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house in New
England with the picket fence, and it just didn't jell. So I spent my night in jail." Because of situations like this, the band members took precautions. For example, the white women in the band wore dark makeup on stage to avoid arrest. They made relatively little money as a traveling band. According to saxophonist Willie Mae Wong Scott, "The original members received $ 1 a day for food plus $ 1 a week allowance, for a grand total of $ 8 a week. That went on for years, until we got a substantial raise—to $ 15 a week. By the time we broke up, we were making $ 15 a night, three nights a week."
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Swinging Rays of Rhythm became the resident all-female swing band at Piney Woods after April 1941 when the
Sweethearts began traveling cross-country. Holloway said the Swinging Rays were understudies for the Sweethearts, performing for them when the Sweethearts had to attend school after missing too many classes. In 1941, several girls in the band fled the school's bus when they found out that some of them would not graduate because they had been touring with the band instead of sitting in class.
544:, and the band members received a standing ovation from attendees. The International Sweethearts of Rhythm Collection at the Archives Center, National Museum of American History makes available to the public for research news clippings, photographs, correspondence, ephemera from USO travels, newsletters, books related to the group, and sound recordings.
212:, where a wealthy Virginian supported them. Members from different races, including Latina, Asian, Caucasian, Black, Indian and Puerto Rican, lent the band an "international" flavor, and the name International Sweethearts of Rhythm was given to the group. Composed of 14- to 19-year-olds, the band included Pauline Braddy (tutored on drums by
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There has also been considerable scholarship conducted regarding the "International" aspect of their name and the effect it had on the band's acceptance among
African Americans and whites in the South. According to one jazz historian the band membership included "Willie Mae Wong, Chinese saxophonist;
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said, "We white girls were supposed to say 'My mother was black and my father was white' because that was the way it was in the South. Well, I swore to the sheriff in El Paso that that's what I was. But he went through my wallet and there was a photo of my mother and father sitting before our little
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hrough serious study of jazzwomen's oral histories, scholars might learn new narrative strategies for imagining and telling jazz histories in which women and men are both present. Because women who played instruments other than piano were seldom the 'favored artists' of the 'superior genres,' and
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on the road. Following the fundraising successes of the band and other Piney Woods musical groups, he formed the
Swinging Rays of Rhythm led by Consuela Carter. The band toured throughout the eastern U.S. to raise money for the school. According to the saxophonist and bandleader Lou Holloway, the
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turned down the opportunity to tour with the band in 1946. Rae Lee Jones continued to fight for the
Sweethearts, but after 1946 the key instrumentalists had left and the band began to unravel with Jones's death in 1949. Guitarist Carline Ray Russell said musical tastes were changing. Jazz writer
445:. Several feminist writers, musicologists, and others have taken on the task of elevating women's contributions to and integral participation in the making of jazz history. Flutist Antoinette Handy was one scholar who documented the story of these female musicians of color.
318:, the band "practically lived on the bus, using it for music rehearsals and regular school classes, arithmetic and everything". Segregation laws prevented them from using certain restaurants and hotels. During the 1980 Kansas City Women's Jazz Festival, saxophonist
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Alma Cortez, Mexican clarinet player; Nina de LaCruz, Indian saxophonist; and Nova Lee McGee, Hawaiian trumpet player. They were all children of mixed parents; the rest were Afro-American." A publicity poster for the band's
September 1940 performance in
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Although the
International Sweethearts of Rhythm were successful, as they made two coast-to-coast tours in their bus, a few impediments remained. According to pianist Johnnie Mae Rice, because of the Jim Crow laws in the southern states of the former
154:". During feminist movements of the 1960s and 1970s in America, the International Sweethearts of Rhythm became popular with feminist writers and musicologists who wanted to highlight previously-overlooked contributions from female musicians.
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during the 1930s. The sixteen-piece
International Sweethearts of Rhythm included a brass section, heavy percussion, and a deep rhythmic sense, along with many of the best female musicians of the day. About the group's self-titled recording,
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because they were hardly ever recorded, they have had little access to the deceptive 'coherence' of mainstream histories. Therefore, they are uniquely positioned to suggest new frameworks for telling and interpreting jazz history.
