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😂😂😂😂😂😮😅😅😅😅❤

I remember the Hertz jingle sanged by the Hi-Lo's

Something went wrong when I digitalised this record ? Reply to this post and the winner gets a poster made by me.

cool kats ! 😎 swing on !

My music teacher is the clarinet players son(the one who played the solo). He showed us this video. Amazing what he could do

bad a$$ clarinet!

офигеть, уровень Чижика.

Los más grande!

The power, the swing of this performance is proof positive that James NEVER left jazz behind. He enjoyed commercial success with some sweet numbers, but the man and his band could swing like very few could. A master performer at his peak.

Jazz barbershop!

Há muito tempo não ouvia essa música beleza!

Loving Harry James

So, Booker was in high school & Steve Cropper was fresh out, and they were getting to play with Al Jackson, who had been drumming on stage since he was a child with his father’s Jazz/Swing band. Then imagine them hearing this! Must be kinda like The Beatles hearing The MGs cover them! We gotta be doing something right! Mutual admiration club.

My gawd is this some music. if this this does not make your legs start bouncing then nothing will. Harry James is Not forgotten. Love the Clarinet Solo!!

Rather bad picture quality from 1965. Otherwise very good!

They were pretty unique with their harmonies having a wide octave range. They sang some great arrangements with Rosie Clooney.

She's only around 40 here but looks much older. Alcohol and cigarettes.

This was an era of real music.

BEAUTIFUL

Wouldn't be out of place in a 60s style spy thriller

Ray Sims, bone solo.

The last time I heard clarinet that even faintly resembled what is heard here was in an old video I had of Duke Ellington's clarinetist Jimmy Hamilton. { I can't get over how [ DELICIOUSLY ] "dirty and low-down'" and thoroughly bluesy this whole performance is -- and the clarinet echoes that, with lots of playing in the low register, growls, and also some ( no doubt calculatedly ) raspy, rhapsodic high register. It just KILLS me; I can't get enough of it! I was wondering who the clarinetist might be -- and I've figured it out, I think: I believe his name is Chuck Gentry. It suddenly struck me that the clarinetist is the same fellow who plays baritone sax in this number, and Chuck Gentry was Harry James' long-time baritone saxophonist. As a matter of fact, I have an old VHS cassette on which I taped a performance of the Harry James band after James' death. At that time, the bandleader was another trumpeter named Joe Graves -- and believe it or not, baritone saxist Chuck Gentry WAS STILL with that band. That video was from about 20 or so years later than this present one. I wish to register my appreciation for the freshness of repertoire presented here -- I mean, this is such a welcome departure from the more usual big-band repertoire of "One O'Clock Jump," "Don't Be That Way" and the like. I don't think Harry James has EVER quite been given due credit for the greatness of his musicianship. First, as has been said already, he obviously had quite broad sympathies musically to be ''game'' for this kind of style on a modern number that has no connection to the swing style of the 1930s. When mention is made of the greatest trumpeters in jazz ( if you ask me ), Harry James is unfairly and consistently neglected. Louis, Dizzy Gillespie, Roy Eldridge, Miles Davis -- and even cornetist Bix Beiderbecke -- regularly receive plenteous their share of accolades from both fans and authorities on jazz history. The same praises are all too rarely sung of James. This is the case, despite the fact that he is able to play unfailingly exciting solos with a wealth of ideas. At least one especially astute writer on jazz whose books I have read ( I forget who, exactly ) has pointed out that James is nowhere near as far behind many other revered trumpeters as he is made out to be. I have remained intrigued by their observation that he very rarely guilty of ''fluffing," while adding that this is a very rare thing in an improvising trumpeter. I have to wonder if it is sometimes seen as the ''in'' thing to minimize and / or forget Harry James' abilities simply because he was once hugely popular with the public as a whole -- too ''commercial" -- and because the assumption is made that a style that is decades old is worth glossing over. While I think of it, another trumpet great, Swing bandleader and colleague of Harry James has similarly been all too easily and frequently overlooked. His name? Bunny Berigan. Leader Joe Graves said that, while Louis Armstrong was for him the greatest trumpeter of all, James was his favourite trumpeter because he could play ANYTHING. Benny Goodman, for several years James' boss, was not a man who was free and easy with compliments. Still, he praised his former star trumpeter by saying, "He can read anything you put in front of him. Quite the musician." As for me ( Richard ), I will go one step beyond that and say that material such as this present selection proves not only that James COULD play anything he wished to, but, in fact, DID -- and moreover, did so SURPASSINGLY WELL. And it takes more than one star player to make a band. James also has to have had arrangers who were conversant with modern trends who could convincingly fashion essentially divergent material into something compatible with a big band. ( I should add, really, that a lot of material has potential to be used as big band or jazz fare, because at bottom, it is based on the blues chords and progressions ). The blues permeates all styles of music, when you get right down to it. It is a tribute not only to James longevity as a performer, but also the depth of his musicianship, that he was still leading a big band in the early Beatles era. Many rank-and-file musicians of the Swing Era -- and even some of the most successful leaders of that period -- felt adrift after the end of the Second World War with the advent of BeBop ( Dizzy, Charlie Parker, et al ) and were left flailing, like fish out of water. So much of BeBop was a reaction against the dominance of popular music by the big bands during the decade 1935- 45, and a lot of the best swing musicians were roundly neglected simply because they played in an idiom that was then decried as ''passe." The swing players were not unworthy, they were simply seen as old-fashioned. Even Louis Armstrong had his struggles in the immediate post-Swing period. Yet he, as well as Harry James and certain others not only survived but thrived. They did so in spite of the fact that other musicians came along who grabbed their fair share of attention with more advanced harmonies and extended, even stratospheric, playing ranges. Harry James, Benny Goodman, Louis and the best of the veterans of Swing remained true to their own styles while broadening their audiences to the younger generations. They triumphed and had staying power not just because of their talent and dogged persistence, but also because they had this tireless drive to make music and communicate through it. It takes a rare breed to manage that not just for one decade, but several. The peak years of Bebop were only about 1945-50, and then the musical world was more favourable once again for ''classic'' or ''traditional'' jazz. But even more simply, big band jazz had -- and has to this day -- its own particular logic, rightness, and above all, swing. It deserves to survive -- and does -- even when it is seemingly outmoded, because it is fundamentally valid in its own right. All good jazz, regardless of style, has the element of SWING to recommend it. Let's not ever forget that. Thanks for reading. Yours, Richard.

