Legends of American Music

Bailey was the first non-black singer accepted in jazz. Her vocal phrasing and high-pitched voice thrilled audiences, especially on ballads and soulful blues tunes. Bailey’s legacy lives on through the many recordings she made under her own name and the many famous musicians she sang with.

In 1951 he recorded his first record, “Moanin’ After Midnight,” which became a big hit and led him to Chicago. Howlin’ Wolf, along with Muddy Waters, turned Chicago into the blues capital of the world. Fame with white audiences came to Howlin’ Wolf in the 1960s and ’70s, when rock bands like the Rolling Stones acknowledged his influence on their music.

When asked to define jazz, Louis Armstrong replied, “Baby, if you got to ask the question, you’re never going to know the answer.” And just as Armstrong, or “Satchmo,” as he is affectionately referred to, implied that it was impossible to define jazz, the same can be said about Armstrong’s inimitable talent. Many historians credit Armstrong for singlehandedly popularizing jazz throughout the world.

Coleman Hawkins (1904-69) was the first prominent musician to play the jazz tenor saxophone. Although Hawkins is most often associated with swing music and the big band era, he also had a role in popularizing bebop in the ‘40s.

An innovative figure in American music, James Johnson combined elements of ragtime, blues, dance rhythms, and classical music to create the distinctive jazz piano style known as Harlem stride piano. Characterized by great rhythmic and harmonic development, often involving 10-note chords, this style creates a full, powerful sound. As the “father of stride piano,” Johnson strongly influenced such jazz greats as Count Basie, Duke Ellington, and Fats Waller.

Morton made important contributions to jazz as a composer, arranger, pianist, soloist, and bandleader. The songs “King Porter Stomp,” “Kansas City Stomp,” and “Dead Man Blues” are among the most popular of his more than 150 jazz classics.

In 1921 Blake co-wrote the hit Broadway show Shuffle Along, which was among the first musicals to be written, produced, and directed by blacks. The play featured Blake’s most famous song, “I’m Just Wild About Harry.” Shuffle Along also introduced three new stars: Paul Robeson, Florence Mills, and Josephine Baker. Blake wrote the hit songs “Memories of You,” “Love Will Find a Way,” and “Lovin’ You the Way I Do,” as well as the score for Chocolate Dandies, a play which broke new ground for black performers.

Mingus integrated many forms of music into his compositions, including European classical, gospel, the blues, jazz, and folk songs. He was inspired by the orchestral structures of Duke Ellington and improvised melodic lines of Charlie Parker, as well as the compositions of Igor Stravinsky and Claude Debussy.

“Round Midnight,” “Ruby My Dear,” “Epistrophy,” “Well You Needn’t,” and “Straight No Chaser” are among Monk’s most popular songs. As with most music noted for its originality, Monk’s music was, and is, controversial. He is known for the use of dissonance (sounds which produce tension), jarring irregular rhythms, and complex harmonic development. Monk often used silence – he sometimes let the bass and drums alone accompany soloists. Thelonious Monk’s music influenced forever the flavor of modern jazz.

Coltrane, the genius of the tenor and soprano saxophones, became the most influential musician and composer of his time.  His unique style was based upon exploring complex harmonics and extended improvisation. His most popular compositions include “A Love Supreme,” “Giant Steps,” “Naima,” “Moment’s Notice,” and “Equinox.”

Garner’s music appealed to non-jazz audiences, and he enjoyed great success in the late 1950s. He toured Europe in 1957 and ’58. His most famous song, “Misty,” was a big hit in 1959 and enjoyed a resurgence in 1971, when it became the theme song for the Clint Eastwood film “Play Misty For Me.” He is also remembered for the songs “It Gets Better Every Time,” “Dreamy,” “Nightwind,” and “La Petite Mambo.”t’s Notice,” and “Equinox.”

Pianist, composer, and band leader, Count (William) Basie was one of the most popular figures in the “swing” era of jazz. His spare, fluent piano style and loose, informal arrangements earned him a permanent place in jazz history. The “bop” and “cool” styles of jazz were greatly influenced by his rhythmic styling.

Together and separately, brothers Thomas and James Dorsey led some of America’s most popular dance orchestras.  The brothers formed a band together in 1933 featuring such notable musicians as Glenn Miller, Ray McKinley, and Bob Crosby. In 1935 Tommy formed his own; both continued their commercial success. The brothers teamed up to create the motion picture The Fabulous Dorseys in 1947. After peaking in popularity in the early 1940s, Jimmy gave up his band to join Tommy’s in 1953.

