Bing Crosby: It's beginning to look like Christmas. (1951).

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  • Опубликовано: 28 дек 2024

Комментарии • 12

  • @jyttethagaardnielsen3568
    @jyttethagaardnielsen3568 2 дня назад +1

    My sweet friend, thank you for this beautiful song with Bing Crosby !!!!!!!! I understand, if you don`t answer comments !!!! I guess, you are busy, before your children and their families come !!! My wonderful drummer boy, I send you lots of air-hugs and air-kisses !!!! Your devoted fan and friend Jytte

    • @henkgloudemans8886
      @henkgloudemans8886  2 дня назад +1

      Thank you that you like Uncle Bing's Christmas song my dearest Jytte !!!! And I wish you all the happiness of the World !!!!! Yours faithful Henk !!!!

  • @henridelagardere264
    @henridelagardere264 2 дня назад +1

    Oct 1, 1951, Los Angeles - _It's Beginning to Look (a Lot) Like Christmas_ - Meredith Willson (music & words) - Bing with John Scott Trotter and his Orchestra and Judd Conlon's Rhythmaires
    *"It's Beginning to Look a Lot Like Christmas"* is a Christmas song written in 1951 by Meredith Willson. The song was originally titled *"It's Beginning to Look Like Christmas".* Perry Como was the first to record and release the song in 1951.
    The song has become a standard recorded by many artists. It was first a hit for Perry Como and the Fontane Sisters with Mitchell Ayres & His Orchestra on September 18, 1951, released on RCA Victor as 47-4314 (45 rpm) and 20-4314 (78 rpm). Bing Crosby recorded a version on October 1, 1951, on Decca Records, which was also popular.
    History
    Background and writing
    A popular belief in Yarmouth, Nova Scotia, Canada, holds that Willson wrote the song while staying in Yarmouth's Grand Hotel. The song refers to a "tree in the Grand Hotel, one in the park as well..."; the park being Frost Park, directly across the road from the Grand Hotel, which still operates in a newer building on the same site as the old hotel. It also makes mention of the five and ten which was a store operating in Yarmouth at the time.
    It is also possible that the "Grand Hotel" Willson mentions in the song was inspired by the Historic Park Inn Hotel in his hometown of Mason City, Iowa, US. The Park Inn Hotel is the last remaining hotel in the world designed by architect Frank Lloyd Wright and is situated in downtown Mason City overlooking Central Park.
    Perry Como version
    Perry Como and The Fontane Sisters with Mitchell Ayres & His Orchestra released their cover of "It's Beginning to Look a Lot Like Christmas" on September 18, 1951. Their edition became one of the most successful versions of the song, which is still widely played today, with over 382 million streams on Spotify as of May 1, 2024. The song was used in the 2004 film _The Polar Express._
    Michael Bublé version
    Canadian singer Michael Bublé's version was first released on October 24, 2011, as the first track of Bublé's Christmas album. However, it was then re-released as the album's second single on November 18, 2012, achieving greater success. In the UK, the song peaked at number 6 in 2022.
    Meghan Trainor version
    In 2020, Meghan Trainor recorded a version of the song for her album A Very Trainor Christmas. This version peaked at number 27 on the Holiday Digital Songs chart.
    In popular culture
    Meredith Willson incorporated the song into his 1963 Broadway musical _Here's Love, _where it is sung in counterpoint to the newly composed song "Pine Cones and Holly Berries".
    Johnny Mathis recorded the song for his 1986 album Christmas Eve with Johnny Mathis; this version gained popularity after its inclusion in the film _Home Alone 2: Lost in New York_. Gradually, Mathis's recording began to receive wide radio airplay, and in later years this version became a Top 10 Christmas hit.

