The Genius of the Jazz Giants - Vol.4

THE GENIUS OF

BOOK 4

DUKE ELLINGTON

THOMAS "FATS" WALLER

8 COOTIE INAMELLOWTONE.... .....12 KO-KO .....20 MORNINC CLORY ,,,..14 A PORTRAIT OF BERT WILLIAMS .... 16 SERENADETO SWEDEN.... ........18

AUNT HACAR'S BLUES. I'M NOBODY'S BABY I'M SITTINC ON TOP THE WORLD

THEJTTTERBUCWALTZ.... ...40 .......44 ONCE rN A WHILE..... ...,...46 SWINCIN' DOWN THE IANE

GEORGE SHEARING

MARY LOU WILLIAMS

CONCERTO FOR

I GOT IT BAD AN D THAT AIN'T

tNVrTATtON.... IAURA. OVER THE RAINBOW.

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........23 .....28

TAKINC A CHANCE ON LOVE

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........30 ,.......32

lEss srAcY

DON'TBIAMEME.. HOWAM rTO KNOW? lN A M|ST SLEEPYTIMECAL.

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.......

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.......s0 ........52 ......54

BOB ZURKE

DON'T BE THAT WAY . t'M coMtNC VtRCtNtA. SINC, SINC (Wittr A Swing) ",.SINC, SWINCTIME IN THE ROCKIES.... TWO O',CLOCKJUMP.

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O 1986 Columbia Pictures Publications, 15800 N.W' 48th Avenue, Miami, Florida 33014 Editor: David C. Olsen

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Production: FrankJ. Hackinson

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Printer: Central Litho (Miami)

WARN INC: Any duplication, adaptation or arrangement of the compositions contained in this collection, without the written consent of the owner, is an infringement of U.S. copyright law and subject to the penalties and liabilities provided therein.

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DUKE ELLINGTON Duke Ellington came from a prosperous Washington, D.C. family. He first played piano in public while a high school student. After graduation he performed locally, and formed his own Duke's Serenaders. Ellington moved to New York and, in 1924 took over the reins of the Washingtonians group, touring and playing residencies (including a long stay at the Kentucky Club), before beginning his significant position at the Cotton Club in Harlem. He remained there Aom t927 until 1931, except for national tours and recording sessions.'It was during this period that Ellington recorded such important songs as Eost St Louis Toodle-oo (his first theme), Black Beauty, Birmingham Breakdown, The Mooche, Md lndigo, Rockin' In Rhythm, and Creole Rhapsody. The Duke Ellington Band appeared in the movie Check andDouble Checkin 1930, and made its first trip abroad - to London and Paris - in 1939. The first of his famous Carnegie Hall conceits was held in 1943, featuring the premier of Black, Brown and Beige. This extended piece was the first in a string of longer works which have become an integralpart of jazz 6qrnposing history, notably Such Sweet Thunder, Liberian Suite/A Tone Parallel To Harlem: The Harlem Suite, A Drum Is A Woman, The Far East Suite, The Latin-Amencan Suite, New World A0oming: Harlem: The Golden Brwm and The Green Apple, Suite Thursday, and Deep Soufh Suite. The Carnegie Hall concerts were annual events through 1950. His shorter songs, however, are the ones best remembered. His lyric-writing collaborators included John La Touche, Johnny Mercer, Ted Koehler, Don George, Peggy Lee, Johnny Burke, and Mitchell Parish. Among Ellington's most famous song compositions are Sophishcated Lady, Do Nothing Titl You Hear Frcm Me, Solitude, Satin Doll, Mood Indigo, ln A Sentimental Mood, Drop Me Off At Harlem, Ko-Ko, Don't Get Around Much Anymore, and with Billy Strayhom, Take The 'A' Train. During the 1960's Ellington and his band visited India, the Middle and Far East, and Australia. Constant touring - at home and overseas became the band's customary practice until Duke Ellington's death in May, 1974. His son Mercer continues to lead the band. Duke Ellington recorded with many of the most famous vocalists of a half-century. Mahalia Jackson, Ella Fitzgerald, Billie Holiday, Kay Davis, and Adelaide Hall all were featured with Ellington or his band. Many instrumentalists were also fortunate to record with Ellington, including Max Roach, Charlie Mingus, Johnny Hodges, John Coltrane, and Coleman Hawkins, all of whom shared topbilling with Ellington. CONCERTO FOR COOTIE 8 IN A MELLOW TONE 12 KO-KO 20 MORNING GLORY 14 A PORTRAIT OF BERT WILLI,AMS 16 SERENADE TO SWEDEN 18

GEORGE SHEARING Blind since birth, George Shearing's handicap has never interfered with his brilliant piano playing or his imaginative composing and arranging. After playing in a L7-piece blind band led by Claude Bampton, Shearing commenced a solo piano c:lreen Winner of the Meldy Molcer poll for seven years as top Brifish pianisl Shearing moved to the United States where his first big hit was Septemfur ln The Roin, performed by his quintet Shearing is best known intemationally as the composer of Lullaby Of Bidland. Wtitten in 1952 as the theme for the famous night spot, it became the most popular jazz standard of the postwar years. Today, after two White House performances and an honorary doctorate, Shearing's career continues to flourish, with engagemenb as a soloist with the major American symphony orchestas, in educational institutions, and in nightclubs, hotels and jazz festivals both here and abroad.

