Charleston (song)

CharlestonThe CharlestonCharleston" (song)
A version performed by Enoch Light and the Charleston City All Stars is used in Woody Allen's 2011 film Midnight in Paris, which largely takes place in the 1920s. The track "Bang Bang" from the 2013 film The Great Gatsby, performed by Will.I.Am, samples the song. *List of 1920s jazz standards

Broadway theatre

BroadwayBroadway musicalBroadway theater
The TKTS booths sell same-day tickets (and in certain cases, next-day matinee tickets) for many Broadway and Off-Broadway shows at a discount of 20 to 50%. The TKTS booths are located in Times Square, in Lower Manhattan, and at Lincoln Center. This service is run by Theatre Development Fund. Many Broadway theatres also offer special student rates, same-day "rush" or "lottery" tickets, or standing-room tickets to help ensure that their theatres are as full—and their grosses as high—as possible. According to The Broadway League, total Broadway attendance was 14.77 million in 2018–2019, compared to 13.79 million in 2017–2018.

James P. Johnson

James Price JohnsonJimmy JohnsonJames P Johnson
The Decca CD, Snowy Morning Blues, contains 20 sides done for the Brunswick and Decca labels, between 1930 and 1944. This CD includes an eight-tune Fats Waller Memorial set, and two solos, "Jingles", and "You've Got to be Modernistic", which demonstrate Johnson's hard swinging stride style. The LP, and CD, Father of the Stride Piano, collects some of Johnson's best recordings for the Columbia family of labels, done between 1921 and 1939. It includes "Carolina Shout", "Worried and Lonesome Blues", and "Hungry Blues" (from De Organizer).

I Want to Be Happy

“I Want to Be Happy” charted several times over thirteen years: Other recordings include: *List of 1920s jazz standards 1930 No, No, Nanette. 1940 No, No, Nanette - sung by Anna Neagle and Richard Carlson. 1950 Tea for Two - sung by Doris Day, and also sung by Doris Day and Gordon MacRae. 1988 Torch Song Trilogy - performed by Benny Goodman and His Orchestra. 1995 Stuart Saves His Family - performed by Tommy Dorsey & His Orchestra starring Warren Covington. 1999 Entrapment - performed by Ted Heath and His Orchestra. 2015 Joy - performed by Ella Fitzgerald and Chick Webb and His Orchestra.

Crazy Rhythm

*List of 1920s jazz standards Crazy rhythm, here's the doorway. I'll go my way, you'll go your way. Crazy rhythm, from now on. We're through.

Elisabeth Welch

Elizabeth Welch
After her first appearance in America in Liza in 1922, Welch was the initial singer of the Charleston in the show Runnin' Wild (1923). During the 1920s she appeared in African-American Broadway theatre shows, including Chocolate Dandies (1924) and Blackbirds of 1928. She made relatively few recordings. Before moving to Europe she made only one record – "Doin' The New Lowdown", b/w 'Digga Digga Do", as vocalist for the Irving Mills-assembled Hotsy Totsy Gang (Brunswick 4014, 27 July 1928). One of these was taken to Paris, where in 1929 and 1930, following artist Josephine Baker, she was in cabaret shows, including performances at the Moulin Rouge.

No, No, Nanette

No, No NanetteNo No NanetteI Want to Be Happy
It acknowledged that the plot was slight but praised the score, noting that "I Want to be Happy" and "Tea for Two" were already hit tunes (having premiered in the Chicago production the previous year). Robert C. Benchley in Life magazine admitted, "We had a preconceived notion that No, No, Nanette! was a pretty dull show, probably because it had been running so long before it came to New York. ... No, No, Nanette! is really very amusing." Charles Winninger, in the role of Jimmy Smith, received particular praise for his comedic abilities.

Chord progression

progressionchord progressionschord changes
Important transformations include: Another common way of extending the I–IV–V progression is by adding the chord of the sixth scale degree, giving the sequence I–vi–IV–V or IviiiV, sometimes called the 50s progression or doo-wop progression. This progression had been in use from the earliest days of classical music.

