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Goodevening !!!! My dearest Jytte !!!!! Thank you for listening to George du Bree !!!!! I have watched an old film with Ingrid Bergman (Arc de Triomph) and an episode from Derrick ! Both I had seen allreddy before buth I like them both ! How nice that you have watched a quiz and a Danish crime serie who toke place in your neighbourhood !!!! And ofcourse I remember that magnificent castle !!!! I understand that you are tired and I wish you goodnight !!!! Sleep well, have sweet dreams and till tomorrow !!!!! Your always faithful Henk !!!!

Willempie !!!!!!

Helloooo there !!!! My dearest Jytte !!! The song is in a Limbourgian accent and the title says: You are my girly (in Dutch ,,Jij bent mijn meisje"). Overhere we had al lot of Sunshine Jytte buth now the Sun is gone and we have 4 degrees ! I'm glad that you have watched Columbo, he's always great !!!!! And I wish you a lovely evening !!!! Till lateron and I keep thinking on you !!!! Yours always, Henk !!!!

Dankjewel Guido !

Hoi Tonya !!!! Hier is het 5 graden en volop Zon !!!! De groeten aan heel de familie en een handshake voor Sir Hub en 3 dikke zoenen voor jou van Henkie Maas !!!!! Houdoe !!!!!

In popular culture The Kingston Trio's hit song was the inspiration for the 1959 film _The Legend of Tom Dooley,_ starring Michael Landon as Dooley, and co-starring Richard Rust. A Western set in the immediate aftermath of the Civil War, it was not about traditional Tom Dula legends or the facts of the case, but a fictional treatment tailored to fit the lyrics of the song. "Tom Dooley" is the name of a season 5 episode of _Ally McBeal,_ in which John Cage sings a version of the song with his Mexican band. The song was parodied in _episode No. 702 of Mystery Science Theater 3000._ Crow T. Robot, motivated by one actor's resemblance to Thomas Dewey, sang a version beginning "Hang down your head, Tom Dewey." Glada Barn's version of Land's song closes _Rectify season 2 episode "Mazel Tov"._ In the 1980 film _Friday the 13th,_ the campers in the opening scene start to sing the song. The opening scene is set in 1958, the year the Kingston Trio version of the song debuted. _Episode 10 of Santo, Sam and Ed's Total Football Podcast_ is titled "Hang Down Your Head Tom Dula". This naming was in reference to a sample of the song generated by Santo Cilauro whereby he jokingly claimed Tiziano Crudeli had performed a version of Tom Dooley with "The Kingstown Trio". Crudeli's bombastic commentary style on Diretta Stadio afforded him celebrity status in Italy, and audio of Crudeli's pronunciation of various footballers' names was a constant running gag throughout the Total Football Podcast. The Irish comedian Dave Allen did a sketch in which two cowboys with guitars sit by a hangman's gallows, trying to compose a ballad. They try to think of a name to incorporate into their song but have no success. Then Tom Dooley walks past, and they sing, "Hand down your head, Tom Dooley" and think that sounds great, so they hang him. RECORDINGS *Tom Dula (Dooley)* - English Grayson and Whitter First release May 2, 1930 First recording on Sep 30, 1929 Frank Warner Nov 1952 Roger Sprung, Erik Darling, Bob Carey 1954 Paul Clayton 1956 The Tarriers Apr 1957 The Kingston Trio June 2, 1958 Hit song Definitive version Sampled by Buchanan & Goodman with Count Dracula Johnny Worth Nov 1958 Reg Lindsay and His Colt Breakers Nov 1958 Lonnie Donegan and His Skiffle Group Dec 1958 Hit song Pinky and Perky Dec 1958 Jan & Kjeld met rytme 1958 Rikki Price 1958 The Four Dreams 1958 William Clauson Mar 1959 TAllegrettes May 23, 1959 Eddy Arnold Sep 1959 The Allegrettes 1959 Four Jacks 1959 Sverre and His Skiffle Group 1959 Mac Wiseman Jul 1960 The New Lost City Ramblers 1960 The Great Hank Hill and The Tennessee Folk Trio 1960 Kenny Arnott and His Men 1961 The Four Freshmen with Orchestra conducted by Dick Reynolds Apr 1962 Glen Neaves & Band 1962 Jim Glaser and The American Folk Trio 1962 Frank Proffitt 1962 Johnny Mann Singers 1962 Mickie Most 1962 Tammy Grimes 1962 The Four Lads 1963 Doc Watson May 1964 Johnny Rivers Sep 1965 1965 Scotch Plains-Fanwood Junior High School 1965 Chas McDevitt & Shirley Douglas 1965 The Charleston Trio 1965 The Hiltonaires [JM] 1966 Mel Tillis Aug 1967 Jim Ed Brown May 1968 Sweeney's Men 1968 The Chico's 1970 The Down Homers 1970 Bill Wellings 1971 The Country Gentlemen Mar 1973 Live Chor und Orchester Thomas Berger 1973 Cotton Mill Boys 1975 Country Stones 1976 The Brothers Four 1977 Murry Kellum 1978 Peter, Sue & Marc 1978 Tex Williams [AU] 1978 Rakish Paddy 1981 Dave Vernon and The Dixie Rebels 1982 Palomaz 1982 The Spinners [GB] 1984 The Piccadilly Six 1986 97th Regimental String Band 1986 Big Jack Johnson 1987 Freddy Quinn 1987 Frank Zander 1988 Medley Lucky Star [HR] 1988 Kenneth Swanström 1990 Frantic Flintstones 1991 Bill Morrissey & Greg Brown 1993 Lesley Schatz 1993 Paul & Margie 1994 The Statler Brothers 1995 Nystogs 1996 Rob Ickes 1997 The Great Western Squares 1997 Laura Boosinger 1998 Jerry Yester, Cass Elliot, Jim Hendricks & Henry Diltz Mar 9, 1999 Tom Dula Doc Watson and David Holt 1999 Live Tom Dooley Snakefarm 1999 Tom Dooley Black Knights 2001 Macabre Minstrels 2002 The Pine Valley Cosmonauts feat. Steve Earle 2002 The Pine Valley Cosmonauts feat. The Sundowners Jun 17, 2003 Live Ramblin' Jack Elliott Oct 26, 2004 Live Grateful Dead Oct 26, 2004 Live Acoustic Andrew Heller 2004 The Sundowners [US2] 2004 Live Carolina Chocolate Drops Sep 12, 2006 River City Ramblers Sep 12, 2007 Harvey Reid & Joyce Andersen 2007 Paul's Big Radio 2007 Jesper Lohmann - Stig Rossen - Jesper Asholt - Keld Heick Nov 2008 Medley TSten & Stanley 2009 Bing Crosby 2010 Medley Rod E. Musselman Jun 25, 2011 The Bing Brothers Band featuring Jake Krack Mar 10, 2012 Live Neil Young & Crazy Horse Jun 5, 2012 Bobby Bare Nov 13, 2012 Krüger Brothers Apr 24, 2013 Six String Yada 2015 Laura Boosinger with The Kruger Brothers Sep 2017 Tom Roush 2017 Curtis Hobeck *Instrumental* Adalbert Lutter und Sein Tanzorchester 1958 Roger Williams with Orchestra directed by Marty Gold and Hal Kanner Apr 1959 Arturo Diaz 1959 Émile Prud'homme et son ensemble 1959 Hans-Arno Simon und sein Cocktail-Piano 1959 Medley Jack Ledru et sa grande formation 1959 Jerry Mengo et son orchestre 1959 Onésime Grosbois et son piano d'occasion 1959 Pierre Spiers - Jerry Mengo 1959 Yvette Horner et son ensemble musette 1959 Les Baxter 1960 Billy Strange Sep 1963 The Harold Land Quintet 1963 Henry Jerome and His Orchestra 1963 Terry Gibbs 1963 Chris Barber and His Jazz Band 1965 Raymond Fairchild and The Maggie Valley Boys Aug 1967 Bryan Smith 1978 Medley Steppin Stompers 1979 Christopher John & His Orchestra (MFP Studio Artists) 1982 Phil Kelsall 1988 Medley Jim Gibson 1996 Medley Charles Blackwell and His Orchestra 2006 Jim Hendricks [US1] 2015 Medley *Tom Dooley* written by Jan Vyčítal, Vít Hrubín *Czech* Honza Vyčítal 1995 First release *Tom Dooley* written by Eduard Krečmar *Czech* Ladislav Vodička a jeho modrej vlak 1996 First recording in 1996 Scarabeus 1996 *Tom Dooley* written by Torsten Tanning *Danish* Preben Uglebjerg med Four Pals - Johannes Rasmussen og hans orkester 1958 First release Four Jacks med Jørn Grauengårds orkester Jan 1959 Jacks [DK] 1996 Helge Leonhardt og Klaus Birck 2002 Jesper Lohmann - Stig Rossen - Jesper Asholt - Keld Heick Nov 2008 Medley *Tom Doely* written by Bobbejaan Schoepen, Johnny Steggerda *Dutch* Bobbejaan Schoepen 1959 First release *More Money for You and Me* written by Bruce Belland, Glen Larson *English* The Four Preps May 1961 First release Hit song Live Medley *Ballad of Syd Levy* written by unknown author(s) *English* Allan Lieberman 2005 First release *Laulu Tom Dooleysta* written by Sauvo Puhtila *Finnish* Kauko Käyhkö ja Ossi Malisen yhtye 1958 First release Tom Dooley written by Reino Helismaa Finnish Olavi Virta First release 1959 First recording on Feb 13, 1959 Matti Heinivaho 1971 Henrik & Mosaic December 1981 Kari Tapio 1984 Topi Sorsakoski 1999 *Tom Dooley* written by Jacques Plante *French* Henri Decker et ses Quatre Voix alias Unico Multi avec André Popp et son orchestre 1959 First release *Fais ta prière* written by Max François *French* Les compagnons de la chanson Feb 24, 1959 Jack Irsa et ses Cow-Boys Apr 1959 Philippe Clay avec Jean-Paul Mengeon et son orchestre Apr 1959 Line Renaud - Orchestre dir. : Peter Brown 1959 Lucien Lupi - Orchestre dir. : Christian Chevallier avec "Les Angels" 1959 Robert Piquet avec Claude Vasori et son ensemble 1959 Serge Lenormand 1959 Trumpet Cha Cha et ses chœurs - Ray Tchicoray et son orchestre (Georges Jouvin) 1959 Jacqueline Danno - Orchestre sous la direction de Léo Chauliac 1960 *Tom Dooley* written by Arno Gillo *German* Die Nilsen Brothers November 1958 First release Das Tom Dooley-Trio Feb 1959 Bruce Low 1961 Heino 1973 Medium Terzett 1974 Ralf Paulsen 1998 *Tom Dooley* written by Christian Bruhn, Günter Loose *German* Jonny Hill Jan 1974 First release *Tom Dooley* written by Theo Rausch *German* Ralf Bendix 1975 First release *Die Wahrheit über Tom Dooley* written by Peter Held *German* Freddy Quinn 1992 First release *Útlaginn* written by Jón Sigurðsson [IS1] *Icelandic* Óðinn Valdimarsson og Atlantic kvartettinn 1959 First release Ragnar Bjarnason 1965 Sólheimakórinn 2015 *Upp undir Laugarásnum* written by Haraldur Sigurðsson, Þórhallur Sigurðsson *Icelandic* Halli og Laddi 1977 First release *Tom Dooley* written by Gian Carlo Testoni *Italian* Guido Guarnera - Poker di Voci - William Galassini e la sua orchestra First release 1959 *Tom Dooley* written by Ilio Benvenuti *Italian* The Gaylords Apr 1961 First release obby Solo 1966 *Who Stole My Provolone?* written by Ray Allen, Wandra Merrell, Marie Scaglione *Multiple languages* Lou Monte Oct 1963 First release *Tom Dooley* written by Lennart Hellsing *Swedish* Papegojorna - Karl-Olof Finnbergs orkester 1959 *Tom Dooley* written by Rafael de Penagos *Spanish* Torquato y Los 4 1960

