Information om | Engelska ordet VENUTI

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• Lang's compositions, based on the Red Hot Jazz database, include "Wild Cat" with Joe Venuti, "Perfect" with Frank Signorelli, "April Kisses", "Sunshine", "Melody Man's Dream", "Goin' Places", "Black and Blue Bottom", "Bull Frog Moan", "Rainbow Dreams", "Feelin' My Way", "Eddie's Twister", "Really Blue", "Penn Beach Blues", "Wild Dog", "Pretty Trix", "A Mug of Ale", "Apple Blossoms", "Beating the Dog", "To To Blues", "Running Ragged", "Kicking the Cat", "Cheese and Crackers", "Doin' Things", "Blue Guitars", "Guitar Blues" with Lonnie Johnson, "Hot Fingers", "Have to Change Keys to Play These Blues", "A Handful of Riffs", "Blue Room", "Deep Minor Rhythm Stomp", "Two-Tone Stomp".
• Bennett grew up listening to Al Jolson, Eddie Cantor, Judy Garland, and Bing Crosby as well as jazz artists such as Louis Armstrong, Jack Teagarden, and Joe Venuti.
• Between 1926 and about 1934, Arlen appeared occasionally as a band vocalist on records by The Buffalodians, Red Nichols, Joe Venuti, Leo Reisman, and Eddie Duchin, usually singing his own compositions.
• However, following Lang's death in 1933, Venuti's career began to wane, though he continued performing through the 1930s, recording a series of commercial dance records (usually containing a Venuti violin solo) for the dime store labels, as well as OKeh and Columbia, plus the occasional jazz small group sessions.
• Smith was, along with Stéphane Grappelli, Michel Warlop, Svend Asmussen, Ray Nance and Joe Venuti, one of jazz music's preeminent violinists of the swing era.
• From 1927 to 1934 Selvin was artists and repertoire (A&R) director for Columbia Records, where his many productions included musicians Mannie Klein, Benny Goodman, Tommy Dorsey, Jimmy Dorsey, Joe Venuti, Eddie Lang, and Bunny Berigan.
• During this time, he managed to lay down hundreds of sessions with names like Annette Hanshaw, Cliff Edwards (Ukulele Ike), Joe Venuti, Miff Mole, and Red Nichols to name a few.
• Venuti persuaded the trombonist, now retired from the coal business, to join him on a series of club engagements, and they worked together until the violinist's death in 1978, by which time Willcox had firmly re-established himself on the music scene.
• Some of the artists whose solos were featured on her recordings were Red Nichols, Miff Mole, Phil Napoleon, Joe Venuti, Eddie Lang, Adrian Rollini, Vic Berton, Benny Goodman, Jimmy Dorsey, Tommy Dorsey, and Jack Teagarden.
• The High Hatters, Victor Arden and Phil Ohman, Leo Reisman, Russell Wooding's Red Caps, Joe Venuti, and many other recording bands featured Luther's jazzy tenor vocals.
• Lawrence Venuti, an American translation theorist, has used Berman's concepts to write a genealogy of translation in an Anglo-American context to introduce the "foreignizing" strategy that is normatively suppressed in mainstream translation.
• He moved to New York City and played with Mal Hallett, Joe Venuti, Smith Ballew, Mike Durso (1933–34), Phil Harris (1935–39), Gene Krupa (1939–40), and Bob Crosby (1940–42).
• Other credits include session work with Mildred Bailey, Smith Ballew, The Boswell Sisters, Rube Bloom, Chick Bullock, The Charleston Chasers, Cliff Edwards, Gene Gifford, Benny Goodman, Adelaide Hall, Annette Hanshaw, Billie Holiday, Baby Rose Marie, Glenn Miller, Irving Mills, Red McKenzie, Johnny Mercer, Red Norvo, Fred Rich, Adrian Rollini, Pee Wee Russell, Ben Selvin, Artie Shaw, Frank Signorelli, Jack Teagarden, Claude Thornhill, Frankie Trumbauer, Joe Venuti, Don Voorhees, and Ethel Waters.
• Later associations include Pee Wee Erwin, Yank Lawson/Bob Haggart, Ralph Sutton, Billy Butterfield, Bob Crosby (1960), Wild Bill Davison (1962), Dukes of Dixieland (1963–64), Peanuts Hucko, Joe Venuti, The Kings of Jazz (1974), Bud Freeman, Don Ewell, the World's Greatest Jazz Band (1976–77), and Jimmy McPartland.
• In recent decades, prominent advocates of such "non-transparent" translation have included the French scholar Antoine Berman, who identified twelve deforming tendencies inherent in most prose translations, and the American theorist Lawrence Venuti, who has called on translators to apply "foreignizing" rather than domesticating translation strategies.
• Recordings with Rollini on goofus include The Little Ramblers' "Deep Elm"; The Goofus Five's "Everybody Love My Baby" and "Oh! How I Love My Darling"; the Varsity Eight's "How I Love That Girl", "Doo Wacka Doo", "Oh! Mabel", "Happy (Watchin' All the Clouds Roll By)", "Ain't My Baby Grand?", and "I Ain't Got Nobody to Love"; and Joe Venuti and the Eddie Lang Blue Five's "Raggin' the Scale".
• On a smaller scale his workshop, working with Luigi Valadier, produced the elaborate table-setting in gilded and patinated bronze and rare coloured marbles on the Romantic-Classical theme The Ruins of Paestum that was designed for Maria Carolina by Domenico Venuti, 1805.
• He also recorded copiously throughout the 1920s, accompanying musicians including Bing Crosby, The Boswell Sisters, Ethel Waters, Eddie Lang, Joe Venuti, Miff Mole, Red Nichols, The Dorsey Brothers, Bix Beiderbecke, and Phil Napoleon.
• One of his most notable collaborations was S'Wonderful (Four Giants of Swing) (1976), on which he collaborated with jazz violinist Joe Venuti, guitarist Eldon Shamblin and mandolinist Jethro Burns.
• He furnished music for some of the most successful persons in show business including Benny Goodman, Glenn Miller, Count Basie, Tommy Dorsey, Harry James, Les Brown, Woody Herman, Gene Krupa, George Shearing, Jimmie Lunceford, Ray McKinley, Benny Carter, Louis Prima, Russ Morgan, Guy Lombardo, Carmen Cavallaro, Carmen Miranda, Gordon Jenkins, Joe Venuti, Victor Young, Arthur Fiedler and the Boston Pops, and his own The Vic Schoen Orchestra.

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