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Oscar Peterson Plays The George Gershwin Songbook
''Oscar Peterson Plays the George Gershwin Songbook'' is a 1959 album by pianist Oscar Peterson of compositions written by George Gershwin. Peterson had recorded many of the pieces for his 1952 album ''Oscar Peterson Plays George Gershwin''. Track listing # "It Ain't Necessarily So" – 2:48 # "The Man I Love (song), The Man I Love" – 3:09 # "Love Walked In" – 2:49 # "I Was Doing All Right" – 2:50 # "A Foggy Day" – 2:55 # "Oh, Lady be Good!" – 3:02 # "Our Love is Here to Stay" – 2:59 # "They All Laughed (song), They All Laughed" – 2:31 # "Let's Call the Whole Thing Off" – 2:20 # "Summertime (George Gershwin song), Summertime" (DuBose Heyward) – 2:58 # "Nice Work If You Can Get It (song), Nice Work If You Can Get It" – 2:07 # "Shall We Dance? (song), Shall We Dance?" – 2:18 All music composed by George Gershwin, with all lyrics by Ira Gershwin. Other lyricists indicated. Personnel Performance *Oscar Peterson – piano *Ray Brown (musician), Ray Brown – do ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Oscar Peterson
Oscar Emmanuel Peterson (August 15, 1925 – December 23, 2007) was a Canadian virtuoso jazz pianist and composer. Considered one of the greatest jazz pianists of all time, Peterson released more than 200 recordings, won seven Grammy Awards, as well as a lifetime achievement award from the Recording Academy, and received numerous other awards and honours. He played thousands of concerts worldwide in a career lasting more than 60 years. He was called the "Maharaja of the keyboard" by Duke Ellington, simply "O.P." by his friends, and informally in the jazz community as "the King of inside swing". Biography Early years Peterson was born in Montreal, Quebec, to immigrants from the West Indies (Saint Kitts and Nevis and the British Virgin Islands); His mother, Kathleen, was a domestic worker and his father, Daniel, worked as a porter for Canadian Pacific Railway and was an amateur musician who taught himself to play the organ, trumpet and piano. Peterson grew up in the neighbourh ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
A Foggy Day
"A Foggy Day" is a popular song composed by George Gershwin, with lyrics by Ira Gershwin. The song was introduced by Fred Astaire in the 1937 film '' A Damsel in Distress''. It was originally titled "A Foggy Day (In London Town)" in reference to the pollution-induced pea soup fogs that were common in London during that period, and is often still referred to by the full title. The commercial recording by Astaire for Brunswick was very popular in 1937. Other recordings * Frank Sinatra – ''Songs for Young Lovers'' (1953) *Ella Fitzgerald on her Ella Fitzgerald Sings the George and Ira Gershwin Song Book from Verve Records, 1959. * Charles Mingus – '' Pithecanthropus Erectus'' (1956) * Louis Armstrong with Ella Fitzgerald – ''Ella and Louis'' (1956) * Billie Holiday – ''Songs for Distingué Lovers'' (1957) * Red Garland – ''Red Garland at the Prelude'' (1959) * Frank Sinatra — ''Ring-a-Ding-Ding!'' (1961) * Judy Garland — ''Judy at Carnegie Hall'' (1961) * George Ben ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ed Thigpen
Edmund Leonard Thigpen (December 28, 1930 – January 13, 2010) was an American jazz drummer, best known for his work with the Oscar Peterson trio from 1959 to 1965. Thigpen also performed with the Billy Taylor trio from 1956 to 1959. Biography Born in Chicago, Illinois, United States, Thigpen was raised in Los Angeles, California, and attended Thomas Jefferson High School, where Art Farmer, Dexter Gordon and Chico Hamilton also attended. After majoring in sociology at Los Angeles City College, Thigpen returned to East St. Louis for one year to pursue music while living with his father who had been playing with Andy Kirk's Clouds of Joy. His father, Ben Thigpen, was a drummer who played with Andy Kirk for sixteen years during the 1930s and 1940s. Thigpen first worked professionally in New York City with the Cootie Williams orchestra from 1951 to 1952 at the Savoy Ballroom. During this time he played with musicians such as Dinah Washington, Gil Mellé, Oscar Pettiford, Eddie V ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Double Bass
The double bass (), also known simply as the bass () (or #Terminology, by other names), is the largest and lowest-pitched Bow (music), bowed (or plucked) string instrument in the modern orchestra, symphony orchestra (excluding unorthodox additions such as the octobass). Similar in structure to the cello, it has four, although occasionally five, strings. The bass is a standard member of the orchestra's string section, along with violins, viola, and cello, ''The Orchestra: A User's Manual'' , Andrew Hugill with the Philharmonia Orchestra as well as the concert band, and is featured in Double bass concerto, concertos, solo, and chamber music in European classical music, Western classical music.Alfred Planyavsky [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ray Brown (musician)
Raymond Matthews Brown (October 13, 1926 – July 2, 2002) was an American jazz double bassist, known for his extensive work with Oscar Peterson and Ella Fitzgerald. He was also a founding member of the group that would later develop into the Modern Jazz Quartet. Biography Early life Ray Brown was born October 13, 1926, in Pittsburgh, Pennsylvania, and took piano lessons from the age of eight. After noticing how many pianists attended his high school, he thought of taking up the trombone, but was unable to afford one. With a vacancy in the high school jazz orchestra, he took up the upright bass. Career A major early influence on Brown's bass playing was Jimmy Blanton, the bassist in the Duke Ellington band. As a young man Brown became increasingly well known in the Pittsburgh jazz scene, with his first experiences playing in bands with the Jimmy Hinsley Sextet and the Snookum Russell band. After graduating high school, having heard stories about the burgeoning jazz scene ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Piano
