By Michael Whorf
During this quantity, 39 of the mythical composers from Tin Pan Alley, Hollywood and Broadway of the Nineteen Twenties during the Fifties speak about their careers and percentage the tales of making a few of the such a lot cherished songs in American tune. Interviewed for radio within the mid-1970s, they contain such giants as Harold Arlen, Eubie Blake, Cy Coleman, George Duning, Sammy Fain, Jerry Herman, Bronislaw Kaper, Henry Mancini, David Rose, Arthur Schwartz, Charles Strouse, Jule Styne, Jimmie Van Heusen, Harry Warren, Richard Whiting, and Meredith Willson. pictures and infrequent sheet track reproductions accompany the interviews.
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Additional info for American Popular Song Composers: Oral Histories, 1920s–1950s
I never studied harmony or composing, although I had gone to the New England Conservatory and took my lessons every week. I was a fast reader, but back then I was only interested in the piano. I had a ﬁne teacher, and he challenged me a lot. It was a worthwhile experience. I guess you could say that my approach was somewhat unconventional. But I had to make a living and I really couldn’t stay in school. , “Metropolitan Nocturne,” “Side Street in Gotham,” “American Serenade” and “Jewels from Cartier” suite.
They became what a pop writer would never have 39 40 American Popular Song Composers predicted, a standard. Rube Bloom always seemed to remain focused, to the point that one of his characteristics may have been detrimental. He marched to his own drummer. Rube was a self-taught pianist who had an instinctive ability when it came to playing. It was rather surprising that he wrote beautiful and intricate instrumental pieces. He led his own band, The Bayou Boys, and performed with the great instrumentalists of his era.
He drank an awful lot. Oh, my word! A lot of musicians in those days were aping other musicians, you know, running with the big boys. I drank, in my limited way, to keep up with them, except Bix was a ‘real McCoy’ drinker. Yet, he was so genuine. He died when he was 28.