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Mildred Bailey & Paul Whiteman's Orch. - All Of Me, 1931

Add to EJ Playlist  Mildred Bailey & Paul Whiteman's Orchestra -- All Of Me, Victor 1931 NOTE: Mildred BAILEY (nee Rinker) b. 1907 in Tekoa, Washington -- d. 1951 in Poughkeepsie, New York - American jazz singer during the 1930s, known as "The Rockin' Chair Lady" and "Mrs. Swing". Her number one hits were "Please Be Kind", "Rockin' Chair" and "Says My Heart". Her mother, Josephine, was half Coeur d'Alene Indian and her father, Charles, played fiddle and called square dances. Her mother played piano every evening after supper and taught Mildred to play and sing. Her brothers were the lyricist Charles Rinker and the vocalist and composer Al Rinker (the later, was one of The Rhythm Boys, the male trio that accompanied Paul Whiteman's Orchestra in the 1920/30s). At the age of seventeen, Bailey moved to Seattle and worked as a sheet music demonstrator at Woolworth's. She married and divorced Ted Bailey, keeping his last name because she thought it sounded more American than Rinker. With the help of her second husband, Benny Stafford, she became an established blues and jazz singer on the West Coast. In 1929-33 she sang with Paul Whiteman's band, her first two records were as uncredited vocalist for an Eddie Lang Orchestra session in 1929 ("What Kind O' Man Is You?", an obscure Hoagy Carmichael song that was only issued in the UK) and a 1930 recording of "I Like To Do Things For You" for Frankie Trumbauer (This rare recording is available in You Tube http://youtu.be /M9JlSxQ_TFY ). Mildred Bailey was Whiteman's popular female vocalist through 1932 (recording in a smooth crooning style), when she left the band due to salary disagreements. She then recorded a series of records for Brunswick in 1933 (accompanied by The Dorsey Brothers), as well an all-star session with Benny Goodman's studio band in 1934 that featured Coleman Hawkins. In the mid 1930s, she recorded with her third husband Red Norvo. A dynamic couple, they earned the nicknames "Mr. and Mrs. Swing". Despite their divorce, she and Red would continue to record together until 1945. Suffering from diabetes and depression (during her adult life Bailey was overweight), she only made a few recordings following World War II.

Roger Wolfe Kahn's Orch. - An Old Guitar and An Old Refrain, 1928

Add to EJ Playlist  Roger Wolfe Kahn & His Orchestra, Vocal Refrain by Franklyn Baur - An Old Guitar and An Old Refrain, For-Trot (Kahn -Black-Morét), Victor 1928 (USA) Roger Wolfe KAHN (1907 -- 1962) was an American jazz musician (alt -- and tenor saxophonist), hot dance orchestra leader and composer. He was born in Morristown, New Jersey as the son of banker and financier Otto Kahn, who immigrated from Germany to the United States in the late 1800s. Rather than go into his fathers line of work, he learned to play several instruments and formed his own orchestra at an early age. Because of his family's wealth, he was able to hire some of the best musicians and vocalists of the time, among which were Red Nichols, Gene Krupa, Jack Teagarden, Joe Venuti, Tommy Dorsey. Kahn's orchestra performed at the Biltmore Hotel in New York. However, in early 1930s he gave up his orchestra and became a test pilot for Grumman Aviation, for Kahn's other great passion was aviation. He tested many of the fighter planes used by American flyers in World War II. Please see my new uploading at Dailymotion http://www.dail ymotion.com/vid eo/xmapzo_paul- specht-his-orch -a-dream-of-rom any-1923_music

Old Polish Tango: Mieczysław Fogg - Widocznie musi tak być, 1934

Add to EJ Playlist  Mieczysław FOGG & Ork. Syrena Rekord dyr. Iwo Wesby -- Widocznie musi tak być (It Must Be So, As It Seems) Tango z teatru „Stara Banda" (Tango from theatre „Old Gang") (Muz. J.Atlschuler, J.Petersburski -- Tekst Marian Hemar), Syrena-Electro 1934 (Poland) NOTE: In my opinion this tango, albeit almost completely forgotten today, belongs to the most beautiful tunes originating from the whole interwar period in Poland. Therefore, I persuade all listeners to turn their blind eye on a poor shape of the recording and focus just on the tune and the moving Mieczysław Fogg's interpretation. Also, very poignant are the lyrics -- written by a fine Polish poet, Marian Hemar -- who in the 1920s and 30s was also a very prolific author of popular cabaret songs. Polish text: Głos ci z żalu drży: Los, powiadasz, zły... Nieprawda, los jest obojętny. Cóż mu po twych łzach Co wie o naszych snach? To nam przed samotnością naszą strach.... Ref.: Zmiłuj się, już idź Widocznie musi tak być Czyja wina? Ach wiem, niczyja. To nie pierwszy raz, że płomień płonął i zgasł I miłość właśnie tak samo mija... Wina jest miłości -- że odeszła precz I szczęścia że jest płoche, ot w czym rzecz. Kiedy rwie się nić -- widocznie musi tak być Już nie myśl o tym, już lepiej idź... In English it goes, more-less like that: Your voice trembles in a sorrow/ It's a bad fate's fault... -- your're saying... Oh, no true! The fate is indifferent/ Does it care about our tears? Does it know our dreams? That's our fear's guilt... fear from being alone... Ref: Have mercy, and go away It must be so, as it seems... Who's guilt is it? Ah certainly, nobody's. Is it the first time when the flame burns, burns and suddenly -- it burns out It's just how love behaves. It's the love's fault -- when it's gone to hell And the happiness's fault -- it's too easy to frighten. That's the whole story: the thread broke and -- it must be so, as it seems Stop thinking of it, please, just go away. Previously, this record must have been used by someone as a dart board, for the dust, number of scratches and little punctures is beyond any measure. I did my best, however, to make the recording audible.

