Watch The Paul Whiteman's Goodyear Revue (1. Free streaming. Streaming resources for this Music TV Show. Those are web search results for . We are not affiliate with any of these websites. If some of the links harm copyright laws please see our DMCA and Copyright page. Paul Whiteman's Goodyear Revue. He also hosted Paul Whiteman's TV Teen Club from Philadelphia on ABC.Paul Whiteman - Wikipedia. Paul Whiteman. Whiteman, c. Background information. Birth name. Paul Samuel Whiteman. Also known as. The King of Jazz (honorific)Born(1. March 2. 8, 1. 89.
Denver, Colorado, U. S. Died. December 2. Doylestown, Pennsylvania, U. S. Genres. Jazz. Occupation(s)Bandleader, composer. Instruments. Violin. Associated acts. Bix Beiderbecke, Frankie Trumbauer, Joe Venuti, Eddie Lang. Whiteman and his orchestra, 1. Known in his day as 'The King of Jazz' and the inventor of 'symphonic jazz', the majority of Whiteman's discs are not strictly speaking jazz, but range. Paul Samuel Whiteman (March 2. Using a large ensemble and exploring many styles of music, Whiteman is perhaps best known for his blending of symphonic music and jazz, as typified by his 1. George Gershwin's jazz- influenced . Later, Whiteman's work on Symphonic Jazz influenced many jazz musicians - directly or indirectly - as diverse as Miles Davis, Gil Evans, the Modern Jazz Quartet, Wynton Marsalis and other modern artists. He also co- wrote the 1. His popularity faded in the swing music era of the middle 1. Whiteman was semi- retired from music. But he experienced a revival and had a comeback in the 1. ABC, Paul Whiteman's Goodyear Revue, which ran for three seasons. He also hosted the 1. ABC talent contest show On the Boardwalk with Paul Whiteman. Whiteman's place in the history of early jazz is somewhat controversial. He came from a musical family: his mother Elfrida was a former opera singer, and his father, Wilburforce James Whiteman. But young Paul preferred the viola, and that was what he learned to play. From 1. 91. 7 to 1. Whiteman conducted a 4. U. S. After the war, he formed the Paul Whiteman Orchestra. In 1. 92. 0 he moved with his band to New York City where they started recording for the Victor Talking Machine Company which made the Paul Whiteman Orchestra famous nationally. In a time when most dance bands consisted of six to ten men, Whiteman directed a much larger and more imposing group of up to 3. By 1. 92. 2, Whiteman already controlled some 2. East Coast and was earning over a $1,0. He would remain with Victor until March 1. In the early 1. 96. Whiteman played in Las Vegas before retiring. While most jazz musicians and fans consider improvisation to be essential to the musical style, Whiteman thought the genre could be improved by orchestrating the best of it, with formal written arrangements. There were musicians, such as Eddie Condon, who criticized Whiteman for being a bad influence on the music due to his attempts to . In 1. 92. 4 Whiteman commissioned George Gershwin's Rhapsody in Blue, which was premiered by Whiteman's orchestra with George Gershwin at the piano. Another familiar piece in Whiteman's repertoire was Grand Canyon Suite, by Ferde Grof. He also encouraged upcoming African American musical talents and initially planned to hire black musicians, but Whiteman's management eventually persuaded him that doing so would be career suicide due to racial tension and America's segregation of that time. Whiteman billed the singing trio as The Rhythm Boys. Crosby's prominence in the Rhythm Boys helped launch his career as one of the most successful singers of the 2. Paul Robeson (1. 92. Billie Holiday (1. Paul Whiteman Orchestra. Whiteman had 2. 8 number one records during the 1. At the height of his popularity, eight out of the top ten sheet music sales slots were by the Paul Whiteman Orchestra. She first recorded with the Whiteman Orchestra in 1. Jazz musician and leader of the Mound City Blue Blowers Red Mc. Kenzie and cabaret singer Ramona Davies (billed as . The King's Jesters were also with Paul Whiteman in 1. In 1. 93. 3 Whiteman had a #2 hit on the Billboard charts with Ann Ronell's . From 1. 92. 0 to 1. Whiteman had 3. 2 #1 recordings, charting 2. By contrast, during the same period, the 1. Jazz Age, Louis Armstrong had none. In 1. 94. 2 Whiteman began recording for Capitol Records, cofounded by songwriters Buddy De. Sylva and Johnny Mercer and music store owner Glenn Wallichs. Whiteman and His Orchestra's recordings of . He had a son, Paul Whiteman, Jr., with Mildred Vanderhoff. In 1. 93. 1 Whiteman married motion picture actress Margaret Livingston following his divorce from Vanderhoff that same year. They had three daughters, Margo, Julie, and Jan. The marriage to Livingston lasted until his death. After selling the farm to agriculturalist Lloyd Wescott, Whiteman moved to New Hope, Pennsylvania, for his remaining years. The film was technically ahead of its time, with many innovative visual effects complementing the musical numbers. Whiteman appeared as himself and good- naturedly kidded his weight and his dancing skills. A highlight was a concert rendition of Rhapsody in Blue. Unfortunately, production delays precluded the completion and release of the film in 1. By the time King of Jazz reached theaters in the spring of 1. It did not help that the film was shot as a revue with no story, a form which had fallen into particular disfavor. The expensive film did not show a profit until 1. Street and its elaborate production numbers. In 2. 