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SPOTLIGHT for JULY 22ND
BIRTHDAYS
1944 Estelle Bennett, vocals. Member: 'The Ronettes'
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Biography by Steve Huey
The Ronettes weren't the most commercially successful girl group, but their music was some of the most groundbreaking in the field, thanks to their association with the legendary Wall of Sound producer Phil Spector. Their biggest hit, "Be My Baby," is widely regarded as one of the crowning achievements of Spector's oeuvre, and of girl-group pop in general. In fact, many critics have deemed it one of the most supremely romantic records of the rock & roll era; Spector's production frames the song's yearning lyrics and Ronnie Bennett's sweetly sultry vocals in a sweeping, near-symphonic level of emotion. Even though the Ronettes never managed another hit as big as "Be My Baby," many of their subsequent singles boasted the same kind of creative synergy between Spector and Bennett. It apparently carried over into real life as well, since the two were married in 1968, not long after Bennett went solo. Unfortunately, the union was an unhappy one, as Spector soon turned reclusive and controlling, largely preventing her from recording (or even leaving the house). After their divorce, she recorded sporadically without much success, but became something of a female rock icon when she published her survivor's-tale autobiography.The Ronettes were formed in the Washington Heights/Spanish Harlem area of New York City. Sisters Veronica (aka Ronnie) and Estelle Bennett and their cousin Nedra Talley first started harmonizing together as teenagers in 1959, inspired by doo wop groups like Frankie Lymon & the Teenagers and Little Anthony & the Imperials. First calling themselves the Darling Sisters, the trio also worked on their dance moves, and won the famed amateur talent contest at the Apollo Theater; afterward, they began formal vocal training. In 1961, they were standing in line to get into the Peppermint Lounge -- epicenter of the twist dance craze -- when a manager mistook them for an act he'd booked. They performed to great response, and were quickly hired as regulars. Later that year, they appeared in the film Twist Around the Clock, and danced in shows staged by disc jockey Murray the K. They also got a record deal with the Colpix label, issuing their debut single "I Want a Boy" as Ronnie & the Relatives that year. Follow-up singles credited the group as the Ronettes, including "I'm on the Wagon," "Silhouettes," and "Good Girls," but none were anything more than regionally popular.The Ronettes caught their big break when they met Phil Spector, who saw in them talent he could mold to his specifications; he was already tiring of his association with the Crystals, substituting outside singer Darlene Love on several records credited to them. Spector signed the Ronettes to his Philles label, where they were given a more defined image than most female artists of the time. They were still sweet and feminine, to be sure, but they had hints of attitude -- they were photographed with tall hairdos, heavy eyeliner, and tight skirts. Moreover, their songs dared to address the objects of their affection directly ("I love you" as opposed to "I love him"), even -- on a subliminal level -- seductively. Spector lavished all his attention on his new protégées, collaborating on material with some of the top Brill Building songwriting teams. Their first Philles single was "Be My Baby," a tune Spector co-wrote with Jeff Barry and Ellie Greenwich especially as a showcase for Ronnie Bennett. Right from the often-imitated drum kick that opened the song, "Be My Baby" announced itself as a pop classic; Spector's lush arrangement seemed to echo into infinity, while Bennett's sweet vulnerability captured the hearts of enough teenage male listeners to send the song to number two on the pop charts and number four R&B. It also became the all-time favorite record of Beach Boy Brian Wilson, who was directly inspired to emulate Spector's arsenal of production innovations; he also penned "Don't Worry Baby" for the Ronettes in tribute, but when Spector refused the song, the Beach Boys recorded it themselves for a hit.None of the Ronettes' other singles even managed to make the Top 20, but they continued to turn out high-quality work over the next two years. Their next hit, 1964's "Baby, I Love You," featured Leon Russell as the session pianist, as well as backup vocal support from Darlene Love and a young Cher. Subsequent singles like "(The Best Part Of) Breakin' Up," "Do I Love You?," "Walking in the Rain," and "Is This What I Get for Loving You?" still rank as all-time girl-group classics; "Walking in the Rain" went on to win a Grammy for Best Sound Effects, the only one Spector ever received. Meanwhile, Spector was testing the waters for Bennett as a solo artist; she recorded a song under the name Veronica, "So Young," which nonetheless included backup harmonies by the other two Ronettes (it was withdrawn not long after release).With his attention consumed by Tina Turner in early 1966, Spector put the Ronettes on the back burner; one of his final sides with the group, the lovely "I Wish I Never Saw the Sunshine," was never even released. Jeff Barry produced the final Ronettes single for Philles, "I Can Hear Music," in late 1966. Shattered by the cool reception afforded his magnum opus, the Ike & Tina Turner single "River Deep-Mountain High," Spector soon shut down the Philles label, and the Ronettes disbanded. Spector left his wife to marry Bennett in 1968, and the two lived together in Spector's L.A. mansion. However, his behavior grew increasingly erratic and controlling. In spite of Ronnie's ambitions for a solo career, Spector took pains to ensure that she remained at home -- not just refusing to book recording sessions, but not even allowing her to leave the house without his permission. He became psychologically abusive, allegedly threatening to kill her, monitoring her phone calls, and forbidding her to read books or see friends. When the couple failed to conceive children, Spector adopted three -- the last two without even consulting his wife -- which ensured that she was kept busy at home. Even amid all of this, two singles made their way to release -- 1969's aptly titled "You Came, You Saw, You Conquered" (which was credited to the Ronettes Featuring the Voice of Veronica), and 1971's "Try Some, Buy Some," issued on the Beatles' Apple label.Ronnie left her husband in 1973, and their divorce was finalized the following year; reportedly, Spector made a substantial alimony payment by sending Ronnie a truckload of dimes. Nonetheless, Ronnie kept his last name, and formed a new version of the Ronettes with Denise Edwards and Chip Fields; they recorded a couple of singles for Buddah over 1973-1974, but none charted. Ronnie Spector released several solo records during the late '70s without much success; she did return to the spotlight as a guest vocalist on rocker Eddie Money's Top Five hit "Take Me Home Tonight" in 1986. Two years later, on the heels of a "Be My Baby" revival in the film Dirty Dancing, the three original Ronettes sued Spector for nonpayment of royalties; the case dragged on for years and years. In 1990, Ronnie published her autobiography Be My Baby: How I Survived Mascara, Miniskirts, and Madness; the book was a sensation thanks to its detailed account of her bizarre relationship with Spector, though she maintained that she had been genuinely in love with him at the start, and that he was never physically abusive to her. In late 2001, a New York court announced a verdict in favor of the Ronettes, ordering Spector to pay nearly three million dollars in back royalties; the judgment was later overturned on appeal, but part of the case was sent back to a lower court, renewing the group's hopes.