Old Polonaise from 1919: Kochajmy się bracia mili - Kajetan Kopczyński

Add to EJ Playlist  Kochajmy się bracia mili (Dear Brothers, Let's Love Each Other) Polonaise - Kajetan Kopczyński, Baryton z Orkiestrą (Baritone with Orchestra) Zonophone Records 1919 (Polish accoustic recording) NOTE: Today, on the 11th day of November, Poland has its great holiday: The Independence Day. On the 11 November 1918, on the the last day of the Second World War Poland went through its resurrection after 150 years of partition and enslavement by three empires: Russia, Prussia and Austria. The collapse of these imperial powers was for Poland the regaining of independent being. Hovever, the road to freedom was not easy. The Versailles Pact participants were exposed to sinister pressures made by international pro-German and pro-Russian powers, which attempted to undermine the agreements by various obstacles, e.g. trying to cut off Poznań or upper Silesia from within the planned borders of Poland's territory. Yet, the spontaneous uprisings of the Poznań and Silesian people made the decision for the politicians - so finally, the cities of Katowice, Poznań as well as territories inhabited through the centuries by Poznanians and Silesians - Polish speaking and declaring themselves as the Roman catholics - were returned to Poland. Also, for a prolonged time unsolved was a question of Poland's access to the seacoast as well as political and administrative status of the city of Gdańsk. That problem wouldn't have ever been solved on the benefit of Poland, if not for the infervention of Ignacy Jan Paderewski, great Polish pianist and personal friend of American president, Woodrow Wilson. However, the greatest danger for Poland occurred in October 1917 with the birth of the monstruous inhuman Bolshevik empire, next to Poland's borders on the East. The Polish-Soviet war lasted for two years of 1918-20 and was ended by the triumphant battle on the outskirts of Warsaw, between a tiny Polish army and the millions of Bolheviks, that in summer 1920 poured into Europe through the Polish territory like enormous flooding river of the darkness and the human blood. Therefore, the Warsaw Battle for Poland of the 15th August 1920 is called the Miracle on the Vistula River. The Bolsheviks, beaten by the Poles were evacuating their enormous army in panic, many of them swearing that during the battle they saw "enormous figure of a Lady in the Sky, covering with Her blue coat the attacking Polish army"... This old Polonaise "Dear Brothers. Let Us Love Each Other" is my little triubute to these days of glory in the Polish history. Kajetan KOPCZYŃSKI was a fine Polish baritone, who in 1920s was a member of the crew of Poznań Opera House and gained enormous popularity among the Poznań audiences. He recorded numerous Polish national songs as well as Operatic arias for the Polish edition of Zonophone Records and for Lutnia Wielkopolska - a short-living local record company, in Poznań.

Fred Rich & His Orch. - Wishing And Waiting For Love, 1929

Add to EJ Playlist  Fred Rich & His Orchestra, Vocal Chorus: Rollickers Qt. - Wishing And Waiting For Love, Fox-Trot from Motion Picture "Broadway Babies", Columbia 1929

The High Hatters & Chick Bullock - Singin' The Blues, 1931

Add to EJ Playlist  The High Hatters conducted by Leonard Joy, Vocal Chorus: Chick Bullock - Singin' The Blues, Victor 1931

Sam Lanin & His Band - I Surrender, Dear 1931

Add to EJ Playlist  Sam Lanin's Dance Ensamble - I Surrender, Dear, Hit Of The Week 1931 (USA) NOTE: Hit Of The Week were flexible cardboard records sold in 5&10 cents stores in the United States during the Great Depression years (1930/1931). Their European equivalent were Durium Records available in UK, France, Germany, Netherlands and Scandinavian countries. Hit of the Week and Durium records had the in-house band Hit Of The Week (or Durium Records) Orchestra - which in fact, was Bert Hirsch Dance Ensamble (Bandleader, Bert Hirsch was a musical director of the HoW company) yet also the best American dance bands - such as Rudy Vallee, Freddie Rich, Sam Lanin, Ted Fiorito, Phil Spitalny and some others - made for HOW their recordings in the easy-listening, unsophisticated arrangements. Often, the five minute Hit of the Week recording featured an opening announcement advertising the record's extended playing time. At the very end was a plug for the next week's record "at your newsstand." Also, the five minute Hit of the Week records were often broken into two "tracks" each featuring a different selection: one taken from "this week's selection" and another, from a different Hit of the Week disc. All that was made with use of the most modern means of marketing and resulted in a quick one-week top sales rate of these ephemeric editions. End of the Great Depression meant, however, a twilight to the HoW heyday. Presently, these cheap recordings - which perfectly reftlect the popular sense of dance music of the early 1930s - are very much sought for by collectors. See another version of this Bing Crosby's immortal hit, played by Ambrose & His Mayfair Hotel Orchestra http://youtu.be /pBh4mws1k2g Also, you are invited to see me newest films at Dailymotion http://www.dail ymotion.com/vid eo/xm2zvv_fredd ie-rich-s-radio -orch-i-m-just- a-dancing-sweet heart-1930_musi c

Old Foxtrot de Paris: Grock & His Orchestre - Ce sont tes yeux, 1928

Add to EJ Playlist  Grock mit seinem Orchester Musette - Ce sont tes yeux (Those Are Your Eyes) , Odeon 1928 (German pressing) NOTE: GROCK (Charles Adrien Wettach), b. 1880 in Loveresse, Canton Bern, Switzerland -- d. in Imperia, Italy in 1959. Swiss clown, composer and musician. Called "the king of clowns" and "the greatest of Europe's clowns", Grock was once the most highly paid entertainer in the world. He started early as a performer, learning musicianship and acrobatic skills from his father. When a caravan of Roma passed through, he joined them. In 1894, he debuted with Fiame Wetzel's traveling circus. He become a clown, adopting the name "Grock", and working with the famous clown Antonet (Umberto Guillaum). While not initially successful, Antonet and Grock did manage to secure a London engagement in 1911. Refining their performances according to audience response, Grock came to dominate the act, and they eventually split up. By 1913, Grock's fame had spread, his act having developed into the mixture of pantomime and musical blunders for which he is now remembered. With the outbreak of World War I, he made Britain his base, remaining there until 1924, when he returned to continental Europe. He performed predominantly in Paris and in the United States, commanding ever higher fees, and his continuing success enabled him to establish his own circus in 1951. He retired to the Villa Bianca (now named "Villa Grock"), a 50-room house he built in the 1920s in Imperia, Italy, where he died in 1959.

