The American Songbook is not The Real Book

The American Songbook

The Great American Songbook – erst als Ella anfing unsere Songs zu singen, merkten wir wie gut sie sind (Ira Gershwin)

Die Geschichte des Great American Songbook ist im Englischen Wikipedia anders vorgestellt als im deutschsprachigen. Im englischen Wiki ist es der Vorläufer zu den Jazzstandards, wenn nicht das eigene Vorwort zu den Jazz Standards, auf dem deutschsprachigen Wikipedia heißt es, im Great American Songbook seien die Pop-Songs der Zeit zwischen den 1920igern und 1960 gemeint. Das hört sich wie ein unwichtiges Detail an, lässt sich aber auch auf Sichtweisen herunterbrechen oder erhöhen.

Im englischsprachigen Wiki geht es auch um Hervorbringung eigener Kultur – bedenkt man noch, dass es in den Staaten ein jahrzehntewährendes Unterlegenheitsgefühl gab gegenüber den schwergewichtigen Komponisten aus Europa.

Dort hat immerhin niemand geringeres als Claude Debussy die Hörgewohnheiten auch Richtung USA lenken können, während noch in den Vierzigern die amerikanische Musikkultur als zweitklassig, als just for fun verschrien war – und wenig ernst genommen, berühmtes Beispiel: Th.W. Adorno mit einem mehr als geringschätzigen Blick auf Duke Ellington.

Auch heute noch wird auf das Repertoire des The Great American Songbook naserümpfend geschaut, als gäbe es von dort wenig Essentielles zu berichten, ein überheblicher Blick auf die Roots der amerikanischen Kultur: da selbst Bob Dylan, wie in der SZ von 2017 zu lesen, auf seinem Album Triplicate gesanglich scheitert am The Great American Songbook.

Der Empfehlung Jens-Christian Rabes, sich die Originale noch einmal anzuhören, und zwar wie sie Frank Sinatra gesungen hat, ist nur insofern beizupflichten, als Sinatra eine Art Säulenheiliger der Great American Books ist und auf all die verweist, die sonst noch aus den Books ihr Repertoire gezogen haben. Dem Vorhaben kann sofort nachgegangen werden, wenn man Dylans Album als Vorwort nimmt zu den Songs – auf Triplicate liefert Dylan eine Vorlage zu 30 Songs aus den Books. Eine vorsichtige Herangehensweise, bedenkt man, dass es sich bei den Songbooks um eine Sammlung von mehr als 350 Stücken handelt – nachzuzählen auf Wikipedia (gehandelt werden sogar an die 1000 auf jazzstandards.com)

Auf Wikipedia gibt es zu jedem Song einen weiterführenden Link – nicht nur von Frank Sinatra oder Bob Dylan interpretiert – es wird schnell unüberschaubar. Wo so viele Songs multipliziert mit ihren Interpreten in Erscheinung treten, kann kaum mehr von einem Buch die Rede sein, sondern von einer eigenen Welt im Amerikanischen.

Und willst auch etwas originär Neues dazu sagen?

Originäres im Verhältnis zum Original – viele Originale verschollen sein dürften, wenn man ansetzt im Jahr 1912, wie die Liste auf Wikipedia verrät. Das wäre demnach When I lost You von Irving Berlin, eine unumstritten erste Adresse der Komponisten – aber keine Original-Aufnahme – wie im Artikel Ragtime – Dixieland-Swing-Bebop schon angemerkt: die erste Jazz-Aufnahme soll laut BBC aus dem Jahr 1917 sein

… die wäre auch noch urheberrechtlich bedenklich, da die Original Dixieland Jazz Band die eigentlichen Urheber, Straßenmusiker aus New Orleans, eins zu eins nachgespielt haben … nachzulesen bei der BBC.* Anmkg: vorbehaltlich tiefer gehender Recherchen – evtl. findet sich noch eine ältere The Great American Songbook Aufnahme.

Wie aber sich den Songs annähern? Wie von der Stelle kommen – gehen wir doch ins Casino. Und würfeln das.

Oder ins Musical. Ins Konzert – schauen und hören, wie die anderen es lösen. Entspannt euch, macht euch locker, zudem; mal sehen, wer noch alles auftaucht.

Cum ergo. Es sind mehr als 350/459/1000 Songs, es gibt pro Song unzählige Einspielungen – wir kürzen ab: das kannst du arithmetisch nicht erfassen, und kannst mehrfach wiederholen, dass Adorno Asphaltmusik zu Ellingtons Musik sagte, im Umgang mit den Möglichkeiten und den aus ihnen resultierenden Freiheiten ergeben sich viele Seiten einer Unterhaltungsindustrie, die unvereinbar scheinen mit den Schwergewichten europäischer Bruckner- und Wagnerinterpretationen.

Einerseits: was gibt es Neues zum Thema, zweitens: welche Aufnahme findest du besonders gelungen, drittens: suchen wir uns durch die Schellackplatten an die Songs heran oder verlassen wir uns auf Thelonious Monk, Ellington oder Sinatra?

Wie wir gelesen haben, auf Dylan sollten wir uns eher nicht verlassen – obwohl, ich muss es nicht betonen, so trübselig ist das alternde Stimmenzittern von Dylan wieder nicht, die Diskussion hatten wir bei Cassandra Wilson – lassen wir das. Es gibt genug Ansprüche im Markt, die darauf aus sind, anderes loszuwerden oder wegzudrücken.

