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RELEASE
ALBUMS
Rhapsody in Blue (Gewandhausorchester Leipzig feat. conductor: Riccardo Chailly, piano: Stefano Bollani)
(Released 2010)
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- Rhapsody in Blue (Jazz Band version)
- Porgy and Bess: Catfish Row Suite: Catfish Row
- Porgy and Bess: Catfish Row Suite: Porgy Sings
- Porgy and Bess: Catfish Row Suite: Fugue
- Porgy and Bess: Catfish Row Suite: Hurricane
- Porgy and Bess: Catfish Row Suite: Good Mornin', Sistuh!
- Concerto in F: Allegro
- Concerto in F: Adagio / Andante con moto
- Concerto in F: Allegro agitato
- Rialto Ripples
"I Got Rhythm": Musik für 2 Klaviere (feat. pianos: Katia & Marielle Labèque)
(Released 2010)
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- Second Rhapsody: I. Allegro
- Second Rhapsody: II. Sostenuto e con moto
- "I Got Rhythm" Variations: Introduction & Theme
- "I Got Rhythm" Variations: Variation I. Moderato
- "I Got Rhythm" Variations: Variation II. Allegretto. Valse triste
- "I Got Rhythm" Variations: Variation III. Allegretto giocoso. Chinese variation
- "I Got Rhythm" Variations: Variation IV. Allegretto - Andantino
- "I Got Rhythm" Variations: Variation V. Allegro
- Two Waltzes
- Blue Monday: Part I
- Blue Monday: Part II
- Blue Monday: Part III
- Our Love Is Here To Stay
- Embraceable You
Rhapsody in Blue / An American in Paris (Boston Pops Orchestra feat. conductor: Arthur Fiedler, piano: Earl Wild)
(Released 2010)
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- Rhapsody in Blue
- Concerto in F Allegro
- Concerto in F Adagio; Andante con moto
- Concerto in F Allegro agitato
- An American in Paris
- Variations on "I Got Rhythm"
- Cuban Overture
Porgy and Bess (feat. conductor: Nikolaus Harnoncourt)
(Released 2009)
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- Porgy and Bess: Act II, Scene I: 'Lo, Bess, goin' to de picnic?
- Porgy and Bess: Act II, Scene I: Honey, we sure goin' strut our stuff today!
- Porgy and Bess: Act II, Scene I: Bess, you is my woman now
- Porgy and Bess: Act II, Scene I: Oh, I can't sit down
- Porgy and Bess: Act II, Scene II: I ain't got no shame doin' what I like to do!
- Porgy and Bess: Act II, Scene II: It ain't necessarily so
- Porgy and Bess: Act II, Scene II: Shame on all you sinners
- Porgy and Bess: Act II, Scene II: Crown! / You know very well dis Crown!
- Porgy and Bess: Act II, Scene II: Oh, what you want wid Bess?
- Porgy and Bess: Act II, Scene III: Honey, dat's all de breakfast I got time for
- Porgy and Bess: Act II, Scene III: Well, if it ain' ole Peter!
- Porgy and Bess: Act II, Scene III: Oh, Doctor Jesus
- Porgy and Bess: Act II, Scene III: Oh dey's so fresh an' fine
- Porgy and Bess: Act II, Scene III: I'm talkin' about devil crabs
- Porgy and Bess: Act II, Scene III: Porgy, Porgy, dat you there, ain' it?
- Porgy and Bess: Act II, Scene III: If dere war'nt no Crown
- Porgy and Bess: Act II, Scene III: Why you been out on that wharf so long, Clara?
- Porgy and Bess: Act II, Scene IV: Oh, de Lawd shake de Heavens an' de Lawd rock de groun'
- Porgy and Bess: Act II, Scene IV: One of dese mornin's you goin' to rise up singin'
- Porgy and Bess: Act II, Scene IV: Oh, dere's somebody knockin' at de do'
- Porgy and Bess: Act II, Scene IV: You is a nice parcel of Christians
- Porgy and Bess: Act II, Scene IV: A read-headed woman make a choo-choo jump its track
- Porgy and Bess: Act II, Scene IV: Oh! Jake's boat in de river upside down!
- Porgy and Bess: Act II, Scene IV: All right, I'm goin' out to get Clara...Oh, Doctor Jesus
An American in Paris (Saint Louis Symphony feat. conductor: Leonard Slatkin) / Rhapsody in Blue (London Sinfonietta feat. conductor: Simon Rattle) / Catfish Row (Leonard Slatkin) / Cuban Overture (London Symphony Orchestra feat. conductor: André Previn)
(Released 2008)
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- An American in Paris
- Rhapsody in Blue
- Catfish Row
- Porgy Sings
- Fugue
- Hurricane
- Good Mornin', Sistuh
- Lullaby
- Cuban Overture
Piano Concerto in F / Rhapsody in Blue / Cuban Overture (Rochester Philharmonic Orchestra feat. piano: Jon Nakamatsu, conductor: Jeff Tyzik)
(Released 2007)
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- Piano Concerto in F: I. Allegro
- Piano Concerto in F: II. Adagio
- Piano Concerto in F: III. Allegro agitato
- Rhapsody in Blue
- Cuban Overture
Rhapsody in Blue, an American in Paris & Concerto in F
(Released 2007)
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- Rhapsody in Blue
- An American in Paris
- Concerto in F major, for Piano & Orchestra: I. Allegro
- Concerto in F major, for Piano & Orchestra: II. Adagio
- Concerto in F major, for Piano & Orchestra: III. Allegro agitato
- Rhapsody in Blue (Los Angeles Philharmonic feat. conductor, piano: Leonard Bernstein)
- An American in Paris (Chicago Symphony Orchestra feat. conductor: James Levine)
- Piano Prelude No. 2 Andante con moto e poco rubato (Los Angeles Philharmonic feat. conductor, piano: Leonard Bernstein)
- Cuban Overture (Chicago Symphony Orchestra feat. conductor: James Levine)
- A Suite from Porgy and Bess "Catfish Row": I. Catfish Row (Chicago Symphony Orchestra feat. conductor: James Levine)
- A Suite from Porgy and Bess "Catfish Row": II. Porgy Sings (Chicago Symphony Orchestra feat. conductor: James Levine)
- A Suite from Porgy and Bess "Catfish Row": III. Fugue (Chicago Symphony Orchestra feat. conductor: James Levine)
- A Suite from Porgy and Bess "Catfish Row": IV. Hurricane (Chicago Symphony Orchestra feat. conductor: James Levine)
- A Suite from Porgy and Bess "Catfish Row": V. Good Morning, Brother (Chicago Symphony Orchestra feat. conductor: James Levine)
Porgy and Bess (Nashville Symphony Orchestra feat. conductor: John Mauceri)
(Released 2006)
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- Porgy and Bess: Act I, Scene I. Introduction
- Porgy and Bess: Act I, Scene I. “Summertime” (Clara)
- Porgy and Bess: Act I, Scene I. “Seems like these bones don’t give me nothin’ but boxcars tonight” (Jake)
- Porgy and Bess: Act I, Scene I. “Summertime” (Clara)
- Porgy and Bess: Act I, Scene I. “What, that chile ain’t asleep yet?… A woman is a sometime thing (Lissen to yo’ daddy warn you…)” (Jake)
- Porgy and Bess: Act I, Scene I. “Honey man! Honey man! Here come de honey man” (Peter)
- Porgy and Bess: Act I, Scene I. “They pass by singin’ (No, no, brudder, Porgy ain’ sof’ on no woman” (Porgy)
- Porgy and Bess: Act I, Scene I. “Here comes Big Boy!” (Mingo)
- Porgy and Bess: Act I, Scene I. “Crown cock-eyed drunk… Oh, little stars” (Men, Porgy)
- Porgy and Bess: Act I, Scene I. “Oh, stop them! Don’t let them fight!” (Serena)
- Porgy and Bess: Act I, Scene I. “Wake up an’ hit it out. You ain’t got no time to lose” (Bess)
- Porgy and Bess: Act I, Scene II. “Gone, Gone, Gone (Where is brudder Robinns?)… Overflow” (All)
- Porgy and Bess: Act I, Scene II. “Um! A saucer-buryin’ setup, I see” (Detective, Serena, Lily, Peter, Porgy, Jake)
- Porgy and Bess: Act I, Scene II. “My man’s gone now” (Serena, All)
- Porgy and Bess: Act I, Scene II. “How de saucer stan’ now, my sister?” (Undertaker)
- Porgy and Bess: Act I, Scene II. “Leavin’ for the Promise’ Lan’ (Oh, the train is at the station)” (Bess)
- Porgy and Bess: Act I, Scene III. “It take a long pull to get there (Oh, I’m a-goin’ out to the Blackfish banks)” (Jake)
- Porgy and Bess: Act I, Scene III. “Oh, I got plenty o’ nuttin’” (Porgy)
- Porgy and Bess: Act I, Scene III. “Mornin’, lawyer, lookin’ for somebody?” (Maria)
- Porgy and Bess: Act I, Scene III. “Dey’s a Buckra comin’” (Scipio)
- Porgy and Bess: Act I, Scene III. “’Lo Bess, goin’ to de picnic?” (Sporting Life)
- Porgy and Bess: Act I, Scene III. “Bess, you is my woman now” (Porgy)
- Porgy and Bess: Act I, Scene III. “Oh, I can’t sit down” (All)
Orchesterwerke (Gewandhausorchester Leipzig feat. conductor: Kurt Masur, piano: Siegfried Stökigt, clarinet: Kurt Hiltawsky)
(Released 2006)
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- Variations on "Fascinating Rhythm" / Variations on "Liza"
- Second Prelude
- Interview
- I Got Rhythm
- Signature
- Of Thee I Sing: Overture
- Man I Love
- I Got Rhythm
- Commercial
- Swanee; Sing-Off
- Signature
- Mine
- Variations on "I Got Rhythm"
- Love Is Sweeping the Country
- Commercial
- Wintergreen for President / Sign-Off
- Introduction / Summertime
- Woman Is a Sometime Thing
- Act I, Scene 1: Finale
- My Man's Gone Now
- Bess, You Are My Woman Now
- Rhapsody in Blue
- An American in Paris
- Concerto in F major, for Piano & Orchestra: I. Allegro
- Concerto in F major, for Piano & Orchestra: II. Adagio
- Concerto in F major, for Piano & Orchestra: III. Allegro agitato
Rhapsody in Blue / An American in Paris / Broadway Overtures (feat. conductor: Michael Tilson Thomas)
(Released 2004)
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- Rhapsody in Blue
- An American in Paris
- Overture to "Oh Kay!"
- Overture to "Funny Face"
- Overture to "Girl Crazy"
- Overture to "Strike Up the Band"
- Overture to "Of Thee I Sing"
- Overture to "Let 'em Eat Cake"
- Promenade (Walking the Dog)
- Fascinating Rhythm (live)
Rhapsody in Blue: Gershwin Rhapsody in Blue (Stuttgart Radio Symphony Orchestra feat. conductor: Sir Neville Marinner, piano: Cécile Ousset)
(Released 2003)
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- Rhapsody in Blue
- Concerto for Piano and Orchestra in F major: I. Allegro
- Concerto for Piano and Orchestra in F major: II. Adagio - Andante con moto
- Concerto for Piano and Orchestra in F major: III. Allegro agitato
- An American in Paris
- Prelude No. 2 for Piano
- I Got Rhythm
- Oh Lady, Be Good
- Summertime
- Nice Work If You Can Get It
- They Can't Take That Away From Me
- Swanee
- Liza
- Someone to Watch Over Me
- 'S Wonderful
- Do It Again
- Soon
- Fascinating Rhythm / Someone to Watch Over Me
- The Man I Love
- Let's Call the Whole Thing Off
- Love Is Here to Stay
- How Long Has This Been Going On?
- Blues
- But Not for Me
- A Foggy Day
- I'll Build a Stairway to Paradise
- Third Movement (Allegro Agitato)
- Rhapsody in Blue
- Overture to "Strike Up the Band"
- Overture to "Girl Crazy"
- Overture to "Funny Face"
- Concerto in F - Allegro
- Concerto in F - Adagio; Andante con moto
- Concerto in F - Allegro agitato
- Kickin’ the Clouds Away
- I Was So Young, You Were So Beautiful
- Whip-poor-will
- Sweet and Low-Down
- Ain’t You Comin’ Back to Dixieland?
- Swanee
- Tee-Oodle-Um-Bum-Bo
- That Certain Feeling
- Grieving for You
- Some Sunday Morning
- Left All Alone Again Blues
- Make Believe
- The Land Where the Good Songs Go
- Drifting Along With the Tide
- For Your Country and My Country
- So Am I
- Whose Baby Are You?
- Rock-a-Bye, Lullabye Mammy
- Rhapsody in Blue
- Swanee
- Sweet and Low Down
- That Certain Feeling
- Looking for a Boy
- When Do We Dance?
- Do Do Do
- Someone to Watch Over Me
- Clap Yo' Hands
- Maybe
- My One and Only
- 's Wonderful (Funny Face)
- Rhapsody in Blue
- Prelude No. 1
- Prelude No. 2
- Prelude No. 3
- Andante from Rhapsody in Blue
- Second Rhapsody
- An American in Paris
- Piano Concerto in F: I. Allegro
- Piano Concerto in F: II. Adagio - Andante con moto
- Piano Concerto in F: III. Allegro agitato
- Cuban Overture
- Rhapsody in Blue
Porgy and Bess (highlights) (RCA Victor Orchestra & Chorus feat. conductor: Skitch Henderson)
(Released 2000)
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- Introduction; Summertime
- A Woman Is A Sometime Thing
- Gone, Gone, Gone
- My Man's Gone Now
- I Got Plenty O' Nuttin'
- Bess, You Is My Woman
- It Ain't Necessarily So
- What You Want Wid Bess?
- I Loves You Porgy
- There's A Boat Dat's Leavin' Soon For New York
- Oh Bess, Oh Where's My Bess
- Oh Lawd, I'm On My Way
Rhapsody in Blue / An American in Paris / Cuban Overtue / Porgy-and-Bess-Suite
(Released 2000)
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- Rapsodia in blu
- Un americano a Parigi
- Allegro
- II. Allegro
- III. Allegro agitato
- Op &0 con George Szell (Prokofiev)
Gershwin Centennial Edition (Royal Scottish National Orchestra feat. conductor: José Serebrier, piano: Leopold Godowsky III)
(Released 1999)
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- Concerto in F major for Piano and Orchestra: I. Allegro
- Concerto in F major for Piano and Orchestra: II. Andante con moto
- Concerto in F major for Piano and Orchestra: III. Allegro agitato
- Three Preludes: I. Allegro benm ritmato e deciso
- Three Preludes: II. Andante con moto e poco rubato
- Three Preludes: III. Allegro ben ritmato e deciso
- Lullaby
- An American in Paris
Fascinating Rythym: The Complete Music for Solo Piano (Angela Brownridge)
(Released 1999)
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- My One and Only
- Rialto Ripples
- Two Walzes in C
- Swanee
- Nobody but You
- The Man I Love
- I'll Build a Stairway to Paradise
- Do It Again
- Fascinating Rythym
- Oh, Lady Be Good
- Somebody Loves Me
- Sweet and Low Down
- Clap Yo' Hands
- Do Do Do
- 'S Wonderful
- Strike Up the Band
- I Got Rythym
- Who Cares?
- That Certain Feeling
- Liza
- Overture to Lady Be Good
- Impromptu in Two Keys
- Three Preludes No. 1: Allegro ben ritmato e deciso
- Three Preludes No. 2: Andante con moto e poco rubato
- Three Preludes No. 3: Allegro ben ritmato e deciso
- Ballet
- Three-Quarter Blues
- Promenade
- Merry Andrew
- Jazzbo Brown
- Overture to Girl Crazy
- Introduction / Summertime
- Narration
- Summertime
- Narration 2
- A Woman Is a Sometime Thing
- Narration / Here Come De Honey Man...
- Narration 4
- Evenin' Ladies, Hello Boys...
- Narration 5
- No, No, Brother, Porgy Ain't Soft on No Woman...
- Narration (Scene: Crap Game and Murder)
- Narration 7
- Gone, Gone, Gone
- Overflow, Overflow
- Narration 8
- I Can't Puzzle This Thing Out...
- Narration 9
- My Man's Gone Now
- Narration 10
- Oh the Train Is at the Station...
- Narration 11
- Oh I'm Agoin' Out to the Blackfish Banks...
- Narration 12
- I Got Plenty O' Nuttin'
- Mornin', Lawyer. Looking for Somebody?...
- Buzzard Song
- Narration 13
- Bess, You Is My Woman Now
- Oh, I Can't Sit Down (Picnic Music)
- Porgy, I Hates to Go...
- I Got Plenty O' Nuttin' (reprise)
- It Ain't Necessarily So (instrumental)
- Narration 14
- It Ain't Necessarily So
- Narration 15
- What You Want Wid Bess?
- Narration 16
- Oh I'm Agoin' Out to the Blackfish Banks... (reprise)
- Narration 17
- Oh, Doctor Jesus
- Here Come De Honey Man... / Oh Dey's So Fresh and Fine... / I'm Talkin' About Devil Crabs...
Rhapsody in Blue, Concerto in F, American in Paris (London Symphony Orchestra feat. conductor: André Previn)
(Released 1999)
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- Rhapsody in Blue
- An American in Paris
- Piano Concerto in F: I. Allegro
- Piano Concerto in F: II. Adagio - Andante con moto
- Piano Concerto in F: III. Allegro agitato
The 100th Birthday Celebration (San Francisco Symphony feat. conductor: Michael Tilson Thomas)
(Released 1998)
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- Catfish Row Suite with Scenes from Porgy and Bess: I. Catfish Row/Summertime
- Catfish Row Suite with Scenes from Porgy and Bess: II. Porgy Sings
- Catfish Row Suite with Scenes from Porgy and Bess: III. Fugue
- Catfish Row Suite with Scenes from Porgy and Bess: IV. Bess, You Is My Woman Now
- Catfish Row Suite with Scenes from Porgy and Bess: V. Hurricane
- Catfish Row Suite with Scenes from Porgy and Bess: VI. My Man’s Gone Now
- Catfish Row Suite with Scenes from Porgy and Bess: VII. There’s a Boat Dat’s Leavin’ Soon
- Catfish Row Suite with Scenes from Porgy and Bess: VIII. Good Mornin’ Sistuh!
- Second Rhapsody for Orchestra with Piano
Porgy and Bess (Houston Grand Opera Cast & Orchestra feat. conductor: John DeMain, bass-baritone: Donnie Ray Albert, soprano: Clamma Dale)
(Released 1998)
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- Act I, Scene 1: Introduction and Jasbo Brown Blues
- Summertime
- Oh, nobody knows when de Lord is gonna call
- A Woman Is a Sometime Thing
- Here come de honey man; Porgy's Entrance
- Here comes Big Boy! (Entrance of Crown and Bess)
- Oh, little stars, little stars
- Wake up an' hit it out
- Act I, Scene 2: Gone, Gone, Gone
- Overflow
- Well, well, well, a saucer-burying setup
- My Man's Gone Now
- How de saucer stan' now, my sister?
- Leavin' for the Promise' Lan'
- Cuban Overture (Rundfunkorchester Berlin)
- Rhapsody in Blue (Jenö Jando)
- An American in Paris (Budapest Philharmonic Orchestra)
- I Got Rhythm (Rundfunkorchester Berlin & Alan Marks)
Porgy and Bess (Bulgarian radio Symphony Orchestra & Chorus)
(Released 1998)
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- Introduction
- Summertime
- Listen to Yo' Daddy Warn You ... A woman is a sometime thing
- Intermezzo
- Clara, Clara, Don't You Be Downhearted
- Introduction. Oh I Got Plenty O'Nuttin
- Cha-Da-Da, My man's gone now
- Tempest
- Bess, You Is My Woman Now
- Oh, I Can't Sit Down
- I Wants to Stay Here, but I Ain't Worthy - I loves You, Porgy
- There's a Boat Dat's Leavin' Soon for New York
- It Ain't Necessarily So
- Oh Bess, Oh Where's My Bess? / Finale: Oh Lawd, I'm on My Way
- Little Jazz Bird
- But Not For Me
- I Don't Think I'll Fall in Love Today
- Barbary Coast
- Could You Use Me?
- Someone To Watch Over Me
- Fascinating Rhythm
- How Long Has This Been Going On?
- Meadow Serenade
- My Cousin in Milwaukee
- Isn't It a Pity?
- Somebody Loves Me
- When Our Ship Comes Sailing In
- Maybe
- I've Got a Crush on You
- Introduction
- Summertime
- Seems Like These Bones
- What, That Chile Ain't Asleep Yet?... (A Woman Is a Sometime Thing)
- Here Comes De Honey Man
- Here Comes Big Boy!
- Oh, Little Stars, Little Stars
- Wake Up an' Hit It Out
- Where Is Brudder Robbins?... (Gone, Gone, Gone)
- Come on, Sister, Come on, Brother... (Overflow)
- Um! A Saucer-Burying Setup
- My Man's Gone Now
- How De Saucer Stan' Now, My Sister?
- Oh, the Train Is at the Station... (Leavin' for the Promise' Lan')
- Oh, I'm Agoin' Out to the Blackfish Banks...
- Mus' Be You Mens Forgot About De Picnic
- I Got Plenty O' Nuttin'
- Mornin', Lawyer
- Dey's a Buckra Comin'
- Look Out, Dat's a Buzzard! (The Buzzard Song)
- 'Lo, Bess. Goin' to the Picnic?
- Bess, You Is My Woman Now
- Oh, I Can't Sit Down
- What's De Matter Wid You, Sister?
I Got Rhythm / Concerto in F major / Rhapsody No. 2 / Préludes / Cuban Overture (feat. piano: Werner Haas)
(Released 1998)
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- Variations on "I Got Rhythm" for Piano and Orchestra
- Concerto in F major: I. Allegro
- Concerto in F major: II. Adagio
- Concerto in F major: III. Allegro agitato
- Rhapsody No. 2 for Piano and Orchestra (New York Rhapsody)
- Préludes for Piano Solo: I. Allegro ben ritmato e deciso
- Préludes for Piano Solo: II. Andante con moto e poco rubato
- Préludes for Piano Solo: III. Allegro ben ritmato e deciso
- Cuban Overture
- Rhapsody in Blue
- An American in Paris
- Porgy and Bess: Act I. Lullaby (Summertime)
- Porgy and Bess: Act I. Summertime and Crap Game: A Woman Is a Sometime Thing
- Porgy and Bess: Act I. My Man’s Gone Now
- Porgy and Bess: Act II. I Got Plenty o’ Nuttin’
- Porgy and Bess: Act II. The Buzzard Song
- Porgy and Bess: Act II. Bess, You Is My Woman Now
- Porgy and Bess: Act II. It Ain’t Necessarily So
- Porgy and Bess: Act III. Oh, Bess, Oh Where’s My Bess?
- Strike Up the Band
- Rhapsody in Blue
- Swanee
- Ballade for a Klezmer
- Babsi's Decision
- Love Is Here to Stay
- Theme from G. Mahler's 1st Symphony, 2nd Mvt.
- Themes from Enemies-A Love Story
- Edna's Nigun
- Three Times Gerschwin (Strike Up the Band / I Got Rhythm / Fascinating Rhythm)
- Ora's Freilach
- Bess, You Is My Woman Now
- 7:40 A.M.
- Nardis
- This Is My Song
- The Dance of Joy
- Shpiel Klezmer, Shpiel
From Gershwin’s Time: The Original Sounds of George Gershwin 1920–1945
(Released 1998)
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- Swanee
- The Yankee Doodle Blues
- Do It Again
- Somebody Love Me
- Fascinating Rhythm
- Oh Lady Be Good
- Tell Me More
- Sweet and Low Down
- Song of the Flame
- Medley from "Oh, Kay!"
- S'Wonderful
- My One & Only
- The Man I Love
- Oh, Gee! Oh, Joy!
- Liza (All the Clouds'll Roll Away)
- Do What You Do
- Strike Up The Band
- I Got Rhythm
- Of Thee I Sing
- Wintergreen For President
- My Cousin In Milwaukee
- Let 'Em Eat Cake
- It Ain't Necessarily So
- They All Laughed
- Nice Work If You Can Get It
- Summertime (Miles Davis)
- It Ain't Necesarily So (Aretha Fraklin)
- A Foggy Day (George Benson)
- Bess You Is My Woman Now (Tommy Flanagan)
- Isn't It a Pity? (Mel Torme)
- I Got Rhythm (Benny Goodman Sextet)
- The Man I Love (Billie Holiday)
- They Can't Take That Way From Me (Ahmad Jamal)
- Nice Work If You Can Get It (Ella Fitzgerald)
- Loved Walked In (Chet Baker)
- They All Laughed (Tony Bennet)
- Embraceable You (Supersax & L.A. Voices)
- Who Cares (Stan Getz)
- Summertime (Duke Ellington)
- Liza (Stephane Grappelli)
- Slap That Bass (Fred Astaire)
- How Long Has This Been Going On? (Benny Goodman Orchestra) (feat. Peggy Lee)
- Of Thee I Sing (The Hi-Lo's With the Marty Paich Dek-Tette)
- The Man I Love (Erroll Garner)
- Swanee (Woody Herman Orchestra)
The Complete Orchestral Collection (Cincinnati Pops Orchestra feat. conductor: Erich Kunzel)
(Released 1998)
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- Rhapsody in Blue
- Second Rhapsody for Piano and Orchestra
- Concerto in F for Piano and Orchestra: I. Allegro
- Concerto in F for Piano and Orchestra: II. Adagio
- Concerto in F for Piano and Orchestra: III. Allegro agitato
- Variations on "I Got Rhythm"
- Rialto Ripples Rag
George Gershwin (Slovak National Philharmonic Orchestra feat. conductor: Libor Pešek)
(Released 1997)
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- Rhapsody in Blue (for Piano and Orchestra)
- Piano Highlights: By Strauss
- Piano Highlights: Love Walked In
- Piano Highlights: But Not for Me
- Piano Highlights: Embraceable You
- Piano Highlights: Rhapsody in Blue-Themes (medley)
- Piano Highlights: The Man I Love
- Piano Highlights: They Can't Take That Away From Me
- Piano Highlights: I Got Rhythm
- Piano Highlights: Somebody Loves Me (medley)
- Piano Highlights: 'S Wonderful
- An American in Paris (For Orchestra)
- Cuban Overture
- Concerto in F: Allegro
- Concerto in F: Adagio
- Concerto in F: Allegro agitato
- Rhapsody in Blue
- Lullaby (original piano version)
Best of Gershwin (Slovak National Philharmonic Orchestra feat. conductor: Libor Pešek)
(Released 1997)
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- Rhapsody in Blue (for Piano and Orchestra)
- By Strauss - Piano Book - Piano Version of Famous Songs
- Love Walked In - Piano Book - Piano Version of Famous Songs
- But Not For Me - Piano Book - Piano Version of Famous Songs
- Embraceable You - Piano Book - Piano Version of Famous Songs
- Medley: Rhapsody in Blue Themes - Piano Book - Piano Version of Famous Songs
- Somebody Loves Me - Piano Book - Piano Version of Famous Songs
- An American in Paris (Symphonic Poem)
- Rhapsody in Blue
- When Do We Dance
- But Not for Me
- Someone to Watch Over Me
- The Man I Love
- Maybe
- I Was Doing Alright
- Clap Yo' Hands
- Somebody Loves Me
- I Was Young You We So Beautiful
- They All Laughed
- That Certain Feeling
- Fascinating Rhythm
- Do, Do, Do
- Oh! Lady Be Good
- Preludes No's 1, 2 & 3
- How Long Has This Been Going On
- Nice Work If You Can Get It
- Summertime
- Long Ago and Far Away
- Main Title: An American in Paris / 'S Wonderful / I Got Rhythm
- Paris Narration / Left Bank
- Nice Work If You Can Get It (outtake)
- Embraceable You
- By Strauss
- Street Exhibit
- I Got Rhythm
- But Not for Me
- Medley: Do, Do, Do / Bidin' My Time / I've Got a Crush on You / Love Is Here to Stay
- Someone to Watch Over Me
- Medley: My Cousin in Milwaukee / A Foggy Day / The Half-of-It Dearie Blues / But Not for Me (outtake)
- Tra-La-La
- I'm No Enemy (Love Is Here to Stay) (outtake)
- Love Is Here to Stay
- Medley: What Time Is It? / Love Is Here to Stay (reprise)
- (I'll Build a) Stairway to Paradise
- I've Got a Crush on You (outtake)
- Love Walked In (outtake)
- Medley: We Would Get Married (Love Walked In) (outtake) / I Don't Think I'll Fall in Love Today
- Concerto in F, 3rd Movement
- But Not for Me
- Embraceable You
- Fascinating Rhythm
- I Got Rhythm
- It Ain't Necessarily So
- The Man I Love
- Nice Work If You Can Get It
- Someone to Watch Over Me
- They Can't Take That Away From Me
- Summertime
Rhapsody In Blue / An American in Paris / Concerto in F (piano : Gabriel Tacchino - banjo : Francis le Mager - director : Lawrence Foster)
(Released 1995)
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- Rhapsody in Blue
- Concerto In F for Piano and Orchestra - Allegro
- Concerto in f For Piano And Orchestra - Andante Con Moto
- Concerto in F for Piano & Orchestra - Allegro agitato
- An American in Paris
- Overture to "Girl Crazy": Mexican Hotel / Could You Use Me / Embraceable You / I Got Rhythm / But Not for Me / Bidin' My Time / Boy / What Love Has Done to Me / Bronco Busters
- A Gershwin Medley: Swanee / The Man I Love / Strike Up the Band
- Overture to "Funny Face": Funny Face / S'Wonderful / My One and Only / He Loves & She Loves / High Hat
- Lady Be Good Overture: Oh, Lady Be Good / Fascinating Rhythm
- Kickin' the Clouds Away
- Tee-Oodle-Um Bum-Bo
- Drifting Along With the Tide
- So Am I
- That Certain Feeling
- Sweet and Low Down
- I Got Rhythm
- Gershwin in Hollywood
Works for Piano and Orchestra (Aalborg Symphony feat. piano: Wayne Marshall)
(Released 1995)
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- Rhapsody in Blue for Piano and Orchestra
- Strike Up the Band
- Girl Crazy
- An American in Paris
- I Got Rhythm, Variations for Piano & Orchestra
- Cuban Overture
- Rhapsody in Blue
- An American in Paris
- Make Believe
- Grieving for You
- Land Where the Good Songs Go
- Some Sunday Morning
- Rhapsody in Blue
By George! Gershwin's Greatest Hits (The Atlantic Brass Quintet)
(Released 1995)
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- Rhapsody in Blue
- Someone to Watch Over Me
- An American In Paris
- Strike Up the Band
- Selections from Porgy and Bess
- A Foggy Day
- Fascinating Rhythm
- They Can't Take That Away From Me
- Havanola
- Singin' the Blues
- From Now On
- Jaz-O-Mine
- Just Snap Your Fingers at Care
- Whip-poor-will
- Rialto Ripples
- Waitin' for Me
- Buzzin' the Bee
- Darling
- For Your Country and My Country
- Kangaroo Hop
- Pastime Rag No. 3
- Chinese Blues
- Whispering
- Arrah Go On I'm Gonna Go Back to Oregon
- Porgy & Bess: Summertime (Piano: Sylvester Stingel, Vienna Symphonic Orchestra feat. conductor: Simon Gale)
- Porgy & Bess: I Got Plenty of Nothin (Piano: Sylvester Stingel, Vienna Symphonic Orchestra feat. conductor: Simon Gale)
- Porgy & Bess: I Loves You, Porgy (Piano: Sylvester Stingel, Vienna Symphonic Orchestra feat. conductor: Simon Gale)
- Porgy & Bess: It Ain't Necessarily So (Piano: Sylvester Stingel, Vienna Symphonic Orchestra feat. conductor: Simon Gale)
- Porgy & Bess: Bess, You Is My Woman (Piano: Sylvester Stingel, Vienna Symphonic Orchestra feat. conductor: Simon Gale)
- Porgy & Bess: There's A Boat (Piano: Sylvester Stingel, Vienna Symphonic Orchestra feat. conductor: Simon Gale)
- Porgy & Bess: Summertime (Piano: Sylvester Stingel, Vienna Symphonic Orchestra feat. conductor: Simon Gale)
- Piano Medleys: Rhapsody In Blue Themes (Piano: Eugen Cicero)
- Piano Medleys: The Man I Love (Piano: Eugen Cicero)
- Piano Medleys: They Can't Take That Away From Me (Piano: Eugen Cicero)
- Piano Medleys: I Got Rhythm (Piano: Eugen Cicero)
- Piano Medleys: Somebody Loves Me (Piano: Eugen Cicero)
- Piano Medleys: s' Wonderful (Piano: Eugen Cicero)
- Concerto in F: Allegro (Piano: Josef Jellinek, Slovak National Philharmonic Orchestra feat. conductor: Paul Brazda)
- Concerto in f: Adagio (Piano: Josef Jellinek, Slovak National Philharmonic Orchestra feat. conductor: Paul Brazda)
- Concerto in f: Allegro Agitato (Piano: Josef Jellinek, Slovak National Philharmonic Orchestra feat. conductor: Paul Brazda)
- Piano Book: By Johann Strauss (Piano: Eugen Cicero)
- Piano Book: Love Walked In (Piano: Eugen Cicero)
- Piano Book: But Not For Me (Piano: Eugen Cicero)
- Piano Book: Embraceable You (Piano: Eugen Cicero)
- Rhapsody in Blue (Piano: Kamil Hala, Slovak National Philharmonic Orchestra feat. conductor: Libor Pesk)
- An American in Paris (Piano: Kamil Hala, Slovak National Philharmonic Orchestra feat. conductor: Libor Pesk)
- Summertime (Keyboards: Kuno Alexander)
- The Man I Love (Keyboards: Kuno Alexander)
- Fascinating Rhythm (Keyboards: Kuno Alexander)
- Love Is Here To Stay (Keyboards: Kuno Alexander)
- Somebody Loves Me (Keyboards: Kuno Alexander)
- Rhapsody in Blue
- An American in Paris
- Summertime
- I Got Plenty of Nothin'
- It Ain't Necessarily So
- Rhapsody Themes
- The Man I Love
- They Can't Take That Away
- I Got Rhythm
- Song Book Medley
- Someone Loves Me
Rhapsody in Blue / An American in Paris / Concerto in F (Boston Pops Orchestra feat. conductor: Arthur Fiedler) (RCA Victor Basic 100: Volume 30)
(Released 1993)
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- Rhapsody in Blue
- An American in Paris
- Concerto in F: I. Allegro
- Concerto in F: II. Adagio; Andante Con Moto
- Concerto in F: III. Allegro Agitato
Die Klassiksammlung 23: Gershwin: Meisterwerke der Moderne
(Released 1993)
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- Klavierkonzert in F-Dur: Allegro
- Klavierkonzert in F-Dur: Adagio - andante con moto
- Klavierkonzert in F-Dur: Allegro agitato
- Ein Amerikaner in Paris (Philharmonia Slovanica feat. conductor: Henry Adolph)
- Drei Préludes für Klavier Nr. 1: Allegro ben ritmato e deciso
- Drei Préludes für Klavier Nr. 2: Andante con moto e poco rubato
- Drei Préludes für Klavier Nr. 3: Allegro ben ritmato e deciso
- Rhapsody In Blue (Slovak National Philharmonic Orchestra feat conductor: Libor Pesek; Piano: Kamil Hala)
- An American in Paris (Slovak National Philharmonic Orchestra feat conductor: Libor Pesek)
- Porgy & Bess - Summertime (Vienna Symphonic Rock Orchestra feat conductor: Simon Gale)
- Porgy & Bess - I Got Plenty of Nothin' (Vienna Symphonic Rock Orchestra feat conductor: Simon Gale)
- Porgy & Bess - I Love You, Porgy (Vienna Symphonic Rock Orchestra feat conductor: Simon Gale)
- Porgy & Bess - It Ain't Necessarily So (Vienna Symphonic Rock Orchestra feat conductor: Simon Gale)
- Porgy & Bess - Bess, You Are My Woman Now (Vienna Symphonic Rock Orchestra feat conductor: Simon Gale)
- Porgy & Bess - There's a Boat That's Leavin' (Vienna Symphonic Rock Orchestra feat conductor: Simon Gale)
- Porgy & Bess - Summertime (Vienna Symphonic Rock Orchestra feat conductor: Simon Gale)
- Rhapsody in Blue
- Cuban Overture
- Summertime
- Piano Concerto in F Major: I. Allegro
- Piano Concerto in F Major: II. Andante con moto
- Piano Concerto in F Major: III. Allegro agitato
- An American in Paris
Digital George: A Collection of Gershwin Classics (New Palais Royale Orchestra feat piano: Ivan Davis, conductor: Maurice Peress)
(Released 1993)
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- I Got Rhythm Variations
- Lullaby
- Short Story
- Three Preludes: Prelude 1
- Three Preludes: Prelude 2
- Three Preludes: Prelude 3
- Strike up the Band: Overture
- Two Waltzes in C
- Rhapsody in Blue
- Rialto Ripples
Rhapsody in Blue / An American in Paris / "Porgy and Bess" Suite (Catfish Row) / Cuban Overture (Chicago Symphony Orchestra feat. conductor: James Levine)
(Released 1993)
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- The Entertainer
- The Cascades
- Palm Leaf Rag
- Elite Syncopations
- The Maple Leaf Rag
- The Easy Winners
- Solace
- Swipesy
- Kicking the Clouds Away
- Twee-Oodle-Um Bum-Bo
- Drifting Along With the Tide
- That Certain Feeling
- Sweet and Low Down
- Sweet and Lowdown
- Novelette in Fourths
- That Certain Feeling
- So Am I
- Rhapsody in Blue
- Swanee
- When You Want ’Em, You Can’t Get ’Em, When You’ve Got ’Em, You Don’t Want ’Em
- Kickin’ the Clouds Away
- Idle Dreams
- On My Mind the Whole Night Long
- Scandal Walk
- An American in Paris
- Overture
- I Can't be Bothered Now
- Bidin' My Time
- Could You Use Me?
