1926 magasin *PREMIER/SIGNÉ* Jazz par Paul Whiteman HCDJ *RARE*

Product Name: 1926 magasin *PREMIER/SIGNÉ* Jazz par Paul Whiteman HCDJ *RARE*
Jazz

Paul Whiteman; Mary Margaret McBride

Paul Samuel Whiteman (March 28, 1890 – December 29, 1967) was an American Jazz bandleader, composer, orchestral director, and violinist.

As the leader of one of the most magasin popular dance bands in the United States during the 1920s and early 1930s, Whiteman produced recordings that were immensely successful, and press notices often referred to him as the "King of Jazz". His most popular recordings include "Whispering", "Valencia", "Three OClock in the Morning", "In a Little Spanish Town", and "Parade of the Wooden Soldiers". Whiteman led a usually large ensemble and explored many styles of music, such as blending symphonic music and jazz, as in his debut of Rhapsody in Blue by George Gershwin.

Whiteman recorded many jazz and pop standards during his career, including "Wang Wang Blues", "Mississippi Mud", "Rhapsody in Blue", "Wonderful One", "Hot Lips (Hes Got Hot Lips When He Plays Jazz)", "Mississippi Suite", "Grand Canyon Suite", and "Travlin Light". He co-wrote the 1925 jazz classic "Flamin Mamie". His popularity faded in the swing music era of the mid-1930s, and by the 1940s he was semi-retired from music. He experienced a revival and had a comeback in the 1950s with his own network television series, Paul Whitemans Goodyear Revue, which ran for three seasons on ABC. He also hosted the 1954 ABC talent contest show On the Boardwalk with Paul Whiteman.

Whitemans place in the history of early jazz is somewhat controversial. Detractors suggest that his ornately orchestrated music was jazz in name only, lacking the genres improvisational and emotional depth, and co-opted the innovations of black musicians. Historians however note that Whitemans fondness for jazz was genuine. He worked with black musicians as much as was feasible during an era of racial segregation. His bands included many of the eras most esteemed white musicians, and his groups handled jazz admirably as part of a larger repertoire.

Critic Scott Yanow declares that Whitemans orchestra "did play very good jazz...His superior dance band used some of the most technically skilled musicians of the era in a versatile show that included everything from pop tunes and waltzes to semi-classical works and jazz. [...] Many of his recordings (particularly those with Bix Beiderbecke) have been reissued numerous times and are more rewarding than his detractors would lead one to believe."

In his autobiography, Duke Ellington declared, "Paul Whiteman was known as the King of Jazz, and no one as yet has come near carrying that title with more certainty and dignity."




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