Black Bottom (dance)

Black BottomBlack Bottom danceBlack Bottom Stomp
The black bottom overtook the Charleston in popularity and eventually became the number one social dance. Some dance critics noted that by the time it became a fad in American society in the mid-20s, it resembled the Charleston. Both dances can be performed solo or as a couple and feature exuberant moves. The African-American choreographer Billy Pierce, who is credited on "Black Bottom Dance" sheet music with having introduced the dance, was an associate with the African-American choreographer Buddy Bradley. Working out of Pierce's dance studio in New York City, Bradley devised dance routines for Tom Pericola and other Broadway performers.

Vincent Youmans

YoumansV. YoumansVincent Millie Youmans
No, No Nanette was the biggest musical-comedy success of the 1920s in both Europe and the USA and his two songs "Tea for Two" and "I Want to Be Happy" were worldwide hits. Both songs are considered standards. "Tea For Two" was consistently ranked among the most recorded popular songs for decades. In 1927, Youmans began producing his own Broadway shows. He also left his publisher TB Harms Company and began publishing his own songs. He had a major success with Hit the Deck! (1927), which included the hit songs "Sometimes I'm Happy" and "Hallelujah".

Sweet Georgia Brown

Georgia Brown
*List of 1920s jazz standards Ben Bernie and His Hotel R oosevelt Orchestra, 1925. California Ramblers, 1925. Ethel Waters, 1925. Cab Calloway, 1931. Bing Crosby recorded the song on April 23, 1932 with Isham Jones and his Orchestra and it is assessed as reaching the No. 2 spot in the charts of the day. Coleman Hawkins with Benny Carter and Django Reinhardt, 1937. Django Reinhardt, 1938. Art Tatum, 1941. Charlie Parker and Dizzy Gillespie, 1943. The version used by the Globetrotters is a 1949 instrumental by Brother Bones and His Shadows with whistling and bones by Brother Bones. It was adopted as the Globetrotters theme in 1952. Bud Powell, 1950.

Nagasaki (song)

NagasakiNagasaki" (song)
*List of 1920s jazz standards * Willie "The Lion" Smith 1964 Berlin: Nagasaki

Jazz

jazz musicContemporary jazzModern Jazz
Bebop made use of several relatively common chord progressions, such as blues (at base, I-IV-V, but often infused with ii-V motion) and 'rhythm changes' (I-VI-ii-V) – the chords to the 1930s pop standard "I Got Rhythm". Late bop also moved towards extended forms that represented a departure from pop and show tunes. The harmonic development in bebop is often traced back to a moment experienced by Charlie Parker while performing "Cherokee" at Clark Monroe's Uptown House, New York, in early 1942. "I'd been getting bored with the stereotyped changes that were being used...and I kept thinking there's bound to be something else. I could hear it sometimes.

Irving Caesar

CaesarI. Caesar
Sally Marr...and her escorts (1994) - play - featured lyricist for "Tea for Two". New York Times obituary. New York Times obituary.

Chord substitution

substitute chordsubstitutionsubstitute
In music theory, chord substitution is the technique of using a chord in place of another in a progression of chords, or a chord progression. Much of the European classical repertoire and the vast majority of blues, jazz and rock music songs are based on chord progressions. "A chord substitution occurs when a chord is replaced by another that is made to function like the original. Usually substituted chords possess two pitches in common with the triad that they are replacing."

Cutting contest

cutting contestscutting session
A cutting contest was a musical battle between various stride piano players from the 1920s to the 1940s, and to a lesser extent in improvisation contests on other jazz instruments during the swing era.

Tea for Two (song)

Tea for TwoTea for Two Cha ChaTea for Two" (song)
"Tea for Two" is a song composed by Vincent Youmans with lyrics by Irving Caesar and written in 1924. It was introduced by Louise Groody and John Barker in the Broadway musical No, No, Nanette. "Tea for Two" was Youmans' biggest hit. Youmans had written the basic melody idea of "Tea for Two" while he was in the navy during World War I, and he used it later on as an introductory passage for a song called "Who's Who With You?" While in Chicago, Youmans developed the idea into "a song that the hero could sing to the heroine" for the musical No, No, Nanette. He soon after played his composition for Irving Caesar and insisted he write the lyrics then and there.

