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Margie Hyams : ウィキペディア英語版 | Margie Hyams
Marjorie "Marjie" Hyams (August 9, 1920 – June 14, 2012)〔(【引用サイトリンク】title=Passings Yvette Wilson, Margie Hyams )〕 was an American jazz vibraphonist, pianist, and arranger. She began her career as a vibraphonist in the 1940s, playing with Woody Herman (from 1944 to 1945), the Hip Chicks (1945),〔Gilbert Chase (1906–1992), ''American Music'', From the Pilgrims to the Present,' revised 3rd ed., pg. 522, University of Illinois Press (1987) ISBN 0252062752〕 Mary Lou Williams (1946), Charlie Ventura (1946), George Shearing (from 1949 to 1950), and led her own groups, including a trio, which stayed together from 1945 to 1948, performing on 52nd Street in Manhattan.〔Sally Joan Placksin (born 1948), ''American Women in Jazz, 1900 to Present'', Wideview Books, 1982 ISBN 9780872237605〕 The media, marquees, and promos often spelled her first-name "Margie;" but, she insisted that it was spelled with a "j." == Career ==
Hyams had her own trio and quartet (1940–1944) and played with Woody Herman (1944–1945) and Flip Phillips in the mid-1940s. She formed another trio with guitarists such as Tal Farlow, Mundell Lowe, and Billy Bauer from 1945 to 1948. She also arranged and sang with Charlie Ventura, and recorded with Mary Lou Williams. Hyams joined George Shearing in (1949–51). Woody Herman : Jack Siefert (Jacob William Siefert; born 1918), a lifelong friend of Woody Herman, introduced Hyams to Herman, who had already broken convention by hiring a female instrumentalist in 1941, Billie Rogers (born 1919).〔Gene Lees, ''Leader of the Band: The Life of Woody Herman,'' Oxford University Press (1995) ISBN 9780195056716〕 Rogers played trumpet with Herman until 1943.〔(''Jack Siefert Woody Herman Collection, 1913-1990,'' ) Smithsonian Institution Research Information System, Archives Center at American History, Call No. ACNMAH 0659〕 Hyams is one of Woody's exceptional alumni vibraphonists that included Terry Gibbs, Red Norvo, and Milt Jackson, all of whom, according to jazz author Doug Ramsey, were part of a Who's Who quality of an imaginary line-up that was staggering.〔Douglas K. Ramsey, ''Jazz Matters: Reflections on the Music & Some of Its Makers,'' pg. 118 University of Arkansas Press (1989) ISBN 9781557280602〕
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