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The blues artists talked, the rockers listened. What Arlen seems to be doing is smashing together two separate but complimentary harmonies into a hybrid that performs two separate functions at the same time. Somebody Loves Me 4. All of them dedicate themselves to work as a unit and to play 'blues' music. Shore had a special way with a jazz standard, and especially with a torch song. It’s a classic work, maybe my favorite we’ll cover in this series, but its genesis, its function as a work of pop-blues, its context in the film, and its subsequent life are all necessarily and impossibly intertwined with the cultural and political issues of the American music scene, and when I say “impossibly,” I don’t mean in the way that limp cultural criticism seeks out easy political relevance. You And I 10. Harry Lillis "Bing" Crosby Jr. (/ˈkrɒzbi/; May 3, 1903 – October 14, 1977) was an American singer, comedian and actor. Everything else is linked in-text. The first multimedia star, Crosby was a leader in record sales, radio ratings, and motion picture grosses from 1931 to 1954. It’s treated like a second-tier Arlen song but really ought to be first-tier. The material on Mary Lou Williams comes from Linda Dahl’s Morning Glory: A Biography of Mary Lou Williams. Sheet music is available for Piano, Voice, Guitar and 1 others with 5 scorings and 1 notation in 9 genres. After viewing product detail pages, look here to find an easy way to navigate back to pages that interest you. The "soundie" of "Minnie The Moocher" was WRECKED - but luckily, THIS one survived in good nick. The song’s third section is so far out of blues convention that the movie dispenses with it entirely. The second cycle of twelve strays much farther afield. This covers around ten years of Dinah's output and shows what a good all round performer she was. You get so in your youth that they were just there and franky I did not appreciate how good they were. Here, the a-capella performance feels revelatory, from Gillespie giving it his all to the also-uncredited background singers coming in with call-responses and supporting texture. 1957-10-21: Blues in the Night: Tony Bennett: 2:53: 1957: Blues In The Night: Max Roach and Stan Levey with Howard Rumsey’s Lighthouse Allstars?:?? The film had started production as Hot Nocturne, an adaptation of Edwin Gilbert’s unproduced play of that name, and briefly transitioned to New Orleans Blues before Harold Arlen and Johnny Mercer delivered the moody number that eventually took over the film, and the country, with five Billboard-charting versions within the year: “Blues in the Night.”. This is as straightforward a dramatization of appropriation as you could hope for, abandoning as they do the song’s “author” in his cell while making a career off his work. ©2014 - 2016 The-Solute | Hosted, Developed and Maintained by BellinghamWP.com. Certainly, there were blues performers and important blues recordings made there, but nothing that even a trained ear would be able to pick out of as distinctively New-Orleanian versus, say, a more obvious candidate like Delta blues. My momma done tol’ me, when I was in knee pants, “Night” is perhaps the only song where the typically laconic Arlen admitted to doing his research. Memphis Blues 12. The box or case may have some signs of previous use but is generally in nice shape. Roberta: Smoke Gets In Your Eyes 3. I hope you enjoy it as much as I have. Reviewed in the United Kingdom on April 12, 2013. But in a typically Arlenian way, the path is beset with complex moves (there’s a Db7 serving as something like a Neapolitan chord for the secondary dominant of C7? My momma done tol’ me: son…, One of the most famous opening lines in all of American music, so much so that many people confuse the first five words for the title. The song Blues in the Night was written by Johnny Mercer and Harold Arlen and was first recorded and released by Artie Shaw and His Orchestra - Vocal Refrain and trumpet by "Hot Lips" Page in 1941. On the one hand, we can analyze, say, the bass line of measure six and say that Arlen’s giving us another II7-V7 progression to bring us back to the home key, and it does indeed sound that way. Even leaving aside Arlen’s own background, research, and technical fiddling, it’s nothing like “the real New Orleans blues,” as the characters in the movie claim (I don’t know even know what that comment means, particularly in 1941, when the city hadn’t produced what we might call a distinctive local blues sound. In Arlen’s version of the story, the typically fast-working composer studied Handy’s examples, identified the core structural elements, and managed to hammer out the rest of the song in a matter of hours. Stardust 14. Directed by Anatole Litvak. My Man 5. Some really excellent sides here. These tracks were mostly recorded just before I was born in 1944. Still, this is Arlen, so he finds fun ways to twist the line, like that delayed final cadence that forces an extra measure at the end of each cycle. These are Dinah's early sides, and feature