- Shall We Dance?
- Entrance to Nevada
- Someone to Watch over Me
- Slap That Bass
- Embraceable You
- Tonight's the Night
- I Got Rhythm
- The Real American Folk Song (Is a Rag)
- What Causes that?
- Naughty Baby
- Stiff Upper Lip
- They Can't Take That Away from Me
- But Not for Me
- New York Interlude (Concerto in F)
- Nice Work If You Can Get It
- Bidin' My Time (French Reprise)
- Finale
Gershwin Overtures (The New Princess Theater Orchestra feat. conductor John McGlinn)
(Released 1992)
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- A Damsel in Distress - Suite From the Film
- Girl Crazy: Overture
- Of Thee I Sing: Overture
- Tip-Toes: Overture
- Primrose: Overtures
- Stiff Upper Lip (Funhouse dance sequence from the film A Damsel in Distress)
- Oh, Kay!: Overture
- Cuban Overture (Minnesota Orchestra feat. conductor: Edo de Waart)
- Rhapsody in Blue — Jazz-band arrangement for the Paul Whiteman orchestra (Wayne Marshall, piano; City of London Sinfonia feat. conductor: Richard Hickox)
- Piano Concerto in F major: I. Allegro (Andrew Litton, piano; Bournemouth Symphony Orchestra)
- Piano Concerto in F major: II. Andante con moto
- Piano Concerto in F major: III. Allegro agitato
- Swanee
- Fascinatin' Rhythm
- Lady Be Good
- The Man I Love
- Somebody Loves Me
- Rhapsody in Blue
- Someone to Watch Over Me
- S'Wonderful
- I Got Rhythm
- Embraceable You
- Porgy
- It Ain't Necessarily So
- They Can't Take That Away From Me
- Love Walked In
- Concerto in F: Allegro (Piano: Josef Jellinek, Slovak National Philharmonic Orchestra feat. conductor: Paul Brazda)
- Concerto in f: Adagio (Piano: Josef Jellinek, Slovak National Philharmonic Orchestra feat. conductor: Paul Brazda)
- Concerto in f: Allegro Agitato (Piano: Josef Jellinek, Slovak National Philharmonic Orchestra feat. conductor: Paul Brazda)
- Piano Book: By Johann Strauss (Piano: Eugen Cicero)
- Piano Book: Love Walked In (Piano: Eugen Cicero)
- Piano Book: But Not For Me (Piano: Eugen Cicero)
- Piano Book: Embraceable You (Piano: Eugen Cicero)
- Overture
- Hang On to Me
- A Wonderful Party
- End of a String
- We're Here Because
- Fascinating Rhythm
- So Am I
- Oh, Lady Be Good!
- Finale Act I
- Linger in the Lobby
- The Half of It, Dearie, Blues
- Juanita
- I'd Rather Charleston
- Reprises
- Little Jazz Bird
- Carnival Time
- Swiss Miss
- Finale Ultimo
- Overture
- K-ra-zy for You
- I Can't Be Bothered Now
- Bidin' My Time
- Things Are Looking Up
- Someone to Watch Over Me
- Could You Use Me?
- Shall We Dance?
- Entrance to Nevada (Stairway to Paradise / Bronco Busters / K-ra-zy for You)
- Slap That Bass
- Embraceable You
- Tonight's the Night
- I Got Rhythm
- The Real American Folk Song (Is a Rag)
- What Causes That?
- Naughty Baby
- Stiff Upper Lip
- They Can't Take That Away From Me
- But Not for Me
- New York Interlude (Concerto in F)
- Nice Work If You Can Get It
- Bidin' My Time (French Reprise)
- Finale
Piano Concerto in F major / Rhapsody In Blue / An American In Paris (feat. piano: Kathryn Selby, conductor: Richard Hayman)
(Released 1992)
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- Piano Concerto in F major: I. Allegro
- Piano Concerto in F major: II. Andante con moto - Adagio
- Piano Concerto in F major: III. Allegro agitato
- An American in Paris
- Rhapsody in Blue
Gershwin Performs Gershwin - Rare Recordings 1931-1935
(Released 1991)
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- "Music by Gershwin" 2/19/34: I - Signature
- "Music by Gershwin" 2/19/34: II - Of Thee I Sing: Overture
- "Music by Gershwin" 2/19/34: III - The Man I Love
- "Music by Gershwin" 2/19/34: IV - I Got Rhythm
- "Music by Gershwin" 2/19/34: V - Commercial
- "Music by Gershwin" 2/19/34: VI - Swanee; Sign-Off
- "Music by Gershwin" 4/30/34: I - Signature
- "Music by Gershwin" 4/30/34: II - Mine
- "Music by Gershwin" 4/30/34: III - Variations on "I Got Rhythm"
- "Music by Gershwin" 4/30/34: IV - Love Is Sweeping the Country
- "Music by Gershwin" 4/30/34: V - Commercial
- "Music by Gershwin" 4/30/34: VI - Wintergreen for President; Sign-Off
- "Fleischmann Hour" 11/10/32: I - Fascinating Rhythm / Liza
- "Fleischmann Hour" 11/10/32: II - Second Prelude
- "Fleischmann Hour" 11/10/32: III - Interview
- "Fleischmann Hour" 11/10/32: IV - I Got Rhythm
- Second Rhapsody Rehearsal 6/26/31
- Porgy and Bess Rehearsal 7/19/35: I - Introduction / Summertime
- Porgy and Bess Rehearsal 7/19/35: II - A Woman Is a Sometime Thing
- Porgy and Bess Rehearsal 7/19/35: III - Act I, Scene 1: Finale
- Porgy and Bess Rehearsal 7/19/35: IV - My Man's Gone Now
- Porgy and Bess Rehearsal 7/19/35: V - Bess, You Is My Woman Now
- Overture
- Bidin' My Time
- The Lonesome Cowboy
- Could You Use Me?
- Bidin' My Time
- Bronco Busters
- Barbary Coast
- Embraceable You
- Embraceable You (Encore)
- Goldfarb! That's I'm!
- Bidin' My Time
- Sam and Delilah
- I Got Rhythm
- I Got Rhythm (Encore)
- Finale Act One
- Entr'acte
- Land of the Gay Caballero
- But Not for Me
- But Not for Me (Comic Reprise)
- Treat Me Rough
- Boy! What Love Has Done to Me!
- Cactus Time in Arizona
- Finale Ultimo
Porgy and Bess (The Glyndebourne Chorus & London Philharmonic feat. conductor: Simon Rattle)
(Released 1991)
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- Porgy and Bess, Act I: Introduction
- Porgy and Bess, Act I: Summertime
- Porgy and Bess, Act I: Give him to me / A woman is a sometime thing
- Porgy and Bess, Act I: My man's gone now
- Porgy and Bess, Act I: How de saucer stan' now, my sister?
- Porgy and Bess, Act I: Oh, the train is at the station
- Porgy and Bess, Act II: Oh, I'm agoin' out to the Blackfish banks
- Porgy and Bess, Act II: Mus' be you mens forgot / Oh, I got plenty o' nuttin'
- Porgy and Bess, Act II: Lissen there, I hates yo' struttin' style
- Porgy and Bess, Act II: Buzzard keep on flyin' over
- Porgy and Bess, Act II: Honey, we sure goin' strut our stuff / Bess, you is my woman now
- Porgy and Bess, Act II: Oh, I can't sit down
- Porgy and Bess, Act II: It ain't necessarily so
- Porgy and Bess, Act II: Oh, what you want wid Bess?
- Porgy and Bess, Act II: A red-headed woman make a choo-choo jump its track
- Porgy and Bess, Act III: Listen: There's a boat dat's leavin' soon for New York
- Porgy and Bess, Act III: Dem white folks sure ain' put nuttin' over on this baby
- Porgy and Bess, Act III: Here Mingo, what's de matter wid you all?
- Porgy and Bess, Act III: Where's Bess?
- Porgy and Bess, Act III: Bess is gone
- Porgy and Bess, Act III: Oh Lawd, I'm on my way
- Overture
- Fletcher's American Cheese Choral Society
- 17 And 21
- Typical Self-Made American
- Meadow Serenade
- Unofficial Spokesman
- Patriotic Rally
- The Man I Love
- Yankee Doodle Rhythm
- 17 and 21 (reprise)
- Finaletto Act 1
- Strike Up the Band
- Prelude No.1
- Prelude No.2
- Prelude No.3
- The Man I Love
- Swanee
- Nobody But You
- I'll Build A Stairway
- Do It Again
- Fascinating Rhythm
- Oh, Lady Be Good
- Somebody Loves Me
- Sweet and Low Down
- Clap Yo' Hands
- Do Do Do
- My One And Only
- 'S Wonderful
- Strike Up The Band
- Who Cares
- That Certain Feelin!
- Liza
- I Got Rhythm
- From ''Porgy and Bess'' (Opening & It ain't necessarily so)
- Rhapsody in Blue
- Overture / I Can't Be Bothered Now / Blah, Blah, Blah
- Boy Wanted / Soon
- Sweet 'n Low Down
- He Loves and She Loves
- 's Wonderful
- Strike Up the Band
- Entr'acte / In the Swim
- Nice Work If You Can Get It
- My One and Only
- Little Jazz Bird
- Funny Face
- My One and Only (reprise)
- Kickin' the Clouds Away
- How Long Has This Been Going On
Rhapsody in Blue, An American In Paris & Piano Concerto in F Major
(Released 1989)
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- Rhapsody in Blue
- An American in Paris
- Concerto in F Allegro
- Concerto in F Adagio - Andante Con Moto
- Concerto in F Allegro Agitato
Rhapsody in Blue / An American in Paris (Orchestre Symphonique de Montreal)
(Released 1989)
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Rhapsody in Blue / An American in Paris / Porgy and Bess (Orchestral Suite) (Budapest Philharmonic Orchestra feat. conductor: János Sándor, piano: Jenő Jandó)
(Released 1989)
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- Rhapsody in Blue
- I Got Plenty o' Nuttin'
- Summertime
- I Loves You, Porgy
- It Ain't Necessarily So
- Bess, You Is My Woman Now
- An American in Paris
Second Rhapsody: Music for Two Pianos by George Gershwin (feat. Katia & Marielle Labèque)
(Released 1988)
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- Second Rhapsody: I. Allegro
- Second Rhapsody: II. Sostenuto e con moto
- “I Got Rhythm” Variations: Introduction and Theme
- “I Got Rhythm” Variations: Variation 1. Moderato
- “I Got Rhythm” Variations: Variation 2. Allegretto valse triste
- “I Got Rhythm” Variations: Variation 3. Allegretto giocoso (Chinese variation)
- “I Got Rhythm” Variations: Variation 4. Allegretto – Andantino
- “I Got Rhythm” Variations: Variation 5. Allegro
- Two Waltzes
- Blue Monday, Part 1
- Blue Monday, Part 2
- Blue Monday, Part 3
- Our Love Is Here to Stay
- Embraceable You
Gershwin (Dallas Symphony Orchestra feat. Eduardo Mata, conductor)
(Released 1988)
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- Swanee
- Sweet and Low Down
- That Certain Feeling
- Looking for a Boy
- When Do We Dance?
- Do-Do-Do
- Someone to Watch Over Me
- Clap Yo' Hands
- Maybe
- My One and Only
- S'Wonderful/Funny Face
- Rhapsody in Blue
- Three Preludes
- Andante from: Rhapsody in Blue
- An American in Paris
Gershwin Gold: Volume Two (Royal Philharmonic Orchestra feat. conductor: Henry Lewis, piano: Janis Vakarelis)
(Released 1987)
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- Concerto for Piano and Orchestra in F major: I. Allegro
- Concerto for Piano and Orchestra in F major: II. Adagio. Andante Con Moto
- Concerto for Piano and Orchestra in F major: III. Allegro agitato
- An American in Paris
- 3 Preludes (1929) - Allegro ben ritmato e deciso
- 3 Preludes (1929) - Andante con motto e poco rubato
- 3 Preludes (1929) - Allegro ben ritmato e deciso
- Rhapsody in Blue (1924)
- Impromptu in two keys (1973)
- Rialto Ripples (piano rag) (1917)
- An American in Paris (1928)
- Song Book (1932) - The man I love
- Song Book (1932) - Swanee
- Song Book (1932) - Who cares?
- Song Book (1932) - 's wonderful
- Song Book (1932) - Oh, Lady be good
- Song Book (1932) - I got rythm
- Song Book (1932) - Nobody but you
- Song Book (1932) - I'll build a stairway to paradise
- Song Book (1932) - Do it again
- Song Book (1932) - Fascinating rythm
- Song Book (1932) - Somebody loves me
- Song Book (1932) - Sweet and low down
- Song Book (1932) - Clap yo' hands
- Song Book (1932) - Do do do
- Song Book (1932) - My one and only
- Song Book (1932) - That certain feeling
- Song Book (1932) - Liza
- Song Book (1932) - Strike up the band
Rhapsody in Blue / The Gershwin Songbook / Who Cares? (The Royal Philharmonic Orchestra feat. Conductor Andrew Litton)
(Released 1987)
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- Rhapsody in Blue (original Jazz Band version)
- Swanee
- Nobody but You
- Do It Again
- Clap Yo' Hands
- Strike Up the Band
- Sweet and Low Down
- Somebody Loves Me
- Bidin' My Time
- 'S Wonderful / That Certain Feeling
- Do Do Do / Lady Be Good
- The Man I Love
- I'll Build a Stairway to Paradise
- Embraceable You
- Fascinatin' Rhythm
- Who Cares?
- My One and Only
- Liza
- I Got Rhythm
Rhapsody in Blue / An American in Paris / Piano Concerto in F (Monte-Carlo National Opera Orchestra feat. piano: Werner Haas, conductor: Edo de Waart)
(Released 1987)
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- Rhapsody in Blue
- An American in Paris: Allegretto grazioso
- An American in Paris: Andante ma con ritmo deciso
- Piano Concerto in F: I. Allegro
- Piano Concerto in F: II. Adagio
- Piano Concerto in F: III. Allegro agitato
- Strike Up the Band Overture
- American in Paris
- Rhapsody in Blue
- Swanee
- Kicking the Clouds Away
- Twee-Oodle-Um Bum-Bo
- Drifting Along With the Tide
- So Am I
- That Certain Feeling
- Sweet and Low Down
Rhapsody in Blue / An American in Paris (Columbia Symphony Orchestra, New York Philharmonic feat. conductor, piano: Leonard Bernstein)
(Released 1987)
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Strike Up the Band: The Canadian Brass Plays George Gershwin
(Released 1987)
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- Strike Up the Band
- Someone to Watch Over Me
- The Rhythm Series
- A Foggy Day / Nice Work If You Can Get It
- The Man I Love
- Rialto Ripples
- Preludes for Piano: No. 1 Allegro ben ritmato e deciso
- Preludes for Piano: No. 2 Andante con moto e poco rubato
- Preludes for Piano: No. 3 Allegro ben ritmato e deciso
- Porgy and Bess Suite: Introduction
- It Ain't Necessarily So
- Bess, You Is My Woman
- I Loves You, Porgy
- A Woman Is a Sometime Thing
- Oh, Lawd, I'm on My Way
- Somebody Loves Me
- Boy Wanted
- Things Are Looking Up
- Love Walked In
- Love Is Here to Stay
- Someone to Watch Over Me
- But Not for Me
- Summertime
- The Man I Love
- Soon
- Meadow Serenade
- Nice Work If You Can Get It
- By Strauss
- Embraceable You
- I Got Rhythm
- Rhapsody in Blue (original version)
- An American in Paris
- Medley From Manhattan: He Loves and She Loves
- Medley From Manhattan: Love Is Sweeping the Country
- Medley From Manhattan: Land of the Gay Caballero
- Medley From Manhattan: Strike Up the Band
- Medley From Manhattan: But Not for Me
- Three Preludes for Piano: I. Allegro ben ritmato e deciso
- Three Preludes for Piano: II. Andante con moto e poco rubato
- Three Preludes for Piano: III. Allegro ben ritmato e deciso
- Embraceable You
- Liza
- A Foggy Day
- Overture to Porgy and Bess
- Medley From Porgy and Bess: Summertime
- Medley From Porgy and Bess: It Ain't Necessarily So
- Medley From Porgy and Bess: I Loves You, Porgy
Rhapsody In Blue, An American in Paris (London Philharmonic Orchestra feat. conductor Vernon Hanley, piano: Michael Reeves)
(Released 1985)
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Rhapsody in Blue / An American in Paris / Piano Concerto in F (Pittsburg Symphony Orchestra feat. conductor: André Previn)
(Released 1985)
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- Rhapsody in Blue
- An American in Paris: Allegretto grazioso
- An American in Paris: Andante ma con ritmo deciso
- Piano Concerto in F: I. Allegro
- Piano Concerto in F: II. Adagio
- Piano Concerto in F: III. Allegro agitato
The Gershwin Album (The Philadelphia Orchestra feat. conductor: Eugene Ormany, piano: Philippe Entremont)
(Released 1983)
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- Concerto in F major for Piano and Orchestra: I. Allegro
- Concerto in F major for Piano and Orchestra: II. Adagio, Andante con moto
- Concerto in F major for Piano and Orchestra: III. Allegro agitato
- Rhapsody in Blue (beginning)
- Rhadsody in Blue (conclusion)
- An American in Paris
- Porgy and Bess: A Symphonic Picture
- Piano Concerto In F - Allegro
- Piano Concerto In F - Andante con moto
- Piano Concerto In F - Allegro Agitato
- Rhapsody In Blue
- An American in Paris
Rhapsody in Blue / Piano Concerto in F, versions for two pianos (feat. piano: Katia & Maria Labèque)
(Released 1981)
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- Rhapsody in Blue
- Piano Concerto in F: I. Allegro
- Piano Concerto in F: II. Adagio
- Piano Concerto in F: III. Allegro agitato
Previn Conducts Gershwin (London Symphony Orchestra feat. conductor: André Previn)
(Released 1981)
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Porgy and Bess in Concert / Girl Crazy Overture (Slovak Philharmonic feat. conductor: Ettore Stratta, soprano: Claudia Lindsey, bass-baritone: Benjamin Matthews)
(Released 1981)
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- Introduction: Summertime
- A Woman Is a Sometime Thing
- My Man's Gone Now
- I Got Plenty o' Nuttin'
- Bess, You Is My Woman Now
- Oh, I Can't Sit Down
- It Ain't Necessarily So
- I Loves You, Porgy
- There's a Boat Dat's Leavin' Soon for New York
- Oh Lawd, I'm on My Way / Finale
- Girl Crazy: Overture
Rhapsody in Blue / An American in Paris (Cincinnati Symphony Orchestra feat. conductor: Erich Kunzel, piano: Eugene List)
(Released 1981)
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Decca Presents Selections From George Gershwin's Folk Opera Porgy and Bess, Volume 1
(Released 1940)
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- Overture and Summertime
- My Man's Gone Now
- I Got Plenty O' Nuttin'
- Buzzard Song
- Bess, You Is My Woman
- It Ain't Necessarily So
- The Requiem
- Porgy's Lament / Finale
- Swanee
- Looking For A Boy from
- Sweet And Low-Down from
- That Certain Feeling from
- When Do We Dance? from
- Do, Do, Do from
- Someone to Watch Over Me (from Oh Kay!)
- Clap 'Yo Hands from
- Maybe from
- Hang On to me, from Lady be Good
- Fascinating Rhythm, from Lady be Good
- Half of It, Dearie, Blues from
- I'd Rather Charleston
- My One and Only from
- 'S Wonderful/Funny Face from
- Introduction and Summertime from
- Rhapsody in Blue (Original Acoustic Recording)
- Three Preludes
- Andante from Rhapsody In Blue
- Porgy and Bess: A Symphonic Picture (Arr. Robert Russell Bennett)
- Cuban Overture
- Rhapsody No. 2 for Piano and Orchestra (Arr. Robert McBride)
- Prelude No. 1 (Arr. Gregory Stone)
- Preludes Nos. 2 and 3 (Arr. Stone)
- Variations on "I Got Rhythm"
- Rhapsody in Blue
- Three Piano Preludes
- Andante from Rhapsody In Blue
- An American in Paris
- Sweet and Low Down
- That Certain Feeling
- Looking For A Boy
- When Do We Dance?
- Do Do Do
- Someone To Watch Over Me
- Cla Yo' Hands
- Maybe
- My One And Only
- S'Wonderful, Funny Face
Porgy and Bess (Cleveland Orchestra & Chorus feat. conductor: Lorin Maazel)
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- Porgy and Bess: Act I, Scene I. "Introduction: Jasbo Brown Blues"
- Porgy and Bess: Act I, Scene I. "Summertime" - "Oh, nobody knows when the Lawd is goin' to call..." - "I been sweatin' all day"
- Porgy and Bess: Act I, Scene I. "A woman is a sometime thing (Lissen to yo' daddy warn you)"
- Porgy and Bess: Act I, Scene I. "Here come de honey man" - "Here's the ol' crap shark"
- Porgy and Bess: Act I, Scene I. "They pass by singin'" - "Here comes Big Boy!" - "Don't you ever let a woman grieve you"
- Porgy and Bess: Act I, Scene I. "Oh, little stars" - "Touch that money an' meet yo' Gawd!"
- Porgy and Bess: Act I, Scene I. "Wake up an' hit it out" - "That you, Sportin' Life?"
- Porgy and Bess: Act I, Scene II. "Gone, gone, gone (Where is brudder Robbins?)"
- Porgy and Bess: Act I, Scene II. "Overflow, overflow" - "Gawd got plenty of money for de saucer"
- Porgy and Bess: Act I, Scene II. "Um! A saucer-burial setup, I see"
- Porgy and Bess: Act I, Scene II. "My man's gone now" - "How de saucer stan' now, my sister?"
- Porgy and Bess: Act I, Scene II. "Headin' for the Promis' Lan'"
- Overture
- The Woman's Touch
- Don't Ask
- Dear Little Girl
- Maybe
- Clap Yo' Hands
- Do, Do, Do
- Bride and Groom
- Someone to Watch Over Me
- Fidgety Feet
- Heaven on Earth
- Oh, Kay!
- Finale
- Maybe
- Someone to Watch Over Me
- Clap Yo' Hands
Gershwin Favourites (Mineria Symphony Orchestra feat. conductor: Herrera de la Fuente, piano: David Syme)
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- Concerto in F: I. Allegro
- Concerto in F: II. Adagio - Andante con moto
- Concerto in F: III. Allegro agitato
- Variations on "I Got Rhythm"
- Rhapsody In Blue
- Root Beer Rag
Rhapsody in Blue / Cuban Overture / Catfish Row / An American in Paris (Chicago Symphony Orchestra feat. conductor: James Levine)
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- Rhapsody in Blue
- Cuban Overture
- Catfish Row
- Porgy Sings: Oh, I Got Plenty O'Nuttin'
- Porgy Sings: Bess, You Is My Woman Now
- Fugue
- Hurricane
- Good Morning, Brother (Sistuh)
- An American in Paris
- Piano Concerto in F major: I. Allegro
- Piano Concerto in F major: II. Adagio - andante
- Piano Concerto in F major: III. Allegro agitato
- The Man I Love
- Embraceable You
- I Got Rhythm
- Someone to Watch Over Me
- Boy! What Love Has Done to Me! / I've Got a Crush on You!
- S' Wonderful
- Rhapsody in Blue
- An American in Paris (Transcr. Gregory Stone)
- Three Preludes - No. 1 in B Flat (Transcr. Gregory Stone)
- Three Preludes - No. 2 in C Sharp Minor (Transcr. Gregory Stone)
- Three Preludes - No. 3 in E Flat Minor (Transcr. Gregory Stone)
- 'S Wonderful (Arr. J. Louis Merkur)
- The Man I Love (Paraphrased by Gregory Stone)
- Strike Up the Band (Transcr. By Gregory Stone)
- Embraceable You (Transcr. By Gregory Stone)
- Oh, Lady Be Good (Arr. Henry Levine)
- Fascinating Rhythm (Transcr. Gregory Stone)
Porgy and Bess (Excerpts) (Rundfunk-Sinfonieorchester Berlin feat. conductor: Leonard Slatkin, bass-baritone: Simon Estes, soprano: Roberta Alexander, mezzo-soprano: Diane Curry)
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- Porgy and Bess, opera: Introduction / Jazzbo Brown Blues / Summertime
- Porgy and Bess, opera: My Man's Gone Now
- Porgy and Bess, opera: I got plenty o' nuttin'
- Porgy and Bess, opera: Buzzard keep on flyin'
- Porgy and Bess, opera: Bess, you is my woman now
- Porgy and Bess, opera: Oh, I can't sit down
- Porgy and Bess, opera: I ain't got no shame / It ain't necessarily so
- Porgy and Bess, opera: Now de time, oh Gawd
- Porgy and Bess, opera: Tell me quick where's Bess / Oh Lawd, I'm on my way
- Overture
- The Lonesome Cowboy
- Bidin' My Time
- Could You Use Me?
- Bronco Busters
- Barbary Coast
- Embraceable You
- Sam And Delilah
- I Got Rhythm
- But Not For Me
- Treat Me Rough
- Boy! What Love Has Done To Me!
- Cactus Time In Arizona
- Finale
- But Not For Me - (bonus track)
- Overture
- Summertime
- A Woman Is a Sometime Thing
- The Wake: Gone, Gone, Gone Porgy's Prayer
- My Man's Gone Now
- I Got Plenty O'Nuttin'
- Bess, You Is My Woman Now
- Morning: Catfish Row
- I Can't Sit Down
- It Ain't Necessarily So
- I Ain't Got No Shame
- What Do You Want With Bess?
- Street Cries: Strawberry Woman: Crab Man
- I Loves You, Porgy
- A Red-Headed Woman
- Clara, Clara
- There's a Boat That's Leavin' Soon for New York
- Oh, Where's My Bess?
- I'm on My Way
- Concerto for Piano and Orchestra in F Major: I. Allegro, Adagio
- Concerto for Piano and Orchestra in F Major: II. Andante Con Moto
- Concerto for Piano and Orchestra in F Major: III. Allegro Agitato
- Rhapsody in Blue for Piano and Orchestra
- Rhapsody In Blue (Orriginal Jazz Band Version)
- A Foggy Day
- Fidgety Feet
- But Not For Me
- The Man I Love
- 'S Wonderful
- My One And Only
- Clap Yo' Hands
- Do It Again
- Somebody Loves Me
- Sweet And Low Down
- Fasinating Rhythm
- Strike Up The Band
- Who Cares ?
- Oh, Lady Be Good
- I'll Build A Stairway To Paradise
- Do Do Do
- That Certain Feeling
- Liza
- I Got Rhythm
- Piano Concerto In F. I. Allegro
- Piano Concerto In F. II. Adagio
- Piano Concerto In F. III. Allegro Agitato
- Rhapsody in blue
- That certain feeling
- Swanee
- Kickin' the clouds away
- Limehouse nights
- Drifting along with the Tide
- Rockabye Lullaby mammy
- Tee-oodle-um-bum-bo
- I was so youg, you were so beautiful
- Left all alone again blues
- Who's baby are you?
- Whipowill
- The land where the good songs go
- For your country & my country
- So am I
- East is west
- Yearning
- I'm forever blowing bubbles
- Novelette in 4ths
- Sweet & low down
- An American in Paris
- It Ain't Necessarily So
- The Buzzard Song
- Scene: Summertime / Crapgame / A Woman Is a Sometime Thing
- Bess, You Is My Woman Now
- I Got Plenty O' Nuttin
- Where Is My Bess?
- Summertime
- My Man's Gone Now
- Concerto in F - Third Movement
- Song Medley With Chorus and Orchestra: I Got Rhythm / Of Thee I Sing
- Rhapsody in Blue (Columbia Symphony Orchestra, Leonard Bernstein)
- Prelude Nr. 1 (arr. für 2 Klaviere, Katia & Marielle Labèque, Klavier)
- 4 Pieces for Piano, Nobody but you (André Watts, Klavier)
- Pieces for Piano, Do it again (André Watts, Klavier)
- 4 Pieces for Piano, Lady be good (André Watts, Klavier)
- 4 Pieces for Piano, Liza (André Watts, Klavier)
- Klavierkonzert in F, Andante con moto (André Previn, Orchester André Kostelanetz)
- Lullaby (Juilliard String Quartett)
- Promenade, Walking the dog (Los Angeles Philharmonic Orchestra, Michael Tilson Thomas)
- Lady be good, The Man I love (Billie Holiday)
- Porgy and Bess, Bess you is my woman now (Tommy Flanagan, Ron Carter, Roy Haynes)
- Porgy and Bess, It ain't necessarily so (Aretha Flanklin)
- Porgy and Bess, Summertime (Billie Holiday)
- Strike Up the Band
- Summertime
- The Man I Love
- Someone to Watch Over Me
- Our Love Is Here to Stay
- They Can't Take That Away From Me
- Funny Face
- How Long Has This Been Going On?
- 'S Wonderful
- Oh, Lady, Be Good!
- A Foggy Day
- I Loves You, Porgy
- For You, for Me, Forever
- Who Cares?
