Ranking the Standards, Part IV - Summertime
Scarlotti
1) Gogi Grant with Henri Rene's Orchestra - Sheer beauty from start to
finish. Absolute perfection. This is a very respectful version, that
successfully attempts to create the Ideal version of this classic.
1) Leslie Uggams with Mitch Miller and the Gang - It's hard to pick a
favorite version of this song, but this is a strong contender.
Leslie's delivery is gorgeous with just a touch of the blues; and the
Gang's background vocals and the overriding echoes infuse the piece
with a vague sense of impending doom (which would be in keeping with
the musical). The stereo mix with Leslie on the right speaker and the
Gang on the left is an added treat.
1) Ella Fitzgerald & Louis Armstrong - Arguably the definitive version
of the song (if only because of the stature of the artists involved).
In this instance, the plaudits are warranted. The individual vocals
and the orchestration are flawless -- although the initial shift from
Ella to Louis is jarring, they work together beautifully in the final
chorus.
1) Renee Olstead - Renee starts out taking it as a haunting lullaby,
and gets progressively more bluesy and improvisational throughout,
before winding it down (slightly) for the ending. Words cannot
adequately describe the many subtle alterations in tempo and style
that make this version so captivating.
*I know, I know, the next three versions should be tied for the #5
spot -- but I prefer it like this:
2) Mary Carewe with Philip Mayers & Blue Noise - An unconventional
arrangement that's absolutely haunting. I only wish it were longer.
2) Julie London - Julie sings it as a jazz number -- and pulls it off
brilliantly. The inherent conflict between jazz approaches to this
song have hurt some of the versions below, but somehow this one is
almost better for it. Julie's vocal has the perfect mix of sultry
laziness and decadence. A real treat.
2) The Hi-Lo's - Another knockout version. The group gets a little
too showy for their own good at one or two points, but not enough to
significantly detract from the quality of the song.
3) Sam Cooke - Well done, with a great arrangement that gives the
appearance of being more sparsely orchestrated than it is. Cooke's
performance is pleasant, but falls short of the masterful
interpretations, above. It's 2:21 running time also leaves me wanting
more.
4) The Glenn Miller Orchestra - I had thought that I'd be ranking this
one last, as it lacks a vocal, but the arrangement actually transcends
the need for words. Another one where my only complaint is that it
isn't long enough.
5) Lena Horne - Much like the Billie Holiday version, below, the jazzy
arrangement is at odds with the spirit of the song (essentially a
lullaby). Lena's approach, however, fits seamlessly with the
arrangement.
6) Billie Holiday - This version is pretty good, but the orchestra's
slightly uptempo jazzy approach is at odd with the spirit of the
song.). Billie's vocal strives, with some success, to find an uneasy
medium between the two forms.
Summertime has long been one of my all-time favorite songs. An ex-
girlfriend of mine also sang it beautifully, but as far as I know, she
never recorded it.
BobbyM
news:4530be74-5909-4bc3...@t20g2000yqa.googlegroups.com...
We've got a 4-way tie with this one. The
1) Gogi Grant with Henri Rene's Orchestra - Sheer beauty from start to
finish. Absolute perfection. This is a very respectful version, that
successfully attempts to create the Ideal version of this classic.
1) Leslie Uggams with Mitch Miller and the Gang - It's hard to pick a
favorite version of this song, but this is a strong contender.
Leslie's delivery is gorgeous with just a touch of the blues; and the
Gang's background vocals and the overriding echoes infuse the piece
with a vague sense of impending doom (which would be in keeping with
the musical). The stereo mix with Leslie on the right speaker and the
Gang on the left is an added treat.
----------------------------------
These two have that dragginess that I've heard so much about but couldn't
identify until now. Billy Stewart doesn't suffer from that problem & he
doesn't even appear on your list!
Dean F.
Trollberg
> Billy Stewart. End of story.
The jackass who started this thread never heard of Billy Stewart.
Scarlotti
Gotta admit -- the man knows me like a book!
Scarlotti
I wouldn't have thought it was possible ...
I still can't believe my ears ...
But Billy Stewart somehow managed to turn this great standard into a
steaming heap of ... dog shit.
Pardon me, Brucie -- dogshit.
Trollberg
It was BY FAR the biggest selling version of the song, peaking at # 10
on the Billboard pop charts. The only version that mainstream
Americans know. The only other version that made the top 75 on the pop
charts is the Billie Holiday that you had at the bottom of your list.
Scarlotti
I'll bet most Americans know the Ella-Louis version.
Trollberg
You're a fucking jackass. It's two thousand and fucking ten, moron.
Most Americans are well under 50 years old and have never heard of
Louis Armstrong, Ella Fitzgerald, or the song "Summertime."
I've never even heard the Armstrong/Ella version, how the fuck are
most Americans gonna know it?
Jyrki Ilva
> 3) Sam Cooke - Well done, with a great arrangement that gives the
> appearance of being more sparsely orchestrated than it is. Cooke's
> performance is pleasant, but falls short of the masterful
> interpretations, above. It's 2:21 running time also leaves me wanting
> more.
Is this the uptempo version or the slow version? Cooke
recorded two completely different versions of the song,
and for some reason many later reissues include the
wrong version.
I first became familiar with the slow version when I
bought a re-pressing of the sixties "The Best of Sam
Cooke" album nearly thirty years ago. It was only much
later that I found out that this was not the charted
version that issued on the flip side of "You Send
Me" (Keen 4013).
The original single has a much more lively uptempo version
which includes a prominent guitar part in the foreground.
You can listen to it here:
http://www.youtube.com/watch?v=cetclnMH9S4
Keen later issued another single (Keen 2101) which has
two versions of "Summertime" listed as "Part 1" and
"Part 2". I've never had the 45, but I would guess that
it contains both of these two versions.
The wrong version is included even on the 4-CD boxed set
"The Man Who Invented Soul" that BMG put out in 2000.
The liner notes include a paragraph about the song,
and the writer seems to have no idea that the version
he is analyzing is not the one that was on the original 45!
BTW, in addition to the classic Billy Stewart hit,
there are also very nice uptempo versions of the song
by the Marcels and Ronnie Hawkins.
--
Jyrki Ilva --- Helsinki, Finland, Europe *
--- il...@cc.helsinki.fi *
--- http://www.helsinki.fi/~ilva/ *
Trollberg
> The wrong version is included even on the 4-CD boxed set
> "The Man Who Invented Soul" that BMG put out in 2000.
> The liner notes include a paragraph about the song,
> and the writer seems to have no idea that the version
> he is analyzing is not the one that was on the original 45!
He sounds a lot like the complete and utter jackass who started this
thread.
F R
have killed him.
It's in the same class as Vito and the Salutations' "interpretation" of
"Unchained Melody"
Porgy & Bess was written as an opera, and "Summertime", as sung by
Leontyne Price is how it should be sung.
Trollberg
The general public says differently. Stewart's was by far the biggest
hit version of the song.
F R
have killed him.
It's in the same class as Vito and the Salutations' "interpretation" of
"Unchained Melody"
Porgy & Bess was written as an opera, and "Summertime", as sung by
Leontyne Price is how it should be sung.
Trollberg>
The general public says differently. Stewart's was by far the biggest
hit version of the song.
Come on Bruce, that's beside the point. You, better than just about
anyone, know that the biggest hit by a certain artist is not necessarily
the best version.
If that was the case, would the cover versions in which Pat Boone or
Georgia Gibbs outsold the originators... make it "better"? Of course
not.
Otherwise Scarlotti could say "the general public says differently" if
you were debating the merits of those covers with him.
Trollberg
> Gershwin is lucky he died before hearing Stewart's rendition. It would
> have killed him.
> It's in the same class as Vito and the Salutations' "interpretation" of
> "Unchained Melody"
> Porgy & Bess was written as an opera, and "Summertime", as sung by
> Leontyne Price is how it should be sung.
> ---------------------------
> Trollberg>
> The general public says differently. Stewart's was by far the biggest
> hit version of the song.
> --------------------------------
> Come on Bruce, that's beside the point. You, better than just about
> anyone, know that the biggest hit by a certain artist is not necessarily
> the best version.
We're not just ta;lking about it being the biggest hit. We're talking
that it was BY FAR the biggest hit version of the song and the only
version of the song that was a top 40 hit in the last 70 years. The
ONLY other version that was a big hit was Billie Holliday in 1936.
> If that was the case, would the cover versions in which Pat Boone or
> Georgia Gibbs outsold the originators... make it "better"? Of course
> not.
Boone and Gibbs versions were not all that much bigger than the
versions they copied, and there were obvious reasons why they were big
at all. There are no such factors with "Summertime." The author may
have intended it to be an opera but the public disagreed with him.
This happens often in music.
> Otherwise Scarlotti could say "the general public says differently" if
> you were debating the merits of those covers with him.
You're not paying ,much atte ntion, he says that all the time.
BobbyM
news:bebc9bf9-372b-47b7...@z10g2000yqb.googlegroups.com...
-------------------------
I'll bet most Americans aren't familiar with it (you & Sharx aren't most
people). A lot more people living today are more familiar with the Big
Brother & the Holding Company version and even more are familiar with the
Billy Stewart version.
F R
you were debating the merits of those covers with him.
Bruce> You're not paying ,much atte ntion, he says that all the time.
---------------------------------
And he is rebuked everytime he brings it up.
Here's a more extreme example, not where one version barely outsold the
other.
How about Darin's "Mack the Knife", a monster hit by any standards. one
of the biggest songs in '59, if not THE biggest...and one of the biggest
hits of the entire decade as well.
I don't like his version..too "Vegas hip" for my tastes.
Louis Armstrong charted with it at #20 in 1956, so Darin's version
outsold it probably 10-1 if not more.
Yet I like Satchmo's version much better, and Ella's too.
Do you like Darin's better than Louis and Ella?
Mark Dintenfass
<espo...@webtv.net> wrote:
If you were being consistent, you'd be pushing the original version
from the soundtrack of "The Threepenny Opera."
--
--md
_________
Remove xx's from address to reply
Trollberg
Yes
InTheNeighborhood
version to Sidney Bechet's version,
even over Billie Holiday's, and I'm coming into agreement with the
former group.
I'll admit I never heard of Sidney Bechet but for a few years ago
(maybe it was 1999 or 2000 or some time like that) when I watched and
took in the whole Ken Burns Jazz serialized presentation over 3 weeks
back at that time.
Listen to the whole Bechet version song for free, at this discussion
point on an NPR (National Public Radio in the USA) show:
http://www.npr.org/blogs/ablogsupreme/2009/06/listening_party_for_two_sidney.html
Bechet comes MUCH, much closer I think to original intent of Gershwin;
namely, the somewhat or mournful or wistful feeling, even a little bit
of lonesome poured in there of Gershwin's musical intent and idea.
Holiday's version, I have no problem with her phrasing. It's just
that it is not so loyal to Gershwin's intent...it is a little TOO
joyful, ...even playful in tone. Nothing if not a celebration, in
fact. Plus, I don't think Holiday, although a full-throated
presentation, does not sing with 100% of her heart and soul CONVICTION
the way she sings (or would sing, later, if you will) something like
her classic "Lover Man" from late 1944. Oh she's more than
competent, but the full conviction like she would have with certain
other (choice) recordings in not there.
Artie Shaw also had a fine version - you can YT it here:
http://www.youtube.com/watch?v=3Xkyg46LHwE
Artie's tone poem does capture the wistful, semi-dreamy lonely feeling
of the song, and Roy Eldridge's belting riffs are a REAL nice touch,
but the whole thing is almost a little too downbeat, the same way
Holiday's was too sanguine. Ergo, Bechet captures the ESSENTIAL
FEELING of the song as I believe Gershwin originally intended it.
Shaw's ain't definitive, but it is mighty beautiful nonetheless. You
should hear it.
Meanwhile, over at the Jazz Standards web-site, a much more hip and
defintive place to find your opinions on "the Standards" than what
Scarlotti (or even Bruce, much less Dean) attempts to purport, you can
find their recommendations as follows in this order for "Summertime":
http://www.jazzstandards.com/compositions-0/summertime.htm
Sidney Bechet (in the lead-off number one spot)
followed by:
Ella Fitzgerald and Louis Armstrong
Duke Ellington in a 1961 version
John Coltrane (from "My Favorite Things")
Sonny Rollins w/Colemand Hawkins from 1963
Gil Evans w/Ted Dunbar (1973)
Herbie Hancock
Lambert, Hendricks and Ross (a jazz vocal trio from 1959)
Ray Brown Trio
Miles Davis (from Porgy & Bess, 1958)
Art Blakey Quartet
(saxophonist) Joshua Redman, with some Latin tinges
and of course, sound samples of all at your ready.