Ray Henderson

HendersonR. Henderson
Ray Henderson (born Raymond Brost, December 1, 1896 – December 31, 1970) was an American songwriter.

Ben Bernie

BernieBen Bernie and His OrchestraBen Bernie and His Hotel Roosevelt Orchestra
Ben Bernie (May 30, 1891 – October 23, 1943), was an American jazz violinist, bandleader, and radio personality, often introduced as "The Old Maestro". He was noted for his showmanship and memorable bits of snappy dialogue, being part of the first generation of "stars" of American popular music, alongside other artists such as Paul Whiteman (a fellow violinist and bandleader), Ted Lewis and Al Jolson.

Maceo Pinkard

Pinkard
Maceo Pinkard (June 27, 1897 – July 21, 1962) was an American composer, lyricist, and music publisher. Among his compositions is "Sweet Georgia Brown", a popular standard for decades after its composition and famous as the theme of the Harlem Globetrotters basketball team.

Sonny Rollins

RollinsRollins, SonnySonny Rawlins
Walter Theodore "Sonny" Rollins (born September 7, 1930) is an American jazz tenor saxophonist who is widely recognized as one of the most important and influential jazz musicians. In a seven-decade career, he has recorded over sixty albums as a leader. A number of his compositions, including "St. Thomas", "Oleo", "Doxy", "Pent-Up House", and "Airegin", have become jazz standards. Rollins has been called "the greatest living improviser" and the "Saxophone Colossus".

Duke Ellington

EllingtonDuke Ellington OrchestraThe Duke Ellington Orchestra
New dance crazes such as the Charleston emerged in Harlem, as well as African-American musical theater, including Eubie Blake's Shuffle Along. After the young musicians left the Sweatman Orchestra to strike out on their own, they found an emerging jazz scene that was highly competitive with difficult inroad. They hustled pool by day and played whatever gigs they could find. The young band met stride pianist Willie "The Lion" Smith, who introduced them to the scene and gave them some money. They played at rent-house parties for income. After a few months, the young musicians returned to Washington, D.C., feeling discouraged.

Jazz standard

jazz standardsstandardsjazz
Dances such as the Charleston and the Black Bottom were very popular during the period, and jazz bands typically consisted of seven to twelve musicians. Important orchestras in New York were led by Fletcher Henderson, Paul Whiteman and Duke Ellington. Many New Orleans jazzmen had moved to Chicago during the late 1910s in search of employment; among others, the New Orleans Rhythm Kings, King Oliver's Creole Jazz Band and Jelly Roll Morton recorded in the city. However, Chicago's importance as a center of jazz music started to diminish toward the end of the 1920s in favor of New York.

Jazz Age

The Jazz Ageclassic jazzjazz era
Younger demographics popularized the black-originated dances such as the Charleston as part of the immense cultural shift the popularity of jazz music generated. The 1930s belonged to popular swing big bands, in which some virtuoso soloists became as famous as the band leaders. Key figures in developing the "big" jazz band included bandleaders and arrangers Count Basie, Cab Calloway, Jimmy and Tommy Dorsey, Duke Ellington, Benny Goodman, Fletcher Henderson, Earl Hines, Harry James, Jimmie Lunceford, Glenn Miller and Artie Shaw.

Roaring Twenties

Roaring 20s1920sRoaring '20s
The first of these were the Breakaway and Charleston. Both were based on African American musical styles and beats, including the widely popular blues. The Charleston's popularity exploded after its feature in two 1922 Broadway shows. A brief Black Bottom craze, originating from the Apollo Theater, swept dance halls from 1926 to 1927, replacing the Charleston in popularity. By 1927, the Lindy Hop, a dance based on Breakaway and Charleston and integrating elements of tap, became the dominant social dance. Developed in the Savoy Ballroom, it was set to stride piano ragtime jazz. The Lindy Hop later evolved into other Swing dances.