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Ignasio Corsini & Dal Zovo

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__________________________________________ Saturday, Nov. 10, 2007 ♪ Jane Froman ♥ ___________________________________________ She went on to become a star of concert, stage, radio and television. During World War II she became well-known for her courage after her plane crashed in the Tagus River in Portugal while she was en route to a USO show in 1943. She was pulled from the river and ultimately endured 39 operations. She went back to Europe in 1945 on another USO tour. She resumed her career in 1949, starring in her own television show. Her dramatic life was immortalized in the 20th Century Fox movie With a Song in My Heart. In honor of what would have been Froman's 100th birthday on Nov. 10, 2007, Columbia College is hosting a centennial concert tribute to Froman. Visit Jane Centenial Website at: . http://www.janefroman.com

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_________________________________________ POPULAR MUSIC 1943 - 1957 *In a few days I'll start uploading related videos __________________________________________ If the restrictions and limitations brought on by the war weren't enough, in August 1942 a dispute over the lack of residual payments made to musicians for the records they made resulted in a recording ban being imposed by the American Federation of Musicians. Led by James C. Petrillo, the powerful President of the AFM, the ban lasted throughout much of 1943 and, in the cases of RCA and Columbia Records, would not be settled until November 1944; by that time, vocalists - who were not allowed to belong to the union and were, thus, not restricted from recording - dominated the popular music charts with recordings either made with salaried studio musicians, backed only with choral accompaniment, or with their vocals dubbed over musical tracks recorded in Mexico. In fairness to the kid from Hoboken, as the nation faced the challenges of World War II, the rise of the vocalist and the gradual decline of the big bands became almost inevitable. Ever since the United States had entered the war, bandleaders had been finding it increasingly difficult to maintain the torturous schedule of touring, radio appearances, and recording dates that had made their music so popular. Wartime restrictions on fuel and tires made travel difficult, severely restricting the number of lucrative personal appearances they could accept on road tours, and shellac - the material used to press 78 RPM records - came into short supply as well, which greatly reduced record production and sales. Likewise, by mid-1942, the draft had already begun to claim many of the talented soloists and sidemen that were the heart of the band business, with their frequently less experienced and less talented replacements being no match for the abilities of seasoned musicians. In the eyes of the record companies, who always kept a close watch on the bottom line, recordings made with star vocalists were far cheaper to produce than those featuring name bands. Rather than having to bring in a specific group of musicians for each recording session, house bands or small combos could be used to back-up the singer. This also allowed arrangers and conductors familiar with the strengths and weakness of a particular performer to handpick the musicians for a particular recording session, as well as use many of these same musicians whenever a performer appeared on the air or in a concert venue. (SINATRA, realizing the importance of a good musical arranger/director, convinced ace DORSEY arranger AXEL STORDAHL to leave the band at the same time he did; JO STAFFORD, when she decided to go solo in 1944, went Sinatra one better: she not only insisted on working with conductor/arranger Paul Weston, she married him, too.) By the end of the war, vocalists like Dick Haymes, Jo Stafford, Frank Sinatra, HELEN FORREST, Perry Como, Andy Russell, and a host of others were the stars of music business, with many also appearing on their own network radio programs. With the recording ban lifted, local radio stations began a rapid movement toward disc jockey programs that highlighted popular vocalists, frequently scheduling live promotional interviews with the singers as part of their daily broadcasts. This programming strategy would, with time, grow into a format that would thrive long after big-time network radio had faded into memory. The era of the big bands was, by 1946, officially over -- and the era of the POPULAR VOCALIST had just begun. But what would network radio do to present these new personalities to their best advantage? The answer, as it turned out, was simple: pretty much the same thing they had been doing for the past fifteen years.

Music:

Since network radio's earliest days, popular vocalists had been a part of most big-time shows. It didn't seem to matter whether the shows were comedy, variety, or musically based, almost all had a featured vocalist as part of their star line-up. Fibber McGee and Molly, for instance, featured MARTHA TILTON for a year or so and also had the King's Men vocal group under contract for over a decade. Jack Benny began by featuring bandleader GEORGE OLSEN's vocalist Ethel Shutta, then over the years starred Frank Parker, Kenny Baker, and eventually Dennis Day, while Fred Allen's shows ran the gamut from The MERRY MACS and Wynne Murray through Kenny Baker, Hi-Lo Jack and the Dame, and finally the five DeMarco Sisters. Diminutive GEORGIA GIBBS received her catch phrase;Her nibs, Miss Gibbs; from Garry Moore when she was featured with Moore and JIMMY DURANTE on The Camel Caravan, while DINAH SHORE got her first national exposure when she appeared with EDDIE CANTOR. GINNY SIMMS was simply a girl singer with Kay Kyser's band until she and Harry Babbitt began singing duets on Kyser's popular Kollege of Musical Knowledge shows, while the ANDREWS SISTERS turned a series of highly rated appearances on Abbott and Costello's program into their own half-hour series in 1945. _________________________________________

Books:

________________________________________ note: *Don't miss Tenor Tony Poncet * in Pagliacci playlist. It's the first Act. L'entrée de Canio.