You will see that Bix and eight other musicians were playing at Ed Williams Music store. The ad specifies Wolverine Orchestra of Nine Musicians. But ... but ... they were only seven: Bix, Jimmy Hartwell, George Johnson, Dick Voynow, Bob Gillette, Min Leibrook, Victor Moore. Phil Evans speculates that Hoagy was the eigth and an unknown the ninth. Maybe.
This message has been edited by ahaim on Nov 23, 2012 7:42 AM This message has been edited by ahaim on Nov 22, 2012 1:16 PM This message has been edited by ahaim on Nov 22, 2012 9:22 AM
I do wonder if Dick Voynow let Hoagy play piano or if perhaps he played second cornet with Bix? Wouldn't it be great to have a snapshot of that?
Maybe the ninth man was a trombonist from Carmichael's Collegians or one of the other local bands Hoagy was booking back then. I really wish the Wolverines could have kept Al Gandee. The later recordings with George Brunies and Miff Mole sound different and quite good!
"Holiday Tea at Three" with Vince Giordano and the Nighthawks
Saturday, December 8, 2012, 3-6 pm.
Chartwell Booksellers present Holiday Tea at Three with Vince Giordano and the Nighthawks! On Saturday, December 8th. Take a break from your holiday shopping and enjoy a special afternoon tea dance from 3p-6p. This is FREE and open to the public of all ages. Large dance floor in the arcade of the Park Avenue Plaza, 55 E 52nd Street (between Park & Madison), NYC. Chartwell Booksellers: 212-308-0643.
My wife and I have been going to these wonderful "Holiday Teas at Three" for several years. We plan to go again this year. It has become one of the many joys of the Christmas season.
This message has been edited by ahaim on Nov 22, 2012 5:30 AM
2. We also know about the failed attempt of Whiteman to record Whispering on Jan 26, 1928. Waller was on organ and the rehearsal took place at the Church studio in Camden. By the way, there is a fascinating article "Victors Church Studio, Camden (1918 1935): Lost and Found?" by Ben Kragting Jr and Harry Coster in http://www.vjm.biz/new_page_25.htm
3. This is one connection new to me. From the Chicago Defender of Dec 20, 1930.
Thomas (Fats) Waller who was guest organist at the Regal Theatre, Chicago, about a month ago, is now playing at Connie's Inn, New York on an organ that was installed especially for him. Fats has been playing the radio and stage jumps. He was held in Cleveland over WLW for more than three months. While in Chicago, at present the Mecca of all the big time bands, Fats made some arrangements for several North side units and was invited to dine with none other than Paul Whiteman.
I am looking forward to reading about this in Vol 2 of Don Rayno's Whiteman biography.
Fats Waller plays Whiteman Stomp in a Maxwell Hour Radio Program
San Antonio Express, Sep 18, 1930
RADIO ARTISTS MAXWELL HOUSE GUESTS TONIGHT
Novelties on Program;
One o£ the mort novel and interesting programs ever staged by Willard Robison will be presented by the Maxwell Hour- Ensemble tonight, with a small army of radio stars appearing as guest artists. The program will be broadcast from -WOAI at 7:30 o'clock.
The guest artist -who will be heard include lames Melton, one of radio's most popular young tenors; Thomas Waller, dusky Harlem pianist, who is known for his skill as the "two-piano pianist;" Lou Raderman, recording violinist, the Mariners' trio, a male vocal group, making its first appearance on the Maxwell House programs, and the newly organized Maxwell House Saxophone Sextet, headed by Ross Gorman, one of the greatest masters of the saxophone since that instrument first came into popularity.
Willard Robison, director of the program, will dust off one of the masterpieces of jazz as his contribution to the program when he sings his own interpretation of Handy's famous, "Memphis Blues."
The Maxwell House Saxophone Sextet -will offer an even earlier number, "The Twelfth Street Rag." By way of contrast. Melton will be heard .in the melodic "Darling Nelly Gray" and a specially prepared arrangement of "High Water," one of the best-known later-day spirituals.
Thomas Waller's fingers will scamper through his own composition, "Whiteman's Stomp," and the Mariners will offer the latest composition .from Willard Robinson'spen"Just Another Party" the first time it has been heard anywhere. Lou Raderman will play Grainger's "From the Canebrake," assisted by Arthur Schutt at the piano.
