Music Box – Body and Soul – Coleman Hawkins

Coleman Hawkins (Coleman Randolph Hawkins 1904 -1969) American jazz musician whose improvisational mastery of the tenor saxophone helped establish it as one of the most popular instruments in jazz. Hawkins was the first major saxophonist in the history of jazz.

At age four Hawkins began to study the piano, at seven the cello, and at nine the saxophone.

Hawkins became a professional musician in his teens, and, while playing with Fletcher Henderson’s big band between 1923 and 1934, he reached his artistic maturity and became acknowledged as one of the great jazz artists.

Hawkins left the band to tour Europe for five years and then crowned his return to the United States in 1939 by recording the hit “Body and Soul,” an outpouring of irregular, double-timed melodies that became one of the most imitated of all jazz solos.

Hawkins was one of the first jazz horn players with a full understanding of intricate chord progressions, and he influenced many of the great saxophonists of the swing era (notably Ben Webster and Chu Berry) as well as such leading figures of modern jazz as Sonny Rollins and John Coltrane.

Hawkins’ deep, full-bodied tone and quick vibrato were the expected style on jazz tenor until the advent of Lester Young, and even after Young’s appearance many players continued to absorb Hawkins’s approach.

One of the strongest improvisers in jazz history, Hawkins delivered harmonically complex lines with an urgency and authority that demanded the listener’s attention. He was also a noted ballad player who could create arpeggiated, rhapsodic lines with an intimate tenderness that contrasted with his gruff attack and aggressive energy at faster tempos.

Hawkins gave inspired performances for decades, managing to convey fire in his work long after his youth.

From the 1940s on he led small groups, recording frequently and playing widely in the United States and Europe with Jazz at the Philharmonic and other tours.

Hawkins willingly embraced the changes that occurred in jazz over the years, playing with Dizzy Gillespie and Max Roach in what were apparently the earliest bebop recordings (1944).

In time Hawkins also became an outstanding blues improviser, with harsh low notes that revealed a new ferocity in his art.

Bio Reference Attribution https://www.britannica.com/biography/Coleman-Hawkins

Photo Attribution © (Photographer Unstated), Coleman Hawkins, c.1945 (d on page 15 of June 30, 1945 Billboard magazine)

Source Attribution 

https://en.wikipedia.org/wiki/Coleman_Hawkins#/media/File:Coleman_Hawkins.jpg

Music Attribution © Coleman Hawkins – Body and Soul (Coleman Hawkins & His Orchestra / Gene Rodgers on piano)

Video Attribution Classic Mood Experience

Source Attribution https://www.youtube.com/watch?v=Pkvju_DlP8A

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Music Box – Stand By Me – Ben E. King

Benjamin Earl King (1938 -2015) was an American soul and R&B singer and record producer.

King is best known as the singer and co-composer of “Stand by Me”—a U.S. Top 10 hit, both in 1961 and later in 1986 (when it was used as the theme to the film of the same name), a number one hit in the United Kingdom in 1987.

King was one of the principal lead singers of the R&B vocal group The Drifters, notably singing the lead vocals of one of their biggest global hit singles (and only U.S. #1 hit) “Save the Last Dance for Me”.

In 1958, King joined a doo-wop group called the Five Crowns.Later that year, the Drifters’ manager George Treadwell fired the members of the original Drifters, and replaced them with the members of the Five Crowns.

King had a string of R&B hits with the group on Atlantic Records. He co-wrote and sang lead on the first Atlantic hit by the new version of the Drifters, “There Goes My Baby” (1959).

He sang lead on a succession of hits by the team of Doc Pomus and Mort Shuman, including “Save the Last Dance for Me”, “This Magic Moment”, and “I Count the Tears”.

King recorded only thirteen songs with the Drifters—two backing other lead singers and eleven lead vocal performances—including a non-single called “Temptation” (later redone by Drifters vocalist Johnny Moore).

The last of the King-led Drifters singles to be released was “Sometimes I Wonder”, which was recorded May 19, 1960, but not issued until June 1962.

“Stand by Me”, written with Jerry Leiber and Mike Stoller, ultimately would be voted as one of the Songs of the Century by the Recording Industry Association of America.

