{"id":2018,"date":"2017-10-10T08:57:43","date_gmt":"2017-10-10T13:57:43","guid":{"rendered":"https:\/\/pages.stolaf.edu\/americanmusic\/?p=2018"},"modified":"2017-10-10T08:57:43","modified_gmt":"2017-10-10T13:57:43","slug":"cooking-with-crosby","status":"publish","type":"post","link":"https:\/\/pages.stolaf.edu\/americanmusic\/2017\/10\/10\/cooking-with-crosby\/","title":{"rendered":"Cooking with Crosby"},"content":{"rendered":"

Learned in the traditional Classical style, Will Marion Cook \u201cbrought the skills of a classically trained musician to an African-American musical theater\u201d (Crawford, 534). Cook heavily inspired and popularized black theater productions, and made a name for himself by combining grand opera traditions with black folk culture.<\/span><\/p>\n

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Will Marion Cook, a heavy influencer in black theater<\/p><\/div>\n

\u201cI\u2019m Coming Virginia\u201d was written in 1926 by Donald Heywood with lyrics by Cook. The song has been adapted numerous times over the years and is now a staple in dixie-land repertoire. One recording of this song appears on an album by Bing Crosby and Louis Armstrong called \u201cHavin Fun\u201d. Recorded from 1949-1951, this two hour album features songs by Crosby and Armstrong recorded from Crosby\u2019s radio program. What I find most intriguing is how the theatrical style of the album echoes that of Will Marion Cook\u2019s original theatrical music and productions.\u00a0<\/span><\/p>\n

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Louis Armstrong and Bing Crosby, ca. 1950<\/p><\/div>\n

The first track \u201cWhere the Blue of the Night\u201d is all banter between the musicians as they settle in for the night. The first track helps to set the scene for what one can imagine was a program filled with laughter in and out of the music. I think it is a bit of stretch to say that Crosby and Armstrong were performing in this style as an homage to Cook, but I do think that Cook\u2019s works heavily influenced the looser performance styles heard on this album. Crosby and Armstrong were close friends outside of the performance hall, and they both recognized the value created in sharing their friendship with others. Like Cook, Crosby and Armstrong did away with a traditional form of musical presentation. The constant banter mingled with the audience laughter adds a level of genuineness to the album, while the talent of singing and playing by Crosby and Armstrong respectively grounds the album in legitimacy.<\/span><\/p>\n

As mentioned earlier, Will Marion Cook had a huge influence on the Broadway performance styles of his time. Crosby and Armstrong experienced similar success and influence on their industries. While Cook did not directly influence the duo, parallels in the theatrical performance style are evident. One thing that they also have in common? They were havin’ fun.<\/p>\n

Works Cited<\/p>\n

\n

Crawford, Richard. America\u2019s Musical Life: A History<\/i>. New York: W.W. Norton & Company, Inc., 2001.<\/span><\/p>\n

Dryden, Ken. \u201cHavin\u2019 Fun\u201d AllMusic<\/i>, accessed October 9, 2017.https:\/\/www.allmusic.com\/album\/havin-fun-2-cd-mw0000584963<\/span><\/p>\n

Havin’ Fun<\/i>. Recorded June 20, 2007. Storyville, 2007, Streaming Audio. Accessed October 9, 2017. http:\/\/search.alexanderstreet.com\/view\/work\/bibliographic_entity%7Crecorded_cd%7C1023638.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Learned in the traditional Classical style, Will Marion Cook \u201cbrought the skills of a classically trained musician to an African-American musical theater\u201d (Crawford, 534). Cook heavily inspired and popularized black theater productions, and made a name for himself by combining … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":2563,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[1],"tags":[802,35,475],"class_list":["post-2018","post","type-post","status-publish","format-standard","hentry","category-uncategorized","tag-bing-crosby","tag-jazz","tag-louis-armstrong"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p7jEhR-wy","_links":{"self":[{"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/posts\/2018","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/users\/2563"}],"replies":[{"embeddable":true,"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/comments?post=2018"}],"version-history":[{"count":1,"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/posts\/2018\/revisions"}],"predecessor-version":[{"id":2024,"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/posts\/2018\/revisions\/2024"}],"wp:attachment":[{"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/media?parent=2018"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/categories?post=2018"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/tags?post=2018"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}