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The script also required Armstrong to play "Ain't Misbehavin '" in a trumpet solo, and although this was initially slated only to be a reprise of the opening song, Armstrong's performance was so well received that the trumpeter was asked to climb out of the orchestra pit and play the piece on stage.
Ain't Misbehavin' is a musical revue with a book by Murray Horwitz and Richard Maltby Jr., and music by various composers and lyricists as arranged and orchestrated by Luther Henderson. It is named after the song by Fats Waller (with Harry Brooks and Andy Razaf), "Ain't Misbehavin'". The musical is a tribute to the music of Fats Waller.
Andy Razaf (born Andriamanantena Paul Razafinkarefo; December 16, 1895 – February 3, 1973) [1] was an American poet, composer, and lyricist of such well-known songs as "Ain't Misbehavin'" and "Honeysuckle Rose".
Thomas Wright "Fats" Waller (May 21, 1904 – December 15, 1943) was an American jazz pianist, organist, composer, and singer. [1] His innovations in the Harlem stride style laid much of the basis for modern jazz piano.
Richard Eldridge Maltby Jr. [1] (born October 6, 1937) is an American theatre director and producer, lyricist, and screenwriter.He conceived and directed the only two musical revues to win the Tony Award for Best Musical: Ain't Misbehavin' (1978: Tony, N.Y. Drama Critics, Outer Critics, Drama Desk Awards, also Tony Award for Best Director) and Fosse (1999: Tony, Outer Critics, Drama Desk Awards).
Ain't Misbehavin', a 1997 British TV miniseries starring Jerome Flynn and Robson Green Topics referred to by the same term This disambiguation page lists articles associated with the title Ain't Misbehavin' .
Tommy Bruce (16 July 1937 – 10 July 2006) was an English rock and roll singer who had most of his success in the early 1960s. His cover version of " Ain't Misbehavin' " was a number 3 hit in the UK Singles Chart in 1960.
arwulf arwulf [], writing for allmusic, described the recordings as having been "beautifully restored."[7]Harvey Pekar, writing for The Austin Chronicle, gave the set a five-star rating (of a possible five), noting that "[Morton's] oral history here is provocative, and his playing bears out some of the hard-to-believe statements that have been made by (and about) him."