Bio Reference Attribution https://en.wikipedia.org/wiki/Ben_E._King

Photo Attribution © Steve Marcus/ Reuters, Benjamin Earl King, 2010

Source Attribution https://www.newsweek.com/stand-me-singer-ben-e-king-dies-327646

Stand by Me

When the night has come
And the land is dark
And the moon is the only light we’ll see
No I won’t be afraid, no I won’t be afraid
Just as long as you stand, stand by me

And darlin’, darlin’, stand by me, oh now now stand by me
Stand by me, stand by me

If the sky that we look upon
Should tumble and fall
And the mountains should crumble to the sea
I won’t cry, I won’t cry, no I won’t shed a tear
Just as long as you stand, stand by me

And darlin’, darlin’, stand by me, oh stand by me
Stand by me, stand by me, stand by me-e, yeah

Whenever you’re in trouble won’t you stand by me, oh now now stand by me
Oh stand by me, stand by me, stand by me

Darlin’, darlin’, stand by me-e, stand by me
Oh stand by me, stand by me, stand by me

Lyrics Source Attribution https://www.youtube.com/watch?v=hwZNL7QVJjE

Music Attribution © Ben E. King / Mike Stoller, Jerry Leiber, Stand By Me

Video Attribution Soulful Sounds

Source Attribution https://www.youtube.com/watch?v=hwZNL7QVJjE

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Music Box – Beguin The Beguine – Played by Artie Shaw and his orchestra

Artie Shaw (1910 – 2004) was an American clarinetist, composer, bandleader, actor and author of both fiction and non-fiction.

Widely regarded as “one of jazz’s finest clarinetists”, Shaw led one of the United States’ most popular big bands in the late 1930s through the early 1940s.

Though he had numerous hit records, he was perhaps best known for his 1938 recording of Cole Porter’s “Begin the Beguine.”

Before the release of “Beguine,” Shaw and his fledgling band had languished in relative obscurity for over two years and, after its release, he became a major pop artist within short order.

The record eventually became one of the era’s defining recordings.

Musically restless, Shaw was also an early proponent of what became known much later as Third Stream music, which blended elements of classical and jazz forms and traditions.

His music influenced other musicians, such as Monty Norman in England, with the vamp of the James Bond Theme, possibly influenced by 1938’s “Nightmare”.

Shaw also recorded with small jazz groups drawn from within the ranks of the various big bands he led.

He served in the US Navy from 1942 to 1944, (during which time he led a morale-building band that toured the South Pacific amidst the chaos of World War II) and, following his discharge in 1944, he returned to lead a band through 1945.

Following the breakup of that band, he began to focus on other interests and gradually withdrew from the world of being a professional musician and major celebrity, although he remained a force in popular music and jazz before retiring from music completely in 1954.

Bio Reference Attribution https://en.wikipedia.org/wiki/Artie_Shaw

Photo Attribution © William P. Gottlieb, Artie Shaw, c.1947

Source Attribution https://en.wikipedia.org/wiki/Artie_Shaw#/media/File:Artie_Shaw_(Gottlieb_07771).jpg

Music Attribution © Artie Shaw, Beguin the Beguine, (Written by Cole Porter)

Video Attribution Arnold Beltran

Source Attribution https://www.youtube.com/watch?v=cCYGyg1H56s

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Music Box – Allegro in D Major – Mozart – Seong-Jin Cho

Wolfgang Amadeus Mozart, (1756 -1791), Austrian composer, widely recognized as one of the greatest composers in the history of Western music.

© (Artist Unstated), Wolfgang Mozart, Photo: Universal History Archive/Getty Images

With Haydn and Beethoven he brought to its height the achievement of the Viennese Classical school.

Unlike any other composer in musical history, he wrote in all the musical genres of his day and excelled in every one.

His taste, his command of form, and his range of expression have made him seem the most universal of all composers writing operas, symphonies, piano works, chamber pieces and concertos; it may also be said that his music was written to accommodate the specific tastes of particular audiences.

Music Attribution © Mozart, Allegro in D Major,

Video Attribution 훈픽

Source Attribution https://www.youtube.com/watch?v=7mn9nkVRl2A

Bio Reference Attribution https://www.britannica.com/biography/Wolfgang-Amadeus-Mozart

Photo Attribution © (Artist Unstated), Wolfgang Mozart, Photo: Universal History Archive/Getty Images

Source Attribution https://www.biography.com/musician/wolfgang-mozart

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Music Box – Lullaby op.49,no.4 – Anne-Sophie Mutter

Johannes Brahms, (1833 -1897), German composer and pianist of the Romantic period, who wrote symphonies, concerti, chamber music, piano works, choral compositions, and more than 200 songs.