    • @henridelagardere264
      @henridelagardere264 2 дня назад +1

      Justin *"Judd" Conlon* (born Justin Norbert Conlon; June 16, 1910 - July 28, 1966) was an American vocal arranger and conductor.
      Early life
      Conlon was born in 1910 in Cuba City, Wisconsin. He relocated to Dubuque, Iowa, where he attended Columbia Academy and Columbia College. Conlon played the accordion and was active in musical groups including the Vested Choir directed by Father Alphonse Dress. This may have led to his mastery of vocal arranging. He played accordion at the Hilltop Casino until 4:00 a.m., slept, and then had to get up for his college classes. In high school he formed the Justin Conlon Orchestra. By the time he was in college, the group toured the Midwest and was often featured on Iowa radio stations WMT in Cedar Rapids, WHO in Des Moines, and WOC in Davenport.
      Conlon's first major arranging work was with the Kay Kyser Orchestra.
      Career
      In 1945, the Kay Kyser band was at its peak. One of its main attractions was The Campus Kids, which Conlon had joined as a vocalist that July. His debut recordings with the group were "Choo Choo Polka" and "That’s for Me". At that time, the other Kids were Diane Pendleton, Donna Wood, Loulie Jean Norman, and Charlie Parlato.
      Conlon, trained on the accordion and as a vocal arranger and conductor, had an ambition to form his own vocal group. In The Campus Kids, he was exposed to two singers with a four-octave range and perfect pitch: Loulie Jean Norman and Gloria Wood. With them and his own basso profundo, plus Charlie Parlato as first tenor, Conlon had the makings of the new group he wanted. He assigned himself the baritone part, Norman was first or lead soprano, and Wood second soprano. He also recruited Mack McLean from the Six Hits and a Miss singing group as a second tenor.
      *The Rhythmaires*
      The formation of Conlon's group was likely hastened by the sudden departure of The Charioteers as Bing Crosby's vocalists on his weekly radio program toward the end of the first Philco season in March 1947. Several of the first season's final shows featured an unknown chorus that may have been the singers in the still unnamed group. Jud Conlon's Rhythmaires was christened and ready to go as recordings for the second Philco season commenced in August 1947. Conlon, Parlato, McLean and Norman bade farewell to The Campus Kids in December. (Gloria Wood remained with Kyser into 1948.)
      The Rhythmaires had launched an association with Crosby that would continue for almost a decade in more than 230 broadcasts and over 40 recordings. The group even helped to sell Minute Maid. The Rhythmaires' first commercial recording with Crosby took place on December 3, 1947, when "Ballerina" was laid down. Other notable recordings were "Home Cookin", "Bibbidi-Bobbidi-Boo", "Teddy Bears' Picnic", "It’s Beginning to Look Like Christmas", "Zing a Little Zong", and "Road to Bali".
      Sometimes the Rhythmaires would be expanded into either The Jud Conlon Singers (e.g. "Stay Well", "Sorry") or The Jud Conlon Choir (e.g. "The Loneliness of Evening", "More I Cannot Wish You", "We Meet Again"). The Rhythmaires' final recordings with Crosby were made in April 1956, for the Decca LP _Songs I Wish I Had Sung._ The Rhythmaires also furnished background vocals for Crosby in Walt Disney’s _The Legend of Sleepy Hollow_ (from _The Adventures of Ichabod and Mr. Toad),_ released in 1949.
      After the conclusion of Philco Radio Time in 1949, the Rhythmaires continued with Crosby throughout his weekly Chesterfield radio series that ran until 1952. Each week the group sang the cigarette’s "Sound Off" jingle.
      In 1957, the Rhythmaires appeared on jazz ensemble leader Russell Garcia's _The Johnny Evergreens_ (ABC-Paramount, 1956). tenor saxophone player Georgie Auld's _That's Auld_ (Brunswick, 1957). The next year they appeared on Auld's album _"Jazz Goes Latin"_ for Capitol Records.
      For the first two seasons of _The Many Loves of Dobie Gillis_ (CBS-TV, 1959-1963) the Rhythmaires performed the opening and closing theme song, "Dobie", written by Lionel Newman and Max Shulman.
      Other work
      In the early 1950s, Bing Crosby engaged Conlon to give voice lessons to his four sons.
      Crosby had used Conlon to make arrangements and vocal backgrounds for his radio series, and Conlon went on to work for Andy Williams and Guy Lombardo. In the mid-1950s, he began collaborating with satirist Stan Freberg. His arrangements appeared on nearly all Freberg's comedy records, as well as on his Stan Freberg Radio Show. He also worked on the television program _Frankie Laine Time._
      Conlon served as a musical arranger for Walt Disney. Among his credits are the Disney movies _Alice in Wonderland_ (1951), _Peter Pan_ (1953), and _Babes in Toyland_ (1961).
      Personal life
      Conlon married Charlotte Manley in Chicago on 3 October 1933. They had one son, Michael. Conlon died on July 28, 1966, in Chicago at the age of 56. He was found dead in his Chicago hotel room of an apparent heart attack. He had been there as a delegate to the convention of American Federation of Television and Radio Artists. A requiem Mass was held a few days later at St. Victor's Roman Catholic Church in West Hollywood.
      Filmography
      Music department
      _The Judy Garland Show_ (1963-64) (CBS TV) (Choral Arrangements) Credited as The Jud Conlon Singers.
      _Babes in Toyland_ (1961)
      _Bobby Darin and Friends_ (1961) (TV) (music arranger: vocal arrangements)
      _Screen Directors Playhouse_ (music arranger: vocal arrangements) (1 episode, 1956)
      _Prima Donna_ (1956) TV episode (music arranger: vocal arrangements)
      _Peter Pan_ (1953) (vocal arranger) "You Can Fly! You Can Fly! You Can Fly!" (04:03)
      _Alice in Wonderland_ (1951) (music arranger: vocal arrangements)
      Soundtrack
      _It's Always Fair Weather_ (1955) ("March, March" (uncredited), "The Time for Parting" (uncredited),
      _"Once Upon a Time"_ (1944) (uncredited), _"Why Are We Here?"_ (uncredited)
      _Here Comes Elmer_ (1943) (writer: "Hitch Old Dobbin to the Shay Again")
      _Cha-Cha-Cha Boom!_ (1956) (as The Judd Conlon Group) .... Himself
      _The Scene of the Crime_ (1956) (as the Jud Conlon Singers with Bob Thompson's Orch.)
      Live Duets
      "If You Stub Your Toe on the Moon" (1947-1949) Bing Crosby with Judd Conlon's Rhythmaires
      "The Court Jester" (21 - 22 September 1955, Los Angeles) Sylvia Fine - Sammy Cahn with the Judd Conlon Singers