The program in full follows:
"Whiteman's stomp" ...ThomasWaller Orchestra and Waller piano solo
"Darling Nelly Gray" ...Jarnes Melton and orchestra
"From the Canebrake" ....Percy Grainier Violin solo by Lou Raderman
"Indian Summer" .Victor HerbertOrchestra
"Memphis Blues" ... .W. C. Handy Willard Robison and Orchestra
"Twelfth Street Ras" ...Euday BowmanMaxwell House Saxophone Sextet
"Just Another Party" ..Willard Robison Mariners Trio
"High Water" James Melton and- Orchestra
"Who," from Sunny Full Ensemble, Orchestra and Trio
What an amazing amount of talent under just one program. Willard Robison surely knew how to choose them! And get a load of all the connections to Bix.
Hoagy was a guest in a Maxwell House Radio Program
From the San Antonio Express, Aug 14, 1930.
Blues Writer Guest
Two guest artists will share honors with Willard Robison, young composer, singer and director of the Maxwell House Ensemble, when the program of the ensemble is broadcast from WOAI tonight at 7:30 o'clock. They are Hoagy Carmichael, who ranks with Robison and W. C. Handy as the greatest blues interpreters of a1l time; and Elizabeth Sheridan, soprano.
Carmichael, who is famous for such works as "The Washboard Blues," will sing one of his own compositions, "Chained to My Rockin' Chair," accompanied by the .Maxwell House orchestra. In |it he plays a double part, voicing the plaint of the aged patriarch
who is chained to his rocking chair, and answering in the person of the vigorous young nephew who seeks to comfort the old negro.
Miss Sheridan, who deserted the concert stage recently for the newer field of radio, is making her third appearance on the Maxwell House program.
The program, which goes on the air at 9:30 p.m. Eastern Daylight Time, is as follows:
"Show Boat" Medley Full Ensemble
"Good Evening"Orchestra and Quartet
"Chained to My Rockin' Chair" Hoagy Carmichael and Orchestra
Danse Barbare Orchestra
To be selected Elizabeth. Sheridan and Orchestra
Give Yourself a Pat on the Back" Orchestra and Quartet
Lazy Weather" .Willard Robison and Deep River String Choir
3. Interestingly, Hoagy is billed as the composer of Washboard Blues but there is no mention of Stardust. This can be understood because Stardust did not become a mega-hit until 1930-1931. The Isham Jones recording was made in mid-May 1930 and released a couple of months later.
4.An ad for the Maxwell House radio program from a 1930 issue of the Saturday Evening Post.
I'm More Than Satisfied is a song written by Thomas Fats Waller (music) and Raymond Klages (lyrics). Fats Waller needs no introduction, but Raymond Klages might. From imdb.com,
Born on Jun 10, 1888 in Baltimore, MD, died on Mar 29, 1947 in Glendale, CA.Songwriter ("Just You, Just Me") and author, educated at BaltimoreCityCollege. He performed in vaudeville and in minstrel and road shows, and wrote special material. During World War I, he served in the 108th Field Artillery, then joined the staff of a New York music-publishing company, eventually writing the Broadway stage score for "Sally, Irene and Mary". Joining ASCAP in 1923, his chief musical collaborators included Louis Alter, Harry Carroll, Jesse Greer, Al Hoffman, Howard Quicksell, J. Fred Coots, Jimmy Monaco and Vincent Rose. His other popular-song compositions include "Doin' the Raccoon", "Blue Shadows", "Pardon Me, Pretty Baby", "Tonight or Never", "Had I But Known", ""$21 a Day - Once a Month", "What's Gonna Be With Ya and Me?", "I Wonder Why", "Time Will Tell", "Roll Up the Carpet", and more.
The song that Raymond Klages wrote with Howdy Quicksell is the immortal Sorry.
From Oct 15, 1927 to Oct 26, 1927, Bix was between jobs. The short-lived Adrian Rollini New Yorkers had folded, and Bix had not yet joined the Paul Whiteman organization. Bix and the other New Yorkers were scrambling for money, and one way to get by was via recordings. On Oct 20, 1927, Bix , several musicians from the defunct New Yorkers Frank Trumbauer (C-mel), Don Murray (cl), ?Eddie Lang (bj), and Frank Signorelli (p)- with Vic Berton (d) added, went to the Pathe Phonograph & Radio Corporation on E. 53rd St, New York where they met Willard Robison and the members of the Deep River Quintette.They proceeded to record three numbers, Im More Than Satisfied, Clorinda and Three Blind Mice. The first number is the one of interest here.
