Lucy Long - Musique
Lucy Long by Perry Bradford's Jazz Phools
Perry Bradford's Jazz Phools
Biographie de l'artiste pour Perry Bradford's Jazz Phools
Perry Bradford 14 February 1893 Montgomery Alabama – 20 April 1970 New York City Was An African American Composer Songwriter And Vaudeville Performer.
Perry Bradford Grew Up In Atlanta Where His Family Moved When He Was Six And In 1906 Started Working With Minstrel Shows. He Played In Chicago As A Solo Pianist As Early As 1909 And Visited New York City The Following Year.
Through Extensive Experience With Traveling Minstrel Shows And Theatre Companies Bradford Obtained Huge Exposure And Experience To African American Folksongs. A Huge Feat Of Bradford’s Was Severing The Walls Of Racial Prejudice That Kept African American Singers From Recording. He Is Too Often Unrecognized For This Accomplishment. Prior To Bradford’s Influence African American Artists Recorded In A Style That Was Closely Similar To Those Of White Dance Orchestras. There Was Little To No Trace Of African American Musical Characteristics Present In Their Recordings. Bradford Persevered In Getting The Recording Industry To Value Recordings Of African American Artists Recording In The Style Of Their Own Subculture.
As A Pianist Singer Dancer And Composer Bradford Worked In Theatre Circuits Throughout The South And Into The North For The Next Decade 1908–1919 In A Song And Dance Act Billed As "Bradford And Jeanette". While In New York City Bradford Convinced Fred Hager Of OKeh Records To Record Mamie Smith And Became Her Musical Director. Smith Starred In Bradford's Show Made In Harlem 1918 . Bradford Was Also Responsible For Smith Being The First African American Blues Singer To Appear On Record Singing His "Crazy Blues" In 1920. Bradford Claimed That His Revue “Made In Harlem ” Was The First Stage Production That Offered Blues Matter To The Large Northern Audience In Harlem. Bradford Was Able To Organize The First Recording Session “That Thing Called Love ” That Highlighted An African American Artist Accompanied By A White Studio Band Performing Material Specific To The African American Culture.
He Had Offices In The Gaiety Theatre Office Building In Times Square. Bradford Toured And Recorded With Smith Worked With Alberta Hunter And Also Headed Seven Recording Sessions Of His Own During 1923–1927. Among Bradford's Sidemen Were Johnny Dunn Bubber Miley Garvin Bushell Louis Armstrong On Two Numbers In 1925 Buster Bailey And James P. Johnson.
Bradford Continued To Promote Blues And Jazz Recordings By Publishing And Managing. Bradford’s Influence In The Recording Industry Was Negatively Affected By The Crash Of The Stock Market As Well As By Changes In The Character Of Jazz And African American Songs. He Was An Irregular Participant After The 1940s. With The Rise Of The Great Depression Bradford Slipped Away Into Obscurity. In Later Years He Appeared To Exaggerate His Role In Early Blues Possibly A Reaction To His Being Nearly Forgotten. In 1957 Little Richard Had A Hit With Bradford's "Keep A-Knockin'". In 1965 Bradford's Autobiography Born With The Blues Was Published New York Oak Publications With A Foreword By Noble Sissle. His Best-Known Songs Were "Crazy Blues" "That Thing Called Love" And "You Can't Keep A Good Man Down".
