956 Johnny Mercer Gene De Paul Li'l Abner A
Don't Think It Ain't Been Charming 1940 Johnny Mercer Jimmy McHugh You'll Find Out A
Don't Use A Bridle 1958 Johnny Mercer Harold Arlen The Blues G
Don't You Come Crying To Me Johnny Mercer E
Down A Long Long Road 1933 Johnny Mercer & Margot MIllham Johnny Mercer & Margot Millham A
Down In The Dumps Johnny Mercer E
Down In The Valley 1949 Johnny Mercer Robert Emmett Dolan Texas, Li'l Darlin' A
Down Through The Ages 1930 Johnny Mercer Philip Charig & Richard Myers Pajama Lady A
Down T'Uncle Bill's 1934 Johnny Mercer & Hoagy Carmichael Hoagy Carmichael & Johnny Mercer A
Dr. Watson And Mr. Holmes 1934 Johnny Mercer Bernie Hanighen Gambling H
Drat 'Em 1954 Johnny Mercer Gene De Paul Seven Brides For Seven Brothers G
Dream 1944 Johnny Mercer Johnny Mercer Her Highness And The Bellboy A
Dream Awhile 1936 Johnny Mercer Phil Ohman A
Dream Peddler's Serenade, The 1950 Johnny Mercer John Rufus Sharp III A
Drinking Again 1961 Johnny Mercer Doris Tauber A
Duration Blues 1944 Johnny Mercer Johnny Mercer A
Early Autumn 1952 Johnny Mercer Ralph Burns & Woody Herman A
Easy Street 1958 Johnny Mercer Harold Arlen The Blues A
Echo Of A Dream, The 1959 Johnny Mercer Serge Walter A
Echoes 1957 Johnny Mercer Johnny Mercer A
Eeny Meeny Miney Mo 1935 Johnny Mercer & Matt Malneck Johnny Mercer & Matt Malneck To Beat The Band A
El Camino 1972 Johnny Mercer Michael Shanklin A
Elevator Song 1951 Johnny Mercer Johnny Mercer Top Banana A
Emily 1964 Johnny Mercer Johnny Mandel The Americanization of Emily A
Empty Tables 1974 Johnny Mercer Jimmy Van Heusen E
Equivalent of a Haa-vud Education, The Johnny Mercer Johnny Mercer Mike G
Even If I Say It Myself 1940 Johnny Mercer Hoagy Carmichael I Walk With Music H
Every So Often 1947 Johnny Mercer Harry Warren A
Everybody Is Your Partner In New York 1951 Johnny Mercer Johnny Mercer Top Banana E
Everything Happens To Me 1940 Johnny Mercer Hoagy Carmichael I Walk With Music A
Everything Is Ticketty-Boo 1957 Johnny Mercer Saul Chaplin Merry Andrew A
Exercise Your Prerogative 1964 Johnny Mercer Gene De Paul A
Extravaganza 1974 Johnny Mercer Andre Previn Good Companions G
Eyes Of The Beloved Johnny Mercer Johnny Mercer E
Facts Of Life, The 1960 Johnny Mercer Johnny Mercer The Facts Of Life A
Fancy Free 1950 Johnny Mercer Harold Arlen The Petty Girl A
Fare-Thee-Well To Harlem 1933 Johnny Mercer Bernie Hanighen A
Fate Moves In Mysterious Ways 1974 Johnny Mercer Andre Previn Good Companions G
Fever Heat Johnny Mercer Archie Bleyer G
Fifi 1952 Johnny Mercer Arthur Schwartz Dangerous When Wet A
Finale Johnny Mercer Johnny Mercer A
Finale 1956 Johnny Mercer Gene De Paul You Can't Run Away From It F
Finale Johnny Mercer Robert Emmett Dolan A
Finale From Li'l Abner 1956 Johnny Mercer Gene De Paul Li'l Abner A
Finale From Saratoga 1959 Johnny Mercer Harold Arlen Saratoga A
Finders Are Keepers Johnny Mercer Barry Manilow B
Finders Are Keepers 1935 Johnny Mercer Carl Sigman A
Fine Thing! 1947 Johnny Mercer Robert Emmett Dolan Dear Ruth A
First, Last And Always 1986 Johnny Mercer Barry Manilow B
Fleet's In, The 1942 Johnny Mercer Victor Schertzinger The Fleet's In A
Fleur De Lys 1971 Johnny Mercer Hoagy Carmichael E
Floating Lei 1969 Johnny Mercer Johnny Mercer G
Flower Call 1958 Johnny Mercer Harold Arlen The Blues G
Fool That I Am 1934 Johnny Mercer Matt Malneck & Frank Signorelli A
Fools Rush In (Where Angels Fear To Tread) 1940 Johnny Mercer Rube Bloom G
Footloose 1974 Johnny Mercer Andre Previn Good Companions H
Foremost Dairy Commercial 1953 Johnny Mercer Victor Schertzinger A
Forever Amber 1947 Johnny Mercer David Raksin Forever Amber A
Forget Me Not Johnny Mercer E
Fountain In The Rain 1965 Johnny Mercer Milton Samuels & Charles Hale A
Foxy 1963 Johnny Mercer Robert Emmett Dolan Foxy A
Frasier (The Sensuous Lion) 1972 Johnny Mercer Jimmie Rowles E
Fred Astaire Salutes Fox Musicals Johnny Mercer Johnny Mercer A
Free And Easy 1958 Johnny Mercer Harold Arlen The Blues G
French Waltz Johnny Mercer Johnny Mercer E
Friend Of The Family 1940 Johnny Mercer Hoagy Carmichael I Walk With Music H
F'Rinstance Johnny Mercer Johnny Mercer E
Funeral Scene -- A Prelude 1946 Johnny Mercer Harold Arlen St. Louis Woman A
G.I. Jive 1943 Johnny Mercer Johnny Mercer A
Game Of Poker, A 1959 Johnny Mercer Harold Arlen Saratoga A
Garden Of The Moon 1938 Johnny Mercer & Al Dubin Harry Warren Garden Of The Moon A
Gasoline Gypsies 1937 Johnny Mercer Richard A. Whiting Ready, Willing And Able F
Gee I Wish I'd Listened To My Mother 1940 Johnny Mercer Jimmy McHugh You're The One E
Gee, But It's Good To Be Home Again Johnny Mercer Robert Emmett Dolan D
General Bullmoose (What's Good For) 1956 Johnny Mercer Gene De Paul Li'l Abner A
Gentle Art Of Murder, The Johnny Mercer Robert Emmett Dolan Messr. Marco Polo D
Georgia Georgia 1966 Johnny Mercer Johnny Mercer E
Gerfunkt 1979 Johnny Mercer Johnny Mercer Mike G
Get A Horse 1965 Johnny Mercer Henry Mancini The Great Race E
Gettin' A Man 1959 Johnny Mercer Harold Arlen Saratoga A
Ghost Of Love 1933 Johnny Mercer Harold Spina A
Girl In No Man's Land, The 1969 Johnny Mercer Henry Mancini Darling Lili A
Girl Of All Nations 1951 Johnny Mercer Johnny Mercer Top Banana A
Girlfriend Of The Whirling Dervish 1938 Johnny Mercer Harry Warren Garden Of The Moon A
Give Me Back My Heart Johnny Mercer Joseph Wiess E
Glow Worm 1952 Johnny Mercer Paul Lincke A
God Is Love (And Love Is God) Johnny Mercer Ida Thomas E
Goin' Co'tin' 1954 Johnny Mercer Gene De Paul Seven Brides For Seven Brothers A
Golden Bells Johnny Mercer Robert Emmett Dolan Messr. Marco Polo D
Good Companions 1974 Johnny Mercer Andre Previn Good Companions E
Good-Bye 1974 Johnny Mercer Andre Previn Good Companions G
Goody Goody 1936 Johnny Mercer & Matt Malneck Johnny Mercer & Matt Malneck A
Goose Never Be A Peacock 1959 Johnny Mercer Harold Arlen Saratoga A
Got To Wear You Off My Weary Mind 1947 Johnny Mercer Harold Arlen A
Gotta Get Some Shut-Eye 1938 Johnny Mercer Walter Donaldson E
Great Guns 1949 Johnny Mercer Harry Warren A
Great North Road 1974 Johnny Mercer Andre Previn Good Companions E
Greetings Gate 1940 Johnny Mercer Hoagy Carmichael I Walk With Music A
Guardian Angel 1955 Johnny Mercer Johnny Mercer Daddy Long Legs A
Guitar Country 1963 Johnny Mercer & Willard Robison Johnny Mercer & Willard Robison E
Hail To MacCrackens 1951 Johnny Mercer Johnny Mercer Top Banana G
Half-Zies 1959 Johnny Mercer Rube Bloom A
Hands Of Fate Johnny Mercer E
Handy With Your Feet 1937 Johnny Mercer Richard A. Whiting Ready, Willing And Able F
Hang On To Your Lids, Kids 1941 Johnny Mercer Harold Arlen Blues In The Night A
Hangin' Loose! 1972 Johnny Mercer Sammy Nestico E
Hangin' On To You 1943 Johnny Mercer Harold Arlen The Sky's The Limit A
Hank 1965 Johnny Mercer Frank S. Perkins "Hank" TV series theme A
Happy Bachelor 1959 Johnny Mercer Gene De Paul A
Happy Endings Johnny Mercer E
Happy Ever After Johnny Mercer Dick Hyman E
Happy New Year To You 1940 Johnny Mercer Hoagy Carmichael I Walk With Music A
Happy Times Johnny Mercer Sylvia Fine The Inspector General H
Hare Piece 1954 Johnny Mercer Daddy Long Legs G
Harlem Butterfly 1948 Johnny Mercer Johnny Mercer A
Harlem To Hollywood 1936 Johnny Mercer E
Harvey Girls 1945 Johnny Mercer Harry Warner The Harvey Girls G
Harvey The Victory Garden Man 1943 Johnny Mercer Harold Arlen The Sky's The Limit A
Have A Heart 1965 Johnny Mercer Gene Di Novi A
Have A Nice Day 1976 Johnny Mercer Sammy Nestico E
Have You Got Any Castles, Baby? 1937 Johnny Mercer Richard A. Whiting Varsity Show, Hollywood Hotel A
Have You Heard 1959 Johnny Mercer Harold Arlen Saratoga A
Have You Written Any Good Books Lately 1950 Johnny Mercer Johnny Mercer E
Havin' A Ball 1951 Johnny Mercer Johnny Mercer Top Banana A
Hayride 1945 Johnny Mercer Harry Warren The Harvey Girls E
He Didn't Have The Know-How No How 1950 Johnny Mercer Robert Emmett Dolan A
He Loved Me Till The All-Clear Came 1942 Johnny Mercer Harold Arlen Star Spangled Rhythm A
He Never Knew What Hit Him Johnny Mercer Johnny Mercer Mike G
He Shouldn't-a, Hadn't-a, Oughtn't-a Swang On Me! 1965 Johnny Mercer Henry Mancini The Great Race E
Headed For Good Things 1959 Johnny Mercer Harold Arlen Saratoga A
Headless Horseman 1955 Johnny Mercer David Raksin E
Hear Them Bells 1959 Johnny Mercer (arrangement) A
Heart Of Mine Cry On 1988 Johnny Mercer Barry Manilow A
Hello, Out There, Hello 1952 Johnny Mercer Wingy Manone A
Her First Evening Dress 1934 Johnny Mercer Michael Cleary E
Here Come The British 1934 Johnny Mercer Bernie Hanighen A
Here Come The Waves 1944 Johnny Mercer Harold Arlen Here Come The Waves E
Here Goes Nothing 1959 Johnny Mercer Harold Arlen Saratoga A
Here We Are Johnny Mercer Robert Emmett Dolan D
Here's To My Lady 1951 Johnny Mercer Rube Bloom E
He's Dead But He Won't Lie Down 1954 Johnny Mercer Hoagy Carmichael Timberjack A
Higgledy-Piggledy 1955 Johnny Mercer Marshall L. Robbins E
High Society 1956 Johnny Mercer Gene DePaul Li'l Abner A
High, Low, Jack And The Game 1946 Johnny Mercer Harold Arlen St. Louis Woman E
Hip Little World Johnny Mercer Johnny Mercer E
History Of The Beat (That'll Get It) 1955 Johnny Mercer Johnny Mercer Daddy Long Legs A
Hit The Road To Dreamland 1942 Johnny Mercer Harold Arlen Star Spangled Rhythm A
Holy Smoke, Can't Ya Take A Joke? 1939 Johnny Mercer Johnny Mercer & Royal Marsh E
Homecoming 1940 Johnny Mercer Walter Donaldson E
Honey Johnny Mercer G
Honolulu 1970 Johnny Mercer Johnny Mercer E
Honor Bright 1941 Johnny Mercer Jimmy McHugh You're The One E
Hooray For Hollywood 1937 Johnny Mercer Richard A. Whiting Hollywood Hotel A
Hooray For Spinach 1939 Johnny Mercer Harry Warren Naughty But Nice E
Hootin' Owl Trail 1949 Johnny Mercer Robert Emmett Dolan Texas Li'l Darlin' A
Hoping 1954 Johnny Mercer Al Hansen A
Horseshoes Are Lucky 1949 Johnny Mercer Robert Emmett Dolan Texas Li'l Darlin' A
How Do You Say Auf Wiedersehn 1967 Johnny Mercer Tony Scibetta E
How I Wish That You Were In My Place Johnny Mercer Johnny Mercer E
How Little We Know 1944 Johnny Mercer Hoagy Carmichael To Have And Have Not E
How Long Has This Been Going On? 1932 Johnny Mercer Archie Bleyer A
How Nice For Me 1939 Johnny Mercer Hoagy Carmichael Three After Three A
How To Commit Marriage 1969 Johnny Mercer, J. Lilley, G. Levene, V. Cleave How To Commit Marriage E
Howdy, Friends And Neighbors 1956 Johnny Mercer Gene De Paul You Can't Run Away From It A
Howdy, Stranger 1938 Johnny Mercer Richard A. Whiting The Dude Rancher A
Howdy-Do To You 1958 Johnny Mercer Harold Arlen The Blues G
Human Race Is Human After All, The Johnny Mercer Robert Emmett Dolan Messr. Marco Polo D
I Ain't Down Yet Johnny Mercer Johnny Mercer A
I Ain't Hep To That Step But I'll Dig It 1940 Johnny Mercer Hal Borne Second Chorus A
I Boogied When I Should Have Woogied 1941 Johnny Mercer Bernie Hanighen A
I Can Spell Banana (But I Never Know When To Stop) 1955 Johnny Mercer Geoff Clarkson A
I Can't Believe My Eyes Johnny Mercer E
I Could Kiss You For That 1940 Johnny Mercer Jimmy McHugh You're The One E
I Did It For The Red, White And Blue 1938 Johnny Mercer Rube Bloom Blackbirds Of 1939 E
I Don't Believe In Signs 1939 Johnny Mercer Harry Warren Naughty But Nice A
I Don't Wanna Be Alone Again 1954 Johnny Mercer Howard Smith A
I Feel My Luck Comin' Down 1946 Johnny Mercer Harold Arlen St. Louis Woman A
I Fought Every Step Of The Way 1951 Johnny Mercer Johnny Mercer Top Banana E
I Got Out Of Bed On The Right Side 1952 Johnny Mercer Arthur Schwartz Dangerous When Wet A
I Guess It Was You All The Time 1953 Johnny Mercer Hoagy Carmichael Those Redheads From Seattle A
I Guess There Ain't No Santa Claus Johnny Mercer Barry Manilow & Edward Arkin B
I Had Myself A True Love 1946 Johnny Mercer Harold Arlen St. Louis Woman E
I Hear A Song In My Heart 1945 Johnny Mercer Paul Weston A
I Knew 1936 Johnny Mercer Rube Bloom Lew Leslie's Blackbirds of 1936 E
I Know Your Kiss By Heart 1951 Johnny Mercer Johnny Mercer Top Banana H
I Like Men 1952 Johnny Mercer Arthur Schwartz Dangerous When Wet A
I Love To Beat The Big Bass Drum 1951 Johnny Mercer Harry Warren The Belle of New York A
I Love You (I Think) 1958 Johnny Mercer Johnny Mercer E
I Never Knew 1956 Johnny Mercer Johnny Mercer A
I Never Saw A Better Night 1935 Johnny Mercer Lewis E. Gensler Old Man Rhythm E
I Never Wanna Look Into Those Eyes Again 1955 Johnny Mercer Milton Raskin A
I Owe It All To You Johnny Mercer Johnny Mercer G
I Pray 1953 Johnny Mercer Johnny Mercer A
I Promise You 1944 Johnny Mercer Harold Arlen Here Come The Waves E
I Really Get A Message From You Johnny Mercer E
I Remember You 1942 Johnny Mercer Victor Schertzinger The Fleet's In A
I Saw Her At Eight O'Clock 1935 Johnny Mercer & Matt Malneck Johnny Mercer & Matt Malneck To Beat The Band E
I Saw You Dancing In My Dreams 1934 Johnny Mercer Matt Malneck & F. Signorelli A
I Still Remember The Masquerade Johnny Mercer E
I Think We Need A Drink Johnny Mercer E
I Thought About You 1939 Johnny Mercer Jimmy Van Heusen A
I Walk With Music 1940 Johnny Mercer Hoagy Carmichael Three After Three E
I Wanna Be A Dancin' Man 1951 Johnny Mercer Harry Warren The Belle Of New York A
I Wanna Be Around 1959 Johnny Mercer & Sadie Vimmerstedt Johnny Mercer & Sadie Vimmerstedt A
I Wanna Be In Love Again 1965 Johnny Mercer Johnny Mercer A
I Wind Up Taking A Fall 1951 Johnny Mercer & Robert Emmett Dolan Johnny Mercer & Robert Emmett Dolan My Favorite Spy A
I Wish I Had Someone Like You 1958 Johnny Mercer Al Hansen A
I Wish It Could Be Otherwise 1959 Johnny Mercer Gene DePaul Li'l Abner A
I Wonder What Became Of Me? 1946 Johnny Mercer Harold Arlen St. Louis Woman A
I'd Know You Anywhere 1940 Johnny Mercer Jimmy McHugh You'll Find Out H
If Dis De Race 1958 Johnny Mercer Harold Arlen The Blues G
If I Could Have My Way 1934 Johnny Mercer Serge Walter A
If I Could Only Read Your Mind 1934 Johnny Mercer Peter Tinturin A
If I Didn't Love You 1960 Johnny Mercer Lorelei Tripper E
If I Had A Million Dollars 1934 Johnny Mercer Matt Malneck Transatlantic Merry Go Round A
If I Had My Druthers 1956 Johnny Mercer Gene DePaul Li'l Abner A
If It Can't Be You Johnny Mercer Barry Manilow B
If It Can't Be You Johnny Mercer Bernie Hanighen E
If Mother Could Just See Me Now 1962 Johnny Mercer Robert Emmett Dolan Foxy D
If Someday Ever Comes Again 1976 Johnny Mercer Alec Wilder B
If The Moon Could Talk Johnny Mercer E
If You Build A Better Mousetrap 1942 Johnny Mercer Victor Schertzinger The Fleet's In A
If You Can Imagine Such A Thing Johnny Mercer E
If You Come Through 1956 Johnny Mercer Rube Bloom A
If You Were Mine 1935 Johnny Mercer & Matt Malneck Johnny Mercer & Matt Malneck To Beat The Band A
II Auto Theme 1954 Johnny Mercer Daddy Long Legs G
I'll Be Free Johnny Mercer & Howard Dietz Henry Souvaine E
I'll Be Respectable 1959 Johnny Mercer Harold Arlen Saratoga A
I'll Cry Tomorrow 1955 Johnny Mercer Alex North I'll Cry Tomorrow A
I'll Dream Tonight 1938 Johnny Mercer Richard A. Whiting Cowboy From Brooklyn A
I'll Get Even 1963 Johnny Mercer Robert Emmett Dolan Foxy A
I'll Give You Three Guesses 1970 Johnny Mercer Henry Mancini Darling Lili A
I'll Never Forgive Myself 1969 Johnny Mercer Al Kaufman A
I'll Tell The World 1974 Johnny Mercer Andre Previn Good Companions E
Illusion Johnny Mercer Johnny Mercer B
I'm A Stranger In These Parts Johnny Mercer Henry Souvaine E
I'm An Old Cowhand From The Rio Grande 1936 Johnny Mercer Johnny Mercer Rhythm On The Range H
I'm Building Up To An Awful Letdown 1935 Johnny Mercer Fred Astaire Rise And Shine A
I'm Doin' It For Defense 1942 Johnny Mercer Harold Arlen Star Spangled Rhythm A
I'm Gonna Shoot Yuh 1958 Johnny Mercer Harold Arlen The Blues G
I'm Happy About The Whole Thing 1939 Johnny Mercer Harry Warren Naughty But Nice A
I'm Like A Fish Out Of Water 1937 Johnny Mercer Richard A. Whiting Hollywood Hotel A
I'm Off The Wagon 1940 Johnny Mercer Hoagy Carmichael Three After Three E
I'm Old-Fashioned 1942 Johnny Mercer Jerome Kern You Were Never Lovelier A
I'm Shadowing You 1973 Johnny Mercer Blossom Dearie E
I'm So Glad You're You Johnny Mercer Howard Jackson E
I'm The Worrying Kind 1952 Johnny Mercer & Pinky Tomlin Johnny Mercer & Pinky Tomlin A
I'm Too Durn Bashful 1956 Johnny Mercer Gene DePaul Li'l Abner E
I'm Way Ahead Of The Game 1963 Johnny Mercer Robert Emmett Dolan Foxy A
I'm With You 1955 Johnny Mercer Bobby Troup A
In A Cafe In Montmartre 1933 Johnny Mercer Joseph Meyer A
In A Moment Of Weakness 1939 Johnny Mercer Harry Warren Naughty But Nice A
In Loving Memory 1963 Johnny Mercer Robert Emmett Dolan Foxy D
In My Wildest Dreams 1952 Johnny Mercer Arthur Schwartz Dangerous When Wet A
In Society 1956 Johnny Mercer Gene De Paul Li'l Abner A
In The Back Of My Liddle Ol' Cadill-Lo-Lac 1950 Johnny Mercer Hoagy Carmichael C
In The Cool, Cool, Cool Of The Evening 1951 Johnny Mercer Hoagy Carmichael Here Comes The Groom A
In The Late Afternoon Johnny Mercer Rich Barcellona B
In The Mornin' Blues Johnny Mercer Johnny Mercer E
In The Valley (Where The Evening Sun Goes Down) 1945 Johnny Mercer Harry Warren The Harvey Girls A
In Waikiki 1941 Johnny Mercer Arthur Schwartz Navy Blues A
Indian Summer 1933 Johnny Mercer Peter Tinturin A
Indiscretion 1962 Johnny Mercer Matt Malneck E
Isadore Shapiro & Sons Johnny Mercer Robert Emmett Dolan D
It Had Better Be Tonight 1963 Johnny Mercer Henry Mancini The Pink Panther A
It Happened One Night 1956 Johnny Mercer Gene De Paul You Can't Run Away From It A
It's A Great Big World 1945 Johnny Mercer Harry Warren The Harvey Girls A
It's A Nuisance Having You Around 1956 Johnny Mercer Gene De Paul Li'l Abner A
It's A Typical Day 1956 Johnny Mercer Gene De Paul Li'l Abner A
It's About Time 1932 Johnny Mercer Peter Tinturin A
It's Easy When You Know How 1964 Johnny Mercer Robert Emmett Dolan Foxy E
It's Great To Be Alive 1949 Johnny Mercer Robert Emmett Dolan Texas Li'l Darlin' A
It's Out Of My Hands Johnny Mercer Johnny Mercer E
I've Got A Heartful Of Music 1938 Johnny Mercer Richard A. Whiting Cowboy From Brooklyn A
I've Got A Lot To Live For Johnny Mercer Ted Helms E
I've Got A One-Track Mind 1940 Johnny Mercer Jimmy McHugh You'll Find Out A
I've Gotta Be On My Way 1958 Johnny Mercer Eddie Miller, Hilton Lamare & M. Matlock A
I've Hitched My Wagon To A Star 1937 Johnny Mercer Richard A. Whiting Hollywood Hotel A
I've Nothing To Hide Johnny Mercer Alfred Opler E
I've Waited For A Waltz 1964 Johnny Mercer Johnny Rotella E
Jack-O-Lantern 1961 Johnny Mercer Hoagy Carmichael E
Jamboree Jones 1936 Johnny Mercer Johnny Mercer A
Je T'Aime [commercial] 1954 Johnny Mercer Johnny Mercer A
Jeepers Creepers 1938 Johnny Mercer Harry Warren Going Places A
Jezebel 1938 Johnny Mercer Harry Warren Jezebel A
Joanna 1959 Johnny Mercer Henry Mancini Gunn (1967) A
Jockey Lineup 1958 Johnny Mercer Harold Arlen The Blues G
Johnny Mercer's Melody 1961 Johnny Mercer A
Jo-Jo The Cannibal Kid 1936 Johnny Mercer Rube Bloom Lew Leslie's Blackbirds of 1936 A
Jubilation T. Cornpone 1956 Johnny Mercer Gene De Paul Li'l Abner A
Julie's Dream 1955 Johnny Mercer Daddy Long Legs E
June Bride 1954 Johnny Mercer Gene De Paul Seven Brides For Seven Brothers A
June Comes Around Every Year 1945 Johnny Mercer Harold Arlen Out Of This World A
Just A Fair Weather Friend 1934 Johnny Mercer Matt Malneck A
Just A Quiet Evening 1937 Johnny Mercer Richard A. Whiting Ready, Willing And Able A
Just Across The Mountains 1968 Johnny Mercer Arthur Kent A
Just For Tonight 1962 Johnny Mercer Hoagy Carmichael Hatari A
Just Like A Falling Star 1931 Johnny Mercer Ralph Bolton A
Just Like Taking Candy From A Baby Johnny Mercer Barry Manilow B
Just Remember 1936 Johnny Mercer Carl Sigman A
Just Remember 1988 Johnny Mercer Barry Manilow B
Just The Letter "Q" 1963 Johnny Mercer Johnny Mercer A
Just To Remind You Johnny Mercer Howard Jackson E
Keep A Twinkle In Your Eye 1936 Johnny Mercer Rube Bloom Lew Leslie's Blackbirds Of 1936 E
Keep Your Pigs Out Of My Potatoes Johnny Mercer Johnny Mercer E
Keeper Of My Heart, The 1935 Johnny Mercer Matt Malneck A
Kiss And Tell Johnny Mercer Johnny Mercer Mike G
Kiss From You, A 1964 Johnny Mercer Benny Carter A
Know Where De Wind Blows 1958 Johnny Mercer Harold Arlen The Blues G
Kubla's Soliloquy Johnny Mercer Robert Emmett Dolan Messr. Marco Polo D
Ladies And Gentlemen 1958 Johnny Mercer Harold Arlen The Blues G
Lady On The Two-Cent Stamp, The 1938 Johnny Mercer & Al Dubin Harry Warren Garden Of The Moon A
Lake Saint Mary 1964 Johnny Mercer Louis Alter A
Lalita 1941 Johnny Mercer Harry Warren A
Land Where The Old Dreams Go, The 1969 Johnny Mercer Matt Malneck E
Larceny And Love 1963 Johnny Mercer Robert Emmett Dolan Foxy A
Last Dream Home, The 1988 Johnny Mercer Barry Manilow A
Laura 1945 Johnny Mercer David Raksin Laura A
Lawd, I Give You My Children 1934 Johnny Mercer Bernie Hanighen A
Lazy Mood (Love's Got Me In A) 1947 Johnny Mercer Eddie Miller A
Lazybones 1933 Johnny Mercer Hoagy Carmichael A
Le Meddiants De Sourires Johnny Mercer Johnny Mercer B
Least That's My Opinion 1946 Johnny Mercer Harold Arlen St. Louis Woman A
Leavin' Time 1946 Johnny Mercer Harold Arlen St. Louis Woman A
Legalize My Name 1946 Johnny Mercer Harold Arlen St. Louis Woman A
Legend Of Old California, The 1940 Johnny Mercer Harry Warren A
Lesson In Jazz Johnny Mercer Wingy Manone E
Lessons In Love 1959 Johnny Mercer Harold Arlen Saratoga A
Let That Be A Lesson To You 1937 Johnny Mercer Richard A. Whiting Varsity Show & Hollywood Hotel A
Let's Go, Sailor 1968 Johnny Mercer Harold Arlen Star Spangled Rhythm H
Let's Take The Long Way Home 1944 Johnny Mercer Harold Arlen Here Come The Waves A
Letter Of The Law, The 1962 Johnny Mercer Robert Emmett Dolan Foxy D
Life Is What You Make It 1971 Johnny Mercer Marvin Hamlisch Kotch G
Life's Darkest Moment 1963 Johnny Mercer Robert Emmett Dolan Foxy D
Life's So Complete 1933 Johnny Mercer & Richard Himber Johnny Mercer & Richard Himber A
Lights Of Home, The 1952 Johnny Mercer Lew Quadling A
Like The Fella Once Said 1940 Johnny Mercer Jimmy McHugh You'll Find Out A
Li'l Abner 1956 Johnny Mercer Johnny Mercer Li'l Abner G
Li'l Augie Is A Natural Man 1946 Johnny Mercer Harold Arlen St. Louis Woman A
Li'l Tune Johnny Mercer E
Lim'ricks 1946 Johnny Mercer Harold Arlen St. Louis Woman A
Liquapep 1952 Johnny Mercer Arthur Schwartz Dangerous When Wet A
Little Acorns 1970 Johnny Mercer Arthur Kent E
Little Birds, The 1967 Johnny Mercer Henry Mancini Darling Lili E
Little Bit O' Country Johnny Mercer Robert Emmett Dolan D
Little Boats Of Barcelona, The 1951 Johnny Mercer Peter Tinturin A
Little Cowboy Blue 1940 Johnny Mercer Walter Donaldson A
Little Ingenue 1974 Johnny Mercer Jimmie Rowles G
Little Lost Dream 1974 Johnny Mercer Andre Previn Good Companions G
Little Man With The Hammer, The 1935 Johnny Mercer Bernie Hanighen A
Little Ol' Tune 1957 Johnny Mercer Johnny Mercer H
Little Old Crossroad Store 1932 Johnny Mercer Peter Tinturin A
Little Traveling Music, Professor, A 1974 Johnny Mercer Andre Previn Good Companions G
Living In The Used To Be Johnny Mercer Alfred Opler G
Loca Illusion 1940 Johnny Mercer Xavier Cugat All Through The Night A
Lock The Barn Door 1951 Johnny Mercer Johnny Mercer A
Lonelyheart Johnny Mercer Robert Emmett Dolan E
Lonesome Polecat (Lament) 1954 Johnny Mercer Gene De Paul Seven Brides For Seven Brothers A
Long Goodbye, The 1973 Johnny Mercer John Williams The Long Goodbye B
Longing 1958 Johnny Mercer Don Borzage A
Longtime, No See 1940 Johnny Mercer Walter Donaldson A
Look At You 1988 Johnny Mercer Barry Manilow A
Look In The Mirror 1943 Johnny Mercer Allie Wrubel A
Lorna 1964 Johnny Mercer Mort Lindsey G
Lost (Rings Of Melody) 1936 Johnny Mercer, Phil Ohman, Macy O. Teetor Johnny Mercer, Phil Ohman, Macy O. Teetor A
Lost In The Sun Johnny Mercer & E.Y. Harburg Henry Souvaine G
Love Held Lightly 1959 Johnny Mercer Harold Arlen Saratoga A
Love In The Afternoon 1957 Johnny Mercer Matt Malneck Love In The Afternoon A
Love Is A Merry-Go-Round 1937 Johnny Mercer Rube Bloom A
Love Is For The Birds Johnny Mercer Johnny Mercer E
Love Is On The Air Tonight 1937 Johnny Mercer Richard A. Whiting Varsity Show A
Love Is Where You Find It 1938 Johnny Mercer & Al Dubin Harry Warren Garden Of The Moon A
Love Is Where You Find It 1988 Johnny Mercer Barry Manilow B
Love Like Yours 1964 Johnny Mercer & Luiz Bonfa Johnny Mercer & Luiz Bonfa River Of Mystery E
Love Me With Your Heart Johnny Mercer Gilbert Martinez G
Love Me, Love My Dog 1949 Johnny Mercer Robert Emmett Dolan Texas, Li'l Darlin' A
Love Of My Life 1940 Johnny Mercer Artie Shaw Second Chorus A
Love Song 1954 Johnny Mercer David Raksin Apache A
Love With The Proper Stranger 1963 Johnny Mercer Elmer Bernstein Love With The Proper Stranger A
Love Woke Me Up This Morning 1949 Johnny Mercer Harry Warren A
Lovers In The Dark 1959 Johnny Mercer Gordon Jenkins A
Lullaby 1946 Johnny Mercer Harold Arlen St. Louis Woman A
Lyrics On The Spot Melody Johnny Mercer, Mel Blanc, Bobby Troup Johnny Mercer, Mel Blanc, Bobby Troup A
Ma Belle Cherie 1962 Johnny Mercer Robert Emmett Dolan The World of Maurice Chevalier A
Magic In The Moonlight 1958 Johnny Mercer Lewis E. Gensler A
Magic Island (Far Across The Sea) 1958 Johnny Mercer Bernie Wayne A
Make With The Kisses 1939 Johnny Mercer Jimmy Van Heusen A
Mama Torpedo Johnny Mercer Johnny Mercer Mike G
Mambo 1954 Johnny Mercer Daddy Long Legs G
Man In My Life, the 1959 Johnny Mercer Harold Arlen Saratoga A
Man Of The Year This Week 1951 Johnny Mercer Johnny Mercer Top Banana A
Mandy Is Two 1942 Johnny Mercer Fulton McGrath A
Man's Favorite Sport? 1964 Johnny Mercer Henry Mancini Man's Favorite Sport? E
Man's Gotta Fight, A 1946 Johnny Mercer Harold Arlen St. Louis Woman A
Many, Many Ways To Skin A Cat 1963 Johnny Mercer Robert Emmett Dolan Foxy A
March Of The Dogies, The 1945 Johnny Mercer Harry Warren The Harvey Girls A
Mary Ellen 1970 Johnny Mercer Billy Vaughn G
Matador 1956 Johnny Mercer Howard Jackson A
Matrimonial Stomp 1956 Johnny Mercer Gene De Paul Li'l Abner A
Maybe You Know What I Mean 1935 Johnny Mercer Hoagy Carmichael C
Me And The Ghost Upstairs 1940 Johnny Mercer Bernie Hanighen Second Chorus A
Meant To Tell Yuh 1952 Johnny Mercer Charles Dant & Al Rinker A
Medium (Couldn't Get Through), The Johnny Mercer Bernie Hanighen Mike G
Meet Miss America 1935 Johnny Mercer & Matt Malneck Johnny Mercer & Matt Malneck To Beat The Band A
Meet Miss Blendo 1951 Johnny Mercer Johnny Mercer Top Banana A
Memories Will Linger Johnny Mercer Erwin Lee, Ted R. Creech A
Memory Song 1944 Johnny Mercer Paul Weston A
Men Who Run The Country, The 1959 Johnny Mercer Harold Arlen Saratoga A
Mercer's Melody 1950 Johnny Mercer A
Merci Beaucoup Johnny Mercer Ray Navarre E
Merry Andrew 1957 Johnny Mercer Saul Chaplin Merry Andrew A
Merry-Go-Round In The Rain 1965 Johnny Mercer Johnny Green A
Mexican Moon 1961 Johnny Mercer & Charles Rinker Walter Gross G
Midnight Sun 1947 Johnny Mercer Sonny Burke & Lionel Hampton A
Minor Nursery 1954 Johnny Mercer Daddy Long Legs G
Miracle Of Christmas 1969 Johnny Mercer Gilbert Martinez G
Mirror, Mirror, Mirror 1966 Johnny Mercer David Raksin Big Hand For The Little Lady G
Misguided Faith (Sanctifying Grace) 1970 Johnny Mercer Brian Minard G
Mister Meadowlark 1940 Johnny Mercer Walter Donaldson A
Mistletoe Mansion 1982 Johnny Mercer & Vern Hansen Vern Hansen G
Moment Of Truth, The 1963 Johnny Mercer Robert Emmett Dolan G
Moment To Moment 1965 Johnny Mercer Henry Mancini Moment To Moment G
Money Isn't Everything 1963 Johnny Mercer Robert Emmett Dolan Foxy A
Montage Theme 1954 Johnny Mercer Daddy Long Legs G
Month Of Sundays, A 1949 Johnny Mercer Robert Emmett Dolan Texas, Li'l Darlin' A
Moon And The Night, The Johnny Mercer Johnny Mercer E
Moon Country (Is Home To Me) 1934 Johnny Mercer & Hoagy Carmichael Johnny Mercer & Hoagy Carmichael A
Moon Dreams 1943 Johnny Mercer Chummy MacGregor A
Moon In The Mulberry Tree 1950 Johnny Mercer George Motola A
Moon River 1960 Johnny Mercer Henry Mancini Breakfast At Tiffiany's A
Moon Shines Down, The 1930 Johnny Mercer Emmerich Kalman Paris In Spring A
Moonlight On The Campus 1937 Johnny Mercer Richard A. Whiting Varsity Show A
Moonlight Waltz 1952 Johnny Mercer Al Rinker G
Morning Star 1969 Johnny Mercer Jimmie Rowles E
Mouthful O' Jam 1932 Johnny Mercer Archie Bleyer A
Mr. Crosby, Mr. Mercer Johnny Mercer G
Mr. Pollyanna 1943 Johnny Mercer Hoagy Carmichael True To Life A
Mr. T From Tennessee 1936 Johnny Mercer Matt Malneck A
Music From Across The Sea 1933 Johnny Mercer Peter Tinturin A
Music In The Barn 1940 Johnny Mercer Hoagy Carmichael Three After Three A
Musica Di Roma 1961 Johnny Mercer Gilbert Martinez G
Musical Chairs 1953 Johnny Mercer Johnny Mercer A
Mutiny In The Nursery 1938 Johnny Mercer Johnny Mercer Going Places A
My Adventure 1938 Johnny Mercer Harry Warren Gold Diggers In Paris A
My Crazy Old Subconscious Won't Leave You Alone Johnny Mercer Johnny Mercer Mike G
My Home Is In My Shoes 1951 Johnny Mercer Johnny Mercer Top Banana A
My Inamorata 1966 Johnny Mercer John WIlliams Not With My Wife, You Don't G
My Intuition 1943 Johnny Mercer Harry Warren The Harvey Girls G
My Jekyll Island 1972 Johnny Mercer & Ida Thomas Ida Thomas G
My Love For You 1963 Johnny Mercer Stan Hoffman A
My Mamma Thinks I'm A Star 1944 Johnny Mercer Harold Arlen Here Come The Waves E
My Mother's Love Johnny Mercer G
My Name Is Love -- Fly Me 1972 Johnny Mercer David Raksin G
My New Celebrity Is You 1977 Johnny Mercer Blossom Dearie G
My Night To Howl 1963 Johnny Mercer Robert Emmett Dolan Foxy A
My Old Man 1933 Johnny Mercer Bernie Hanighen A
My Piano Won't Play 1958 Johnny Mercer Lewis E. Gensler A
My Resistance Is Low 1940 Johnny Mercer Jimmy McHugh You're The One F
My Shining Hour 1943 Johnny Mercer Harold Arlen The Sky's The Limit A
My Valentine Letter 1966 Johnny Mercer Johnny Mercer G
My Weight In Gold 1964 Johnny Mercer Robert Emmett Dolan Foxy A
Namely You 1956 Johnny Mercer Gene De Paul Li'l Abner A
Natural Man 1958 Johnny Mercer Harold Arlen The Blues G
Naughty, But Nice 1951 Johnny Mercer Harry Warren The Belle Of New York A
Navy Blues 1941 Johnny Mercer Arthur Schwartz Navy Blues A
Navy Song, The 1944 Johnny Mercer Harold Arlen Here Come The Waves A
News Chant 1958 Johnny Mercer Harold Arlen The Blues G
Night Over Shanghai 1937 Johnny Mercer Harry Warren The Singing Marine A
Night Song 1956 Johnny Mercer Hal Borne A
Nightcap Song 1940 Johnny Mercer Walter Donaldson G
Nile, The 1963 Johnny Mercer Alex North Cleopatra A
Nine Thorny Thickets 1955 Rolfe Humphries Johnny Mercer A
No Late Racehorse 1958 Johnny Mercer Harold Arlen The Blues G
No Wonder It's Banned In Boston Johnny Mercer Johnny Mercer Mike G
Nobody Understands Me 1951 Johnny Mercer Johnny Mercer Top Banana A
Not For Sale Johnny Mercer Johnny Mercer H
Not Mine 1942 Johnny Mercer Victor Schertzinger The Fleet's In A
Not With My Wife, You Don't 1966 Johnny Mercer John Williams Not With My Wife, You Don't A
Nothing Up My Sleeve Johnny Mercer Archie Bleyer G
Now It's A Thing Of The Past Johnny Mercer Alexander Fogarty G
O.K. For T.V. 1951 Johnny Mercer Johnny Mercer Top Banana A
Oasis 1961 Johnny Mercer & Samuel Schwartz Donald Borzage A
October Twilight 1972 Johnny Mercer Josef Myrow Those Days Before The War A
Oh What A Horse Was Charlie 1938 Johnny Mercer Harry Warren Going Places A
Oh What A Memory We Made 1956 Johnny Mercer Eddy Samuels A
Oh, Happy Day 1956 Johnny Mercer Gene De Paul Li'l Abner A
Oh, You Kid 1945 Johnny Mercer Harry Warren The Harvey Girls A
Ohio 1953 Johnny Mercer Johnny Mercer A
Old Aunt Kate 1933 Johnny Mercer Archie Bleyer A
Old Brown Thrush, The 1960 Johnny Mercer Alfred J. Thieme E
Old Glory 1942 Johnny Mercer Harold Arlen Star Spangled Rhythm A
Old Guitaron 1964 Johnny Mercer Laurindo Almeida A
Old King Cole 1937 Johnny Mercer Richard A. Whiting Varsity Show A
Old Man Rhythm 1935 Johnny Mercer Lewis E. Gensler Old Man Rhythm A
Old Music Master, The 1943 Johnny Mercer Hoagy Carmichael True To Life A
Old Reporters Never Die 1956 Johnny Mercer Gene De Paul You Can't Run Away From It A
Old Rob Roy 1944 Johnny Mercer Robert Emmett Dolan A
Old Skipper 1934 Johnny Mercer Hoagy Carmichael A
On Behalf Of The Visiting Firemen 1940 Johnny Mercer Walter Donaldson A
On My Way 1974 Johnny Mercer Andre Previn Good Companions G
On Our Golden Wedding Day Johnny Mercer Carl Sigman G
On The Atchison, Topeka And The Santa Fe 1945 Johnny Mercer Harry Warren The Harvey Girls A
On The Beam 1942 Johnny Mercer Jerome Kern You Were Never Lovelier A
On The Bridge of Avignon 1958 Johnny Mercer Lewis E. Gensler A
On The Nodaway Road 1935 Johnny Mercer Charles Bates A
On The Swing Shift 1942 Johnny Mercer Harold Arlen Star Spangled Rhythm A
On Top Of The World (Higher Than The Moon) 1958 Johnny Mercer Harold Arlen The Blues G
On With The Dance 1937 Johnny Mercer Richard A. Whiting Varsity Show A
Once Upon A Summertime 1962 Johnny Mercer Eddie Barclay & Michel Legrand E
One For My Baby (And One More For The Road) 1943 Johnny Mercer Harold Arlen The Sky's The Limit A
One Step, Two Step 1959 Johnny Mercer Harold Arlen Saratoga A
One, Two, Three 1930 Johnny Mercer Phil Charig & Richard Myers Pajama Lady A
Only If You're In Love 1951 Johnny Mercer Johnny Mercer Top Banana A
Ooh! What You Said 1939 Johnny Mercer Hoagy Carmichael Three After Three A
Oops! 1951 Johnny Mercer Harry Warren The Belle Of New York A
Opening A -- Saratoga 1959 Johnny Mercer Harold Arlen Saratoga A
Opening B -- Saratoga 1959 Johnny Mercer Harold Arlen Saratoga A
Opening C -- Saratoga 1959 Johnny Mercer Harold Arlen Saratoga A
Opening D -- Saratoga 1959 Johnny Mercer Harold Arlen Saratoga A
Opus 1 Johnny Mercer Rich Barcellona B
Our Family Tree 1949 Johnny Mercer Robert Emmett Doland Texas, Li'l Darlin' A
Our Man In Paradise Johnny Mercer Johnny Mercer Mike G
Out Of Breath (And Scared To Death Of You) 1930 Johnny Mercer Everett Miller The Garrick Gaieties A
Out Of This World 1945 Johnny Mercer Harold Arlen Out Of This World A
Overture Johnny Mercer Gene De Paul A
Overture 1963 Johnny Mercer Robert Emmett Dolan Foxy A
Overture From Top Banana 1951 Johnny Mercer Johnny Mercer Top Banana A
P.S. I Got The Job Johnny Mercer G
P.S. I Love You 1934 Johnny Mercer Gordon Jenkins A
Paesan 1972 Johnny Mercer Ray Sinatra Voice In The Night G
Palsy-Walsy 1943 Johnny Mercer Harold Arlen They Got Me Covered A
Papa Good Times (Could Be) 1967 Johnny Mercer Les McCann B
Pardon My Southern Accent 1934 Johnny Mercer & Matt Malneck Johnny Mercer & Matt Malneck A
Parks Of Paris, The 1959 Johnny Mercer Harold Arlen Saratoga A
Parting Is Such Sweet Sorrow 1949 Johnny Mercer Joseph Meyer A
Parting Song 1944 Johnny Mercer Nat Shilkret A
Passe Johnny Mercer G
Past My Prime 1956 Johnny Mercer Gene De Paul Li'l Abner A
Peekaboo To You 1941 Johnny Mercer Johnny Mercer, Carl Sigman, Joseph Meyer A
Perfect Paris Night, A 1963 Johnny Mercer Hoagy Carmichael A
Peter Piper 1936 Johnny Mercer Richard A. Whiting A
Petticoat High 1959 Johnny Mercer Harold Arlen Saratoga A
Petty Girl Number 1950 Johnny Mercer Harold Arlen The Petty Girl G
Phone Call To The Past 1967 Johnny Mercer Henry Mancini G
Phony King Of England, The 1972 Johnny Mercer Traditional Robin Hood E
Picadilly Circus 1974 Johnny Mercer Andre Previn Good Companions, The G
Pine Top Boogie 1948 Johnny Mercer Johnny Mercer A
Pineapple Pete 1963 Johnny Mercer Johnny Mercer G
Piney Woods, The 1957 Johnny Mercer Jack Marshall The Missouri Traveler A
Pink Panther Theme 1964 Johnny Mercer Henry Mancini The Pink Panther A
Pipes Of Pan, The 1957 Johnny Mercer Saul Chaplin Merry Andrew A
Play With My Deck 1958 Johnny Mercer Harold Arlen The Blues G
Pleasure Of Your Company 1974 Johnny Mercer Andre Previn Good Companions G
Politics 1949 Johnny Mercer Robert Emmett Dolan Texas, Li'l Darlin' A
Pools, The 1974 Johnny Mercer Andre Previn Good Companions G
Poor Miriam 1946 Johnny Mercer Johnny Mercer A
Poor Mr. Chisholm 1940 Johnny Mercer Bernie Hanighen Second Chorus A
Pot And Pan Parade, The 1953 Johnny Mercer Howard Jackson A
Power Of Love, The 1962 Johnny Mercer Robert Emmett Dolan Foxy E
Pretty Please 1940 Johnny Mercer Walter Donaldson G
Progress Is The Root Of All Evil 1956 Johnny Mercer Gene De Paul Li'l Abner A
Promenade (Street Cries) 1959 Johnny Mercer Harold Arlen Saratoga A
Propaganda 1943 Johnny Mercer Johnny Mercer A
P'tit Bec Un Johnny Mercer Johnny Mercer B
P'tit Gars D' Chez Nous Johnny Mercer Johnny Mercer B
Put 'Em Back The Way They Wuz 1956 Johnny Mercer Gene De Paul Li'l Abner A
Put Every Dollar 1958 Johnny Mercer Harold Arlen The Blues G
Que Le Vaya Bien Johnny Mercer Fabian Andre G
