SIDE 1
1) GRACEAND BEAUTY (James Scott, arr. Viadimír Kiusák)
Viadimír Kiusák — piano
2) BOHEMIA RAG
(.Joseph F. Lamb, arr. Pavei Kiikar) Prague Originai Syncopation Orchestra
3) AT A GEORGIA CAMP MEETING (Kerry Miiis, arr. Karei Mezera)
Ciassic Jazz Coiiegium 8 guest porformers (Nora Romanovská — violin
Stanisiav Srp — vioiin
Viadimír Janoch — viola
Váciav Jirovec cello)
4) LOUISIANA
(Theo R. Northrup, arr. Vladimír Klusák) Vladimír Klusák — piano
Jan Antonín Pacák — washboard
5) PINEAPPLE RAG
GLADIOLUS RAG
RAGTIME DANCE (Scott Joplin, arr. Ferdinand Havlik)
Ragtime Association
6) THE RUM-TUM-TIDDLE DANCE (Jean Schwartz, arr. Václav Smetáéek)
Traditional Jazz Studio
(leader: Pavel Smetáéek) 8 guest pertormers
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SIDE 2
7) ÉLITE SYNCOPATIONS (Scott Joplín. arr. Karol Mezera)
Classic Jazz Collegium 8 guest performers
(Nora Romanovská — violin
Stanislav Srp — violin
Viadimír Janoch — viola
Václav Jírovec — cello)
8) CHAMPAGNE RAG (Joseph F. Lamb, arr. Pavel Klikar)
Prague Original Syncopation Orchestra
9) JUNK MAN RAG (Charles “Lucky” Roberts, arr. Viadimír Klusák)
Viadimír Klusék — piano
Jan Antonín Pacák — drums
10) COTTON-TAIL RAG (Joseph F. Lamb, arr. Václav Smetáéek)
Traditional Jazz Studio
(leader: Pavel Smetáéek) 8 guest performers
11) ENTERTAINER RAG (Scott Joplin, arr. Váciav Zahradník)
Prague Television Orchestra
(conductor: Váciav Zahradnlk)
Selected and ordered by Jan Antonín Pacák
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Egy igazi zenei csemege azoknak akik szeretik az efajta érdekes hanvételű dallamokat. A film a 20-as évek amerikájában játszódik, A zene pedig önmagáéert beszél. Az akkori kor szelleme a Scott Joplini erő sugárzik a dallamokból és aki látta a filmet is, az előtt pedig a zene hallatán szinte pereg a film is. A zenei anyag 1977-ben került kiadásra a Suprafon cég kiadásában. Szinte a szemétből előkerült lemez került feldolgozásra. Sajnos néhol maradt egy-két hiba a felvételben, de ez is nagy eredmény, hogy igy meglehetett javítani ezeket a felvételeket.
rendező: George Roy Hill
forgatókönyvíró: David S. Ward, David W. Maurer
zeneszerző: Scott Joplin, Marvin Hamlisch
operatőr: Robert Surtees
jelmeztervező: Edith Head
producer: Tony Bill, Michael Phillips
látványtervező: Henry Bumstead
vágó: William Reynolds
szereplő(k):
Robert Redford (Johnny)
Paul Newman (Henry Gondorff)
Robert Shaw (Doyle Lonnegan)
Ray Walston (Singleton)
Sally Kirkland (Crystal)
Eileen Brennan (Billie)
Charles Durning (William Snyder hadnagy)
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Zsidó kereskedő második fiaként született. Édesanyja, Theresa Fetzko Magyarországon született szlovák katolikus családban, édesapja, Arthur S. Newman német apa (Simon Newman) és lengyel anya (Hannah Cohn) fia volt. Apja azt szerette volna, ha a sportcikkekket árusító üzletét veszi át – nem is volt felhőtlen a viszonyuk. 18 évesen a II. világháború idején pilóta szeretett volna lenni, de színvaksága miatt alkalmatlannak bizonyult. A Kenyon Egyetemen tanult angol irodalmat és közgazdaságtant. Később a Yale Egyetem drámaszakán tanult, majd az Actor's Studióban. 1958 óta élt boldog házasságban második feleségével Joanne Woodward színésznővel.