- I've Got a Crush on You
- They All Laughed
- Embraceable You
- Rhapsody in Blue (Philadelphia Orchestra feat. conductor: Eugene Ormandy)
- Second Rhapsody for Piano and Orchestra (Morton Gould and His Orchestra)
- Concerto in F for Piano and Orchestra: I. Allegro (New York Philharmonic feat. conductor André Kostelanetz)
- Concerto in F for Piano and Orchestra: II. Andante con moto (New York Philharmonic feat. conductor André Kostelanetz)
- Concerto in F for Piano and Orchestra: III. Alegro con brio (New York Philharmonic feat. conductor André Kostelanetz)
- "I Got Rhythm" Variations (Morton Gould and His Orchestra)
- Preludes for Piano: Prelude I. Allegro ben ritmato e deciso
- Preludes for Piano: Prelude II. Andante con moto e poco rubato
- Preludes for Piano: Prelude III. Allegro ben ritmato e deciso
- Rhapsody in Blue
- An American in Paris
- Second Rhapsody
- 'Porgy and Bess' Medley
- Variations on 'I Got Rhythm'
- Rhapsody in Blue
- Lullaby
- Cuban Overature
- Summertime from Porgy & Bess
- Three Preludes
- Our Love Is Here to Stay
Gershwin Fantasy (feat. London Symphony Orchestra, conductor, piano: John Williams, violin: Joshua Bell)
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- Fantasy for Violin and Orchestra on Porgy and Bess
- Three Preludes: I. Allegro ben ritmato e deciso
- Three Preludes: II. Andante
- Three Preludes: III. Allegro ben ritmato e deciso
- Songs for Violin and Orchestra: 1. I Got Rhythm
- Songs for Violin and Orchestra: 2. Embraceable You
- Songs for Violin and Orchestra: 3. Nice Work if You Can Get it
- Songs for Violin and Orchestra: 4. Liza
- Songs for Violin and Orchestra: 5. But Not for Me
- Songs for Violin and Orchestra: 6. Sweet and Low-Down
- Songs for Violin and Orchestra: 7. Love is Here to Stay
- They All Laughed
- Summertime
- The Man I Love
- Embrace You All
- They Can't Take That Away From Me
- Somebody Loves Me
- I've Got a Crush on You
- Someone to Watch Over Me
- I Got Rhythm
- Mine
- But Not for Me
- Love Walked In
- It Ain't Necessarily So
- A Foggy Day
- Isn't It a Pity?
- Our Love Is Here to Stay
- Swanee
- Fascinatin' Rhythm
- Concerto for Piano and Orchestra, in F Major - 1: Allegro
- Concerto for Piano and Orchestra, in F Major - 2. Adagio - Andante con Moto
- Concerto for Piano and Orchestra, in F Major - 3. Allegro Agitato
- Prelude No.1: Allegro Ben Ritmato E Deciso
- An American in Paris
- Rhapsody in Blue
- Make Believe
- Grieving For You
- Land Where the Good Songs Go 'Miss 1917'
- Some Sunday Morning
- Rhapsody in Blue
- An American in Paris
- Prelude No. 1 in B Flat
- Prelude No. 2
- Prelude No. 3, Rubato
- Prelude No. 5, Novelette in 4ths
- Prelude No. 4, Prelude II
- Prelude No. 6, Prelude III
- Prelude No. 7, Fragment
- Blue Monday Piano Suite
- Irish Waltz
- Impromptu in Two Keys
- Three Note Waltz
- Romantic
- Machinery Going Mad
- Sleepless Night
- Sutton Place
- Rhapsody in Blue for Piano Solo
- Swanee
- I'll Build a Stairway to Paradise
- Somebody Loves Me
- Oh, Lady Be Good!
- The Man I Love
- Clap Yo' Hands
- Someone to Watch Over Me
- S'Wonderful / Funny Face
- My One and Only (What Am I Gonna Do?)
- How Long Has This Been Going On?
- Liza (All the Clouds'll Roll Away)
- Bidin' My Time
- Embraceable You
- I Got Rhythm
- But Not for Me
- Summertime
- I Got Plenty of Nuthin'
- They All Laughed
- Let's Call the Whole Thing Off
- They Can't Take That Away From Me
- A Foggy Day
- Nice Work If You Can Get It
- Our Love Is Here to Stay
- Love Walked In
- Fascinating Rhythm
- An American in Paris Symphonic Poem
- Rhapsody in Blue for Piano & Orchestra
- Concerto in F for Piano & Orchestra Allegro
- Concerto in F for Piano & Orchestra Adagio
- Concerto in F for Piano & Orchestra Allegro agitato
- Swanee
- I'll Build a Stairway to Paradise
- Yankee Doodle Blues
- Nashville Nightingale
- Rhapsody in Blue (original)
- Lady Be Good (medley)
- Tip-Toes (medley)
- That Certain Feeling
- Oh Kay
- The Man I Love
- 'S Wonderful
- My One and Only
- How Long Has This Been Going On
- Somebody Loves Me
- Liza
- I've Got a Crush on You
- Sam and Delilah
- Lady Be Good - Count Basie Quartet
- I Got Rhythm
- The Babbit and the Bromide
- Embraceable You
- Rhapsody in Blue
- Summertime
- Oh Lady Be Good
- I Got Plenty of Nuttin'
- The Lady Said Yes
- A Foggy Day
- Embraceable You
- Someone to Watch Over Me
- A Woman is a Sometime Thing
- But Not for Me
- It Ain't Necessarily So
- Portrait of You
- Prelude for Piano N° 1
- Prelude for Piano N° 2
- Prelude for Piano N° 3
- Swanee
- Nobody but You
- I'll Build a Stairway
- Do It Again
- Fascinating Rhythm
- Oh, Lady Be Good
- Somebody Loves Me
- Sweet and Low Down
- Clap Yo'hands
- Do Do Do
- My One and Only
- 'S Wonderful
- Strike Up the Band
- Who Cares
- That Certain Feelin'
- Liza
- I Go Rhythm
- Porgy and Bess: I. Abertura
- Porgy and Bess: II. It Ain't Necessarily So
- Rhapsody in Blue
- Strike Up the Band
- Someone to Watch Over Me
- Embraceable You
- I Got (Fascinating) Rhythm
- Porgy and Bess Symphonic Suite
- The Man I Love
- Nice Work If You Can Get It
- An American in Paris
- Rhapsody in Blue
- Land of the Gay Caballero
- Someone to Watch Over Me
- I've Got a Crush on You
- Do, Do, Do
- Mine
- He Loves and She Loves
- Bronco Busters
- Oh Lady Be Good
- 'S Wonderful
- Love Is Here to Stay
- Sweet and Low-Down
- Blue, Blue, Blue
- Embraceable You
- He Loves and She Loves
- Love Is Sweeping the Country / Land of the Gay Caballero
- Strike Up the Band
- But Not for Me
- Somebody loves me
- Embracceable you
- Oh lady be good
- The man I love
- An American in Paris
- Nice work if you can get it
- Variations on I got rhythm
- They can't take that away from me
- Three preludes
- Rhapsody in blue
- Our love is here to stay
- Swanee
- Rhapsody in Blue
- Summertime
- Oh Lady Be Good
- I Got Plenty of Nuttin'
- The Lady Said Yes
- A Foggy Day
- Embraceable You
- Someone to Watch Over Me
- A Woman Is a Sometimes Thing
- But Not for Me
- It Ain't Necessarily So
- Portrait of You
- Rhapsody in Blue
- I Got Plenty o' Nuttin'
- Summertime
- I Love You Porgy
- It Ain't Necessarily So
- Bess, You Is My Woman Now
- An American in Paris
- Rhapsody in Blue
- An American in Paris
- Concerto in F for Piano and Orchestra (allegro)
- Concerto in F for Piano and Orchestra (andante con moto)
- Concerto in F for Piano and Orchestra (allegro agitato)
- Warsaw Concerto
- Strike Up the Band
- Summertime
- The Man I Love
- Someone to Watch Over Me
- Our Love is Here to Stay
- They Can't Take That Away From Me
- Funny Face
- How Long Has This Been Going On?
- 'S Wonderful
- Oh, Lady Be Good!
- A Foggy Day
- I Loves You, Porgy
- For You, For Me, Forever More
- Who Cares?
- I've Got a Crush On You
- They All Laughed
- Embraceable You
- Overture and Summertime
- A Woman Is a Sometime Thing/Introducing Summertime
- My Man's Gone Now
- It Take a Long Pull to Get There
- I Got Plenty o' Nuttin'
- Buzzard Song
- Bess, You Is My Woman
- It Ain't Necessaryily So
- What You Want Wid Bess?
- Strawberry Woman's Call/Crab Man's Call
- I Loves You, Porgy
- The Requiem
- There's a Boat Dat's Leavin' Soon for New York
- Porgy's Lament and Finale
- I Got Plenty o' Nuttin'
Rhapsody in Blue / An American in Paris / Concerto in F (London Symphony Orchestra feat. conductor: André Previn)
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Born: 1898-09-26
Died: 1937-07-11
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Gershwin plays Gershwin: Rhapsody in Blue
- Order: Reorder
- Duration: 9:11
- Published: 30 Sep 2008
- Updated: 18 Jun 2012
an old recording..
http://wn.com/Gershwin_plays_Gershwin_Rhapsody_in_Blue
George Gershwin - Lullaby (Original Piano Version)
- Order: Reorder
- Duration: 9:20
- Published: 19 Sep 2009
- Updated: 17 Jun 2012
George Gershwin (1898-1937) Lullaby (Original Piano Version) Alicia Zizzo, piano Photo by Charles C. Ebbets
http://wn.com/George_Gershwin__Lullaby_Original_Piano_Version
Bernstein plays Gershwin
- Order: Reorder
- Duration: 10:02
- Published: 09 Dec 2008
- Updated: 18 Jun 2012
Complete work in Playlist: www.youtube.com Writing about Gershwins iconic Rhapsody in Blue, Leonard Bernstein suggested that it might not be a real composition in the sense that whatever happens in it must seem inevitable, or even pretty inevitable A propos de lemblématique Rhapsody in Blue de Gershwin, Leonard Bernstein écrivait: Ce nest peut-être pas une vraie composition, au sens où tout ce qui arrive doit paraître inévitable, ou lêtre vraiment
http://wn.com/Bernstein_plays_Gershwin
Gershwin play I Got Rhythm (full)
- Order: Reorder
- Duration: 1:15
- Published: 24 Sep 2008
- Updated: 17 Jun 2012
Rare footage of Gershwin playing. Seriously, I'd like to have his fingers... Credits to Reynartthefox.
http://wn.com/Gershwin_play_I_Got_Rhythm_full
George Gershwin: An American in Paris (1)
- Order: Reorder
- Duration: 7:43
- Published: 04 Mar 2008
- Updated: 18 Jun 2012
New York Philharmonic Orchestra in North Korea
http://wn.com/George_Gershwin_An_American_in_Paris_1
Summertime by George Gershwin
- Order: Reorder
- Duration: 3:51
- Published: 31 May 2007
- Updated: 17 Jun 2012
"Summertime" from "Porgy and Bess" by George Gershwin Performed live by Cecily Nall, soprano & The Point Chamber Orchestra www.thepointchamberorchestra.org conducted by Efraín Amaya www.efrainamaya.com July 16, 2006 La Fenice Theater Venice, Italy
http://wn.com/Summertime_by_George_Gershwin
Bernstein performs Gershwin Rhapsody in Blue 1/2
- Order: Reorder
- Duration: 7:03
- Published: 22 May 2010
- Updated: 18 Jun 2012
PLAYLIST: www.youtube.com Writing about Gershwins iconic Rhapsody in Blue, Leonard Bernstein suggested that it might not be a real composition in the sense that whatever happens in it must seem inevitable, or even pretty inevitable A propos de lemblématique Rhapsody in Blue de Gershwin, Leonard Bernstein écrivait: Ce nest peut-être pas une vraie composition, au sens où tout ce qui arrive doit paraître inévitable, ou lêtre vraiment
http://wn.com/Bernstein_performs_Gershwin_Rhapsody_in_Blue_1/2
G. Gershwin - Rhapsody in Blue, FORTISSIMO FEST 2010
- Order: Reorder
- Duration: 20:20
- Published: 15 Jan 2011
- Updated: 18 Jun 2012
G. Gershwin - Rhapsody in Blue, The Symphony Orchestra of the Bulgarian National Radio, Andrew Armstrong - Piano, Maxim Eshkenazy -- Conductor, Fortissimo Fest, September 10, www.fortissimofest.com
http://wn.com/G_Gershwin__Rhapsody_in_Blue,_FORTISSIMO_FEST_2010
Ella Fitzgerald - Love Is Here To Stay
- Order: Reorder
- Duration: 3:55
- Published: 11 Feb 2007
- Updated: 17 Jun 2012
Ella Fitzgerald is my favourite singer of all time. "Love Is Here To Stay" is my favourite Gershwin song of all time. Nelson Riddle is my favourite arranger of all time. What a perfect combination! Here is an alternate version of the song set to a slideshow of original album covers from Ella's legendary song book series on Verve Records recorded 1956-1964. Enjoy!
http://wn.com/Ella_Fitzgerald__Love_Is_Here_To_Stay
George Gershwin - Lullaby
- Order: Reorder
- Duration: 8:59
- Published: 13 Feb 2011
- Updated: 17 Jun 2012
Title of Composition: Lullaby Composer: George Gershwin Created in: 1919 --------------------------------------------------------------------------------------------- Ensemble: Cincinnati Pops Orchestra Conductor: Erich Kunzel --------------------------------------------------------------------------------------------- The CD is available for purchase at either Arkivmusic: www.arkivmusic.com Or at Amazon: www.amazon.com The CD also includes Rhapsody in Blue, An American in Paris, Summertime (from Porgy and Bess), and Cuban Overture (all of which are also composed by Gershwin). The complete collection of Gershwin's works is also available on Amazon: www.amazon.com The images in this video are not my own: The image at 0:13 can be found here: www.publicdomainpictures.net The image at 0:53 can be found here: www.publicdomainpictures.net The image at 1:32 can be found here: www.publicdomainpictures.net The image at 1:58 can be found here: www.publicdomainpictures.net The image at 2:15 can be found here: www.publicdomainpictures.net The image at 2:42 can be found here: www.publicdomainpictures.net The image at 3:14 can be found here: www.publicdomainpictures.net The image at 3:41 can be found here: www.publicdomainpictures.net The image at 4:03 can be found here: www.publicdomainpictures.net The image at 4:55 can be found here: www.publicdomainpictures.net The image at 6:05 can be found here: www.publicdomainpictures.net The image at 7:14 can be found here: www <b>...</b>
http://wn.com/George_Gershwin__Lullaby
Brian Wilson Reimagines Gershwin
- Order: Reorder
- Duration: 4:28
- Published: 15 Jul 2010
- Updated: 18 Jun 2012
In 2010, at a recording studio in Hollywood, California, legendary American songwriters George and Ira Gershwin and Brian Wilson are brought together for a major music event as Disney Pearl presents "Brian Wilson Reimagines Gershwin.
http://wn.com/Brian_Wilson_Reimagines_Gershwin
Rhapsody In Blue - Gershwin - Original Piano Roll
- Order: Reorder
- Duration: 9:33
- Published: 08 Apr 2009
- Updated: 18 Jun 2012
A piano roll is the music storage medium used to operate the player piano, pianola or a reproducing piano. The piano roll was the first medium which could be produced and copied industrially and made it possible to provide the customer with actual music fast and easily. A piano roll is a roll of paper with perforations (holes) punched in it. The position and length of the perforation determines the note played on the piano. The roll moves over a device known as the 'tracker bar', which first had 58 holes, was expanded to 65 and then was upgraded to 88 holes (generally, one for each piano key). When a perforation passes over the hole, the note sounds. The first paper rolls were used by Welte & Sons in their Orchestrions since 1883. After hundreds of companies of this booming business produced piano rolls different in size and perforation, in 1909 the American producers of piano rolls and mechanical pianos as well agreed to a standard in the Buffalo Convention.
http://wn.com/Rhapsody_In_Blue__Gershwin__Original_Piano_Roll
Summertime (Gershwin, Heyward)
- Order: Reorder
- Duration: 2:49
- Published: 24 Jun 2009
- Updated: 17 Jun 2012
Charlie Parker with strings - The master takes
http://wn.com/Summertime_Gershwin,_Heyward
Shirley MacLaine Sings Gershwin For Jack Lemmon
- Order: Reorder
- Duration: 3:23
- Published: 09 Apr 2009
- Updated: 12 Jun 2012
Shirley MacLaine sings Jack Lemmon's favorite Gershwin tune at the 1988 AFI Life Achievement Award: A Tribute To Jack Lemmon. Joining Ms. MacLaine on the piano is Jack Lemmon's son, Chris. CONNECT WITH AFI: AFI.com http facebook.com
http://wn.com/Shirley_MacLaine_Sings_Gershwin_For_Jack_Lemmon
George Gershwin: An American in Paris (2)
- Order: Reorder
- Duration: 9:15
- Published: 04 Mar 2008
- Updated: 15 Jun 2012
New York Philharmonic Orchestra in North Korea
http://wn.com/George_Gershwin_An_American_in_Paris_2
George Gershwin: Rhapsody in Blue, Part 1/2
- Order: Reorder
- Duration: 9:34
- Published: 27 Nov 2009
- Updated: 21 May 2012
Rhapsody in Blue, in George Gershwin's own transcription for solo piano. performed by Paul Bisaccia from Bisaccia's PBS television program. more info at paulbisaccia.com
http://wn.com/George_Gershwin_Rhapsody_in_Blue,_Part_1/2
Gershwin "I Got Rhythm" Variations - Wayne Marshall, piano
- Order: Reorder
- Duration: 10:21
- Published: 16 Oct 2011
- Updated: 14 Jun 2012
Wayne Marshall played George Gershwin's "I Got Rhythm" Variations at the Last Night of the 1997 Proms in the Royal Albert Hall, London, with the BBC Symphony Orchestra conducted by Andrew Davis. (Apologies for the not very good quality. This comes from an old video tape!)
http://wn.com/Gershwin_I_Got_Rhythm_Variations__Wayne_Marshall,_piano
George Gershwin clip on Nightmusic
- Order: Reorder
- Duration: 0:33
- Published: 29 Oct 2006
- Updated: 13 Jun 2012
Short clip of Gershwin
http://wn.com/George_Gershwin_clip_on_Nightmusic
Rhapsody in Blue (Gershwin)
- Order: Reorder
- Duration: 8:21
- Published: 07 Jun 2009
- Updated: 17 Jun 2012
After winning the compeition of the harmonica festival in Hangzhou, China 2009, this was the first open performance that held in the celebration concert .
http://wn.com/Rhapsody_in_Blue_Gershwin
Strictly Gershwin by English National Ballet
- Order: Reorder
- Duration: 2:04
- Published: 26 Jan 2011
- Updated: 29 May 2012
Derek Deane's dazzling celebration of George Gershwin and the Silver Screen genius of Fred Astaire, Ginger Rogers and Gene Kelly. On Tour and in London 2011/2012- see www.ballet.org.uk for details.
http://wn.com/Strictly_Gershwin_by_English_National_Ballet
George Gershwin - Rhapsody In Blue - 1924
- Order: Reorder
- Duration: 9:09
- Published: 25 May 2011
- Updated: 17 Jun 2012
George Gershwin (September 26, 1898 -- July 11, 1937) was an American composer and pianist.Gershwin's compositions spanned both popular and classical genres, and his most popular melodies are widely known. Among his best known works are the orchestral compositions Rhapsody in Blue (1924) and An American in Paris (1928), as well as the opera, Porgy and Bess (1935). Early in 1937, Gershwin began to complain of blinding headaches and a recurring impression that he was smelling burned rubber. Doctors discovered he had developed a type of cystic malignant brain tumor known as glioblastoma multiforme. Although some tried to trace his disease to a blow on the head from a golf ball, the cause of this type of cancer is still unknown. It occurs most often in males, accounts for 52% of all brain cancers, and is nearly always fatal. Gershwin died intestate. All his property passed to his mother. In 2005, The Guardian determined using "estimates of earnings accrued in a composer's lifetime" that George Gershwin was the wealthiest composer of all time.
http://wn.com/George_Gershwin__Rhapsody_In_Blue__1924
The Gershwin Piano Quartet plays Gershwin's "I Got Rhythm"
- Order: Reorder
- Duration: 6:07
- Published: 17 Jul 2009
- Updated: 18 Jun 2012
CD now available on iTunes! George Gershwin's famous "I Got Rhythm", arranged by André Desponds and performed by the Gershwin Piano Quartet. This group features 4 pianists on 4 grand pianos, playing, arranging and improvising on works by Gershwin, Ravel, Stravinsky, Piazzolla and Porter. The Quartet has presented its program all over Europe as well as in China and South America. More info: www.gershwinpianoquartet.com Pianists Mischa Cheung André Desponds Benjamin Engeli Stefan Wirth directed and edited by Georg Lendorff audio engineering: Lasse Nipkow Management: Richard Bächi, richard.baechi@bluewin.ch
http://wn.com/The_Gershwin_Piano_Quartet_plays_Gershwin's_I_Got_Rhythm
Donna Summer Dinner With Gershwin
- Order: Reorder
- Duration: 3:45
- Published: 22 Jan 2006
- Updated: 16 Jun 2012
1987 Top Of Pops Performance of Dinner With Gershwin, from Donna's 1987 Cd All Systems go
http://wn.com/Donna_Summer_Dinner_With_Gershwin
AP / Carolyn Kaster
AP / Carolyn Kaster![The George Gershwin Theatre is a legitimate Broadway theatre located at 222 West 51st Street in midtown-Manhattan in the Paramount Plaza building. The theatre is named after famous composer George Gershwin. It has the highest seating capacity of any Broadway theatre, with over 1,900 seats.[2]](http://web.archive.org./web/20120626231451im_/http://cdn3.wn.com/pd/58/11/da5244039925b44790cbad908d7f_small.jpg "The George Gershwin Theatre is a legitimate Broadway theatre located at 222 West 51st Street in midtown-Manhattan in the Paramount Plaza building. The theatre is named after famous composer George Gershwin. It has the highest seating capacity of any Broadway theatre, with over 1,900 seats.[2]")
Creative Commons / AndreasPraefcke
Public Domain / Pete Souza
AP / Gerald Herbert
AP / Gerald Herbert
![The George Gershwin Theatre is a legitimate Broadway theatre located at 222 West 51st Street in midtown-Manhattan in the Paramount Plaza building. The theatre is named after famous composer George Gershwin. It has the highest seating capacity of any Broadway theatre, with over 1,900 seats.[2]](http://web.archive.org./web/20120626231451/http://cdn7.wn.com/pd/58/11/da5244039925b44790cbad908d7f_medium.jpg "The George Gershwin Theatre is a legitimate Broadway theatre located at 222 West 51st Street in midtown-Manhattan in the Paramount Plaza building. The theatre is named after famous composer George Gershwin. It has the highest seating capacity of any Broadway theatre, with over 1,900 seats.[2]")
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Pittsburgh Post-Gazette
The only thing missing was the bejeweled skyline of New York at night as Marvin Hamlisch and the Pittsburgh Symphony Orchestra PNC Pops swirled through "Here to Stay -- The Gershwin Experience," concluding its season with what amounted to a musical exclamation point. Leading the way was Kevin Cole,...(size: 3.8Kb)
Pittsburgh Tribune Review
...(size: 0.0Kb)
Pittsburgh Tribune Review
The Pops is closing its season with a remarkable program that pays tribute to composer George Gershwin in fascinating and touching ways. The title âHere to Stay â The Gershwin Experienceâ is inherently poignant and hints at the concertâs special components. âLove is Here to Stayâ is the...(size: 3.6Kb)
PSO gives tour of 'force of nature' Gershwin
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Pittsburgh Tribune Review
America's musical debt to George Gershwin remains immeasurable 74 years after his death. You could count up all the great songs and musicals and add the concert pieces, such as "Rhapsody in Blue," and still not have the measure of the man. The synthesis he achieved with different musical styles -...(size: 3.6Kb)
The Examiner
Conductor Vassily Sinaisky and cellist Daniel Müller-Schott make their Cleveland Orchestra debuts in all-Tchaikovsky program at the Blossom Festival on July 14 Bramwell Tovey returns to Blossom to conduct a program featuring works by George Gershwin and Leonard Bernstein Saturday, July 14, 2012 8:00...(size: 10.4Kb)
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14 Jun 2012
The New York Times
Winning the Tony Award for best musical revival is great, and ’s wonderful to have two popular shows on Broadway that have potentially lucrative national tours starting next year. But for the trustees of George and Ira Gershwin’s estates the sweetest feeling this week is the satisfaction...(size: 9.3Kb)
Review Journal
Ken Ludwig was almost crazy enough to let "Crazy for You" get away. The author of such hit stage comedies as "Lend Me a Tenor" and "Moon Over Buffalo" initially turned down the offer to write - or, more precisely, rewrite - "Crazy for You," a planned showcase for classic, tap-happy George and Ira...(size: 5.6Kb)
IMDb
Audra McDonald in "The Gershwins' Porgy and Bess" utterly gobsmacked me. I was particularly impressed with the scene when she was on the...(size: 0.9Kb)
Gershwin celebration stays all too briefly
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York Press
I Got Rhythm, Northern Ballet, Leeds Grand Theatre, today at 7.30pm, tomorrow at 2.30pm and 7.30pm. Box office: 0844 848 2700 or leedsgrandtheatre.com THIS revival of David Nixon’s celebration of the...(size: 1.3Kb)
This article is about the American composer. For other uses, see Gershwin (disambiguation).
George Gershwin (September 26, 1898 – July 11, 1937) was an American composer and pianist.[1][2] Gershwin's compositions spanned both popular and classical genres, and his most popular melodies are widely known. Among his best known works are the orchestral compositions Rhapsody in Blue and An American in Paris, as well as the opera Porgy and Bess.
Born in Brooklyn to a Ukrainian father of Jewish descent and a Russian mother, Gershwin studied piano under Charles Hambitzer and composition with Rubin Goldmark and Henry Cowell. He began his career as a song plugger, but soon thereafter started composing Broadway theatre works with his brother Ira Gershwin and Buddy DeSylva. He moved to Paris in an attempt to study with Nadia Boulanger, where he began to compose An American in Paris. After returning to New York City, he wrote Porgy and Bess with Ira and author DuBose Heyward. Initially a commercial failure, Porgy and Bess is now considered one of the most important American operas of the Twentieth Century. Gershwin moved to Hollywood and composed numerous film scores until his death in 1937 from a brain tumor.
Gershwin's compositions have been used in numerous films and on television, and several became jazz standards recorded in numerous variations. Countless singers and musicians have recorded Gershwin songs.
Contents |
Biography[link]
Early life[link]
George Gershwin was named Jacob Gershvin when born in Brooklyn, New York, on September 26, 1898. His parents were Jewish and from Odessa (Ukraine). His father, Morris (Moishe) Gershowitz, changed his family name to 'Gershvin' some time after immigrating to the United States from St. Petersburg, Russia in the early 1890s. Gershwin's mother Rosa Bruskin had already emigrated from Russia. She met Gershvin in New York and they married on July 21, 1895.[3] George changed the spelling of the family name to 'Gershwin' after he became a professional musician; other members of his family followed suit.
George Gershwin was the second of four children[4], the others being Ira (1896-1983), Arthur (1900-1981), and Frances (1906-1999). He first displayed interest in music at the age of ten, when he was intrigued by what he heard at his friend Maxie Rosenzweig's violin recital.[5] The sound and the way his friend played captured him. His parents had bought a piano for lessons for his older brother Ira, but to his parents' surprise and Ira's relief, it was George who played it.[6] Although his younger sister Frances Gershwin was the first in the family to make money from her musical talents, she married young and devoted herself to being a mother and housewife. She gave up her performing career, but settled into painting for another creative outlet; painting was also a hobby of George Gershwin.
Gershwin tried various piano teachers for two years, and then was introduced to Charles Hambitzer by Jack Miller, the pianist in the Beethoven Symphony Orchestra. Until Hambitzer's death in 1918, he acted as Gershwin's mentor. Hambitzer taught Gershwin conventional piano technique, introduced him to music of the European classical tradition, and encouraged him to attend orchestra concerts.[7] At home, following such concerts, young Gershwin would attempt to reproduce at the piano the music that he had heard. He later studied with classical composer Rubin Goldmark and avant-garde composer-theorist Henry Cowell.
Tin Pan Alley[link]
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On leaving school at the age of 15, Gershwin found his first job as a "song plugger" for Jerome H. Remick and Company, a publishing firm on New York City's Tin Pan Alley, where he earned $15 a week. His first published song was "When You Want 'Em, You Can't Get 'Em, When You've Got 'Em, You Don't Want 'Em." It was published in 1916 when Gershwin was only 17 years old and earned him $5. His 1917 novelty rag "Rialto Ripples" was a commercial success, and in 1919 he scored his first big national hit with his song "Swanee" with words by Irving Caesar. Al Jolson, a famous broadway singer of the day, heard George perform "Swanee" at a party and decided to sing it in one of his shows.[8] In 1916, Gershwin started working for Aeolian Company and Standard Music Rolls in New York, recording and arranging. He produced dozens, if not hundreds, of rolls under his own and assumed names. (Pseudonyms attributed to Gershwin include Fred Murtha and Bert Wynn.) He also recorded rolls of his own compositions for the Duo-Art and Welte-Mignon reproducing pianos. As well as recording piano rolls, Gershwin made a brief foray into vaudeville, accompanying both Nora Bayes and Louise Dresser on the piano.[9]
In the early 1920s Gershwin frequently worked with the lyricist Buddy DeSylva. Together they created the experimental one-act jazz opera Blue Monday set in Harlem, which is widely regarded as a forerunner to the groundbreaking Porgy and Bess.
In 1924, George and Ira Gershwin collaborated on a stage musical comedy Lady Be Good, which included such future standards as "Fascinating Rhythm" and "Oh, Lady Be Good!".[10]
This was followed by Oh, Kay! (1926);[11] Funny Face (1927);[12] Strike Up the Band (1927 and 1930); Gershwin gifted the song with a modified title to UCLA to be used as a football fight song, "Strike Up The Band for UCLA".[13] Show Girl (1929);[14] Girl Crazy (1930),[15] which introduced the standard "I Got Rhythm"; and Of Thee I Sing (1931),[16] the first musical comedy to win a Pulitzer Prize (for Drama).[17]
Europe and classical music[link]
In 1924, Gershwin composed his first major classical work, Rhapsody in Blue for orchestra and piano. It was orchestrated by Ferde Grofé and premiered by Paul Whiteman's concert band in New York. It proved to be his most popular work.
Gershwin stayed in Paris for a short period of time during which he applied to study composition with the famous instructor Nadia Boulanger who, along with several other prospective tutors such as Maurice Ravel, rejected him, being afraid that rigorous classical study would ruin his jazz-influenced style.[18] While there, Gershwin wrote An American in Paris. This work received mixed reviews upon its first performance at Carnegie Hall on December 13, 1928, but it quickly became part of the standard repertoire in Europe and the United States.[19] Growing tired of the Parisian musical scene, Gershwin returned to the United States.
In 1929, Gershwin was contracted by Fox Film Corporation to compose the score for the movie Delicious. Only two pieces were used in the final film, the five-minute "Dream Sequence" and the six-minute "Manhattan Rhapsody". Gershwin became infuriated when the rest of the score was rejected by Fox Film Corporation, and it would be seven years before he worked in Hollywood again.
Opera[link]
Gershwin's most ambitious composition was Porgy and Bess (1935). Gershwin called it a "folk opera," and it is now widely regarded as one of the most important American operas of the twentieth century. "From the very beginning, it was considered another American classic by the composer of 'Rhapsody in Blue' — even if critics couldn't quite figure out how to evaluate it. Was it opera, or was it simply an ambitious Broadway musical? 'It crossed the barriers,' says theater historian Robert Kimball. 'It wasn't a musical work per se, and it wasn't a drama per se — it elicited response from both music and drama critics. But the work has sort of always been outside category."[20]
Based on the novel Porgy by DuBose Heyward, the action takes place in the fictional all-black neighborhood of Catfish Row in Charleston, South Carolina. With the exception of several minor speaking roles, all of the characters are black. The music combines elements of popular music of the day, with a strong influence of Black music, with techniques typical of opera, such as recitative, through-composition and an extensive system of leitmotifs. Porgy and Bess contains some of Gershwin's most sophisticated music, including a fugue, a passacaglia, the use of atonality, polytonality and polyrhythm, and a tone row. Even the "set numbers" (of which "Summertime", "I Got Plenty o' Nuttin'" and "It Ain't Necessarily So" are well known examples) are some of the most refined and ingenious of Gershwin's output. For the performances, Gershwin collaborated with Eva Jessye, whom he picked as the musical director. One of the outstanding musical alumnae of Western University in Kansas, she had created her own choir in New York and performed widely with them. The work was first performed in 1935; it was a box office failure.
Last years[link]
After the failure of Porgy and Bess, Gershwin moved to Hollywood, California. He was commissioned by RKO Pictures in 1936 to write the music for Shall We Dance, starring Fred Astaire and Ginger Rogers. Gershwin's extended score, which would marry ballet with jazz in a new way, runs over an hour in length. It took Gershwin several months to write and orchestrate it.