Queen Of The May 1954 Johnny Mercer Gene De Paul Seven Brides For Seven Brothers G
Quierme Y Veras 1954 Johnny Mercer Jose Antonio Mendez A
Rabbit's Foot 1963 Johnny Mercer Robert Emmett Dolan Foxy A
Race 1958 Johnny Mercer Harold Arlen The Blues G
Racin' Form 1946 Johnny Mercer Harold Arlen St. Louis Woman G
Railroad Fight, The 1959 Johnny Mercer Harold Arlen Saratoga A
Rainbows In The Night 1956 Johnny Mercer David Raksin Hilda Crane E
Rainy Night 1957 Johnny Mercer Matt Malneck A
Raise A Ruckus Tonight 1962 Johnny Mercer Robert Emmett Dolan How The West Was One A
Reading The News 1959 Johnny Mercer Harold Arlen Saratoga G
Ready, Willing And Able 1936 Johnny Mercer Richard A. Whiting Ready, Willing And Able A
Red Apple Johnny Mercer Johnny Mercer A
Red Sky At Morning 1973 Johnny Mercer Billy Goldenberg Red Sky At Morning G
Remember Dad On Mother's Day 1956 Johnny Mercer Harry Warren A
Respectability 1963 Johnny Mercer Robert Emmett Dolan Foxy A
Revenge Is Sweet 1962 Johnny Mercer Robert Emmett Dolan Foxy G
Ride 'Em, Cowboy 1949 Johnny Mercer Robert Emmett Dolan Texas, Li'l Darlin' A
Ride Tenderfoot Ride 1938 Johnny Mercer Richard A. Whiting Cowboy From Brooklyn A
Ridin' On The Moon 1946 Johnny Mercer Harold Arlen St. Louis Woman A
Ridin' Our Luck 1958 Johnny Mercer Harold Arlen The Blues G
Rock In A Weary Land, A 1972 Johnny Mercer Johnny Mercer E
Rocky Mountain Moon 1951 Johnny Mercer Johnny Mercer A
Rollin' In Gold 1963 Johnny Mercer Robert Emmett Dolan Foxy A
Rosie 1967 Johnny Mercer Harry Warren Rosie! E
Rumba Jumps!, The 1939 Johnny Mercer Hoagy Carmichael I Walk With Music A
Run, Run, Run Cinderella 1963 Johnny Mercer Robert Emmett Dolan Foxy A
S.S. Commoder Ebenezer McAfee The Third 1963 Johnny Mercer Robert Emmett Dolan Foxy A
Sad Little Rain Of China, The 1951 Johnny Mercer Robert Emmett Dolan Messr. Marco Polo A
Salud (Here's Cheers) 1957 Johnny Mercer Saul Chaplin Merry Andrew A
Sans Souci 1951 Johnny Mercer Johnny Mercer Top Banana A
Santa Claus Came In The Spring 1935 Johnny Mercer & Matt Malneck Johnny Mercer & Matt Malneck To Beat The Band A
Saratoga 1959 Johnny Mercer Harold Arlen Saratoga A
Satan's Little Lambs 1932 Johnny Mercer Harold Arlen Americana A
Satin Doll 1958 Johnny Mercer Duke Ellington & Billy Strayhorn A
Say It With A Kiss 1938 Johnny Mercer Harry Warren Going Places A
Says Who, Says You, Says I 1941 Johnny Mercer Harold Arlen Blues In The Night A
Scarecrow Ballet 1956 Johnny Mercer Gene De Paul You Can't Run Away From It F
Second Wind 1958 Johnny Mercer Harold Arlen The Blues G
Seeing's Believing 1952 Johnny Mercer Harry Warren The Belle Of New York A
Selection From Seven Brides For Seven Brothers Johnny Mercer Gene De Paul Seven Brides For Seven Brothers A
Senorita Diaz 1951 Johnny Mercer Johnny Mercer Top Banana A
Sentimental And Melancholy 1937 Johnny Mercer Richard A. Whiting Ready, Willing And Able A
Seven Little Steps To Heaven 1932 Johnny Mercer & Hilda Gottlieb Lewis E. Gensler A
Shake It, But Don't Break It 1980 Johnny Mercer Erroll Garner A
Shameless 1963 Johnny Mercer Johnny Mercer G
Share And Share Alike 1962 Johnny Mercer Robert Emmett Dolan Foxy A
Sharp As A Tack 1942 Johnny Mercer Harold Arlen Star Spangled Rhythm A
Shooby Dooin' 1966 Johnny Mercer Jerry Gray E
Shotgun Wedding 1954 Johnny Mercer Gene De Paul Seven Brides For Seven Brothers G
Show Me How To Cry Johnny Mercer Johnny Mercer B
Show Your Linen, Miss Richardson 1939 Johnny Mercer Bernie Hanighen A
Sighs 1953 Johnny Mercer Nestor Amaral & Laurindo Almeida A
Silhouetted In The Moonlight 1937 Johnny Mercer Richard A. Whiting Hollywood Hotel A
Silver Luck, Golden Luck 1958 Johnny Mercer Harold Arlen The Blues G
Simpatico Johnny Mercer Joseph Meyer G
Sing Me To Sleep Johnny Mercer Del Cleveland G
Sing, You Son Of A Gun 1937 Johnny Mercer Richard A. Whiting Hollywood Hotel A
Singing In The Moonlight 1954 Johnny Mercer Johnny Mercer A
Singing Marine 1937 Johnny Mercer & Al Dubin Harry Warren The Singing Marine A
Single-O 1964 Johnny Mercer Donald Kahn A
Skol (Let's Have Another One On Me) 1970 Johnny Mercer Henry Mancini Darling Lili G
Skylark 1942 Johnny Mercer Hoagy Carmichael A
Sleep Peaceful, Mr. Used-To-Be 1946 Johnny Mercer Harold Arlen St. Louis Woman A
Sleepyhead 1958 Johnny Mercer Lewis E. Gensler A
Slippin' Around The Corner 1974 Johnny Mercer Andre Previn Good Companions G
Slogan Song 1951 Johnny Mercer Johnny Mercer Top Banana A
Sluefoot 1955 Johnny Mercer Johnny Mercer Daddy Long Legs A
Small Petrushka 1969 Johnny Mercer Louis Alter G
Smarty Pants 1939 Johnny Mercer Walter Donaldson A
Smile Away Each Rainy Day 1970 Johnny Mercer Henry Mancini Darling Lili E
Smile For The Press 1940 Johnny Mercer Hoagy Carmichael I Walk With Music H
Snake Eyes Johnny Mercer Harold Arlen G
So Many Kinds Of Love 1958 Johnny Mercer Harold Arlen The Blues G
Sobbin' Women 1954 Johnny Mercer Gene De Paul Seven Brides For Seven Brothers A
Some Place Of My Own 1954 Johnny Mercer Gene De Paul Seven Brides For Seven Brothers G
Something Tells Me 1938 Johnny Mercer Harry Warren A
Something Tells Me I'm Falling In Love 1988 Johnny Mercer Barry Manilow A
Something You Gotta Find Out For Yourself 1946 Johnny Mercer Harold Arlen St. Louis Woman A
Something's Gotta Give 1955 Johnny Mercer Johnny Mercer Daddy Long Legs A
Song Of India 1953 Johnny Mercer Rimsky-Korsakov A
Song Of Long Ago, The 1969 Johnny Mercer Hoagy Carmichael G
Songs of Delta Delta Delta 1942 Johnny Mercer Johnny Mercer G
Sorry 1956 Johnny Mercer Gene De Paul A
Sounds Around The House, The 1976 Johnny Mercer Alec Wilder Songs Were Made To Sing B
Sounds Of The Night, The 1962 Johnny Mercer Gerald Fried The Cabinet of Caligari A
South Wind 1936 Johnny Mercer Rube Bloom Lew Leslie's Blackbirds of 1936 A
Southern Cross, The Johnny Mercer Robert Emmett Dolan Messr. Marco Polo D
Southwind 1976 Johnny Mercer Barry Manilow B
Sow The Seed 1958 Johnny Mercer Harold Arlen The Blues G
Sow The Seed And Reap The Harvest 1946 Johnny Mercer Harold Arlen St. Louis Woman E
Speak To The Heart Johnny Mercer G
Spelled Backwards I Love You Johnny Mercer Robert Emmett Dolan G
Splendor Of You, The Johnny Mercer Johnny Mercer G
Spring Is In My Heart Again 1932 Johnny Mercer William Woodin A
Spring Reunion 1956 Johnny Mercer Harry Warren Spring Reunion A
Spring, Spring, Spring 1954 Johnny Mercer Gene De Paul Seven Brides For Seven Brothers A
Square Of The Hypotenuse 1957 Johnny Mercer Saul Chaplin Merry Andrew A
St. Louis Woman 1946 Johnny Mercer Harold Arlen St. Louis Woman A
Stage Door John 1974 Johnny Mercer Andre Previn Good Companions G
Stage Struck 1974 Johnny Mercer Andre Previn Good Companions G
Star Sounds 1965 Johnny Mercer Johnny Mercer A
Step To The Rear Of The Car, Please 1951 Johnny Mercer Johnny Mercer Top Banana A
Stop The Presses (Johnny Mercer's Melody) 1962 Archie Lebrecht Johnny Mercer G
Storm, The 1959 Johnny Mercer Milt Raskin A
Strawberry Lane 1940 Johnny Mercer Jimmy McHugh You're The One A
Streak Of Lightning 1958 Johnny Mercer Harold Arlen The Blues G
Strip Polka (Take It Off! Take It Off!) 1942 Johnny Mercer Johnny Mercer A
Sudsy Suds 1968 Johnny Mercer Hoagy Carmichael True To Life G
Summer On The Cape 1964 Johnny Mercer Al Dero G
Summer Rain 1976 Johnny Mercer Johnny Mercer G
Summer Wind 1965 Johnny Mercer Henry Mayer The Pope Of Greenwich Village E
Susie For Everybody 1974 Johnny Mercer Andre Previn Good Companions G
Sweater, A Sarong And A Peek-A-Boo Bang, A 1942 Johnny Mercer Harold Arlen Star Spangled Rhythm A
Sweet Little Lady Next Door 1932 Johnny Mercer Alfred Opler A
Sweetening Water 1958 Johnny Mercer Harold Arlen The Blues G
Sweetheart Tree, The 1965 Johnny Mercer Henry Mancini The Great Race A
Swing Into Spring 1959 Johnny Mercer Bob Swanson A
Swing Is The Thing, The 1936 Johnny Mercer Rube Bloom Lew Leslie's Blackbirds Of 1936 A
Swing Your Partner Round And Round 1945 Johnny Mercer Harry Warren The Harvey Girls A
Ta, Luv 1974 Johnny Mercer Andre Previn Good Companions G
Tailgate Ramble 1944 Johnny Mercer Wingy Manone A
Take A Crank Letter 1949 Johnny Mercer Robert Emmett Dolan Texas, Li'l Darlin' A
Take It From A Lady 1963 Johnny Mercer Robert Emmett Dolan Foxy A
Talk To Me Baby 1963 Johnny Mercer Robert Emmett Dolan Foxy A
Talkin' Glory 1946 Johnny Mercer Harold Arlen St. Louis Woman H
Talking In My Sleep 1933 Johnny Mercer Harry Archer & Margot Millham A
Tangerine 1942 Johnny Mercer Victor Schertzinger The Fleet's In A
Tango 1954 Johnny Mercer Daddy Long Legs G
T'Avoir Connu Johnny Mercer Johnny Mercer B
Technique 1957 Johnny Mercer Johnny Mercer Bernardine A
Temporarily 1956 Johnny Mercer Gene De Paul You Can't Run Away From It A
Tender And True Love Johnny Mercer Joe Dubin G
Tender Loving Care 1966 Johnny Mercer Ronnell Bright A
Texas March 1954 Johnny Mercer Daddy Long Legs G
Texas Romp And Square Dance 1955 Johnny Mercer Johnny Mercer Daddy Long Legs A
Texas Waltz 1954 Johnny Mercer Daddy Long Legs G
Texas, Li'l Darlin' 1949 Johnny Mercer Robert Emmett Dolan Texas, Li'l Darlin A
Thank Your Lucky Stars Johnny Mercer Robert Emmett Dolan G
Thanks But No Thanks Johnny Mercer Johnny Mercer Mike G
Thanksgivin' 1932 Johnny Mercer Hoagy Carmichael A
That Old Black Magic 1942 Johnny Mercer Harold Arlen Star Spangled Rhythm A
That's For Sure 1951 Johnny Mercer Johnny Mercer Top Banana A
The Long Of It--The Short Of It Johnny Mercer E
Then Suddenly 1958 Johnny Mercer Harold Arlen The Blues G
There She Was 1943 Johnny Mercer Hoagy Carmichael True To Life H
There's A Fella Waitin' In Poughkeepsie 1944 Johnny Mercer Harold Arlen Here Come The Waves A
There's A Little Old House 1937 Johnny Mercer Richard A. Whiting Ready, Willing And Able F
There's A Ring Around The Moon 1933 Johnny Mercer Johnny Green A
There's A Sunny Side To Every Situation 1938 Johnny Mercer Harry Warren Hard To Get A
There's No Forgetting You Johnny Mercer Johnny Mercer G
There's Nothing Like A College Education 1935 Johnny Mercer Lewis E. Gensler Old Man Rhythm A
There's Room Enough For Us 1956 Johnny Mercer Gene De Paul Li'l Abner A
There's Something Mighty Peculiar Goin' On 1956 Johnny Mercer Gene De Paul Li'l Abner A
These Orchids 1956 Johnny Mercer Jerome Kern A
These Orchids 1942 Johnny Mercer Jerome Kern You Were Never Lovelier J
They Talk A Different Language 1949 Johnny Mercer Robert Emmett Dolan Texas, Li'l Darlin' A
They're Pavin' California 1988 Johnny Mercer Jimmie Rowles G
This Is Our Day 1958 Johnny Mercer Harold Arlen The Blues G
This Is The Night Johnny Mercer Johnny Mercer G
This Little While 1941 Johnny Mercer Harold Arlen Blues In The Night A
This Time The Dream's On Me 1941 Johnny Mercer Harold Arlen Blues In The Night A
Three Guesses 1930 Johnny Mercer Philip Charig & Richard Myers Pajama Lady A
Three Of A Kind Johnny Mercer Bobby Darin B
Thumbin' A Ride 1956 Johnny Mercer Gene De Paul You Can't Run Away From It A
Till It Goes Out Of Style 1963 Johnny Mercer Robert Emmett Dolan Foxy A
Time Marches On Johnny Mercer Matt Malneck If You Were Mine G
Time To Smile 1966 Johnny Mercer Les Brown, J.Hill, Geoff Clarkson A
Today I'm A Glamour Girl 1940 Johnny Mercer Hoagy Carmichael I Walk With Music E
Tomorrow Never Comes 1967 Johnny Mercer Morton Stevens Cimarron Strip A
Tomorrow You Belong To Uncle Sam 1942 Johnny Mercer Victor Schertzinger The Fleet's In H
Tonight Is Mine 1951 Johnny Mercer Sammy Fain G
Tonight May Have To Last Me All My Life 1964 Johnny Mercer Don Borzage A
Too Good To Be True Johnny Mercer Florence Leftwich G
Too Good To Be True 1967 Johnny Mercer George Shearing B
Too Marvelous For Words 1937 Johnny Mercer Richard A. Whiting Ready, Willing And Able A
Top Banana 1951 Johnny Mercer Johnny Mercer Top Banana A
Toss A Song In The Deep Blue Night Johnny Mercer G
Train Must Be Fed, The 1945 Johnny Mercer Harry Warren The Harvey Girls H
Trav'lin' Light 1943 Johnny Mercer Jimmy Mundy & Trummy Young A
True Love 1958 Johnny Mercer Harold Arlen The Blues G
Truly 1949 Johnny Mercer Antone Iavello A
Twilight Reflections (My Reflections) Johnny Mercer Joseph Meyer G
Twilight World 1971 Johnny Mercer Marian McPartland A
Two Hearts Are Better Than One 1946 Johnny Mercer Jerome Kern Centennial Summer A
Two Of A Kind 1960 Johnny Mercer Bobby Darin A
Uncle Sammy 1942 Johnny Mercer Victor Schertzinger The Fleet's In A
Unnecessary Town 1956 Johnny Mercer Gene De Paul Li'l Abner A
Until We Kiss 1930 Johnny Mercer Emmerich Kalman Paris In Spring A
Velvet Night 1968 Johnny Mercer Michel Legrand (adap. from Mozart) Elvira Madigan G
Venice In Spring Johnny Mercer Robert Emmett Dolan Messr. Marco Polo D
Very Important Man, A Johnny Mercer Robert Emmett Dolan Messr. Marco Polo D
Village Johnny Mercer, Roy Kaplan Harold Arlen, Roy Kaplan B
Vocal Selections from Good Companions 1975 Johnny Mercer Andre Previn G
Vocal Selections from Saratoga 1963 Johnny Mercer Harold Arlen G
Wait And See 1945 Johnny Mercer Harry Warren The Harvey Girls A
Wait For The Wagon (Wait For The Hoedown) 1962 Johnny Mercer Robert Emmett Dolan How The West Was Won A
Wait No More 1969 Johnny Mercer Elizabeth Firestone G
Wait Till It Happens To You 1941 Johnny Mercer Harold Arlen New Orleans Blues G
Wait Till You See Me In The Morning 1940 Johnny Mercer Hoagy Carmichael I Walk With Music C
Waiter And The Porter And The Upstairs Maid, The 1941 Johnny Mercer Johnny Mercer Birth Of The Blues A
Walkin' With My Shadow 1934 Johnny Mercer Bernie Hanighen A
Wanted Man, A 1973 Johnny Mercer G
Watch A Darky Dance Johnny Mercer Peter TInturin G
Way Back In 1939 AD 1939 Johnny Mercer Hoagy Carmichael Three After Three A
Way It Is, The Johnny Mercer Johnny Mercer G
Way Of A Maid With A Man, The Johnny Mercer Robert Emmett Dolan Messr. Marco Polo D
Way To A Man's Heart, The 1956 Johnny Mercer Gene De Paul Li'l Abner A
We Can All Make Mistakes Johnny Mercer Carl Sigman G
We Do It On A Horse Johnny Mercer Robert Emmett Dolan Messr. Marco Polo D
We Shall Meet To Part, No Never 1946 Johnny Mercer Harold Arlen St. Louis Woman H
We Stayed In Love Too Long Johnny Mercer Archie Bleyer G
We Won't Worry Till Fall Johnny Mercer Henry Souvaine G
Weary Shoulders Johnny Mercer Henry Souvaine G
Wedding In The Spring 1942 Johnny Mercer Jerome Kern You Were Never Lovelier A
Wedding Song 1956 Johnny Mercer Gene De Paul Li'l Abner A
Weekend Of A Private Secretary, The 1938 Johnny Mercer Bernie Hanighen A
Welcome Egghead 1955 Johnny Mercer Johnny Mercer Daddy Long Legs A
Welcome Stranger 1936 Johnny Mercer Johnny Mercer A
We're In Wonderland Johnny Mercer Carl Sigman G
We're Working Our Way Through College 1937 Johnny Mercer Richard A. Whiting Varsity Show A
What A Revoltin' Development This Is 1951 Johnny Mercer Johnny Mercer Top Banana H
What Was Your Name In The States 1962 Johnny Mercer Robert Emmett Dolan How The West Was Won A
What Will I Do Without You 1932 Johnny Mercer & Hilda Gottlieb Lewis E. Gensler College Coach A
Whatcha Sayin', Della? 1958 Johnny Mercer Harold Arlen The Blues G
Whatcha Saying, Bigelow 1958 Johnny Mercer Harold Arlen The Blues G
What-Cha-Ma-Call-It 1956 Johnny Mercer Gene De Paul You Can't Run Away From It A
What'll They Think Of Next? 1940 Johnny Mercer Hoagy Carmichael Three After Three A
Wheel'em And Deal'em 1958 Johnny Mercer Harold Arlen The Blues G
When A Woman Loves A Man 1934 Johnny Mercer Bernie Hanighen & Gordon Jenkins Be Yourself A
When Are We Going To Land A Broad? 1941 Johnny Mercer Arthur Schwartz Navy Blues A
When I'm Out With The Belle Of New York 1951 Johnny Mercer Harry Warren The Belle Of New York A
When Love Walks By 1944 Johnny Mercer Hoagy Carmichael True To Life A
When October Goes 1984 Johnny Mercer Barry Manilow A
When Sally Walks Along Peacock Alley 1949 Johnny Mercer Harry Warren A
When The Meadow Was Bloomin' 1988 Johnny Mercer Barry Manilow A
When The World Was Young 1951 Johnny Mercer M. Philippe-Gerard Ah The Apple Trees A
When We Ride On The Merry-Go-Round 1932 Johnny Mercer & Earl McCarron Ralph W. Bolton A
When You Are In My Arms 1935 Johnny Mercer Lewis E. Gensler Old Man Rhythm A
When You Hear The Time Signal 1942 Johnny Mercer Victor Schertzinger The Fleet's In A
When Your College Days Are Gone 1937 Johnny Mercer Richard A. Whiting Varsity Show F
When You're In Love 1954 Johnny Mercer Gene De Paul Seven Brides For Seven Brothers A
Where You Looking, Della? 1958 Johnny Mercer Harold Arlen The Blues G
Where's The Happy Ending Johnny Mercer Ted Helms G
Which-A-Way'd They Go 1949 Johnny Mercer Robert Emmett Dolan Texas, Li'l Darlin' A
While We Danced At The Mardi Gras 1931 Johnny Mercer Alfred Opler A
Whistling Away The Dark 1970 Johnny Mercer Henry Mancini Darling Lili A
Whistling For A Kiss 1932 Johnny Mercer & E.Y. Harburg Richard Myers Americana A
Who But You Johnny Mercer Johnny Mercer G
Who Knows Johnny Mercer Johnny Mercer G
Whoopin' And A-Hollerin' 1949 Johnny Mercer Robert Emmett Dolan Texas, Li'l Darlin' A
Who's Excited 1952 Johnny Mercer Johnny Hodges A
Why Can't It Be Me? 1936 Johnny Mercer Rube Bloom Lew Leslie's Blackbirds Of 1936 G
Why Didn't I Tell Him? Johnny Mercer Johnny Mercer Mike G
Why Didn't She Tell Me? Johnny Mercer Johnny Mercer Mike G
Why Fight This? 1959 Johnny Mercer Harold Arlen Saratoga A
Wide Place In The Road, A 1964 Johnny Mercer Johnny Mercer A
Wild, Wild West 1945 Johnny Mercer Harry Warren The Harvey Girls A
Will O' The Wisp Johnny Mercer Robert Emmett Dolan Messr. Marco Polo D
Willie The Wolf Of The West 1943 Johnny Mercer Joseph Lilley Riding High J
Windmill Under The Stars 1942 Johnny Mercer Jerome Kern A
Windows Of Paris, The 1963 Johnny Mercer Tony Osborne E
Wings Over The Navy 1938 Johnny Mercer Harry Warren Wings Of The Navy A
Winter In My Heart 1944 Johnny Mercer Nat Shilkret A
With My Lover Beside Me 1988 Johnny Mercer Barry Manilow A
With You With Me 1956 Johnny Mercer Johnny Green A
Without Benefit Of Clergy Johnny Mercer The Pigwar G
Woman's Prerogative, A 1946 Johnny Mercer Harold Arlen St. Louis Woman A
Woman's Work Is Never Done, A 1964 Johnny Mercer Harold Arlen A
Wonderful Wonderful Day 1954 Johnny Mercer Gene De Paul Seven Brides For Seven Brothers A
Won't Dat Be De Blessed Day Johnny Mercer Harold Arlen G
Word A Day, A 1951 Johnny Mercer Johnny Mercer Top Banana A
Word To The Wise Will Do, A 1936 Johnny Mercer Archie Bleyer G
Work Hard, Love Hard 1958 Johnny Mercer Harold Arlen The Blues G
Working Now For Me 1958 Johnny Mercer Harold Arlen The Blues G
Workman's Song 1959 Johnny Mercer Harold Arlen Saratoga A
World Is My Apple, The 1937 Johnny Mercer Richard A. Whiting Ready, Willing And Able F
World Of Maurice Chevalier, The Johnny Mercer Robert Emmett Dolan A
World Of My Heart, The 1965 Johnny Mercer Johnny Green Johnny Tiger H
Would'ja For A Big Red Apple 1930 Johnny Mercer & Everest Miller Henry Souvaine Americana A
Wrap Yourself In Cellophane 1935 Johnny Mercer Hoagy Carmichael C
Yearly Consular Ball, The 1961 Johnny Mercer Johnny Mercer G
Yodel Blues 1949 Johnny Mercer Robert Emmett Dolan Texas, Li'l Darlin A
Yogi Who Lost His Willpower, The 1940 Johnny Mercer Jimmy McHugh You're The One A
You 1933 Johnny Mercer Joseph Meyer A
You And Your Love 1939 Johnny Mercer Johnny Green A
You Best Take Lila Back 1958 Johnny Mercer Harold Arlen The Blues G
You Came Along Johnny Mercer Robert Emmett Dolan G
You Can Say That Again (You're The Difference) 1944 Johnny Mercer & Carl Sigman Freddie Slack A
You Can't Always Have What You Want 1957 Johnny Mercer Saul Chaplin Merry Andrew A
You Can't Lose Johnny Mercer Johnny Mercer Mike G
You Can't Run Away From It 1956 Johnny Mercer Gene De Paul You Can't Run Away From It A
You For Me 1959 Johnny Mercer Harold Arlen Saratoga A
You Go Your Way 1973 Johnny Mercer Johnny Mercer G
You Gotta Be A Grandparent Johnny Mercer Johnny Mercer G
You Gotta Have A Slogan 1951 Johnny Mercer Johnny Mercer Top Banana A
You Grow Sweeter As The Years Go By 1939 Johnny Mercer Johnny Mercer A
You Have Taken My Heart 1933 Johnny Mercer Gordon Jenkins A
You Know You Don't Want Me (So Why Don't You Leave Me Alone?) 1963 Johnny Mercer Robert Emmett Dolan A
You Must Have Been A Beautiful Baby 1938 Johnny Mercer Harry Warren Hard To Get A
You Never Miss The Water Till The Well Runs Dry Johnny Mercer Peter Tinturin G
You Or No One 1959 Johnny Mercer Harold Arlen Saratoga A
You Took The Words Right Out Of My Heart 1954 Johnny Mercer Johnny Mercer G
You Were Never Lovelier 1942 Johnny Mercer Jerome Kern You Were Never Lovelier A
You'll Find Out 1940 Johnny Mercer Jimmy McHugh You'll Find Out A
Young And Free 1981 Johnny Mercer Johnny Rotella G
Your Good Will Ambassador 1968 Johnny Mercer Henry Mancini Darling Lili G
Your Heart And Mine 1936 Johnny Mercer Rube Bloom Lew Leslie's Blackbirds of 1936 A
Your Heart Will Tell You So 1947 Johnny Mercer Robert Emmett Dolan A
Your Make-Believe Ballroom 1952 Johnny Mercer, Leon Rene, Al Jarvis Johnny Mercer, Leon Rene, Al Jarvis A
You're A Natural 1941 Johnny Mercer Arthur Schwartz Navy Blues A
You're My Love Johnny Mercer Robert Emmett Dolan Messr. Marco Polo D
You're So Beautiful -- That 1951 Johnny Mercer Johnny Mercer Top Banana A
You're The One (For Me) 1940 Johnny Mercer Jimmy McHugh You're The One A
Yours For Keeps 1957 Johnny Mercer Vernon Duke E
You've Got Me This Way 1940 Johnny Mercer Jimmy McHugh You'll Find Out A
You've Got Me Where You Want Me 1944 Johnny Mercer Harry Warren A
You've Got Something There 1937 Johnny Mercer Richard A. Whiting Varsity Show
(Introduction To) One Step, Two Step 1959 Johnny Mercer Harold Arlen Saratoga A
(I've Got) A Lot In Common With You 1943 Johnny Mercer Harold Arlen The Sky's The Limit A
(Theme Of) The Square Dance 1949 Johnny Mercer Robert Emmett Dolan Texas, Li'l Darlin' G
(You Can Tell When There's) Love In A Home 1956 Johnny Mercer Gene De Paul Li'l Abner A
13th Street Rag 1949 Johnny Mercer Wingy Manone A
1st Auto Theme 1954 Johnny Mercer Daddy Long Legs G
1st Chinese Theme 1954 Johnny Mercer Daddy Long Legs G
3rd Day Rag 1954 Johnny Mercer Daddy Long Legs G
About Face Johnny Mercer Edward Albertson Honor of West Point G
Ac-cent-tchu-ate The Positive 1944 Johnny Mercer Harold Arlen Here Come The Waves A
Affable Balding Me 1949 Johnny Mercer Robert Emmett Dolan Texas, Li'l Darlin' A
After All These Years Johnny Mercer Johnny Mercer G
After Twelve O'clock 1932 John H. Mercer Hoagy Carmichael A
Afterbeat, The 1959 Johnny Mercer Fred Astaire A
Ah Loves Ya 1950 Johnny Mercer Harold Arlen The Petty Girl A
Ain't Nature Grand 1952 Johnny Mercer Arthur Schwartz Dangerous When Wet A
Air-Minded Executive 1940 Johnny Mercer Bernie Hanighen A
Al Fresco 1959 Johnny Mercer Harold Arlen Saratoga A
All Mucked Up 1974 Johnny Mercer Andre Previn Good Companions G
All Over The World Johnny Mercer Johnny Mercer G
All Through The Night 1941 Johnny Mercer Arthur Schwartz All Through The Night A
Alphabet Of Love Begins And Ends With You 1932 Johnny Mercer & Hilda Gottlieb Lewis E. Gensler A
Amazing What Love Can Do 1940 Johnny Mercer Hoagy Carmichael I Walk With Music A
Ambiguous Means I Love You 1951 Johnny Mercer Johnny Mercer Top Banana A
And Points Beyond 1974 Johnny Mercer Andre Previn Good Companions G
And So To Bed 1946 Johnny Mercer Robert Emmett Dolan A
And The Angels Sing 1939 Johnny Mercer Ziggy Elman And The Angels Sing (1944) A
Angels Cried, The 1948 Johnny Mercer Johnny Mercer A
Anne Johnny Mercer Edward Albertson Honor Of West Point G
Another Case Of Blues 1930 Johnny Mercer Richard Myers Tattle Tales A
Antonia 1954 Johnny Mercer Howard Jackson A
Any Old Day Johnny Mercer Johnny Mercer G
Any Place I Hang My Hat Is Home 1946 Johnny Mercer Harold Arlen St. Louis Woman A
Any Similiarity Is Just Coincidental Johnny Mercer Hoagy Carmichael C
Any Way The Wind Blows Johnny Mercer Johnny Mercer Mike G
Are You Gonna Throw Me Down Johnny Mercer Johnny Mercer G
Aren't You The Charming One 1952 Johnny Mercer Milton Samuels G
Ariane 1957 Johnny Mercer Matt Malneck Love In The Afternoon A
Around The Bend 1953 Johnny Mercer Johnny Mercer A
Art Of Conversation Has Declined, The 1955 Johnny Mercer Alan Bergman That's Life A
Arthur Murray Taught Me Dancing In A Hurry 1942 Johnny Mercer Victor Schertzinger The Fleet's In A
As Fair As Her Name 1962 Johnny Mercer Robert Emmett Dolan Foxy D
As Long As You Live (You'll Be Dead If You Die) 1938 Johnny Mercer Bernie Hanighen Mr. Chump A
At Last 1984 Johnny Mercer Barry Manilow A
At The Jazz Band Ball 1950 Johnny Mercer D.J. LaRocca, L. Shields, H.W. Ragas, E.B. Edwards A
Audition Dance 1942 Johnny Mercer Jerome Kern You Were Never Lovelier J
Autumn Leaves 1950 Johnny Mercer Joseph Kozma Autumn Leaves (1956) A
Autumn Twilight 1953 Johnny Mercer Joseph S. Dubin A
Aw Come On Now 1944 Johnny Mercer Johnny Mercer A
Aye Lad 1974 Johnny Mercer Andre Previn Good Companions G
Baby 1959 Johnny Mercer Steve Allen E
Baby Doll 1951 Johnny Mercer Harry Warren The Belle of New York A
Baby Don' t You Quit Now 1967 Johnny Mercer Jimmy Rowles E
Baby-O 1962 Johnny Mercer Johnny Rotella A
Baby's Born, A 1958 Johnny Mercer Harold Arlen Blues Opera A
Bachelor Dinner Song 1945 Johnny Mercer Harry Warren The Belle of New York A
Back Stretch Rambler 1958 Johnny Mercer Harold Arlen The Blues G
Bad Humor Man (TIng-A-Ling) 1940 Johnny Mercer Jimmy McHugh You'll Find Out A
Ballad Of Alvarez Kelly 1966 Johnny Mercer Johnny Green Alvarez Kelly A
Ballads Of A Private Eye Johnny Mercer Johnny Mercer Mike G
Barefoot In The Park 1967 Johnny Mercer Neal Hefti Barefoot In The Park E
Barrelhouse Beguine 1942 Johnny Mercer Jerome Kern You Were Never Lovelier E
Bathtub Ran Over Again 1934 Johnny Mercer Michael H. Cleary A
Be Happy Johnny Mercer Johnny Mercer G
Be My Guest 1951 Johnny Mercer Johnny Mercer Top Banana A
Beautiful Forever 1965 Johnny Mercer Frederic Spielman E
Beauty From Ashes 1958 Johnny Mercer Beauty From Ashes G
Bees n' Flowers 1958 Johnny Mercer Harold Arlen The Blues G
Bells of Honolulu 1936 Johnny Mercer Franz Steininger A
Beneath The Curtain Of The Night 1934 Johnny Mercer Alfredo Brito A
Bernardine 1957 Johnny Mercer Johnny Mercer Bernardine A
Best Love Of All, The Johnny Mercer Robert Emmett Dolan Messr. Marco Polo D
Betsy And Me Johnny Mercer Johnny Mercer Mike G
Better Days 1971 Johnny Mercer & Gilbert Martinez Gilbert Martinez E
Betting Calls 1958 Johnny Mercer Harold Arlen The Blues G
Beyond The Moon 1931 Johnny Mercer & Johnny Gruelle Gay Stephens A
Bi-Focal Fred 1951 Johnny Mercer Johnny Mercer Top Banana G
Big Beautiful Ball, A 1966 Johnny Mercer John Williams Not With My Wife You Don't A
Big Movie Show In The Sky, The 1949 Johnny Mercer Robert Emmett Dolan Texas, Li'l Darlin' A
Bilbao Song, The 1961 Johnny Mercer Kurt Weill Happy End G
Bittersweet 1966 Johnny Mercer Mike Corda E
Black Magic 1958 Johnny Mercer Harold Arlen The Blues G
Bless Yore Beautiful Hide 1954 Johnny Mercer Gene De Paul Seven Brides For Seven Brothers A
Bless Your Heart 1951 Johnny Mercer Johnny Mercer A
Blossom 1956 Johnny Mercer Duke Ellington A
Blow De Whistle 1958 Johnny Mercer Harold Arlen The Blues G
Blue Rain 1939 Johnny Mercer Jimmy Van Heusen A
Bluebird 1977 Johnny Mercer G
Blues Improvisation Johnny Mercer Johnny Mercer A
Blues In The Night 1941 Johnny Mercer Harold Arlen Blues In The Night A
Blues Opera (Free And Easy) 1955 Johnny Mercer Harold Arlen Blues Opera A
Blues Theme 1955 Johnny Mercer Daddy Long Legs A
Bob White (Whatcha Gonna Swing Tonight) 1937 Johnny Mercer Bernie Hanighen Hollywood Hotel A
Boit A, Boit La Johnny Mercer Johnny Mercer B
Bon Apetit I (Menu Song) 1959 Johnny Mercer Harold Arlen Saratoga E
Bon Apetit II (Menu Song) 1959 Johnny Mercer Harold Arlen Saratoga E
Bon Apetit III (Menu Song) 1959 Johnny Mercer Harold Arlen Saratoga E
Bon Apetit IV (Menu Song) 1959 Johnny Mercer Harold Arlen Saratoga E
Bon Vivant 1962 Johnny Mercer Robert Emmett Dolan Foxy A
Bonne Nuit 1952 Johnny Mercer Johnny Mercer A
Bouquet 1963 Johnny Mercer Percy Faith A
Boys Will Be Boys -- Girls Will Be Girls 1935 Johnny Mercer Lewis E. Gensler Old Man Rhythm A
Brasilia (Serenata Negra) 1961 Johnny Mercer Pagano & Madinez & Loti A
Break It Up Cinderella 1940 Johnny Mercer Hoagy Carmichael I Walk With Music A
Breakfast At Tiffany's 1962 Johnny Mercer Henry Mancini Breakfast At Tiffany's G
Bride's Wedding Day Song , A 1945 Johnny Mercer Harry Warren The Belle of New York H
Bully Boys, The Johnny Mercer Johnny Mercer Mike G
Buona Fortuna (Salud) 1957 Johnny Mercer Saul Chaplin Merry Andrew A
Busy Little Bumble Bee 1964 Johnny Mercer Harry Warren E
But They Better Not Wait Too Long Johnny Mercer Hoagy Carmichael C
By Jove Johnny Mercer Robert Emmett Dolan G
By The Way 1954 Johnny Mercer Vernon Duke G
Cake Call 1958 Johnny Mercer Harold Arlen The Blues G
Cake Song 1958 Johnny Mercer Harold Arlen Blues Opera E
Cakewalk Your Lady 1946 Johnny Mercer Harold Arlen St. Louis Woman A
California's Melodyland 1965 Johnny Mercer Johnny Mercer E
Call Him Dad (The Old Man) Johnny Mercer Johnny Mercer G
Calling All Squares 1941 Johnny Mercer Bernie Hanighen E
Calypso Song 1950 Johnny Mercer Harold Arlen The Petty Girl A
Camaraderie 1974 Johnny Mercer Andre Previn Good Companions G
Camptown Races 1945 Johnny Mercer Stephen Foster A
Can't Teach My Old Heart New Tricks 1988 Johnny Mercer Barry Manilow B
Can't Teach My Old Heart New Tricks 1937 Johnny Mercer Richard A. Whiting Hollywood Hotel A
Captains Of The Clouds 1942 Johnny Mercer Harold Arlen Captains Of The Clouds A
Caribees, The 1948 Johnny Mercer Robert Emmett Dolan Mr. Peabody And The Mermaid A
Carnival Stall Song 1974 Johnny Mercer Andre Previn Good Companions G
Case Of Rape, A 1964 Johnny Mercer Robert Emmett Dolan Foxy A
Cast Your Bread Upon The Water 1963 Johnny Mercer Johnny Mercer E
C-A-T Spells Cat 1955 Johnny Mercer Johnny Mercer Daddy Long Legs A
Cat With Nine Lives, A Johnny Mercer Johnny Mercer Mike G
Cedar Point Parade 1973 Johnny Mercer Robert G. Friedman E
Celestial Caliope 1954 Johnny Mercer Daddy Long Legs G
Celia's First Essay 1964 Johnny Mercer Robert Emmett Dolan Foxy D
Celia's Lament 1963 Johnny Mercer Robert Emmett Dolan Foxy A
Central Park 1935 Johnny Mercer Matt Malneck Let's Make Music A
C'est La Guerre 1952 Johnny Mercer Arthur Schwartz Dangerous When Wet A
Champagne Fo' De Lady 1958 Johnny Mercer Harold Arlen Blues Opera E
Charade 1963 Johnny Mercer Henry Mancini Charade A
Charleston Johnny Mercer Johnny Mercer G
Charmed Existence, A 1957 Johnny Mercer Saul Chaplin Merry Andrew E
Cheat On Me 1964 Johnny Mercer Gene di Novi E
Chez Le Pere Nazaire Johnny Mercer Johnny Mercer B
Child Of The Wild, A 1962 Johnny Mercer Robert Emmett Dolan Foxy E
Chimney Corner Dream 1951 Johnny Mercer Robert Emmett Dolan A
Chin Up, Stout Fellow 1957 Johnny Mercer Saul Chaplin Merry Andrew A
Chinquipin Bush 1946 Johnny Mercer Harold Arlen St. Louis Woman A
Christmas Spirit, The Johnny Mercer Johnny Mercer G
Cinderella Waltz, The 1958 Johnny Mercer Al Mack A
Cindy 1946 Johnny Mercer, Jo Stafford, Paul Weston Johnny Mercer, Jo Stafford, Paul Weston A
Circus Is Coming To Town, The 1947 Johnny Mercer Bernie Hanighen A
Clink Your Glasses 1949 Johnny Mercer Sammy Cahn Always Leave Them Laughing H
Clouds In The Sky 1958 Johnny Mercer Harold Arlen The Blues G
College November 1953 Johnny Mercer Lew Quadling A
Come On Li'l Augie 1946 Johnny Mercer Harold Arlen St. Louis Woman G
Come Rain Or Come Shine 1946 Johnny Mercer Harold Arlen St. Louis Woman A
Come Up And See Me Sometime Johnny Mercer Robert Emmett Dolan Messr. Marco Polo D
Comes The Revolution, Baby 1935 Johnny Mercer Lewis E. Gensler Old Man Rhythm A
Comet In The Sky, A 1967 Johnny Mercer Ronnell L. Bright E
Confidentially 1938 Johnny Mercer & Al Dubin Harry Warren Garden Of The Moon A
Conjur Man 1958 Johnny Mercer Harold Arlen Blues Opera A
Conversation While Dancing 1945 Johnny Mercer Paul Weston A
Corn Pickin' 1939 Johnny Mercer Harry Warren Naughty But Nice A
Could Be 1938 Johnny Mercer Walter Donaldson A
Countin' Our Chickens 1959 Johnny Mercer Harold Arlen Saratoga A
Country's In The Very Best Of Hands, The 1956 Johnny Mercer Gene De Paul Li'l Abner A
Cowboy From Brooklyn 1938 Johnny Mercer Harry Warren Cowboy From Brooklyn A
Crawled Up A Rainbow 1958 Johnny Mercer Harold Arlen The Blues G
Cream Puff 1962 Johnny Mercer Henry Mancini Mr. Hobbs Takes A Vacation A
Crying Eyes And An Empty Heart Johnny Mercer Rich Barcellona B
Cuckoo In The Clock 1939 Johnny Mercer Walter Donaldson A
Cure, The 1959 Johnny Mercer Harold Arlen Saratoga A
Curse 1958 Johnny Mercer Harold Arlen The Blues G
Daddy Long Legs 1955 Johnny Mercer Johnny Mercer Daddy Long Legs A
Dance Of Life, The 1974 Johnny Mercer Andre Previn Good Companions G
Dancing Through Life 1955 Johnny Mercer Johnny Mercer Daddy Long Legs A
Dark Is The Night 1933 Johnny Mercer Joseph Meyer A
Darkest Before The Dawn 1974 Johnny Mercer Andre Previn Good Companions G
Darling Lili 1969 Johnny Mercer Henry Mancini Darling Lili A
Darn Clever These Chinee 1939 Johnny Mercer Hoagy Carmichael I Walk With Music A
Day After Day After Day 1986 Johnny Mercer Barry Manilow B
Day In -- Day Out 1939 Johnny Mercer Rube Bloom A
Daybreak Blues, The 1955 Johnny Mercer Walter Weschler A
Daydreaming (All Night Long) 1938 Johnny Mercer Harry Warren Gold Diggers In Paris A
Days Of Wine And Roses 1962 Johnny Mercer Henry Mancini Days Of Wine And Roses A
De Right Answer 1958 Johnny Mercer Harold Arlen The Blues G
Dear Mirium 1944 Johnny Mercer Johnny Mercer E
Dearly Beloved 1942 Johnny Mercer Jerome Kern You Were Never Lovelier A
Deaux Amoureux Johnny Mercer Johnny Mercer B
Deep South In My Heart 1932 Johnny Mercer Archie Bleyer & Johnny Mercer A
Deirdre 1966 Johnny Mercer Michael Masser E
Derry Down Dilly 1952 Johnny Mercer Johnny Green Everything I Have Is Yours A
Dig You Most 1953 Johnny Mercer Johnny Mercer A
Dis Is De Day 1958 Johnny Mercer Harold Arlen The Blues G
Dis Little While 1958 Johnny Mercer Harold Arlen Blues Opera E
Dixie Isn't Dixie Any More 1936 Johnny Mercer Rube Bloom Lew Leslie's Blackbirds of 1936 A
Dixieland Band, The 1935 Johnny Mercer Bernie Hanighen A
Do My Eyes Deceive Me 1936 Johnny Mercer & Dave Dreyer Johnny Mercer & Dave Dreyer E
Dog Eat Dog 1959 Johnny Mercer Harold Arlen Saratoga A
Dog Is Man's Best Friend, A 1951 Johnny Mercer Johnny Mercer Top Banana G
Don't Ask Too Much Of Love 1930 Johnny Mercer Emmerich Kalman Paris In Spring A
Don't Play Me Cut Rate Johnny Mercer Johnny Mercer E
Don't Run Away From The Rain 1953 Johnny Mercer Johnny Mercer A
Don't Stop Me If You've Heard It Johnny Mercer Henry Souvaine E
Don't That Take The Rag Off'n The Bush 1956 Johnny Mercer Gene De Paul Li'l Abner A
Don't Think It Ain't Been Charming 1940 Johnny Mercer Jimmy McHugh You'll Find Out A
Don't Use A Bridle 1958 Johnny Mercer Harold Arlen The Blues G
Don't You Come Crying To Me Johnny Mercer E
Down A Long Long Road 1933 Johnny Mercer & Margot MIllham Johnny Mercer & Margot Millham A
Down In The Dumps Johnny Mercer E
Down In The Valley 1949 Johnny Mercer Robert Emmett Dolan Texas, Li'l Darlin' A
Down Through The Ages 1930 Johnny Mercer Philip Charig & Richard Myers Pajama Lady A
Down T'Uncle Bill's 1934 Johnny Mercer & Hoagy Carmichael Hoagy Carmichael & Johnny Mercer A
Dr. Watson And Mr. Holmes 1934 Johnny Mercer Bernie Hanighen Gambling H
Drat 'Em 1954 Johnny Mercer Gene De Paul Seven Brides For Seven Brothers G
Dream 1944 Johnny Mercer Johnny Mercer Her Highness And The Bellboy A
Dream Awhile 1936 Johnny Mercer Phil Ohman A
Dream Peddler's Serenade, The 1950 Johnny Mercer John Rufus Sharp III A
Drinking Again 1961 Johnny Mercer Doris Tauber A
Duration Blues 1944 Johnny Mercer Johnny Mercer A
Early Autumn 1952 Johnny Mercer Ralph Burns & Woody Herman A
Easy Street 1958 Johnny Mercer Harold Arlen The Blues A
Echo Of A Dream, The 1959 Johnny Mercer Serge Walter A
Echoes 1957 Johnny Mercer Johnny Mercer A
Eeny Meeny Miney Mo 1935 Johnny Mercer & Matt Malneck Johnny Mercer & Matt Malneck To Beat The Band A
El Camino 1972 Johnny Mercer Michael Shanklin A
Elevator Song 1951 Johnny Mercer Johnny Mercer Top Banana A
Emily 1964 Johnny Mercer Johnny Mandel The Americanization of Emily A
Empty Tables 1974 Johnny Mercer Jimmy Van Heusen E
Equivalent of a Haa-vud Education, The Johnny Mercer Johnny Mercer Mike G
Even If I Say It Myself 1940 Johnny Mercer Hoagy Carmichael I Walk With Music H
Every So Often 1947 Johnny Mercer Harry Warren A
Everybody Is Your Partner In New York 1951 Johnny Mercer Johnny Mercer Top Banana E
Everything Happens To Me 1940 Johnny Mercer Hoagy Carmichael I Walk With Music A
Everything Is Ticketty-Boo 1957 Johnny Mercer Saul Chaplin Merry Andrew A
Exercise Your Prerogative 1964 Johnny Mercer Gene De Paul A
Extravaganza 1974 Johnny Mercer Andre Previn Good Companions G
Eyes Of The Beloved Johnny Mercer Johnny Mercer E