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183:. During a 1980 Kansas City Women's Jazz Festival interview, band member Helen Jones said that the existence of the International Sweethearts of Rhythm was the result of Jones's vision. In the 1930s he was inspired by
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included the text "America's
Greatest Female Band, The International Sweethearts of Rhythm, In Whose Veins Flow the Blood of Many Races: Indian, Mexican, Chinese, Negro". The first white musicians joined in 1943.
373:, African American soldiers overseas wrote the band letters, asking them to come to Europe to perform. When the band toured France and Germany in 1945, the members became the first black women to travel with the
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The lineup of the
International Sweethearts of Rhythm changed throughout the band's career. The names listed below are how the members were billed at the time; names after marriage may be different.
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259:, taking some of the Sweethearts with him. Stone brought in professional musicians to help bridge the gap between experienced and inexperienced players. Two of Stone's professionals were trumpeter
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announced the band was "one of the hottest stage shows that ever raised the roof of the theater!" They have been labeled "the most prominent and probably best female aggregation of the
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Among the reasons given for the band's breakup were aging, deaths of members, weariness of life on the road, marriage, career changes, problems with managers, and lack of funds.
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at Piney Woods. Having been an entrepreneur when it came to fundraising, in the early 1920s Jones supported the school by sending an all-female vocal group called the
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in Los Angeles on September 12. They also performed at the eighth Cavalcade of Jazz concert on June 1, 1952 when Anna Mae Winburn was leading. In 1980, jazz pianist
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After Stone left in 1943 he was replaced by Maurice King, who continued the tradition of professionalism that Stone brought to the group. (King later arranged for
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Despite the impact of the International Sweethearts of Rhythm being mostly ignored in popular histories of jazz, the band enjoyed a resurgence in popularity among
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in the band, including Tiny Davis, whose independent music career and partnership with Ruby Lucas were later the subject of Schiller and Weiss' documentary
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show in 1941 when the band set a box office record of 35,000 patrons in one week. In Hollywood they made short films to use as "filler" in movie theaters.
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and his band. According to bassist Vi Wilson, jam sessions sometimes turned into battle of the band sessions between the Sweethearts of Rhythm and the
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474:, whose focus is primarily to feature female and black jazz and blues musicians who are not usually recognized for their tremendous talents. The
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to reunite the Sweethearts. Included in this interview were nine of the original members as well as six of the band's later members (four were
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magazine. The band enjoyed a large following among African-American audiences. They played battle-of-the-bands concerts against bands led by
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in Los Angeles. Critic Leonard Feather wrote, "if you are white, whatever your age, chances are you have never heard of the Sweethearts".
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In 1941, the International Sweethearts of Rhythm became a professional act and severed connections with Piney Woods. The band settled in
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wrote, "The sixteen recordings here reveal the dynamic blues playing and driving riffs for which the band was noted, as captured in
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In May 2021, the Urban One Honors ceremony recognized the band for their contributions as a symbol of success over adversity.
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on Redhot Records. It is a tribute album recorded entirely with an all-female band using only songs the Sweethearts recorded.
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Video of a conversation with six band members as part of the Smithsonian Institution's Jazz Appreciation Month events, 2011
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Tucker, Sherrie (Winter–Spring 1999). "Telling Performances: Jazz History Remembered and Remade by the Women in the Band".
