the1920sand30s | Paul Whiteman and His Orchestra - Anything Goes (1934) @the1920sand30s | Uploaded July 2024 | Updated October 2024, 1 hour ago.
Performed by: Paul Whiteman and His Orchestra
Vocalist: Ramona (Estrild Raymona Myers)
Full Song Title: Anything Goes
Recorded on: October 26th, 1934, New York, New York.
A-Side: Coming soon..
Paul Samuel Whiteman (born March 28, 1890 – died December 29, 1967)
Paul Whiteman, often referred to as the "King of Jazz," was a pivotal figure in the American music scene during the early 20th century. Born in Denver, Colorado, Whiteman was deeply influenced by his musical upbringing; his father was the director of music for the Denver Public Schools. Whiteman began his musical career as a classical violinist, performing with the Denver Symphony Orchestra & later the San Francisco Symphony.
In the early 1920s, Whiteman transitioned to leading dance bands, where he innovatively combined classical music elements with jazz, creating a symphonic style that appealed to mainstream audiences. This blend of styles helped elevate jazz to a more respectable status among the broader public. Whiteman's band quickly gained popularity, featuring some of the era's most talented musicians, such as cornetist Bix Beiderbecke, saxophonist Frankie Trumbauer, & singer Bing Crosby. His orchestra was known for its polished performances & complex arrangements, bringing jazz into prestigious concert halls & garnering significant media attention.
One of Whiteman's most significant contributions to music was his commissioning of George Gershwin's "Rhapsody in Blue," which premiered at Whiteman's "An Experiment in Modern Music" concert in 1924. This performance was a milestone in American music, merging classical & jazz elements & demonstrating the genre's artistic potential.
Throughout the 1920s & 1930s, Whiteman's recordings were bestsellers, & his band was a staple of radio broadcasts, further cementing his influence on American popular music. He also appeared in several films, which helped to broaden his audience. Despite his considerable success, Whiteman's style of jazz faced criticism for lacking the authentic improvisational spirit of true jazz. Nevertheless, his role in popularizing & legitimizing the genre cannot be overstated. He provided a platform for many jazz musicians who later became legends in their own right.
Whiteman's influence extended beyond performance; he was a prolific writer & educator. His books, including "Jazz" co-authored with Mary Margaret McBride, & his autobiography, "Whiteman's Burlesque," offer insights into his musical philosophy & contributions to the genre.
In the 1940s, as bebop & other modern jazz styles emerged, Whiteman's popularity declined. However, he continued to perform & remained active in music education until his death on December 29, 1967, in Doylestown, Pennsylvania. Paul Whiteman's legacy is marked by his efforts to elevate jazz to a respected art form & his significant impact on the evolution of American music.
Estrild Raymona Myers (born March 11, 1909 – died December 14, 1972)
Estrild Raymona Myers, known professionally as Ramona, was an acclaimed American cabaret singer & pianist who rose to fame in the 1930s & 1940s. Born in Lockland, Ohio, Ramona exhibited musical talent from a young age & began her career performing in vaudeville & nightclubs. Her early performances showcased her exceptional vocal abilities & piano skills, which quickly caught the attention of influential figures in the music industry.
In 1932, Ramona's career took a significant turn when she joined Paul Whiteman's band as a vocalist & pianist. Her smooth, sultry voice & engaging stage presence made her a standout performer in Whiteman's ensemble, helping her gain national recognition. Her work with Whiteman's band, including numerous recordings, brought her considerable acclaim & established her as a prominent figure in the American music scene.
After leaving Whiteman's band, Ramona pursued a solo career, continuing to captivate audiences with her unique blend of jazz & pop music. She was a regular feature on radio shows & made numerous recordings that were well received by the public. Her ability to connect with audiences through her heartfelt performances ensured her continued popularity through the 1940s.
Despite the changing musical landscape of the 1950s, which saw a decline in the popularity of her style, Ramona remained active in the music industry. She continued to perform in clubs & on television, maintaining a loyal following. Her contributions to music during her peak years left a lasting impression on the genre.
Ramona passed away on December 14, 1972, in Laguna Beach, California. She is remembered for her significant contributions to American music & her role in popularizing the cabaret style of jazz singing.
I hope you enjoy this as much as I have.
Best wishes,
Stu
______________________
Please Note: I do not claim copyright or ownership of the song played in this video. All copyrighted content remains property of their respective owners.