Early in 1937, Gershwin began to complain of blinding headaches and a recurring impression that he was smelling burned rubber. Doctors discovered he had developed a type of cystic malignant brain tumor known as glioblastoma multiforme.[21]
The diagnosis of glioblastoma multiforme has been questioned.[22] The surgeon's description of Gershwin's tumor as a right temporal lobe cyst with a mural nodule is much more consistent with a pilocytic astrocytoma, a very low grade of brain tumor.[23] Further, Gershwin's initial olfactory hallucination (the unpleasant smell of burning rubber) was in 1934. It is highly unlikely that a glioblastoma multiforme would cause symptoms of that duration prior to causing death. Pilocytic astrocytomas may cause symptoms for twenty or more years prior to diagnosis. Thus, it is possible that Gershwin's prominent chronic gastrointestinal symptoms (which he called his "composer's stomach") were a manifestation of temporal lobe epilepsy caused by his tumor.[24] If this is correct, then[original research?] Gershwin was not "a notorious hypochondriac," as suggested by his biographer Edward Jablonski (who wrote, in a letter to the editor, that "Gershwin was a notorious hypochondriac, beginning as early as 1922, and his complaints were not taken seriously").[25]
In January 1937, Gershwin performed in a special concert of his music with the San Francisco Symphony Orchestra under the direction of French maestro Pierre Monteux.[26] Gershwin suffered "musical blackouts" during his final performances. In early June, Gershwin collapsed while working on the score of The Goldwyn Follies in Hollywood, and was rushed to the hospital.[25] He died only two days later on July 11 at the age of 38 at Cedars of Lebanon Hospital following surgery for the tumor.[27] John O'Hara remarked: "George Gershwin died on July 11, 1937, but I don't have to believe it if I don't want to."[28] He was interred at Westchester Hills Cemetery in Hastings-on-Hudson, New York. A memorial concert was held at the Hollywood Bowl on September 8, 1937 at which Otto Klemperer conducted his own orchestration of the second of Gershwin's Three Piano Preludes.[29]
Gershwin received his sole Academy Award nomination, for Best Original Song, at the 1937 Oscars, for "They Can't Take That Away from Me" written with his brother Ira for the 1937 film Shall We Dance. The nomination was posthumous; Gershwin died two months after the film's release.[30]
Gershwin had a ten-year affair with composer Kay Swift and frequently consulted her about his music, though the two never married. Kay Swift's granddaughter, Katharine Weber, has suggested that the pair never married because George's mother Rose was "unhappy that Kay Swift wasn't Jewish."[31] Oh, Kay was named for her.[32] After Gershwin died, Swift arranged some of his music, transcribed some of his recordings, and collaborated with his brother Ira on several projects.[33]
Gershwin died intestate. His property was passed to his mother.[34] The Gershwin estate continues to collect significant royalties from licensing the copyrights on Gershwin's work. The estate supported the Sonny Bono Copyright Term Extension Act because its 1923 cutoff date was shortly before Gershwin had begun to create his most popular works. The copyrights on all Gershwin's solo works expired at the end of 2007 in the European Union, based on the life plus 70 years rule in force in the EU.
In 2005, The Guardian determined using "estimates of earnings accrued in a composer's lifetime" that George Gershwin was the wealthiest composer of all time.[35]
Legacy and honors[link]
- The 1945 biographical film Rhapsody in Blue starred Robert Alda as George Gershwin.
- George Gershwin was inducted into the Long Island Music Hall of Fame in 2006.
- The Gershwin Theatre on Broadway is named after George and Ira.[36]
- The George and Ira Gershwin Lifetime Musical Achievement Award was established by UCLA to honor the brothers for their contribution to music and for their gift to UCLA of the fight song "Strike Up the Band for UCLA." Past winners have included Angela Lansbury (1988), Ray Charles (1991), Mel Torme (1994), Bernadette Peters (1995), Frank Sinatra (2000), Stevie Wonder (2002), k.d. lang (2003), James Taylor (2004), Babyface (2005), Burt Bacharach (2006), Quincy Jones (2007), Lionel Richie (2008) and Julie Andrews (2009).
- The Congressional Gold Medal was awarded to George and Ira Gershwin in 1985. Only three other songwriting recipients, George M. Cohan, Harry Chapin and Irving Berlin, have had the honor of receiving this award.[37][38]
- In Brooklyn, George Gershwin Junior High School 166 is named after him.[39]
Musical style and influence[link]
Gershwin was influenced by French composers of the early twentieth century. In turn Maurice Ravel was impressed with Gershwin's abilities, commenting, "Personally I find jazz most interesting: the rhythms, the way the melodies are handled, the melodies themselves. I have heard of George Gershwin's works and I find them intriguing."[40] The orchestrations in Gershwin's symphonic works often seem similar to those of Ravel; likewise, Ravel's two piano concertos evince an influence of Gershwin.
Gershwin asked to study with Ravel. When Ravel heard how much Gershwin earned, Ravel replied with words to the effect of, "You should give me lessons." (Some versions of this story feature Igor Stravinsky rather than Ravel as the composer; however Stravinsky confirmed that he originally heard the story from Ravel.)[41]
Gershwin's own Concerto in F was criticized for being related to the work of Claude Debussy, more so than to the expected jazz style. The comparison did not deter Gershwin from continuing to explore French styles. The title of An American in Paris reflects the very journey that he had consciously taken as a composer: "The opening part will be developed in typical French style, in the manner of Debussy and Les Six, though the tunes are original."[42]
Aside from the French influence, Gershwin was intrigued by the works of Alban Berg, Dmitri Shostakovich, Igor Stravinsky, Darius Milhaud, and Arnold Schoenberg. He also asked Schoenberg for composition lessons. Schoenberg refused, saying "I would only make you a bad Schoenberg, and you're such a good Gershwin already."[43] (This quote is similar to one credited to Maurice Ravel during Gershwin's 1928 visit to France – "Why be a second-rate Ravel, when you are a first-rate Gershwin?")
Russian Joseph Schillinger's influence as Gershwin's teacher of composition (1932–1936) was substantial in providing him with a method of composition. There has been some disagreement about the nature of Schillinger's influence on Gershwin. After the posthumous success of Porgy and Bess, Schillinger claimed he had a large and direct influence in overseeing the creation of the opera; Ira completely denied that his brother had any such assistance for this work. A third account of Gershwin's musical relationship with his teacher was written by Gershwin's close friend Vernon Duke, also a Schillinger student, in an article for the Musical Quarterly in 1947.[44]
What set Gershwin apart was his ability to manipulate forms of music into his own unique voice. He took the jazz he discovered on Tin Pan Alley into the mainstream by splicing its rhythms and tonality with that of the popular songs of his era. Although George Gershwin would seldom make grand statements about his music, he believed that "true music must reflect the thought and aspirations of the people and time. My people are Americans. My time is today."[45]
In 2007, the Library of Congress named their Prize for Popular Song after George and Ira Gershwin. Recognizing the profound and positive effect of popular music on culture, the prize is given annually to a composer or performer whose lifetime contributions exemplify the standard of excellence associated with the Gershwins. On March 1, 2007, the first Gershwin Prize was awarded to Paul Simon.[46]
Recordings and film[link]
Early in his career Gershwin recorded more than one hundred and forty player piano piano rolls both under his own name and pseudonyms, which were a main source of income for him. The majority are popular music of the period and a smaller proportion are of his own works. Once his musical theatre-writing income became substantial his regular roll-recording career became superfluous. He did record additional rolls throughout the 1920s of his main hits for the Aeolian Company's reproducing piano, including a complete version of his Rhapsody in Blue.
Compared to the piano rolls, there are few accessible audio recordings of Gershwin's playing. His first recording was his own Swanee with the Fred Van Eps Trio in 1919. The recorded balance highlights the banjo playing of Van Eps, and the piano is overshadowed. The recording took place before Swanee became famous as an Al Jolson specialty in early 1920.
Gershwin did record an abridged version of Rhapsody in Blue with Paul Whiteman and his orchestra for the Victor Talking Machine Company in 1924, soon after the world premiere. Gershwin and the same orchestra made an electrical recording of the abridged version for Victor in 1927. However, a dispute in the studio over interpretation angered Paul Whiteman and he left. The conductor's baton was taken over by Victor's staff conductor Nathaniel Shilkret.[47]
Gershwin made a number of solo piano recordings of tunes from his musicals, some including the vocals of Fred and Adele Astaire, as well as his Three Preludes for piano. In 1929, Gershwin "supervised" the world premiere recording of An American in Paris with Nathaniel Shilkret and the Victor Symphony Orchestra. Gershwin's role in the recording was rather limited, particularly because Shilkret was conducting and had his own ideas about the music. When it was realized that no one had been hired to play the brief celeste solo, Gershwin was asked if he could and would play the instrument, and he agreed. Gershwin can be heard, rather briefly, on the recording during the slow section.
Gershwin appeared on several radio programs, including Rudy Vallee's, and played some of his compositions. This included the third movement of the Concerto in F with Vallee conducting the studio orchestra. Some of these performances were preserved on transcription discs and have been released on LP and CD.
In 1934, in an effort to earn money to finance his planned folk opera, Gershwin hosted his own radio program titled Music by Gershwin. The show was broadcast on the NBC Blue Network from February to May and again in September through the final show on December 23, 1934. He presented his own work as well as the work of other composers.[48] Recordings from this and other radio broadcasts include his Variations on I Got Rhythm, portions of the Concerto in F, and numerous songs from his musical comedies. He also recorded a run-through of his Second Rhapsody, conducting the orchestra and playing the piano solos. Gershwin recorded excerpts from Porgy and Bess with members of the original cast, conducting the orchestra from the keyboard; he even announced the selections and the names of the performers. In 1935 RCA Victor asked him to supervise recordings of highlights from Porgy and Bess; these were his last recordings.
A 74-second newsreel film clip of Gershwin playing I Got Rhythm has survived, filmed at the opening of the Manhattan Theater (now The Ed Sullivan Theater) in August 1931.[49] There are also silent home movies of Gershwin, some of them shot on Kodachrome color film stock, which have been featured in tributes to the composer. In addition, there is newsreel footage of Gershwin playing "Mademoiselle from New Rochelle" and "Strike Up the Band" on the piano during a Broadway rehearsal of the 1930 production of Strike Up the Band. In the mid-30s, "Strike Up The Band" was gifted to UCLA to be used as a football fight song, "Strike Up The Band for UCLA". The comedy team of Clark and McCullough are seen conversing with Gershwin, then singing as he plays.
In 1965, Movietone Records released an album MTM 1009 featuring Gershwin's piano rolls of the titled George Gerswhin plays RHAPSODY IN BLUE and his other favorite compositions. The flip side of the LP featured 9 other recordings.
In 1975, Columbia Records released an album featuring Gershwin's piano rolls of the Rhapsody In Blue, accompanied by the Columbia Jazz Band playing the original jazz-band accompaniment, conducted by Michael Tilson Thomas. The flip side of the Columbia Masterworks release features Tilson Thomas leading the New York Philharmonic in An American In Paris. In 1976, RCA Records, as part of their "Victrola Americana" line released a collection of Gershwin recordings, taken from 78s recorded in the 1920s and called the LP "Gershwin plays Gershwin, Historic First Recordings" (RCA Victrola AVM1-1740) and included recordings of "Rhapsody in Blue" with the Paul Whiteman Orchestra and Gershwin on piano, "An American in Paris", from 1927 with Gershwin on celesta; "Three Preludes", "Clap Yo' Hands" and Someone to Watch Over Me", among others. There are a total of 10 recordings on the album.
In 1998, two audio CDs featuring piano rolls recorded Gershwin [50] were issued by Nonesuch Records through the efforts of Artis Woodhouse. It is entitled Gershwin Plays Gershwin: The Piano Rolls.[51]
Countless singers and musicians have recorded Gershwin songs, including Fred Astaire, Louis Armstrong, Dean Martin, Al Jolson, Bobby Darin, Percy Grainger, Art Tatum, Yehudi Menuhin, Bing Crosby, The Moody Blues, Janis Joplin, John Coltrane, Frank Sinatra, Mel Tormé, Billie Holiday, Ella Fitzgerald, Sam Cooke, Diana Ross, Miles Davis, Herbie Hancock, Hiromi Uehara, Madonna, Judy Garland, Julie Andrews, Barbra Streisand, Marni Nixon, Natalie Cole, Patti Austin, Nina Simone, Maureen McGovern, John Fahey, The Residents, Kate Bush, Sublime, Sting, and Liquid Tension Experiment.
In October 2009, it was reported by Rolling Stone that Brian Wilson is completing at least two unfinished compositions by George Gershwin for possible release in 2010.[52] According to Wilson's Facebook page, the album is scheduled to be released on August 17, 2010.
Brian Wilson Reimagines Gershwin was released on 17th August 2010. The album consists of covers of ten George and Ira Gershwin songs, bookended by passages from Rhapsody in Blue, along with two new songs completed from unfinished Gershwin fragments by Wilson and band member Scott Bennett.
Baseline Studio Systems announced in January 2010 that Steven Spielberg may direct a biopic about the composer's life, which is scheduled for release in 2012; 32-year-old American actor Zachary Quinto has been named for the leading role of George Gershwin.[53][54]
Compositions[link]
Main article: List of compositions by George Gershwin
Orchestral
- Rhapsody in Blue (for piano and orchestra, 1924)
- Piano Concerto in F (1925)
- An American in Paris (for orchestra, 1928)
- Dream Sequence (for orchestra, 1929)
- Second Rhapsody, originally titled Rhapsody in Rivets (for piano and orchestra, 1931)
- Cuban Overture (for orchestra, 1932), originally entitled Rumba
- March from Strike Up the Band (for orchestra, 1934)
- Variations on "I Got Rhythm" (for piano and orchestra) (1934)
- Catfish Row (for orchestra, 1936) a suite based on music from Porgy and Bess
- Shall We Dance (1937 film) a movie score feature-length ballet
Solo Piano
- Preludes For Piano (1926)
- George Gershwin's Songbook (1932) (piano arrangements of eighteen songs)
Operas
- Blue Monday, (1922) one-act opera
- Porgy and Bess (1935) at the Colonial Theatre in Boston[55]
London Musicals
- Primrose (1924)
Broadway Musicals
- George White's Scandals (1920–1924) (featuring, at one point, the 1922 one-act opera Blue Monday)
- Lady, Be Good (1924)
- Tip-Toes (1925)
- Tell Me More! (1925)
- Oh, Kay! (1926)
- Strike Up the Band (1927)
- Funny Face (1927)
- Rosalie (1928)
- Show Girl (1929)
- Girl Crazy (1930)
- Of Thee I Sing (1931)
- Pardon My English (1933)
- Let 'Em Eat Cake (1933)
- My One and Only (1983) (an original 1983 musical using previously written Gershwin songs)
- Crazy for You (1992), a revised version of Girl Crazy, written and compiled without the participation of either George or Ira Gershwin.
Films for which Gershwin wrote original scores
- Delicious (1931) (an early version of the Second Rhapsody and one other musical sequence was used in this film, the rest were rejected by the studio)
- Shall We Dance (1937) (original orchestral score by Gershwin, no recordings available in modern stereo, some sections have never been recorded)
- A Damsel in Distress (1937)
- The Goldwyn Follies (1938) (posthumously released)
- The Shocking Miss Pilgrim (1947) (uses songs previously unpublished)
See also[link]
Notes[link]
- ^ Obituary Variety, July 14, 1937, page 70.
- ^ "George Gershwin, Composer, Is Dead; Master of Jazz Succumbs in Hollywood at 38 After Operation for Brain Tumor" The New York Times, (abstract), July 12, 1937, p. 1
- ^ Hyland, pp.1–3
- ^ Hyland, p.3
- ^ Schwartz, Charles (1973). Gershwin, His Life and Music. Da Capo Press, Inc.. p. 14. ISBN 0-306-80096-9.
- ^ Hyland, p.13
- ^ Hyland, p.14
- ^ Venezia, Mike (1994). Getting to Know the World's Greatest Composers: George Gerswhin. Chicago IL: Childrens Press.
- ^ Slide, Anthony. The Encyclopedia of Vaudeville, Westport, Connecticut: Greenwood Press, 1994. p. 111.
- ^ Lady, Be Good at the Internet Broadway Database, accessed August 22, 2011
- ^ Oh, Kay! at the Internet Broadway Database, accessed August 22, 2011
- ^ Funny Face at the Internet Broadway Database, accessed August 22, 2011
- ^ Strike Up the Band at the Internet Broadway Database, accessed August 22, 2011
- ^ Show Girl at the Internet Broadway Database, accessed August 22, 2011
- ^ Girl Crazy at the Internet Broadway Database, accessed August 22, 2011
- ^ Of Thee I Sing at the Internet Broadway Database, accessed August 22, 2011
- ^ "The Pulitzer Prizes, Drama" pulitzer.org, accessed August 22, 2011
- ^ Jablonski pp.155–170
- ^ Jablonski, pp.178–180
- ^ Grigsby Bates, Karen.70 Years of Gershwin's 'Porgy and Bess'" npr.org, October 10, 2005
- ^ USA. George Gershwin-illustrious American composer: his fatal glioblastoma. PMID 231388. PMID 231388.
- ^ Pollack p.214
- ^ Sloop GD. "What caused George Gershwin's untimely death?", Journal of Medical Biography 2001;9: 28–30.
- ^ Ljunggren B. "The case of George Gershwin". Neurosurgery 1982;10: 733–6.
- ^ a b Jablonski, Edward. "George Gershwin; He Couldn't Be Saved" (Letter to Editor), New York Times, October 25, 1998, Section 2; Page 4; Column 5
- ^ Pollack, p. 353
- ^ Hyland, p.204
- ^ "Broad Street". Broadstreetreview.com. February 27, 2007. http://www.broadstreetreview.com/index.php/main/article/Gershwins_unrealized_potential/. Retrieved March 10, 2010.
- ^ Pollack, p.392
- ^ "1937 Song" oscars.org, accessed August 22, 2011
- ^ Sidney Offit (September/October 2011). "Sins of Our Fathers (and Grandmothers)". Moment Magazine. http://momentmag.com/moment/issues/2011/10/book_memory.html. Retrieved October 3, 2011.
- ^ Hyland p.108
- ^ Kay Swift biography (Kay Swift Memorial Trust). kayswift.com, Retrieved December 28, 2007.
- ^ Pollack, p.7
- ^ Scott, Kirsty.Gershwin leads composer rich list The Guardian, August 29, 2005, Retrieved December 28, 2007.
- ^ "History of the Gershwin Theater" gershwin-theater.com, accessed August 22, 2011
- ^ "In Performance at the White House:The Library of Congress:Gershwin Prize" pbs.org, retrieved April 15, 2010
- ^ "Congressional Gold Medal Recipients (1776 to Present)" Office of the Clerk, US House of Representatives (clerk.house.gov0, retrieved April 15, 2010
- ^ Richardson, Clem (October 23, 2009). "Tonya Lewis brings start power and true perfect to 'only-place-to-be' party". New York Daily News. http://articles.nydailynews.com/2009-10-23/local/17937690_1_music-industry-pop-culture-students/2. Retrieved June 15, 2011.
- ^ Mawer pp 42
- ^ Arthur Rubinstein, My Many Years; Merle Armitage, George Gershwin; Igor Stravinsky and Robert Craft, Dialogues and a Diary, all quoted in Norman Lebrecht, The Book of Musical Anecdotes
- ^ (Hyland pp 126)
- ^ Norman Lebrecht, The Book of Musical Anecdotes
- ^ Dukelsky, Vladimir (Vernon Duke), "Gershwin, Schillinger and Dukelsky: Some Reminiscences", The Musical Quarterly, Volume 33, 1947, 102–115 doi:10.1093/mq/XXXIII.1.102
- ^ "George Gershwin" balletmet.org, (Compiled February, 2000), retrieved April 20, 2010
- ^ "Paul Simon: The Library Of Congress Gershwin Prize For Popular Song", PBS article
- ^ Peyser, p. 133
- ^ Pollack, p. 163
- ^ Jablonski, Edward, Stewart, Lawrence D. The Gershwin Years. Doubleday: New York, 1973. 170.
- ^ George Gershwin and the player piano 1915–1927. richard-dowling.com, Retrieved December 28, 2007.
- ^ Yanow, Scott." 'Gershwin Plays Gershwin: The Piano Rolls' Overview" allmusic.com, accessed August 22, 2011
- ^ "Brian Wilson Will Complete Unfinished Gershwin Compositions" rollingstone.com, October 2009
- ^ Holden, Stephen. "Gershwin". Movies.nytimes.com. http://movies.nytimes.com/movie/460666/Gershwin/overview. Retrieved March 10, 2010.
- ^ Rosenberg, Adam."Zachary Quinto May Play George Gershwin for Steven Spielberg" moviesblog.mtv.com, February 1, 2010
- ^ Jablonski, Edward and Lawrence D. Stewart. The Gershwin Years: George and Ira. Garden City, New Jersey: Doubleday & Company, 1973. Second edition. ISBN 0-306-80739-4, pp. 25, 227–229.
References[link]
- Hyland, William G. George Gershwin : A New Biography (2003), Praeger Publishers, ISBN 0-275-98111-8
- Jablonski, Edward Gershwin (1987), Doubleday, ISBN 0-385-19431-5
- Kimball, Robert & Alfred Simon. The Gershwins (1973), Athenium, New York, ISBN 0-689-10569-X
- Mawer, Deborah (Editor). Cross, Jonathan (Series Editor). The Cambridge Companion to Ravel (Cambridge Companions to Music) (2000), Cambridge University Press, ISBN 0-521-64856-4
- Peyser, Joan. The Memory of All That:The Life of George Gershwin (2007), Hal Leonard Corporation, ISBN 1-4234-1025-4
- Pollack, Howard. George Gershwin. His Life and Work (2006), University of California Press, ISBN 978-0-520-24864-9
- Rimler, Walter. A Gershwin Companion (1991), Popular Culture ISBN 1-56075-019-7
- Rimler, Walter George Gershwin : An Intimate Portrait (2009), University of Illinois Press, ISBN 0-252-03444-9
- Sloop, Gregory. "What Caused George Gershwin's Untimely Death?" Journal of Medical Biography 9 (February 2001): 28–30
Further reading[link]
- Carnovale, Norbert. George Gershwin: a Bio-Bibliography (2000. ) Greenwood Press. ISBN 978-0-313-26003-2 ISBN 0-313-26003-6
- Alpert, Hollis. The Life and Times of Porgy and Bess: The Story of an American Classic (1991). Nick Hern Books. ISBN 1-85459-054-5
- Feinstein, Michael. Nice Work If You Can Get It: My Life in Rhythm and Rhyme (1995), Hyperion Books. ISBN 0-7868-8220-4
- Jablonski, Edward. Gershwin Remembered (2003). Amadeus Press. ISBN 0-931340-43-8
- Rosenberg, Deena Ruth. Fascinating Rhythm: The Collaboration of George and Ira Gershwin (1991). University of Michigan Press ISBN 978-0-472-08469-2
- Sheed, Wilfred. The House That George Built: With a Little Help from Irving, Cole, and a Crew of About Fifty (2007). Random House. ISBN 0-8129-7018-7
- Suriano, Gregory R. (Editor). Gershwin in His Time: A Biographical Scrapbook, 1919–1937 (1998). Diane Pub Co. ISBN 0-7567-5660-X
- Wyatt, Robert and John Andrew Johnson (Editors). The George Gershwin Reader (2004). Oxford University Press. ISBN 0-19-513019-7
External links[link]
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Wikiquote has a collection of quotations related to: George Gershwin |
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Wikimedia Commons has media related to: George Gershwin |
- Free scores by George Gershwin at the International Music Score Library Project
- Free scores at the Mutopia Project
- MusicalTalk Podcast on George Gershwin (part one of two)
- MusicalTalk Podcast on George Gershwin (part two of two)
- Official Site
- Classical.net Gershwin page
- George Gershwin at the Internet Broadway Database
- George Gershwin at the Internet Movie Database
- Works by or about George Gershwin in libraries (WorldCat catalog)
- George Gershwin Bio at Jewish-American Hall of Fame
- George Gershwin Collection at the Harry Ransom Center at the University of Texas at Austin
- George Gershwin WWI draft card at National Archives
- 1922 passport photo, George Gershwin (flickr.com)
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| Persondata | |
|---|---|
| Name | Gershwin, George |
| Alternative names | |
| Short description | American composer |
| Date of birth | (1898-09-26)September 26, 1898 |
| Place of birth | Brooklyn, New York, U.S. |
| Date of death | July 11, 1937(1937-07-11) |
| Place of death | Hollywood, California, U.S. |
http://wn.com/George_Gershwin
| Ella Fitzgerald | |
|---|---|
 photo by Carl Van Vechten, 1940 |
|
| Background information | |
| Birth name | Ella Jane Fitzgerald |
| Also known as | First Lady of Song, Lady Ella |
| Born | (1917-04-25)April 25, 1917 Newport News, Virginia |
| Died | June 15, 1996(1996-06-15) (aged 79) Beverly Hills, California |
| Genres | Swing, traditional pop, vocal jazz |
| Occupations | Vocalist |
| Instruments | Piano |
| Years active | 1934-1993 |
| Labels | Capitol, Decca, Pablo, Reprise, Verve |
| Website | Official website |
Ella Jane Fitzgerald (April 25, 1917 – June 15, 1996), also known as the "First Lady of Song", "Queen of Jazz", and "Lady Ella", was an American jazz and song vocalist.[1] With a vocal range spanning three octaves (D♭3 to D♭6), she was noted for her purity of tone, impeccable diction, phrasing and intonation, and a "horn-like" improvisational ability, particularly in her scat singing.
Fitzgerald was a notable interpreter of the Great American Songbook.[2] Over the course of her 59-year recording career, she was the winner of 13 Grammy Awards and was awarded the National Medal of Arts by Ronald Reagan and the Presidential Medal of Freedom by George H. W. Bush.
Contents |
Early life[link]
Fitzgerald was born in Newport News, Virginia, the child of a common-law marriage between William and Temperance "Tempie" Fitzgerald.[3] The pair separated soon after her birth and she and her mother went to Yonkers, New York, where they eventually moved in with Tempie's longtime boyfriend, Joseph Da Silva. Fitzgerald's half-sister, Frances Da Silva, was born in 1923. She and her family were Methodists and were active in the Bethany African Methodist Episcopal Church and she regularly attended worship services, Bible study, and Sunday School.[4][5]
In her youth Fitzgerald wanted to be a dancer, although she loved listening to jazz recordings by Louis Armstrong, Bing Crosby and The Boswell Sisters. She idolized the lead singer Connee Boswell, later saying, "My mother brought home one of her records, and I fell in love with it....I tried so hard to sound just like her."[6]
In 1932, her mother died from a heart attack.[3] Following this trauma, Fitzgerald's grades dropped dramatically and she frequently skipped school. Abused by her stepfather, she was first taken in by an aunt [7] and at one point worked as a lookout at a bordello and also with a Mafia-affiliated numbers runner.[8] When the authorities caught up with her, she was first placed in the Colored Orphan Asylum in Riverdale, the Bronx.[9] However, when the orphanage proved too crowded she was moved to the New York Training School for Girls in Hudson, New York, a state reformatory. Eventually she escaped and for a time was homeless.[7]
She made her singing debut at 17 on November 21, 1934, at the Apollo Theater in Harlem, New York. She pulled in a weekly audience at the Apollo and won the opportunity to compete in one of the earliest of its famous "Amateur Nights". She had originally intended to go on stage and dance but, intimidated by the Edwards Sisters, a local dance duo, she opted to sing instead in the style of Connee Boswell. She sang Boswell's "Judy" and "The Object of My Affection," a song recorded by the Boswell Sisters, and won the first prize of US$25.00.[10]
Later life[link]
Fitzgerald married at least twice, and there is evidence that she may have married a third time. In 1941 she married Benny Kornegay, a convicted drug dealer and local dockworker. The marriage was annulled after two years.
Her second marriage, in December 1947, was to the famous bass player Ray Brown, whom she had met while on tour with Dizzy Gillespie's band a year earlier. Together they adopted a child born to Fitzgerald's half-sister, Frances, whom they christened Ray Brown, Jr. With Fitzgerald and Brown often busy touring and recording, the child was largely raised by her aunt, Virginia. Fitzgerald and Brown divorced in 1953, bowing to the various career pressures both were experiencing at the time, though they would continue to perform together.[6]
In July 1957, Reuters reported that Fitzgerald had secretly married Thor Einar Larsen, a young Norwegian, in Oslo. She had even gone as far as furnishing an apartment in Oslo, but the affair was quickly forgotten when Larsen was sentenced to five months hard labor in Sweden for stealing money from a young woman to whom he had previously been engaged.[3]
Fitzgerald was also notoriously shy. Trumpet player Mario Bauza, who played behind Fitzgerald in her early years with Chick Webb, remembered that "she didn’t hang out much. When she got into the band, she was dedicated to her music….She was a lonely girl around New York, just kept herself to herself, for the gig."[3] When, later in her career, the Society of Singers named an award after her, Fitzgerald explained, "I don't want to say the wrong thing, which I always do. I think I do better when I sing."[10]
Already visually impaired by the effects of diabetes, Fitzgerald had both her legs amputated in 1993.[3] In 1996 she died of the disease in Beverly Hills, California at the age of 79. She is buried in the Inglewood Park Cemetery in Inglewood, California.[11] The career history and archival material from Ella's long career are housed in the Archives Center at the Smithsonian's National Museum of American History while her personal music arrangements are at The Library of Congress. Her extensive cookbook collection was donated to the Schlesinger Library at Harvard University while her published sheet music collection is at the Schoenberg Library at UCLA.
Career[link]
Big-band singing[link]
In January 1935, Fitzgerald won the chance to perform for a week with the Tiny Bradshaw band at the Harlem Opera House. She met drummer and bandleader Chick Webb there. Webb had already hired singer Charlie Linton to work with the band and was, The New York Times later wrote, "reluctant to sign her....because she was gawky and unkempt, a diamond in the rough."[6] Webb offered her the opportunity to test with his band when they played a dance at Yale University.
She began singing regularly with Webb's Orchestra through 1935 at Harlem's Savoy Ballroom. Fitzgerald recorded several hit songs with them, including "Love and Kisses" and "(If You Can't Sing It) You'll Have to Swing It (Mr. Paganini)". But it was her 1938 version of the nursery rhyme, "A-Tisket, A-Tasket", a song she co-wrote, that brought her wide public acclaim.
Chick Webb died on June 16, 1939, and his band was renamed "Ella and her Famous Orchestra" with Ella taking on the role of nominal bandleader. Fitzgerald recorded nearly 150 sides with the orchestra before it broke up in 1942, "the majority of them novelties and disposable pop fluff".[6]
Decca years[link]
In 1942, Fitzgerald left the band to begin a solo career. Now signed to the Decca label, she had several popular hits while recording with such artists as the Ink Spots, Louis Jordan, and the Delta Rhythm Boys.
With Decca's Milt Gabler as her manager, she began working regularly for the jazz impresario Norman Granz and appeared regularly in his Jazz at the Philharmonic (JATP) concerts. Fitzgerald's relationship with Granz was further cemented when he became her manager, although it would be nearly a decade before he could record her on one of his many record labels.
With the demise of the Swing era and the decline of the great touring big bands, a major change in jazz music occurred. The advent of bebop led to new developments in Fitzgerald's vocal style, influenced by her work with Dizzy Gillespie's big band. It this in was period that Fitzgerald started including scat singing as a major part of her performance repertoire. While singing with Gillespie, Fitzgerald recalled, "I just tried to do [with my voice] what I heard the horns in the band doing."[10]
Her 1945 scat recording of "Flying Home" arranged by Vic Schoen would later be described by The New York Times as "one of the most influential vocal jazz records of the decade....Where other singers, most notably Louis Armstrong, had tried similar improvisation, no one before Miss Fitzgerald employed the technique with such dazzling inventiveness."[6] Her bebop recording of "Oh, Lady be Good!" (1947) was similarly popular and increased her reputation as one of the leading jazz vocalists.[citation needed]
Move to Verve and mainstream success[link]
Further information: The Complete Ella Fitzgerald Songbooks
Fitzgerald was still performing at Granz's JATP concerts by 1955. She left Decca and Granz, now her manager, created Verve Records around her.
Fitzgerald later described the period as strategically crucial, saying, "I had gotten to the point where I was only singing be-bop. I thought be-bop was 'it', and that all I had to do was go some place and sing bop. But it finally got to the point where I had no place to sing. I realized then that there was more to music than bop. Norman ... felt that I should do other things, so he produced The Cole Porter Songbook with me. It was a turning point in my life."[6]
Ella Fitzgerald Sings the Cole Porter Songbook, released in 1956, was the first of eight multi-album Songbook sets Fitzgerald would record for Verve at irregular intervals from 1956 to 1964. The composers and lyricists spotlighted on each set, taken together, represent the greatest part of the cultural canon known as the Great American Songbook. Her song selections ranged from standards to rarities and represented an attempt by Fitzgerald to cross over into a non-jazz audience.
Ella Fitzgerald Sings the Duke Ellington Songbook was the only Songbook on which the composer she interpreted played with her. Duke Ellington and his longtime collaborator Billy Strayhorn both appeared on exactly half the set's 38 tracks and wrote two new pieces of music for the album: "The E and D Blues" and a four-movement musical portrait of Fitzgerald (the only Songbook track on which Fitzgerald does not sing). The Songbook series ended up becoming the singer's most critically acclaimed and commercially successful work, and probably her most significant offering to American culture. The New York Times wrote in 1996, "These albums were among the first pop records to devote such serious attention to individual songwriters, and they were instrumental in establishing the pop album as a vehicle for serious musical exploration."[6]
A few days after Fitzgerald's death, New York Times columnist Frank Rich wrote that in the Songbook series Fitzgerald "performed a cultural transaction as extraordinary as Elvis's contemporaneous integration of white and African-American soul. Here was a black woman popularizing urban songs often written by immigrant Jews to a national audience of predominantly white Christians."[8] Frank Sinatra was moved out of respect for Fitzgerald to block Capitol Records from re-releasing his own recordings in a similar, single composer vein.