Old Tango from Warsaw - (You're My Love Song) Tyś mą pieśnią miłosną, 1938

Add to EJ Playlist  Tyś mą pieśnią miłosną (You Are My Love Song) Tango - Georges Boulanger ze swą Orkiestrą, Odeon 1938 (Poland)

Old Russian Choir - Mogiła (The Grave) - Chór Siemionowa, 1930

Add to EJ Playlist  Mogiła (The Grave) Rosyjska pieśń ludowa (Russian folk song) - Chór Jerzego Siemionowa (Jerzy Siemionow's Choir), Syrena-Electro 1930 (Polish product) NOTE 1: Jerzy Siemionow (Georgi Semenov) was a Russian (Ukrainian?) Kiev-born singer, who emigrated from Tzarist Russia briefly after the victory of Bolshevic revolution, in 1917. As "white" Russian emigree, he embarked in Polish capital city Warsaw, where he founded a Russian -Polish male vocal quintett (a "Choir") consisting of Jerzy Siemionow -- baritone, Dymitr Dubrowski -- baritone, Iwan Pietin-Burlak -- tenor, Michaił Olchowy -- tenor, Aleksander Puchalski -- bas. Until 1939, they recorded numerous sides for Syrena Records and for Lonora-Electro, and in 1934 they were featured in Polish melodramatic movie "Hanka". Siemionow Choir was enormously popular so in White Russian emigree circles as before the Polish audiences. The Siemionow Choir continued its activity even during the first years of the German occupation of Poland, until the end of 1940 (In the occupied territories of Europe, the Nazis treated White Russians as their natural allies). However in June 1941, shortly before outbreak of the German-Soviet war, Georgi Semenov mysteriously evaporated from Warsaw. It is said, that he travelled to the Soviet Union and after that, his name vanished forever. Was he a Bolshevik secret police agent? - Just as so many from the "white" Russian artists (Olga Tschechova, Alexandre Vertinsky) whose duty was to infiltrate the Russian emigree circles in the West and play their double roles, until in a right time they were called off from their services and retired, back in their KGB motherland? --------------- --------------- ------ NOTE 2: Tonight, right on the eve of the All Souls Day -- which, on contrary to the Halloween street jamborees in the Anglo-Saxon culture, is in Poland a day of contemplation and prayer - my slideshow is devoted to the devastated and forgotten Polish cemeteries, located in what Poles consider the historical eastern frontier of their country and what is today's western territories of Ukraine, Belarus and Lithuania. Many generations of Poles have been buried there, as well as participants of the Polish-Russian and Polish-Ukrainia n wars, and victims of the massacres and revolutions. Regretfully, many of these cemeteries have become a bone of contention between Poland and these countries. The Lwów Cemetery of Eaglets generates in Western Ukraine controversy, as many of the Poles buried there fought against the Ukrainians during the Polish-Ukrainia n and Polish-Russian wars of years 1918-1920. The cemetery was closed for several decades and reopened only in 2005, when the Lwów City Council finally gave its approval. Initially the council resisted the opening of the cemetery because of inscription on one of the collective graves commemorated the unknown Polish heroes who "died during the Polish-Ukrainia n War". The inscription was changed several times and now it reads: Here lie Polish soldiers who "gave their life to Motherland". Also in Lithuania, due to a political campaign to "de-polonize" Lithuania, Polish cemetery in Rossa (Rosas) where famous people of Polish culture are buried is in shambles. Curiously, a few meters away from this cemetery, a large Russian cemetery is well kept and in good condition. Every year on All Souls Day, tens thousands of Polish zlotys are collected in Poland to renew this cemetery but with no effect in the Rossa Cemetery in Wilno. Not long ago, in another cemetery -- in Święciany, near Wilno -- the vandals smeared black paint on fifty graves belonging to Polish legionnaires and swastikas were daubed on memorial plaques. Most often, such acts of vandalism meet no public condemnation from the side of the Lithuanian officials. Let us pray -- not only for those, who now lie in peace baneath the grave stones, but also for those, who take care the hatred be still alive in their hearts.

Fred Bird's Salon Jazz Band - Wo sind deine Haare, August? 1926

Add to EJ Playlist  Wo sind deine Haare, August? ?(Where is your hair gone, August?) Foxtrott, Text Beda, Mus. Richard Fall -- Fred Bird, The Salon Symphonie Jazzband, Homokord 1925 (Pressed in Czechoslovakia) NOTE: Richard FALL was an Austro-Hungaria n composer born in 1882 in Jevíčko (German name: Gewitsch) region Pardubice in Moravia (Czech Republic). His father was a musician, so were his two brothers, Siegfried and Leo. After completing his musical education, Richard Fall travelled to Germany, in Berlin he conducted the Operetta orchestra and composed musical plays and many popular hits. He also wrote film music for the German and Hollywood movies. In 1938 he left Nazi Germany for Paris and travelled farther to USA, but for reasons which are unclear, he returned in 1943 to France (Vichy region). In the same year he was imprisoned in Niece, sent to Paris and deported to Auschwitz, where he died in the beginning of 1945. Best known hits composed by Richard Fall, include one-step "Meine Tante, deine Tante"(1923), foxtrotts "Liebe Katharina, komm zu mir nach China"(1925) and "Was machst du mit dem Knie, lieber Hans" (1925) and shimmy/foxtrott "Wo sind deine Haare, August" (1926). The last one was enomously popular in Germany, then in Austria and all over Europe. Fred BIRD (né Felix Lehmann) was a leader of a popular dance orchestra in Berlin, during Die Goldene Zwanziger Jahre (The Roaring Twenties). He was also a recording manager in Homocord Recording Company in Berlin, sometimes he recorded under pseudonyms Félix Lemeaux or Henry Head. You are welcome to see my new uploading at Dailymotion http://www.dail ymotion.com/vid eo/xm0zq4_the-h igh-hatters-whe re-the-golden-d affodils-grow-1 930_music