1954-ben debütált a Broadwayen a Piknik című drámában, majd televíziós és filmszerepek következtek. 1958-ban már Oscar-díjra jelölik a Macska a forró bádogtetőn című filmben nyújtott alakításáért. Összesen kilencszer jelölték, egy alkalommal producerként, színészként nyolcszor. Egyszer meg is kapta a legjobb színésznek járó díjat: Martin Scorsese A pénz színe című filmben nyújtott alakításáért.
1968 óta rendezett, első filmje a Rachel, Rachel volt, melyért producerként jelölték Oscar-díjra. A filmes munkássága mellett prémium spagettiszószokkal és salátadresszingekkel foglalkozó cége volt, melynek teljes nyereségét jótékony célra fordította.
1988 őszén valósult meg álma, a 'Hole in the Wall Camp' tábor, ahol krónikus betegségben szenvedő gyermekeknek nyílt lehetőség a táborozásra.Az elkövetkező 20 évben világméretű táborszövetség jött létre: The Association of Hole in the Wall Camps. Két évtized alatt több mint 135000 krónikus betegségben szenvedő gyermekek táborozott segítségükkel.Magyarországon a Bátor Tábor tagja a szövetségnek.
Paul Newman hosszú időn át küzdött a rákkal. Connecticuti otthonában 2008. szeptember 26-án érte a halál.
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Two-four time, march tempo, running accompaniment ot the lett hand alternating most often octave basses on odd eights with “iumps’, and over it the meiodic line in eighth-note movement, often arranged in 3/8 phrases with typical syncopation or “ragging” — that is the simpiest way to characterize the type ot piano styiization described as ragtime. In this iight,
ragtime appears to be not uniike, for instance, the piano arrangements of poikas, quadrilies and other baiiroom dances which comprised the 1 9th-century world of Pop music. Ragtime was certainiy a part of it, although it is often regarded merely as a part of the prehistory of jazz. Neverthe!ess, its emergence would hardiy have been possible without that wide stream of drawing-room music of the
time, without the promenade brass bands, the circus bands, or the popular potpourris from operas by Rossini or Gounod, or from operettas by Offenbach or Suppé. Apart from that, the vast fieid ot 1 9th-century piano literature — by Chopin, Rubinstein, Schubert, and most of ali Liszt— aiso helped to give ragtime its finai shape.
Ot course, there were also some stimuii of quite different character, which gave ragtime its exciting rhythmic power, and which after ali made it so unique among the Pop music genres of the time. Such stimuli inciude echoes of the dance styies practised by black piantation siaves and of the ballroom dances infiuenced by them (bambouia and the iike), and the more recent forms ot worksongs from the period after the American Civil War and the aboiishment ot slavery. This is actuaily the source ot the metricai and rhythmical innovations manifested in ragtime by the emphasized continuous rhythmic pulsation on the beat principie, with a striking tendency towards syncopation. It seems theretore that we cannot go much wrong
in describing ragtime as the biack
“vitaiization” of the 1 9th-century European light music.
The contemporary ragtime revival, with its re-editions ot ancient piano rolis featuring authentic recordings ot the originai performers, and with new recordings of their pieces by performers severai generations younger, owes its emergence to an exogenous stimulus. The composer Marvin Hamiish used in 1972 several ragtime numbers by Jopiin tor his incidentai music to the great movie hit The Sting, and unleashed a chain reaction which has earned ragtime at least the same world-wide popuiarity as that which
it enjoyed at the turn of the century, at the time of the great world exhibitions in Chicago, Buffaio and St. Louis. Europe finds ragtime doubly attractive, since it was more or less the first harbinger of the invasion ot new music from overseas. After ali, ragtime aiso served as the mediator for the first contacts between European concert music and American jazz (Debussy, Stravinsky and others).
