Lush Life (The George Golla Orchestra Album)
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Lush Life (The George Golla Orchestra Album)
''Lush Life'' (subtitled: A Tribute To Duke Ellington & Billy Strayhorn) is a studio album by Australian jazz musician George Golla, credited to The George Golla Orchestra and released in 1986. At the ARIA Music Awards of 1987 the album won the ARIA Award for Best Jazz Album. Track listing # " Lush Life" - 3:10 # " Things Ain't What They Used to Be" - 3:18 # "I Got It Bad (and That Ain't Good)" - 4:05 # " Don't Get Around Much Anymore" - 4:40 # "Mood Indigo" - 3:55 # " Take the "A" Train" - 3:30 # "Solitude Solitude is a state of seclusion or isolation, meaning lack of socialisation. Effects can be either positive or negative, depending on the situation. Short-term solitude is often valued as a time when one may work, think, or rest without distu ..." - 2:40 # " I'm Beginning to See the Light" - 3:45 # " I Let a Song Go Out of My Heart" - 3:48 # " Prelude to a Kiss" - 3:25 # " Do Nothing till You Hear from Me" - 4:28 # " Creole Love Call" - 4:18 # " It Don't Mean a Thin ...
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George Golla
George Golla (born 10 May 1935) is an Australian jazz guitarist. In 1959 he commenced a long-term working musical partnership with clarinetist/flautist/saxophonist Don Burrows that continued for almost 40 years. Biography Golla was born on 10 May 1935 in Chorzów, Poland. He emigrated to Australia in the 1950s and began working in Sydney from 1957. In 1959, he commenced a long-term working musical partnership with the clarinetist, flautist and saxophonist Don Burrows that continued for almost forty years. They recorded frequently together and in quartets and other combinations. Together they nurtured and featured many young talents, including brassman and multi-instrumentalist James Morrison, guitarist Guy Strazzullo, drummer David Jones and others they taught at the New South Wales Conservatorium. Golla was a teacher at the Academy of Guitar in Bondi alongside Don Andrews, specialising in jazz and classical guitar. He has written several books on theory, scales and the mod ...
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Take The "A" Train
"Take the 'A' Train" is a jazz standard by Billy Strayhorn that was the signature tune of the Duke Ellington orchestra. History The use of the Strayhorn composition as the signature tune was made necessary by a ruling in 1940 by the American Society of Composers, Authors and Publishers (ASCAP). When ASCAP raised its licensing fees for broadcast use, many ASCAP members, including Ellington, could no longer play their compositions over radio, as most music was played live on radio at the time. Ellington turned to Billy Strayhorn and son Mercer Ellington, who were registered with ASCAP's competitor BMI, to "write a whole new book for the band," Mercer recalled. "'A' Train" was one of many tunes written by Strayhorn, and was picked to replace "Sepia Panorama" as the band's signature song. Mercer recalled that he found the composition in a trash can after Strayhorn discarded a draft of it because it sounded too much like a Fletcher Henderson arrangement. The song was first recorded ...
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1986 Albums
The year 1986 was designated as the International Year of Peace by the United Nations. Events January * January 1 **Aruba gains increased autonomy from the Netherlands by separating from the Netherlands Antilles. **Spain and Portugal enter the European Community, which becomes the European Union in 1993. *January 11 – The Gateway Bridge in Brisbane, Australia, at this time the world's longest prestressed concrete free-cantilever bridge, is opened. *January 13– 24 – South Yemen Civil War. *January 20 – The United Kingdom and France announce plans to construct the Channel Tunnel. *January 24 – The Voyager 2 space probe makes its first encounter with Uranus. *January 25 – Yoweri Museveni's National Resistance Army Rebel group takes over Uganda after leading a five-year guerrilla war in which up to half a million people are believed to have been killed. They will later use January 26 as the official date to avoid a coincidence of dates with Dictator Idi Amin's 1971 co ...
