Yahoo Search Busca da Web

  1. Anúncios

    relacionados a: Billy Eckstine/Big Joe Turner/Johnny Otis Billy Eckstine

Resultado da Busca

  1. View credits, reviews, tracks and shop for the 1995 CD release of "SV-0264, 0265, 0266 Completer Disc" on Discogs.

    • 1
    • CD, Compilation, Remastered, Mono
    • Japan
    • Savoy Jazz-SV-0278
  2. Billy Eckstine/Big Joe Turner/Johnny Otis by Billy Eckstine, Johnny Otis, Big Joe Turner released in 1995. Find album reviews, track lists, credits...

  3. The Billy Eckstine Orchestra. William Clarence Eckstine (July 8, 1914 – March 8, 1993) [1] was an American jazz and pop singer and a bandleader during the swing and bebop eras. He was noted for his rich, almost operatic bass-baritone voice. [2] In 2019, Eckstine was posthumously awarded the Grammy Lifetime Achievement Award "for performers ...

  4. 26 de nov. de 2020 · It’s not well known that Eckstine played pretty good jazz trumpet and fair valve trombone; what most people remember him for is his rich, smooth singing, which he displayed on a couple of hit records with the Earl Hines big band, Stormy Monday Blues and Jelly, Jelly.

    • Billy Eckstine/Big Joe Turner/Johnny Otis Billy Eckstine1
    • Billy Eckstine/Big Joe Turner/Johnny Otis Billy Eckstine2
    • Billy Eckstine/Big Joe Turner/Johnny Otis Billy Eckstine3
    • Billy Eckstine/Big Joe Turner/Johnny Otis Billy Eckstine4
  5. The Legendary Big Band. Eckstine left the Hines orchestra in 1943 and formed his own big band, one that would become critically renowned as an incubator for the new jazz that was evolving in the...

  6. 5 de dez. de 2002 · When the classic sounds from 1944-1947 echo through the room, we recall innovators such as Billy Eckstine, who helped shape the second half of a century of jazz. Through the big bands of Earl Hines, Eckstine, and Dizzy Gillespie passed a significant number of bebop pioneers with their creative ideas and powerful resources.

  7. Eckstine, known by fans simply as "the Great Mr. B," was the first black vocalist to cross over into the white recording market from the then-segregated black "race music market" of the 1940s.