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In March 2011, six of the surviving members of the band donated memorabilia and artifacts from their touring years to the
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record compilation (1984) was followed two years later by a documentary short film directed and produced by
2043:"The stories and artifacts of the International Sweethearts of Rhythm added to the Smithsonian collections"
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179:, who had been adopted by the school's principal and founder (also the Sweethearts' original bandleader),
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The venues where they performed were predominantly, if not only, for black audiences. These included the
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466:, who worked closely with the International Sweethearts of Rhythm. Her biographical liner notes for the
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The International Sweethearts of Rhythm performed in 1948 with Dizzy Gillespie at the fourth annual
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record, as well as top quality recordings, have been made available worldwide through her company,
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The International Sweethearts of Rhythm: The Ladies Jazz Band from Piney Woods Country Life School
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Hot Licks 1944–1946: Rare Recordings from One of the Best American All Girl Bands of the Swing Era
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features Vaughan, along with little-seen material from the International Sweethearts of Rhythm.
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in Chicago. According to D. Antoinette Handy, the band received a larger vote than was given to
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During the 1940s, the band featured some of the best female musicians of the day. They played
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1586:(DVD) (2007: newly restored ed.). New York: Jezebel Productions. 12:20 minutes in.
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in Cincinnati, the Riviera in St. Louis, the Dreamland in Omaha, the Club Plantation and
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Porter, Lewis (Spring 1987). "Record Reviews: International Sweethearts of Rhythm ...".
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The International Sweethearts of Rhythm were featured in several short films (including
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children. The majority who attended Piney Woods were orphans, including band member
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Sweethearts of Rhythm: The Story of the Greatest All-Girl Swing Band in the World
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in 1943. In 1944 the band was named "America's No. 1 All-Girl Orchestra" by
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One O'clock Jump: The Unforgettable History of the Oklahoma City Blue Devils
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American Women in Jazz: 1900 to the Present: Their Words, Lives, and Music
1747:"Largest Jazz Cavalcade in History To Feature Nation's Top Entertainers",
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996:(2011 documentary directed by Judy Chaikin; includes segments on the band)
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in the 1960s and 1970s. In fact, the band was among the first marketed as
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Albertson, Chris (November–December 2000). "The Girls Could Swing, Too".
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were trying to change jazz from dance music to a chamber music art form.
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became bandleader in 1941 after resigning from her position leading the
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2292:. illustrated by Joe Cepeda (First ed.). New York: Holiday House.
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449:, author of several articles on the subject matter as well as the book
220:), Willie Mae Wong (sax), Edna Williams and thirteen others, including
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The original members of the band had met in Mississippi in 1938 at the
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Jazz on Film: The Complete Story of the Musicians & Music Onscreen
2146:. Vol. 78, no. 4. Chicago, Illinois. April 2011. p. D8.
2016:
807:
International Sweethearts of Rhythm: Hottest Women's Band of the 1940s
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International Sweethearts of Rhythm: Hottest Women’s Band of the 1940s
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convinced the organizers of the third annual Women's Jazz Festival in
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International Sweethearts of Rhythm: America's Hottest All Girl Band
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Sher, Liz (Spring 1987). "The International Sweethearts of Rhythm".
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for being "culturally, historically, or aesthetically significant".
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International Sweethearts of Rhythm: America's Hottest All-Girl Band
2339:
Profile of Carline Ray (of the International Sweethearts of Rhythm)
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Swing Sisters: The Story of the International Sweethearts of Rhythm
927:), one feature-length film, and two documentary films. They were:
536:. The ceremony marking the donations was the kick-off event of the
2095:"The Pioneering Legacy Of The International Sweethearts of Rhythm"
2070:"Library of Congress's National Recording Registry adds new picks"
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Feather, Leonard (April 13, 1980). "The Memories of Sweethearts."
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The following album is a compilation of live radio appearances:
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The feminist era also brought to attention the work of producer
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in Washington, D.C. After a performance in Chicago in 1943, the
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Some Liked It Hot: Jazz Women in Film and Television, 1928-1959
1546:. Urbana, Illinois: University of Illinois Press. p. 145.
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The Creation of Jazz: Music, Race, and Culture in Urban America
2202:"The International Sweethearts of Rhythm: Hot Licks 1944-1946"
374:
1437:
A Biography of Charlie Christian, Jazz Guitar's King of Swing
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The Helicon Nine Reader: A Celebration of Women in the Arts
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replacing him in 1941. Durham left the Sweethearts to form
224:, who was the daughter of the Piney Wood School's founder.
