Brigitte Berman’s Oscar-winning documentary Artie Shaw: Time Is All You've Got has compelling and intimate on-camera interviews with Artie Shaw, Mel Tormé, Helen Forrest, Polly Haynes, Buddy Rich, Lee Castle, Mack Pierce, Frederic Morton, John Wexley, John Best, and the very forthcoming Evelyn Keyes on her marriage to Artie Shaw. Photo: Anne Katrin Titze
In the first instalment with Brigitte Berman on her Oscar-winning documentary Artie Shaw: Time Is All You've Got (4K restoration and remastered sound), now screening at Film Forum in New York, we discuss how a Bix Beiderbecke interview with Artie Shaw in 1979 for her film Bix: 'Ain't None Of Them Play Like Him Yet' turned into an opportunity of a lifetime; Artie Shaw’s theme song Nightmare; the provocative titles of his books; his recordings of Frenesi and Cole Porter’s Begin the Beguine; George Gershwin’s Summertime with Roy Eldridge; obsessively buying Patek Philippe...
In the first instalment with Brigitte Berman on her Oscar-winning documentary Artie Shaw: Time Is All You've Got (4K restoration and remastered sound), now screening at Film Forum in New York, we discuss how a Bix Beiderbecke interview with Artie Shaw in 1979 for her film Bix: 'Ain't None Of Them Play Like Him Yet' turned into an opportunity of a lifetime; Artie Shaw’s theme song Nightmare; the provocative titles of his books; his recordings of Frenesi and Cole Porter’s Begin the Beguine; George Gershwin’s Summertime with Roy Eldridge; obsessively buying Patek Philippe...
- 1/6/2024
- by Anne-Katrin Titze
- eyeforfilm.co.uk
‘Speedy Gonzales' the Oscar-winning animated character, appearing in 46 cartoon shorts for Warner Bros. "Looney Tunes" and "Merrie Melodies", portrayed as "The Fastest Mouse in all Mexico", now comes with a disclaimer stating : "The cartoons you are about to see are products of their time. They may depict some of the ethnic and racial prejudices that were commonplace in American society. These depictions were wrong then and are still wrong today...":
Speedy's major traits include the ability to run extremely fast and speaking English with an exaggerated Mexican accent.
In his Oscar-winning 'Best Short Subject' (cartoons) debut, titled "Cat-Tails for Two", a cat guards a cheese factory at the international border between the United States and Mexico from starving Mexican mice. The mice call in the plucky, excessively energetic 'Speedy' (voiced by Mel Blanc) to save them. Amid cries of "¡Ándale! ¡Ándale! ¡Arriba! ¡Arriba! ¡Epe! ¡Epe! ¡Epe! Yeehaw!", the...
Speedy's major traits include the ability to run extremely fast and speaking English with an exaggerated Mexican accent.
In his Oscar-winning 'Best Short Subject' (cartoons) debut, titled "Cat-Tails for Two", a cat guards a cheese factory at the international border between the United States and Mexico from starving Mexican mice. The mice call in the plucky, excessively energetic 'Speedy' (voiced by Mel Blanc) to save them. Amid cries of "¡Ándale! ¡Ándale! ¡Arriba! ¡Arriba! ¡Epe! ¡Epe! ¡Epe! Yeehaw!", the...
- 9/8/2022
- by Unknown
- SneakPeek
‘Speedy Gonzales' the Oscar-winning animated character, appearing in 46 cartoon shorts for Warner Bros. "Looney Tunes" and "Merrie Melodies", portrayed as "The Fastest Mouse in all Mexico", now comes with a disclaimer stating : "The cartoons you are about to see are products of their time. They may depict some of the ethnic and racial prejudices that were commonplace in American society. These depictions were wrong then and are still wrong today...":
Speedy's major traits include the ability to run extremely fast and speaking English with an exaggerated Mexican accent.
In his Oscar-winning 'Best Short Subject' (cartoons) debut, titled "Cat-Tails for Two", a cat guards a cheese factory at the international border between the United States and Mexico from starving Mexican mice. The mice call in the plucky, excessively energetic 'Speedy' (voiced by Mel Blanc) to save them. Amid cries of "¡Ándale! ¡Ándale! ¡Arriba! ¡Arriba! ¡Epe! ¡Epe! ¡Epe! Yeehaw!", the...