    • @henridelagardere264
      @henridelagardere264 2 дня назад +1

      *John Scott Trotter* Jr. (June 14, 1908 - October 29, 1975), also known as "Uncle John", was an American arranger, composer and orchestra leader.
      Trotter was best known for conducting the John Scott Trotter Orchestra which backed singer and entertainer Bing Crosby on record and on his radio programs from 1937 to 1954. He also worked with Vince Guaraldi on the score for Peanuts animated television specials and feature films between 1966 and 1975.
      Early life
      Trotter was born John Scott Trotter, Jr. on June 14, 1908, in Charlotte, North Carolina. He was born to parents John Scott Trotter and Lelia Trotter (née Bias).
      Trotter attended local schools in Charlotte. He studied piano under Ida Moore Alexander. In 1925, Trotter entered the University of North Carolina, where he began his career as a professional musician playing piano for a college band led by Hal Kemp. Kemp had entered the university in 1922 and graduated in 1926, but Trotter withdrew near the end of his first year to join Kemp's band as pianist and arranger, a position he held until 1936.
      Career
      After leaving Kemp's band, Trotter did some work in Hollywood where he handled the orchestrations for Columbia Pictures Pennies from Heaven which was his first work with Bing Crosby. This would start a 17-year professional association with Crosby, although Trotter and Crosby had first met in 1929 in New York City at the Manger Hotel while Crosby was working with Paul Whiteman's orchestra.
      Trotter recalled the background to his involvement with Pennies from Heaven in an interview with Canadian broadcaster Gord Atkinson. He had been asked by Johnny Burke if he wanted to do the orchestrations for the film. This was one of the first independent film productions. Crosby was then under contract to Paramount but Pennies from Heaven was done at Columbia as an independent and nobody was set to do the music. Trotter told Burke that he hadn't come out to work and that seemed to be that. A week later, Burke asked, 'Would you help Arthur Johnston with the piano parts?' After much persuasion, Trotter helped Johnston with the piano parts and fell in love with the score which included _Pennies from Heaven, So Do I,_ and _One, Two, Button Your Shoe,_ and also the _Skeleton in the Closet._ He then decided to complete the orchestrations as the offer was still open. Trotter recalled that the day _Pennies from Heaven_ was recorded, the cameras were rolling with the orchestra on stage; it was not prerecorded as would be usual today. John Scott Trotter considered that Crosby was a past master of lip syncing but it wasn't done in those days. After completing _Pennies from Heaven_ Trotter went back east."
      In July 1937, Trotter replaced Jimmy Dorsey as the musical director for Crosby on NBC's radio program _Kraft Music Hall._ That same year, Trotter began arranging and conducting songs for Crosby's records for Decca. Their first recording together, _It's the Natural Thing to Do,_ reached the No. 2 spot in the charts of the day and they had many hits over the ensuing years. Trotter would remain Crosby's musical director until 1954.
      The involvement with the Kraft Music Hall came about when Larry Crosby, Bing's brother and public relations director, sent Trotter a wire asking if he could be in Hollywood on June 28, 1937, to take over the orchestra of the Kraft Music Hall on July 8. Although Trotter had rehearsed and directed orchestras, he had never had an orchestra of his own, with his own name. The first time he appeared under his own name 'John Scott Trotter and his Orchestra' was on the Kraft Music Hall with Bing Crosby. The Kraft Music Hall went fifty weeks a year and Trotter did one hundred and forty consecutive Thursdays without missing one.
