Baltimore Oriole


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Baltimore Oriole (m. Hoagy Carmichael, w. Paul Francis Webster) — copyright date: 13 March 1942

lyric: Lyric Wiki, International Lyrics Playground

Hoagy Carmichael — Carmichael recorded the song for the soundtrack of the 1944 film To Have and Have Not. Around, the short-lived record label American Recording Artists, later ARA, issued a recording of “Baltimore Oriole” by Hoagy Carmichael and his Orchestra (ARA 142A), b/w “Sweet Lorraine.” Carmichael also made a special 1944 recording for the V-disc project, which was issued as the B-side of V-Disc 383.

Hoagy Carmichael and his Orchestra(?) — probably ARA 142A, b/w “Sweet Lorraine,” issued c. 1945

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In 1956, and Carmichael recorded the song again, with a group of jazz musicians arranged and conducted by Johnny Mandel. Eleven recordings from the sessions at the Forum Theatre on 10, 11, and 13 September 1956 were released on the 1957 Pacific Jazz Records LP “Hoagy Sings Carmichael with the Pacific Jazzmen,” PJ 1223. AllMusic’s review of the album indicates the support of an “11-piece all-star jazz group,” though discogs.com lists only six musicians for the album. I haven’t found an audio file of this recording yet.

1958 Ole Buttermilk Sky, Hoagy Carmichael, LP Kapp KL 1086 (1)

Hoagy Carmichael — from the 1958 LP Ole Buttermilk Sky, Kapp KL 1086

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Barbara Lea 1956, by Bob ParentBarbara Lea with the Johnny Windhurst Quartet — recorded on 18 October 1956 at Van Gelder Studio, Hackensack — Barbara Lea (ldr), Dick Cary (ah), Johnny Windhurst (t), Al Hall (b), Dick Hyman* (p), Osie Johnson (d), Barbara Lea (v)

Barbara Lea biography:

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Bob Dorough — from his debut album Devil May Care, Bethlehem Records BCP-11, released in October 1956

Dorough had evidently been misinformed about the location of the Tangipahoa River, which he places “near Baltimore.” According to Wikipedia, the Tangipahoa originates in southwest Mississippi, and runs for 122 miles, extending into southeast Louisiana.

Bob Dorough biography:

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Carmen McRae — recorded on 8 August 1958 and released on the 1958 LP Birds of a Feather, Decca DL 8815

Carmen McRae inscribed_1personnel:
Carmen McRae (vocal), Irving ‘Marky’ Markowitz (trumpet), Al Cohn (tenor sax), Ben Webster (tenor sax), Don Abney (piano), Barry Galbraith (guitar), Aaron Bell (bass), Don Lamond (drums); arranged by Ralph Burns

See the review of the recording at Jazz.com, by Thomas Cunniffe.

The duration of the audio file in the first video below agrees with the track length given by CarmenMcRae.com and Amazon, while that in the second video is about 19 seconds shorter. However, the second doesn’t appear to be cut. Instead, comparison of the two indicates that the speed has been increased in the audio file used in the second video by about 8.3%, roughly 1/12th.

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(below) with speed evidently increased, reducing the length by about 19 seconds

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Hoagy Carmichael: selected standards, 1929 to 1942 + Washboard Blues, 1925


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Selected standards with music by Hoagy Carmichael, 1929-1942 + Washboard Blues:

hoagy-carmichael-2-f151925Washboard Blues (Hoagy Carmichael, Fred B. Callahan, Irving Mills)

1929Stardust (m. Hoagy Carmichael, w. Mitchell Parish)

1930 Georgia On My Mind (m. Hoagy Carmichael, w. Stuart Gorrell)

1933 Lazybones (m. Hoagy Carmichael, w. Johnny Mercer)

1938The Nearness of You (m. Hoagy Carmichael, w. Ned Washington)

1938 Heart and Soul (m. Hoagy Carmichael, w. Frank Loesser)

1941Skylark (m. Hoagy Carmichael, w. Johnny Mercer)

1942Baltimore Oriole  (m. Hoagy Carmichael, w. Paul Francis Webster)

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A Weaver of Dreams


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A Weaver of Dreams (m. Victor Young, w. John Elliot)

Victor Young 01

Victor Young biographies:

“A Weaver of Dreams” – lyric

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Nat King Cole — recorded at Capitol Studios, Hollywood, 14 September 1951; issued as the B-side of the single “Wine, Women and Song” (Capitol 1925); included in the 1952 Cole jazz compilation 8 Top Pops

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Cannonball Adderley Quintet — recorded on 3 February 1959 at Universal Recorders Studio B, Chicago; released on the Mercury label as Cannonball Adderley Quintet in Chicago, MG 20449 (mono), SR 60134 (stereo) — note: Adderley plays on all of the album tracks except this one

personnel:

  • John Coltrane – tenor saxophone
  • Wynton Kelly – piano
  • Paul Chambers – bass
  • Jimmy Cobb – drums

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Sonny Rollins Trio — live in Laren, Netherlands — 7 March 1959

Sonny Rollins: saxophone
Henry Grimes: bass
Pete La Roca: drums

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1961 Weaver of Dreams, Kenny Burrell, Columbia  LP CS 8503Kenny Burrell — title track from the 1961 Columbia LP CS 8503, recorded from October 18, 1960-June 28, 1961 in New York City

album personnel:

  • Kenny Burrell – guitar, vocals
  • Bobby Jaspar – tenor saxophone
  • Tommy Flanagan – piano
  • Joe Benjamin, Wendell Marshall – bass
  • Bill English, Bobby Donaldson – drums

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Johnny Mathis — from the 1963 Columbia LP Johnny, CS 8844 (stereo), CL 2044 (mono)

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Carolina in the Morning


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Carolina in the Morning (m.Walter Donaldson, w. Gus Kahn)

1922_carolina-in-the-morning-donaldson_aileen-stanley_1_f44The song had its debut in the Broadway musical revue The Passing Show of 1922 at the Winter Garden Theater, which opened on 20 September 1922, and closed after 85 performances on 2 December 1922. Vaudeville performers incorporated the song into their acts and helped popularize it. Notable recordings when the song was new were made by such artists as Marion Harris, and Van and Schenck.*
Other artists to have later successes with the song included Bing Crosby, Dean Martin, Jimmy Durante, Dinah Shore, Judy Garland, and Danny Kaye. In 1957, Bill Haley & His Comets recorded a rock and roll version.
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The original 1922 lyrics (now public domain in the United States due to age) are given below. The chorus remains well known, but the verses have generally been omitted from vocal performances since the early years of the song’s popularity. The verses give a hint of melancholy to the song, while the chorus on its own can be an almost ecstatic reverie. — adapted from the Wikipedia song profile

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1st verse:
Wishing is good time wasted
Still it’s a habit they say
Wishing for sweets I’ve tasted
That’s all I do all day
Maybe there’s nothing in wishing
But speaking of wishing I’ll say:

chorus:
Nothing could be finer than to be in Carolina in the morning
No one could be sweeter than my sweetie when I meet her in the morning
Where the morning glories
Twine around the door
Whispering pretty stories
I long to hear once more

Strolling with my girlie where the dew is pearly early in the morning
Butterflies all flutter up and kiss each little buttercup at dawning,
If I had Aladdin’s lamp for only a day
I’d make a wish and here’s what I’d say:
Nothing could be finer than to be with Carolina in the morning.

2nd verse:
Dreaming was meant for nighttime
I live in dreams all the day
I know it’s not the right time
But still I dream away
What could be sweeter than dreaming
Just dreaming and drifting away

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1922 Carolina in the Morning--Van and Schenck, Columbia A-3712, recorded on 18 September 1922-d40-g151922 Carolina In the Morning, Van and Shenck, Columbia A 3712

Van and Schenk – recorded on 18 September 1922; issued on Columbia A 3712, c/w “I’m Gonna Plant Myself In My Old Plantation Home”; the recording date is two days prior to the Broadway premiere of The Passing Show of 1922

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Paul Whiteman Orch. c.1922_1

1922 Carolina in the Morning (Donaldson), Paul Whiteman, Victor 18962-A (1)-f8-hx371922 Cow Bells (Al Piantadosi), Zez Confrey, Victor 18962-B-f8-hx50

Paul Whiteman and his Orchestra — recorded on 21 September 1922; issued on Victor 18962, b/w “Cow Bells,” recorded by Zez Confrey and his Orchestra

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Victor Young: selected standards


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Victor Young 3

Selected standards with music by Victor Young:

Victor Young-1

1931 Beautiful Love (music co-written)

1932I Don’t Stand a Ghost of a Chance With You

1944Stella By Starlight (lyric, 1946)

1945Love Letters

1947Golden Earrings

1949 My Foolish Heart

1951A Weaver of Dreams

1952 When I Fall In Love

Victor Young biographies:

Victor Young 2Victor Young 01

Beautiful Love


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Beautiful Love (m. Wayne King, Victor Young, Egbert Van Alstyne, w. Haven Gillespie)

According to Wikipedia: “It was introduced by the Wayne King Orchestra in 1931. The song has been called the “second favourite number” of King, after the Orchestra’s theme song The Waltz You Saved for Me.”[1]

The song was featured in the soundtrack of the 1932 horror film The Mummy, played (according to IMDb) “during the ball sequence where Helen is telepathically called to the museum.”