Mid-to late forties

I'm 66 years old, American, and I've never heard of them! So glad that another commenter on a different music video referred them to others! Love these guys and their amazing harmonies!👍🏼

Incredible!!!

WOWPOW!!!!!! RARE GEM! THANK YOU!

Harry James …. My forever love.

😎 cool

The greatest trumpet player ever.

Oh my goodness...if people can’t swing with this kinda music then part of their brain hasn’t been freely opened up....love Harry James music💓

This version of GREEN ONIONS is even better than Count Basie's big band arrangement of the same song.

great

Bob Achilles, blazing his big-band clarinet into the 60's!

Graham Bond , Jack Bruce , Ginger Baker & Dick Heckstall - Smith brought me here. The Organisation...

This song may have been 'made popular (again) by Jim Carrey in the movie "The Mask",' but long before then--in 1946, to be precise--Desi Arnaz introduced it on film in the Universal picture Cuban Pete. The song was Arnaz's signature tune, perhaps even more so than Babalu.

I can listen to this over and over...just amazing!!! Harry was such a talent...missed greatly...

Nice shuffle!!

Love this! We did a gig with her in Pensacola with the Auburn Knights Orchestra around 1959-60.

A good riff can be a good choice for any player, any era

grandiose

Harry James was Frank Sinatra's band.

I can think of a few things, June dear.

This song is so underrated

When I was a lad in the Fifties, all that was left of my father's enthusiasm for Harry James was a trumpet mouthpiece in his dresser drawer among the cuff-links and old coins. A few decades later, I recognise this number as a classic kbd instrumental I missed as a young guitar obsessive.. A few more decades later I find this. I am connected back through time to find out what it was my father liked.

Tony Scodwell in the trumpet section

What alcohol can do to an amazing talent. She still could crank it out but had to work incredibly hard to get the vocal chords to come together

Excellent from NKC show 1956/1957 . This episode also featured Sammy Davis Jr .. great show !!

Harry was The Greatest!!

when was this recorded? It is so amazing!

Wie schön, dass ich diese Aufnahme entdeckt habe! Wen stört schon das Knistern, wenn man dafür die Stimme eines der unvergessenen Tonkünstler von einst genießen darf? 💖 Herbert Ernst Groh begeistert wie stets mit Stimme und Ausdruck, Musikalität und Geschmack, mit einer Palette von Farben und Stimmungsnuancen. Auf hohe Töne mit (zumindest weitgehend) voller Mittelstimme verzichtet er hier (klug erkennend, dass sie die Stimmung des Liedes eher zerstören als bereichern würden; außerdem tut etwas mehr Randstimme in der Höhe seiner Tonproduktion gut), wobei ich annehme, dass der Komponist durchaus seine eigenen Anweisungen in der Partitur hinterlassen hat. Aber Hand aufs Herz: Es gibt jede Menge Tenöre, die der Verlockung, einen hohen Ton auch dort zu schmettern, wo eigentlich ein Piano verlangt wird, nicht widerstehen können. Wie war das doch gleich mit dem hohen B in „Celeste Aida“...? Eben. Und jetzt hat sich das Forte für alle Zeiten etabliert. Doch das Wichtigste ist: Vielen Dank fürs Bereitstellen dieser schönen Aufnahme mit einem der beliebtesten Tenöre der Vergangenheit!