      Bing Crosby talked very warmly about Trotter in his 1953 autobiography _Call Me Lucky_ and commented about Trotter's remarkable self-control.
      Trotter also had orchestra related responsibilities. Jerry Colonna was a trombonist for the band and future entertainer Spike Jones served as a drummer.
      Trotter moved on to television, becoming musical director for _The George Gobel Show_ from 1954 to 60. He served as musical director of several of Crosby's television specials as well as his 1964-65 ABC situation comedy, The Bing Crosby Show.
      Peanuts
      Beginning with It's the Great Pumpkin, Charlie Brown in 1966, Trotter arranged and directed music scores for 11 _Peanuts_ television specials and one feature film in conjunction with composer Vince Guaraldi. His final work, _You're a Good Sport, Charlie Brown,_ was broadcast on October 28, 1975-one day before his death. Trotter was nominated for an Oscar award and a Grammy award for his musical score for the 1969 feature film, _A Boy Named Charlie Brown._
      John Scott Trotter died of cancer on October 29, 1975, at Cedars-Sinai Medical Center in Los Angeles, California. He was buried in Sharon Memorial Park in Charlotte. Surviving him were a sister, Margaret Kinghorn, and two brothers, William and Robert Trotter.
      Legacy and criticism
      Carroll Carroll, who was the chief writer of Kraft Music Hall, recalled Trotter's massive volume and appetite when it came to his everyday life;
      _Trotter, a monolith of a man, stood astride pop and 'long hair' music, as it was then called, like a colossus, and occasionally flew from Hollywood to New Orleans for the weekend (something not done often in the thirties) just to cater to his gourmet tastes with a decent plate of oysters Rockefeller. During the war, when food writer M. F. K. Fisher was a guest on the show to plug her wartime conservation cookbook, How to Cook a Wolf, she told Bing that her book explained how to use leftovers. The heartily-fed Trotter stepped to the mike and, in his most polite and gentle North Carolina drawl, asked, 'Pardon me, ma'am, but what are left-overs?_
      Trotter, along with Jack Kapp, has been criticized for mainstreaming Crosby's style away from his jazz roots. The reality is that Crosby himself chose the songs he performed on his radio shows and had ultimate approval for anything he recorded to disc. Crosby could have worked with any musical arranger he chose, but he preferred working with Trotter for 17 years. Crosby once said of Trotter;
      I'm not musically educated enough to really describe what he was in music terms. I just knew he was very good and he had marvelous taste.

    • @henridelagardere264
      @henridelagardere264 2 дня назад +1

      *IT'S BEGINNING TO LOOK A LOT LIKE CHRISTMAS*
      Perry Como and The Fontane Sisters with Mitchell Ayres and His Orchestra
      First release October 1951 First recording on September 18, 1951
      *Bing Crosby with Jud Conlon's Rhythmaires and John Scott Trotter and His Orchestra* November 1951 Sampled by Bing Crosby with the London Symphony Orchestra
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    • @henridelagardere264
      @henridelagardere264 2 дня назад +1

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    • @henkgloudemans8886
      @henkgloudemans8886  День назад +1

      Goedemorgen Henri ! Sorry dat ik gisteren niet geantwoord heb maar we hadden het huis vol visite !!!! Dank voor het opnamejaar en het interessante verhaal over deze song en voor de info over de andere uitvoeringen !!! Dankbare groeten van Henk !!!!