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It Don't Mean A Thing (If It Ain't Got That Swing)
"It Don't Mean a Thing (If It Ain't Got That Swing)" is a 1931 composition by Duke Ellington with lyrics by Irving Mills. It is now accepted as a jazz standard, and jazz historian Gunther Schuller characterized it as "now legendary" and "a prophetic piece and a prophetic title". In 2008, Ellington's 1932 recording of the song was inducted into the Grammy Hall of Fame. Background The music was composed and arranged by Ellington in August 1931 during intermissions at the Lincoln Tavern in Chicago; the lyrics were contributed by Irving Mills. According to Ellington, the song's title was the credo of trumpeter Bubber Miley, who was dying of tuberculosis at the time; Miley died the year the song was released. The song was first recorded by Ellington and his orchestra for Brunswick Records on February 2, 1932. Ivie Anderson sang the vocal and trombonist Joe Nanton and alto saxophonist Johnny Hodges played the solos. The song became famous, Ellington wrote, "as the expression of a senti ...
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Creole Love Call
"Creole Love Call" is a jazz standard, most associated with the Duke Ellington band and Adelaide Hall. It entered the '' Billboard'' USA song charts in 1928 at No. 29.USA song chart entry
for "Creole Love Call" (1928). In 1988, during a radio interview with the journalist and radio host Max Jones, Hall explained how she came up with the counter-melody in "Creole Love Call". An excerpt from the interview can be heard in the article (published 17 December 2020) on the
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Do Nothing Till You Hear From Me
"Do Nothing till You Hear from Me" (also written as "Do Nothin' Til You Hear from Me") is a song with music by Duke Ellington and lyrics by Bob Russell. It originated as a 1940 instrumental ("Concerto for Cootie") that was designed to highlight the playing of Ellington's lead trumpeter, Cootie Williams. Russell's words were added later. In 1944, Ellington's own recording of the song was a number one hit R&B chart for eight non-consecutive weeks and number six on the pop chart. Other recordings to reach the ''Billboard'' charts in 1944 were by Woody Herman and by Stan Kenton (vocal: Red Dorris). Other versions "Do Nothing till You Hear from Me" has since been performed by many other famous musical artists, including: *Nat King Cole, 1944, with The King Cole Trio *Billie Holiday, 1944 - Live, 1955, Studio, '' Stay With Me'' *Lena Horne, 1944, appears on her 2002 compilation album ''The Young Star'' *Patti Page, 1949, released in 1986 on ''The Uncollected Patti Page (1949): Patti P ...
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Prelude To A Kiss (song)
"Prelude to a Kiss" is a 1938 ballad composed by Duke Ellington, with lyrics by Irving Gordon and Irving Mills. Background and composition This composition is in the key of D-flat major but makes extensive use of the secondary dominant chords, secondary ii–V–I progressions, diatonic circle of fifths, and evaded cadences. The song is extremely chromatic and complex, employing sophisticated mathematics that were rare at this time in jazz: Ellington's rising semitones (G-G#-A-A#-B) at the end of the bridge mirror the opening of both A sections (B-A#-A-G#-G). By the late 1930s, swing was at the height of its popularity. Using his fame and artistic freedom, Ellington became more ambitious and experimental, writing "Prelude to a Kiss", which abandoned the Tin Pan Alley style hooks and dance tempo for melodic lines and harmonies found more often in classical music. He recorded this piece as an instrumental in August 1938 before returning to the studio a few weeks later to recor ...
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I Let A Song Go Out Of My Heart
"I Let a Song Go Out of My Heart" is a 1938 composition by Duke Ellington, with lyrics added by Irving Mills, Henry Nemo and John Redmond. The song became a number one hit for Ellington in 1938. Other hit versions the same year were by Benny Goodman (with Martha Tilton singing), Connee Boswell, Hot Lips Page, and Mildred Bailey. It was performed as part of The Cotton Club Parade of 1938. Other recordings *Tony Bennett - for the album '' Tony Makes It Happen'' (1967). *June Christy - included in the album ''Mood Indigo: Capitol Sings Duke Ellington'' (1994). *Rosemary Clooney - for the album ''Blue Rose'' (1956) *Bing Crosby recorded the song in 1957 for use on his radio show and it was subsequently included in the album ''With All My Heart'' (2012). *Ella Fitzgerald - in the album ''Ella Fitzgerald Sings the Duke Ellington Song Book'' (1957) *Gogi Grant - for her album ''Suddenly There's Gogi Grant'' (1956). *Lena Horne - for her album '' Lena...Lovely and Alive'' (1962) *Irene Kra ...
