Uploaded January 2026 | Updated September 2026, 2 weeks ago
A rare filmed performance from the Jump for Joy era (1941) featuring Duke Ellington at the piano and his principal vocalist Ivie Anderson singing I Got It Bad (And That Ain’t Good).
This footage comes from surviving rehearsal and promotional film material connected to Ellington’s groundbreaking stage revue Jump for Joy. Unlike later studio or television versions, this performance captures the song close to its original context: understated, intimate, and fully integrated with Ellington’s orchestra.
A rare filmed performance from the Jump for Joy era (1941) featuring Duke Ellington at the piano and his principal vocalist Ivie Anderson singing I Got It Bad (And That Ain’t Good).
This footage comes from surviving rehearsal and promotional film material connected to Ellington’s groundbreaking stage revue Jump for Joy. Unlike later studio or television versions, this performance captures the song close to its original context: understated, intimate, and fully integrated with Ellington’s orchestra.
![Glenn Gould - J.S. Bach - The Art of Fugue (Contrapunctus XIV) - The Last Fugue [Restored]](https://i.ytimg.com/vi/LWNGwVrdJPo/mqdefault.jpg "Glenn Gould - J.S. Bach - The Art of Fugue (Contrapunctus XIV) - The Last Fugue [Restored]
Glenn Gould - J.S. Bach - The Art of the Fugue - Last Fugue
Bachs last and not completed fugue.
The Unfinished Fugue
A handwritten manuscript of the piece known as the Unfinished Fugue is among the three bundled with the autograph manuscript P200. It breaks off abruptly in the middle of its third section, with an only partially written measure 239. This autograph carries a note in the handwriting of Carl Philipp Emanuel Bach, stating Über dieser Fuge, wo der Name B A C H im Contrasubject angebracht worden, ist der Verfasser gestorben. (At the point where the composer introduces the name BACH [for which the English notation would be B♭–A–C–B♮] in the countersubject to this fugue, the composer died.) This account is disputed by modern scholars, as the manuscript is clearly written in Bachs own hand, and thus dates to a time before his deteriorating health and vision would have prevented his ability to write, probably 1748–1749.
Many scholars, including Gustav Nottebohm (1881), Wolff and Davitt Moroney, have argued that the piece was intended to be a quadruple fugue, with the opening theme of Contrapunctus I to be introduced as the fourth subject. The title Fuga a 3 soggetti, in Italian rather than Latin, was not given by the composer but by CPE Bach, and Bachs obituary actually makes mention of a draft for a fugue that was to contain four themes in four voices. The combination of all four themes would bring the entire work to a fitting climax. Wolff also suspected that Bach might have finished the fugue on a lost page, called fragment X, on which the composer attempted to work out the counterpoint between the four subjects. The 2016 completion by pianist Kimiko Douglass-Ishizaka rejects the fourth subject theory, opting instead to develop the extant materials in the fugue to completion.
A number of musicians and musicologists have composed conjectural completions of Contrapunctus XIV, notably Boëly, music theoretician Hugo Riemann, musicologists Donald Tovey and Zoltán Göncz, organists Helmut Walcha, David Goode and Lionel Rogg, and Davitt Moroney. Ferruccio Busonis Fantasia contrappuntistica is based on Contrapunctus XIV, but is more a work by Busoni than by Bach. In 2001 Luciano Berio arranged the contrapunctus for orchestra; while Berio did not complete the fugue in the usual sense, he produced a performing version that allows the composition to fade away gracefully.
In 2007, New Zealand organist and conductor Indra Hughes completed a doctoral thesis about the unfinished ending of Contrapunctus XIV, proposing that the work was left unfinished not because Bach died, but as a deliberate choice by Bach to encourage independent efforts at a completion.
Douglas Hofstadters book Gödel, Escher, Bach discusses the unfinished fugue and Bachs supposed death during composition as a tongue-in-cheek illustration of Austrian logician Kurt Gödels first incompleteness theorem. According to Gödel, the very power of a sufficiently powerful formal mathematical system can be exploited to undermine the system, by leading to statements that assert such things as I cannot be proven in this system. In Hofstadters discussion, Bachs great compositional talent is used as a metaphor for a sufficiently powerful formal system; however, Bachs insertion of his own name in code into the fugue is not, even metaphorically, a case of Gödelian self-reference; and Bachs failure to finish his self-referential fugue serves as a metaphor for the unprovability of the Gödelian assertion, and thus for the incompleteness of the formal system.