The piano is a stringed keyboard instrument in which the strings are struck by wooden hammers that are coated with a softer material (modern hammers are covered with dense wool felt; some early pianos used leather). It is played using a keyboard, which is a row of keys (small levers) that the performer presses down or strikes with the fingers and thumbs of both hands to cause the hammers to strike the strings. It was invented in Italy by Bartolomeo Cristofori around the year 1700. Description The word "piano" is a shortened form of ''pianoforte'', the Italian term for the early 1700s versions of the instrument, which in turn derives from ''clavicembalo col piano e forte'' (key cimbalom with quiet and loud)Pollens (1995, 238) and ''fortepiano''. The Italian musical terms ''piano'' and ''forte'' indicate "soft" and "loud" respectively, in this context referring to the variations in volume (i.e., loudness) produced in response to a pianist's touch or pressure on the keys: the grea ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ira Gershwin
Ira Gershwin (born Israel Gershovitz; December 6, 1896 – August 17, 1983) was an American lyricist who collaborated with his younger brother, composer George Gershwin, to create some of the most memorable songs in the English language of the 20th century. With George, he wrote more than a dozen Broadway shows, featuring songs such as "I Got Rhythm", "Embraceable You", " The Man I Love" and " Someone to Watch Over Me". He was also responsible, along with DuBose Heyward, for the libretto to George's opera ''Porgy and Bess''. The success the Gershwin brothers had with their collaborative works has often overshadowed the creative role that Ira played. His mastery of songwriting continued after George's early death in 1937. Ira wrote additional hit songs with composers Jerome Kern, Kurt Weill, Harry Warren and Harold Arlen. His critically acclaimed 1959 book ''Lyrics on Several Occasions'', an amalgam of autobiography and annotated anthology, is an important source for studying t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shall We Dance? (song)
Shall We Dance may refer to: Films * ''Shall We Dance'' (1937 film), a Fred Astaire and Ginger Rogers musical * ''Shall We Dance?'' (1996 film), a Japanese film about ballroom dancing * ''Shall We Dance?'' (2004 film), an American remake of the Japanese film Music * "Shall We Dance?" (1951 song), a Rodgers and Hammerstein song from the musical ''The King and I'' *"Shall We Dance", a 1981 song by Bram Tchaikovsky * "Shall We Dance", a George and Ira Gershwin song, the finale to the 1937 film ''Shall We Dance'' * ''Shall We Dance?'', a 1961 album by Jack Jones Jack Jones may refer to: Arts and entertainment Music *Jack Jones (American singer) (born 1938), American jazz and pop singer *Jack Jones, stage name of Australian singer Irwin Thomas (born 1971) *Jack Jones (Welsh musician) (born 1992), Welsh mu ... Television * ''Shall We Dance?'' (TV series), a Philippine reality TV program * "Shall We Dance?", an episode of ''The Cosby Show'' * "Shall We Dance?", an episode of t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nice Work If You Can Get It (song)
"Nice Work If You Can Get It" is a popular song and jazz standard composed by George Gershwin with lyrics by Ira Gershwin. Background It began life in 1930 as a nine-bar phrase with the working title "There's No Stopping Me Now". Its title phrase "Nice work if you can get it" came from an English magazine. It was one of nine songs the Gershwin brothers wrote for the movie '' A Damsel in Distress'' in which it was performed by Fred Astaire with backing vocals by The Stafford Sisters. The song was published in 1937. First recordings The first jazz recording of the work was by Tommy Dorsey three weeks after the release of the film. Early chart versions were by Shep Fields, Teddy Wilson with Billie Holiday, Fred Astaire, Maxine Sullivan, and The Andrews Sisters. The song was recorded by many jazz singers and adopted by bebop instrumentalists; Jerry Newman recorded pianist Thelonious Monk performing the tune in 1941 at Minton's Playhouse, a nightclub closely connected with early bebop ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Summertime (George Gershwin Song)
"Summertime" is an aria composed in 1934 by George Gershwin for the 1935 opera ''Porgy and Bess''. The lyrics are by DuBose Heyward, the author of the novel '' Porgy'' on which the opera was based, and Ira Gershwin. The song soon became a popular and much-recorded jazz standard, described as "without doubt ... one of the finest songs the composer ever wrote ... Gershwin's highly evocative writing brilliantly mixes elements of jazz and the song styles of blacks in the southeast United States from the early twentieth century". Composer and lyricist Stephen Sondheim characterized Heyward's lyrics for "Summertime" and "My Man's Gone Now" as "the best lyrics in the musical theater". ''Porgy and Bess'' Gershwin began composing the song in December 1933, attempting to create his own spiritual in the style of the African American folk music of the period. Gershwin had completed setting DuBose Heyward's poem to music by February 1934, and spent the next 20 months completing a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Let's Call The Whole Thing Off
"Let's Call the Whole Thing Off" is a song written by George Gershwin and Ira Gershwin for the 1937 film ''Shall We Dance'', where it was introduced by Fred Astaire and Ginger Rogers as part of a celebrated dance duet on roller skates. The sheet music has the tempo marking of "Brightly". The song was ranked No. 34 on AFI's 100 Years...100 Songs. Background The song is most famous for its "You like to-may-to / And I like to-mah-to " and other verses comparing British and American English pronunciations. The differences in pronunciation are not simply regional, however, but serve more specifically to identify class differences. At the time, typical American pronunciations were considered less "refined" by the upper-class, and there was a specific emphasis on the "broader" ''a'' sound. This class distinction with respect to pronunciation has been retained in caricatures, especially in the theater, where the longer ''a'' pronunciation is most strongly associated with the word ''d ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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