*Thomas C. Dula* (June 23‚ 1844 - May 1, 1868) was a former Confederate soldier who was convicted of murdering Laura Foster. National publicity from newspapers such as The New York Times turned Dula's story into a folk legend. Although Laura was murdered in Wilkes County, North Carolina, Dula was tried, convicted, and hanged in Statesville. Considerable controversy surrounded the case. In subsequent years, a folk song was written (entitled "Tom Dooley", based on the pronunciation in the local dialect), and many oral traditions were passed down, regarding the sensational occurrences surrounding Laura Foster's murder and Dula's subsequent execution. The Kingston Trio recorded a hit version of the murder ballad in 1958. The Trio had taken the song, without acknowledgement, from the singing of singer and folklorist Frank Warner, who had learned it from Frank Proffitt, a preserver of traditional culture, during one of the many singing and song-sharing sessions he and his folklorist spouse Ann had enjoyed at the Proffitt and Hicks homes in North Carolina. Frank Proffitt had learned the song, among many others, from his aunt Nancy Prather, whose parents had known Tom, Laura Foster, and Ann Foster. A court case, brought by Frank Warner on Frank Proffitt's behalf, settled the matter of "ownership" of the song in the latter's favor, and he received royalties from the Trio's and other performances of the song. Early life Tom Dula was born to a poor Appalachian hill-country family in Wilkes County, North Carolina, most likely the youngest of three brothers, with one younger sister, Eliza. Dula grew up, attended school, and "probably played with the female Fosters" - Anne and her cousins Laura and Pauline. As the children grew up, Tom and Anne apparently became intimate. Anne Foster's mother found Anne and Tom in bed together when Anne was 14 years old and Tom was just 12. Three months before his 18th birthday, on March 15, 1862, Tom enlisted in the Confederate Army as a private in Company K, 42nd North Carolina Infantry Regiment. He was captured, but he was released in April 1865. Dula wrote a 15-page account of his life, as well as a note that exonerated Anne Foster (then using the married name Melton). His literacy is highly unusual, considering the harsh poverty of his upbringing. Dula played the fiddle and was considered by those who knew him well to be a "ladies' man". Military service Contrary to newspaper accounts at the time, Dula did not serve in Colonel Zebulon Vance's 26th North Carolina Infantry regiment, he had instead served in the 42nd North Carolina Infantry regiment, under Company K. Also, rumors that he "played the banjo" in the army band for Vance's benefit and entertained the colonel with his antics were false. These have often been cited as the reason that Vance was so quick to lead the defense during Dula's trial. Dula did not come through the war completely unscathed, as folklore, oral tradition, and some modern writers have claimed. He was wounded several times in battle. His brothers died in the war, leaving Tom as his mother's "sole remaining boy". Dula did sometimes use his musical talents in the army, and on one surviving muster roll he is listed as a "musician" and a "drummer". Murder of Laura Foster Anne Foster had married an older man, James Melton, who was a farmer, cobbler, and neighbor of both the Fosters and the Dulas. Melton also served in the war, taking part in the Battle of Gettysburg. Both Melton and Dula were captured and sent to a northern prison camp. They were released after the war ended and returned home. Shortly after his return, Dula resumed his relationship with Anne. With a reputation as a libertine, it was not long before he began an intimate relationship with Laura Foster, Anne's cousin. Folklore has it that Laura became pregnant, and that she and Dula had decided to elope. On the morning, she was to meet Dula, May 25, 1866, Laura quietly left her home and rode off on her father's horse. She was never seen alive again. It is not truly known what happened that day, but many stories have grown that implicate Anne Melton. Some tales claim that Anne murdered Laura Foster because she was jealous that Dula was marrying her. These stories say that Dula suspected Anne had killed her, but he still loved Anne enough to take the blame himself. It was Anne's word that led to the discovery of Laura's body, leading to further suspicion of Anne's guilt. Anne's cousin, Pauline Foster, testified that Anne had taken her to the grave one night to make sure it was still well hidden. Witnesses at the trial testified that Dula made the incriminating statement he was going to "do in" the one who gave him "the pock" (syphilis). Their testimony suggested that Dula believed Laura had given him syphilis, which he had passed on to Anne. However, the local doctor testified he had treated both Dula and Anne for syphilis (using blue mass), as he also had Pauline Foster, who in fact was the first to be treated. Many believe that Dula caught the disease from Pauline Foster, then passed it on to both Anne and Laura. Once the grave had been located, Laura Foster's decomposed body was found with her legs drawn up to fit in the shallow grave. She had been stabbed once in the chest. The gruesome murder and the lovers' triangle, combined with the rumors that circulated in the small backwoods town, captured the public's attention and led to the lasting notoriety of the crime. Dula's role in the murder is still debated. After the murder he stopped at the home of his relative Thomas Dula, a site that became Dula Springs Hotel. He had fled the area before Laura's body was found, after locals accused him of murdering Laura. Calling himself Tom Hall, he worked for about a week for Colonel James Grayson, just across the state line in Trade, Tennessee. Grayson was later mentioned in the song about Dula, and from that came the myth that he had been Dula's rival for the love of Laura Foster, but Grayson actually had no prior connection to either Dula or Foster. Once Dula's identity was known, Grayson did help the Wilkes County posse bring him in, but that was his only part in the affair. Trial Following Dula's arrest, former North Carolina Governor Zebulon Vance represented him pro bono, and to the end of his life maintained that Dula was innocent. He succeeded in having the trial moved from Wilkesboro to Statesville, since it was believed Dula could not receive a fair trial in Wilkes County. Nevertheless, Dula was convicted, and although he was given a new trial on appeal, he was convicted again. His supposed accomplice, Jack Keaton, was set free, and on Dula's word, Anne Melton was acquitted. As he stood on the gallows facing death, Dula reportedly said, "Gentlemen, I did not harm a single hair on that fair lady's head." He was executed on May 1, 1868, nearly two years after Laura Foster's murder. Dula's younger sister and her husband retrieved his body for burial. Petitions In 2001, the citizens of North Wilkesboro presented a petition to North Carolina Governor Mike Easley, asking that Tom Dula be posthumously pardoned. No action was taken. Tom Dula was acquitted of all charges after a petition was sent around Wilkes County and to the county seat. However, this action was unofficial and had no legal standing. Myths Much legend and folklore has grown around the tragedy and the life of Tom Dula. Not least of these is that Dula came through the war without a scratch, with Governor Vance making use of Dula's supposed talents with a banjo for his own entertainment. Both Dula's and Vance's accounts, as well as Dula's own military record, show this to be untrue. Nonetheless, the myth has persisted to the present day. Another myth holds that while Dula was fighting in Virginia, Anne - apparently despairing of ever seeing Tom again - met and married an older farmer, James Melton. In fact, she had married Melton in 1859, three years before Tom left for the war, though that may not have changed the nature of her relationship with Dula. A final tale is that Anne Melton confessed to the murder on her deathbed. She allegedly confessed to having killed Laura in a fit of jealousy and begged Tom to help her conceal the body. People in the area still say that, on her deathbed, Anne saw black cats on the walls and could hear and smell bacon frying. In popular culture Music Thomas Land is believed to have written a song about the tragedy titled "Tom Dooley" (which was how Dula's name was pronounced) shortly after Dula was hanged. This, combined with the widespread publicity the trial received, further cemented Dula's place in North Carolina legend. Stonewall Jackson's U.S. country music and Billboard hit song "Waterloo" (1959) makes reference to Tom Dooley in the final verse. The music project Windows to Sky featuring SJ Tucker released a version of "Tom Dooley" titled "Tom Dula: Madness Made Us Wild; a Play in Five Verses and a Hanging" (2012), which combines elements of several versions of the story and song and adapts quotes from the original court transcripts as lyrics. They describe it as "our original reinvention of the 'Tom Dula' story for the Neil Young Americana Contest, June 2012". Bob Dylan's song "Murder Most Foul" (2020) makes reference to Tom Dooley.

