Views:16449636|Rating:4.91|View Time:3:37Minutes|Likes:155494|Dislikes:2907 “What a Wonderful World” [1970 Spoken Introduction Version] along with Oliver Nelson’s Orchestra is a song written by Bob Thiele (as George Douglas) and George David Weiss. It was first recorded by Louis Armstrong and released as a single in 1967. Thiele and Weiss were both prominent in the music world (Thiele as a producer and Weiss as a composer/performer). Armstrong’s recording was inducted in the Grammy Hall of Fame in 1999. Intended as an antidote for the increasingly racially and politically charged climate of everyday life in the United States, the song also has a hopeful, optimistic tone with regard to the future, with reference to babies being born into the world and having much to look forward to. The song was initially offered to Tony Bennett, who turned it down. Thereafter, it was offered to Louis Armstrong.
Louis Armstrong (August 4, 1901 — July 6, 1971), nicknamed Satchmo or Pops, was an American jazz trumpeter and singer from New Orleans, Louisiana.
Coming to prominence in the 1920s as an “inventive” trumpet and cornet player, Armstrong was a foundational influence in jazz, shifting the focus of the music from collective improvisation to solo performance. With his instantly recognizable gravelly voice, Armstrong was also an influential singer, demonstrating great dexterity as an improviser, bending the lyrics and melody of a song for expressive purposes. He was also skilled at scat singing (vocalizing using sounds and syllables instead of actual lyrics).
Renowned for his charismatic stage presence and voice almost as much as for his trumpet-playing, Armstrong’s influence extends well beyond jazz music, and by the end of his career in the 1960s, he was widely regarded as a profound influence on popular music in general. Armstrong was one of the first truly popular African-American entertainers to “cross over”, whose skin color was secondary to his music in an America that was severely racially divided. He rarely publicly politicized his race, often to the dismay of fellow African-Americans, but took a well-publicized stand for desegregation during the Little Rock Crisis. His artistry and personality allowed him socially acceptable access to the upper echelons of American society that were highly restricted for a black man.
Armstrong died of a heart attack in his sleep on July 6, 1971 at the age of 69, 11 months after playing a famous show at the Waldorf-Astoria’s Empire Room. He was residing in Corona, Queens, New York City, at the time of his death. He was interred in Flushing Cemetery, Flushing, in Queens, New York City. His honorary pallbearers included Bing Crosby, Ella Fitzgerald, Dizzy Gillespie, Pearl Bailey, Count Basie, Harry James, Frank Sinatra, Ed Sullivan, Earl Wilson, Alan King, Johnny Carson and David Frost. Peggy Lee sang The Lord’s Prayer at the services while Al Hibbler sang “Nobody Knows the Trouble I’ve Seen” and Fred Robbins, a long-time friend, gave the eulogy.
Armstrong was posthumously awarded the Grammy Lifetime Achievement Award in 1972 by the Academy of Recording Arts and Sciences. This Special Merit Award is presented by vote of the Recording Academy’s National Trustees to performers who, during their lifetimes, have made creative contributions of outstanding artistic significance to the field of recording. Recordings of Armstrong were inducted into the Grammy Hall of Fame, which is a special Grammy award established in 1973 to honor recordings that are at least twenty-five years old, and that have “qualitative or historical significance.”
“Some of you young folks been saying to me
” Hey Pops, what you mean ‘What a wonderful world’?
How about all them wars all over the place?
You call them wonderful?
And how about hunger and pollution?
That ain’t so wonderful either.”
Well how about listening to old Pops for a minute.
Seems to me, it aint the world that’s so bad
but what we’re doin’ to it.
And all I’m saying is see what a wonderful world
It would be if only we’d give it a chance.
Love baby, love. That’s the secret, yeah.
If lots more of us loved each other
we’d solve lots more problems.
And then this world would be gasser.
That’s wha’ ol’ Pops keeps saying.”
I see trees of green, red roses too
I see them bloom, for me and you
And I think to myself
What a wonderful world
I see skies of blue, and clouds of white
The bright blessed day, dark sacred night
And I think to myself
What a wonderful world
The colors of the rainbow, so pretty in the sky
Are also on the faces, of people going by
I see friends shaking hands, sayin’, “How do you do?”