Five takes were cut and were processed as follows.
Take 1. Mastered, Perfect 14905.
Take 2. Mastered, Perfect 14905, Pathe 36729.
Take 3. Never discovered.
Take 4. Never discovered.
Take 5. Mastered, Perfect 14905.
Take 1 is unique, takes 2 and 5 are the same. They were issued under the name of Willard Robison and His Orchestra.
Personnel from Timeless liner notes. Historical HLP25 titled "Hot clarinets 1924-1929"; rest of LP by others. All above titles also on Timeless (Du)CBC1-049 [CD] titled "The Original Memphis Five, Napoleon's Emperor's, The Cotton Pickers,1928-1929"; see flwg session and the other leaders for rest of CD.
1. Bix, Tram and fellow musicians were the first to record the tune.
2. The second recording was by Rene Dumont in Berlin.
3. The last version in the 1920s was by Jack Hamilton in Paris.
4. There is a version by Ambrose on Jun 14, 1928.
Some of of the above are available. Note that each has a different intro, but the intros in the Capitolians and All Star Orchestra versions are very similar. I did not find the versions made in England, France and Germany.
The link you gave is still by Atticus, the youtube name of forumite Emrah. Incidentally, last night I watched To Kill a Mocking Bird on TCM. What a fantastic film, one of my "desert island" movies.. Every time I watch it I like it more. It is like a Bix recording.
Carl Kress with Paul Whiteman in 1926? Another myth to be demolished?
Here is a short biography of Carl Kress in Oxford Music online.
(b Newark, NJ, 20 Oct 1907; d Reno, NV, 10 June 1965). American acoustic guitarist. Having first played piano, he took up banjo, then changed to guitar and worked initially with various groups in New York. He played with Paul Whiteman in 1926, then from the late 1920s became much sought after as a session musician, recording with numerous popular singers of the day as well as with such jazz groups and musicians as the Chicago Loopers (1927, including Bix Beiderbecke), Red Nichols (192731, under Nicholss own name and in 1928 as the Wabash Dance Orchestra), Miff Mole (1928, 1930), the Dorsey Brothers orchestra (1928, 1930), Frankie Trumbauer (1928, 1936), Boyd Senter (1929), Jimmy Dorsey (1932), and Adrian Rollini (1934). In the early 1930s he recorded duets with Eddie Lang and with Dick McDonough. He was one of the owners of the Onyx Club on 52nd Street. While from the late 1930s through the 1950s he continued to work as a session musician, his participation in jazz sessions was rare; among those with whom he did record were the Mills Swingphonic Orchestra (1937), the trio Threes a Crowd (1938), Toots Mondello (1939), and, far more significantly, Edmond Hall (1944). From 1961 to the time of his death, from a heart attack, he played in a duo with George Barnes. A pioneer rhythm guitarist in the 1920s, Kress matured into an important exponent of swing, using a specially lowered tuning (BFcgad) adapted to his unique chordal style. Numerous soloists were inspired by the rich harmonic support and joyous, buoyant drive that were characteristic of his playing.
F. Victor: Whos Who among Guitarists: This Time its Carl Kress, Metronome, xlix/10 (1933), 32
Norman Mongan/Barry Kernfeld
The bit about Cress with Whiteman in 1926 is repeated everywhere in the internet: Wikipedia, alljazz.com. red hot jazz site, etc. Don Rayno has no mention of Kress being with Whiteman in 1926. I go along with Don whose exhaustive research on Whiteman produced highly reliable information.
In addition to a brief biography, Don Rayno's only mention of Kress is in connection with the recording of San. Here is what Don tells us.
"Violinist Matty Malneck and Carl Kress, a guest guitarist on the date, are featured in two duets of eight and thirty-two bars. "Matty Malneck brought Carl," said Challis. "They were making a record that same day. They had gotten together and figured out a chorus for themselves, which they 'woodshedded' out. I didn't have to write it out. Those guys had it all ready."
