![]() ![]() By the time he was seven, he was regularly singing in Buffalo ’s Pine Street synagogue choir. Born Hyman Arluck on Februto Samuel Arluck and Celia Orlin, he changed his name after he quit high school and began to perform professionally.Īrlen first learned to sing in his father ’s synagogue choir but most of his musical training and background was gained from his mother. He was the son of immigrants from the Vilna section of Poland, who wrote many of the top musical “standards ” that will remain the favorite music of many generations. Many a son of a Jewish cantor became a singing star, or one of America ’s top lyricists and composers. Photo credit on Home Page: Bandleader and cornetist Jim Cullum.For more than a century, a large number of immigrant Jews from Poland, Germany and Russia fled to the United States to avoid persecution. "When I play this music I'm overwhelmed with the same excitement and joy as the musicians who first played it."Īs Jelly Roll Morton said, "Good music doesn't get old." He answers that classic jazz is a living music. Jim Cullum is often asked by young jazz players how he remains so passionate about early jazz. Johnson, and other iconic jazzmen of the pre-World War II era. In the recent past, much emphasis has been placed on the post-bebop era of jazz and young musicians have had few opportunities to be exposed to the music of King Oliver, Louis Armstrong, Fats Waller, James P. The title says it all-"Of All the Wrongs You’ve Done to Me, They're Bound to Come Back to You."ĭuke Ellington's "Ring Dem Bells," first recorded in 1930, appears here as an up-tempo swinging showcase for clarinetist Brian Ogilvie. ![]() Louis Armstrong composed and recorded a piece in 1926 with a group called the Clarence Williams Red Onion Jazz Babies. “All the Wrongs You’ve Done to Me” Copyright Public Domain, courtesy of the Starr-Gennett Foundation, Richmond, Indiana. Pianist John Sheridan arranged our languid instrumental version, which opens with a duet by clarinetist Brian Ogilvie and Mike Pittsley on trombone. “A Sleepin’ Bee” has been covered by many artists including Mel Tormé, Nancy Wilson and Leontyne Price. The concept of the song title derives from a Haitian folklore belief that if a bee falls asleep in the palm of your hand, you know you have found your true love. Great American Songbook tunesmith Harold Arlen composed "A Sleepin' Bee" with lyricist Truman Capote for the 1954 Broadway show House of Flowers. It entered the jazz world through a recording featuring trumpeter and session leader Red Nichols, trombonist Miff Mole and guitarist Eddie Condon, a recent arrival in Manhattan from Chicago at the time. "One Step to Heaven" from 1928 is a blues-based tune written for a New York Broadway show, Lucky Lady. ![]() "Deep Blue Melody," recorded in San Antonio in 1936 by Southwest Territory bandleader and trumpeter Don Albert, was composed by band member Lloyd Glenn in a style reminiscent of Duke Ellington compositions of the period. Photo used by permission of Don Albert's son Kenneth Dominique. This edition of Riverwalk Jazz documents a broadcast concert presented by The Jim Cullum Jazz Band at the Stanford Jazz Workshop in 1995 and attended by students and faculty at Dinkelspiel Auditorium on campus. It's valuable for kids in our program to develop this historical context." The Jim Cullum Jazz Band is a world class group-its members are articulate and understand early jazz in a way that lets them communicate it. "To make a contemporary creative statement, one has to have knowledge of the past. As the first classic-style jazz band in the history of the Workshop, the Cullum band gave many young attendees their first exposure to the music of Jelly Roll Morton, Louis Armstrong and Bix Biederbecke.Īccording to Stanford jazz lecturer and Workshop Executive Director Jim Nadel, it was a magical encounter. The Jim Cullum Jazz Band took up residency at the Workshop every summer from 1994 to 2004 and became a vital part of the legendary teaching staff, which has included artists Stan Getz, Dizzy Gillespie, Ray Brown and Phil Woods. Young horn players, drummers, guitarists and keyboardists from all over the world gather to meet and work closely with some of the greatest jazz musicians playing today. Since 1972 Stanford University has presented the renowned Stanford Jazz Workshop, bringing together world-class jazz players and young musicians for ‘close encounters of a musical kind.’ Each July the tranquil, palm-lined Stanford campus, surrounded by the hustle and bustle of Silicon Valley, is transformed into a jazz camp. ![]()
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