Fitzgerald also recorded albums exclusively devoted to the songs of Porter and Gershwin in 1972 and 1983; the albums being, respectively, Ella Loves Cole and Nice Work If You Can Get It. A later collection devoted to a single composer was released during her time with Pablo Records, Ella Abraça Jobim, featuring the songs of Antonio Carlos Jobim.
While recording the Songbooks and the occasional studio album, Fitzgerald toured 40 to 45 weeks per year in the United States and internationally, under the tutelage of Norman Granz. Granz helped solidify her position as one of the leading live jazz performers.[6]
In the mid-1950s, Fitzgerald became the first African-American to perform at the Mocambo, after Marilyn Monroe had lobbied the owner for the booking. The booking was instrumental in Fitzgerald's career. The incident was turned into a play by Bonnie Greer in 2005. There are several live albums on Verve that are highly regarded by critics. Ella at the Opera House shows a typical JATP set from Fitzgerald. Ella in Rome and Twelve Nights In Hollywood display her vocal jazz canon. Ella in Berlin is still one of her best selling albums; it includes a Grammy-winning performance of "Mack the Knife" in which she forgets the lyrics, but improvises magnificently to compensate.
Voice[link]
As Will Friedwald noted,
Unlike any other singer you could name, Fitzgerald has the most amazing asset in the very sound of her voice: it's easily one of the most beautiful and sonically perfect sounds known to man. Even if she couldn't do anything with it, the instrument that Fitzgerald starts with is dulcet and pure and breathtakingly beautiful. As Henry Pleasants has observed, she has a wider range than most opera singers, and many of the latter, including Dietrich Fischer-Dieskau, are among her biggest fans. And the intonation that goes with the voice is, to put it conservatively, God-like. Fitzgerald simply exists in tune, and she hits every note that there is without the slightest trace of effort. Other singers tend to sound like they're trying to reach up to a note - Fitzgerald always sounds like she's already there. If anything, she's descending from her heavenly perch and swooping down to whatever pitch she wants.[12]
Henry Pleasants, an American classical-music critic, wrote this about her:
She has a lovely voice, one of the warmest and most radiant in its natural range that I have heard in a lifetime of listening to singers in every category. She has an impeccable and ultimately sophisticated rhythmic sense, and flawless intonation. Her harmonic sensibility is extraordinary. She is endlessly inventive... it is not so much what she does, or even the way she does it, it's what she does not do. What she does not do, putting it simply as possible, is anything wrong. There is simply nothing in performance to which one would take exception... Everything seems to be just right. One would not want it any other way. Nor can one, for a moment imagine it any other way.[13] Fitzgerald had an extraordinary vocal range. A mezzo-soprano (who sang much lower than most classical contraltos), she had a range of “2 octaves and a sixth from a low D or D flat to a high C flat and possibly higher”.[13]
Later years[link]
Verve Records was sold to MGM in 1963 for $3 million and in 1967 MGM failed to renew Fitzgerald's contract. Over the next five years she flitted between Atlantic, Capitol and Reprise. Her material at this time represented a departure from her typical jazz repertoire. For Capitol she recorded Brighten the Corner, an album of hymns, Ella Fitzgerald's Christmas, an album of traditional Christmas carols, Misty Blue, a country and western-influenced album, and 30 by Ella, a series of six medleys that fulfilled her obligations for the label. During this period, she had her last US chart single with a cover of Smokey Robinson's "Get Ready", previously a hit for The Temptations, and some months later a top-five hit for Rare Earth.
The surprise success of the 1972 album Jazz at Santa Monica Civic '72 led Granz to found Pablo Records, his first record label since the sale of Verve. Fitzgerald recorded some 20 albums for the label. Ella in London recorded live in 1974 with pianist Tommy Flanagan, guitarist Joe Pass, bassist Keter Betts and drummer Bobby Durham, was considered by many to be some of her best work. The following year she again performed with Joe Pass on German television station NDR in Hamburg. Her years with Pablo Records also documented the decline in her voice. "She frequently used shorter, stabbing phrases, and her voice was harder, with a wider vibrato", one biographer wrote.[3] Plagued by health problems, Fitzgerald made her last recording in 1991 and her last public performances in 1993.[14]
Film and television[link]
In her most notable screen role, Fitzgerald played the part of singer Maggie Jackson in Jack Webb's 1955 jazz film Pete Kelly's Blues. The film costarred Janet Leigh and singer Peggy Lee. Even though she had already worked in the movies (she had sung briefly in the 1942 Abbott and Costello film Ride 'Em Cowboy), she was "delighted" when Norman Granz negotiated the role for her, and, "at the time....considered her role in the Warner Brothers movie the biggest thing ever to have happened to her."[3] Amid The New York Times' pan of the film when it opened in August 1955, the reviewer wrote, "About five minutes (out of ninety-five) suggest the picture this might have been. Take the ingenious prologue ... [or] take the fleeting scenes when the wonderful Ella Fitzgerald, allotted a few spoken lines, fills the screen and sound track with her strong mobile features and voice."[15] Fitzgerald's race precluded major big-screen success. After Pete Kelly's Blues, she appeared in sporadic movie cameos, in St. Louis Blues (1958), and Let No Man Write My Epitaph (1960). Much later, she appeared in the 1980s television drama The White Shadow.
She made numerous guest appearances on television shows, singing on The Frank Sinatra Show, The Andy Williams Show, The Pat Boone Chevy Showroom, and alongside other greats Nat King Cole, Dean Martin, Mel Tormé, and many others. Perhaps her most unusual and intriguing performance was of the 'Three Little Maids' song from Gilbert and Sullivan's comic operetta The Mikado alongside Joan Sutherland and Dinah Shore on Shore's weekly variety series in 1963. A performance at "Ronnie Scott's" jazz club in London was filmed and shown on the BBC. Fitzgerald also made a one-off appearance alongside Sarah Vaughan and Pearl Bailey on a 1979 television special honoring Bailey. In 1980, she performed a medley of standards in a duet with Karen Carpenter on the Carpenters' television program, Music, Music, Music. [16]
Fitzgerald also appeared in TV commercials, her most memorable being an ad for Memorex. In the commercials, she sang a note that shattered a glass while being recorded on a Memorex cassette tape. The tape was played back and the recording also broke the glass, asking "Is it live, or is it Memorex?" She also starred in a number of commercials for Kentucky Fried Chicken, singing and scatting to the fast-food chain's longtime slogan, "We do chicken right!"[17] Her final commercial campaign was for American Express, in which she was photographed by Annie Leibovitz.
Discography[link]
Further information: Ella Fitzgerald discography
Collaborations[link]
Fitzgerald's most famous collaborations were with the trumpeter Louis Armstrong, the guitarist Joe Pass, and the bandleaders Count Basie and Duke Ellington.
- Fitzgerald recorded three Verve studio albums with Armstrong, two albums of standards (1956's Ella and Louis and 1957's Ella and Louis Again), and a third album featured music from the Gershwin musical Porgy and Bess. Fitzgerald also recorded a number of sides with Armstrong for Decca in the early 1950s.
- Fitzgerald is sometimes referred to as the quintessential swing singer, and her meetings with Count Basie are highly regarded by critics. Fitzgerald features on one track on Basie's 1957 album One O'Clock Jump, while her 1963 album Ella and Basie! is remembered as one of her greatest recordings. With the 'New Testament' Basie band in full swing, and arrangements written by a young Quincy Jones, this album proved a respite from the 'Songbook' recordings and constant touring that Fitzgerald was engaged in during this period. Fitzgerald and Basie also collaborated on the 1972 album Jazz at Santa Monica Civic '72, and on the 1979 albums Digital III at Montreux, A Classy Pair and A Perfect Match.
- Fitzgerald and Joe Pass recorded four albums together toward the end of Fitzgerald's career. She recorded several albums with piano accompaniment, but a guitar proved the perfect melodic foil for her. Fitzgerald and Pass appeared together on the albums Take Love Easy (1973), Easy Living (1986), Speak Love (1983) and Fitzgerald and Pass... Again (1976).
- Fitzgerald and Duke Ellington recorded two live albums, and two studio albums. Her Duke Ellington Songbook placed Ellington firmly in the canon known as the Great American Songbook, and the 1960s saw Fitzgerald and the 'Duke' meet on the Côte d'Azur for the 1966 album Ella and Duke at the Cote D'Azur, and in Sweden for The Stockholm Concert, 1966. Their 1965 album Ella at Duke's Place is also extremely well received.
Fitzgerald had a number of famous jazz musicians and soloists as sidemen over her long career. The trumpeters Roy Eldridge and Dizzy Gillespie, the guitarist Herb Ellis, and the pianists Tommy Flanagan, Oscar Peterson, Lou Levy, Paul Smith, Jimmy Rowles, and Ellis Larkins all worked with Ella mostly in live, small group settings.
Possibly Fitzgerald's greatest unrealized collaboration (in terms of popular music) was a studio or live album with Frank Sinatra. The two appeared on the same stage only periodically over the years, in television specials in 1958 and 1959, and again on 1967's A Man and His Music + Ella + Jobim, a show that also featured Antonio Carlos Jobim. Pianist Paul Smith has said, "Ella loved working with [Frank]. Sinatra gave her his dressing room on A Man and His Music and couldn't do enough for her." When asked, Norman Granz would cite "complex contractual reasons" for the fact that the two artists never recorded together.[3] Fitzgerald's appearance with Sinatra and Count Basie in June 1974 for a series of concerts at Caesar's Palace, Las Vegas was seen as an important incentive for Sinatra to return from his self-imposed retirement of the early 1970s. The shows were a great success, and September 1975 saw them gross $1,000,000 in two weeks on Broadway, in a triumvirate with the Count Basie Orchestra.
Awards, citations and honors[link]
Further information: List of awards received by Ella Fitzgerald
Fitzgerald won thirteen Grammy awards, including one for Lifetime Achievement in 1967.
Other major awards and honors she received during her career were the Kennedy Center for the Performing Arts Medal of Honor Award, National Medal of Art, first Society of Singers Lifetime Achievement Award, named "Ella" in her honor, Presidential Medal of Freedom, and the George and Ira Gershwin Award for Lifetime Musical Achievement, UCLA Spring Sing.[18] Across town at the University of Southern California, she received the coveted[citation needed] USC "Magnum Opus" Award which hangs in the office of the Ella Fitzgerald Charitable Foundation.
Philanthropies[link]
Fitzgerald was a quiet but ardent supporter of many charities and non-profit organizations, including the American Heart Association and the City of Hope Medical Center. In 1993, she established the "Ella Fitzgerald Charitable Foundation", which continues to fund programs that perpetuate Ella's ideals. The Foundation's mission and goals, as well as many of the organizations that receive support, can be found at the official Ella Fitzgerald Foundation website Ella Fitzgerald Charitable Foundation. The Foundation also runs a Children's Book Program in memory of Miss Fitzgerald; called "A Book Just For Me!", it provides over 100,000 brand-new books each year to disadvantaged children.
Tributes and legacy[link]
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In 1997, Newport News, Virginia created a music festival with Christopher Newport University to honor Ella Fitzgerald in her birth city. The Ella Fitzgerald Music Festival is designed to teach the region's youth of the musical legacy of Fitzgerald and jazz. Past performers at the week-long festival include: Diana Krall, Arturo Sandoval, Jean Carne, Phil Woods, Aretha Franklin, Freda Payne, Cassandra Wilson, Ethel Ennis, David Sanborn, Jane Monheit, Dianne Reeves, Dee Dee Bridgewater, Ramsey Lewis, Patti Austin, and Ann Hampton Callaway
Callaway, Dee Dee Bridgewater, and Patti Austin have all recorded albums in tribute to Fitzgerald. Callaway's album To Ella with Love (1996) features fourteen jazz standards made popular by Fitzgerald, and the album also features the trumpeter Wynton Marsalis. Bridgewater's album Dear Ella (1997) featured many musicians that were closely associated with Fitzgerald during her career, including the pianist Lou Levy, the trumpeter Benny Powell, and Fitzgerald's second husband, double bassist Ray Brown. Bridgewater's following album, Live at Yoshi's, was recorded live on April 25, 1998, what would have been Fitzgerald's 81st birthday.
Austin's album, For Ella (2002) features 11 songs most immediately associated with Fitzgerald, and a twelfth song, "Hearing Ella Sing" is Austin's tribute to Fitzgerald. The album was nominated for a Grammy. In 2007, We All Love Ella, was released, a tribute album recorded for the 90th anniversary of Fitzgerald's birth. It featured artists such as Michael Bublé, Natalie Cole, Chaka Khan, Gladys Knight, Diana Krall, k.d. lang, Queen Latifah, Ledisi, Dianne Reeves, Linda Ronstadt, and Lizz Wright, collating songs most readily associated with the "First Lady of Song". Folk singer Odetta's album To Ella (1998) is dedicated to Fitzgerald, but features no songs associated with her. Her accompanist Tommy Flanagan affectionately remembered Fitzgerald on his album Lady be Good ... For Ella (1994).
Fitzgerald is also referred to on the 1987 song "Ella, elle l'a" by French singer France Gall and the Belgian singer Kate Ryan, the 1976 Stevie Wonder hit "Sir Duke" from his album Songs in the Key of Life, and the song "I Love Being Here With You", written by Peggy Lee and Bill Schluger. Sinatra's 1986 recording of "Mack the Knife" from his album L.A. Is My Lady (1984) includes a homage to some of the song's previous performers, including 'Lady Ella' herself. She is also honored in the song "First Lady" by Canadian artist Nikki Yanofsky.
In 2008, the Downing-Gross Cultural Arts Center in Newport News named its brand new 276-seat theater the Ella Fitzgerald Theater. The theater is located several blocks away from her birthplace on Marshall Avenue. The Grand Opening performers (October 11 & 12, 2008) were Roberta Flack and Queen Esther Marrow.
USPS stamp and Yonkers statue[link]
There is a bronze sculpture of Fitzgerald in Yonkers,created by American artist Vinnie Bagwell, the city in which she grew up. It is located southeast of the main entrance to the Amtrak/Metro-North Railroad station. A bust of Fitzgerald is on the campus of Chapman College in Orange, California. On January 10, 2007, the United States Postal Service announced that Fitzgerald would be honored with her own 39-cent postage stamp. The stamp was released in April 2007 as part of the Postal Service's Black Heritage series.[19]
Filmography[link]
| Year | Film | Role | Notes and awards |
|---|---|---|---|
| 1942 | Ride 'Em Cowboy | Ruby | |
| 1955 | Pete Kelly's Blues | Maggie Jackson | |
| 1958 | St. Louis Blues | Singer | |
| 1960 | Let No Man Write My Epitaph | Flora |
References[link]
- ^ Scott Yanow. "Ella Fitzgerald". allmusic.com. http://www.allmusic.com/artist/p6503. Retrieved 2007-03-16.
- ^ Vickie Smith, Jazz Vocalist. "Dedicated To Ella". VickieSmith.com. http://www.vickiesmith.com/ella.htm. Retrieved 2007-03-16.
- ^ a b c d e f g h Nicholson, Stuart (1993). Ella Fitzgerald: A Biography of the First Lady of Jazz. New York: C. Scribner's Sons. ISBN 0-575-40032-3.
For many years Fitzgerald's birthdate was thought to be on the same date one year later in 1918 — and is still listed as such in some sources, but research by Nicholson and another biographer, Tanya Lee Stone, established 1917 as the correct year of birth. - ^ "Ella Fitzgerald Biography - school, mother, son, information, born, house, marriage, time, year". Notablebiographies.com. http://www.notablebiographies.com/Fi-Gi/Fitzgerald-Ella.html. Retrieved 2012-05-13.
- ^ "Ella Fitzgerald: First Lady of Song - Katherine E. Krohn - Google Books". Books.google.com. http://books.google.com/books?id=pLBEVVf69K0C&pg=PA15&lpg=PA15&dq=Ella+Fitzgerald+Methodist&source=bl&ots=46AqJijkp5&sig=MFQ6rL_pFAczUDq8lgxGN5LL8p0&hl=en&sa=X&ei=mResT9DMNMnH6gHG9IG6BA&ved=0CFYQ6AEwBDgK#v=onepage&q=Ella%20Fitzgerald%20Methodist&f=false. Retrieved 2012-05-13.
- ^ a b c d e f g h Stephen Holden (1996-06-16). "Ella Fitzgerald, the Voice of Jazz, Dies at 79". The New York Times. http://query.nytimes.com/gst/fullpage.html?res=9A00E4DC1E39F935A25755C0A960958260. Retrieved 2008-04-06.
- ^ a b Bernstein, Nina. "Ward of the State;The Gap in Ella Fitzgerald's Life", The New York Times, June 23, 1996. Accessed June 29, 2010.
- ^ a b Frank Rich (1996-06-19). "Journal; How High the Moon". The New York Times. http://query.nytimes.com/gst/fullpage.html?res=9800E6D81439F93AA25755C0A960958260. Retrieved 2008-04-06.
- ^ Bernstein, Nina. "Ward of the State;The Gap in Ella Fitzgerald's Life", The New York Times, June 23, 1996. Accessed May 3, 2008. "Her most recent biographer, Stuart Nicholson, has surmised that the authorities caught up with her and placed her in the Colored Orphan Asylum in Riverdale."
- ^ a b c Jim Moret (1996-06-15). "‘First Lady of Song’ passes peacefully, surrounded by family". CNN. Archived from the original on 2006-11-29. http://web.archive.org/web/20061129231320/http://www.cnn.com/SHOWBIZ/9606/15/fitzgerald.obit/index.html. Retrieved 2007-01-30.
- ^ Benoit, Tod (2003-05-06). Where are they buried?: how did they die?. Black Dog Publishing. p. 423. ISBN 978-1-57912-287-4. http://books.google.com/books?id=rPekYw-SIkEC&pg=PA423. Retrieved 4 March 2011.
- ^ "Ella Fitzgerald: A Memorial" by Will Friedwald 1996.
- ^ a b Pleasants, H. (1974). The Great American Popular Singers. Simon and Schuster.
- ^ Hugh Davies (2005-12-31). "Sir Johnny up there with the Count and the Duke". London: Telegraph (UK). http://www.telegraph.co.uk/news/main.jhtml?xml=/news/2005/12/31/nhonours931.xml. Retrieved 2007-03-16.
- ^ Dargis, Manohla (August 19, 1955). "Webb Plays the Blues". The New York Times. http://movies2.nytimes.com/mem/movies/review.html?res=9C00E2DB103AE73ABC4152DFBE66838E649EDE. Retrieved 2007-01-31.
- ^ http://www.youtube.com/watch?v=Jquc8iFj6sY
- ^ . http://www.retrojunk.com/details_commercial/20112.
- ^ "Calendar & Events: Spring Sing: Gershwin Award". UCLA. http://www.uclalumni.net/CalendarEvents/springsing/Gershwin/winners.cfm.
- ^ "New Stamp Honors First Lady of Song". WHSV News 3. January 9, 2007. http://www.whsv.com/news/headlines/5134776.html. Retrieved 2009-12-02.
- Gourse, Leslie (1998). The Ella Fitzgerald Companion. London: Omnibus Press. ISBN 0-7119-6916-7.
- Johnson, J. Wilfred (2001). Ella Fitzgerald: An Annotated Discography. McFarland. ISBN 0-7864-0906-1.
Further reading[link]
- Nicholson, Stuart. (1996) Ella Fitzgerald. Gollancz; ISBN 0-575-40032-3
- Gourse, Leslie. (1998) The Ella Fitzgerald Companion: Seven Decades of Commentary. Music Sales Ltd.; ISBN 0-02-864625-8
- Johnson, J. Wilfred. (2001) Ella Fitzgerald: A Complete Annotated Discography. McFarland & Co Inc.; ISBN 0-7864-0906-1
External links[link]
 |
Book: Ella Fitzgerald |
| Wikipedia books are collections of articles that can be downloaded or ordered in print. | |
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Wikimedia Commons has media related to: Ella Fitzgerald |
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Wikiquote has a collection of quotations related to: Ella Fitzgerald |
- Ella Fitzgerald at the Internet Movie Database
- Ella Fitzgerald at the Internet Broadway Database
- Ella Fitzgerald at Find a Grave
- Ella Fitzgerald Complete Discography
- Ella Fitzgerald: Twelve Essential Performances by Stuart Nicholson (Jazz.com).
- Ella Fitzgerald at the Library of Congress
- Ella Fitzgerald, The Official Ed Sullivan Show Website
- Redsugar's Ella page
- 'Remembering Ella' by Phillip D. Atteberry
- Todd's Ella Fitzgerald Lyrics Page
- Ella Swings Gently, The Ella Fitzgerald Pages
- Ella Fitzgerald Tribute CD Video Footage
- New York Times article on Ella's early years
- Listen to Big Band Serenade podcast, episode 6 Includes complete NBC remote broadcast of "Ella Fitzgerald & her Orchestra" from the Roseland Ballroom (or download)
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|||||||||||
| Persondata | |
|---|---|
| Name | Fitzgerald, Ella |
| Alternative names | Lady Ella, The First Lady of Song |
| Short description | American jazz singer |
| Date of birth | April 25, 1917 |
| Place of birth | Newport News, Virginia, U.S. |
| Date of death | June 15, 1996 |
| Place of death | Beverly Hills, California, U.S. |
http://wn.com/Ella_Fitzgerald
For other people named Brian Wilson, see Brian Wilson (disambiguation).
| Brian Wilson | |
|---|---|
 Brian Wilson performing in January 2007 |
|
| Background information | |
| Birth name | Brian Douglas Wilson |
| Born | (1942-06-20) June 20, 1942 (age 70) Inglewood, California, U.S. |
| Genres | Rock, pop, psychedelic rock, surf rock, experimental rock, baroque pop, art rock |
| Occupations | Songwriter, bassist, pianist, vocalist, producer, composer, organist, arranger |
| Instruments | Vocals, bass, piano, organ, synthesizers, mellotron, clavinet, violin, saxophone, percussions, guitar, electric piano, moog synthesizers |
| Years active | 1961–present |
| Labels | Capitol/EMI Sire/Reprise/Warner Bros. Brother/Reprise/Warner Bros. Giant/Warner Bros. Caribou/CBS Nonesuch/Elektra Walt Disney |
| Associated acts | The Beach Boys, The Four Freshmen, Jan and Dean, Van Dyke Parks, The Wondermints |
| Website | www.brianwilson.com |
| Notable instruments | |
| Fender Precision Bass Baldwin HT2R Theater Organ[1] Moog synthesizer |
|
Brian Douglas Wilson (born June 20, 1942) is an American musician, best known as the leader and chief songwriter of the group The Beach Boys. On stage, Wilson provided many of the lead vocals, and often harmonized with the group in falsetto. Early during his on-stage career, Wilson primarily played bass on stage, but gradually transitioned to primarily playing piano/keyboards. Besides being the primary composer in The Beach Boys, he also functioned as the band's main producer and arranger. After signing with Capitol Records in mid-1962, Wilson wrote or co-wrote more than two dozen Top 40 hits including "Surfin' Safari", "Surfin' USA", "Shut Down", "Little Deuce Coupe", "Be True to Your School", "In My Room", "Fun, Fun, Fun", "I Get Around", "Dance Dance Dance", "Help Me Rhonda", "California Girls" and "Good Vibrations". These songs and their accompanying albums were internationally popular, making The Beach Boys one of the biggest acts of their time.[2]
In the mid-60s Wilson used his increasingly creative ambitions to compose and produce Pet Sounds, considered one of the greatest albums of all time. At this point his music was considered to rival that of Lennon–McCartney. The intended follow up to Pet Sounds, Smile, was cancelled for various reasons, including Wilson's deteriorating mental health. Wilson's contributions to The Beach Boys diminished as the years went by, and his erratic behavior led to tensions with the band. After years of treatment and recuperation, he began a solo career in 1988 with Brian Wilson, the same year that he and The Beach Boys were inducted into the Rock and Roll Hall of Fame. Since then he has toured for the first time in decades with a new band and released acclaimed albums such as a reworked version of Smile in 2004, for which Wilson won a Grammy Award for "Mrs. O'Leary's Cow (Fire)" as Best Rock Instrumental, That Lucky Old Sun, and Brian Wilson Reimagines Gershwin.
In 2008, Rolling Stone magazine published a list of the "100 Greatest Singers of All Time", and ranked Wilson number 52.[3] He is an occasional actor and voice actor, having appeared in television shows, films, and other artists' music videos. On December 16, 2011, a 50th Anniversary Reunion was announced and Brian returned to The Beach Boys. Brian Wilson remains a member of the Beach Boys corporation, Brother Records Incorporated.
Contents
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Life and career[link]
Early years[link]
Wilson was born on June 20, 1942 at Centinela Hospital in Inglewood, California, the son of Audree Neva (née Korthof) and Murry Gage Wilson.[4] He was the eldest of three boys; his younger brothers were Dennis and Carl. When Brian was two,[5] the Wilson family moved from Inglewood to 3701 West 119th Street in nearby Hawthorne, California, a town in the greater Los Angeles urban area about five miles inland from the Pacific Ocean. He spent his entire subsequent childhood years in this middle-class family home.[6]
Brian Wilson's father told of Brian's unusual musical abilities prior to his first birthday, observing that the baby could repeat the melody from "When the Caissons Go Rolling Along" after only a few verses had been sung by the father. Murry stated, "He was very clever and quick. I just fell in love with him."[7]
At about age two, Brian heard George Gershwin's "Rhapsody in Blue", which had an enormous emotional impact on him.[8] A few years later Brian was discovered to have extremely diminished hearing in his right ear. The exact cause of this hearing loss is unclear, though theories range from Brian's simply being born partially deaf, to a blow to the head from Brian's father, or a neighborhood bully, being to blame.[9]
While father Murry was ostensibly a reasonable provider, he was often abusive. But Murry, a minor musician and songwriter, also encouraged his children in this field in numerous ways. At an early age, Brian was given six weeks of lessons on a "toy accordion", and at seven and eight sang solos in church with a choir behind him.[10] By most accounts a natural leader by the time he began attending Hawthorne High School, Brian was on the football team as a quarterback, played baseball and was a cross-country runner in his senior year.[11] However, most of his energy was directed toward music. He sang with various students at school functions and with his family and friends at home. Brian taught his two brothers harmony parts that all three would then practice when they were supposed to be asleep. He also played piano obsessively after school, deconstructing the harmonies of The Four Freshmen by listening to short segments of their songs on a phonograph, then working to recreate the blended sounds note by note on the keyboard.[12] Brian received a Wollensak tape recorder on his 16th birthday, allowing him to experiment with recording songs and early group vocals.[13]
First steps: Carl and the Passions[link]
Wilson's surviving home tapes document his initial efforts singing with various buddies and family, including a song that would later be recorded in the studio by The Beach Boys, "Sloop John B", as well as "Bermuda Shorts" and a hymn titled "Good News". In his senior year at Hawthorne High, in addition to his classroom music studies, he would gather at lunchtime to sing with friends like Keith Lent and Bruce Griffin. Brian and Lent worked on a revised version of the tune "Hully Gully" to support the campaign of a classmate named Carol Hess who was running for senior class president. When performed for a full high school gathering, Brian's revised arrangement received a warm round of applause from the student audience.[14]
Enlisting his cousin and often-time singing partner Mike Love, and Wilson's reluctant youngest brother Carl Wilson, Brian's next public performance featured more ambitious arrangements at a fall arts program at his high school. To entice Carl into the group, Wilson named the newly-formed membership "Carl and the Passions". The performance featured tunes by Dion and the Belmonts and The Four Freshmen ("It's a Blue World"), the latter of which proved difficult for the ensemble to carry off. However, the event was notable for the impression it made on another musician and classmate of Brian's who was in the audience that night, Al Jardine, later to join the three Wilson brothers and Mike Love in The Beach Boys.[15]
Initial compositions and the Pendletones[link]
Brian enrolled at El Camino College in Los Angeles, majoring in psychology, in September 1960. However, he continued his music studies at the college as well.[16] At some point in the year 1961 Brian wrote his first all-original melody, loosely based on a Dion and the Belmonts version of "When You Wish Upon a Star". Brian's tune would eventually be known as "Surfer Girl". Brian has commented that he wrote the melody in his car, then later at home finished the bridge and harmonies. Although an early demo of the song was recorded in February 1962 at World-Pacific Studios, it was not re-recorded and released until 1963, when it became a top ten hit.[17]
Brian and his brothers Carl and Dennis Wilson along with Mike Love and Al Jardine first gelled as a music group in the summer of 1961, initially named the Pendletones. After being prodded by Dennis to write a song about the local water sports craze, Brian and Mike Love together created what would become the first single for the band, "Surfin'". Over Labor Day weekend 1961, Brian took advantage of the fact that his parents were in Mexico City for a couple of days and intended to use the emergency money they had left for the boys to rent an amp, a microphone, and a stand-up bass. As it turned out, the money they had left was not enough to cover musical expenses, so Al Jardine appealed to his mother, Virginia for assistance. When she heard the group perform, she was suitably impressed and handed over $300 to help out. Al promptly took Brian to the music store where he was able to rent a stand-up bass. After two days of rehearsing in the Wilsons' music room, Brian's parents returned home from their trip. Murry was irate, until Brian convinced him to listen to what they'd been up to. His father was convinced that the boys did indeed have something worth pursuing. He quickly proclaimed himself the group's manager and the band embarked on serious rehearsals for a proper studio session.[18] Recorded by Hite and Dorinda Morgan and released on the small Candix Records label, "Surfin'" became a top local hit in Los Angeles and reached number seventy-five on the national Billboard sales charts.[19]
Dennis later described the first time Brian heard their song on the radio as the three Wilson brothers (and soon-to-be-band member David Marks) drove in Brian's 1957 Ford in the rain: "Nothing will ever top the expression on Brian's face, ever ... THAT was the all-time moment."
However, the Pendletones were no more. Without the band's knowledge or permission, Candix Records had changed their name to The Beach Boys.[20]
First performances and the quest for a major label[link]
Brian Wilson and his bandmates, following a set by Ike and Tina Turner, performed their first major live show at The Ritchie Valens Memorial Dance on New Year's Eve, 1961. Three days previously, Brian's father had bought him an electric bass and amplifier; Brian had learned to play the instrument in that short period of time, with Al Jardine moving to rhythm guitar.
Looking for a followup single for their radio hit, Brian and Mike Love wrote "Surfin' Safari", and attempts were made to record a usable take at World Pacific, including overdubs, on February 8, 1962, along with several other tunes including an early version of "Surfer Girl". Only a few days later, discouraged about the band's financial prospects, and objecting to adding some Chubby Checker songs to The Beach Boys live setlist, Al Jardine abruptly left the group.[21]
When Candix Records ran into money problems and sold the group's master recordings to another label, Murry Wilson terminated the contract. Brian, worried about The Beach Boys' future, asked his father to help his group make more recordings. But Murry and Hite Morgan (who at this point was their music publisher) were turned down by a number of Los Angeles record companies.
As "Surfin'" faded from the charts, Brian, who had forged a songwriting partnership with Gary Usher, created several new tunes, including a car song, "409", that Usher helped them write. Recruiting Carl and Dennis' friend, thirteen-year-old neighbor David Marks, who had been playing electric guitar (and practicing with Carl) for years, Brian and the revamped Beach Boys cut new tracks on April 19 at Western Recorders including an updated "Surfin' Safari" and "409". These tunes convinced Capitol Records to release the demos as a single; they became a double-sided national hit.[22]
The Beach Boys and first success with Capitol Records[link]
Recording sessions for the band's first album took place in Capitol's basement studios (in the famous tower building) in August 1962, but early on Brian lobbied for a different place to cut Beach Boy tracks. The large rooms were built to record the big orchestras and ensembles of the 1950s, not small rock groups. At Brian's insistence, Capitol agreed to let The Beach Boys pay for their own outside recording sessions, which Capitol would own all the rights to, and in return the band would receive a higher royalty rate on their record sales. Additionally, although it was very rare at the time for rock and roll band members to have a say in the process of making their records, during the taping of their first LP Brian fought for, and won, the right to be totally in charge of the production- though his first acknowledged liner notes production credit did not come until the band's third album Surfer Girl, in 1963.[23]
In January 1963 The Beach Boys recorded their first top-ten (cresting at #3 in the United States) single, "Surfin' USA", which began their long run of highly successful recording efforts at Hollywood's Western Recorders on Sunset Boulevard. It was during the sessions for this single that Brian made the production decision from that point on to use doubletracking on the group's vocals, resulting in a deeper and more resonant sound.[24]
The tune, adapted from (and eventually entirely credited to) Chuck Berry, is widely seen as emblematic of the early 1960s American rock cultural experience.[25] The Surfin' USA album was also a big hit in the United States, reaching number two on the national sales charts by early July 1963. Brian and his group had become a top-rank recording and touring music band.[4]
Early era as writer/producer[link]
Brian was first credited as The Beach Boys' producer on the Surfer Girl album, recorded in June and July 1963 and released in September 1963. This LP reached #7 on the national charts on the strength of songs like the ballad "In My Room", later released as a single; "Catch a Wave"; and "Little Deuce Coupe", which was released as a double-sided single with the album's title track, both top-15 hits.
He also began working with other artists in this period. On July 20, 1963, "Surf City", which he had co-written with Jan and Dean, was the first surfing song to reach the pinnacle of the sales charts. The development pleased Brian, but angered Murry and Capitol Records. Murry went so far as to order his oldest son to sever any further efforts with Jan and Dean.