*The Kingston Trio* is an American folk and pop music group that helped launch the folk revival of the late 1950s to the late 1960s. The group started as a San Francisco Bay Area nightclub act with an original lineup of Dave Guard, Bob Shane, and Nick Reynolds. It rose to international popularity fueled by unprecedented sales of LP records and helped alter the direction of popular music in the U.S. The Kingston Trio was one of the most prominent groups of the era's folk-pop boom, which they kick-started in 1958 with the release of the Trio's eponymous first album and its hit recording of "Tom Dooley", which became a number one hit and sold over three million copies as a single. The Trio released nineteen albums that made Billboard's Top 100, fourteen of which ranked in the top 10, and five of which hit the number 1 spot. Four of the group's LPs charted among the 10 top-selling albums for five weeks in November and December 1959, a record unmatched for more than 50 years, and the group still ranks in the all-time lists of many of Billboard's cumulative charts, including those for most weeks with a number 1 album, most total weeks charting an album, most number 1 albums, most consecutive number 1 albums, and most top ten albums. In 1961, the Trio was described as "the most envied, the most imitated, and the most successful singing group, folk or otherwise, in all show business" and "the undisputed kings of the folksinging rage by every yardstick". The Trio's massive record sales in its early days made acoustic folk music commercially viable, paving the way for singer-songwriter, folk rock, and Americana artists who followed in their wake. The Kingston Trio continues to tour as of 2024 with musicians who licensed the name and trademark in 2017. Formation, 1954-1957 Dave Guard and Bob Shane had been friends since junior high school at the Punahou School in Honolulu, Hawaii, where both had learned to play ukulele in required music classes. They had developed an interest in and admiration for native Hawaiian slack key guitarists like Gabby Pahinui. While in Punahou's secondary school, Shane taught first himself and then Guard the rudiments of the six-string guitar, and the two began performing at parties and in school shows doing an eclectic mix of Tahitian, Hawaiian, and calypso songs. After graduating from high school in 1952, Guard enrolled at Stanford University while Shane matriculated at nearby Menlo College. At Menlo, Shane became friends with Nick Reynolds, a native San Diegan with an extensive knowledge of folk and calypso songs-in part from his guitar-playing father, a career officer in the U.S. Navy. Reynolds was also able to create and sing tenor harmonies, a skill derived in part from family singalongs and could play both guitar and bongo and conga drums. Shane and Reynolds performed at fraternity parties and luaus for a time, and eventually Shane introduced Reynolds to Guard. The three began performing at campus and neighbourhood hangouts, sometimes as a trio but with an aggregation of friends that could swell its ranks to as many as six or seven, according to Reynolds. They usually billed themselves under the name of "Dave Guard and the Calypsonians". None of the three at that time had any serious aspirations to enter professional show business, however, and Shane returned to Hawaii following his graduation in late 1956 to work in the family sporting goods business. Still in the Bay Area, Guard and Reynolds had organized themselves somewhat more formally into an entity named "The Kingston Quartet" with friends; bassist Joe Gannon and vocalist Barbara Bogue, though as before the members were often joined in their performances by other friends. At one engagement at Redwood City's Cracked Pot beer garden, they met a young San Francisco publicist named Frank Werber, who had heard of them from a local entertainment reporter. Werber liked the group's raw energy but did not consider them refined enough to want to represent them as an agent or manager at that point, though he left his telephone number with Guard. Some weeks later (and following a brief period in which Reynolds was temporarily replaced in the quartet by Don MacArthur), Guard and Reynolds invited Werber to a performance of the group at the Italian Village Restaurant in San Francisco, where Werber was so impressed by the group's progress that he agreed to manage them provided they replace Gannon, in whose professional potential Werber had no faith. Bogue left with Gannon, and Guard, Reynolds, and Werber invited Shane to rejoin the now more formally organized band. Shane, who had been performing part-time as a solo act at night in Honolulu, readily assented and returned to the mainland in early March 1957. The four drew up a contract as equal partners in Werber's office in San Francisco, deciding on the name "Kingston Trio" because it evoked, through its association with Kingston, Jamaica, the calypso music popular at the time, and also on the uniform of three-quarter-length sleeved vertically striped shirts that the group hoped would help its target audience of college students to identify with them. Era of peak success, 1957-61 Werber imposed a stern training regimen on Guard, Shane, and Reynolds, rehearsing them for six to eight hours a day for several months, sending them to prominent San Francisco vocal coach Judy Davis to help them learn to preserve their voices, and working on the group's carefully prepared but apparently spontaneous banter between songs. At the same time, the group was developing a varied and eclectic repertoire of calypso, folk, and foreign language songs, suggested by all three of the musicians though usually arranged by Guard with some harmonies created by Reynolds. The first major break for the Kingston Trio came in late June 1957 when comedian Phyllis Diller cancelled a week-long engagement at The Purple Onion club in San Francisco. When Werber persuaded the club's owner to give the untested Trio a chance, Guard sent out five hundred postcards to everyone that the three musicians knew in the Bay Area and Werber plastered the city with handbills announcing the engagement. When the crowds came, the Trio had been well prepared by months of work, and they achieved such local popularity that the initial week's engagement stretched to six months. Werber built upon this initial success, booking a national club tour in early 1958 for the Trio that included engagements at such prominent night spots as Mister Kelly's in Chicago, the Village Vanguard in New York, Storyville in Boston, and finally a return to San Francisco and its showcase nightclub, the hungry i, in June of that year. At the same time, Werber was attempting to leverage the Trio's popularity as a club act into a recording contract. Both Dot Records and Liberty Records expressed some interest, but each proposed to record the Trio on 45 rpm (revolutions per minute) singles only, whereas Werber and the Trio members both felt that 33+1⁄3 rpm albums had more potential for the group's music. Through Jimmy Saphier, agent for Bob Hope who had seen and liked the group at The Purple Onion, Werber contacted Capitol Records, which dispatched prominent producer Voyle Gilmore to San Francisco to evaluate the Trio's commercial potential. On Gilmore's strong recommendation, Capitol signed the Kingston Trio to an exclusive seven-year deal. The group's first album, Capitol T996 The Kingston Trio, was recorded over a three-day period in February 1958 and released in June that year, just as the Trio was beginning its engagement at the hungry i. Gilmore had made two important supervisory decisions as producer - first, to add the same kind of "bottom" to the Trio's sound that he had heard in live performance and consequently recruiting Purple Onion house bassist Buzz Wheeler to play on the album, and second to record the group's songs without the supporting orchestral accompaniment that was nearly universal (even for folk-styled records) at the time. The song selections on the first album reflected the repertoire that the musicians had been working on for two years-re-imagined traditional songs inspired by The Weavers like "Santy Anno" and "Bay of Mexico", calypso-flavored tunes such as "Banua" and "Sloop John B" that were reminiscent of the popular Harry Belafonte recordings of the time, and a mix of both foreign language and contemporary songwriter numbers, including Terry Gilkyson's "Fast Freight" and "Scotch and Soda", whose authorship remains unknown as of 2023. The album sold moderately well-including on-site sales at the hungry i during the Kingston Trio's engagement there through the summer-but it was DJs Paul Colburn and Bill Terry at station KLUB in Salt Lake City whose enthusiasm for a single cut on the record spurred the next development in the group's history. Colburn began playing "Tom Dooley" extensively on his show, prompting a rush of album sales in the Salt Lake area by fans who wanted to listen to the song, as yet unavailable as a single record. Colburn called other DJs around the country urging them to do the same, and national response to the song was so strong that a reluctant Capitol Records finally released the tune as a 45rpm single on August 8, 1958; it reached the number 1 spot on the Billboard chart by late November, sold a million copies by Christmas, and was awarded a gold record on January 21, 1959. "Tom Dooley" also spurred the debut album to a number 1 position on the charts and helped the band earn a second gold record for the LP, which remained charted on Billboard's weekly reports for 195 weeks.