Roaring 20s London: Singin' In The Rain - Alfredo's Band, 1929

Add to EJ Playlist  Alfredo and His Band with Vocal Chorus - Singin' In The Rain, Edison Bell Winner 1929 (UK) NOTE: Alfredo (Alfred Gill) was touring the halls in the early days of the 20th century as "Alfredo, the Vagabond Violinist". In 1922 -25, Alfredo was a member of Jack Hylton's band. In 1925, he formed a band of his own, to play at the New Princes New Princes restaurant, Grafton Galleries club, Moss Empire theatres, Stoll theatres until the orchestra disbanded in 1930. In 1927 a distinguished vocalist Les Allen joined the band, along with Allen, Hal Swain also contributed some vocal choruses to the band's records. Until 1930, Alfredo and His Band recorded for Edison Bell. In 1931, Alfredo changed his style of music, forming a gypsy band (mainly of genuine Romanies, initially) and made a few records for HMV under the sober name of "Alfredo and his Orchestra". See also my new uploading at Dailymotion: Smith Ballew's orchestra http://www.dail ymotion.com/vid eo/xlxens_smith -ballew-his-orc h-fair-and-warm er-1934_music

Tango Havana - Abe Lyman's Orch., 1924

Add to EJ Playlist  Lyman's California Ambassador Orchestra - Havana - Tango (Lyman /Schonberger) Brunswick 1924 (USA) NOTE: I don't know why the Anglo-Saxon culture of the Roaring 1920s and 30s produced so few tangoes - comparing with myriads of remarkable foxtrots, charlestons, shimmies or the swing. Prehaps, in the very beginning the sweet rhythm of tango had been reserved for Southern Americans, who have been the first and the best tango players and dancers in history, once and forever. Yet, in 20th century there were also other nations that in certain periods tried to compete with Argentinians or Uruguayans in their love for tango - I mean, the phenomenon of the so called "Polish tango" in years 1920-39 - the unique blend of the Slavonic and Jewish musical talents and sentimentality, put into one pot. These tangoes - played, composed or sung by many Polish artists of the Jewish origin, have become a solid part of the 20th century cultural heritage of Europe. Also, I have to mention numerous German and French tangoes, which also drove people out onto the dancing floors of bars and restaurants of Europe, in the 1920/30s. However - very little has always been heard of the English or the American tangoes...! So, to repair that bad reputation, here is the rarest of the rarest renditions of an American tango - composed and played by a fine Californian jazz band leader of the 1920s, Abe Lyman!

Tino Rossi - Ecoutez les mandolines, 1937

Add to EJ Playlist  Tino Rossi with Orchestra -- Ecoutez les mandolines (Listen To The Mandolines) Fox-trot chanté from 1937 French musical drama "Naples au baiser de feu" (Musique: Vincent Scotto, Paroles: J.Rodor, G.Koger, L.Audiffred) Columbia 1937 (UK pressing) NOTE: "Naples au baiser de feu" (Naples Kissed by the Fire) was a French movie released in Europe under tiitle: The Kiss of Fire. It was made in France by veteran Italian director Augusto Genina. Tino Rossi plays Mario, a Neapolitan cabaret singer who is tired of his life and hopes to settle down into a domestic existence with Assunta (Mirielle Balin) his boss' daughter. All of this changes when Mario falls in love with Lolita (Vivian Romance), the girlfriend of his roommate Michael (Michel Simon). Music was composed by a distinguished French composer, Vincent Scotto author of "La Petite Tonkinoise" (performed by Josephine Baker in Casino de Paris), Vieni Vieni (performed in 1937 by many of the top singers in the world, including Erna Sack, Tino Rossi, Joseph Schmidt or Rudy Vallee) or "Sous les ponts de Paris" (Under The Bridges of Paris) -- which was one of the greatest international hits ever composed, made famous by such interpreteurs as Lucienne Delyle, Eartha Kitt or Dean Martin.

High Hatters - I'm Following You, 1930

Add to EJ Playlist  The High Hatters conducted by Leonard Joy, Vocal Refrain: Frank Luther - I'm Following You, Fox-Trot from MGM movie "It's a Great Life", Victor 1930 NOTE: Thge Leonard Joy's band was the in-house Victor company orchestra, recording in 1929-31 and in various periods composed from the various first-class musicians. In 1930-31 the High Hatters consisted of such excellent artists as Mike Mosiello on trumpet, Andy Sannella on clarinet and alto sax or Lou Raderman on violin.

Aron Lebedev in 1913 - Jewish cabaret in Warsaw, Poland

Add to EJ Playlist  Wen ich volt e medel zain (If I Wanted To Be A Girl...) - A. Lebedev, Artist of the Jewish Theatre in Warsaw, Stella Grand Record 1913 (Polish product) NOTE: Aaron Lebedev was a Russian-Polish Jewish actor and coupletist born in Humań (now: in Belarus). In 1912-13 he was contracted in Warsaw and in Lodz in Poland, to perform in Jewish Theatres in a lighter Yddish repertoire. With outbreak of WWI, Lebedev as the Russian Imperial citizen was mobilised and he had his military service in Far East, performing for Russian officers. Through Manhuria and Japan, he then travelled to the US, where he started his career in Broadway, quickly (almost overnight) becoming one of the most popular Yddish performers in Yddish Theatres of the East Coast. Lebedev recorded a lot of sides for Polish phonograph company Syrena Grand Rekord in Warsaw, with almost complete recording of otherwise forgotten, Yddish operettas staged in Poland shortly before WW1. He recorded solo or with actors from Jewish Theatres in Warsaw, see http://youtu.be /5lfykVR9AaI Here is Lebedev's solo recording for a German company Stella Records, which had a factory in Warsaw. The Polish branch was dedicated for pressing records solely with the Polish and Russian repertoires, starting in 1913, but earlier it pressed records from «Homokord» and «Anker-Record» matrices. After the outbreak of WW1, Stella Records halted all its operations with Russia, yet for a few more years the company continued production of phonograph records with the Polish repertoire.