Aus den mehr als 350/459/1000 Stücken würde ich herausfischen: My Funny Valentine, Stormy Weather, Sophisticated Lady, Summertime, In a Sentimal Mood, April in Paris, Body and Soul oder Dancing in the Dark – ich würde es mit Dylan abgleichen: Once Upon a Time, Stormy Weather (sic!).

The Great American Songbook is not The Real Book

Bei uns lagen die fast unerschwinglichen Real Books Jazz herum, in einer Qualität, die ließe sich kein Verlag gefallen, wie aus dem Kopierer gezogen mit Bindering, sie durften in der Form nicht mal in der USA weiter verkauft werden (not authorized for Sale in USA & Canada – extra für Old Europeans – somit sich durchsetzt: es handelt sich um Copy-Shop-Ware) – man traf sich, blätterte darin oder verteilte weitere Kopien aus dem The Real Book – auch Fake-Book genannt, und, für Jazzmusik die eigentliche Bibel. Eine Bibel – nun. Was ist nun der Unterschied zwischen Real Book und The Great American Songbook)

Google antwortet: – es gibt einige wenige Titel, die in beiden Büchern zu sehen sind, wobei klargestellt werden darf: The Great American Songbook ist ein Oberbegriff für eine „nicht genau festgelegte Anzahl herausragender Songs“, das Real Book entstand als Losepapier-Sammlung auf der University of Berkley und galt immer als urheberrechtsbedenklich, dem Real Book gingen einige Fakebooks voraus, es folgten weitere Fakebooks und Editionen, angeblich sei die aktuell erwerbbare Ausgabe urheberrechts-unbedenklich.

Uns interessiert die Schnittmenge zwischen den Books – sie gründet auf einige Klassiker wie April in Paris, A Foggy Day, Ain’t Misbehavin, all The Things you Are, Boogie Woogie Bugle Boy, But Beautiful, Call me Irresponsible, Come Fly With Me, Day In – Day Out, Don’t Blame Me, Fascinating Rhythm, Fly me to The Moon, Honeysuckle Rose, I can’t give you anything but love, I should Care, I’m beginning to see the Light, In The Still of The Night, It don’t mean a Thing, It had to be you, It Might Well Be Spring, Jeeper’s Creepers

Just One Of Those Things, Lover, Luck Be A Lady, My Blue Heaven, On The Sunnyside Of The Street, Pennies from Heaven, Pick Yourself Up, Satin Doll, That Old Black Magic, The Best is Yet To Come, The Last Time I Saw Paris, The Song Is You, Time After Time, Who’s sorry now, Yesterdays.

Udiscover findet zu folgendem Schluss: The Great American Songbook is not a real book, rather a term that applies to tunes of Broadway musical theatre, Hollywood movie musicals, and Tin Pan Alley (…) The songs became the core repertoire of jazz musicians during this period, which streched roughly from 1920 to 1960.

Wir lesen von der Depression der Zwanziger, den melancholischen Kriegsjahren, was eine Sehnsucht nach erhebenden und spritzigen Textliedern hervorbringt. Als das Geld im Zug der Depression knapp wird, zieht es die besten Songwriter nach Hollywood, wo die Filmstudios boomten und gutes Geld für Songs gezahlt wurde, soweit udiscover.

The Great american Songbook
The American Songbook – Feature

Wenn nun die Tin Pan Alley in den Vierzigern einerseits zur Hauptstraße der amerikanischen Musikindustrie avanciert, gleichzeitig das große Naserümpfen beginnt über die Kommerzialisierung der Musik und das alles nur leichte Broadwaykost sein soll, die Tin Pan Alley als Straße der Zinnenpfannen gilt, eine Straße, in der an jeder Ecke getürmt die unterschiedlichsten Blechnäpfe und Schüsseln beklopft und bearbeitet wurden,

wir einmal mehr unseren europäisch überheblichen Blick senken sollten und das Phänomen The Great American Songbook nicht von außen nach innen, sondern von innen nach außen betrachten könnten, bleibt uns als Reminiszenz, als Herangehensweise, als Annäherung einmal mehr, so nah wie möglich an die Originale zu kommen, um Ursprung und Herkunft zu verstehen und zu würdigen.

Einen erhellenden Hinweis liefert Hans-Jürgen SchaalTin Pan Alley, die Straße der Standards. Wir lesen vom Aufstieg Gershwins aus der Pianozelle zum Komponisten künstlerisch wertvoller Unterhaltungsmusik, von der Gershwin träumte, und als 1924 zur Uraufführung von Rhapsody In Blue die berühmtesten Musiker der Zeit im Publikum saßen (Strawinsky, Rachmaninow, Heifetz, Kreisler, Sousa, Stokowski) – wurde für alle sichtbar, dass es kein Vorbei an diesem neuen unruhigen und nervösen Sound geben konnte, der Hinweis lautet:

Die Songschreiber der Alley gerieten in den kreativen Sog dieses neuen Lebensgefühls, verbanden den Witz der Zeit mit dem Willen zur Kunst und komponierten Schlager für die Ewigkeit. Gershwin, Berlin, Kern, Richard Rodgers, Cole Porter, Harold Arlen, Harry Warren und Arthur Schwartz schufen eine neue Ästhetik der Unterhaltungsmusik: den Lovesong als Kunstwerk.

