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| The Bing Crosby CBS Radio Recordings 1954-56 |
| Bing Crosby |
| első megjelenés éve: 2009 |
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| (2010)
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7 x CD |
| 35.080 Ft
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| 1. CD tartalma: |
| 1. | If I Give My Heart To You (A)
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| 2. | Mandy (A)
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| 3. | Count Your Blessings Instead Of Sheep (A)
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| 4. | I'm A Fool To Care (A)
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| 5. | Hey There (A)
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| 6. | Anyone Can Fall In Love (A)
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| 7. | I Need You Now (A)
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| 8. | I Want To Be Happy (A)
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| 9. | Keepin' Out Of Mischief Now (A)
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| 10. | But Not For Me (A)
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| 11. | Honeysuckle Rose (A)
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| 12. | The Nearness Of You (A)
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| 13. | Ain't Misbehavin' (A)
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| 14. | Just You, Just Me (A)
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| 15. | Once In A While (A)
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| 16. | You Took Advantage Of Me (A)
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| 17. | Ol' Man River (A)
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| 18. | Thou Swell (B)
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| 19. | S Wonderful (B)
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| 20. | Oh, Look At Me Now (B)
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| 21. | I've Got My Love To Keep Me Warm (B)
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| 22. | All Through The Night (B)
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| 23. | Taking A Chance On Love (B)
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| 2. CD tartalma: |
| 1. | We're In The Money [The Golddiggers' Song] (B)
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| 2. | This Can't Be Love (B)
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| 3. | I Can't Believe That You're In Love With Me (B)
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| 4. | Love Is The Sweetest Thing (B)
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| 5. | Back In Your Own Backyard (B)
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| 6. | I Guess I'll Have To Change My Plan (B)
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| 7. | Don't Take Your Love From Me (B)
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| 8. | You're In Kentucky Sure As You're Born (B)
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| 9. | Young and Foolish (C)
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| 10. | My Own True Love [Tara's Theme] (C)
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| 11. | Sunday (C)
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| 12. | That's All I Want From You (C)
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| 13. | Unsuspecting Heart (C)
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| 14. | A Man Chases A Girl (C)
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| 15. | Melody Of Love (C)
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| 16. | Darling, Je Vous Aime, Beaucoup (C)
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| 17. | How Important Can It Be? (C)
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| 18. | I Hear Music (D)
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| 19. | As Long As I Live (D)
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| 20. | Try A Little Tenderness (D)
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| 21. | What Is There To Say? (D)
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| 22. | Cherry Pink And Apple Blossom White (D)
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| 23. | Danger! Heartbreak Ahead (D)
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| 3. CD tartalma: |
| 1. | In A Little Spanish Town (E)
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| 2. | It's A Most Unusual Day (E)
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| 3. | Unchained Melody (E)
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| 4. | Something's Gotta Give (E)
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| 5. | I Belong To You (E)
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| 6. | Keep It Gay (E)
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| 7. | Just A Baby's Prayer At Twilight (E)
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| 8. | You Do Something To Me (E)
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| 9. | Nice Work If You Can Get It (F)
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| 10. | How Long Has This Been Going On? (F)
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| 11. | 'Deed I Do (F)
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| 12. | Cocktails For Two (F)
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| 13. | Between The Devil And The Deep Blue Sea (F)
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| 14. | How Am I To Know? (F)
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| 15. | I Get A Kick Out Of You (F)
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| 16. | I See Your Face Before Me (F)
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| 17. | The Lady Is A Tramp (F)
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| 18. | I'm Yours (F)
