Linda Hillshafer Share
Tune in weekday mornings for Stories of Standards to hear our favorite versions of “Stompin’ At the Savoy.” Rodney Franks presents Stories of Standards Monday through Friday at 7:50 and 8:50 am beginning Monday, May 10!
Stories of Standards is sponsored by
Edgar Sampson wrote, “Stompin’ At the Savoy” in 1933 while alto saxophonist with Rex Stewart’s Orchestra at the Empire Ballroom. Named for the Savoy Ballroom in New York City, it was used as the band’s theme song until the band broke up. Sampson took it with him when he went on to join Chick Webb’s band. Lyrics by Andy Razaf were added later. The song was recorded by both Chick Webb’s band (first recording made in 1934) and Benny Goodman’s. It is credited to Benny Goodman, Chick Webb, Edgar Sampson, and Andy Razaf.
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Linda Hillshafer Share
Tune in weekday mornings to hear our favorite versions of “Don’t Get Around Much Anymore.” Rodney Franks presents Stories of Standards Monday through Friday at 7:50 and 8:50 am beginning Monday, April 26!
Stories of Standards is sponsored by
ListenUp.
“Don’t Get Around Much Anymore” was written in 1940 by Duke Ellington. Originally titled “Never No Lament” it became a hit shortly after Bob Russell added lyrics in 1942, at which point the title changed. Two different versions, one by Ellington and another by The Ink Spots, hit number one on the the R&B charts in 1973. Ellington’s recording reached number eight on the pop charts.
Stories of Standards Night in Tunisisa Linda Hillshafer Share
Tune in weekday mornings to hear our favorite versions of “Night in Tunisia.” Rodney Franks presents Stories of Standards Monday through Friday at 7:50 and 8:50 am beginning Monday, April 12!
Stories of Standards is sponsored by ListenUp.
Dizzy Gillespie wrote “Night in Tunisia” in 1942; it was first recorded in 1944 under the title “Interlude.” It may have been written while Gillespie was playing with the Benny Carter Band; Gillespie said he composed it on the piano at Kelly’s Stables, a jazz club on 52nd Street in Manhattan. Having noticed that the chord progressions formed a melody, he added a bebop rhythm, introducing a syncopation into the bass line which formed a departure from the traditional 4-beat. Frank Paparelli had transcribed Gillespie’s solos for publication; in return for this and other favors, Gillespie added Paparelli’s name to the published music. “Night in Tu
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