Aron Lebedev in 1913 - Jewish Operetta in Warsaw, Poland

Add to EJ Playlist  Duet: Aaron Lebiedew i Gospoża (Madame) Cyla Rappel - Shlomkele und Chankele (Shlomo and Hannah) from Operetta "Shir Hashirim" Sung in Jewish, Sirena Grand Rekord 1913 (Russian language label; Recorded in Warsaw, Poland in April 1913 -- Released in Sankt Petersburg, Russia) NOTE: This recording would be the rarest rarity in each record collection! It is an early production of Polish record company Syrena Electro ( in the accoustic recordings era, the label names: Syrena Grand Rekord or Syrena). It is one of SGR series of the Jewish-language recordings made by Jewish actors of the Warsaw theatres with purpose of distribution in an enormous Russian market. Until outbreak of the 1stWW the sales rate of Syrena records in the whole Russian Empire reached 2,500 000 copies! Never in its history, Syrena recording-empir e created in Warsaw in 1904 by Juliusz Feigenbaum (and annihilated by the Germans in Autumn 1939, with the outbreak of the 2nd World War) was so successful as in the years of making business with the Tzarist Russia! Aaron LEBIEDIEW (also: Lebedev, Lebedieff b.1873 -- d.1960) was a Polish-Russian Jewish actor and vadeuvillist. Born in the Imperial Russian town of Homel (formerly belonging to Poland, now: in Belarus) in childhood, he sung in a synagogue as a juvenile cantor (chazzan). Having declared himself as absoolutely non-interested in any kind of education, he was sent to learn a trade, but soon he ran away and began to play small roles in Russian theaters in Bobroysk, Minsk and other towns. When the Russian troup fell apart, he went back to Homel, taking part in amateur theater and opening a dance club. He was officially a chorister, unofficially a stage hand, he dressed the actors and was a prompter. He finally debuted in "Der Pipkiner rav" and became the character actor he would remain, playing in different wandering theater troups across Russia. Around 1910 he was hired in Warsaw, then in Lodz to perform in Jewish theatres, in popular comedies and vadeuvilles. In 1913 he made solo and in duets with other Jewish theatr artists a series of recordings for Syrena Records in Warsaw -- including almost full coverage of otherwise forgotten Jewish Operetta "Shir Hashirim" (in uncomplete Syrena Grand Record catalogue, the series contains almost 16 sides!). At the outbreak of World War I, he was pressed into the Russian army and sent to Harbin, Manchuria (1916), where he spent his time giving concerts for the officers. After being demobilized, he sung in Russian or English for the American Red Cross. He married Vera Lubow and through China, they wandered toward Japan, presenting "International Concerts". In 1920, they managed to embark on a ship to America, where both of them were hired for Boris Thomashevsky's National Theater production of Wolf Shumsky's "Lyavke Molodyetz". Aaron was such a hit that he became an overnight star of Yiddish theater in America. In 1920s and 30s he performed in dozens of Jewish shows and all sorts of stage performances, but predominantly he was a coupletist, composing dozens of comic songs for Broadway theatres. He recorded hundreds of sides including the famous "Rumania, Rumania" and "Vot ken yu makh, s'iz Amerike!". He never performed in Europe. To my regret, I did not find any data about the life of Cyla Rappel.

Pagan Love Song (Księżyc nad Tahiti ) - Trio Ferera 1929

Add to EJ Playlist  Pieśń miłosna poganina (Pagan Love Song) (Arthur Freed /Nacio Herb Brown) From MGM movie "The Pagan" - Trio Ferera - gitary hawajskie z refrenem (Hawaiian guitars with refrain) Odeon 1929 (Polish pressing) NOTE: In Poland, like everywhere in the world Ramon Novarro's "Pagan Love Song", was immediately after Polish premiere of "The Pagan" (1929) a hit of the hits. It was distribuited in tens thousands of sheet notes as well as on records - in Spring 1930, Syrena-Electro edited versions by Tadeusz Faliszewski, by Chór Dana and by the Hawaii Guitar Orchestra, under the Polish title "Księżyc nad Tahiti" (Moon Over Tahiti). It was also performed on stage of the best literary cabaret of Warsaw Qui Pro Quo, in the revue "May is coming!". Here, is the Polish re-edition of an English version, made by a little known Trio Ferera with a nicely sung English refrain. If you enjoyed this little journey to Tahiti, go to dailymotion and take another trip - to Burma, with my another new clip (Abe Lyman's Orchestra playing "Mandalay") http://www.dail ymotion.com/vid eo/xlp06r_abe-l yman-s-orchestr a-mandalay-1924 _music

1920s British Jazz: Jack Hylton & His Orch. - Wonderful You, 1929

Add to EJ Playlist  Jack Hylton & His Orchestra, Vocal Chorus by Sam Browne -- Wonderful You, Fox-Trot from „Merry Merry" (Waller, Tunbridge & Weston), HMV 1929 (UK) NOTE: That short break in my uploadings has been caused by the parliament elections in Poland, which were held on Sunday. Two days have passed, and I'm stiill in kind of a shock caused by the results. Where is Poland going to? The winner appeared to be once again, this pseudo-liberal party, which reigned in Poland in last 4 years and is responsible -- at least, in major part -- for a terrible catastrophe of the Polish government's plane in Smoleńsk, in April 2010. Two Polish presidents died on its board -- Prof. Lech Kaczyński with a First Lady and Polish emigree president, Mr Kaczorowski who resided in London in the times of the communist regime in Poland. It is only one -- but for me, the most painful -- from the innumerable mistakes, unprofessional actions, miserable fiscal policy resulting in enormous public debt and neglectances made by that government of amateurs (e.g. the collapse of the once blooming Polish shipyards industry, the ruin of Polish railway system, collapse of the coal mining, the scandalous politics about the gas mining linecses distribution, which in major part were bought for a cent, by the Russian companies) etc. etc. For this new government, there's nothing so much desired like the quickest implementation of 2.4 % catastral tax (highesat in thwe world which) is going to ruin a whole class of Polish smaller farm owners and eliminate majority of those from among the elder retired people, who have been unlucky to have inherited after their dead life partners, the bigger flats or are still dwelling in them, after their childern went abroad, to the economical emigration. Sad, sad, sad. Poles seem to have lost their cleverness and self-rescuing instinct which so many times had been saving the nation, during the misfortunes in its difficulft history... To help me lift my spirits for a minute -- let me listen to this hot and happy tune played by a British genius, Jack Hylton -- who once led one of the best dance orchestras in the world.