Der Erfolg der Musik aus der Tin Pan Alley ist nicht allein der Musik geschuldet oder den Texten der Songs, sondern ihrer jeweiligen Verschmelzung. Schaal erinnert noch einmal ans Libretto, das war der Text zur Oper, eine Präsentationsform, die noch wenige Jahre zuvor üblich war, nun aber einfließt ins Ungestüm der Gefühle, der Text steht nicht mehr für sich, sondern verschmilzt mit dem Sound, und: erst war noch die Komposition, dann musste sich der Text „einschleichen“ oder andienen … Zitat:

Dann erst kam der „Lyricist“ und schneiderte seinen Text genau auf die lebendige Rhythmik der Melodie hin – ein Silben-Mosaik. Für leeres Pathos und bloße Zeilenfüller war da kein Platz mehr: Die Songlyrics eines Ira Gershwin, Lorenz Hart, Johnny Mercer, Irving Berlin oder Cole Porter leben vom Slang, vom Wortwitz, vom reichen Reim. Sie gehören zum Besten, was amerikanische Literatur hervorbrachte, obwohl sie nur ein einziges Thema haben: „I love you“ in 32 Takten.

In dem Zug als Erweiterung der Hinweis auf Ella Fitzgerald: Wie sagte schon Ira Gershwin: „Ich wußte gar nicht, wie gut unsere Songs sind, bevor ich Ella Fitzgerald hörte.“ (Zu Ella Fitzgerald – Das beste am zwanzigsten Jahrhundert war Ella Fitzgerald – ebenfalls Hans-Jürgen Schaal)

Dem gegenübergestellt noch einmal Udiscover, diesmal Bob Dylan and The Great American Songbook – beide Artikel gelesen und konstatiert: die beiden solltest du lesen und dich endlich der Musik zuwenden, und den Texten (den Lyrics). Sie, haben wir gelesen, gehören zum Besten, was amerikanische Literatur hervorgebracht hat. (Nun gut. Alles wird immer zum Besten, wenn es dem anderen entgeht.)

Leicht erliegt man der Empfehlung von Jan Christian Rabe und nimmt sich Bob Dylans Triplicate als Opener zu den Songbooks vor – selbst für Dylan Fans ein mühseliger Weg.

Zweiter Vorschlag: Die Songbooks von Ella Fitzgerald : eine Auswahl unter all den Sammlungen ausfindig zu machen, die nicht im Orchestergraben endet – nun.

Ein dritter Einstiegsversuch wäre noch einmal der Udiscover Artikel … zu unterscheiden lernen zwischen Komposition, Lyrics, Arrangement, Aufführung und Aufnahme – Wikipedia bietet eine schlüssige Tabelle an: Titel, Composer (Music) and Composer (Lyrics).

Wie angedeutet: bei über 350/459 Songs – Punktlandungen zu finden, nicht möglich. Wir können uns in einem ersten Schritt dem Phänomen, diesem False Book oder It’s not a Real Book nur annähern – zwischen Big Band Schleifen, Vokalauftritten, Soloeinlagen und Alle Mühe umsonst gibt es eine Bandbreite an Möglichkeiten, sich ebenso zu entfernen – wenn erst der Eindruck entstanden ist, dass du mit den Songs alles bedienst, auch die Klischees von der High Society in New York, die, wird es klamm, Reißaus nimmt und in den Westen zieht: Summertime and the Livin‘ is easy?

The American Songbook – erste Annäherung

Ella Fitzgerald

Aus Wikipedia: Ella Jane Fitzgerald (April 25, 1917 – June 15, 1996) was an American jazz singer, sometimes referred to as the „First Lady of Song“, „Queen of Jazz“, and „Lady Ella“. She was noted for her purity of tone, impeccable diction, phrasing, timing, intonation, and a „horn-like“ improvisational ability, particularly in her scat singing

The Day is my Enemy, the Night my FriendAll Through The Night Cole Porter written for the Musical Anything Goes 1934

The world has gone mad today / And goods bad today / And blacks white today / And days night today / When most guys today / That women prize today / Are just silly gigolo’s / So though I’m not a great romance / I know that I’m bound to answer / When you propose /Anything Goes 1934 also for the musical Anything Goes

ella fitzgerald sonbooks
ella und joe speak love pablo records

Wikipedia:

Ellas erstes Album für die neu gegründete Verve Records 1956

The Complete Ella Fitzgerald Song Books

meine persönliche Lieblings Ella mit Lieblings Joe Pass – Speak Love – auch hier zwei Songs aus The Great American Songbook: At Last und Georgia on My Mind Label: Pablo Records

1. I’ve Got You Under My Skin 2. I Get A Kick Out Of You 3. My Funny Valentine 4. Young At Heart 5. Three Coins In The Fountain 6. Love And Marriage 7. You Make Me Feel So Young 8. (Love Is) The Tender Trap 9. Don’t Worry ‘Bout Me 10. I’ve Got The World On A String 11. The Girl Next Door 12. They Can’t Take That Away From Me 13. The Gal That Got Away