Facts Of Life, The 1960 Johnny Mercer Johnny Mercer The Facts Of Life A
Fancy Free 1950 Johnny Mercer Harold Arlen The Petty Girl A
Fare-Thee-Well To Harlem 1933 Johnny Mercer Bernie Hanighen A
Fate Moves In Mysterious Ways 1974 Johnny Mercer Andre Previn Good Companions G
Fever Heat Johnny Mercer Archie Bleyer G
Fifi 1952 Johnny Mercer Arthur Schwartz Dangerous When Wet A
Finale Johnny Mercer Johnny Mercer A
Finale 1956 Johnny Mercer Gene De Paul You Can't Run Away From It F
Finale Johnny Mercer Robert Emmett Dolan A
Finale From Li'l Abner 1956 Johnny Mercer Gene De Paul Li'l Abner A
Finale From Saratoga 1959 Johnny Mercer Harold Arlen Saratoga A
Finders Are Keepers Johnny Mercer Barry Manilow B
Finders Are Keepers 1935 Johnny Mercer Carl Sigman A
Fine Thing! 1947 Johnny Mercer Robert Emmett Dolan Dear Ruth A
First, Last And Always 1986 Johnny Mercer Barry Manilow B
Fleet's In, The 1942 Johnny Mercer Victor Schertzinger The Fleet's In A
Fleur De Lys 1971 Johnny Mercer Hoagy Carmichael E
Floating Lei 1969 Johnny Mercer Johnny Mercer G
Flower Call 1958 Johnny Mercer Harold Arlen The Blues G
Fool That I Am 1934 Johnny Mercer Matt Malneck & Frank Signorelli A
Fools Rush In (Where Angels Fear To Tread) 1940 Johnny Mercer Rube Bloom G
Footloose 1974 Johnny Mercer Andre Previn Good Companions H
Foremost Dairy Commercial 1953 Johnny Mercer Victor Schertzinger A
Forever Amber 1947 Johnny Mercer David Raksin Forever Amber A
Forget Me Not Johnny Mercer E
Fountain In The Rain 1965 Johnny Mercer Milton Samuels & Charles Hale A
Foxy 1963 Johnny Mercer Robert Emmett Dolan Foxy A
Frasier (The Sensuous Lion) 1972 Johnny Mercer Jimmie Rowles E
Fred Astaire Salutes Fox Musicals Johnny Mercer Johnny Mercer A
Free And Easy 1958 Johnny Mercer Harold Arlen The Blues G
French Waltz Johnny Mercer Johnny Mercer E
Friend Of The Family 1940 Johnny Mercer Hoagy Carmichael I Walk With Music H
F'Rinstance Johnny Mercer Johnny Mercer E
Funeral Scene -- A Prelude 1946 Johnny Mercer Harold Arlen St. Louis Woman A
G.I. Jive 1943 Johnny Mercer Johnny Mercer A
Game Of Poker, A 1959 Johnny Mercer Harold Arlen Saratoga A
Garden Of The Moon 1938 Johnny Mercer & Al Dubin Harry Warren Garden Of The Moon A
Gasoline Gypsies 1937 Johnny Mercer Richard A. Whiting Ready, Willing And Able F
Gee I Wish I'd Listened To My Mother 1940 Johnny Mercer Jimmy McHugh You're The One E
Gee, But It's Good To Be Home Again Johnny Mercer Robert Emmett Dolan D
General Bullmoose (What's Good For) 1956 Johnny Mercer Gene De Paul Li'l Abner A
Gentle Art Of Murder, The Johnny Mercer Robert Emmett Dolan Messr. Marco Polo D
Georgia Georgia 1966 Johnny Mercer Johnny Mercer E
Gerfunkt 1979 Johnny Mercer Johnny Mercer Mike G
Get A Horse 1965 Johnny Mercer Henry Mancini The Great Race E
Gettin' A Man 1959 Johnny Mercer Harold Arlen Saratoga A
Ghost Of Love 1933 Johnny Mercer Harold Spina A
Girl In No Man's Land, The 1969 Johnny Mercer Henry Mancini Darling Lili A
Girl Of All Nations 1951 Johnny Mercer Johnny Mercer Top Banana A
Girlfriend Of The Whirling Dervish 1938 Johnny Mercer Harry Warren Garden Of The Moon A
Give Me Back My Heart Johnny Mercer Joseph Wiess E
Glow Worm 1952 Johnny Mercer Paul Lincke A
God Is Love (And Love Is God) Johnny Mercer Ida Thomas E
Goin' Co'tin' 1954 Johnny Mercer Gene De Paul Seven Brides For Seven Brothers A
Golden Bells Johnny Mercer Robert Emmett Dolan Messr. Marco Polo D
Good Companions 1974 Johnny Mercer Andre Previn Good Companions E
Good-Bye 1974 Johnny Mercer Andre Previn Good Companions G
Goody Goody 1936 Johnny Mercer & Matt Malneck Johnny Mercer & Matt Malneck A
Goose Never Be A Peacock 1959 Johnny Mercer Harold Arlen Saratoga A
Got To Wear You Off My Weary Mind 1947 Johnny Mercer Harold Arlen A
Gotta Get Some Shut-Eye 1938 Johnny Mercer Walter Donaldson E
Great Guns 1949 Johnny Mercer Harry Warren A
Great North Road 1974 Johnny Mercer Andre Previn Good Companions E
Greetings Gate 1940 Johnny Mercer Hoagy Carmichael I Walk With Music A
Guardian Angel 1955 Johnny Mercer Johnny Mercer Daddy Long Legs A
Guitar Country 1963 Johnny Mercer & Willard Robison Johnny Mercer & Willard Robison E
Hail To MacCrackens 1951 Johnny Mercer Johnny Mercer Top Banana G
Half-Zies 1959 Johnny Mercer Rube Bloom A
Hands Of Fate Johnny Mercer E
Handy With Your Feet 1937 Johnny Mercer Richard A. Whiting Ready, Willing And Able F
Hang On To Your Lids, Kids 1941 Johnny Mercer Harold Arlen Blues In The Night A
Hangin' Loose! 1972 Johnny Mercer Sammy Nestico E
Hangin' On To You 1943 Johnny Mercer Harold Arlen The Sky's The Limit A
Hank 1965 Johnny Mercer Frank S. Perkins "Hank" TV series theme A
Happy Bachelor 1959 Johnny Mercer Gene De Paul A
Happy Endings Johnny Mercer E
Happy Ever After Johnny Mercer Dick Hyman E
Happy New Year To You 1940 Johnny Mercer Hoagy Carmichael I Walk With Music A
Happy Times Johnny Mercer Sylvia Fine The Inspector General H
Hare Piece 1954 Johnny Mercer Daddy Long Legs G
Harlem Butterfly 1948 Johnny Mercer Johnny Mercer A
Harlem To Hollywood 1936 Johnny Mercer E
Harvey Girls 1945 Johnny Mercer Harry Warner The Harvey Girls G
Harvey The Victory Garden Man 1943 Johnny Mercer Harold Arlen The Sky's The Limit A
Have A Heart 1965 Johnny Mercer Gene Di Novi A
Have A Nice Day 1976 Johnny Mercer Sammy Nestico E
Have You Got Any Castles, Baby? 1937 Johnny Mercer Richard A. Whiting Varsity Show, Hollywood Hotel A
Have You Heard 1959 Johnny Mercer Harold Arlen Saratoga A
Have You Written Any Good Books Lately 1950 Johnny Mercer Johnny Mercer E
Havin' A Ball 1951 Johnny Mercer Johnny Mercer Top Banana A
Hayride 1945 Johnny Mercer Harry Warren The Harvey Girls E
He Didn't Have The Know-How No How 1950 Johnny Mercer Robert Emmett Dolan A
He Loved Me Till The All-Clear Came 1942 Johnny Mercer Harold Arlen Star Spangled Rhythm A
He Never Knew What Hit Him Johnny Mercer Johnny Mercer Mike G
He Shouldn't-a, Hadn't-a, Oughtn't-a Swang On Me! 1965 Johnny Mercer Henry Mancini The Great Race E
Headed For Good Things 1959 Johnny Mercer Harold Arlen Saratoga A
Headless Horseman 1955 Johnny Mercer David Raksin E
Hear Them Bells 1959 Johnny Mercer (arrangement) A
Heart Of Mine Cry On 1988 Johnny Mercer Barry Manilow A
Hello, Out There, Hello 1952 Johnny Mercer Wingy Manone A
Her First Evening Dress 1934 Johnny Mercer Michael Cleary E
Here Come The British 1934 Johnny Mercer Bernie Hanighen A
Here Come The Waves 1944 Johnny Mercer Harold Arlen Here Come The Waves E
Here Goes Nothing 1959 Johnny Mercer Harold Arlen Saratoga A
Here We Are Johnny Mercer Robert Emmett Dolan D
Here's To My Lady 1951 Johnny Mercer Rube Bloom E
He's Dead But He Won't Lie Down 1954 Johnny Mercer Hoagy Carmichael Timberjack A
Higgledy-Piggledy 1955 Johnny Mercer Marshall L. Robbins E
High Society 1956 Johnny Mercer Gene DePaul Li'l Abner A
High, Low, Jack And The Game 1946 Johnny Mercer Harold Arlen St. Louis Woman E
Hip Little World Johnny Mercer Johnny Mercer E
History Of The Beat (That'll Get It) 1955 Johnny Mercer Johnny Mercer Daddy Long Legs A
Hit The Road To Dreamland 1942 Johnny Mercer Harold Arlen Star Spangled Rhythm A
Holy Smoke, Can't Ya Take A Joke? 1939 Johnny Mercer Johnny Mercer & Royal Marsh E
Homecoming 1940 Johnny Mercer Walter Donaldson E
Honey Johnny Mercer G
Honolulu 1970 Johnny Mercer Johnny Mercer E
Honor Bright 1941 Johnny Mercer Jimmy McHugh You're The One E
Hooray For Hollywood 1937 Johnny Mercer Richard A. Whiting Hollywood Hotel A
Hooray For Spinach 1939 Johnny Mercer Harry Warren Naughty But Nice E
Hootin' Owl Trail 1949 Johnny Mercer Robert Emmett Dolan Texas Li'l Darlin' A
Hoping 1954 Johnny Mercer Al Hansen A
Horseshoes Are Lucky 1949 Johnny Mercer Robert Emmett Dolan Texas Li'l Darlin' A
How Do You Say Auf Wiedersehn 1967 Johnny Mercer Tony Scibetta E
How I Wish That You Were In My Place Johnny Mercer Johnny Mercer E
How Little We Know 1944 Johnny Mercer Hoagy Carmichael To Have And Have Not E
How Long Has This Been Going On? 1932 Johnny Mercer Archie Bleyer A
How Nice For Me 1939 Johnny Mercer Hoagy Carmichael Three After Three A
How To Commit Marriage 1969 Johnny Mercer, J. Lilley, G. Levene, V. Cleave How To Commit Marriage E
Howdy, Friends And Neighbors 1956 Johnny Mercer Gene De Paul You Can't Run Away From It A
Howdy, Stranger 1938 Johnny Mercer Richard A. Whiting The Dude Rancher A
Howdy-Do To You 1958 Johnny Mercer Harold Arlen The Blues G
Human Race Is Human After All, The Johnny Mercer Robert Emmett Dolan Messr. Marco Polo D
I Ain't Down Yet Johnny Mercer Johnny Mercer A
I Ain't Hep To That Step But I'll Dig It 1940 Johnny Mercer Hal Borne Second Chorus A
I Boogied When I Should Have Woogied 1941 Johnny Mercer Bernie Hanighen A
I Can Spell Banana (But I Never Know When To Stop) 1955 Johnny Mercer Geoff Clarkson A
I Can't Believe My Eyes Johnny Mercer E
I Could Kiss You For That 1940 Johnny Mercer Jimmy McHugh You're The One E
I Did It For The Red, White And Blue 1938 Johnny Mercer Rube Bloom Blackbirds Of 1939 E
I Don't Believe In Signs 1939 Johnny Mercer Harry Warren Naughty But Nice A
I Don't Wanna Be Alone Again 1954 Johnny Mercer Howard Smith A
I Feel My Luck Comin' Down 1946 Johnny Mercer Harold Arlen St. Louis Woman A
I Fought Every Step Of The Way 1951 Johnny Mercer Johnny Mercer Top Banana E
I Got Out Of Bed On The Right Side 1952 Johnny Mercer Arthur Schwartz Dangerous When Wet A
I Guess It Was You All The Time 1953 Johnny Mercer Hoagy Carmichael Those Redheads From Seattle A
I Guess There Ain't No Santa Claus Johnny Mercer Barry Manilow & Edward Arkin B
I Had Myself A True Love 1946 Johnny Mercer Harold Arlen St. Louis Woman E
I Hear A Song In My Heart 1945 Johnny Mercer Paul Weston A
I Knew 1936 Johnny Mercer Rube Bloom Lew Leslie's Blackbirds of 1936 E
I Know Your Kiss By Heart 1951 Johnny Mercer Johnny Mercer Top Banana H
I Like Men 1952 Johnny Mercer Arthur Schwartz Dangerous When Wet A
I Love To Beat The Big Bass Drum 1951 Johnny Mercer Harry Warren The Belle of New York A
I Love You (I Think) 1958 Johnny Mercer Johnny Mercer E
I Never Knew 1956 Johnny Mercer Johnny Mercer A
I Never Saw A Better Night 1935 Johnny Mercer Lewis E. Gensler Old Man Rhythm E
I Never Wanna Look Into Those Eyes Again 1955 Johnny Mercer Milton Raskin A
I Owe It All To You Johnny Mercer Johnny Mercer G
I Pray 1953 Johnny Mercer Johnny Mercer A
I Promise You 1944 Johnny Mercer Harold Arlen Here Come The Waves E
I Really Get A Message From You Johnny Mercer E
I Remember You 1942 Johnny Mercer Victor Schertzinger The Fleet's In A
I Saw Her At Eight O'Clock 1935 Johnny Mercer & Matt Malneck Johnny Mercer & Matt Malneck To Beat The Band E
I Saw You Dancing In My Dreams 1934 Johnny Mercer Matt Malneck & F. Signorelli A
I Still Remember The Masquerade Johnny Mercer E
I Think We Need A Drink Johnny Mercer E
I Thought About You 1939 Johnny Mercer Jimmy Van Heusen A
I Walk With Music 1940 Johnny Mercer Hoagy Carmichael Three After Three E
I Wanna Be A Dancin' Man 1951 Johnny Mercer Harry Warren The Belle Of New York A
I Wanna Be Around 1959 Johnny Mercer & Sadie Vimmerstedt Johnny Mercer & Sadie Vimmerstedt A
I Wanna Be In Love Again 1965 Johnny Mercer Johnny Mercer A
I Wind Up Taking A Fall 1951 Johnny Mercer & Robert Emmett Dolan Johnny Mercer & Robert Emmett Dolan My Favorite Spy A
I Wish I Had Someone Like You 1958 Johnny Mercer Al Hansen A
I Wish It Could Be Otherwise 1959 Johnny Mercer Gene DePaul Li'l Abner A
I Wonder What Became Of Me? 1946 Johnny Mercer Harold Arlen St. Louis Woman A
I'd Know You Anywhere 1940 Johnny Mercer Jimmy McHugh You'll Find Out H
If Dis De Race 1958 Johnny Mercer Harold Arlen The Blues G
If I Could Have My Way 1934 Johnny Mercer Serge Walter A
If I Could Only Read Your Mind 1934 Johnny Mercer Peter Tinturin A
If I Didn't Love You 1960 Johnny Mercer Lorelei Tripper E
If I Had A Million Dollars 1934 Johnny Mercer Matt Malneck Transatlantic Merry Go Round A
If I Had My Druthers 1956 Johnny Mercer Gene DePaul Li'l Abner A
If It Can't Be You Johnny Mercer Barry Manilow B
If It Can't Be You Johnny Mercer Bernie Hanighen E
If Mother Could Just See Me Now 1962 Johnny Mercer Robert Emmett Dolan Foxy D
If Someday Ever Comes Again 1976 Johnny Mercer Alec Wilder B
If The Moon Could Talk Johnny Mercer E
If You Build A Better Mousetrap 1942 Johnny Mercer Victor Schertzinger The Fleet's In A
If You Can Imagine Such A Thing Johnny Mercer E
If You Come Through 1956 Johnny Mercer Rube Bloom A
If You Were Mine 1935 Johnny Mercer & Matt Malneck Johnny Mercer & Matt Malneck To Beat The Band A
II Auto Theme 1954 Johnny Mercer Daddy Long Legs G
I'll Be Free Johnny Mercer & Howard Dietz Henry Souvaine E
I'll Be Respectable 1959 Johnny Mercer Harold Arlen Saratoga A
I'll Cry Tomorrow 1955 Johnny Mercer Alex North I'll Cry Tomorrow A
I'll Dream Tonight 1938 Johnny Mercer Richard A. Whiting Cowboy From Brooklyn A
I'll Get Even 1963 Johnny Mercer Robert Emmett Dolan Foxy A
I'll Give You Three Guesses 1970 Johnny Mercer Henry Mancini Darling Lili A
I'll Never Forgive Myself 1969 Johnny Mercer Al Kaufman A
I'll Tell The World 1974 Johnny Mercer Andre Previn Good Companions E
Illusion Johnny Mercer Johnny Mercer B
I'm A Stranger In These Parts Johnny Mercer Henry Souvaine E
I'm An Old Cowhand From The Rio Grande 1936 Johnny Mercer Johnny Mercer Rhythm On The Range H
I'm Building Up To An Awful Letdown 1935 Johnny Mercer Fred Astaire Rise And Shine A
I'm Doin' It For Defense 1942 Johnny Mercer Harold Arlen Star Spangled Rhythm A
I'm Gonna Shoot Yuh 1958 Johnny Mercer Harold Arlen The Blues G
I'm Happy About The Whole Thing 1939 Johnny Mercer Harry Warren Naughty But Nice A
I'm Like A Fish Out Of Water 1937 Johnny Mercer Richard A. Whiting Hollywood Hotel A
I'm Off The Wagon 1940 Johnny Mercer Hoagy Carmichael Three After Three E
I'm Old-Fashioned 1942 Johnny Mercer Jerome Kern You Were Never Lovelier A
I'm Shadowing You 1973 Johnny Mercer Blossom Dearie E
I'm So Glad You're You Johnny Mercer Howard Jackson E
I'm The Worrying Kind 1952 Johnny Mercer & Pinky Tomlin Johnny Mercer & Pinky Tomlin A
I'm Too Durn Bashful 1956 Johnny Mercer Gene DePaul Li'l Abner E
I'm Way Ahead Of The Game 1963 Johnny Mercer Robert Emmett Dolan Foxy A
I'm With You 1955 Johnny Mercer Bobby Troup A
In A Cafe In Montmartre 1933 Johnny Mercer Joseph Meyer A
In A Moment Of Weakness 1939 Johnny Mercer Harry Warren Naughty But Nice A
In Loving Memory 1963 Johnny Mercer Robert Emmett Dolan Foxy D
In My Wildest Dreams 1952 Johnny Mercer Arthur Schwartz Dangerous When Wet A
In Society 1956 Johnny Mercer Gene De Paul Li'l Abner A
In The Back Of My Liddle Ol' Cadill-Lo-Lac 1950 Johnny Mercer Hoagy Carmichael C
In The Cool, Cool, Cool Of The Evening 1951 Johnny Mercer Hoagy Carmichael Here Comes The Groom A
In The Late Afternoon Johnny Mercer Rich Barcellona B
In The Mornin' Blues Johnny Mercer Johnny Mercer E
In The Valley (Where The Evening Sun Goes Down) 1945 Johnny Mercer Harry Warren The Harvey Girls A
In Waikiki 1941 Johnny Mercer Arthur Schwartz Navy Blues A
Indian Summer 1933 Johnny Mercer Peter Tinturin A
Indiscretion 1962 Johnny Mercer Matt Malneck E
Isadore Shapiro & Sons Johnny Mercer Robert Emmett Dolan D
It Had Better Be Tonight 1963 Johnny Mercer Henry Mancini The Pink Panther A
It Happened One Night 1956 Johnny Mercer Gene De Paul You Can't Run Away From It A
It's A Great Big World 1945 Johnny Mercer Harry Warren The Harvey Girls A
It's A Nuisance Having You Around 1956 Johnny Mercer Gene De Paul Li'l Abner A
It's A Typical Day 1956 Johnny Mercer Gene De Paul Li'l Abner A
It's About Time 1932 Johnny Mercer Peter Tinturin A
It's Easy When You Know How 1964 Johnny Mercer Robert Emmett Dolan Foxy E
It's Great To Be Alive 1949 Johnny Mercer Robert Emmett Dolan Texas Li'l Darlin' A
It's Out Of My Hands Johnny Mercer Johnny Mercer E
I've Got A Heartful Of Music 1938 Johnny Mercer Richard A. Whiting Cowboy From Brooklyn A
I've Got A Lot To Live For Johnny Mercer Ted Helms E
I've Got A One-Track Mind 1940 Johnny Mercer Jimmy McHugh You'll Find Out A
I've Gotta Be On My Way 1958 Johnny Mercer Eddie Miller, Hilton Lamare & M. Matlock A
I've Hitched My Wagon To A Star 1937 Johnny Mercer Richard A. Whiting Hollywood Hotel A
I've Nothing To Hide Johnny Mercer Alfred Opler E
I've Waited For A Waltz 1964 Johnny Mercer Johnny Rotella E
Jack-O-Lantern 1961 Johnny Mercer Hoagy Carmichael E
Jamboree Jones 1936 Johnny Mercer Johnny Mercer A
Je T'Aime [commercial] 1954 Johnny Mercer Johnny Mercer A
Jeepers Creepers 1938 Johnny Mercer Harry Warren Going Places A
Jezebel 1938 Johnny Mercer Harry Warren Jezebel A
Joanna 1959 Johnny Mercer Henry Mancini Gunn (1967) A
Jockey Lineup 1958 Johnny Mercer Harold Arlen The Blues G
Johnny Mercer's Melody 1961 Johnny Mercer A
Jo-Jo The Cannibal Kid 1936 Johnny Mercer Rube Bloom Lew Leslie's Blackbirds of 1936 A
Jubilation T. Cornpone 1956 Johnny Mercer Gene De Paul Li'l Abner A
Julie's Dream 1955 Johnny Mercer Daddy Long Legs E
June Bride 1954 Johnny Mercer Gene De Paul Seven Brides For Seven Brothers A
June Comes Around Every Year 1945 Johnny Mercer Harold Arlen Out Of This World A
Just A Fair Weather Friend 1934 Johnny Mercer Matt Malneck A
Just A Quiet Evening 1937 Johnny Mercer Richard A. Whiting Ready, Willing And Able A
Just Across The Mountains 1968 Johnny Mercer Arthur Kent A
Just For Tonight 1962 Johnny Mercer Hoagy Carmichael Hatari A
Just Like A Falling Star 1931 Johnny Mercer Ralph Bolton A
Just Like Taking Candy From A Baby Johnny Mercer Barry Manilow B
Just Remember 1936 Johnny Mercer Carl Sigman A
Just Remember 1988 Johnny Mercer Barry Manilow B
Just The Letter "Q" 1963 Johnny Mercer Johnny Mercer A
Just To Remind You Johnny Mercer Howard Jackson E
Keep A Twinkle In Your Eye 1936 Johnny Mercer Rube Bloom Lew Leslie's Blackbirds Of 1936 E
Keep Your Pigs Out Of My Potatoes Johnny Mercer Johnny Mercer E
Keeper Of My Heart, The 1935 Johnny Mercer Matt Malneck A
Kiss And Tell Johnny Mercer Johnny Mercer Mike G
Kiss From You, A 1964 Johnny Mercer Benny Carter A
Know Where De Wind Blows 1958 Johnny Mercer Harold Arlen The Blues G
Kubla's Soliloquy Johnny Mercer Robert Emmett Dolan Messr. Marco Polo D
Ladies And Gentlemen 1958 Johnny Mercer Harold Arlen The Blues G
Lady On The Two-Cent Stamp, The 1938 Johnny Mercer & Al Dubin Harry Warren Garden Of The Moon A
Lake Saint Mary 1964 Johnny Mercer Louis Alter A
Lalita 1941 Johnny Mercer Harry Warren A
Land Where The Old Dreams Go, The 1969 Johnny Mercer Matt Malneck E
Larceny And Love 1963 Johnny Mercer Robert Emmett Dolan Foxy A
Last Dream Home, The 1988 Johnny Mercer Barry Manilow A
Laura 1945 Johnny Mercer David Raksin Laura A
Lawd, I Give You My Children 1934 Johnny Mercer Bernie Hanighen A
Lazy Mood (Love's Got Me In A) 1947 Johnny Mercer Eddie Miller A
Lazybones 1933 Johnny Mercer Hoagy Carmichael A
Le Meddiants De Sourires Johnny Mercer Johnny Mercer B
Least That's My Opinion 1946 Johnny Mercer Harold Arlen St. Louis Woman A
Leavin' Time 1946 Johnny Mercer Harold Arlen St. Louis Woman A
Legalize My Name 1946 Johnny Mercer Harold Arlen St. Louis Woman A
Legend Of Old California, The 1940 Johnny Mercer Harry Warren A
Lesson In Jazz Johnny Mercer Wingy Manone E
Lessons In Love 1959 Johnny Mercer Harold Arlen Saratoga A
Let That Be A Lesson To You 1937 Johnny Mercer Richard A. Whiting Varsity Show & Hollywood Hotel A
Let's Go, Sailor 1968 Johnny Mercer Harold Arlen Star Spangled Rhythm H
Let's Take The Long Way Home 1944 Johnny Mercer Harold Arlen Here Come The Waves A
Letter Of The Law, The 1962 Johnny Mercer Robert Emmett Dolan Foxy D
Life Is What You Make It 1971 Johnny Mercer Marvin Hamlisch Kotch G
Life's Darkest Moment 1963 Johnny Mercer Robert Emmett Dolan Foxy D
Life's So Complete 1933 Johnny Mercer & Richard Himber Johnny Mercer & Richard Himber A
Lights Of Home, The 1952 Johnny Mercer Lew Quadling A
Like The Fella Once Said 1940 Johnny Mercer Jimmy McHugh You'll Find Out A
Li'l Abner 1956 Johnny Mercer Johnny Mercer Li'l Abner G
Li'l Augie Is A Natural Man 1946 Johnny Mercer Harold Arlen St. Louis Woman A
Li'l Tune Johnny Mercer E
Lim'ricks 1946 Johnny Mercer Harold Arlen St. Louis Woman A
Liquapep 1952 Johnny Mercer Arthur Schwartz Dangerous When Wet A
Little Acorns 1970 Johnny Mercer Arthur Kent E
Little Birds, The 1967 Johnny Mercer Henry Mancini Darling Lili E
Little Bit O' Country Johnny Mercer Robert Emmett Dolan D
Little Boats Of Barcelona, The 1951 Johnny Mercer Peter Tinturin A
Little Cowboy Blue 1940 Johnny Mercer Walter Donaldson A
Little Ingenue 1974 Johnny Mercer Jimmie Rowles G
Little Lost Dream 1974 Johnny Mercer Andre Previn Good Companions G
Little Man With The Hammer, The 1935 Johnny Mercer Bernie Hanighen A
Little Ol' Tune 1957 Johnny Mercer Johnny Mercer H
Little Old Crossroad Store 1932 Johnny Mercer Peter Tinturin A
Little Traveling Music, Professor, A 1974 Johnny Mercer Andre Previn Good Companions G
Living In The Used To Be Johnny Mercer Alfred Opler G
Loca Illusion 1940 Johnny Mercer Xavier Cugat All Through The Night A
Lock The Barn Door 1951 Johnny Mercer Johnny Mercer A
Lonelyheart Johnny Mercer Robert Emmett Dolan E
Lonesome Polecat (Lament) 1954 Johnny Mercer Gene De Paul Seven Brides For Seven Brothers A
Long Goodbye, The 1973 Johnny Mercer John Williams The Long Goodbye B
Longing 1958 Johnny Mercer Don Borzage A
Longtime, No See 1940 Johnny Mercer Walter Donaldson A
Look At You 1988 Johnny Mercer Barry Manilow A
Look In The Mirror 1943 Johnny Mercer Allie Wrubel A
Lorna 1964 Johnny Mercer Mort Lindsey G
Lost (Rings Of Melody) 1936 Johnny Mercer, Phil Ohman, Macy O. Teetor Johnny Mercer, Phil Ohman, Macy O. Teetor A
Lost In The Sun Johnny Mercer & E.Y. Harburg Henry Souvaine G
Love Held Lightly 1959 Johnny Mercer Harold Arlen Saratoga A
Love In The Afternoon 1957 Johnny Mercer Matt Malneck Love In The Afternoon A
Love Is A Merry-Go-Round 1937 Johnny Mercer Rube Bloom A
Love Is For The Birds Johnny Mercer Johnny Mercer E
Love Is On The Air Tonight 1937 Johnny Mercer Richard A. Whiting Varsity Show A
Love Is Where You Find It 1938 Johnny Mercer & Al Dubin Harry Warren Garden Of The Moon A
Love Is Where You Find It 1988 Johnny Mercer Barry Manilow B
Love Like Yours 1964 Johnny Mercer & Luiz Bonfa Johnny Mercer & Luiz Bonfa River Of Mystery E
Love Me With Your Heart Johnny Mercer Gilbert Martinez G
Love Me, Love My Dog 1949 Johnny Mercer Robert Emmett Dolan Texas, Li'l Darlin' A
Love Of My Life 1940 Johnny Mercer Artie Shaw Second Chorus A
Love Song 1954 Johnny Mercer David Raksin Apache A
Love With The Proper Stranger 1963 Johnny Mercer Elmer Bernstein Love With The Proper Stranger A
Love Woke Me Up This Morning 1949 Johnny Mercer Harry Warren A
Lovers In The Dark 1959 Johnny Mercer Gordon Jenkins A
Lullaby 1946 Johnny Mercer Harold Arlen St. Louis Woman A
Lyrics On The Spot Melody Johnny Mercer, Mel Blanc, Bobby Troup Johnny Mercer, Mel Blanc, Bobby Troup A
Ma Belle Cherie 1962 Johnny Mercer Robert Emmett Dolan The World of Maurice Chevalier A
Magic In The Moonlight 1958 Johnny Mercer Lewis E. Gensler A
Magic Island (Far Across The Sea) 1958 Johnny Mercer Bernie Wayne A
Make With The Kisses 1939 Johnny Mercer Jimmy Van Heusen A
Mama Torpedo Johnny Mercer Johnny Mercer Mike G
Mambo 1954 Johnny Mercer Daddy Long Legs G
Man In My Life, the 1959 Johnny Mercer Harold Arlen Saratoga A
Man Of The Year This Week 1951 Johnny Mercer Johnny Mercer Top Banana A
Mandy Is Two 1942 Johnny Mercer Fulton McGrath A
Man's Favorite Sport? 1964 Johnny Mercer Henry Mancini Man's Favorite Sport? E
Man's Gotta Fight, A 1946 Johnny Mercer Harold Arlen St. Louis Woman A
Many, Many Ways To Skin A Cat 1963 Johnny Mercer Robert Emmett Dolan Foxy A
March Of The Dogies, The 1945 Johnny Mercer Harry Warren The Harvey Girls A
Mary Ellen 1970 Johnny Mercer Billy Vaughn G
Matador 1956 Johnny Mercer Howard Jackson A
Matrimonial Stomp 1956 Johnny Mercer Gene De Paul Li'l Abner A
Maybe You Know What I Mean 1935 Johnny Mercer Hoagy Carmichael C
Me And The Ghost Upstairs 1940 Johnny Mercer Bernie Hanighen Second Chorus A
Meant To Tell Yuh 1952 Johnny Mercer Charles Dant & Al Rinker A
Medium (Couldn't Get Through), The Johnny Mercer Bernie Hanighen Mike G
Meet Miss America 1935 Johnny Mercer & Matt Malneck Johnny Mercer & Matt Malneck To Beat The Band A
Meet Miss Blendo 1951 Johnny Mercer Johnny Mercer Top Banana A
Memories Will Linger Johnny Mercer Erwin Lee, Ted R. Creech A
Memory Song 1944 Johnny Mercer Paul Weston A
Men Who Run The Country, The 1959 Johnny Mercer Harold Arlen Saratoga A
Mercer's Melody 1950 Johnny Mercer A
Merci Beaucoup Johnny Mercer Ray Navarre E
Merry Andrew 1957 Johnny Mercer Saul Chaplin Merry Andrew A
Merry-Go-Round In The Rain 1965 Johnny Mercer Johnny Green A
Mexican Moon 1961 Johnny Mercer & Charles Rinker Walter Gross G
Midnight Sun 1947 Johnny Mercer Sonny Burke & Lionel Hampton A
Minor Nursery 1954 Johnny Mercer Daddy Long Legs G
Miracle Of Christmas 1969 Johnny Mercer Gilbert Martinez G
Mirror, Mirror, Mirror 1966 Johnny Mercer David Raksin Big Hand For The Little Lady G
Misguided Faith (Sanctifying Grace) 1970 Johnny Mercer Brian Minard G
Mister Meadowlark 1940 Johnny Mercer Walter Donaldson A
Mistletoe Mansion 1982 Johnny Mercer & Vern Hansen Vern Hansen G
Moment Of Truth, The 1963 Johnny Mercer Robert Emmett Dolan G
Moment To Moment 1965 Johnny Mercer Henry Mancini Moment To Moment G
Money Isn't Everything 1963 Johnny Mercer Robert Emmett Dolan Foxy A
Montage Theme 1954 Johnny Mercer Daddy Long Legs G
Month Of Sundays, A 1949 Johnny Mercer Robert Emmett Dolan Texas, Li'l Darlin' A
Moon And The Night, The Johnny Mercer Johnny Mercer E
Moon Country (Is Home To Me) 1934 Johnny Mercer & Hoagy Carmichael Johnny Mercer & Hoagy Carmichael A
Moon Dreams 1943 Johnny Mercer Chummy MacGregor A
Moon In The Mulberry Tree 1950 Johnny Mercer George Motola A
Moon River 1960 Johnny Mercer Henry Mancini Breakfast At Tiffiany's A
Moon Shines Down, The 1930 Johnny Mercer Emmerich Kalman Paris In Spring A
Moonlight On The Campus 1937 Johnny Mercer Richard A. Whiting Varsity Show A
Moonlight Waltz 1952 Johnny Mercer Al Rinker G
Morning Star 1969 Johnny Mercer Jimmie Rowles E
Mouthful O' Jam 1932 Johnny Mercer Archie Bleyer A
Mr. Crosby, Mr. Mercer Johnny Mercer G
Mr. Pollyanna 1943 Johnny Mercer Hoagy Carmichael True To Life A
Mr. T From Tennessee 1936 Johnny Mercer Matt Malneck A
Music From Across The Sea 1933 Johnny Mercer Peter Tinturin A
Music In The Barn 1940 Johnny Mercer Hoagy Carmichael Three After Three A
Musica Di Roma 1961 Johnny Mercer Gilbert Martinez G
Musical Chairs 1953 Johnny Mercer Johnny Mercer A
Mutiny In The Nursery 1938 Johnny Mercer Johnny Mercer Going Places A
My Adventure 1938 Johnny Mercer Harry Warren Gold Diggers In Paris A
My Crazy Old Subconscious Won't Leave You Alone Johnny Mercer Johnny Mercer Mike G
My Home Is In My Shoes 1951 Johnny Mercer Johnny Mercer Top Banana A
My Inamorata 1966 Johnny Mercer John WIlliams Not With My Wife, You Don't G
My Intuition 1943 Johnny Mercer Harry Warren The Harvey Girls G
My Jekyll Island 1972 Johnny Mercer & Ida Thomas Ida Thomas G
My Love For You 1963 Johnny Mercer Stan Hoffman A
My Mamma Thinks I'm A Star 1944 Johnny Mercer Harold Arlen Here Come The Waves E
My Mother's Love Johnny Mercer G
My Name Is Love -- Fly Me 1972 Johnny Mercer David Raksin G
My New Celebrity Is You 1977 Johnny Mercer Blossom Dearie G
My Night To Howl 1963 Johnny Mercer Robert Emmett Dolan Foxy A
My Old Man 1933 Johnny Mercer Bernie Hanighen A
My Piano Won't Play 1958 Johnny Mercer Lewis E. Gensler A
My Resistance Is Low 1940 Johnny Mercer Jimmy McHugh You're The One F
My Shining Hour 1943 Johnny Mercer Harold Arlen The Sky's The Limit A
My Valentine Letter 1966 Johnny Mercer Johnny Mercer G
My Weight In Gold 1964 Johnny Mercer Robert Emmett Dolan Foxy A
Namely You 1956 Johnny Mercer Gene De Paul Li'l Abner A
Natural Man 1958 Johnny Mercer Harold Arlen The Blues G
Naughty, But Nice 1951 Johnny Mercer Harry Warren The Belle Of New York A
Navy Blues 1941 Johnny Mercer Arthur Schwartz Navy Blues A
Navy Song, The 1944 Johnny Mercer Harold Arlen Here Come The Waves A
News Chant 1958 Johnny Mercer Harold Arlen The Blues G
Night Over Shanghai 1937 Johnny Mercer Harry Warren The Singing Marine A
Night Song 1956 Johnny Mercer Hal Borne A
Nightcap Song 1940 Johnny Mercer Walter Donaldson G
Nile, The 1963 Johnny Mercer Alex North Cleopatra A
Nine Thorny Thickets 1955 Rolfe Humphries Johnny Mercer A
No Late Racehorse 1958 Johnny Mercer Harold Arlen The Blues G
No Wonder It's Banned In Boston Johnny Mercer Johnny Mercer Mike G
Nobody Understands Me 1951 Johnny Mercer Johnny Mercer Top Banana A
Not For Sale Johnny Mercer Johnny Mercer H
Not Mine 1942 Johnny Mercer Victor Schertzinger The Fleet's In A
Not With My Wife, You Don't 1966 Johnny Mercer John Williams Not With My Wife, You Don't A
Nothing Up My Sleeve Johnny Mercer Archie Bleyer G
Now It's A Thing Of The Past Johnny Mercer Alexander Fogarty G
O.K. For T.V. 1951 Johnny Mercer Johnny Mercer Top Banana A
Oasis 1961 Johnny Mercer & Samuel Schwartz Donald Borzage A
October Twilight 1972 Johnny Mercer Josef Myrow Those Days Before The War A
Oh What A Horse Was Charlie 1938 Johnny Mercer Harry Warren Going Places A
Oh What A Memory We Made 1956 Johnny Mercer Eddy Samuels A
Oh, Happy Day 1956 Johnny Mercer Gene De Paul Li'l Abner A
Oh, You Kid 1945 Johnny Mercer Harry Warren The Harvey Girls A
Ohio 1953 Johnny Mercer Johnny Mercer A
Old Aunt Kate 1933 Johnny Mercer Archie Bleyer A
Old Brown Thrush, The 1960 Johnny Mercer Alfred J. Thieme E
Old Glory 1942 Johnny Mercer Harold Arlen Star Spangled Rhythm A
Old Guitaron 1964 Johnny Mercer Laurindo Almeida A
Old King Cole 1937 Johnny Mercer Richard A. Whiting Varsity Show A
Old Man Rhythm 1935 Johnny Mercer Lewis E. Gensler Old Man Rhythm A
Old Music Master, The 1943 Johnny Mercer Hoagy Carmichael True To Life A
Old Reporters Never Die 1956 Johnny Mercer Gene De Paul You Can't Run Away From It A
Old Rob Roy 1944 Johnny Mercer Robert Emmett Dolan A
Old Skipper 1934 Johnny Mercer Hoagy Carmichael A
On Behalf Of The Visiting Firemen 1940 Johnny Mercer Walter Donaldson A
On My Way 1974 Johnny Mercer Andre Previn Good Companions G
On Our Golden Wedding Day Johnny Mercer Carl Sigman G
On The Atchison, Topeka And The Santa Fe 1945 Johnny Mercer Harry Warren The Harvey Girls A
On The Beam 1942 Johnny Mercer Jerome Kern You Were Never Lovelier A
On The Bridge of Avignon 1958 Johnny Mercer Lewis E. Gensler A
On The Nodaway Road 1935 Johnny Mercer Charles Bates A
On The Swing Shift 1942 Johnny Mercer Harold Arlen Star Spangled Rhythm A
On Top Of The World (Higher Than The Moon) 1958 Johnny Mercer Harold Arlen The Blues G
On With The Dance 1937 Johnny Mercer Richard A. Whiting Varsity Show A
Once Upon A Summertime 1962 Johnny Mercer Eddie Barclay & Michel Legrand E
One For My Baby (And One More For The Road) 1943 Johnny Mercer Harold Arlen The Sky's The Limit A
One Step, Two Step 1959 Johnny Mercer Harold Arlen Saratoga A
One, Two, Three 1930 Johnny Mercer Phil Charig & Richard Myers Pajama Lady A
Only If You're In Love 1951 Johnny Mercer Johnny Mercer Top Banana A
Ooh! What You Said 1939 Johnny Mercer Hoagy Carmichael Three After Three A
Oops! 1951 Johnny Mercer Harry Warren The Belle Of New York A
Opening A -- Saratoga 1959 Johnny Mercer Harold Arlen Saratoga A
Opening B -- Saratoga 1959 Johnny Mercer Harold Arlen Saratoga A
Opening C -- Saratoga 1959 Johnny Mercer Harold Arlen Saratoga A
Opening D -- Saratoga 1959 Johnny Mercer Harold Arlen Saratoga A
Opus 1 Johnny Mercer Rich Barcellona B
Our Family Tree 1949 Johnny Mercer Robert Emmett Doland Texas, Li'l Darlin' A
Our Man In Paradise Johnny Mercer Johnny Mercer Mike G
Out Of Breath (And Scared To Death Of You) 1930 Johnny Mercer Everett Miller The Garrick Gaieties A
Out Of This World 1945 Johnny Mercer Harold Arlen Out Of This World A
Overture Johnny Mercer Gene De Paul A
Overture 1963 Johnny Mercer Robert Emmett Dolan Foxy A
Overture From Top Banana 1951 Johnny Mercer Johnny Mercer Top Banana A
P.S. I Got The Job Johnny Mercer G
P.S. I Love You 1934 Johnny Mercer Gordon Jenkins A
Paesan 1972 Johnny Mercer Ray Sinatra Voice In The Night G
Palsy-Walsy 1943 Johnny Mercer Harold Arlen They Got Me Covered A
Papa Good Times (Could Be) 1967 Johnny Mercer Les McCann B
Pardon My Southern Accent 1934 Johnny Mercer & Matt Malneck Johnny Mercer & Matt Malneck A
Parks Of Paris, The 1959 Johnny Mercer Harold Arlen Saratoga A
Parting Is Such Sweet Sorrow 1949 Johnny Mercer Joseph Meyer A
Parting Song 1944 Johnny Mercer Nat Shilkret A
Passe Johnny Mercer G
Past My Prime 1956 Johnny Mercer Gene De Paul Li'l Abner A
Peekaboo To You 1941 Johnny Mercer Johnny Mercer, Carl Sigman, Joseph Meyer A
Perfect Paris Night, A 1963 Johnny Mercer Hoagy Carmichael A
Peter Piper 1936 Johnny Mercer Richard A. Whiting A
Petticoat High 1959 Johnny Mercer Harold Arlen Saratoga A
Petty Girl Number 1950 Johnny Mercer Harold Arlen The Petty Girl G
Phone Call To The Past 1967 Johnny Mercer Henry Mancini G
Phony King Of England, The 1972 Johnny Mercer Traditional Robin Hood E
Picadilly Circus 1974 Johnny Mercer Andre Previn Good Companions, The G
Pine Top Boogie 1948 Johnny Mercer Johnny Mercer A
Pineapple Pete 1963 Johnny Mercer Johnny Mercer G
Piney Woods, The 1957 Johnny Mercer Jack Marshall The Missouri Traveler A
Pink Panther Theme 1964 Johnny Mercer Henry Mancini The Pink Panther A
Pipes Of Pan, The 1957 Johnny Mercer Saul Chaplin Merry Andrew A
Play With My Deck 1958 Johnny Mercer Harold Arlen The Blues G
Pleasure Of Your Company 1974 Johnny Mercer Andre Previn Good Companions G
Politics 1949 Johnny Mercer Robert Emmett Dolan Texas, Li'l Darlin' A
Pools, The 1974 Johnny Mercer Andre Previn Good Companions G
Poor Miriam 1946 Johnny Mercer Johnny Mercer A
Poor Mr. Chisholm 1940 Johnny Mercer Bernie Hanighen Second Chorus A
Pot And Pan Parade, The 1953 Johnny Mercer Howard Jackson A
Power Of Love, The 1962 Johnny Mercer Robert Emmett Dolan Foxy E
Pretty Please 1940 Johnny Mercer Walter Donaldson G
Progress Is The Root Of All Evil 1956 Johnny Mercer Gene De Paul Li'l Abner A
Promenade (Street Cries) 1959 Johnny Mercer Harold Arlen Saratoga A
Propaganda 1943 Johnny Mercer Johnny Mercer A
P'tit Bec Un Johnny Mercer Johnny Mercer B
P'tit Gars D' Chez Nous Johnny Mercer Johnny Mercer B
Put 'Em Back The Way They Wuz 1956 Johnny Mercer Gene De Paul Li'l Abner A
Put Every Dollar 1958 Johnny Mercer Harold Arlen The Blues G
Que Le Vaya Bien Johnny Mercer Fabian Andre G
Queen Of The May 1954 Johnny Mercer Gene De Paul Seven Brides For Seven Brothers G
Quierme Y Veras 1954 Johnny Mercer Jose Antonio Mendez A
Rabbit's Foot 1963 Johnny Mercer Robert Emmett Dolan Foxy A
Race 1958 Johnny Mercer Harold Arlen The Blues G
Racin' Form 1946 Johnny Mercer Harold Arlen St. Louis Woman G
Railroad Fight, The 1959 Johnny Mercer Harold Arlen Saratoga A
Rainbows In The Night 1956 Johnny Mercer David Raksin Hilda Crane E
Rainy Night 1957 Johnny Mercer Matt Malneck A
Raise A Ruckus Tonight 1962 Johnny Mercer Robert Emmett Dolan How The West Was One A
Reading The News 1959 Johnny Mercer Harold Arlen Saratoga G
Ready, Willing And Able 1936 Johnny Mercer Richard A. Whiting Ready, Willing And Able A
Red Apple Johnny Mercer Johnny Mercer A
Red Sky At Morning 1973 Johnny Mercer Billy Goldenberg Red Sky At Morning G
Remember Dad On Mother's Day 1956 Johnny Mercer Harry Warren A
Respectability 1963 Johnny Mercer Robert Emmett Dolan Foxy A
Revenge Is Sweet 1962 Johnny Mercer Robert Emmett Dolan Foxy G
Ride 'Em, Cowboy 1949 Johnny Mercer Robert Emmett Dolan Texas, Li'l Darlin' A
Ride Tenderfoot Ride 1938 Johnny Mercer Richard A. Whiting Cowboy From Brooklyn A
Ridin' On The Moon 1946 Johnny Mercer Harold Arlen St. Louis Woman A
Ridin' Our Luck 1958 Johnny Mercer Harold Arlen The Blues G
Rock In A Weary Land, A 1972 Johnny Mercer Johnny Mercer E
Rocky Mountain Moon 1951 Johnny Mercer Johnny Mercer A
Rollin' In Gold 1963 Johnny Mercer Robert Emmett Dolan Foxy A
Rosie 1967 Johnny Mercer Harry Warren Rosie! E
Rumba Jumps!, The 1939 Johnny Mercer Hoagy Carmichael I Walk With Music A
Run, Run, Run Cinderella 1963 Johnny Mercer Robert Emmett Dolan Foxy A
S.S. Commoder Ebenezer McAfee The Third 1963 Johnny Mercer Robert Emmett Dolan Foxy A
Sad Little Rain Of China, The 1951 Johnny Mercer Robert Emmett Dolan Messr. Marco Polo A
Salud (Here's Cheers) 1957 Johnny Mercer Saul Chaplin Merry Andrew A
Sans Souci 1951 Johnny Mercer Johnny Mercer Top Banana A
Santa Claus Came In The Spring 1935 Johnny Mercer & Matt Malneck Johnny Mercer & Matt Malneck To Beat The Band A
Saratoga 1959 Johnny Mercer Harold Arlen Saratoga A
Satan's Little Lambs 1932 Johnny Mercer Harold Arlen Americana A