Richard Sudhalter has the following information in Lost Chords:
Interviewed years later, Whiteman described the scene" "We needed a guitar player [especially] to back up Matty Malneck hot fiddle chorus on San Kress fished out of a dilapidated box what looked to me like a ukelele. I called Roy Bargy aside and told him we couldn't use a ukelele in our big band. Bargy only smiled. He knew how Kress played, and I few minutes I realized too that this boy could make a four-string guitar sound like a harp."
Sudhalter points out that Whiteman's recollection must have been in error, since Bargy did not join Whiteman until three weeks after the recording of San. Whiteman's recollections are included in a 1940 Decca album of Kress solos and in the booklet that was included in the Time Life box set "The Guitarists." Sudhalter wonders if Whiteman menat Bill Challis who played piano in the recording.
Listen to both takes of Whiteman's recording of San where he uses a ten-piece group: Bix, Tram, Bill Rank, Jimmy Dorsey, Matty Malneck, Bill Challis, Min Leibrook, Carl Kress and Harold McDonald.
Two Live Recordings of a Paul Whiteman Concert In England , 1926.
On March 31, 1926, the Paul Whiteman orchestra boarded the SS Berengaria, bound for its second European tour. The first had been in 1923.
While in London , the band gave two highly successful concerts at the famous Royal Albert Hall, the first on April 11 and the second on April 25, 1926.
Here is the program for the April 11. 1026 concert, taken from Page 558 of Don Rayno's Whiteman biography Paul Whiteman - Pioneer in American Music:
St. Louis Blues
You Forgot to Remember
Castles in the Air
Meet the Boys, Parts 1 and 2
Rhapsody in Blue, Parts 1 and 2
Nola Piano duet by Harry Perella and Ray Turner
Oh! Lady Be Good
Yes Sir! That's My Baby/If You Knew Susie/Kitten on the Keys
Untitled banjo solo by Mike Pingitore (possibly Linger Awhile)
This concert was recorded live by the Gramophone Company (HMV). The recordings that the HMV engineers made were never released, but according to Rayno, band members received test pressings of the fourteen sides waxed. Rumors have circulated for years that at least some of these survived and, indeed, two of them have been discovered. I am pleased to present these to you now:
Linger Awhile Courtesy of Nick Dellow who recorded the number from one of Rich Conaty's Big Broadcast programs and carried out further restoration work; Rich received the recording from Michael Devecka.
The quality of these rare tests is quite remarkable considering that they were "live" recordings taken directly from microphones positioned beneath the stage of the Royal Albert Hall, with the audio signal relayed to portable recording equipment set up by the HMV engineers. If you listen closely to the start of Linger Awhile, you can clearly discern voices amongst the 8000-strong audience.
Thanks to Nick and Vince.
This message has been edited by ahaim on Nov 16, 2012 5:23 AM
Re: Two Live Recordings of a Paul Whiteman Concert In England , 1926.
by Chris Barry
Thanks to Albert and all for sharing these historic audio clips. So rare to hear a live concert of this vintage, and Paul Whiteman no less. Perhaps because there was an audience, the guys seem to play with extra energy.
I am amazed at the great sound quality of these live recordings - HMV began recording live classical concerts around the same time and some of that material was issued on 78. I guess that the original matrices for the Whiteman sides no longer exist. What an amazing CD issue this complete concert would make!
Present Arms was a musical production by the fabulous team of Rodgers and Hart.
It ran at Lew Fields Mansfield Theatre from April 26, 1928 to September 1, 1928. The choreography was by Busby Berkeley. Two of the songs in the show were recorded by Paul Whitemans Orchestra. Do I Hear You Saying Apr 24, 1928, and You Took Advantage of Me Apr 25, 1928.
The radio-type effects on "Forty Second Street" make it very entertaining. It's also one of Bestor's few recordings with any kind of a good beat, let alone approaching hot music. (At one point his tenorman just stops playing in mid solo, apparently out of ideas.)
I came into a year book from Davenport High School from 1918. I know it "just" misses Bix attending, but it does have a senior by the name of Gretchen Beiderbecke. I would assume she's related to Bix. Would this be an older sister? Or a Cousin?? Just curious.
Gretchen "Gay" Seiffert Beiderbecke is a cousin of Bix's. Born March 21, 1901, died October 15, 1983, Alameda, Ca. She married George Murdoch, they had one daughter. After she died, her daughter Katherine brought her ashes and buried her at Oakdale Cemetery in the family plot.