14. Jeepers Creeepers 15. How About You? 16. Anything Goes 17. Pennies From Heaven 18. Love Is Here To Stay 19. Violets For Your Furs 20. Someone To Watch Over Me 21. I Thought About You 22. We’ll Be Together Again 23. Makin’ Whoopee 24. From Here To Eternity 25. South Of The Border

1. Taking A Chance On Love 2. Just One Of Those Things 3. A Foggy Day (In London Town) 4. In The Wee Small Hours Of The Morning 5. Rain (Falling From The Skies) 6. You Brought A New Kind Of Love To Me 7. Too Marvellous For Words 8. Old Devil Moon 9. Mood Indigo 10. Swingin’ Down the Lane 11. My One And Only Love 12. It Happened In Monterey 13. You’re Getting To Be A Habit With Me

14. Learnin’ The Blues 15. April In Paris 16. Nevertheless (I’m In Love With You) 17. I Could Write A Book 18. Deep Night 19. The Birth Of The Blues 20. You Do Something To Me 21. We Kiss In A Shadow 22. Lover 23. (Should I) Reveal 24. I Guess I’ll Have To Dream The Rest 25. When You’re Smiling (The Whole World Smiles With You)

The American Songbook – erste Annäherung The American Songbook

The American Songbook – erste Annäherung

Frank Sinatra

Aus Wikipedia: Francis Albert Sinatra (December 12, 1915 – May 14, 1998) was an American singer and actor. Nicknamed the „Chairman of the Board“, Sinatra is considered one of the most popular entertainers of the 1940s, 1950s and 1960s. He is among the world’s best-selling music artists, having sold an estimated 150 million records.

frank sinatra great american book
frank sinatra great american book swinging

Spotify – Streaming Sampler auf Spotify

All Through the Night / Anything Goes / Miss Otis Regrets / Too Darn Hot / In the Still of the Night / I Get a Kick Out of You / Do I Love You? / Always True to You in My Fashion / Let’s Do It, Let’s Fall in Love / Just One of Those Things / Ev’ry Time We Say Goodbye / All of You / Begin the Beguine / Get Out of Town / I Am in Love

From This Moment On / I Love Paris / You Do Something to Me / Ridin‘ High / You’d Be So Easy to Love / It’s All Right with Me / Why Can’t You Behave? / What Is This Thing Called Love? / You’re the Top / Love for Sale / It’s De-Lovely / Night and Day / Ace in the Hole / So in Love / I’ve Got You Under My Skin / I Concentrate on You / Don’t Fence Me In

A Swingin‘ Affair!

„Night and Day“ (Cole Porter) / I Wish I Were in Love Again“ (Richard Rodgers, Lorenz Hart) / „I Got Plenty o‘ Nuttin'“ (DuBose Heyward, George Gershwin, Ira Gershwin) / „I Guess I’ll Have to Change My Plan“ (Arthur Schwartz, Howard Dietz) / „Nice Work If You Can Get It“ (G. Gershwin, I. Gershwin) / „Stars Fell on Alabama“ (Frank Perkins, Mitchell Parish) / „No One Ever Tells You“ (Hub Atwood, Carroll Coates) /

„I Won’t Dance“ (Jerome Kern, Jimmy McHugh, Oscar Hammerstein II, Otto Harbach, Dorothy Fields) / „The Lonesome Road“ (Nat Shilkret, Gene Austin) / „At Long Last Love“ (Porter) „You’d Be So Nice to Come Home To“ (Porter) / „I Got It Bad (And That Ain’t Good)“ (Duke Ellington, Paul Francis Webster) / „From This Moment On“ (Porter) / „If I Had You“ (Jimmy Campbell, Reginald Connelly, Ted Shapiro) / „Oh! Look at Me Now“ (Joe Bushkin, John DeVries)

The Great American Songbook – erste Annäherung – The Great American Songbook

The American Songbook – erste Annäherung

George Gershwin – Ira Gerschwin

Aus Wikipedia: George Gershwin (Jacob Gershwine; September 26, 1898 – July 11, 1937) was an American pianist and composer, whose compositions spanned both popular and classical genres. Among his best-known works are the orchestral compositions Rhapsody in Blue (1924) and An American in Paris (1928), the songs „Swanee“ (1919) and „Fascinating Rhythm“ (1924), the jazz standards „Embraceable You“ (1928) and „I Got Rhythm“ (1930), and the opera Porgy and Bess (1935), which included the hit „Summertime“.

Aus Wikipedia: Ira Gershwin (born Israel Gershovitz; December 6, 1896 – August 17, 1983) was an American lyricist who collaborated with his younger brother, composer George Gershwin, to create some of the most memorable songs in the English language of the 20th century. With George, he wrote more than a dozen Broadway shows, featuring songs such as „I Got Rhythm“, „Embraceable You“, „The Man I Love“ and „Someone to Watch Over Me“. He was also responsible, along with DuBose Heyward, for the libretto to George’s opera Porgy and Bess.

george gerschwin essentials
Playlist TIDAL

Willie Nelson
Tony Bennett
Amy Winehouse
Diana Krall
Chet Baker
Jamie Cullum
Frank Sinatra
Ella Fitzgerald
Natalie Cole
Louis Armstrong
Duke Ellington
Miles Davis
Brad Mehldau
Billie Holiday
Lou Donaldson
Dave Grusin
Grant Green

u.v.a.