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| 19. | Get Happy (F)
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| 20. | My Ideal (F)
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| 21. | Gypsy In My Soul (F)
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| 22. | That's The Way Love Goes (F)
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| 4. CD tartalma: |
| 1. | I'll Never Say "Never Again" Again (G)
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| 2. | It's All Right With Me (G)
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| 3. | Serenade In The Night (G)
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| 4. | Wake The Town And Tell The People (G)
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| 5. | She's Funny That Way (G)
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| 6. | If I May (G)
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| 7. | Domani (Tomorrow) (G)
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| 8. | I'll Never Stop Loving You (G)
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| 9. | Goodnight, Sweet Dreams, Mary Lou (G)
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| 10. | Love Me Or Leave Me (G)
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| 11. | [You Gotta Have] Heart (G)
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| 12. | Swanee (G)
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| 13. | Shhh In Madrid (G)
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| 14. | Avalon (H)
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| 15. | Blue Star [The Medic Theme] (H)
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| 16. | Love Is A Many Splendored Thing (H)
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| 17. | The Tender Trap (I)
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| 18. | My Blue Heaven (I)
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| 19. | What Is This Thing Called Love? (I)
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| 20. | When I Take My Sugar To Tea (I)
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| 21. | Someone You Love (I)
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| 22. | Avalon Town (I)
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| 23. | There Should Be Rules (I)
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| 5. CD tartalma: |
| 1. | New Sun In The Sky (I)
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| 2. | Love And Marriage (I)
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| 3. | Merci Beaucoup (I)
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| 4. | Way Down Yonder In New Orleans (J)
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| 5. | Waitin' For the Evening Mail (J)
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| 6. | Isle Of Capri (J)
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| 7. | I Feel A Song Comin' On (J)
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| 8. | You're The Top (J)
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| 9. | Breezin' Along With The Breeze (J)
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| 10. | Anything Goes (J)
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| 11. | Manhattan (J)
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| 12. | From This Moment On (J)
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| 13. | Yours (J)
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| 14. | We'll Be Together Again (J)
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| 15. | My Funny Valentine (J)
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| 16. | Jeannine, I Dream Of Lilac Time (J)
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| 17. | Carolina In The Morning (J)
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| 18. | Crazy Rhythm (K)
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| 19. | You Turned The Tables On Me (K)
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| 20. | That Old Black Magic (K)
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| 21. | Arrivederci Roma (K)
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| 22. | No, Not Much (K)
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| 23. | On The Alamo (K)
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| 6. CD tartalma: |
| 1. | Come Rain Or Come Shine (K)
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| 2. | If You Can Dream (K)
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| 3. | I Can't Get Started (K)
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| 4. | Little Man, You've Had a Busy Day (K)
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| 5. | I've Got A Crush On You (K)
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| 6. | Margie (L)
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| 7. | Yes Sir! That's My Baby (L)
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| 8. | The Object Of My Affection (L)
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| 9. | Sometimes I'm Happy (L)
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| 10. | When My Baby Smiles At Me (L)
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| 11. | I Got Rhythm (L)
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| 12. | Just Around The Corner (L)
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| 13. | Strike Up the Band (L)
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| 14. | Muskrat Ramble (L)
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| 15. | That's A-Plenty (L)
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| 16. | At The Jazz Band Ball (L)
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| 17. | Smiles (L)
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| 18. | I'd Climb The Highest Mountain (L)
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| 19. | My Baby Just Cares For Me (L)
