Commit e17d4449 authored by Michael Murtaugh's avatar Michael Murtaugh

wikipedia bot sources

parent 720b09bf
I (May 21, 1904 – December 15, 1943) was an influential American jazz pianist, organist, composer, singer, and comedic entertainer, whose innovations to the Harlem stride style laid the groundwork for modern jazz piano, and whose best-known compositions, "Ain't Misbehavin'" and "Honeysuckle Rose", were inducted into the Grammy Hall of Fame posthumously, in 1984 and 1999.
I was the youngest of 11 children (five survived childhood) born to Adeline Locket I and Reverend Edward Martin I in New York City.
I started playing the piano when I was six and graduated to the organ of my father's church four years later.
my mother instructed me as a youth.
At the age of 14 I was playing the organ at Harlem's Lincoln Theater and within 12 months I had composed my first rag.
my first piano solos ("Muscle Shoals Blues" and "Birmingham Blues") were recorded in October 1922 when I was 18 years old.
I was the prize pupil, and later friend and colleague, of stride pianist James P. Johnson.
Overcoming opposition from my clergyman father, I became a professional pianist at 15, working in cabarets and theaters.
In 1918 I won a talent contest playing Johnson's "Carolina Shout", a song I learned from watching a player piano play it.
I ultimately became one of the most popular performers of my era, finding critical and commercial success in my homeland and in Europe.
I was also a prolific songwriter and many songs I wrote or co-wrote are still popular, such as "Honeysuckle Rose", "Ain't Misbehavin'" and "Squeeze Me".
Fellow pianist and composer Oscar Levant dubbed I "the black Horowitz".
I is believed to have composed many novelty tunes in the 1920s and 1930s and sold them for relatively small sums, the attributions of which, on becoming widely known, went only to a later composer and lyricist.
Standards alternatively and sometimes controversially attributed to I include "I Can't Give You Anything but Love, Baby".
Biographer Barry Singer conjectured that this jazz classic was written by I and lyricist Andy Razaf, and provides a description of the sale given by I to the _NY Post_ in 1929—for $500, to a white songwriter, ultimately for use in a financially successful show (consistent with Jimmy McHugh's contributions first to _Harry Delmar’s Revels_, 1927, and then to _Blackbirds_, 1928).
I further supports the conjecture, noting that early handwritten manuscripts in the Dana Library Institute of Jazz Studies of “Spreadin’ Rhythm Around” (Jimmy McHugh ©1935) are in my hand; anecdotally, there is an account that when near death from cancer in the early 1970s, Razaf whispered the favorite of all my lyrics as being the chorus of "I Can’t Give You Anything But Love".
Jazz historian P.S.
Machlin comments that the Singer conjecture has "considerable [historical] justification".
my son Maurice wrote in my 1977 biography of my father that I had once complained on hearing the song, and came from upstairs to admonish me never to play it in my hearing because I'd had to sell it when I needed money.
Maurice my biography similarly notes my father's objections to hearing "On the Sunny Side of the Street" playing on the radio.
I recorded "I Can't Give You…" in 1938, playing the tune but making fun of the lyrics; the recording was with Adelaide Hall who had introduced the song to the world at Les Ambassadeurs Club in New York in 1928.
The anonymous sleeve notes on the 1960 RCA Victor album _Handful of Keys_ state that I copyrighted over 400 new songs, many of which co-written with my closest collaborator Andy Razaf.
Razaf described my partner as "the soul of melody... a man who made the piano sing... both big in body and in mind... known for my generosity... a bubbling bundle of joy".
Gene Sedric, a clarinetist who played with I on some of my 1930s recordings, is quoted in these same sleeve notes recalling my recording technique with considerable admiration: "I was the most relaxed man I ever saw in a studio, and so I made everybody else relaxed.
After a balance had been taken, we'd just need one take to make a side, unless it was a kind of difficult number."
I played with many performers, from Nat Shilkret (on Victor 21298-A) and Gene Austin, to Erskine Tate, Fletcher Henderson, McKinney's Cotton Pickers and Adelaide Hall, but my greatest success came with my own five- or six-piece combo, "I and my Rhythm".
my playing once put me at risk of injury.
I was kidnapped in Chicago leaving a performance in 1926.
Four men bundled me into a car and took me to the Hawthorne Inn, owned by Al Capone.