1892:"International Sweethearts of Rhythm (1986): Release Info"
1314:. Urbana, Illinois: University of Illinois Press. p.
306:
The Sweethearts swiftly rose to fame, as evidenced by one
1928:. Durham, North Carolina: Duke University Press. p.
1968:(album liner notes). New York: Rosetta Records. RR 1312.
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ensemble, believed to be the first racially-integrated
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Ann Mae Winburne's International Sweethearts of Rhythm
2264:. illustrated by Jerry Pinkney. New York: Dial Books.
1984:
Cultures in Babylon: Black Britain and African America
1836:. Middletown, Connecticut: Wesleyan University Press.
1615:. Omaha Black Music Hall of Fame. 2007. Archived from
751:
Edna Williams † – trumpet, accordion, singer, arranger
486:, "at the onset of the third-wave feminist movement".
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United States National Recording Registry recordings
1279:(Rev. ed.). Lanham, Maryland: Scarecrow Press.
1146:. Boston, Massachusetts: Beacon Press. p. 197.
1638:McGinty, Doris Evans (Spring 1984). "Book Reviews:
369:. "They said, 'Those girls play like men.'" During
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2402:History of racial segregation in the United States
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1719:. Charleston, South Carolina: Arcadia Publishing.
1769:(1st ed.). New York: Seaview Books. p.
894:"Tuxedo Junction" (Dash, Johnson, Hawkins, Feyne)
1544:Marian McPartland's Jazz World: All in Good Time
946:(1946 Associated Artists Productions - Soundie)
940:(1947 Associated Artists Productions - Soundie)
934:(1946 Associated Artists Productions - Soundie)
687:Geneva Frances Perry – alto and tenor saxophone
455:
1603:
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1106:. Kansas City: Helicon Nine Editions. p.
826:"Sweet Georgia Brown" (Bernie, Pinkard, Casey)
413:Frank Tirro said that bebop musicians such as
2171:. San Francisco, California: Backbeat Books.
2121:"Linked Jazz Interview with Zena Latto, 2015"
1867:"Film Festival Vibrates With Musical Accents"
590:Lorraine Brown – tenor and baritone saxophone
244:. Winburn led the band until her retirement.
8:
2345:"Women in Jazz" by Sherrie Tucker at PBS.org
1435:Goins, Wayne E.; McKinney, Craig R. (2005).
1478:. Jezebel Productions. 1986. Archived from
960:(1946 Alexander Productions - feature film)
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1439:. Lewiston, New York: Edwin Mellen Press.
843:"She's Crazy with the Heat" (Maurice King)
451:Swing Shift: "All-Girl" Bands of the 1940s
31:
720:Helen Saine – baritone and alto saxophone
617:Ester Louise Cooke – trumpet and trombone
2155:
2153:
2142:"Honoring Jazz's Historic Sweethearts".
1924:Swing Shift: All-Girl Bands of the 1940s
1827:
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1348:"The Founders of All-Female Brass Bands"
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1039:Sage: A Scholarly Journal on Black Women
132:on a national circuit that included the
2350:The International Sweethearts of Rhythm
2041:Trescott, Jacqueline (March 30, 2011).
1640:The International Sweethearts of Rhythm
1410:MusicWeb Encyclopaedia of Popular Music
1250:
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1066:"Remembering the Sweethearts of Rhythm"
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111:The International Sweethearts of Rhythm
18:The International Sweethearts of Rhythm
1986:. London, England: Verso. p. 61.
1865:Holden, Stephen (September 19, 1986).
966:(1946 Alexander Productions - Soundie)
952:(1946 Alexander Productions - Soundie)
846:"Jump Children" (Sweethearts and King)
763:Willie Mae Wong † – baritone saxophone
620:Alma Cortez † – clarinet and saxophone
611:Ina Belle Byrd † – saxophone, trombone
357:and sold out large venues such as the
257:Eddie Durham's All-Star Girl Orchestra
1472:"International Sweethearts of Rhythm"
1406:"International Sweethearts of Rhythm"
891:"Don't Get It Twisted" (Maurice King)
267:. Both were members of the all-black
7:
1802:Bustard, Clarke (February 7, 2003).