Brahms was the great master of symphonic and sonata style in the second half of the 19th century. He can be viewed as the protagonist of the Classical tradition of Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven in a period when the standards of this tradition were being questioned or overturned by the Romantics.

Brahms’ reputation and status as a composer are such that he is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the “Three Bs” of music, a comment originally made by the nineteenth-century conductor Hans von Bülow.

Brahms composed for symphony orchestra, chamber ensembles, piano, organ, and voice and chorus. A virtuoso pianist, he premiered many of his own works. He worked with some of the leading performers of his time, including the pianist Clara Schumann and the violinist Joseph Joachim (the three were close friends).

Many of his works have become staples of the modern concert repertoire. An uncompromising perfectionist, Brahms destroyed some of his works and left others unpublished.

Brahms has been considered, by his contemporaries and by later writers, as both a traditionalist and an innovator. His music is firmly rooted in the structures and compositional techniques of the Classical masters.

While many contemporaries found his music too academic, his contribution and craftsmanship have been admired by subsequent figures as diverse as Arnold Schoenberg and Edward Elgar.

The diligent, highly constructed nature of Brahms’s works was a starting point and an inspiration for a generation of composers. Embedded within his meticulous structures, however, are deeply romantic motifs.

Music Attribution © Johannes Brahms, Lullaby op.49,no.4

Video Attribution Petre-Daniel Coman

Source Attribution https://www.youtube.com/watch?v=GcqTxDsrMyo

Bio Reference Attribution https://www.britannica.com/biography/Johannes-Brahms & https://en.wikipedia.org/wiki/Johannes_Brahms

Photo Attribution Johannes Brahms, c.1889, Photos.com/Thinkstock

Source Attribution https://www.britannica.com/biography/Johannes-Brahms

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Music Box – If You Could Read My Mind – Gordon Lightfoot

If You Could Read My Mind, ©1969 by Gordon Lightfoot

If you could read my mind, love,
What a tale my thoughts could tell.
Just like an old time movie,
'Bout a ghost from a wishing well.
In a castle dark or a fortress strong,
With chains upon my feet.
You know that ghost is me.
And I will never be set free
As long as I'm a ghost that you can't see. 
                                        
If I could read your mind, love,
What a tale your thoughts could tell.
Just like a paperback novel,
The kind the drugstores sell.
Then you reached the part where the heartaches come,
The hero would be me.
But heroes often fail,
And you won't read that book again
Because the ending's just too hard to take!
                                        
I'd walk away like a movie star
Who gets burned in a three way script.
Enter number two:
A movie queen to play the scene
Of bringing all the good things out in me.
But for now, love, let's be real;
I never thought I could  feel this way
And I've got to say that I just don't get it.
I don't know where we went wrong,
But the feeling's gone
And I just can't get it back. 
                                        
If you could read my mind, love,
What a tale my thoughts could tell.
Just like an old time movie,
'Bout a ghost from a wishing well.
In a castle dark or a fortress strong.
With chains upon my feet.
But stories always end,
And if you read between the lines,
You'd know that I'm just tryin' to understand
The feelin's that you lack.
I never thought I could feel this way
And I've got to say that I just don't get it.
I don't know where we went wrong,
But the feelin's gone
And I just can't get it back!

Music Attribution © Gordon Lightfoot, If You Could read My Mind

Lyrics Source http://www.gordonlightfoot.com/ifyoucouldreadmymind.shtml

Video Attribution  ed bugees

Source Attribution https://www.youtube.com/watch?v=Of4i1aaBXm8

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Music Box – Silent Night – Pan Flute

Music Attribution © Silent Night composed in 1818 by Franz Xaver Gruber to lyrics by Joseph Mohr.

Instrumental Attribution (Instrumentalist Unstated)

Video Attribution serafinovoice_christmas

Source Attribution https://www.youtube.com/watch?v=6N48ilgUzY4

Image Attribution https://www.flickr.com/photos/jurvetson/2127348012

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