This is a popular jazz standard. Ten to fifteen minute combo and solo excursions in which the melody is inevitably obscured, or ignored entirely, for long tedious stretches are not uncommon. I’ve omitted renderings of that sort for now.

Victor Young 01Wayne King 1931

(above) Victor Young (l.), and Wayne King

From the Arden-Ohman Orchestra biography by Eugene Chadbourne at All Music:

Victor Arden and Phil Ohman (1)This orchestra came up with frequent hit recordings during the 30′s, including classics of Americana such as “I Love a Parade”. For a decade beginning in 1925, the Arden-Ohman orchestra held forth in the ‘pits’ of many long-running Broadway hits, and recorded a repertoire of mostly show tunes. The membership of the pit bands and the recording studio orchestras was sometimes quite different, the bandleaders allowing the evening show players to get some rest while tunes were being recorded during the day. The group was formed by a pair of pianist and songwriters. Victor Arden came to New York quite early in the 20th century in order to make piano rolls. This is where he met Phil Ohman, another hotshot keyboard dazzler. The two formed a piano duo based on their many mutual musical interests, gaining an impressive reputation in the many small clubs clustered around the area of 52nd Street. [read more]

Victor Arden-Phil Ohman and their Orchestra, vocal: Frank Luther — recorded on 24 April 1931; issued as the B-side of Victor 22690, “In a Cafe on the Road to Calais”

VBR MP3 (3.7 MB) — from archive.org


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Melody for Two-37-James Melton-t50

James Melton — recorded on 15 May 1931; issued as the Columbia label single 2465D, c/w “Now You’re In My Arms”

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Art Tatum — 1934

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Beautiful Love, Bing Crosby, Decca 18735B, 1944 (1)Eudice Shapiro 1

Bing Crosby with orchestra arranged and conducted by Victor Young, featuring a violin solo by Eudice Shapiro  — recorded in Los Angeles on 24 July 1944; issued as the B-side of Decca 18735, “Symphony”

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Jay Wilbur Orchestra — early 1950s

Jay Wilbur biographies: memorylane.org.uk, solarvan.co.uk/arthurdulay, Wikipedia

The video provider says,

This music was recorded from a 10 inch LP, “Favorites for Listening,” issued sometime in the early 1950s on the TOPS label, serial number L 967. These LPs sold for 98 cents each. Tops discontinued this series around 1956.

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Dancing In the Dark


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Dancing In the Dark (m. Arthur Schwartz, w. Howard Dietz)

Wikipedia:

1931 I Love Louisa, Band WagonDancing In the Dark…was first introduced by John Barker in the 1931 revue The Band Wagon. The 1941 recording by Artie Shaw and His Orchestra earned Shaw one of his eight gold records at the height of the Big Band era of the 1930s and 1940s.

It was subsequently featured in the classic 1953 MGM musical The Band Wagon and has since come to be considered part of the Great American Songbook. In the film it is given a ‘sensual and dramatic’[1] orchestration by Conrad Salinger for a ballet performance by Fred Astaire and Cyd Charisse.

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Waring's-Pennsylvanians-in Paris-Ambassadeurs-1928

(above) Waring’s Pennsylvanians photographed in front of Les Ambassadeurs in Paris, 1928

Fred Waring’s Pennsylvanians — recorded on 18 May 1931; issued as the B-side of the Victor single 22708, “High and Low (I’ve Been Looking For You)” (Schwartz, Dietz). The chorus is initially sung by a male vocal group, and then the B-section or bridge is sung by a female group, the “Three Waring Girls,” followed by an instrumental break (the third A section). The two groups share the vocals in an abbreviated final section.

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Jacques Renard and his Orchestra, vocal: Frank Munn – Brunswick label 78 rpm single 6136, b/w “High and Low (I’ve Been Looking For You)”, both sides recorded on 3 June 1931

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Bing Crosby — recorded on 19 August 1931 and issued in 1931 as the Brunswick label 78 rpm single 6169, c/w “Stardust” (recorded on the same day) — Bing Crosby (voc), Victor Young (dir), Joe Venuti (vln)

Audio file, from the Internet Archive (archive.org)


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Victor Salon Orchestra, conducted by Nathaniel Shilkret — recorded on 15 October 1931; issued as the B-side of the Victor 78 rpm single “Stardust”, 22848.

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Ben Selvin and his Orchestra — 1931

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ambrose-orch-feb-1933-e1-d20sh5

Ambrose and his Orchestra at the May Fair Hotel, London, vocal: Sam Browne — recorded on 11 January 1932

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Nelson Eddy — date unknown

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