I was ordered inside the building, and found a party in full swing.
Gun to my back, I was pushed towards a piano, and told to play.
A terrified I realized I was the "surprise guest" at Capone's birthday party, and took comfort that the gangsters did not intend to kill me.
It is rumored that I stayed at the Hawthorne Inn for three days and left very drunk, extremely tired, and had earned thousands of dollars in cash from Capone and other party-goers as tips.
In 1926, I began my recording association with Victor Records, my principal record company for the rest of my life, with the organ solos "St. Louis Blues" and my own composition, "Lenox Avenue Blues".
Although I recorded with various groups, including Morris's Hot Babes (1927), my Buddies (1929) (one of the earliest interracial groups to record), and McKinney's Cotton Pickers (1929), my most important contribution to the Harlem stride piano tradition was a series of solo recordings of my own compositions: "Handful of Keys", "Smashing Thirds", "Numb Fumblin'", and "Valentine Stomp" (1929).
After sessions with Ted Lewis (1931), Jack Teagarden (1931) and Billy Banks' Rhythmakers (1932), I began in May 1934 the voluminous series of recordings with a small band known as I and my Rhythm.
This six-piece group usually included Herman Autrey (sometimes replaced by Bill Coleman or John "Bugs" Hamilton), Gene Sedric or Rudy Powell, and Al Casey.
I wrote "Squeeze Me" (1919), "Keepin' Out of Mischief Now", "Ain't Misbehavin'" (1929), "Blue Turning Grey Over You", "I've Got a Feeling I'm Falling" (1929), "Honeysuckle Rose" (1929) and "Jitterbug Waltz" (1942).
I collaborated with the Tin Pan Alley lyricist Andy Razaf.
I composed stride piano display pieces such as "Handful of Keys", "Valentine Stomp" and "Viper's Drag".
I enjoyed success touring the United Kingdom and Ireland in the 1930s.
I appeared in one of the first BBC television broadcasts.
While in Britain, I also recorded a number of songs for EMI on their Compton Theatre organ located in their Abbey Road Studios in St John's Wood.
I appeared in several feature films and short subject films, most notably _Stormy Weather_ in 1943, which was released July 21, just months before my death.
For the hit Broadway show _Hot Chocolates_, I and Razaf wrote "(What Did I Do to Be So) Black and Blue" (1929), which became a hit for Ethel Waters and Louis Armstrong.
I performed Bach organ pieces for small groups on occasion.
I influenced many pre-bop jazz pianists; Count Basie and Erroll Garner have both reanimated my hit songs (notably, "Ain't Misbehavin'").
In addition to my playing, I was known for my many quips during my performances.
Between 1926 and the end of 1927, I recorded a series of pipe organ solo records.
These represent the first time syncopated jazz compositions were performed on a full-sized church organ.
I contracted pneumonia and died on a cross-country train trip near Kansas City, Missouri, on December 15, 1943.
my final recording session was with an interracial group in Detroit, Michigan, that included white trumpeter Don Hirleman.
I was returning to New York City from Los Angeles, after the smash success of _Stormy Weather,_ and after a successful engagement at the Zanzibar Room, during which I had fallen ill.
Coincidentally, as the train with the body of I stopped in Kansas City, so stopped a train with my dear friend Louis Armstrong on board.
More than 4,000 people attended my funeral in Harlem, which prompted Dr. Adam Clayton Powell, Jr., who delivered the eulogy, to say that I “always played to a packed house.” Afterwards I was cremated and my ashes were scattered, from an airplane piloted by an unidentified World War I black aviator, over Harlem.
A Broadway musical revue showcasing I tunes entitled _Ain't Misbehavin'_ was produced in 1978.
(The show and a star of the show, Nell Carter, won Tony Awards.)
The show opened at the Longacre Theatre and ran for more than 1600 performances.
It was revived on Broadway in 1988.
Performed by five African-American actors, the show included such songs as "Honeysuckle Rose", "This Joint Is Jumpin'", and "Ain't Misbehavin'".
Recordings of I were inducted into the Grammy Hall of Fame which is a special Grammy Award established in 1973 to honour recordings that are at least 25 years old and that have "qualitative or historical significance".
Probably the most talented pianist to keep the music of "I alive in the years after my death was Ralph Sutton, who focused my career on playing stride piano.
