ContentsArticles

Jazz fusion 1Body and Soul (1930 song) 10Hello, Young Lovers (song) 13Rodgers and Hammerstein 14Baby I Love You (Aretha Franklin song) 20Aretha Franklin 22Johnny Mercer 32Ivan Lins 42Esperanza Spalding 45Esperanza (Esperanza Spalding album) 55Angela Bofill 57Feel Like Makin' Love (Roberta Flack song) 61Roberta Flack 64Chrisette Michele 69

ReferencesArticle Sources and Contributors 73Image Sources, Licenses and Contributors 76

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Jazz fusion 1

Jazz fusion

Jazz fusionStylistic origins Jazz, free jazz, post-bop, blues rock, psychedelic rock, funk, 20th-century classical

Cultural origins Late 1960s, United States

Typical instruments Electric guitar, piano, electric piano, drums, saxophone, trumpet, electronic keyboards, bass guitar, vocals

Derivative forms Smooth jazz, acid jazz, progressive rock, krautrock

Other topics

List of jazz fusion artists

Trumpeter Miles Davis in 1989

Jazz fusion, fusion, or jazz-rock arevariants of a musical fusion genre thatdeveloped from mixing funk and R&Brhythms and the amplification and electroniceffects of rock music, complex timesignatures derived from non-Western musicand extended, typically instrumentalcompositions with a jazz approach tolengthy group improvisations, often usingwind and brass and displaying a high levelof instrumental technique. It was createdaround the late 1960s.The term "jazz rock"is often used as a synonym for "jazz fusion"as well as for music performed by late 1960sand 1970s-era rock bands that added jazzelements to their music.

After a decade of popularity during the 1970s, fusion expanded its improvisatory and experimental approachesthrough the 1980s and 1990s. Fusion albums, even those that are made by the same group or artist, may include avariety of styles. Rather than being a codified musical style, fusion can be viewed as a musical tradition or approach.

History

1960sAllmusic Guide states that "until around 1967, the worlds of jazz and rock were nearly completely separate". Whilein the USA modern jazz and electric R&B may have represented opposite poles of blues-based Afro-Americanmusic, however, the British pop music of the beat boom developed out of the skiffle and R&B championed bywell-known jazzmen such as Chris Barber. Many UK pop musicians were steeped in jazz, though the word "rock"itself was barely used before the late 1960s except to refer to 1950s rock and roll. The prominent fusion guitaristJohn McLaughlin, for example, had played what Allmusic describes as a "blend of jazz and American R&B" withGeorgie Fame and the Blue Flames[1] as early as 1962 and continued with The Graham Bond Organisation (withJack Bruce and Ginger Baker) whose style Allmusic calls "rhythm & blues with a strong jazzy flavor".[2] Bondhimself had begun playing straight jazz with Don Rendell while Manfred Mann, who recorded a CannonballAdderley tune on their first album, when joined by Bruce turned out the 1966 EP record Instrumental Asylum, whichundoubtedly fused jazz and rock.[3]

Jazz fusion 2

These developments, though, made little overt impression in the USA. Hence music critic Piero Scaruffi argues that"credit for "inventing" jazz-rock goes to Indiana-born jazz vibraphonist Gary Burton, who "began to experiment withrock rhythms on The Time Machine (1966)". Burton recorded what Scaruffi calls "the first jazz-rock album, Duster"in 1967, with guitarist Larry Coryell.[4] Scaruffi argues that Coryell is "another candidate to inventor of jazz-rock",in that the Texas-born guitarist released the jazz-rock recording Out of Sight And Sound in 1966.[5]

Trumpeter and composer Miles Davis had a major influence on the development of jazz fusion with his 1968 albumentitled Miles in the Sky. It is the first of Davis' albums to incorporate electric instruments, with Herbie Hancock andRon Carter playing electric piano and bass guitar, respectively. Davis furthered his explorations into the use ofelectric instruments on another 1968 album, Filles de Kilimanjaro, with pianist Chick Corea and bassist DaveHolland.In 1969 Davis fully introduced the electric instrument approach to jazz with In a Silent Way, which can beconsidered Davis's first fusion album. Composed of two side-long suites edited heavily by producer Teo Macero, thisquiet, static album would be equally influential upon the development of ambient music. It featured contributionsfrom musicians who would all go on to spread the fusion evangel with their own groups in the 1970s: Shorter,Hancock, Corea, pianist Josef Zawinul, John McLaughlin, Holland, and Williams. Williams quit Davis to form thegroup The Tony Williams Lifetime with McLaughlin and organist Larry Young. Their debut record of that yearEmergency! is also cited as one of the early acclaimed fusion albums.

Jazz-rock

The term, "jazz-rock" (or "jazz/rock") is often used as a synonym for the term "jazz fusion". However, some make adistinction between the two terms. The Free Spirits have sometimes been cited as the earliest jazz-rock band.[6]

During the late 1960s, at the same time that jazz musicians were experimenting with rock rhythms and electricinstruments, rock groups such as Cream and the Grateful Dead were "beginning to incorporate elements of jazz intotheir music" by "experimenting with extended free-form improvisation". Other "groups such as Blood, Sweat &Tears directly borrowed harmonic, melodic, rhythmic and instrumentational elements from the jazz tradition".[7]

Scaruffi notes that the rock groups that drew on jazz ideas (he lists Soft Machine, Colosseum, Caravan, Nucleus,Chicago, and Frank Zappa) turned the blend of the two styles "upside down: instead of focusing on sound, rockersfocused on dynamics" that could be obtained with amplified electric instruments. Scaruffi contrasts "Davis' fusionjazz [which] was slick, smooth and elegant, while "progressive-rock" was typically convoluted and abrasive." FrankZappa released the solo album Hot Rats (1969).[8][9] and had a major jazz influence mainly consisting on longinstrumental pieces[10] and later he also released two LPs in 1972 which were very jazz-oriented called "The GrandWazoo" and "Waka/Jawaka". Prolific jazz artists such as George Duke and Aynsley Dunbar played on these LPs.Allmusic states that the term jazz-rock "may refer to the loudest, wildest, most electrified fusion bands from the jazzcamp, but most often it describes performers coming from the rock side of the equation." The guide states that"jazz-rock first emerged during the late '60s as an attempt to fuse the visceral power of rock with the musicalcomplexity and improvisational fireworks of jazz. Since rock often emphasized directness and simplicity overvirtuosity, jazz-rock generally grew out of the most artistically ambitious rock subgenres of the late '60s and early'70s: psychedelia, progressive rock, and the singer/songwriter movement."Allmusic lists the following jazz-rock categories: Singer-songwriter jazz-rock (Joni Mitchell, Van Morrison, Tim Buckley) Jam- and improvisation-oriented rock groups (Traffic, Santana, Cream), Jazz-flavored R&B or pop songs with less improvisation (Blood, Sweat & Tears, Chicago, Steely Dan) Groups with "quirky, challenging, unpredictable compositions" (Frank Zappa, Soft Machine, Hatfield and the

North)

Jazz fusion 3

1970s

Trumpeter Miles Davis performing inRio de Janeiro in 1984

Davis' Bitches Brew sessions, recorded in August 1969 and released thefollowing year, mostly abandoned jazz's usual swing beat in favor of arock-style backbeat anchored by electric bass grooves. The recording"...mixed free jazz blowing by a large ensemble with electronic keyboardsand guitar, plus a dense mix of percussion."[11] Davis also drew on the rockinfluence by playing his trumpet through electronic effects and pedals. Whilethe album gave Davis a gold record, the use of electric instruments and rockbeats created a great deal of consternation amongst some more conservativejazz critics.

Davis also proved to be an able talent-spotter; much of 1970s fusion wasperformed by bands started by alumni from Davis' ensembles, including TheTony Williams Lifetime, Weather Report, The Mahavishnu Orchestra, Returnto Forever, and Herbie Hancock's funk-infused Headhunters band. In additionto Davis and the musicians who worked with him, additional importantfigures in early fusion were Larry Coryell and Billy Cobham with his albumSpectrum. Herbie Hancock first continued the path of Miles Davis with hisexperimental fusion albums, such as Crossings in 1972, but soon after that hebecame an important developer of "jazz-funk" with his seminal albums HeadHunters 1973 and Thrust in 1974. Later in the 1970s and early 1980sHancock took a more commercial approach. Hancock was one of the first jazz musicians to use synthesizers.

Weather Report began as an experimental group, but eventuallygarnered a huge following

At its inception, Weather Report was an avant-gardeexperimental jazz group, following in the steps of In ASilent Way. The band received considerable attentionfor its early albums and live performances, whichfeatured pieces that might last up to 30minutes. Theband later introduced a more commercial sound, whichcan be heard in Joe Zawinul's hit song "Birdland".Weather Report's albums were also influenced bydifferent styles of Latin, African, and European music,offering an early world music fusion variation. Jaco

Pastorius, an innovative fretless electric bass player, joined the group in 1976 on the album Black Market, wasco-producer (with Zawinul) on 1977's Heavy Weather, and is prominently featured on the 1979 live recording 8:30.Heavy Weather is the top-selling album of the genre.

In England, the jazz fusion movement was headed by Nucleus, led by Ian Carr, and whose key players Karl Jenkinsand John Marshall both later joined the seminal jazz rock band Soft Machine, leaders of what became known as theCanterbury scene. Their best-selling recording, Third (1970), was a double album featuring one track per side in thestyle of the aforementioned recordings of Miles Davis. A prominent English band in the jazz-rock style of Blood,Sweat & Tears and Chicago was If, who released a total of seven records in the 1970s.

Jazz fusion 4

Fusion band Return to Forever in 1976

Chick Corea formed his band Return to Forever in1972. The band started with Latin-influenced music(including Brazilians Flora Purim as vocalist and AirtoMoreira on percussion), but was transformed in 1973 tobecome a jazz-rock group that took influences fromboth psychedelic and progressive rock. The newdrummer was Lenny White, who had also played withMiles Davis. Return to Forever's songs weredistinctively melodic due to the Corea's composingstyle and the bass playing style of Stanley Clarke, whois often regarded with Pastorius as the most influentialelectric bassists of the 1970s. Guitarist Bill Connorsjoined Corea's band in 1973, recording Hymn of theSeventh Galaxy. Connors describes his sound as a mix of Clapton and Coltrane.

