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・ Too Much Coffee Man
・ Too Much Finance
・ Too Much For TV
・ Too Much Fun
・ Too Much Fun!
・ Too Much Guitar
・ Too Much Happiness
・ Too Much Harmony
・ Too Much Heaven
・ Too Much Information
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・ Too Much Is Enough
・ Too Much Is Not Enough
・ Too Much Johnson
・ Too Good to Be True (album)
Too Good to Be True (Clay Boland song)
・ Too Good to Be True (Edens Edge song)
・ Too Good to Be True (film)
・ Too Good to Be True (Michael Peterson song)
・ Too Good to Last
・ Too Good to Lose
・ Too Good to Stop Now
・ Too Good to Stop Now (album)
・ Too Hard Basket
・ Too Hard to Swallow
・ Too High to Die
・ Too High to Fly
・ Too Hood
・ Too Hood 2 Be Hollywood
・ Too Hot


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Too Good to Be True (Clay Boland song) : ウィキペディア英語版
Too Good to Be True (Clay Boland song)

"Too Good to Be True" is a popular song composed by dentist-songwriter Clay Boland and published in 1936. It has since been recorded by many jazz and swing musicians including Benny Goodman and Roy Eldridge.
==Composition and notable recordings==
Clay Boland, while studying dentistry at the University of Scranton and University of Pennsylvania, taught himself to play piano and worked in dance bands. In 1936 he started work as a writer/director for Penn's Mask and Wig show. One of his first compositions for the production ''Red Rumba'' was "Too Good to Be True", for which Boland wrote the lyrics and music.
The song, which became a favorite of the swing era, recalls the proverbial expression "it seems too good to be true," and alludes to the singer's presumed love interest.
Musician-author Warren Vaché called the song "a little gem" that was "promptly slated for immortality with an outstanding recording by the Benny Goodman Trio featuring Helen Ward on the vocal." This version, originally released on a Victor 78 rpm record in 1936, was later included on ''The Complete Benny Goodman, Vol. 2 (1935-1936)'' compilation album.〔〔Pareles, Jon (30 April 1998). (Helen Ward, 82, Who Sang Hits With Goodman's Band in the 30's ), ''The New York Times''〕
Trumpeter Roy Eldridge also released a version of the song in 1936. The recording features the Teddy Wilson Orchestra, which included a rhythm section consisting of Wilson (piano), Sid Catlett (drums), and Israel Crosby (bass). Musician-writer John Goldsby noted that "Too Good to Be True" is among the songs that exemplified Crosby's early playing. "You can hear the seeds of Israel's melodic style, especially in the eighth-note countermelodies he plays behind Chu Berry's saxophone solo."〔

Trumpeter-writer John Chilton described Berry's solo as "a ravishing interpretation of the 32-bar theme" and suggested it was reminiscent of Coleman Hawkins' saxophone playing on the 1933 song "The Day You Came Along".〔


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