Brian's other non-Beach Boy work in this period included tracks by The Honeys, Sharon Marie, The Timers, and The Survivors. Feeling that surfing songs had become limiting, Brian decided to produce a set of largely car-oriented tunes for The Beach Boys' fourth album Little Deuce Coupe, which was released in October 1963, only three weeks after the Surfer Girl LP. The departure of guitarist David Marks from the band that month meant that Brian was forced to resume touring with The Beach Boys, for a time reducing his availability in the recording studio.[26]
Artistic growth[link]
Brian became known for his unique use of vocal harmonies and incessant studio perfectionism. Early influences on his music included not only the previously mentioned Four Freshmen and Chuck Berry, but also the work of record producer Phil Spector, the latter of whom obsessed Wilson for years.[27] He later considered The Beatles to be his chief rivals, and they in turn would cite his work as a major influence. Wilson also produced records for other artists, but to much lesser success, with the exception of Jan and Dean, for whom Wilson co-wrote several hit songs. Following a nervous breakdown onboard a flight from L.A. to Houston in 1964,[28] Wilson stopped performing live with the Beach Boys in an effort to concentrate solely on songwriting[29] and studio production.[28] Glen Campbell was called in as his temporary stand-in for live performances,[27] before Wilson chose Bruce Johnston as a long-term replacement—a band member who remains with the Beach Boys today. In late 1965, Wilson began working on material for a new album after hearing the Beatles' 1965 album Rubber Soul.[30]
"With the 1966 Pet Sounds album, and then songs like "Good Vibrations" and "Heroes and Villains", Wilson had become America's equivalent of The Beatles with his ability to expand the limits of popular taste."
Robin Denselow writing for The Guardian, September 1976[29]
As he began work on the new project, Pet Sounds, Wilson formed a temporary songwriting partnership with lyricist Tony Asher. Wilson, who had recorded the album's instrumentation with The Wrecking Crew, then gathered with The Beach Boys to record vocal overdubs, following their return from a tour of Japan. Upon hearing what Wilson had created for the first time in 1965,[28] the group, particularly Mike Love, was somewhat critical of their leader's music,[27] and expressed their dissatisfaction.[28] At this time, Wilson still had considerable control within the group and, according to Wilson, they eventually overcame their initial negative reaction, as his newly created music began to near completion; "They thought it was too far-out to do, you know?... But then when it was all done, they liked it. They started liking it."[28] The album was released May 16, 1966 and, despite modest sales figures at the time, has since become widely critically acclaimed, often being cited among the all-time greatest albums. Although the record was issued under the group's name, Pet Sounds is arguably seen as a Brian Wilson solo album—Wilson even toyed with the idea by releasing "Caroline, No" as a solo single in March 1966, reaching no. 32 on the Billboard charts.[31]
During the Pet Sounds sessions, Wilson had been working on another song, which was held back from inclusion on the record as he felt that it was not sufficiently complete. The song "Good Vibrations" set a new standard for musicians and for what could be achieved in the recording studio. Recorded in multiple sessions and in numerous studios, the song eventually cost $50,000 to record within a six month period.[30] In October 1966, the song was released as a single, giving The Beach Boys their third U.S. number-one hit—alongside "I Get Around" and "Help Me, Rhonda"—and it sold over a million copies.
[edit] Smile, group tension and Brother Records
With the surprising success of "Good Vibrations", Capitol Records had no choice but to back Wilson up for his next project, originally called Dumb Angel[27] but soon re-titled Smile, which he described as a "teenage symphony to God".[27] The album's approach was similar to "Good Vibrations" in the style of recording, which, at the time, was called modular music. This was vastly different compared to the standard live performances that were typically done in a studio at the time. After having been introduced to each other at a party, Wilson sought the lyrical assistance of L.A.-based musician Van Dyke Parks, who had made a profound impression on Wilson with the "visionary eloquence" of his lyrics.[32] During the album's songwriting sessions, they collaborated on "Heroes and Villains", "Surf's Up", "Wonderful", "Vegetables" and "Mrs. O Leary's Cow". However, between December 1966 and May 1967, the Smile sessions fell apart due to conflict within the group and Wilson's own growing personal problems. As a result, Wilson was having problems completing the album towards the end of the recording sessions. Originally slated to be released in January 1967, the date was continually pushed back until its eventual cancellation — "Heroes and Villains" and "Vegetables" were planned as singles within that time, but nothing appeared.
Another source of problems came from The Beach Boys deciding to file a lawsuit against Capitol Records to start their own label, Brother Records. This transpired when Wilson was trying to finish the album and, right along the way, The Beatles were working on Sgt. Pepper's Lonely Hearts Club Band. In April 1967, Wilson — who was suffering from growing mental problems not limited to paracusia and paranoia, including the belief that journalist Jules Siegel's girlfriend was a witch with a penchant for extrasensory perception — was "deeply affected" by hearing a tape of the Sgt. Pepper song "A Day in the Life", which Paul McCartney played to him in Los Angeles.[33] Soon after, Smile was abandoned, and Wilson would not return to complete it until 2004, when it was released as a Brian Wilson album of the same name. Van Dyke Parks later noted, "...Brian had a nervous collapse. What broke his heart was Sgt. Pepper."[32] Writing for The Guardian in December 1999, Will Hodgkinson summarized the main reasons for the eventual demise of Wilson's ambitious project;[32]
- [A] combination of factors, including litigations against the record company and increasing animosity between Wilson and the rest of the band, meant that in May 1967 Wilson pulled the plug on the record... [Mike] Love had already dismissed "Good Vibrations" as "avant-garde shit" and objected to the way Wilson, Parks and a group of highly skilled session musicians were creating music way beyond his understanding... By March 1967, the bad feeling got too much for Parks and, having no desire to break up The Beach Boys, he walked out.
Following the cancellation of Smile, The Beach Boys relocated to a recording studio within the confines of Brian Wilson's mansion, where the hastily compiled Smiley Smile album was assembled, along with a number of future Beach Boys records. This marked the end of Wilson's leadership within the band, and has been seen to be "the moment when the Beach Boys first started slipping from the vanguard to nostalgia."[28]
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Onset of mental illness and drug addiction[link]
Throughout mid-to-late 1967, Wilson concurrently oversaw the production of such heavily orchestrated songs as "Can't Wait Too Long" and "Time to Get Alone" (the latter intended for Redwood, an early iteration of Three Dog Night) alongside the albums Smiley Smile (composed mainly of reconstituted Smile material recorded in minimalist arrangements by the core Beach Boys) and the R&B-inflected Wild Honey, both of which performed only modestly on the charts. His interest in The Beach Boys began to wax and wane, and he was frequently seen partying with Tandyn Almer and singer Danny Hutton; it was during this period that he was introduced to cocaine. Still psychologically overwhelmed by the cancellation of Smile and the imminent birth of his first child Carnie Wilson in 1968 amid the looming financial insolvency of The Beach Boys (Friends, largely written & produced by Wilson and recorded once again with members of the Wrecking Crew, peaked at #126 on the American charts), Wilson's creative role with the band begin to diminish. Shortly after numerous attempts at recording of an intricate Pet Sounds-style cover of Kern and Hammerstein's "Ol' Man River" were finally thwarted by Love, Wilson entered a psychiatric hospital for an indefinite period of time of his own volition; it is believed that he was first administered Thorazine and electroconvulsive therapy during this stay. As a consequence of this, his contributions to 1969's 20/20 subsequently consisted of Smile outtakes and long-simmering works in progress. The Wilson/Love-authored "Do It Again", a reactionary throwback to the band's earlier surf hits, was a major hit in the summer of 1968, reaching #20 in America (though not offsetting the fallow, contemporaneous reception of "Friends" and "Bluebirds Over the Mountain") and topping the charts in the UK.
In 1969 and 1970 Wilson enjoyed a relatively good period of health and activity. He lost weight, made several concert appearances (including filling in for Love on a 1970 Northwest tour while the singer was convalescing), and resumed writing and recording on a fairly regular basis. Some of this work ended up on The Beach Boys Sunflower LP, containing 7 (out of 12) songs written or co-written by Wilson and their first for then-au courant Reprise Records under a contract that stipulated his proactive involvement with the band. With his father Murry assisting, Wilson also penned the 1969 UK hit "Break Away", a song that explicitly alluded to his depression and aural hallucinations. Although he played and/or sang on most of the 1971 Surf's Up LP, he wrote or co-wrote only three of the ten songs, including the 1966 title track. After rampant opposition to one of his contributions ("'Til I Die") from Love and the protracted debate surrounding the use of the Smile remnant, Wilson lost interest in the group once more, largely ceding leadership of the band to his brother Carl. In late 1971 and early 1972 he worked intermittently on the Spring LP, a new collaboration between erstwhile Honeys Marilyn Wilson and Diane Rovell. While he was initially far more involved in their sessions than The Beach Boys' recordings of the epoch, he soon recused himself from the recording process. Wilson co-wrote three (out of eight) songs for The Beach Boys' Carl and the Passions: So Tough in 1972 and reluctantly accompanied the band on their excursion to the Netherlands that year; the ensuing Holland contained the long-germinating FM radio hit "Sail On, Sailor" (believed to be largely written by Wilson, Alder, and Van Dyke Parks circa 1970-1971) and the more insouciant "Funky Pretty" (a collaboration with the band's manager, Jack Riley); a bonus EP contained Mount Vernon and Fairway (A Fairy Tale), a narrative suite musically inspired by Randy Newman's Sail Away and intended to be the album's centerpiece. Faced with the piece's castigatory reception from much of the band, Wilson stopped recording; the finished take was salvaged by Carl Wilson and Jack Riley. In the uncut excerpts from a 1981 interview with Musician, Carl Wilson claimed that his brother became truly addicted to cocaine during this period.
Seclusion, comeback, and relapse[link]
Wilson spent a great deal of the two years following his father's death in June 1973 secluded in the maid's quarters of his Bel Air mansion, sleeping, taking drugs, and overeating. During this period his voice deteriorated significantly as a result of chain smoking, drug ingestion and general neglect. In late 1975, Marilyn Wilson and the family enlisted the services of a controversial therapist, Eugene Landy, in a bid to help Wilson, with the hope of reviving the group's ailing profile. Wilson did not stay under Landy's care for long, but during this short period, Landy managed to help him into a more productive, social frame of mind. The new album 15 Big Ones, consisting of oldies and some new songs, was released in 1976 and Wilson began to appear regularly on stage with the band. A Love-orchestrated publicity campaign announced that "Brian is Back". He was also deemed to be well enough to do a solo performance on Saturday Night Live in November 1976. In 1977, the cult favorite Love You was released, consisting almost entirely of new material written and performed by Wilson. He has often called this, along with Friends, his favorite Beach Boys album.
By 1982, Eugene Landy was once more called into action, and a more radical program was undertaken to try to restore Wilson to health. This involved firing him from The Beach Boys, isolating him from his family on Hawaii, and putting him on a rigorous diet and health regimen. Coupled with long, extreme counselling sessions, this continued to bring Wilson back to reality. He lost a tremendous amount of weight and was certainly healthier and more conversant than previously, but was also under Landy's strict control. Wilson's recovery continued as he joined the band on stage in Live Aid in 1985, and recorded the album The Beach Boys with the group.
Dr. Landy provided a Svengali-like environment for Wilson, controlling every movement in his life, including his musical direction. Landy's misconduct would eventually lead to the loss of his psychology license,[34] as well as a court-ordered removal and restraining order from Wilson.[35]
Some years later, during his second marriage, Wilson was diagnosed with schizoaffective disorder (bipolar type) which supposedly caused him to hear voices. By 1989 a rumour was circulating that Brian either had had a stroke or had abused drugs excessively and was permanently "fried".[7] One biographer reported that the actual problem was that Wilson, who had been prescribed anti-psychotic medicine since 1983, had developed tardive dyskinesia,[36] a neurological condition marked by involuntary, repetitive movements, that develops in about 20% of patients treated with anti-psychotic drugs for a long period of time.[37] Wilson's drug regimen has now been reduced to a combination of mild antidepressants, and he has resumed recording and performing.
The effects of Brian Wilson's mental illness on his parenting skills were discussed by Wilson's daughter Wendy during her appearance in an episode of the British reality television program Supernanny.[38] Wilson's daughter Carnie and granddaughter Lola also made an appearance on the episode.
Solo career[link]
Wilson launched a career as a solo artist in 1988 with limited success. It is possible that his efforts in this regard were both encouraged and hampered by Landy's influence. Partly due to the control that Landy exercised on his life, Wilson stopped working with The Beach Boys on a regular basis after the release of The Beach Boys in 1985. He had been signed to a solo record deal with Sire Records by label boss Seymour Stein.
Wilson's first solo album, Brian Wilson, released in 1988, was favorably reviewed in the music press, but sold poorly. A memoir, Wouldn't It Be Nice - My Own Story, was released in 1990, in which he spoke about his troubled relationship with his abusive father Murry, his internal disputes with the Beach Boys, and his "lost years" of mental illness. Although it was written following interviews with Brian and others and released with Brian's name as co-author, Landy was largely responsible for the direction of the book, in conjunction with People magazine writer Todd Gold. The book describes Landy in terms that could be called messianic. In a later lawsuit over the book, instigated by several family members including his brother Carl and mother Audree, Wilson testified in court that he had not even read the final manuscript. As a result, the book was taken out of press some years later. A second solo album made for Sire under the aegis of Landy, entitled Sweet Insanity, was never released after being rejected by the record label. Landy's illegal use of psychotropic drugs on Wilson and his influence over Wilson's financial affairs was legally ended by Carl Wilson and other members of the Wilson family. A court appointed conservator was appointed to oversee Wilson's financial and legal affairs.
In 1995, Wilson married Melinda Ledbetter, a car saleswoman and former model he met several years earlier while still under the care of Eugene Landy. The couple adopted five children: two girls, Daria Rose and Delanie Rae, in 1998; a boy, Dylan, in 2004; a boy, Dash Tristan in 2009; and a girl, Dakota Rose, in 2010.[39] Wilson has two daughters from his first marriage to Marilyn Rovell: Carnie Wilson and Wendy Wilson, who would go on to musical success of their own in the early 1990s as two-thirds of Wilson Phillips.
Also in 1995, he released two albums, albeit neither containing any new original Wilson material, almost simultaneously. The first, the soundtrack to Don Was's documentary I Just Wasn't Made for These Times, consists of re-recorded versions of songs from his Beach Boys and solo catalogue produced by Was, along with a 1976-vintage demo recording. The second, Orange Crate Art, saw Wilson as lead vocalist, multitracked many times over, on an album of songs produced, arranged and (mostly) written by Van Dyke Parks, and was released as a duo album under both men's names.
His final release as part of the group was on the 1996 album Stars and Stripes Vol. 1, a group collaboration with select country music artists singing the lead vocals. After considerable mental recovery, he mended his relationship with his daughters Carnie and Wendy and the three of them released an album in 1997 titled The Wilsons.
In 1996 Wilson sang backup on Belinda Carlisle's "California."
In 1998, Wilson released a second solo album of mostly new material, Imagination. Following this, he received extensive vocal coaching to improve his voice, learned to cope with his stage fright, and started to play live for the first time in decades, going on to play the whole Pet Sounds album live on his tours of the United States, United Kingdom, and Europe.
The album Gettin' in Over My Head, was released on June 22, 2004. It featured collaborations with Elton John, Paul McCartney, Eric Clapton, and Wilson's deceased brother Carl. Clapton played on the track "City Blues." The album was almost entirely composed of re-recordings of unreleased material, and received mixed reviews.
Wilson recently contributed a cover of Buddy Holly's "Listen To Me" to the tribute album, Listen to Me: Buddy Holly released on September 6, 2011 on Verve Forecast. Rolling Stone praised Wilson's version as "gorgeous", featuring "angelic harmonies and delicate instrumentation".[40]
[edit] Smile resurrected
Main article: Smile (Brian Wilson album)
With the improvements in his mental health, Wilson found himself able to contemplate returning to the Smile project. Aided by musician and long time fan Darian Sahanaja of The Wondermints, and lyricist Van Dyke Parks, Brian painstakingly worked throughout 2003 to release the album. In February 2004, 37 years after it was conceived, Wilson debuted the newly completed Smile at the Royal Festival Hall in London and throughout a subsequent UK tour.
The debut performance at the RFH was a defining moment for Brian. The documentary DVD of the event shows Brian preparing for the big day and, right up to show time, expressing doubts over the concept of putting this legendary work before the public. After an opening set of Beach Boys classics, he climbed back on stage for a rousing performance of the album. A 10-minute standing ovation followed the concert; the DVD shows a sprinkling of rock luminaries in the crowd, such as Roger Daltrey, Paul Weller, Sir George Martin and Sir Paul McCartney (although neither Martin nor McCartney attended the opening night, contrary to what the DVD implies).
Smile was then recorded through April to June and released in September, to wide critical acclaim. The release hit #13 on the Billboard chart. The 2004 recording featured his backup/touring band, including Beach Boys guitarist Jeff Foskett, members of the Wondermints and backup singer Taylor Mills. In this version, "Good Vibrations" features Tony Asher's original lyrics in the verses, instead of Mike Love's lyrics from the released 1966 version.
At the 47th Grammy Awards in 2005, Wilson won his only Grammy for the track "Mrs. O'Leary's Cow" as Best Rock Instrumental. In 2004 Smile was taken on the road for a tour of Australia, New Zealand and Europe. In December 2005, he also released What I Really Want for Christmas for Arista Records. The release hit #200 on the Billboard chart, though sales were modest. Wilson's remake of the classic "Deck The Halls" became a surprise Top 10 Adult Contemporary hit.
On November 1, 2011, after a 44-year wait, the Beach Boys version of the Smile album titled The Smile Sessions was released as a single CD, a 2 CD box-set, a vinyl double album, and a deluxe 5 CD/2 LP boxset.[41]
[edit] Post-Smile to That Lucky Old Sun
In February 2005, Wilson had a cameo in the TV series Duck Dodgers in the 24½th Century as Daffy Duck's spiritual surfing advisor.[42] He also appeared in the 2005 holiday episode of Extreme Makeover: Home Edition, performing "Deck the Halls" for a group of children with xeroderma pigmentosum (hypersensitivity to sunlight) at Walt Disney World Resort. On July 2, 2005, Wilson performed for the Live 8 concert in Berlin, Germany.
In September 2005, Wilson arranged a charity drive to aid victims of Hurricane Katrina, wherein people who donated $100 or more would receive a personal phone call from Wilson. According to the website, over $250K was raised.[43] In November 2005, former bandmate Mike Love sued Wilson over "shamelessly misappropriating... Love's songs, likeness, and the Beach Boys trademark, as well as the 'Smile' album itself" in the promotion of Smile.[44] The lawsuit was ultimately thrown out of court on grounds that it was meritless.[45]
On November 1, 2006, Wilson kicked off a small but highly anticipated tour celebrating the 40th anniversary of Pet Sounds.[46] He was joined by Al Jardine.
Wilson released a new album That Lucky Old Sun on September 2, 2008. The piece originally debuted in a series of September 2007 concerts at London's Royal Festival Hall, and in January 2008 at Sydney's State Theatre while headlining the Sydney Festival.[47] Wilson describes the piece as "consisting of five 'rounds', with interspersed spoken word".[48] A series of US and UK concerts led up to its release.
On September 30, 2008, Seattle's Light in the Attic Records released A World of Peace Must Come, a collaboration between Wilson and Stephen Kalinich, originally recorded in 1969, but later lost in Kalinich's closet.[49]
[edit] Brian Wilson Reimagines Gershwin (2009–present)
Wilson signed a two-record deal with Disney. In summer 2009, Wilson was approached by the Gershwin estate[citation needed] to record an album of covers of classic Gershwin songs, and to complete two piano pieces left unfinished by Gershwin at his death. The album, Brian Wilson Reimagines Gershwin, was released on August 17, 2010 on Disney's Pearl label.[50][dated info] Brian Wilson Reimagines Gershwin hit #1 on the Billboard Jazz Chart, and had sold 53,000 copies by August 2011.[51]
Wilson's second album for Disney was In The Key Of Disney, a collection of classic Disney movie songs, which was released on October 25, 2011.[51]
Wilson contributed a cover of "Listen to Me" to the tribute album Listen to Me: Buddy Holly, which was released on September 6, 2011.
The Tree of Life producer Bill Pohlad and veteran television writer/producer John Wells (E.R., The West Wing) have teamed to develop a drama based on Wilson's personal and professional story. They have acquired life rights from Wilson and his wife, Melinda, and hired Oren Moverman, the Oscar-nominated screenwriter behind the offbeat Bob Dylan film I'm Not There, to write a script.[52]
[edit] Beach Boys Reunion (2011–present)
Main article: The Beach Boys 50th Anniversary Reunion Tour
In June 2010, the Las Vegas Sun reported that Brian Wilson would join The Beach Boys for their 50th anniversary.[53] However, Love subsequently stated, "At this time there are no plans for my cousin Brian to rejoin the tour...We have had some discussions of writing and possibly recording together, but nothing has been planned...I..felt the need to clarify that there are no current 'reunion' tour plans."[54]
That July, Rolling Stone magazine reported that Jardine stated "we’re definitely doing at least one show" in 2011 to celebrate the 50th anniversary of the formation of the band. The reunion would feature all the surviving 1960s-era Beach Boys— Jardine himself, Wilson, Love, Johnston and possibly Marks. Jardine added that the tension between various former band-mates has been resolved. Regarding the various now-resolved lawsuits between them, he noted that "Once we finished our business, all the negativity was gone." Rolling Stone reported that Wilson's manager, Jean Sievers, is "unfamiliar with reunion plans", although the magazine stated "a source close to Love says there have been discussions for reunion concert, but nothing is set." There was also no confirmation of a location for the concerts.[55]
Al Jardine joined the Beach Boys for the first time since 1998 at a tribute for Ronald Reagan on February 5, 2011. Brian Wilson was invited to join as well, though he did not attend, as he was recording his Disney album.[56]
On July 27, 2011, Mike Love announced that, "Where we're at right now is Brian's written some songs, I've written some songs. We're talking very seriously about getting together and co-writing and doing some new music together [as a band].. ..He's been doing his own touring, we've been doing ours and so we haven't really been able to lock into that, but it looks like this fall we will. It just makes a lot of sense with a milestone such as 50 years to get together and do something."[57] That day, Brian Wilson said the band is going to get back together to celebrate their 50th anniversary. Wilson added that he was at Capitol Records recently with Love and Jardine, but is still not exactly certain what the future holds: “We're going to get together a little bit before we do it.” To rehearse? “I assume so,” Wilson said.[58]
In the Summer 2011 edition of the Beach Boys' fan publication, Endless Summer Quarterly, Mike Love told editor David M. Beard, "We had a session at Capitol Records (with Love, Wilson, Jardine and Bruce Johnston). Brian was conducting the session. … At the end of the session Brian said, “I can’t believe a 70-year-old guy can sing that great!” [Laughs] It was really cute! It was cool. … It was something to prove that we can work together. There’s a lot of talk and conjecture both internally and externally. All I can say at the moment is I think it would be great to work with Brian and see what can come of it… I’m all in favor of a positive outlook towards that."
In the October 2011 issue of Rolling Stone, Jardine told the magazine that the group with Wilson would reunite in 2012 for 50 U.S. dates and 50-60 overseas dates. Mike Love stated that during the summer of 2011, the band reunited to re-record their hit, "Do it Again" which will be made into a music video to promote the world tour. Love had nothing but praise for Wilson saying "he sounds great, always coming up with chords, and his singing ability is still there. He hasn't lost the ability to do what he does best." Love even said he was more excited about what the future held and together with Wilson they were writing songs again with Beach Boys sessions veteran, Eddie Bayers for an upcoming Beach Boys reunion album. Bayers commented on the new songs by Wilson by saying "Brian's new creations are just unbelievable." Wilson, on the other hand, said he did not really like working with his former bandmates, though it all depends on how they feel and how much money is involved. He concluded by saying that money is not the only reason he made records, but it does hold a place in their lives.[59]
On September 29, 2011 it was announced that in a upcoming interview with Q Magazine, Wilson said that while he did consider rejoining the group back in May, the rumors of him reuniting with the band were not true and he would not be touring with them in 2012, though he did acknowledge that at least they are trying to keep the music alive. Wilson said that he plans to focus his attention on his upcoming solo projects including his Disney album, but made no comments on the new Beach Boys music or album which Love had mentioned in the Rolling Stone interview, and nothing was mentioned about the music video.[60]
On December 16, 2011 it was announced that despite Brian Wilson's previous claims to the contrary, he would be reuniting with Mike Love, Al Jardine, Bruce Johnston and David Marks for a new album and 50th anniversary tour in 2012. The group appeared at the 2012 Grammy Awards on February 12, followed by a 50-date tour that is set to include a performance at the New Orleans Jazz Festival in April.[61]
The Beach Boys will release their new album, That's Why God Made the Radio, on June 5, 2012. The album's title track was released as its first single in April 2012.
Legacy[link]
Awards and recognitions[link]
- Wilson and the Beach Boys were inducted into the Rock Hall of Fame in January 1988.
- In 2000, Wilson was inducted into the Songwriters Hall of Fame. Paul McCartney introduced Brian, referring to him as "one of the great American geniuses."[62]
- In March 2001, TNT and Radio City Music Hall hosted "An All-Star Tribute to Brian Wilson." This event featured performances and appearances by Elton John, Billy Joel, Chazz Palminteri host, David Crosby, Dennis Hopper, Paul Simon, Carly Simon, The Go-Go's, Cameron Crowe, Sir George Martin, Vince Gill, Brian's daughters Carnie & Wendy Wilson along with Chynna Phillips (Wilson Phillips), Jimmy Webb, Darius Rucker, Matthew Sweet, Ann and Nancy Wilson of (Heart), The Boys Choir of Harlem, and others.
- Pet Sounds has been ranked as one of the most influential records in popular music, and has been ranked #1 on several music magazines' lists of the greatest albums of all time. It is ranked #2 on Rolling Stone's 500 Greatest Albums of All Time.
- On May 10, 2004, Wilson was honored as a BMI Icon at the 52nd annual BMI Pop Awards. He was saluted for his "unique and indelible influence on generations of music makers."[63]
- A 2005 concert, "Musicares: A Tribute to Brian Wilson," was held in Wilson's honor, during which he was named MusiCares Person of the Year. Performers included Jeff Beck, the Red Hot Chili Peppers, Earth Wind & Fire, Barenaked Ladies, and The Backstreet Boys, among others.
- On May 20, 2005, Wilson and two of the other original-era Beach Boys (Al Jardine and David Marks) were honored with the unveiling of the Beach Boys Historic Landmark on the former site of the Wilson family home in Hawthorne, California.
- In 2005, Wilson won the Grammy Award for Best Rock Instrumental Performance for Mrs. O'Leary's Cow.
- In November 2006, Wilson was inducted into the UK Music Hall of Fame by Pink Floyd guitarist David Gilmour. Wilson performed "God Only Knows" and "Good Vibrations" at the ceremony.
- On December 2, 2007, the Kennedy Center Honors committee recognized Wilson for a lifetime of contributions to American culture through the performing arts in music.
- May 20, 2011, Wilson received the UCLA George and Ira Gershwin Award at UCLA Spring Sing.[64]
Comments of other musicians[link]
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I listened to a lot of different bass players - mostly Motown records. They were great and the bass player, who I found out later was James Jamerson, was an influence. So smooth, melodic, and solid. I really liked Marvin Gaye records. And, of course, I’ve always liked Brian Wilson all the way through The Beach Boys. But Pet Sounds blew me away. It’s still one of my favorite albums. When I first heard it, I thought, Wow, this is the greatest record of all time! Brian took the bass into very unusual places. The band would play in C, and Brian would stay in G. That kind of thing. It gave me great ideas. That musical invention of Brian Wilson was eye-opening, I mean, ear-opening.
It was Pet Sounds that blew me out of the water. I love the album so much. I’ve just bought my kids each a copy of it for their education in life … I figure no one is educated musically ’til they’ve heard that album … I love the orchestra, the arrangements … it may be going overboard to say it’s the classic of the century … but to me, it certainly is a total, classic record that is unbeatable in many ways … I’ve often played Pet Sounds and cried.[65]
I played it to John so much that it would be difficult for him to escape the influence … it was the record of the time. The thing that really made me sit up and take notice was the bass lines … and also, putting melodies in the bass line. That I think was probably the big influence that set me thinking when we recorded ‘Pepper’, it set me off on a period I had then for a couple of years of nearly always writing quite melodic bass lines.
“God Only Knows” is a big favorite of mine … very emotional, always a bit of a choker for me, that one. On “You Still Believe In Me”, I love that melody – that kills me … that’s my favorite, I think … it’s so beautiful right at the end … comes surging back in these multi-colored harmonies … sends shivers up my spine.”
His music definitely affected mine – the harmonies. Of course I never played in a band that could sing like that. He’s got the whole band retarding every once in awhile – he’s got a feel for it and he’s got everybody playing and it’s not something you naturally do. It’s something that he shows you where to lay back – where to slow down. You hear the band doing it just like it happens on the record – it’s no accident. I love you, Brian. I’m there for you.[65]
… Jesus, that ear. He should donate it to The Smithsonian. The records I used to listen to and still love, you can’t make a record that sounds that way. Brian Wilson, he made all his records with four tracks, but you couldn’t make his records if you had a hundred tracks today.
When I heard "Good Vibrations" for the first time on the radio I called Paul [Simon] immediately and I said: "I think I just heard THE greatest, MOST creative record of them all."[66]
Brian showed us all the endless possibilities in what's been recorded, and how it can be layered and combined or subtracted to create something eternal.[66]
Brian's sense of "the possible" certainly came from his California roots, which to me has always represented the promise and sweetness in America. He gave us the most lovely chords, that are shaded and illustrative of the lyric. And since he was able to achieve that with a sense of fun, with that joyousness, he became our Mozart of rock-'n-roll.[66]
I’ve always been into harmonies, so I was inspired by that part of what they (the Beach Boys) were doing. It definitely influenced a generation of kids.
The genius of his music is the joy that’s in it. I know that Brian believes in angels. I do too. But you only have to listen to the string arrangement on God Only Knows for fact and proof of angels."[67]
All of us, Ginger (Baker), Jack (Bruce), and I consider Pet Sounds to be one of the greatest pop LPs to ever be released. It encompasses everything that’s ever knocked me out and rolled it all into one. Brian Wilson is, without a doubt, a pop genius.
"Pet Sounds is a landmark album. For me to say that I was enthralled would be an understatement. I had never heard such magical sounds, so amazingly recorded. It undoubtedly changed the way that I, and countless others, approached recording. It is a timeless and amazing recording of incredible genius and beauty.
Brian Wilson has influenced me more than any other songwriter, whether it's English or American. Because of the way he shaped his chords, the way...I'm getting very technical now, but he never used...he...the root note of a chord, he used the 5th or the 3rd and changed the chord sound completely. [...] I have never been influenced so much as songwriter by anybody as much as Brian Wilson.[68]
I don’t think there’s anyone his equal in popular music for this fifty years. They were really deep, profound emotions that came out of a lot of pain.[69]
He was the most highly regarded pop musician in America, hands down. Everybody by that time had figured out who was writing and arranging it all. “In My Room” was the defining point for me. When I heard it, I thought “I give up – I can’t do that – I’ll never be able to do that.”[69]
One of the hallmarks of Brian Wilson’s genius is to turn powerful emotions and terrible tragedy into life-affirming art that helps and heals. Music that in our darkest moments gives us hope and soothes our soul.[68]
I owe Brian. We all do. Everybody in American pop music owes him. He was the first and one of the best. [...] He pushed the envelope in pop music. He changed what was possible in pop music.[68]
He was way advanced of what anybody was doing at that point. And I think the Beatles recognized that and I think every harmony group in the world recognized that there was some different thing going on – something very sophisticated.[69]
Pet Sounds became an instant classic when it first appeared. Listening to it today, it is, perhaps, easier to see why it was one of the defining moments of its time, along with the music of the Beatles, Pink Floyd and the Grateful Dead … its willingness to abandon formula in favor of structural innovation, the introduction of classical elements in the arrangements, production concepts in terms of overall ‘sound’ which were novel at the time, all these elements give Pet Sounds a freshness that, thirty years later, is immediately there for the listener.[69]
- Leonard Bernstein, conductor
There is a new song, too complex to get all of first time around. It could come only out of the ferment that characterizes today’s pop music scene. Brian Wilson, leader of the famous Beach Boys, and one of today’s most important musicians, sings his own ‘Surf’s Up.’ Poetic, beautiful even in its obscurity, ‘Surf’s Up’ is one aspect of new things happening in pop music today. As such, it is a symbol of the change many of these young musicians see in our future.
[Brian Wilson] is one of the greatest composers of the 20th century.[70]
It was perfect, vocally, in terms of the notes, and the timbre, and the quality. But Brian had another idea… I mean, it was some vibrations about it… somebody had an impure thought… I finally started calling him “dog ears”, because he could obviously hear something that most human beings cannot.
Brian Wilson is the Beach Boys. He is the band. We’re his fucking messengers. He is all of it. Period. We’re nothing. He’s everything.
Every once in a while, an individual is born into the world whose whole being is music. I think Brian is one of those rare people.
[Brian] combines the brilliance of Rachmaninoff and the command power of General Patton. [71]
Pet Sounds is brilliant. Brian Wilson is one of the greatest innovators of my decade or any decade.
I don’t think that the California Myth, the dream that a few of us touched, would have happened without Brian, and I don’t think Brian would have happened without the dream. They’re inseparable.
- Van Dyke Parks, lyricist, SMiLE
Music is Brian Wilson’s best friend, lover, everything. On a one-to-one basis, it’s the only thing that has never wronged him. It’s when people, and gossip, and record companies came into play that things went askew. The music never betrayed him. And given Brian’s vulnerable, exclusive nature, it’s only natural that it’s the central fact and concern in his life. He may forget a name or a contract, but he never forgets the music. It’s a consequence of devotional thinking, and geniuses are prone to it.