Glenn Miller? a top version? Tell that to a dead horse and it'll
kick your brains out.
Of course, the problem with Scarlotti is this total pretender to
hipness will never be such, because he can't think outside the box,
whether that be the box that holds his music collection, or house, or
even his own thick, twisted skull.
Best-selling doesn't make the version. Most popular doesn't make the
best version either, or the most definitive. Did Bing Crosby ALWAYS
make the best of the best of the best version of any particular song
during his 1927 - 1952 heyday? No, of course not. Neither was
Miller's version of any hit or popular song for a band or orchestra
always the definitive or best version of any song of that era,
irregardless of how confident he may sound as he holds forth.
Scarlotti simply not capable of thinking or entertaining a thought
outside the limits of his own imagination, or moreover, his current
record or CD or MP3 collection.
Myself, honestly, my tastes do devolve into cusp or borderlands
between the jazz and popular music boundary extremes or black or
"white" musical creative frontiers, so the versions of Bechet (first
and foremost), and Holiday, Shaw and Stewart's "Summertime" usually
"do" it for me, most days. That said,
"Summertime" by Stewart could never be definitive...it isn't even half
as good or as vital as his own "I Do Love You" (mono-single) or
"Sitting In the Park", and yet the song (not the version) Summertime
is without a doubt in my mind, greater (read: more charismatic, more
mysterious, more alluring, and more everything...etc.) song than
either I Do Love You or Sitting In the Park, which is PROBABLY (you
think?) why more people have covered or remade Summertime than SIITP
or IDLY, notwithstanding Summertime's head start). When Stewart,
therefore, has had greater songs (for himself), how could his
Summertime EVER be seen as definitive? It's nice, it's fun once in
awhile, but it would never make my own top 100 or even top 200 Soul
list (although one or two of his other records might). Maybe Otis
Redding really did do the best version of Try A Little Tenderness, but
Stewart is really not in the argument for a definitive version of
Summertime.
Nick Kosloff
DianeE
"Mark Dintenfass" <mdint...@xxnew.rr.com> wrote in message
news:050820102003033556%mdint...@xxnew.rr.com...
I'll go for that. Not "soundtrack," though--original off-Broadway cast
album. The late, great Jerry Orbach played "the Street Singer" and sang
"Mack The Knife" at the beginning of the show. At the end he came out again
and reprised it, with lyrics we never hear in the pop versions:
(from memory)
"Happy ending,
nice and easy.
It's a rule I
learned in school.
Get your money
every Friday.
Happy endings
are the rule.
So divide up
those in darkness
from the ones who
walk in light.
Light 'em up, boys.
There's your picture.
Drop the shadows
out
of
sight."
By the time I got to see the show, which ran a very long time, Orbach was
playing the part of Mack The Knife himself. I don't remember who played the
Street Singer--or anyone else. It was probably in 1961.
DianeE
Trollberg
Let's see what the group thinks. Here's how each version did in
Roger's contests:
Louis Armstrong - 1955 - # 83
Bobby Darin - 1959 - # 23
Ella Fitzgerald - 1960 - # 313
Looks like the group does not agree with you.
Mark Dintenfass
<Tired...@SorryFolks.com> wrote:
The real original performance dates back to 1927 in Berlin, and I'm
pretty sure there is no soundtrack of it. I actually had the
long-running American "original" version in mind since it was the
source for Armstrong. But, of course, it's even better in German. :-)
F R
the soundtrack of "The Threepenny Opera."
--
--md
Sorry, not in this case Mark. Scarlotti listed his facorite versions of
"Summertime". Bruce said the American public felt differently as Stewart
had the biggest charting hit, so my example with MTK was comparing
oranges to oranges, IMO. He knows very well, (as I said) that a higher
charting version of a song does not make it better.
Which version do you like better, Darin's or Satchmo's?
Frank
F R
I'll go for that. Not "soundtrack," though--original off-Broadway cast
album. The late, great Jerry Orbach played "the Street Singer" and sang
"Mack The Knife" at the beginning of the show. At the end he came out
again and reprised it, with lyrics we never hear in the pop versions:
Fair enough Diane. That being the case, by extension, you should like
the original version from the cast album of "Porgy and Bess" where the
character, "Claire" sang "Summerime" as a lullabye to her baby. I don't
know the womans name who originated the role, so I mentioned Leontyne
Price ( who maybe a few people here have heard of) as an example of how
the song was originally sung on Broadway.. a far, far cry from
Stewart's.
F R
Roger's contests:
Louis Armstrong - 1955 - # 83
Bobby Darin - 1959 - # 23
Ella Fitzgerald - 1960 - # 313
Looks like the group does not agree with you.
So the group doesn't agree with me. I can handle it, I think.
Did you agree with the group when "Mona Lisa" was voted the #1 song of
1950? Nope. and that's a lot higher than 83, 23 or 313, no?
Yet you mocked the group for making it the winner.
If you voted for it at all, in which round did you stop?
So if I was not in the majority when it came to MTF, you were further
out of the loop when it came to "Mona Lisa".
Mark Dintenfass
In article <14429-4C5...@storefull-3113.bay.webtv.net>, F R
<espo...@webtv.net> wrote:
You can't say "fair enough" to Diane after telling me my point was
irrelevant since she was merely expanding on my point. My point had
nothing at all to do with chart positions. And you can't argue that
"Summertime" versions should be measured against the original operatic
version without applying the same criterion to "Mack the Knife."
Darin's version is just as distant from the original as Stewart's
"Summertime." I happen to like Darin, Armstrong, the American cast
version and several German versions of "Mack the Knife." I also like
both Billie Holiday's "Summertime" and Stewart's. I see nothing wrong
with liking both apples and oranges.
BobbyM
news:050820102214598493%mdint...@xxnew.rr.com...
---------------------------------------------
Frank is just trying to set up a "logical" scenario in which he can find
someone whom he can convince to agree with him - when usually there is no
logical reason why one favors a particular version -- unless your name is
Scarlotti or Sharx.
Scarlotti
Nick Neil Kosloff knows it (see his post, above). :-)
Scarlotti
> ---http://www.helsinki.fi/~ilva/*
I've got the slow version.
Thanks much for the info. I had been under the impression that it was
the original as well.
The uptempo version you posted the link too is good (certainly better
than the Stewart), but I definitely prefer the slower remake.
Scarlotti
> Gershwin is lucky he died before hearing Stewart's rendition. It would
> have killed him.
I couldn't have expressed it better!
As a compromise, let's say that they hold more appeal for Pop fans,
whereas the orig... wait a minute ... Baker's version was also a cover!
Trollberg
Baker's version of which song?
She did the original "Tweedle Dee" and the original "Tra La La."
F R
irrelevant since she was merely expanding on my point. My point had
nothing at all to do with chart positions. And you can't argue that
"Summertime" versions should be measured against the original operatic
version without applying the same criterion to "Mack the Knife." Darin's
version is just as distant from the original as Stewart's "Summertime."
I happen to like Darin, Armstrong, the American cast version and several
German versions of "Mack the Knife." I also like both Billie Holiday's
"Summertime" and Stewart's. I see nothing wrong with liking both apples
and oranges.
--
--md
_________
disliked Stewart's version, I compared it to Vito and the Salutations'
recording of "Unchained Melody". Just my opinion.
I like Darin's "Artificial Flowers" a lot, but have mentioned it was not
how it was sung in the original show as the lyrics, IMO, do not call for
an uptempo version, as you might agree. That's how I feel about BS'
"Summertime." However, that aside, and forgetting the lyrics for a
moment, I do like Darin's arrangement but don't care for Stewart's.
F R
irrelevant since she was merely expanding on my point. My point had
nothing at all to do with chart positions. And you can't argue that
"Summertime" versions should be measured against the original operatic
version without applying the same criterion to "Mack the Knife." Darin's
version is just as distant from the original as Stewart's "Summertime."
I happen to like Darin, Armstrong, the American cast version and several
German versions of "Mack the Knife." I also like both Billie Holiday's
"Summertime" and Stewart's. I see nothing wrong with liking both apples
and oranges.
--
--md
_________
acknowledge it.
Whichever version of MTK one likes better, has nothing to do with how
the group voted or which version was a bigger hit. I'll stick with that.
Bruce, however showed that the group liked Darin's version better, yet
belittled the group for voting "Mona Lisa" as their top song of 1950,
claiming their and maybe your "whiteness" was showing. So his using the
group results to back up one point, is also contradictory, since
apparently it was OK to cite for MTK, but not OK for ML.
Mark Dintenfass
<espo...@webtv.net> wrote:
> You can't say "fair enough" to Diane after telling me my point was
> irrelevant since she was merely expanding on my point. My point had
> nothing at all to do with chart positions. And you can't argue that
> "Summertime" versions should be measured against the original operatic
> version without applying the same criterion to "Mack the Knife." Darin's
> version is just as distant from the original as Stewart's "Summertime."
> I happen to like Darin, Armstrong, the American cast version and several
> German versions of "Mack the Knife." I also like both Billie Holiday's
> "Summertime" and Stewart's. I see nothing wrong with liking both apples
> and oranges.
> --
> --md
> _________
> And I will say "Fair enough" to you as well Mark...but as I said, I so
> disliked Stewart's version, I compared it to Vito and the Salutations'
> recording of "Unchained Melody". Just my opinion.
Al Hibbler's "Unchained Melody" is probably my favorite pop song of the
50s and I share your dislike for the Vito/Salutations version.
>
> I like Darin's "Artificial Flowers" a lot, but have mentioned it was not
> how it was sung in the original show as the lyrics, IMO, do not call for
> an uptempo version, as you might agree.
I think Darin was trying to wring the soppiness out of the song and
didn't succeed.
> That's how I feel about BS'
> "Summertime." However, that aside, and forgetting the lyrics for a
> moment, I do like Darin's arrangement but don't care for Stewart's.
Never heard Darin's version. Maybe if you can forget what song he's
taking flight from, you can give Stewart's wondrous vocal acrobatics
another try.
Mark Dintenfass
<espo...@webtv.net> wrote:
> You can't say "fair enough" to Diane after telling me my point was
> irrelevant since she was merely expanding on my point. My point had
> nothing at all to do with chart positions. And you can't argue that
> "Summertime" versions should be measured against the original operatic
> version without applying the same criterion to "Mack the Knife." Darin's
> version is just as distant from the original as Stewart's "Summertime."
> I happen to like Darin, Armstrong, the American cast version and several
> German versions of "Mack the Knife." I also like both Billie Holiday's
> "Summertime" and Stewart's. I see nothing wrong with liking both apples
> and oranges.
> --
> --md
> _________
> Yes, I admit I made contradictory remarks, and unlike some others I
> acknowledge it.
>
> Whichever version of MTK one likes better, has nothing to do with how
> the group voted or which version was a bigger hit. I'll stick with that.
Bruce thinks the voting here has some kind of actual meaning, and
that's one of the things about which we disagree.
>
> Bruce, however showed that the group liked Darin's version better, yet
> belittled the group for voting "Mona Lisa" as their top song of 1950,
> claiming their and maybe your "whiteness" was showing. So his using the
> group results to back up one point, is also contradictory, since
> apparently it was OK to cite for MTK, but not OK for ML.
Bruce is sometimes a fucking jackass. (But he is not a full-time one,
and for that we can be grateful.)
Trollberg
> In article <15113-4C5BFEB1-4...@storefull-3112.bay.webtv.net>, F R
>
>
>
>
>
> <espon...@webtv.net> wrote:
> > You can't say "fair enough" to Diane after telling me my point was
> > irrelevant since she was merely expanding on my point. My point had
> > nothing at all to do with chart positions. And you can't argue that
> > "Summertime" versions should be measured against the original operatic
> > version without applying the same criterion to "Mack the Knife." Darin's
> > version is just as distant from the original as Stewart's "Summertime."
> > I happen to like Darin, Armstrong, the American cast version and several
> > German versions of "Mack the Knife." I also like both Billie Holiday's
> > "Summertime" and Stewart's. I see nothing wrong with liking both apples
> > and oranges.
> > --
> > --md
> > _________
> > And I will say "Fair enough" to you as well Mark...but as I said, I so
> > disliked Stewart's version, I compared it to Vito and the Salutations'
> > recording of "Unchained Melody". Just my opinion.
>
> Al Hibbler's "Unchained Melody" is probably my favorite pop song of the
> 50s and I share your dislike for the Vito/Salutations version.