The success of the album and the single earned the Kingston Trio a Grammy Award for Best Country & Western Performance for "Tom Dooley" at the awards' inaugural ceremony in 1959. At the time, no folk music category existed. The next year, largely as a result of The Kingston Trio and "Tom Dooley", the National Academy of Recording Arts and Sciences instituted a folk category, and the Trio won the first Grammy Award for Best Ethnic or Traditional Folk Recording for its second studio album At Large. This was the beginning of a remarkable three-year run for the Trio in which its first five studio albums achieved number 1 chart status and were awarded gold records. By 1961, the group had sold more than eight million records, earning in excess of US$25 million for Capitol, roughly US$260 million in 2023 dollars. The Kingston Trio was responsible for 15 percent of Capitol's total sales when Capitol recorded many other popular artists, including Frank Sinatra and Nat "King" Cole. For five consecutive weeks in November and December 1959, four Kingston Trio albums ranked in the top ten of Billboard's Top LPs chart, an accomplishment unmatched by any artist before or since. The Trio also charted several single records during this time, made numerous television appearances, and played upwards of 200 engagements per year. Change and a second phase, 1961-67 By early 1961 a rift developed and deepened between Guard on one side and Shane and Reynolds on the other. Guard had been referred to in the press and on the albums' liner notes as the "acknowledged leader" of the group, a description never wholly endorsed by Shane and Reynolds, who felt themselves equal contributors to the group's repertoire and success. Guard wanted Shane and Reynolds to follow his lead and learn more of the technical aspects of music and to redirect the group's song selections, in part because of the withering criticism that the group had been getting from more traditional folk performers for the Trio's smoother and more commercial versions of folk songs and for the money-making copyrights that the Kingston group had secured for its arrangements of public domain songs. Shane and Reynolds felt that the formula for song selection and performance that they had painstakingly developed still served them well. Furthermore, over $100,000 appeared to be missing from the Trio's publishing royalties, an accounting error eventually rectified, which created an additional irritant to both sides. Guard regarded it as inexcusable carelessness while to Shane and Reynolds it highlighted what they perceived as Guard's propensity to claim individual copyright for some of the group's songs, including "Tom Dooley" (though Guard eventually lost a suit over copyright for that number to Alan Lomax, Frank Warner, and Frank Proffitt) and "Scotch and Soda". Following a meeting with attorneys on May 10, 1961, intended to resolve the dispute, Dave Guard resigned from the Kingston Trio, though pledging to fulfill group commitments through November of that year. Shane, Reynolds, and Werber bought out Guard's interest in the partnership for $300,000 to be paid over a number of years and moved to replace him immediately. The remaining Trio partners settled quickly on John Stewart, a 21-year-old member of the Cumberland Three, one of the many groups that sprang up hoping to imitate the Kingston Trio's success. Stewart was well-acquainted with Reynolds and Shane, having sold two songs to the Trio, and he was a proficient guitarist, banjoist, and singer. Stewart began rehearsing and recording with the group nearly immediately, commencing public appearances with the Trio in September 1961. According to Shane, "We did nearly as well with John as we did with Dave."[46] Six of the group's next seven albums between 1961 and 1963 continued to place in Billboard's Top Ten and several of the group's most successful singles, including "Where Have All the Flowers Gone?" and "Greenback Dollar", charted as well. Beginning in 1964, however, the Kingston Trio's dominance in record sales and concert bookings began to wane, due partly to imitators in the pop-folk world and also to the rise of other commercial folk groups like Peter, Paul and Mary whose music had a decidedly more political bent than the Trio's. The British Invasion spearheaded by The Beatles, who were signed by EMI/Capitol just as the Trio's seven-year contract was running out, depressed sales of acoustic folk albums significantly, and Capitol did not make a serious effort to re-sign the group.[48] According to critic Ken Barnes, the British Invasion played a significant role in curtailing the sales of the Trio's recordings. Werber secured a generous signing bonus from Decca Records, and the last four albums of the Kingston Trio's first decade were released by that label. Without the production facilities of Capitol, however, and the expertise of Voyle Gilmore and engineer Pete Abbott, the Decca releases lacked the aural brilliance of the Capitol albums, and none of the four sold especially well. By 1966, Reynolds had grown weary of touring and Stewart wanted to strike out on his own as a singer-songwriter, so the three musicians and Werber developed an exit strategy of playing as many dates as possible for a year with an endpoint determined to be a final two-week engagement at the hungry i in June 1967. The group followed this strategy successfully, and on June 17, 1967, the Kingston Trio ceased to be an actively performing band. Hiatus and the New Kingston Trio, 1967-1976 Following the hungry i engagement, Reynolds moved to Port Orford, Oregon and pursued interests in ranching, business, and race cars for the next twenty years. Stewart commenced a long and distinguished career as a singer-songwriter, composing hit songs like "Daydream Believer" for The Monkees and "Runaway Train" for Rosanne Cash. He recorded more than 40 albums of his own, most notably the landmark California Bloodlines, and found chart success in the top forty with "Midnight Wind", "Lost Her in the Sun", and "Gold", the latter reaching number 5 in 1979. Bob Shane decided to stay in entertainment, and he experimented with solo work. He recorded several singles, including a well-received but under-marketed version of the song "Honey" that later became a million-seller for Bobby Goldsboro, and with different configurations with other folk-oriented performers. Though finances were not an immediate concern-the Kingston Trio partners Werber, Shane and Reynolds still owned an office building, a restaurant, other commercial real estate, and a variety of other lucrative investments-Shane wanted to return to a group environment and in 1969 secured permission from his partners to use the mutually owned group name for another band, with Reynolds and Werber insisting only that Shane's group be musically as accomplished as its predecessors and that Shane prefix "new" to the band's title. Shane agreed and organized two troupes under the name of "The New Kingston Trio". The first consisted of guitarist Pat Horine and banjoist Jim Connor in addition to Shane and lasted from 1969 to 1973, the second including guitarist Roger Gambill and banjoist Bill Zorn from 1973 until 1976. Shane tried to create a repertoire for these groups that included both the older and expected Kingston Trio standards like "Tom Dooley" and "M.T.A." but that would also feature more contemporary songs as well, including country and novelty tunes. The attempt did not meet with any significant success. The only full-length album released by either group was The World Needs a Melody in 1973 (though 25 years later FolkEra Records issued The Lost Masters 1969-1972, a compilation of previously unreleased tracks from the Shane-Horine-Connor years), and its sales were negligible. Though both troupes of the New Kingston Trio made a limited number of other recordings and several television appearances, neither generated very much interest from fans or the public at large. The third phase, 1976-2017 In 1976, Bill Zorn left the New Kingston Trio to work as a solo performer and record producer in London. Shane and Gambill replaced him with George Grove, a professionally trained singer and instrumentalist from North Carolina who had been working in Nashville as a studio musician. The same year, Shane secured from Werber and Reynolds the unencumbered rights to use the band's original name of the Kingston Trio without the appended "new" in exchange for relinquishing his interest in the still-profitable corporation, whose holdings included copyrights and licensing rights to many of the original Trio's songs. Since 1976, the various troupes owned by Shane have performed and recorded simply as the Kingston Trio. The Shane-Gambill-Grove Kingston Trio existed from 1976 through 1985, when Gambill died unexpectedly from a heart attack on March 2 at the age of 42. The nine years of this configuration was to that point the longest period of time that any three musicians had worked together as the Kingston Trio, and the group released two albums of largely original material. It was during this period as well that PBS producers JoAnne Young and Paul Surratt approached Shane and the other principals of the original group with the idea of arranging a reunion concert that would be taped and used as a fundraiser for the network. Agreement was reached, and on November 7, 1981, Dave Guard, Nick Reynolds, and John Stewart joined the Shane-Gambill-Grove Trio and guest performers Mary Travers of Peter, Paul and Mary, Tom Smothers of the Smothers Brothers, and Lindsey Buckingham of Fleetwood Mac at the Magic Mountain amusement park north of Los Angeles for a show billed as "The Kingston Trio and Friends Reunion." The different configurations of the Trio took turns performing sets of the group's best-known songs with all the artists joining onstage for a finale.

More than twenty years had passed since Dave Guard had left the group, but residual tension surfaced between Guard and Shane in a preview article in The Wall Street Journal that appeared in March 1982 in advance of the national broadcast of the taped show. Guard implicitly disparaged Shane's current group, and Shane asserted a distaste for performing again with Guard, who had spent the intervening decades living and performing in Australia, touring sporadically as a soloist, and writing about and teaching music. Despite the unpleasantness, Shane and Guard reconciled to a large degree (even to the point of planning a possible reunion tour)[63] prior to Guard's death at age 56 from lymphoma nine years later in March 1991. Following the 1985 death of Roger Gambill, Kingston Trio personnel changed several times, though Shane and Grove remained constants. Bob Haworth, a veteran folk performer who had worked as a member of The Brothers Four for many years, initially replaced Gambill from 1985 through 1988 and again from 1999 through 2005. In 1988, original member Nick Reynolds rejoined the band until his final retirement in 1999. When heart disease forced Bob Shane's retirement from touring in March 2004, he was replaced by former New Kingston Trio member Bill Zorn. A year later, following Haworth's departure, Grove and Zorn were joined by Rick Dougherty, who had performed for a time with Zorn as second-generation members of another popular folk group from the 1960s, The Limeliters. Both the Grove-Zorn-Haworth and Grove-Zorn-Dougherty troupes of the Kingston Trio released original CDs and DVDs, and the latter configuration toured extensively for 12 years under the direction of original member Bob Shane. Capitol Records, Decca Records, Collector's Choice Music,[67] and Folk Era Records have released and continue to release compilations of older albums as well as previously unreleased tapes of both studio and live recordings from the Kingston Trio's first ten years. Trademark and roster changes, 2017 to the present In October 2017, Grove, Zorn, and Dougherty were replaced as the Trio by new licensees Josh Reynolds (son of original Kingston Trio founder Nick Reynolds), Mike Marvin, a close childhood friend of the Reynolds family, and Tim Gorelangton. In 2018, Josh Reynolds left the group and was replaced by Bob Haworth, who became a member of the band for the third time.[70] At the end of 2018, Haworth left the group and was replaced by another former Limeliter, Don Marovich. Marovich resigned from the group in early 2022 and was replaced by Americana artist Buddy Woodward. Bob Shane, the last original member of the trio, died on January 20, 2020. George Grove and Rick Dougherty continue to perform folk music by joining veteran entertainer Jerry Siggins as the Folk Legacy Trio. Folk music label Initial criticism Almost from its inception, the Kingston Trio found itself at odds with the traditional music community. Urban folk musicians of the time (to whom Bob Dylan referred in Rolling Stone as "the left-wing puritans that seemed to have a hold on the folk-music community") frequently associated folk music with leftist politics and were contemptuous of the Trio's deliberate political neutrality. Peter Dreier of Occidental College observed that "Purists often derided the Kingston Trio for watering down folk songs in order to make them commercially popular and for remaining on the political sidelines during the protest movements of the 1960s." A series of scathing articles appeared over several years in Sing Out! magazine, a publication that combined articles on traditional folk music with political activism. Its editor Irwin Silber referred to "the sallow slickness of the Kingston Trio" and in an article in the spring 1959 issue Ron Radosh said that the Trio brought "good folk music to the level of the worst in Tin Pan Alley music" and referred to its members as "prostitutes of the art who gain their status as folk artists because they use guitars and banjos". Following the Trio's performance at the premier Newport Folk Festival in 1959, folk music critic Mark Morris wrote: "What connection these frenetic tinselly showmen have with a folk festival eludes me... except that it is mainly folk songs that they choose to vulgarize." Frank Proffitt, the Appalachian musician whose version of "Tom Dooley" the Trio rearranged, watched their performance of his song on a television show and wrote in reaction, "They clowned and hipswung. Then they came out with 'This time tomorrow, reckon where I'll be/If it hadn't a' been for Grayson/I'd a been in Tennessee.' I began to feel sorty sick. Like I'd lost a loved one. Tears came to my eyes. I went out and bawled on the ridge." Proffitt had learned the song from his father and his grandmother, who had known Tom Dula and Laura Foster, the killer and the victim in the actual 1866 murder related in the song. Both Proffitt and fellow North Carolina musician Doc Watson sang the older version of the tune, which had "a lively mocking tempo... that retained some of the ghastliness and moral squalor of an actual murder", according to folk historian Robert Cantwell, who also notes that the Kingston Trio's version of the song omitted several verses from the traditional lyric. The slower, harmonized Trio version of the Dooley song and other traditional numbers struck Proffitt as a betrayal of "the strange mysterious workings which has made Tom Dooly [sic] live..." In 2006, folk traditionalist and influential banjo master Billy Faier remarked: "I hear and see very little respect for the folk genre" in their music and described the Trio's repertoire as "a mishmash of twisted arrangements that not only obscure the true beauty of the folk songs from which they derive but give them a meaning they never had." However, Trio members never claimed to be folksingers and were never comfortable with the label. The liner notes for the group's first album featured a quotation from Dave Guard asserting that "We don't really consider ourselves folksingers in the accepted sense of the word..." Guard later told journalist Richard Hadlock in Down Beat magazine: "We are not students of folk music; the basic thing for us is honest and worthwhile songs that people can pick up and become involved in." Nick Reynolds added in the same article: "We don't collect old songs in the sense that the academic cats do... We get new tunes to look over every day. Each one of us has his ears open constantly to new material or old stuff that's good." Bob Shane remarked years later: "To call the Kingston Trio folksingers was kind of stupid in the first place. We never called ourselves folksingers... We did folk-oriented material, but we did it amid all kinds of other stuff. But they didn't know what to call us with our instruments, so Capitol Records called us folksingers and gave us credit for starting this whole boom." 21st-century perspectives Over the years, the Kingston Trio expanded its song selection beyond the rearranged traditional numbers, calypso songs, and Broadway show tunes that had appeared on its first several albums. In an obituary for Nick Reynolds (d. October 1, 2008), Spencer Leigh wrote in Britain's Independent on Sunday: Looking at their repertoire now, it is apparent that the Kingston Trio was far more adventurous than is generally supposed. They introduced "It Was A Very Good Year" in 1961, later a standard for Frank Sinatra, and they were one of the first to spot the potential of English language versions of Jacques Brel's songs by recording "Seasons in the Sun" in 1963. They encouraged young songwriters including Hoyt Axton ("Greenback Dollar"), Rod McKuen ("Ally Ally Oxen Free", "The World I Used to Know") and Billy Edd Wheeler ("Reverend Mr Black"). Best of all, in 1962 they introduced listeners to one of the most poignant songs ever written, the anti-war ballad "Where Have All The Flowers Gone?" by Pete Seeger, formerly with the Weavers.[86] Further, Peter Dreier points out that "the group deserves credit for helping to launch the folk boom that brought recognition to older folkies and radicals like Woody Guthrie and Pete Seeger, and for paving the way for newcomers like Joan Baez, Bob Dylan and Phil Ochs, who were well known for their progressive political views and topical songs. By the time these younger folk singers arrived on the scene, the political climate had changed enough to provide a wide audience for protest music." Additionally, writing in the British daily The Guardian, also in an obituary for Reynolds, Ken Hunt asserted that "[the Kingston Trio] helped to turn untold numbers of people on to folk music... [T]hey put the boom in folk boom... They were the greatest of the bands to emerge after the McCarthy-era blacklisting of folk musicians and breathed new air into the genre."