1137:
1135:
793:‡ One of the first white Sweethearts
760:– band leader, singer, piano, guitar
754:Selma Lee Williams – tenor saxophone
247:The first composer for the band was
2368:International Sweethearts of Rhythm
1966:International Sweethearts of Rhythm
1609:"2005 Inductee Helen (Jones) Woods"
977:International Sweethearts of Rhythm
944:International Sweethearts of Rhythm
790:† Members of the charter 1937 band:
534:National Museum of American History
476:International Sweethearts of Rhythm
468:International Sweethearts of Rhythm
36:International Sweethearts of Rhythm
2407:Musical groups established in 1937
2341:by Arnold Jay Smith (www.jazz.com)
25:
2229:"Swing Era: Sarah Vaughan (2004)"
1717:Los Angeles's Central Avenue Jazz
1102:. In Hickok, Gloria Nando (ed.).
897:"Slightly Frantic" (Maurice King)
653:Irene Grisham † – tenor saxophone
2068:Richards, Chris (May 23, 2012).
885:"That Man of Ine" (Maurice King)
677:Colleen Murray – tenor saxophone
515:Tiny and Ruby: Hell Divin' Women
2397:Piney Woods Country Life School
1142:Daniels, Douglas Henry (2006).
739:Johnnie Mae Stansbury – trumpet
650:Ione Grisham † – alto saxophone
547:In 2012, the compilation album
169:Piney Woods Country Life School
2119:Linked Jazz (March 25, 2015).
1644:The Black Perspective in Music
1506:The Black Perspective in Music
980:(1986 documentary directed by
802:The band recorded four songs.
766:Myrtle Young – tenor saxophone
647:Margaret "Trump" Gipson – bass
280:broadcasts of 1945 and 1946."
1:
1275:Handy, D. Antoinette (1998).
888:"Diggin' Dykes" (Vi Burnside)
770:Arrangers/musical directors:
635:Nina de La Cruz † – saxophone
339:.) The band performed at the
27:American all-female jazz band
840:" (Meyers, Pettis, Schoebel)
823:"Galvanizing" (Maurice King)
575:Virginia Audley † – vocalist
1715:O'Connell, Sean J. (2014).
1373:Harllee, Teri (July 2000).
1308:Peretti, Burton W. (1994).
690:Marge Pettiford – saxophone
557:National Recording Registry
236:, which featured guitarist
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2328:Promotional photo, c. 1946
2206:musicweb-international.com
1832:McGee, Kristin A. (2009).
711:Bernice Rothchild † – bass
708:Johnnie Mae Rice † – piano
674:Nova Lee McGee † – trumpet
278:Armed Forces Radio Service
2412:American all-female bands
2017:"The Sweethearts Project"
2015:Kit McClure Band (2004).
849:"Vi Vigor" (Maurice King)
829:"Central Avenue Boogie" (
671:Evelyn McGee † – vocalist
291:in Washington, D.C., the
2256:Nelson, Marilyn (2009).
2200:Woolf, Jonathan (n.d.).
1761:Placksin, Sally (1982).
1014:List of all-female bands
1002:Swing Era: Sarah Vaughan
696:Corinne Posey – trombone
684:Sadie Pankey † – trumpet
644:Amy Garrison – saxophone
578:Grace Bayron – saxophone
555:for preservation in the
508:There were also several
171:, a school for poor and
56:Piney Woods, Mississippi
1808:Richmond Times-Dispatch
1682:The Oral History Review
1613:www.omahablackmusic.com
1404:Clarke, Donald (2005).