Satin Doll 1958 Johnny Mercer Duke Ellington & Billy Strayhorn A
Say It With A Kiss 1938 Johnny Mercer Harry Warren Going Places A
Says Who, Says You, Says I 1941 Johnny Mercer Harold Arlen Blues In The Night A
Scarecrow Ballet 1956 Johnny Mercer Gene De Paul You Can't Run Away From It F
Second Wind 1958 Johnny Mercer Harold Arlen The Blues G
Seeing's Believing 1952 Johnny Mercer Harry Warren The Belle Of New York A
Selection From Seven Brides For Seven Brothers Johnny Mercer Gene De Paul Seven Brides For Seven Brothers A
Senorita Diaz 1951 Johnny Mercer Johnny Mercer Top Banana A
Sentimental And Melancholy 1937 Johnny Mercer Richard A. Whiting Ready, Willing And Able A
Seven Little Steps To Heaven 1932 Johnny Mercer & Hilda Gottlieb Lewis E. Gensler A
Shake It, But Don't Break It 1980 Johnny Mercer Erroll Garner A
Shameless 1963 Johnny Mercer Johnny Mercer G
Share And Share Alike 1962 Johnny Mercer Robert Emmett Dolan Foxy A
Sharp As A Tack 1942 Johnny Mercer Harold Arlen Star Spangled Rhythm A
Shooby Dooin' 1966 Johnny Mercer Jerry Gray E
Shotgun Wedding 1954 Johnny Mercer Gene De Paul Seven Brides For Seven Brothers G
Show Me How To Cry Johnny Mercer Johnny Mercer B
Show Your Linen, Miss Richardson 1939 Johnny Mercer Bernie Hanighen A
Sighs 1953 Johnny Mercer Nestor Amaral & Laurindo Almeida A
Silhouetted In The Moonlight 1937 Johnny Mercer Richard A. Whiting Hollywood Hotel A
Silver Luck, Golden Luck 1958 Johnny Mercer Harold Arlen The Blues G
Simpatico Johnny Mercer Joseph Meyer G
Sing Me To Sleep Johnny Mercer Del Cleveland G
Sing, You Son Of A Gun 1937 Johnny Mercer Richard A. Whiting Hollywood Hotel A
Singing In The Moonlight 1954 Johnny Mercer Johnny Mercer A
Singing Marine 1937 Johnny Mercer & Al Dubin Harry Warren The Singing Marine A
Single-O 1964 Johnny Mercer Donald Kahn A
Skol (Let's Have Another One On Me) 1970 Johnny Mercer Henry Mancini Darling Lili G
Skylark 1942 Johnny Mercer Hoagy Carmichael A
Sleep Peaceful, Mr. Used-To-Be 1946 Johnny Mercer Harold Arlen St. Louis Woman A
Sleepyhead 1958 Johnny Mercer Lewis E. Gensler A
Slippin' Around The Corner 1974 Johnny Mercer Andre Previn Good Companions G
Slogan Song 1951 Johnny Mercer Johnny Mercer Top Banana A
Sluefoot 1955 Johnny Mercer Johnny Mercer Daddy Long Legs A
Small Petrushka 1969 Johnny Mercer Louis Alter G
Smarty Pants 1939 Johnny Mercer Walter Donaldson A
Smile Away Each Rainy Day 1970 Johnny Mercer Henry Mancini Darling Lili E
Smile For The Press 1940 Johnny Mercer Hoagy Carmichael I Walk With Music H
Snake Eyes Johnny Mercer Harold Arlen G
So Many Kinds Of Love 1958 Johnny Mercer Harold Arlen The Blues G
Sobbin' Women 1954 Johnny Mercer Gene De Paul Seven Brides For Seven Brothers A
Some Place Of My Own 1954 Johnny Mercer Gene De Paul Seven Brides For Seven Brothers G
Something Tells Me 1938 Johnny Mercer Harry Warren A
Something Tells Me I'm Falling In Love 1988 Johnny Mercer Barry Manilow A
Something You Gotta Find Out For Yourself 1946 Johnny Mercer Harold Arlen St. Louis Woman A
Something's Gotta Give 1955 Johnny Mercer Johnny Mercer Daddy Long Legs A
Song Of India 1953 Johnny Mercer Rimsky-Korsakov A
Song Of Long Ago, The 1969 Johnny Mercer Hoagy Carmichael G
Songs of Delta Delta Delta 1942 Johnny Mercer Johnny Mercer G
Sorry 1956 Johnny Mercer Gene De Paul A
Sounds Around The House, The 1976 Johnny Mercer Alec Wilder Songs Were Made To Sing B
Sounds Of The Night, The 1962 Johnny Mercer Gerald Fried The Cabinet of Caligari A
South Wind 1936 Johnny Mercer Rube Bloom Lew Leslie's Blackbirds of 1936 A
Southern Cross, The Johnny Mercer Robert Emmett Dolan Messr. Marco Polo D
Southwind 1976 Johnny Mercer Barry Manilow B
Sow The Seed 1958 Johnny Mercer Harold Arlen The Blues G
Sow The Seed And Reap The Harvest 1946 Johnny Mercer Harold Arlen St. Louis Woman E
Speak To The Heart Johnny Mercer G
Spelled Backwards I Love You Johnny Mercer Robert Emmett Dolan G
Splendor Of You, The Johnny Mercer Johnny Mercer G
Spring Is In My Heart Again 1932 Johnny Mercer William Woodin A
Spring Reunion 1956 Johnny Mercer Harry Warren Spring Reunion A
Spring, Spring, Spring 1954 Johnny Mercer Gene De Paul Seven Brides For Seven Brothers A
Square Of The Hypotenuse 1957 Johnny Mercer Saul Chaplin Merry Andrew A
St. Louis Woman 1946 Johnny Mercer Harold Arlen St. Louis Woman A
Stage Door John 1974 Johnny Mercer Andre Previn Good Companions G
Stage Struck 1974 Johnny Mercer Andre Previn Good Companions G
Star Sounds 1965 Johnny Mercer Johnny Mercer A
Step To The Rear Of The Car, Please 1951 Johnny Mercer Johnny Mercer Top Banana A
Stop The Presses (Johnny Mercer's Melody) 1962 Archie Lebrecht Johnny Mercer G
Storm, The 1959 Johnny Mercer Milt Raskin A
Strawberry Lane 1940 Johnny Mercer Jimmy McHugh You're The One A
Streak Of Lightning 1958 Johnny Mercer Harold Arlen The Blues G
Strip Polka (Take It Off! Take It Off!) 1942 Johnny Mercer Johnny Mercer A
Sudsy Suds 1968 Johnny Mercer Hoagy Carmichael True To Life G
Summer On The Cape 1964 Johnny Mercer Al Dero G
Summer Rain 1976 Johnny Mercer Johnny Mercer G
Summer Wind 1965 Johnny Mercer Henry Mayer The Pope Of Greenwich Village E
Susie For Everybody 1974 Johnny Mercer Andre Previn Good Companions G
Sweater, A Sarong And A Peek-A-Boo Bang, A 1942 Johnny Mercer Harold Arlen Star Spangled Rhythm A
Sweet Little Lady Next Door 1932 Johnny Mercer Alfred Opler A
Sweetening Water 1958 Johnny Mercer Harold Arlen The Blues G
Sweetheart Tree, The 1965 Johnny Mercer Henry Mancini The Great Race A
Swing Into Spring 1959 Johnny Mercer Bob Swanson A
Swing Is The Thing, The 1936 Johnny Mercer Rube Bloom Lew Leslie's Blackbirds Of 1936 A
Swing Your Partner Round And Round 1945 Johnny Mercer Harry Warren The Harvey Girls A
Ta, Luv 1974 Johnny Mercer Andre Previn Good Companions G
Tailgate Ramble 1944 Johnny Mercer Wingy Manone A
Take A Crank Letter 1949 Johnny Mercer Robert Emmett Dolan Texas, Li'l Darlin' A
Take It From A Lady 1963 Johnny Mercer Robert Emmett Dolan Foxy A
Talk To Me Baby 1963 Johnny Mercer Robert Emmett Dolan Foxy A
Talkin' Glory 1946 Johnny Mercer Harold Arlen St. Louis Woman H
Talking In My Sleep 1933 Johnny Mercer Harry Archer & Margot Millham A
Tangerine 1942 Johnny Mercer Victor Schertzinger The Fleet's In A
Tango 1954 Johnny Mercer Daddy Long Legs G
T'Avoir Connu Johnny Mercer Johnny Mercer B
Technique 1957 Johnny Mercer Johnny Mercer Bernardine A
Temporarily 1956 Johnny Mercer Gene De Paul You Can't Run Away From It A
Tender And True Love Johnny Mercer Joe Dubin G
Tender Loving Care 1966 Johnny Mercer Ronnell Bright A
Texas March 1954 Johnny Mercer Daddy Long Legs G
Texas Romp And Square Dance 1955 Johnny Mercer Johnny Mercer Daddy Long Legs A
Texas Waltz 1954 Johnny Mercer Daddy Long Legs G
Texas, Li'l Darlin' 1949 Johnny Mercer Robert Emmett Dolan Texas, Li'l Darlin A
Thank Your Lucky Stars Johnny Mercer Robert Emmett Dolan G
Thanks But No Thanks Johnny Mercer Johnny Mercer Mike G
Thanksgivin' 1932 Johnny Mercer Hoagy Carmichael A
That Old Black Magic 1942 Johnny Mercer Harold Arlen Star Spangled Rhythm A
That's For Sure 1951 Johnny Mercer Johnny Mercer Top Banana A
The Long Of It--The Short Of It Johnny Mercer E
Then Suddenly 1958 Johnny Mercer Harold Arlen The Blues G
There She Was 1943 Johnny Mercer Hoagy Carmichael True To Life H
There's A Fella Waitin' In Poughkeepsie 1944 Johnny Mercer Harold Arlen Here Come The Waves A
There's A Little Old House 1937 Johnny Mercer Richard A. Whiting Ready, Willing And Able F
There's A Ring Around The Moon 1933 Johnny Mercer Johnny Green A
There's A Sunny Side To Every Situation 1938 Johnny Mercer Harry Warren Hard To Get A
There's No Forgetting You Johnny Mercer Johnny Mercer G
There's Nothing Like A College Education 1935 Johnny Mercer Lewis E. Gensler Old Man Rhythm A
There's Room Enough For Us 1956 Johnny Mercer Gene De Paul Li'l Abner A
There's Something Mighty Peculiar Goin' On 1956 Johnny Mercer Gene De Paul Li'l Abner A
These Orchids 1956 Johnny Mercer Jerome Kern A
These Orchids 1942 Johnny Mercer Jerome Kern You Were Never Lovelier J
They Talk A Different Language 1949 Johnny Mercer Robert Emmett Dolan Texas, Li'l Darlin' A
They're Pavin' California 1988 Johnny Mercer Jimmie Rowles G
This Is Our Day 1958 Johnny Mercer Harold Arlen The Blues G
This Is The Night Johnny Mercer Johnny Mercer G
This Little While 1941 Johnny Mercer Harold Arlen Blues In The Night A
This Time The Dream's On Me 1941 Johnny Mercer Harold Arlen Blues In The Night A
Three Guesses 1930 Johnny Mercer Philip Charig & Richard Myers Pajama Lady A
Three Of A Kind Johnny Mercer Bobby Darin B
Thumbin' A Ride 1956 Johnny Mercer Gene De Paul You Can't Run Away From It A
Till It Goes Out Of Style 1963 Johnny Mercer Robert Emmett Dolan Foxy A
Time Marches On Johnny Mercer Matt Malneck If You Were Mine G
Time To Smile 1966 Johnny Mercer Les Brown, J.Hill, Geoff Clarkson A
Today I'm A Glamour Girl 1940 Johnny Mercer Hoagy Carmichael I Walk With Music E
Tomorrow Never Comes 1967 Johnny Mercer Morton Stevens Cimarron Strip A
Tomorrow You Belong To Uncle Sam 1942 Johnny Mercer Victor Schertzinger The Fleet's In H
Tonight Is Mine 1951 Johnny Mercer Sammy Fain G
Tonight May Have To Last Me All My Life 1964 Johnny Mercer Don Borzage A
Too Good To Be True Johnny Mercer Florence Leftwich G
Too Good To Be True 1967 Johnny Mercer George Shearing B
Too Marvelous For Words 1937 Johnny Mercer Richard A. Whiting Ready, Willing And Able A
Top Banana 1951 Johnny Mercer Johnny Mercer Top Banana A
Toss A Song In The Deep Blue Night Johnny Mercer G
Train Must Be Fed, The 1945 Johnny Mercer Harry Warren The Harvey Girls H
Trav'lin' Light 1943 Johnny Mercer Jimmy Mundy & Trummy Young A
True Love 1958 Johnny Mercer Harold Arlen The Blues G
Truly 1949 Johnny Mercer Antone Iavello A
Twilight Reflections (My Reflections) Johnny Mercer Joseph Meyer G
Twilight World 1971 Johnny Mercer Marian McPartland A
Two Hearts Are Better Than One 1946 Johnny Mercer Jerome Kern Centennial Summer A
Two Of A Kind 1960 Johnny Mercer Bobby Darin A
Uncle Sammy 1942 Johnny Mercer Victor Schertzinger The Fleet's In A
Unnecessary Town 1956 Johnny Mercer Gene De Paul Li'l Abner A
Until We Kiss 1930 Johnny Mercer Emmerich Kalman Paris In Spring A
Velvet Night 1968 Johnny Mercer Michel Legrand (adap. from Mozart) Elvira Madigan G
Venice In Spring Johnny Mercer Robert Emmett Dolan Messr. Marco Polo D
Very Important Man, A Johnny Mercer Robert Emmett Dolan Messr. Marco Polo D
Village Johnny Mercer, Roy Kaplan Harold Arlen, Roy Kaplan B
Vocal Selections from Good Companions 1975 Johnny Mercer Andre Previn G
Vocal Selections from Saratoga 1963 Johnny Mercer Harold Arlen G
Wait And See 1945 Johnny Mercer Harry Warren The Harvey Girls A
Wait For The Wagon (Wait For The Hoedown) 1962 Johnny Mercer Robert Emmett Dolan How The West Was Won A
Wait No More 1969 Johnny Mercer Elizabeth Firestone G
Wait Till It Happens To You 1941 Johnny Mercer Harold Arlen New Orleans Blues G
Wait Till You See Me In The Morning 1940 Johnny Mercer Hoagy Carmichael I Walk With Music C
Waiter And The Porter And The Upstairs Maid, The 1941 Johnny Mercer Johnny Mercer Birth Of The Blues A
Walkin' With My Shadow 1934 Johnny Mercer Bernie Hanighen A
Wanted Man, A 1973 Johnny Mercer G
Watch A Darky Dance Johnny Mercer Peter TInturin G
Way Back In 1939 AD 1939 Johnny Mercer Hoagy Carmichael Three After Three A
Way It Is, The Johnny Mercer Johnny Mercer G
Way Of A Maid With A Man, The Johnny Mercer Robert Emmett Dolan Messr. Marco Polo D
Way To A Man's Heart, The 1956 Johnny Mercer Gene De Paul Li'l Abner A
We Can All Make Mistakes Johnny Mercer Carl Sigman G
We Do It On A Horse Johnny Mercer Robert Emmett Dolan Messr. Marco Polo D
We Shall Meet To Part, No Never 1946 Johnny Mercer Harold Arlen St. Louis Woman H
We Stayed In Love Too Long Johnny Mercer Archie Bleyer G
We Won't Worry Till Fall Johnny Mercer Henry Souvaine G
Weary Shoulders Johnny Mercer Henry Souvaine G
Wedding In The Spring 1942 Johnny Mercer Jerome Kern You Were Never Lovelier A
Wedding Song 1956 Johnny Mercer Gene De Paul Li'l Abner A
Weekend Of A Private Secretary, The 1938 Johnny Mercer Bernie Hanighen A
Welcome Egghead 1955 Johnny Mercer Johnny Mercer Daddy Long Legs A
Welcome Stranger 1936 Johnny Mercer Johnny Mercer A
We're In Wonderland Johnny Mercer Carl Sigman G
We're Working Our Way Through College 1937 Johnny Mercer Richard A. Whiting Varsity Show A
What A Revoltin' Development This Is 1951 Johnny Mercer Johnny Mercer Top Banana H
What Was Your Name In The States 1962 Johnny Mercer Robert Emmett Dolan How The West Was Won A
What Will I Do Without You 1932 Johnny Mercer & Hilda Gottlieb Lewis E. Gensler College Coach A
Whatcha Sayin', Della? 1958 Johnny Mercer Harold Arlen The Blues G
Whatcha Saying, Bigelow 1958 Johnny Mercer Harold Arlen The Blues G
What-Cha-Ma-Call-It 1956 Johnny Mercer Gene De Paul You Can't Run Away From It A
What'll They Think Of Next? 1940 Johnny Mercer Hoagy Carmichael Three After Three A
Wheel'em And Deal'em 1958 Johnny Mercer Harold Arlen The Blues G
When A Woman Loves A Man 1934 Johnny Mercer Bernie Hanighen & Gordon Jenkins Be Yourself A
When Are We Going To Land A Broad? 1941 Johnny Mercer Arthur Schwartz Navy Blues A
When I'm Out With The Belle Of New York 1951 Johnny Mercer Harry Warren The Belle Of New York A
When Love Walks By 1944 Johnny Mercer Hoagy Carmichael True To Life A
When October Goes 1984 Johnny Mercer Barry Manilow A
When Sally Walks Along Peacock Alley 1949 Johnny Mercer Harry Warren A
When The Meadow Was Bloomin' 1988 Johnny Mercer Barry Manilow A
When The World Was Young 1951 Johnny Mercer M. Philippe-Gerard Ah The Apple Trees A
When We Ride On The Merry-Go-Round 1932 Johnny Mercer & Earl McCarron Ralph W. Bolton A
When You Are In My Arms 1935 Johnny Mercer Lewis E. Gensler Old Man Rhythm A
When You Hear The Time Signal 1942 Johnny Mercer Victor Schertzinger The Fleet's In A
When Your College Days Are Gone 1937 Johnny Mercer Richard A. Whiting Varsity Show F
When You're In Love 1954 Johnny Mercer Gene De Paul Seven Brides For Seven Brothers A
Where You Looking, Della? 1958 Johnny Mercer Harold Arlen The Blues G
Where's The Happy Ending Johnny Mercer Ted Helms G
Which-A-Way'd They Go 1949 Johnny Mercer Robert Emmett Dolan Texas, Li'l Darlin' A
While We Danced At The Mardi Gras 1931 Johnny Mercer Alfred Opler A
Whistling Away The Dark 1970 Johnny Mercer Henry Mancini Darling Lili A
Whistling For A Kiss 1932 Johnny Mercer & E.Y. Harburg Richard Myers Americana A
Who But You Johnny Mercer Johnny Mercer G
Who Knows Johnny Mercer Johnny Mercer G
Whoopin' And A-Hollerin' 1949 Johnny Mercer Robert Emmett Dolan Texas, Li'l Darlin' A
Who's Excited 1952 Johnny Mercer Johnny Hodges A
Why Can't It Be Me? 1936 Johnny Mercer Rube Bloom Lew Leslie's Blackbirds Of 1936 G
Why Didn't I Tell Him? Johnny Mercer Johnny Mercer Mike G
Why Didn't She Tell Me? Johnny Mercer Johnny Mercer Mike G
Why Fight This? 1959 Johnny Mercer Harold Arlen Saratoga A
Wide Place In The Road, A 1964 Johnny Mercer Johnny Mercer A
Wild, Wild West 1945 Johnny Mercer Harry Warren The Harvey Girls A
Will O' The Wisp Johnny Mercer Robert Emmett Dolan Messr. Marco Polo D
Willie The Wolf Of The West 1943 Johnny Mercer Joseph Lilley Riding High J
Windmill Under The Stars 1942 Johnny Mercer Jerome Kern A
Windows Of Paris, The 1963 Johnny Mercer Tony Osborne E
Wings Over The Navy 1938 Johnny Mercer Harry Warren Wings Of The Navy A
Winter In My Heart 1944 Johnny Mercer Nat Shilkret A
With My Lover Beside Me 1988 Johnny Mercer Barry Manilow A
With You With Me 1956 Johnny Mercer Johnny Green A
Without Benefit Of Clergy Johnny Mercer The Pigwar G
Woman's Prerogative, A 1946 Johnny Mercer Harold Arlen St. Louis Woman A
Woman's Work Is Never Done, A 1964 Johnny Mercer Harold Arlen A
Wonderful Wonderful Day 1954 Johnny Mercer Gene De Paul Seven Brides For Seven Brothers A
Won't Dat Be De Blessed Day Johnny Mercer Harold Arlen G
Word A Day, A 1951 Johnny Mercer Johnny Mercer Top Banana A
Word To The Wise Will Do, A 1936 Johnny Mercer Archie Bleyer G
Work Hard, Love Hard 1958 Johnny Mercer Harold Arlen The Blues G
Working Now For Me 1958 Johnny Mercer Harold Arlen The Blues G
Workman's Song 1959 Johnny Mercer Harold Arlen Saratoga A
World Is My Apple, The 1937 Johnny Mercer Richard A. Whiting Ready, Willing And Able F
World Of Maurice Chevalier, The Johnny Mercer Robert Emmett Dolan A
World Of My Heart, The 1965 Johnny Mercer Johnny Green Johnny Tiger H
Would'ja For A Big Red Apple 1930 Johnny Mercer & Everest Miller Henry Souvaine Americana A
Wrap Yourself In Cellophane 1935 Johnny Mercer Hoagy Carmichael C
Yearly Consular Ball, The 1961 Johnny Mercer Johnny Mercer G
Yodel Blues 1949 Johnny Mercer Robert Emmett Dolan Texas, Li'l Darlin A
Yogi Who Lost His Willpower, The 1940 Johnny Mercer Jimmy McHugh You're The One A
You 1933 Johnny Mercer Joseph Meyer A
You And Your Love 1939 Johnny Mercer Johnny Green A
You Best Take Lila Back 1958 Johnny Mercer Harold Arlen The Blues G
You Came Along Johnny Mercer Robert Emmett Dolan G
You Can Say That Again (You're The Difference) 1944 Johnny Mercer & Carl Sigman Freddie Slack A
You Can't Always Have What You Want 1957 Johnny Mercer Saul Chaplin Merry Andrew A
You Can't Lose Johnny Mercer Johnny Mercer Mike G
You Can't Run Away From It 1956 Johnny Mercer Gene De Paul You Can't Run Away From It A
You For Me 1959 Johnny Mercer Harold Arlen Saratoga A
You Go Your Way 1973 Johnny Mercer Johnny Mercer G
You Gotta Be A Grandparent Johnny Mercer Johnny Mercer G
You Gotta Have A Slogan 1951 Johnny Mercer Johnny Mercer Top Banana A
You Grow Sweeter As The Years Go By 1939 Johnny Mercer Johnny Mercer A
You Have Taken My Heart 1933 Johnny Mercer Gordon Jenkins A
You Know You Don't Want Me (So Why Don't You Leave Me Alone?) 1963 Johnny Mercer Robert Emmett Dolan A
You Must Have Been A Beautiful Baby 1938 Johnny Mercer Harry Warren Hard To Get A
You Never Miss The Water Till The Well Runs Dry Johnny Mercer Peter Tinturin G
You Or No One 1959 Johnny Mercer Harold Arlen Saratoga A
You Took The Words Right Out Of My Heart 1954 Johnny Mercer Johnny Mercer G
You Were Never Lovelier 1942 Johnny Mercer Jerome Kern You Were Never Lovelier A
You'll Find Out 1940 Johnny Mercer Jimmy McHugh You'll Find Out A
Young And Free 1981 Johnny Mercer Johnny Rotella G
Your Good Will Ambassador 1968 Johnny Mercer Henry Mancini Darling Lili G
Your Heart And Mine 1936 Johnny Mercer Rube Bloom Lew Leslie's Blackbirds of 1936 A
Your Heart Will Tell You So 1947 Johnny Mercer Robert Emmett Dolan A
Your Make-Believe Ballroom 1952 Johnny Mercer, Leon Rene, Al Jarvis Johnny Mercer, Leon Rene, Al Jarvis A
You're A Natural 1941 Johnny Mercer Arthur Schwartz Navy Blues A
You're My Love Johnny Mercer Robert Emmett Dolan Messr. Marco Polo D
You're So Beautiful -- That 1951 Johnny Mercer Johnny Mercer Top Banana A
You're The One (For Me) 1940 Johnny Mercer Jimmy McHugh You're The One A
Yours For Keeps 1957 Johnny Mercer Vernon Duke E
You've Got Me This Way 1940 Johnny Mercer Jimmy McHugh You'll Find Out A
You've Got Me Where You Want Me 1944 Johnny Mercer Harry Warren A
You've Got Something There 1937 Johnny Mercer Richard A. Whiting Varsity Show
Thursday, January 22, 2009
DUKE'S ROAD MGR. FOR 50 YRS. BOB UDKOFF JUNE 17, 1933 - JAN. 21, 2009
JUNE 17, 1918 TO JAN 21, 2009
NEARLY 10 YEARS AGO BOB EULOGIZED THE GREAT JOE WILLAMS. BUT FEW ARE LEFT TO EULOGIZE BOB. OFF HAND,THE ONLY MEMBER OF THE DUKE ELLINGTON ORGANIZATION I CAN THINK OF IS CLARK TERRY.
BUT ANY MUSICAN KNOWS THAT PEOPLE WHO ASSIST THEM ARE INDISPENSABLE, ESPECIALLY FOR AN ORGANIZATION SUCH AS DUKE'S
BOB'S ASSOCIATION WITH DUKE BEGAN IN THE MID 30s WHEN HE WAS ONLY 14 YEARS OLD. BOB STAYED WITH DUKE UNTIL DUKE PASSED.
I'VE KNOWN BOB FOR NEARLY TWO YEARS, AND I'VE TRIED TO RECORD EVERYTHING HE TOLD ME. SOME THINGS I COULDN'T RECORD. THE LAST POSTING WAS APRIL 18, 2008, THE DAY AFTER HIS 90TH BIRTHDAY HE TOOK THE BUS FROM BEVERLY HILLS TO SANTA MONICA FOR A VISIT.
I KNOW HE HAS A DAUGHTER, BUT I THINK HIS WIFE PASSED BEFORE HE DID.
THERE ARE ALSO EARLIER POSTINGS WHEN HE TOLD ME HOW HE FIRST MET DUKE AND WHAT DUKE TOLD HIM TO DO LIKE WHENEVER DUKE TOURED THE SOUTH, IT WAS BOB WHO WAS THE ADVANCE MAN. DUKE TOLD BOB TO GO AHEAD OF THE BAND, FIND THE BLACK UNDERTAKER IN THE DIFFERENT SOUTHERN CITIES. THE UNDERTAKER WOULD KNOW ALL THE BLACK FAMILIES; SO DUKE COULD FIND ENOUGH HOUSING FOR THE BAND. THEN LATER DUKE GOT HIS OWN TRAIN CAR.
WWW.WENJAZ.BLOGSPOT.COM
--------------------------------------------------------------------------------
--------------------------------------------------------------------------------
April 08, 1999
Jazz great Joe Williams praised in Las Vegas services
By Robert Macy
ASSOCIATED PRESS
LAS VEGAS - Legendary jazz singer Joe Williams was eulogized as an extraordinary talent who touched a multitude of lives, but never lost the common touch.
"Joe's head never got as big as his talent," longtime friend Bob Udkoff said Wednesday. "He could even make a telephone book sound good."
Williams, 80, died March 29 when he left his hospital bed and tried to walk three miles to his home.
Williams, who performed with every great jazz artist of the past half-century, was equally at home "at an inner-city club or the White House," Udkoff told an overflow crowd at memorial services for the jazz icon.
Singer Robert Goulet told friends and family that Williams was "one of the few good friends I ever had."
Goulet drew laughter as he recounted golf outings with his longtime friend.
He said he declined to sing at the services because he was afraid he'd lose his composure.
"I'm a bit of a sissy in such matters," Goulet said.
Goulet ended his eulogy by reading a poem he'd written shortly after learning of his friend's death.
"His memory will live as long as our memories live," Goulet said in closing.
Singer Nancy Wilson expressed her love for Williams and said she had enjoyed working with him through the years. Her voice quivered as she sang the lyrics "Precious Lord, take my hand, lead me home."
The Rev. Richard Walter, minister at the First Church of Religious Science, told of talking with Williams and his wife, Jillean, after a recent church service. He said Williams may have had a premonition, talking of three close friends who had died recently.
Then, the minister said, Williams reached down and took his wife's hand.
"Like a good horse, I know my way home," he told the minister.
Williams died of natural causes. He had walked nearly three miles and was a few blocks from his home on the city's east side when he collapsed and died.
"He wanted to get out of the hospital desperately," Jillean Williams said at the time of his death.
Williams performed alongside every great jazz artist of the past half century, including Count Basie, Miles Davis, Ella Fitzgerald, Dizzy Gillespie, Lionel Hampton, Lena Horne and Sarah Vaughan.
He earned a star on the Hollywood Walk of Fame and won a Grammy for his album "Nothing but the Blues."
Williams' appeal stretched to other mediums: He played Bill Cosby's father-in-law, Grandpa Al, on "The Cosby Show" in the 1980s. He and Cosby were friends, and the childhood memories Grandpa Al spun on the show were his own from Chicago.
At the time of Williams' death, President Clinton called the singer a national treasure.
Williams and Basie played together from 1954 to 1961, and Williams often performed with Basie until his death in 1984. Williams dedicated his renditions of "You Are So Beautiful" to Basie.
In his later years, Williams sang on cruise ships, at festivals, in hotels and clubs, working about 40 weeks a year.
He was active in various charity events in Las Vegas, the city he called home since 1967.
Williams began performing a stint at Jazz Alley in Seattle on March 16, but was hospitalized three days later with respiratory problems, his wife said. He returned to Las Vegas March 22 and was admitted to Sunrise Hospital for continued treatment.
DUKE GAVE BOB THE BAND FOR BOB'S 50TH BIRTHDAY CELBRATION, 40 YEARS AGO!
--------------------------------------------------------------------------------
If you watched the documentary "Reminiscing in Tempo", you will have seen Bob Udkoff as "a talking head" on screen. He was a close friend of Duke, a founder of the Love You Madly Club, and he is mentioned several times in MIMM (pp129, 396 and 405). Bob and Duke first met in 1934. Udkoff worked for a dry cleaner and dropped off Duke's clothes at the Dunbar Hotel where Duke was staying. When Bob recently moved to Beverly Hills he stumbled on a set of nine reel to reel tapes with recordings of the Ellington band. He gave them to Mark Cantor with the instruction that they should be made available to Ellington aficionados on a non-commercial basis. Mark gave the tapes to Steven Lasker, who has sent them to DEMS.
The most surprising set of tapes is a group of five which contain copies from a more original set of seven, recorded at Bob Udkoff's 50th birthday-party on 17Apr68 at the El Caballero Country Club in Los Angeles. Duke with the band and many other guests attended the party and Duke played a lot of terrific piano solos and sometimes the band joined in. The band members certainly did not use their charts. They played more relaxed than we have ever heard them, and this became more apparent as the evening progressed.
The balance between the two channels in this stereo recording is very poor, there are rather a lot of interruptions, and the volume is not constant; but the sound as such is great. The greatest drawback is the almost constant loud chatter of the guests. Duke on the other hand played the piano as if he was completely alone one would say, but surprisingly he occasionally took part in the discussions even during his piano playing.
Duke started with Salute to Morgan State and I Can't Get Started. Then came I Let a Song Go Out of My Heart followed by Don't Get Around Much Anymore, which was played by the band with Johnny Hodges soloing. Jimmy Jones took over and played the piano in Satin Doll with Cat Anderson as soloist. I did not spot a piano part in I Left My Heart in San Francisco, played by Lawrence Brown, but Duke was back at the piano in order to play The Twitch with the full band. The band then joined Duke after many introductions in Mood Indigo. Cootie soloed in Fly Me to the Moon. The band continued with a second performance of Satin Doll. Dear late Terrell Allen would have enjoyed the party because Satin Doll was played in total five times. This second time Duke was at the piano and Paul Gonsalves soloed. Duke played Dance No 3 from the Liberian Suite as a piano solo, followed by Stompin' at the Savoy, which also started with a great piano introduction. I would not be surprised if the trumpet solo was played by Benny Carter. The next selection was Blue Bells of Harlem, followed by Meditation and New World a-Comin' as background music for the chatter and the many sounds produced by people enjoying their meals. This was followed by New York City Blues when the waiters collected the plates. Fats Waller's Squeeze Me was played by Duke and Jimmy Jones, probably together at one piano. Johnny Hodges played his usual solos in Drag, Prelude to a Kiss and Things Ain't What They Used To Be, which is incomplete at the end because the tape ran out. Cat Anderson soloed in I'm Beginning To See the Light. It was time for the third performance of Satin Doll, this time as background for Duke's talk and introduction of Bob and Evelyn Udkoff. After Bob's speech everybody joined the band in Happy Birthday. A brand-new Ellingtonian now has to be added to the discography, since Marian Logan sang I Got It Bad and Tenderly with the band and with Jimmy Jones at the piano. Jimmy stayed at the piano for Joe Williams' renditions of Every Day I Have the Blues and Jump for Joy. There was a lot of pressure put upon Harry Mills (one of the Brothers) to sing Paper Doll. He didn't but Lawrence Brown (famous for knowing every melody by heart) played a wonderful solo. The community singing of Shine on Harvest Moon was preceded by a lot of discussion between Patty Andrews (one of the Sisters) and Harry Mills. They were joined by many others. Several Duke LYM friends have helped me to identify this song, which enabled me to put the tapes in the correct sequence. The discussion in which the title is mentioned comes at the end of one tape and the song (which I couldn't identify) is at the beginning of another. Trish Turner continued the program with Misty. There is a voice in the audience asking for Johnny Hodges to play Come Sunday. In the event Duke gave the responsibility to Tony Watkins, whose rendition silenced the guests. What a relief! The guests thankfully remained very quiet during Duke's Monologue. Harry Carney gave his usual rendition of Sophisticated Lady and Benny Carter played on his sax Body and Soul. Duke started Tootie for Cootie, but since Cootie was not available at that moment, he continued with It Don't Mean a Thing by Trish Turner and Tony Watkins. This was followed by a complete rendition of Things Ain't What They Used To Be. Duke invited Joe Williams to join Trish Turner and Tony Watkins in what became more or less a medley of blues themes with Jimmy Jones once again at the piano. The one I could identify is Stormy Monday Blues. Duke returned to the piano to play the fourth rendition of Satin Doll. Apparently Cootie now showed up, because Duke was now successful in starting Tootie for Cootie. Trish Turner did Me and You, in which Paul played a nice solo, and Willow Weep for Me. I have the impression that Benny Carter played trumpet and Oliver Nelson tenor in this number. The full band continued with Take the "A" Train, which is interrupted because the tape had to be turned over. Duke played Solitude with Lawrence Brown, an absolutely unique performance. After that Duke wanted to start the band off in Ocht O'Clock Rock, but he changed his mind and continued with Happy-Go-Lucky Local. Johnny Hodges played I Got It Bad and then the full band played Ocht O'Clock Rock. The evening came to a conclusion with the fifth version of Satin Doll plus speeches by Duke and Bob Udkoff.
I copied the five tapes onto three CDs and sent sets to Steven Lasker and Mark Cantor. Because of the low quality, the constant chatter and their private character, these recordings are totally unsuitable for a commercial release. Were I to offer to makecopies I wonder how many people would be disappointed, considering the very loud presence of these party-goers.
There are four other tapes in Bob Udkoff's collection. Two of them contain two Sacred Concerts at an identical location, Temple Emanuel in Beverly Hills, on an identical date, 15 Nov, but in two different years, 1966 and 1970. The quality is absolutely terrible. It is just about good enough to identify the selections. I will make copies for Luciano Massagli and Giovanni Volonté for inclusion of these concerts in the New DESOR. Nobody would be willing to listen to these tapes more than once. Their significance is exclusively historical.
The last two tapes contain well known released material. One has the broadcast from Basin Street East in NYC on 14Jan64. I have compared the tape with the CD release on Music and Arts 908 (see DEMS 96/2-10). The conversation between Duke and William B. Williams is almost the same. There are a few words, like the repeat of a sentence and one silly joke, which are left out to make the broadcast fit onto one CD (77:51). No music and no words spoken by Duke are affected.
The last tape contains the complete concert of 27May60 at the Civic Auditorium in Santa Monica, in mono. The complete concert has been released on two stereo LPs, Queen Discs Q-069 and Q-070. On my LP Passion Flower is slightly mutilated. It is not mutilated on another stereo tape from the Benny Aasland collection, or on the Bob Udkoff mono tape.
Sjef Hoefsmit
BOB'S COLLECTION AT SMITHSONIAN
Login My List - 0 Help
Search
Search Images
About
More Smithsonian Searches
Who else has...
Udkoff, Robert (businessman),
Jazz musicians
Jazz
Music
Periodicals
Ellington, Mercer Kennedy
Ellington, Duke,
Swedish Music Academy
Photographs
Correspondence
Programs
Clippings
Audiotapes
Television scripts
Robert Udkoff Collection of Duke Ellington Ephemera, 1924-1990.
Creator: Udkoff, Robert (businessman),April 17, 1918- Jan 21,2009(collector).
Title: Robert Udkoff Collection of Duke Ellington Ephemera, 1924-1990.
Phy. Description: 1.33 cu. ft.: 4 document boxes.
Bio / His Notes: Businessman and Ellington enthusiast, Robert Udkoff was born in Chicago and first heard Duke Ellington perform at Chicago's Oriental Theater in 1928. In 1932 he established a cordial relationship with Ellington that lasted until Ellington's death in 1974.
Scope and Content: Photographs, event programs, periodicals, cassette audio tapes, correspondence, TV program scripts and pamphlets documenting Duke Ellington's career as a musician, 1924-1974, and his legacy after his death.
Organization: Divided into five series: (1) Photographs, 1964-1968; (2) Publications, 1944-1990; 3) Memorabilia, 1965-1981; (4) Correspondence and sketches, 1958-1990; (5) Cassette audio tapes, 1924-1933.
Finding aids: Register available from repository. Controls collection at folder level.
Cite as: Robert Udkoff Collection of Duke Ellington Ephemera, 1924-1990, Archives Center, National Museum of American History.
Restrictions: Unrestricted research use on site, by appointment.
Copyright restrictions.
Subject-Topical: Jazz musicians -- United States
Jazz -- 20th century -- United States.
Music -- 20th century
Periodicals
Subject-Name: Ellington, Mercer Kennedy (musician), 1920?-1996
Ellington, Duke, 1899-1974
Swedish Music Academy
Form / Genre: Photographs -- 1960-1970
Correspondence -- 1940-1990
Programs
Clippings
Audiotapes -- 1920-1940.
Television scripts
Repository Loc: Smithsonian Institution, National Museum of American History : Archives Center. P.O. Box 37012, Suite 1100, MRC 601, Constitution Ave., between 12th and 14th Sts., N.W., Washington, D.C. 20013-7012. Call 202-633-3270 for appointment. Fax: 202-786-2453.
Local Number: 1990.3182 (NMAH Acc.)
Item information
Repository Call No.
Archives Center at American History ACNMAH 0388 Add Copy to MyList
Format: HTMLPlain textDelimited
Subject:
Email to:
Graveside services at noon on Sunday at Mount Sinai Memorial Park, 5950 Forest Lawn Drive. LOS ANGELES, CA.
--
TUNES ON SAXELLO: "WE MUST BE STRONG AND ONE!" AKA "SUNDAY MORNING SANTA MONICA", "CENTRAL PARK WEST", "BARACK'S BLUE SKYLIGHT", "PORTRAIT", "DUKE'S SOUND OF LOVE", "GIANT STEPS", "TONES FOR JONES BONES", "SKYLARK", "ROUND MIDNIGHT", " MONK'S MOOD", "KATRINA BALLERINA","ROBERTA GAMBARINI", "CORAL KEYS", "SOULTRANE", "AFTERNOON IN PARIS", "THE PEBBLE BEACH THEME", " RED CLAY", "ON A MISTY NIGHT", "IF YOU COULD SEE ME NOW", "THIS MASQUERADE", "MY FUNNY VALENTINE", "BARACK'S THE TALK OF THE TOWN", "LITTLE SUNFLOWER", "INDIAN SUMMER", "BLACK NARCISSUS", "LOVER, COME BACK TO ME ", "SOUL EYES", "LITTLE RED'S FANTASY", "ONLY TRUST YOUR HEART", "FANTASY IN D", "VIRGO", "LOVELY LIZ","CORCOVADO","SANTA MONICA MOON","POLKA DOTS AND MOONBEAMS", "PENSATIVA","VIOLETS FOR YOUR FURS", "LAURIE", "SUE'S SUNRISE", "TRISTE","THE SECOND TIME AROUND", "OBAMA'S RAINBOW PEOPLE", "DON'T BLAME ME", "MOONLIGHT IN VERMONT"."RECORDA ME", "GUESS I'LL HANG MY TEARS OUT TO DRY", "ESTATE", "MOON AND SAND", "BLACK NILE", "WARM VALLEY","EMBRACE OBAMA", "NAIMA", "I JUST DON'T KNOW ABOUT LIZ"(duke), "MADELYN MY DEAR"(monk), "IT MIGHT AS WELL BE SPRING", "DAYS OF WINE AND ROSES", "MY ONE AND ONLY LOVE ", "NIGHT AND DAY", "I REMEMBER CLIFFORD", "LAMENT", "SMOKE GETS IN YOUR EYES", "LUSH LIFE","CHELSEA BRIDGE", "BLOODCOUNT", "BARACK'S BROWN BOOK", "A FLOWER IS A LOVESOME THING","ISFAHAN", "LAURA", "DEAR LORD", "BARACK AND SOUL", "WHAT'S NEW", "NANCY ", "MY FOOLISH HEART", "IT MIGHT AS WELL BE SPRING", "ALL MY LOVE" , "BLUE AND GREEN ", "I LEFT MY HEART IN S.F.", "MY FAVORITE THINGS", " BUD POWELL", "DEL SASSER", "STARDUST", "TOO YOUNG TO GO STEADY", "YES OR NO", "POOR BUTTERFLY","UP JUMPED SPRING". www.jamwave.com charts then JAZZ
GREAT DAY IN L.A. JAM SESSION www.jamwave.com/birdmew "NOW'S THE TIME", "WHAT A WONDERFUL WORLD"(CLORA BRYANT JAZZ MASTER), "OVER THE RAINBOW" www.mewbird.blogspot.com for photos and more info.
MEWSIC is back at www.europamp3.com click musicians then W for Wen
--------------------------------------------------------------------------------
A Good Credit Score is 700 or Above. See yours in just 2 easy steps!
Monday, January 19, 2009
A WEEKEND AT NAMM 2009 TO ME EXEMPLIFIED THE HISTORY OF JAZZ SAXOPHONE!
