Bing Crosby
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Bing Crosby was the best-selling singer of the first half of the 20th century, and one of the most popular radio stars. He debuted in 1926 with Paul Whiteman's big band in Los Angeles, featuring Bix Beiderbecke on cornet (Changes, 1928). Crosby's style of singing de facto invented the "crooning" style in opposition to Al Jolson's shouting style. Crooning was derived from the "bel canto" of the Italian opera but focused on nuances rather than power (a fact also due to the electrical microphone, that allowed singers to care about pathos instead of volume). He became a star, suddenly, in 1931, at the age of 28, when he started recording on his own (Fred Ahlert's Where The Blue of the Night Meets The Gold of the Day, reminiscent of Gilbert & Sullivan's Tit-Willow, John Green's Out of Nowhere, Arthur Johnston's Just One More Chance, Harry Warren's I Found a Million-Dollar Baby. His repertory was mainly covers: Al Hoffman's I Apologize (1931), Jay Gorney's Brother Can You Spare a Dime? (1932), Harry Warren's You're Getting to Be a Habit With Me (1933), Harry Barris' Little Dutch Mill (1934), Nacio Herb Brown's Temptation (1934), as well as Ralph Rainger's gems Love in Bloom (1934) and June in January (1934). He also moved to the popular radio show "Kraft Music Hall" (1935). Another big hit was Silent Night Holy Night (1934), his English version of Austrian church organist Franz Gruber's Stille Nacht Heilige Nacht (1818) of a century earlier, that became a Christmas classic. His vocal skills increased steadily through Harry Owens' Hawaian litany Sweet Leilani (1936), Richard Whiting's Too Marvelous For Words (1937), Arthur Johnston's classics Pennies from Heaven (1936), that remained ten weeks at the top of the charts, It's the Natural Thing to Do (1937) and The Moon Got In My Eyes (1937), Harry Warren's Remember Me (1937) and You Must Have Been a Beautiful Baby (1938), James Monaco's I've Got A Pocketful Of Dreams (1938) and Only Forever (1940), a 1939 cover of Walter Blaufuss' My Isle of Golden Dreams (1919), Joseph Buell Carey's Sierra Sue (1940), Jimmy Van Heusen's It's Always You (1941), Many of these were included in his ever more frequent movies. Much credit for their success also went to his arranger, John Scott Trotter, and his orchestra. The series of movies in collaboration with comedian Bob Hope that started from Victor Schertzinger's The Road To Singapore (1940) helped make him even more popular. Bing Crosby's biggest hit (and the biggest of all times) was Irving Berlin (Israel Baline)'s White Christmas (1942). During World War II, Crosby was hyper-active, making movies and recording singles at a breakneck pace: a few by Jimmy Van Heusen, such as Moonlight Becomes You (1943), Sunday Monday or Always (1943), Swinging On a Star (1944) and Personality (1945), Cole Porter's I Love You (1944) and Don't Fence Me In (1944), Sammy Fain's I'll Be Seeing You (1944) a 1944 cover of James Royce Shannon's Too-ra-loo-ra-loo-ral (1914) and yet another Christmas song, I'll Be Home For Christmas (1943). Towards the end of the war his hits began to slow down, basically limited to Jule Styne's It's Been a Long Long Time (1944) and James Monaco's I Can't Begin To Tell Youi (1944), and after the war they died out quickly, his his last number being a cover of a 1913 Maori song, Now Is The Hour. (Translation by/ Tradotto da Stefano Pertile

BING CROSBY – Bing Crosby è stato il cantante che ha venduto di più nella prima parte del ventesimo secolo, ed una delle più popolari star radiofoniche. Ha debuttato nel 1926 a Los Angeles con la grande band di Paul Whiteman comprendente anche Bix Beiderbecke al cornetto (Changes, 1928). Con il suo stile di canto Crosby ha di fatto inventato il "crooning" (canto di gola mellifluo e sensuale NdT), in opposizione allo stile "urlato" di Al Jolson. Il crooning era derivato dal "bel canto" dell’opera Italiana ma si incentrava sulle sfumature piuttosto che sulla potenza (fatto dovuto anche al microfono elettrico, che permetteva ai cantanti di concentrarsi sul pathos piuttosto che sul volume). Egli divenne una star, improvvisamente, nel 1931, ventottenne, quando iniziò a registrare per conto proprio (Where The Blue of the Night Meets The Gold of the Day di Fred Ahlert, Tit-Willow reminiscenza di Gilbert & Sullivan, Out of Nowhere di John Green, Just One More Chance di Arthur Johnston, I Found a Million-Dollar Baby di Harry Warren). Il suo repertorio consisteva principalmente di cover: I Apologize (1931), di Al Hoffman, Brother Can You Spare a Dime? (1932) di Jay Gorney, You're Getting to Be a Habit With Me (1933) di Harry Warren, Little Dutch Mill (1934) di Harry Barris, Temptation (1934) di Nacio Herb Brown, così come Love in Bloom (1934) e June in January (1934) di Ralph Rainger. Ha mosso i suoi passi anche nel popolare show-radiofonico "Kraft Music Hall" (1935). Un’altra sua grande hit fu Silent Night Holy Night (1934), la sua versione inglese di Stille Nacht Heilige Nacht (1818), dell’organista da chiesa austriaco Franz Gruber, che divenne un classico del Natale. Le sue abilità vocali migliorarono stabilmente con la litania Hawaiana Sweet Leilani (1936) di Harry Owens, con Too Marvelous For Words (1937) di Richard Whiting, con il classici di Arthur Johnston Pennies from Heaven (1936), che rimase per dieci settimane in testa alle classifiche, It's the Natural Thing to Do (1937) e The Moon Got In My Eyes (1937), con Remember Me (1937) e You Must Have Been a Beautiful Baby (1938) di Harry Warren, I've Got A Pocketful Of Dreams (1938) e Only Forever (1940) di James Monaco, My Isle of Golden Dreams (1919), cover di Walter Blaufuss del 1939, Sierra Sue (1940) di Joseph Buell Carey, It's Always You (1941) di Jimmy Van Heusen. Molte di queste furono icluse nei suoi sempre più frequenti film. Molto del suo successo è anche dovuto al suo arrangiatore John Scott Trotter, ed alla sua orchestra. La serie di film in collaborazione con l’attore comico Bob Hope, che iniziò con The Road To Singapore (1940) di Victor Schertzinger, lo aiutò a renderlo ancora più popolare. Il più grande successo di Bing Crosby (ed il più grande di tutti i tempi) fu White Christmas (1941) di Irving Berlin (Israel Baline). Durante la Seconda Guerra Mondiale Crosby fu iperattivo, fece film e registrò singoli ad un ritmo indiavolato: alcuni di Jimmy Van Heusen, come Moonlight Becomes You (1943), Sunday Monday or Always (1943), Swinging On a Star (1944) e Personality (1945), I Love You (1944) e Don't Fence Me In (1944) di Cole Porter, I'll Be Seeing You (1944) di Sammy Fain, una cover del 1944 di James Royce Shannon Too-ra-loo-ra-loo-ral (1914), ed ancora un’altra canzone di Natale, I'll Be Home For Christmas (1943). Verso la fine della guerra i suoi successi iniziarono a diminuire, limitandosi fondamentalmente a It's Been a Long Long Time (1944) di Jule Styne, e I Can't Begin To Tell Youi (1944) di James Monaco, e dopo la guerra si estinsero velocemente, e la sua ultima fu una cover di una canzone Maori del 1913, Now Is The Hour.

(Copyright © 2003 Piero Scaruffi | Legal restrictions - Termini d'uso )
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