Since I don't care about lyrics and because I see each record as a
separate entity, I loke both the Hibbler and the Vito as well as the
Righteous Brothers version of the song. I don't like the Roy Hamilton
version so much though. Does it really matter what words that Vito and
the boys were singing? If you like or dislike the Vito record it's
based upon whether or not you like that type of radical uptempo doo
wop sound. The fact that the song happened to be done as a ballad
earlier should not affect your opinion. If you like "Never Let You Go"
by the Five Discs you should also like "Unchained Melody" by Vito.
> > I like Darin's "Artificial Flowers" a lot, but have mentioned it was not
> > how it was sung in the original show as the lyrics, IMO, do not call for
> > an uptempo version, as you might agree.
>
> I think Darin was trying to wring the soppiness out of the song and
> didn't succeed.
I think he succeeded, and so does the public as his version was a big
hit.
> > That's how I feel about BS'
> > "Summertime." However, that aside, and forgetting the lyrics for a
> > moment, I do like Darin's arrangement but don't care for Stewart's.
>
> Never heard Darin's version. Maybe if you can forget what song he's
> taking flight from, you can give Stewart's wondrous vocal acrobatics
> another try.
You never heard Darin's version of "Artificial Flowers?"
Trollberg
> In article <15114-4C5C04FD-1...@storefull-3112.bay.webtv.net>, F R
>
>
>
>
>
> <espon...@webtv.net> wrote:
> > You can't say "fair enough" to Diane after telling me my point was
> > irrelevant since she was merely expanding on my point. My point had
> > nothing at all to do with chart positions. And you can't argue that
> > "Summertime" versions should be measured against the original operatic
> > version without applying the same criterion to "Mack the Knife." Darin's
> > version is just as distant from the original as Stewart's "Summertime."
> > I happen to like Darin, Armstrong, the American cast version and several
> > German versions of "Mack the Knife." I also like both Billie Holiday's
> > "Summertime" and Stewart's. I see nothing wrong with liking both apples
> > and oranges.
> > --
> > --md
> > _________
> > Yes, I admit I made contradictory remarks, and unlike some others I
> > acknowledge it.
>
> > Whichever version of MTK one likes better, has nothing to do with how
> > the group voted or which version was a bigger hit. I'll stick with that.
>
> Bruce thinks the voting here has some kind of actual meaning, and
> that's one of the things about which we disagree.
It certainly has more actual meaning than you and Frank giving us your
personal opinions.
It gives us a barometer of taste that goes beyond that of you two
jackasses.
F R
"Summertime." However, that aside, and forgetting the lyrics for a
moment, I do like Darin's arrangement but don't care for Stewart's.
Never heard Darin's version. Maybe if you can forget what song he's
taking flight from, you can give Stewart's wondrous vocal acrobatics
another try.
--
--md
I Didn't make myself clear. I meant that although Artificial Flowers was
sung very differently than it was on stage, I still like Darin's.
On the other hand, I don't like Stewart's handling of "Summertime". Sam
Cooke's version is quite good and he too strayed from how it was
originally sung.
F R
one of the things about which we disagree.
It certainly has more actual meaning than you and Frank giving us your
personal opinions.
-----------------------
Everyone's opinion is "personal"
It gives us a barometer of taste that goes beyond that of you two
jackasses.
---------------------
So you were glad "Mona Lisa" won the 1950 contest? It gave us a
barometer of the group's taste for that particular year.
Mark Dintenfass
<5d96dd6d-84d3-4d09...@i31g2000yqm.googlegroups.com>,
Trollberg <Sav...@aol.com> wrote:
> > Al Hibbler's "Unchained Melody" is probably my favorite pop song of the
> > 50s and I share your dislike for the Vito/Salutations version.
>
> Since I don't care about lyrics and because I see each record as a
> separate entity, I loke both the Hibbler and the Vito as well as the
> Righteous Brothers version of the song. I don't like the Roy Hamilton
> version so much though. Does it really matter what words that Vito and
> the boys were singing? If you like or dislike the Vito record it's
> based upon whether or not you like that type of radical uptempo doo
> wop sound.
I stated two opinions without making a connection between them. I
dislike the overly frantic sound of Vito's record, and the really
radical thing that was happening to uptempo doo wop at the time was
taking place in Brian Wilson's control booth.
> The fact that the song happened to be done as a ballad
> earlier should not affect your opinion.
I don't disagree with that.
Trollberg
The group thinks "Mona Lisa" is great. I don't.
Trollberg
>
> Trollberg <Savo...@aol.com> wrote:
> > > Al Hibbler's "Unchained Melody" is probably my favorite pop song of the
> > > 50s and I share your dislike for the Vito/Salutations version.
>
> > Since I don't care about lyrics and because I see each record as a
> > separate entity, I loke both the Hibbler and the Vito as well as the
> > Righteous Brothers version of the song. I don't like the Roy Hamilton
> > version so much though. Does it really matter what words that Vito and
> > the boys were singing? If you like or dislike the Vito record it's
> > based upon whether or not you like that type of radical uptempo doo
> > wop sound.
>
> I stated two opinions without making a connection between them. I
> dislike the overly frantic sound of Vito's record,
What about "Never Let You Go" by the Five Discs?
> and the really
> radical thing that was happening to uptempo doo wop at the time was
> taking place in Brian Wilson's control booth.
What are you babbling about? The Beach Boys are not doo wop.
F R
The fact that the song happened to be done as a ballad earlier should
not affect your opinion.
In some cases, yes and in some, no.
I like "Blue Moon" byt the Marcels and it was surely a radical
interpretation.
But while "Blue Moon" is probably part of the "American Songbook",
"Summertime" as sung the way Gershwin wrote it, is one of the classics
of all classics and should be very near page 1 in the mythical American
Songbook. IMO, of course.
Trollberg
BULLSHIT.
If it was that much of a classic it would have been a huge hit by
somebody, if not by many artists, like "Blue Moon" was.
Sharx35
"Mark Dintenfass" <mdint...@xxnew.rr.com> wrote in message
news:060820101305385048%mdint...@xxnew.rr.com...
99% of the time, though.
Sharx35
"Trollberg" <Sav...@aol.com> wrote in message
news:d04e2bd3-ea04-40ba...@j8g2000yqd.googlegroups.com...
Barometer of taste? For about a dozen FUCKED-UP, tone-deaf WHACK jobs?
>
>
>
Mark Dintenfass
<160ad2ed-17c0-4a7f...@f42g2000yqn.googlegroups.com>,
Trollberg <Sav...@aol.com> wrote:
> On Aug 6, 5:13 pm, Mark Dintenfass <mdintenf...@xxnew.rr.com> wrote:
> > In article
> > <5d96dd6d-84d3-4d09-9459-9298b5415...@i31g2000yqm.googlegroups.com>,
> >
> > Trollberg <Savo...@aol.com> wrote:
> > > > Al Hibbler's "Unchained Melody" is probably my favorite pop song of the
> > > > 50s and I share your dislike for the Vito/Salutations version.
> >
> > > Since I don't care about lyrics and because I see each record as a
> > > separate entity, I loke both the Hibbler and the Vito as well as the
> > > Righteous Brothers version of the song. I don't like the Roy Hamilton
> > > version so much though. Does it really matter what words that Vito and
> > > the boys were singing? If you like or dislike the Vito record it's
> > > based upon whether or not you like that type of radical uptempo doo
> > > wop sound.
> >
> > I stated two opinions without making a connection between them. I
> > dislike the overly frantic sound of Vito's record,
>
> What about "Never Let You Go" by the Five Discs?
You can dance to it. I'll give it a 76. (There is some good 60s doo
wop, but I mostly prefer earlier stuff. Compared to the Clovers or the
Drifters, the Five Discs are pretty weak.)
>
> > and the really
> > radical thing that was happening to uptempo doo wop at the time was
> > taking place in Brian Wilson's control booth.
>
> What are you babbling about? The Beach Boys are not doo wop.
They took vocal group harmony and made something radically new, which
is what I said. "I Get Around" is as much a child of 50s doowop as
Vito's thing, and a lot better.
Mark Dintenfass
<44795c9e-df2a-4790...@t2g2000yqe.googlegroups.com>,
Trollberg <Sav...@aol.com> wrote:
I'm with Bruce on this point, Frank. Your veneration of "Summertime"
seems excessive.
Trollberg
A lot better, yes, but nowhere near as much doo wop.
F R
If it was that much of a classic it would have been a huge hit by
somebody, if not by many artists, like "Blue Moon" was.
Gee, maybe because it was a "black" song and "Blue Moon" was a white
song?
"Sincerely" by the Moonglows is, I believe, one of the most popular
doo-wop standards ever.
It would be any compilation of the greatest Doo Wop ballads.
How many times did a doo-wop version of "Sincerely" chart?
The measuring stick of a standard goes deeper than if it charted and
how many times.
BobbyM
news:1558-4C5...@storefull-3111.bay.webtv.net...
Bruce>
If it was that much of a classic it would have been a huge hit by
somebody, if not by many artists, like "Blue Moon" was.
--------------------------------
Gee, maybe because it was a "black" song and "Blue Moon" was a white
song?
--------------------
Are you serious?
F R
unfamiliar to you guys too, but there are several dozen artists who
were/are well-known and thought enough of it to make a record of it.
It's a long list, maybe over 1000 acts, but if you have the patience to
scroll down all the way, you'll recognize tons of names. Now that's a
Standard!!
---------------------------
Marden Abadi
Ahmed Abdul-Malik
Abstracts
The Academy of St. Martin-in-the-Fields Chamber Ensemble
Pepper Adams
Nat Adderley Quintet with Vincent Herring
Dale Adkins with Out of the Blue
Larry Adler (3)
Jamie Aebersold
Afro-Blues Quintet plus One
Yasuko Agawa
Rob Agerbeek
Symphony of the Air Pops Orchestra directed by Alfonso d'Artega
Ronnie Aldrich, his piano & the Festival Orchestra
Monty Alexander Trio
Alexia
Claude Allaire et ses Musiciens
Chip Allan & the Chipettes
Terry Allan
Henry 'Red' Allen All Stars and Coleman Hawkins
Allotria Jazz Band
Laurindo Almeida
Peter Almqvist Trio
Herb Alpert & The Tijuana Brass
Alsterwasser Swing Company
Alti & Bassi
Jimmy Amadie
Juan Amalbert's Latin Jazz Quintet
Flavio Ambrosetti and his All Stars
Franco Ambrosetti & Friends
The Ambrosians
American Jazz Ensemble
(Original) American Jazz Quintet
Amhara (2)
Tori Amos
David Amram Quartet
Curtis Amy (2)
Christian Anders
Jorge Anders y su Orchestra
Cat Anderson & the Ellington All Stars
Ernestine Anderson (2)
Theresa Anderson
Maurice André (2)
Ernie Andrews + Maxwell Davis Trio
The Angels
Don Angle
Ray Anthony
Apollo
Apollo Stars
Draaiorgel De Arabier
Ari Arirang/Sumi Jo & London Philharmonic Orchestra
The Arkay IV
Howard Armstrong
Tony Arnopp
Georges Arvanites
Svend Asmussen, Hans Ulrik Neumann (2)
Astronauts
The Asylum Street Spankers
Chet Atkins (2)
Atlantic Brass Quintet
Michel Attenoux and the Latin Jazz Band
Winifred Atwell
Claude Aubert
Georgie Auld (2)
Mike Auldridge
Sil Austin (3)
Albert Ayler Quintet
Geoffrey Aymar
Marcel Azzola
B Top
benjamin B.
