Herein is a collection of rare images of the great singers and songwriters at work and at play plus related artifacts. We’ve tried to offer a cross-section of snapshots of a time and place in the past that has become legendary. You’ll find formal portraits, some in glorious color, informal photos of these musical giants in nightclubs, in rehearsal, composing at the piano, and performing in front of audiences and the microphone.
Here is a list of photos that cover the greatest practitioners of American popular song that spans the generations and genres.
A rare photograph of Al Jolson at rest. Over his fifty-plus years he hardly stopped to catch his breath.
Al Jolson entertained the troops during World War II and the Korean War in many USO tours.
“And Then You Kissed Me” with lyrics by Sammy Cahn and music by Jule Styne.
Barbra Streisand and Jule Styne take a break from recording the original cast album of the Broadway hit Funny Girl.
Probably the greatest clarinet player of all time, Benny Goodman getting ready for his closeup for the Warner Brothers film, Hollywood Hotel.
Benny Goodman and his Sextet at the Basin Street Club, 51st Street and Broadway in New York City.
Bing Crosby serenades Marion Davies in the 1933 film, Going Hollywood.
Bing Crosby and his favorite sport, golf. In fact, he died on the links when vacationing in Spain. What a way to go!
Bing Crosby dressed up in white tie and tails for the radio audience—who couldn’t actually see him, after all.
Bob “Bazooka” Burns, Cass Daley, and Frank Sinatra performing with the bazooka, ocarina, and slide whistle.
Star of Gentlemen Prefer Blondes, Carol Channing, with composer Jule Styne.
Alfred Dreake gives Patricia Morison reason to sing “I Hate Men” in Kiss Me, Kate.
The oversized personality and the enthusiastic melodies made Fats Waller one of the top performers.
Fats Waller prepares to play the piano while Razaf mans the baton.
Marlene Dietrich greets Frank Loesser and singer Fran Warren.
Frank Sinatra and Ava Gardner were married from 1951–1957. Sinatra left his wife, Nancy, for Ava Gardner. The marriage was controversial and his career suffered. Gardner was able to help Sinatra be cast in “From Here to Eternity” (1953). The role reenergized Sinatra’s acting and singing careers.
Sinatra’s big move came when he left Tommy Dorsey in 1942 (owing Dorsey thousands on his contract), and, from that point on, his career soared. He launched his solo career in a spectacular way, with a week of appearances with Benny Goodman’s orchestra at New York’s Paramount Theater on Times Square. We know now that some of the fans may have been paid to scream—but thousands of girls swooned for free during the weeklong engagement that anointed Sinatra the greatest popular singer of the day. His sense of humor, sex appeal, slight whiff of danger, and those mesmerizing blue eyes—not to mention the carefully chosen songs that resonated with his audience—made him an instant favorite of the bobby-soxers.
George Gershwin and Irving Berlin were good friends and contermporaries. Both George and Ira as well as Harold Arlen, E.Y. Harburg, Irving Caesar, Dorothy Fields, and Burton Lane were all close friends.
There are only two color photos of George Gershwin and this is one of them. Here he is with friends in Mexico.
George Gershwin appeared many times on radio, including his own show, Music by Gershwin. Here he is ready to broadcast on CBS.
Harold Arlen sings on the 1955 Walden Records release, The Music of Harold Arlen. The recording was produced by Arlen’s longtime biographer and friend, Edward Jablonaski. The excellent arranger and conductor Peter Matz oversaw the proceedings. It’s now available on Harbinger Records
Ruth Etting was one of the leading torch singers of her time.
Harold Jacobs and Roy Bishop in their living room with music dealer Beverly Hamer. (photo: Sandy Marrone)
Broadway composer/lyricist Jerry Herman teaches Michael Feinstein one of his unpublished, unrecorded “trunk” songs.
Michael Feinstein visits legendary television talk show host and collector Joe Franklin in Joe’s Times Square office, which is just one of many locations around New York City where Joe stores his memorabilia.
Judy Garland in the “Born in a Trunk” sequence in her triumphant success, A Star Is Born.
The Scarecrow, the Tin Woodsman, Dorothy Gale, and The Cowardly Lion in The Wizard of Oz.
Judy Garland sings “The Man That Got Away” in A Star Is Born.
Judy Garland and Jule Styne. Unfortunately, he never got a chance to write a song for her.
Lee Gordon Presents Frank Sinatra in “The Big Show” with Extra Added Attraction—Stan Freberg (a concert program).
Lena Horne during the 1980s around the time of her one-woman show, The Lady and Her Music.
Lilo and Peter Cookson in front of Jo Mielziner’s magnificent backdrop for “Can-Can.” The drop was so stupendous, Cole Porter was inspired to write “I Love Paris” after seeing it.
