“You Ain’t Heard Nothin’ Yet”

11 07 2009

Opening night of "The Jolson Story"

 

 

 

 

 

 

 

excerpts from:
A New Jewy? America since the Second World War
By Peter Y. Medding, Oxford University Press, 1992

While Einstein was based in Zurich, formulating in abstract mathematical terms the notion that energy consisted of mc², he might have easily discovered its most ebullient embodiment dominating the vaudeville circuit across the Atlantic. Perhaps no white entertainer in American history has ever exuded the demonic razzle-dazzle and the kinetic force of Al Jolson; probably no one could match his Eureka gift for deluding everybody in the audience into believing that “Rock-a-Bye Your Baby With A Dixie Melody” or “Sonny Boy” was being belted out just for them. Read the rest of this entry »





Show Business to Korea’s Front Lines

4 07 2009
Jolson visiting a Tokyo hospital

 

 

 

 

 

 

Jolson, other names want to work in Korea

Billboard, August 12th 1950.

HOLLYWOOD, Aug. 5. — With the intensification of the Korean crisis, showbiz here is girding for battle. Names and various orgs devoted to entertaining the troops during the last war are either resuming their previous operations or are ready to go into action on a call from Washington. Al Jolson, one of the first personalities to hit the fighting front in World War Two, has volunteered to entertain armed forces in Korea. Read the rest of this entry »





“Rose of Washington Square”

5 06 2009

Twentieth Century-Fox Strolls Down Melody Lane in ‘Rose of Washington Square,’ at the Roxy

New York Times
By Frank Nugent
Published: May 6, 1939

 Twentieth Century-Fox’s latest tour down Melody Lane has come to the Roxy under the blushing title “Rose of Washington Square,” the Rose being neither Al Jolson nor Tyrone Power (as we had feared), but Alice Faye, who flowers lushly in the cabarets and flounces of the post-war years. Obviously designed as a thematic sequel to “Alexander’s Ragtime Band,” the picture makes much the same capital of its sentimentally evocative score, its nostalgic reminders of the speakeasy era, its delicate reminder that the Nineteen Twenties already have become a “costume period.” Read the rest of this entry »





The significance of “The Jazz Singer.”

19 05 2009

Kol Nidre - Barrios

 

 

 

 

 

 

 

 

Excerpts from A Song in the Dark: the Birth of the Musical Film (1995)
by Richard Barrios

The most detectable asset of The Jazz Singer is the conviction put into it – Warners’ and Alan Crosland’s belief in the project and Jolson’s belief in his powers as a musical entertainer. Whether the material was worthy of belief is another issue; what matters is that this story carried a force that more conventional screen fare lacked. Jewish themes were not uncommon in 1920s cinema, not only trivia of the Private Izzy Murphy/Kosher Kitty Kelly variety but sensitively considered dramas such as Humoresque (1920) and His People (1926). Read the rest of this entry »





Jolson’s last starring role

6 05 2009
Busby Berkeley directing  a scene with Sybil Jason
(click to enlarge)
Excerpt from the biography by Edward Jablonski:
Harold Arlen: Rhythm, Rainbows, and Blues (1998)

Around the same time Arlen took his camera to a location shoot of “The Singing Kid” in nearby Franklin Canyon on a misty, coolish morning. Anya, not in this film, wore a heavy coat with a stylish fluffy white fur collar. Her companion was equally modish in an overcoat and scarf, no hat. He carried a pipe and sported a neat mustache. The proletarian Harburg came simply in slacks, sweater, and sport jacket. They waited for the filming, under the director William Keighley, to begin, comfortably seated on a pier near a small lake; there was a small upright piano on the pier.

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Radio Days

15 03 2009

jolsonandbing

 
The Jolson Story:
Al’s Success in Radio Adds New Luster to Career of Master Minstrel”
New York Times,
April 13, 1947

By Jack Gould

The season of 1946-47 may yet become known as the year of the “comeback.” Back last fall Jack Benny confounded the pundits of Radio Row by climbing up again to the top of the comedy brackets. Now, as the formal program semester nears a close, another veteran showman, Al Jolson, has caught the public’s fancy anew.

Al is, as the saying goes, as “hot” as anything on the dial at the moment. His guest appearances with Bing Crosby and Eddie Cantor stimulated mightily the usual ratings of those worthies and last Monday night he gave an added fillip to the Radio Theatre’s star-studded production of “Alexander’s Ragtime Band,” not to mention the Bob Hope show on Tuesday.
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“The Jazz Singer” Opening review

16 02 2009

jazzsingerpremiere

 

 

 

 

 

 

New York Times
October 7, 1927

By MORDAUNT HALL.

Published: October 7, 1927. In a story that is very much like that of his own life, Al Jolson at Warners’ Theatre last night made his screen début in the picturization of Samson Raphaelson’s play “The Jazz Singer,” and through the interpolation of the Vitaphone and the audience had the rare opportunity of hearing Mr. Jolson sing several of his own songs and also render most effectively the Jewish hymn “Kol Nidre.”

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Sneak Preview

7 01 2009

 February 27, 2009  - May 9, 2009 albumcover
 

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NY Times, 1950

5 01 2009

New York Times cover story

Al Jolson, “The Jazz Singer,” died at the St. Francis Hotel here tonight. He had recently returned from Korea after entertaining troops there.

Death came just after 10:30 P.M. (PST) as Mr. Jolson was playing cards in his room with friends. He was in San Francisco to be the guest star on the Bing Crosby radio program scheduled to be recorded Tuesday night.

Mr. Jolson checked in at the St. Francis today. He was playing gin rummy with Martin Fried, his arranger and accompanist, and Harry Akst, songwriter and long-time friend. Read the rest of this entry »





Robert Benchley

14 05 2008

photo from www.natbenchley.com

Robert Benchley, writing in “Life Magazine,” captured Jolson’s unique effect on audiences: “The word ‘personality’ isn’t quite strong enough for the thing that Jolson has. Unimpressive as the comparison may be to Mr. Jolson, we should say that John the Baptist was the last man to have such power. There is something supernatural at the back of it, or we miss our guess. When Jolson enters, it is as if an electric current has been run along the wires under the seats where the hats are stuck. The house comes to a tumultuous attention. He speaks, rolls his eyes, compresses his lips, and it is all over. You are a member of the Al Jolson Association. He trembles his lip and your heart breaks with a snap. He sings a song and you totter out to send a letter to your mother…while singing would run up and down his runway addressing members of the audience making them each feel that Jolson was singing to them alone.”