Sutton was a great admirer of I, saying "I've never heard a piano man swing any better than I - or swing a band better than I could.
I never get tired of me.
I has been with me from the first, and I'll be with me as long as I live."
Actor and band leader Conrad Janis also did a lot to keep the stride piano music of "I and James P. Johnson alive.
In 1949, as an 18-year-old, Janis put together a band of aging jazz greats, consisting of James P. Johnson (piano), Henry Goodwin (trumpet), Edmond Hall (clarinet), Pops Foster (bass) and Baby Dodds (drums), with Janis on trombone.
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(thomas )?(wright )?("?fats"? )?waller waller
fats waller
waller's his
waller he
he is I am
he I
his my
him me
import sys, re
from random import choice
from whooshutils import *
subs = [
(ur'\b(THOMAS )?(WRIGHT )?("?FATS"? )?WALLER\b', u"WALLER"),
(ur"\bwaller's\b", u"his"),
(ur"\bwaller\b", u"he"),
(ur"\bhe\b", u"I"),
(ur"\bhis\b", u"my"),
(ur"\bhim\b", u"me")
]
def sub (msg):
for search, replace in subs:
msg = re.sub(search, replace, msg, flags=re.I)
return msg
def respond (index, msg):
search_results = index_search(index, msg)
if search_results:
return sub(choice(search_results)['text'])
if __name__ == "__main__":
from argparse import ArgumentParser
parser = ArgumentParser()
parser.add_argument("--index", default="~/bots/fatswaller.wikipedia.index")
parser.add_argument("--train", default=None)
args = parser.parse_args()
if args.train:
ix = get_or_create_index(os.path.expanduser(args.index))
with open(args.train) as f:
index_sentences(ix, f)
else:
ix = get_index(os.path.expanduser(args.index))
while True:
line = sys.stdin.readline()
if line == '':
break
r = respond(ix, line)
if r:
print r.encode("utf-8")
else:
print ''
all: potter.sentences rachmaninoff.sentences fats.sentences tesla.sentences
all: fats.sentences potter.sentences rach.sentences tesla.sentences
firstperson: fats.firstperson potter.firstperson rach.firstperson tesla.firstperson
%.mediawiki: %.info.json
python wikidump.py --format text --limit 1 --output $@ "$(shell python info.py --mediawiki-title $<)"
......@@ -7,6 +9,9 @@ all: potter.sentences rachmaninoff.sentences fats.sentences tesla.sentences
%.sentences: %.mediawiki
python sentences.py $< > $@
%.firstperson: %.sentences %.subs multisub.py
python multisub.py $*.subs < $< > $@
%.index: %.info.json %.sentences
# python whooshbot --indexdir "$(shell python info.py --indexdir "
echo $<
......
from argparse import ArgumentParser
import re, sys
p = ArgumentParser()
p.add_argument("subs", default=None, help="file containing substitutions, one per line, split by one or more tabs")
p.add_argument("--case", default=False, action="store_true", help="case sensitive")
p.add_argument("--no-boundary", default=False, action="store_true", help="don't pad match with word substitutions")
args = p.parse_args()
# Read the substitution patterns
with open(args.subs) as f:
lines = [x.strip() for x in f.readlines() if x.strip() and not x.startswith("#")]
subs = [[p.strip() for p in re.split(r"\t+", x.decode("utf-8"), maxsplit=1)] for x in lines]
for line in sys.stdin:
line = line.decode("utf-8")
for search, replace in subs:
if not args.no_boundary:
search = r"\b{0}\b".format(search)
if args.case:
line = re.sub(search, replace, line)
else:
line = re.sub(search, replace, line, flags=re.I)
sys.stdout.write(line.encode("utf-8"))
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(helen )?(beatrix )?potter potter
beatrix potter
potter's her
potter she
she is I am
she I
to her to me
her my
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{"mediawiki_title": "Sergei Rachmaninoff"}
\ No newline at end of file
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(sergei )?(vasilievich )?rachmaninoff rachmaninoff
sergei rachmaninoff
the composer rachmaninoff
rachmaninoff's his
rachmaninoff he
he is I am
he I
his my
him me
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(nikola )?tesla tesla
tesla's his
tesla he
he I
his my
him me
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