Rafik Babayev & Gaiya
Babelibab's Trio
Susana Baca
Elek Bacsik
Carlo Bader Orchestra
Ena Baga
Mildred Bailey (5)
Pearl Bailey with orchestra directed by Buddy Baker
The Baker Boys
Chet Baker (7)
Duck Baker
Marco Bakker
Hank Ballard and the Midnighters
Banda da Força Aérea direcção: Maestro Capitão Mário José
Da Costa Marques
Jo Banks and the Soul Train
Robert Banks & the Waileroos
The Bar Room Buzzards
Chris Barber's Jazz & Blues Band
Patricia Barber
Carlos Barbosa-Lima
Quartet de Clarinets de Barcelona
Orchestre Eddie Barclay directed by Michel Colombier
Len Barnard's Modern Jazz Quartet
Mae Barnes (2)
Spot Barnett Orchestra
Barons
Ray Barretto (2)
Kenny Barron/Ted Dunbar
Claudia Barry
Margot Barry
Artie Barsamian's Boston Big Band
Count Basie (3)
Kathleen Battle (3)
James Bazen Big Band
BBC Philharmonic Orchestra
Rufus Beacham
The Beatles (2)
Sidney Bechet (23)
Joe Beck (2)
Pia Beck
Jay Beckenstein
v.z.w. René Beckers Big-Band
John Beesley
Bix Belair
Charles Bell Trio
Joshua Bell & London Symphony Orchestra directed by John Williams
Madeline Bell
Walter Bell (2)
Roy Beltier
Jesse Belvin & Group
Duster Bennett
Victor Symphony Orchestra directed by Robert Russell Bennett
Val Bennett
George Benson (3)
Mimi Benzell & Orchestra directed by Camarata
Sangeeta Michael Berardi
Cathy Berberian
Berkland
Alexis Weissenberg, Elaine Donohoe & Berliner Philharmoniker directed by
Seiji Ozowa
Annabella Bernard/Lawrence Winters
Brass Band Berner Oberland
Orchestra: John Bernett
Marcel Bianchi + Ensemble Hawaiien de Radio Génève
Leon Bibb with orchestra directed by Robert DeCormier
Big Country & Kim Mazelle
Big Problem Rockers
Big Symphonic Band directed by Walter Beeler
Mark Biggs
Ron Bill and the Anglesea Strugglers
The Biscaynes & the Co-encidentals
Lea Bischof & Denis Haas Quintet
Walter Bishop jr (4)
Asmund Bjorken
Hacke Bjørksten Corporation
Black Cats
John Foster Black Dyke Mill's Band
Black Dynamites
Black Magic
Harolyn Blackwell & Cincinnati Pops Orchestra & Central State University
Chorus
Art Blakey (5)
Burt Blanca & his magic guitar
Paul Bley
Lois Blue with Jorge Anders Quartet
Blue Bird
Trio Karel Boehlee
Walt Boenig
Salvatore Bonafede
Raymond Boni & Gérard Marais Duo
Booker T. & MG's (2)
Boomse Big Band under the direction of Robert Verelst
Richard Boone & Kenny Drew Trio + Hal Singer
The Bootjacks
Victor Borge
Henk Borghuis
John Henry Borland and his Orchestra
Horacio 'Chivo' Borraro
Earl Bostic
Boston Pops Orchestra directed by Arthur Fiedler (2)
Allan Botschinsky Quartet
Joe Bourne
Bournemouth Symphony Orchestra directed by John Farrer
Jaap Bouwense
Pat Bowie
Karl Boxer Trio
Anita Boyer/The King Cole
Harmonieorkest Brabants Conservatorium under the direction of Jan
Molenaar
Jeff Bradetich
Clea Bradford & Studio Orchestra under the direction of Richard Evans
Betty Bradley(2)
Ruby Braff/George Barnes Quartet
Sólrún Bragadóttir
Brainbox
Kaz Lux & John Schuursma
Inge Brandenburg (3)
Nat Brandwynne and his Orchestra (2)
Mike Brant (3)
Vitor Assis Brasil
Brass Fever aka John Barnes jr
André Brasseur
Brasszination (Rekkenze Ensemble)
Pierre Brau-Arnauty
Bravo Pops Symphony Orchestra directed by John Senati
Brazilian Tropical Orchestra
Lenny Breau & David Young
Brenda & the Tabulations
Frankie Brent Revue featuring Little Linda Lou
Adrian Brett
Paul Brett
The Briarcliff Strings
Aaron Bridgers
The Brighouse and Rastrick Band
Ronnell Bright
Sarah Brightman
Brittania Building Society Band
Brno Studio orchestra directed by Milos Machek
The Broadway Symphonic Jazz Orchestra directed by S. Auber
Bröderna Volt
Brodsky Quartet
Piet van den Broek
Gustav Brom Big Band
Brian Bromberg Group
Bob Brookmeyer & The Netherlands Metropole Orchestra conducted by Jerry
van Rooyen
Calvin Brooks
Paul Brooks
The Brothers Four
Anne Brown (4)
Clarence 'Gatemouth' Brown
Georgia Brown
James Brown & the JB's featuring Martha High (2)
Jeri Brown
Les Brown
Ray Brown Trio (2)
Ruth Brown
Sandy Brown Quartet
The Buckinghams
Budapest Strings under the direction of János Sándor
Martha Burks & Jay McShann
Ralph Burns and his Orchestra
Kenny Burrell/Grover Washington Quartet
Don Burrows
Gary Burton (2)
Joe Bushkin Quartet
Artie Butler
Billy Butterfield (5)
Don Byas (2)
Herb Pomeray and Donna Byrne
C Top
George Cables
John Cacavas & Florida Symphonic Pops
Oscar Caceres & Toru Takemitsu
Bobby Caldwell
Cab Calloway and his Orchestra
Eddie Calvert
John Cameron Orchestra under the direction of Bill Le Sage
Red Camp
Duo Campion-Vachou
The Canadian Brass
Norman Candler and his Magic Strings
Pete Candoli/Lou Levy
Armand Canfora et son Orchestra
Ace Cannon (2)
Capital City Community Ringers
Captain Bad
Caravan
Caravelli et son grand Orchestre
Bobby Carcassés
Careless Five
Orchestre sous la direction de Frank Carmelo
Brenda Carol
Lee Carol & Al Goodman's Orchestra
Mike Carr
Diahann Carroll
Benny Carter Jazz All Star Orchestra
Ron Carter
The Cashmiers
Kathleen Cassello (The Three Sopranos) & Hollywood Festival Orchestra
under the direction of Marco Armiliato
The Brothers Castro with orchestra under the direction of Jack Marshall
Matt Catingub
Dave Catney
Cavaliers
The Page Cavanaugh Seven (2)
Claudio Ceschini
Frank Chacksfield (2)
Greg Chako Trio
Chambers Brothers
David Chan
Changes
Chantels
Chapter House Choir
Charito
Ray Charles & Cleo Laine withorchestra under the direction of Frank
DeVol (2)
Leo Chauliac
Doc Cheatham & Sammy Price (2)
Vladimir Nikolayevich Chekasin
Cyrus Chestnut with Anita Baker
Chestnut Brass Co.
Christian Chevalier Orchestra
Chicago Blue Stars
Chicago Six
Chicago Symphony Orchestra under the direction of James Levine
Children's Choir of the Royal Danish Academy of Music
Bob Chisholm and his piano
Leonid Chizik
Neil Chotem Jazz Trio
Bob Christopher
Charlotte Church
Savannah Churchill
Eugen Cicero
Gioconda Cilio & Stefano Maltese Orchestra
Patrizia Ciofi
Claptomania
The Clarinet Quartet from the Belgian National Orchestra
James Clarke
Lloyd Clarke
Ensemble Classic 4 Sax
Richard Clayderman
Jeff Clayton et son Orchestre
The Clayton Brothers
Barbara Hendricks & Cleveland Symphony Orchestra & Choir under the
direction of Lorin Maazel (4)
Fiona Clifton-Welker
Bill Clinton
Les Cochabamba
Cocktail International
Nat King Cole and his Trio
Bill Coleman
Buddy Collette and the Pollwinners
Max Collie & his Rhythm Aces (2)
Tom Collins Jazz Band
Eugenio Colombo
John Coltrane
Columbia Ballroom Orchestra
Chris Columbo Quintet (2)
Stuff Combe Big Band and Rhythm
Perry Como with Sally Sweetland & Mitchell Ayres & Orchestra
Concord Super Band
Eddie Condon (& his orchestra) (2)
Brian Conley
Ray Conniff his orchestra and chorus
Chris Connor (3)
Sam Cooke with the Bumps Blackwell Orchestra (2)
Cops Ltd.
Frank Cordell and his Orchestra
Lanny Cordola
Corona Senior High Jazz Ensemble
Dave 'Baby' Cortez (3)
Larry Coryell
Counterparts
Hank Crawford/Jimmy McGriff
Sonny Criss (2)
Tony Crombie Orchestra (2)
Bing Crosby (6)
Bob Crosby and his Orchestra (40)
Sandra Cross with Alan Weekes
Grace de la Cruz & RIAS Orchester under the direction of Hans Carste
Jim Cullum Jazz Band
The Tom Cunningham Orchestra
The Cyclones
Cyril Jazz Band
D Top
Henry Dagg
Nils-Bertil Dahlander Kvartett
Daimi (2)
Hugo van Dalen
Dallas Symphony Orchestra under the direction of Eduardo Mata
Jim Dalloway and his Orchestra
Adela Dalto
I Dalton
Géo Daly et son Quintette
Dirk Damonte
Danceband
Billy Daniels & orchestra
Danny & the Favourites
Tara Darnell
Claude Dauray
Kenny Davern (3)
William Davies
Blind John Davis
Dan Davis y su Conjunto de Jazz
Miles Davis (3)
Skeeter Davis
Steve Davis Sextet
Wild Bill Davis
Gloria Davy & die Nürnberger Symphoniker under the direction of Franz
Allers, Knabenchor Dürergymnasium
Dolly Dawn
Micheline Dax & orchestra under the direction of Jean Claudric
Bill De Arango Quartet
Buddy De Franco (2)
Jackie De Shannon
Dennis De Young
The Deejays
'Papa' John DeFrancesco
Doc Dehaven
Kjerstin Dellert
Gus Deloof
The Del Vikings, orchestra under the direction of Carl Stevens
Guy Denis and his Orchestra
Frank Denke
Martin Denny
Glenn Derringer at the Wurlitzer Organ
Csaba Deseo Quartet
Paul Desmond
Detroit Symphony Orchestra under the direction of Antal Dorati
Cristina Deutekom, Berlijns Amusementsorkest under the direction of
Jürgen Hermann
Drafi Deutscher and his Magics
Harry Dial and his Quartet (2)
The Diamond Orchestra
Jacques Dieval (3)
Joe Diorio (3)
Joe Diverio symphonic computer orchestra under the direction of Jacky
Giordano
Anita Dobson
Henry Doktorski
Niels Lan Doky Quartet/Doky Brothers (2)
Don & the Nocturnes
Lou Donaldson (3)
Peter Donohoe, Martin Roscoe
The Doors (5)
Kenny Dorham
Bob Dorough
Dorothy Dorow, Aage Kvalbein
Tommy Dorsey and his Orchestra (5)
Douglas Singers & Orchestra
Helen Dowdy & Leo Reisman Orchestra
Nick Drake
The Drakes & Ria
Philharmonic Brass Dresden
Kenny Drew Trio (2)
Kenny Drew jr
The Drifters (2)
Eddie Duchin
Peter Duchin his piano and orchestra
Lajos Dudas
Duehlmeier/Gritton Duo
The Duke's Men of Yale
The Duprees
Dick Durham
Dutch Brass Quintet
E Top
Easy Riders Jazz Band
Johnny Eaton and his Princetonians
Santiago Echeverry
Billy Eckstine
Kurt Edelhagen und sein Orchester (4)
Jackie Edwards
Teddy Edwards Quartet (2)
Arni Egilsson (2)
Garay Együttes
Bjorn R. Einarsson
Ekseption (2)
The Electra's
Duke Ellington Orchestra (13)
Anita Ellis with Ellis Larkins at the Piano
Sydney Ellis
Jørn Elniff Trio
The Embers Quintet
Emerson, Lake & Palmer
Emery and his Violin of Love
Empire Brass Quintet (2)
Little Bill
Ethel Ennis
The Ensenada Reeds
Rolf Ericsons Sextett
Esquires
David Essex
Close Harmony Octet Eton College
European Jazz Band/Jazz Choir Tour
European Jazz Trio
Bill Evans Trio (2)
Bill Evans
Brian Evans with the British Aerospace Wingates Band
Brian Evans
Doc Evans
Gil Evans Orchestra (4)
Jenny Evans and the Rudi Martini Quartet
Ever Ready Band/Hammond's Sauce Works Band
Leny Eversong with orchestra directed by Neal Hefti
Expressens Elitorkester (Lars Gullin)
Extempo
F Top
The Fabulous Flee-Rekkers
The Fabulous Riders
John Fahey
Adam Faith
Percy Faith and his Orchestra (2)
Les Fantômes (2)
Tal Farlow
Chris Farlowe with the Arthur Greenslade Orchestra
Johnny Farnham
Royal Farnsworth Symphony under the direction of Alfonso d'Artega
Eileen Farrell withGeorge Trovillo
Guy Fasciani
Fat Cat and the Chesapeake Bearcats
Wally Fawkes/Bruce Turner Sextet
Frances Faye
Karl Feder Halter
Giora Feidman & the Feidman Ensemble
Lennie Felix
The Feminine Complex
Fenix Jazz Band (Susana E. Delgado)
Frederick Fennell Orchestra
Al Ferguson
Maynard Ferguson (5)
Aldo Ferreri et son sax
Manfredo Fest
George Feyer (2)
Mike Finder
Sergio Fiorentino & London Philharmonic Orchestra under the direction of
Hugo Rignold
First Piano Quartet
Ella Fitzgerald (10)
The Five Lords
Zool Fleischer Trio
Renée Fleming & Metropolitan Opera Orchestra under the direction of
James Levine & the New York Voices