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| 20. | Fine And Dandy (M)
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| 21. | Georgia On My Mind (M)
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| 22. | Alabamy Bound (M)
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| 23. | When The Red, Red Robin Comes Bob, Bob, Bobbin' Along (M)
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| 7. CD tartalma: |
| 1. | You're Driving Me Crazy (M)
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| 2. | On The Street Where You Live (M)
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| 3. | If I Could Be With You [One Hour Tonight] (M)
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| 4. | I've Grown Accustomed To Her Face (M)
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| 5. | Softly, As In A Morning Sunrise (M)
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| 6. | Too Marvelous For Words (M)
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| 7. | Moonglow [Theme From Picnic] (M)
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| 8. | Chinatown, My Chinatown (N)
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| 9. | I Wish You Love (N)
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| 10. | Lullaby Of Broadway (N)
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| 11. | I Almost Lost My Mind (N)
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| 12. | You're Sensational (N)
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| 13. | Then I'll Be Happy (N)
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| 14. | Don't Blame Me (N)
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| 15. | My Heart Stood Still (N)
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| 16. | L'Amour, Toujours, L'Amour [Love Everlasting] (N)
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| 17. | Button Up Your Overcoat (N)
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| 18. | Chicago (O)
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| 19. | Get Me To The Church On Time (O)
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| 20. | More Than You Know (O)
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| 21. | Cheek To Cheek (O)
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| 22. | I'm Confessin' That I Love You (O)
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| 23. | They Didn't Believe Me (O)
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Jazz / Vocal Pop, American Popular Song, Traditional Pop, Tin Pan Alley Pop, Vocal Jazz
Recorded:
Session A: November 18, 1954, CBS Studio C, Hollywood, CA
Session B: December 4, 1954, CBS Studio B, Hollywood, CA
Session C: March 2, 1955, CBS Studio B, Hollywood, CA
Session D: April 6, 1955, CBS Studio C, Hollywood, CA
Session E: June 9, 1955, CBS Studio C, Hollywood, CA
Session F: June 20, 1955, KCBS Studio A, San Francisco, CA
Session G: August 25, 1955, Sound Recording Studios, Spokane, WA
Session H: August 26, 1955, Sound Recording Studios, Spokane, WA
Session I: December 29, 1955, CBS Studio C, Hollywood, CA
Session J: March 8, 1956, CBS Studio B, Hollywood, CA
Session K: March 14, 1956, CBS Studio C, Hollywood, CA
Session L: April 4, 1956, Palm Springs, CA
Session M: June 18, 1956, CBS Studio B, Hollywood, CA
Session N: August 22, 1956, Sound Recording Studios, Spokane, WA
Session O: August 23, 1956, Sound Recording Studios, Spokane, WA
On all sessions:
Buddy Cole - piano, organ, celeste, harpsichord
Vince Terri - guitar. banjo
Don Whitaker - bass
Nick Fatool - drums, percussion
On session L, add:
Matty Matlock - clarinet
Fred Falensby - tenor sax
Clyde Hurley - trumpet
Abe Lincoln - trombone
Disc 1, tracks 11 & 17, Disc 3, track 1 and Disc 4, track 12 were originally issued on Some Fine Old Chestnuts (Decca DL 8374) in 1956.
Disc 3, track 13, Disc 4, tracks 14 & 20, Disc 5, track 23, Disc 6, track 21 and Disc 7, tracks 1, 3, 5, 8, 18 and 22 were originally issued on New Tricks (Decca DL 8575) in 1957.
Disc 7, track 20 was originally issued on Rare Style (Ace Of Hearts AH-164) in 1967.
All other tracks are previously unissued.
Original sessions produced by Buddy Cole
Recording engineer: Bob McKenny
Originally recorded for The Bing Crosby Show
Produced for Bing Crosby Enterprises by Bill Morrow and Murdo MacKenzie
Produced for release by Robert S. Bader
Executive producers: Kathryn Crosby & Michael Cuscuna
Archival restoration producer: Richard Kaplan
Mastered by Malcolm Addey at the Malcolm Addey Studio, New York.
Transfers from the original analog tapes to digital format were made
using 32 bit technology with a sampling rate of 96 kHz.
The 160 songs in this Mosaic collection were recorded with the Buddy Cole Quartet between 1954 and 1956 for Bing’s CBS show are absolutely revelatory. Crosby’s early jazz roots informed his influential career as a pop singer. To our knowledge, these are the only recorded performances of Crosby singing the Great American Songbook in an informal atmosphere with a consummate small jazz ensemble.
Limited Edition: 20,000 Copies
"Like buried treasure reclaimed from the past, this remarkable set is like no other Bing Crosby collection ever released. Here is the great crooner and a quartet led by his longtime accompanist Buddy Cole, occasionally augmented by a few wind instruments, in a thesaurus of 160 songs recorded in the most informal of circumstances at 16 sessions, during a period (1954-56) when Bing was in exceptionally good voice."
--- Gary Giddins, liner notes
Bing Crosby changed singing forever. He was fortunate to introduce his artistry to singing as one element of a perfect storm that included significant advancements in microphone and recording technology. Singers could perform more intimately, more conversationally, with greater latitude for the singer to incorporate subtle nuances.