Composer, band leader, arranger, and trombonist, Glenn Miller was, and remains, one of America’s most popular musical figures. Miller’s band was noted for featuring a distinctive sound developed from the blending of one clarinet with four saxophones. The band played a mix of smooth, danceable ballads and crisp, driving swing numbers.

Clarinetist and orchestra leader Benny Goodman was known as the “King of Swing.” Swing music, a style of jazz that emphasizes four beats per measure, was especially popular in the mid-1930s to mid-1940s. Starting in 1934 Goodman’s bands and combos introduced swing to Americans through ballroom performances, recordings, and radio broadcasts.

Lyricist, vocalist, and composer John H. Mercer is credited with writing more than 1,000 lyrics.   These include: “Lazy Bones,” “Jeepers Creepers,” “Hooray for Hollywood,” “You Must Have Been a Beautiful Baby,” “That Old Black Magic,” “Ac-cent-tchu-ate the Positive,” “Autumn Leaves,” “Charade,” and “Satin Doll.” Mercer won Academy Awards for his lyrics to “On the Atchinson, Topeka, and the Santa Fe,” “In the Cool, Cool, Cool of the Evening,” “Days of Wine and Roses,” and “Moon River.”

Dorothy Field’s gift for creating simple, yet interesting lyrics – which often utilized catchy phrasing – made her one of the most popular lyricists on Broadway. She went on to write the book and/or lyrics for eleven more musicals starring the likes of Ethel Merman (Annie Get Your Gun), Nanette Fabray (Arms and the Girl), Shirley Booth (A Tree Grows in Brooklyn), and Gwen Verdon (Redhead – awarded the Tony in 1959 – and Sweet Charity – the first of her two career-capping shows featuring music by Cy Coleman).

Carmichael began working in Hollywood as a writer and then as a character actor, often portraying a folksy pianist. In Hollywood he wrote the hit songs “Hong Kong Blues,” “Two Sleepy People,” and “In the Cool, Cool, Cool of the Evening,” for which he won an Academy Award in 1951.  His song, “Stardust,” is the most recorded song ever.

Pons was gifted with an incredible range. In fact, she was the first soprano in 50 years that could sing the highest note (high F) written in the “Bell Song” of the opera Lakmé. She was particularly famous for her coloratura parts (marked by ornamental vocal trills and runs) and her warmth of expression.

Classified as a tenor (the highest adult male voice), Tucker was a popular performer on radio and television, making a number of critically acclaimed recordings. Before his sudden death during a concert tour, he had sung with most of the leading U.S. opera companies and orchestras. He was also highly praised as a cantor, the religious figure who leads the musical part of a Jewish service.

A versatile performer, Tibbett appeared in the musical films The Rogue Song, The New Moon, The Southerner, Cuban Love Song, and Metropolitan. He also performed on Broadway, and was one of America’s most popular recital and radio singers.

Classified by experts as a coloratura soprano, Ponselle’s voice was one of the greatest ever produced by America. It had an extremely rich tone, especially in its lower notes – almost like a contralto (the lowest female voice part). Her most noted performance is considered to be the title role in Vincent Bellini’s Norma.

An innovative conductor, Stokowski also studied acoustics and recording techniques, and experimented with the placement of various sections of the orchestra, attempting to improve its range of sound. His refinement ultimately became known as the “Philadelphia” sound. He was also known to change the written orchestration of pieces, which, although often technically brilliant, inspired some controversy.

In 1924, Fiedler joined 25 of his fellow players to form the Boston Sinfonietta, later known as the Arthur Fiedler Sinfonietta. In addition to creating greater musical diversity within the city, the ensemble also gave performances in the more remote areas of surrounding states. Starting in 1929 he organized the highly successful Esplanade Concerts in Boston, and a year later he was made conductor of the Boston Pops Orchestra – a position he held for more than 40 years.

From 1946 until his death, Szell conducted the Cleveland Symphony Orchestra, transforming it into one of the world’s greatest orchestras.  Szell demanded precision and clarity from the symphony, using brilliant technique to produce exceptionally powerful music. In fact, his orchestra achieved such incredible balance and clarity that many experts have compared its performances to chamber music.

Ormandy specialized in performances of romantic and neo-romantic music. He often emphasized fine string playing and rich, saturated orchestral tones, causing critics to describe his orchestra’s sound as “voluptuous.”

Barber’s music was often recognized with awards. He won the 1958 Pulitzer Prize for his four-act opera, Vanessa, and a second Pulitzer in 1962 for his Piano Concerto No. 1. His popular instrumental pieces include The School for Scandal, Capricorn Concerto, and the Concerto for Cello and Orchestra. And Knoxville: Summer of 1915 and Prayers for Kierkegaard are among his popular vocal compositions.