Martha Flowers & Symphony-orchestra and choir Concertgebouw Haarlem
Flutes and Percussion
Flying Pickets (2)
The Flying Pisano's
Nuccia Focile & Royal Philharmonic Orchestra under the direction of
Maurizio Benini
Clara Ford
Fred Ford
Mark Ford
Bruce Forman Quartet with special guest Bobby Hutcherson
Leeson Forster & NDR-Orchester under the direction of Richard
Müller-Lampertz
Dianne Forsyth
The Fort Dodge Jazz Band
Pete Fountain (2)
Four Freshmen
Mick Fowler and his Fowlhouse Five & One
Lissa Gray Singers & John Fox and the Radio Orchestra
René Franc et les Bootleggers
Deborah Franciose
Heiner Franz
Annie Fratellini
John Fredericks withde B.B. Sessionband
Free Design
Terry Frenz & Friends
Les Frères Jeff
Friends of Dean Martin
Peter Frings mmv Kwartet Piet Le Blanc
Jane Froman & Victor Orchestra under the direction of Nathaniel Shilkret
Frontier Theory
Kohji Fujika
Fun Boy Three (2)
Paul Furniss and the Eclipse Alley Five
G Top
Kenny G
Peter Gabriel
Lee Gagnon Quartet
Don Gais and his Orchestra
Katrien Gallez with Salonorchestra Da Capo under the direction of Ernest
Frissen
Hal Galper, Steve Gilmore, Bill Goodwin
Galvanized Jazz Band
The Ganelin Trio
Francisco Garcia
Pat Garcia
Russ Garcia Orchestra
Freddy Gardner and Al Galladoro
Red Garland Trio
Erroll Garner Trio (4)
Lesley Garrett & Philharmonia Orchestra under the direction ofIvor
Bolton
Mike Garson
Ray Gaskins
Giorgio Gaslini
Angel Pocho Gatti
Werner Geek Quartett + One
Lyudmil Georgiev
Geraldo and his Orchestra (Sally Douglas)
Combo Ladislava Gerhardta a Laco Déczi
Gerry and the Pacemakers
Stan Getz Quintet (9)
Tiziana Ghiglioni/Lee Konitz
Carroll Gibbons and the Savoy Hotel Orpheans (Anne Ziegler) (2)
Jack Gibbons
Kevin Gibbs
Bob Gibson and his Orchestra (2)
The Al Capone Memorial Jazz Band (The Don Gibson Gang)
The Johnny Gilbert Trio
Dizzy Gillespie Quintet (4)
Gail Gilmore with the Royal Philharmonic Orchestra London
Glad
Richard Glazier
Jimmy Gleason
Tyree Glenn
François Glorieux
Harolyn Blackwell, Glyndebourne Chorus, London Philharmonic under the
direction of Simon Rattle (4)
Erika Gocka Jazz
Dusko Gojkovic
Golden Bis Band
Golden Gate Quartet
Jerry Gonzalez & the Fort Apache Band
Good Morning Blues
Kim Goody & London Symphony Orchestra under the direction of Michael
Davis & The English Chorale under the direction of Robert Howes
Ganna Góralka
Dexter Gordon Quartet
Joe Gordon Quintet
Morton Gould (and his) Orchestra (2)
Eduard Grach & Moscow State Symphony Orchestra under the direction of
Veronica Douderova
Earl Grant
Gogi Grant with Henri René and his Orchestra
Stéphane Grappelly (6)
Chauncey Gray
Jennie Gray & New York Revue Orchestra & Chorus under the direction of
Jimmy Warren
Swing & Musical Orchester Graz, leitung: F Körner
Great Jazz Trio
The Great Traditionalists
The Greatest Swing Band In The World
George Greeley
Al Green
Bennie Green
Urbie Green's Big Beautiful Band
Steve Greene
The Kenny Wheeler Sonny Greenwich Quintet
Grenada Phoenix Angel Harps Steel Orchestra
Al Grey/Jimmy Forrest Quintet
Johnny Griffin
Grace Griffith
Johnny Griffith
Groove Yard
Sigmund Groven
Mikesch van Grümmer
George Gruntz
Gigi Gryce
Henghel Gualdi
Roger Guerin
Jazzkritikerorkestern 1951 (Lars Gullin) (2)
H Top
Emily Haddad
Al Haig (2)
Charlotte Halberg Trio
Half-Tribe
The Halibuts
Barry Hall
Carl Hall & orchestra under the direction of Gene Redd
Carl Henry Hall
Jim Hall & Pat Metheny
Bengt Hallberg
Hall Brothers Jazz Band
Hamburg Philharmonisch Orchester under the direction of Hans-Jürgen
Walther
Hamburg Radio Dance Orchestra under the direction of Benjamin Thomson
Scott Hamilton Quintet featuring Kenny Davern
Lionel Hampton and his Orchestra (4)
Slide Hampton Octet (2)
Wayne Hancock
John Handy with Class
Roland Hanna Quartet
Nobua Hara and his Sharps and Flats
Ofra Harnoy (3)
Herbie Harper Quintet a.k.a. Bob Gordon Quintet (2)
Joe Harriott Quartet
Gene Harris Quartet
Michael Allen Harrison
Johnny Hartman (2)
Hans Hartmann
Fritz Hartschuh-Quartett
Greg Hatza
Hampton Hawes
John Hawes Band
Ronnie Hawkins
Richard Hayes with Eddie Sauter's Orchestra
Richard Hayman (2)
Dick Haymes m.m.v. Ray Black Orchestra
Cynthia Haymon, Dallas Symphony Orchestra & Chorus under the direction
of Andrew Litton
Peter Hayward
H.B. & the Checkmates
Ted Heath and his Music
Ray Heatherton with Orchestra
Brass Band 't Heidebloempje under the direction of Jo Bosgraaf
Waldi Heidepriem
Jascha Heifetz (2)
Hemet High School Jazz Ensemble
Billy Hemmons and the Clays Composite
Bobby Henderson
Eddie Henderson
Joe Henderson with Chaka Khan (2)
Hendon Band
Barbara Hendricks (with Katia & Marielle Labèque)
Michele Hendricks
Ulla Henningsen
Ruthie Henshall & The Piccadilly Concert Orchestra under the direction
of Rony Weiss
Deborah Henson-Conant (2)
Dave Hepler
Herbineaux and Penn
Woody Herman
Heinz v. Hermann
Pat Hervey
Carolyn Hester (4)
Eddie Heywood (2)
Phil Heywood
Linda Hibberd (& the London Theatre Orchestra)
Al Hibbler & Mercer Ellington and his Orchestra (2)
Giovanni Hidalgo
The Hi-Lo's with Frank Comstock and Orchestra
Hilton Head Jazz Quartet
Earl 'Fatha' Hines (6)
Terumasa Hino Quartet
Godfrey Hirsch
Pirjo Hirvonen
Edmund Hockridge with Peter Knight Orchestra
Art Hodes (2)
Johnny Hodges and his strings with Stuttgart Light Orchestra
Abby Hoffer's Trumpets
Luc Hoffmann und sein Orchester
Holly Hofmann - Ron Satterfield
Billie Holiday and her orchestra
Holidays
Melanie Holliday
Red Holloway Quartet
Hollywood Bowl Pops Concert Orchestra under the direction of Johnny
Green
Hollywood Bowl Symphony Orchestra under the direction of Felix Slatkin
Hollywood Cinema Orchestra
Hollywood Jazz Quartet
Hollywood Love Affair
Hollywood Radio City Orchester under the direction of Charles Parker
Hollywood Symphony Orchestra under the direction of Alfred Newman
Richard 'Groove' Holmes
Bogdan Holownia
Takehira Honda
The Honeydreamers
The Hoods
Johnny Hooper
Sugar Lee Hooper
Lynn Hope
Linda Hopkins and her Black & Blue Quartet
Paul Horn
Shirley Horn (2)
Billy Horne
Lena Horne (2)
Marilyn Horne with orchestra under the direction of William D. Brohn
Will Horwell
Hot Cotton Jazz Band
Hans Hötter og Hans Orkester
The Houdini's & Nieuw Sinfonietta Amsterdam under the direction of
Richard Dufallo
Betty Lane (Houston Grand Opera under the direction of John DeMain) (4)
Howling Wilf & the Vee-Jays
hr-brass (die Blechbläser des Radio-Sinfonie-Orchester Frankfurt)
Freddie Hubbard
Diane Hubka
Peanuts Hucko Sextet
Humair/Louiss/Ponty
Helen Humes Trio
Stan Hunter
Philippe Husser, Paul Couëffé
Bobby Hutcherson Quartet & George Cables
J.B. Hutto and the New Hawks
Dick Hyman (3)
The Ricky Hyslop Strings
I Top
Klaus Ignatzek
Shigeaki Ikeno and his Quintet
University Of Illinois Symphonic Band
The Illusions
Masato Imazu
Kyo Inaba
The Incrowd
Indianapolis Symphony Orchestra under the direction of Fabien Sevitzky
Indigo Girls
Los Indios Tabajaras
Nick Ingman his orchestra & chorus (Max Harris)
Init
Takeshi Inomata
The International Blues Duo
Intrioduction
The Invaders
The Invictas
Kimiko Itoh
J Top
Jackie & Roy
Harriet Jackson with the Eva Jessye Choir & Decca Symphony Orchestra
under the direction of Alexander Smallens
Mahalia Jackson & Falls-Jones Ensemble
Willis Jackson /Earl von Freeman
Hank Jacobs
Kwartet Pim Jacobs (3)
Jam Session (Ases Franceses y Argentinos del Jazz)
Bryony James & Laurie Holloway Quartet
Harry James and the Music Makers (Cathy Chemi)
Ann Jamison with Victor Young and his Orchestra
Al Jarreau (2)
Jazz Class Orchestra meets Phil Woods
Jazz For Two (Lembit Saarsalu/Leonid Vintskevich)
Jazz Grass
Jazzini (2)
Jazznost
Eddie Jefferson (4)
Herb Jeffries (2)
Lars Boye Jensen
Helen Jepson with chorus and orchestra under the direction of Alexander
Smallens (2)
Doug Jernigan
Joanna
Joe & Eddie
Eric Johnson and his Orchestra
Gunnar Johnson (Sonya Hedenbratt)
Lonnie Johnson (2)
Prudence Johnson
(Fabulous) Jokers
Pete Jolly
Al Jolson
Al Jones Trio (2)
Bobby Jones (2)
Christine Jones (2)
Dill Jones /Wyn Lodwick
Elvin Jones and Richard Davis*
Hank Jones
Ieuan Jones
Jack Jones (4)
Martin Jones, Richard McMahon
Oliver Jones Trio (2)
Salena Jones
Janis Joplin (Big Brother & The Holding Company) (13)
Duke Jordan (2)
Taft Jordan acc. by George Thod Rodes' Orchestra
Georges Jouvin
Jump College Orchestra (2)
Le Royal Cercle Choral Jupille Saint-Amand under the direction of Albert
Lantin
K Top
Patricia Kaas
Emiko Kai
Kamahl
Dave Kamien e.a. (2)
Kammerspiel
Kiri Te Kanawa (3)
Dany Kane
Rebecca Kane
Toshihiko Kankawa & Nobua Hara and his Sharps and Flats
Patrick Karlhuber
Gary Karr, Harmon Lewis
G. Kaukaite
George Kawaguchi
The Mary Kaye Trio
Lainie Kazan with orchestra under the direction of Peter Daniels
Michael Kelly
Monty Kelly and his Orchestra
Wynton Kelly
The Kelly Family/Kathy Kelly (2)
Hal Kemp and his Orchestra (Kay Thompson)
Stan Kenton and his Orchestra (2)
Jacques Kerrien
Dim Kesber and Friends
Barney Kessel (4)
Keyboard Jazz Octet
Carol Kidd
Angélique Kidjo
Masabumi Kikuchi
Hazel King
Rosa King & Upside Down
Saunders King
King's Singers accompanied by the Gordon Langford Trio
Gershon Kingsley & Leonid Hambro
Kinsella Country
Rahsaan Roland Kirk
Andrei Kitaev & Bill Douglas
John Klemmer (2)
Eric Kloss
Jana Kocianová and the New Traditional Band (Nový Tradicionál)
Leonid Kogan & USSR Academic Symphony Orchestra under the direction of
Pavel Kogan (2)
Hans Koller's New Jazz Stars
Lee Konitz /Franco d'Andrea (2)
Olga Konkova
Koor Iets Anders
Andrei Korsakov & Moscow Pops Orchestra under the direction of Andrei
Mikhailov
Al Korvin Trumpet and Orchestra
André Kostelanetz and his Orchestra (3)
Roland Kovac
Karel Krautgartner
Klaus Kreuzeder & Willi Herzinger
Dan Krimm Ensemble
Karin Krog
Krølle Eriks Blues Band
Manfred Krug
Jerry Kruger and her Orchestra
Sid Kucera Revival Band
Alexei Kuznetsov
Yoon Kwon
Robert Kyle
Sissel Kyrkjebø
L Top
L.A. 4
L.A. Jazz Quintet
Jack La Forge
Katia & Marielle Labèque (2)
Laclede Quartet
Guy Lafitte
Lambert, Hendricks & Ross
Sheila Landis (2)
Yvan Landry and his Trio
Elizabeth Lands & orchestra under the direction of Dave Martin
Morris Lane and his Orchestra (2)
Steve Lane's Famous Southern Stompers with Linda Berkeley
James Last (3)
Yusef Lateef (with J.C. White Singers)
Latin Jazz Quintet
Andy LaVerne Quartet
Lawson-Haggart Greats of Jazz (a.k.a. The World's Greatest Jazz Band)
Eddie Layton
Vicky (Leandros) & orchestre under the direction of Addi Flor
Le groupe Henri Leca - 4 piano's
Mark Ledford
Donna Lee
Jeanne Lee
Peggy Lee
Ranee Lee
Thijs van Leer
Paul Lefevre at the Piano
The Legends
Michel Legrand & his Orchestra (2)
Gewandhausorchester Leipzig under the direction of Kurt Masur
Philippe Lejeune
Lemongrass
Orchestre direction Henry Léonard
Henry "Hot Lips" Levine and his Dixieland Jazz Band
Jules Levy & Simhah Kammer Kollegium
Ron Levy's Wild Kingdom
George Lewis
John Lewis
Ramsey Lewis Trio (3)