Thank you that you like my Pathe record my sweet Jytte !!!!! 98 years is a respectable age for a record Jytte !!!! And he still sounds good !!!! Enyoy your day Jytte and take good care of yourself !!!! Till lateron and in the meantime I keep you closed in my heart !!!! Yours forever faithful henk !!!!!

Hellooooo !!!!! welcome home my dearest Jytte !!!! I have done a great nap in my chair !!!!! And now overhere the Sun is shining and it is 5 degrees !!!! I'm glad that you had such a nice time in the church and have sang psalms !!!! And I thank you that you like The Kingston Trio !!!!! Make something beautiful of this Sunday afternoon Jytte !!!! I keep thinking on you ! Yours forever, Henk !!!!

Dankjewel voor je leuke reactie Jos ! En een mooie Zondag !!!!

@@henkgloudemans8886 Dankjewel, jullie ook een mooie zondag

General analysis Like much of Work's wartime catalog, "Marching Through Georgia" captures contemporary attitudes among Northern civilians-in this case, jubilation over Sherman's fruitful campaign. It fulfilled their demand for a celebratory patriotic hymn. Accordingly, the song imparts passionate patriotism and American pride, such that it "rubbed Yankee salt into one of the sorest wounds of the Civil War," in musicologist Sigmund Spaeth's words. Numerous writers correlate this patriotism with Work's background in an abolitionist family. "Marching Through Georgia" was one of the few wartime compositions to outlast the conflict. Civilians had grown tired of war, mirrored by the short-lasting fame of "Tramp! Tramp! Tramp!", an anthem known to the entire Union that nonetheless left the spotlight after 1865. In his autobiography published 26 years after Work drafted the song, George F. Root explains its unique postbellum popularity: It is more played and sung at the present time than any other song of the war. This is not only on account of the intrinsic merit of its words and music, but because it is retrospective. Other war songs, "The Battle Cry of Freedom" for example, were for exciting the patriotic feeling on going into the war or the battle; "Marching Through Georgia" is a glorious remembrance on coming triumphantly out, and so has been more appropriate to soldiers' and other gatherings ever since. To soldiers, Work's piece was the "only [one] which [...] thoroughly expressed their triumphant enthusiasm." Legacy Postbellum Maj. Gen. William T. Sherman, to whom "Marching Through Georgia" is dedicated "Marching Through Georgia" quickly cemented itself as a Civil War icon. Selling 500,000 copies of sheet music within 12 years, it became one of the most successful wartime tunes and Work's most profitable hit up to that point. Music biographer David Ewen regards it as "the greatest of his war songs," and Carl S. Lowden deems it his very best work, in part owing to its "soul-stirring" production and longevity. Writer Edwin Tribble opines that Work's postbellum fame, the little he had, rested solely on the success of "Marching Through Georgia",[58] citing a letter he wrote to his long-time correspondent Susie Mitchell: "It is really surprising that I have excited so much curiosity and interest here [at an annual encampment of the Grand Army of the Republic (GAR)], not only among romantic young women but among all classes. My connection with 'Marching Through Georgia' seems to be the cause." In fact, starting from the 1880s, the song predominated Northern veteran gatherings. Sherman himself came to loathe "Marching Through Georgia" because of its ubiquity in the North, being performed at every public function he attended. When he reviewed the national encampment of the GAR in 1890, the hundreds of bands present played the tune every time they passed him for an unbroken seven hours. Eyewitnesses claim that "his patience collapsed and he declared that he would never again attend another encampment until every band in the United States had signed an agreement not to play 'Marching Though Georgia' in his presence." Sherman maintained his promise for all his life. However, the song was played at his funeral. "Marching Through Georgia" does not share the same popularity in the nation's other half. Irwin Silber deems it the most despised Unionist song in the South owing to it evoking a devastated Georgia at the hands of Sherman's frantic army. Accordingly, Sigmund Spaeth explicitly advises readers not to sing or play Work's composition to a Southerner.[14] Two incidents-both at a Democratic National Convention-exemplify Georgia's contempt for the song. In the 1908 convention, Georgia was one of the few states not to send its delegates to the eventual victor William Jennings Bryan; the band insultingly played "Marching Through Georgia" to express the convention's disapproval. A similar incident sparked in 1924. When tasked to play a fitting song for the Georgia delegation, the convention's band broke into Work's piece; music historian John Tasker Howard remarks: "[...] when the misguided leader, stronger on geography than history, swung into Marching Through Georgia, he was greeted by a silence that turned into hisses and boos noisier than the applause he had heard before." Military/Nationalist uses "Marching Through Georgia" is a staple of marching bands. While quintessentially American,[48] it has been performed by armed forces across the world. Japanese troops sang it as they entered Port Arthur at the Russo-Japanese War's onset. British troops stationed in India periodically chanted it. The song's melody has been adapted into numerous regional military and nationalist anthems. The Princeton football fight song "Nassau! Nassau!" also borrowed the melody of Work's composition. A more notable adaptation is the controversial pro-Ulster hymn "Billy Boys", with the chorus: Hello, hello, we are the Billy boys, Hello, hello, you'll know us by our noise, We're up to our knees in Fenian blood, Surrender or you'll die, For we are the Brigton Derry boys. Political uses Both major candidates in the 1896 U.S. presidential election, William McKinley and William Jennings Bryan, featured songs sung to the tune of "Marching Through Georgia" in their campaign. The melody of "Paint 'Er Red", a commonplace pro-labor tune of the Industrial Workers of the World, is based on the song. Above all, the piece is of Liberal significance in the United Kingdom, lending the tune of future prime minister David Lloyd George's campaign song "George and Gladstone", as well as the Liberal Democrats' de facto anthem, "The Land". The latter is a Georgist protest song calling for the equal distribution of land among the British public, with the refrain: The land! the land! 'twas God who gave the land! The land! the land! the ground on which we stand, Why should we be beggars, with the ballot in our hand? "God gave the land to the people!" Other uses Several films have employed Work's piece. A carpetbagger in the epic _Gone with the Wind_ (1939) chants its chorus while trying to steal Tara from Scarlett O'Hara. The western _Shane_ (1953) features Wilson briefly performing the song on a harmonica. "Marching Through Georgia" was additionally incorporated in Ken Burns' documentary _The Civil War_ (1990) and in Charles Ives' orchestral suite _Three Places in New England._

Thank you for the names of all the Misters Henri !!!! And all the great info about the number and his composer Henri you are AMAZING !!!!!

And thank you for this sea on informations !!!! It was a delight to read it !!!! Yours, Henk !!!!!!

@@henridelagardere264 Dear Henri, thank you for telling about "Marching through Georgia" and about Henry Clay Work !!!! I wish you a lovely afternoon and evening !!!!!!!! Warm greetings from Jytte

Ja, de noten swingen de pan uit !!!!

Dank voor het exacte jaar van de plaat en voor alle interessante info over het nummer !!!! En natuurlijk voor de lijsten met de andere uitvoeringen en de biografie van Fredo Gardoni !!!!! Dankbare groeten van Henk en een prachtige Zondag !!!!!

Dear Henri, you are amazing !!!! 😍😍😍😍😍😍😍😍😍😍😍😍😍😍

Whe are connaiceurs of quality jazz music Greg !!!!!

Comparing with my other junk I should say yes !!!!

@henkgloudemans8886 junk needs to be shared as well!

Thank you my dearest Jytte for listening to Willy !!!! he sings when a man and a girl make love on a bench in the park together they don't bather what other people think !!!! It's a funny song !!!! I'll wait for your return from the church !!!! Be careful on the street Jytte !!!! And I send you my warmest greetings !!!!! Yours faithful Henk !!!!

Een man zit op een bankje in het park. Er komt een vrouw langs en vraagt: “Mag ik gaan zitten?” De man: “Ja, natuurlijk." Na een tijdje zegt de vrouw: “Neem me niet kwalijk, mijn man heeft me verlaten omdat ik seks wilde die te pervers was." "Wat u niet zegt, mijn vrouw *mij ook om dezelfde reden!!* Willen we het niet samen proberen?" "Graag!" De twee gaan dus naar haar huis. Hij gaat op de couch zitten terwijl zij zich omkleedt. Als ze de woonkamer binnenkomt, staat de man op het punt de voordeur uit te gaan. “Waar wil je heen??” vraagt ​​ze verbaasd. Zegt hij, "Ik heb al je hond geneukt en in je handtas gepoept. Ik ben klaar voor vandaag."

Thank you my sweet Jytte that you like Mr. Acker Bilk !!!! I wish you a verry nice time at the church and I wish you all the happiness of the World !!!! Yours always, Henk !!!!!

Goodmorning !!!! My dearest Jytte !!!!! I have slept verry well and I hope that you did the same !!!! I measured this morning 7.5 so that's not to bad !!!! Overhere we have grey cloudy weather by 2 degrees !!!! And I thank you for listening to The Hotcha's !Jytte I wish you a magnificent Sunday !!!! Your always faithful Henk !!!!

Goedemorgen en een hele fijne Zondag !!!!

Dankjewel Lies ! En pas goed op jezelf !!!!

Goodevening my dearest Jytte !!!! I'm happy for you that you had such a magnificent time together with your familie !!!!!! You are a lucky bird to have such a familie Jytte !!!!!! I understand that you are tired so I wish you goodnight !!!! Sleep well , have sweet dreams and till tomorrow !!!! Your always faithful Henk !!!!!

Dankjewel Lies !!!! groetjes van Henk !!!!

Hahaha !!!! Die Hendrik !!!! Je bent Henkie vergeten die heeft ook een dikke buik !!!!!