Grofé established his reputation when he scored George Gershwin’s Rhapsody in Blue. Soon after, he completed his first original composition, Broadway at Night. This was followed by a series of pieces that celebrated the natural beauty of the United States. His best-known work, Grand Canyon Suite, which was performed by legendary conductor Arturo Toscanini, achieved wide popularity.  Other noted Grofé compositions include The Hudson River Suite, Niagara Falls Suite, and World’s Fair Suite. Appearances as a conductor with many American symphony orchestras and in radio broadcasts further enhanced Grofé’s popularity.

Although Ives composed his most important works from 1896 to 1921, and had pieces performed as early as 1925, he was not widely known until 1939. Many of his works are unconventional, with key and time signatures and bar lines omitted. One of Ives’ four symphonies, Symphony No. 3, won the 1947 Pulitzer Prize.  Many of Ives’ compositions were based on American folk and popular music, such as ragtime, military marches, patriotic songs, and revival hymns. He also put themes, such as baseball, to music – one of his 27 piano pieces is entitled Some Southpaw Pitching. Some of his music is reminiscent of the circus parades and revival meetings he heard while growing up in Danbury, Connecticut.

In 1849 Gottschalk made his professional debut. Critics immediately compared him to Chopin, and as a composer he was labeled the first authentic musical spokesman for the New World. Gottschalk was especially known for his piano compositions that included The Dying Poet, The Last Hope, and Morte!!

In 1932, Leadbelly was discovered while serving a jail term in Louisiana, when folk song expert Dr. John Lomax asked him to record prison songs. Good behavior got him released in 1934, and he showed up in New York City with a beat-up green guitar, held together by a piece of string. From then on, Leadbelly gave concerts across the country, appearing in nightclubs and concert halls, and on radio networks. One of his most famous songs was “Goodnight Irene.”

Woody’s songs about migrant workers, ordinary people, and America’s beauty made him a living legend. Despite his misfortunes, his music expressed a hopeful view of life. Woody’s style, which influenced such artists as his son Arlo, and Bob Dylan, earned him a spot in the Rock and Roll Music Hall of Fame.

Remembered for furthering the art of harmonica accompaniment, Sonny Terry is famous for the amazing array of sounds he could produce using the instrument. One of his best-known renditions is of the “Fox Chase.”

In 1931, Josh moved to New York City to record for ARC Records. He also earned money as a prize fighter. His string of gospel hits began in 1932, soon followed by blues hits he recorded under the name Pinewood Tom.  In 1936, Josh lost the use of his right hand in a fight. Regaining the use of the hand two years later, he soon was starring on Broadway, in films, and major nightclubs. In 1940, President Franklin D. Roosevelt heard Josh’s protest records and invited him to become the first black artist to give a White House Command Performance.

The best-known gospel singer in the world was Mahalia Jackson (1911-1972). She received more acclaim than any other gospel singer, and is said to have been the vocal, physical, and spiritual symbol of religious music.  During the 1960s, Mahalia became associated with politics and the civil rights movement. She performed at the 1961 inauguration of President John F. Kennedy, and was a friend and supporter of Martin Luther King, Jr. He loved her music, and she was devoted to him. She sang at his funeral in 1968.

Roberta Martin (1907-1969) was one of the most articulate and influential singers of black American gospel music. A singer, pianist, composer, arranger, and organizer of groups and choirs, Roberta Martin’s unique combination of musical elements became the standard for what was known as the gospel era.

Clara Ward, leader of one of the most popular female gospel groups of the 1950s, was born in 1924 in Philadelphia, Pennsylvania. Her mother, Gertrude Mae Ward, was instrumental in helping Clara become successful. When the singer was young, her mother formed a family group with Clara and her sister Willa, who provided piano accompaniment.  Early in Clara’s career, her mother helped organize the Ward Singers, and in 1943, they appeared at the National Gospel Convention. They soon became headline attractions around the country. A group characterized by flamboyance and energy, their biggest hit was “Surely God Is Able.”

Sister Rosetta Tharpe (1921-1973) is credited with being the inventor of “pop gospel.” One of the premier gospel singers to perform outside of a church, in 1938 she became the first gospel singer to record with a major company.

Steiner’s compositions were heard in over 300 motion pictures during his more than 30-year musical career. His scores for the films “The Informer” (1935), “Now, Voyager” (1942), and “Since You Went Away” (1944), each earned Steiner an Academy Award.  Steiner was hired by David Selznick to score “Gone With the Wind” (1939). Steiner gave each important character in this epic film their own distinct musical theme. He also worked for Warner Bros., where Steiner composed the music for “Casablanca” (1942) and “Mildred Pierce” (1945).

