Jablonski, Marek (Michael)

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O. Douen: Clément Marot et le psautier huguenot (Paris, 1878–9/R)

G. Tricou: ‘Philibert Jambe de Fer’, RHCM, iii (1903), 511–13 [repr. in Revue musicale de Lyon (15 May 1908)]

P.-A. Gaillard: ‘Die “Psalmodie de XLI pseaumes royaux”’, JbLH, ii (1956), 111–12

F. Lesure: ‘L'Epitome musical de Philibert Jambe de Fer (1556)’, AnnM, vi (1958–63), 341–86

P. Pidoux, ed.: Le psautier huguenot du XVIe siècle, i–ii (Basle, 1962)

F. Dobbins: Music in Renaissance Lyons (Oxford, 1992)


James, Harry (Haag)

(b Albany, GA, 15 March 1916; d Las Vegas, NV, 5 July 1983). American jazz and popular trumpeter and bandleader. He began playing professionally at an early age with his father’s circus band, and worked for a year with Ben Pollack (1935–6) before becoming a leading member of Benny Goodman’s band (1937). James’s exciting playing was given great prominence by Goodman, and is shown at its most typical on his recording of Ridin’ High (1937, on the album Jazz Concert, no.2, Col.). After leaving Goodman in late 1938 James formed his own big band, which by the early 1940s had an enormous following. This was one of the first big bands to add a string section. One of its greatest hits was You Made Me Love You (1941, Col.), on which James delivered the melody in a highly sentimental manner with a distinctive, wide vibrato. Further wartime successes featuring the singers Helen Forrest (I Don’t Want to Walk without You, 1941, I Cried for You, 1942, Col.) and Dick Haymes (who replaced Frank Sinatra) made the band even more popular than Glenn Miller’s. James reorientated towards jazz from the mid-1940s. He appeared in several films, including Springtime in the Rockies (1942, with his second wife, the film star Betty Grable), Best Foot Forward (1943) and The Benny Goodman Story (1955), and in the 1950s made regular tours with the band, travelling to Europe in 1957. From the 1960s to his death, although he spent long periods in Nevada, he performed frequently in New York and occasionally toured abroad.

James’s admiration for the playing of Louis Armstrong never overwhelmed his individuality; he was noted for the boldness of his style, the richness of his tone, his range and his stamina. The popularity that he gained with his bravura performances of such test pieces as Carnival of Venice and Flight of the Bumble Bee (both 1940, Var.) has tended to obscure the fact that he was a very fine jazz improviser, possessing a verve that enhanced many small-group and big-band recordings. A collection of his scores and other materials is held in the American Heritage Center of the University of Wyoming in Laramie.

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