Wat een prachtig verhaal over de film, Erhard Bauschke en Jacques van Tol !!!!! Er staat een prachtige documontaire over Jaques van Tol (De spookschrijver) Op RUclips !!!! Dank voor dit mooie uitgebreide commentaar Henri !!! En welterusten voor straks !!!!! Groetjes van Henk !!!!!

Wat leuk Lies !!! Nog een fijne avond en welterusten voor straks !!!!

Danke fur so vielen schonen worten mein lieber Henriette !!!! Schone abend und fur spater, Gute nacht !!!!!!

@ Und Dir einen schönen Sonntagabend, lieber Henk, und einen guten Start in eine tolle neue Woche❣️ 🌞🍀🌞🍀🌞

Goedemorgen Lies ! En dank voor dit aangrijpende verhaal !!! En een mooie Zondag !!!!

Dankjewel Jos !!!!

Dankjewel Jos !

Hahaha !!!!! Snel gaan kokerellen The hungry troops are coming !!!!! Een handshake voor Sir Hub en 3 dikke zoenen voor jou van Henkie Maas !!! Houdoe !!!!

Dank voor de opsomming en toelichting bij de nummers !!!! En bij de onderste lijst niet te vergeten Willy Derby en ook Lou Bandy: Daar kan een ronde zeeman niet om treuren !!!! Groetjes van Henkie ! En een fijne Zaterdag avond !!!!!!

En dank voor het exacte jaartal Henri !!!!!

Graag gedaan Lies !!!!

Ja ze waren een fantastisch duo !!!

Miloslav Ladislav *„Ladi“ Geisler* (* 27. November 1927 in Prag; † 19. November 2011 in Hamburg) war ein deutscher Jazz- und Studiomusiker (Gitarrist, Bassgitarrist). Sein „Knackbaß“ prägte den Sound des Orchesters von Bert Kaempfert. Ladi Geisler erhielt als Kind Geigenunterricht und lernte bald auch Trompete. Er sollte zunächst als Ingenieur in der Elektrofirma arbeiten, in der sein Vater als Direktor tätig war. In der letzten Phase des Zweiten Weltkrieges wurde Geisler zur deutschen Luftwaffe eingezogen, wo er an dem Kampfflugzeug Heinkel He 162 ausgebildet wurde. Anschließend geriet er in britische Gefangenschaft und kam in ein dänisches Kriegsgefangenenlager. Mithilfe eines Mitgefangenen entwickelte Geisler eine E-Gitarre und erlernte als Autodidakt das Gitarrespielen. Sein Vorbild war Oscar Moore, Gitarrist des amerikanischen Sängers Nat King Cole. Im Lager machte er auch die Bekanntschaft mit dem deutschen Musiker Horst Wende, der ihn nach der Entlassung mit nach Deutschland nahm und ihn zum Gitarristen seines „Horst-Wende-Trios“ machte. Über Horst Wende bekam Geisler Kontakt zum NWDR, und nach der Ausgründung des NDR erhielt er 1955 eine Festanstellung als Gitarrist im NDR-Tanzorchester unter Leitung von Franz Thon. Daneben spielte er weiter bei Horst Wende, der inzwischen einen Vertrag bei der Plattenfirma Polydor hatte. Die Horst-Wende-Band trat u. a. auch in dem Hamburger Nachtlokal „Tarantella“ auf. Dort kam es zum Zusammentreffen zwischen Ladi Geisler und Freddy Quinn, aus der sich eine langjährige Zusammenarbeit entwickelte. Bis Anfang der 1960er Jahre wirkte Geisler bei zahlreichen Plattenaufnahmen von Freddy Quinn mit. Zu diesem Zeitpunkt hatte sich Geisler bereits zu einem profilierten Gitarristen entwickelt. Beim NDR wurde er vielseitig eingesetzt, so war er mit dem NDR-Sinfonieorchester auch an der Uraufführung eines Werkes von Pierre Boulez auf dem Edinburgh Festival beteiligt. Neben Polydor arbeitete er auch für andere Plattenfirmen und begleitete weitere Sänger wie Evelyn Künneke, Greetje Kauffeld, Friedel Hensch, Esther und Abi Ofarim oder Hildegard Knef. Von James Last kaufte er Ende der 50er Jahre dessen Gibson EB Bassgitarre, mit der er seinen legendären „Knackbass“ Sound entwickelte und den er dann bei den ersten Aufnahmen als Mitglied des Easy-Listening-Orchesters von Bert Kaempfert verwendete. Später setzte er ein Fender Jazz Bass Modell ein. Zuletzt benutzte er einen Fender Precision Bass, wenn er zu Live- oder Recording Sessions eingeladen wurde. Bereits 1958 hatte er bei der Plattenfirma Telefunken mit Happy Guitar / Samba estrella seine erste Soloplatte aufgenommen. Bei Philips und Ariola, aber hauptsächlich bei Polydor nahm er bis 1965 weitere Soloplatten auf, zum Teil mit der Polydor-Band „The Playboys“. Unter ihrem Namen erreichte er 1961 mit der Coverversion des Welthits _Wheels_ Platz 19 in den deutschen Hitlisten. Als freiberuflicher Musiker war er bei allen führenden deutschen Plattenfirmen begehrt und wirkte in manchen Jahren bei bis zu 1500 Aufnahmen mit. Mit dem Orchester Alfred Hause ging er noch 1988 und 1990 auf Tournee durch Japan. In den 1990er Jahren gründete er sein eigenes Musikstudio, das „Studio 17“ und wandte sich verstärkt dem Jazz zu. Er gründete eine eigene Jazz-Band, arbeitete mit Günter Fuhlisch zusammen und war zuletzt mit dem „Elbenquintett“ zu hören. Über mehrere Jahre war Geisler als Vorsitzender im Deutschen Komponistenverband Landesverband Norddeutschland und im Vorstand der GEMA tätig. Im Frühjahr 2010 war er an den Aufnahmen für Helen Schneiders aktuelle Swing-CD - einer Hommage an Bert Kaempfert - als Bassist beteiligt. Ab Juli 2010 spielte Ladi Geisler einen speziell auf seine klanglichen Wünsche hin entwickelten und abgestimmten, kompakten und leichten Gitarrenverstärker. Mit dessen Hilfe sowie dem Klang seiner Gibson L-4 CES Gitarre und seinem einzigartigen Gefühl für Rhythmus- und Solospiel erzeugte er seinen unverwechselbaren Gitarrenton und begeisterte sein Publikum bei zahlreichen Liveauftritten. Ladi Geisler verstarb am 19. November 2011 kurz vor seinem 84. Geburtstag in Hamburg. Seine letzte Ruhestätte fand er auf dem dortigen Friedhof Ohlsdorf in der Grablage S 29/15. Preise und Auszeichnungen 2003 wurde ihm der Louis-Armstrong-Gedächtnispreis von Swinging-Hamburg e.V. verliehen. Diskografie Solo-Singles Happy Guitar / Samba estrella, Telefunken, 1958 Red River Rock / Dreaming Guitar, Polydor, 1960 Navajo / Lonely Guitar, Philips, 1961 Auf einem persischen Markt / Immer nur lächeln, Polydor, 1961 Amazon Paddleboat / Tomahawk, Polydor, 1962 Guitar Tango / Zwei Gitarren, Polydor, 1962 Little Geisha / Helena, Polydor, 1963 Alte Kameraden / Einzug der Gladiatoren, Ariola, 1965 Langspielplatten und CDs Mr. Guitar, LP, Polydor, 1962 Girls, Girls, Girls, LP, BASF, 1964 Memories Of Spain, LP, Ex Libris, 1968 Guitar a la Carte Vol. 1, LP, AMG, 1968 Guitar a la Carte Vol. 2, LP, AMG, 1969 Guitar mit Disco 74, LP, Columbia, 1973 Swinging Guitar, LP, Intercord, 1977 Gitarrenträume unter Palmen, Intercord, LP, 1978 Classics with the guitar, LP, EMI Die Rock-Gitarre von Ladi Geisler, LP, BearFamily, 2000 Minor Swing, CD, BearFamily, 2000 Mr. Guitar, CD, BearFamily, 2000 Those Were The Days, CD, BearFamily, 2003 Günter Märtens trifft Ladi Geisler. Anekdoten eines Gitarrenspielers, CD, BearFamily, 2007 (Audiobuch)