Russian-born composer Dimitri Tiomkin (1894-1979) made musical contributions to more than 100 film scores during his career.  Tiomkin earned Academy Awards in recognition of the musical scores he composed for “High Noon,” “The High and the Mighty” (1954), and “The Old Man and the Sea” (1958). His song “High Noon (Do Not Forsake Me, Oh My Darlin’) won Tiomkin an additional 1952 Oscar. He remained active in film until 1970.

The music Herrmann created for film is known as being unorthodox. He used short, identifiable themes in place of longer melodies. The work he did on many of Alfred Hitchcock’s movies won him lasting fame. Herrmann wrote the haunting scores for Hitchcock’s “The Man Who Knew Too Much” (1956) and “Vertigo” (1958). The violin “screams” he created for the shower scene in “Psycho” (1960) are still recognizable today.

Franz Waxman (1906-1967) composed the scores for 144 films during his 32 years as a Hollywood songwriter.  His music can be heard in the Spencer Tracy movies “Captains Courageous,” “Dr. Jekyll and Mr. Hyde,” and “Woman of the Year.” In 1943 he moved to Warner Bros.  “Sunset Boulevard” earned Waxman an Academy Award in 1950. He won an Oscar again in 1951 for “A Place in the Sun,” making him the only composer to win an Academy Award for best film score two years in a row.

Alfred Newman (1907-1970) was one of the most respected music composers and directors in Hollywood. He was nominated to receive an Academy Award for best music a record 44 times. His nine Oscar wins set a record that is unlikely ever to be broken.

When he was 13, Korngold’s opera “The Snowman” became a hit, and the show was performed on the stages of 40 different opera houses over the following years.  The composer’s greatest success came in 1920 when his opera “Die Tote Stadt” (“The Dead City”) was performed in Germany. After World War II, “Die Tote Stadt” became the first German opera produced by the Metropolitan Opera in New York City.  In 1934, Korngold supervised the scoring of “A Midsummer Night’s Dream” for Warner Bros., which was his first work in Hollywood. Korngold scored “Captain Blood,” one of Errol Flynn’s premier films, in 1935. He later signed a contract with Warner Bros., and won Academy Awards for “Anthony Adverse” (1936), and “The Adventures of Robin Hood” (1938).

George and Ira Gershwin made up one of the most important musical teams in American history. The sons of Russian immigrants, George and Ira’s original names were Jacob and Israel Gershvin.

The 1947 production “Brigadoon” gave Lerner and Loewe their first success. Their fifth musical, “My Fair Lady,” (1956) was a huge hit. It was based on George Bernard Shaw’s “Pygmalion.” “My Fair Lady” was translated into 11 languages, performed in over 20 countries, and had the longest original run of any musical in New York City or London. In 1964, a film version of the show was released. It won eight Academy Awards.  Lerner and Loewe’s work “Gigi” (1958) was created directly for film. It received nine Academy Awards.

Lorenz Hart (1895-1943) created the lyrics to some of the greatest popular songs. He became famous for the songs that he and Richard Rodgers wrote for musical comedies. Their 25-year partnership produced over 1,000 songs, including “With a Song in My Heart,” “The Lady is a Tramp,” and “My Funny Valentine.”

Rodgers and Hammerstein’s 17-year relationship produced such songs as “I’m Gonna Wash That Man Right Outa My Hair,” “The Surrey With the Fringe on Top,” and “Oh, What A Beautiful Mornin’.” Their three other successful musicals were “Carousel” (1945), “The King and I” (1951), and “The Sound of Music” (1959), which was their last show.

Meredith Willson (1902-1984) distinguished himself as a writer of symphonic works and popular songs. He earned lasting fame for his series of Broadway hits, especially “The Music Man” (1957). The idea for the show began in 1949, when he was reminiscing with friends about his childhood years in Mason City, Iowa.

Frank Loesser (1910-1969) was one of Broadway’s best composers, lyricists, and producers.  While serving with the Army during World War II, Loesser had a hit with the song “Praise the Lord and Pass the Ammunition.” After he returned home, Loesser wrote the music and lyrics for “Where’s Charley?” which opened in 1948 and ran for nearly 800 performances.  The lyricist’s next undertaking was  “Guys and Dolls” (1950). Ranked as one of the finest in history, the musical was performed over 1,200 times in its original run on Broadway. Loesser’s successful musical career culminated with his blockbusting satire, “How To Succeed in Business Without Really Trying” (1961). He received the Pulitzer Prize in 1962 for the show.

The popular Legends of American Music series ended in 1999.  A new series, which honors icons of our nation’s music industry, began in 2012.