Sylvestre and Costa reported a mathematical architecture of The Art of Fugue, based on bar counts, which shows that the whole work was conceived on the basis of the Fibonacci series and the golden ratio. The significance of the mathematical architecture can probably be explained by considering the role of the work as a membership contribution to the Correspondierende Societät der musicalischen Wissenschaften (de), and to the scientific meaning that Bach attributed to counterpoint.
Source: Wikipedia.")
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Blondie - Sunday Girl")
![The Jackson 5 - I Want You Back [Restored]](https://i.ytimg.com/vi/Lrb3bnlZPyk/mqdefault.jpg "The Jackson 5 - I Want You Back [Restored]
I Want You Back is a 1969 song by the Jackson 5 which became a number-one hit for the band and the Motown label in early 1970. The song, along with a B-side cover of Whos Lovin You by Smokey Robinson & the Miracles, was the only single used in the Jackson 5s first album, Diana Ross Presents the Jackson 5. It went to number one on the Soul singles chart for four weeks and held the number-one position on the Billboard Hot 100 singles chart for the week ending January 31, 1970. I Want You Back was ranked 121st on Rolling Stones list of The 500 Greatest Songs of All Time.")
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Song Sung Blue is a 1972 hit song written and recorded by Neil Diamond, inspired by the second movement of Mozarts Piano Concerto #21. The song was released on Diamonds album, Moods and later appeared on many of Diamonds live and compilation albums.
It was his second No. 1 hit on the Billboard Hot 100 chart in the United States, after 1970s Cracklin Rosie, and to date his last solo #1 song (he had #1 duet with Barbra Streisand in 1978: You Dont Bring Me Flowers). The song spent twelve weeks in the Top 40. In addition, Song Sung Blue spent seven weeks at No. 1 on the adult contemporary chart It also made the pop chart in the United Kingdom, reaching No. 14 on the UK Singles Chart. The song has become one of Diamonds standards, and he often performs it during concerts.
Song Sung Blue was nominated for two Grammy Awards in 1973, Record of the Year and Song of the Year. Both awards that year were won by Roberta Flacks rendition of Ewan MacColls song, The First Time Ever I Saw Your Face.
Diamond described Song Sung Blue in the liner notes to his 1996 compilation album, In My Lifetime, as a very basic message, unadorned. I didnt even write a bridge to it. I never expected anyone to react to Song Sung Blue the way they did. I just like it, the message and the way a few words said so many things.")
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You Go to My Head is a 1938 popular song composed by J. Fred Coots with lyrics by Haven Gillespie. It is recorded here by Chet Baker and Paul Bley.
Double Indemnity is a 1944 film noir crime drama directed by Billy Wilder, co-written by Wilder and Raymond Chandler, and produced by Buddy DeSylva and Joseph Sistrom. The screenplay was based on James M. Cains 1943 novella of the same name, which originally appeared as an eight-part serial in Liberty magazine, beginning in February 1936.
The film stars Fred MacMurray as an insurance salesman, Barbara Stanwyck as a provocative housewife who wishes her husband were dead, and Edward G. Robinson as a claims adjuster whose job is to find phony claims. The term double indemnity refers to a clause in certain life insurance policies that doubles the payout in rare cases when death is caused accidentally, such as while riding a railway.")
![Heart - Crazy On You (1977) [Restored]](https://i.ytimg.com/vi/MJLRVk6UJAs/mqdefault.jpg "Heart - Crazy On You (1977) [Restored]
Crazy on You is the debut American single from the rock band Heart. It was the first single following the release of their debut album Dreamboat Annie, released in 1976. (Two earlier Canadian singles had preceded the release of the album).")
![Lee Marvin - Wandrin Star (Paint Your Wagon, 1969) [Digitally Enhanced]](https://i.ytimg.com/vi/N8608DIj-oc/mqdefault.jpg "Lee Marvin - Wandrin Star (Paint Your Wagon, 1969) [Digitally Enhanced]
Lee Marvin performs Wandrin Star (or Wandering Star) from the musical Paint Your Wagon.
Song written by Alan J. Lerner (lyrics) and Frederick Loewe (music)
Orchestrated and arranged by Nelson Riddle.")
![Tony Bennett - Sophisticated Lady (1981) [Restored]](https://i.ytimg.com/vi/NE0iOkN2tbc/mqdefault.jpg "Tony Bennett - Sophisticated Lady (1981) [Restored]
Sophisticated Lady is a jazz standard, composed as an instrumental in 1932 by Duke Ellington.
Additional credit is given to publisher Irving Mills whose words were added to the song by Mitchell Parish. The words met with approval from Ellington, who described them as wonderful—but not entirely fitted to my original conception. That original conception was inspired by three of Ellingtons grade school teachers. They taught all winter and toured Europe in the summer. To me that spelled sophistication.")