Meeting JAMES CARTER on Saturday and DAVE PELL on Sunday brought forth the history of JAZZ SAXOPHONE to me.
CARTER WHO'S UNDOUBTEDLY ONE OF TODAY'S SAXOPHONE MONSTERS ALONE DISPLAYS EVERY SAXOPHONIST OF NOTE IN HIS PLAYING, AND HE HAS ANOTHER 50 YEARS TO ESTABLISH HIMSELF AS ONE OF THE GREATEST.
PELL WHO HAS MAYBE ANOTHER 20 YEARS OF GOOD MUSIC LEFT WAS ALREADY A STAR IN THE 40s and 50s.
i learned of Pell when i was in high school many years ago when i had ambitions to be a lead alto player. a teacher told me to listen to LES BROWN AND THE BAND OF RENOWN, BOB HOPE'S BAND SO TO SPEAK. i listened to RONNIE LANG the lead alto player, but when i heard PELL i wanted to become a soloist, but i didn't know anything about theory; so i really didn't know what to do.
PELL HAD ALREADY DONE HIS HOMEWORK, LESTER YOUNG, his obvious hero. PREZ was also BIRD'S hero and PREZ'S long, lovely lyrical lines had captured the fancy of most saxophonists and jazz fans at the time. (PELL LATER CREATED PREZ CONFERENCE, 3 TENORS PLAYING PREZ SOLOS IN HARMONY.)
CARTER a real student and technician of the saxophone (he even told me how to fix my donut hole on the saxophone. that's the C# key where the spring is always slipping out, and if you don't catch it you're intonation will go to hell.) displays every saxophone player from SIDNEY BECHET to ORNETTE COLEMAN, DAVID MURRAY AND ALBERT AYLER.
SO THESE TWO GENTLEMEN REALLY MADE MY WEEKEND.
ALSO I CAN'T BELIEVE HOW GENEROUS AND KIND PEOPLE IN THE MUSIC INDUSTRY ARE, NOT ONLY THE MUSICIANS, BUT PRESIDENT OF THE OTTO LINK COMPANY OFFERED TO FIX MY MOUTHPIECE FOR ME, AND
THE RIGOTTI, MARCA PEOPLE FROM FRANCE GAVE ME SOME REEDS, THE BG PEOPLE GAVE ME SOME MATERIAL TO FIX MY PADS. THE RICO GUY IS GOING TO SEND ME SOME PLASTICOVER REEDS CARTER USES.
MRS. BEECHLER AND HER CEO OFFERED TO DUPLICATE ANY MOUTHPIECE I HAVE.
HOWEVER WHAT I LEARNED FROM THE HEAD OF OTTO LINK is that you can't really duplicate a mouthpiece. each one is different almost like a STRADAVARIUS. also each good saxophone is different. i even played a curved soprano made in BEIJING which sold for $235, and it played fine. you wouldn't want to make a recording with it, but you could get buy with it on a gig.
THE CEO OF OTTO LINK OR J.J. BABBITT TOLD ME THAT IF YOU PLAY THE SAME MOUTHPIECE FOR 20, 30 YEARS AS I HAVE, YOU GET SO USED TO IT THAT NOTHING WILL MATCH IT. E.G. THE MOUTHPIECE GAP ACTUALLY WIDENS WITH TIME. RICHIE COLE PLAYED A MEYER 5, AND HE WANTED A NEW ONE; SO HE TRIED DOZENS, BUT NONE OF THEM SATISFIED HIM. SO WHEN THEY MEASURED HIS MOUTHPIECE, IT WAS SO WORN, IT WAS ACTUALLY A SIX. BUT IF HE WERE TO PLAY A SIX, IT STILL WOULDN'T BE THE SAME.
I HAVE A FRED LAMBERSON WHICH IS NOW A SEVEN, BUT IT HAS SPECIAL GROOVES IN IT WHICH LAMBERSON HAD PUT IN PERSONALLY. YOU JUST CAN'T DUPLICATE THIS KIND OF CRAFTSMANSHIP.
I MET FRED RAST WHO HAS MADE MOUTHPIECES FOR KENNY GARRETT, HAFEZ MODAZAHDEIR. HE'LL MAKE YOU WHATEVER YOU WANT FOR ABOUT $300. HE EVEN LET ME TRY HIS PERSONAL MOUTHPIECE, BUT STILL IT WASN'T LIKE MINE.
BUT IN THE END, IT'S WHAT INSIDE OF YOU WHICH PRODUCES THE SOUND. BIRD, RABBITT, TRANE, BALL DIDN'T HAVE THE EQUIPMENT THAT EXISTS TODAY, BUT THEIR SOUND ENDURES.
Friday, January 16, 2009
A GREAT DAY IN L.A. (@all rights reserved, FRIENDS OF JAZZ U.C.L.A. OCT. 12, 2008
THIS PHOTO WAS TAKEN ON OCTOBER 12, 2008 by KELSEY EDWARDS PHOTOGRAPHY.
OVER 250 ARTISTS, VOCALISTS, COMPOSERS, ARRANGERS GATHERED this beautiful October Sunday to document and celebrate the rich diversity of the LOS ANGELES JAZZ COMMUNITY!
POSTERS AND T-SHIRTS ARE AVAILABLE AT WWW.FRIENDSOFJAZZ.UCLA.EDU
ALL PHOTOGRAPHS WILL BE PRESERVED IN PERPETUITY AT THE KENNY BURRELL ARCHIVE OF THE RALPH J. BUNCHE CENTER FOR AFRICAN AMERICAN STUDIES AT UCLA. ALL PROCEEDS FROM THE SALES WILL BENEFIT THE KENNY BURRELL ARCHIVE.
AMONG THOSE IN THE PHOTO, QUINCY JONES, KENNY BURRELL, HERB ALPERT, JAMES NEWTON, GERALD WILSON, BUDDY COLLETTE, PAGE CANVANAUGH (WHO HAS SINCE PASSED!), KENDALL KAY, RICARD SIMON, EJ CAINE, DENNIS MITCHELLTREE, DR. BOBBY RODRIQUEZ, KEI AKAGI, HUBERT LAWS, JUSTO ALMARIO, JOHN CAMPBELL, BARBARA MORRISON, CLORA BRYANT, LANI HALL ALPERT, ERNIE ANDREWS, THE BANDAS, BENNIE MAUPIN, GILDO MAHONES, LES BENEDICT, JOHN CLAYTON, RUSSELL FERANTE, RON ESCHETE, SARA GAZAREK, STUART ELSTER, GERRY AND TERRY GIBBS, DR. ROLAND HOLMES, PLAS JOHNSON, JAMES JANISSE, GRANT GEISMAN, SHEILA GONZALEZ, BILL HENDERSON, HAROLD LAND JR., CARMEN LUNDY, JEFF LORBER, SID JACOBS, JEFF JARVIS, DAVE KOONSE, JOE LABARBARA, LUTHER HUGHES, JAMES LEARY, JENNIFER LEITHAM, EDWIN LIVINGSTON, NICK MANCINI, JANIS MANN, BOB MINTZER, CHUCK MANNING, BOBBY MATOS, KEVYN LETTAU, LES MCANN, ROY MCCURDY, LANNY MORGAN, ROBERTO MIRANDA, BILLY MITCHELL, RALPH MOORE, ANN PATTERSON, ALAN PASQUA, JOSE RIZO, VI REDD, RALPH PENLAND, PHIL RANELIN, TOM RANIER, HOWARD RUMSEY,CHARLES OWENS, ALPHONSE MOUZON, GAEL SCHELL, LALO SCHIFRIN, NOLAN SHAHEED, BOB SHEPPHARD, LESA TERRY, PHIL UPCHURCH, PAT SENATORE, PUTTER SMITH, PINKY WINTERS, RICKY WOODARD, SNOOKY YOUNG, BARRY ZWEIG, AND MANY, MANY MORE!!!!!!!!!!!!
Monday, December 29, 2008
NEA JAZZ MASTER FREDDIE HUBBARD
In this Jan. 13, 2006 file photo, Jazz musician Freddie Hubbard receives a National Endowment for the Arts Jazz Masters Award at the NEA Jazz Masters Awards Concert in New York. Hubbard, the Grammy-winning jazz musician whose style influenced a generation of trumpet players and who collaborated with such greats as Ornette Coleman, John Coltrane and Sonny Rollins, died Monday, Dec. 29, 2008,at Sherman Oaks Hospital in Los Angeles according to Hubbard's manager, David Weiss. He had been hospitalized since suffering a heart attack last month. He was 70. (AP Photo/Jennifer Szymaszek, file)
©2008 Google - Map data ©2008 Tele Atlas - Terms of Use
Great jazz trumpeter Freddie Hubbard dies at 70
By JOHN ROGERS – 2 hours ago
LOS ANGELES (AP) — Freddie Hubbard, the Grammy-winning jazz musician whose blazing virtuosity influenced a generation of trumpet players and who collaborated with such greats as Ornette Coleman, John Coltrane and Sonny Rollins, died Monday, a month after suffering a heart attack. He was 70.
Hubbard died at Sherman Oaks Hospital, said his manager, fellow trumpeter David Weiss of the New Jazz Composers Octet. He had been hospitalized since suffering the heart attack a day before Thanksgiving.
A towering figure in jazz circles, Hubbard played on hundreds of recordings in a career dating to 1958, the year he arrived in New York from his hometown Indianapolis, where he had studied at the Arthur Jordan Conservatory of Music and with the Indianapolis Symphony.
Soon he had hooked up with such jazz legends as Thelonious Monk, Miles Davis, Cannonball Adderley and Coltrane.
"I met Trane at a jam session at Count Basie's in Harlem in 1958," he told the jazz magazine Down Beat in 1995. "He said, `Why don't you come over and let's try and practice a little bit together.' I almost went crazy. I mean, here is a 20-year-old kid practicing with John Coltrane. He helped me out a lot, and we worked several jobs together."
In his earliest recordings, which included "Open Sesame" and "Goin' Up" for Blue Note in 1960, the influence of Davis, Chet Baker and others on Hubbard is obvious, Weiss said. But within a couple years he would develop a style all his own, one that would influence generations of musicians, including Wynton Marsalis.
"He influenced all the trumpet players that came after him," Marsalis told The Associated Press earlier this year. "Certainly I listened to him a lot. ... We all listened to him. He has a big sound and a great sense of rhythm and time and really the hallmark of his playing is an exuberance. His playing is exuberant."
Hubbard played on more than 300 recordings, including some of the most important jazz albums of the 1960s, including Herbie Hancock's "Maiden Voyage," Coleman's "Free Jazz," Eric Dolphy's "Out to Lunch," Coltrane's "Ascension," Wayne Shorter's "Speak No Evil" and his own classic, "Ready for Freddie."
However, he enjoyed his biggest success in the 1970s with such albums for Creed Taylor's fusion-oriented CTI label as "Red Clay" and "First Light." The latter won him a Grammy in 1972 for best jazz performance by a group.
"Freddie made popular fusion records for CTI that reached a mass audience but were still artistic and unmatched," fellow trumpeter Chris Botti said Monday.
But Hubbard did not abandon straight-ahead acoustic jazz, also performing and recording in the 1970s with the group V.S.O.P., which included the members of Miles Davis' legendary 1960s quintet — Hancock, Shorter, Ron Carter and Tony Williams.
"I've played some things that I don't think too many cats can play that are alive today," Hubbard told the AP in June when he was in New York to perform at the Iridium jazz club to celebrate the release of his last album, "On the Real Side."
"Whatever they play, it's not going to surpass that," he said of his body of work. "You see, I played like a tenor saxophone, so a lot of the things with me are kind of different, kind of hard to play."
As a young musician, Hubbard became revered among his peers for a fiery, blazing style that allowed him to hit notes higher and faster than just about anyone else with a horn. As age and infirmity began to slow that style, he switched to a softer, melodic style and played a flugelhorn.
"I think that Freddie Hubbard probably is the greatest trumpet player ever — his sound and his phrasing and his approach to the instrument. His prowess on the instrument left him in a league of his own, like a Michael Jordan or Tiger Woods in sports," Botti said.
Frederick Dewayne Hubbard was born in Indianapolis on April 7, 1938. He grew up playing mellophone, trumpet and French horn.
After his early recordings for Blue Note, he joined Art Blakey's Jazz Messengers in the early 1960s, later playing in groups with Quincy Jones, George Duke and numerous others. His recordings would span such styles as bebop, fusion, free jazz and jazz-rock.
His career slowed in the 1980s, and he attributed that in part to a period of heavy drinking and partying with "the rock crowd."
In the 1990s, relentless touring, coupled with his hard style of playing, nearly ended his career when his lip became infected. He had to lay off for a period of time and eventually switch to a softer style.
"I played a very loose, elastic style of playing. I used a lot of slurs, different moves. I advise any young trumpeter not to do what I did, because that style could be hazardous to your health," he said last June.
He came back in the last decade, however, releasing "New Colors" in 2001 and "On The Real Side" in 2008, both with the New Jazz Composers Octet playing updated arrangements of some of his compositions, such as "Theme for Kareem."
In 2006, Hubbard was named a National Endowment for the Arts Jazz Master, the nation's highest jazz honor.
A memorial tribute is planned for next month in New York.
When Your Chops Are Shot
By FRED SHUSTER
Downbeat Magazine, October, 1995 (p. 22)
Trumpet great Freddie Hubbard greets a visitor to his cozy split-level Hollywood Hills home with a friendly handshake that belies the worry in his eyes.
At age 57, after a career that dates back to the glory days of bebop, the growth of Blue Note records and the emergence of fusion and jazz-rock, Hubbard finds himself unable to play for long stretches, the result of a split lip that became infected when he refused to curtail a series of engagements two years ago.
In sports and in dance, performers often "play through" injuries, attempting to put mind over matter in order to get through an important date. In years past, Hubbard, like other trumpeters, relied on sheer willpower to downplay a bothersome lip or some other impediment. This time, the obstacle proved too great. He's been off the road for 18 months, and it was only with much effort that he managed to complete sessions for his current album, MMTC (Monk, Miles, Trane, & Cannon), his first studio date in 10 years.
Hubbard traces his problem to a series of shows beginning in late 1992, when he flew to Europe on a gig with Slide Hampton's band, alongside fellow trumpeters Roy Hargrove and Jon Faddis. "I started playing high notes with Faddis and got carried away," Hubbard says seriously, sitting at a wooden desk in his office/practice room at home. "High notes aren't my forte. I came back, went to Philly and played with some guys without warming up. That's when my top lip popped. Then I went to New York and played the Blue Note for a week. That's when I should have stopped cold."
But Hubbard didn't stop there. Instead, he went back to Europe for a big band date, and soon after realized his lip had become infected. When he returned to Los Angeles, a doctor performed a biopsy, fearing cancer. "I said to myself, 'Man, I'm going to get a day job. This is terrible.'"
Hubbard says, adding also that he was drinking too much and partying with "the rock crowd." In addition, he conceded that he missed several gigs due to these problems.
Cancer was ruled out, but Hubbard was left with upper lip tissue so sore he was unable to play with the steely verve and confidence he was famous for. "People looked at me and said, 'Is he doped up? Is he messed up on something?' But it happens to most trumpet players during their career,"
Hubbard says. "it happened to Louis Armstrong. Miles quit for five years. Eventually you just say, 'damn, let me put this thing down and give my chops a rest.' I've always played with a lot of energy--maybe too much. So, I had to change my embouchure by going back to the basics and learning to warm up and play soft. I used to just pick up the trumpet and blow hard. I had to go back, get some books and consult with classical trumpet teachers. I couldn't play a note for a while because it was so tender. It's so frustrating not being able to blow the way I blew."
Actually, for a project that was so difficult to finish, MMTC is a sturdy effort. The MusicMasters release includes four Hubbard originals, plus John Coltrane's "Naima," Thelonious Monk's "Off Minor," Miles Davis' "All Blues," and Charles Lloyd's "The Song My Lady Sings." The album features alto saxophonist Vincent Herring and drummer Carl Allen, both of whom were responsible for laying down many of the tracks so Hubbard could record his parts in various sessions over a 10 month period.
"It was the hardest date I ever made," Hubbard says. "It took a long time to finish. I had to dig really deep, but I think when people hear it, they'll hear the feeling I put in to it."
The album is obviously dedicated to four influential artists: Monk, Miles, Coltrane and Cannonball Adderley. "I met Trane at a jam session at Count Basie's in Harlem in 1958," recalls Hubbard. "He said, 'Why don't you come over and lets try and practice a little bit together.' I almost went crazy. I mean, here is a 20 year old kid practicing with John Coltrane. He helped me out a lot, and we worked several jobs together."
In fact, Hubbard, who estimates he's played on some 300 records overall, recorded several albums with Trane, including Ole in '61 and Ascension four years later. By the time of that second album with Trane, Hubbard was in the midst of a productive contract with Blue Note, for whom he had recorded his debut as a leader, Open Sesame, in 1960. Hubbard has fond memories of the time.
"During that period, man, I was doing two albums a week and playing at clubs at night," he says. "There was a lot of energy. I was between Lee Morgan, Kenny Dorham, Donald Byrd, Blue Mitchell, Richard Williams, and me in New York at the time trying to maybe get where Dizzy and Miles were at. We were eager beavers, man. Those Blue Note sessions were like school. We'd rehearse three days and take the music home like homework. That's why those sessions sound pretty good today.
"I remember on my first album we did 32 takes of 'All or Nothing at All.' At the end of each tune each time, me a [drummer] Clifford Jarvis would trade eights. Thirty two takes of the entire song--that's the solos, the head, everything. Now, you know I must have been young. I think about that kind of stuff and say, 'No wonder I can't play right anymore.'"
Much has been made of the so-called rivalry between Hubbard and the late Lee Morgan during those heady New York years. But Hubbard sets the record straight. "Lee was the only young cat that scared me when he played," he says. "he had so much fire and natural feeling. I had more technique, but he had that feeling. People seemed to like him more than they liked me at the beginning. But we'd follow each other around, buy sports cars and chase the same chicks. It was a different period then. Today, it's all business."
Despite the recent period of inactivity, Hubbard's music has turned up in various places. For example, his 1970 recording of "Red Clay" was used as the groove beneath the rap outfit A Tribe Called Quest's album cut "Sucka Nigga." And Hubbard's melodically inventive trumpet can be found on rapper/producer Guru's current bop-meets-hip-hop project Jazzmatazz Volume II: The new Reality. The trumpet master has also recently completed work on the soundtrack to a film called The Big Gun, and there are plans for a series of weekend dates at a small North Hollywood jazz club.
Meanwhile, Hubbard has some tips for young trumpet players. They're lessons he admits to learning the hard way: "Don't make the mistake I made of note taking care of myself," he says. "Please, keep your chops cool and don't overblow." If you're going top play hard, be sure to warm up. And I'd advise everyone to get some health insurance, because you never know when you'll need it. I used to work all the time. I'd go to Europe for two days, come back and go to Japan, then fly to New York."
But what if a trumpeter truly expresses his or herself by shrieking? "Don't do it," Hubbard replies firmly. "Because when you reach my age, you lip's going to give out. No question. And it can lead to cancer."
Hubbard remembers his acclaimed stint with the fiery Art Blakey's Jazz Messengers, "and I'd get carried away trying to stay right with the momentum. And you shouldn't do that. I used to try and play like Coltrane and solo for 30 or 40 choruses. It all caught up to me. If you're going to play this kid of music, you're going to have problems at some point. That's the thing about jazz" you'll be blowing when maybe you should have stopped 20 years ago. Then, you look up and you've got a big knot in your lip."
Hubbard is encouraged that younger players often use larger mouthpieces than the ones he started on. "These players may not quite have the feeling yet, but they'll last longer. Over the years, I've had blisters, but when you're young, you just blow them away. My mistake was, I should have taken off longer than a few months. I went back to playing before the tissue had healed. The result was, I'd get through half a set and just poop out."
He picks up a horn given to him by Donald Byrd and blows some runs that aren't as fast as he would like, but which reflect a warm. newly thoughtful tone. His lip is not vibrating like it once did, Hubbard explains, and he must slowly build the muscles back up to full strength. "I had to change my whole approach and let the air flow," he says. "It's less work. I can play for a while, but not for two long. You never think anything's going to happen. But if I can't work, where's the income going to come from? Luckily, I've made so many albums, I have royalty checks coming in. But it's not enough to live on."
Hubbard says he'd like to teach while his lip tissue heals. A book of his transcriptions is due out soon and he believes he can impart some valuable information on developing musicians. "Your own personal style on any musical instrument some in time," He states. "I used to try and play like Miles, and Miles caught me copying him one night at Birdland. He said, 'Hey man, why don't you play some of your own stuff.' So, I finally did, because I had copied all his solos."
The trumpeter advises young players that after they copy and transcribe solos and practice them to "go off and really search inside and try and get something of your own. Because if you don't have your own sound, you'll be forgotten. Jazz isn't like pop, where you can sell millions of records with a hit. Your spirit and soul aren't important in pop music. But jazz is like classical music. If people like you, they'll remember and you'll last forever.
Hubbard, who was raised in Indianapolis and played his first sessions there with the Montgomery Brothers, moved to New York in the late '50s. In the '70s, he left for Los Angeles at the prompting of Quincy Jones. "It's a different groove out there," says Hubbard, who lives with Brigitte, his wife of 23 years. "People are more relaxed, and they're not so concerned about going down to some basement to hear music. You get a chance to experiment. Jazz has changed. The old days will never come back. We used to have jam sessions after gigs, play till four in the morning and then go someplace and blow some more. That's not the way it is now. You have to wake up early and go to the studio."
Hubbard said his own favorite work is on Oliver Nelson's 1961 date Blues and the Abstract Truth. He won a Grammy award in 1972 for First Light on CTI. "Young players only get the exposure to the greats like Miles, Trane and Monk through records," he said.
They've had no real experience with the real essence of those guys -- the way they help their instruments, the way they acted, what really caused this music. Most of the cats trying to play hardcore contemporary jazz don't have their own style. Or there are some people like Wynton [Marsalis] who play the horn, but don't play no hip jazz. They're just into playing the instrument good. They're not creating ideas."
Still Hubbard has words of praise for younger players like Vincent Herring, who "reminds me a lot of Cannonball. He's got that cheerful type of feeling in his playing. He's on of the few young cats on the scene today that has his own voice. A lot of the kids are just copying what we did in the ' 50s and '60s, so there are very few guys I see today who will be considered innovators."
Asked if he had any last words for Down Beat, Hubbard was quick to respond: "Tell 'em the hub's coming back. Give me another six months and I'll be ready!"
©2008 Google - Map data ©2008 Tele Atlas - Terms of Use
Great jazz trumpeter Freddie Hubbard dies at 70
By JOHN ROGERS – 2 hours ago
LOS ANGELES (AP) — Freddie Hubbard, the Grammy-winning jazz musician whose blazing virtuosity influenced a generation of trumpet players and who collaborated with such greats as Ornette Coleman, John Coltrane and Sonny Rollins, died Monday, a month after suffering a heart attack. He was 70.
Hubbard died at Sherman Oaks Hospital, said his manager, fellow trumpeter David Weiss of the New Jazz Composers Octet. He had been hospitalized since suffering the heart attack a day before Thanksgiving.
A towering figure in jazz circles, Hubbard played on hundreds of recordings in a career dating to 1958, the year he arrived in New York from his hometown Indianapolis, where he had studied at the Arthur Jordan Conservatory of Music and with the Indianapolis Symphony.
Soon he had hooked up with such jazz legends as Thelonious Monk, Miles Davis, Cannonball Adderley and Coltrane.
"I met Trane at a jam session at Count Basie's in Harlem in 1958," he told the jazz magazine Down Beat in 1995. "He said, `Why don't you come over and let's try and practice a little bit together.' I almost went crazy. I mean, here is a 20-year-old kid practicing with John Coltrane. He helped me out a lot, and we worked several jobs together."
In his earliest recordings, which included "Open Sesame" and "Goin' Up" for Blue Note in 1960, the influence of Davis, Chet Baker and others on Hubbard is obvious, Weiss said. But within a couple years he would develop a style all his own, one that would influence generations of musicians, including Wynton Marsalis.
"He influenced all the trumpet players that came after him," Marsalis told The Associated Press earlier this year. "Certainly I listened to him a lot. ... We all listened to him. He has a big sound and a great sense of rhythm and time and really the hallmark of his playing is an exuberance. His playing is exuberant."
Hubbard played on more than 300 recordings, including some of the most important jazz albums of the 1960s, including Herbie Hancock's "Maiden Voyage," Coleman's "Free Jazz," Eric Dolphy's "Out to Lunch," Coltrane's "Ascension," Wayne Shorter's "Speak No Evil" and his own classic, "Ready for Freddie."
However, he enjoyed his biggest success in the 1970s with such albums for Creed Taylor's fusion-oriented CTI label as "Red Clay" and "First Light." The latter won him a Grammy in 1972 for best jazz performance by a group.
"Freddie made popular fusion records for CTI that reached a mass audience but were still artistic and unmatched," fellow trumpeter Chris Botti said Monday.
But Hubbard did not abandon straight-ahead acoustic jazz, also performing and recording in the 1970s with the group V.S.O.P., which included the members of Miles Davis' legendary 1960s quintet — Hancock, Shorter, Ron Carter and Tony Williams.
"I've played some things that I don't think too many cats can play that are alive today," Hubbard told the AP in June when he was in New York to perform at the Iridium jazz club to celebrate the release of his last album, "On the Real Side."
"Whatever they play, it's not going to surpass that," he said of his body of work. "You see, I played like a tenor saxophone, so a lot of the things with me are kind of different, kind of hard to play."
As a young musician, Hubbard became revered among his peers for a fiery, blazing style that allowed him to hit notes higher and faster than just about anyone else with a horn. As age and infirmity began to slow that style, he switched to a softer, melodic style and played a flugelhorn.
"I think that Freddie Hubbard probably is the greatest trumpet player ever — his sound and his phrasing and his approach to the instrument. His prowess on the instrument left him in a league of his own, like a Michael Jordan or Tiger Woods in sports," Botti said.
Frederick Dewayne Hubbard was born in Indianapolis on April 7, 1938. He grew up playing mellophone, trumpet and French horn.
After his early recordings for Blue Note, he joined Art Blakey's Jazz Messengers in the early 1960s, later playing in groups with Quincy Jones, George Duke and numerous others. His recordings would span such styles as bebop, fusion, free jazz and jazz-rock.
His career slowed in the 1980s, and he attributed that in part to a period of heavy drinking and partying with "the rock crowd."
In the 1990s, relentless touring, coupled with his hard style of playing, nearly ended his career when his lip became infected. He had to lay off for a period of time and eventually switch to a softer style.
"I played a very loose, elastic style of playing. I used a lot of slurs, different moves. I advise any young trumpeter not to do what I did, because that style could be hazardous to your health," he said last June.
He came back in the last decade, however, releasing "New Colors" in 2001 and "On The Real Side" in 2008, both with the New Jazz Composers Octet playing updated arrangements of some of his compositions, such as "Theme for Kareem."
In 2006, Hubbard was named a National Endowment for the Arts Jazz Master, the nation's highest jazz honor.
A memorial tribute is planned for next month in New York.
When Your Chops Are Shot
By FRED SHUSTER
Downbeat Magazine, October, 1995 (p. 22)
Trumpet great Freddie Hubbard greets a visitor to his cozy split-level Hollywood Hills home with a friendly handshake that belies the worry in his eyes.
At age 57, after a career that dates back to the glory days of bebop, the growth of Blue Note records and the emergence of fusion and jazz-rock, Hubbard finds himself unable to play for long stretches, the result of a split lip that became infected when he refused to curtail a series of engagements two years ago.
In sports and in dance, performers often "play through" injuries, attempting to put mind over matter in order to get through an important date. In years past, Hubbard, like other trumpeters, relied on sheer willpower to downplay a bothersome lip or some other impediment. This time, the obstacle proved too great. He's been off the road for 18 months, and it was only with much effort that he managed to complete sessions for his current album, MMTC (Monk, Miles, Trane, & Cannon), his first studio date in 10 years.
Hubbard traces his problem to a series of shows beginning in late 1992, when he flew to Europe on a gig with Slide Hampton's band, alongside fellow trumpeters Roy Hargrove and Jon Faddis. "I started playing high notes with Faddis and got carried away," Hubbard says seriously, sitting at a wooden desk in his office/practice room at home. "High notes aren't my forte. I came back, went to Philly and played with some guys without warming up. That's when my top lip popped. Then I went to New York and played the Blue Note for a week. That's when I should have stopped cold."
But Hubbard didn't stop there. Instead, he went back to Europe for a big band date, and soon after realized his lip had become infected. When he returned to Los Angeles, a doctor performed a biopsy, fearing cancer. "I said to myself, 'Man, I'm going to get a day job. This is terrible.'"
Hubbard says, adding also that he was drinking too much and partying with "the rock crowd." In addition, he conceded that he missed several gigs due to these problems.
Cancer was ruled out, but Hubbard was left with upper lip tissue so sore he was unable to play with the steely verve and confidence he was famous for. "People looked at me and said, 'Is he doped up? Is he messed up on something?' But it happens to most trumpet players during their career,"
Hubbard says. "it happened to Louis Armstrong. Miles quit for five years. Eventually you just say, 'damn, let me put this thing down and give my chops a rest.' I've always played with a lot of energy--maybe too much. So, I had to change my embouchure by going back to the basics and learning to warm up and play soft. I used to just pick up the trumpet and blow hard. I had to go back, get some books and consult with classical trumpet teachers. I couldn't play a note for a while because it was so tender. It's so frustrating not being able to blow the way I blew."
Actually, for a project that was so difficult to finish, MMTC is a sturdy effort. The MusicMasters release includes four Hubbard originals, plus John Coltrane's "Naima," Thelonious Monk's "Off Minor," Miles Davis' "All Blues," and Charles Lloyd's "The Song My Lady Sings." The album features alto saxophonist Vincent Herring and drummer Carl Allen, both of whom were responsible for laying down many of the tracks so Hubbard could record his parts in various sessions over a 10 month period.
"It was the hardest date I ever made," Hubbard says. "It took a long time to finish. I had to dig really deep, but I think when people hear it, they'll hear the feeling I put in to it."
The album is obviously dedicated to four influential artists: Monk, Miles, Coltrane and Cannonball Adderley. "I met Trane at a jam session at Count Basie's in Harlem in 1958," recalls Hubbard. "He said, 'Why don't you come over and lets try and practice a little bit together.' I almost went crazy. I mean, here is a 20 year old kid practicing with John Coltrane. He helped me out a lot, and we worked several jobs together."
In fact, Hubbard, who estimates he's played on some 300 records overall, recorded several albums with Trane, including Ole in '61 and Ascension four years later. By the time of that second album with Trane, Hubbard was in the midst of a productive contract with Blue Note, for whom he had recorded his debut as a leader, Open Sesame, in 1960. Hubbard has fond memories of the time.
"During that period, man, I was doing two albums a week and playing at clubs at night," he says. "There was a lot of energy. I was between Lee Morgan, Kenny Dorham, Donald Byrd, Blue Mitchell, Richard Williams, and me in New York at the time trying to maybe get where Dizzy and Miles were at. We were eager beavers, man. Those Blue Note sessions were like school. We'd rehearse three days and take the music home like homework. That's why those sessions sound pretty good today.
"I remember on my first album we did 32 takes of 'All or Nothing at All.' At the end of each tune each time, me a [drummer] Clifford Jarvis would trade eights. Thirty two takes of the entire song--that's the solos, the head, everything. Now, you know I must have been young. I think about that kind of stuff and say, 'No wonder I can't play right anymore.'"
Much has been made of the so-called rivalry between Hubbard and the late Lee Morgan during those heady New York years. But Hubbard sets the record straight. "Lee was the only young cat that scared me when he played," he says. "he had so much fire and natural feeling. I had more technique, but he had that feeling. People seemed to like him more than they liked me at the beginning. But we'd follow each other around, buy sports cars and chase the same chicks. It was a different period then. Today, it's all business."
Despite the recent period of inactivity, Hubbard's music has turned up in various places. For example, his 1970 recording of "Red Clay" was used as the groove beneath the rap outfit A Tribe Called Quest's album cut "Sucka Nigga." And Hubbard's melodically inventive trumpet can be found on rapper/producer Guru's current bop-meets-hip-hop project Jazzmatazz Volume II: The new Reality. The trumpet master has also recently completed work on the soundtrack to a film called The Big Gun, and there are plans for a series of weekend dates at a small North Hollywood jazz club.
Meanwhile, Hubbard has some tips for young trumpet players. They're lessons he admits to learning the hard way: "Don't make the mistake I made of note taking care of myself," he says. "Please, keep your chops cool and don't overblow." If you're going top play hard, be sure to warm up. And I'd advise everyone to get some health insurance, because you never know when you'll need it. I used to work all the time. I'd go to Europe for two days, come back and go to Japan, then fly to New York."
But what if a trumpeter truly expresses his or herself by shrieking? "Don't do it," Hubbard replies firmly. "Because when you reach my age, you lip's going to give out. No question. And it can lead to cancer."
Hubbard remembers his acclaimed stint with the fiery Art Blakey's Jazz Messengers, "and I'd get carried away trying to stay right with the momentum. And you shouldn't do that. I used to try and play like Coltrane and solo for 30 or 40 choruses. It all caught up to me. If you're going to play this kid of music, you're going to have problems at some point. That's the thing about jazz" you'll be blowing when maybe you should have stopped 20 years ago. Then, you look up and you've got a big knot in your lip."
Hubbard is encouraged that younger players often use larger mouthpieces than the ones he started on. "These players may not quite have the feeling yet, but they'll last longer. Over the years, I've had blisters, but when you're young, you just blow them away. My mistake was, I should have taken off longer than a few months. I went back to playing before the tissue had healed. The result was, I'd get through half a set and just poop out."
He picks up a horn given to him by Donald Byrd and blows some runs that aren't as fast as he would like, but which reflect a warm. newly thoughtful tone. His lip is not vibrating like it once did, Hubbard explains, and he must slowly build the muscles back up to full strength. "I had to change my whole approach and let the air flow," he says. "It's less work. I can play for a while, but not for two long. You never think anything's going to happen. But if I can't work, where's the income going to come from? Luckily, I've made so many albums, I have royalty checks coming in. But it's not enough to live on."
Hubbard says he'd like to teach while his lip tissue heals. A book of his transcriptions is due out soon and he believes he can impart some valuable information on developing musicians. "Your own personal style on any musical instrument some in time," He states. "I used to try and play like Miles, and Miles caught me copying him one night at Birdland. He said, 'Hey man, why don't you play some of your own stuff.' So, I finally did, because I had copied all his solos."
The trumpeter advises young players that after they copy and transcribe solos and practice them to "go off and really search inside and try and get something of your own. Because if you don't have your own sound, you'll be forgotten. Jazz isn't like pop, where you can sell millions of records with a hit. Your spirit and soul aren't important in pop music. But jazz is like classical music. If people like you, they'll remember and you'll last forever.
Hubbard, who was raised in Indianapolis and played his first sessions there with the Montgomery Brothers, moved to New York in the late '50s. In the '70s, he left for Los Angeles at the prompting of Quincy Jones. "It's a different groove out there," says Hubbard, who lives with Brigitte, his wife of 23 years. "People are more relaxed, and they're not so concerned about going down to some basement to hear music. You get a chance to experiment. Jazz has changed. The old days will never come back. We used to have jam sessions after gigs, play till four in the morning and then go someplace and blow some more. That's not the way it is now. You have to wake up early and go to the studio."
Hubbard said his own favorite work is on Oliver Nelson's 1961 date Blues and the Abstract Truth. He won a Grammy award in 1972 for First Light on CTI. "Young players only get the exposure to the greats like Miles, Trane and Monk through records," he said.
They've had no real experience with the real essence of those guys -- the way they help their instruments, the way they acted, what really caused this music. Most of the cats trying to play hardcore contemporary jazz don't have their own style. Or there are some people like Wynton [Marsalis] who play the horn, but don't play no hip jazz. They're just into playing the instrument good. They're not creating ideas."
Still Hubbard has words of praise for younger players like Vincent Herring, who "reminds me a lot of Cannonball. He's got that cheerful type of feeling in his playing. He's on of the few young cats on the scene today that has his own voice. A lot of the kids are just copying what we did in the ' 50s and '60s, so there are very few guys I see today who will be considered innovators."
Asked if he had any last words for Down Beat, Hubbard was quick to respond: "Tell 'em the hub's coming back. Give me another six months and I'll be ready!"
Tuesday, December 23, 2008
JOE LOVANO INTERVIEW WITH ERIC NEMEYER
Home
About Us
Subscribe
Advertise
Links
About Us
Mission Statement
Publisher's Notes
Testimonials
Order Subscription
Purchase Current Issue
Purchase Back Issues
Address Changes
Frequently Asked Questions
Advertise
Deadlines
Sales Contacts
Artist Directory
Cruises
Festivals
Instrument Sales
Record Labels
Jazz Magazines
Photographers
Music Publishers
Music Schools
Music Venues
Jazz Legends
Current Issue
Back Issues
Shopping Cart
NY Jazz Guide
CD Reviews
Articles
Jazz Improv Store
F.A.Q.
Contact Us
Articles
Interview - Joe Lovano
by Eric Nemeyer
(Excerpt from Jazz Improv Magazine )
Interview by Eric Nemeyer
JL: Yeah, and there’s a bunch of other little things that you catch with Roy on it, more in these days now. Some little things are coming out. That’s some beautiful stuff. When you really get to realize the company you keep creates new music all the time. You can play the same tune over and over again and will take new shapes with different personalities, different influences. Playing with Hank Jones has really taught me that. Over the last two and a half, three years, playing with Hank has been one of the highlights of my life at this point. It’s taught me so much about orchestration within a quartet, and to be free in whatever haromonic structure you’re in, ‘cause Hank is in all keys all the time. Harmonically, he’s searching all the time for new voicings, new ways to make that melody sound great. His focus on the melody is so beautiful that he’s not trying to fit the melody in the chords; he’s fitting the chords with melody notes and intervals all the time, and it’s so beautiful to vibrate on tones and hear all these other possibilities around the tone that you’re playing to try to reach for melodically. He’s been just a treasure, and it’s been such a privilege to know Hank and to be playing with him.
JI: At Newport you recorded and recreated “Don’t Ever Leave Me.” You did the arrangement with all of Thad’s, the ending with the free part and then kind of collapsing into those few notes at the very end. Most people wouldn’t go to that level of subtlety. They would play the tune and that would be it. But Hank, of course, played on the original album back in ’66 and what was great was how you’re playing a harmonically sophisticated tune but you’re doing a lot of things that were peripheral to or free from as was Hank.
JL: We really stretched out. ‘Cause the original record just has a short, little piano solo. And I recorded it on our last recording Joyous Encounter as well, with Paul Motian on drums, who created some really different, hip rhythms throughout that piece. When you play a straight-eighth feeling with Paul Motian, it’s a total experience, man, ‘cause from bar to bar it’s not a repetitive vamp over and over again. It’s like the most creative exploration of the rhythm when you play with Paul, whatever kind of feeling it is, but in a straight-eighth feel on that tune, we really got into some beautiful things with Hank. But on the record, we just played it a short, little arrangement. I just wanted to play the song, but as we’ve been touring with the quartet, we’ve been stretching out on it and at Newport we really expanded on it.
JI: What kind of preparation or discussion did you and Hank have prior to the recording at Newport or the group?
JL: Well, we toured, in July we did a three-week tour in Europe playing a lot of festivals and things. We had probably 10 or 12 concerts. And we came back around July 18th, 20th, somewhere around there, and the Newport gig was the next set we played. So I just picked the repertoire and we just hit. We had no sound check or anything.
JI: And they were recording?
JL: I made sure that they had that section recorded, ‘cause I thought it would be really nice to have a live at Newport documented with that quartet, with Lewis Nash on drums and George Mraz on bass and Hank on piano. He hadn’t played in Newport in a while, I don’t think, maybe ten, fifteen years. I thought it was real important to try and document that and so I organized the whole thing. And hopefully it’s going to be released at some point on Blue Note. And I wrote a blues for a concert we did during our tour. In Copenhagen we did a big Ben Webster evening. There’s a Ben Webster Society in Copenhagen where Ben lived. He passed there, and he’s buried in Copenhagen. And this jazz society is incredible. They have the rights to Ben’s royalties, and they use all the funds to sponsor The Ben Webster Foundation, which gives a prize every year to young artists and they put on concerts. And they do some really beautiful things in Ben’s name. So because we were going to play that Copenhagen Festival this year and I was coming with Hank, who played a lot with Ben, we were a part of this thing, this year. They gave a prize to a young alto player. And they had an octet playing new arrangements of some pieces that Ben recorded throughout his career. They opened up for us and then we had our set, which I focused on a few tunes that Ben played. We played “Tenderly.” I did a free rubato version of “Danny Boy” that was really different. And that was fun to play that with Hank. He played some amazing things on “Danny Boy,” just playing through the head, but free, rubato. And then I wrote a blues and I called it “Big Ben,” which we opened our set with at Newport, ‘cause Ben was one of the most outstanding, lyrical, soulful blues players of all time. He created a language that became r-‘n’-b saxophone, in a lot of ways.
JI: I like that album with Ben and Thad Jones and Joe Zawinul.
JL: Uh, huh, he worked a lot with Zawinul. Zawinul played a lot with him in that certain period. They did a quartet record, too.
JI: Talk about the various sax players who have made an impact on you.
JL: Everyone absorbs things at different times in their development. For me, when I was a kid, I was real lucky. My dad was playing all over Cleveland all the time. He came up with Tadd Dameron and Joe Alexander, a saxophone player around Cleveland. My dad played opposite a lot of people: Stan Getz and heard Charlie Parker live. Heard Lester Young live. Talked about all that stuff all the time. He was born in 1925. He was the same generation as Miles and Coltrane and was a total beboper-and-hard-bop cat. So his records were things that I’d I focused on, as well as hearing him practice and try reeds before he’d go to a gig or whatever. So I heard the power and the sound of the big-tenor sound from that period. Gene Ammons was a friend of his. He played at jam sessions with all kinds of cats that would come through Cleveland, from Chicago and Detroit, Pittsburgh, whatever. My early focuses were Charlie Parker and Coltrane and those players too. Of course, I was aware of Lester Young and Ben Webster and Coleman Hawkins. He had a lot of records from those cats that I’ve discovered and would listen to. And I realized early on why Sonny Stitt played like that, why Bird played like that, why Coltrane played like that. I kind of had an awareness of who was playing, who were peers at the time, and Johnny Griffin and Hank Mobley and Dexter Gordon and… My dad had records of all those cats, before I started to go buy records myself. So something about like who was from where too, cats that were from Chicago, Detroit players, Pittsburgh, cats from Philly, New York, who was from St. Louis. I kind of started to study the people and where they were from and who they came up with and all that, realizing that a lot of the real-hip modern jazz players were from Cleveland and Detroit and Chicago. When I realized that Tadd Dameron and Albert Ayler were from Cleveland. Albert Ayler’s presence I was really aware of. I graduated high school in 1971. That late ‘60s, that late period Coltrane was happening in our house. My dad had Meditations. He had some Albert Ayler things or Bobby Few, who played on the concert last night of Steve Lacy, is from Cleveland. And he told me a story. Bobby’s going to be 70 this year; my dad would have been 80, but Bobby said some of his first gigs and first time he went in and sat in with people was playing with my dad on some sessions in some clubs. And Bobby moved to Paris in the late ‘60s. He played with Albert too. He kind of grew up with Albert. I’ve known Bobby for a little while and he was telling me some funny things talking about Cleveland the last couple of days of rehearsals for this Steve Lacy concert. For me, my development, thinking about Ben Webster, it’s the more songs you learn as a young player, the more you learn about who played them and how they were played. So you could somehow put it together yourself. I started to really know a lot of players on different instruments as I started to learn more songs, tunes I started to learn that I know that Clifford Brown played. I’d go and check out how he recorded it and listen to what he did. And that’s always been happening for me. Stitt for me was one of my first loves on record too, ‘cause my dad had a bunch of Sonny Stitt records. And then I heard him live when I was in high school. He came and played in a club. And my dad was playing on alternate weeks. And to hear his sound and watch him play when I was 15, 16-years old was incredible, him and James Moody and Rahsaan and then Gene Ammons.
JI: They all had great albums around that time. Moody came out with Never Again on Muse with Mickey Tucker on organ. And Stitt had that Constellation and Tune Up pair of albums.
JL: Right, right, with Don Patterson and different people. Yeah, to be in a room with their sounds and to watch them play was a trip for me, Moody with the way he played flute. James was incredible. He walked over to our table and sat with us and said, “Oh, you guys are musicians?” James was really someone real special, at that age. But talking about Stitt, I know the record you’re talking about and it’s funny because he followed Coltrane, who was playing those amazing explorations on these tunes, things that were going to become classic now, today they’re classics. At the time, it was very avant-garde and different. And people’s reaction to Coltrane with Miles wasn’t the same. Sonny Stitt walks out on that stage, he gets a standing ovation, when he walked out with Miles. Sonny Stitt was playing more classic than Miles in that period, on that record what you’re talking about. And I have that too. And you can tell there’s not the same interplay like you’re talking about. It’s different. It’s Sonny Stitt.
JI: It’s Sonny Stitt playing Sonny Stitt regardless of what else is going on.
JL: And Miles actually walks off. He lets Stitt play some quartet tunes. There’s a quartet tune that came out now on a double CD.
JL: Yeah, I have that double CD.
JL: Miles lets him play. He splits [laughs]. It was like he was playing more classic than Miles in a way. And I think that was a little tricky there for Miles as a leader. Miles dug being the classic sound and having Coltrane be this far out counter balance, which Wayne Shorter became after Hank. But for the people who went to that concert they were thrilled with Sonny Stitt. That’s where they were at that time. Coltrane’s approach and presence grew from that period. It grew… Stitt was already a star. I sat in with him one time. He came to Cleveland, him and Milt Jackson together. I think it was around 1974 and they played a club called The Smiling Dog saloon in Cleveland. I was in a group opposite them, had a chance to sit in and meet Bags for the first time. So that was a thrill, man. That was a big, big night for me. My dad was there that night with me too. He was in the audience and it was beautiful to be able to play a couple of songs in tune with those cats at that age. That was the first time I sat in with Elvin Jones also. It was around 1974 at that same club. Steve Grossman was playing and his band at the time, with Roland Prince on guitar.
(Article continued in Jazz Improv Magazine )
Copyright E.S. Proteus, Inc. 1997-2006. All Rights Reserved
Privacy Policy | Terms of Use | Reprints and Permissions
Site Developed by Matt Picheny
Thursday, December 18, 2008
THE MILES DAVIS STORY DVD
it opens with MILES dressed in silk, probably being interviewed at his home in MAILIBU, and SO WHAT opens the video;
the story is told via interviews with friends and associates, JIMMY COBB, SHIRLEY HORN, CLARK TERRY, FRANCES DAVIS, his wife et al
the beginning, east st. louis, great trumpeters from st. louis, CLARK TERRY "good food and ladies in St. Louis"; miles pretty comfortable compared to other musicians as Miles's DAD was a dentist. he also bailed Miles out when Miles had drug problems.
the early years, segregated education, miles first girl friend, IRENE CAWTHORN, "Miles was a gentleman from high school on". Miles impregnated her. He was 17; Miles was 19, out comes daughter CHERYL.