He became the world's first "king of all media" (when "all" meant recordings, radio and movies) and the vast popularity of his records rivals those by Elvis and the Beatles.
Radio Masters - Never Before On Record
Yet, despite reissue after reissue, and numerous greatest hits compilations, one entire treasure trove of his musical output has remained almost completely forgotten, until now. The Bing Crosby CBS Radio Recordings 1954-56 presents, for the first time complete, 160 masters recorded with Buddy Cole for Bing's daily CBS radio show from 1954 to 1956. Aside from 16 tracks that found their way onto LP, the vast majority of the tracks have been locked in Crosby's vault for more than 50 years.
An added bonus is that, relieved of the need to create music that could lead to identifiable hit records, Bing could select any song he chose to sing. After all, it was "just for the radio." The result is that the collection is a virtual catalog of the Great American Songbook, featuring numbers from Broadway, film, Tin Pan Alley, the blues, and well-known jazz standards.
Loose and Hip
For listeners more familiar with Bing the pop artist, these are not lush, orchestrated easy-listening affairs. Stripped down to a jazz quartet, these songs sound loose and hip, more like the Bing that thrilled earlier Jazz Era fans who were blown away not only by his vocal abilities but also by his concept of the vocalist's role in interpreting music.
With big bands out of fashion, Bing's interest in recording in front of a small combo helped these songs achieve a more modern feel, with swinging interplay between singer and band more evident than on many of his commercial recordings. There may be no better way to appreciate how many components of singing he controlled - his breathing, how he created resonance, how he could switch from hitting hard to whispering, his command of slurring and enunciation, and his hip approach to comedy and novelty.
Crosby himself reigned supreme for more than half a century. By the time of these performances, he held enough power that he could demand the opportunity to record his 15-minute radio show, even though the networks and sponsors would have preferred a live broadcast. The joke was that Bing could record twenty shows in a week and spend the rest of the month on the golf course, but by pre-recording the show he and Buddy Cole had the opportunity to perfect the recordings in the studio. Their process was to lay down a number of tracks quickly - sometimes four, six, or as many as 20, keeping them loose, relaxed, jazz-inflected and spontaneous.
For his part, Buddy Cole, who shared Bing's interest in working with new technology, contributed arrangements that are a big part of why this collection will communicate with jazz listeners. His partners on these dates were Vince Terri on guitar, Don Whitacker on bass, and Nick Fatool on drums, and they were adept at every style Bing wanted to conquer. Most of these songs were not otherwise recorded by Crosby. They include "The Lady is a Tramp," "I Got Rhythm," "'S Wonderful," "I've Grown Accustomed to Her Face," "My Baby Just Cares For Me," and too many others to mention.
For Mosaic's release, the recordings have been meticulously restored from the original tape sources. Our deluxe box set includes an exclusive booklet, with a new essay and track-by-track appreciation by Gary Giddins, many photos form Bing's career, and all that swinging music.
Bing Crosby
Active Decades: '20s, '30s, '40s, '50s, '60s and '70s
Born: May 03, 1903 in Tacoma, WA
Died: Oct 14, 1977 in La Moraleja, Madrid, Spain
Genre: Vocal
Styles: American Popular Song, Standards, Swing, Tin Pan Alley Pop, Traditional Pop, Vocal Jazz, Vocal Pop
Bing Crosby was, without doubt, the most popular and influential media star of the first half of the 20th century. The undisputed best-selling artist until well into the rock era (with over half a billion records in circulation), the most popular radio star of all time, and the biggest box-office draw of the 1940s, Crosby dominated the entertainment world from the Depression until the mid-'50s, and proved just as influential as he was popular. Unlike the many vocal artists before him, Crosby grew up with radio, and his intimate bedside manner was a style perfectly suited to emphasize the strengths of a medium transmitted directly into the home. He was also helped by the emerging microphone technology: scientists had perfected the electrically amplified recording process scant months before Crosby debuted on record, and in contrast to earlier vocalists, who were forced to strain their voices into the upper register to make an impression on mechanically recorded tracks, Crosby's warm, manly baritone crooned contentedly without a thought of excess.