50 Titres similaires:
Jim Kweskin - Hannah Maggie Jones - Go Get 'Em Caroline Frootful - Ernie's Journey Cida Moreira - Angélica Cida Moreira - Beatriz Terry Callier - Cotton Eyed Joe Trixie Smith - Trixie Blues Alberta Hunter - Miss Anna Brown Mamie Smith - Lovin' Sam From Alabam Mamie Smith - Frankie Blues Louis Armstrong - Froggie Moore Etta James - Dance With Me, Henry Etta James - Hey! Henry Paul Beaudry - My Friend Vicki Lisa Ullén & Nina De Heney - Lye Helen Dune Doug Quattlebaum - Lizzie Lou The Manhattan Brothers - Marie Glauco Venier - Ruby's Arms Lemuel Turner - Jake Bottle Blues Paul Beaudry - Brother John Frère Jacques Mercy Baby - Mercy's Blues Jean-François Pauvros - Waiting For Alice The SideWinders - Mr Kenyatta Archie Shepp & Joachim Kühn - Nina Moutin Reunion Quartet - Soraya Nailah Porter - Uncle Coo' Jack Gozzozoo - Together With Miguel Brass Jaw - Siddhartha Carl Hancock Rux - Miguel Fred Kaz - Ameer The Auratones - Samba For Letty Flisch's Black Speed - Monique's Harmful Fantasies Clarence Penn - Grace-Ann Hugh Ragin - Hugh's Blues Herbert H Herbert - Odysseus Larry Schneider - Tom's Diner Vinny Golia - None That Are For Hugo Akiko Tsuruga - Portrait Of Jennie Adam Lane's Full Throttle Orchestra - Lucia John Hollenbeck - Burt And Ken Will Calhoun - Abu Bakr II David Torn - Bowling With Margo Pretty Monsters - Patricia Highsmith Igor Lumpert Trio - This Is For Billie Holiday Lee Brown - Ruby Moore Blues Papooz - Ulysses And The Sea Natsuki Tamura - A Song For Jyaki Michael Hurley - Sweet Lucy Kneebody - Lowell Wallace Roney - Michelle
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Biography - Perry Bradford's Jazz Phools
Perry Bradford 14 February 1893 Montgomery Alabama – 20 April 1970 New York City Was An African American Composer Songwriter And Vaudeville Performer.
Perry Bradford Grew Up In Atlanta Where His Family Moved When He Was Six And In 1906 Started Working With Minstrel Shows. He Played In Chicago As A Solo Pianist As Early As 1909 And Visited New York City The Following Year.
Through Extensive Experience With Traveling Minstrel Shows And Theatre Companies Bradford Obtained Huge Exposure And Experience To African American Folksongs. A Huge Feat Of Bradford’s Was Severing The Walls Of Racial Prejudice That Kept African American Singers From Recording. He Is Too Often Unrecognized For This Accomplishment. Prior To Bradford’s Influence African American Artists Recorded In A Style That Was Closely Similar To Those Of White Dance Orchestras. There Was Little To No Trace Of African American Musical Characteristics Present In Their Recordings. Bradford Persevered In Getting The Recording Industry To Value Recordings Of African American Artists Recording In The Style Of Their Own Subculture.
As A Pianist Singer Dancer And Composer Bradford Worked In Theatre Circuits Throughout The South And Into The North For The Next Decade 1908–1919 In A Song And Dance Act Billed As "Bradford And Jeanette". While In New York City Bradford Convinced Fred Hager Of OKeh Records To Record Mamie Smith And Became Her Musical Director. Smith Starred In Bradford's Show Made In Harlem 1918 . Bradford Was Also Responsible For Smith Being The First African American Blues Singer To Appear On Record Singing His "Crazy Blues" In 1920. Bradford Claimed That His Revue “Made In Harlem ” Was The First Stage Production That Offered Blues Matter To The Large Northern Audience In Harlem. Bradford Was Able To Organize The First Recording Session “That Thing Called Love ” That Highlighted An African American Artist Accompanied By A White Studio Band Performing Material Specific To The African American Culture.
He Had Offices In The Gaiety Theatre Office Building In Times Square. Bradford Toured And Recorded With Smith Worked With Alberta Hunter And Also Headed Seven Recording Sessions Of His Own During 1923–1927. Among Bradford's Sidemen Were Johnny Dunn Bubber Miley Garvin Bushell Louis Armstrong On Two Numbers In 1925 Buster Bailey And James P. Johnson.