*Gerhard Gregor* (* 17. September 1906 in Ruß, Memelland (jetzt Rusnė, Litauen); † 28. Oktober 1981 in Hamburg) war ein deutscher Organist und Pianist. Er gilt als einer der bedeutenden deutschen Organisten des letzten Jahrhunderts. Gregor studierte von 1925 bis 1928 Kirchenmusik an der staatlichen Akademie für Schul- und Kirchenmusik zu Berlin-Charlottenburg. Fasziniert von den Möglichkeiten der großen Kinoorgeln der Stummfilmzeit nahm er nach Abschluss seines Studiums eine Stelle als Kinoorganist in Hannover an und machte sich schon bald einen Namen als Stummfilm-Musiker. Seine Fähigkeiten führten ihn 1930 zur NORAG in Hamburg, als in deren Studios eine für die Übertragung per Funk optimierte Kinoorgel der Firma M. Welte & Söhne installiert wurde. Auf diesem „Funkorgel“ genannten Instrument machte er sich vor, während und nach dem Zweiten Weltkrieg einen Namen als großer Organist, der die für die Zwecke des Rundfunks einmalige Fähigkeit besaß, die passende Musik zu den unterschiedlichsten Anlässen spielen zu können. Sein Repertoire umfasste sowohl Werke der Klassik als auch solche der modernen Unterhaltungs- und Tanzmusik. Er propagierte die Hammond-Orgel ebenso wie andere moderne Formen des Orgelspiels und erwies sich als ebenso überzeugender Pianist wie Virtuose des Cembalos. Nach dem Zweiten Weltkrieg war Gregor beim NWDR und nach dessen Spaltung beim NDR tätig. Von Gregor sind zahlreiche Aufnahmen erhalten und inzwischen teilweise auf CD veröffentlicht. Gregors Grab befindet sich auf dem Hamburger Friedhof Ohlsdorf. Hörspiele (Musik) 1947: Nun singen sie wieder (Orgel) - Regie: Otto Kurth 1947: Das Konzert (Klavier) - Regie: Ulrich Erfurth 1948: Der Zimmerherr (Orgel) - Regie: Erik Ode 1948: Das Bildnis des Dorian Gray (Klavier) - Regie: Hans Quest 1948: Eh’ noch reif die Ähren (Harmonika) - Regie: Kurt Reiss 1948: Das kleinere Übel (Akkordeon, Orgel) - Regie: Ludwig Cremer 1949: Du kannst mir viel erzählen (Klavier) - Regie: Ulrich Erfurth 1949: Das Leben geht weiter (Orgel) - Regie: Fritz Schröder-Jahn 1949: Die Drehorgeln (Orgel) - Regie: Kurt Reiss 1950: Bummel durch den November (Komposition, Orgel) - Regie: Curt Becker 1951: Sieben Tage (Hammond-Orgel) - Regie: Gottfried Lange 1951: Bummel durch den Dezember (Orgel) - Regie: Curt Becker 1951: Bummel durch den Januar (Orgel) - Regie: Curt Becker 1951: Bummel durch den Februar (Musiker) - Regie: Curt Becker 1951: Dat Redentiner Osterspill (Orgel) - Regie: Hans Freundt 1951: Bummel durch den April (Musiker) - Regie: Curt Becker 1951: Bummel durch den Mai (Musiker) - Regie: Curt Becker 1951: Bummel durch den Juni (Musiker) - Regie: Hans Rosenhauer 1951: Bummel durch den Juli (Musiker) - Regie: S. O. Wagner 1951: Bummel durch den August (Komposition) - Regie: Hans Rosenhauer 1951: Bummel durch den September (Komposition) - Regie: Hans Rosenhauer 1951: Die Butterblume (Komposition) - Regie: Hans Rosenhauer 1951: Bummel durch den Oktober (Komposition) - Regie: Hans Rosenhauer 1952: Der Doppelkopf von Trum (Klavier) - Regie: Kurt Reiss 1952: Bummel durch den März (Komposition) - Regie: Hans Rosenhauer 1952: Karussell zu verkaufen (Orgel) - Regie: Helmut Käutner 1952: De dütsche Slömer (Orgel; Cembalo) - Regie: Hans Freundt 1953: Romeo und Julia 1953 (Romeo und Julia in Berlin) (Orgel) - Regie: Gustav Burmester 1954: Meine Frau wohnt nebenan (Hammond-Orgel) - Regie: Erik Ode 1954: Karfreitag (Orgel) - Regie: Fritz Schröder-Jahn 1954: Meisterdetektiv Kalle Blomquist (Mehrteiler) (Orgel) - Regie: Kurt Reiss 1955: De snaaksche Vagel - Lütt achtersinnig Spill vull Hoeg (Komposition) - Regie: Hans Tügel 1955: Der Mensch aber ist gut (Orgel) - Regie: Ludwig Cremer 1955: Die Tochter des Brunnenmachers (Orgel) - Regie: Gustav Burmester 1955: Dat Spill von de Hilligen Dree Könige (Orgel) - Regie: Hans Mahler 1956: Der Leinwandmesser (Musiker) - Regie: Otto Kurth 1956: Das Haus voller Gäste (Hammond-Orgel) - Regie: Ludwig Cremer 1957: Julia un de Renaissance (Orgel) - Regie: Hans Tügel 1957: Old Man River (Hammond-Orgel) - Regie: Gustav Burmester 1957: Dat Düvelsexamen (Musiker) - Regie: Hans Tügel 1957: Das Wunder des San Gennaro (Orgel) - Regie: Fritz Schröder-Jahn 1958: Festianus, Märtyrer (Cembalo) - Regie: Gustav Burmester 1958: Das Efeublatt (Orgel) - Regie: Gustav Burmester 1959: Die Karaffe (Orgel) - Regie: Kurt Reiss 1959: Das Licht in der Finsternis (Komposition) - Regie: Gerlach Fiedler 1961: Auf einer Bank an der Finchley Road (Orgel) - Regie: Fritz Schröder-Jahn 1963: De Dood in’n Appelboom (Orgel) - Regie: Heinz Lanker 1963: Die Ordonier und die Arnitarier (Hammond-Orgel) - Regie: Hans Lietzau 1966: Eine leidenschaftliche Verwechslung (Hammond-Orgel) - Regie: Fritz Schröder-Jahn 1966: Ergänzungsbericht (Klavier) - Regie: Fritz Schröder-Jahn 1966: Philoktet (Hammond-Orgel) - Regie: Fritz Schröder-Jahn 1966: Der Mann mit dem Hund oder: Viele Hunde sind des Hasen Tod (Hammond-Orgel) - Regie: Jiri Horcicka 1967: Wiegenlied für einen Enthaupteten (Hammond-Orgel) - Regie: Fritz Schröder-Jahn 1967: Der Bräutigam (Orgel) - Regie: Fritz Schröder-Jahn 1967: Dat nige Kleed (Klavier) - Regie: Günther Siegmund 1967: De mit dat Teken (Komposition, E-Orgel) - Regie: Curt Timm 1967: Das wilde Auge (Orgel) - Regie: Heinz Hostnig 1969: Dat niege Klavier (Klavier) - Regie: Hans Tügel 1971: Rebbel dat Bettlaken op (Klavier) - Regie: Günter Jansen 1971: Die Tanten (Harmonium) - Regie: Heinz Hostnig 1973: Ehrenhändel (Celesta) - Regie: Hans Rosenhauer 1977: Die wahre Geschichte der gutherzigen Dirne Antonie Prussik (Orgel) - Regie: Friedhelm Ortmann

*An jedem Finger zehn* Bibi Johns & Die Starlets ~ Werner Müller und das RIAS Tanzorchester ~ Bibi Johns & Werner Kroll *1, 2, 3, 4, 5, 6, 7, wo ist meine Braut geblieben* Rudi Godden ~ Chris Howland mit dem Orchester Paul Kuhn ~ Willy Millowitsch mit dem Orchester Axel Weingarten ~ Peter Alexander mit dem Orchester Johannes Fehring ~ Marika Rökk mit dem Orchester Erwin Lehn ~ Theo Lingen *Ich wollt', ich wär ein Huhn* Lilian Harvey und Willy Fritsch ~ Das Meistersextett (früher Comedian Harmonists) ~ Walter Raatzke mit seinem Orchester und Max Mensing ~ Polydor Tanz-Orchester ~ Chris Howland and The Highlanders ~ Die Viel-Harmoniker ~ The Happy Disharmonists ~ Das Ballaststofforchester ~ Palast Orchester mit seinem Sänger Max Raabe ~ Ensemble Six ~ Five Gentlemen ~ Vocaldente ~ Peter Kreuder mit Rhythmusgruppe ~ Vieno Kekkonen ~ Billy Mo mit Gert Wilden und seinem Orchester ~ Friedel Hensch und die Cyprys mit dem Orchester Rüdiger Piesker ~ Die Rixdorfer Sänger ~ Heinz Wehner und sein Swing-Orchester ~ Red Onion Jazz Company ~ Wolle Kriwanek & Paul Vincent ~ Theo Lingen

Dank voor het prachtige uitgebreide verhaal over Erwin Halletz met de lijsten van zijn muzikale werkzaamheden en het opnamejaar !!!! Dankbare groeten van Henk !!!!!

Dank voor het prachtige verhaal over Ladi Geisler !!!! En voor de discografie !!!!!

Graag gedaan Lies !!!!!

John Waldo *"Johnny" Green* (October 10, 1908 - May 15, 1989) was an American songwriter, composer, musical arranger, conductor and pianist. He was given the nickname "Beulah" by colleague Conrad Salinger. His most famous song was one of his earliest, _"Body and Soul"_ from the revue _Three's a Crowd._ Green won four Academy Awards for his film scores and a fifth for producing a short musical film, and he was inducted into the Songwriters Hall of Fame in 1972. He was also honored with a star on the Hollywood Walk of Fame. Early years John Waldo Green was born in New York City, the son of musical parents Vivian Isidor Green (1885-1940) and Irina Etelka Jellenik (1885-1947), a.k.a. Irma (or Erma) Etelka Jellenik. Vivian and Irina wed in 1907 in Manhattan. John attended Horace Mann School and the New York Military Academy, and was accepted by Harvard at the age of 15, entering the university in 1924. His musical tutors were Herman Wasserman, Ignace Hilsberg and Walter Spalding. Between semesters, bandleader Guy Lombardo heard Green's Gold Coast Orchestra and hired him to create dance arrangements for his nationally famous orchestra. His first song hit, *_"Coquette"_* (1928), was written for Lombardo (with Carmen Lombardo, Guy's brother, and lyricist Gus Kahn). John's father, Vivian, compelled him to take a job as a stockbroker. Disliking the job, and encouraged by his wife, the former Carol Faulk, John left Wall Street to pursue a musical career. Career Green wrote a number of songs which have become jazz standards, including "Out of Nowhere" and "Body and Soul". He wrote the scores for various films and TV programs. His earliest songs appeared with the billing "John W. Green," a styling he reverted to in the 1960s. After that anyone addressing "Johnny" was put right with the statement, "You can call me John - or you can call me Maestro!" At the beginning of his musical career, he arranged for dance orchestras, most notably Jean Goldkette on NBC. He was accompanist/arranger to musicians such as James Melton, Libby Holman and Ethel Merman. It was while writing material for Gertrude Lawrence in 1930 that he composed "Body and Soul", the first recording of which was made by Jack Hylton & His Orchestra eleven days before the song was copyrighted. Between 1930 and 1933, Green was the arranger and conductor for Paramount Pictures and worked with such singers as Ethel Merman, Gertrude Lawrence and James Melton. He composed many of his hit standards during the 1930s, including Bing Crosby's first number one hit recording, "Out of Nowhere" (1931, co-authored with Edward Heyman), "Rain Rain Go Away" (1932), "I Cover the Waterfront", "You're Mine You", "I Wanna Be Loved" (all 1933), "Easy Come Easy Go" and "Repeal The Blues" (both 1934). After 1933, Green had his own orchestra which he used to perform around the country. He also, until 1940, conducted orchestras for the Jack Benny and Philip Morris records and radio shows. Carnegie Hall and Astoria Studios Nathaniel Shilkret and Paul Whiteman commissioned Green to write larger works for orchestra, such as "Night Club (Six Impressions for Orchestra with Three Pianos)", introduced by Whiteman on January 25, 1933, at Carnegie Hall. Green was at piano "one," and Roy Bargy and Ramona played the other two pianos. During the early 1930s, Green also wrote music for numerous films at Paramount's Astoria Studios, conducted in East Coast theatres, and toured vaudeville as musical director for Buddy Rogers. During his two and a half years at Paramount Astoria, he was able to learn more about film scoring from veterans Adolph Deutsch and Frank Tours. London, radio, and recordings Green spent much of 1933 in London, where he contributed songs to both Mr. Whittington, a musical comedy for Jack Buchanan at the London Hippodrome, and Big Business, the first musical comedy ever written for BBC Radio. On Green's return to the U.S.A. early in 1934, William S. Paley, president of the Columbia Broadcasting System and an investor in New York's St. Regis Hotel, encouraged him to form what became known as Johnny Green, His Piano and Orchestra. (Green added, "My arm didn't need much twisting.") The orchestra, based for a time at the St. Regis, featured Green's piano and arrangements, whose harmony and mood were among the most sophisticated of the day. It made dance records for the Columbia and Brunswick companies, although in the Depression even the most popular records sold only in small numbers. In 1935, Green starred on CBS's _Socony Sketchbook,_ sponsored by Socony-Vacuum Oil Co. He lured the young California singer Virginia Verrill to headline with him on the Friday evening broadcasts. His regular cast included his band singers Marjory Logan and Jimmy Farrell, essayist Christopher Morley, and stage/screen favorites the Four Eton Boys. A bigger venture yet in commercial radio was _The Fred Astaire Hour_ (a.k.a. _The Packard Hour),_ sponsored by Packard Motors over NBC in 1936 and co-featuring tenor Allan Jones and the comedy of Charles Butterworth. Green's band also backed Astaire on a series of classic recording dates, in both New York and Hollywood, in 1935-1937. He also served as musical director for The Jell-O Program Starring Jack Benny during its 1935-1936 season on NBC. Piano, film, and MGM He continued conducting on radio and in theatres into the 1940s, also leading a dance band for the short-lived Royale Records label in 1939-1940, until he decided to move permanently to Hollywood and work in the film business. Green particularly made an impression at Metro-Goldwyn-Mayer, where in the 1940s, along with orchestrator Conrad Salinger, he was one of the musicians most responsible for changing the overall sound of the MGM Symphony Orchestra, partially through the re-seating of some of the players. This is why the overall orchestral sound of MGM's musicals from the mid-1940s onward is different from the orchestral sound of those made from 1929 until about 1944. Green was the music director at MGM from 1949 to 1959. He compiled and arranged the _MGM Jubilee Overture_ in 1954, a tour de force. He produced numerous film scores, such as the one for _Raintree County_ in 1957. On loan out to Universal, he composed the songs for the Deanna Durbin musical, "Something in the Wind", one of her last films before retiring. Nominated for an Oscar thirteen times, he won the award for the musical scores of _Easter Parade, An American in Paris, West Side Story,_ and _Oliver!,_ as well as for producing the short _The Merry Wives of Windsor Overture,_ which won in the Short Subjects (One-Reel) category in 1954. The short subject featured Green conducting the MGM Orchestra on-screen in the music from the opera of the same name by Otto Nicolai. After leaving MGM, Green guest-conducted with various orchestras, including the Chicago Symphony Orchestra, Denver Symphony Orchestra, Philadelphia Orchestra, San Francisco Symphony Orchestra, and Hollywood Bowl Orchestra. He also continued to compose the occasional score to films such as _Twilight of Honor_ (1963), _Johnny Tiger_ (1966) and _Alvarez Kelly_ (1966), and contributed the arrangements and musical direction for the critically acclaimed _They Shoot Horses, Don't They?_ in 1969. He was also hired to create the televised Guinness advertisement known as the "World" ad campaign. He recruited a team which included set designer Grant Major and Oscar-nominated director of photography Wally Pfisher to complete the job.

