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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.
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 ...
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 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]
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.
He also played on "Harlem Nocturne"; on "Money Honey", recorded by Clyde McPhatter and the Drifters in 1953; and on "Sh-Boom" by the Chords. During the 1960s, he led a five-piece band, the Blues Chasers. In the 1970s, he frequently played and recorded in Japan. [2] Taylor died in 1990 in Crawford Long Hospital, in Atlanta, Georgia, at the age ...
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Harlem Nocturne" [72] [73] [74] is a song composed by Earle Hagen with lyrics by Dick Rogers. "Star Eyes" [75] is a song from the film I Dood It, written by Gene de Paul and Don Raye. It was introduced by Helen O'Connell and Bob Eberly in the film and became popular among jazz artists after Charlie Parker's 1951 recording. [76]