Living proof of the maxim, “Like mother, like daughter.” Liza and her mama.
Everywhere is a good place to write music. Here's Mack Gordon (on piano) and Harry Revel (at piano) writing another hit tune.
Mack Gordon and Harry Revel (at top) surrounded by a bevy of beauties on the Fox lot.
Michael Feinstein visits with legendary singer Margaret Whiting in her Manhattan apartment, where he presented her with a recently recovered recording of one of the programs she made for World War II servicemen.
Marvin Hamlisch plays piano with Michael Fenstein at the Krannert Center for the Performing Arts, Champagne-Urbana, IL.
Mary Martin learns that Lauri Peters is sixteen going on seventeen.
Michael Feinstein and Cheyenne Jackson perform (Feinstein’s at the Regency, NY, NY).
Michael Feinstein and Hugh Hefner check out Hef’s vintage Wurlitzer jukebox in the Playboy Mansion’s fabled “Game House.”
Michael Feinstein was employed by the Gershwin family to catalog the Gershwin Collection of Recordings in 1976.
Michael Feinstein and Jim Caruso at Cast Party, as Michael Feinstein prepares to perform Irving Berlin’s “There’s No Business Like Show Business” with previously undiscovered lyrics from Berlin.
Michael Feinstein meets with Karen Kennedy, singer Bob Kennedy’s (1922-2008) daughter, in Englewood Cliffs, NJ to view her collection.
Michael Feinstein and Rosemary Clooney performed about 200 concerts together.
Michael Feinstein and the U.S. Marine Corps Band perform “We Dreamed These Days,” an original song with music by Feinstein and words by Maya Angelou, composed in 2009 in honor of the Lincoln Bicentennial celebration at the Lincoln Memorial in Washington, DC.
Michael Feinstein prepares to examine the belongings of composer and arranger Earl Brown, who left Feinstein all of his music when he died.
Michael Feinstein rehearses at Palm Beach Community College, West Palm Beach, FL.
Michael Feinstein visits with entertainer Rose Marie, who literally opened in Las Vegas in 1947, at the first big casino/nightclub, The Flamingo.
Michael Feinstein with collector Marty Halperin (Woodland Hills, CA) listening to rare recordings of Margaret Whiting performing for an Armed Forces of the United Nations Recording.
Michael plays one of Liberace’s rhinestone encrusted pianos in the now-closed Liberace Museum in Las Vegas. Liberace used to travel with his own glazier who was responsible for re-gluing all the rhinestones on his pianos and cars that were damaged in transport.
Mickey and Judy in the Rodgers and Hart biopic for MGM.
A salute to the most expensive statue in the world in Miss Liberty.
Mood Indigo’s sheet music. The song was originally an instrumental by Ellington and bandmate Barney Bigard.
Michael Feinstein plays a duet with bandleader and collector Vince Giordano in Vince’s Brooklyn home, which houses Giordano’s collection of 33,000 dance band arrangements and a complete array of vintage musical instruments. Here, Michael plays a 1922 Steinway baby grand player piano, while Vince plays a string bass made of aluminum—the high-tech material of the 1920s.
Nanette Fabray and Robert Ryan in the white elephant musical, Mr. President.
Veteran songwriters Jay Livingston and Ray Evans wrote a song titled “Prima Donna” and sent the music to Cole. He rejected the song, as had Frank Sinatra before him. The songwriters asked if they could come to his house and perform the song for him. He agreed out of respect for the writers’ reputation. They arrived to sing the song, now titled “Mona Lisa,” with a few changes in the music and lyrics. Cole asked, “What kind of a song is that?” However, when he heard the song played and sung, he changed his mind. Cole’s wife, Maria, asked, “Why are you doing an Italian song?” She couldn’t change her husband’s mind though she was convinced the song was all wrong for him. The song won the Academy Award and became the biggest selling song of Cole’s career.
Nat King Cole’s recording, Ballads of the Day, had an original release date of 1956. The recording includes: “A Blossom Fell”; “Unbelievable”; “Blue Gardenia”; “Angel Eyes”; “It Happens To Be Me”; “Smile”; “Darling, Je Vous Aime Beaucoup”; “Alone Too Long”; “My One Sin”; “Return to Paradise”; “If Love Is Good to Me”; “The Sand and the Sea." Orchestra conducted by Nelson Riddle; by Billy May on “Angel Eyes."
Paul Whiteman and his Concert Orchestra play the music of George Gershwin. Whiteman commissioned Gershwin to write a classical piece for the famous Aeolian Hall concert.
Popular song purists tend to dismiss Paul Whiteman because he was dubbed “The King of Jazz.” Whether his was actually a jazz band is beside the point. Whiteman brought popular music into the jazz age as a transitional figure who understood how popular music needed to change.