Speedy's major traits include the ability to run extremely fast and speaking English with an exaggerated Mexican accent.
In his Oscar-winning 'Best Short Subject' (cartoons) debut, titled "Cat-Tails for Two", a cat guards a cheese factory at the international border between the United States and Mexico from starving Mexican mice. The mice call in the plucky, excessively energetic 'Speedy' (voiced by Mel Blanc) to save them. Amid cries of "¡Ándale! ¡Ándale! ¡Arriba! ¡Arriba! ¡Epe! ¡Epe! ¡Epe! Yeehaw!", the...
- 7/13/2022
- by Unknown
- SneakPeek
“Can we go deep into the obscure, or do we need to stay mainstream?”
When Matt Groening asks that question, the invitation is tantalizing to consider. In this case, Groening is talking about jazz, and specifically about his new partnership with Quincy Jones’ music-video hub, Qwest TV. His mission for Qwest was a curated video playlist revealing the jazz influences crucial to Groening — personally, professionally and to “The Simpsons,” most famously in sax-playing characters such as Bleeding Gums Murphy and Homer’s precocious daughter, Lisa Simpson.
Jones’ streaming channel offers a wealth of rarely seen concerts, documentaries, interviews and music-related archival films. Groening’s playlist ranges from “mainstream” names such as Ray Charles, Duke Ellington and Charles Mingus to the “avant-garde” likes of saxophonists Moondog and Archie Shepp and pianist Carla Bley.
“When I was invited to do this, the first thing I did was make half of my list...
When Matt Groening asks that question, the invitation is tantalizing to consider. In this case, Groening is talking about jazz, and specifically about his new partnership with Quincy Jones’ music-video hub, Qwest TV. His mission for Qwest was a curated video playlist revealing the jazz influences crucial to Groening — personally, professionally and to “The Simpsons,” most famously in sax-playing characters such as Bleeding Gums Murphy and Homer’s precocious daughter, Lisa Simpson.
Jones’ streaming channel offers a wealth of rarely seen concerts, documentaries, interviews and music-related archival films. Groening’s playlist ranges from “mainstream” names such as Ray Charles, Duke Ellington and Charles Mingus to the “avant-garde” likes of saxophonists Moondog and Archie Shepp and pianist Carla Bley.
“When I was invited to do this, the first thing I did was make half of my list...
- 10/26/2021
- by A.D. Amorosi
- Variety Film + TV
Black Americans saw very little representation of their lives and culture on TV during the 1950s. The only mainstay was Eddie Anderson, who played Jack Benny’s sardonic valet Rochester on CBS’ “The Jack Benny Program.” In 1937, he’d became the first Black performer to be a regular on the radio version of the beloved comedy series and played Rochester on television from 1950-65. Terry Carter played Pvt. Sugie Sugerman for 98 episodes of CBS’ Emmy Award-winning “The Phil Silvers Show.’ And Black singers and performers would occasionally appear on various musical-variety series.
Pianist Hazel Scott was given her own summer series “The Hazel Scott Show” on DuMont in 1950. But she was soon named as a Communist by “Red Channels”. Though she denied the charges, the series couldn’t attract a sponsor and was history after four episodes. Likewise, NBC’s 1957-58 “The Nat King Cole Show” couldn’t find a...
Pianist Hazel Scott was given her own summer series “The Hazel Scott Show” on DuMont in 1950. But she was soon named as a Communist by “Red Channels”. Though she denied the charges, the series couldn’t attract a sponsor and was history after four episodes. Likewise, NBC’s 1957-58 “The Nat King Cole Show” couldn’t find a...
- 6/25/2020
- by Susan King
- Gold Derby
Composer-arranger Sid Ramin, a longtime associate of Leonard Bernstein who won an Oscar, an Emmy and a Grammy for his work in film, TV and theater, died of natural causes Monday (July 1) at his home in New York City. He was 100.
Ramin won a 1961 Academy Award for adapting the music of “West Side Story,” which he had originally orchestrated for composer Leonard Bernstein on Broadway in 1957 (with fellow arranger Irwin Kostal). He won a 1961 Grammy for the “West Side Story” soundtrack album, and a 1983 Daytime Emmy for music for TV’s “All My Children.”