1100:"Sweethearts on Parade"
542:Jazz Appreciation Month
538:Smithsonian Institution
527:The Sweethearts Project
748:Jean Travis – trombone
668:Roxanna Lucas – guitar
630:Ernestine "Tiny" Davis
599:– trumpet and vocalist
581:Judy Bayron – trombone
494:New York Film Festival
492:premiered at the 1986
460:
301:Million Dollar Theater
261:Ernestine "Tiny" Davis
197:Cotton Blossom Singers
136:in New York City, the
121:in the United States.
2422:All-female jazz bands
2288:Deans, Karen (2015).
2227:Deming, Mark (n.d.).
1804:"D. Antoinette Handy"
993:The Girls in the Band
699:Lena Posey – trombone
608:Toby Butler – trumpet
593:Nancy Brown – trumpet
234:North Omaha, Nebraska
47:Sweethearts of Rhythm
1810:. Richmond, Virginia
1749:The California Eagle
1379:www.allaboutjazz.com
1064:Berger, Jon (2000).
900:"One O'Clock Jump" (
863:"Gin Mill Special" (
614:Ray Carter – trumpet
551:was selected by the
193:all-female jazz band
140:in Chicago, and the
2074:The Washington Post
2047:The Washington Post
1694:10.1093/ohr/26.1.67
1416:on October 20, 2005
938:How About That Jive
693:Mim Polak – trumpet
624:Rosalind "Roz" Cron
553:Library of Congress
210:Arlington, Virginia
204:Leaving Piney Woods
2284:(young adult book)
2208:. Music on the Web
2123:. Internet Archive
1871:The New York Times
1540:McPartland, Marian
1000:A 2004 DVD called
932:Harlem Jam Session
733:Ernestine Snyder †
730:" Smith – vocalist
626:‡ – alto saxophone
367:Darlings of Rhythm
351:Fletcher Henderson
242:Fletcher Henderson
1352:Smithsonian Music
1223:Los Angeles Times
1070:www.womanrock.com
852:"Lady Be Good" (
723:Edna Smith – bass
605:– tenor saxophone
502:Emporia, Virginia
390:Marian McPartland
382:Cavalcade of Jazz
238:Charlie Christian
222:Helen Jones Woods
181:Laurence C. Jones
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1482:on July 11, 2006
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1381:. Archived from
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1072:. Archived from
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964:That Man of Mine
957:That Man of Mine
872:Honeysuckle Rose
758:Anna Mae Winburn
523:Kit McClure Band
337:Detroit Spinners
295:in Chicago, the
269:Harlem Playgirls
263:and saxophonist
230:Cotton Club Boys
226:Anna Mae Winburn
173:African American
147:Chicago Defender
113:was an American
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423:Thelonious Monk
415:Dizzy Gillespie
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818:Track listing
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736:Lucy Snyder †
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705:– double bass
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639:Lucille Dixon
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138:Regal Theater
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43:Also known as
40:
33:
30:
19:
2289:
2259:
2236:. Retrieved
2232:
2222:
2210:. Retrieved
2205:
2195:
2166:
2161:Yanow, Scott
2143:
2137:
2125:. Retrieved
2114:
2102:. Retrieved
2098:
2089:
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2024:. Retrieved
2020:
2010:
1983:
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1965:
1956:
1923:
1912:
1900:. Retrieved
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1874:. Retrieved
1870:
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1812:. Retrieved
1807:
1797:
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1748:
1743:
1716:
1710:
1688:(1): 67–84.
1685:
1681:
1647:
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1639:
1633:
1621:. Retrieved
1617:the original
1612:
1583:
1570:
1543:
1534:
1509:
1505:
1484:. Retrieved
1480:the original
1475:
1436:
1430:
1418:. Retrieved
1414:the original
1409:
1399:
1387:. Retrieved
1383:the original
1378:
1368:
1356:. Retrieved
1351:
1342:
1310:
1303:
1276:
1221:
1180:
1176:
1170:
1143:
1103:
1090:
1078:. Retrieved
1074:the original
1069:
1059:
1045:(1): 59–60.
