Frédéric Chopin (1810-1849)
Glenn Miller (1904-1944)
Nancy Wilson’s musical style is so diverse that it is hard to classify. Over the years her repertoire has included pop style ballads, jazz and blues, show tunes and well known standards. Critics have described her as “a jazz singer,” “a blues singer,” “a pop singer,” and “a cabaret singer.” Still others have referred to her as “a storyteller,” “a professor emeritus of body language,” “a consummate actress,” and “the complete entertainer.” Then who is this song stylist (that’s the descriptive title she prefers) whose voice embodies the nuances of gospel, blues, and jazz? Her colleague and long time friend Joe Williams used to call her “the thrush from Columbus.”
Baker, Josephine (3 June 1906-12 Apr. 1975), dancer, singer, and civil rights activist, was born in St. Louis, Missouri, the daughter of Eddie Carson, a musician, and Carrie Macdonald. Her parents parted when Josephine was still an infant, and her mother married Arthur Martin, which has led to some confusion about her maiden name. Very little is known about her childhood, except that she was a witness to the East St. Louis riot in 1917.
Josephine Baker…began her career in “tent shows,” touring musical ensembles that played mostly in the southern states. Her first success was as a comic dancer in a show…Her Broadway debut was in The Chocolate Dandies at the Colonial Theatre in September 1924…
Subsequent appearances in New York City…led to Baker’s engagement as one of the featured performers in La Revue Nègre, an all-black show…La Revue Nègre was destined to become one of the key influences in Parisian theater and visual arts in the late 1920s.
Speech at the March on Washington~ http://www.blackpast.org/1963-josephine-baker-speech-march-washington
FBI files~ http://vault.fbi.gov/josephine-baker
A fine swing clarinetist, an altoist whose sound was influenced by Johnny Hodges, a good soprano saxophonist, and a spirited blues vocalist, Woody Herman’s greatest significance to jazz was as the leader of a long line of big bands. He always encouraged young talent and, more than practically any bandleader from the swing era, kept his repertoire quite modern. Although Herman was always stuck performing a few of his older hits (he played “Four Brothers” and “Early Autumn” nightly for nearly 40 years), he much preferred to play and create new music.
In mid 1936, Ella made her first recording. “Love and Kisses” was released under the Decca label, with moderate success. By this time she was performing with Chick’s band at the prestigious Harlem’s Savoy Ballroom, often referred to as “The World’s Most Famous Ballroom.”
Shortly afterward, Ella began singing a rendition of the song, “(If You Can’t Sing It) You Have to Swing It.” During this time, the era of big swing bands was shifting, and the focus was turning more toward bebop. Ella played with the new style, often using her voice to take on the role of another horn in the band. “You Have to Swing It” was one of the first times she began experimenting with scat singing, and her improvisation and vocalization thrilled fans. Throughout her career, Ella would master scat singing, turning it into a form of art.
Ella Fitzgerald | Official Site~ http://www.ellafitzgerald.com/about/biography
Ella Fitzgerald at 100 (npr)~
Sergei Rachmaninov (1873-1943)
Alberta Hunter (1895-1984)