I think I would put him up there with any composer – especially Pet Sounds. I don’t think there is anything better than that, necessarily. I don’t think you’d be out of line comparing him to Beethoven – to any composer. You really wouldn't. The word genius is used a lot with Brian. I don’t know if he’s a genius or not, but I know that music is probably as good as any music you can make.[69]
The first time I heard Pet Sounds, I have to admit that I did a little bit of knee-jerk in the same way probably the record company and some other people did because it wasn’t as accessible as Brian’s songwriting approach had been up to that time. I’m not sure I fully appreciated that until years later (when) I started making records myself.[69]
- George Martin, producer, The Beatles
"If there is one person that I have to select as a living genius of pop music, I would choose Brian Wilson.
Without Pet Sounds, The Beatles’ next album, Sgt. Pepper, wouldn’t have happened. Revolver was the beginning of the whole thing. But Pepper was an attempt to equal Pet Sounds. Hearing Pet Sounds gave me the kind of feeling that raises the hairs on the back of your neck. You say, ‘What is that? It’s fantastic!’[72]
One of the great things about Brian's music is its marvellous unpredictability. He avoided cliches, he gives his melodies changes of direction that amaze and charm the listener. And Brian's sounds take us into a new, beautiful countryside.[73]
It could be argued that The Beatles had become, culturally, the most important group of the Sixties. They defined the era. Yet I have to say that Brian was the musician who challenged them most of all. No one made a bigger impact on The Beatles than Brian.[73]
By my standards, Brian Wilson is still a young man, a living genius of pop music. His invention and creativity reached a level that I always found staggering. He gave The Beatles and myself quite a good deal to think about in trying to keep up with him. And like them, he pushed forward the frontiers of popular music. His art is that magical combination of really original compositions, a wonderful sense of instrumental colour and a profound understanding of record production. I guess you could say I'm a fan.[73]
Last summer, I heard “Don’t Talk (Put Your Head On My Shoulder)” played on the cello. It sounded beautiful and sad, just as it does on Pet Sounds. So now you know, if all the record players in the world get broken tomorrow, these songs could be heard a hundred years from now.
What Brian came to mean was an ideal of innocence and naivety that went beyond teenage life and sprang fully developed songs. Adult and childlike at the same time. I thought how it was difficult for me not to believe everything he said. There was something genuine in every lyric. That can be a very heavy burden for a songwriter.[69]
Brian Wilson the astronaut, peering down from the Heavens, coolly dreaming of California girls. An idealized pop utopia that widens the senses and soothes the ears. Lands the spaceship, finds nothing but disco and platform shoes and decided to take another trip around the moon for good measure and to search for the elusive lonely harmony. Landing back down for the millennium, our astronaut decided it’s time. Time to stop and hear what he’s brought back.
I mean Brian Wilson was the best music producer there ever was! By far there's not anyone that can do anything remotely similar. His would all be one track.. it would be as if Mr. Bungle or Estradasphere knew every instrument we wanted to and got everyone in the same room and boom, there's the take.
For Brian Wilson - and I feel this way too - there isn't a difference between production and songwriting. They're one and the same. In the late '60s the idea that the studio could be used as a compositional tool was almost like an epidemic. That idea has gradually faded, though, and now you hear a lot of things that are just production or just a great song. When you hear a marriage of the two, it's such a refreshing experience.
He's a modern day Stravinsky, the way he constructs his music, he's a madman...He was doing stuff [40 years ago] that modern people do now, looping his work and stuff. There's a track on Smile with a whole bunch of tubas having a conversation with trumpets. It's great.[74]
In the fall of 1989, I was working with a band who turned me on to the bootlegged recordings of Brian Wilson’s legendary, aborted Smile sessions. Like a musical burning bush, these tapes awakened me to a higher consciousness in record making. I was amazed that one, single human could dream up this unprecedented and radically advanced approach to rock ‘n roll. I was really stunned when I met him several months later. Far from the catatonic drug burn-out the tabloids loved to depict, the guy I got to know was lucid and happening. When we started to mess around in the studio, it became clear that he was capable of making a record every bit as complex and beautiful as Pet Sounds whenever he felt like it. How could a talent so great be so misunderstood and under appreciated?
My personal favorite is “Caroline No”, his paean to lost innocence. I hear the weary voice of a man who’s been hurled through the emotional wringer and yet, one can plainly discern the youthful sweetness, optimism and goodness that characterizes Brian’s soul. It’s that dichotomy that makes him one of the most enigmatic and endearing characters of these times.
A lot of people just hear things like “Fun Fun Fun” and don’t get all this fuss about Brian Wilson the great genius. So much of it is subtle, and a large part of his genius is that it sounds simple. I was like that myself until I really started listening properly. I didn’t even understand all the fuss about Pet Sounds. But I think a lot of people who love The Beach Boys have had that experience when they first discover this music on a deeper level. It gets to you, and nothing else compares to it. You can’t listen to anything else. Professionally, I found it crippling. I couldn’t write a song for about three years afterwards. Every time I sat down to write, I just thought, What’s the point? Brian Wilson did it so much better 25 years ago.
Discography[link]
Main article: Brian Wilson discography
See also: The Beach Boys discography
- Brian Wilson (July 12, 1988)
- I Just Wasn't Made for These Times (August 15, 1995)
- Orange Crate Art (with Van Dyke Parks) (October 24, 1995)
- Imagination (June 16, 1998)
- Live at the Roxy Theatre (June 2000)
- Pet Sounds Live (June 11, 2002)
- Gettin' in Over My Head (June 22, 2004)
- Smile (September 28, 2004)
- What I Really Want for Christmas (October 18, 2005)
- That Lucky Old Sun (September 2, 2008)
- Brian Wilson Reimagines Gershwin (August 17, 2010)
- In The Key Of Disney (October 25, 2011)
Additional appearances:
- The Wilsons (1997)
See also[link]
- List of songs by Brian Wilson
- Beach Boys Historic Landmark
- A Tribute To Brian Wilson - Radio City Music Hall (March 29, 2001)
Notes[link]
- ^ "Re: The Stephen Desper Thread". http://smileysmile.net/board/index.php/topic,1203.msg62701.html#msg62701. Retrieved 2010-09-23.
- ^ Badman, pp. 34–150
- ^ "The 100 Greatest Singers of All Time". 1060. Jann Wenner. November 2008. p. 52. http://www.rollingstone.com/news/coverstory/24161972/page/103. Retrieved 2009-02-03.
- ^ a b Gaines, Steven (1986). Heroes and Villains: the true story of the Beach Boys. New York: New American Library. p. 40. ISBN 0-306-80647-9.
- ^ Leaf, p. 14
- ^ Stebbins, p. 14
- ^ a b Carlin, p. 11
- ^ Carlin, p. 10
- ^ Carlin, p. 12
- ^ Leaf, pp. 15–17
- ^ Carlin, p. 15
- ^ Stebbins, p. 18
- ^ Badman, p. 14
- ^ Carlin, p. 23
- ^ Carlin, p. 24
- ^ Badman, p. 15
- ^ Lambert, pp. 27–31
- ^ Carlin, pp. 28-29
- ^ Carlin, pp. 30–31
- ^ Badman, pp. 16–17
- ^ Badman, p. 20
- ^ Badman, pp. 22–23
- ^ Badman, p. 26
- ^ Badman, p. 32
- ^ Lambert, pp. 64–65
- ^ Badman, pp. 39–42
- ^ a b c d e O'Hagan, Sean. "Feature: A Boy's own story". Review, The Observer (Guardian Media Group) (January 6, 2002): 1–3.
- ^ a b c d e f Beets, Greg (July 21, 2000). "Review: Pet Sounds: Fifteen Minutes With Brian Wilson". Nick Barbaro. http://www.austinchronicle.com/gyrobase/Issue/story?oid=oid:77984. Retrieved 29 August 2009.
- ^ a b Denselow, Robin. "Feature: Riding a wave". The Guardian (Guardian Media Group) (September 1, 1976): 8.
- ^ a b O'Hagan, Sean. "Feature: The nutty producers". G2 (Guardian Media Group) (December 16, 1999): 10.
- ^ "Review: Pet Sounds, Charts & Awards, Billboard Singles". Macrovision Corporation. http://www.allmusic.com/album/r1420. Retrieved 28 August 2009.
- ^ a b c Hodgkinson, Will. "Feature: The unknown surfer". Friday Review (Guardian Media Group) (December 10, 1999): 16–17.
- ^ "Feature: Reactions to Sgt. Pepper". http://www.icons.org.uk/theicons/collection/sgt-pepper/features/reactions-to-sergeant-pepper. Retrieved 28 August 2009.
- ^ Brian Wilson's Svengali Has His Wings Clipped, People Magazine, Vol. 31, No. 15, April 17, 1989
- ^ The Strange Life Of Brian, Newsweek, September 4, 1995
- ^ "Catch a Wave". Aarpmagazine.org. http://www.aarpmagazine.org/books/catch_wave.html. Retrieved 2011-09-14.
- ^ Sweet, R.A., Mulsant, B. H. Gupta, B., Rifai, A.H., Pasternak, R.E., et al. (1995). Duration of neuroleptic treatment and prevalence of tardive dyskinesia in late life. Archives of General Psychiatry, 52, 478-486.
- ^ ""I Like to Watch" by Heather Havrilesky, March 2, 2008". Salon.com. 2008-03-02. http://www.salon.com/ent/tv/iltw/2008/03/02/supernanny/. Retrieved 2011-09-14.
- ^ "Brian Wilson Official Website: News". 11 October 2009. http://www.brianwilson.com/news/index.html. Retrieved 22 December 2009.
- ^ By Matthew Perpetua (2011-08-19). "Exclusive Download: Brian Wilson Covers Buddy Holly | Rolling Stone Music". Rollingstone.com. http://www.rollingstone.com/music/news/exclusive-download-brian-wilson-covers-buddy-holly-20110819. Retrieved 2011-09-14.
- ^ Beach, The. "The SMiLE Sessions: A Window Into The Beach Boys". NPR. http://www.npr.org/2011/11/01/141661282/the-smile-sessions-a-window-into-the-beach-boys. Retrieved 2012-04-30.
- ^ blackwolf_13 Added Aug 10, 2006 All my reviews (2006-08-10). "Duck Dodgers: Surf the Stars / Samurai Quack". TV.com. http://www.tv.com/duck-dodgers/surf-the-stars---samurai-quack/episode/355094/summary.html. Retrieved 2011-09-14.
- ^ "Donate to hurricane relief and Brian Wilson will say hi". Usatoday.com. 2005-09-24. http://www.usatoday.com/life/people/2005-09-24-brian-wilson-website_x.htm. Retrieved 2011-09-14.
- ^ "ABC News: ABC News". Abcnews.go.com. 1967-09-11. http://abcnews.go.com/Entertainment/wireStory?id=1281384. Retrieved 2011-09-14.
- ^ However, a documentary on the Biography Channel reported that Love actually WON this lawsuit.Beach Boys lawsuit dismissed - Los Angeles Times
- ^ "Two Beach Boys to reunite - Listen Up - USATODAY.com". USA Today. September 24, 2010. http://blogs.usatoday.com/listenup/2006/09/two_beach_boys_.html. [dead link]
- ^ "Brian Wilson to headline Sydney Festival - Arts - Entertainment". smh.com.au. September 12, 2007. http://www.smh.com.au/news/arts/brian-wilson-to-headline-sydney-festival/2007/09/12/1189276795807.html. Retrieved 2011-09-14.
- ^ "News". Uncut.co.uk. http://www.uncut.co.uk/news/brian_wilson/news/9313. Retrieved 2011-09-14.
- ^ "Seattle Weekly: The Lost Brian Wilson Album". http://www.seattleweekly.com/2008-10-08/music/finding-peace/. Retrieved 2008-10-13.
- ^ "'Brian Wilson Reimagines Gershwin' Due from Disney on August 17". Brian Wilson Productions. April 14, 2010. http://www.brianwilson.com/news/index.html. Retrieved June 28, 2010.
- ^ a b Brian Mansfield, "Brian Wilson sings 'In the Key of Disney'", USA Today (August 17, 2011), Wilson sings 'In the Key of Disney'
- ^ "Wilson movie". Los Angeles Times. http://latimesblogs.latimes.com/movies/2011/06/brian-wilson-movie-pet-sounds-moverman-wells-pohlad-beach-boys-smile.html.
- ^ Leach, Robin (June 21, 2010). "Mike Love talks Beach Boys’ 50th anniversary, possible Brian Wilson reunion". Las Vegas Sun. http://www.lasvegassun.com/news/2010/jun/17/mike-love-talks-beach-boys-50th-anniversary-brian-/. Retrieved June 27, 2010.
- ^ "Exclusive: Mike Love 'Looking Forward' to Beach Boys 50th Anniversary Tour". beachboysband.net. June 22, 2011. http://www.rollingstone.com/music/news/exclusive-mike-love-talks-beach-boys-50th-anniversary-tour-20111219. Retrieved June 28, 2010.
- ^ "Beach Boys Consider Reunion For 50th Anniversary". http://www.rollingstone.com/music/news/17386/183831. Retrieved July 23, 2010.
- ^ "Al Jardine Reunites With The Beach Boys Tonight – Partially!". Kluv.radio.com. 2011-02-05. http://kluv.radio.com/2011/02/05/al-jardine-reunites-with-the-beach-boys-tonight-partially/. Retrieved 2011-11-05.
- ^ "Mike Love: Beach Boys Planning New Album for 50th Anniversary". http://www.billboard.com/news/mike-love-beach-boys-planning-new-album-1005295392.story#/news/mike-love-beach-boys-planning-new-album-1005295392.story. Retrieved July 27, 2011.
- ^ "Brian Wilson returns to St. Charles to perform, record". http://www.dailyherald.com/article/20110727/entlife/707279991/. Retrieved July 27, 2011.
- ^ "Beach Boys plan anniversary blowout, likely reunion tour". http://movies.yahoo.com/news/beach-boys-plan-anniversary-blowout-likely-reunion-tour-152547833.html. Retrieved September 25, 2011.
- ^ Michaels, Sean (September 29, 2011). "Brian Wilson rules out reunion with the Beach Boys". The Guardian (London). http://www.guardian.co.uk/music/2011/sep/29/brian-wilson-beach-boys. Retrieved September 29, 2011.
- ^ Sterdan, Darryl (December 16, 2011). "Beach Boys gear up for reunion". Sun Media. http://jam.canoe.ca/Music/Artists/B/Beach_Boys/2011/12/16/19133156.html. Retrieved December 16, 2011.
- ^ "Biographical information for Brian Wilson". Kennedy Center. 1942-06-20. http://www.kennedy-center.org/calendar/index.cfm?fuseaction=showIndividual&entitY_id=18317&source_type=A. Retrieved 2011-09-14.
- ^ "BMI Plays 'The Game of Love' for Song of the Year at 52nd Annual Pop Awards". bmi.com. http://www.bmi.com/news/entry/234056. Retrieved 2010-09-15.
- ^ Spring Sing – Gershwin Award, UCLA Alumni Association, March 2011
- ^ a b Brian Wilson on Tour. DVD. Directed by John Anderson. Sanctuary. 2003.
- ^ a b c "Brian Wilson - Kennedy Center Honors - Complete - YouTube". bigsurbound. 2011-11-22. http://www.youtube.com/watch?v=ARd2tmTNB8s. Retrieved 2012-03-23.
- ^ "Brian Wilson UK Music Hall Of Fame - Good Vibrations - YouTube". bigsurbound. 2011-11-22. http://www.youtube.com/watch?v=eHPWJlY_vko. Retrieved 2012-05-27.
- ^ a b c An All-Star Tribute to Brian Wilson. DVD. Directed by Bruce Gowers. Image Entertainment. 2001.
- ^ a b c d e f g Brian Wilson: I Just Wasn't Made For These Times. DVD. Directed by Don Was. Lions Gate. 1995.
- ^ "The New York Times > Arts > Music > Rebuilding Brian Wilson's 'Smile". The New York Times. 2004-09-12. http://www.nytimes.com/2004/09/12/arts/music/12WEIN.html?_r=1. Retrieved 2012-04-17.
- ^ "Beach Boys, Eric Clapton, Jam Divulge Secrets in Key Reissues - Bloomberg". Bloomberg. 2006-09-26. http://www.bloomberg.com/apps/news?pid=newsarchive&sid=ahGhtRNlaYWc. Retrieved 2012-05-09.
- ^ "Without Pet...". The Beach Boys. 2012-03-26. https://www.facebook.com/thebeachboys/posts/10150685236759140. Retrieved 2012-03-27.
- ^ a b c "George Martin Speaks in NY - YouTube". TileNut. 2006-02-21. http://www.youtube.com/watch?v=sJTLu4UiJ7o. Retrieved 2012-03-23.
- ^ "Chili Peppers, Backstreet Salute Beach Boys' Brian Wilson - Music, Celebrity, A". MTV. 2005-02-12. http://www.mtv.com/news/articles/1496895/chili-peppers-backstreet-salute-brian-wilson.jhtml. Retrieved 2012-03-23.
References[link]
- Badman, Keith. The Beach Boys: The Definitive Diary of America's Greatest Band on Stage and in the Studio (Backstreet Books, 2004). ISBN 0-87930-818-4.
- Carlin, Peter Ames. Catch a Wave: The Rise, Fall and Redemption of the Beach Boys' Brian Wilson (Rodale Inc., 2006). ISBN 978-1-59486-749-1.
- Leaf, David. The Beach Boys and the California Myth (Kingsport Press, 1978). ISBN 0-89471-412-0.
- Lambert, Philip. Inside the Music of Brian Wilson: the songs, sounds and influences of the Beach Boys' founding genius (Continuum International Publishing Group Inc., 2007). ISBN 978-0-8264-1877-7.
- Stebbins, Jon. The Lost Beach Boy (Virgin Books Ltd, 2007). ISBN 978-1-85227-391-0.
External links[link]
 |
This article's use of external links may not follow Wikipedia's policies or guidelines. Please improve this article by removing excessive or inappropriate external links, and converting useful links where appropriate into footnote references. (August 2011) |
|
Wikiquote has a collection of quotations related to: Brian Wilson |
 |
Wikinews has related news: Kennedy Center names 2007 honors recipients |
- Official site
- 2004 Larry King Transcript where they speak about Wilson's mental illness
- "After the wipe out" by Ginny Dougary in The Guardian (June 1, 2002)
- "Four Decades Later, Wilson's 'Smile' Hits London" Audio review at NPR (February 25, 2004)
- SMiLE Timeline
- Brian Wilson Pictures from 2007 Consumer Electronics Show performance
- Works by or about Brian Wilson in libraries (WorldCat catalog)
- January 2009 Interview with L.A. Record
- This list of "outside productions" by members of the Beach Boys includes records Brian produced and-or wrote for other artists throughout his career
- Cabin Essence, Web Page for Brian Wilson
- Brian Wilson's Wave by Peter Ames Carlin, American Heritage, August/September 2004.
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| Persondata | |
|---|---|
| Name | Wilson, Brian |
| Alternative names | Wilson, Brian Douglas |
| Short description | Songwriter, Bassist, Pianist, Vocalist, Producer, Composer, Arranger |
| Date of birth | June 20, 1942 |
| Place of birth | Hawthorne, California |
| Date of death | |
| Place of death | |
http://wn.com/Brian_Wilson
| Shirley MacLaine | |
|---|---|
 Shirley MacLaine in 1987 |
|
| Born | Shirley MacLean Beaty (1934-04-24) April 24, 1934 (age 78) Richmond, Virginia, U.S. |
| Occupation | Actress, singer, dancer, author, activist |
| Years active | 1953–present |
| Spouse | Steve Parker (m. 1954-1982, divorced) |
| Children | Sachi Parker |
| Relatives | Warren Beatty (brother) |
Shirley MacLean Beaty (born April 24, 1934), known professionally as Shirley MacLaine, is an American film and theater actress, singer, dancer, activist and author, well known for her beliefs in New Age spirituality and reincarnation. She has written a large number of autobiographical works, many dealing with her spiritual beliefs as well as her Hollywood career. She was nominated for an Academy Award five times before winning the Academy Award for Best Actress in 1983 for her role in Terms of Endearment. Her younger brother is Warren Beatty.
Contents |
Early life[link]
Named after Shirley Temple, MacLaine was born in Richmond, Virginia. Her father, Ira Owens Beaty,[1] was a professor of psychology, public school administrator, and real estate agent, and her mother, Kathlyn Corinne (née MacLean), was a drama teacher originally from Wolfville, Nova Scotia, Canada; MacLaine's grandparents were also teachers.The family was devoutly Baptist.[2][3][4] Her uncle (her mother's brother-in-law) was A.A. MacLeod, a Communist member of the Ontario legislature in the 1940s.
While she was still a child, MacLaine's father moved the family from Richmond to Norfolk, and then to Arlington, Virginia and Waverly, eventually taking a position at Arlington's Thomas Jefferson Junior High School.
Shirley had very weak ankles as a child, so her mother decided to enroll her in ballet class.[5] Strongly motivated by ballet, she never missed a class. In classical romantic pieces like "Romeo & Juliet" and "Sleeping Beauty," she always played the boys' roles, being the tallest in the class, due to the absence of males in the class. She got to play a substantial female role as the fairy godmother in "Cinderella." While warming up backstage, she broke her ankle, but proceeded to dance the role all the way through. MacLaine ultimately decided that professional ballet wasn't for her because she had grown too tall (being over 6 feet tall en pointe), wasn't good enough to make it a career and did not have the requisite "beautifully constructed feet" (high arches, high insteps).[6] She also found ballet too limiting. After leaving ballet, MacLaine pursued dancing on Broadway. Eventually, she turned to acting.
She attended Washington-Lee High School, where she was on the cheerleading squad and acted in the school's productions. The summer before her senior year, she was in New York to try acting on Broadway with some success. After she graduated, she returned and within a year she became an understudy to actress Carol Haney in The Pajama Game; Haney broke her ankle, and MacLaine replaced her. A few months after, with Haney still out of commission, film producer Hal B. Wallis was in the audience, took note of MacLaine, and signed her to work for Paramount Pictures. She later sued Wallis over a contractual dispute, a suit that is credited with ending the old-style studio star system of actor management.[7]
Career[link]
MacLaine made her film debut in Alfred Hitchcock's The Trouble with Harry (1955), for which she won the Golden Globe Award for New Star Of The Year - Actress. In 1956, she had roles in Hot Spell and Around the World in 80 Days. At the same time she starred in Some Came Running, the film that gave her first Academy Award nomination - one of five that the film received - and a Golden Globe nomination.
Her second nomination came two years later for The Apartment, starring with Jack Lemmon. The film won five Oscars, including Best Director for Billy Wilder. She later said, "I thought I would win for The Apartment, but then Elizabeth Taylor had a tracheotomy". She starred in The Children's Hour (1961) also starring Audrey Hepburn and James Garner, based on the play by Lillian Hellman and directed by William Wyler (Ben-Hur (1959 film)). She was again nominated, this time for Irma la Douce (1963), for which she reunited with Wilder and Lemmon. Don Siegel, her director on Two Mules for Sister Sara (1970), in which she starred opposite Clint Eastwood, once said, "It's hard to feel any great warmth to her. She's too unfeminine and has too much balls. She's very, very hard."[8]
In 1975, she received a nomination for Best Documentary Feature for her documentary film The Other Half of the Sky: A China Memoir. Two years later, she was once again nominated for The Turning Point co-starring Anne Bancroft, in which she portrayed a retired ballerina much like herself. In 1978, she was awarded the Women in Film Crystal Award for outstanding women who, through their endurance and the excellence of their work, have helped to expand the role of women within the entertainment industry.[9] In 1980, she starred in A Change of Seasons alongside Anthony Hopkins. The pair famously didn't get along and Hopkins said “she was the most obnoxious actress I have ever worked with."[10] In 1983, she won an Oscar for Terms of Endearment. The film won another four Oscars; one for Jack Nicholson and three for director James L. Brooks. In 1988, MacLaine won a Golden Globe for Best Actress (Drama) for Madame Sousatzka.
She continued to star in major films, such as Steel Magnolias with Julia Roberts and many other stars. She made her feature-film directorial debut in Bruno, MacLaine starred as Helen in this film, which was released to video as The Dress Code. In 2007, she completed Closing the Ring, directed by Richard Attenborough and starring Christopher Plummer. Other notable films in which MacLaine has starred include Sweet Charity (1968), Being There (1979) with Peter Sellers, Postcards from the Edge (1990) with actress Meryl Streep, playing a fictionalized version of Debbie Reynolds with a screenplay by Reynolds's daughter, Carrie Fisher, Used People with Jessica Tandy and Kathy Bates, Guarding Tess (1994) with Nicolas Cage, Mrs. Winterbourne (1996), with actress and talk show host, Ricki Lake and actor Brendan Fraser, Rumor Has It… (2005) with Kevin Costner and Jennifer Aniston and In Her Shoes with Cameron Diaz.
MacLaine has also appeared in numerous television projects including an autobiographical miniseries based upon the book Out on a Limb, The Salem Witch Trials, These Old Broads written by Carrie Fisher and co-starring Elizabeth Taylor, Debbie Reynolds, and Joan Collins, and Coco, a Lifetime production based on the life of Coco Chanel. She also had a short-lived sitcom called Shirley's World. She will be appearing in the third series of the British drama Downton Abbey as Martha Levinson, mother to Cora, Countess of Grantham.[11]
MacLaine has a star on the Hollywood Walk of Fame at 1165 Vine Street and in 1999 was awarded the Honorary Golden Bear at the 49th Berlin International Film Festival.[12]
Personal life[link]
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MacLaine was married to businessman Steve Parker until they divorced in 1982. In April 2011 while promoting her new book, “I'm Over All That”, she told Oprah Winfrey that she had an open relationship with her husband.[13] They had a daughter, Sachi Parker (born 1956). Shirley shares a birthday (April 24) with her good friend, Barbra Streisand, and they traditionally spend it together each year.
MacLaine has a strong and enduring interest in spirituality and metaphysics. Many of her best-selling books, such as Out on a Limb and Dancing in the Light, have it as their central theme. Her interests have led her to such forms of spiritual exploration as walking El Camino de Santiago, working with Chris Griscom,[citation needed] and practicing Transcendental Meditation.[14]
Her well-known interest in New Age spirituality has made its way into several of her films. In Albert Brooks's 1991 romantic comedy Defending Your Life, the recently deceased lead characters, played by Brooks and Meryl Streep, are astonished to find MacLaine introducing their past lives in the "Past Lives Pavilion." In 1990's Postcards from the Edge (w/a screenplay by Carrie Fisher), MacLaine, playing a character loosely based on Debbie Reynolds, sings a special version of "I'm Still Here", with customized lyrics created especially for her by composer Stephen Sondheim. One of the lyrics was changed to "I'm feeling transcendental--am I here?" In the 2001 made-for-television movie These Old Broads - written by Reynolds's daughter - starring MacLaine, Debbie Reynolds, Joan Collins, Elizabeth Taylor and Carrie Fisher, MacLaine's character is a devotee of New Age spirituality.
MacLaine has such a serious interest in UFOs that she has given numerous interviews on CNN, NBC and Fox news channels on the subject through 2007-2008. In her 2007 released book "Sage-ing While Age-ing" she mentioned her alien encounters and witnessing of Washington DC UFO incidents in 1950s.[15]
MacLaine found her way into the law books when she sued Twentieth Century-Fox for breach of contract. She was to play a role in a film titled Bloomer Girl, but the production was canceled. Twentieth Century-Fox offered her a role in another film, Big Country, Big Man, to avoid its contractual obligation to pay her for the canceled film. MacLaine's refusal led to a suit appealed by Twentieth Century-Fox to the Supreme Court of California in 1970, where the Court ruled against Fox, calling the studio's alternate role offer "different or inferior" employment. Parker v. Twentieth Century-Fox Film Corporation, 474 P.2d 689 (Cal. 1970).
MacLaine is godmother to the daughter of U.S. Representative, Dennis Kucinich, a Democrat and former mayor of Cleveland, Ohio.[16]
With her younger brother, Warren Beatty, MacLaine used her celebrity status in instrumental roles as a fundraiser and organizer for George McGovern's campaign for president in 1972.[17][18][19] That year, she authored the book McGovern: The Man and His Beliefs.[17]
Filmography[link]
| Year | Title | Role | Notes |
|---|---|---|---|
| 1955 | Trouble with Harry, TheThe Trouble with Harry | Jennifer Rogers | Nominated — BAFTA Award for Best Foreign Actress |
| 1955 | Artists and Models | Bessie Sparrowbrush | |
| 1956 | Around the World in 80 Days | Princess Aouda | |
| 1958 | Some Came Running | Ginnie Moorehead | Nominated — Academy Award for Best Actress Nominated — Golden Globe Award for Best Actress – Motion Picture Drama |
| 1958 | Sheepman, TheThe Sheepman | Dell Payton | |
| 1958 | Hot Spell | Virginia Duval | |
| 1958 | Matchmaker, TheThe Matchmaker | Irene Molloy | |
| 1958 | Ask Any Girl | Meg Wheeler | BAFTA Award for Best Foreign Actress Silver Bear for Best Actress[20] Nominated — Golden Globe Award for Best Actress – Motion Picture Musical or Comedy |
| 1959 | Career | Sharon Kensington | |
| 1960 | Ocean's 11 | Tipsy girl | uncredited cameo |
| 1960 | Can-Can | Simone Pistache | |
| 1960 | Apartment, TheThe Apartment | Fran Kubelik | BAFTA Award for Best Foreign Actress Golden Globe Award for Best Actress – Motion Picture Musical or Comedy Volpi Cup Nominated — Academy Award for Best Actress |
| 1961 | Children's Hour, TheThe Children's Hour | Martha Dobie | Nominated — Golden Globe Award for Best Actress – Motion Picture Drama |
| 1961 | All in a Night's Work | Katie Robbins | |
| 1961 | Two Loves | Anna Vorontosov | |
| 1962 | Two for the Seesaw | Gittel Mosca | |
| 1962 | My Geisha | Lucy Dell/Yoko Mori | |
| 1963 | Irma la Douce | Irma la Douce | Golden Globe Award for Best Actress – Motion Picture Musical or Comedy Nominated — Academy Award for Best Actress Nominated — BAFTA Award for Best Foreign Actress |
| 1964 | Yellow Rolls-Royce, TheThe Yellow Rolls-Royce | Mae Jenkins | |
| 1964 | What a Way to Go! | Louisa May Foster | Nominated — BAFTA Award for Best Foreign Actress |
| 1965 | John Goldfarb, Please Come Home | Jenny Erichson | |
| 1966 | Gambit | Nicole Chang | Nominated — Golden Globe Award for Best Actress – Motion Picture Musical or Comedy |
| 1967 | Woman Times Seven | Paulette/Maria Teresa/Linda/Edith/Eve Minou/Marie/Jeanne | Nominated — Golden Globe Award for Best Actress – Motion Picture Musical or Comedy |
| 1968 | Bliss of Mrs. Blossom, TheThe Bliss of Mrs. Blossom | Harriet Blossom | |
| 1969 | Sweet Charity | Charity Hope Valentine | Nominated — Golden Globe Award for Best Actress – Motion Picture Musical or Comedy |
| 1970 | Two Mules for Sister Sara | Sara | |
| 1971 | Desperate Characters | Sophie Bentwood | Silver Bear for Best Actress[21] |
| 1972 | Possession of Joel Delaney, TheThe Possession of Joel Delaney | Norah Benson | |
| 1975 | Other Half of the Sky: A China Memoir, TheThe Other Half of the Sky: A China Memoir | Herself | Documentary; writer, direct, producer Nominated — Academy Award for Best Feature Documentary |
| 1977 | Turning Point, TheThe Turning Point | Deedee Rodgers | Nominated — Academy Award for Best Actress |
| 1979 | Being There | Eve Rand | Nominated — BAFTA Award for Best Actress in a Leading Role Nominated — Golden Globe Award for Best Actress – Motion Picture Musical or Comedy |
| 1980 | Change of Seasons, AA Change of Seasons | Karyn Evans | |
| 1980 | Loving Couples | Evelyn | |
| 1983 | Terms of Endearment | Aurora Greenway | Academy Award for Best Actress David di Donatello for Best Foreign Actress Golden Globe Award for Best Actress – Motion Picture Drama Los Angeles Film Critics Association Award for Best Actress National Board of Review Award for Best Actress New York Film Critics Circle Award for Best Actress Nominated — BAFTA Award for Best Actress in a Leading Role |
| 1984 | Cannonball Run II | Veronica | |
| 1987 | Out on a Limb | Herself | Nominated — Golden Globe Award for Best Actress – Miniseries or Television Film |
| 1988 | Madame Sousatzka | Madame Yuvline Sousatzka | Golden Globe Award for Best Actress – Motion Picture Drama (tied with Jodie Foster and Sigourney Weaver) Volpi Cup |
| 1989 | Steel Magnolias | Ouiser Boudreaux | Nominated — BAFTA Award for Best Actress in a Supporting Role |
| 1990 | Postcards from the Edge | Doris Mann | Nominated — BAFTA Award for Best Actress in a Leading Role Nominated — Golden Globe Award for Best Supporting Actress – Motion Picture |
| 1990 | Waiting for the Light | Aunt Zena | |
| 1991 | Defending Your Life | "Past Lives Pavilion" host | |
| 1992 | Used People | Pearl Berman | Nominated — Golden Globe Award for Best Actress – Motion Picture Musical or Comedy |
| 1993 | Wrestling Ernest Hemingway | Helen Cooney | |
| 1994 | Guarding Tess | Tess Carlisle | Nominated — Golden Globe Award for Best Actress – Motion Picture Musical or Comedy |
| 1995 | West Side Waltz, TheThe West Side Waltz | Margaret Mary Elderdice | |
| 1996 | Evening Star, TheThe Evening Star | Aurora Greenway | |
| 1996 | Mrs. Winterbourne | Grace Winterbourne | Nominated — Satellite Award for Best Actress - Motion Picture Musical or Comedy |
| 1997 | Smile Like Yours, AA Smile Like Yours | Martha | uncredited |
| 1999 | Joan of Arc | Madame de Beaurevoir | |
| 2000 | Bruno | Helen | Directed by Shirley MacLaine |
| 2001 | These Old Broads | Kate Westbourne | |
| 2002 | Salem Witch Trials | Rebecca Nurse | |
| 2002 | Hell on Heels: The Battle of Mary Kay | Mary Kay | Nominated — Golden Globe Award for Best Actress – Miniseries or Television Film |
| 2003 | Carolina | Grandma Millicent Mirabeau | |
| 2005 | Rumor Has It… | Katharine Richelieu | |
| 2005 | Bewitched | Iris Smythson/Endora | |
| 2005 | In Her Shoes | Ella Hirsch | Nominated — Golden Globe Award for Best Supporting Actress – Motion Picture Nominated — Satellite Award for Best Supporting Actress - Motion Picture |
| 2007 | Closing the Ring | Ethel Ann | |
| 2008 | Coco Chanel | Coco Chanel | Nominated — Primetime Emmy Award for Outstanding Lead Actress – Miniseries or a Movie[22] Nominated — Golden Globe Award for Best Actress – Miniseries or Television Film Nominated — Screen Actors Guild Award for Outstanding Performance by a Female Actor in a Miniseries or Television Movie |
| 2008 | Anne of Green Gables: A New Beginning | Amelia Thomas | |
| 2010 | Valentine's Day | Estelle Paddington | |
| 2011 | Bernie | Marjorie Nugent |
TV work[link]
- Shirley's World (1971–1972) and a 1977 one hour special.