CLARK TERRY, "young miles was skinny and timid; he loved HARRY JAMES, and miles played with a wide vibrato". miles started in the sixth grade; i started in the sixth grade; that's all we have in common.
Miles first band EDDIE RANDLE playing fourth trumpet. Miles loved CLARK, DIZ.
BILLY ECKSTEIN BAND WITH BIRD, DIZ, kind of blew Miles's young mind when they hit St. Louis; changed his life of course. so Miles heads for JUILLARD.
Miles searches for BIRD immediately, 52nd ST. Miles becomes Bird's roomate and soon joins Bird's group replacing Diz.
Miles knew most of the music, but admits some things he couldn't play.
Diz tells Miles to learn the keyboard to find the different notes he could play.
TADD DAMERON invites Miles to play with him in Paris; so now Miles knows what it's like to be a star and lionized in Paris.
most jazz musicians loved getting the respect and love they deserved in Europe. Miles has an affair with JULIET GRECO.
Miles returns to the racism of NYC, gets hooked on heroin; no gigs;
so he returns to st. louis for detox. while on drugs, miles needed money; so he became a pimp;
then MILES , GIL EVANS, "BIRTH OF THE COOL", pretty revolutionary then, a very palatable sound compared to BEBOP. so Miles begins his break with the past; PRESTIGE records Miles; the first recording session, SONNY ROLLINS, MONK et al; got lots of airplay;
WALKIN, a big hit on Prestige THE MILES DAVIS ALL STARS.
1953, miles returns to st. louis to go cold turkey. it's hell, but Miles at 29 makes a come back and signs with COLUMBIA, the rest is history.
COLUMBIA HAS THE BANK ROLL TO finance GIL EVANS AND 19 OTHER MUSICIANS FOR "MILES AHEAD". the rest is history.
the money of course comes from Columbia's pop, rock, folk roster.
1959, GIL EVANS, MILES ON TV SPECIAL, terrific at the time; great black and white video; the MILES DAVIS SOUND EMERGES.
sparse, not so many notes; each note counted;
JIMMY COBB says every drummer wanted to play with Miles; Jimmy is still burning today. he's a recent JAZZ MASTER.
(jimmy is my my space friend; and he's really active online. www.myspace.com/wenmew1 he'll write you back; he updates his gigs; you always know where and when he plays and with whom.)
MILES is back in Paris doing a film score; Miles's sound is perfect for films; KENNY CLARKE on drums; Miles falls in love with the pianist's sister; Miles comes right out and says "will you make love with me?"
She gives Miles an Italian silk scarve, and the natty Miles begins wearing scarves all the time.
Miles sends her postcards everyday while touring.
some great early Miles black and white footage.
MILES RETURNS TO NYC, and gets in involved with FRANCES, a dancer who becomes his wife. she admits she liked ROUND MIDNIGHT, and Miles records FRAN DANCE for her.
Miles asks her to quit dancing in WESTSIDE STORY.
ALL BLUES by Shirley Horn; Miles allowed her to sit in and encouraged her. she said Miles was very protective of her.
KIND OF BLUE, the classic; frankly having listened to it dozens of times, i don't get as excited as when i heard it for the first time years ago at a bar on San Pablo avenue. we were playing there, and all of a sudden KIND OF BLUE comes on the juke box. i admit it's affected my life. unlike
others like jon hendricks i can't reproduce the solos.
Frances talks about Miles being stopped because he was driving a FERRARI. wynton still says sometimes he can't get a cab; he probably has a limousine and driver now.
MILES BECOMES INTERESTED IN FLAMENCO. out comes SKETCHES OF SPAIN, TEO MACERO producer.
i met TEO; he's since passed; he could play tenor;
now a string of top selling albums. MY FUNNY VALENTINE, PORGY AND BESS, MILES DAVIS , ESP. ON THE CORNER, et al.
Frances says Miles listened to classical music at home. Miles worked out all the time and boxed.
Miles also could paint. they look as good as TONY BENNETT'S paintings.
TRANE joins Miles; the rest is history. but Trane leaves, miles is not too happy; trane, being irreplaceable. Trane actually was carrying the physical load on gigs playing chorus after chorus while Miles took it easy.
THEN COMES WAYNE, HERBIE, TONY, RON CARTER. they further extended standards to free playing.
HERBIE was all too happy to join Miles. TONY WILLIAMS 17, HERBIE 22. the rest is history. miles is a great leader; he allows everyone to play whatever which way. herbie lays the chords down, and miles chooses his notes; "concentrate, focus....."
WAYNE does his own thing, first like TRANE, them himself. herbie follows wayne and changes the tune entirely; these guys can do that; each solos by himself, then miles returns and puts the exclamation mark on the piece.
miles tells COLUMBIA, "i don't want anymore white ladies on my album covers."
miles gets hooked on COKE!
1969, the band changes, JACK DEJOHNETTE, DAVE HOLLAND, CHICK COREA et al.
miles gets jack from CHARLES LLOYD. lloyd, not too happy.
CHICK COREA calls miles and asks whether there will be a rehearsal. miles says no. JUST PLAY WHAT YOU HEAR. that's what i like. JUST PLAY WHAT YOU HEAR.
dave holland produces some new sounds; everyone produces different sounds. the music goes OUT, OUT!
IN A SILENT WAY, joe zawinul, space music; miles loved it;
JIMI HENDRIX, JOHN MCLAUGHLIN, so miles begins his rock stuff. miles was going to work with HENDRIX.
BITCHES BREW, studio created. all great players can self edit; if you can't do this, you'll never make it because you can't tell what's good and what's bad.
it's MILES ability to find cohesivness out of chaos that makes the piece; otherwise you have nothing.
KEITH JARRETT forced to play electric piano; he refused; so CHICK played electric. miles didn't want to play ballads anymore even though he loved to play ballads. he wanted to change the music.
JACK JOHNSON, miles identified with johnson; then came a new crop of women, including CICILY TYSON.
VIETNAM ERA. dave liebman the only white guy in the band; tough time racially. liebman played his assoff. liebman got tired of all the high energy stuff; but then he moved onto ELVIN JONES.
MILES WAS NOW MORE OF A STAGE SHOW. lots of drugs, etc.
by mid 70s, MILES IS BURNED OUT, DRUGS, CAR ACCIDENT; miles quits for five years. he was sick; miles was in depression; tell me about it.
MILES MARRIES CICILY TYSON. cicily helps him recover; and miles calls BILL EVANS the saxophonist. they get together; talk to each other every day. evans doesn't drink, smoke or do drugs; so he helps miles along those lines. it took miles 3 years to get his trumpet sound back.
MARCUS MILLER joins the band, electric bass, adds percussive effects; again miles lets the musicians play whatever they hear.
miles has a stroke!
mid 80s, miles buys a home in MALIBU, takes up painting; health improves;
miles shows his paintings in beverly hills;
MILES IS PAINTING LIKE PICASSO!
1984 MILES' NEPHEW VINCE WILBERN joins the band. more studio created electronic recordings.
miles listens to the tapes every night; he sends out criticism to band members.
miles played on top of the funk rhythms; became a pop icon;
switchest to FLUEGELHORN ON "TIME AFTER TIME".
helps his youngest son ERIN DAVIS who shops for miles and washes the paint brushes etc.
ERINS joins the band as a percussionist. he hates road life.
1985 MILES PROTESTS APARTHEID!
TUTU created by MARCUS MILLER, and miles tops it off, WARNER BROS.
MILES FINISHES IT UP BEING HIP, RAP, HIP HOP!
JULY 1991 ,MUSICAL REUNION WITH ALL BAND MEMBERS FROM THE 60S TO PRESENT IN PARIS. miles was on his last legs, but he performed.
MILES PLAYING "ALL BLUES" WITH BILL EVANS, STEVE GROSSMAN.
CHICK , "miles did whatever he wanted when he wanted".
GRAMMY GIVES MILES LIFETIME ACHIEVEMENT AWARD!
1991 MASSIVE STROKE!
shirley horn closes it out! "my lips.... 1926-1991.
THE MILES DAVIS STORY DVD
it opens with MILES dressed in silk, probably being interviewed at his home in MAILIBU, and SO WHAT opens the video;
the story is told via interviews with friends and associates, JIMMY COBB, SHIRLEY HORN, CLARK TERRY, FRANCES DAVIS, his wife et al
the beginning, east st. louis, great trumpeters from st. louis, CLARK TERRY "good food and ladies in St. Louis"; miles pretty comfortable compared to other musicians as Miles's DAD was a dentist. he also bailed Miles out when Miles had drug problems.
the early years, segregated education, miles first girl friend, IRENE CAWTHORN, "Miles was a gentleman from high school on". Miles impregnated her. He was 17; Miles was 19, out comes daughter CHERYL.
CLARK TERRY, "young miles was skinny and timid; he loved HARRY JAMES, and miles played with a wide vibrato". miles started in the sixth grade; i started in the sixth grade; that's all we have in common.
Miles first band EDDIE RANDLE playing fourth trumpet. Miles loved CLARK, DIZ.
BILLY ECKSTEIN BAND WITH BIRD, DIZ, kind of blew Miles's young mind when they hit St. Louis; changed his life of course. so Miles heads for JUILLARD.
Miles searches for BIRD immediately, 52nd ST. Miles becomes Bird's roomate and soon joins Bird's group replacing Diz.
Miles knew most of the music, but admits some things he couldn't play.
Diz tells Miles to learn the keyboard to find the different notes he could play.
TADD DAMERON invites Miles to play with him in Paris; so now Miles knows what it's like to be a star and lionized in Paris.
most jazz musicians loved getting the respect and love they deserved in Europe. Miles has an affair with JULIET GRECO.
Miles returns to the racism of NYC, gets hooked on heroin; no gigs;
so he returns to st. louis for detox. while on drugs, miles needed money; so he became a pimp;
then MILES , GIL EVANS, "BIRTH OF THE COOL", pretty revolutionary then, a very palatable sound compared to BEBOP. so Miles begins his break with the past; PRESTIGE records Miles; the first recording session, SONNY ROLLINS, MONK et al; got lots of airplay;
WALKIN, a big hit on Prestige THE MILES DAVIS ALL STARS.
1953, miles returns to st. louis to go cold turkey. it's hell, but Miles at 29 makes a come back and signs with COLUMBIA, the rest is history.
COLUMBIA HAS THE BANK ROLL TO finance GIL EVANS AND 19 OTHER MUSICIANS FOR "MILES AHEAD". the rest is history.
the money of course comes from Columbia's pop, rock, folk roster.
1959, GIL EVANS, MILES ON TV SPECIAL, terrific at the time; great black and white video; the MILES DAVIS SOUND EMERGES.
sparse, not so many notes; each note counted;
JIMMY COBB says every drummer wanted to play with Miles; Jimmy is still burning today. he's a recent JAZZ MASTER.
(jimmy is my my space friend; and he's really active online. www.myspace.com/wenmew1 he'll write you back; he updates his gigs; you always know where and when he plays and with whom.)
MILES is back in Paris doing a film score; Miles's sound is perfect for films; KENNY CLARKE on drums; Miles falls in love with the pianist's sister; Miles comes right out and says "will you make love with me?"
She gives Miles an Italian silk scarve, and the natty Miles begins wearing scarves all the time.
Miles sends her postcards everyday while touring.
some great early Miles black and white footage.
MILES RETURNS TO NYC, and gets in involved with FRANCES, a dancer who becomes his wife. she admits she liked ROUND MIDNIGHT, and Miles records FRAN DANCE for her.
Miles asks her to quit dancing in WESTSIDE STORY.
ALL BLUES by Shirley Horn; Miles allowed her to sit in and encouraged her. she said Miles was very protective of her.
KIND OF BLUE, the classic; frankly having listened to it dozens of times, i don't get as excited as when i heard it for the first time years ago at a bar on San Pablo avenue. we were playing there, and all of a sudden KIND OF BLUE comes on the juke box. i admit it's affected my life. unlike
others like jon hendricks i can't reproduce the solos.
Frances talks about Miles being stopped because he was driving a FERRARI. wynton still says sometimes he can't get a cab; he probably has a limousine and driver now.
MILES BECOMES INTERESTED IN FLAMENCO. out comes SKETCHES OF SPAIN, TEO MACERO producer.
i met TEO; he's since passed; he could play tenor;
now a string of top selling albums. MY FUNNY VALENTINE, PORGY AND BESS, MILES DAVIS , ESP. ON THE CORNER, et al.
Frances says Miles listened to classical music at home. Miles worked out all the time and boxed.
Miles also could paint. they look as good as TONY BENNETT'S paintings.
TRANE joins Miles; the rest is history. but Trane leaves, miles is not too happy; trane, being irreplaceable. Trane actually was carrying the physical load on gigs playing chorus after chorus while Miles took it easy.
THEN COMES WAYNE, HERBIE, TONY, RON CARTER. they further extended standards to free playing.
HERBIE was all too happy to join Miles. TONY WILLIAMS 17, HERBIE 22. the rest is history. miles is a great leader; he allows everyone to play whatever which way. herbie lays the chords down, and miles chooses his notes; "concentrate, focus....."
WAYNE does his own thing, first like TRANE, them himself. herbie follows wayne and changes the tune entirely; these guys can do that; each solos by himself, then miles returns and puts the exclamation mark on the piece.
miles tells COLUMBIA, "i don't want anymore white ladies on my album covers."
miles gets hooked on COKE!
1969, the band changes, JACK DEJOHNETTE, DAVE HOLLAND, CHICK COREA et al.
miles gets jack from CHARLES LLOYD. lloyd, not too happy.
CHICK COREA calls miles and asks whether there will be a rehearsal. miles says no. JUST PLAY WHAT YOU HEAR. that's what i like. JUST PLAY WHAT YOU HEAR.
dave holland produces some new sounds; everyone produces different sounds. the music goes OUT, OUT!
IN A SILENT WAY, joe zawinul, space music; miles loved it;
JIMI HENDRIX, JOHN MCLAUGHLIN, so miles begins his rock stuff. miles was going to work with HENDRIX.
BITCHES BREW, studio created. all great players can self edit; if you can't do this, you'll never make it because you can't tell what's good and what's bad.
it's MILES ability to find cohesivness out of chaos that makes the piece; otherwise you have nothing.
KEITH JARRETT forced to play electric piano; he refused; so CHICK played electric. miles didn't want to play ballads anymore even though he loved to play ballads. he wanted to change the music.
JACK JOHNSON, miles identified with johnson; then came a new crop of women, including CICILY TYSON.
VIETNAM ERA. dave liebman the only white guy in the band; tough time racially. liebman played his assoff. liebman got tired of all the high energy stuff; but then he moved onto ELVIN JONES.
MILES WAS NOW MORE OF A STAGE SHOW. lots of drugs, etc.
by mid 70s, MILES IS BURNED OUT, DRUGS, CAR ACCIDENT; miles quits for five years. he was sick; miles was in depression; tell me about it.
MILES MARRIES CICILY TYSON. cicily helps him recover; and miles calls BILL EVANS the saxophonist. they get together; talk to each other every day. evans doesn't drink, smoke or do drugs; so he helps miles along those lines. it took miles 3 years to get his trumpet sound back.
MARCUS MILLER joins the band, electric bass, adds percussive effects; again miles lets the musicians play whatever they hear.
miles has a stroke!
mid 80s, miles buys a home in MALIBU, takes up painting; health improves;
miles shows his paintings in beverly hills;
MILES IS PAINTING LIKE PICASSO!
1984 MILES' NEPHEW VINCE WILBERN joins the band. more studio created electronic recordings.
miles listens to the tapes every night; he sends out criticism to band members.
miles played on top of the funk rhythms; became a pop icon;
switchest to FLUEGELHORN ON "TIME AFTER TIME".
helps his youngest son ERIN DAVIS who shops for miles and washes the paint brushes etc.
ERINS joins the band as a percussionist. he hates road life.
1985 MILES PROTESTS APARTHEID!
TUTU created by MARCUS MILLER, and miles tops it off, WARNER BROS.
MILES FINISHES IT UP BEING HIP, RAP, HIP HOP!
JULY 1991 ,MUSICAL REUNION WITH ALL BAND MEMBERS FROM THE 60S TO PRESENT IN PARIS. miles was on his last legs, but he performed.
MILES PLAYING "ALL BLUES" WITH BILL EVANS, STEVE GROSSMAN.
CHICK , "miles did whatever he wanted when he wanted".
GRAMMY GIVES MILES LIFETIME ACHIEVEMENT AWARD!
1991 MASSIVE STROKE!
shirley horn closes it out! "my lips.... 1926-1991.
the story is told via interviews with friends and associates, JIMMY COBB, SHIRLEY HORN, CLARK TERRY, FRANCES DAVIS, his wife et al
the beginning, east st. louis, great trumpeters from st. louis, CLARK TERRY "good food and ladies in St. Louis"; miles pretty comfortable compared to other musicians as Miles's DAD was a dentist. he also bailed Miles out when Miles had drug problems.
the early years, segregated education, miles first girl friend, IRENE CAWTHORN, "Miles was a gentleman from high school on". Miles impregnated her. He was 17; Miles was 19, out comes daughter CHERYL.
CLARK TERRY, "young miles was skinny and timid; he loved HARRY JAMES, and miles played with a wide vibrato". miles started in the sixth grade; i started in the sixth grade; that's all we have in common.
Miles first band EDDIE RANDLE playing fourth trumpet. Miles loved CLARK, DIZ.
BILLY ECKSTEIN BAND WITH BIRD, DIZ, kind of blew Miles's young mind when they hit St. Louis; changed his life of course. so Miles heads for JUILLARD.
Miles searches for BIRD immediately, 52nd ST. Miles becomes Bird's roomate and soon joins Bird's group replacing Diz.
Miles knew most of the music, but admits some things he couldn't play.
Diz tells Miles to learn the keyboard to find the different notes he could play.
TADD DAMERON invites Miles to play with him in Paris; so now Miles knows what it's like to be a star and lionized in Paris.
most jazz musicians loved getting the respect and love they deserved in Europe. Miles has an affair with JULIET GRECO.
Miles returns to the racism of NYC, gets hooked on heroin; no gigs;
so he returns to st. louis for detox. while on drugs, miles needed money; so he became a pimp;
then MILES , GIL EVANS, "BIRTH OF THE COOL", pretty revolutionary then, a very palatable sound compared to BEBOP. so Miles begins his break with the past; PRESTIGE records Miles; the first recording session, SONNY ROLLINS, MONK et al; got lots of airplay;
WALKIN, a big hit on Prestige THE MILES DAVIS ALL STARS.
1953, miles returns to st. louis to go cold turkey. it's hell, but Miles at 29 makes a come back and signs with COLUMBIA, the rest is history.
COLUMBIA HAS THE BANK ROLL TO finance GIL EVANS AND 19 OTHER MUSICIANS FOR "MILES AHEAD". the rest is history.
the money of course comes from Columbia's pop, rock, folk roster.
1959, GIL EVANS, MILES ON TV SPECIAL, terrific at the time; great black and white video; the MILES DAVIS SOUND EMERGES.
sparse, not so many notes; each note counted;
JIMMY COBB says every drummer wanted to play with Miles; Jimmy is still burning today. he's a recent JAZZ MASTER.
(jimmy is my my space friend; and he's really active online. www.myspace.com/wenmew1 he'll write you back; he updates his gigs; you always know where and when he plays and with whom.)
MILES is back in Paris doing a film score; Miles's sound is perfect for films; KENNY CLARKE on drums; Miles falls in love with the pianist's sister; Miles comes right out and says "will you make love with me?"
She gives Miles an Italian silk scarve, and the natty Miles begins wearing scarves all the time.
Miles sends her postcards everyday while touring.
some great early Miles black and white footage.
MILES RETURNS TO NYC, and gets in involved with FRANCES, a dancer who becomes his wife. she admits she liked ROUND MIDNIGHT, and Miles records FRAN DANCE for her.
Miles asks her to quit dancing in WESTSIDE STORY.
ALL BLUES by Shirley Horn; Miles allowed her to sit in and encouraged her. she said Miles was very protective of her.
KIND OF BLUE, the classic; frankly having listened to it dozens of times, i don't get as excited as when i heard it for the first time years ago at a bar on San Pablo avenue. we were playing there, and all of a sudden KIND OF BLUE comes on the juke box. i admit it's affected my life. unlike
others like jon hendricks i can't reproduce the solos.
Frances talks about Miles being stopped because he was driving a FERRARI. wynton still says sometimes he can't get a cab; he probably has a limousine and driver now.
MILES BECOMES INTERESTED IN FLAMENCO. out comes SKETCHES OF SPAIN, TEO MACERO producer.
i met TEO; he's since passed; he could play tenor;
now a string of top selling albums. MY FUNNY VALENTINE, PORGY AND BESS, MILES DAVIS , ESP. ON THE CORNER, et al.
Frances says Miles listened to classical music at home. Miles worked out all the time and boxed.
Miles also could paint. they look as good as TONY BENNETT'S paintings.
TRANE joins Miles; the rest is history. but Trane leaves, miles is not too happy; trane, being irreplaceable. Trane actually was carrying the physical load on gigs playing chorus after chorus while Miles took it easy.
THEN COMES WAYNE, HERBIE, TONY, RON CARTER. they further extended standards to free playing.
HERBIE was all too happy to join Miles. TONY WILLIAMS 17, HERBIE 22. the rest is history. miles is a great leader; he allows everyone to play whatever which way. herbie lays the chords down, and miles chooses his notes; "concentrate, focus....."
WAYNE does his own thing, first like TRANE, them himself. herbie follows wayne and changes the tune entirely; these guys can do that; each solos by himself, then miles returns and puts the exclamation mark on the piece.
miles tells COLUMBIA, "i don't want anymore white ladies on my album covers."
miles gets hooked on COKE!
1969, the band changes, JACK DEJOHNETTE, DAVE HOLLAND, CHICK COREA et al.
miles gets jack from CHARLES LLOYD. lloyd, not too happy.
CHICK COREA calls miles and asks whether there will be a rehearsal. miles says no. JUST PLAY WHAT YOU HEAR. that's what i like. JUST PLAY WHAT YOU HEAR.
dave holland produces some new sounds; everyone produces different sounds. the music goes OUT, OUT!
IN A SILENT WAY, joe zawinul, space music; miles loved it;
JIMI HENDRIX, JOHN MCLAUGHLIN, so miles begins his rock stuff. miles was going to work with HENDRIX.
BITCHES BREW, studio created. all great players can self edit; if you can't do this, you'll never make it because you can't tell what's good and what's bad.
it's MILES ability to find cohesivness out of chaos that makes the piece; otherwise you have nothing.
KEITH JARRETT forced to play electric piano; he refused; so CHICK played electric. miles didn't want to play ballads anymore even though he loved to play ballads. he wanted to change the music.
JACK JOHNSON, miles identified with johnson; then came a new crop of women, including CICILY TYSON.
VIETNAM ERA. dave liebman the only white guy in the band; tough time racially. liebman played his assoff. liebman got tired of all the high energy stuff; but then he moved onto ELVIN JONES.
MILES WAS NOW MORE OF A STAGE SHOW. lots of drugs, etc.
by mid 70s, MILES IS BURNED OUT, DRUGS, CAR ACCIDENT; miles quits for five years. he was sick; miles was in depression; tell me about it.
MILES MARRIES CICILY TYSON. cicily helps him recover; and miles calls BILL EVANS the saxophonist. they get together; talk to each other every day. evans doesn't drink, smoke or do drugs; so he helps miles along those lines. it took miles 3 years to get his trumpet sound back.
MARCUS MILLER joins the band, electric bass, adds percussive effects; again miles lets the musicians play whatever they hear.
miles has a stroke!
mid 80s, miles buys a home in MALIBU, takes up painting; health improves;
miles shows his paintings in beverly hills;
MILES IS PAINTING LIKE PICASSO!
1984 MILES' NEPHEW VINCE WILBERN joins the band. more studio created electronic recordings.
miles listens to the tapes every night; he sends out criticism to band members.
miles played on top of the funk rhythms; became a pop icon;
switchest to FLUEGELHORN ON "TIME AFTER TIME".
helps his youngest son ERIN DAVIS who shops for miles and washes the paint brushes etc.
ERINS joins the band as a percussionist. he hates road life.
1985 MILES PROTESTS APARTHEID!
TUTU created by MARCUS MILLER, and miles tops it off, WARNER BROS.
MILES FINISHES IT UP BEING HIP, RAP, HIP HOP!
JULY 1991 ,MUSICAL REUNION WITH ALL BAND MEMBERS FROM THE 60S TO PRESENT IN PARIS. miles was on his last legs, but he performed.
MILES PLAYING "ALL BLUES" WITH BILL EVANS, STEVE GROSSMAN.
CHICK , "miles did whatever he wanted when he wanted".
GRAMMY GIVES MILES LIFETIME ACHIEVEMENT AWARD!
1991 MASSIVE STROKE!
shirley horn closes it out! "my lips.... 1926-1991.
Wednesday, December 17, 2008
MUSIC IN "INTRODUCING DOROTHY DANDRIDGE" starring HALLE BERRY, music by ELMER BERNSTEIN, vocalist WENDI WILLIAMS
the movie opens with a romantic theme behind the glamorous DOROTHY DANDRIDGE attending the OSCAR ceremony.
the music for the TRIO DANDRIDGE SISTERS is typical ANDREWS SISTERS STUFF.
the big bands reminiscent of JIMMY LUNCEFORD AND EARLY DUKE AND BASIE.
HALLE IS A GOOD ACTRESS and RECEIVED A GOLDEN GLOBE FOR THIS ONE, AND SUBSEQUENTLY SHE WON AN OSCAR for another movie. she's good in movies where she's a victim as she's always being tramautized one way or another.
dorothy bears a mentally retarded child by HAROLD NICHOLAS JR. the tap dancer, really traumatic. nicohlas leaves for paris. dorothy stays to care for the child.
(this HBO MOVIE cost a lot to make.)
THAT'S ALL the first feature number sung by WENDI WILLIAMS very nice;
EARL MILLS, the manager hears dorothy, and he decides to help her.
dorothy protests segregation in MIAMI BEACH; but she performs anyway.
I'VE GOT RHYTHM kicks off her career. there's a latin interlude; so she can shake it, then it goes back to swing with strings, pretty good chart.
wendi swings.
she tours and captivates her audiences everywhere. but DOROTHY wants a big time film.
CARMEN JONES. Dorothy beats out LENA HORNE and every black actress for the role by auditioning for OTTO PREMINGER or seducing him.
she got the role, a negro whore! the NAACP protests the film.
but PREMINGER persuades her to make the film. "my gift is to bring beauty to the world".
wendi shows off her soprano in a version of "carmen", a syncopated version.
(the guy who played PREMINGER is good as well.)
DARRYL ZANUCK, 20th CENTURY FOX signs Dorothy for 3 movies.
she gets AVA GARDNER size salary.
She wants equal treatment in Las Vegas. but good ole jim crow.
she's the JACKIE ROBINSON of vegas.
but she has to hide her relationship with Preminger.
(what if Obama had a white wife? do you think he would be president?)
following her OSCAR nomination DOROTHY refuses to play the role of a slave.
JUDY GARLAND, AUDREY HEPBURN, GRACE KELLY the other nominees that year. GRACE KELLY won. then she's off to MONACO.
however PREMINGER refuses to marry Dorothy.
the feature number in the film YOU DO SOMETHING TO ME, sung by wendi straight ahead, begins slowly then uptempo so Dorothy can dance; again the latin interlude for dancing.
Preminger returns to direct PORGY AND BESS with Sidney Poitier.
meanwhile dorothy married a jerk, con man, wife beater; she gives up her child to CAMARILLO where BIRD had to go, the state mental hospital.
the ballad EVERYONE NEEDS TO CARE. (i don't know this tune.) nicely done.
dorothy because of her love life, tax problems becomes an alcoholic, contemplates suicide;
her former manager EARL MILLS returns to get her some gigs.
she's still taking anti-depressants. she falls in her house, breaks her ankle. she's a real pill popper.
she died from an overdose? a suicide note. too much torment?
she was only 42 years old.
like any biographical movie; you must read the book to learn more.
there really wasn't that much music in the movie. VOCALS WERE BY WENDI WILLIAMS, songs produced and arranged by BILL ELIOTT.
the movie came out in 1999, nearly ten years ago; i missed it; it was the time i was moving to santa monica.
the music for the TRIO DANDRIDGE SISTERS is typical ANDREWS SISTERS STUFF.
the big bands reminiscent of JIMMY LUNCEFORD AND EARLY DUKE AND BASIE.
HALLE IS A GOOD ACTRESS and RECEIVED A GOLDEN GLOBE FOR THIS ONE, AND SUBSEQUENTLY SHE WON AN OSCAR for another movie. she's good in movies where she's a victim as she's always being tramautized one way or another.
dorothy bears a mentally retarded child by HAROLD NICHOLAS JR. the tap dancer, really traumatic. nicohlas leaves for paris. dorothy stays to care for the child.
(this HBO MOVIE cost a lot to make.)
THAT'S ALL the first feature number sung by WENDI WILLIAMS very nice;
EARL MILLS, the manager hears dorothy, and he decides to help her.
dorothy protests segregation in MIAMI BEACH; but she performs anyway.
I'VE GOT RHYTHM kicks off her career. there's a latin interlude; so she can shake it, then it goes back to swing with strings, pretty good chart.
wendi swings.
she tours and captivates her audiences everywhere. but DOROTHY wants a big time film.
CARMEN JONES. Dorothy beats out LENA HORNE and every black actress for the role by auditioning for OTTO PREMINGER or seducing him.
she got the role, a negro whore! the NAACP protests the film.
but PREMINGER persuades her to make the film. "my gift is to bring beauty to the world".
wendi shows off her soprano in a version of "carmen", a syncopated version.
(the guy who played PREMINGER is good as well.)
DARRYL ZANUCK, 20th CENTURY FOX signs Dorothy for 3 movies.
she gets AVA GARDNER size salary.
She wants equal treatment in Las Vegas. but good ole jim crow.
she's the JACKIE ROBINSON of vegas.
but she has to hide her relationship with Preminger.
(what if Obama had a white wife? do you think he would be president?)
following her OSCAR nomination DOROTHY refuses to play the role of a slave.
JUDY GARLAND, AUDREY HEPBURN, GRACE KELLY the other nominees that year. GRACE KELLY won. then she's off to MONACO.
however PREMINGER refuses to marry Dorothy.
the feature number in the film YOU DO SOMETHING TO ME, sung by wendi straight ahead, begins slowly then uptempo so Dorothy can dance; again the latin interlude for dancing.
Preminger returns to direct PORGY AND BESS with Sidney Poitier.
meanwhile dorothy married a jerk, con man, wife beater; she gives up her child to CAMARILLO where BIRD had to go, the state mental hospital.
the ballad EVERYONE NEEDS TO CARE. (i don't know this tune.) nicely done.
dorothy because of her love life, tax problems becomes an alcoholic, contemplates suicide;
her former manager EARL MILLS returns to get her some gigs.
she's still taking anti-depressants. she falls in her house, breaks her ankle. she's a real pill popper.
she died from an overdose? a suicide note. too much torment?
she was only 42 years old.
like any biographical movie; you must read the book to learn more.
there really wasn't that much music in the movie. VOCALS WERE BY WENDI WILLIAMS, songs produced and arranged by BILL ELIOTT.
the movie came out in 1999, nearly ten years ago; i missed it; it was the time i was moving to santa monica.
Thursday, December 04, 2008
VOCALIST, EDUCATOR BARBARA MORRISON'S INFECTIOUS JOY AND HAPPINESS IS A PERFECT WAY TO END A TUMULTUOUS YEAR FOR MANY OF US, AND IT WOULD TO BE GOOD
TO BE WITH BARBARA AS SHE BRINGS IN THE NEW YEAR AT HERB ALPERT'S VIBRATO IN BEL AIR, and to enjoy "A TRIBUTE TO RAY BROWN" AT DISNEY HALL IN DOWNTOWN L.A. IN JANUARY AND HER ROLE AS "BIG MAMA THORNTON" AT THE STELLA ADLER THEATRE AT HOLLYWOOD AND HIGHLAND.
ON THIS SOMEWHAT SAN FRANCISCO FOGGY EVENING AT THE BEAUTIFUL CASA DEL MAR IN SANTA MONICA (a really first rate, five star hotel where you can use a mac for nothing), everyone's first call pianist in socal STUART ELSTER and his trio opened the evening with a blazing "WHAT IS THIS THING CALLED LOVE", "HOT HOUSE" in the first set with a wonderful arco solo by EDWIN LIVINGSTON and the deft, tasteful work of percussionist LEE SPAETH. i heard the great HANK JONES do the same tune earlier this year, and Stu doesn't have to play second fiddle to anyone.
The first set featured tunes by STEVIE WONDER, an exceptional EASY TO LOVE in fast four, a laid back A TIME FOR LOVE, (believe me the CASA DEL MAR is a great place for love, the gorgeous SANTA MONICA SUNSET over the PACIFIC OCEAN, SANTA MONICA'S INTOXICATING AND WONDEROUSLY COLORFUL FOURTH OF JULY FERRIS WHEEL IN SPLENDID VIEW PLUS A TOUCH OF A QUARTER MOON, SOMTIMES FULL IN THE WESTERN SKY) plus a little of WES's WEST COAST BLUES, the sweetness of SWEET LORRAINE to bring on the sweetest entertainer on this earth BARBARA MORRISON.
Barb opens with EXACTLY LIKE YOU with quarter note triplet arpeggios and an infectious swing that introduces the CASA DEL MAR tourists and business people who are fortunate to be present this evening to SANTA MONICA SWING. (BARB IS A LEGEND AMONG THE NATIONS' LINDY DANCERS.) She follows her opener with a bossa AUTUMN LEAVES in exactly the right groove. (i believe BARB has the best time of any singer alive today. ROBERTA GAMBARINI lauds Barb; Barb says her time which can't be taught comes from her daddy, a great pianist, vocalist, and before that from the likes of SATCHMO, LADY DAY AND BIRD.)
Barb, an irreverential entertainer also included IF I ONLY HAD A BRAIN from the Wizard of Oz, (too bad, no kids present), a Carol King medley, and Stray's A TRAIN at about 240, much faster than most perform it. so HURRY, HURRY to catch Barb this coming year. A TRAIN featured everyone's jazz chops and Barb's scatting and horn work is in the forefront of the world's jazz singers. Her WALK ON BY would make you forget about Dionne as Barb can establish the groove like no other.
Barb also announced for 2009, Duke's 110th birtday celebration, April 5th, Schoenberg Hall, U.C.L.A., and did i hear her right she invited me to play on her JOHNNY MERCER CD, centennial celebration in 2009. anyway this evening i got a chance to play my new SAXELLO on I WANT A SUNDAY KIND OF LOVE, a tune i really never played before; however it's really kind of an 8 bar blues; so i had a great time. (admittedly i was a little sharp, and it's tough to put your instrument together and blow without any warm up and make adjustments.) then a grooving, THE WAY YOU LOOK TONIGHT, again i was sharp and when you play bebop as opposed to a ballad, you have a tendency to get even sharper (according to LEE KONITZ because your muscles tighten as the tempo increases). This was my 2nd time playing with BARB on her DON'T TOUCH ME BLUES" which i posted after her birthday celebration at www.jamwave.com/birdmew. well here's a new version with my new horn. (still a little sharp)
Barb closed out her first set with a groovin ILL WIND again placing her notes in exactly the right place, and so did Stu.
TO ME THE HIGHLIGHT OF THE SET WAS BARB'S RENDITION OF "CANADIAN SUNSET" WHICH DEFINITELY SHOULD BE RECORDED. Few vocalists perform this tune. The most memorable version belongs to GENE AMMONS, the hit of his career. This tune allows for a great groove. Good lyrics too, the bridge, "A weekend in Canada, a change of scene...." this tune tells a story, and Barbara Morrison can really convey a novel; so groove with Barb every Wednesday at the CASA DEL MAR in SANTA MONICA. She works nearly every other day. www.barbaramorrison.com Stuart and rhythm section lay a great foundation on Sunset similar to AHMAD JAMAL'S POINCIANA.
Friday, November 07, 2008
PLEASE VOTE FOR ME NEXT YEAR IN THE DOWNBEAT READERS POLLOW UNDER MISCELLANOUS INSTRUMENTS-SAXELLO
NOW I WOULD NEVER MAKE THE TOP LISTS ON EITHER ALTO OR SOPRANO SAXOPHONE, BUT I COULD MAKE THE LIST UNDER MISCELLANOUS INSTRUMENTS=SAXELLO 70 OR MORE VOTES SHOULD DO THE TRICK. AND SINCE MY EMAIL LIST IS IN THE HUNDREDS, PLEASE SAVE THIS EMAIL AND VOTE FOR ME NEXT YEAR. IF I MAKE IT THEN I WILL GO TO HEAVEN!!!!
THANKS,
WEN
Wednesday, November 05, 2008
DUKE'S ROAD MGR. OF 50 YEARS BOB UDKOFF TALKS ABOUT SONNY GREER! 11-5-08
when sonny greer moved with Duke to the BIG APPLE, they were just like most of us struggling musicians, dirt poor. they had to split a hot dog five ways, one fifth each for each member of the Washingtonians. they played rent parties to surivive. (i sure wish they're rent parties today. i play at the nursing homes.)
SONNY stayed with duke nearly 30 years when Duke finally felt it was time for Sonny to move on. SONNY WAS AN ALCOHOLIC, and it was finally getting on Duke's nerves. Duke had to tolerate the likes of PAUL GONALVES and others in the band who liked to drink. Well duke never ever fired anyone; here's what he did with SONNY. they were in los angeles playing at the MILLIONAIRE'S CLUB, and Duke kept pointing at sonny to take one solo after another. finally Sonny collapsed off the stage and broke his ankle. then Duke put him on permanent disability and gave Sonny $250 a week until he died.
WAITING IN THE WINGS, DUKE HAD THE LIKES OF THE GREAT SID CATLETT, AND LOUIS BELLSON. (BOB UDKOFF ALSO ADDED THAT IF JIMMIE LUNCEFORD HAD LIVED, HE WOULD HAVE SURPASSED DUKE. (this i don't know; you'll have to ask GERALD WILSON also 90 uears old about Lunceford as Gerald played and arranged for Lunceford. as did Benny Carter i think.)
Bob was tight with Benny and when things thawed between duke and benny, bob brought Benny to see ELLA AND DUKE IN HOLLYWOOD ABOUT 30 YEARS AGO. (SEE COMMENT ABOUT BENNY AND DUKE'S RELATIONSHIP BELOW)
from www.drummerworld.com
Sonny Greer...
He was never the greatest timekeeper, but Sonny Greer was perfect for Duke Ellington's Orchestra, adding color and class to the rhythm section.
Born Dec 13, 1895 in Long Beach, NJ, Sonny Greer was with Duke Ellington's Orchestra during 1924-51. With the Ellington orchestra, Sonny formed one of the most powerful rhythm sections of all time with bass player Jimmy Blanton. Every jazz drummer and bass player has at one time or another referenced their beats. He met Ellington in 1919 when he was a member of the Howard Theatre's orchestra in Washington, D.C. Greer visited New York for the first time with Elmer Snowden and was an original member of Duke's Washingtonians which was a five-piece group at its start. He was with the orchestra until 1951 when, after a few arguments with Duke over his drinking and increasing unreliability, Greer left to join Johnny Hodges's new group.
He later worked with Red Allen, Tyree Glenn, and J.C. Higginbottham. In 1967 Sonny led his own band and played with Brooks Kerr's trio in the 1970s. Greer had a large array of sounds beyond using the drum kit to generate funky beats. Sonny was one of the first drummers to use other percussion instruments, such as gongs and cymbals and instruments from other cultures; creating the first jungle music. He died Mar 23, 1982 in New York, NY.
performed with:
Duke Ellington Orchestra
...and many more
Sonny Greer played:
http://www.zildjian.com/
MASTERCLASS DVD:
Learn how to play like
Steve Gadd in this
Masterclass DVD...
Funk patterns, rudiments applied to the kit, playing with a click, tips for the studio, brush patterns, odd phrases, Mozambique/Latin ideas:
it’s all here
Videosamples:
www.hudsonmusic.com
Classic Drum Solos and Drum Battles
This DVD presents fifteen of the true “legends of jazz drumming” in astounding extended solos and in rare, never-before-seen drum duels filmed over the last five decades. Among the highlights are uncut solos from big band legends Sonny Payne, Rufus Jones, Buddy Rich, Sam Woodyard and Louie Bellson; and small group giants Art Blakey and Joe Morello. Rare drum battles include meetings between Gene Krupa and Cozy Cole, Buddy Rich and Ed Shaughnessy, Chico Hamilton, Gene Krupa and Lionel Hampton; Elvin Jones, Sunny Murray and Art Blakey; and a once-in-a-lifetime battle between Buddy Rich and Jerry Lewis! Bonus track is the original theatrical trailer for “The Gene Krupa Story,” never seen outside movie theaters, where it was shown in 1958.
Running Time:
60 minutes
$29.95 plus shipping
Friday, October 24, 2008
IT WAS BEAUTIFUL TODAY; SO DUKE'S ROAD MGR. OF 50 YEARS BOB UDKOFF HOPPED ON A BUS IN BEVERLY HILLS AND TOOK A RIDE TO SANTA MONICA. BOB REVEALED
some interesting facts about Duke's relationship with BENNY CARTER.
we began our conversation by talking about A GREAT DAY IN L.A., which bob regretted he missed and about ROBERTA GAMBARINI at Catalina's which he also missed. then i told bob about CLARE FISCHER'S BIRTHDAY CONCERT, and bob said he thought clare and duke once worked on a movie together. well if this is the case, i would like to hear the music. duke admired CLARE AND ALSO GERALD WILSON. so i asked him about BENNY CARTER.
well bob was a little speechless for a moment. he said that duke's wife EDNA, MERCER'S MOTHER ONCE WENT OFF TO ST.LOUIS WITH BENNY CARTER , AND DUKE NEVER FORGAVE HIM. however you can't blame benny as duke always fooled around; so bob thought he had a double standard. anyway all because of a woman, you don't have any duke-benny carter collaborations; nor is there any evidence that each played the others music. both were successful in the paths they chose.
earlier bob had told me MERCER HAD GAMBLED AWAY DUKE'S CATALOGUE. (scroll down). mercer lost millions in vegas, and as a result had to sign over duke's music, probably to some gangster. so everytime we perform duke's music, some gangster is probably sending his kids to college with the money.
another guy DUKE detested was IRVING MILLS who used to get all the royalties from DUKE'S early hits, SATIN DOLL, ETC.
Irving Mills
Irving MillsBorn: 16-Jan-1894
Birthplace: New York City
Died: 21-Apr-1985
Location of death: Palm Springs, CA
Cause of death: unspecified
Gender: Male
Religion: Jewish
Race or Ethnicity: White
Sexual orientation: Straight
Occupation: Musician
Nationality: United States
Executive summary: Songwriter, music scout, raconteur
Songwriter and music scout, signed Duke Ellington and Cab Calloway. Mills is highly important in the history of jazz music because of his willingness to handle black music. While Mills is mostly remembered for his business abilities, he more than dabbled in songwriting -- included among his works is the hit It Don't Mean a Thing if It Ain't Got That Swing.
Father: (b. Odessa, d. circa 1905)
Mother: (b. Odessa)
Brother: Jack (b. Odessa, two years older)
When Duke's mother died, duke told mills to get the best casket possible for his mother. mills told duke the casket cost $5000. however one day duke looked at the books, and the casket really cost $3500. that ended the MILLS-ELLINGTON relationship. since duke owned CAB CALLOWAY, he traded CALLOWAY TO MILLS FOR DUKE'S MUSIC RIGHTS. but then like i said MERCER GAMBLED AWAY DUKE'S CATALOGUE.
so i asked bob about today's DUKE ELLINGTON BAND run by mercer's son paul. he said paul didn't know much about music. he doesn't have to. he has the charts and can hire top new york players. however bob said mercer's other son, EDWARD did play guitar in duke's band and was a musician.
so whenever there's a jazz event around beverly hills, the westside, and hollywood, don't forget to call BOB UDKOFF.
he's 90 years young. he said he's slowing a little, but at least he could take a bus to santa monica on a beautiful day.
Wednesday, October 22, 2008
THE PRESENT FINANCIAL CRISIS IS NOTHING NEW TO THE LIKES OF PRINCE LASHA
I FIRST MET PRINCE LASHA IN THE BAY AREA ABOUT 20 YEARS AGO. HE MAY HAVE BEEN HOMELESS AT THE TIME, AND HE CERTAINLY WASN'T PLAYING MUSIC, BUT HE HEARD ME AND ENCOURAGED ME TO KEEP PLAYING. WHAT A GENEROUS CAT!
WELL THE CALIFORNIA JAZZ FOUNDATION HELPED HIM PAY A FEW BILLS, AND NOW HE'S TOURING AGAIN.
FOR THE LAST TEN YEARS PLAYING JAZZ HAS PUT ME INTO DEBT, AND AS I MENTIONED EARLIER THE PRESENT FINANCIAL CRISIS DOESN'T AFFECT ME ONE BIT AS I'M ALREADY IN DEBT. HOWEVER MANY OF MY FRIENDS ARE AND WILL CONTINUE TO BE AFFECTED. GIGS WILL BE DRYING UP, TOURS WILL BE FEWER, TRANSPORTATION COSTS ARE UP; FEWER FLIGHTS AVAILABLE TO DIFFERENT DESTINATIONS, CITIES WHICH ARE NOW BANKRUPT CAN'T HELP FUND FESTIVALS. MOST CORPORATIONS ARE HURTING; THEY CAN'T SPONSOR FESTIVALS.
SO WHAT IS A JAZZ MUSICIAN TO DO? YOU HAVE TO PERSERVERE IF YOU'RE A TRUE JAZZ MUSICIAN, YOU HAVE TO GROW EVERYDAY. ASK FRANK MORGAN WHO SPENT MANY YEARS AT SAN QUENTIN. ASK ART PEPPER WHO WAS IN SYANNON FOR MANY YEARS. WHEN THESE CATS GOT OUT, THEY BLEW THE ROOF OFF OF JAZZ CLUBS. AND I THINK THE HARDSHIP GIVES YOUR MUSIC GREATER EMOTIONAL DEPTH.
I'VE BEEN SUFFERING FOR TEN YEARS. AND NOW MY MUSIC I THINK IS FINALLY COMING THROUGH EMOTIONALLY.
PLAYING JAZZ IS THE MOST DIFFICULT THING I'VE EVER DONE IN MY LIFE. GRADUATING FROM LAW SCHOOL AND PASSING THE BAR IS A PIECE OF CAKE COMPARED TO SPONTANOUS COMPOSITION. NO ONE TELLS YOU WHAT NOTES TO PLAY, WHEN TO PLAY THEM , WHETHER OR NOT TO ACCENT AND WHAT RHYTHMS TO USE. SO HOW IN THE HELL DO YOU LEARN TO PLAY JAZZ????