Guitarist Al Di Meola, who started his career with Return to Forever in 1974, soon became an important fusionguitarist. John McLaughlin formed a fusion band, the Mahavishnu Orchestra, with drummer Billy Cobham, violinistJerry Goodman, bassist Rick Laird and keyboardist Jan Hammer. The band released their first album, The InnerMounting Flame, in 1971. Hammer pioneered the use of the Minimoog synthesizer with distortion effects and, withhis mastery of the pitch bend wheel, made it sound very much like an electric guitar. The sound of the MahavishnuOrchestra was influenced by both psychedelic rock and classical Indian sounds

French jazz violinist Jean-Luc Ponty performed onboth acoustic violin and on amplified, electronic

effect-modified electric violins

The band's first lineup split after two studio and one live albums,but McLaughlin formed another group under same name whichincluded Jean-Luc Ponty, a jazz violinist, who also made a numberof important fusion recordings under his own name as well as withFrank Zappa, drummer Narada Michael Walden, keyboardistGayle Moran, and bassist Ralph Armstrong. McLaughlin alsoworked with Latin-rock guitarist Carlos Santana in the early1970s.

Initially Santana's San Francisco-based band blended Latin salsa,rock, blues, and jazz, featuring Santana's clean guitar lines setagainst Latin instrumentation such as timbales and congas. But intheir second incarnation, heavy fusion influences had become

central to the 19731976 Santana band. These can be clearly heard in Santana's use of extended improvised solosand in the harmonic voicings of Tom Coster's keyboard playing on some of the groups' mid-1970s recordings. In1973 Santana recorded a nearly two-hour live album of mostly instrumental, jazz-fusion music, Lotus, which wasonly released in Europe and Japan for more than twenty years.

Other influential musicians that emerged from the fusion movement during the 1970s include fusion guitarist Larry Coryell with his band The Eleventh House, and electric guitarist Pat Metheny. The Pat Metheny Group, which was founded in 1977, made both the jazz and pop charts with their second album, American Garage (1980). Although jazz performers criticized the fusion movement's use of rock styles and electric and electronic instruments, even seasoned jazz veterans like Buddy Rich, Maynard Ferguson and Dexter Gordon eventually modified their music to include fusion elements. The influence of jazz fusion did not only affect the US and Europe. The genre was very influential in Japan in the late 1970s, eventually leading to the formation of Casiopea and T-Square. T-Square's song Truth would later become the theme for Japan's Formula One racing events. The late 70's saw the emergence of the Steve Morse led fusion band, The Dixie Dregs. This band was notable for being the first band to equally fuse the sounds of rock, jazz, country, funk, classical, bluegrass and Celtic into a type of unified whole, distinguishing them

Jazz fusion 5

from all other fusion acts of the 1970s.

1980s

Smooth jazz

By the early 1980s, much of the original fusion genre was subsumed into other branches of jazz and rock, especiallysmooth jazz, a sub-genre of jazz which is influenced stylistically by R&B, funk and pop. Smooth jazz can be tracedto at least the late 1960s. Producer Creed Taylor worked with guitarist Wes Montgomery on three popular records.Taylor founded CTI Records. Many established jazz performers recorded for CTI (including Freddie Hubbard, ChetBaker, George Benson and Stanley Turrentine). The records recorded under Taylor's guidance were typically aimedas much at pop audiences as at jazz fans.In the mid- to late-1970s, smooth jazz became established as a commercially viable genre. It was pioneered by suchartists as Lee Ritenour, Larry Carlton, Grover Washington, Jr., Spyro Gyra (with songs such as "Morning Dance"),George Benson, Chuck Mangione, Srgio Mendes, David Sanborn, Tom Scott, Dave and Don Grusin, Bob Jamesand Joe Sample.

David Sanborn had a string of crossover hitsin the 1980s.

The merging of jazz and pop/rock music took a more commercial directionin the late 1970s and early 1980s, in the form of compositions with a softersound palette that could fit comfortably in a soft rock radio playlist. TheAllmusic guide's article on Fusion states that "unfortunately, as it became amoney-maker and as rock declined artistically from the mid-'70s on, muchof what was labeled fusion was actually a combination of jazz witheasy-listening pop music and lightweight R&B."[12]

Artists such as Al Jarreau, Kenny G, Ritenour, James and Sanborn amongothers were leading purveyors of this pop-oriented mixture (also known as"west coast" or "AOR fusion"). This genre is most frequently called"smooth jazz" and is not considered "True Fusion" among the listeners ofboth mainstream jazz and jazz fusion, who find it to rarely contain theimprovisational qualities that originally surfaced in jazz decades earlier,deferring to a more commercially viable sound more widely enabled forcommercial radio airplay in the United States.

Music critic Piero Scaruffi has called pop-fusion music "...mellow, bland,romantic music" made by "mediocre musicians" and "derivative bands."Scaruffi criticized some of the albums of Michael and Randy Brecker as "trivial dance music" and stated that altosaxophonist David Sanborn recorded "[t]rivial collections" of "...catchy and danceable pseudo-jazz".[13] Kenny G inparticular is often criticized by both fusion and jazz fans, and some musicians, while having become a hugecommercial success. Music reviewer George Graham argues that the so-called smooth jazz sound of people likeKenny G has none of the fire and creativity that marked the best of the fusion scene during its heyday in the1970s.[14]

Other styles

Although the meaning of "fusion" became confused with the advent of "smooth jazz", a number of groups helped torevive the jazz fusion genre beginning in the mid-to-late 1980s. In the 1980s, a critic argued that "...the promise offusion went unfulfilled to an extent, although it continued to exist in groups such as Tribal Tech and Chick Corea'sElektric Band". Many of the most well-known fusion artists were members of earlier jazz fusion groups, and some ofthe fusion "giants" of the 1970s kept working in the genre.

Jazz fusion 6

Miles Davis continued his career after having a lengthy break in the late 1970s. He recorded and performed fusionthroughout the 1980s with new young musicians and continued to ignore criticism from fans of his older mainstreamjazz. While Davis' works of the 1980s remain controversial, his recordings from that period have the respect of manyfusion and other listeners. In 1985 Chick Corea formed a new fusion band called the Chick Corea Elektric Band,featuring young musicians such as drummer Dave Weckl and bassist John Patitucci, as well as guitarist FrankGambale and saxophonist Eric Marienthal.

1990s2000sJoe Zawinul's fusion band, The Zawinul Syndicate, began adding more elements of world music during the 1990s.One of the notable bands that became prominent in the early 1990s is Tribal Tech, led by guitarist Scott Hendersonand bassist Gary Willis. Henderson was a member of both Corea's and Zawinul's ensembles in the late 1980s whileputting together his own group. Tribal Tech's most common lineup also includes keyboardist Scott Kinsey anddrummer Kirk Covington Willis and Kinsey have both recorded solo fusion projects. Henderson has also beenfeatured on fusion projects by drummer Steve Smith of Vital Information which also include bassist Victor Wootenof the eclectic Bela Fleck and the Flecktones, recording under the banner Vital Tech Tones.Allan Holdsworth is a guitarist who performs in jazz, fusion, and rock styles. Other guitarists such as Eddie VanHalen, Steve Vai and Yngwie Malmsteen have praised his fusion playing. He often used a SynthAxe guitarsynthesizer in his recordings of the late 1980s, which he credits for expanding his composing and playing options.Holdsworth has continued to release fusion recordings and tour worldwide. Another former Soft Machine guitarist,Andy Summers of The Police, released several fusion albums in the early 1990s.Guitarists John Scofield and Bill Frisell have both made fusion recordings over the past two decades while alsoexploring other musical styles. Scofield's Pick Hits Live and Still Warm are fusion examples, while Frisell hasmaintained a unique approach in drawing heavy influences from traditional music of the United States. Japanesefusion guitarist Kazumi Watanabe released numerous fusion albums throughout 1980s and 1990s, highlighted by hisworks such as Mobo Splash and Spice of Life.Brett Garsed and T. J. Helmerich are also watched as prominent fusion guitar players, having released severalalbums together since the beginning of the 1990s (Quid Pro Quo (1992), Exempt (1994), Under the Lash of Gravity(1999), Uncle Moe's Space Ranch (2001), Moe's Town (2007)) and collaborating in many other projects or releasingsolo albums (Brett Garsed Big Sky) all them falling in the genre.The saxophonist Bob Berg, who originally came to prominence as a member of Miles Davis's bands, recorded anumber of fusion albums with fellow Miles band member and guitarist Mike Stern. Stern continues to play fusionregularly in New York City and worldwide. They often teamed with the world-renowned drummer DennisChambers, who has also recorded his own fusion albums. Chambers is also a member of CAB, led by bassist BunnyBrunel and featuring the guitar and keyboard of Tony MacAlpine. CAB 2 garnered a Grammy nomination in 2002.MacAlpine has also served as guitarist of the metal fusion group Planet X, featuring keyboardist Derek Sherinianand drummer Virgil Donati. Another former member of Miles Davis's bands of the 1980s that has released a numberof fusion recordings is saxophonist Bill Evans, highlighted by 1992's Petite Blonde.

Jazz fusion 7

Fusion guitarist Pat Metheny

Fusion shred guitar player, and session musician Greg Howe hasreleased solo albums such as Introspection (1993), UncertainTerms (1994), Parallax (1995), Five (1996), Ascend (1999),Hyperacuity (2000), Extraction (2003) with electric bassist VictorWooten and drummer Dennis Chambers, and Sound Proof (2008).Howe combines elements of rock, blues and Latin music with jazzinfluences using a technical, yet melodic guitar style.

Drummer Jack DeJohnette's Parallel Realities band featuringfellow Miles's alumni Dave Holland and Herbie Hancock, alongwith Pat Metheny, recorded and toured in 1990, highlighted by aDVD of a live performance at the Mellon Jazz Festival inPhiladelphia. Jazz bassist Christian McBride released two fusionrecordings drawing from the jazz-funk idiom in Sci-Fi (2000) and Vertical Vision (2003). Other significant recentfusion releases have come from keyboardist Mitchel Forman and his band Metro, former Mahavishnu bassist JonasHellborg with the late guitar virtuoso Shawn Lane, and keyboardist Tom Coster, and Marbin with their unique blendof jazz, rock, blues, gospel, and Israeli folk music.