When she started singing under her own name in 1946 her career really took off. Between that year and 1954 she recorded more than 40 hit songs for Capitol.
Nat King Cole was one of many performers who sang Harry Warren compositions.
Richard Rodgers and Lorenz Hart were the premier collaborators in the early years of the American musical theatre. In fact, they were the first team in which the lyricist received equal billing with the composer. Rodgers and Hart were the perfect songwriting team.
Richard Rodgers and Oscar Hammerstein II were Broadway’s most successful writing team.
Richard Whiting teaches “You’re My First Love” to Janet Gaynor and Henry Carat, stars of the Fox film, Adorable.
Rodgers wrote of their first meeting in Theatre Arts: “Neither of us mentioned it, but we evidently knew we’d work together, and I left Hart’s house having acquired in one afternoon a career, a partner, a best friend and a source of permanent irritation.”
“Shaking the Blues Away”, words and music by Irving Berlin (1927), introduced by Ruth Etting in the stage revue Ziegfeld Follies of 1927. The song was #4 in the charts in 1927 and revived by Ann Miller in Easter Parade (1948). The illustration was probably of Ruth Etting even though she is not mentioned. Eddie Cantor was the established star, so he is mentioned, even though it wasn’t his song.
Here's the sheet music for “Bidin’ My Time” when it was featured in the film, Rhapsody in Blue.
A hit song by Harold Arlen and Johnny Mercer for Here Comes the Waves.
“Baby, It’s Cold Outside” was a favorite party song of Frank Loesser and his wife, Lynn. Here they are on the cover of the sheet music. The song later became a big hit.
One of Mercer’s biggest hits, “Blues in the Night” was written with Harold Arlen.
Jule Styne’s first collaboration with Betty Comden and Adolph Green came with the musical revue, Two on the Aisle.
“Getting to Know You” was one of the gigantic hits from the stage musical, The King and I.
Another Harry Warren hit, written for My Dream Is Yours.
“In the Wee Small Hours” sheet music. Propitiously, the 33 1/3 rpm record was just coming into vogue, replacing the 78 rpm disc. On 78s, the choice of songs and their order hadn’t been so important, as individual songs could be easily purchased and played. As the 10-inch 78 was replaced by the LP, Frank Sinatra and his producers were able to imbue these long playing records with concepts, carefully choosing the songs and their order. Once Sinatra was back on top, riding the popularity of such carefully crafted and enduring discs as “In the Wee Small Hours” and “Songs for Swinging Lovers,” Sinatra stayed there.
Fred Astaire on “Night and Day”.
It had a long range, very low and kind of very high, and it was long, as they all said, and I was trying to figure out what kind of dance could be arranged for it. I asked him to play it again and again, and after four or five times I began to get with it…It was a known fact that it made the show. “Gay Divorce” had an awfully rough trip when it first opened on the road and later in New York. It was known after it caught on as “The Night and Day Show”.
Glenn Miller blowing his horn in the 20th Century Fox film Orchestra Wives.
Harold Arlen and Ira Gershwin’s brilliant song, “The Man That Got Away”, from A Star Is Born.
One of Al Jolson’s first stage successes.
Sheet music for Arlen and Harburg’s Bloomer Girl. Evelina was one of the fine ballads in the score.
Another failure for Arlen, this time with lyricist Johnny Mercer. Ruby Elzy and Harold Nicholas in St. Louis Woman. The score contains “Come Rain or Come Shine” and “Any Place I Hang My Hat Is Home.” The book was the biggest problem.
Susan Watson and the lifeguards in the Broadway revival of No, No, Nanette.
Mary Westcott and Larry’s brother, Teddy in The Boys from Syracuse.
The Columbia Records orignal cast recording of The Flower Drum Song was a big seller for Rodgers and Hammerstein.
Sheet music from Peter Mintun’s collection of more than 13,000 individual pieces. (courtesy: Peter Mintun)
Way back in the distance is Whiteman, leading the orchestra in the 1930 film musical, The King of Jazz.” They don’t make musicals like that anymore.
The Harbinger Records was at the forefront of Maxine Sullivan’s revival. This is one of the three recordings she made for the label.
The Paul Whiteman Orchestra, augmented for the historic 1924 Aeolian Hall concert in which George Gershwin’s “Rhapsody in Blue” premiered.
Michael Feinstein performs songs from his “Sinatra Project” CD in London, with a seventeen-piece big band conducted by arranger Bill Elliott.
Privacy Policy Contact Us Terms of Service Credits
Copyright © 2012–2013 The Michael Feinstein Great American Songbook Initiative. All rights reserved.
Funding for this site provided by The Michael Feinstein Great American Songbook Initiative.