THAT'S A GOOD QUESTION. LIKE I'VE SAID MANY TIMES BEFORE. I TRY AND GET PARENTS TO TEACH THEIR KIDS TO SING!!!!!!!!!!!!!!!!!1 JUST LIKE ROBERTA GAMBARINI WAS SCATTING ALONG WITH LOUIE AND ELLA WHEN SHE WAS TWO YEARS OLD. NOW SHE CAN IMPROVISE ANYTHING AND SING IN PITCH AT THE DROP OF A HAT.
I MIGHT ADD THE GREAT SONNY SIMMONS WAS ALSO HOMELESS, PLAYING ON THE STREETS OF SAN FRANCISCO WHEN I MET HIM. NOW HE'S BACK TOURING IN EUROPE. GUYS LIKE PRINCE LASHA AND SONNY SIMMONS PERSEVERED.
I HAVE IT EASY COMPARED TO THESE GUYS. I PLAY FOR HUNDREDS OF PEOPLE FROM ALL OVER THE WORLD ON SANTA MONICA'S 3RD STREET PROMENADE. WWW.SANTAMONICATODAY.COM JUST YESTERDAY, A LADY CAME UP TO ME AND SAID THEY HEARD ABOUT ME IN OKLAHOMA. YOU NEVER KNOW. BUT I HAVE MANY FRIENDS BY PLAYING ON THE STREET FROM FRANCE, SWEDEN, DENMARK, SWITZERLAND, NEW ZEALAND, ARGENTINA, AUSTRALIA, TAIWAN, KOREA, THE PHILIPHINES, INDONESIA, CAMBODIA, ITALY, GREECE, NORWAY, THE HAGUE, SWEDEN, DENMARK, SPAIN, PORTUGAL, VIETNAM, THAILAND, BRAZIL, BOLIVIA, MAYLASIA, SINGAPORE, CHINA, JAPAN, ENGLAND, FRANCE, TURKEY....YOU NAME ANY OF THE MAJOR COUNTRIES, AND THERE ARE PEOPLE WHO HAVE HEARD ME,(I HAVE MORE FRIENDS THAN GOV. PALLIN FROM OTHER COUNTRIES.) AND I HAVEN'T EVEN LEFT SANTA MONICA. THAT'S THE POWER OF THE INTERNET. I HAVE OVER 300 TRACKS ONLINE. WHY SHOULD I GO ANYWHERE?
I DIDN'T HAVE TO ASK THE CALIFORNIA JAZZ FOUNDATION TO PAY MY DENTAL BILLS. I WENT TO THE U.C.L.A DENTAL CLINIC. GOOD WORK, BUT NOT CHEAP, SEVERAL CROWNS ARE COSTING ME $500 A PIECE. I ASKED THE CLINIC, WHAT IF I DIDN'T HAVE ANY CREDIT CARDS. THEY REPLIED, "WE WOULD PULL THE TOOTH". SO YOU CAN SEE WHAT JAZZ MUSICIANS FACE AND MOST OF US DON'T HAVE HEALTH CARE. I SERVED; SO I CAN GO TO THE VETERANS ADMINISTRATION. OTHERWISE, I WOULD BE IN BAD, BAD SHAPE.
SO SHOP AT RALPH'S AND MAKE A DONATION TO THE CALIFORNIA JAZZ FOUNDATION.
Tuesday, October 21, 2008
COMPOSING AND ARRANGING GENIUS CLARE FISCHER'S 80TH BIRTHDAY IS OCTOBER 22ND!
so when Clare and his wife Donna entered the Sportsman Lodge in Studio City, Ca. Monday evening the 20th, Clare almost had a heart attack when he saw about a 1000 friends and musicians had gathered to give him a surprise birthday concert.
DONNA AND BRENT FISCHER, CLARE'S HEIR APPARENT IN ALL WAYS MUSICALLY HAD GOTTEN EVERYONE TOGETHER WITHOUT CLARE KNOWING A THING. ALL THE MUSICIANS FROM FORMER ENSEMBLES, SINGERS, CHOIRS, STRING ORCHESTRA, JAZZ CORPS, BIG BANDS GOT TOGETHER, REHEARSED AND PRESENTED CLARE WITH SOME OF HIS CREATIVE GENIUS OF SOME 65 YEARS. of course many involved were not even born, when Clare wrote some of his first works, like a masterpiece he wrote for CELLO AND STRINGS when he was still in high school (even more ambitious than BILLY STRAYHORN'S LUSH LIFE, WRITTEN BY STRAYS WHEN HE WAS STILL IN HIGH SCHOOL.) CLARE'S HARMONIC GENIUS MUST HAVE BEGUN THE MINUTE HE WAS IN THE WOMB. (RIGHT TO LIFERS HERE'S YOUR ARGUMENT!) (that's why i advise parents to sing and play music for their kids while in the womb when brain nerves are beginning to grow.) since brent needed many musicians to make this birthday concert happen, he tapped the incredible talents of those from the LOS ANGELES PHILHARMONIC, VIRTUOSO GRADUATES OF U.S.C.'S FAMED THORNTON SCHOOL OF MUSIC, AND THE LIKE.
THE BEST FROM SOCAL AND THE STUDIOS WERE PRESENT, INCREDIBLE SOLOS FROM THE LIKES OF CARL SAUNDERS, (THIS GUY CREATES GORGEOUSLY LONG LYRICAL LINES AND NEVER HAS TO BREATH (CIRCULAR BREATING??), STEVE HUFFSTEDER, A MAIN STAY OF THE GERALD WILSON ORCHESTRA, THE TABACKIN-AKIYOSHI ORCHESTRA AND HIS OWN GROUPS, GARY FOSTER, ONE OF THE TOP WOODWIND PLAYERS IN THE WORLD, DON SHELTON, ONE OF THE GREATEST VOCALISTS, WOODWIND PLAYERS IN THE WORLD, LES BENEDICT, A MAIN STAY OF THE ROYAL HAWAIIAN ORCHESTRA, GERALD WILSON'S BONE MAN, WHO FLEW IN FOR THE NIGHT AND TOLD ME BARACK FEVER IS HOT AND HEAVY IN OUR NATION'S 50TH STATE. (unfortunately Barack is there right now for the lady who really raised him, his grandmother.)
Brent opened the evening presenting THE CLARE FISCHER LATIN JAZZ SEXTET from the 70s, some of the finest of socal's studio singers. you might hear these people on movie themes, commercials, and never know them in person. i'm sorry, but i can't remember and name the dozens of great musicians involved this evening. (just email clare or go to his website www.clarefischer.com) (i expect the first draft readers will send me corrections; so tomorrow, OCT. 22ND. , i can post it on ALL ABOUT JAZZ FOR THE WORLD.)
Kurt Weil's SPEAK LOW was a wonderful showcase for Clare's arranging talents with suberb harmony for the voices, room for solos and Shelton's
lyrical flute obligatos. even with clare's harmonic glory, there is always a need for a cooking rhythm section to lay a foundation. the voices really remind me of SUPERSAX AND THE L.A. VOICES with SUE RANEY, med flory's cd which i play nearly everyday. but clare is much, much, more adventurous harmonically, constant surprises in terms of notes and chords. the harmonic climax at the end of his compositions and arrangements cannot be match by any other composer, arranger on this earth. if college and high school vocal groups want to distinguish themselves they should buy CLARE FISCHER COMPOSITIONS AND ARRANGEMENTS.
Clare's version of FREEDOM JAZZ DANCE was as hip as EDDIE HARRiS and with voices, you'll never hear anything like this except maybe the NEW YORK VOICES OR MANHATTAN TRANSFER. i wonder why the TRANSFER never asked clare for arrangements. PRINCE did and the rest is history, big bucks for everyone involved. again the harmony is so far out, you would never think the piece could be resolved, but that's the secret, GO OUT AND THEN RESOLve. tempo changes, aboslutely magnificent arranging, good piano solos, again Shelton's soprano just in the right place. again the rhythm section is really happening. THE RHYTHM SECTION MUST ALWAYS BE HAPPENING, OR YOU STOP AND GET EVERYONE IN THE POCKET. here you have voices and instruments grooving like there's no tomorrow. (and you never know, there may be no tomorrow.) Clare has the voices sustaining chords, and the band is cooking like hell, just incredible stuff.
an unrecorded version by CLARE, of AMERICA THE BEAUTIFUL, voices and piano; just perfect for BARACK'S INAUGURATION; SOMEONE GET TO BARACK, QUINCY AND OPRAH! THIS IS AMERICA THE BEAUTIFUL FOR THE 21ST CENTURY. THIS IS ABSOLUTELY PERFECT! SINCE RAY CHARLES'S VERSION WAS FINE FOR THE CIVIL RIGHTS MOVEMENT. THOSE DAYS ARE LONG GONE. IF MUSIC CAN EXEMPLIFY HE BEAUTY AND GLORY OF OUR DEMOCRATIC FORM OF GOVERNMENT, ( even if it's socialistic) IT'S CLARE FISCHER'S ARRANGEMENT OF AMERICA THE BEAUTIFUL. if i was in charge of planning the inauguration, this arrangement of AMERICA THE BEAUTIFUL would follow Barack's inaugural address. and since i taped it, i have a copy and could send it to BARACK OBAMA, if i were assured it would get to him. (I HAVE TWO HIT TUNES FOR OBAMA, "OUT OF MANY WE'RE ONE" AND "YES WE CAN", and i doubt whether the obama people really know because two years ago my music was on obama's website as i was one of his very early supporters, but the BLACK EYED PEAS came in with video and studio quality recordings, and i was dumped. however those on my emailing list know it's still on the charts.)
BRENT THEN PRESENTED CLARE'S ARRANGEMENTS AND COMPOSITIONS FOR THE CLARINET CHOIR. this was glorified dinner music as clarinets with ebony, wood give you woodwind beauty and sound uniquely its own. the entire clarinet family was represented from Bb clarinets, alto clarinets, bass clarinets and contra bass clarinets. (ONLY CLARE FISCHER CAN HEAR HOW THESE INSTRUMENTS, WOODWIND, BRASS, AND STRINGS CAN BE EXPRESSED, SEPARATELY AND TOGETHER). a clarinet choir is so subtle, but profound. a saxophone choir is not subtle. clare's passages for the clarinets would showcase the dexerity of a BENNY GOODMAN, ARTIE SHAW, BUDDY DEFRANCO, AND TODAY EDDIE DANIELS, DON BYRON, MS COHEN, PACQUITO D'RIVERA. but on this evening you have many clarinet masters in socal doing the job, symphony players and jazz players like DON SHELTON, GARY FOSTER. lots of great counter point, harmonically adventurous ensemble passages to clare's compositions and arrangements. but this is all of clare's writing whether it's for brass, THE JAZZ CORPS, woodwinds, or strings. clare has to be the preminent arranger for strings.
SOME OUT OF SIGHT CLARINET VOICING, HARMONY INTRODUCED A DUKE-STRAYHORNE PIECE THAT WAS TOUGH TO RECOGNIZE BECAUSE OF THE FAR OUT HARMONY. (JUST THINK IF DUKE, STRAYHORNE AND CLARE HAD HAD A CHANCE TO COLLABORATE.)
A LITTLE BREAK FOR A FINE DINNER. CATALINA'S COULDN'T NEVER COME CLOSE TO WHAT WAS PRESENTED HERE THIS EVENING.
BUT YOU CAN HEAR THE CLARE FISCHER-BRENT FISCHER BIG BAND 3 OR 4 TIMES A YEAR AT THE TYPHOON RESTAURANT, SANTA MONICA AIRPORT OR AT HERB ALPERT'S VIBRATO IN BEL AIR.
the band opened it's set with a fine groove, BLUES PARIESENNE featuring the great STEVE HUFFSTEDER ON TRUMPET. i first heard steve some 20 years ago at the JAZZ SHOWCASE IN CHICAGO WITH THE TOURING TABACKIN-AKIYOSHI ORCHESTRA. steve was great then and now with a few gray hairs, even better. i reviewed this piece, and CITY BY THE LAKE on one of the band's gig earlier this year. (scroll below) this is a sophisticated blues for CLEVELAND. for the presidential election, they're a swing city, and Ohio is a swing state, and the residents there need some of this musical beauty if they're going to survive present hardships. "LAKE" SHOWCASED ONE OF THE FINEST TRUMPETERS IN THE WORLD, CARL SAUNDERS whose lyrical beauty and chops never ends. (i'd like to see CARL JAM WITH THE LIKES OF ARTURO SANDOVAL, WYNTON, JON FADDIS, ROY HARGROVE et al. i'll put my money on CARL.)
give it up for percussionist KENDALL KAY who anchored the rhythm section all evening. you have to be able to read clare's charts and not just wing it.
CLARE'S hip "MORNING", composed in the 60s and which has become a jazz standard was presented with string orchestra, a dozen violins, 4 cellists and two double bass players. it opens hip with the electric piano, then the flutes, then muted trumpets; the bridge showcases clare's very advanced harmony; the strings provide a beautiful backdrop for the ensemble and soloists; a tasteful keyboard solo, a fine flugelhorn solo, (i love to see classical violinists swing.), the bridge in MORNING, great vehicle for harmonic punctuation, modulating with each puntucation; that's some fancy arranging; all the while, the rhythm section grooves like a slow, sexy salsa.
then came the highlight of the evening CLARE'S writing for strings, his SUITE FOR CELLO AND STRINGS WRITTEN WHEN CLARE WAS A TEENAGER IN MICHIGAN. (you know the cold weather; i think all clare did was stay at home and do music.) THIS SUITE IS THE MOST MELANCHOLY PIECE I'VE EVER HEARD IN MY LIFE; IT WILL BRING TEARS TO YOUR EYES; IT'S LIKE WATCHING THE ASHES OF 9/11, HIROSHIMA, ALL THE WORST RESULTS OF MANKIND, ATROCITIES CLARE MANAGES TO EXPRESS WITH MUSIC. (A GREAT CELLO SOLO WORTHY OF THAT FAMOUS RUSSIAN CELLIST, I FORGOT HIS NAME, AND OF COURSE YO YO MA, BUT MA IS STILL TOO YOUNG FOR THIS PIECE. YOU HAVE TO SUFFER THE HOLOCAUST TO PLAY THIS PIECE. JUST LIKE SOMETIMES YOU HAVE TO SUFFER INDIGNITIES IN THIS COUNTRY TO PLAY THE BLUES. I'VE SUFFERED; I CAN PLAY THE BLUES.)
CLARE PROVIDES A GLORIOUS BACKDROP FOR CELLIST CECILIA TSAN AND SUDDENLY THE SAD PIECE TURNS TO HOPE. AND HOPE IS WHAT WE ALL NEED FROM THIS DAY FORWARD. BARACK IS HOPE, MCCAIN IS NOT HOPE.
AGAIN CLARE IS ABLE TO ISOLATE EACH SECTION OF THE ORCHESTRA, WOODWINDS, BRASS, AND STRINGS, WRITE BEAUTIFULLY FOR EACH GROUP SEPARATELY AND COMBINE THEM, CREATING A TRULY BIG BAND JAZZ ORCHESTRA.
AH, MY FAVORITE, "PENSATIVA", PENSIVE WOMAN. THE HARMONIES AS USUAL ARE EXQUISITE. THE MUSIC BROUGHT DOWN THE HOUSE.
after a short break, the big band back with a groover (i reviewed this piece earlier, just scroll down, it's the THAD JONES-MEL LEWIS TYPE GROOVER.)
CLARE FISCHER'S JAZZ CORPS featuring every brass, woodwind instrument ever made by man opened with a hip CHEROKEE. ( i reviewed the JAZZ CORPS CD BELOW, just scroll down.) how can one man have this much imagination, genius and sense of humor? fast bebop is the hardest form of music to play; CHEROKEE always separates the men from the boys, and this performance was not an exception. you just can't run scales on the changes. you must play ideas, and if you can do this at 280, you're a man and not a boy. let's just say, few survived, but this arrangement features clare's hipness in using the heavier brass to accent and support the lighter brass and woodwinds.
THE HERD MOVES ON opens as you can imagine like a group of elephants looking for water; you know how they prod along for miles in search of water. this is much better than MANCINI'S ELEPHANT WALK. this is serious, serious music. here clare effectively utilizes each group of instruments separately, the tubas, french horns, mellophones, bugles, clarinets, flutes; some space for an electric piano interlude. somehow the electric piano fits clare's pieces. i think because a STEINWAY OR A BOSENDORFER is too ponderous, though beautiful. the bass clarinetist shows off for the evening, a beautiful instrument as played by the likes of a DAVID MURRAY. YOU DON'T OFTEN HEAR HEAVIER BRASS TUBAS, SOUSAPHONES, CONTRA TUBAS PLAYING IN HARMONY. the music is very dense, great for a mystery or a spy movie or exploring the galaxy, suspenseful, then all of a sudden there is a sunrise with the clarinets, and you go through the day with clare's writing, perfect for film. there are surprises and climaxes like at the end.
FOUR BROTHERS IN FIVE.COM, the woody herman classic done in five part harmony, clarinet lead, swinging like hell, nice glenn miller, duke effect, kendall kay swinging the JAZZ CORPS; CARL SAUNDERS laying it all out again on rhythm changes as he has thousands of times; good old fashioned big band writing, a good chart for some good college or high school stage band to buy and win a competition.
MAN WHAT AN EVENING! I'M A LUCKY GUY! BUT YOU CAN BUY THIS MUSIC, LISTEN TO THE CDS AND BUY AND PERFORM THE ARRANGEMENTS. GO TO WWW.CLAREFISCHER.COM get on the emailing list like me, and maybe you'll be invited to the 90th surprise birthday party.
Friday, October 17, 2008
JAZZ FOR OBAMA FROM ITALIAN IMPORT ROBERTA GAMBARINI
Published: October 17, 2008
By Greg Thomas
Jazz for Obama
92nd Street Y
New York, NY
October 1, 2008
Jazz, to some, is apolitical, a refuge of artistic purity in the midst of a cultural and commercial wasteland. To these persons, art is hermetically sealed from world affairs. Yet there comes a time in the affairs of men and women that standing on the sidelines is no longer tenable. Now is such a time in the United States of America as we face the most important presidential election in a generation.
Jazz fans and artists made a pact at the 92nd Street Y in New York City on the side of political engagement called "Jazz for Obama: A Concert for America's Future." The fundraiser concert, held on October 1, 2008, was spearheaded by pianist Aaron Goldberg, with a supporting cast (Pavani Thagirisa, Anurima Bhargava, Kim Smith and Mabel Tso) comprising a group called Jazz for America's Future. The concert brought in $60,000 for Senator Barack Obama's campaign for the presidency of the United States.
An array of band leaders and sidemen gathered on the stage, from senior grandmasters such as Roy Haynes and Hank Jones to younger wizards of jazz music as Christian McBride, Jeff "Tain" Watts, Roy Hargrove, Robert Glasper, Stefon Harris, Brad Mehldau, Joe Lovano, Stanley Jordan and vocal divas Dee Dee Bridgewater and Dianne Reeves. The music performed was powerfully uplifting, a testament to the progressive spirit of change felt in the hall. But music—the art of the invisible—often gave way to words which were probing, visionary, humorous, hopeful and inspirational.
After Goldberg and Thagirisa opened the evening, the poet/playwright/spoken word performance artist Sarah Jones got laughs when she transformed herself into an elder Jewish woman and young Dominican in support of Obama. (She's like a Gen X version of Anna Deavere Smith.)
The vocalist Kurt Elling served as emcee. In addition to prepared and impromptu remarks, he recited lines from the Sufi poet Rumi and Robert Bly's book of verse, The Insanity of Empire: A Book of Poems Against the Iraq War. After the concert, Elling explained why he got involved: "It's a natural hook-up because jazz is about the future. And even apart from any conceptual tie like that, anything I can do to help Barack get into the White House is fine with me; if I can manage to be a part, be it large or small." The bassist Christian McBride: "There are a lot of people on the planet that know that what we're supporting tonight is the right thing, but to actively go out and do it [is what's important]. Tonight people are putting their money where their mouth is, and acting upon what they are thinking... It's time for a change, it's time for a new regime!"
Dee Dee Bridgewater joined Elling as co-emcee after intermission. Off-stage, she said that, "It's important that the jazz community be recognized as having a political mindset, concerned about who's governing our country. I thought that to combine jazz, our original American music form, with the historical moment of an African-American man about to win the presidency—it's nothing but beautiful. I had to be a part. I believe that he and [Senator Joe] Biden are the team to make the change."
“Just imagine the image of the White House resonating with 'Blue Train' in sustained listening.”
– Ashley Khan
After stating that the "music does all right on its own, but politics can use some good music," jazz author Ashley Khan reflected on the significance of having a presidential candidate with Charlie Parker, Miles Davis and John Coltrane on his iPod: "Just imagine the image of the White House resonating with 'Blue Train' in sustained listening." Referring to Obama again, Khan asserted that "No candidate can better speak and he listens to all. We've suffered through eight years of people making decisions for us. Let's make the future swing again."
Roberta Gambarini, a young Italian jazz singer, thought the event was "fantastic. I'm so happy to be here. My parents still live in Italy, and I get to talk with a lot of my friends there. Everybody's very excited about Obama." This is certainly true for trombonist Steve Turre: "Barack is about positive energy. My momma used to always tell me when I was a little boy that 'actions speak louder than words.' I think a lot of us are tired of a bunch of empty words. 'Cause all I've been hearing for eight years are lies. So... it's time for a change."
Goldberg isn't new to organizing jazz events in presidential campaigns; in 2004 Goldberg put together a fundraiser on behalf of John Kerry in his race against incumbent President George Bush. "I couldn't believe that there was a chance that the American people we going to re-elect him. I knew that all my jazz musician friends felt exactly the same way I did. Politically aware, but none of us were politically active. I felt that it was important for the jazz community to express our beliefs, the stuff they talk about in private. Everybody had this pent-up frustration, but there was a bit of apathy.
"It's a much different situation with Obama. The level of enthusiasm for Barack Obama is extremely high among jazz musicians. We're a diverse group of people. Jazz being an African-American music, we're very aware of the history of race in this country. It would be particularly meaningful to have a black President. But, also, we're extremely impressed with his qualifications, his personal qualities. It's easy to get pumped about him. I knew that if I just made some calls that people would come out of the woodwork to play for Barack Obama."
And come out they did, as more musicians contacted Goldberg to participate than were able to be booked. Those that did play came to swing, hard.
Some highlights: for the opening tune of the evening Goldberg (piano), McBride (bass), Haynes (drums), Lovano (tenor sax), and Roy Hargrove (trumpet) lit into McCoy Tyner's "Passion Dance" like there would be no tomorrow, anchored by Haynes' astounding poly-rhythmic prowess and McBride's booming walking bass. Lovano snaked his absorption of early Rollins, Shorter, Coltrane, Jimmy Giuffre and Joe Henderson with pride and intensity whereas Hargrove blew rapid fire passages ending in high note crescendos.
The vibist Stefon Harris was joined by Goldberg on piano, drummer Jeff "Tain" Watts, and bassist Derrick Hodge for an energetic romp on Thelonious Monk's "I Mean You." Subtle shifts in dynamics played peek-a-boo with echoes of rhythm generated by the three percussion instruments, evoking an experimental attitude akin to the mid-'60s Miles Davis quintet. The guitar duo of Charlie Hunter and Doug Wamble, on the introspective "A Change Is Gonna Come," brought us back to earth, and later Stanley Jordan's solo guitar rendition of Mozart's Piano Concerto #21 (Andante in F major) spell-bound us with its pointillist virtuosity.
The pianist Brad Mehldau, joined by bassist Matt Penman and Watts on drums, delved into "Besame Mucho." Winding lines cascaded from his right to left hand and back, as Mehldau summoned a seemingly endless stream of ideas. Dianne Reeves, the preeminent jazz singer on the scene today—Elling called her the "Renee Fleming of Jazz"—conjured the spirit of the earth mother, while Dee Dee Bridgewater played the foxy temptress, on "Afro Blue."
Monk's "Straight No Chaser" brought Elling, Gambarini, Bridgewater and Reeves onstage together to scat the night away. Elling's boppish phrases were countered by Bridgewater's playfulness, as Reeves leaned back confidently in the cut, gently giving Gambarini a lesson in behind-the-beat groove, a master class on scat timing, and a primer on stage presence. As the horn players took their solo turns, the vocalists riffed, "Vote for Obama," "The Audacity of Hope," and "Yes We Can, Yes We Can!"
THIS AUTHOR SEEMS TO THINK ROBERTA NEEDED SOME LESSONS FROM DIANE REEVES; HOWEVER I WASN'T THERE; SO I'LL HAVE TO ALLOW HIS OPINION TO GO UNCHALLENGED.
i've watched and listened to Roberta for over two years; i wouldn't sit through 8 sets at Yoshi's this year and opening night at CATALINA'S if i thought Roberta needed some lessons from Diane Reeves. There's no doubt Diane, Cassandra, Kurt and Roberta are considered the top singers today. And if Barbara Morrison were in New York, she would be recognized as well by the jazz press.
anyway Roberta was in perfect perform opening night at Catalina's, perhaps a little impatient on her opener DAY IN DAY OUT. when you perform this tune some 200 times a year, it's understandable. she and ERIC GUNDERSON ON PIANO, NEAL SWAINSON, BASS, MONTEZ COLEMAN, DRUMS were rocking from the get go, much better than at YOSHI'S a few months ago.
for one thing Roberta has now recovered from losing her voice earlier this year, and she didn't have to kick off after spending 10 cramped hours in coach. she just drove up the 405 after singing a few tunes with THE SLIDE HAMPTON-DIZZY GILLESPIE ALL STAR BAND AT ANTHOLOGY IN SAN DIEGO. AND LAST WEEKEND SHE SWUNG AT THE DAKOTA IN MINNEAPOLIS.
GET OUT OF TOWN GETS THE RHYTHM SECTION LOCKED IN, AND THEN SHE CHANGES THE MOOD WITH AN EXQUISITE "POOR BUTTERFLY". this time no gorgeous FRANK WESS SOLO.
NO MORE BLUES begins with just MONTEZ COLEMAN and ROBERTA. Coleman who plays with ROY HARGROVE switched beautifully from playing with fairly loud horn players to backing ROBERTA with light sticks and great brush work, pianissimo, which most vocalists prefer.
PORGY AND BESS also from Roberta's EASY TO LOVE CD always exempflies her tenderness, "I WANT TO STAY HERE......
HER STANDARD BEARER, "ON THE SUNNYSIDE OF THE STREET" which Roberta's sung thousands of times as she began singing along with Dizzy's version as a youngster continues to excite as WE LOVE BEBOP.
it's really shameful we have an entire generation which has never been exposed to BEBOP or the GREAT AMERICAN SONGBOOK. hopefully with OBAMA as president, more people will begin to enjoy his tastes which happen to be BIRD, MILES, TRANE et al , music which he was exposed to in HONOLULU as a teenager. but i'll bet his mother had something to do with opening his mind to all musics and culture. HONOLULU IS NOT A HOT BED OF BEBOP , though GABE BALTAZAR AND MATT CATINGUB are blowing in the islands. ONE OF CLARE FISCHER'S BONE PLAYERS MOVED TO THE ISLANDS RECENTLY. great place to live, but you don't play bebop in public every day.
Roberta considers WILLIE NELSON'S CRAZY part of the SONGBOOK. it's a simple tune like WHAT A WONDERFUL WORLD. these simple tunes bring in millions of listeners. Roberta could easily do one hit which would bring in millions of fans. SATCHMO DID IT WITH MANY THROWAWAY TUNES, MACK THE KNIFE, HELLO DOLLY ETC.
thinking about myself, i think ROBERTA should record my tune OUT OF MANY WE'RE ONE, SUNDAY MORNING SANTA MONICA. it's not ellington or strayhorne, but it stays number one on jamwave, and many people tell me they like it. i think it's just as good as CRAZY.
LOVER COME BACK TO ME is Roberta's TOUR DE FORCE, done as fast as most jazz musicians can play, about 280. like when you're driving a Porsche, you push the gas pedal all the way to the floor of the car. THAT'S THE WAY ROBERTA, MONTEZ, NEAL, AND ERIC perform this tune. i count the measures in one; roberta pats her foot in two, the tune and her scatting just fly by. she trades measures with Montez, and Montez gets his solo, a drum solo which is tasteful and not loud.
ESTATE by Italian composer Martino shows off ROBERTA'S TRUGELHORN (trumpet, flugelhorn and bone sound) again she plays an exceptionally lyrical solo. since i heard Roberta do this wonderfully laid back bossa nova, i've posted it and found a great pic of a sunset on the PO RIVER in Torino where Roberta must have experienced many a laid back summer day. the appreciative audience of about 30 sounded like a hundred. obviously CATALINA didn't do much pub. no advance articles, interviews; it seemed as if i was the only person in santa monica who knew Roberta was in town was me. or is too expensive now to go out with everyone losing money big time? that would mean JAZZ CLUBS WILL FOLD DURING THIS RECESSION. or L.A. TRAFFIC is such that no one can subject themselves to torture just to drive to HOLLYWOOD to see Roberta. FRANKLY I NEVER DRIVE TO HOLLYWOOD, but that's where i get my horn fixed which i did yesterday and walked out of THE HORN CONNECTION WITH A SAXELLO which you'll hear from now on. my intonation and sound should automatically improve. RAHSAAN ROLAND KIRK AND JAMES CARTER are the only SAXELLO players i know of.
ROBERTA CLOSED OFF THE FIRST SET WITH TADD DAMERON'S delectable, "IF YOU COULD SEE ME NOW" AND THE BLUES. everytime i hear roberta do this, i have to play it myself. so maybe i'll rerecord it today.
Tuesday, October 14, 2008
JAZZ MASTER CLORA BRYANT 81 YEARS OLD, A TAURUS LIKE ME!
LISTEN TO HER SING "WHAT A WONDERFUL WORLD" WWW.MYSPACE.COM/WENMEW1 WWW.JAMWAVE.COM/BIRDMEW
WWW.EUROPAMP3.ORG CLICK MUSICIANS THEN W FOR WEN MEW!
Clora Bryant: Trumpet Queen
Clora Bryant's musical odyssey will hit another high note when she receives an award from the Kennedy Center in Washington.
By Emory Holmes II
"Jazz is not classical. It's c-l-a-s-s-i-c. Classic!" says "trumpetiste" Clora Bryant in her Crenshaw district apartment, dominated by a portrait of Dizzy Gillespie.
The phone is ringing, the intercom is squawking and the stereo is booming, but Clora Bryant moves serenely about her Crenshaw district apartment like a woman in the eye of a whirlwind. She is preparing for a trip to Washington, where on Friday her "supreme trumpet mastery" and lifetime contributions to jazz will be recognized by the John F. Kennedy Center for the Performing Arts with its Mary Lou Williams Women in Jazz Festival Award for 2002.
"I was sitting at my boombox working on my book," says Bryant, recalling the moment she learned she would join the venerable sorority of jazz musicians, which includes Shirley Scott, Marian McPartland and local legends Vi Redd and Melba Liston, as the seventh recipient of the festival's titular award.
"It was my old friend [pianist and Kennedy Center artistic advisor for jazz] Billy Taylor on the phone. He told me they were going to honor me this year and I just whooped and dooped," remembers Bryant. "The Kennedy Center? For little ol' me from Texas? A female trumpetiste? It was almost like the first time I played with Louis Armstrong. I got goose bumps. I'm getting goose bumps right now. You see, I'm a very goose-bumpy person."
Goose bumps, hot-licks, spotlights and deep deep blues seem to punctuate the length and breadth of Bryant's 59-year career. "People don't know what you've been through," she says, pausing a moment to reflect. "They don't know the road you've traveled. I had to fight to keep from making the agents and the [casting] couch my source of employment. Y'see, my mother died when I was 3 and so my dad raised me and my two brothers, Fred and Mel. I really emphasize that about my father because that was during the '30s, during the Depression, and they wanted to put us in an orphanage.
"My father only made $7 a week and he had a tough row to hoe. He had always taught me to carry myself as a lady. But when I first decided I was going to play the trumpet he said, 'You know, it's going to be a challenge. Are you up to it?' I had already made up my mind that it was going to be my life. And he said, 'If you're going to play in this man's world, I'm behind you.' And when he said that, I knew I could do anything. He taught me to be aggressive, assertive, persistent, consistent. He was strong--my knight in shining armor."
The virtues that Charles Bryant inculcated in his daughter proved to be decisive. They helped her survive a racially proscribed and harrowing childhood that saw her father beaten and literally railroaded out of Texas by racists, her family broken apart, and Bryant exposed to the wiles of predatory kinfolk.
In 1941, big brother Fred went to war and 14-year-old Clora inherited the old trumpet he never got around to mastering. Music became her only refuge and she practiced day and night. "I'd close the door to my room and music was my world," she says.
As a teen, her talent was spotted and nurtured by Conrad Johnson, a noted music teacher who had mentored Hubert Laws, Joe Sample and many other promising young Texas musicians.
"He took me under his wing," Bryant says. "His thing was feelings. Like most of the elder statesmen of jazz, that's what he emphasized--feelings, not just notes like they do today. Because the white man--and I don't mind saying this--is so busy trying to take our music and put it into a classical bag. But jazz is not classical," she says emphatically, spelling it out. "It's c-l-a-s-s-i-c.
"Classic!"
In the 1940s there were many female singers and some pianists, like Mary Lou Williams, who were accepted, but the thought of a woman competing on equal terms with men playing any other instrument was considered nothing but a novelty. Nevertheless, as a 16-year-old, Bryant's talents won her full scholarships to the Oberlin Conservatory in Ohio, as well as to Bennett College in Greensboro, N.C.
She opted to remain in Texas and join the Co-Eds, a 16-piece, all-girl orchestra that made its home on the campus of Prairie View College. Bryant patterned her trumpet style after her idols, Louis Armstrong and his successor, the fiery and sensuous Roy Eldridge, a swing era trumpeter who formed the crucial link between Armstrong and the emerging young iconoclasts like John Birks "Dizzy" Gillespie who were harbingers of the brash modern sound in jazz.
The Co-Eds toured extensively in the South and Northeast and backed the hot Negro swing and jump blues artists of the day. In 1945, Bryant left Prairie View to be reunited with her father and brother Mel, who had found work in California.
"I came here in January of 1945," Bryant recalls. "I wanted to go to school, and back in Prairie View they told me about USC and UCLA. They said that USC was a little prejudiced, so I opted for UCLA and they accepted me.
"But I found out that they were just as prejudiced," she asserts. "There weren't many [African Americans] out there, so the teachers would get funky. You'd report them to the counselor and they'd be on the side of the teachers; but I endured it. I dropped out after a year because I had to go to work."
For an African American musician in the 1940s, "work" meant Central Avenue.
"I began playing with groups on the avenue, and that's where I got my comeuppance," Bryant says.
She accepted every challenge, performing alongside the most formidable young players on the block: Dexter Gordon, Wardell Gray, Frank Morgan, Carl Perkins, Hampton Hawes, Art and Addison Farmer, Teddy Edwards, Sonny Criss et al. She also backed up jazz divas such as Josephine Baker and Billie Holiday. In 1956--the year before she recorded her first LP as a leader, "Gal With a Horn"--she met the artist who would exert the most important influence on her life and playing.
The Beginning of a Lifelong Friendship
"I was as hot as a female could be here in Los Angeles," Bryant recalls. "[Trombone player] Melba Liston was with Dizzy's band and they were playing at a place out in Hollywood and I went to the club to see them. I was sitting between Sweets Edison and Charlie Barnet, and Dizzy's up there playing. Quincy Jones and Lee Morgan and all these big cats were in the band. I didn't know it, but Melba had told Dizzy about me. When intermission came he came over to the bar where I was sitting and said, 'Hi Clora,' and he kissed me on my forehead. I didn't wash it for a week after that."
The two trumpet players never became intimate, but from that moment, they were lifelong friends. Bryant, along with Gillespie's widow, Lorraine, was instrumental in getting the hugely influential trumpeter a star on the Hollywood Walk of Fame in 1995.
Bryant is the mother of four, the grandmother of nine, and this month expects to be a great-grandmother for the second time. Over the years, she has toured the world, performing throughout Canada, Europe and Australia, as well as in the former Soviet Union in 1989, at the invitation of Mikhail Gorbachev. Bryant has been awarded three National Endowment for the Arts grants for her work as a composer and has taught jazz history at USC, UCLA and Pasadena and Santa Monica city colleges.
Since 1980, she has been working on her autobiography, "Trumpetistically Speaking, Love, Clora Bryant." A documentary based on Bryant's life by UC San Diego professor Zeinabu Irene Davis is also in development. And the self-styled "trumpetiste" was an editor for "Central Avenue Sounds," Steven Isoardi's landmark survey of jazz history in South L.A.
In April 1996, Bryant underwent quadruple bypass surgery. Not even that dampened her spirit or slowed her down. "I was in the hospital for five days, but when I came home I had a party and danced all night. My kids said, 'Mom, you'd better sit down.' And I said, 'No, I'm glad I'm living and I'm going to dance.'"
But the road traveled by Bryant, who turns 75 on May 30, has been tough. "L.A. does not recognize its own," she laments. "They didn't recognize that I was the only female to get up there on the jam session with Dexter and all those people. I'm the only female horn player that played with Charlie Parker," she says, recalling how she met the jazz master in the '50s.
"Max Roach was playing at the Lighthouse with Howard Rumsey," Bryant says. "I was playing in a place right next door called the High Seas. Charlie had been in 'Frisco with Diz and Stan Kenton's group and had come down to see Max Roach at the Lighthouse.
"It was a Sunday afternoon, and everyone tried to get Charlie to play with Max and the group, but he wouldn't do it. He just wanted to hear Max. He knew me because he was friends" with her then-husband, bassist Joe Stone. "When he found out that I was next door he came in there and went up to the bandstand and asked if he could borrow a tenor. I almost wet my pants.
"We played a blues tune, 'Now's the Time.' Charlie took that tenor and played the rim off of it, he emptied the Lighthouse. They followed him into the High Seas like he was the pied piper. My knees were weak all while we were playing.
"Music has been the thing that has sustained me over the years. That's what helped me to see a lot of things through--through people misusing me and abusing me--all of it. Despite all I've been through, it's still worth it. I guess it's because music is in my skin. Plus I know I'm fulfilling my dad's dream. Ooh, I'm getting goose bumps."
'Despite all I've been through, it's still worth it. I guess it's because music is in my skin. Plus I know I'm fulfilling my dad's dream.'
May 6, 2002
DID I LUCK OUT OR WHAT TO PLAY "WHAT A WONDERFUL WORLD" WITH THE GREAT CLORA BRYANT OCT. 12, 2008, A GREAT DAY IN L.A.
Clora Bryant: Trumpet Queen
Clora Bryant's musical odyssey will hit another high note when she receives an award from the Kennedy Center in Washington.
By Emory Holmes II
"Jazz is not classical. It's c-l-a-s-s-i-c. Classic!" says "trumpetiste" Clora Bryant in her Crenshaw district apartment, dominated by a portrait of Dizzy Gillespie.
The phone is ringing, the intercom is squawking and the stereo is booming, but Clora Bryant moves serenely about her Crenshaw district apartment like a woman in the eye of a whirlwind. She is preparing for a trip to Washington, where on Friday her "supreme trumpet mastery" and lifetime contributions to jazz will be recognized by the John F. Kennedy Center for the Performing Arts with its Mary Lou Williams Women in Jazz Festival Award for 2002.
"I was sitting at my boombox working on my book," says Bryant, recalling the moment she learned she would join the venerable sorority of jazz musicians, which includes Shirley Scott, Marian McPartland and local legends Vi Redd and Melba Liston, as the seventh recipient of the festival's titular award.
"It was my old friend [pianist and Kennedy Center artistic advisor for jazz] Billy Taylor on the phone. He told me they were going to honor me this year and I just whooped and dooped," remembers Bryant. "The Kennedy Center? For little ol' me from Texas? A female trumpetiste? It was almost like the first time I played with Louis Armstrong. I got goose bumps. I'm getting goose bumps right now. You see, I'm a very goose-bumpy person."
Goose bumps, hot-licks, spotlights and deep deep blues seem to punctuate the length and breadth of Bryant's 59-year career. "People don't know what you've been through," she says, pausing a moment to reflect. "They don't know the road you've traveled. I had to fight to keep from making the agents and the [casting] couch my source of employment. Y'see, my mother died when I was 3 and so my dad raised me and my two brothers, Fred and Mel. I really emphasize that about my father because that was during the '30s, during the Depression, and they wanted to put us in an orphanage.
"My father only made $7 a week and he had a tough row to hoe. He had always taught me to carry myself as a lady. But when I first decided I was going to play the trumpet he said, 'You know, it's going to be a challenge. Are you up to it?' I had already made up my mind that it was going to be my life. And he said, 'If you're going to play in this man's world, I'm behind you.' And when he said that, I knew I could do anything. He taught me to be aggressive, assertive, persistent, consistent. He was strong--my knight in shining armor."
The virtues that Charles Bryant inculcated in his daughter proved to be decisive. They helped her survive a racially proscribed and harrowing childhood that saw her father beaten and literally railroaded out of Texas by racists, her family broken apart, and Bryant exposed to the wiles of predatory kinfolk.
In 1941, big brother Fred went to war and 14-year-old Clora inherited the old trumpet he never got around to mastering. Music became her only refuge and she practiced day and night. "I'd close the door to my room and music was my world," she says.
As a teen, her talent was spotted and nurtured by Conrad Johnson, a noted music teacher who had mentored Hubert Laws, Joe Sample and many other promising young Texas musicians.
"He took me under his wing," Bryant says. "His thing was feelings. Like most of the elder statesmen of jazz, that's what he emphasized--feelings, not just notes like they do today. Because the white man--and I don't mind saying this--is so busy trying to take our music and put it into a classical bag. But jazz is not classical," she says emphatically, spelling it out. "It's c-l-a-s-s-i-c.
"Classic!"
In the 1940s there were many female singers and some pianists, like Mary Lou Williams, who were accepted, but the thought of a woman competing on equal terms with men playing any other instrument was considered nothing but a novelty. Nevertheless, as a 16-year-old, Bryant's talents won her full scholarships to the Oberlin Conservatory in Ohio, as well as to Bennett College in Greensboro, N.C.
She opted to remain in Texas and join the Co-Eds, a 16-piece, all-girl orchestra that made its home on the campus of Prairie View College. Bryant patterned her trumpet style after her idols, Louis Armstrong and his successor, the fiery and sensuous Roy Eldridge, a swing era trumpeter who formed the crucial link between Armstrong and the emerging young iconoclasts like John Birks "Dizzy" Gillespie who were harbingers of the brash modern sound in jazz.
The Co-Eds toured extensively in the South and Northeast and backed the hot Negro swing and jump blues artists of the day. In 1945, Bryant left Prairie View to be reunited with her father and brother Mel, who had found work in California.
"I came here in January of 1945," Bryant recalls. "I wanted to go to school, and back in Prairie View they told me about USC and UCLA. They said that USC was a little prejudiced, so I opted for UCLA and they accepted me.
"But I found out that they were just as prejudiced," she asserts. "There weren't many [African Americans] out there, so the teachers would get funky. You'd report them to the counselor and they'd be on the side of the teachers; but I endured it. I dropped out after a year because I had to go to work."
For an African American musician in the 1940s, "work" meant Central Avenue.
"I began playing with groups on the avenue, and that's where I got my comeuppance," Bryant says.
She accepted every challenge, performing alongside the most formidable young players on the block: Dexter Gordon, Wardell Gray, Frank Morgan, Carl Perkins, Hampton Hawes, Art and Addison Farmer, Teddy Edwards, Sonny Criss et al. She also backed up jazz divas such as Josephine Baker and Billie Holiday. In 1956--the year before she recorded her first LP as a leader, "Gal With a Horn"--she met the artist who would exert the most important influence on her life and playing.
The Beginning of a Lifelong Friendship
"I was as hot as a female could be here in Los Angeles," Bryant recalls. "[Trombone player] Melba Liston was with Dizzy's band and they were playing at a place out in Hollywood and I went to the club to see them. I was sitting between Sweets Edison and Charlie Barnet, and Dizzy's up there playing. Quincy Jones and Lee Morgan and all these big cats were in the band. I didn't know it, but Melba had told Dizzy about me. When intermission came he came over to the bar where I was sitting and said, 'Hi Clora,' and he kissed me on my forehead. I didn't wash it for a week after that."
The two trumpet players never became intimate, but from that moment, they were lifelong friends. Bryant, along with Gillespie's widow, Lorraine, was instrumental in getting the hugely influential trumpeter a star on the Hollywood Walk of Fame in 1995.
Bryant is the mother of four, the grandmother of nine, and this month expects to be a great-grandmother for the second time. Over the years, she has toured the world, performing throughout Canada, Europe and Australia, as well as in the former Soviet Union in 1989, at the invitation of Mikhail Gorbachev. Bryant has been awarded three National Endowment for the Arts grants for her work as a composer and has taught jazz history at USC, UCLA and Pasadena and Santa Monica city colleges.
Since 1980, she has been working on her autobiography, "Trumpetistically Speaking, Love, Clora Bryant." A documentary based on Bryant's life by UC San Diego professor Zeinabu Irene Davis is also in development. And the self-styled "trumpetiste" was an editor for "Central Avenue Sounds," Steven Isoardi's landmark survey of jazz history in South L.A.
In April 1996, Bryant underwent quadruple bypass surgery. Not even that dampened her spirit or slowed her down. "I was in the hospital for five days, but when I came home I had a party and danced all night. My kids said, 'Mom, you'd better sit down.' And I said, 'No, I'm glad I'm living and I'm going to dance.'"
But the road traveled by Bryant, who turns 75 on May 30, has been tough. "L.A. does not recognize its own," she laments. "They didn't recognize that I was the only female to get up there on the jam session with Dexter and all those people. I'm the only female horn player that played with Charlie Parker," she says, recalling how she met the jazz master in the '50s.
"Max Roach was playing at the Lighthouse with Howard Rumsey," Bryant says. "I was playing in a place right next door called the High Seas. Charlie had been in 'Frisco with Diz and Stan Kenton's group and had come down to see Max Roach at the Lighthouse.
"It was a Sunday afternoon, and everyone tried to get Charlie to play with Max and the group, but he wouldn't do it. He just wanted to hear Max. He knew me because he was friends" with her then-husband, bassist Joe Stone. "When he found out that I was next door he came in there and went up to the bandstand and asked if he could borrow a tenor. I almost wet my pants.
"We played a blues tune, 'Now's the Time.' Charlie took that tenor and played the rim off of it, he emptied the Lighthouse. They followed him into the High Seas like he was the pied piper. My knees were weak all while we were playing.
"Music has been the thing that has sustained me over the years. That's what helped me to see a lot of things through--through people misusing me and abusing me--all of it. Despite all I've been through, it's still worth it. I guess it's because music is in my skin. Plus I know I'm fulfilling my dad's dream. Ooh, I'm getting goose bumps."
