The last year and a half have been difficult for Bill and his wife, Tara Ely. Super Colossal Smash Hits of the 90's: The Best of The Mavericks, https://en.wikipedia.org/w/index.php?title=Blue_Moon_(1934_song)&oldid=982253055, Billboard Hot R&B/Hip-Hop Songs number-one singles, Pages using infobox song with unknown parameters, Singlechart usages for Canadaadultcontemporary, Creative Commons Attribution-ShareAlike License, This page was last edited on 7 October 2020, at 01:16. But Whiteman twisted Gershwin's arm that all he had to do was supply a piano score. A shorter version of this episode's closing credits theme was later reused in " Blue's Big Pajama Party ." Kanfer, Stefan. Ted Chapin, the chief creative officer of the Rodgers & Hammerstein Organization, said that he had not heard of Gallese's story and that it seemed “a little far-fetched. on iTunes. 55. Gershwin. [7] The song was also recorded by Glen Gray and the Casa Loma Orchestra for Decca Records in November 1934[8] and Connee Boswell for Brunswick Records in 1935. A tweet from NHP’s Southern Command shows an overturned trailer at the site, and reports a minor injury. Their version was released as a single in early 2005 and peaked at number 23 on the Billboard Adult Contemporary chart in the US.[25]. Over the next few days, while he also made last-minute changes to ready Sweet Little Devil for its New York opening on 24 January, the genius completed a two-piano score. Of the 2,600 American consumers the VC firm surveyed in June, 42 percent wanted to increase their use of Blue Apron, while 44 percent wanted to decrease theirs. [6] The song charted in the Top Ten for 18 weeks in Variety, reaching number 1 on January 26, 1935. But, by chance, Ira had been to an exhibition of Whistler’s paintings and saw the painter's Nocturne In Blue And Green of the Thames at Chelsea. After the film was released by MGM, Jack Robbins—the head of the studio's publishing company[5]—decided that the tune was suited to commercial release but needed more romantic lyrics and a punchier title. It was about a concert of new American music to be given by Paul Whiteman and his Palais Royal Band at Aeolian Hall on 12 February - Abraham Lincoln’s birthday. What Gershwin produced was not a “jazz concerto” but a rhapsodic work for “piano and jazz band” incorporating elements of European symphonic music and American jazz with his inimitable melodic gift and keyboard facility. It may be the first instance of the familiar "50s progression" in a popular song and has become a standard ballad.