They’re really sayin’, “I love you”
I hear babies cryin’, I watch them grow
They’ll learn much more, than I’ll ever know
And I think to myself
What a wonderful world
Yes, I think to myself
What a wonderful world
Views:3246|Rating:5.00|View Time:2:55Minutes|Likes:25|Dislikes:0 En esta maravilla de recopilación se encuentran los mejores duetos de la época dorada. Artistas que pasaron a la historia por sus voces, innovaciones, estilos, caracterizaciones y demás cualidades infinitas. En este disco, se encuentran las mejores canciones de las uniones de algunos de ellos. Podrás teletransporte a la época de los 50 y los 60 con las voces de Doris Day, Ella Fitzgerald, Bing Crosby, Gene Kelly, Rosemary Clooney, Gordon MacRae, Marlene Dietrich, Fats Waller, Billie Holiday, Louis Armstrong, Jo Stafford, Peggy Lee e incluso Marilyn Monroe y Marlon Brando, entre muchos otros.
Views:5306183|Rating:4.79|View Time:53:13Minutes|Likes:37297|Dislikes:1615 Classic Mood Experience The best masterpieces ever recorded in the music history.
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Ella Fitzgerald and Louis Armstrong – Ella and Louis (1956)
00:00 Can’t we be Friends? (1956)
03:44 Isn’t This a Lovely Day? (1956)
09:56 Moonlight in Vermont (1956)
13:30 They can’t Take That Away from Me (1956)
18:05 Under a Blanket of Blue (1956)
22:28 Tenderly (1956)
27:21 A Foggy Day (in London Town) (1956)
31:50 Stars Fell on Alabama (1956)
35:18 Cheek to Cheek (1956)
41:07 The Nearness of You (1956)
46:42 April in Paris (1956)
Ella Jane Fitzgerald (April 25, 1917 – June 15, 1996) was an American jazz singer often referred to as the First Lady of Song, Queen of Jazz and Lady Ella. She was noted for her purity of tone, impeccable diction, phrasing and intonation, and a “horn-like” improvisational ability, particularly in her scat singing.
After tumultuous teenage years, Fitzgerald found stability in musical success with the Chick Webb Orchestra, performing across the country, but most often associated with the Savoy Ballroom in Harlem. Fitzgerald’s rendition of the nursery rhyme “A-Tisket, A-Tasket” helped boost both her and Webb to national fame. Taking over the band after Webb died, Fitzgerald left it behind in 1942 to start a solo career that would last effectively the rest of her life.
Signed with manager and Savoy co-founder Moe Gale from early in her career, she eventually gave managerial control for her performance and recording career to Norman Granz, who built up the label Verve Records based in part on Fitzgerald’s vocal abilities. With Verve she recorded some of her more widely noted works, particularly her interpretation of the Great American Songbook.
While Fitzgerald appeared in movies and as a guest on popular television shows in the second half of the twentieth century, her musical collaborations with Louis Armstrong, Duke Ellington, and The Ink Spots were some of her most notable acts outside of her solo career. These partnerships produced recognizable songs like “Dream a Little Dream of Me”, “Cheek to Cheek”, “Into Each Life Some Rain Must Fall”, and “It Don’t Mean a Thing (If It Ain’t Got That Swing)”. In 1993, Fitzgerald capped off her sixty-year career with her last public performance. Three years later, she died at the age of 79, following years of decline in her health. After her passing, Fitzgerald’s influence lived on through her fourteen Grammy Awards, National Medal of Arts, Presidential Medal of Freedom, and tributes in the form of stamps, music festivals, and theater namesakes.
Louis Armstrong (August 4, 1901 – July 6, 1971), nicknamed Satchmo or Pops, was an American trumpeter, composer, singer and occasional actor who was one of the most influential figures in jazz. His career spanned five decades, from the 1920s to the 1960s, and different eras in jazz.
Coming to prominence in the 1920s as an “inventive” trumpet and cornet player, Armstrong was a foundational influence in jazz, shifting the focus of the music from collective improvisation to solo performance. With his instantly recognizable gravelly voice, Armstrong was also an influential singer, demonstrating great dexterity as an improviser, bending the lyrics and melody of a song for expressive purposes. He was also skilled at scat singing.