The composers represented on this record alI heiped ragtime estabiish itself, and conquer new words beyond the Midciie Western sociai ciubs, where the ragtime piano players first appeared. The pride of the place goes to Milis’ piece Át a Georgia Camp Meeting, a cake-waik whose ragtime styiization became in 1897 the first composition ot its kind to appear in print. The composer best represented here Is, of course, the coloured musician Scott Joplin (1868—1917) who regarded ragtime as a respectable counterpart ot “legitimate” music, and whose artistic ambitions found expression in his highly original attempts to produce iarge-scale stage works in ragtime style. This is also the reason for the special structure ot Jopiin’s rags, often written in complex primary form, with trios of almost a rondo shape. Compositions by his white counterpart, Joseph F. Lamb (1887—1960), are similar in character. On the other hand,their successors, iike James Scott, who worked mostiy tor the Kansas vaudeville, regarded ragtime as a part of the light music of their time and of the emerging show business world. This merging ot ragtime with modern Pop music appears at its most uninhibited in the work of Jean Schwartz (1878—1956), one of the first pioneers of the legendary Broadway. Like many of his colleagues, Schwartz was born in Europe (Budapest), came to the U.S.A. with his parents as a child, and before establishing himself as a successful stage composer, he was — like irving Berlin or George Gershwin — many other things, inciuding café pianist, or song plugger for the Tin Pan Alley publishing houses. Schwartz wrote hundreds of songs for various shows inciuding the famous Ziegfeld Follies, Shubert’s Gaieties, and his countryman Sigmund Romberg’s The Passing Show; to hím, ragtime was more or less only a welcome new vogue, like the charleston somewhat later. The youngest of the group featured here, Charles “Lucky” Roberts (1895), symbolizes the blending of the stimuli generated by ragtime with the gradually crystallizing jazz. There is a direct line from Roberts to the jazz style of James P. Johnson. Duke Eilington, and others who reshaped such influences into a lasting jazz contribution to the world musical culture. The very variety ot the arranging and performing styles employed by the soloists and orchestras featured on this album testify to the versatility of the ragtime material and to some extent also to its undiminished vitality.
RECORDED ÁT THE SUPRAPHON STUDIO IN DEJVICE, PRAGUE,1954-ben debütált a Broadwayen a Piknik című drámában, majd televíziós és filmszerepek következtek. 1958-ban már Oscar-díjra jelölik a Macska a forró bádogtetőn című filmben nyújtott alakításáért. Összesen kilencszer jelölték, egy alkalommal producerként, színészként nyolcszor. Egyszer meg is kapta a legjobb színésznek járó díjat: Martin Scorsese A pénz színe című filmben nyújtott alakításáért.
1968 óta rendezett, első filmje a Rachel, Rachel volt, melyért producerként jelölték Oscar-díjra. A filmes munkássága mellett prémium spagettiszószokkal és salátadresszingekkel foglalkozó cége volt, melynek teljes nyereségét jótékony célra fordította.
1988 őszén valósult meg álma, a 'Hole in the Wall Camp' tábor, ahol krónikus betegségben szenvedő gyermekeknek nyílt lehetőség a táborozásra.Az elkövetkező 20 évben világméretű táborszövetség jött létre: The Association of Hole in the Wall Camps. Két évtized alatt több mint 135000 krónikus betegségben szenvedő gyermekek táborozott segítségükkel.Magyarországon a Bátor Tábor tagja a szövetségnek.
Paul Newman hosszú időn át küzdött a rákkal. Connecticuti otthonában 2008. szeptember 26-án érte a halál.
---------------------------------------------------------------------------
Two-four time, march tempo, running accompaniment ot the lett hand alternating most often octave basses on odd eights with “iumps’, and over it the meiodic line in eighth-note movement, often arranged in 3/8 phrases with typical syncopation or “ragging” — that is the simpiest way to characterize the type ot piano styiization described as ragtime. In this iight,
ragtime appears to be not uniike, for instance, the piano arrangements of poikas, quadrilies and other baiiroom dances which comprised the 1 9th-century world of Pop music. Ragtime was certainiy a part of it, although it is often regarded merely as a part of the prehistory of jazz. Neverthe!ess, its emergence would hardiy have been possible without that wide stream of drawing-room music of the
time, without the promenade brass bands, the circus bands, or the popular potpourris from operas by Rossini or Gounod, or from operettas by Offenbach or Suppé. Apart from that, the vast fieid ot 1 9th-century piano literature — by Chopin, Rubinstein, Schubert, and most of ali Liszt— aiso helped to give ragtime its finai shape.