1930 „But Not for Me“ George Gershwin Ira Gershwin
1928 „Embraceable You“ George Gershwin Ira Gershwin
1924 „Fascinating Rhythm“ George Gershwin Ira Gershwin
1937 „A Foggy Day“ George Gershwin Ira Gershwin
1934 „I Got Plenty o‘ Nuttin'“ George Gershwin Ira Gershwin
1930 „I Got Rhythm“ George Gershwin Ira Gershwin

1938 „Love is Here to Stay“ George Gershwin Ira Gershwin
1924 „The Man I Love“ George Gershwin Ira Gershwin
1931 „Of Thee I Sing“ George Gershwin Ira Gershwin
1927 „‚S Wonderful“ George Gershwin Ira Gershwin
1926 „Someone to Watch Over Me“ George Gershwin Ira Gershwin
1922 „Stairway to Paradise“ George Gershwin Ira Gershwin and Buddy DeSylva

1927 „Strike Up the Band“ George Gershwin Ira Gershwin and Millie Raush
1934 „Summertime“ George Gershwin DuBose Heyward and Ira Gershwin
1937 „They Can’t Take That Away from Me“ George Gershwin Ira Gershwin

The American Songbook – erste Annäherung The Great American Songbook

The American Songbook – erste Annäherung

Rod Stewart

Aus Wikipedia: Sir Roderick David Stewart CBE (born 10 January 1945) is a British rock and pop singer and songwriter. Born and raised in London, he is of Scottish and English ancestry. With his distinctive raspy singing voice, Stewart is among the best-selling music artists of all time, having sold over 250 million records worldwide.

He has had 10 number-one albums and 31 top ten singles in the UK, six of which reached number one. Stewart has had 16 top ten singles in the US, with four reaching number one on the Billboard Hot 100. He was knighted in the 2016 Birthday Honours for services to music and charity.

The American Songbook – erste Annäherung The American Songbook

great american songbook – jazz

Aretha Franklin

Aus Wikipedia: Aretha Louise Franklin (March 25, 1942 – August 16, 2018) was an American singer, songwriter and pianist. Referred to as the „Queen of Soul“, she has twice been placed ninth in Rolling Stone’s „100 Greatest Artists of All Time“. With global sales of over 75 million records, Franklin is one of the world’s best-selling music artists.

aretha franklin the great american songbook
  • Das Album suchst du vergeblich in ihrer Discography, da es sich um eine Compilation handelt, 2011 herausgebracht und aber gespickt mit herausragenden Stücken, auch aus dem Great American Songbook

„Manchen Stimmen kann einfach fast nichts nicht gelingen“

  • My little brown book | Trouble in mind | It ain’t necessarily so / aus der Oper „Porgy and Bess“ | How deep is the ocean | Love for sale / aus dem Musical „The New Yorkers“ | Skylark |

  • Ac-cent-tchu-ate the positive / aus dem Film „Here come the waves“ accentuate | What a difference a day made makes | Only the lonely | God bless the child | Say it isn’t so | Are you sure ? / aus dem Musical „The unsinkable Molly Brown“ | That lucky old sun

The Great American Songbook – erste Annäherung The Great American Songbook

The American Songbook – erste Annäherung

Bob Dylan

Aus Wikipedia: Robert Dylan (born Robert Allen Zimmerman; May 24, 1941) is an American singer-songwriter. Often regarded as one of the greatest songwriters of all time, Dylan has been a major figure in popular culture during a career spanning more than 60 years.

Much of his most celebrated work dates from the 1960s, when songs such as „Blowin‘ in the Wind“ (1963) and „The Times They Are a-Changin'“ (1964) became anthems for the civil rights and antiwar movements. His lyrics during this period incorporated a range of political, social, philosophical, and literary influences, defying pop music conventions and appealing to the burgeoning counterculture.

bob dylan triplicate

„I Guess I’ll Have to Change My Plans“ Arthur Schwartz, Howard Dietz
„September of My Years“ Jimmy Van Heusen, Sammy Cahn
„I Could Have Told You“ Carl Sigman, Jimmy Van Heusen
„Once Upon a Time“ Charles Strouse, Lee Adams
„Stormy Weather“ Harold Arlen, Ted Koehler
„This Nearly Was Mine“ Richard Rodgers, Oscar Hammerstein II
„That Old Feeling“ Sammy Fain, Lew Brown
„It Gets Lonely Early“ Jimmy Van Heusen, Sammy Cahn
„My One and Only Love“ Guy Wood, Robert Mellin
„Trade Winds“ Cliff Friend, Charles Tobias

„Braggin'“ Jimmy Shirl, Robert Marko, Henry Katzman
„As Time Goes By“ Herman Hupfeld
„Imagination“ Jimmy Van Heusen, Johnny Burke
„How Deep Is the Ocean“ Irving Berlin
„P.S. I Love You“ Gordon Jenkins, Johnny Mercer
„The Best Is Yet to Come“ Cy Coleman, Carolyn Leigh
„But Beautiful“ Jimmy Van Heusen, Johnny Burke
„Here’s That Rainy Day“ Jimmy Van Heusen, Johnny Burke
„Where Is the One“ Alec Wilder, Edwin Finckel
„There’s a Flaw in My Flue“ Jimmy Van Heusen, Johnny Burke