I GOT IT BAD AND THAT AIN'T INVITATION 23

GOOD

TAURA 28 OVER THE RAINBOW 30 TAKING A CHANCE ON LOVE 32

26

THOMAS "FATS'' WALLER I

Thomas "Fats" Waller, bom in New York City in 1904 was one oI Jaz's most colorful individuals. fu a pianisf organist and songwriter of great ability, and a singer of average talent, he was one of the most popular and irrepressible performers in America. As a songwriter, his tunes have been well-established in the pop repertory; among his best-known being Honeysuckle Ro*, Ain't Misbehauin', Black And Blue, Keepin' Out Of Mischiet' Nour, BIue Tuming Gtay Ouer You, and The Jitterbug Walb. Waller's father was a church minister. His mother was proficient at boththe piano and organ, which perhaps explains his preference for the latter instument in his early recordings. He began piano study at age six, when he received lessons from James P. Johnson, King of the Stide Piano. He also studied with Cal Bohm and Leopold Godowsky. His style had already been developed when he commenced recording in 1922. The early Mrscle Shool Blues and Birmingham Blues both demonstate the flexible stide version that became Waller's tademark. Waller's early work was predominantly as a soloist, but later he worked in several bands, including those of Jack Teagarden, Ted Lewis, Bud Freeman, and Louis Armstong. Waller's real claim to commercial success and fame came in L934, with the first of the Fats Waller & His Rhythm bands, which provided a perlect setting for his infectious singing style. Later attempts at leading his own big band proved unsuccessful. Fats Waller appeared in Hollywood movies such as Siormy Weather and Hooray For Loue, as well as many ftlm shorts. In 1978, Ain't Misbehauin', a Broadway musical featuring his.music, opened to critical acclaim, and revived interest in his career.

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AUNT HAGAR'S BLUES I'M NOBODY'S BABY % rM SITTING ON TOP OF THE WORLD 38 THE JITTERBUG WALTZ M ONCE IN A WHILE M SWINGIN' DOWN THE IANE 46

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MARY LOU WILI,AMS Mary Lou Williams was bom in Pittsburgh in 1910. Her first position in a band was as a member of the group led by alto sax player and future husband, John Williams. She is well known for her lengthy association with Andy Kirk's orchesta as arranger and as pianist from 1931 - L942. She also arranged for Benny Goodman, Duke Ellington, Louis Armstong, Tommy Dorsey, Earl Hines, and others. As a pianist she ranks with the very best; Williams is noted for her rhythmical, two-fisted style at the keyboard. Mary Lou Williams is also a multi-faceted composer, contibuting to the Ellington and Goodman repertoires, as well as writing two beautiful Masses. For the past two years she has served on the faculty of Duke University. DON'T BI.AME ME HOW AM I TO KNOW IN A MIST 52 SLEEPY TIME GAL

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BOB ZURKE Bob Zurke rose to prominerrce as a pianist when he replaced Joe Sullivan with the Bob Crosby band in late 1936. Considered one of the prernier boogie-woogie performers of his day, he achleved great populadty. After leaving Crosby in 1939, he led his own band but reallzed no commercial succes. His last years were spent as a soloist in Los Angeles.

AT STINDOWN 56 CHINA BOY 58 ONE O'CLOCK JI.JMP 60

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JESS STACY

One of the glirrg era's top pianists, Jess Stacy performed with some of the best of the Big Bands, Cttfufly selGtarght, and with a background of riverboat performing, Stacy rose to fame foi fffu E€rTry G -oodman band. In addifion to s€rr€ral sfids *rith Goodman, Stacy performed r+i$r tre ban& of F{orace Heidt; Tommy Dorsey, and Jack Teagarden, as well as fcming hb o*rn goup. He has recorded with G€ne Krupa, Lionel Hampton, t{arry Jarires, and Eddie Condon.

--FCffiT- clE E+l,er i[rAY 68 I'M COMII\G VIRGINIA 74 $lFlG, SEYC. SING (Wtrh A Scflrs) 90 SWIIIGTIME IN THE ROCKIES 78 TWO O'CLOCK JUMP U

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