Ot course, there were also some stimuii of quite different character, which gave ragtime its exciting rhythmic power, and which after ali made it so unique among the Pop music genres of the time. Such stimuli inciude echoes of the dance styies practised by black piantation siaves and of the ballroom dances infiuenced by them (bambouia and the iike), and the more recent forms ot worksongs from the period after the American Civil War and the aboiishment ot slavery. This is actuaily the source ot the metricai and rhythmical innovations manifested in ragtime by the emphasized continuous rhythmic pulsation on the beat principie, with a striking tendency towards syncopation. It seems theretore that we cannot go much wrong
in describing ragtime as the biack
“vitaiization” of the 1 9th-century European light music.
The contemporary ragtime revival, with its re-editions ot ancient piano rolis featuring authentic recordings ot the originai performers, and with new recordings of their pieces by performers severai generations younger, owes its emergence to an exogenous stimulus. The composer Marvin Hamiish used in 1972 several ragtime numbers by Jopiin tor his incidentai music to the great movie hit The Sting, and unleashed a chain reaction which has earned ragtime at least the same world-wide popuiarity as that which
it enjoyed at the turn of the century, at the time of the great world exhibitions in Chicago, Buffaio and St. Louis. Europe finds ragtime doubly attractive, since it was more or less the first harbinger of the invasion ot new music from overseas. After ali, ragtime aiso served as the mediator for the first contacts between European concert music and American jazz (Debussy, Stravinsky and others).
The composers represented on this record alI heiped ragtime estabiish itself, and conquer new words beyond the Midciie Western sociai ciubs, where the ragtime piano players first appeared. The pride of the place goes to Milis’ piece Át a Georgia Camp Meeting, a cake-waik whose ragtime styiization became in 1897 the first composition ot its kind to appear in print. The composer best represented here Is, of course, the coloured musician Scott Joplin (1868—1917) who regarded ragtime as a respectable counterpart ot “legitimate” music, and whose artistic ambitions found expression in his highly original attempts to produce iarge-scale stage works in ragtime style. This is also the reason for the special structure ot Jopiin’s rags, often written in complex primary form, with trios of almost a rondo shape. Compositions by his white counterpart, Joseph F. Lamb (1887—1960), are similar in character. On the other hand,their successors, iike James Scott, who worked mostiy tor the Kansas vaudeville, regarded ragtime as a part of the light music of their time and of the emerging show business world. This merging ot ragtime with modern Pop music appears at its most uninhibited in the work of Jean Schwartz (1878—1956), one of the first pioneers of the legendary Broadway. Like many of his colleagues, Schwartz was born in Europe (Budapest), came to the U.S.A. with his parents as a child, and before establishing himself as a successful stage composer, he was — like irving Berlin or George Gershwin — many other things, inciuding café pianist, or song plugger for the Tin Pan Alley publishing houses. Schwartz wrote hundreds of songs for various shows inciuding the famous Ziegfeld Follies, Shubert’s Gaieties, and his countryman Sigmund Romberg’s The Passing Show; to hím, ragtime was more or less only a welcome new vogue, like the charleston somewhat later. The youngest of the group featured here, Charles “Lucky” Roberts (1895), symbolizes the blending of the stimuli generated by ragtime with the gradually crystallizing jazz. There is a direct line from Roberts to the jazz style of James P. Johnson. Duke Eilington, and others who reshaped such influences into a lasting jazz contribution to the world musical culture. The very variety ot the arranging and performing styles employed by the soloists and orchestras featured on this album testify to the versatility of the ragtime material and to some extent also to its undiminished vitality.
FROM 20 APRIL TO 30 JUNE, 1976
Recording directors: Jan Spálen and Jan Hrábek
Recording engineers: Gustav Houdek and Jan Chalupsk
MADE IN CZECHOSLOVAKIA PRAGUE
Tony Matzner
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Cover design j Milan Jaro 1977
Cover photo © ivana Matéjková 1977
Liner notes © Tony Matzner 1977
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