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1928 Keter Betts, Bass, b. Port Chester, NY, USA. né: William Thomas Betts
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Biography by John Duffy
Having played with some of the most important and influential names in jazz in a career that spans six decades, Keter Betts is perhaps one of the most important journeyman bassists of the genre. His, bluesy, melodic, and thick tone and creative use of string popping and glissando have long made him an in-demand player. Born in Port Chester, NY, he traveled to New York City as a youth to study jazz drums, but eventually grew tired of hauling his Gene Krupa kit up and down four flights of stairs. He switched to bass in 1946, the year he graduated high school. He landed his first professional gig with tenor saxophonist Carmen Leggio D.C. A four-week stay turned into 13 weeks. Betts was 19. He would later settle in the city and raise five children with his wife.
Constant work in D.C. and New York led to a job with rhythm & blues barnstormer Earl Bostic (1949) and later Dinah Washington. He joined the employ of Washington D.C. guitarist Charlie Byrd in 1957, staying with him through the bossa nova craze, which found him playing on dates alongside Stan Getz and Antonio Carlos Jobim. As a member of the Tommy Flanagan Trio, Betts backed Ella Fitzgerald beginning in 1965. In 1971, he joined her band full-time for an unprecedented 24-year stretch. Flanagan and Betts, alongside various drummers (including Bobby Durham, Ed Thigpen, and Gus Johnson) formed an infallible rhythm section; flexible, swinging, playful, warm, and refined; all the qualities Fitzgerald herself personified. Betts played with Fitzgerald until her final performance in 1993. Sidework over the years has also included recordings with Hamiet Bluiett, Sam Jones, Cannonball Adderly, Joe Pass, Clifford Brown, Kenny Burrell, Louis Bellson, and Joe Williams.
It wasn't until 1998 that Betts ever recorded under his own leadership. The self-released Bass, Buddies & Blues (1998) was followed a year later by Bass, Buddies, Blues & Beauty Too, featuring Baltimore vocalist Ethel Ennis. Live at the East Coast Jazz Festival (2000) featured Etta Jones. Betts, in his mid-seventies, has maintained an impressive schedule, performing and lecturing at schools and youth music workshops in the Washington, D.C., area. He also serves as musical coordinator for jazz programming at Black Entertainment Television and as an instructor/lecturer at Howard University.
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1940 George Clinton, vocals, b. Kannapolis, NC, USA. Mmeber: 'The Parliaments'
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Biography by John Bush
The mastermind of the Parliament/Funkadelic collective during the 1970s, George Clinton broke up both bands by 1981 and began recording solo albums, occasionally performing live with his former bandmates as the P.Funk All-Stars. Born in Kannapolis, NC, on July 22, 1940, Clinton became interested in doo wop while living in New Jersey during the early '50s. He formed the Parliaments in 1955, based out of a barbershop back room where he straightened hair. The group had a small R&B hit during 1967, but Clinton began to mastermind the Parliaments' activities two years later. Recording both as Parliament and Funkadelic, the group revolutionized R&B during the '70s, twisting soul music into funk by adding influences from several late-'60s acid heroes: Jimi Hendrix, Frank Zappa, and Sly Stone. The Parliament/Funkadelic machine ruled black music during the '70s, capturing over 40 R&B hit singles (including three number ones) and recording three platinum albums.
By 1980, George Clinton began to be weighed down by legal difficulties arising from Polygram's acquisition of Parliament's label, Casablanca. Jettisoning both the Parliament and Funkadelic names (but not the musicians), Clinton signed to Capitol in 1982 both as a solo act and as the P.Funk All-Stars. His first solo album, 1982's Computer Games, contained the Top 20 R&B hit "Loopzilla." Several months later, the title track from Clinton's Atomic Dog EP hit number one on the R&B charts; it stayed at the top spot for four weeks, but only managed number 101 on the pop charts. Clinton stayed on Capitol for three more years, releasing three studio albums and frequently charting singles -- "Nubian Nut," "Last Dance," "Do Fries Go With That Shake" -- in the R&B Top 40. During much of the three-year period from 1986 to 1989, Clinton became embroiled in legal difficulties (resulting from the myriad royalty problems latent during the '70s with recordings of over 40 musicians for four labels under three names). Also problematic during the latter half of the '80s was Clinton's disintegrating reputation as a true forefather of rock; by the end of the decade, however, a generation of rappers reared on P-Funk were beginning to name check him.
In 1989, Clinton signed a contract with Prince's Paisley Park label and released his fifth solo studio album, The Cinderella Theory. After one more LP for Paisley Park (Hey Man, Smell My Finger), Clinton signed with Sony 550. His first release, 1996's T.A.P.O.A.F.O.M. ("the awesome power of a fully operational mothership"), reunited the funk pioneer with several of his Parliament/Funkadelic comrades from the '70s. Clinton's Greatest Funkin' Hits (1996) teamed old P-Funk hits with new-school rappers such as Digital Underground, Ice Cube, and Q-Tip. [See Also: Parliament, Funkadelic]
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1913 Kramer Gorni, Accordion/Bass, b. Mantua, Italy.
MUSIC: www.jazzitalia.net/recensio...amer3.asp
WIKI BIO:
en.wikipedia.org/wiki/Gorni_Kramer
Gorni Kramer
From Wikipedia, the free encyclopedia
Gorni Kramer (22 July 1913 - 26 October 1995) was one of the most famous Italian songwriters, musicians and band leaders of the 20th Century. He wrote over a thousand songs.
Biography
Kramer Gorni was born at Rivarolo Mantovano (Lombardy). Despite the exotic sound of Gorni Kramer in Italian language, which lead part of his audience to believe he was a foreigner or had adopted a fancy pseudonym, it was his real name. Gorni was in fact his family name, and Kramer his first name, after the US cyclist Frank Kramer who became road race world champion in 1912, who Gorni's father was a fan of.
Kramer learnt music at a very young age, thanks to his father, a musician. The first instrument he learned how to play was the accordion, with which he performed as a child in his father's band.
He then studied double bass at the Conservatory in Parma and obtained his diploma in 1930. He started working as a musician for dance bands, then in 1933, aged 20, he formed his own jazz group. This new American musical genre was forbidden by the Italian fascist regime, but Gorni Kramer could get to know it thanks to some fellow musicians who worked on board the liners connecting Europe and North America.
In the middle of 1930s he became a successful songwriter. He composed the music for Crapa pelada - lyrics by Tata Giacobetti - a 1936 hit performed by Alberto Rabagliati. In 1939 he wrote "Pippo non lo sa", one of Trio Lescano's most famous songs. In spite of his songs' popularity, Gorni Kramer and his orchestra were still ignored by the Italian state radio EIAR, who boycotted them because they played jazz.