Notable works Musical director Johnny Green's credits as musical executive, arranger, conductor and composer are considerable, including such films as _Raintree County, Bathing Beauty, Easy to Wed, Something in the Wind, Easter Parade_ (for which he won his first Academy Award), _Summer Stock, An American in Paris_ (which won him his second Academy Award), _Royal Wedding, High Society_ and _West Side Story_ (another Academy Award winner for him). Although Green was musical director on these films, the orchestrations were usually done by someone else - in the case of the MGM musicals, it was usually Conrad Salinger, and in the case of _West Side Story,_ it was Sid Ramin and Irwin Kostal. Conductor As mentioned earlier, Green conducted the orchestra for such famous MGM musicals as An American in Paris, as well as for United Artists' 1961 film version of _West Side Story._ In 1965, Green conducted the music for that year's new adaptation of Rodgers and Hammerstein's only musical for television, _Cinderella,_ starring Lesley Ann Warren, Walter Pidgeon, Ginger Rogers, and Stuart Damon. Johnny Green also adapted, orchestrated and conducted the music for the film _Oliver_ (1968), based on the hit musical play, and won an Academy Award for his efforts. He also wrote much of the incidental music heard in the film, basing it on Lionel Bart's songs for the original show. His daughter, Kathe, dubbed Mark Lester's singing voice in the film. Accreditations Green was a respected board member of ASCAP. He was a chairman of the music branch of the Academy of Motion Picture Arts and Sciences, leading the orchestra through 17 of the Academy Award telecasts, and a producer of television specials. Personal life He married three times, had a daughter, actress/singer/songwriter Babbie Green, with actress/consumer advocate Betty Furness and two daughters with MGM "Glamazon" Bunny Waters, including actress and singer Kathe Green. Actress Liza Snyder is his granddaughter. Green who grew up in a secular Jewish family converted to Christianity inspired by his third wife Bunny Waters. It was during his first marriage to Carol Faulk that most of his hit standards were composed. Before the marriage ended in the mid-1930s, Carol Faulk remarked, "We didn't have children, we had songs."[citation needed] He was quoted as saying "As my friend Alan Jay Lerner said, 'Modesty is for those who deserve it.' And I don't."

*Carmen Lombardo* (July 16, 1903 - April 17, 1971) was lead saxophonist and featured vocalist for his brother Guy Lombardo's orchestra. He was also a successful composer. In 1927, Carmen Lombardo was the vocalist of the hit record Charmaine, performed by Guy Lombardo and His Royal Canadians. Early years Lombardo was born in London, Ontario, Canada. As a child, he took flute lessons, and later learned to play saxophone. He had three brothers who also became musicians: Guy, Lebert, and Victor. Career As a young man played in the Lombardo Brothers Concert Company with Guy on violin and another brother, Lebert, on trumpet or piano. As the band grew, Guy became conductor, and the band developed into The Royal Canadians in 1923, in which Carmen both sang and wrote music. He frequently collaborated with American composers and his music was recorded by Louis Armstrong, Bing Crosby, and others. Many of his compositions have also been used in Woody Allen films. When singing songs like "Alone at a Table for Two" he would allow his voice to tremble, and seem nearly to break into tears- he was caricatured in Warner Brothers cartoons as "Cryman" Lombardo. In the late 1960s, actor-raconteur Tony Randall made several TV appearances on The Tonight Show Starring Johnny Carson in which he sang songs written by Carmen Lombardo in a voice imitating (and somewhat exaggerating) Lombardo's style. On one appearance, Lombardo and Randall performed a duet of Lombardo's "Boo Hoo (You've Got Me Crying for You)", which was one of the songs that Randall typically included in his Lombardo routine. Carmen Lombardo died of cancer in Miami in 1971, aged 67. Lombardo's popular compositions included: The 1928 classic "Sweethearts on Parade", which was number one for three weeks in 1929 on the U.S. pop charts of the day. "A Lane in Spain", a popular recording by Jean Goldkette and His Orchestra in 1927. "Ridin' Around in the Rain", written with Gene Austin in 1934. Popular versions were by Austin, Bing Crosby and Earl Burtnett. *"Coquette",* "A Sailboat in the Moonlight" "Boo Hoo (You've Got Me Crying For You)", a major hit for the Guy Lombardo orchestra. "A Sailboat in the Moonlight" (1937) with John Jacob Loeb, "Seems Like Old Times", "Get Out Those Old Records", "Return to Me" (1957) with Danny Di Minno. "You're Beautiful To-Night, My Dear". "Powder Your Face with Sunshine (Smile, Smile, Smile)", written with Stanley Rochinski in 1948-49. Lombardo and John Jacob Loeb's 1942 song "There Won't Be a Shortage of Love" was the first song written in response to American government rationing in World War II. He wrote five songs for the 1934 film _Many Happy Returns,_ in which the orchestra appeared. Lombardo wrote the words and music with John Jacob Loeb for Guy Lombardo's stage productions of _Arabian Nights_ (1954, 1955), _Paradise Island_ (1961, 1962), and _Mardi Gras_ (1965, 1966) at Jones Beach Marine Theater, New York.

Goedemorgen Henri !!!!! Dank voor de info over het nummer en de enorme lijsten met de vele uitvoeringen !!!! Ik wens je een prachtig weekend !!!! Groetjes van Henk !!!!

Dank voor deze prachtige uitgebreide biografie van Johnny Green !!!!!

Graag gedaan en een fijn weekend Henkus !!!!

@@henkgloudemans8886 Jij ook , Henk

Dankjewel Jos ! En een fijn weekend !!!!

@ dankjewel, jullie ook

Thank you for listening to my records my dearest Jytte !!!! Have a great afternoon and take good care of yourself my sweet Jytte !!!!! Till lateron and in the meantime I keep you closed in my heart !!!!! Yours forever faithful Henk !!!!!

Thank you for listening to Peter my precious Jytte !!!! Soon I reache my 18000th upload my dearest Jytte !!!! I think it is the broadest selection from this era on the internet !!!! And there are still plenty of records waithing for uploading !!!! Have a beautiful party this afternoon Jytte !!!! I keep thinking on you !!!! yours forever, Henk !!!!

Thank you that you like The Hotcha Trio my dearest Jytte !!!! Many numbers from them are on there way !!!! And part two will come tomorrow !!!! And despite the cold weather , I send you my warmest greetings !!!! Yours always Henk !!!!

Hellooooo there my sweet Jytte !!!! And happy birthday again !!!! Thank you for your nice words about the 2 Pico's !!!!! Overhere it is grey and cloudy and we have 6 degrees !!!! Buth I wish you all the happiness of the World !!!! Yours always Henk !!!!

Goodmorning !!!!! My dearest Jytte !!!!! I have slept verry well and I hope that you did the same !!!! And I thank you for listening to my old scratchy record !!!!! And I wish you a great time all together and please give them all my greetings !!!! I wish you a magnificent day Jytte !!!! Your always faithful Henk !!!! 🍾🍷🍺🍻🍪🍩🍨🍧❤💋🤠

Dankjewel Lies ! En een fijn weekend !!!

Dankjewel voor je superleuke reactie Shandy !!!!

Goodevening my dearest Jytte !!!! How nice that you have watched your Danish crime serie !!!! I understand how tired you are so I wish you Goodnight !!!! Sleep well and have sweet dreams and till tomorrow !!!! Your always faithful Henk !!!!!

Merci Kris !!!!! Mijn platen zijn ook just nog goe vur 't stort !