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"Harlem Nocturne" is a jazz standard written by Earle Hagen (music) and Dick Rogers (lyrics) in 1939 for the Ray Noble orchestra, of which they were members. [1] The song was chosen by the big-band leader Randy Brooks the next year as his theme song.
The Viscounts were an American pop group from New Jersey, formed in 1958.They had one hit single, with Earle Hagen's instrumental classic "Harlem Nocturne" in 1959, which peaked at #52 in the U.S. Billboard Hot 100 chart in early 1960; it was re-released in 1965 and hit #39 the second time around. [1]
While working with Noble in 1939, he wrote "Harlem Nocturne" as a tribute to Duke Ellington and Johnny Hodges. [ 1 ] [ 3 ] The piece was recorded by many artists, including Johnny Otis , Randy Brooks , Herbie Fields , Sam "The Man" Taylor , Earl Bostic , Charlie Barnet , The Viscounts , King Curtis , Quincy Jones , Les Elgart , Larry Elgart ...
Eugene Earl Bostic (April 25, 1913 – October 28, 1965) [1] was an American alto saxophonist. Bostic's recording career was diverse, his musical output encompassing jazz, swing, jump blues and the post-war American rhythm and blues style, which he pioneered.
Richard Rogers (1912–1970) was a singer, comedian, songwriter and pianist, who wrote the lyrics for "Harlem Nocturne". [1] [2] [3] He was a member of the Ray Noble orchestra and the Will Osborne band. [4] Rogers was associated with Will Osborne, a "star crooner" who was on the radio in the 1930s. [2] Osborne's band was on the decline in 1940. [2]
The Lounge Lizards is the first album by the Lounge Lizards.It features hectic instrumental jazz. The songs are mostly composed by band leader and saxophone player John Lurie. [2]
His most famous recording is probably the version of "Harlem Nocturne" used as the theme song in Mickey Spillane's Mike Hammer. [2] He is also known for the soundtrack recordings with his group to the surfing films of Bruce Brown in the late 1950s and early 1960s, and for the alto flute solo on the song " California Dreamin ' " recorded by the ...
The Allmusic review by Scott Yanow noted "although these concise interpretations are not essential, the music is quite pleasing". [5] On All About Jazz Jack Bowers said "One can’t help noticing that, unlike many of today’s inseparable clones, Kenton’s soloists — most of them, anyway — are almost instantly identifiable.