During World War II, he worked with Natalino Otto, a singer also banned by EIAR because of swing. Kramer wrote "Ho un sassolino nella scarpa", one of Otto's greatest hits. In the period he also began a long-lasting cooperation with Quartetto Cetra - for them he wrote memorable songs such as "Nella vecchia fattoria", "In un palco della Scala", "Donna", "Concertino".
In 1949 Gorni Kramer started working for Garinei and Giovannini, a very famous duo of impresarios who produced musical comedies. Writing music for their shows was his main activity for the following ten years. Their most successful productions were Gran Baldoria, Attanasio cavallo vanesio, Alvaro piuttosto corsaro, Tobia candida spia, Un paio d’ali. They featured very popular songs such as "Un bacio a mezzanotte", "Non so dir ti voglio bene", "Le gocce cadono", "Chèrie", "Simpatica".
Gorni Kramer debuted on television in 1957 with Il Musichiere music show hosted by Mario Riva. He composed the show's theme song "Domenica è sempre domenica". Other shows ensued: Buone vacanze, Giardino d'inverno, L'amico del giaguaro, Leggerissimo.
In mid 1960s Gorni Kramer gradually reduced his public performances, but he continued to work as a music publisher and a TV author.
He died in Milan in 1995
External links:
Photos by Giuseppe Palmas: www.fotopalmas.com/_indici/...Gorni.htm
BIO: www.onpedia.com/encycloped...orni-Kramer
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1929 Mable Hillery, vocals, b. LaGrange, GA, USA. Member: 'Georgia Sea Island Singers'
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1917 Lou McGarity, Trombone, b. Athens, GA, USA, d. 1971.
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Biography by Scott Yanow
A very talented trombone soloist influenced by Jack Teagarden but possessing his own brassier sound, Lou McGarity was a strong asset to many bands and jam sessions. He started out playing violin when he was seven, not switching to trombone until he was 17. McGarity studied at the University of Georgia from 1934-36, gigged locally in the South (including with Kirk DeVore and Nye Mayhew), and toured with Ben Bernie from 1938-40 before hitting the big time with Benny Goodman from 1940-42. McGarity not only played with Benny Goodman's big band but with his smaller groups -- the first trombonist to do so. McGarity, who through the years often teamed up with his friend and fellow trombonist Cutty Cutshall (including with Goodman), worked with Raymond Scott's Orchestra at CBS from 1942-44, spent time in the military and then rejoined Benny Goodman for a time in 1946. Starting in 1947, he worked as a busy studio musician in New York, often appearing nightly with Dixieland-oriented musicians, including the Lawson/Haggart band, and with the many groups of Eddie Condon. He worked with Bob Crosby in the mid-'60s and was a key member of the World's Greatest Jazz Band from 1968-70 before bad health shortened his life. McGarity recorded as a leader for MGM (four selections in 1955), Jubilee in 1959, Argo in 1959 and Fat Cat's Jazz in 1970.
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1915 "Taps" Miller, vocals/trumpet/dancer. b. Indianapolis, IN, USA
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1916 Paul Moer, Piano, b. Meadville, PA, USA.
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Biography by Scott Yanow
A fine pianist, Paul Moer never gained a big name for himself and has long ago slipped into obscurity. Moer graduated from the University of Miami in 1951. He played with many West Coast musicians during the 1950's including Benny Carter, Vido Musso, Zoot Sims, Stan Getz, Bill Holman and Shorty Rogers. Moer worked in the studios (both as a pianist and as an arranger), toured Australia with Benny Carter in 1960, appeared on a few titles with Charles Mingus, recorded with Jack Montrose and John Graas, and cut a trio album in the late 1950's for Del Fi with bassist Jimmy Bond and drummer Frank Butler. He worked with Paul Horn (1960-63), Ruth Price and Buddy DeFranco but then little was heard of the pianist until he made a trio set for Fresh Sound in the 1990's of Elmo Hope tunes.
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1874 Obed "Dad" Pickard, C&W vocals/banjo/guitar - but all-string instruments, d. 1954. Founder of the "Pickard Family". He was one of the first "Grand Old Opry" performers. Patriarch of one of the first country singing groups to appear on national network radio. While still a young boy, Obed became proficient on nearly all stringed instruments. In 1926, at age 52, he gained his first fame when he became a soloist in the Grand Ole Opry and began to record for Columbia. In 1928, he brought his family into the act starring on NBC's The Cabin Door, a sort of minstrel show on radio. After that, he returned to the Grand Ole Opry showm and followed that with radio station work in New York, New Orleans, Philadelphia and other cities. 1940 found him in Hollywood where he would eventually make three films: Frontier Vengeance (1940), Riders Of The Dawn (1945), and Sea Of Grass (1947). He later had his own TV show in L.A. During the earliest years of TV, he has his own series "Sunday at Home" (1949)
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1909 Cassino Simpson, Piano, b. Chicago, IL, USA. d. 1952.
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Biography by arwulf arwulf
This interesting character played a vital role in Chicago's hot music scene during the mid-1920s. The entire drama of his exciting professional life, his subsequent mental derangement, incarceration, and death took place in, or not far from, Chicago. Firstly, he is said to have studied piano with Augustus Zinky Cohn. His earliest appearance on phonograph records occurred in 1923, when he sat in with trumpet man Bernie Young. During the year 1925, Simpson could be heard performing with the Moulin Rouge Orchestra. He then joined up with an orchestra fronted by violinist and alto saxophonist Arthur Sims. Simpson can be heard on "Soapstick Blues," and a couple of other sides waxed by Arthur Sims Creole Roof Orchestra on June 21, 1926. After Sims passed away that same year, the band continued to operate under the leadership of Bernie Young. Simpson stuck with Bernie through 1930. But it was the year 1929 that gave us much of this pianist's best ensemble work on records, as he became a member of Jabbo Smith's Rhythm Aces. Interacting with such notable individuals as Omer Simeon, Banjo Ikey Robinson, and the fiery Jabbo himself, Simpson was now helping to create some of the hottest and toughest records to come out of Chicago during the late 1920s. Among the handful of sides by the Rhythm Aces issued on the Brunswick label, Simpson's spicy handling of the ivories is most evident on those famously frantic numbers "Jazz Battle" and "Ace of Rhythms," the steaming "Sau-Sha Stomp," "Take Your Time," and the very solid "Little Willie Blues." His wonderful laid-back support was an essential element in sustaining the mood of low-down masterpieces like "Let's Get Together" and "Take Me to the River." Simpson worked with, but does not appear on, the few extant recordings made by the legendary Erskine Tate. During the years 1931-1933, Simpson engaged in what has been described as "freelance recording," and led various ensembles under his own name, utilizing the talents of Jabbo Smith and a young Milt Hinton. (According to Hinton, Simpson liked to name musical compositions after types of food, for example "Ham Hocks and Beans.") The fateful turning point in Simpson's life occurred when he began accompanying vocalist, comedian, dancer, and sometime-female impersonator Frankie "Half Pint" Jaxon. They seem to have made only one recording session together, on June 23, 1933. The titles were "Mama Don't Allow It," "Spank It," and "The Mortgage Blues." What was it about Half Pint that made Simpson want to kill him? Some dangerous volatile component in the chemistry of their combined personalities? Something unforgivable that Jaxon said or did, triggering a homicidal reaction in the over-wrought pianist? Or maybe Simpson was simply going crazy. That's apparently what the authorities believed, as he was institutionalized in March 1935 at the Illinois State Hospital for Mental Diseases in Elgin, Illinois. Even this, it seems, could not prevent him from making music. He played piano and vibraphone in the hospital's 26-piece dance orchestra, and beat the bass drum in their marching band. He even made a series of solo piano recordings during the mid-1940s, right there on the grounds of the mental hospital, where he lived out the rest of his days.