Influence on rock musicAccording to bassist/singer Randy Jackson, jazz fusion is an exceedingly difficult genre to play; "I [...] picked jazzfusion because I was trying to become the ultimate technical musician-able to play anything. Jazz fusion to me is thehardest music to play. You have to be so proficient on your instrument. Playing five tempos at the same time, forinstance. I wanted to try the toughest music because I knew if I could do that, I could do anything."[15]

Jazz-rock fusion's technically challenging guitar solos, bass solos and odd metered, syncopated drumming started tobe incorporated in the technically focused progressive metal genre in the early 1990s. Progressive rock, with itsaffinity for long solos, diverse influences, non-standard time signatures, complex music and changing line-ups hadvery similar musical values as jazz fusion. Some prominent examples of progressive rock mixed with elements offusion is the music of Gong, Ozric Tentacles and Emerson, Lake & Palmer.The death metal band Atheist produced albums Unquestionable Presence in 1991 and Elements in 1993 containingheavily syncopated drumming, changing time signatures, instrumental parts, acoustic interludes, and Latin rhythms.Meshuggah first attracted international attention with the 1995 release Destroy Erase Improve for its fusion offast-tempo death metal, thrash metal and progressive metal with jazz fusion elements. Cynic recorded a complex,unorthodox form of jazz-fusion-influenced experimental death metal with their 1993 album Focus. In 1997, G.I.T.guitarist Jennifer Batten under the name of Jennifer Batten's Tribal Rage: Momentum released Momentum aninstrumental hybrid of rock, fusion and exotic sounds.Another, more cerebral, all-instrumental progressive jazz fusion-metal band Planet X released Universe in 2000 withTony MacAlpine, Derek Sherinian (ex-Dream Theater) and Virgil Donati (who has played with Scott Hendersonfrom Tribal Tech). The band blends fusion-style guitar solos and syncopated odd-metered drumming with theheaviness of metal. Tech-prog-fusion metal band Aghora formed in 1995 and released their first album, self-titledAghora, recorded in 1999 with Sean Malone and Sean Reinert, both former members of Cynic. Gordian Knot,another Cynic-linked experimental progressive metal band released its debut album in 1999 which explored a rangeof styles from jazz-fusion to metal. The Mars Volta is extremely influenced by jazz fusion, using progressive,unexpected turns in the drum patterns and instrumental lines. The style of Uzbek prog band FromUz is described as"prog fusion". In lengthy instrumental jams, the band transitions from fusion of rock and ambient world music tojazz and progressive hard rock tones.[16]

Jazz fusion 8

Influential recordingsThis section lists a few of the jazz fusion artists and albums that are considered to be influential by prominent jazzfusion critics, reviewers, journalists, or music historians.Albums from the late 1960s and early 1970s include Miles Davis' ambient-sounding In a Silent Way (1969) and hisrock-infused Bitches Brew (1970). Davis' A Tribute to Jack Johnson (1971) has been cited as "the purest electric jazzrecord ever made" and "one of the most remarkable jazz-rock discs of the era".[17][18] His controversial album On theCorner (1972) has been viewed as a strong forerunner of the musical techniques of post punk, hip hop, drum andbass, and electronic music. Throughout the 1970s, Weather Report released albums ranging from its 1971 self-titleddisc Weather Report (1971) (which continued the style of Miles Davis album Bitches Brew) to 1979's 8:30. ChickCorea's Latin-oriented fusion band Return to Forever released influential albums such as 1973's Light as a Feather.In that same year, Herbie Hancock's Head Hunters infused jazz-rock fusion with a heavy dose of Sly and the FamilyStone-style funk. Virtuoso performer-composers played an important role in the 1970s. In 1976, fretless bassist JacoPastorius released Jaco Pastorius; electric and double bass player Stanley Clarke released School Days; andkeyboardist Chick Corea released his Latin-infused My Spanish Heart, which received a five star review from DownBeat magazine.In the 1980s, Chick Corea produced well-regarded albums, including Chick Corea Elektric Band (1986), Light Years(1987) & Eye of the Beholder (1988). In the early 1990s, Tribal Tech produced two albums, Tribal Tech (1991) andReality Check (1995). Canadian bassist-composer Alain Caron released his album Rhythm 'n Jazz in 1995. MikeStern released Give And Take in 1997.Fusion music generally receives little radio broadcast airplay in the United States, owing perhaps to its complexity,usual lack of vocals, and frequently extended track lengths. European radio is friendlier to fusion music, and thegenre also has a significant following in Japan and South America. A number of Internet radio stations feature fusionmusic, including dedicated channels on services such as AOL Radio, Pandora and Yahoo! Launchcast.

Further reading Jazz Rock Fusion " The People, The Music ", Julie Coryell et Laura Friedman, Ed. Hal Leonard. ISBN

0-440-54409-2 pbk. Jazz Rock A History, Stuart Nicholson, d. Canongate Power, Passion and Beauty The Story of the Legendary Mahavishnu Orchestra, Walter Kolosky, d. Abstract

Logix Books Jazz Hot Encyclopdie " Fusion ", Guy Reynard, d. de L'instant Weather Report - Une Histoire du Jazz Electrique, Christophe Delbrouck, d. Le Mot et le Reste, ISBN

978-2-915378-49-8 The Extraordinary and Tragic Life of Jaco Pastorius (10th Anniversary Edition) backbeatbooks. by Bill

Milkowski Jeff's book : A chronology of Jeff Beck's career 19651980 : from the Yardbirds to Jazz-Rock. Rock 'n' Roll

Research Press, (2000). ISBN 978-0-9641005-3-4

Jazz fusion 9

Notes[1] Georgie Fame | AllMusic (http:/ / www. allmusic. com/ artist/ georgie-fame-p4229)[2] Graham Bond | AllMusic (http:/ / www. allmusic. com/ artist/ graham-bond-p15995/ biography)[3] Manfred Mann | AllMusic (http:/ / www. allmusic. com/ artist/ manfred-mann-p417071/ biography)[4] A History of Jazz Music (http:/ / www. scaruffi. com/ history/ jazz17a. html)[5] A History of Jazz Music (http:/ / www. scaruffi. com/ history/ jazz17e. html)[6][6] Unterberger 1998, pg. 329[7] The Jazz/Rock Fusion Page:a site is dedicated to Jazz Fusion and related genres with a special emphasis on Jazz/Rock fusion (http:/ / www.

liraproductions. com/ jazzrock/ htdocs/ histhome. htm)[8][8] . Retrieved on January 2, 2008.[9] Miles, 2004, Frank Zappa, p. 194.[10] Lowe, 2006, The Words and Music of Frank Zappa, p. 74.[11] Jazzitude | History of Jazz Part 8: Fusion (http:/ / www. jazzitude. com/ essential_fusion. htm)[12][12] Available online at:[13] Piero Scaruffi, 2006. Available at: http:/ / www. scaruffi. com/ history/ jazz17a. html[14] George Graham review Available online at: http:/ / webcache. googleusercontent. com/ search?q=cache:5Z0ukGXTz54J:georgegraham.

com/ reviews/ methgrp. html[15] " (http:/ / books. google. com/ books?id=K3v6gPypo14C& pg=PT72& lpg=PT72& dq=randy+ jackson+ jazz+ fusion& source=bl&

ots=dIxlm8kU2s& sig=hvfMvfnUtMALepMw9ZduUre5S0U& hl=en& ei=ypoVTcjLHYqCsQPlycSXCg& sa=X& oi=book_result&ct=result& resnum=6& ved=0CDkQ6AEwBQ#v=onepage& q& f=false)". books.google.com. Retrieved 24 December 2010.

[16] Music review of Overlook CD by Fromuz (2008) [RockReviews] (http:/ / www. rockreviews. org/ reviewpage. php?ID=624)[17] Jurek, Thom. [ Review: A Tribute to Jack Johnson]. Allmusic. Retrieved on 2010-01-13.[18] Fordham, John. Review: A Tribute to Jack Johnson (http:/ / www. guardian. co. uk/ music/ 2005/ apr/ 01/ jazz. shopping). The Guardian.

Retrieved on 2010-01-13.

References Unterberger, Richie (1998). Unknown Legends of Rock 'n' Roll: Psychedelic Unknowns, Mad Geniuses, Punk

Pioneers, Lo-fi Mavericks & More. Backbeat Books. ISBN978-0-87930-534-5.

External links Jazzfusion.tv: (http:/ / jazzfusion. tv/ bootlegaudio. html) The Web's largest open access source for

non-commercially-released Classic Jazz Fusion Audio Recordings, circa 1970s1980s, curated by Rich Rivkin,featuring works by most of the artists referenced in the above article.

A History of Jazz-Rock Fusion (http:/ / liraproductions. com/ jazzrock/ htdocs/ histhome. htm) by Al Garcia, awriter for Guitar Player Magazines Spotlight column who also performs in the group Continuum.

BendingCorners (http:/ / www. bendingcorners. com/ ) a monthly non-profit podcast site of jazz and jazz-inspiredgrooves including fusion, nu-jazz, and other subgenres

Miles Beyond, web site dedicated to the jazz-rock of Miles Davis (http:/ / www. miles-beyond. com) Miles Davis at the Isle Of Wight, 1970, excerpt From Call It Anything (http:/ / video. google. com/

videoplay?docid=9148945501609681876& q=Miles+ Davis& hl=en) Jazz Concert (http:/ / www. ejazz. cz/ jazz-concert-venues), here you can find electric-jazz concert venues all over

the world. Don Ellis, Tanglewood, MA, playing an electric trumpet, excerpt from Indian Lady (http:/ / perso. modulonet. fr/

~liballet/ DonEllis/ tanglewood. wmv) ProGGnosis: Progressive Rock & Fusion (http:/ / www. ProGGnosis. com/ ) Powerful database with Artist,

Record Title and Individual Band Member search capabilities. Contains reviews and discographies, album coversand links. ProGGnosis has been on-line with progressive rock and fusion information Since Feb 2000.

JazzRock-Radio.com: Artist Promotional Radio Show streaming Jazz Fusion, Jazz Rock from 70s to new releasesfrom all over the globe. (http:/ / www. JazzRock-Radio. com/ )

Body and Soul (1930 song) 10

Body and Soul (1930 song)

"Body and Soul"

Singleby Coleman Hawkins

Recorded October 11, 1939 at RCA Studios, New York, NY

Genre Jazz

Length 3:00

Label Bluebird

Writer(s) Edward HeymanRobert SourFrank EytonJohnny Green

"Body and Soul" is a popular song and jazz standard written in 1930 with lyrics by Edward Heyman, Robert Sourand Frank Eyton; and music by Johnny Green.

History"Body and Soul" was written in New York City for the British actress and singer Gertrude Lawrence, whointroduced it to London audiences. Published in England, it was first performed in the U.S. by Libby Holman in the1930 Broadway revue Three's a Crowd. Louis Armstrong was the first jazz musician to record "Body and Soul". Thetune grew quickly in popularity, and by the end of 1930 at least eleven groups had recorded it.[1]

"Body and Soul" remains a jazz standard, with hundreds of versions performed and recorded by dozens of artists.Classic vocal recordings include those of Ella Fitzgerald, Annette Hanshaw, Billie Holiday, Billy Eckstine, EttaJames, Sarah Vaughan (for the 1954 album, Sarah Vaughan with Clifford Brown and the 1957 album, Swingin' Easy)and Frank Sinatra, and such musicians as Benny Goodman, Lee Konitz, Bill Evans, John Coltrane, Charles Mingus,Stan Kenton, Royce Campbell, and Lester Young contributed notable instrumental recordings. To this day, "Bodyand Soul" is the most recorded jazz standard.