„Day In, Day Out“ Rube Bloom, Johnny Mercer
„I Couldn’t Sleep a Wink Last Night“ Harold Adamson, Jimmy McHugh
„Sentimental Journey“ Les Brown, Ben Homer, Bud Green
„Somewhere Along the Way“ Jimmy Van Heusen, Sammy Gallop
„When the World Was Young“ Philippe-Gérard, Angèle Vannier, Johnny Mercer
„These Foolish Things“ Eric Maschwitz, Jack Strachey
„You Go to My Head“ John Frederick Coots, Haven Gillespie
„Stardust“ Hoagy Carmichael, Mitchell Parish
„It’s Funny to Everyone but Me“ Jack Lawrence
„Why Was I Born“ Jerome Kern, Oscar Hammerstein II

„The Best Is Yet to Come“ Cy Coleman, Carolyn Leigh
„These Foolish Things“ Eric Maschwitz, Jack Strachey
„It’s Funny to Everyone but Me“ Jack Lawrence
„When the World Was Young“ Philippe-Gérard, Angèle Vannier, Johnny Mercer
„I Could Have Told You“ Carl Sigman, Jimmy Van Heusen
„Sentimental Journey“ Les Brown, Ben Homer, Bud Green
„That Old Feeling“ Sammy Fain, Lew Brown
„My One and Only Love“ Guy Wood, Robert Mellin
„Stardust“ Hoagy Carmichael, Mitchell Parish
„Once Upon a Time“ Charles Strouse, Lee Adams

The American Songbook – erste Annäherung The American Songbook

The American Songbook – erste Annäherung

Jazz and The Great American Songbook

Udiscover: Sometimes a standard began life as a flop, as with “Here’s That Rainy Day.” Jimmy Van Heusen and Johnny Vurke wrote the song for the 1953 musical Carnival In Flanders, but the show closed after just six performances. It was not until Sinatra’s version, six years later, that the song was recognized as a classic, one that would later be recorded by hundreds of artists, from country singer Kenny Rogers to jazz instrumentalists Coleman Hawkins and Chet Baker.

Lester Young, Benny Carter, and Oscar Peterson, Charlie Parker’s version of Porter’s “What Is This Thing Called Love”John Coltrane’s version of “My Favorite Things”Bill Evans’ “What Is This Thing Called Love?” and Thelonious Monk’s “Tea For Two,” Versions by Fats Waller or Gene Krupa.

Trumpeter and singer Louis ArmstrongBing Crosby’s “Stardust”

Alec Wilder’s 1942 classic “I’ll Be Around,”Cab Calloway and Peggy Lee

Weitere Aufnahmen:
Carmen McRaeThe Great American Songbook; (1972)
Beegie AdairThe Great American Songbook Collection
Louis Armstrong & His Orchestra – The Great American Songbook

logo allgmein great american songbook

The American Songbook – erste Annäherung The American Songbook

The American Songbook – erste Annäherung the great american songbook jazz

Die etwas andere Gangart

Bob Jackson, Peter Wood, Brian Smith, Roger Sellers, Jann RutherfordTHE GREAT AMERICAN SONGBOOK

jad fair stevie moore
Bandcamp Link

Jad Fair, R. Stevie MooreThe Great American Songbook Vol.1

The American Songbook – erste Annäherung The American Songbook

The American Songbook – erste Annäherung

Lyrics

My Funny ValentineMy funny valentine
Sweet comic valentine
You make me smile with my heart
Night and DayNight and day, you are the one
Only you beneath the moon and under the sun
Anything GoesThe world has gone mad today
And good’s bad today
And black’s white today
As Time Goes ByYou must remember this
A kiss is just a kiss
A sigh is just a sigh
The fundamental things apply
As time goes by
Come Fly With MeDown to Acapulco Bay
It’s perfect for a flying honeymoon, they say
Come fly with me, let’s fly, let’s fl
y
Don’t Rain on My ParadeWell, here it goes, kid
No lookin‘ back
September of My YearsAnd I find that I’m smiling gently as I near September
The warm September of my years
I Could Have Told YouYes, I could have told you she’s lying
But you were in love
And didn’t want to know
Stormy WeatherStormy weather
Since my man and I ain’t together
Keeps raining all of the time
This Nearly Was MineOne girl for my dream,
One partner in paradise,
This promise of paradise
This nearly was mine.
How Deep Is the OceanAnd if I ever lost you
How much would I cry?
How deep is the ocean?
How high is the sky?
Here’s That Rainy DayI should have saved
Those leftover dreams
Funny
But here’s that rainy day
Here’s that rainy day
The Great American Songbook Lyrics
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Thelonious Monk Round Midnight

The American Songbook – erste Annäherung The American Songbook

Referenzen, Zusätze, Quellen:

ArtReview Queering the Great American Songbook 2018 | Sentential Lyric-Types in the Great American Songbook 2013 | Commentary The Great American Songbook: A Conclusion 2002 | Bob Dylan gesanglich überfordert in der SZ 2017 von Jens-Christian Rabe|

Udiscover : Cover To Cover: The Story Of The Great American Songbook 2022 – Bob Dylan And The Great American Songbook – 2022 | BBC: The anniversary of the first jazz recording | Hans-Jürgen SchaalTin Pan Alley, die Straße der StandardsDas beste am zwanzigsten Jahrhundert war Ella Fitzgerald | Rod Stewart great american songbook youtube

English Version

The history of the Great American Songbook is presented differently in the English Wikipedia than in the German Wikipedia. In the English Wiki it is the predecessor to the Jazz Standards, if not the own preface to the Jazz Standards, on the German Wikipedia it is said that the Great American Songbook means the pop songs of the time between the 1920s and 1960. This sounds like an unimportant detail, but it can also be broken down or increased to points of view.