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1924 Margaret Whiting, vocals, b. Detroit, MI, USA. Daughter of famed composer Richard Whiting
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Biography by Ron Wynn
Margaret Whiting was a dominant pop singer in the '40s and '50s, though whether she's a jazz vocalist is often in question. She had a clear, striking voice and the kind of quasi-innocent sensibility that worked on such songs as "It Might As Well Be Spring" and "Moonlight in Vermont." Some would question if she was an improviser, or had the kind of timing, sense of swing, and fluidity that defines the genuine jazz or jazz-influenced singer. The daughter of composer Richard Whiting, her run of hits began in the early '40s when she was featured on radio shows, singing with composer/vocalist Johnny Mercer. She was later a prominent vocalist with the bands of Freddie Slack, Billy Butterfield, and Paul Weston. She had three huge hits in 1948 with "Now Is the Hour," "A Tree in the Meadow," and "Far Away Places," then teamed with Jimmy Wakely for another top hit in 1949, "Slippin' Around." She and Wakely were a very successful team for a time. Whiting had a comeback of sorts in the early '70s, appearing on a Cavalcade of Bands tour with the groups of Bob Crosby and others.
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Notable Events on this date include:
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1932. Famed showman Florenz Ziegfeld died. In poor health, and with no shows on Broadway, his wife, actress Billie Burke, was working in Hollywood to support the family.
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1965. Singer/Actress Dyan Cannon married screen legend Cary Grant. Seven months later, the marriage produced one child (his only child), daughter Jennifer Grant. In 1968, Dyan and Cary divorced.
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1967. "Windy", by 'The Association', was the most popular record in the U.S. for the fourth straight week, according to the Billboard singles chart Just a week later, Jim Morrison and The Doors release of "Light My Fire" became
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1979. R&R vocalist/pianist "Little Richard", became a Pastor, -the Reverend Richard Pennman. In his first sermon, he told his congregation about the evils of rock & roll music, and declared 'If God can save an old homosexual like me, he can save anybody'.
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1979. "Candyman" Mcguirt, guitar, died in San Francisco, CA, USA.
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1987. Nick Perls, Label founder (Yazoo Records), died in New York, NY, USA. Age: 45
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1993. Ben Karol, vocals/founder Karol Records, died in New York, NY, USA. Age: 79 Member: 'King Karol '
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1995. Dave Clark, promoter/songwriter, died in Madison, MS, USA. Age: 86 With: Malaco Records
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Songs Recorded/Released this date include:
1918 "After You've Gone", - Marion Harris voc.
*LISTEN:
www.dgarrick.com/jazzage/m...20Gone.mp3
1922 "Louisiana", - Carl Fenton Orch.
HEAR MORE!
www.redhotjazz.com/marionharris.html
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1924 "Please", - Ray Miller Orch.
1926 "Flapperette", - The Harold Leonard Waldorf Orch.
1926 "She Belongs To me", - The Clevelanders.
1926 "While The Years Go Drifting By", - The Harold Leonard Waldorf Orch.
1939 "The South American Way", - Desi Arnaz and His Conga Orch.
1921 "Bring Me Back My Blushing Rose", - The Shilking Orch.
1934 "Malahini Mele", - Sol Bright's Hawaiians.
1935 "Is It Just A Summer Romance", - Jan Garber Orch.
1937 "Got A Date With An Angel", - Hal Kemp Orch, Skinnay Ennis voc.
1938 "Don't Cross Your Fingers, Cross Your Heart", - Sammy
Kaye Orch.
1940 "Harlem Airshaft", - Duke Ellington Orch.
1943 "In My Arms", - Dick Haymes
1943 "I Heard You Cried Last Night", - Harry James
1943 "You'll Never Know", - Frank Sinatra
1957 "Tammy", - The Ames Brothers
1957 "Tammy", - Debbie Reynolds
1972 "Goodbye To Love", - The Carpenters
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AFTER YOU'VE GONE
(Henry Creamer / Turner Layton) (1918)
Henry Burr & Albert Campbell - 1918
Marion Harris - 1919
Bessie Smith - 1927
Paul Whiteman & His Orch. (vocal: Bing Crosby) - 1930
Louis Armstrong - 1932
Benny Goodman Trio - 1935
Judy Garland - 1942
Frank Sinatra - 1984
Also recorded by: Billy Murphy & Gladys Rice; Lionel Hampton; Sophie Tucker; Quintet Of The Hot Club Of France.
Now won't you listen honey, while I say,
How could you tell me that you're goin' away?
Don't say that we must part,
Don't break your baby's heart
You know I've loved you for these many years,
Loved you night and day...
Oh! honey baby, can't you see my tears?
Listen while I say:
After you've gone and left me cryin'
After you've gone there's no denyin'
You'll feel blue, you'll feel sad
You'll miss the dearest pal you've ever had
There'll come a time, now don't forget it
There'll come a time when you'll regret it
Someday, when you grow lonely
Your heart will break like mine and you'll want me only
After you've gone, after you've gone away
After you've gone and left me cryin'
After you've gone there's no denyin'
You're gonna feel blue, and you're gonna feel sad
You're gonna feel bad
And you'll miss, and you'll miss,
And you'll miss the bestest pal you ever had
There'll come a time, now don't forget it
There'll come a time when you'll regret it
But baby, think what you're doin'
I'm gonna haunt you so, I'm gonna taunt you so
It's gonna drive you to ruin
After you've gone, after you've gone away.