'Despite all I've been through, it's still worth it. I guess it's because music is in my skin. Plus I know I'm fulfilling my dad's dream.'
Monday, October 13, 2008
A GREAT DAY IN L.A. JAZZ MUSICIANS 0CTOBER 12, 2008
more photos to come!!!!!!!!!!!!!!!!!!!!! wenmew@verizon.net
Friday, October 10, 2008
AFTER THE MN. GIG, ROBERTA WILL BE AT ANTHROPOLOGY IN SAN DIEGO ON THE 15TH AND CATALINA'S IN HOLLYWOOD ON THE 16TH THRU THE 18TH.
Roberta Gambarini: Jazz as destiny
Jazz has been called America's greatest original art form, America's classical music, and the soundtrack of America. In fact, jazz is global music, heard and performed in all corners of the world.
One of today's finest interpreters of the great American songbook — those melodic, memorable tunes by Duke Ellington, Irving Berlin, Cole Porter, Harold Arlen, the Gershwins and others — was born in Turin, Italy, site of the 2006 Winter Olympics.
Roberta Gambarini brings her pristine voice, impeccable diction and pitch, scatting smarts and personal charm to the Dakota for two nights starting Sunday, Oct. 12. If you already know who she is, you probably have tickets. If you don't, here's a short list of her mentors and admirers: the late Benny Carter, Jimmy Cobb (Miles Davis' drummer on "Kind of Blue"), James Moody, Dee Dee Bridgewater, Hank Jones.
Jones, who has worked with a lot of singers in his 90 years, proclaimed Gambarini "the best since Ella Fitzgerald." Critics have crowned her the successor to Fitzgerald, Sarah Vaughan and Carmen McRae.
Arrived on music scholarship
Not bad for a singer who arrived in the United States 10 years ago with a scholarship to the New England Conservatory, little money and a burning desire to sing the songs she fell in love with as a child.
Her parents were jazz fans who took their daughter to see Ellington on his final tour of Europe. "I was very, very little, but I remember it well," she said by phone from her home in New York City.
Roberta Gambarini
Photo by Ben HugglerRoberta Gambarini
She was already learning English and singing along with her parents' jazz records. "I loved Ella singing 'Cotton Tail.' My parents would tell me stories about a little bunny with a little fuzzy tail." She listened to Count Basie and Jimmy Lunceford, Don Byas and the Duke. For tunes without lyrics, she sang along to the instrumental solos.
Gambarini began studying clarinet at age 12. "At the time, there was not really any jazz education to speak of in my country. … I came to jazz through the recorded and played sources, through my ears. I didn't have access to the rules, the books, things like that."
Sang first gig at 17
At 17, she sang her first gig at a jazz club, the Biella, in a small town north of Turin. "Since that very first time, I said to myself, I really want to do this thing. But I want to do it seriously. So I started taking music theory lessons, and right after I finished high school, I moved to Milan. It was like going to New York City. Completely insane." From there she performed at festivals and clubs around Italy.
Did her friends think she was crazy? "I was so driven, so determined, they thought I was possessed more than crazy." What about her parents? "Parents usually discourage acts of complete recklessness, but mine never did. They always supported me. … A lot of times parents say, 'When are you going to get a real job?' This never came out of my parents' mouths, even when goings were very hard in Italy and there was not much work. My dad would say, 'You're making progress.' "
In 1998, two weeks after arriving in Boston, the young singer from Italy no one knew finished third place in the prestigious Thelonious Monk International Jazz Vocal Competition, right behind Jane Monheit.
To date, Monheit has released six CDs on five different labels. Gambarini has made just two CDs since coming to America, both on her own label, Groovin' High. The first, "Easy to Love" (2006), earned rave reviews and a Grammy nomination.
'You Are There' with Hank Jones
The second, "You Are There" (2007), is a remarkable piece of work for our high-tech times. Hank Jones and Gambarini, who first performed together at the 2001 Lionel Hampton Jazz Festival in Idaho, met in a New York recording studio in September 2005. They sang what they wanted, how they wanted, with no rehearsal.
Gambarini sat on a stool beside Jones's piano. As she wrote in her liner notes, "There were no partitions, no isolation booths, no headphones, no overdubs. The sound would be just what you would hear had you been in someone's living room."
They started at 2 p.m. and finished at 7. Most of the 14 tracks on the CD — songs like "Stardust," "Just Squeeze Me," and Gambarini's favorite, "Lush Life" — are first takes.
Dee Dee Bridgewater says that Gambarini is "one to see live." I last saw her live at the 2006 Monterey Jazz Festival, singing a killer role in a new work by Dave Brubeck. Her voice is an amazing instrument. It can leap tall buildings, as in Dizzy Gillespie's arrangement of "The Sunny Side of the Street." On ballads like Ellington's "In a Sentimental Mood" it's warm and velvety:
That she can make an album like "You Are There" in such a relaxed and easy way, and so quickly (recording for Guns N' Roses' upcoming studio album, "Chinese Democracy," began in 1994), attests to her professionalism, her commitment, her considerable gifts as a singer, and her familiarity with the material.
An Italian in an American idiom
American material, composed for the American idiom called jazz. Does Gambarini ever question her calling? How and where does she see herself fitting in?
"First of all, internally, I never, ever felt a dichotomy or a separation. … A lot of people brought this up to me and still do — 'Why are you not singing opera?' I love opera, but the world of opera is farther from my personal spiritual history than the world of jazz. I'm much more viscerally connected to jazz. I always felt at home with it. I worked with composers from Italy, I sang in Italian, but in the end I always got back to what felt natural for me. …
"It depends on the voice, not where you are from. To me, it depends more on what your destiny is." And then this jazz singer from the Italian Alps quoted Emily Dickinson: "Each life converges to some center/Expressed or still."
At the Dakota, expect songs from her first two albums and songs from a new CD due out next spring. She'll bring her own band: pianist Eric Gunnison, formerly with Carmen McRae; Neil Swainson, who was George Shearing's bass player; drummer Montez Coleman, last seen here with Hargrove in September. Each set will be different because "even if you're playing the same songs, they won't be the same."
What: Roberta Gambarini
Where: The Dakota
When: Sunday-Monday, Oct. 12-13, 7 and 9:30 p.m.
Tickets: $25/$18
Upcoming picks
Sunday, October 05, 2008
PERHAPS THE VERY FIRST JAZZ MUSICIANS, 221 B.C.
autoplay=0&user=http://www.jamwave.com/generateMP.aspx%3FArtist%3D3295%26un%3D7fa56f6525864920ae86a7d8d5364135" type="application/x-shockwave-flash" width="440" height="320" >Norman Hammond, Archaeology CorrespondentThe Terracotta Army of China’s first emperor is one of the world’s most famous archaeological sites, but few of the tourists who pour through the tomb site near Xian in central China realise that excavations have continued uninterrupted since the thousands of pottery figures were first uncovered in 1974. Recent finds have shown a much greater variety of figures than hitherto known, including acrobats and musicians, as well as suits of stone armour.
Qin Shi Huang Di, “first august god of the Qin dynasty”, was a regional prince who conquered the last Zhou ruler in 221BC and unified much of eastern China into a single kingdom. It featured a common currency and political system that approached a police state in its degree of control. Before his death in 206BC he had begun construction of a massive tumulus at Lintong, east of his capital at Xian, and stocked his tomb, according to the later historian Sima Qian, with all manner of wonders in precious metals.
In 1974 the discovery of the Terracotta Army some distance east of the tumulus gave credence to these stories: more than 7,000 pottery warriors, equipped originally with real bronze weapons, were found in deep pits, including a command group in chariots. The search for a similar “spirit army” west of the mound has been unsuccessful, but several new pits have been found closer in, notably at the southeastern corner of the huge walled compound surrounding the tumulus.
Pit K9801 was found to contain numerous suits of armour, each made up of more than 600 stone plates perforated and strung together. They were made of a blue-grey hard limestone, and each suit weighed about 50kg (110 lb), with a helmet adding another 6kg. The armour is similar to that sculpted in clay on the terracotta warriors, but is believed to be a reproduction of what would in real life have been made of leather or thin metal plates.
Just to the south, pit K9901 has yielded nine figures of acrobats from the small section so far excavated. These are dressed only in kilts, with bare muscular chests and legs, and are shown in a variety of poses. Both pits had timber roofs that had been burned, as was the case with the Terracotta Army: Sima Qian describes how the invading Han destroyed the first Emperor’s tomb less than a decade after it was sealed, although the central mound shows no signs of having been entered.
At the southwest corner of the compound, pit K0006 held numerous horse bones and 12 figures of civilian officials in quilted robes. Each carried symbols of office, and some had knives and whetstones hanging at their belts, suggesting that they were record-keepers who used these instruments to scrape clean bamboo slips on which information could then be written or modified.
K0007 was bounded by a water channel, and along its banks stood bronze birds: swans, wild geese and cranes have been identified so far, one of the cranes with a bronze insect caught in its beak. A set of adjacent chambers held more pottery figures, some of them seated, others kneeling. From their poses they are thought to have portrayed musicians, playing stone bells and stringed instruments; bronze rods found in the pit are thought to have been used for striking the bells.
THESE TERRA COTTA MUSICIANS MAY HAVE GOTTEN SOME FOOD, BUT THEY CERTAINLY DIDN'T RECEIVE ROYALTIES. (MY TRIBUTE "TERRA COTTA MUSICIAN" WWW.JAMWAVE.COM CLICK CHARTS THEN JAZZ.
Apple, Amazon Pleased with Music Royalties Ruling
by: Seth Gilbert posted on: October 05, 2008 | about stocks: AAPL / AMZN Font Size: PrintEmail It was the “showdown", the looming crisis, digital music’s “O.K. Corral.” If you believed the headlines and bought into the sensationalism, the fate of iTunes, the world’s leading digital music store, hinged on the decision of the obscure three judge Copyright Royalty Board ((CRB)). The reality was hardly so dramatic.
Thursday, the CRB was set to announce its decision on the mechanical royalty rate: the default per song license fees paid to music publishers for the sale of their music. It was the first time since 1980 a government hearing addressed the rate, the review the result of last year’s expiration of a 1997 agreement.
Lobbying on one side of the aisle sat the National Publishers Association. They were seeking a rate hike from the current 9.1 cents a song to 15 cents. On the other side, the Digital Music Association, representing music sellers like Apple (AAPL) and Amazon (AMZN), lobbied for a price cut down to 4 cents per download.
The court, whose three judges are appointed by the Library of Congress, had heard testimony and was set to break the stalemate.
Headlines centered on remarks made by Apple’s iTunes VP Eddy Cue last year. In written testimony to the CRB, Cue had written “if the [iTunes store] was forced to absorb an increase in the royalty rate, the result would be to significantly increase the likelihood of the store operating at a financial loss…. Apple has repeatedly made it clear that it is in the business to make money, and most likely would not continue to operate [iTunes] if it were no longer possible to do so profitably.” (via Fortune).
Though Apple provided no current or updated statement, the testimonial threat became the foundation of stories on the impending “showdown.”
Realistically, no guns were drawn, no dire crisis narrowly avoided. For the past decade, the mechanical rate has never jumped more than fractions of a cent per year (see chart here). There was no basis to expect anything different would happen now.
Besides, negotiating stances and posturing aside, a dramatic change would not likely have served the best interests of any of the parties involved.
Apple already pays about 70 cents out of every dollar in music sales at iTunes to record labels and artists. With an estimated 85% share of global digital music sales, that translates to approximately $750m of the $1.26b in digital music sales tallied in 2007. It’s also 8.6% of last year’s combined revenue for physical and digital sales (numbers via RIAA; mobile revenue which includes ringtones and subscription service revenue is not included. See here for complete numbers from RIAA).
A change in the royalty rate would affect all digital music stores from Amazon to Apple to Best Buy (BBY). If an extreme change were to pass, it would likely result in higher prices for consumers (a cost pass-through that could risk decreasing total music sales) or the potential shuttering of some stores.
Those details weren’t lost in the thousands of pages of testimony likely assembled since the review began in January. The CRB’s three judges, all lawyers with experience in arbitration and copyright, were well aware of the stakes.
Their final ruling represented the reality. The royalties that songwriters receive from CD sales and digital downloads will remain the same, the same for both media and the same as the current rate: 9.1cents per song. The rate for ringtones will increase to 24 cents a song, above even the 15 cents songwriters and publishers lobbied for.
All sides expressed satisfaction with the overall result. Apple spokesman Tom Neumayr said the company was “pleased with the CRB’s decision.” The RIAA’s chief called the ruling “beneficial.” The Publishers representatives were happy to have a “guaranteed value.”
For the next five years, governed by the new ruling, the song will remain the same.
In other music copyright news, that may not be the case. Earlier this week, Congress passed the Webcaster Settlement Act. The law is effectively a stay of execution but not a solution. It extends the term for ongoing negotiations over royalty rates paid by Internet broadcasters until February.
At issue are the fees the web broadcasters must pay for each song heard by each listener. Currently, as set by the CRB in March 2007, the rates are structured at a fraction of a cent per song. Web broadcasting services like Pandora argue this leads to excessive fees which can be greater in total than the entire sum of revenue their companies’ generate. For many, it will make operating their businesses near impossible. In Pandora’s case, a reported $18m of the company’s expected $25m 2008 revenue would go to royalty fees under the current fee structure. Pandora, NPR and others seeking a new structure want rates to be set as a percentage of total revenue, similar to how royalties are assessed for satellite radio or subscription music services. At the very least, they want a system that will favor webcasters big and small.
With the new settlement the debate with SoundExchange, the music industry organization responsible for collection and distribution, will rage on, at least until February 15th.
Be the first to comment on this article! See below...
Apple, Amazon Pleased with Music Royalties Ruling » Steve Jobs' Fake Heart Attack, Courtesy of CNN » Economy Likely Shrinks CMO Ad Budgets With Spending Shifting to Digital
ROBERTA GAMBARINI'S NEW CD "ROBERTA GAMBARINI AND FRIENDS" WILL BE OUT NEXT MARCH!
Roberta Gambarini, Dee Dee Bridgewater & Kurt Elling at JAZZ FOR OBAMA last week!
Roberta Gambarini, Dee Dee Bridgewater & Kurt Elling by sherealcool.
here's roberta's gigs for the rest of the year. i might be at YOSHI'S FOR THE NATIONAL NPR BROADCAST if i don't have a gig!
THE YOSHI'S GIG IS WITH THE ROY HARGROVE BIG BAND WHICH SHOULD BE GOOD TO BRING IN THE NEW YEAR'S! LET'S SAY IT'S A PRE INAUGURAL BASH FOR OBAMA! IT LOOKS LIKE A LANDSLIDE!
Oct 7 2008 8:00P
Veritas fundraiser in NYC New York, New York
Oct 11 2008 8:00P
South Orange Community Center-Honoring Slide Hampton South Orange, New Jersey
Oct 12 2008 8:00P
The Dakota Minneapolis, Minnesota
Oct 13 2008 8:00P
The Dakota Minneapolis, Minnesota
Oct 14 2008 8:00P
Anthropology San Diego, California
Oct 15 2008 8:00P
Anthropology San Diego, California
Oct 16 2008 8:00P
Catalina’s Los Angeles, California
Oct 17 2008 8:00P
Catalina’s Los Angeles, California
Oct 18 2008 8:00P
Catalina’s Los Angeles, California
Oct 21 2008 8:00P
Blue Note Jazz Club,New York New York, New York
Oct 22 2008 8:00P
Blue Note Jazz Club,New York New York, New York
Oct 23 2008 8:00P
Blue Note Jazz Club,New York New York, New York
Oct 24 2008 8:00P
Blue Note Jazz Club,New York New York, New York
Oct 25 2008 8:00P
Blue Note Jazz Club,New York New York, New York
Oct 26 2008 8:00P
Blue Note Jazz Club,New York New York, New York
Oct 27 2008 8:00P
National Arts Club-with James Moody New York, New York
Nov 9 2008 8:00P
Aalener Jazzfest Aalen
Nov 10 2008 8:00P
Oosterpoort in Groeningen, Holland Groeningen
Nov 12 2008 8:00P
Muziekcentrum Frits Philips- Eindhoven,Holland Eindhoven
Nov 16 2008 8:00P
Sardinia Jazz Festival Cagliari
Dec 4 2008 8:00P
Baruch College/NYU New York, New York
Dec 13 2008 8:00P
Folly Theater Kansas City, Kansas
Dec 26 2008 8:00P
Yoshi’s Oakland, California
Dec 27 2008 8:00P
Yoshi’s Oakland, California
Dec 28 2008 8:00P
Yoshi’s Oakland, California
Dec 29 2008 8:00P
Yoshi’s Oakland, California
Dec 30 2008 8:00P
Yoshi’s Oakland, California
Dec 31 2008 8:00P
Yoshi’s Oakland, California
Jan 25 2009 8:00P
The Playboy Festival Jazz Cruise Fort Lauderdale, Florida
TRIBUTE TO BARBARA MORRISON www.myspace.com/wenmewsopranosaxophonist "I GOT IT BAD", "BARB'S BLUES", "LADY SARAH, A MASQUERADE", "BARBARA MY DEAR","BARB'S BOSSA","ALL THINGS BARBARA AND ROBERTA".
"A GREAT DAY IN L.A." PHOTO SESSION OCT. 12, 2008 2.P.M. ROYCE HALL, U.C.L.A. details at www.myspace.com/wenmew1 (TRIBUTE TO TIM RUSSERT), "GOODBYE", "CENTRAL PARK WEST", "LAST NIGHT WHEN WE WERE YOUNG", ""TIM THE BOY NEXT DOOR", "MARINA'S BOLERO", "GUESS I'LL HANG MY TEARS OUT TO DRY", also 226 tunes.
WEN'S TUNES 10-5-08 WWW.JAMWAVE.COM CLICK CHARTS, THEN JAZZ
1. OUT OF MANY WE'RE ONE (MEW) (9-30) 2. VIRGO (10-4)(wayne shorter) 3. DOLPHIN DANCE (HANCOCK) 4. TERRA COTTA MUSICIAN (MEW) 5. BARACK BOPS (MEW 10-4) 6. I GOT IT BAD (B. MORRISON)(DUKE) 7. INFANT EYES (9-24)(shorter) 8. THE MAESTRO (WALTON) 9. FANTASY IN D (CEDAR WALTON) 10. ESTATE (MARTIN0) 11. WHEN YOU WISH UPON ON OBAMA STAR, YOU GET ONE 12. BARBARA MY DEAR (MONK) 13. LADY SARAH, A MASQUERADE 14. ODE TO BIRD (MEW) 15. EMBRACE OBAMA (MEW) 16. LOVELY LATINA (mew) (9-28, Ojai) 17. AN OBAMA PRESIDENCY (MEW) 18. MY LITTLE SUEDE SHOES (9-29)(BIRD) 19 . THE PRESIDENCY IS A LONELY OFFICE (NESTICO) 19. ROUND MIDNIGHT (MONK) 20. A BALLAD (MULLIGAN) 21. SKETCHES OF SANTA MONICA (MEW) 22. I FALL IN LOVE TOO EASILY 24. FIFTH HOUSE (COLTRANE) 25. AN AFTERNOON IN PARIS (JOHN LEWIS) 27. CENTRAL PARK WEST (COLTRANE) 28. SUE'S SUNRISE (MEW) 29. BOLIVIAN BOLERO (MEW) 30. OLD FOLKS (MCCAIN) 32. PORTRAIT (MINGUS) 33. DUKE'S SOUND OF LOVE (MINGUS) 34. HOW LONG HAS THIS BEEN GOING ON? 35. HOW DO YOU KNOW (KENNY BURRELL) (ADAM LEVINE-GTR) 36. PENSATIVA (CLARE FISCHER) 37. WARM VALLEY (DUKE) 38. PRELUDE TO A KISS (DUKE) 39. LUSH LIFE (STRAYHORNE) 40. BLOODCOUNT (STRAYHORNE) 41. SOPHISTICATED LADY (DUKE) 43. STARDUST (HOAGY) 44. UMMG (STRAYHORNE) 45. TONES FOR JONES BONES (CHICK COREA) 46. BUD POWELL (COREA) 47. GIANT STEPS (COLTRANE) 48. A FLOWER IS A LOVESOME THING (STRAYHORNE) 49. DREAM DANCING (COLE PORTER) 50. I REMEMBER CLIFFORD (BENNY GOLSON)
--------------------------------------------------------------------------------
New MapQuest Local shows what's happening at your destination. Dining, Movies, Events, News & more. Try it out!
here's roberta's gigs for the rest of the year. i might be at YOSHI'S FOR THE NATIONAL NPR BROADCAST if i don't have a gig!
THE YOSHI'S GIG IS WITH THE ROY HARGROVE BIG BAND WHICH SHOULD BE GOOD TO BRING IN THE NEW YEAR'S! LET'S SAY IT'S A PRE INAUGURAL BASH FOR OBAMA! IT LOOKS LIKE A LANDSLIDE!
Oct 7 2008 8:00P
Veritas fundraiser in NYC New York, New York
Oct 11 2008 8:00P
South Orange Community Center-Honoring Slide Hampton South Orange, New Jersey
Oct 12 2008 8:00P
The Dakota Minneapolis, Minnesota
Oct 13 2008 8:00P
The Dakota Minneapolis, Minnesota
Oct 14 2008 8:00P
Anthropology San Diego, California
Oct 15 2008 8:00P
Anthropology San Diego, California
Oct 16 2008 8:00P
Catalina’s Los Angeles, California
Oct 17 2008 8:00P
Catalina’s Los Angeles, California
Oct 18 2008 8:00P
Catalina’s Los Angeles, California
Oct 21 2008 8:00P
Blue Note Jazz Club,New York New York, New York
Oct 22 2008 8:00P
Blue Note Jazz Club,New York New York, New York
Oct 23 2008 8:00P
Blue Note Jazz Club,New York New York, New York
Oct 24 2008 8:00P
Blue Note Jazz Club,New York New York, New York
Oct 25 2008 8:00P
Blue Note Jazz Club,New York New York, New York
Oct 26 2008 8:00P
Blue Note Jazz Club,New York New York, New York
Oct 27 2008 8:00P
National Arts Club-with James Moody New York, New York
Nov 9 2008 8:00P
Aalener Jazzfest Aalen
Nov 10 2008 8:00P
Oosterpoort in Groeningen, Holland Groeningen
Nov 12 2008 8:00P
Muziekcentrum Frits Philips- Eindhoven,Holland Eindhoven
Nov 16 2008 8:00P
Sardinia Jazz Festival Cagliari
Dec 4 2008 8:00P
Baruch College/NYU New York, New York
Dec 13 2008 8:00P
Folly Theater Kansas City, Kansas
Dec 26 2008 8:00P
Yoshi’s Oakland, California
Dec 27 2008 8:00P
Yoshi’s Oakland, California
Dec 28 2008 8:00P
Yoshi’s Oakland, California
Dec 29 2008 8:00P
Yoshi’s Oakland, California
Dec 30 2008 8:00P
Yoshi’s Oakland, California
Dec 31 2008 8:00P
Yoshi’s Oakland, California
Jan 25 2009 8:00P
The Playboy Festival Jazz Cruise Fort Lauderdale, Florida
TRIBUTE TO BARBARA MORRISON www.myspace.com/wenmewsopranosaxophonist "I GOT IT BAD", "BARB'S BLUES", "LADY SARAH, A MASQUERADE", "BARBARA MY DEAR","BARB'S BOSSA","ALL THINGS BARBARA AND ROBERTA".
"A GREAT DAY IN L.A." PHOTO SESSION OCT. 12, 2008 2.P.M. ROYCE HALL, U.C.L.A. details at www.myspace.com/wenmew1 (TRIBUTE TO TIM RUSSERT), "GOODBYE", "CENTRAL PARK WEST", "LAST NIGHT WHEN WE WERE YOUNG", ""TIM THE BOY NEXT DOOR", "MARINA'S BOLERO", "GUESS I'LL HANG MY TEARS OUT TO DRY", also 226 tunes.
WEN'S TUNES 10-5-08 WWW.JAMWAVE.COM CLICK CHARTS, THEN JAZZ
1. OUT OF MANY WE'RE ONE (MEW) (9-30) 2. VIRGO (10-4)(wayne shorter) 3. DOLPHIN DANCE (HANCOCK) 4. TERRA COTTA MUSICIAN (MEW) 5. BARACK BOPS (MEW 10-4) 6. I GOT IT BAD (B. MORRISON)(DUKE) 7. INFANT EYES (9-24)(shorter) 8. THE MAESTRO (WALTON) 9. FANTASY IN D (CEDAR WALTON) 10. ESTATE (MARTIN0) 11. WHEN YOU WISH UPON ON OBAMA STAR, YOU GET ONE 12. BARBARA MY DEAR (MONK) 13. LADY SARAH, A MASQUERADE 14. ODE TO BIRD (MEW) 15. EMBRACE OBAMA (MEW) 16. LOVELY LATINA (mew) (9-28, Ojai) 17. AN OBAMA PRESIDENCY (MEW) 18. MY LITTLE SUEDE SHOES (9-29)(BIRD) 19 . THE PRESIDENCY IS A LONELY OFFICE (NESTICO) 19. ROUND MIDNIGHT (MONK) 20. A BALLAD (MULLIGAN) 21. SKETCHES OF SANTA MONICA (MEW) 22. I FALL IN LOVE TOO EASILY 24. FIFTH HOUSE (COLTRANE) 25. AN AFTERNOON IN PARIS (JOHN LEWIS) 27. CENTRAL PARK WEST (COLTRANE) 28. SUE'S SUNRISE (MEW) 29. BOLIVIAN BOLERO (MEW) 30. OLD FOLKS (MCCAIN) 32. PORTRAIT (MINGUS) 33. DUKE'S SOUND OF LOVE (MINGUS) 34. HOW LONG HAS THIS BEEN GOING ON? 35. HOW DO YOU KNOW (KENNY BURRELL) (ADAM LEVINE-GTR) 36. PENSATIVA (CLARE FISCHER) 37. WARM VALLEY (DUKE) 38. PRELUDE TO A KISS (DUKE) 39. LUSH LIFE (STRAYHORNE) 40. BLOODCOUNT (STRAYHORNE) 41. SOPHISTICATED LADY (DUKE) 43. STARDUST (HOAGY) 44. UMMG (STRAYHORNE) 45. TONES FOR JONES BONES (CHICK COREA) 46. BUD POWELL (COREA) 47. GIANT STEPS (COLTRANE) 48. A FLOWER IS A LOVESOME THING (STRAYHORNE) 49. DREAM DANCING (COLE PORTER) 50. I REMEMBER CLIFFORD (BENNY GOLSON)
--------------------------------------------------------------------------------
New MapQuest Local shows what's happening at your destination. Dining, Movies, Events, News & more. Try it out!
Saturday, September 13, 2008
JIMMY BLANTON AND JOHNNY HODGES FROM BOB PORTER'S BLOG. NEWLY DISCOVERED PHOTOS.
Johnny Hodges
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Johnny Hodges
Johnny Hodges in concert, Feb. 6, 1965
Johnny Hodges in concert, Feb. 6, 1965
Background information
Birth name John Cornelius Hodges
Born July 25, 1906(1906-07-25)
Origin Cambridge, Massachusetts
Died May 11, 1970 (aged 63)
Genre(s) Ballads
Swing
Mainstream jazz
Occupation(s) Saxophonist
Clarinetist
Instrument(s) Alto saxophone
Soprano saxophone
Clarinet
Associated acts Sidney Bechet
Lucky Roberts
Chick Webb
Notable instrument(s)
Selmer Mark 6
John Cornelius "Johnny" Hodges (25 July 1906 in Cambridge, Massachusetts – 11 May 1970) was an American alto saxophonist and lead player of Duke Ellington's saxophone section.[1] He spent 38 years with Ellington, leaving to lead his own band from 1951 to 1955, returning to the fold shortly before Ellington's triumphant return to prominence via the orchestra's performance at the 1956 Newport Jazz Festival. Hodges started playing with Lloyd Scott, Sidney Bechet, Lucky Roberts and Chick Webb. When Ellington wanted to expand his band in 1928, Ellington's clarinet player Barney Bigard recommended Hodges, who was featured on both alto and soprano sax. His playing became the identifying voice of the Ellington orchestra.
Contents
[hide]
* 1 Biography
* 2 Discography
* 3 References
* 4 External links
[edit] Biography
Hodges was mostly self-taught, although he did take lessons on soprano sax with Bechet. Johnny Hodges was one of the prominent Ellington Band members who featured in Benny Goodman's legendary 1938 Carnegie Hall concert. Benny Goodman claimed Hodges was "the greatest man on alto sax I ever heard." Charlie Parker called him "the Lily Pons of his instrument."
Ellington's practice of writing tunes specifically for members of his orchestra resulted in the Hodges specialties, "Confab with Rab", "Jeep's Blues", and "Hodge Podge". Other songs recorded by the Ellington Orchestra which prominently feature Hodges' smooth alto-saxophone are "Magenta Haze", "Prelude to a Kiss", "Haupe" (from Anatomy of a Murder), "The Star-Crossed Lovers" from Ellington's Such Sweet Thunder suite, "I Got It Bad (And That Ain't Good)", "Blood Count" and "Passion Flower".
Generations of saxophonists turn to 1963 recording The Great Paris Concert, in which Hodges' lyrical poise is captured well, particularly on "On the Sunny Side of the Street".
He had a pure tone and economy of melody on both the blues and ballads that won him admiration from musicians of all eras and styles, from Ben Webster to John Coltrane, both of whom played with him when he had his own orchestra in the 1950s, to Lawrence Welk, who featured him in an album of standards. His highly individualistic playing style, which featured the use of a wide vibrato and much sliding between slurred notes, was frequently imitated. He earned the nicknames Rabbit (for his enjoyment of lettuce sandwiches) and Jeep (for his apparent speed as a runner).[citation needed]
Hodges led the Ellington saxophone section. A small highly precise man, his last performances were at the Imperial Room in Toronto, less than a week before his death from a sudden heart attack. His last recordings are featured on The New Orleans Suite, incomplete on his death.
In Ellington's eulogy of Hodges he said: "Never the world's most highly animated showman or greatest stage personality, but a tone so beautiful it sometimes brought tears to the eyes - this was Johnny Hodges. This is Johnny Hodges."
[edit] Discography
This list is incomplete; you can help by expanding it.
* 1951: Castle Rock
* 1956: Ellington At Newport
* 1958: Blues-A-Plenty (Verve Music Group)
* 1959: Side by Side (with Duke Ellington)
* 1959: Back to Back (with Duke Ellington)
* 1964: Everybody Knows Johnny Hodges (Impulse! Records)
* 19??More of Johnny Hodges and his Orchestra(Norgran Records)
* 1967: Triple Play
[edit] References
1. ^ allmusic ((( Johnny Hodges > Biography )))
1965 Johnny Hodges and Wild Bill Davis recorded album CON -SOUL RCA Stereo #LSP-3393
1974 Johnny Hodges & Lalo Schifrin Verve Records 2304 186 Tracks: Side One of two 1, Mama Knows. 2, I'm In Another World. 3, Dreary Days. 4, I Can't Believe That You're In Love With Me. 5, B.A. Blues. Side Two Of two. 1, Wanderlust. 2, All Too Soon. 3, Somebody Loves Me. 4, Away From You. Produced by that great producer Creed Taylor. Muso's on LP J.H Alto Sax. Lalo Schifrin Piano. Barry Galbraith Guitar. George Duvivier Bass. Dave Bailey Drums. And with a great article from Leaonard Feather. author of From Satchmo To Miles. (Stein & Day.) Davidofoz1@msn.com
[edit] External links
* A Tribute To Johnny Hodges
[hide]
v • d • e
Duke Ellington
Albums
The Blanton–Webster Band · Never No Lament: The Blanton-Webster Band · Ellington at Newport · The Complete Porgy and Bess · Such Sweet Thunder · Ellington Indigos · Newport Jazz Festival (1958) · Black, Brown and Beige · Jazz Party · Anatomy of a Murder · Duke Ellington Meets Coleman Hawkins · Money Jungle · The Great Paris Concert · Duke Ellington & John Coltrane · Ella at Duke's Place · Ella and Duke at the Cote D'Azur · The Far East Suite · The Stockholm Concert, 1966 · ...And His Mother Called Him Bill · Francis A. & Edward K.
Songs
All Too Soon · Azure · Caravan · Cotton Tail · Day Dream · Do Nothing Till You Hear from Me · Don't Get Around Much Anymore · Drop Me Off in Harlem · Everything But You · I Ain't Got Nothin' But the Blues · I Didn't Know About You · I Got It Bad (and That Ain't Good) · I'm Beginning to See the Light · I'm Just a Lucky So-and-So · In a Mellow Tone · In a Sentimental Mood · It Don't Mean a Thing (If It Ain't Got That Swing) · Just A-Sittin' and A-Rockin' · Just Squeeze Me (But Please Don't Tease Me) · Mood Indigo · Prelude to a Kiss · Rocks in My Bed · (In My) Solitude · Satin Doll · Sophisticated Lady
Compositions
Black, Brown and Beige · C Jam Blues · Diminuendo and Crescendo in Blue
Orchestra Members
Cat Anderson · Ivie Anderson · Harold Ashby · Shorty Baker · Butch Ballard · Louie Bellson · Barney Bigard · Jimmy Blanton · Wellman Braud · Lawrence Brown · Red Callender · Harry Carney · Mercer Ellington · Jimmy Forrest · Peter Giger · Tyree Glenn · Paul Gonsalves · Sonny Greer · Jimmy Hamilton · Otto Hardwick · Johnny Hodges · Al Hibbler · Quentin Jackson · Louis Metcalf · James "Bubber" Miley · Ray Nance · Tricky Sam Nanton · Oscar Pettiford · Russell Procope · Betty Roché · Al Sears · Willie Smith · Billy Strayhorn · Rex Stewart · Billy Taylor · Clark Terry · Juan Tizol · Ben Webster · Arthur Whetsol · Cootie Williams · Britt Woodman · Sam Woodyard
Other
Black and Tan Fantasy · Cabin in the Sky · Duke Ellington Bridge · Duke Ellington House · Duke Ellington School of the Arts · Irving Mills · Sophisticated Ladies
Discography ·
Retrieved from "http://en.wikipedia.org/wiki/Johnny_Hodges"
Categories: Swing saxophonists | Swing clarinetists | Mainstream jazz saxophonists | Mainstream jazz clarinetists | African American musicians | American jazz saxophonists | American jazz clarinetists | Jazz alto saxophonists | Duke Ellington Orchestra members | 1906 births | 1970 deaths
Thursday, September 11, 2008
BARBARA MORRISON'S BIRTHDAY CELEBRATION, CASA DEL MAR, SANTA MONICA 9-10-08
this is not an objective review since i'm involved; however i want to post this as the recordings i will post reflect the atmosphere of the GREAT DINAH WASHINGTON-CLIFFORD BROWN JAM SESSION which was issued and should be possessed by any jazz fan. (if you want this, just put the above in my AMAZON BOX on this blog.)
of course this is an invidious comparsion, as I'M NO CLIFFORD BROWN, however BARBARA MORRISON IS UP THERE ALONG THE LIKES OF DINAH WASHINGTON, SARAH VAUGHN , ELLA ETC. SHE IS DEFINITELY THE MOTHER OF MANY ASPIRING JAZZ VOCALISTS. (SHE TEACHES AT U.C.L.A.)
BARBARA had just flown in from a tour in Australia; otherwise she probably would have been at her hometown DETROIT JAZZ FESTIVAL. (KENNY BURRELL, GERALD WILSON)
She immediately kicked things off with I LOVE JUST BEING HERE WITH YOU, a beautiful groove which set the mood for the evening backed by the STU ELSTER TRIO with educator, producer RICHARD SIMON on bass. www.richardsimon.com
i forgot where i put my camera; so i'm including photos which are already online. my photo was really taken at CANNERY ROW, PEBBLE BEACH, MONTEREY. however the sunset at the beautiful CASA DEL MAR is the same as are all sunsets on the California Coast.
the CASA DEL MAR was originally SYANNON, home of ART PEPPER AND OTHER JAZZ GREATS OR WERE REHABBING. so i always feel inspired when i play here. (I ONCE PLAYED FOR A HUGE WEDDING RECEPTION OF A YOUNG CHINESE COUPLE)
BARBARA really got the crowd going with WALK ON BY; some FANS had driven all the way from FRESNO for this birthday celebration. BARBARA HAS A LOYAL FOLLOWING ALL OVER THE WORLD, ESPECIALLY THE LINDY DANCERS as she dances with her fans during her sets. (THIS IS WHY JAZZ LOST IT'S AUDIENCE. WHEN THE MUSIC MOVED FROM THE BALLROOMS AND DANCE HALLS TO SMALL GROUP IMPROVISATION WHICH IS WAY BEYOND THE EARS OF THE AVERAGE PERSON.) you can't play like ORNETTE OR ERIC DOLPHY when you play these dance gigs.
i've been in SANTA MONICA nearly 10 years and this was the first time i had ever heard Stu Elster who's a regular pianist on the Hotel circuit. (i don't usually hang out at expensive hotels.)
RICHARD SIMON IS A WELL KNOWN EDUCATOR, STUDIO BASSIST, RECORD PRODUCER WHO TOOK OVER BUDDY COLLETTE'S JAZZ AMERICA; so he's helping the next generation of jazz musicians. www.richardsimon.com
BARBARA then allowed the audience to sing on THEY CAN'T TAKE THAT AWAY FROM ME, probably the only way many in the audience would ever learn how to swing.
you will notice on the recording of DUKE'S "I GOT IT BAD" on which i played, the lovely ladies at the table where my recorder was placed were singing along with Barbara. that's what her performances are like; everyone gets involved and has a great time. CAN YOU IMAGINE THE AUDIENCE GETTING INVOLVED LIKE THIS AT A ROBERTA GAMBARINI PERFORMANCE WHERE YOU CAN HEAR A PIN DROP.
BARBARA MORRISON PLAYS HARMONICA AND WAS PROBABLY PERFORMING ON BONE BEFORE ROBERTA WAS BORN.
Barbara called me up on her blues DON'T TOUCH ME, KEEP YOUR HANDS TO YOURSELF, (LIKE PLEASE SEND ME SOMEONE TO LOVE). then i played later on I GOT IT BAD. i really wanted to play on WHY DID YOU LEAVE HEAVEN, but she didn't call it during the first set.
SHE ALSO PERFORMED A GREAT AND TENDER "I LOVE YOU PORGY", and i must know this song by now after hearing Roberta do it 5 or 6 times at Yoshi's in JULY. (SCROLL DOWN TO POST BELOW.)
she blew past eveyone with an uptempo DING DONG THE WITCH IS DEAD; i wanted a piece of that one too, and closed out the set with a swinging THAT'S ALL. (i have a bossa nova version and one with strings online. www.jamwave.com click charts then jazz and www.europamp3.org click musicians then W for Wen Mew.)
Those of you who missed the party (i talked with one couple from the promenade who usually listen to me.), i'm posting my cuts, BARB'S BLUES AND I GOT IT BAD. www.jamwave.com click charts then JAZZ.
I KNOW MANY OF YOU ARE NOT IN SOCAL; BUT JUST IMAGINE THE AMBIENCE ON SEPTEMBER 10, 2008 AT THE CASA DEL MAR, SANTA MONICA WAS LIKE THE 50S WITH CLIFFORD BROWN AND DINAH WASHINGTON. (I THINK THE SESSION WAS AT THE COOKERY, NYC)
THE MAIN DIFFERENCE IS IN 2008, YOU CAN'T SMOKE IN THESE HOTELS WHICH IS FOR THE BETTER.
Friday, August 29, 2008
CHARLIE YARDBIRD PARKER, THE GREATEST SPONTANEOUS COMPOSER IN MUSIC!
PORTRAIT by dr. alstair bourne, auckland, new zealand.
Charles Christopher Parker, Jr. (August 29, 1920 – March 12, 1955) was an American jazz saxophonist and composer. Early in his career Parker was dubbed Yardbird; this was later shortened to Bird and remained Parker's nickname for the rest of his life.
Biography
Early Life and Career
Parker was born in Kansas City, Kansas and raised in Kansas City, Missouri. He was the only child of Charles and Addie Parker. There is no evidence that Parker showed unusual musical talent as a child. As a small boy (possibly 3-4 years old), he may have sung in the church choir. Parker's father presumably provided some musical influence; he was a pianist, dancer and singer on the T.O.B.A. circuit, although he later became a Pullman waiter or chef on the railways.
Related Topics:
Kansas City, Kansas - Kansas City, Missouri - Choir - Pianist - T.O.B.A.
~ ~ ~ ~ ~ ~ ~ ~ ~ ~
Parker began playing the saxophone at age 15 with his school's band. Groups led by Count Basie and Bennie Moten were the leading Kansas City ensembles, and doubtless influenced Parker. He continued to play with local bands in jazz clubs around Kansas City, Missouri, where he perfected his technique with the assistance of Buster Smith, whose dynamic transitions to double and triple time certainly influenced Parker's developing style. In 1938 Parker joined pianist Jay McShann's territory band http://www.iaje.org/bio.asp?ArtistID=46, and was able to tour with him to the nightclubs and other venues of the southwest region of the USA, as well as Chicago and New York City http://www.pbs.org/jazz/biography/artist_id_parker_charlie.htmhttp://amb.cult.bg/music/jazz/mp3/notes/CHARLI.htm. Parker made his recording debut with McShann's band.
Related Topics:
Count Basie - Bennie Moten - Buster Smith - 1938 - Jay McShann - Territory band - Chicago - New York City
~ ~ ~ ~ ~ ~ ~ ~ ~ ~
In New York City
In 1939, Parker moved to New York City. He pursued a career in music, but held several other jobs. He became fond of pianist Art Tatum, frequently attending his performances. (Parker's later playing was in some ways reminiscent of Tatum's, with dazzling, high-speed arpeggios and sophisticated use of harmony.)
Related Topics:
1939 - New York City - Art Tatum - Arpeggio - Harmony
~ ~ ~ ~ ~ ~ ~ ~ ~ ~
In 1942 Parker broke away from McShann's band and played with Earl Hines for eight months. In 1945 he joined the jazz trumpeter Dizzy Gillespie, and pianist Thelonious Monk. Also in 1945, Parker was tracked down by a young trumpeter named Miles Davis. He would appear on some classic bebop sessions with Parker, and go on to become a major figure in jazz.
Related Topics:
1942 - Earl Hines - 1945 - Dizzy Gillespie - Thelonious Monk - Miles Davis
~ ~ ~ ~ ~ ~ ~ ~ ~ ~
Bebop
Eventually, Parker emerged as a leading figure in the bebop scene. According to an interview Parker gave in the 1950s, one night in 1939, he was playing "Cherokee" in a jam session when he hit upon a method for developing his solos that enabled him to play what he had been hearing in his head for some time, by building chords on the higher intervals of the tune's harmonies. In reality, the birth of bebop was probably a more gradual process than this story reports.
Related Topics:
Bebop - 1950s - 1939
~ ~ ~ ~ ~ ~ ~ ~ ~ ~
Early in its development, this new type of jazz was rejected and disdained by many older, more established jazz musicians, whom the beboppers in response called "mouldy figs." It wasn't until 1945 that Parker's collaborations with Dizzy Gillespie had a massive impact on the jazz world. A trip to Los Angeles by the Parker/Gillespie band was less than successful, however; their music was mostly hated or ignored, and the band decided to return to New York.
Related Topics:
1945 - Dizzy Gillespie - Los Angeles
~ ~ ~ ~ ~ ~ ~ ~ ~ ~
Parker was also a notorious drug addict. As a teenager, he developed a morphine addiction while in hospital after an automobile accident, and subsequently became addicted to heroin, which was to plague him throughout his life and ultimately kill him. Parker's addiction unfortunately created the impression (at least to some) that his musical genius was somehow related to his drug use. For about a decade following Parker's death, jazz was closely associated with narcotics, and many musicians began using drugs, partly in imitation of their musical idol.
Related Topics:
Drug addict - Morphine - Heroin - Narcotic
~ ~ ~ ~ ~ ~ ~ ~ ~ ~
Although he produced some valuable recordings during this period, Parker's behavior became increasingly erratic. Heroin was difficult to obtain after his dealer was arrested, and Parker began to drink heavily to compensate for this. A recording of "Lover Man" for the Dial label from July 29, 1946 provides evidence of his condition. Reportedly, Parker could barely stand during the session and had to be physically supported by others in order to keep him positioned properly against the microphone. The record illustrates how the man's genius tried desperately to come out through his agony. Parker never forgave his producer for releasing the sub-par record (and re-recorded the tune in 1953 for Verve, this time in stellar form), but it remains an invaluable testimony to a part of his career.
Related Topics:
Drink heavily - July 29 - 1946 - Microphone - 1953 - Verve
~ ~ ~ ~ ~ ~ ~ ~ ~ ~
A few days after the "Lover Man" session, Parker was drinking in his hotel room when he set fire to his mattress with a cigarette, then ran through the hotel lobby wearing only his socks. He was arrested and committed to Camarillo State Hospital, where he remained for six months.
~ ~ ~ ~ ~ ~ ~ ~ ~ ~
Coming out of the hospital, Parker was clean and healthy, and proceeded to do some of the best playing and recording of his career. He returned to New York and recorded dozens of sides for the Dial and Savoy labels (including "Relaxin' at Camarillo," in reference to his hospital stay) that remain one of the high points of his recorded output.
Related Topics:
New York - Savoy
~ ~ ~ ~ ~ ~ ~ ~ ~ ~
Parker's soaring, fast, rhythmically asymmetrical improvisations could amaze the listener; nevertheless close inspection shows each line to hold a complete, well-constructed phrase with each note in place. Parker's harmonic ideas were revolutionary, introducing a new tonal vocabulary employing 9ths, 11ths and 13ths of chords, rapidly implied passing chords, and new variants of altered chords and chord substitutions. His tone was clean and penetrating, but sweet and plaintive on ballads. Although many Parker recordings demonstrate dazzling virtuoso technique and complex melodic lines — the early "Ko-Ko" is a superb example — he was also one of the great blues players. His themeless blues improvisation "Parker's Mood" represents one of the most deeply affecting recordings in jazz, as fundamental as Armstrong's classic "West End Blues."
Related Topics:
Rhythm - Harmonic - Chords - Blues - Improvisation
~ ~ ~ ~ ~ ~ ~ ~ ~ ~
Stardom
By 1950, much of the jazz world was under Parker's sway. His solos were transcribed and copied; legions of saxophonists imitated his playing note-for-note. In 1953, Parker joined Gillespie, Charles Mingus, Bud Powell and Max Roach to record Jazz at Massey Hall, often cited as one of the finest recordings of a live jazz performance.
Related Topics:
1950 - 1953 - Charles Mingus - Bud Powell - Max Roach - Jazz at Massey Hall
~ ~ ~ ~ ~ ~ ~ ~ ~ ~
One of Parker's longstanding desires was to perform with a string section; he was a keen fan of classical music. When he did record and perform with strings, some fans thought it was the move of a sell out catering to popular tastes. Time demonstrated Parker's m