Coleman Hawkins versionOne of the most famous and influential takes was recorded by Coleman Hawkins and His Orchestra on October 11,1939, at their only recording session for Bluebird, a subsidiary of RCA Victor. The recording is unusual in that thesong's melody is only hinted at in the recording; Hawkins' two-choruses of improvisation over the tune's chordprogression constitute almost the entire take.[2] Because of this, as well as the imaginative use of harmony and breakfrom traditional swing cliches, the recording is recognised as part of the "early tremors of bebop".[3] In 2004, theLibrary of Congress entered it into the National Recording Registry.[4][5]

Tony Bennett and Amy Winehouse version

Body and Soul (1930 song) 11

"Body and Soul"

Singleby Tony Bennett and Amy Winehouse

from the album Duets II and Lioness: Hidden Treasures

Released September 14, 2011

Format Digital download

Recorded March 23, 2011Abbey Road Studios

Genre Jazz, pop

Length 3:20

Label Sony Music Entertainment/Island Records

Producer Phil Ramone

Tony Bennett singles chronology

"Just InTime"(2006)

"Body andSoul"(2011)

"The Lady Is aTramp"(2011)

Amy Winehouse singles chronology

"B BoyBaby"(2007)

"Body andSoul"(2011)

"Our Day WillCome"(2011)

"Body and Soul" was recorded as a duet by Tony Bennett and Amy Winehouse on March 23, 2011.[6] It was the finalrecording made by Winehouse before her death on July 23, 2011 at the age of 27. The single was released worldwideon September 14, 2011, what would have been her 28th birthday, on iTunes, MTV and VH1.When the song reached #87 on the Billboard Hot 100 for the week of October 1, 2011, it made Bennett the oldestliving artist ever to chart on the Hot 100, surpassing the previous record of George Burns. This record was thensurpassed by Christopher Lee in 2013. It also gave Bennett the longest overall span of appearances on the Hot 100;his version of "Young and Warm and Wonderful" appeared on the very first Hot 100 chart dated August 4, 1958.The song received a Grammy Award at the 54th Grammy Awards in the Best Pop Duo/Group Performance categoryon 12 February 2012. Proceeds from "Body and Soul" go to benefit The Amy Winehouse Foundation, an organisationcreated to raise awareness and support for young adults struggling with addiction.[7]

A music video was uploaded to Tony Bennett's YouTube channel on September 14, 2011. The video showsWinehouse and Bennett in the studio performing the song. It had over 2 million views in its first 4 days on YouTube.As of November 2012 the video has over 8.4 million views.

Body and Soul (1930 song) 12

Musical analysis

"Body & Soul"

The first eight bars, with tenor saxophone

Problems playing this file? See media help.

"Body and Soul" is usually performed in the key of Db major. The tune consists of a repeated eight bar melody,followed by an eight bar bridge and a final eight bar return to the melody. The 32-bar, AABA form is typical ofpopular songs of the time.[8] The 'A' section uses conventional chord progressions including ii-V-I turnarounds in thehome key of Db, however the bridge is highly unusual in its tonal center shifts. It has been described as "a bridgelike no other".[9] "Body and Soul" is considered a challenging piece to solo over, however the unusual nature of thechords provides a "large degree of improvisational freedom"

References[1] http:/ / www. secondhandsongs. com/ performance/ 18505[2] Gary Giddins, "How Come Jazz Isn't Dead", p. 3955 in Eric Weisbard, ed., This is Pop, Harvard University Press, 2004. ISBN

0-674-01321-2 (cloth), ISBN 0-674-01344-1 (paper). p. 45.[3] Tom Moon, "Body and Soul", NPR Music, Accessed on 27 June 2012 from http:/ / www. npr. org/ 2000/ 03/ 06/ 1071243/ body-and-soul[4] Number 18 on The National Recording Registry 2004 (http:/ / www. loc. gov/ rr/ record/ nrpb/ nrpb-2004reg. html), accessed online 14

August 2007.[5][5] See also Gary Giddins, RHYTHM-A-NING, decapo press,pb."Fifty Years of "Body and Soul", p 45-53. ISBN 0-306-80987-7[6] Irish Times: Bennett-Winehouse single for release. Thursday, August 4, 2011, accessed online August 5, 2011[7] http:/ / www. amywinehousefoundation. org/[8] http:/ / www. wwnorton. com/ college/ music/ jazz/ ch/ 02/ outline. aspx Under heading "Thirty-Two-Bar AABA Pop Song Form"[9][9] William Zinnser, Easy to Remember: The Great American Songwriters and Their Songs

Hello, Young Lovers (song) 13

Hello, Young Lovers (song)

"Hello, YoungLovers"

Song from The King and I

Published 1951

Writer Oscar Hammerstein II

Composer Richard Rodgers

"Hello, Young Lovers" is a show tune from the 1951 Rodgers and Hammerstein musical, The King and I. It is sungby Anna, played by Gertrude Lawrence in the original Broadway production, by Valerie Hobson in the originalLondon West End production, and by Deborah Kerr in the film version (although voiced-over by Marni Nixon). Theheroine Anna sings this song when she tells the wives of the King of Siam about her late husband, and sympathiseswith the plight of Tuptim, the Burmese slave girl.Among popular versions were ones by: Perry Como Guy Lombardo (with vocal by Kenny Martin). Deep River Boys recorded "Hello, Young Lovers" in Oslo on August 24, 1956. It was released on the extended

play Hello young lovers (HMV 7EGN12). Earl Grant recorded this song on his 1958 album The End. Andy Williams included his version of it on the 1959 album Andy Williams Sings Rodgers and Hammerstein. Bobby Darin also sang the piece, although he sped up the tempo so it was a much faster piece. It would also be

covered by Frank Sinatra in a much slower tempo on his 1965 album September of My Years. Marvin Gaye has a version that was unreleased, it appeared on the box set 'The Marvin Gaye Collection'. Paul Anka had a significant revival in 1960, in the swinging Bobby Darin style. Philip Quast also covered this song in his Live at the Donmar album. The Temptations released an uptempo, big band version on their album, In A Mellow Mood in 1967. Mark Murphy covered the piece on his 1993 album Very Early. The SuperJazz Big Band of Birmingham, Alabama recorded the song on the 2001 CD, UAB SuperJazz, Featuring

Ellis Marsalis. Kevin Spacey covered this song on his original soundtrack 2004 of Beyond the Sea.

Rodgers and Hammerstein 14

Rodgers and Hammerstein

Rodgers (left) and Hammerstein (right), with Irving Berlin (middle) and HelenTamiris, watching auditions at the St. James Theatre in 1948

Richard Rodgers (19021979) and OscarHammerstein II (18951960) were aninfluential, innovative and successfulAmerican musical theatre writing team,usually referred to as Rodgers andHammerstein. They created a string ofpopular Broadway musicals in the 1940sand 1950s, initiating what is considered the"golden age" of musical theatre.[1] WithRodgers composing the music andHammerstein writing the lyrics, five of theirBroadway shows, Oklahoma!, Carousel,South Pacific, The King and I and TheSound of Music, were outstanding successes,as was the television broadcast ofCinderella. Among the many accolades theirshows (and film versions) garnered werethirty-four Tony Awards,[2] fifteen Academy Awards, the Pulitzer Prize, and two Grammy Awards.

Their musical theatre writing partnership has been called the greatest of the 20th century.

Previous work and partnershipsPrior to their partnership, both Rodgers and Hammerstein achieved success independently. Rodgers had collaboratedfor more than two decades with Lorenz Hart. Among their many Broadway hits were the shows A ConnecticutYankee (1927), Babes in Arms (1937), The Boys from Syracuse (1938), Pal Joey (1940), and By Jupiter (1942), aswell as many successful film projects.[3]

Hammerstein, a co-writer of the popular Rudolf Friml 1924 operetta Rose-Marie, and Sigmund Romberg operettasThe Desert Song (1926) and The New Moon (1928), began a successful collaboration with composer Jerome Kern onSunny (1925), which was a hit. Their 1927 musical Show Boat is considered to be one of the masterpieces of theAmerican musical theatre.[4] Other Hammerstein/Kern collaborations include Sweet Adeline (1929) and Very Warmfor May (1939). Although the last of these was panned by critics, it contains one of Kern and Hammerstein'sbest-loved songs, "All the Things You Are".[5]

By the early 1940s, Hart had sunk deeper into alcoholism and emotional turmoil, and he became unreliable,prompting Rodgers to approach Hammerstein to ask if he would consider working with him.[6]

Early work: Oklahoma!, Carousel, and State Fair

Oklahoma!

Independently of each other, Rodgers and Hammerstein had been attracted to making a musical based on Lynn Riggs' stage play Green Grow the Lilacs. When Jerome Kern declined Hammerstein's offer to work on such a project and Hart refused Rodgers' offer to do the same, Rodgers and Hammerstein began their first collaboration. The result, Oklahoma! (1943), marked a revolution in musical drama. Although not the first musical to tell a story of emotional depth and psychological complexity, Oklahoma! introduced a number of new storytelling elements and techniques.