Vic Lewis and his Orchestra (2)
Eggy Ley's Jazzmen (2)
Liberace
Dave Liebman
Enoch Light & his Orchestra
Terry Lightfoot and his Band
Tamboer- en Fanfarekorps der Limburgse Jagers, Venlo
Ove Lind and his Swedish All Stars
Lindblom
Claudia Lindsey & Slovak Philharmonic Orchestra under the direction of
Ettore Stratta
Al Lirvat et son Orchestre
Royal Liverpool Philharmonic Orchestra under the direction of Carl Davis
Living Strings & Living Voices under the direction of Hill Bowen
Gerry Lockran (2)
Malcolm Lockyer
Lofgren/Pace
Larry Logan
Guy Lombardo and his Royal Canadians (2)
Julie London & Gerald Wilson Big Band
London Festival Orchestra under the direction of Robert Farnon
New Symphony Orchestra of London under the direction of René Leibowitz
London Philharmonic Orchestra under the direction of John Pritchard
The London Starlight Orchestra & Singers
London Theatre Orchestra under the direction of George Montalba
The London Violin Sound
The Longines Symphonette Society
Billy Longstreet Sextet
Jan Loof
Lopez Furst Quartet
Jorge Lopez Ruiz
Los Angeles Philharmonic Orchestra under the direction of Alfred
Wallenstein
Louis
Eddy Louiss (2)
Love Sculpture featuring Dave Edmunds
Mundell Lowe's Jazzmen
Michael Lowenstern
Arnold Loxam
Isabelle Lucas, The Linden Singers, New World Show Orchestra under the
direction of Kenneth Alwyn
Kapel van de Koninklijke Luchtmacht under the direction of Lex van
Diepen
Gene Ludwig
Orchestra conducted by Guy Luypaerts
Janice Lynne (2)
Johnny Lytle
Humphrey Lyttleton and his Band (2)
M Top
Lorin Maazel
Tony Mac Set
The Mackons
Mad Sounds
Maddox
Rob Madna Trio
The Magic of the Musicals Orchestra (2)
Magic Sound (Tony Vess)
Gildo Mahones
Leo Maiberger Quartet (2)
Majestic
Makinto
Adam Makowicz (2)
Junior Mance (6)
Diverse artiesten under the direction of Johnny Mandel
Manhattan Jazz Quintet (3)
The Manhattan Project
The Manhattan Swing Band
Barry Manilow with Diane Schuur
Herbie Mann (4)
The Shelly Manne Quintet (2)
Frank Mantooth
Mantovani and his Orchestra
Manuel and the Music of the Mountains
Sergei Manukyan & Avicenna
Guido Manusardi (2)
Nancy Tabb Marcantel
Marcels (2)
Sharon Marie
Ton de Marie
The Gino Marinello Orchestra (2)
Neville Mariner, RSO Stuttgart
Koninklijke Marinierskapel/Marine Band of the Royal Netherlands Navy
Roger Marks
Sam Marowitz and his alto sax
Stella Marrs & Roger Vanhaverbeke Trio
Delfeayo Marsalis
Ellis Marsalis
Evan Marshall
Melanie Marshall
Wayne Marshall (2)
Ralph Marterie and his Orchestra
Kay Martin and her Body Guards
Al Martino with orchestra conducted by Stanley Applebaum
Steve Marvin
Phil Mason Quartet
Rod Mason's Jass Band
Zane Massey
George Masso All Stars
Mat Mathews
Ronnie Mathews Trio (2)
Hidehiko "Sleepy" Matsumoto
Matteson-Phillips Tubajazz Consort
Robert Maxwell
George Maycock
Nathaniel Mayer & the Fabulous Twilights
Lincoln Mayorga
Toussaint McCall
Earl McCandless
Paul McCartney (5)
Barney McClure
Kit McClure Big Band
Rob McConnell and the Boss Brass
Susannah McCorkle
Jimmy McCracklin
Ron McCroby with the Arion Consort
San Francisco Symphony under the direction of Michael Tilson-Thomas (2)
Jeanette McDonald, orchestra under the direction of Robert Armbruster
Jack McDuff (3)
Debbie McFarlan
Howard McGhee (2)
Maureen McGovern
Greg McKenzie
Ray McKinley and his band (2)
Lils Mackintosh with Cor Bakker
Susan MacLaren
June McMechen & Lehman Engel Orchestra & J. Rosamund Johnson Choir (4)
Harold McNair
Big Jay McNeeley (2)
Dee Dee (McNeil), Barry & The Movements
Madeline MacNeil
Ronnie McNeir
Carmen McRae & Ralph Burns Orchestra (2)
Gordon MacRae, orchestra under the direction of Van Alexander
Me First & The Gimme Gimme's
George Melachrino Orchestra
John Melisi/Rob Hope
Gil Mellé Quartet
Melody Maker's All Stars
James Melton & orchestra under the direction of Hugo Montenegro
Memphis Slim Group
Anna Maria Mendieta
Len Mercer and his Magic Strings
Mabel Mercer
Roy Meriwether (2)
Helen Merrill (5)
Joan Merrill
Theresa Merritt & The Opera Society Orchestra & Choir under the
direction of Paul Belanger
All That Jazz & Darius Merstein
Armand Mestral avec Jo Moutet et son orchestre
Gene Meyers
MFSB
MGM Orchestra under the direction of Robert Ashley
Spyros Michaelidis
Mickey & Sylvia
Maryetta (and Vernon) Midgley with the orchestra of romance conducted by
Harold Geller
Julia Migenes (3)
The Mighty Fire Steel Band
Alexandrina Milcheva & Bulgarian Broadcasting Symphony Orchestra under
the direction of Alexander Vladigerov
Butch Miles Septet under the direction of Jorge Anders
The Glenn Miller Service Orchestra
Jane Miller
Marcus Miller
Miss Patty Miller
Roger Miller
Ray Mills Group
Mina
Charlie Mingus Trio
Minneapolis Symphony Orchestra under the direction of Antal Dorati
Vladimír Misík & the Karel Duba Orchestra
Abbie Mitchell & orchestra under the direction of George Gershwin (first
version)
Freddie Mitchell and his Orchestra
Herbie Hancock featuring Joni Mitchell
Martha Miyake
Toshiyuki Miyama and New Herd
Mocean Worker
Modern Jazz Quartet (10)
Marie-Cécile Moerdijk
Anna Moffo, Orchestre Henri René under the direction of Lehman Engel
Essra Mohawk
Valerie Monese
Mercy Monet
Orchestre National de l'Opéra de Monte Carlo under the direction of
Edo de Waart (2)
Hugo Montenegro & Orchestra
Marion Montgomery & Richard Rodney Bennett
Wes Montgomery (3)
Nicholas Montier with Saxomania
Montreal
Symphony Orchestra/Orchestre Symphonique Montreal under the direction of
Charles Dutoit
Moods Orchestral
Ada Moore and her Quintet
Barbara Moore
Melba Moore & orchestra under the direction of Charles H. Coleman
Michael Moore Trio
Sylvia Mora (orchestra under the direction of Russ Garcia)
Morcheeba + Hubert Laws
Joe Morello Sextet
Mark Morganelli and the Jazz Forum All Stars
Rita Morris
The Art Morrow Orchestra
The Movers
George Mraz in Duet with Roland Hanna
Los Muchacos Locos (featuring Willie Rodriguez en Ray Barretto)
Mudhoney
Minoru Muraoka
Mark Murphy with the Louis van Dyke Trio
Rose Murphy (2)
The Murphys
Romano Mussolini/Tony Scott
Mute Beat
Mystères
Mystic Moods Orchestra
N Top
Noëmi Nadelmann, André Desponds
Mari Nakamoto with Reggie Workman Trio
Eiji Nakayama
Zbigniew Namylowski Quartet
Ray Nance Quartet
Chorale Universitaire de Nancy
National Concert Dance Orchestra (2)
Tommy Navarro and the Sundialers
Das Norddeutsche Symphonie Orchester under the direction of Jürgen
Walther
Max Neissendorfer
Jo Nell
Louis Nelson Big Four (2)
Oliver Nelson meets Nobua Hara and his Sharps and Flats
Rick Nelson
Willie Nelson & Leon Russell
Peter Nero (2)
David Nettle & Richard Markham
Heinz Neubrand with orchestra
Charles Neville & Diversity
The New Brass Collection
New Century Saxophone Quartet
New Orleans Dixie Stompers
New Orleans Syncopators (2)
New Ragtime Band (2)
New York Radio Dance Band under the direction of John Blackinsell
New York Unit
David Newman (2)
Joe Newman (2)
Red Nichols and the Five Pennies
Vanessa-Mae (Nicholson) & New Belgian Chamber Orchestra under the
direction of Nicholas Cleobury
Stefan Nicolaï
Niddy Griddy Band
Peter Nielsen piano med rythm
Walter Boeykens, Judie Niemack, Marc Matthys
John Patrick Nieto & the Blues Kings
Nikolin'
Big Band de Nimes under the direction of Jef Gilson
Marni Nixon & Lincoln Mayorga
The No Gap Generation Jazz Band with Paul Quinichette
No Strings Attached
Noblemen
Robin Nolan Quartet (2)
Piet Noordijk Quartet, String Quartet Ernö Olàh*
Cæcilie Norby
Günter Noris (3)
Loulie Jean Norman (Original Soundtrack)
North Wind Quintet
The Nuclear Whales Saxophone Orchestra
Nueva Manteca
O Top
Hazel O'Connor (2)
Ricardo Odnoposoff
Tetsu Ogawa
Yasuto Ohara Super Jazz Trio
Takashi Ohi
The Ohio Players
Hideko Okiyama
Tiger Okoshi
The Old Merry Tale Jazz Band (2)
Irene Oliver
Lesley Olsher (2)
One G Plus Three
101 Strings
Junko Onishi
Shunzo O'No Orchestra (2)
Percussion Orchestra Ool under the direction of Pierre Schreurs
Opus One (2)
Orchestra of the Americas under the direction of Paul Freeman
The Orlando Pops Orchestra
Orphéon Célesta
Orquesta Soul under the direction of Felipe Lopez
P Top
Tony Pacino
Marty Paich
The Pair
Palm Strings
Panache
Fausto Papetti
Krisanthi Pappas
Jean Pâques et sa musique douce
Anthony & Joseph Paratore
Paris Washboard
Charlie Parker (2)
Horace Parlan Quartet
Jack Parnell and his Band
Tony Parsons
Rob Parton's Jazztech Big Band
Joe Pass (3)
Lino Patruno Jazz Show
Les Paul & Mary Ford
Henri Pelissier
Jean-Claude Pelletier et son Orchestra
Leonard Pennario & Hollywood Bowl Symphony Orchestra under the direction
of Alfred Newman (2)
Art Pepper Quartet(3)
Floyd Perch
Carl Perkins
Tom Peron/Bud Spangler Quartet
Houston Person (2)
Dan Perz
Jeanne Arland Peterson and the Ron Aprea Orchestra
Oscar Peterson (8)
Andreas Petterson Trio & Putte Wickman
Mario Pezzotta
Philadelphia Orchestra under the direction of Eugene Ormandy
Marco Phillip Orchestra & Singers
Dave Phillips & the Hot Rod Gang
Little Esther (Phillips) (2)
Flip Phillips/Dell Statton
Piccadilly Six
Jane Pickens
Eva Pilarová & Prague Radio Dance Orchestra under the direction of
Kamil Hála
Courtney Pine
Booker Pittman
Pittsburgh Symphony Orchestra (3)
Plansee Big Band
Platters & the David Carrol Orchestra
The Playboys
Bu Pleasant
De Plektrum Melodisten under the direction of Mien de Rover-de Vos mmv
Oosterhoutse Nachtegalen under the direction of Tiny Schoones en
Drechtsteden Harpensemble under the direction of Nancy Buitenhuis
Polished Brass of London
Jack van Poll Trio (3)
Françoise Pollet, Orchestre des Concerts Lamoureux under the direction
of Yutaka Sado, Bruno Fontaine (piano)
Michel Polnareff with Bill Coleman
Davina Pons
Lily Pons, orchestra under the direction of Alexander Steinert (2)
Pontarddulais Male Choir
The Iguanas/Iggy Pop (2)
Le Pop Jazz Quintet
Bill Potts Orchestra
Franck Pourcel et son grand orchestre
Seldon Powell
Prague Violoncelli da Camera
André Previn (3)
Leontyne Price (5)
Ray Price Quartet (2)
Prime Time
Prince Gabe and the Millionaires
Prince George's (County) Senior Youth Orchestra under the direction of
Frederick Morden
The Princeton Tigertones
Private Eye
The Pro Arte Trio
George Probert's Fine Time Band (2)
Link Protrudi and the Jaymen
Costel Puscoiu, Martin Zonnenberg
Q Top
Quartette Tres Bien
Les 4 Kiwis (Tony and the Initials)
Isa Quensel
Quintet of the Americas
Quintette Plus
R Top
George Rabol
Kenneth Radnofsky
Boyd Raeburn and his Orchestra (4)
Don Ralke and his Orchestra
Ram Ramirez (3)
Hesiquio Ramos
Jean-Pierre Rampal & Members of the L.A. Philharmonic under the
direction of Michel Colombier
Lynne Randell
Don Randi Trio
Jimmy Randolph with Hugo Peretti and his Orchestra
Mike Ratledge & Robert Wyatt
Mark Rattray
The Ravens
Rawicz & Landauer
Lou Rawls & Onzy Matthews Orchestra
E. Ray
Ray Run No Star Band
Randy Rayment Quintet
The Bobby Setter Show Band with Bertice Reading
Caspar Reardon, his harp & his orchestra (Bea Giersdorf?)