Ramin’s musical career encompassed every aspect of show business. He started in the early days of live television, arranging for Milton Berle’s “Texaco Star Theatre” from 1948 to 1956. “There was no second take,” Ramin once reminisced about the insane pace of live TV. “What you did was on the air, good or bad.”
He began...
Ramin won a 1961 Academy Award for adapting the music of “West Side Story,” which he had originally orchestrated for composer Leonard Bernstein on Broadway in 1957 (with fellow arranger Irwin Kostal). He won a 1961 Grammy for the “West Side Story” soundtrack album, and a 1983 Daytime Emmy for music for TV’s “All My Children.”
Ramin’s musical career encompassed every aspect of show business. He started in the early days of live television, arranging for Milton Berle’s “Texaco Star Theatre” from 1948 to 1956. “There was no second take,” Ramin once reminisced about the insane pace of live TV. “What you did was on the air, good or bad.”
He began...
- 7/3/2019
- by Jon Burlingame
- Variety Film + TV
Yusef Lateef, who died on Monday after a bout with prostate cancer, was a devout Muslim who did not like his music to be called jazz because of the supposed indecent origins and connotations of the word (although those origins are still debated). He preferred the self-coined phrase "autophysiopsychic music." Furthermore, his music encompassed an impressively broad range of styles, and the only Grammy he won was in the New Age category -- for a recording of a symphony. Think about those things amid the flood of Lateef obituaries with "jazz" in the headline.
That said, certainly Lateef's own musical origins indisputably revolved around jazz. Growing up in Detroit, a highly fertile musical environment in the 1930s and beyond, Lateef got his first instrument, an $80 Martin alto sax, at age 18. Within a year he was on the road with the 13 Spirits of Swing (arrangements by Milt Buckner).
A Detroit friend,...
That said, certainly Lateef's own musical origins indisputably revolved around jazz. Growing up in Detroit, a highly fertile musical environment in the 1930s and beyond, Lateef got his first instrument, an $80 Martin alto sax, at age 18. Within a year he was on the road with the 13 Spirits of Swing (arrangements by Milt Buckner).
A Detroit friend,...
- 12/25/2013
- by SteveHoltje
- www.culturecatch.com
Everett Frank Sinatra in “Higher and Higher,” 1943.
My new novel “Narrows Gate” is set in the years preceding and immediately following World War II. The town of Narrows Gate, with its waterfront piers, factories and urban grit, sits in the shadow of New York City. It’s a fictional version of Hoboken, New Jersey, where I was born and raised.
You’d be right if you guessed that “Narrows Gate” includes a skinny young blue-eyed Italian-American crooner who rises from...
My new novel “Narrows Gate” is set in the years preceding and immediately following World War II. The town of Narrows Gate, with its waterfront piers, factories and urban grit, sits in the shadow of New York City. It’s a fictional version of Hoboken, New Jersey, where I was born and raised.
You’d be right if you guessed that “Narrows Gate” includes a skinny young blue-eyed Italian-American crooner who rises from...
- 1/19/2012
- by Jim Fusilli
- Speakeasy/Wall Street Journal
In December of 1957, CBS broadcast a program called "The Sound of Jazz." It featured an all-star lineup of jazz veterans including Billie Holiday, Lester Young, Ben Webster, Roy Eldridge, and Gerry Mulligan. This particular clip is of the singer Jimmy Rushing with Count Basie and his orchestra, playing a supremely swinging version of "I Left My Baby." Soloists include Webster, Basie on piano, trombonist Dickie Wells, Eldridge, and the legendary Coleman Hawkins.
- 3/29/2009
- by brendan.blom@gmail.com
- CultureMagazine.ca
The greatest female jazz sing ers of all time? According to experts interviewed in "Anita O'Day: The Life of a Jazz Singer," they are Billie Holiday, Ella Fitzgerald, Sarah Vaughan and Ms. O'Day, the only white chick in the bunch.
Just why O'Day is ranked in such stellar company is on ample view in the worshipful film.
Clips of her performing go back to her days with jazz giants Gene Krupa, Stan Kenton and Roy Eldridge. An early scene shows her with Louis Armstrong.
Just why O'Day is ranked in such stellar company is on ample view in the worshipful film.
Clips of her performing go back to her days with jazz giants Gene Krupa, Stan Kenton and Roy Eldridge. An early scene shows her with Louis Armstrong.