Roaring Twenties: The High Hatters - Hoosier Hop, 1929

Add to EJ Playlist  The High Hatters conducted by Leonard Joy, with Vocal Refrain by Frank Luther - Hoosier Hop, Fox-Trot from MGM movie "It'a A Great Life", Victor 1929 NOTE: The High Hatters were the in-house band for Victor recording company. Led by Leonard Joy, they made in 1929-31 the series of really hot recordings. "Hoosier Hop" was one of two hits (the other being "I'm Following You") performed by Duncan Sisters in "It's A Great Life" - the early talkie released by MGM in 1929. When "The Broadway Melody" of 1929 proved to be enormous money-maker, the producers decided to film a kind of a "sequel" (in today's term). "It's A Great Life" was also a box-office success, the reason of it partly being, some sections of the movie made in Technicolor - a pure sensation of those days! See my new uploading at Dailymotion: The Casa Loma Orchestra! http://www.dail ymotion.com/vid eo/xlk0e6_glen- gray-casa-loma- orchestra-moon- glow-1933

Ted Weems & HO - I'm Going To Park Myself In Your Arms, 1926

Add to EJ Playlist  Ted Weems & His Orchestra with Vocal Refrain by Dusty Rhoades - I'm Going To Park Myself In Your Arms, Victor 1926 (USA) NOTE: Ted Weems' band was one of the hottest dance ensambles of the Roaring Twenties in the USA. See also the flip side of this really uplifting recording: My Cutey's Due At Two To Two http://youtu.be /YpzvHKFwXs4 Wilfred Theodore (Ted) WEEMS (originally Wemyes) b. 1901, Pitcairn, Pennsylvania, d. 1963, Tulsa, Oklahoma was an American bandleader and trombonist. After learning to play the violin when he was at high school, Weems switched to trombone while attending the University of Pennsylvania. That instrument was also favoured by his brother, Art, and in 1923 the brothers formed their own band, and soon afterwards Ted Weems decided to concentrate on simply being the leader. They became very popular during the latter part of the 20s, appealing to dancers mostly in and around Chicago with their sophisticated playing and featured singers (e.g. Al Jarrett, Country Washburn, Parker Gibbs, Dusty Rhoades). They were also in demand on radio for many years. Also popular were whistler Elmo Tanner and saxophonist-cum -novelty-vocali st Red Ingle. From 1922-47 the band had a number of big-selling records, among them 'Somebody Stole My Gal', 'Covered Wagon Days', 'A Smile Will Go A Long, Long Way', 'Blue Eyed Sally', 'Love Bound', "Miss Annabelle Lee" http://youtu.be /4pYrhrsZ0xA 'You're The Cream In My Coffee', 'Piccolo Pete', 'The Man From the South', 'My Baby Just Cares For Me', 'Walkin' My Baby Back Home', "I Still Get A Thrill" http://youtu.be /GXeBdCADBq8 'Knock! Knock! Who's There?', 'Peg O' My Heart', 'I Wonder Who's Kissing Her Now', and 'Nola'. The latter featured Elmo Tanner, and the whistler also featured on the record of the band's theme, 'Out Of The Night', and 'Heartaches' http://youtu.be /-f4FAny0d1c which was originally released in 1933. It became an unexpected million-selling hit in 1947, shortly after Weems formed his new band following service in the Merchant Marine during World War II. In the 50s and 60s Weems worked as a disc jockey and ran a band agency for a time, but still led his own band occasionally. The photo show is all devoted to prewar Polish automobiles which were produced in Poland (Stetysz, Polish Fiat) or used by Polish film or theatre stars. I also included two photos of my favourite prewar paintings a car, made in 1930 by a distinguished Polish painter, Rafał Malczewski. Also, I added two lovely vintage shots of my dearest Mom in the 1930, where she poses with the newest model of the Polish Fiat!

Polish version of Robert Stolz's: Das Lied ist aus: Skończona pieśń - Jan Ciżyński, 1946

Add to EJ Playlist  Skończona pieśń (Frag' nicht warum ich gehe; Don't Ask Me Why I Am Going) Muz. Robert Stolz, Tekst: Andrzej Włast, Walc angielski z f-mu "Skończona pieśń" (English Waltz from the German movie "Das Lied ist aus"; The Song Is Ended) - Jan Ciżyński & Orkiestra pod dyr. M.Paszkieta, Melodje 1946 (Poland) NOTE: "Das Lied ist aus" (The Song Is Ended) was an early German musical-talkie from 1930, directed for UFA by fine Austro-Hungaria n movie director, Geza von Bolvary. The story, concerning the lives and loves of show folk, ends unhappily -- and surprisingly so. In spite of that, Das Lied ist Aus proved a major moneymaker. Perhaps this was due to the stellar line-up of Willy Forst, Liane Haid and Ernesto Verberes, three of Germany's most popular screen personalities. The lifting melodies of Robert Stolz "Two Hearts in Three-Quarter Time" http://youtu.be /M3iyR1w9PNs or "Frag' nicht warum ich gehe" (Don't Ask Me Why I Am Going) http://youtu.be /W2MCePFCXrY were also instrumental to the film's success. Polish post-war (ca 1946) rendition was made by Jan Ciżyński - one of the "last Mohicans" of the "crooning-like" prewar style in singing. The invasion of Stalinism in coming next few years in Poland, put all of these "post-burgeois" and "decadent" singers out of scene. Jan Ciżyński tried to continue his vocal career in the 1950s as a folk song singer, then he vanished. The fine dance orchestra - led by M.Paszkiet - was one of the ephemeric dance bands of the 1945-49 period, in these few post war years, when Polish singers and jazz musicians were trying to continue the refinement of prewar Polish musical life. Hovever, the installation of Stalinist ideological manias stopped that progress, almost for a decade.