Rodgers and Hammerstein 15

These included its use of song and dance to convey plot and character rather than act as a diversion from the storyand the firm integration of every song into the plot-line.Oklahoma! was originally called Away We Go! and opened at the Shubert Theatre in New Haven in March 1943.Only a few changes were made before it opened on Broadway, but three would prove significant: the addition of ashow-stopping number, "Oklahoma!"; the deletion of the musical number "Boys and Girls Like You and Me", whichwould soon after be replaced with a reprise of "People Will Say We're in Love"; and the decision to re-title themusical after the song.The original Broadway production opened on March 31, 1943, at the St. James Theatre. Although the typical musicalof the time was usually written around the talents of a specific performer, such as Ethel Merman or Fred Astaire, nostars were used in the production. Ultimately the original cast included Alfred Drake (Curly), Joan Roberts (Laurey),Celeste Holm (Ado Annie), Howard Da Silva (Jud Fry), Betty Garde (Aunt Eller), Lee Dixon (Will Parker) andJoseph Bulloff (Ali Hakim). Marc Platt danced the role of "Dream Curly", and Katharine Sergava danced the part of"Dream Laurey". In Oklahoma!, the story and the songs were considered more important than sheer star power.Nevertheless, the production ran for a then-unprecedented 2,212 performances, finally closing on May 29, 1948.Many enduring musical standards come from this show, among them Oh, What a Beautiful Mornin', The Surrey withthe Fringe on Top, I Cain't Say No, the aforementioned People Will Say We're in Love, and Oklahoma!.In 1955 it was made into an Academy Award-winning musical film, the first feature shot with the Todd-AO 70 mmwidescreen process. The film starred Gordon MacRae and Shirley Jones, and its soundtrack was #1 on the 1956album charts. The film was literally shot in two versions, the Todd-AO one, distributed by Mike Todd's Magnaproductions and RKO, and a Cinemascope one for theatres not able to handle Todd-AO, which at that time used acurved screen reminiscent of Cinerama, as well as six-track stereophonic sound. The Cinemascope version, whichmade use of the standard rectangular Cinemascope screen and four-track stereo, was released by TwentiethCentury-Fox a year after the Todd-AO version, and is the one that most audiences have seen. In later years, itbecame possible to show a Todd-AO film on a Cinemascope screen without having to shoot two versions in twodifferent formats.After their initial success with Oklahoma!, the pair took a break from working together and Hammersteinconcentrated on the musical Carmen Jones, a Broadway version of Bizet's Carmen with the characters changed toAfrican Americans in the contemporary South, for which he wrote the book and lyrics. The musical was adapted tothe screen in 1954, and scored a Best Actress Oscar nomination for leading lady Dorothy Dandridge.

Carousel

The original production of Carousel was directed by Rouben Mamoulian and opened at Broadway's Majestic Theatreon April 19, 1945, running for 890 performances and closing on May 24, 1947. The cast included John Raitt, JanClayton, Jean Darling, Christine Johnson and Bambi Linn. From this show came the hit musical numbers "TheCarousel Waltz" (an instrumental), "If I Loved You", "June Is Bustin' Out All Over", and "You'll Never WalkAlone".Carousel was also revolutionary for its time adapted from Ferenc Molnr's play Liliom, it was one of the firstmusicals to contain a tragic plot about an antihero;[7] it also contained an extended ballet that was crucial to the plot,and several extended musical scenes containing both sung and spoken material, as well as dance. The 1956 filmversion of Carousel, made in CinemaScope 55, again starred Gordon MacRae and Shirley Jones, the same leads asthe film version of Oklahoma!Carousel is also unique among the Rodgers and Hammerstein musicals for not having an overture; both the stageand film versions began with the familiar Carousel Waltz. This music was included in John Mauceri's PhilipsRecords CD of the complete overtures of Rodgers and Hammerstein with the Hollywood Bowl Orchestra. It was alsoincluded in Rodgers' rare 1954 album for Columbia Records with the composer conducting the New YorkPhilharmonic Orchestra.[8]

Rodgers and Hammerstein 16

State Fair

In 1945, a Technicolor musical film version of Phil Stong's novel State Fair, with songs and script by Rodgers andHammerstein, was released. The film, a remake of a 1933 non-musical Will Rogers film of the same name, starredJeanne Crain, Dana Andrews, Dick Haymes, and Vivian Blaine. This was the only time the pair ever wrote a scoredirectly for film. It was a great success, winning Rodgers and Hammerstein their lone Oscar, for the song "It Mightas Well Be Spring", but it was also unadventurous material for them, compared with several of their Broadwayshows. In 1962, an unsuccessful remake of the musical film was released.In 1969, the St. Louis Municipal Opera presented the world stage premiere of State Fair starring Ozzie and HarrietNelson.[9] The production was directed by James Hammerstein, supervised by Richard Rodgers and choreographedby Tommy Tune. State Fair finally arrived on Broadway on March 27, 1996, with Donna McKechnie and AndreaMcArdle, produced by David Merrick, and received five Tony Award nominations.

South Pacific and important subsequent works

South Pacific

South Pacific opened on Broadway on April 7, 1949, and ran for over five years. Its songs Bali Ha'i, Younger ThanSpringtime, and Some Enchanted Evening have become standards. The play is based upon two short stories by JamesA. Michener from his book Tales of the South Pacific, which itself was the winner of the Pulitzer Prize for Fiction in1948. For their adaptation, Rodgers and Hammerstein, along with co-writer Joshua Logan, won the Pulitzer Prize forDrama in 1950.The original cast starred Mary Martin as the heroine Nellie Forbush and opera star Ezio Pinza as Emile de Becque,the French plantation owner. Also in the cast were Juanita Hall, Myron McCormick and Betta St. John. The 1958film version, also directed by Logan, starred Mitzi Gaynor, Rossano Brazzi, John Kerr, Ray Walston, and JuanitaHall. Brazzi, Kerr, and Hall had their singing dubbed by others.

The King and I

Based on Margaret Landon's Anna and the King of Siamthe story of Anna Leonowens, governess to the children ofKing Mongkut of Siam in the early 1860sRodgers and Hammerstein's musical The King and I opened onBroadway on March 29, 1951, starring Gertrude Lawrence as Anna and a mostly unknown Yul Brynner as the king.This musical featured the hit songs "I Whistle a Happy Tune", "Hello, Young Lovers", "Getting to Know You", "WeKiss in a Shadow", "Something Wonderful", "I Have Dreamed", and "Shall We Dance?".It was adapted for film in 1956 with Brynner re-creating his role opposite Deborah Kerr (whose singing was largelydubbed by Marni Nixon). Brynner won an Oscar as Best Actor for his portrayal, and Kerr was nominated as BestActress. Brynner reprised the role twice on Broadway in 1977 and 1985 and in a short-lived TV sitcom in 1972,Anna and the King.

Cinderella

Based on the fairytale character and story of Cinderella, Rodgers and Hammerstein created their only collaborative effort written for television. Cinderella aired on March 31, 1957, on CBS. More than 107 million viewers saw the broadcast, and Andrews was nominated for an Emmy Award for her performance.[10][11][12] Rodgers and Hammerstein originally signed to work with NBC, but CBS approached them, offering the chance to work with Julie Andrews, and the two quickly agreed. Rodgers stated, "What won us over was the chance to work with Julie." Andrews played Cinderella, with Edith Adams as the Fairy Godmother, Kaye Ballard and Alice Ghostley as stepsisters Joy and Portia, and Jon Cypher as Prince Christopher. Though it was broadcast in color, and the major networks all had the new (B&W) videotape recorders from Ampex, a black and white kinescope is all that remains.

Rodgers and Hammerstein 17

It featured songs still treasured today, "My Own Little Corner", "Ten Minutes Ago I Met You" and "Impossible: It'sPossible." After the success of the 1957 production, another version was presented in 1965 and shown annually onCBS, starring Lesley Ann Warren, Celeste Holm and Walter Pidgeon, and yet another television version in 1997 onABC, starring Brandy, Whitney Houston, Bernadette Peters, and Whoopi Goldberg. Stage versions were alsopresented in London and elsewhere, and the musical finally was given a Broadway production, with a revised bookby Douglas Carter Beane, and incorporating four songs from the Rodgers and Hammerstein catalogue, in 2013.

Flower Drum Song

Based on a 1957 novel by C. Y. Lee, Flower Drum Song takes place in San Francisco's Chinatown in the late 1950s.The original 1958 production was directed by dancer/singer/actor Gene Kelly. The story deals with a young Chinesewoman who illegally comes to America in hopes of marrying a wealthy young Chinese-American man, who isalready in love with a Chinatown nightclub dancer. The young man's parents are traditional Chinese and want him tomarry the new Chinese immigrant, but he is hesitant until he falls in love with her. Though this musical did notachieve the popularity of the team's five most famous musicals, it was nevertheless a success, and broke new groundby using a mostly Asian cast. The 1961 film adaptation was a lavish, but much criticized, Ross Hunter productionreleased by Universal Studios. A Broadway revival in 2002 starring Lea Salonga had a rewritten plot by playwrightDavid Henry Hwang but retained the inter-generational and immigrant themes as well as most of the original songs.

The Sound of Music

The Sound of Music, Rodgers and Hammerstein's last work together, told the story of the von Trapp family. StarringMary Martin as Maria and Theodore Bikel as Captain von Trapp, it opened on Broadway at the Lunt-FontanneTheatre on November 16, 1959, garnering much praise and numerous awards. It has been frequently revived eversince. The show was made into a film in 1965 starring Julie Andrews as Maria and Christopher Plummer as theCaptain. It won five Oscars, including Best Picture and Best Director, Robert Wise. Hammerstein died in August1960, before the film was made, so when Rodgers wrote two new songs for the film ("I Have Confidence" and"Something Good"), he wrote the lyrics as well.[13] The Sound of Music probably contains more hit songs than anyother Rodgers and Hammerstein musical, likely because of the phenomenal success of the film version, which wasthe most financially successful film adaptation of a Broadway musical ever made. It also contained many memorablesongs, including the title song, "Do-Re-Mi", "My Favorite Things", "Climb Ev'ry Mountain" "So Long, Farewell","Sixteen Going on Seventeen", and "Edelweiss".

LegacyRodgers and Hammerstein re-worked the musical theatre genre. Early 20th-century musicals, except for the PrincessTheatre musicals and a few important examples like Hammerstein and Jerome Kern's Show Boat, were usuallywhimsical or farcical, and usually built around a star. Because the efforts of Rodgers and Hammerstein were sosuccessful, many musicals followed that contained thought-provoking plots with mature themes, and in which all theaspects of the play, dance, song, and drama, were combined in an integrated whole. Stephen Sondheim has citedRodgers and Hammerstein as having had a crucial influence on his work. [14]

Rodgers and Hammerstein also use the technique of what some call the "formula musical". While some hail thisapproach, others criticize it for its predictability. The term "formula musical" may refer to a musical with apredictable plot, but it also refers to the casting requirements of Rodgers & Hammerstein characters. Typically, anymusical from this team will have the casting of a strong baritone lead, a dainty and light soprano lead, a supportinglead tenor, and a supporting alto lead. Although there are exceptions to this generalization, it simplifies the auditionprocess, and gives audiences an idea of what to expect vocally from a Rodgers and Hammerstein musical. However,this formula had been used in Viennese operetta, such as The Merry Widow.