her with some big bands and strings. The song, "Blues in the Night" (Music by Harold Arlen; lyrics by Johnny Mercer) is perhaps better known as "My Mama Done Tol' Me" and is from the 1941 Warner Bros. film, Blues in the Night. white) image of blues. The story behind its lyrics is more legendary: unhappy with any of lyricist Johnny Mercer’s attempts at an opening stanza, Arlen noticed a stray scrap of text from what was supposed to be later in the song: “My momma done tol’ me.” Arlen and Mercer disagree about the precise timeline, but this is more or less how the song came together. ), In fact, the headlining black musician of Blues in the Night, bandleader and saxophonist Jimmie Lunceford, hated the song. Find your perfect arrangement and access a variety of transpositions so you can print and play instantly, anywhere. Blues In The Night: Blues In The Night, 8. It wears its inauthenticity on its sleeve: since Harold Arlen (the greatest) never met a song he couldn’t make needlessly complicated, he twisted the blues structure around his own musical interests and came up with a hybrid that’d never be mistaken for the real thing… that is, until the song’s real-life popularity helped reshape the mainstream (esp. The emphasis is on the blues (although not exclusively) on Blues in the Night.The original eight-song program was played by the trio of pianist Red Garland, bassist Sam Jones, and drummer Art Taylor, from an earlier date.Most unusual about the set is that Garland makes a rare (and effective) appearance on organ during "Halleloo-Y'All." Unfamiliar with the genuine article except by overall environmental osmosis, Arlen turned to a colleague, W.C. Building from the conventional twelve-bar blues structure, a kind of formal lattice that allowed generations of blues composers to experiment and explore the latest innovations in tonality within the safety of a constrained environment, Arlen steadily introduces his own characteristic flourishes. I’m not equipped to evaluate her claims here, but on a naïve listen, I’d say she has a case. Arlen’s circles certainly recognized what he pulled off. The overall arc of this gently swaying countersubject is to set up a dominant chord for our eventual return, so, zooming out, we get something like IV7-II7-V7… nothing really that weird. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. Down Argentina Way: Down Argentina Way, 17. Please email us with any queries either before or after purchase. (he also insults New Orleans cooking, and there are some things that are just unforgivable.). Its context in the film immediately presents us with two elephants in the room, the dreaded duo of “authenticity” and “appropriation.” Again, this isn’t so much subtext as text: the white musicians hear what they consider the genuine article sung by a black prisoner, so they memorize the song and start performing it in their own sets, to great success. Despite a decade working in the milieu of African-American music, “Blues in the Night” proved a real departure for Arlen, who’d never written a proper blues song: he considered his early “blues-y” masterpieces like “Stormy Weather” and “I Got a Right to Sing the Blues” to be torch songs, not blues … But we’re talking about two different harmonies with two different functions: what kind of devilry is this? He cut his teeth as a performer under a black composer, Will Marion Cook, (himself a student of Czech composer Antonín Dvořák, himself famously influenced by African-American folk music, layers on layers on layers) and established his reputation as the house composer for Cotton Club revues, a white composer writing for all-black performances for all-white audiences in Harlem. Showing recordings that were created recently for the song "Blues In The Night" by Katie Melua. da Lelio Luttazzi, Boston Gay Men's Chorus, The Jim Cullum Jazz Band with Carol Woods and other artists. The first twelve measures are mostly conventional, moving between the major-key tonic, subdominant, and dominant chords — though he does delay the first return to tonic by giving measure seven a II7-V7 progression and repeating that in measure ten. It was first featured as the segment "The Night" on the album Days of Future Passed.When first released as a single in 1967, it reached number 19 on the UK Singles Chart and number 103 in the United States in 1968. Blues In The Night. Body And Soul 16. I needed a separate post to talk about this song because there’s so much here to talk about. After “The Last Time I Saw Paris” took home the unexpected Oscar, the winner, another Oscar (Hammerstein II), sent Arlen a postcard saying “You were robbed.” He and Kern just expected that Arlen would win. And then having done so, they threw the song away. On the other hand, we can say that he’s maintaining the conventional twelve-bar structure by giving us the subdominant Eb, but shaking things up by shifting it to Eb minor, and it sounds that way, too. Warner Bros liked the song enough to change the movie title from Hot Nocturne to Blues In The Night. 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