BIRTHDAYS
1944 Estelle Bennett, vocals. Member: 'The Ronettes'
AMG BIO:
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Biography by Steve Huey
The Ronettes weren't the most commercially successful girl group, but their music was some of the most groundbreaking in the field, thanks to their association with the legendary Wall of Sound producer Phil Spector. Their biggest hit, "Be My Baby," is widely regarded as one of the crowning achievements of Spector's oeuvre, and of girl-group pop in general. In fact, many critics have deemed it one of the most supremely romantic records of the rock & roll era; Spector's production frames the song's yearning lyrics and Ronnie Bennett's sweetly sultry vocals in a sweeping, near-symphonic level of emotion. Even though the Ronettes never managed another hit as big as "Be My Baby," many of their subsequent singles boasted the same kind of creative synergy between Spector and Bennett. It apparently carried over into real life as well, since the two were married in 1968, not long after Bennett went solo. Unfortunately, the union was an unhappy one, as Spector soon turned reclusive and controlling, largely preventing her from recording (or even leaving the house). After their divorce, she recorded sporadically without much success, but became something of a female rock icon when she published her survivor's-tale autobiography.The Ronettes were formed in the Washington Heights/Spanish Harlem area of New York City. Sisters Veronica (aka Ronnie) and Estelle Bennett and their cousin Nedra Talley first started harmonizing together as teenagers in 1959, inspired by doo wop groups like Frankie Lymon & the Teenagers and Little Anthony & the Imperials. First calling themselves the Darling Sisters, the trio also worked on their dance moves, and won the famed amateur talent contest at the Apollo Theater; afterward, they began formal vocal training. In 1961, they were standing in line to get into the Peppermint Lounge -- epicenter of the twist dance craze -- when a manager mistook them for an act he'd booked. They performed to great response, and were quickly hired as regulars. Later that year, they appeared in the film Twist Around the Clock, and danced in shows staged by disc jockey Murray the K. They also got a record deal with the Colpix label, issuing their debut single "I Want a Boy" as Ronnie & the Relatives that year. Follow-up singles credited the group as the Ronettes, including "I'm on the Wagon," "Silhouettes," and "Good Girls," but none were anything more than regionally popular.The Ronettes caught their big break when they met Phil Spector, who saw in them talent he could mold to his specifications; he was already tiring of his association with the Crystals, substituting outside singer Darlene Love on several records credited to them. Spector signed the Ronettes to his Philles label, where they were given a more defined image than most female artists of the time. They were still sweet and feminine, to be sure, but they had hints of attitude -- they were photographed with tall hairdos, heavy eyeliner, and tight skirts. Moreover, their songs dared to address the objects of their affection directly ("I love you" as opposed to "I love him"), even -- on a subliminal level -- seductively. Spector lavished all his attention on his new protégées, collaborating on material with some of the top Brill Building songwriting teams. Their first Philles single was "Be My Baby," a tune Spector co-wrote with Jeff Barry and Ellie Greenwich especially as a showcase for Ronnie Bennett. Right from the often-imitated drum kick that opened the song, "Be My Baby" announced itself as a pop classic; Spector's lush arrangement seemed to echo into infinity, while Bennett's sweet vulnerability captured the hearts of enough teenage male listeners to send the song to number two on the pop charts and number four R&B. It also became the all-time favorite record of Beach Boy Brian Wilson, who was directly inspired to emulate Spector's arsenal of production innovations; he also penned "Don't Worry Baby" for the Ronettes in tribute, but when Spector refused the song, the Beach Boys recorded it themselves for a hit.None of the Ronettes' other singles even managed to make the Top 20, but they continued to turn out high-quality work over the next two years. Their next hit, 1964's "Baby, I Love You," featured Leon Russell as the session pianist, as well as backup vocal support from Darlene Love and a young Cher. Subsequent singles like "(The Best Part Of) Breakin' Up," "Do I Love You?," "Walking in the Rain," and "Is This What I Get for Loving You?" still rank as all-time girl-group classics; "Walking in the Rain" went on to win a Grammy for Best Sound Effects, the only one Spector ever received. Meanwhile, Spector was testing the waters for Bennett as a solo artist; she recorded a song under the name Veronica, "So Young," which nonetheless included backup harmonies by the other two Ronettes (it was withdrawn not long after release).With his attention consumed by Tina Turner in early 1966, Spector put the Ronettes on the back burner; one of his final sides with the group, the lovely "I Wish I Never Saw the Sunshine," was never even released. Jeff Barry produced the final Ronettes single for Philles, "I Can Hear Music," in late 1966. Shattered by the cool reception afforded his magnum opus, the Ike & Tina Turner single "River Deep-Mountain High," Spector soon shut down the Philles label, and the Ronettes disbanded. Spector left his wife to marry Bennett in 1968, and the two lived together in Spector's L.A. mansion. However, his behavior grew increasingly erratic and controlling. In spite of Ronnie's ambitions for a solo career, Spector took pains to ensure that she remained at home -- not just refusing to book recording sessions, but not even allowing her to leave the house without his permission. He became psychologically abusive, allegedly threatening to kill her, monitoring her phone calls, and forbidding her to read books or see friends. When the couple failed to conceive children, Spector adopted three -- the last two without even consulting his wife -- which ensured that she was kept busy at home. Even amid all of this, two singles made their way to release -- 1969's aptly titled "You Came, You Saw, You Conquered" (which was credited to the Ronettes Featuring the Voice of Veronica), and 1971's "Try Some, Buy Some," issued on the Beatles' Apple label.Ronnie left her husband in 1973, and their divorce was finalized the following year; reportedly, Spector made a substantial alimony payment by sending Ronnie a truckload of dimes. Nonetheless, Ronnie kept his last name, and formed a new version of the Ronettes with Denise Edwards and Chip Fields; they recorded a couple of singles for Buddah over 1973-1974, but none charted. Ronnie Spector released several solo records during the late '70s without much success; she did return to the spotlight as a guest vocalist on rocker Eddie Money's Top Five hit "Take Me Home Tonight" in 1986. Two years later, on the heels of a "Be My Baby" revival in the film Dirty Dancing, the three original Ronettes sued Spector for nonpayment of royalties; the case dragged on for years and years. In 1990, Ronnie published her autobiography Be My Baby: How I Survived Mascara, Miniskirts, and Madness; the book was a sensation thanks to its detailed account of her bizarre relationship with Spector, though she maintained that she had been genuinely in love with him at the start, and that he was never physically abusive to her. In late 2001, a New York court announced a verdict in favor of the Ronettes, ordering Spector to pay nearly three million dollars in back royalties; the judgment was later overturned on appeal, but part of the case was sent back to a lower court, renewing the group's hopes.