01. 3 the film was selected for preservation in the United States National Film Registry by the Library of Congress as being . Whiteman also appeared as the baby in Nertz (1. Thanks a Million (1. Strike Up the Band (1. Paramount Pictures short The Lambertville Story (1. Radio and TV. On January 4, 1. Whiteman and his troupe starred in a nationwide NBC radio broadcast sponsored by Dodge Brothers Automobile Co. Will Rogers acted as MC and joined the program from the West Coast with Al Jolson coming in from New Orleans. United Artists Pictures arranged for additional loudspeakers to be installed in their theatres so that audiences could hear the stars they had only seen in silent pictures previously. The New York Herald Tribune commented: . Paul Whiteman's share in the pretentious program, only the best can be said. Whiteman's orchestra is seldom heard on the radio, and its frequent broadcasts are the subject of major jubilations, despite the presence of tenors and vocal harmonists in most of the Whiteman renditions. The Whiteman Hour had its first broadcast on February 5, 1. May 6, 1. 93. 0. 3. Tuesdays at 8, then Fridays at 1. Allied Paints (1. Pontiac (1. 93. 2). July 8, 1. 93. 2 . Fridays at 1. 0, then Mondays at 9: 3. Pontiac (to Sept.), then Buick. June 2. 6, 1. 93. The Kraft Music Hall, often with Al Jolson. Jan. 2. 7, 1. 93. Blue Network. Sundays variously at 9, 9: 1. Paul Whiteman's Musical Varieties. With Bob Lawrence, Johnny Hauser, Morton Downey, Durelle Alexander, songs by the King's Men, and announcer Roy Bargy. The show featured a children's amateur contest. Near the end of the run Whiteman introduced comedian Judy Canova, who inherited timeslot and sponsor in the Woodbury Rippling Rhythm Revue. Dec. Fridays at 8: 3. Chesterfield Time, with Joan Edwards, Deems Taylor (musical commentary) and announcer Paul Douglas. Whiteman took over the slot vacated by Hal Kemp and two years later vacated it for the sensational new Glenn Miller orchestra. Nov. 3. 0m, Thursdays at 9: 3. June 6. Paul Whiteman Presents. Summer substitute for Edgar Bergen. Chase and Sanborn. Dec. Paul Whiteman's Radio Hall of Fame. Blue Network, 3. 0m, Tuesdays at 1. Music of current American composers. Jan. The Paul Whiteman Hour. The Paul Whiteman Program, various days and times. June 3. 0, 1. 94. The Paul Whiteman Record Program. Mondays at 8, then at 9 after Oct. On Stage America, for the National Guard. Whiteman's orchestra with John Slagle, George Fenneman, etc. Producer: Roland Martini. Writer: Ira Marion. June 2. 7. Paul Whiteman Presents. Oct. Paul Whiteman's Teen Club. An amateur hour with the accent on youth. Feb. Thursdays at 9 until July, then Wednesdays at 9: 3. Paul Whiteman Varieties. He also hosted Paul Whiteman's TV Teen Club from Philadelphia on ABC- TV from 1. The show was seen for an hour the first two years, then as a half- hour segment on Saturday evenings. In 1. 95. 2 a young Dick Clark read the commercials for sponsor Tootsie Roll. His manner on stage was disarming; he signed off each program with something casual like, . War Department in October, 1. The Paul Whiteman Orchestra introduced many jazz standards in the 1. The songwriting credit is assigned as music composed by Paul Whiteman, Ferde Grofe, and Marshall Neilan, with lyrics by Dorothy Terriss. The single reached #3 on Billboard in May 1. Jan Garber and His Orchestra, and Ira Sullivan with Tony Castellano also recorded the song. Henry Burr recorded it in 1. Glenn Miller and his Orchestra in 1. On the sheet music published in 1. Leo Feist it is described as a . Whiteman recorded the song on December 2. New York with Franklyn Baur on vocals and released it as Victor 1. B backed with . The single reached #7 on the Billboard national pop singles charts in April 1. The song is described as . Singer and composer Morton Downey, Sr., the father of the talk show host, recorded the song in 1. Brunswick 2. 88. 7. Eva Shirley sang the song in Ed Wynn's Grab Bag, a Broadway musical which opened in 1. Globe. Leo Feist published the sheet music for the Shirley version in 1. Eva Shirley on the cover. The 1. 92. 4 song . Vincent Lopez and His Hotel Pennsylvania Orchestra released the song as an Okeh 7. Eldon's Dance Orchestra also released the song as a 7. Homochord as C- 8. Ben Selvin's Do (Bar Harbor) Orchestra and the Tuxedo Orchestra also released the song as a 7. Pathe. The lyrics describe Mamie as a Roaring Twenties vamp: . The song was released as Victor 1. Ben Selvin's Dance Orchestra and Bennie Krueger and His Orchestra also recorded the song in 1. Paul Whiteman composed the piano work . Crawford played the instrumental on a Wurlitzer organ. The recording was also released in the UK on His Master's Voice (HMV) as B2. In Louis Armstrong & Paul Whiteman: Two Kings of Jazz (2. Joshua Berrett wrote that . Lyricist Jo Trent is the co- author. The Fletcher Henderson Orchestra first recorded . The Fletcher Henderson recording lists the songwriters as .
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