Rodgers and Hammerstein 18

William A. Everett and Paul R. Laird wrote that Oklahoma!, "like Show Boat, became a milestone, so that laterhistorians writing about important moments in twentieth-century theatre would begin to identify eras according totheir relationship to Oklahoma!"[15] In The Complete Book of Light Opera, Mark Lubbock adds, "After Oklahoma!,Rodgers and Hammerstein were the most important contributors to the musical-play form with such masterworksas Carousel, The King and I and South Pacific. The examples they set in creating vital plays, often rich with socialthought, provided the necessary encouragement for other gifted writers to create musical plays of their own."[]

In 1950, the team of Rodgers and Hammerstein received The Hundred Year Association of New York's Gold MedalAward "in recognition of outstanding contributions to the City of New York." In addition to their enduring work,Rodgers and Hammerstein were also honored in 1999 with a United States Postal Service stamp commemoratingtheir partnership.The Richard Rodgers Theatre in New York City is named after Rodgers. Forbes named Rodgers and Hammersteinsecond on its list of top-earning dead celebrities in 2009 at $235 million.The original film arrangements of the team's music have been restored and performed at the Proms concerts inLondon's Royal Albert Hall by the John Wilson Orchestra.[citation needed]

On television and filmRodgers and Hammerstein appeared on live telecasts several times. They were guests on the very first broadcast ofToast of the Town, the original name of The Ed Sullivan Show, when it debuted on CBS in June 1948. They were themystery guests on episode number 298 of What's My Line, which first aired on February 19, 1956; blindfoldedpanelist Bennett Cerf was able to correctly identify them.[16]

The pair made a rare feature film appearance in MGM's 1953 production Main Street to Broadway, in whichRodgers played the piano and Hammerstein sang a song they had written.[17] They also appeared in the trailer for thefilm version of South Pacific in 1958.[citation needed]

Social issuesWhile Rodgers and Hammerstein's work contains cheerful and often uplifting songs, they departed from the comicand sentimental tone of early 20th century musicals by seriously addressing issues such as racism, sexism andclassism in many of their works. For example, Carousel concerns domestic violence, while South Pacific addressesracist views by westerners of Pacific islanders, and racism generally. Based on the true story of the von Trappfamily, The Sound of Music explores the views of Austrians to the takeover of Austria by the Third Reich.

Work

1943 Oklahoma!

1955 film version

1953 Me and Juliet

1945 Carousel

1956 film version

1955 Pipe Dream

1945 State Fair (film)

1962 remake 1996 stage version

1957 Cinderella (television)

1958 and 2013 stage versions 1965 remake 1997 remake

1947 Allegro 1958 Flower Drum Song

1961 film version 2002 revival (rewritten book with one new song)

1949 South Pacific

1958 film version 2001 TV version

1959 The Sound of Music

1965 film version

Rodgers and Hammerstein 19

1951 The King and I

1956 film version 1972 Television series 1999 animated film

1993 A Grand Night for Singing (revue)

Notes[1] Gordon, John Steele. Oklahoma'!' (http:/ / www. americanheritage. com/ articles/ magazine/ ah/ 1993/ 1/ 1993_1_58. shtml). Retrieved June

13, 2010[2] Rodgers and Hammerstein began writing together before the era of the Tonys. Oklahoma! opened in 1943 and Carousel in 1945, but the first

Tonys were not awarded until 1947.[3] Rodgers and Hart Biography (http:/ / www. guidetomusicaltheatre. com/ biographies/ rodgers_hart. htm) Guide to Musical Theatre, accessed

April 5, 2009[4] "Show Boat" (http:/ / www. theatrehistory. com/ american/ musical005. html), theatrehistory.com, excerpted from The Complete Book of

Light Opera. Lubbock, Mark. New York: Appleton-Century-Crofts, 1962. pp. 80708.[5] Wilson, Jeremy. "All the Things You Are (1939)" (http:/ / www. jazzstandards. com/ compositions-0/ allthethingsyouare. htm).

jazzstandards.com, accessed March 15, 2010[6][6] Layne, Joslyn. [ Lorenz Hart Biography] at Allmusic, accessed September 23, 2009[7] Hyland, William G. Richard Rodgers. New Haven, Conn.: Yale University Press, 1998, p. 158. ISBN 978-0-300-07115-3[8] "Richard Rodgers Conducts Richard Rodgers (http:/ / www. amazon. com/ dp/ B000WZKCLA), Columbia Odyssey, ASIN B000WZKCLA

amazon.com, accessed December 20, 2012[9] "Dorothy Manners" (http:/ / news. google. com/ newspapers?nid=1350& dat=19690605& id=RFpIAAAAIBAJ& sjid=rQEEAAAAIBAJ&

pg=6983,3544219) Toledo Blade, June 5, 1969[10] Gans, Andrew. "Lost Cinderella Footage On View at NYC's Museum of TV & Radio" (http:/ / www. playbill. com/ news/ article/

70412-Lost-Cinderella-Footage-On-View-at-NYCs-Museum-of-TV-Radio), Playbill.com, June 20, 2002, accessed December 22, 2012[11] Julie Andrews: Awards & Nominees (http:/ / www. emmys. com/ celebrities/ julie-andrews), Emmys.com, accessed December 22, 2012[12] The Nielsen TV rating for the program was 18,864,000 "homes reached during an average minute" of the broadcast. " Ratings (http:/ /

americanradiohistory. com/ Archive-BC/ BC-1957/ 1957-05-06-BC. pdf)", Broadcasting-Telecasting, 6 May 1957, p. 51[13] Hischak, Thomas. The Rodgers and Hammerstein Encyclopedia (2007), p. 170. Greenwood Publishing Group. ISBN 0-313-34140-0[14] Hammerstein biography on PBS (http:/ / www. pbs. org/ wnet/ broadway/ stars/ hammerstein_o. html), pbs.org, accessed November 29,

2008[15] Everett, William A.; Laird, Paul (2002), The Cambridge Companion to the Musical, Cambridge University Press, p. 124, ISBN

0-521-79639-3[16] http:/ / www. tv. com/ whats-my-line/ episode-298/ episode/ 95448/ summary. html[17] Main Street to Broadway overview (http:/ / movies. nytimes. com/ movie/ 30893/ Main-Street-to-Broadway/ overview)

References Nolan, Frederick (2002). The Sound of Their Music: The Story of Rodgers and Hammerstein. New York:

Applause Books. ISBN1-55783-473-3.

External links Rodgers and Hammerstein (http:/ / www. rnh. com) Official Site Rodgers and Hammerstein biography (http:/ / www. rnh. com/ people_detail. asp?sub=bio& div=people&

id=R_Hamm) Biography at Official Site Rodgers and Hammerstein (http:/ / www. discogs. com/ artist/ Rodgers+ & + Hammerstein) Discography at

Discogs Rodgers and Hammerstein (http:/ / www. time. com/ time/ time100/ artists/ profile/ hammerstein4. html) Time

magazine's "100 most influential artists" Rodgers and Hammerstein (http:/ / c250. columbia. edu/ c250_celebrates/ remarkable_columbians/

rodgers_hammerstein. html) Columbia University Encyclopedia Theodore S. Chapin, of the Rodgers and Hammerstein Organization, discusses their copyright license philosophy

(http:/ / fora. tv/ 2009/ 08/ 29/ Rodgers_and_Hammerstein_in_the_21st_Century) at Jacob's Pillow PillowTalk,

Rodgers and Hammerstein 20

August 29, 2009

Baby I Love You (Aretha Franklin song)

"Baby I Love You"

Singleby Aretha Franklin

from the album Aretha Arrives

B-side "Goin' Down Slow"

Released 1967

Format 7" single

Genre Soul

Length 2:44

Label Atlantic

Writer(s) Jimmy Holiday, Ronnie Shannon

Producer Jerry Wexler

Certification Gold

Aretha Franklin singles chronology

"Respect"(1967)

"Baby I LoveYou"(1967)

"(You Make Me Feel Like) A NaturalWoman"(1967)

"Baby I Love You" is a popular song by R&B singer Aretha Franklin. It was the only single release from her ArethaArrives album in 1967, the song was a huge hit. It peaked at #4 on the Billboard Hot 100 Singles chart and spent twoweeks at number-one on the Hot Rhythm & Blues Singles chart. It was featured in Martin Scorsese's 1990 filmGoodfellas. A live recording featured on the album Aretha in Paris (1968). There have been several other famousmusicians who have covered Aretha Franklin's "Baby I Love You", such as Lisa Marie Presley in 1989, JimmyHoliday in 1966-72, Donny Hathaway, Roberta Flack in 1972, B.B. King, The Bar-Kays in 1971, Erma Franklin in1969, Irma Thomas in 1988, and Otis Rush in 1969, and various other musicians.

Chart positions

Baby I Love You (Aretha Franklin song) 21

Charts Peakposition

U.S. Billboard Hot 100 4

U.S. Billboard Hot Rhythm & Blues 1 (2 weeks)

References

External links Full lyrics of this song (http:/ / www. metrolyrics. com/ baby-i-love-you-lyrics-aretha-franklin. html) at

MetroLyrics

Precededby"I Was Made to Love Her" by Stevie

Wonder

Billboard's Hot Rhythm & Blues numberone single

August 26 - September 2, 1967

Succeededby"Cold Sweat" by James

Brown

Aretha Franklin 22

Aretha Franklin

Aretha Franklin

Background information

Birth name Aretha Louise Franklin

Born March 25, 1942Memphis, Tennessee, U.S.

Origin Detroit, Michigan, U.S.

Genres R&B, soul, jazz, gospel

Occupations Singer

Instruments Vocals, piano

Years active 1956present

Labels J.V.B., Columbia, Atlantic, Arista, RCA

Associated acts Sweet Inspirations, Carolyn Franklin, Erma Franklin, Cissy Houston, Whitney Houston, George Benson, George Michael,Michael McDonald, Eurythmics, Luther Vandross, Lauryn Hill, celine dion

Aretha Louise Franklin (born March 25, 1942) is an American singer and musician. Franklin began her careersinging gospel at her father, minister C. L. Franklin's church as a child. In 1960, at age 18, Franklin embarked on asecular career, recording for Columbia Records only achieving modest success. Following her signing to AtlanticRecords in 1967, Franklin achieved commercial acclaim and success with songs such as "Respect", "(You Make MeFeel Like) A Natural Woman" and "Think". These hits and more helped her to gain the title The Queen of Soul bythe end of the 1960s decade.Franklin eventually recorded a total of 88 charted singles on Billboard, including 77 Hot 100 entries and twentynumber-one R&B singles, becoming the most charted female artist in the chart's history. Franklin also recordedacclaimed albums such as I Never Loved a Man the Way I Love You, Lady Soul, Young, Gifted & Black and AmazingGrace before experiencing problems with her record company by the mid-1970s. After her father was shot in 1979,Franklin left Atlantic and signed with Arista Records, finding success with a relatively small role in the film, TheBlues Brothers and with the albums, Jump to It and Who's Zoomin' Who?. In 1998, Franklin won internationalacclaim for singing the opera aria, "Nessun Dorma", at the Grammys of that year replacing Luciano Pavarotti. Laterthat same year, she scored her final Top 40 recording with "A Rose Is Still a Rose".Franklin has won a total of 18 Grammy Awards and is one of the best-selling female artists of all time, having sold over 75 million records worldwide. Franklin has been honored throughout her career including a 1987 induction into the Rock and Roll Hall of Fame, in which she became the first female performer to be inducted. She was inducted to

Aretha Franklin 23

the UK Music Hall of Fame in 2005. In August 2012, Franklin was inducted into the GMA Gospel Music Hall ofFame. Franklin is listed in at least two all-time lists on Rolling Stone magazine, including the 100 Greatest Artists ofAll Time, in which she placed number 9, and the 100 Greatest Singers of All Time in which she placed number 1.