Jason Rebello
Vi Redd
Joshua Redman
Dizzy Reece
Sandra (Reemer)
Dianna Reeves
The Regents
Schnuckenack Reinhardt Quintet
R.E.M. (2)
Rendez-vous
Residents
The Revalons
Paul Revere and the Raiders
Reverend Lonely Freak Child
Mr. Review
Stan Reynolds
Rita Reys and the Pim Jacobs Trio (4)
Rebecca Hall & Carnegie Burruss
Rhythm & Brass
Rhythm Of Life
Rhythms
RIAS-Orchestra de Berlin
Daryle Rice with the Loonis McGlohon Quartet
Tony Rice/John Carlini
Roy Richards
Trevor Richards New Orleans Trio
Jimmy Ricks
Heinrich Riethmuller mit seiner Bartrio
Righteous Brothers
Rijnmond Saxofoon Kwartet
Paquito d'Rivera
James Rivers (2)
The Johnny Gregory Strings/Riviera Orchestra (3)
Marty Robbins with the Jordanaires
Marcus Roberts
Skip Roberts
Paul Robeson, orchestra under the direction of Clifford Greenwood
Spike Robinson (with strings)
Betty Roché & Bethlehem Orchestra under the direction of Russell
Garcia (4)
Manuel Rochman (Ensemble Opus 16, direction Jacques Pési)
mr. Rocka
The Rocketeers
The Rockin' Rebels
Rodney & the Blazers
Amália Rodrigues
Tito Rodriguez
Eddy de Roever
Roger Roger with his orchestra
Milt Rogers
Shorty Rogers & Bill Perkins
The Rokes
Sonny Rollins with Coleman Hawkins
Lyn Roman
Richard Romance and his Famous New California Dreamlight Orchestra
Romantic String Orchestra
Edmundo Ros and his Orchestra
Aaron Rosand & John Covelli
David Rose & his Orchestra
Bernt Rosengren with Carl-Fredrik Orrje (2)
Kurt Rosenwinkel
Jackie Ross
Eric Rosser
Gilbert Rost
Peter Rostal & Paul Schaefer
Bjarne Rostvold Trio
Anneliese Rothenberger
Rouen Big Band (2)
Eugene Rousseau (2)
Genevieve Rowe & Columbia Symphony Orchestra under the direction of
Artur Rodzinski
Gert le Roy aux grandes orgues du cinéma Gaumont Palace à Paris
Royal Corps of Signals under the direction of Captain Wall
Royal Grand Orchestra
The Royal Philharmonic Orchestra (2)
Royal Promenade Orchestra under the direction of(?) Alfred Gehardt
Royale Operetta Singers and Orchestra (2)
Dick Ruedebusch with Nat Pierce's Orchestra
Rufus Zuphall
PeeWee Russell/Bobby Hackett
Bill Russo
Paul Rutger
S Top
Randy Sabien
Sagittari
The Saharas
Ed Saindon
Saint Louis Symphony Orchestra under the direction of Leonard Slatkin
(2)
The Salem Travelers
Jaakko Salo
Henry Salomon y Orquesta
Sam & Dave
Mike Sammes Singers
Joe Sample
San Francisco Symphony Orchestra under the direction of Edwin McArthur
Heinz Sandauer
Felicia Sanders with orchestra under the direction of Irving Joseph
Arturo Sandoval y su grupo
Mongo Santamaría (3)
Santo & Johnny & Hutch Davie and his Orchestra
Big Time Sarah and the BTS Express
Monica Sarnelli & the Torchio's Band
Deborah Sasson & National Philharmonic Orchestra under the direction of
Michel Sasson
Jean Pierre Sasson et son Orchestre
Esther Satterfield
Jack Saunders and his Orchestra
Red Saunders
Maxime Saury (3)
Jan Savitt
Savoy Jazzmen (NL) (2)
Savoy Jazzmen (GB)
Saxensemble
Fazil Say (2)
Patricia Scascitelli
Dagmar Schellenberger
Schlothauer's Maniacs
Helge Schneider
Vic Schoen and his Orchestra
Dick Schory's Percussion Pops Orchestra
Martin Schrack Trio
The John Schroeder Orchestra
Gunther Schuller featuring Orange Then Blue
Fred Schultheis
Fritz Schulz-Reichel (3)
Coco Schumann's Quintet
The Voices Of Walter Schumann
Bob Scobey's Frisco Band with Clancy Hayes
John Scofield & Pat Metheny
The Scotrail Vale of Atholl Pipe Band
Clifford Scott
Maggi Scott
Raymond Scott and his Swinging Strings
Rhoda Scott
Shirley Scott Trio
Tony Scott & the Indonesian All Stars
Scotty Mac and the Rockin' Bonnevilles
Joe Sealy Trio
Roy Searcy
Seattle Chamber Singers under the direction of George Shangrow
The Seattle Symphony, Phil Sabransky
Jürgen Seefelder - Thomas Stabenow
Pete Seeger
Segan'
The Senate
Jerry Senfluk
Yuzuru Sera (2)
Harry Sevenstern
Doc Severinsen & his Orchestra
Gil Shaham
The Shake Spears
Bud Shank & the Sax Section
Charlie Shavers (9)
Artie Shaw (and his Orchestra) (3)
Arvell Shaw (3)
George Shaw
George Shearing
The Sheiks
Ernie Shelby
Howard Shelley & BBC Philharmonic under the direction of Yan Pascal
Tortelier
Azel Sheperd & American Radio Symphony under the direction of Dean
Dawson
Shepherds
Yasuaki Shimizu
The Matthew Shipp Duo with William Parker
Don Shirley (2)
Suzuki Shoji & the Rhythm Aces
Wally Shoop & the Zombies
Dinah Shore & Buddy Clark, orchestra under the direction of Harry
Zimmermann
Tommy Shreve Band
Johnny Silent & The Bobby Setter Band
Moacyr Silva
Simone Simon, George Gershwin, Larry Adler
Nina Simone
Martin Simons
Zoot Sims
Skasa feat. Scotty
Ray Skjelbred
Slades
Ric Slagle
V. Kagan Plaey Slava
Carol Sloane (3)
The Slokar Trombones
Slovak Philharmonic under the direction of Libor Pesek
Brian Smith
Derek Smith & Venus (2)
Jimmy Smith (4)
Johnny Hammond Smith (3)
Paul Smith
Rudy Smith Trio/Anese Hadeed Quartet
Willie 'the Lion' Smith (2)
Armando Soiasoia with his orchestra
Stanislaw Sojka
Bogna Sokorska with the Pinewood Studio Orchestra
Martial Solal (2)
Solid Silver
Lenny Solomon
Joanie Sommers
Big Band Son (dir. Rien van de Ven)
Sonny & Cher (orchestra under the direction of Harold Battiste)
Herbie Spanier
Viktoria Spans
Johnny Sparrow
Kenneth Spencer
Charlie Spivak and his Orchestra
Le Grand Orchestre du Splendid
Split Second
Blaine Sprouse
anonymous (Neil Stacey cs)
Staff Band of the Corps of Royal Electrical and Mechanical Engineers
Gregg Stafford
The Star Slow Orchestra
The Starlight Orchestra & Singers
Dakota Staton & orchestra under the direction of Van Alexander
Eleanor Steber (2)
Orchestra Conducted by Eric Steele
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Lou Stein (2)
Thomas Stelzer Trio
Rick Stepton
Stereophonics
Emil Stern et son Orchestre
Steve & Eydie with the New World Philharmonic Orchestra
Risë Stevens with orchestra under the direction of Robert Russell
Bennett
Billy Stewart (4)
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Rex Stewart (2)
Cor Steyn
Sonny Stitt
Stockholm Police Choir
Harri Stojka
Richard Stoltzman
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Lee Miles Stone
Storyville Creepers
Storyville Stompers
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The Stowaways
The Famous Stradivari Strings
Leslie Strand
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Streetmix
String-a-longs
Radio-Sinfonieorchester Stuttgart, Sir Neville Marriner
Sublime (5)
Kunihiko Sugano
Joe Sullivan (and his Cafe Society Orchestra) (3)
Maxine Sullivan (2)
Super Trio
Superblue (Don Sickler)
The Surfriders
Pat Suzuki
The Swing Cats
The Swingle Singers (2)
Sylvester
Victor Sylvester Orchestra
Syrinx under the direction of Jackye Castan (2)
Vilmos Szabadi
Gabor Szabo
Szath-Myri Orchestra
T Top
Lew Tabackin Quartet
Tatsuya Takahashi & Tokyo Union
Talisman
Buddy Tate
Art Tatum (4)
Paul Taubman at the Penthouse Organ with his Trio
Billy Taylor (2)
Vince Taylor et le Bobby Clark's Noise
Max Teawhistle
Teequilla
Jean Templar, with Robert Mandell and his orchestra
Alec Templeton
Ten Years After
Janet Tenaj with the Sven Anderson Ensemble
Brad Terry
Gary Tesca Orchestra (featuring Howie Anderson)
Johnny Teupen
Jean 'Toots' Thielemans (5)
Ed Thigpen
Helen Thigpen, orchestra under the direction of Jay Blackton
Kid Thomas and his Algiers Stompers
Thomasina
Claude Thornhill and his Orchestra (2)
Big Mama Thornton (3)
Three Cats And A Fiddle
The Three Sounds (2)
Thunderbirds
Thurston Clarinet Quartet
Penelope Thwaites, John Lavender
Cal Tjader (2)
Nuria Tomás
Tommi & Hombre
Mel Tormé (2)
The Tornadoes
Allen Toussaint Orchestra
Tower Brass Quintet
Toy Factory
Bob Tracy und sein grosses Orchester
Tradition (2)
The Trashmen
Helen Traubel, orchestra & chorus directed by Milton Rodgers
orchestra under the direction of Robert Trendler
Trinidad Steel-Band/Steelband de la Trinidad
Fritz Trippel Trio
Little Fritz and his Friends (Wallace Bishop & Fritz Trippel)
William Tritt with Hamilton Philharmonic Orchestra under the direction
of Boris Brott
Jean Marie Troisfontaine Trio
Jan Tromp
Ensemble de Cuivres Guy Touvron
Richard Turco/Greg Dyes
M. Turkovic & Stuttgart Kammerorchester under the direction of Martin
Sieghart
Joe Turner and his band
Stanley Turrentine
Waldo Tworek & orchestra under the direction of Richard
Müller-Lamperts
McCoy Tyner Trio
Margaret Tynes, orchestra under the direction of Warren Vincent
Tzigane Swing
U Top
Hideko Udagawa, Pavel Gililov
Leslie Uggams (2)
Ulmer Jazz Quintet
University of Regina Jazz Band under the direction of Ed Lewis
University of Southampton Jazz and Gospel Choir
Michael Urbaniak Jazz Trio
Utah Symphony Orchestra under the direction of Maurice Abravanel
Joe Utterback
V Top
orchestra Frank Valdor
Nguyen Thanh Van
Johnny Van Derrick & Phil Bond
Tommy Vance
The Varcels
Sarah Vaughan (10)
Billy Vaughn and his Orchestra
Herman van Veen
Benny Velarde Orchestra
Marshall Vente/Project Nine
orchestra Anthony Ventura
Orchestre de Gil Ventura of Orchestre de Gérard Mainville
Ventures
Joe Venuti (9)
John Verkroost & his magic keyboard
Cécile Verny
Les Vicomtes
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Kauko Viitamäki
Enriquo Villegas (2)
Gene Vincent and his Blue Caps (2)
The Vip Trio
The Viscounts
Elaine & Edward Vito (2)
Vocal Point
Pieter van Vollenhoven (4)
Eraldo Volonté
Sophia Vossou
W Top
Otto (Waalkes)
The Wailers
Tom Waits
Rick Wakeman (2)
Mal Waldron (3)
Walker Brothers
Errol Walker (Lee Perry) (2)
Benno Walldorf Combo (2)
Fats Waller with Leith Stevens Orchestra
George Wallington and his Band (5)
Mister Bill Wallys