Performed by: Paul Whiteman and His Orchestra
Vocalist: Ramona (Estrild Raymona Myers)
Full Song Title: Anything Goes
Recorded on: October 26th, 1934, New York, New York.
A-Side: Coming soon..
Paul Samuel Whiteman (born March 28, 1890 – died December 29, 1967)
Paul Whiteman, often referred to as the "King of Jazz," was a pivotal figure in the American music scene during the early 20th century. Born in Denver, Colorado, Whiteman was deeply influenced by his musical upbringing; his father was the director of music for the Denver Public Schools. Whiteman began his musical career as a classical violinist, performing with the Denver Symphony Orchestra & later the San Francisco Symphony.
In the early 1920s, Whiteman transitioned to leading dance bands, where he innovatively combined classical music elements with jazz, creating a symphonic style that appealed to mainstream audiences. This blend of styles helped elevate jazz to a more respectable status among the broader public. Whiteman's band quickly gained popularity, featuring some of the era's most talented musicians, such as cornetist Bix Beiderbecke, saxophonist Frankie Trumbauer, & singer Bing Crosby. His orchestra was known for its polished performances & complex arrangements, bringing jazz into prestigious concert halls & garnering significant media attention.
One of Whiteman's most significant contributions to music was his commissioning of George Gershwin's "Rhapsody in Blue," which premiered at Whiteman's "An Experiment in Modern Music" concert in 1924. This performance was a milestone in American music, merging classical & jazz elements & demonstrating the genre's artistic potential.
Throughout the 1920s & 1930s, Whiteman's recordings were bestsellers, & his band was a staple of radio broadcasts, further cementing his influence on American popular music. He also appeared in several films, which helped to broaden his audience. Despite his considerable success, Whiteman's style of jazz faced criticism for lacking the authentic improvisational spirit of true jazz. Nevertheless, his role in popularizing & legitimizing the genre cannot be overstated. He provided a platform for many jazz musicians who later became legends in their own right.
Whiteman's influence extended beyond performance; he was a prolific writer & educator. His books, including "Jazz" co-authored with Mary Margaret McBride, & his autobiography, "Whiteman's Burlesque," offer insights into his musical philosophy & contributions to the genre.
In the 1940s, as bebop & other modern jazz styles emerged, Whiteman's popularity declined. However, he continued to perform & remained active in music education until his death on December 29, 1967, in Doylestown, Pennsylvania. Paul Whiteman's legacy is marked by his efforts to elevate jazz to a respected art form & his significant impact on the evolution of American music.
Estrild Raymona Myers (born March 11, 1909 – died December 14, 1972)
Estrild Raymona Myers, known professionally as Ramona, was an acclaimed American cabaret singer & pianist who rose to fame in the 1930s & 1940s. Born in Lockland, Ohio, Ramona exhibited musical talent from a young age & began her career performing in vaudeville & nightclubs. Her early performances showcased her exceptional vocal abilities & piano skills, which quickly caught the attention of influential figures in the music industry.
In 1932, Ramona's career took a significant turn when she joined Paul Whiteman's band as a vocalist & pianist. Her smooth, sultry voice & engaging stage presence made her a standout performer in Whiteman's ensemble, helping her gain national recognition. Her work with Whiteman's band, including numerous recordings, brought her considerable acclaim & established her as a prominent figure in the American music scene.
After leaving Whiteman's band, Ramona pursued a solo career, continuing to captivate audiences with her unique blend of jazz & pop music. She was a regular feature on radio shows & made numerous recordings that were well received by the public. Her ability to connect with audiences through her heartfelt performances ensured her continued popularity through the 1940s.
Despite the changing musical landscape of the 1950s, which saw a decline in the popularity of her style, Ramona remained active in the music industry. She continued to perform in clubs & on television, maintaining a loyal following. Her contributions to music during her peak years left a lasting impression on the genre.
Ramona passed away on December 14, 1972, in Laguna Beach, California. She is remembered for her significant contributions to American music & her role in popularizing the cabaret style of jazz singing.
I hope you enjoy this as much as I have.
Best wishes,
Stu
______________________
Please Note: I do not claim copyright or ownership of the song played in this video. All copyrighted content remains property of their respective owners.