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1928 Keter Betts, Bass, b. Port Chester, NY, USA. né: William Thomas Betts
AMG BIO:
www.allmusic.com/cg/amg.dll
Biography by John Duffy
Having played with some of the most important and influential names in jazz in a career that spans six decades, Keter Betts is perhaps one of the most important journeyman bassists of the genre. His, bluesy, melodic, and thick tone and creative use of string popping and glissando have long made him an in-demand player. Born in Port Chester, NY, he traveled to New York City as a youth to study jazz drums, but eventually grew tired of hauling his Gene Krupa kit up and down four flights of stairs. He switched to bass in 1946, the year he graduated high school. He landed his first professional gig with tenor saxophonist Carmen Leggio D.C. A four-week stay turned into 13 weeks. Betts was 19. He would later settle in the city and raise five children with his wife.
Constant work in D.C. and New York led to a job with rhythm & blues barnstormer Earl Bostic (1949) and later Dinah Washington. He joined the employ of Washington D.C. guitarist Charlie Byrd in 1957, staying with him through the bossa nova craze, which found him playing on dates alongside Stan Getz and Antonio Carlos Jobim. As a member of the Tommy Flanagan Trio, Betts backed Ella Fitzgerald beginning in 1965. In 1971, he joined her band full-time for an unprecedented 24-year stretch. Flanagan and Betts, alongside various drummers (including Bobby Durham, Ed Thigpen, and Gus Johnson) formed an infallible rhythm section; flexible, swinging, playful, warm, and refined; all the qualities Fitzgerald herself personified. Betts played with Fitzgerald until her final performance in 1993. Sidework over the years has also included recordings with Hamiet Bluiett, Sam Jones, Cannonball Adderly, Joe Pass, Clifford Brown, Kenny Burrell, Louis Bellson, and Joe Williams.
It wasn't until 1998 that Betts ever recorded under his own leadership. The self-released Bass, Buddies & Blues (1998) was followed a year later by Bass, Buddies, Blues & Beauty Too, featuring Baltimore vocalist Ethel Ennis. Live at the East Coast Jazz Festival (2000) featured Etta Jones. Betts, in his mid-seventies, has maintained an impressive schedule, performing and lecturing at schools and youth music workshops in the Washington, D.C., area. He also serves as musical coordinator for jazz programming at Black Entertainment Television and as an instructor/lecturer at Howard University.
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1940 George Clinton, vocals, b. Kannapolis, NC, USA. Mmeber: 'The Parliaments'
AMG BIO:
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Biography by John Bush
The mastermind of the Parliament/Funkadelic collective during the 1970s, George Clinton broke up both bands by 1981 and began recording solo albums, occasionally performing live with his former bandmates as the P.Funk All-Stars. Born in Kannapolis, NC, on July 22, 1940, Clinton became interested in doo wop while living in New Jersey during the early '50s. He formed the Parliaments in 1955, based out of a barbershop back room where he straightened hair. The group had a small R&B hit during 1967, but Clinton began to mastermind the Parliaments' activities two years later. Recording both as Parliament and Funkadelic, the group revolutionized R&B during the '70s, twisting soul music into funk by adding influences from several late-'60s acid heroes: Jimi Hendrix, Frank Zappa, and Sly Stone. The Parliament/Funkadelic machine ruled black music during the '70s, capturing over 40 R&B hit singles (including three number ones) and recording three platinum albums.
By 1980, George Clinton began to be weighed down by legal difficulties arising from Polygram's acquisition of Parliament's label, Casablanca. Jettisoning both the Parliament and Funkadelic names (but not the musicians), Clinton signed to Capitol in 1982 both as a solo act and as the P.Funk All-Stars. His first solo album, 1982's Computer Games, contained the Top 20 R&B hit "Loopzilla." Several months later, the title track from Clinton's Atomic Dog EP hit number one on the R&B charts; it stayed at the top spot for four weeks, but only managed number 101 on the pop charts. Clinton stayed on Capitol for three more years, releasing three studio albums and frequently charting singles -- "Nubian Nut," "Last Dance," "Do Fries Go With That Shake" -- in the R&B Top 40. During much of the three-year period from 1986 to 1989, Clinton became embroiled in legal difficulties (resulting from the myriad royalty problems latent during the '70s with recordings of over 40 musicians for four labels under three names). Also problematic during the latter half of the '80s was Clinton's disintegrating reputation as a true forefather of rock; by the end of the decade, however, a generation of rappers reared on P-Funk were beginning to name check him.
In 1989, Clinton signed a contract with Prince's Paisley Park label and released his fifth solo studio album, The Cinderella Theory. After one more LP for Paisley Park (Hey Man, Smell My Finger), Clinton signed with Sony 550. His first release, 1996's T.A.P.O.A.F.O.M. ("the awesome power of a fully operational mothership"), reunited the funk pioneer with several of his Parliament/Funkadelic comrades from the '70s. Clinton's Greatest Funkin' Hits (1996) teamed old P-Funk hits with new-school rappers such as Digital Underground, Ice Cube, and Q-Tip. [See Also: Parliament, Funkadelic]
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1913 Kramer Gorni, Accordion/Bass, b. Mantua, Italy.
MUSIC: www.jazzitalia.net/recensio...amer3.asp
WIKI BIO:
en.wikipedia.org/wiki/Gorni_Kramer
Gorni Kramer
From Wikipedia, the free encyclopedia
Gorni Kramer (22 July 1913 - 26 October 1995) was one of the most famous Italian songwriters, musicians and band leaders of the 20th Century. He wrote over a thousand songs.
Biography
Kramer Gorni was born at Rivarolo Mantovano (Lombardy). Despite the exotic sound of Gorni Kramer in Italian language, which lead part of his audience to believe he was a foreigner or had adopted a fancy pseudonym, it was his real name. Gorni was in fact his family name, and Kramer his first name, after the US cyclist Frank Kramer who became road race world champion in 1912, who Gorni's father was a fan of.
Kramer learnt music at a very young age, thanks to his father, a musician. The first instrument he learned how to play was the accordion, with which he performed as a child in his father's band.
He then studied double bass at the Conservatory in Parma and obtained his diploma in 1930. He started working as a musician for dance bands, then in 1933, aged 20, he formed his own jazz group. This new American musical genre was forbidden by the Italian fascist regime, but Gorni Kramer could get to know it thanks to some fellow musicians who worked on board the liners connecting Europe and North America.
In the middle of 1930s he became a successful songwriter. He composed the music for Crapa pelada - lyrics by Tata Giacobetti - a 1936 hit performed by Alberto Rabagliati. In 1939 he wrote "Pippo non lo sa", one of Trio Lescano's most famous songs. In spite of his songs' popularity, Gorni Kramer and his orchestra were still ignored by the Italian state radio EIAR, who boycotted them because they played jazz.