Hotel Pennsylvania Orch. - I Still Get A Thrill, 1931

Add to EJ Playlist  Hotel Pennsylvania Orchestra (Phil Spitalny's Music?) with Vocal Refrain (by uncredited singer) - I Still Get A Thrill, Hit of The Week 1931(USA) NOTE: Here's another Hit of The Week recording, made in the USA on a flexible disc. In Europe, HoTW operated under the label name of a Durium, company, whose records also were cheap, flexible and very popular in United Kingdom, Scandinavia, Germany, Netherlands and France, in 1931-32. Hotel Pensylvania Orchestra was probably, Phil Spitalny's nick name - although, the bands led by Victor Lopez in the 1920s and Jack Albin in 1930s, also used periodically such pseudonym. See also http://youtu.be /sjSkweH0MHo http://youtu.be /qGktqpK_jNw

Polish hit of 1929: Faliszewski - Szkarłatne róże (The Scarlet Roses)

Add to EJ Playlist  Tadeusz Faliszewski - Szkarłatne róże (The Scarlet Roses), Muz. Szymon Kataszek, Tekst Andrzej Włast, Boston z rewii "Uśmiech Warszawy" (English Waltz from Morskie Oko revue The Smile of Warsaw), Syrena-Electro 1929 (Polish) NOTE: Attention! In my film I mistakenly used wrong name of composer Szymon Kataszek! - I footnoted his photo as "Stanisław". In my opinion, Szymon Kataszek was - next to Artur Gold - one of the most jazzy and "hottest" composers in prewar Warsaw. His foxtrotts, charlestons, shimmies - which very often, were composed by him togeher with his jazzband partner, Zygmunt Karasiński - such as "Czy pani mieszka sama" (Do You Live Alone, Madame?; 1925) http://youtu.be /sK6RpYQzaCo "Spotkajmy się na Nowym Świecie" (Let's Date at Nowy Świat Avenue, 1926) or slowfox "Każdemu wolno kochać" (Everybody Is Allowed To Love; 1932) were sung by all of Poland, becoming an iron part of the evergreen repertoire of many Polish singers. In 1920s, Kataszek together with Zygmunt Karasiński formed the first Polish jazz band "Karasiński & Kataszek Jazz Band" which played for years in the bars, cafes ("Ziemiańska Cafe"!), music theatres and cabarets of Warsaw, as well as in the most fashionable summer or winter spas (Krynica, Ciechocinek, Jurata, Truskawiec, Zakopane). In Ciechocinek, they were famous to have been using for their show the huge basin of the empty swimming pool. He also wrote music for the sound movies e.g. Serce na ulicy (Heart On The Pavement, 1931) http://youtu.be /eCdm3bmQTUM or "Każdemu wolno kochać" (Everybody is Allowed to Love, 1932). After the German invasion on Poland in September, 1939 his war years were exceptionally dramatic, even as for someone who shared fate of so many Holocaust victims in the occupied Poland. As all Polish Jews of Warsaw, Kataszek was forced by the new German regulations, implemented in 1940, to leave his flat in an "aryan" part of Warsaw and move into the nazi-administer ed Jewish Ghetto. There, he tried for some time to carry on with his career, conducting the band of the Jüdischer Ordnungsdienst (the Jewish Police of the Ghetto) but soon he gave up and fled from Warsaw to Lwów, which was occupied in that time by the Soviets. In Lwów he could perform in one of the restaurants - as pianist and bandleader however, when German-Soviet war broke out in June 1941 and Lwów was taken by the Germans, Kataszek instead of fleeing eastwards, as many Jews of Lwów did, continued performing in a night club. One night, during his show he was recognized by a German officer, who had for some time served in Warsaw and remembered Kataszek's face. Arrested and sent back to Warsaw Ghetto, Kataszek in 1942 joined hundreds of thousands of victims of the "actions" ( -a German euphemism for the mass executions and evacuations of Ghetto inhabitants, down to German concentration or annihilation camps in Auschwitz, Treblinka, Majdanek or Bełżec). See also my new & hot uploading in Dailymotion http://www.dail ymotion.com/vid eo/xleyf9_the-a storites-fred-r ich-s-orchestra -me-and-my-shad ow-1927_music

Broadway Melody of 1929 - Nat Shilkret & His Orch.

Add to EJ Playlist  Nat Shilkret & His Orchestra, with Vocal refrain - Broadway Melody, HMV 1929 (British)