Not to be forgotten in charting Bing Crosby's influence is the music itself. His song knowledge and sense of laid-back swing was learned from early jazz music, far less formal than the European-influenced classical and popular music used for inspiration by the vocalists of the 1910s and '20s. Jazz was by no means his main concentration, though, especially after the 1930s; Crosby instead blended contemporary pop hits with the best songs from a wide range of material (occasionally recording theme-oriented songs written by non-specialists as well, such as Cole Porter's notoriously un-Western "Don't Fence Me In"). His wide repertoire covered show tunes, film music, country & western songs, patriotic standards, religious hymns, holiday favorites, and ethnic ballads (most notably Irish and Hawaiian). The breadth of material wasn't threatening to audiences because Crosby put his own indelible stamp on each song he recorded, appealing to many different audiences while still not endangering his own fan base. Bing Crosby was among the first to actually read songs, making them his own by interpreting the lyrics and emphasizing words or phrases to emphasize what he thought best.
His influence and importance in terms of vocal ability and knowledge of American popular music are immense, but what made Bing Crosby more than anything else was his persona -- whether it was an artificial creation or something utterly natural to his own personality. Crosby represented the American everyman -- strong and stern to a point yet easygoing and affable, tolerant of other viewpoints but quick to defend God and the American way -- during the hard times of the Depression and World War II, when Americans most needed a symbol of what their country was all about.
Bing Crosby was born Harry Lillis Crosby in Tacoma, WA, on May 3, 1903. (Bingo was a childhood nickname from one of his favorite comic strips.) The fourth of seven children in a poverty-level family who loved to sing, he was briefly sent to vocal lessons early on by his mother, until he grew tired of the training. An early admirer of Al Jolson, Crosby saw his hero perform in 1917. Crosby sang in a high-school jazz band, and when he began attending nearby Gonzaga College (he had grown up practically in the middle of the campus), he ordered a drum set through the mail and practiced on the set. Introduced to a local bandleader named Al Rinker, he was invited to join Rinker's group, the Musicaladers, singing and playing drums with the group throughout college.
Though the Musicaladers broke up soon after his graduation in 1925, Bing Crosby was ready to stick with the music business. Crosby had made quite a bit of money during the band's career, and he and Rinker -- who was the brother of Mildred Bailey -- were confident they could make it in California. They packed up their belongings and headed out for Los Angeles, finding good money working in vaudeville until they were hired by Paul Whiteman, leader of the most popular jazz band in the country (and known as the "King of Jazz" in an era when black pioneers were mostly ignored since they were unmarketable). For a few songs during Whiteman's shows, Rinker and Crosby sang as the Rhythm Boys with Harry Barris (a pianist, arranger, vocal effects artist, and songwriter later renowned for "I Surrender Dear" and "Wrap Your Troubles in Dreams"). With their clever songwriting and stage routines, the trio soon became one of the Paul Whiteman Orchestra's most popular attractions, and Crosby took a vocal on one of Whiteman's biggest hits of 1927-1928, "Ol' Man River." Besides appearing on record with Whiteman's orchestra, the Rhythm Boys also recorded on their own, though an opportunity for Crosby to enlarge his part in the 1930 film King of Jazz with a solo song went unrealized, as he sat in the clink for a drunk-driving altercation.
When Whiteman again hit the road in 1930, the Rhythm Boys stayed behind on the West Coast. After Crosby hired his big brother Everett as a manager, he began recording consistently as a solo act with Brunswick Records in early 1931, and by year's end had chalked up several of the year's biggest hits, including "Out of Nowhere," "Just One More Chance," "I Found a Million-Dollar Baby," and "At Your Command." He appeared in three films that year, and in September began a popular CBS radio series. Its success was similarly unprecedented; in less than a year, the show was among the nation's most popular and earned Crosby a starring role in 1932's The Big Broadcast, which brought radio stars like Burns & Allen to the screen. By the midpoint of the decade, Crosby was among the top ten most popular film stars. His musical success had, if anything, gained momentum during the same time, producing some of the biggest hits of 1932-1934: "Please," "Brother, Can You Spare a Dime?," "You're Getting to Be a Habit With Me," "Little Dutch Mill," "Love in Bloom," and "June in January."