During World War II, he worked with Natalino Otto, a singer also banned by EIAR because of swing. Kramer wrote "Ho un sassolino nella scarpa", one of Otto's greatest hits. In the period he also began a long-lasting cooperation with Quartetto Cetra - for them he wrote memorable songs such as "Nella vecchia fattoria", "In un palco della Scala", "Donna", "Concertino".
In 1949 Gorni Kramer started working for Garinei and Giovannini, a very famous duo of impresarios who produced musical comedies. Writing music for their shows was his main activity for the following ten years. Their most successful productions were Gran Baldoria, Attanasio cavallo vanesio, Alvaro piuttosto corsaro, Tobia candida spia, Un paio d’ali. They featured very popular songs such as "Un bacio a mezzanotte", "Non so dir ti voglio bene", "Le gocce cadono", "Chèrie", "Simpatica".
Gorni Kramer debuted on television in 1957 with Il Musichiere music show hosted by Mario Riva. He composed the show's theme song "Domenica è sempre domenica". Other shows ensued: Buone vacanze, Giardino d'inverno, L'amico del giaguaro, Leggerissimo.
In mid 1960s Gorni Kramer gradually reduced his public performances, but he continued to work as a music publisher and a TV author.
He died in Milan in 1995
External links:
Photos by Giuseppe Palmas: www.fotopalmas.com/_indici/...Gorni.htm
BIO: www.onpedia.com/encycloped...orni-Kramer
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1929 Mable Hillery, vocals, b. LaGrange, GA, USA. Member: 'Georgia Sea Island Singers'
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1917 Lou McGarity, Trombone, b. Athens, GA, USA, d. 1971.
AMG BIO:
www.allmusic.com/cg/amg.dll
Biography by Scott Yanow
A very talented trombone soloist influenced by Jack Teagarden but possessing his own brassier sound, Lou McGarity was a strong asset to many bands and jam sessions. He started out playing violin when he was seven, not switching to trombone until he was 17. McGarity studied at the University of Georgia from 1934-36, gigged locally in the South (including with Kirk DeVore and Nye Mayhew), and toured with Ben Bernie from 1938-40 before hitting the big time with Benny Goodman from 1940-42. McGarity not only played with Benny Goodman's big band but with his smaller groups -- the first trombonist to do so. McGarity, who through the years often teamed up with his friend and fellow trombonist Cutty Cutshall (including with Goodman), worked with Raymond Scott's Orchestra at CBS from 1942-44, spent time in the military and then rejoined Benny Goodman for a time in 1946. Starting in 1947, he worked as a busy studio musician in New York, often appearing nightly with Dixieland-oriented musicians, including the Lawson/Haggart band, and with the many groups of Eddie Condon. He worked with Bob Crosby in the mid-'60s and was a key member of the World's Greatest Jazz Band from 1968-70 before bad health shortened his life. McGarity recorded as a leader for MGM (four selections in 1955), Jubilee in 1959, Argo in 1959 and Fat Cat's Jazz in 1970.
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1915 "Taps" Miller, vocals/trumpet/dancer. b. Indianapolis, IN, USA
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1916 Paul Moer, Piano, b. Meadville, PA, USA.
AMG BIO:
www.allmusic.com/cg/amg.dll
Biography by Scott Yanow
A fine pianist, Paul Moer never gained a big name for himself and has long ago slipped into obscurity. Moer graduated from the University of Miami in 1951. He played with many West Coast musicians during the 1950's including Benny Carter, Vido Musso, Zoot Sims, Stan Getz, Bill Holman and Shorty Rogers. Moer worked in the studios (both as a pianist and as an arranger), toured Australia with Benny Carter in 1960, appeared on a few titles with Charles Mingus, recorded with Jack Montrose and John Graas, and cut a trio album in the late 1950's for Del Fi with bassist Jimmy Bond and drummer Frank Butler. He worked with Paul Horn (1960-63), Ruth Price and Buddy DeFranco but then little was heard of the pianist until he made a trio set for Fresh Sound in the 1990's of Elmo Hope tunes.
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1874 Obed "Dad" Pickard, C&W vocals/banjo/guitar - but all-string instruments, d. 1954. Founder of the "Pickard Family". He was one of the first "Grand Old Opry" performers. Patriarch of one of the first country singing groups to appear on national network radio. While still a young boy, Obed became proficient on nearly all stringed instruments. In 1926, at age 52, he gained his first fame when he became a soloist in the Grand Ole Opry and began to record for Columbia. In 1928, he brought his family into the act starring on NBC's The Cabin Door, a sort of minstrel show on radio. After that, he returned to the Grand Ole Opry showm and followed that with radio station work in New York, New Orleans, Philadelphia and other cities. 1940 found him in Hollywood where he would eventually make three films: Frontier Vengeance (1940), Riders Of The Dawn (1945), and Sea Of Grass (1947). He later had his own TV show in L.A. During the earliest years of TV, he has his own series "Sunday at Home" (1949)
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1909 Cassino Simpson, Piano, b. Chicago, IL, USA. d. 1952.
AMG BIO:
www.allmusic.com/cg/amg.dll
Biography by arwulf arwulf
This interesting character played a vital role in Chicago's hot music scene during the mid-1920s. The entire drama of his exciting professional life, his subsequent mental derangement, incarceration, and death took place in, or not far from, Chicago. Firstly, he is said to have studied piano with Augustus Zinky Cohn. His earliest appearance on phonograph records occurred in 1923, when he sat in with trumpet man Bernie Young. During the year 1925, Simpson could be heard performing with the Moulin Rouge Orchestra. He then joined up with an orchestra fronted by violinist and alto saxophonist Arthur Sims. Simpson can be heard on "Soapstick Blues," and a couple of other sides waxed by Arthur Sims Creole Roof Orchestra on June 21, 1926. After Sims passed away that same year, the band continued to operate under the leadership of Bernie Young. Simpson stuck with Bernie through 1930. But it was the year 1929 that gave us much of this pianist's best ensemble work on records, as he became a member of Jabbo Smith's Rhythm Aces. Interacting with such notable individuals as Omer Simeon, Banjo Ikey Robinson, and the fiery Jabbo himself, Simpson was now helping to create some of the hottest and toughest records to come out of Chicago during the late 1920s. Among the handful of sides by the Rhythm Aces issued on the Brunswick label, Simpson's spicy handling of the ivories is most evident on those famously frantic numbers "Jazz Battle" and "Ace of Rhythms," the steaming "Sau-Sha Stomp," "Take Your Time," and the very solid "Little Willie Blues." His wonderful laid-back support was an essential element in sustaining the mood of low-down masterpieces like "Let's Get Together" and "Take Me to the River." Simpson worked with, but does not appear on, the few extant recordings made by the legendary Erskine Tate. During the years 1931-1933, Simpson engaged in what has been described as "freelance recording," and led various ensembles under his own name, utilizing the talents of Jabbo Smith and a young Milt Hinton. (According to Hinton, Simpson liked to name musical compositions after types of food, for example "Ham Hocks and Beans.") The fateful turning point in Simpson's life occurred when he began accompanying vocalist, comedian, dancer, and sometime-female impersonator Frankie "Half Pint" Jaxon. They seem to have made only one recording session together, on June 23, 1933. The titles were "Mama Don't Allow It," "Spank It," and "The Mortgage Blues." What was it about Half Pint that made Simpson want to kill him? Some dangerous volatile component in the chemistry of their combined personalities? Something unforgivable that Jaxon said or did, triggering a homicidal reaction in the over-wrought pianist? Or maybe Simpson was simply going crazy. That's apparently what the authorities believed, as he was institutionalized in March 1935 at the Illinois State Hospital for Mental Diseases in Elgin, Illinois. Even this, it seems, could not prevent him from making music. He played piano and vibraphone in the hospital's 26-piece dance orchestra, and beat the bass drum in their marching band. He even made a series of solo piano recordings during the mid-1940s, right there on the grounds of the mental hospital, where he lived out the rest of his days.