Abe Lyman's California Orch. - Cryin' For The Moon, 1926

Add to EJ Playlist  Abe Lyman's California Orchestra - Cryin' For The Moon (Conley - Stern - Roos), Brunswick 1926 (USA) NOTE: Abe LYMAN (Abraham Simon Lymon b.1897 in Chicago -- d. 1957 in Beverly Hills, CA) American bandleader from the 1920s to the 1940s. He made recordings, appeared in films and provided the music for numerous radio shows, including Your Hit Parade. He was also a composer (e.g. hits of the year 1926 : "Before You Go", "Mary Lou", "Mandalay", "What Can I Say After I Say I'm Sorry?" written with Walter Donaldson, a year later "Did You Mean It?" written with Phil Baker and Sid Silvers, and introduced by Marion Harris in the Broadway show A Night In Spain, in 1927). Abe learned to play the drums when he was young, and at the age of 14 he had a job as a drummer in a Chicago café. Around 1919, Abe was regularly playing music with two other notable future big band leaders, Henry Halstead and Gus Arnheim in California. In Los Angeles, he performed with his nine-piece band at the Sunset, a night club popular with such film stars as Mary Pickford, Norma Talmadge, Charlie Chaplin, Buster Keaton and Harold Lloyd. It was a success and he signed an engagement at the Cocoanut Grove in The Ambassador Hotel on April 1, 1922. Opening night drew a large crowd of 1500 guests in the Cocoanut Grove, plus another 500 more outside. After the band cut their first record under the local label Nordskog Records, they moved a year later to Brunswick Records where they made many recordings. The Lyman Orchestra toured Europe in 1929, appearing at the Kit Cat Club and the Palladium in London and at the Moulin Rouge in Paris. Abe Lyman and his orchestra were featured in a number of early talkies, including Hold Everything (1930), Paramount on Parade (1930), Good News (1930) and Madam Satan (1930). During the 1930s, the Lyman Orchestra was heard regularly on such shows as Accordiana and Waltz Time. Yet -- feeling himself more and more away from the mainstream trends in the show biz, Abe Lyman left the music industry when he was 50 and went into the restaurant management. Most of Lyman's recordings are tastefully arranged for dancing but he occasionally played very "hot" arrangements, such as "Shake That Thing" http://youtu.be /doG-ADIEeN4 which are regarded as really avant-guard and herolding as early as in the mid 1920s, the dawn of the swing era.

Roaring 1920s!: A Bobbed Head - Shimmy from Berlin, 1925

Add to EJ Playlist  Mach' dir doch 'neu Bubikopf (Make Yourself a New Bobbed Head) Shimmy-fox aus „Die tanzende Prinzessin" (W.Kollo) -- Streich Orchester, Kalliope ca 1924/25 (Berlin, accoustic recording) NOTE: In 1923-25 the Bobbed haircut (in German: Bubikopf, in French: à la garçonne, in Polish: na chłopczycę) became in Europe and America one of social and fashion madnesses of the Crazy Years 1920s. In America and in Europe after the First World War -- the short-cut hair bacame a part of social emancipation of the women, regarded as independent and self-sufficient individuals. Together with a knee-short skirt, listening to the jazz, smoking cigarettes and driving an automobile -- the Bobbed Head was a sign of the modern women's reaction against the over-fed, under-exercised monumental woman of the fin-de-siecle epoch. The "new" women began working outside the home, challenging women's traditional societal roles. Also their looks were supposed to challenge the traditional victorian gender roles, so became a kind of a compromise between masculine woman and effeminated man. The first appearance of "la garçonne" image (or -- the "flapper", as such type was called in USA) came from the popular 1920 Frances Marion film, The Flapper, starring Olive Thomas. Thomas starred in a similar role in 1917, though it was not until The Flapper that the term was used. In her final movies, she was seen as the flapper image. Other actresses, such as Clara Bow, Louise Brooks, Colleen Moore and Joan Crawford would soon build their careers on the same image, achieving great popularity. Also writers, such as F. Scott Fitzgerald and illustrators such as Russell Patterson, John Held, Jr., Ethel Hays popularized the flapper look and lifestyle through their works, and flappers came to be seen as attractive, reckless, and independent. Flappers advocated voting and women's rights. With time, came the development of dance styles then considered shocking, such as the Charleston, the Shimmy and the Black Bottom . Alas, the onset of the Great Depression - with its main question "how to live", repeated now day and night by millions of people's mouths - put the careless and jazzy "flapper era" to an end.

German Tango: Adalbert Lutter Tanz-Orch. - Beim roten Wein, in Andalusien 1935

Add to EJ Playlist  Adalbert Lutter mit seinem Tanz-Orchester, und Tenor-Solo - Beim roten Wein (In Andalusien) (By the Red Wine, in Andalusia) Tango (Jupp Schmitz - Curt Feltz) Telefunken ca 1935 (Germany)

Zarah Leander - Ich steh' im Regen, 1937

Add to EJ Playlist  Zarah LEANDER mit Ufaton-Orcheste r Leitung: Lothar Brühne Ich steh' im Regen (I'm Waiting In The Rain) Musik u. Text: Ralph Benatzky from Ufa-Tonfilm "Zu neuen Ufern" (To New Frontiers), Odeon 1937 (Germany) NOTE: In that 1937 melodramatic movie - which was made in Third Reich by a German --Danish director, Detlef Sierck (aka Douglas Sirk, b.1897 -- d.1987 best known for his work in Hollywood melodramas, in the 1950s) - Zarah Leander plays a singer Gloria Vane who has a resounding success at the Adelphi Theater in London, 1846. While she throws a brilliant party, her lover, Sir Albert Finsbury, an army commanding officer, prepares to leave England for Australia, leading one of Her Majesty Queen Victoria's regiments. But Finsbury is also a compulsive gambler and, being unable to repay his debts, he commits a fraud that could cost him his career. Out of love for Albert, Gloria claims responsibility for his crime and his sentenced to penal labor in a camp in Australia, Paramatta. She is "saved" by good-natured farmer Henry Hoyer who chooses her in a wedding market. But Gloria is not made for farming and soon realizes that she can't stand her new life. Zarah's moving song "Ich steh' im Regen" -- composed by Ralph Benatzky, who was one of the most sophisticated composers of that time in Germany -- truly, belongs to one of the most outstanding German songs in history and it's disquieting beauty still does not loose its power. The release of that "anglophyllic" movie "Zu neuen Ufern" (To New Borders; also translated as the "new Frontiers") was part of a political tactics of German propaganda, to gain for the nazi Germany the liking of British society, in Third Reich's attempts to build a powerful Anglo-Teutonic military alliance in Europe, in late 1930s. These plans - based upon the acceptance for that Anglo-phillic Hitler's strategy, openly manifested by vast circles of English aristocracy - eventually failed, when confronted with Winston Churchill's unequivocal antypathy for nazism.

Phil Spitalny's Music - Love, You Funny Thing, 1932

Add to EJ Playlist  Phil Spitalny's Music - Love, You Funny Thing, Hit of the Week 1932 (USA) NOTE: This is another hit recordec by Phil Spitalny's Music at Hit Of The Week flexible cardboard record. See http://youtu.be /qGktqpK_jNw



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