![Josephine Baker - Nuit DAlger [Night Of Algiers] (1936)](https://i.ytimg.com/vi/mV_vxq_1Scc/hqdefault.jpg "Josephine Baker - Nuit DAlger [Night Of Algiers] (1936)
Performed by: Joséphine Baker
Full Song Title: Nuit DAlger
Recorded in Paris, October 1936
Flip side of: https://youtu.be/6sT6575GpPs
Josephine Baker (born 3 June 1906 - died 12 April 1975) (born Freda Josephine McDonald, naturalized French Joséphine Baker) was an American-born French entertainer, French Resistance agent and civil rights activist. Her career was centered primarily in Europe, mostly in her adopted France. She was the first black woman to star in a major motion picture, the 1927 silent film Siren of the Tropics, directed by Mario Nalpas and Henri Étiévant.
To say that Josephine Baker was ahead of her time is a grand understatement. Her success as a dancer and singer as an entertainer, electrified Europe in the 1920s. There, she became the queen of the stage, the most photographed woman in the world. However, critical and public response in her homeland, the United States, was far less enthusiastic. Mired in racial prejudice, both overt and covert, American society could not tolerate the concept of a strong, sophisticated black woman commanding so much attention. In a review, following a particularly sensual performance with the Ziegfeld Follies in 1936, the venerable New York Times called Josephine Baker a negro wench. Sadly, it would be many more decades before she would find any acceptance in her native country.
But, in Europe, her career flourished. She was a great star. In addition, she lived a life of intrigue and espionage during World War II. She aided the French Resistance by carrying secret messages written on her sheet music, as she traveled on singing tours across Europe. For this she received several medals and awards from the French government. Beyond that, Josephine Baker was an independent woman, who never felt compelled to rely upon a man for financial support. Though married and divorced four times, and despite countless other, more transitory relationships, she raised twelve adopted children, whom she referred to as her Rainbow Tribe. They were children of different races and ethnicities, whom she was determined to prove could live together in harmonious kinship.Her unbridled sexuality and the unrestrained abandon of her erotically charged dancing style caused an immediate sensation with the Parisian public, who were neither as prudishly conservative nor as racially discriminatory as their American counterparts. Josephine Baker became the talk of Paris, soon commanding the regal salary of $250 a week.
After the run of La Revue Negre ended, Josephine subsequently starred in a show at the Folies Bergere music hall entitled La Folie Du Jour. In that revue she amazed audiences by performing an aggressive Charleston, the Banana Dance, and swinging from a trapeze, dressed in a skirt comprised of sixteen bananas hanging from a G-String. All of Paris fell under Josephine Bakers exotic spell. Her striking facial features and cross-eyed poses charmed the hearts of the city and the French nation. They called her La Perle Noire, the Black Pearl.
Paris in the mid-20s was alive with the spirit of the Jazz age. Josephines stunning performances elicited artwork from Alexander Calder and Georges Roualt among many others. It is said that an original print run poster of Le Revue Negre today commands a price as high as $45,000. In 1926, she opened her own nightclub, Chez Josephine, on the rue Fontaine. She also began her recording career, cutting a number of sides for a French label. By 1927, she was earning more money than any other entertainer in Europe, rivaling Mary Pickford and Gloria Swanson as the most photographed woman in the world. She made her first movie, La Sirene des Tropiques. Josephine Baker was only twenty-one years of age. Described by Pablo Picasso as a black Venus, a true cabaret star and exotic dancer Josephine Baker was certainly one of the 20th centurys most extraordinary characters. Her act wouldnt raise an eyebrow these days but, in the Twenties and Thirties, her unconventionality and sensuality was legendary. She is one of my favorite singers/entertainers of that period. Too bad, they dont make stars like her anymore!
I hope you enjoy this as much as I have.
Best wishes,
Stu
Please Note: I do not claim copyright or ownership of the song played in this video. All copyrighted content remains property of their respective owners.")
![Eric Helgar - Monday, Tuesday, Wednesday [Montag, Dienstag, Mittwoch] (1937)](https://i.ytimg.com/vi/nyj1ZuIO3ew/hqdefault.jpg "Eric Helgar - Monday, Tuesday, Wednesday [Montag, Dienstag, Mittwoch] (1937)
Performed by: Heinz Wehner Mit Seinem Telefunken-Swing-Orchester
Vocalist: Eric Helgar
Full Song Title: Montag, Dienstag, Mittwoch
Recorded in: 1937
Heinz (Heinrich) Wehner, born on May 21, 1908, in Obstfeld in Westphalia, & presumed to have passed away in January 1945 near Landsberg an der Warthe, was a prominent German jazz musician, bandleader, & with his Telefunken Swing Orchestra, he was considered one of the top European jazz bands of his era.