Renowned for his charismatic stage presence and voice almost as much as for his trumpet-playing, Armstrong’s influence extends well beyond jazz music, and by the end of his career in the 1960s, he was widely regarded as a profound influence on popular music in general. Armstrong was one of the first truly popular African-American entertainers to “cross over”, whose skin color was secondary to his music in an America that was extremely racially divided. He rarely publicly politicized his race, often to the dismay of fellow African-Americans, but took a well-publicized stand for desegregation in the Little Rock Crisis. His artistry and personality allowed him socially acceptable access to the upper echelons of American society which were highly restricted for black men of his era.
Ella and Louis is a 1956 studio album by Ella Fitzgerald and Louis Armstrong, accompanied by the Oscar Peterson Quartet. Having previously collaborated in the late 1940s for the Decca label, this was the first of three albums that Fitzgerald and Armstrong were to record together for Verve Records, later followed by 1957’s Ella and Louis Again and 1959’s Porgy and Bess.
Views:21713|Rating:4.49|View Time:3:Minutes|Likes:122|Dislikes:14 Noche de cocktail y lounge con este fantástico recopilatorio que cuenta con artistas de la talla de:
1Al Pellagrini And His Jazz Band — From This Moment On (VintageMusic.es)
2Pearl Bailey — That’s Good Enough For Me, The Thrill Of Brazil (VintageMusic.es)
3Pete Rugolo — You Stepped Out Of A Dream (VintageMusic.es)
4Gene Kelly — Singin’ In The Rain (VintageMusic.es)
5Pia Beck — This Can’t Be Love (VintageMusic.es)
6The Crew Cuts — Need, From Rigoletto (VintageMusic.es)
7Earl Grant — The End (VintageMusic.es)
8The Modernaires — Sing Sing Sing, Why Don’t You Do Right, Goodbye (VintageMusic.es)
9Les Paul & Mary Ford — Don’t Cry, Baby (VintageMusic.es)
10The Delta Rhythm Boys — Flickorna I Smaland (VintageMusic.es)
11Jimmy Haskelle — Butterfly (VintageMusic.es)
12Gunnar Lunden — All Right, Ok, You Win (VintageMusic.es)
13Rosemary Clooney — In The Cool, Cool, Cool Of The Evening (VintageMusic.es)
14Guy Pedersen — Sweet Lorraine (VintageMusic.es)
15Shirley Bassey — Sex (VintageMusic.es)
16Dick Jacobs And His Orchestra — S’wonderful (VintageMusic.es)
17Rita Williams Singers — 26 Miles (VintageMusic.es)
18Louis Armstrong — Down By The Riverside (VintageMusic.es)
19The Falls-Jones — He’s Got The Whole World (VintageMusic.es)
20Ella Fitzgerald and Louis Armstrong — Oops! (VintageMusic.es)
21Billie Holiday — Now Or Never (VintageMusic.es)
22Frank Devol And His Orchestra — Teacher’s Pet (VintageMusic.es)
23Fred Astaire — I Wanna Be A Dancin’ Man (VintageMusic.es)
24Harry Zimmerman — Nice Work If You Can Get It (VintageMusic.es)
25Werner Müller And His Orchestra — Goody – Goody (VintageMusic.es)
26The Diamonds — Gretchen (VintageMusic.es)
27Bob Crosby — Black Bottom (VintageMusic.es)
28Charlie De Forest — If I Didn’t Care (VintageMusic.es)
29Billy Eckstine And Sarah Vaughan — Cheek To Cheek (VintageMusic.es)
30The Four Lads — Bye And Bye (VintageMusic.es)
Views:424|Rating:5.00|View Time:3:46Minutes|Likes:5|Dislikes:0 ONE NIGHT STAND’s July 2017 offering is THE GREAT AMERICAN SONGBOOK, also known as “American Standards,” featuring the popular songs and jazz standards from the early 20th century .
Featured voices are Basti Artadi, Agot Isidro, Aicelle Santos, Joaquin Valdes, Cris Villonco, and Michael Williams.
Musical Direction by Ceejay Javier.
Production Management by John Mark Yap.
Stage Management by Mara Agleham and Steven Tansiongco.
Produced by Joaquin Valdes, Mica Pineda and Chinie Concepcion.