Jan Walravens
Felix Walroud & Members of the London Symphony Orchestra and Academy of
St. Martin's in the Field
The Cedar Walton/Hank Mobley Quintet
Tim Warfield
Fred Waring and the Pennsylvanians
Mark Warnow and his Blue Velvet Orchestra
Dionne Warwicke
Professor Washboard
Waso (2)
Benny Waters
Ethel Waters (2)
Patty Waters/Jessica Williams
Lovelace Watkins with orchestra under the direction of Ray Ellis
Barry Watson and friends with very special guest Humphrey Lyttleton
Clayton Watson and his Silhouettes
Dick Watson
Doc Watson (4)
The Way-Lites featuring Little Joe
Helen Webb's Akimbo
Marti Webb
Bert Weedon
George Wein
Tim Weisberg
Otto Weiss
Max Weissendorfer Trio
Lawrence Welk
Boots Wellington & His Rubber Band
Cecilia Wennerström
Leddy Wessel Quartet
Adrienne West/Darryl Robinson
West Minster Orchestra
Randy Weston Trio
Suzy Whang
When People Were Shorter And Lived Near The Water (2)
The Brian White/Alan Gresty Ragtimers
Carla White and her trio
Tony White
Paul Whiteman (2)
Roger Whittaker
Roy Wiegand Big Band
Ensemble Wien-Berlin
Frans Wieringa/Frank Williams
Gerald Wiggins
Bob Wilber (3)
Earl Wild (2)
Lee Wiley
Colm Wilkinson with London Philharmonic Orchestra, conducted by Mike
Batt
Spiegle Willcox (3)
John William (2)
Andy Williams with Robert Mersey Orchestra
Buster Williams Quintet
Camilla Williams (2)
Cedar Walton - David Williams - Billy Higgins
Iris Williams
Joe Williams (2)
John Williams
Wallace Bishop & Nelson Williams
Roger Williams and orchestra under the direction of Glenn Osser
The Gerald Wilson Orchestra
J. Frank Wilson
Spanky Wilson
Teddy Wilson Trio (6)
Wind-O-Four
P.J. Witherspoon
Neil Wolfe
The 'Red' Wolfe Quartet
Bobby Womack + The Roots
The Wondertones
Van Wood Quartet
Brenda Wooten
World Wild Life Band
Danny Wright
Ira Wright Orchestra
Nat Wright
Klaus Wunderlich (3)
The Sam Wyatt 1000 Strings Symphony
Simon Wynberg/John Anderson
X Top
Xanadu All Stars
Xue-Wei
Y Top
Takeshi Yamaguchi
Yasmin
Shoji Yokouchi
The Band of Yorkshire Imperial Metals cond. by Trevor Walmsley D.F.C.
(2)
Sumiko Yoseyama (2)
Moto Yoshizawa
Young Unlimited Orchestra under the direction of César Gentili
Yukadan
Z Top
Zaans Rhythme Quintet
Frank Zappa (Daniel Shaw)
Zeitgeist
Monica Zetterlund (2)
Zombies (2)
Glenn Zottola
Trollberg
> Here's a list of those who recorded "Summertime". Most are probably
> unfamiliar to you guys too, but there are several dozen artists who
> were/are well-known and thought enough of it to make a record of it.
> It's a long list, maybe over 1000 acts, but if you have the patience to
> scroll down all the way, you'll recognize tons of names. Now that's a
> Standard!!
No one is denying that it's a standard, jackass.
We are saying that it's just not "one of the classic of all classics"
as you claimed.
BobbyM
say it's a "black" song, right? Or did you mean something else?
-------------------------------------------------------
"F R" wrote in message
news:1557-4C5C...@storefull-3111.bay.webtv.net...
F R
song?
--------------------
Are you serious?
----------------------------
No i was being facetious, but it's an argument Bruce uses.
F R
We are saying that it's just not "one of the classic of all classics" as
you claimed.
In your opinion it's not. In my opinion it is.
Trollberg
Whose version in your opinion is the classic of all classics?
F R
Whose version in your opinion is the classic of all classics?
I am not talking about the versions but about the song itself. As it was
sung in the show.
Further googling shows it was recorded over 2000 times, not 1000,
including every jazz great from the late 30s through the 80s. I've even
heard of most of them.
I like the faithful to Gershwin renditions best, sung as an operatic
piece which is how it was written
But the melody is so pretty that it was very popular amongst jazz
musicians.
It is said that Bob Crosby recorded the first "POP' version in 1935, but
it was Billie Holliday's different take on it that made the song a big
hit. It reached #12 btw.
For pop/jazz, I like Ella's version...the one without Satchmo.
How many songs can you name that were recorded over 2000 times?
Trollberg
> Bruce>
> Whose version in your opinion is the classic of all classics?
> ----------------------------------
> I am not talking about the versions but about the song itself. As it was
> sung in the show.
> Further googling shows it was recorded over 2000 times, not 1000,
> including every jazz great from the late 30s through the 80s. I've even
> heard of most of them.
>
> I like the faithful to Gershwin renditions best, sung as an operatic
> piece which is how it was written
Abbie Mitchell. She’s the one who originally sang it in the 1935 opera
Porgy and Bess.
Jim Colegrove
>Here's a list of those who recorded "Summertime". Most are probably
>unfamiliar to you guys too, but there are several dozen artists who
>were/are well-known and thought enough of it to make a record of it.
>It's a long list, maybe over 1000 acts, but if you have the patience to
>scroll down all the way, you'll recognize tons of names. Now that's a
>Standard!!
>---------------------------
You forgot to list Teddy & The Rough Riders. :)
Jim Colegrove
http://www.thecoolgroove.com
F R
Abbie Mitchell. She's the one who originally sang it in the 1935 opera
Porgy and Bess.
Thanks Bruce. I found her name while I was googling.
According to Joel Whitburn, from 1890 to 1954 "Summertime" was the 5th
most recorded song. Am trying to find a list for the whole 20th century.
I'd guess maybe "Yesterday" is the all-time #1, and a seasonal song like
"White Christmas" or even a novelty like "Rudolph the Red Nosed
Reindeer" are both very high on a "Most Recorded Song of All Time" list.
Scarlotti
> On Aug 6, 5:33 pm, espon...@webtv.net (F R) wrote:
>
> > Bruce>
> > The fact that the song happened to be done as a ballad earlier should
> > not affect your opinion.
> > ------------------------
> > In some cases, yes and in some, no.
>
> > I like "Blue Moon" byt the Marcels and it was surely a radical
> > interpretation.
>
> > But while "Blue Moon" is probably part of the "American Songbook",
> > "Summertime" as sung the way Gershwin wrote it, is one of the classics
> > of all classics and should be very near page 1 in the mythical American
> > Songbook. IMO, of course.
>
> BULLSHIT.
You're starting to develop a real fixation with animal feces, Bruce.
> If it was that much of a classic it would have been a huge hit by
> somebody, if not by many artists, like "Blue Moon" was.
I've always thought that what made a song a "standard" or part of the
"Great American Songbook" was that it doesn't "belong" to any one
artist, but exists apart from any particular hit version.
And I second Frank here: Summertime is one of the leading entries in
the "Songbook" -- both in terms of quality and enduring appeal.
Scarlotti
It's also a child of the Hi-Los and the Four Freshmen.
Scarlotti
I heard that one once, and like it a *lot* as well.
Unfortunately I'm only comparing versions I have (and can listen to
back-to-back) ... along with an occasional version that I had on lp
and can remember well enough to accurately appraise.
Trollberg
Trollberg
> On Aug 6, 5:49 pm, Trollberg <Savo...@aol.com> wrote:
>
>
>
>
>
> > On Aug 6, 5:33 pm, espon...@webtv.net (F R) wrote:
>
> > > Bruce>
> > > The fact that the song happened to be done as a ballad earlier should
> > > not affect your opinion.
> > > ------------------------
> > > In some cases, yes and in some, no.
>
> > > I like "Blue Moon" byt the Marcels and it was surely a radical
> > > interpretation.
>
> > > But while "Blue Moon" is probably part of the "American Songbook",
> > > "Summertime" as sung the way Gershwin wrote it, is one of the classics
> > > of all classics and should be very near page 1 in the mythical American
> > > Songbook. IMO, of course.
>
> > BULLSHIT.
>
> You're starting to develop a real fixation with animal feces, Bruce.
Scarlottishit
Trollberg
Scarlotti
Whoa! Down boy! I've got a restraining order that forbids you to
come within 500 yards of my bathroom.
BobbyM
news:e97c91e7-bdec-40c5...@t20g2000yqa.googlegroups.com...
How is this version?
http://www.youtube.com/watch?v=A27FF2T2z2k
----------------------
Her studio version is better.
How about J. Frank Wilson? --
http://www.youtube.com/watch?v=QTdYfsHGf3M
Robert J. Boyne
>Gershwin is lucky he died before hearing Stewart's rendition. It would
>have killed him.
>
>It's in the same class as Vito and the Salutations' "interpretation" of
>"Unchained Melody"
>
>Porgy & Bess was written as an opera, and "Summertime", as sung by
>Leontyne Price is how it should be sung.
Amongst others I like the Gene Vincent version.
Robert Crazy Legs Boyne.
--
Robert J. Boyne.Tradewinds Real Estate.North Vancouver/British Columbia.Cell.604-644-6973.
***************************************************************************************
" I have the good sense to know that unheard songs are often sweeter".
Email - rjb...@shaw.ca
Home page - www.2realtyguys.com
Scarlotti
Indescribably horrid.
I sat through the overly long instrumental intro, but had to turn it
off once that putrid voice kicked in.
Scarlotti
> I think this may be my favorite version:
>
> http://www.youtube.com/watch?v=piVtpRkhJTA
Much better.
The lite upbeat tempo trivializes the song a mite, but it's still a
highly enjoyable version.
Trollberg
For once we are in total agreement. She sounds like a dying fucking
cow or something.