"The Wonderful World of Jazz" is the title of an article by Richard Gehman published in the Aug 11, 1957 issue of the American Weekly. Nothing to write home about, but I present here for the sake of completion. An interesting caricature of Bix is included.
You probably know the name of Richard Gehman: he collaborated with Eddie Condon in Eddie Condon's Treasury of Jazz.
This message has been edited by ahaim on Nov 10, 2012 12:49 PM
Jazz Juxtaposition Bix ...Tesch is the title of an article authored by ....
.... Bill Esposito and published in the Oct 1972 issue of Jazz Journal.
I must say I did not like several sections of the article. A correction: the name of the bassist mentioned in the article was not George Kraslow (Kraslow was the rental agent for Bix's apartment in Sunnyside), it was Rex Gavitte.
This message has been edited by ahaim on Nov 10, 2012 11:47 AM
According to the first article in this thread, Frank Norris (I believe a Bix classmate at Lake Forest Academy) is the source of the statement in the title of this posting. According to the second article in this thread, Eddie Condon is the source. I remember Richard Basehart (narator of Berman's documentary on Bix) also said the words in the title, but I don't remember if there was an attribution. Anyone remembers?
I don't know, but did Bea Wain record with any Jazz bands in the 30's? This is pretty Jazzy:http://www.youtube.com/watch?v=7zMm_KjQkTY Wikipedia says she's 95 now. She might be a really interesting person to interview.
I also heard from Rob. Good thing they had no damage.
I am spending most of my time on lines trying to buy gas and it is costing more than $40 a day to keep the generator going. But it is worth it, it keeps the house warm and the refrigerator cold. The miracles of electricity.
Another storm today and predictions of more outages!!!
Probably a repost, but I heard this snippet on npr several months back during an interview with Paul McCartney...
McCartney's father was an amateur musician, but there weren't many records around the house when he was growing up.
"We listened to the radio and he played piano in the house," he says. "But in actual fact, I can't remember him having one record, let alone lots. "
He says the songs that he grew up with that his father played, or that he listened to on the radio, affected his sense of song structure particularly the kind of chords he'd use in a song.
"I loved listening, as a kid, to him play the piano," McCartney says. "I can still remember now, sort of lying on the floor with my chin cupped in my hands, listening to him play. He played from another era songs from another era. One of my favorites he played was a song called 'Lullaby of the Leaves.' He used to play things by Paul Whiteman and his orchestra.
"So I loved all those songs," he says. "You know, I loved hearing him. And he would actually take me and my brother, and he would educate us in his own primitive way, because he didn't know how to read or write music. He'd learned by ear, but he was very musical. And so we'd be listening to the radio and he'd say, 'Can you hear that deep noise there?' He'd say, 'That's the bass.' So he'd pick out things for us to listen to. And he would sometimes show us how to do a harmony. He'd say, 'Now, here's a tune and this is the harmony to it.' So in The Beatles... In the early days of The Beatles, I was very keen on us doing harmonies, and I would have to put that down to him.
"I would always encourage The Beatles to do harmonies or, if John had a song, I would immediately harmonize to it. And you can hear that right the way through The Beatles' career," McCartney says. "I'm often harmonizing a third above John, or we're often harmonizing as a group. So I think my love of harmony came from him actually sitting my brother Mike and I down and saying, 'This is how it goes.'"
McCartney later said he was channeling Fats Domino on Madonna. Others say it was George Martin's doing because he was involved with both records.
Bad Penny Blues was one of those occasional jazz pop hits, thanks in part to Joe Meek's innovative work as recording engineer. Meek messed with the sound, and I guess that was very unorthodox for jazz recordings. And Joe Meek's story is interesting.
My love of music can be initially traced to The Beatles as a toddler, but also my mom, who sadly passed away about two weeks ago.
She played piano and grew up during the big band era. Like McCartney, as I child I would sit at my mom's feet as she played everything from Gershwin to The Beatles.
She had a huge collection of sheet music dating back to the early 1900s that she acquired from her aunt. So I had an early exposure to a lot of wonderful music and it made me more receptive to the music of an earlier time than a lot of my friends.