In the English-language Wiki it is also about bringing forth one’s own culture – still considering that there was a decades-long feeling of inferiority in the States compared to the heavyweight composers from Europe.

After all, no one less than Claude Debussy was able to steer listening habits in the direction of the USA, while in the forties American musical culture was still considered second-rate, just for fun – and not taken very seriously, famous example: Th.W. Adorno with a more than disdainful view of Duke Ellington.

Even today, the repertoire of The Great American Songbook is looked upon with disdain, as if there were little essential to report from there, an arrogant view of the roots of American culture: since even Bob Dylan, as can be read in the SZ of 2017, fails vocally on his album Triplicate on The Great American Songbook.

Jens-Christian Rabe’s recommendation to listen to the originals again, as Frank Sinatra sang them, can only be agreed with insofar as Sinatra is a kind of pillar saint of the Great American Books and refers to all those who have otherwise drawn their repertoire from the Books. The intention can be immediately followed up by taking Dylan’s album as a preface to the songs – on Triplicate Dylan provides a template for 30 songs from the Books. A cautious approach, considering that the Songbooks are a collection of more than 350 pieces – to be recounted on Wikipedia (traded are even 1000 on jazzstandards.com (great american songbook list)

On Wikipedia there is a link to each song – not only interpreted by Frank Sinatra or Bob Dylan – it quickly becomes unmanageable. Where so many songs multiplied with their interpreters appear, one can hardly speak of a book anymore, but of an own world in American.

And do you also want to say something originally new about it?

Original in relation to the original – many originals may be lost, if one starts in 1912, as the list on Wikipedia reveals. That would be When I lost You by Irving Berlin, an undisputed first address of the composers – but no original recording – as already noted in the article Ragtime – Dixieland-Swing-Bebop: the first jazz recording is supposed to be from 1917 according to the BBC.

… that would also be copyrighted, since the original Dixieland Jazz Band played the actual originators, street musicians from New Orleans, one to one … to be read at the BBC.* Note: subject to deeper research – possibly an older The Great American Songbook recording can be found.

But how to approach the songs? How to get off the spot – let’s go to the casino. And roll the dice.

Or to a musical. To a concert – see and hear how others solve it. Relax, loosen up, besides; let’s see who else shows up.

Cum ergo. There are more than 350/459 songs, there are innumerable recordings per song – we abbreviate: you can’t grasp that arithmetically, and you can repeat several times that Adorno said asphalt music to Ellington’s music, in dealing with the possibilities and the freedoms resulting from them, many sides of an entertainment industry arise, which seem incompatible with the heavyweights of European Bruckner and Wagner interpretations.

On the one hand: what is new on the subject, secondly: which recording do you find particularly successful, thirdly: do we approach the songs through the shellac records or do we rely on Thelonious Monk, Ellington or Sinatra?

As we have read, we should rather not rely on Dylan – although, I don’t have to emphasize it, the aging voice trembling of Dylan is not that gloomy again, we had the discussion with Cassandra Wilson – let’s leave it. There are enough claims in the market that are out to get rid of or push away other.

Out of the 350+/459 pieces, I would fish out: My Funny Valentine, Stormy Weather, Sophisticated Lady, Summertime, In a Sentimal Mood, April in Paris, Body and Soul or Dancing in the Dark – I would match it with Dylan: Once Upon a Time, Stormy Weather (sic!).

The Great American Songbook is not The Real Book

We had the almost unaffordable Real Books Jazz lying around, in a quality that no publisher would put up with, as if pulled out of the copier with bindering, they were not even allowed to be sold on in the USA in this form (not authorized for sale in USA & Canada – especially for Old Europeans – so it becomes accepted: it is copy-shop merchandise) – people met, leafed through it or distributed further copies from The Real Book – also called Fake Book, and, for jazz music the real Bible. A Bible – well. Now what is the difference between The Real Book and The Great American Songbook?)

Google answers: – there are a few titles that can be seen in both books, although it may be clarified: The Great American Songbook is a generic term for an „unspecified number of outstanding songs“, the Real Book originated as a loose-paper collection at the University of Berkley and was always considered to be in copyright violation, the Real Book was preceded by several fake books, followed by more fake books and editions, allegedly the currently purchasable edition is in copyright violation.