Early life

Aretha Franklin's birthplace at 406 Lucy Ave. inMemphis, Tennessee.

Aretha Louise Franklin was born in Memphis, Tennessee, the daughterof Barbara (ne) Siggers and Clarence LaVaughn Franklin. Her father,who went by the nickname, "C. L.", was an itinerant preacheroriginally from Shelby, Mississippi, while her mother was anaccomplished piano player and vocalist.[1] Alongside Aretha, herparents had three other children while both C. L. and Barbara hadchildren from outside their marriage. The family relocated to Buffalo,New York when Aretha was two. Prior to her fifth birthday, C. L.Franklin permanently relocated the family to Detroit, Michigan wherehe founded the Baptist church, New Bethel. Franklin's parents had atroubled marriage due to stories of C. L. Franklin's philandering and in1948, they separated, with Barbara relocating back to Buffalo with herson, Vaughn, from a previous affair.

Contrary to popular notion, Franklin's mother didn't abandon her children and Aretha would recall seeing her motherin Buffalo during summertime while Barbara also frequently visited her children in Detroit.[2] Franklin's mother diedon March 7, 1952, prior to Franklin's tenth birthday. Several women, including Franklin's grandmother Rachel, andMahalia Jackson took turns helping with the children at the Franklin home.[3] During this time, Franklin learned howto play piano by ear.[4] Franklin's father's emotionally-driven sermons resulted in him being known as the man withthe "million-dollar voice" and earning over thousands of dollars for sermons in various churches across thecountry.[5][6] Franklin's celebrity led to his home being visited by various celebrities including gospel musiciansClara Ward, James Cleveland and early Caravans members Albertina Walker and Inez Andrews as well as MartinLuther King, Jr., Jackie Wilson and Sam Cooke.[7][8]

Music career

BeginningsJust after her mother's death, Aretha began singing solos at New Bethel, debuting with the hymn, "Jesus, Be a FenceAround Me".[3] Four years later, when Aretha was 14, her father began managing her, bringing her on the road withhim during his so-called "gospel caravan" tours for her to perform in various churches. He helped his daughter getsigned to her first recording deal with J.V.B. Records, where her first album, Songs of Faith, was issued in 1956.Two singles were released to gospel radio stations including "Never Grow Old" and "Precious Lord, Take MyHand". Franklin sometimes traveled with the Caravans and The Soul Stirrers during this time and developed a crushon Sam Cooke, who was then singing with the Soul Stirrers prior to his secular career.After turning 18, Aretha confided to her father that she aspired to follow Sam Cooke to record pop music. Serving as her manager, C. L. agreed to the move and helped to produce a two-song demo that soon was brought to the attention of Columbia Records, who agreed to sign her in 1960. Franklin was signed as a "five-percent artist".[9] During this period, Franklin would be coached by choreographer Cholly Atkins to prepare for her pop performances. Before signing with Columbia, Sam Cooke tried to persuade Aretha's father to have his label, RCA sign Aretha. He had also been persuaded by local record label owner Berry Gordy to sign Aretha and her elder sister Erma to his Tamla label. Aretha's father felt the label wasn't established enough yet. Aretha's first Columbia single, "Today I Sing the Blues",

Aretha Franklin 24

was issued in September 1960 and later reached the top ten of the Hot Rhythm & Blues Sellers chart.

Initial successIn January 1961, Columbia issued Aretha's debut album, Aretha: With The Ray Bryant Combo. The album featuredher first single to chart the Billboard Hot 100, "Won't Be Long", which also peaked at number 7 on the R&B chart.Mostly produced by Clyde Otis, Franklin's Columbia recordings saw her recording in diverse genres such asstandards, vocal jazz, blues, doo-wop and rhythm and blues. Before the year was out, Franklin scored her first top 40single with her rendition of the standard, "Rock-a-Bye Your Baby with a Dixie Melody", which also included theR&B hit, "Operation Heartbreak", on its b-side. "Rock-a-Bye" became her first international hit, reaching the top 40in Australia and Canada. By the end of 1961, Franklin was named as a "new-star female vocalist" in Down Beatmagazine.[10] In 1962, Columbia issued two more albums, The Electrifying Aretha Franklin and The Tender, theMoving, the Swinging Aretha Franklin, the latter of which charted number 69 on the Billboard Pop LPs chart.By 1964, Franklin began recording more pop music, reaching the top ten on the R&B chart with the ballad, "Runnin'Out of Fools" in early 1965. She had two R&B charted singles in 1965 and 1966 with the songs "One Step Ahead"and "Cry Like a Baby" while also reaching the Easy Listening charts with the ballads "You Made Me Love You" and"(No, No) I'm Losing You". By the mid-1960s, Aretha was netting $100,000 from countless performances innightclubs and theaters.[10] Also during that period, Franklin appeared on rock and roll shows such as Hollywood AGo-Go and Shindig!. However, it was argued that Franklin's potential was neglected at the label. Columbia executiveJohn H. Hammond later said he felt Columbia didn't understand Aretha's early gospel background and failed to bringthat aspect out further during her Columbia period.

Commercial successIn January 1967, choosing not to renew her Columbia contract after six years with the company, Franklin signed toAtlantic Records. That month, Aretha traveled to Muscle Shoals, Alabama to record at FAME Studios to record thesong, "I Never Loved a Man (The Way I Love You)" in front of the musicians of the famed Muscle Shoals RhythmSection. The song was later issued that February and shot up to number-one on the R&B chart, while also peaking atnumber nine on the Billboard Hot 100, giving Aretha her first top ten pop single. The song's b-side, "Do RightWoman, Do Right Man", reached the R&B top 40, peaking at number 37. In April, Atlantic issued her freneticversion of Otis Redding's "Respect", which shot to number-one on both the R&B and pop charts and later becameher signature song and was later hailed as a civil rights and feminist anthem.Aretha's debut Atlantic album, I Never Loved a Man the Way I Love You, also became commercially successful, latergoing gold. Aretha scored two more top ten singles in 1967 including "Baby I Love You" and "(You Make Me FeelLike A) Natural Woman". Franklin's rapport with producer Jerry Wexler helped in the creation of the majority ofAretha's peak recordings with Atlantic. In 1968, she issued the top-selling albums, Lady Soul and Aretha Now, whichincluded some of Franklin's most popular hit singles including "Chain of Fools", "Ain't No Way", "Think" and "ISay a Little Prayer". In February 1968, Franklin earned the first two of her Grammys including the debut categoryfor Best Female R&B Vocal Performance.[11] On February 16, 1968, Aretha was honored with a day in her honorand was greeted by longtime friend Martin Luther King, Jr. who gave her the SCLC Drum Beat Award forMusicians just two months prior to his death.[12][13][14] In June 1968, she appeared on the cover of Time magazine.

"Respect"

"Respect" was a huge hit for Franklin, it became a signature song for her.

Problems playing this file? See media help.

Aretha Franklin 25

Franklin's success expanded during the early 1970s in which she recorded top ten singles such as "Spanish Harlem","Rock Steady" and "Day Dreaming" as well as the acclaimed albums, Spirit in the Dark, Young, Gifted & Black andher gospel album, Amazing Grace, which sold over two million copies. In 1971, Franklin became the first R&Bperformer to headline Fillmore West, later recording the live album, Aretha Live at Fillmore West.[15] Franklin'scareer began experiencing issues while recording the album, Hey Now Hey (The Other Side of the Sky), whichfeatured production from Quincy Jones. Despite the success of the single, "Angel", the album bombed upon itsrelease in 1973. Franklin continued having R&B success with songs such as "Until You Come Back to Me" and "I'min Love" but by 1975, her albums and songs were failing to become a success. After Jerry Wexler left Atlantic forWarner Bros. Records in 1976, Franklin worked on the soundtrack to the film, "Sparkle", with Curtis Mayfield. Thealbum yielded Aretha's final top 40 hit of the decade, "Something He Can Feel", which also peaked at number-oneon the R&B chart. Franklin's follow-up albums for Atlantic including Sweet Passion, Almighty Fire and La Divabombed on the charts and in 1979, Franklin opted to leave the company.

Later years

Franklin performing on April 21, 2007, at theNokia Theater in Dallas, Texas.

In 1980, Franklin signed with Clive Davis' Arista Records and thatsame year, gave a command performance at the Royal Albert Hall infront of Queen Elizabeth. Aretha also made an acclaimed guest role asa waitress in the comedy musical, The Blues Brothers. Franklin's firstArista album, Aretha, featured the #3 R&B hit, "United Together" andher Grammy-nominated cover of Otis Redding's "I Can't Turn YouLoose". The follow-up, 1981's Love All the Hurt Away, included herfamed duet of the title track with George Benson while the album alsoincluded her Grammy-winning cover of Sam & Dave's "Hold On, I'mComin'". Franklin returned to the Gold standard - for the first time inseven years - with the album, Jump to It. Its title track was her first top40 single on the pop charts in six years.

