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The song's jazz popularity was established by Benny Goodman's 1941 recording with singer Peggy Lee. Coleman Hawkins made a popular jazz version in 1943, and Charlie Parker recorded it as a ballad in 1947. [60] "I Don't Stand a Ghost of a Chance with You" [4] [61] [62] was composed by Victor Young with lyrics by Bing Crosby and Ned Washington ...
Complementary to Rodgers' characteristic blues guitar, the recording session featured a jazz combo the singer found while visiting a bar in Atlanta, Georgia, just before the recording session. It became one of Rodgers' most popular songs, as the Wall Street Crash of 1929 made the composition relatable to everyday life during the Great ...
Richard Rodgers and Lorenz Hart. According to the Great American Songbook Foundation: . The "Great American Songbook" is the canon of the most important and influential American popular songs and jazz standards from the early 20th century that have stood the test of time in their life and legacy.
A style of piano-playing based on the blues, boogie-woogie was briefly popular among mainstream audiences and blues listeners. At the heights of the Great Depression, gospel music started to become popular by people like Thomas A. Dorsey and Mahalia Jackson, who adapted Christian hymns to blues and jazz structures. By 1925, three main styles of ...
The Great Depression had started. Unemployment rates had risen to 25% of the workforce, and up to 60% of African American men were out of work. Cities were crowded with workseekers. Black musicians were not allowed to play in studios or on radio. However, jazz music was resilient.
Swing jazz emerged as a dominant form in American music, 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, Glenn Miller, and Artie Shaw.
"If 'twer the Time of Lilies", for two-part choir and piano, H187; Jazz-Band Piece; Jig, for piano, H179; John Ireland – A Downland Suite; Dmitri Kabalevsky – Symphony No. 1; Ernst Krenek – Kantate von der Vergänglichkeit des Irdischen, for soprano, mixed choir, and piano, Op. 72 (texts by P. Fleming, A. Gryphius, and other 17th-century ...