Great American Songbook - Feature
The Great American Songbook – Feature von Cover zu Cover

We’re interested in the intersection between the books – it’s based on some classics like April in Paris, A Foggy Day, Ain’t Misbehavin, all The Things you Are, Boogie Woogie Bugle Boy, But Beautiful, Call me Irresponsible, Come Fly With Me, Day In – Day Out, Don’t Blame Me, Fascinating Rhythm, Fly me to The Moon, Honeysuckle Rose, I can’t give you anything but love, I should Care, I’m beginning to see the Light, In The Still of The Night, It don’t mean a Thing, It had to be you, It Might Well Be Spring, Jeeper’s Creepers

Just One Of Those Things, Lover, Luck Be A Lady, My Blue Heaven, On The Sunnyside Of The Street, Pennies from Heaven, Pick Yourself Up, Satin Doll, That Old Black Magic, The Best is Yet To Come, The Last Time I Saw Paris, The Song Is You, Time After Time, Who’s Sorry Now, Yesterdays.

Udiscover finds the following conclusion: the Great American Songbook is not a real book, but a term referring to tunes from the Broadway musical, Hollywood movie musicals, and Tin Pan Alley (…) The songs became the core repertoire of jazz musicians during this period, which spanned roughly from 1920 to 1960.

We read of the depression of the twenties, the melancholy war years, which creates a yearning for uplifting and sparkling lyric songs. As money becomes scarce in the train of the Depression, the best songwriters are drawn to Hollywood, where movie studios were booming and good money was paid for songs, as far as udiscover.

If Tin Pan Alley in the forties on the one hand became the main street of the American music industry, and at the same time the big grumbling about the commercialization of music began, and all that was supposed to be only light Broadway fare, Tin Pan Alley was considered the street of the pinnacle pans, a street in which the most diverse tin pans and bowls were piled up on every corner and knocked and worked on,

we should once again lower our European arrogant gaze and look at the phenomenon of The Great American Songbook not from the outside in, but from the inside out, what remains for us as a reminiscence, as an approach, as an approach once again, is to get as close as possible to the originals in order to understand and appreciate their origin and provenance.

An illuminating hint is provided by Hans-Jürgen Schaal – Tin Pan Alley, the Road of Standards. We read of Gershwin’s rise from the piano cell to the composer of artistically valuable light music, of which Gershwin dreamed, and when in 1924 for the premiere of Rhapsody In Blue the most famous musicians of the time sat in the audience (Stravinsky, Rachmaninov, Heifetz, Kreisler, Sousa, Stokowski) – it became visible to all that there could be no passing by this new restless and nervous sound, the clue reads:

Alley songwriters got caught up in the creative maelstrom of this new attitude to life, combining the wit of the times with the will to create art, and composing hit songs for the ages. Gershwin, Berlin, Kern, Richard Rodgers, Cole Porter, Harold Arlen, Harry Warren, and Arthur Schwartz created a new aesthetic of popular music: the lovesong as a work of art.

The success of the music from Tin Pan Alley is not due to the music alone, or to the lyrics of the songs, but to their respective fusions. Schaal reminds us once again of the libretto, which was the text to the opera, a form of presentation that was still common a few years before, but now flows into the impetuosity of the feelings, the text no longer stands for itself, but merges with the sound, and: first there was the composition, then the text had to „creep in“ or offer itself … quote:

Only then came the „lyricist“ and tailored his text exactly to the lively rhythm of the melody – a mosaic of syllables. There was no more room for empty pathos and mere line fillers: the songlyrics of an Ira Gershwin, Lorenz Hart, Johnny Mercer, Irving Berlin or Cole Porter live from slang, from wordplay, from rich rhyme. They are among the best that American literature has produced, although they have only one theme: „I love you“ in 32 bars.

As an extension, a reference to Ella Fitzgerald: As Ira Gershwin said: „I didn’t know how good our songs were until I heard Ella Fitzgerald.“ (On Ella Fitzgerald – The best thing about the twentieth century was Ella Fitzgerald – also Hans-Jürgen Schaal).

Juxtaposed with that again Udiscover, this time Bob Dylan and The Great American Songbook – read both articles and stated: you should read those two and finally turn to the music, and the lyrics (the lyrics). They, we read, are among the best that American literature has produced. (Well, everything always becomes the best when it escapes the other).

It’s easy to succumb to Jan Christian Rabe’s recommendation and pick Bob Dylan’s Triplicate as the opener to the songbooks – even for Dylan fans a tedious path.

Second suggestion: The Songbooks of Ella Fitzgerald : to find a selection among all the collections that does not end in the orchestra pit – well.

A third entry attempt would be once again the Udiscover article … learn to distinguish between composition, lyrics, arrangement, performance and recording – Wikipedia offers a conclusive table: Title, Composer (Music) and Composer (Lyrics).

As indicated: with over 350/459 songs – finding pinpoint landings, not possible. In a first step we can only approach the phenomenon, this False Book or It’s not a Real Book – between big band loops, vocal performances, solo interludes and All Effort in Vain there is a range of possibilities to move away as well – once the impression has been created that you serve everything with the songs, even the clichés of the high society in New York, which, when it gets soggy, takes flight and moves to the West: Summertime and the Livin‘ is easy?

from cover tot cover songbooks
The Great American Songbook – From East to West


The Great American Songbook It could happen to you
The Great American Songbook It should care
The Great American Songbook Honeysuckle Rose
The Great American Songbook Send in the Clowns