We already had a couple of short power outages. I am turning the computer off. I may be out for a couple of days, at least. I have never seen a storm of this magnitude. We survived Gloria, Irene and few others, but this one is something else. Our house is on the north shore of Suffolk County (a a mile and a half from the water), about 60 miles east of New York City.
Briefly firing up the generator, the hot water furnace and the computer. I have to economize on gas. All gas stations around here closed. 80 % of LIPA costumers (the company that supplies electricity on Long Island) have lost power, about a million costumers are in the dark. Our neighborhood looks like several bombs hit it. One of my next door neighbors had a tree falling on the roof of his house which resulted in a huge hole. An enormous tree fell down the street about 50 yards from my home and brought down electric lines and transformers. Lots of huge branches came down in the front and back yards, but fortunately the house was spared. Power will not be restored for 10 days or more.
Albert, where I live in Philadelphia, lost power for about 15 hours. I walked the neighborhood and some trees down with
power lines taken down too. Worst storm I've seen in the 30 years I've lived in this neighborhood.
Things are getting worse. Most stores in the neighborhood closed, running out of supplies. One gas station open and the lines are amazing.
Manage to run the generator a couple of hours a day to get the furnace going to heat water for showers. The Coleman stove going and we can cook some hot meals. I have been cleaning back and front gardens for 5-6 hours every day and I have barely done 20 % of what is needed. Luckily, I bought a chain saw two weeks ago and I have used that with great success. It is also getting cold and the weather man predicts temperatures in the 40s for the next few days.
My wife and I are fine. Thanks, fellow forumites. We appreciate the thoughts.
Albert, you are handling all this amazingly well. Our thoughts go out to you and your wife, but you are coping with it all well in such a way as to inspire us. After Irene you became an experienced hurricaner. They should now make you and all the Long Islanders honorary citizens of New Orleans and the Gulf Coast!
We can contribute to the Red Cross, but wish we could be there to lend an actual hand. Be careful, stay safe, and take care of yourself first and foremost.
The generator conked out yesterday afternoon. It was an old thing I had bought when Gloria hit us in 1985. This morning I was in front of Home Depot at 6 am and was able to buy a new one. Brought it home and installed it. Fortunately, as a chemist who used a lot of modern instrumentation (not just test tubes and beakers), I am an expert electrician and I have the generator wired into the main of the house. So I get the furnace going, a light or two, charge the phone and turn on the computer. I have a couple of propane heaters and yesterday I bought a whole box of the chubby cylinders. It is getting cold around here. The problem is gasoline. No problem with food. As a chemist, I can cook good stuff on the Coleman stove.
Thanks, Glenda for the kind words. For a couple of octogenarians, my wife and I are doing reasonably well. Not to worry.
Albert, I was so relieved to see your communication to the forumites. So sorry you have to go through this and much heartfelt sympathy for all enduring on the east coast. I, too, wish I could be there to help. I do hope by next week's end you'll have the power on, and that you are getting needed supplies. With kindest wishes to you and your wife to stay safe and see this through --
Like many others here, I have been keeping you in my prayers! I like your attitude about it all BUT take it easy with that chainsaw! They can be dangerous, especially when one gets tired and it is hard work, so please pace yourself!
Glad your house was spared, but everything else that happened sounds scary enough. Nothing like a Storm of the Century to put one's priorities in order.
I hope life returns to normal very soon.
I checked with several New York friends: Vince G. said he was high and dry (not "Barbaric"!), with his thousands of stock arrangements all safe. We discussed the idea of bringing hurricane protection into the 21st century by Glad-Bagging whole buildings. Other NYC friends reported no major damage. Mews Small, who sings with me in Los Angeles, was in Newark, and spent four days in her power-outed hotel with no light but a hotel-supplied candle, to help navigate the stairs! With the elevators out, it must have been Halloween-surreal in those stairwells, with scores of candle-toting guests clambering up and down. You came closest to the edge of disaster of anyone I know.
Considering what happened to other people on Long Island, we were very lucky: no personal or property damage. Still, things are difficult. This morning, beginning at 6:30 am, I drove around looking for a gas station that pumped gas. 80% were closed (no gas or no power) and the remaining had unbelievably long lines. I finally tried an out of the way station in Stony Brook Village and got on line. After three hours I came out with a tank full of gas and 10 gallons in cans for the generator. Food and water are not a problem around here. Almost 500,000 customers of LIPA (Long Island Power Authority) are still without electricity. My guess is another week without power. The new generator is aces, easy to start and fuel efficient.