- 8/15/2008
- by By V.A. MUSETTO
- NYPost.com
Mill Valley Film Festival
AOD Prods.
MILL VALLEY, Calif. -- Anita O'Day, a singer whose captivating stage presence, rich smoky voice, sophisticated good looks and unique phrasing made her a performer who inspired ecstatic joy and awe, was considered the only white female singer in the same jazz league as Ella Fitzgerald, Billie Holiday and Sarah Vaughan, though she was never as well known.
That she failed to attain the fame of the aforementioned greats or that her career never reached the same heights was in part because of her being her own worst enemy. This and more is discussed by a roster of record industry professionals, jazz critics and friends who sing her praises in Anita O'Day: The Life of a Jazz Singer, an engaging if less than revelatory documentary, from Robbie Cavolina (O'Day's former manager) and Ian McCrudden, which covers her seven-decade career and was screened at the Mill Valley Film Festival.
For those who read her frank autobiography, "High Times, Hard Times", there's little new here. But the docu, which should have a good run on the festival circuit and a second life on television broadcast, will introduce O'Day to the uninitiated and make fans nostalgic for her smooth, feeling delivery, tough-girl demeanor and technical prowess.
O'Day's famous lightning-fast rhythmic delivery was fueled, in no small measure, by bouts of alcoholism and a 20-year heroin addiction that nearly killed her. Most of the money she earned went directly into her arm or into the system of drummer and fellow junkie John Poole, who died from an overdose.
The filmmakers incorporate grainy TV kinescopes of interviews with Dick Cavett and David Frost -- she turns around and turns it on when confronted by a judgmental Bryant Gumbel -- testimonials from those who knew her and excerpts from conversations with O'Day, shot in disconcerting extreme close-up shortly before her death last year at 87.
But it's rare clips of her singing solo or along with Stan Kenton, Hoagy Carmichael, Roy Eldridge, Gene Krupa or Louis Armstrong that grab the spotlight. This includes footage of her memorable, show-stopping rendition of Sweet Georgia Brown at the 1958 Newport Jazz Festival. High as a kite and dressed in a chic, white-fringed black hat and matching dress, she's a sight to behold and a supreme pleasure to hear.
AOD Prods.
MILL VALLEY, Calif. -- Anita O'Day, a singer whose captivating stage presence, rich smoky voice, sophisticated good looks and unique phrasing made her a performer who inspired ecstatic joy and awe, was considered the only white female singer in the same jazz league as Ella Fitzgerald, Billie Holiday and Sarah Vaughan, though she was never as well known.
That she failed to attain the fame of the aforementioned greats or that her career never reached the same heights was in part because of her being her own worst enemy. This and more is discussed by a roster of record industry professionals, jazz critics and friends who sing her praises in Anita O'Day: The Life of a Jazz Singer, an engaging if less than revelatory documentary, from Robbie Cavolina (O'Day's former manager) and Ian McCrudden, which covers her seven-decade career and was screened at the Mill Valley Film Festival.
For those who read her frank autobiography, "High Times, Hard Times", there's little new here. But the docu, which should have a good run on the festival circuit and a second life on television broadcast, will introduce O'Day to the uninitiated and make fans nostalgic for her smooth, feeling delivery, tough-girl demeanor and technical prowess.
O'Day's famous lightning-fast rhythmic delivery was fueled, in no small measure, by bouts of alcoholism and a 20-year heroin addiction that nearly killed her. Most of the money she earned went directly into her arm or into the system of drummer and fellow junkie John Poole, who died from an overdose.
The filmmakers incorporate grainy TV kinescopes of interviews with Dick Cavett and David Frost -- she turns around and turns it on when confronted by a judgmental Bryant Gumbel -- testimonials from those who knew her and excerpts from conversations with O'Day, shot in disconcerting extreme close-up shortly before her death last year at 87.
But it's rare clips of her singing solo or along with Stan Kenton, Hoagy Carmichael, Roy Eldridge, Gene Krupa or Louis Armstrong that grab the spotlight. This includes footage of her memorable, show-stopping rendition of Sweet Georgia Brown at the 1958 Newport Jazz Festival. High as a kite and dressed in a chic, white-fringed black hat and matching dress, she's a sight to behold and a supreme pleasure to hear.
- 11/2/2007
- The Hollywood Reporter - Movie News
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