- Where Do We Go From Here? (1978) Winner of the Rose D'Or
- Out on a Limb (1987)
- Downton Abbey (2012)
References[link]
- ^ New England Historic Genealogical Society
- ^ "The religion of Warren Beatty, actor, director". Adherents.com. 2005-08-30. http://www.adherents.com/people/pb/Warren_Beatty.html. Retrieved 2010-03-06.
- ^ Public Affairs (2005-05-21). "Actor Warren Beatty gives public-policy graduates — and Gov. Schwarzenegger — some advice on power". Berkeley.edu. http://www.berkeley.edu/news/media/releases/2005/05/21_beatty.shtml. Retrieved 2010-03-06.
- ^ http://www.americanancestors.org/third-set-of-ten-hollywood/
- ^ Denis, Christopher (1980). The films of Shirley MacLaine. Citadel Press. p. 14. ISBN 978-0-8065-0693-7. http://books.google.com/books?id=PwEvAAAAMAAJ. Retrieved 11 April 2011.
- ^ MacLaine, Shirley (1 November 1996). My Lucky Stars: A Hollywood Memoir. Random House Publishing Group. ISBN 978-0-553-57233-9. http://books.google.com/books?id=kSKjB8WWKoIC. Retrieved 11 April 2011.
- ^ Hanrihan v. Parker, 19 Misc. 2d 467, 469 (N.Y. Misc. 1959)
- ^ McGilligan (1999), p.182
- ^ http://wif.org/past-recipients
- ^ Films and filming. Hansom Books. 1 January 1989. http://books.google.com/books?id=0kEbAQAAIAAJ. Retrieved 5 June 2011.
- ^ O'Connell, Michael (January 30, 2012). "'Downton Abbey' Adds Shirley MacLaine for Season 3". The Hollywood Reporter. http://www.hollywoodreporter.com/live-feed/downton-abbey-shirley-maclaine-elizabeth-mcgovern-285812. Retrieved January 31, 2012.
- ^ "Berlinale: 1999 Programme". berlinale.de. http://www.berlinale.de/en/archiv/jahresarchive/1999/03_preistr_ger_1999/03_Preistraeger_1999.html. Retrieved 2012-02-04.
- ^ "Shirley MacLaine interviewed on 'The Oprah Winfrey Show'". BestSyndication.com. 2011-04-11. http://www.bestsyndication.com/?q=20110411_shirley_maclaine_oprah_interview_new_book_i_am_all_over_that_ufo_2012_end_of_the_world.htm.
- ^ "LA Times, Maharishi Mahesh Yogi". Latimes.com. 2008-02-06. http://www.latimes.com/news/la-me-maharishi6feb06,1,1158944.story. Retrieved 2010-03-06.
- ^ "NBC, Today show: Shirley MacLaine: Older and much wiser". today.msnbc.msn.com/. 2007-11-07. http://today.msnbc.msn.com/id/21655677/ns/today-books/t/shirley-maclaine-older-much-wiser/.
- ^ "Shirley MacLaine: I Believe In UFOs More Than Ever, Support Kucinich". Huffingtonpost.com. 2007-12-19. http://www.huffingtonpost.com/2007/11/07/shirley-maclaine-i-belie_n_71542.html. Retrieved 2010-03-06.
- ^ a b MacLaine, Shirley, McGovern: The Man and His Beliefs, New York: W.W. Norton & Company, 1972.
- ^ McGovern, George S., Grassroots: The Autobiography of George McGovern, New York: Random House, 1977, pp. 126, 172
- ^ White, Theodore H., The Making of the President 1972, Atheneum Publishers, 1973, pp. 236, 258, 425
- ^ "Berlinale 1959: Prize Winners". berlinale.de. http://www.berlinale.de/en/archiv/jahresarchive/1959/03_preistr_ger_1959/03_Preistraeger_1959.html. Retrieved 2010-01-05.
- ^ "Berlinale 1971: Prize Winners". berlinale.de. http://www.berlinale.de/en/archiv/jahresarchive/1971/03_preistr_ger_1971/03_Preistraeger_1971.html. Retrieved 2010-03-13.
- ^ Shirley Maclaine Emmy Nominated
Bibliography[link]
- MacLaine, Shirley (1970). Don't Fall Off the Mountain. New York: W.W. Norton & Company Limited. ISBN 978-0-393-07338-6.
- MacLaine, Shirley (1972). McGovern: The Man and His Beliefs. New York: W.W. Norton & Company Limited. ISBN 978-0-393-05341-8.
- MacLaine, Shirley (1975). You Can Get There from Here. New York: W.W. Norton & Company Limited. ISBN 978-0-393-07489-5.
- MacLaine, Shirley (1983). Out on a Limb. New York: Bantam Doubleday Dell Publishing Group. ISBN 978-0-553-05035-6.
- MacLaine, Shirley (1986). Dancing in the Light. New York: Bantam Books. ISBN 978-0-553-76196-2.
- MacLaine, Shirley (1987). It's All in the Playing. New York: Bantam Books. ISBN 978-0-553-05217-6.
- MacLaine, Shirley (1989). Going Within: A Guide to Inner Transformation. New York: Bantam Books. ISBN [[Special:BookSources/978-055-367-8|978-055-367-8]].
- MacLaine, Shirley (1991). Dance While You Can. New York: Bantam Books. ISBN 978-0-553-07607-3.
- MacLaine, Shirley (1995). My Lucky Stars: A Hollywood Memoir. New York: Bantam Books. ISBN 978-0-553-09717-7.
- MacLaine, Shirley (2000). The Camino: A Journey of the Spirit. New York: Simon & Schuster Adult Publishing Group. ISBN 978-0-7434-0072-5. (Published in Europe as: MacLaine, Shirley (2001). The Camino: A Pilgrimage of Courage. London: Pocket Books. ISBN 0-7434-0921-3. )
- MacLaine, Shirley (2003). Out on a Leash: Exploring the Nature of Reality and Love. New York: Simon & Schuster Adult Publishing Group. ISBN 978-0-7434-8506-7.
- MacLaine, Shirley (2007). Sage-ing While Age-ing. New York: Simon & Schuster Adult Publishing Group. ISBN 978-1-4165-5041-9.
- MacLaine, Shirley (2011). I'm Over All That: And Other Confessions. New York: Simon & Schuster Adult Publishing Group. ISBN 978-1-4516-0729-1.
External links[link]
- MacLaine's Official Website
- Shirley MacLaine at the Internet Movie Database
- Shirley MacLaine at the Internet Broadway Database
- Shirley MacLaine at Yahoo! Movies
- Shirley MacLaine interviewed by Ginny Dougary (2005)
- Shirley Maclaine at Emmys.com
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| Persondata | |
|---|---|
| Name | MacLaine, Shirley |
| Alternative names | Beaty, Shirley MacLean |
| Short description | Academy Award-winning American film and theatre actress |
| Date of birth | April 24, 1934 |
| Place of birth | Richmond, Virginia, United States |
| Date of death | |
| Place of death | |
http://wn.com/Shirley_MacLaine
| Jack Lemmon | |
|---|---|
 Lemmon at the 40th Emmy Awards, August 1988 |
|
| Born | John Uhler Lemmon III (1925-02-08)February 8, 1925 Newton, Massachusetts, U.S. |
| Died | June 27, 2001(2001-06-27) (aged 76) Los Angeles, California, U.S. |
| Cause of death | Colon cancer Bladder cancer |
| Resting place | Westwood Village Memorial Park Cemetery |
| Education | Phillips Academy |
| Alma mater | Harvard University |
| Occupation | Actor |
| Years active | 1949–2000 |
| Notable work(s) | Some Like It Hot, The Apartment, Mister Roberts, Days of Wine and Roses, The Great Race, Irma la Douce, The Odd Couple, Save the Tiger, The Out-of-Towners, The China Syndrome, Missing, Glengarry Glen Ross, Grumpy Old Men, Grumpier Old Men, The Odd Couple II |
| Spouse | Cynthia Stone (m.1950-1956; divorced) Felicia Farr (m.1962-2001; his death) |
| Children | Chris Lemmon Courtney Lemmon Denise Lemmon (stepdaughter) |
| Awards | Academy Awards, AFI Life Achievement Award, Golden Globe Award, Volpi Cup, National Board of Review Award, American Comedy Award, Silver Bear Award |
John Uhler "Jack" Lemmon III (February 8, 1925 – June 27, 2001) was an American actor and musician. He starred in more than 60 films including Some Like It Hot, The Apartment, Mister Roberts (for which he won the 1955 Best Supporting Actor Academy Award), Days of Wine and Roses, The Great Race, Irma la Douce, The Odd Couple, Save the Tiger (for which he won the 1973 Best Actor Academy Award), The Out-of-Towners, The China Syndrome, Missing (for which he won 'Best Actor' at the 1982 Cannes Film Festival), Glengarry Glen Ross, Grumpy Old Men and Grumpier Old Men.
Contents |
Early life[link]
Lemmon was born in an elevator[citation needed] at Newton-Wellesley Hospital in Newton, Massachusetts, a suburb of Boston. He was the only child of Mildred Burgess LaRue (née Noel) and John Uhler Lemmon, Jr., who was the president of a doughnut company.[1][2] Lemmon attended John Ward Elementary School in Newton and The Rivers School in Weston, Massachusetts. He had stated that he knew he wanted to be an actor from the age of eight.[3] Lemmon attended Phillips Academy (Class of 1943) and Harvard University (Class of 1947), where he lived in Adams House and was an active member of several Drama Clubs - becoming president of the Hasty Pudding Club[4] - as well as a member of the Delphic Club for Gentleman, a final club at Harvard. After Harvard, Lemmon joined the Navy,[4] receiving V-12 training and serving as an ensign. On being discharged, he took up acting professionally, working on radio, television and Broadway.[4] He studied acting under coach Uta Hagen.[4] He also became enamored of the piano and learned to play it on his own. He could also play the harmonica, organ, and the double bass.
Career[link]
Lemmon's film debut was a bit part as a plasterer/painter in the 1949 film The Lady Takes a Sailor, but he was not noticed until his official debut, opposite Judy Holliday, in the 1954 comedy It Should Happen to You.[4] Lemmon worked with many legendary leading ladies, among them Marilyn Monroe, Natalie Wood, Betty Grable, Janet Leigh, Shirley MacLaine, Romy Schneider, Doris Day, Kim Novak, Judy Holliday, Rita Hayworth, June Allyson, Virna Lisi, Ann-Margret, Sophia Loren, and many more. He was also close friends with actors Tony Curtis, Ernie Kovacs, Walter Matthau, and Kevin Spacey. He made two films with Curtis, three films with Kovacs (Operation Mad Ball, Bell, Book and Candle, and It Happened to Jane), and eleven with Matthau.[citation needed]
Early in Lemmon's career, Lemmon met comedian Ernie Kovacs, during the filming of Operation Mad Ball[5] and co-starred with the comedian in this film. Lemmon and Kovacs became close friends and appeared together in two subsequent films - Bell, Book and Candle.[6] and It Happened to Jane[7] In 1977 PBS broadcast a compilation series of Kovacs' television work, and Lemmon served as the narrator of the series. Lemmon discussed his friendship with Kovacs in the documentary, Ernie Kovacs: Television's Original Genius.[8]
He became a favorite actor of director Billy Wilder, starring in his films Some Like It Hot (for which he was awarded Best Actor at the Cannes Film Festival), The Apartment, Irma la Douce, The Fortune Cookie, Avanti!, The Front Page, and Buddy Buddy. Wilder felt Lemmon had a natural tendency toward overacting that had to be tempered; the Wilder biography Nobody's Perfect quotes the director as saying, "Lemmon, I would describe him as a ham, a fine ham, and with ham you have to trim a little fat". The biography also quotes Lemmon as saying, "I am particularly susceptible to the parts I play... If my character was having a nervous breakdown, I started to have one".
He also had a longtime working relationship with director Blake Edwards, starring in My Sister Eileen (1955), Days of Wine and Roses (1962), The Great Race (1965) and That's Life! (1986).
Lemmon recorded an album in 1958 while filming Some Like It Hot with Marilyn Monroe. Twelve jazz tracks were created for Lemmon and another twelve were added. Lemmon played the piano and recorded his own versions of Monroe's trademark songs, I Wanna Be Loved By You and I'm Through With Love, for the album which was released in 1959 as A Twist of Lemmon/Some Like It Hot.
Lemmon was awarded the Best Supporting Actor Oscar in 1956 for Mister Roberts (1955) and the Best Actor Oscar for Save the Tiger (1973), becoming the first actor to achieve this double.[4] He was also nominated for a Best Actor Oscar for his role in the controversial film Missing in 1982, and for his roles in Some Like It Hot (1959), The Apartment (1960), Days of Wine and Roses (1962), The China Syndrome (1979), and Tribute (1980). He won another Cannes award for his performance in Missing (which received the Palme d'Or). In 1988, the American Film Institute gave him its Lifetime Achievement Award.
Days of Wine and Roses (1962) was one of his favorite roles. He portrayed Joe Clay, a young, fun-loving alcoholic businessman. In that film, Lemmon delivered the line, "My name is Joe Clay ... I'm an alcoholic." Three and a half decades later, he stated on the television program Inside the Actors Studio that he really was a recovering alcoholic.[4]
Lemmon's production company JML produced Cool Hand Luke in 1967. Paul Newman was grateful to Lemmon for his support and offered him the role of the Sundance Kid, later played by Robert Redford in Butch Cassidy and the Sundance Kid, but Lemmon turned it down. He did not like riding horses and he also felt he'd already played too many aspects of the Sundance Kid's character before.[9]
Lemmon often appeared in films partnered with actor Walter Matthau. Among their pairings was 1968's The Odd Couple, as Felix Ungar (Lemmon) and Oscar Madison (Matthau). They also starred together in The Fortune Cookie (for which Matthau won an Oscar for Best Supporting Actor), The Front Page and Buddy Buddy. In 1971, Lemmon directed Matthau in the comedy Kotch. It was the only movie that Lemmon ever directed and Matthau was nominated for the Best Actor Oscar for his performance.
Additionally, Lemmon and Matthau had small parts in Oliver Stone's 1991 film, JFK (the only film in which both appeared without sharing screen time). In 1993, the duo teamed up again to star in Grumpy Old Men. The film was a surprise hit, earning the two actors a new generation of young fans. During the rest of the decade, they would go on to star together in Out to Sea, Grumpier Old Men and the widely panned The Odd Couple II.
In 1996, Lemmon was awarded with the Honorary Golden Bear award at the 46th Berlin International Film Festival.[10]
At the 1998 Golden Globe Awards, he was nominated for "Best Actor in a Made for TV Movie" for his role in Twelve Angry Men losing to Ving Rhames. After accepting the award, Rhames asked Lemmon to come on stage and, in a move that stunned the audience, gave his award to him. (The Hollywood Foreign Press Association, which presents the Golden Globes, decided to have a second award made and sent to Rhames.).[citation needed]
He received the AFI Life Achievement Award in 1988.
Personal life[link]
Actor Kevin Spacey recalled that Lemmon is remembered as always making time for other people. When already regarded as a legend, he met the teenage Spacey backstage after a theater performance and spoke to him about pursuing an acting career.[11] Spacey would later work with Lemmon in Dad (1989), the critically acclaimed film Glengarry Glen Ross (1992) and on stage in a revival of Long Day's Journey Into Night. Lemmon's performance also inspired Gil Gunderson, a character on The Simpsons that is modeled on Lemmon's.
Lemmon was married twice. His son Chris Lemmon (b. 1954), was his first child by his first wife, actress Cynthia Stone (b. February 26, 1926, Peoria, Illinois, d. December 26, 1988). His second wife was the actress Felicia Farr, with whom he had a daughter, Courtney (b.1966).
Lemmon admitted that he was an alcoholic in the late 1960s. (Source: Los Angeles Tomes Obituary.)
Felicia Farr had another daughter from a previous relationship (her marriage to Lee Farr) called Denise, who would become Lemmon's stepdaughter.
Lemmon was Roman Catholic[12].
Death[link]
Lemmon died of colon cancer and metastatic cancer of the bladder on June 27, 2001.[13] He had been fighting the disease, very privately, for two years before his death. He was interred at Westwood Village Memorial Park Cemetery in Westwood, California where he is buried near his friend and co-star, Walter Matthau, who died almost exactly one year before Lemmon. In typical Jack Lemmon wit, his gravestone simply reads "JACK LEMMON in".[14] After Matthau's death in 2000, Lemmon appeared with friends and relatives of the actor on a Larry King Live show in tribute. A year later, many of the same people appeared on the show again to pay tribute to Lemmon.
Filmography[link]
Film[link]
| Year | Title | Role | Notes |
|---|---|---|---|
| 1949 | Lady Takes a Sailor, TheThe Lady Takes a Sailor | Plasterer | Uncredited |
| 1954 | It Should Happen to You | Pete Sheppard | |
| 1954 | Phffft! | Robert Tracey | |
| 1955 | Three for the Show | Martin 'Marty' Stewart | |
| 1955 | Mister Roberts | Ens. Frank Thurlowe Pulver | Academy Award for Best Supporting Actor Nominated — BAFTA Award for Best Actor in a Leading Role |
| 1955 | My Sister Eileen | Robert 'Bob' Baker | |
| 1955 | Hollywood Bronc Busters | Himself | |
| 1956 | You Can't Run Away from It | Peter Warne | |
| 1957 | Fire Down Below | Tony | |
| 1957 | Operation Mad Ball | Pvt. Hogan | |
| 1958 | Cowboy | Frank Harris | |
| 1958 | Bell, Book and Candle | Nicky Holroyd | |
| 1959 | Some Like It Hot | Jerry - 'Daphne' | BAFTA Award for Best Actor in a Leading Role Golden Globe Award for Best Actor – Motion Picture Musical or Comedy Nominated — Academy Award for Best Actor |
| 1959 | It Happened to Jane | George Denham | |
| 1960 | Apartment, TheThe Apartment | C.C. Baxter | BAFTA Award for Best Actor in a Leading Role Golden Globe Award for Best Actor – Motion Picture Musical or Comedy Nominated — Academy Award for Best Actor |
| 1960 | Stowaway in the Sky | Narrator | voice |
| 1960 | Pepe | Himself | Cameo appearance as Daphne |
| 1960 | Wackiest Ship in the Army, TheThe Wackiest Ship in the Army | Lt. Rip Crandall | |
| 1962 | Notorious Landlady, TheThe Notorious Landlady | William 'Bill' Gridley | |
| 1962 | Days of Wine and Roses | Joe Clay | San Sebastián International Film Festival Award for Best Actor Nominated — Academy Award for Best Actor Nominated — BAFTA Award for Best Actor in a Leading Role Nominated — Golden Globe Award for Best Actor – Motion Picture Drama |
| 1963 | Irma la Douce | Nestor Patou / Lord X | Nominated — Golden Globe Award for Best Actor – Motion Picture Musical or Comedy |
| 1963 | Under the Yum Yum Tree | Hogan | Nominated — Golden Globe Award for Best Actor – Motion Picture Musical or Comedy |
| 1964 | Good Neighbor Sam | Sam Bissel | Nominated — BAFTA Award for Best Actor in a Leading Role |
| 1965 | How to Murder Your Wife | Stanley Ford | Nominated — BAFTA Award for Best Actor in a Leading Role |
| 1965 | Great Race, TheThe Great Race | Professor Fate / Prince Hapnick | Nominated — Golden Globe Award for Best Actor – Motion Picture Musical or Comedy |
| 1966 | Fortune Cookie, TheThe Fortune Cookie | Harry Hinkle | First collaboration with Walter Matthau. |
| 1967 | Luv | Harry Berlin | |
| 1968 | There Comes a Day | ||
| 1968 | Odd Couple, TheThe Odd Couple | Felix Ungar | Nominated — Golden Globe Award for Best Actor – Motion Picture Musical or Comedy |
| 1969 | April Fools, TheThe April Fools | Howard Brubaker | |
| 1970 | Out-of-Towners, TheThe Out-of-Towners | George Kellerman | Nominated — Golden Globe Award for Best Actor – Motion Picture Musical or Comedy |
| 1971 | Kotch | Sleeping bus passenger | uncredited, also director |
| 1972 | War Between Men and Women, TheThe War Between Men and Women | Peter Edward Wilson | |
| 1972 | Avanti! | Wendell Armbruster, Jr. | Golden Globe Award for Best Actor – Motion Picture Musical or Comedy |
| 1973 | Save the Tiger | Harry Stoner | Academy Award for Best Actor Nominated — Golden Globe Award for Best Actor – Motion Picture Drama |
| 1974 | The Police Can't Move | Narrator | voice |
| 1974 | Front Page, TheThe Front Page | Hildy Johnson | David di Donatello for Best Actor (shared with Walter Matthau) Nominated — Golden Globe Award for Best Actor – Motion Picture Musical or Comedy |
| 1975 | Wednesday | Jerry Murphy | |
| 1975 | Gentleman Tramp, TheThe Gentleman Tramp | Narrator | |
| 1975 | Prisoner of Second Avenue, TheThe Prisoner of Second Avenue | Mel Edison | |
| 1976 | Alex & the Gypsy | Alexander Main | |
| 1977 | Airport '77 | Capt. Don Gallagher | |
| 1979 | China Syndrome, TheThe China Syndrome | Jack Godell | Best Actor Award (Cannes Film Festival) David di Donatello for Best Actor (tied with Dustin Hoffman) BAFTA Award for Best Actor in a Leading Role Nominated — Academy Award for Best Actor Nominated — Golden Globe Award for Best Actor – Motion Picture Drama |
| 1980 | Tribute | Scottie Templeton | Silver Bear for Best Actor (Berlin)[15] Genie Award for Best Performance by a Foreign Actor Nominated — Academy Award for Best Actor Nominated — American Movie Award for Best Actor Nominated — Golden Globe Award for Best Actor – Motion Picture Drama |
| 1981 | Buddy Buddy | Victor Clooney | |
| 1982 | Missing | Ed Horman | Best Actor Award (Cannes Film Festival) Nominated — Academy Award for Best Actor Nominated — BAFTA Award for Best Actor in a Leading Role Nominated — Golden Globe Award for Best Actor – Motion Picture Drama |
| 1984 | Mass Appeal | Father Tim Farley | |
| 1985 | Macaroni | Robert Traven | |
| 1986 | That's Life! | Harvey Fairchild | Nominated — Golden Globe Award for Best Actor – Motion Picture Musical or Comedy |
| 1989 | Dad | Jake Tremont | Nominated — Golden Globe Award for Best Actor – Motion Picture Drama |
| 1991 | JFK | Jack Martin | |
| 1992 | Beyond 'JFK': The Question of Conspiracy | Himself | also archive footage |
| 1992 | Player, TheThe Player | Himself | |
| 1992 | Glengarry Glen Ross | Shelley Levene | National Board of Review Award for Best Actor Valladolid International Film Festival Award for Best Actor Volpi Cup |
| 1993 | Luck, Trust & Ketchup: Robert Altman In Carver County | Himself | |
| 1993 | Short Cuts | Paul Finnigan | Golden Globe Award for Best Ensemble Cast Volpi Cup |
| 1993 | Grumpy Old Men | John Gustafson | Nominated — American Comedy Award for Funniest Actor in a Motion Picture |
| 1995 | Grass Harp, TheThe Grass Harp | Dr. Morris Ritz | |
| 1995 | Grumpier Old Men | John Gustafson | |
| 1996 | Getting Away with Murder | Max Mueller / Karl Luger | |
| 1996 | My Fellow Americans | President Russell P. Kramer | |
| 1996 | Hamlet | Marcellus | |
| 1997 | Out to Sea | Herb Sullivan | |
| 1997 | Off the Menu: The Last Days of Chasen's | Himself | |
| 1998 | Puppies for Sale | Pet Shop Owner | |
| 1998 | Odd Couple II, TheThe Odd Couple II | Felix Ungar | |
| 2000 | Legend of Bagger Vance, TheThe Legend of Bagger Vance | Narrator / Old Hardy Greaves | uncredited |
Television[link]
| Year | Title | Role | Notes |
|---|---|---|---|
| 1949–50 | That Wonderful Guy | Harold | |
| 1950 | Toni Twin Time | Host | Episode dated May 31, 1950 |
| 1951 | Ad-Libbers, TheThe Ad-Libbers | Celebrity Panelist | Ended after 5 episodes |
| 1951–52 | Frances Langford-Don Ameche Show, TheThe Frances Langford-Don Ameche Show | Newlywed | in 'The Couple Next Door' sketches |
| 1952 | Heaven for Betsy | Pete Bell | September 30, 1952 to December 23, 1952 |
| 1954 | Road of Life, TheThe Road of Life | Surgeon | cancelled after a few weeks |
| 1956 | Day Lincoln Was Shot, TheThe Day Lincoln Was Shot | John Wilkes Booth | February 11, 1956 |
| 1957 | What's My Line? | Mystery Guest | November 3, 1957 Episode # 388, Season 9, Ep 10 |
| 1957–58 | Alcoa Theatre | Henry Coyle Steve Tyler Wally Mall Lieutenant Tony Crawford Edward King |
Episode: "Disappearance" Episode: "Most Likely to Succeed" Episode: "Loudmouth" Episode: "The Days of November" Episode: "Souvenir" |
| 1976 | Entertainer, TheThe Entertainer | Archie Rice | |
| 1987 | Long Day's Journey Into Night | James Tyrone Sr. | Nominated — Golden Globe Award for Best Actor – Miniseries or Television Film |
| 1988 | Murder of Mary Phagan, TheThe Murder of Mary Phagan | Gov. John Slaton | Nominated — Primetime Emmy Award for Outstanding Lead Actor – Miniseries or a Movie Nominated — Golden Globe Award for Best Actor – Miniseries or Television Film |
| 1992 | For Richer, for Poorer | Aram Katourian | |
| 1993 | Life in the Theater, AA Life in the Theater | Robert | Nominated — Golden Globe Award for Best Actor – Miniseries or Television Film |
| 1994 | Wild West | host | |
| 1996 | Weekend in the Country, AA Weekend in the Country | Bud Bailey | |
| 1997 | Simpsons, TheThe Simpsons | Frank Ormand | Voice role; Episode: "The Twisted World of Marge Simpson" |
| 1997 | 12 Angry Men | Juror #8 | Nominated — Primetime Emmy Award for Outstanding Lead Actor – Miniseries or a Movie Nominated — Golden Globe Award for Best Actor – Miniseries or Television Film Nominated — Screen Actors Guild Award for Outstanding Performance by a Male Actor in a Miniseries or Television Movie |
| 1998 | Long Way Home, TheThe Long Way Home | Thomas Gerrin | |
| 1999 | Inherit the Wind | Henry Drummond | Golden Globe Award for Best Actor – Miniseries or Television Film Nominated — Primetime Emmy Award for Outstanding Lead Actor – Miniseries or a Movie |
| 1999 | Tuesdays with Morrie | Morrie Schwartz | Primetime Emmy Award for Outstanding Lead Actor – Miniseries or a Movie Screen Actors Guild Award for Outstanding Performance by a Male Actor in a Miniseries or Television Movie Nominated — Golden Globe Award for Best Actor – Miniseries or Television Film |
Discography[link]
- A Twist of Lemmon/Some Like It Hot (1959)
- Piano Selections from Irma La Douce (1963)
- Piano and Vocals (1990)
- Peter and the Wolf (1991)
- Songs and music from Some Like It Hot (2001)
Bibliography[link]
- Lemmon, Chris (2006). A Twist of Lemmon: A Tribute to My Father. Chapel Hill, N.C.: Algonquin Books of Chapel Hill. ISBN 978-1-56512-480-6.
- Freedland, Michael (2003). Some Like It Cool: The Charmed Life of Jack Lemmon. Robson Books. ISBN 978-1-86105-510-1.
- Widener, Don (1975). Lemmon. Macmillan Books.
References[link]
- ^ Lemmon stated (on Inside the Actors Studio) that he had an Ulster-Scots heritage.Family tree
- ^ "Jack Lemmon Biography (1925-2001)". Filmreference.com. http://www.filmreference.com/film/18/Jack-Lemmon.html. Retrieved 2010-12-12.
- ^ http://www.youtube.com/watch?v=6UMOX7YYdJM&NR=1&feature=fvwp
- ^ a b c d e f g Stated on Inside the Actors Studio, 1998
- ^ IMDB entry for Operation Mad Ball
- ^ IMDB entry Bell, Book, and Candle
- ^ IMDB entry for It Happened to Jane
- ^ IMDB entry for Ernie Kovacs: Television's Original Genius
- ^ A slice of Lemmon for extra character, Bob Flynn, Panorama, p. 7, Canberra Times, August 15, 1998
- ^ "Berlinale: 1996 Prize Winners". berlinale.de. http://www.berlinale.de/en/archiv/jahresarchive/1996/03_preistr_ger_1996/03_Preistraeger_1996.html. Retrieved 2012-01-01.
- ^ "Charlie Rose - Kevin Spacey / Jamaica Kincaid". YouTube. http://youtube.com/watch?v=Drnz1mbpui4. Retrieved 2010-12-12.
- ^ Don Widener Lemmon: A Biography (1975), page 7
- ^ Aljean Harmetz (June 29, 2001). "Jack Lemmon, Dark and Comic Actor, Dies at 76". New York Times. http://www.nytimes.com/2001/06/29/movies/jack-lemmon-dark-and-comic-actor-dies-at-76.html. Retrieved 2010-08-22. "Jack Lemmon, the brash young American Everyman who evolved into the screen's grumpiest old Everyman during a movie career that lasted a half century, died on Wednesday at a hospital in Los Angeles. He was 76 and lived in Beverly Hills. The cause was complications from cancer, said a spokesman, Warren Cowan."
- ^ http://www.seeing-stars.com/imagepages/jacklemmongravephoto.shtml
- ^ "Berlinale 1981: Prize Winners". berlinale.de. http://www.berlinale.de/en/archiv/jahresarchive/1981/03_preistr_ger_1981/03_Preistraeger_1981.html. Retrieved 2010-08-31.
External links[link]
- Jack Lemmon at the Internet Broadway Database
- Jack Lemmon at the Internet Movie Database
- Jack Lemmon at the TCM Movie Database
- "The Films of Jack Lemmon", compilation of movie clips, 4 minutes
- Actor Jack Lemmon dead at 76
- Jack Lemmon at the Archive of American Television
- Obituary in the Los Angeles Times
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| Persondata | |
|---|---|
| Name | Lemmon, Jack |
| Alternative names | Lemmon, John Uhler III |
| Short description | actor |
| Date of birth | (1925-02-08)February 8, 1925 |
| Place of birth | Newton, Massachusetts, United States |
| Date of death | June 27, 2001(2001-06-27) |
| Place of death | Los Angeles, California, United States |
http://wn.com/Jack_Lemmon
10:21
Gershwin "I Got Rhythm" Variations - Wayne Marshall, piano
adam28xx
Gershwin "I Got Rhythm" Variations - Wayne Marshall, piano
Wayne Marshall played George Gershwin's "I Got Rhythm" Variations at the Last Night of the 1997 Proms in the Royal Albert Hall, London, with the BBC Symphony Orchestra conducted by Andrew Davis. (Apologies for the not very good quality. This comes from an old video tape!)
2:04
Strictly Gershwin by English National Ballet
enballet
Strictly Gershwin by English National Ballet
Derek Deane's dazzling celebration of George Gershwin and the Silver Screen genius of Fred Astaire, Ginger Rogers and Gene Kelly. On Tour and in London 2011/2012- see www.ballet.org.uk for details.
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