1042:
1038:
1032:
1001:
999:
991:
986:Andrea Weiss
975:
969:
963:
955:
949:
943:
937:
931:
922:
912:
907:
858:Ira Gershwin
831:Buck Clayton
806:
801:
779:Maurice King
775:Eddie Durham
769:
728:Big Maybelle
659:† – trombone
597:Clora Bryant
569:
561:
548:
546:
531:
526:
521:In 2004 the
520:
513:
507:
498:
487:
484:Andrea Weiss
475:
467:
461:
456:
450:
436:
427:Kenny Clarke
407:
379:
371:World War II
344:
330:
312:
305:
282:
274:Lewis Porter
249:Eddie Durham
246:
207:
166:
152:Big Band era
145:
123:
110:
109:
72:Years active
29:
2079:October 27,
2053:October 27,
919:Filmography
902:Count Basie
798:Discography
783:Jesse Stone
703:Carline Ray
665:– saxophone
657:Helen Jones
603:Vi Burnside
394:Kansas City
384:concert at
316:Confederacy
297:Cotton Club
265:Vi Burnside
253:Jesse Stone
214:Sid Catlett
177:Helen Jones
163:Early years
2381:Categories
2334:Band photo
1902:October 3,
1876:October 3,
1814:August 17,
1623:August 21,
1486:August 21,
1420:August 21,
1389:August 21,
1080:August 21,
1025:References
743:Jean Starr
715:Jane Sager
663:Zena Latto
410:Tiny Davis
404:Disbanding
355:Earl Hines
327:Popularity
2392:Big bands
2308:843785531
2280:269282146
2127:April 27,
1852:276339398
1735:866922945
1592:123905581
1189:1559-1603
1183:(6): 48.
1051:0741-8639
745:– trumpet
717:– trumpet
632:– trumpet
587:† – drums
566:Personnel
525:released
439:feminists
398:Caucasian
189:Melodears
2233:AllMovie
2187:55886358
2163:(2004).
2144:DownBeat
2002:42035800
1982:(1999).
1964:(1984).
1948:42397506
1920:(2000).
1896:IMDb.com
1582:(1986).
1562:49750925
1542:(2003).
1455:60550731
1334:32154404
1295:39024855
1226:, p. 64.
1162:55800901
1126:24068468
1098:(1990).
1008:See also
925:Soundies
510:lesbians
346:DownBeat
335:and the
320:Roz Cron
218:Jo Jones
2372:Discogs
2104:May 16,
2099:NPR.org
2021:CD Baby
1789:8280679
1702:3675691
1664:1214974
1526:1215120
251:, with
158:History
100:Rosetta
86: (
78: (
2306:
2296:
2278:
2268:
2185:
2175:
2000:
1990:
1946:
1936:
1898:. 2019
1850:
1840:
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1187:
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1124:
1114:
1049:
972:(1949)
880:Waller
854:George
641:– bass
433:Legacy
425:, and
96:Labels
63:Genres
58:, U.S.
52:Origin
1698:JSTOR
1660:JSTOR
1522:JSTOR
876:Razaf
126:swing
84:–1949
2363:IMDb
2354:IMDb
2304:OCLC
2294:ISBN
2276:OCLC
2266:ISBN
2240:2019
2214:2019
2183:OCLC
2173:ISBN
2129:2016
2106:2021
2081:2019
2055:2019
2028:2019
1998:OCLC
1988:ISBN
1944:OCLC
1934:ISBN
1904:2019
1878:2019
1848:OCLC
1838:ISBN
1816:2019
1785:OCLC
1775:ISBN
1731:OCLC
1721:ISBN
1625:2019
1588:OCLC
1558:OCLC
1548:ISBN
1488:2019
1451:OCLC
1441:ISBN
1422:2019
1391:2019
1360:2020
1330:OCLC
1320:ISBN
1291:OCLC
1281:ISBN
1185:ISSN
1158:OCLC
1148:ISBN
1122:OCLC
1112:ISBN
1082:2019
1047:ISSN
984:and
878:and
856:and
482:and
353:and
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