Back بول وايتمان Arabic پول وايتيمان ARZ پل وایتمن AZB Paul Whiteman German Paul Whiteman Esperanto Paul Whiteman Spanish پل وایتمن Persian Paul Whiteman Finnish Paul Whiteman French פול וייטמן HE
Paul Whiteman | |
|---|---|
 Whiteman in a 1939 publicity photo | |
| Background information | |
| Birth name | Paul Samuel Whiteman |
| Born | March 28, 1890 Denver, Colorado |
| Died | December 29, 1967 (aged 77) Doylestown, Pennsylvania |
| Genres | |
| Occupations |
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| Instruments | |
| Years active | 1907–1960s |
Paul Samuel Whiteman[1] (March 28, 1890 – December 29, 1967)[2] was an American bandleader, composer, orchestral director, and violinist.[3]
As the leader of one of the most popular dance bands in the United States during the 1920s and early 1930s, Whiteman produced recordings that were immensely successful, and press notices often referred to him as the "King of Jazz". His most popular recordings include "Whispering", "Valencia", "Three O'Clock in the Morning", "In a Little Spanish Town", and "Parade of the Wooden Soldiers". Whiteman led a usually large ensemble and explored many styles of music, such as blending symphonic music and jazz, as in his debut of Rhapsody in Blue by George Gershwin.[4]
Whiteman recorded many jazz and pop standards during his career, including "Wang Wang Blues", "Mississippi Mud", "Rhapsody in Blue", "Wonderful One", "Hot Lips (He's Got Hot Lips When He Plays Jazz)", "Mississippi Suite", "Grand Canyon Suite", and "Trav'lin' Light". He co-wrote the 1925 jazz classic "Flamin' Mamie". His popularity faded in the swing music era of the mid-1930s, and by the 1940s he was semi-retired from music. He experienced a revival and had a comeback in the 1950s with his own network television series, Paul Whiteman's Goodyear Revue, which ran for three seasons on ABC. He also hosted the 1954 ABC talent contest show On the Boardwalk with Paul Whiteman.
Whiteman's place in the history of early jazz is somewhat controversial. Detractors suggest that his ornately orchestrated music was jazz in name only, lacking the genre's improvisational and emotional depth, and co-opted the innovations of black musicians. Defenders note that Whiteman's fondness for jazz was genuine. He worked with black musicians as much as was feasible during an era of racial segregation. His bands included many of the era's most esteemed white musicians, and his groups handled jazz admirably as part of a larger repertoire.[5]
Critic Scott Yanow declares that Whiteman's orchestra "did play very good jazz...His superior dance band used some of the most technically skilled musicians of the era in a versatile show that included everything from pop tunes and waltzes to semi-classical works and jazz. [...] Many of his recordings (particularly those with Bix Beiderbecke) have been reissued numerous times and are more rewarding than his detractors would lead one to believe."[6]
In his autobiography, Duke Ellington declared, "Paul Whiteman was known as the King of Jazz, and no one as yet has come near carrying that title with more certainty and dignity."[7]
- ^ Delong, Thomas (1983). Pops: Paul Whiteman, King of Jazz. El Monte: New Win Pub. ISBN 978-0-832-902642.
- ^ Colin Larkin, ed. (1997). The Virgin Encyclopedia of Popular Music (Concise ed.). Virgin Books. p. 1248. ISBN 1-85227-745-9.
- ^ "Paul Whiteman - American bandleader". Britannica.com. Retrieved October 28, 2017.
- ^ "Paul Whiteman 'The King of Jazz' (1890–1967)". Red Hot Jazz. April 13, 2020. Retrieved April 13, 2020.
- ^ Cite error: The named reference
Giddenswas invoked but never defined (see the help page). - ^ Yanow, Scott. "Paul Whiteman". AllMusic. Retrieved August 14, 2009.
- ^ Ellington, Edward Kennedy (1973). Music is My Mistress (Repr. d. Ausg. Garden City, N.Y. ed.). New York: Da Capo Press. p. 103. ISBN 0-306-80033-0.