Wehners musical journey began early, as he started studying music at the Hanover Conservatory at the age of twelve. His talents as a violinist & trumpet soloist quickly became evident. Inspired by the jazz of the 1920s, Wehner initially formed a trio in 1925, gradually expanding it into an octet. He soon performed with this ensemble not only in the Hanover region but also in the Bergisches Land & on Norderney.
Over the years the Heinz Wehner Telefunken Swing Orchestra featured talented musicians such as Herbert Müller (clarinet/alto saxophone), Willy Berking (trombone), Kurt Hoffmann (trombone), Ewald Meyer, Artur Flömer, Helmuth Wernicke (piano), Hermann Scholz, Ronny Niepel, & the Austrian Theo Ferstl (trumpet & arrangement), who later joined the newly formed German Dance & Entertainment Orchestra (DTU) in 1942. Besides directing, Wehner often took on singing roles in both English & German. His international recognition grew through live performances, recordings, & radio broadcasts. In issue 12/1937 of the U.S. jazz magazine Down Beat, critic Dick McBougall described the Telefunken Orchestra as the best band in the Nazi Reich, & similar acclaim came from Sweden.
His last recording is believed to have been made at the end of 1944 with the orchestra of the Czech jazz musician Karel Vlach in Prague. Heinz Wehner was last seen during rearguard action in the Landsberg an der Warthe area on January 21, 1945, & in 1958, he was officially declared dead.
Eric Helgar (born February 8, 1910, in Regensburg - died June 14, 1992, in Munich) was a popular German singer, stage, film actor & composer of the 20th century.
Born during his fathers tour, Swiss opera singer Gustl Helgar, Eric Helgar came into the world in Regensburg in 1910. He grew up in Zurich. At the age of 17, he moved to Berlin to live with his grandmother. There, he met Herbert Grenzebach, a friend of his father & the artistic director of the Ultraphon record company. Optimistically, Grenzebach said to Eric Helgar, [...] if your father has such a magnificent voice, you should be able to sing as well!, & invited him for a trial recording. Grenzebachs assumption was correct, Helgar secured his first record contract.
Eric Helgar owed his film career primarily to his popularity as a young record & radio tenor. His initial recordings were made for the Ultraphon label in December 1930 in Berlin, & thereafter, from 1932 onwards, almost exclusively for the newly established record label of Telefunken. However, during the early years, until about 1935, Helgar also worked, sometimes anonymously, for numerous other Berlin record companies. Helgars interesting, diverse, & versatile repertoire was carried by a pleasant, clear, expressive, & easily recognizable voice. It ranged from simple hits to tangos & sophisticated operetta melodies - such as those by Ralph Benatzky (e.g., Telefunken A 1702, 1934); & included equally demanding chansons & cabaret recordings to big-band swing from the late 1930s to the early 1940s. He made his film debut in 1933 with Was Frauen träumen & a year later, he played the lead role in Der Springer von Pontresina The song Wir wollen Freunde sein fürs ganze Leben from this film became a popular hit. From the mid-1930s, Eric Helgar became one of the main vocal interpreters of Adalbert Lutters popular dance orchestra for Telefunken, including at least one propaganda piece for the National Socialists (70 Millionen - ein Schlag 1937).
Helgar is occasionally credited as the composer of his own songs, such as the summer tango Wo Meereswogen rauschen (TO Lutter, Telefunken A 2513, 1938, see the list below). He continued to appear in films until the end of World War II, including Gauner im Frack (1937), Friedemann Bach (1941), & Romanze in Moll (1943). In addition, he lent his voice to less musically talented actors like Karl Schönböck in the film Der Blaufuchs (1938). In 1944, Helgar was listed in the Gottbegnadeten-Liste (God-gifted List) of the Reich Ministry of Public Enlightenment & Propaganda.
Eric Helgar recorded well over 1000 records with many leading German dance orchestras, making him one of the most significant German-language vocal interpreters of the shellac record era.
I hope you enjoy this as much as I have.
Best wishes,
Stu
Please Note: I do not claim copyright or ownership of the song played in this video. All copyrighted content remains property of their respective owners.")
