The nightmare before christmas songbook

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I came to the Great American Songbook seeking freshness and novelty, but a came through a different door. The gateway to GAS was jazz. I began listening to jazz in high school and my knowledge and interest broadened and accreted over a long arc of decades. I have a fascination with these songs and their composers and the performers and their zeitgeist. I want to share it and ignite your interest and curiosity. Look up these tunes, performers and composers on YouTube: it is your free jukebox music library of just about every tune. You can even see the original performances in the Hollywood musicals! This is an amazing time and you have access to it all at your fingertips, so grab your smartphone and earbuds! There are few things more precious and interesting than a Golden Age. There was a Golden Age of a particular kind of music that ran from the twenties through the fifties: the golden age of popular standards; the songs that constitute The Great American Song Book. These tunes were written by dapper, creative giants like Cole Porter, Rodgers and Hart, the Gershwins, Johnny Mercer, Hoagy Charmichael, Jerome Kern, and Dorothy Fields. Urbane sophisticated talents who created a body of work that effortlessly captures that urbanity and sophistication. They created tunes focused on the subject of romantic love and exploring all the stages and aspects of the arc of a great love affair: from the initial “walking on air” to the jaded ennui of “never again”. They were obsessed with this theme and subject. Describing, exploring, and driving deep into all its mysteries. These composers and lyricists were in love with Love. These tunes wed lyrics and music into songs that were crafted by songwriting teams originally centered around Tin Pan Alley; The Brill Building on Broadway in Mid town Manhattan. These songwriting teams in many cases split the composing tasks along functional lines: one writing the music and on writing the lyrics. The composers were writing vehicles for others to perform and usually pitched the tunes in the context of a Broadway or Hollywood musical. They were cranking out tunes for the Hollywood and Broadway dream factories at a prodigious pace. They really worked! Cranking out so many songs, they have a tossed off, effortless quality and a guileless directness. They feel unpretentious and casual: genuine and authentic. But their craft and genius raise these songs to high art. Many of these tunes became popular hits in their own right, lifted out of the shows and movies, and have been recorded by all the great performers. Fred Astaire debuted many of these tunes and was a favorite of the writing teams. He was known as much for his singing as his dancing! Diana Krall, Harry Connick Jr. and Michael Buble are some of the latest to pay homage to the songbook.

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There are few things more precious and interesting than a Golden Age. There was a Golden Age of a particular kind of music that ran from the twenties through the fifties: the golden age of popular standards; the songs that constitute The Great American Song Book. These tunes were written by dapper, creative giants like Cole Porter, Rodgers and Hart, the Gershwins, Johnny Mercer, Hoagy Charmichael, Jerome Kern, and Dorothy Fields. Urbane sophisticated talents who created a body of work that effortlessly captures that urbanity and sophistication. They created tunes focused on the subject of romantic love and exploring all the stages and aspects of the arc of a great love affair: from the initial “walking on air” to the jaded ennui of “never again”. They were obsessed with this theme and subject. Describing, exploring, and driving deep into all its mysteries. These composers and lyricists were in love with Love. These tunes wed lyrics and music into songs that were crafted by songwriting teams originally centered around Tin Pan Alley; The Brill Building on Broadway in Mid town Manhattan. These songwriting teams in many cases split the composing tasks along functional lines: one writing the music and on writing the lyrics. The composers were writing vehicles for others to perform and usually pitched the tunes in the context of a Broadway or Hollywood musical. They were cranking out tunes for the Hollywood and Broadway dream factories at a prodigious pace. They really worked! Cranking out so many songs, they have a tossed off, effortless quality and a guileless directness. They feel unpretentious and casual: genuine and authentic. But their craft and genius raise these songs to high art. Many of these tunes became popular hits in their own right, lifted out of the shows and movies, and have been recorded by all the great performers. Fred Astaire debuted many of these tunes and was a favorite of the writing teams. He was known as much for his singing as his dancing! Diana Krall, Harry Connick Jr. and Michael Buble are some of the latest to pay homage to the songbook.

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The nightmare before christmas songbook

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