"June in January," itself the biggest hit at that point in Crosby's young career, signaled a turn in his career. Brunswick executive Jack Kapp had just struck out on his own with an American subsidiary of the British Decca Records, and Crosby was lured over with the promise of higher royalty rates. Though his initial releases on Decca were recordings from his films of the year -- "June in January" was taken from Here Is My Heart -- Crosby began stretching out with religious material (such as "Silent Night, Holy Night," which became one of his biggest sellers, estimated at up to ten million). Late in 1935, he signed a contract for a radio show with NBC called Kraft Music Hall, an association that lasted into the mid-'40s. After his first musical director, Jimmy Dorsey, left, Crosby's songwriter friend Johnny Burke recommended John Scott Trotter (previously with the Hal Kemp Orchestra) as a replacement. Trotter quickly cinched the job when his arrangements for the 1936 film Pennies from Heaven produced the biggest hit of the year in its title song. (He would continue as Bing's orchestra arranger and bandleader into the mid-'50s.)
After the biggest hit of 1936, Bing Crosby followed up with -- what else? -- the biggest of 1937, just months later. "Sweet Leilani," from the similarly Hawaiian film Waikiki Wedding, showed Bing the direction his career could take over the course of the 1940s and '50s. Though he had recorded several cowboy songs earlier in the 1930s as well as the occasional song of inspiration, Crosby began covering everything under the sun, the popular hits of every genre of contemporary music. These weren't castoffs, either; many of his 1940s country & western covers were hits, such as "New San Antonio Rose," "You Are My Sunshine," "Deep in the Heart of Texas," "Pistol-Packin' Mama," "San Fernando Valley," and "Chattanoogie Shoe Shine Boy."
With the advent of American involvement in World War II, Bing Crosby entered the peak of his career. Arriving in 1940 was the first of his popular "Road" movies with old friend Bob Hope and Dorothy Lamour, along with three of the biggest hits of the year ("Sierra Sue," "Trade Winds," "Only Forever"). Crosby and Hope had first met in 1932, when the two both performed at the Capitol Theater in New York. They reunited later in the '30s to open a racetrack, and after reprising some old vaudeville routines, a Paramount Pictures producer decided to find a vehicle for the pair and came up with The Road to Singapore.
More popular success followed in 1941 with the introduction of the biggest hit of Papa Bing's career, "White Christmas." Written by Irving Berlin for 1942's Holiday Inn (a film that featured a Berlin song for each major holiday of the year), the single was debuted on Bing's radio show on Christmas Day, 1941. Recorded the following May and released in October, "White Christmas" stayed at number one for the rest of 1942. Reissued near Christmas for each of the next 20 years, it became the best-selling single of all time, with totals of over 30 million copies. It was a favorite for soldiers on the various USO tours Crosby attended during the war years, as was another holiday song, "I'll Be Home for Christmas." Crosby's popular success continued after the end of the war, and he remained the top box-office draw until 1948 (his fifth consecutive year at number one).
As with all the jazz-oriented stars of the first half of the 20th century, Crosby's chart popularity was obviously affected by the rise of rock & roll in the mid-'50s. Though 1948's "Now Is the Hour" proved his last number one hit, the lack of chart success proved to be a boon: Crosby now had the time to concentrate on album-oriented projects and collaborations with other vocalists and name bands, definitely a more enjoyable venture than singing pop hits of the day on his radio show, ad nauseam. Inspired by the '50s adult-oriented album concepts of Frank Sinatra (who had no doubt been inspired by Bing in no small way), Crosby began to record his most well-received records in ages, as Bing Sings Whilst Bregman Swings (1956) and Bing With a Beat (1957) returned him to the hot jazz he had loved and performed back in the 1930s. His recording and film schedule began to slow in the 1960s, though he recorded several LPs for United Artists during the mid-'70s (one with Fred Astaire) and returned to active performance during 1976-1977. While golfing in Spain on October 14, 1977, Bing Crosby collapsed and died of a heart attack.
---John Bush, All Music Guide |
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