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1924 Margaret Whiting, vocals, b. Detroit, MI, USA. Daughter of famed composer Richard Whiting
AMG BIO:
www.allmusic.com/cg/amg.dll
Biography by Ron Wynn
Margaret Whiting was a dominant pop singer in the '40s and '50s, though whether she's a jazz vocalist is often in question. She had a clear, striking voice and the kind of quasi-innocent sensibility that worked on such songs as "It Might As Well Be Spring" and "Moonlight in Vermont." Some would question if she was an improviser, or had the kind of timing, sense of swing, and fluidity that defines the genuine jazz or jazz-influenced singer. The daughter of composer Richard Whiting, her run of hits began in the early '40s when she was featured on radio shows, singing with composer/vocalist Johnny Mercer. She was later a prominent vocalist with the bands of Freddie Slack, Billy Butterfield, and Paul Weston. She had three huge hits in 1948 with "Now Is the Hour," "A Tree in the Meadow," and "Far Away Places," then teamed with Jimmy Wakely for another top hit in 1949, "Slippin' Around." She and Wakely were a very successful team for a time. Whiting had a comeback of sorts in the early '70s, appearing on a Cavalcade of Bands tour with the groups of Bob Crosby and others.
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Notable Events on this date include:
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1932. Famed showman Florenz Ziegfeld died. In poor health, and with no shows on Broadway, his wife, actress Billie Burke, was working in Hollywood to support the family.
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1965. Singer/Actress Dyan Cannon married screen legend Cary Grant. Seven months later, the marriage produced one child (his only child), daughter Jennifer Grant. In 1968, Dyan and Cary divorced.
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1967. "Windy", by 'The Association', was the most popular record in the U.S. for the fourth straight week, according to the Billboard singles chart Just a week later, Jim Morrison and The Doors release of "Light My Fire" became
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1979. R&R vocalist/pianist "Little Richard", became a Pastor, -the Reverend Richard Pennman. In his first sermon, he told his congregation about the evils of rock & roll music, and declared 'If God can save an old homosexual like me, he can save anybody'.
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1979. "Candyman" Mcguirt, guitar, died in San Francisco, CA, USA.
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1987. Nick Perls, Label founder (Yazoo Records), died in New York, NY, USA. Age: 45
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1993. Ben Karol, vocals/founder Karol Records, died in New York, NY, USA. Age: 79 Member: 'King Karol '
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1995. Dave Clark, promoter/songwriter, died in Madison, MS, USA. Age: 86 With: Malaco Records
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Songs Recorded/Released this date include:
1918 "After You've Gone", - Marion Harris voc.
*LISTEN:
www.dgarrick.com/jazzage/m...20Gone.mp3
1922 "Louisiana", - Carl Fenton Orch.
HEAR MORE!
www.redhotjazz.com/marionharris.html
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1924 "Please", - Ray Miller Orch.
1926 "Flapperette", - The Harold Leonard Waldorf Orch.
1926 "She Belongs To me", - The Clevelanders.
1926 "While The Years Go Drifting By", - The Harold Leonard Waldorf Orch.
1939 "The South American Way", - Desi Arnaz and His Conga Orch.
1921 "Bring Me Back My Blushing Rose", - The Shilking Orch.
1934 "Malahini Mele", - Sol Bright's Hawaiians.
1935 "Is It Just A Summer Romance", - Jan Garber Orch.
1937 "Got A Date With An Angel", - Hal Kemp Orch, Skinnay Ennis voc.
1938 "Don't Cross Your Fingers, Cross Your Heart", - Sammy
Kaye Orch.
1940 "Harlem Airshaft", - Duke Ellington Orch.
1943 "In My Arms", - Dick Haymes
1943 "I Heard You Cried Last Night", - Harry James
1943 "You'll Never Know", - Frank Sinatra
1957 "Tammy", - The Ames Brothers
1957 "Tammy", - Debbie Reynolds
1972 "Goodbye To Love", - The Carpenters
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AFTER YOU'VE GONE
(Henry Creamer / Turner Layton) (1918)
Henry Burr & Albert Campbell - 1918
Marion Harris - 1919
Bessie Smith - 1927
Paul Whiteman & His Orch. (vocal: Bing Crosby) - 1930
Louis Armstrong - 1932
Benny Goodman Trio - 1935
Judy Garland - 1942
Frank Sinatra - 1984
Also recorded by: Billy Murphy & Gladys Rice; Lionel Hampton; Sophie Tucker; Quintet Of The Hot Club Of France.
Now won't you listen honey, while I say,
How could you tell me that you're goin' away?
Don't say that we must part,
Don't break your baby's heart
You know I've loved you for these many years,
Loved you night and day...
Oh! honey baby, can't you see my tears?
Listen while I say:
After you've gone and left me cryin'
After you've gone there's no denyin'
You'll feel blue, you'll feel sad
You'll miss the dearest pal you've ever had
There'll come a time, now don't forget it
There'll come a time when you'll regret it
Someday, when you grow lonely
Your heart will break like mine and you'll want me only
After you've gone, after you've gone away
After you've gone and left me cryin'
After you've gone there's no denyin'
You're gonna feel blue, and you're gonna feel sad
You're gonna feel bad
And you'll miss, and you'll miss,
And you'll miss the bestest pal you ever had
There'll come a time, now don't forget it
There'll come a time when you'll regret it
But baby, think what you're doin'
I'm gonna haunt you so, I'm gonna taunt you so
It's gonna drive you to ruin
After you've gone, after you've gone away.
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