Bradford Continued To Promote Blues And Jazz Recordings By Publishing And Managing. Bradford’s Influence In The Recording Industry Was Negatively Affected By The Crash Of The Stock Market As Well As By Changes In The Character Of Jazz And African American Songs. He Was An Irregular Participant After The 1940s. With The Rise Of The Great Depression Bradford Slipped Away Into Obscurity. In Later Years He Appeared To Exaggerate His Role In Early Blues Possibly A Reaction To His Being Nearly Forgotten. In 1957 Little Richard Had A Hit With Bradford's "Keep A-Knockin'". In 1965 Bradford's Autobiography Born With The Blues Was Published New York Oak Publications With A Foreword By Noble Sissle. His Best-Known Songs Were "Crazy Blues" "That Thing Called Love" And "You Can't Keep A Good Man Down". read less
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Perry Bradford Grew Up In Atlanta Where His Family Moved When He Was Six And In 1906 Started Working With Minstrel Shows. He Played In Chicago As A Solo Pianist As Early As 1909 And Visited New York City The Following Year.
Through Extensive Experience With Traveling Minstrel Shows And Theatre Companies Bradford Obtained Huge Exposure And Experience To African American Folksongs. A Huge Feat Of Bradford’s Was Severing The Walls Of Racial Prejudice That Kept African American Singers From Recording. He Is Too Often Unrecognized For This Accomplishment. Prior To Bradford’s Influence African American Artists Recorded In A Style That Was Closely Similar To Those Of White Dance Orchestras. There Was Little To No Trace Of African American Musical Characteristics Present In Their Recordings. Bradford Persevered In Getting The Recording Industry To Value Recordings Of African American Artists Recording In The Style Of Their Own Subculture.
As A Pianist Singer Dancer And Composer Bradford Worked In Theatre Circuits Throughout The South And Into The North For The Next Decade 1908–1919 In A Song And Dance Act Billed As "Bradford And Jeanette". While In New York City Bradford Convinced Fred Hager Of OKeh Records To Record Mamie Smith And Became Her Musical Director. Smith Starred In Bradford's Show Made In Harlem 1918 . Bradford Was Also Responsible For Smith Being The First African American Blues Singer To Appear On Record Singing His "Crazy Blues" In 1920. Bradford Claimed That His Revue “Made In Harlem ” Was The First Stage Production That Offered Blues Matter To The Large Northern Audience In Harlem. Bradford Was Able To Organize The First Recording Session “That Thing Called Love ” That Highlighted An African American Artist Accompanied By A White Studio Band Performing Material Specific To The African American Culture.
He Had Offices In The Gaiety Theatre Office Building In Times Square. Bradford Toured And Recorded With Smith Worked With Alberta Hunter And Also Headed Seven Recording Sessions Of His Own During 1923–1927. Among Bradford's Sidemen Were Johnny Dunn Bubber Miley Garvin Bushell Louis Armstrong On Two Numbers In 1925 Buster Bailey And James P. Johnson.
Bradford Continued To Promote Blues And Jazz Recordings By Publishing And Managing. Bradford’s Influence In The Recording Industry Was Negatively Affected By The Crash Of The Stock Market As Well As By Changes In The Character Of Jazz And African American Songs. He Was An Irregular Participant After The 1940s. With The Rise Of The Great Depression Bradford Slipped Away Into Obscurity. In Later Years He Appeared To Exaggerate His Role In Early Blues Possibly A Reaction To His Being Nearly Forgotten. In 1957 Little Richard Had A Hit With Bradford's "Keep A-Knockin'". In 1965 Bradford's Autobiography Born With The Blues Was Published New York Oak Publications With A Foreword By Noble Sissle. His Best-Known Songs Were "Crazy Blues" "That Thing Called Love" And "You Can't Keep A Good Man Down". read less
16 Artistes Similaires à Perry Bradford's Jazz Phools - Frogtoon Musique
Louise Vant Ma Rainey And Her Georgia Band Clarence Williams' Orchestra Bertha Henderson Jelly Roll Morton And His Orchestra Ida Cox Ethel Ridley Papa Charlie Jackson Louisiana Stompers Lovie Austin & Her Blues Serenaders Bill Haid & His Cubs Trixie Smith Jeanette James And Her Synco Jazzers The Midway Garden Orchestra Jimmy Blythe's Sinful Five Jimmy O'Bryant's Famous Original Washboard Band.