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I'm Beginning To See The Light
"I'm Beginning to See the Light" is a popular song and jazz standard, with music written by Duke Ellington, Johnny Hodges, and Harry James and lyrics by Don George and published in 1944. 1945 recordings *Ella Fitzgerald and the Ink Spots featuring Bill Kenny recorded a version in 1945, that was on the pop song hits list for six weeks in 1945, reaching #5. *A competing 1945 recording by Harry James and his Orchestra, with lead vocal by Kitty Kallen reached No. 1 for two weeks in January of that year. James' version of the song reached No. 7 on Billboard's Second Annual High School Survey in 1945. *Duke Ellington also released in 1945 a version, vocal by Joya Sherrill, which reached the top ten. Other notable recordings *Rosemary Clooney – ''Out of This World'' (2000) *Bobby Darin (1962) - featured in the 1996 feature film '' Swingers''. *Frank Sinatra (1962) - "Sinatra And Swingin' Brass" *Seal (2017) - "Standards" *Johnnie Ray (1958) *Connie Francis (1958) *Oscar Alemán ( ...
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(In My) Solitude
"(In My) Solitude" is a 1934 composition by Duke Ellington, with lyrics by Eddie DeLange and Irving Mills. It has been recorded numerous times and is considered a jazz standard. Ellington reported that he composed it in a recording studio in 20 minutes, as his orchestra had arrived with three pieces to record and required another. It is in D major and has an AABA form (although "the IV chord in measure 3 is replaced by a II7 the second time"). According to Ellington, the title was suggested by trumpeter Arthur Whetsel. An AllMusic writer describes the composition as "at once optimistic in its tone but somber in its pace, conflicted with the emotions of bitter loneliness and fond remembrance". The mood is set "in the very first phrase of the melody, with its ascent to the leading tone of the scale falling just short of the tonic, and in the seemingly unremarkable chord progressions that nevertheless manage to transform harmonic resolution into wistful resignation". The first recor ...
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Mood Indigo
"Mood Indigo" is a jazz song with music by Duke Ellington and Barney Bigard and lyrics by Irving Mills. Composition Although Irving Mills—Jack Mills's brother and publishing partner—took credit for the lyrics, Mitchell Parish claimed in a 1987 interview that he had written the lyrics. The tune was composed for a radio broadcast in October 1930 and was originally titled "Dreamy Blues". It was "the first tune I ever wrote specially for microphone transmission", Ellington recalled. "The next day wads of mail came in raving about the new tune, so Irving Mills put a lyric to it." Renamed "Mood Indigo", it became a jazz standard." The main theme was provided by Bigard, who learned it in New Orleans, Louisiana from his clarinet teacher Lorenzo Tio, who called it a "Mexican Blues". Ellington's arrangement was first recorded by his band for Brunswick on October 17, 1930. It was recorded twice more in 1930. These recordings included Arthur Whetsel (trumpet), Tricky Sam Nanton (tr ...
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Jazz
Jazz is a music genre that originated in the African-American communities of New Orleans, Louisiana in the late 19th and early 20th centuries, with its roots in blues and ragtime. Since the 1920s Jazz Age, it has been recognized as a major form of musical expression in traditional and popular music. Jazz is characterized by swing and blue notes, complex chords, call and response vocals, polyrhythms and improvisation. Jazz has roots in European harmony and African rhythmic rituals. As jazz spread around the world, it drew on national, regional, and local musical cultures, which gave rise to different styles. New Orleans jazz began in the early 1910s, combining earlier brass band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. But jazz did not begin as a single musical tradition in New Orleans or elsewhere. In the 1930s, arranged dance-oriented swing big bands, Kansas City jazz (a hard-swinging, bluesy, improvisationa ...
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