In 1985, inspired by her desire to have a "younger sound" in her music, her fourth Arista album, Who's Zoomin' Who,became her first album to be certified platinum, after selling well over a million copies, thanks to the hits, "Freewayof Love", the title track and "Sisters Are Doing It for Themselves".[16] The following year's Aretha album nearlymatched this success with the hit singles "Jumpin' Jack Flash", "Jimmy Lee" and "I Knew You Were Waiting forMe", her international number-one duet with George Michael. During that period, Aretha provided vocals to thetheme songs of the shows, A Different World and Together. In 1987, she issued her third gospel album, One Lord,One Faith, One Baptism, which was recorded at her late father's New Bethel church, followed by Through the Stormin 1989. Franklin's 1991 album, What You See is What You Sweat flopped on the charts. Franklin returned to thecharts in 1993 with the dance song, "A Deeper Love" and returned to the top 40 with the song, "Willing to Forgive"in 1994.In 1998, Franklin returned to the top 40 with the Lauryn Hill-produced song, "A Rose Is Still a Rose", later issuing the album of the same name, which went gold. That same year, Franklin earned international acclaim for her performance of "Nessun Dorma" at the Grammy Awards. Her final Arista album, So Damn Happy, was released in 2003 and featured the Grammy-winning song, "Wonderful". In 2004, Franklin announced that she was leaving Arista after over 20 years with the label. To complete her Arista obligations, Aretha issued the duets compilation album, Jewels in the Crown: All-Star Duets with the Queen, in 2007. The following year, she issued the holiday album, This Christmas, Aretha, on DMI Records. In January 2009, Franklin again made international headlines for performing "My Country 'Tis of Thee" at President Barack Obama's inaugural ceremony with her church hat becoming a popular topic online. In 2010, Franklin accepted an honorary degree from Yale University. In 2011, under her own label, Aretha's Records, she issued the album, Aretha: A Woman Falling Out Of Love. As of 2013, Franklin is now signed

Aretha Franklin 26

under RCA Records and is currently working again with Clive Davis. A new album is in the works with producersBabyface and Danger Mouse planning to work with Franklin.

Music style and imageFranklin has often been described as a great singer and musician due to "vocal flexibility, interpretive intelligence,skillful piano-playing, her ear, her experience."[17] Franklin's voice has been described as being a "powerfulmezzo-soprano voice" and has been praised for her arrangements and interpretations of other artists' hit songs.[18] Ofdescribing Franklin's voice as a youngster on her first album, Songs of Faith, released when she was just fourteen,Jerry Wexler explained that Franklin's voice "was not that of a child but rather of an ecstatic hierophant."[19]

Franklin's image went through rapid changes throughout her career. During the 1960s, Franklin was known forwearing bouffant hairdos and extravagant dresses that were sometimes surrounded enveloped in either mink fur orfeathers. In the 1970s, embracing her roots, Franklin briefly wore the Afro hairdo and wore Afrocentric styledclothing admired by her peers. In the mid-1970s, after dropping weight, Franklin began wearing slinkier attire. Bythe 1980s, she had settled on wearing nightgowns and extravagant dresses.

Personal life

Aretha Franklin and William Wilkerson watchingRoger Federer at the 2011 US Open.

Aretha is the mother of four sons. Her first two children, Clarence(born January 28, 1955), and Edward (born January 22, 1957), wereborn before her 13th and 15th birthdays. She has never identified thefather of either child. During that period, Aretha's grandmother,Rachel, and sister, Erma, raised Aretha's boys while she pursued hermusical career and other options including "hanging out with myfriends."[20] Rachel lived in a guest house behind her son C. L.Franklin's LaSalle Street home, with the Franklins having moved therefrom their Boston Street residence during the late 1950s. Aretha's thirdchild, Ted White, Jr., was born in 1964. Today he is known as TeddyRichards and is a professional musician, often playing guitar in hismother's band. In 1970, an affair with her road manager, Ken Cunningham, resulted in the birth of Aretha's fourthson, Kecalf. (His name was devised from the first initials of his parents' names.) Aretha had married the much olderTed White in 1961, despite strong objections from her father. After a contentious marriage that involved domesticviolence, she divorced him in 1969.[21] She married actor Glynn Turman on April 11, 1978 at her father's NewBethel Baptist Church. Aretha subsequently became a stepmother to Turman's three children. They split in late 1982and officially divorced in early 1984. In 2012, Aretha Franklin again announced plans to walk down the aisle withher longtime companion Willie Wilkerson. Within several weeks of the announcement, Aretha called the weddingoff.

Aretha's sisters Erma and Carolyn were also professional musicians and often sang background on Aretha's hits. In1969, following her divorce from Ted White, her brother, minister Cecil Franklin presided as her manager, a positionhe kept until his death from lung cancer on December 26, 1989. Youngest sister Carolyn preceded Cecil in death inApril 1988 following a long bout with breast cancer. Erma Franklin later died of throat cancer in September 2002.Franklin's half-brother, Vaughn (born December 24, 1934) and half-sister Carl Kelley (ne Jennings; born 1940) arestill alive. Kelley is C. L. Franklin's daughter by Mildred Jennings, a then 12-year-old congregant of New SalemBaptist Church in Memphis, where C. L. was pastor.[22]

Aretha was performing at the Aladdin Hotel in Las Vegas, on June 10, 1979, when her father was shot twice at point blank range in his Detroit home.[23] After six months in Henry Ford Hospital, the Franklin family returned their father back to his home with round the clock nursing care. The shooting had left C. L. in a coma. Aretha moved back

Aretha Franklin 27

to Detroit in late 1982 to assist with the care of her father, who died at Detroit's New Light Nursing Home on July27, 1984.[24]

Franklin has been romantically linked to many musicians such as Sam Cooke and Dennis Edwards, formerly of TheTemptations. Some of her music business friends have included Dionne Warwick, Mavis Staples, and CissyHouston, who began singing with Aretha as member of the Sweet Inspirations. Cissy sang background on Franklin'sclassic hit, "Ain't No Way". Aretha first met her daughter, Whitney, in the early 1970s. She was made an honoraryaunt and Whitney often referred to her as "Auntie Ree". Whitney Houston died in February 2012. Franklin stated shewas surprised by her death. She had initially planned to perform at Houston's memorial service on February 18 buther representative claimed that Aretha suffered a mild leg spasm and was unable to attend. In response to criticism ofher non-attendance, she stated, "God knows I wanted to be there, but I couldn't."Aretha Franklin is a registered Democrat.[25]

Weight issues and health problemsFranklin dealt with weight issues for years. In 1974, she dropped 40 pounds during a crash diet.[26] Franklinmaintained the weight loss until 1978.[27] Franklin again lost the weight in the early 1990s prior to releasing thealbum, What You See Is What You Sweat, gaining it back again after a year and a half. Franklin later admitted toyears of yo-yo dieting. Following her surgery to get rid of an undisclosed tumor, Franklin lost 85lbs. In 2012, sheadmitted she had gained some of the weight back. During her heyday, it's been noted that Franklin had dealt withalcoholism and also had an addiction to chain smoking, smoking at least ten packs of cigarettes a day. Franklin quitsmoking in 1992.[28] Franklin admitted in 1994 that her smoking was "messing with my voice".[29] She lateradmitted in 2003 that following her quitting cigarettes, her weight "ballooned".[30]

In 2010, Franklin canceled a number of concerts after she decided to have surgery for an undisclosed tumor.Discussing the events in 2011, she stated the surgery Franklin had would "add 15 to 20 more years" to her life. Shedenied that the ailment had anything to do with pancreatic cancer as it was rumored. On May 19, 2011 ArethaFranklin had her comeback show in the Chicago theatre, an outstanding concert.[31] In May 2013, Franklin canceledtwo performances to deal with an undisclosed medical treatment. Later in the same month, Franklin canceled threemore concerts in June and planned to return to perform in July. However, a July 27 show in Clarkston, Michigan wascanceled due to continued medical treatment. In addition, Franklin canceled an appearance at an MLB luncheon inChicago honoring her commitment to civil rights on an August 24 date. She also canceled a September 21performance in Atlanta due to her health recovery. During a phone interview with The Associated Press on August21, Franklin stated that she had a "miraculous" recovery from her undisclosed illness but had to cancel shows andappearances until she was at 100% health, stating she was "85% healed". Aretha has since returned to liveperforming, including a Christmas concert at Detroit's Motor City Casino. [citation needed]

Aretha Franklin 28

Legacy

Aretha Franklin wipes a tear after being honoredwith the Presidential Medal of Freedom on

November 9, 2005, at the White House. Seatedwith her are fellow recipients Robert Conquest,

left, and Alan Greenspan

A wax sculpture of Aretha Franklin on display atMadame Tussauds in New York City.

In 1987, Franklin was the first female performer inducted into theRock and Roll Hall of Fame.[32] Two years earlier, the Michigangovernment labeled her voice as a "natural resource".[33] Franklinreceived her star on the Hollywood Walk of Fame in 1979. In 1994,she received a medal from the Kennedy Center Honors and that yearwon the NARAS Lifetime Achievement Award. She won the NARASGrammy Legend award four years prior. In 1999, she earned theNational Medal of Arts. In 2005, she received the Presidential Medalof Freedom. Franklin was inducted to the UK Music Hall of Fame in2005, becoming the second female performer to be honored afterMadonna. In 2008, she received the MusiCares Person of the Yearprior to performing at that year's Grammys. That same year, she waslisted in the top 20 of artists on the Billboard Hot 100 all-time topartists list.[34] In 2012, she was inducted to the GMA Gospel MusicHall of Fame. Franklin has been described as "the voice of the civilrights movement, the voice of black America" and a "symbol of blackequality". She was also listed as number 1 on Rolling Stone's list of theGreatest Singers of All Time. In February 2011, following news of hersurgery and recovery, the Grammy Awards paid tribute to the singerwith a medley of her classics by singers such as Christina Aguilera,Florence Welch, Jennifer Hudson, Martina McBride and YolandaAdams.[35]

List of number-one R&B singles

1. "I Never Loved a Man (The Way I Love You)" (1967)2. "Respect" (1967)3. "Baby I Love You" (1967)4. "Chain of Fools" (1967)5. "(Sweet Sweet Baby) Since You've Been Gone" (1968)6. "Think" (1968)7. "Share Your Love with Me" (1969)8. "Call Me" (1970)9. "Don't Play That Song (You Lied)" (1970)10. "Bridge Over Troubled Water" (1971)11. "Spanish Harlem" (1971)12. "Day Dreaming" (1972)13. "Angel" (1973)14. "Until You Come Back to Me (That's What I'm Gonna Do)" (1973)15. "I'm in Love" (1974)16. "Something He Can Feel" (1976)17. "Break It to Me Gently" (1977)18. "Jump to It" (1982)19. "Get It Right" (1983)20. "Freeway of Love" (1985)

Aretha Franklin 29

Filmography Black Rodeo (1972) (documentary) The Blues Brothers (1980) Listen Up: The Lives of Quincy Jones (1990) (documentary) Blues Brothers 2000 (1998) Tom Dowd & the Language of Music (2003) (documentary) The Zen of Bennett (2012) (documentary) Muscle Shoals (2013) (documentary)

References[1][1] Bego 2010, p.11.[2][2] McAvoy 2002, pp.19-20.[3][3] McAvoy 2002, p.22.[4][4] McAvoy 2002, pp.20-21.[5][5] Dobkin 2006, p.48.[6][6] Feiler 2009, p.