The other big problem, in addition to gas being scarce, is the weather. Getting really cold This morning, the thermometer outside the kitchen window read 30 F. I run the generator only two to three hours a day to conserve gas. When the generator is off, I heat a couple of rooms with the propane heaters. But these, although they provide a lot of heat, go the use propane tanks like if it was water.
Thanks, Jim, for the warning about chain saws. Indeed, I am extremely careful. I learned safety as a chemistry researcher with lots of graduate students and postdocs in my labs: they were my responsibility. We only had one explosion in my 40-year research career, and ever since, I have been extremely careful with chemicals, electric equipment and power tools.
Thanks again to all. Not to worry. We are doing reasonably well. I fel sorry for those who lost their homes and don't have the resources that we have.
Albert, I'm so happy you are OK, and Vince is doing well. I'm worried about Rob. Have you heard from him?. I'm praying for everyone out on the east Coast. Heard from my niece and they are fine also. Just feel helpless here. Take care.
I have not heard from Rob. I got back electric power about two hours ago. Almost everything is back to normal in my home. But many parts of Long Island are still in a very sorry state. I just talked to one of my neighbors around the corner, and he still has no power.
Take a look at the power situation for LIPA costumers as of Nov 3, 2012.
As of 10 minures ago, there were 320,000 customers without power. We were lucky again.
The power went out again. I am back on generator. This looks like a very limited problem. Only about five houses in the neighborhood, including ours, are out of power. The rest are on. It may take days for a service truck to come around for just a few houses. So things are not back to normal.
I think it may be even next week befor powere is restored. Tomorrow, anothe Northeaster is visiting Long Island: gusts of 50-60 miles an hour predicted. I spend a lot of time on lines to get gas for the generator and refilling its tank. Jim, I turn it off before refilling.
40,000 additional costumers lost power as a consequence of the nor'easter that hit the area yesterday. Here in Stony Brook, we had a couple of inches of snow and strong winds. More down trees and electric wires.
Our life has become very primitive, one of survival. Since the house is all-electric (with an oil burner; no natural gas) and the temperature is around 32 F in the morning, I must keep the generator going 24/7. I spend two hours a day on lines getting gasoline for the generator. Another hour servicing the generator - changing oil, turning the power to the house off, filling the tank, reconnecting the output of the generator to the mains of the house. I used an old knife switch (I'll take a photo later today or tomorrow, something out of a Frankenstein movie). Cooking is not much of a problem. All our appliances are electric so I do not use the electric stove to save on gasoline for the generator. I manage with a Coleman stove. But without an oven, my culinary skills are somewhat limited. I am not much into take out, prepared food or fast food restaurants. So we go out a few times to some of the good restaurants we have in the area, but the rest of the time it is back to the old Coleman stove.
With yesterday's strom and an additional 40,000 outages, the prospect of getting the power restored has gone down considerably. The priorities of LIPA are to make repairs to damaged equipment that will bring electricity back to large numbers of customers. The outage in my neighborhood affects only seven homes. With 200,000 LIPA costumers affected, what are the chances that power to seven littel homes will to be restored? There was a short in the electric line and the relay of the transformer that powers the seven homes tripped. The whole circuit that serves the seven homes is isolated from the rest of the neighborhood. A crew has to come to fix the short and reset the relay. A 15 minute job. But there is a huge branch hanging on the power line and protocol calls for the tree crew to come and remove the branch before the electric crew can do the repair.
I am in the middle of writing several articles, but I have been unable to concentrate. I listen to the news on the radio a lot and read a lot. So there is a bit more than just surviving, but not much more.
or impossible? from there right now, surely people (myself included) would be inviting you and your wife to stay with them until this awful thing is over with. Of course the important thing is to try to stay warm and not over-exert. We're so concerned sbout you, Albert. I wish there was some way to magically spirit you two to a comfortable place away from all that -- even our creaky old book-filled digs here in Pittsburgh -- but I assume you want to stay put even if the weather weren't so dangerous, to protect and heat the house for preventing water pipe damage.
Praying this will be fixed for you soon (one would think that fixing power for a mere seven residences would be such a simple and quick thing to do before going on to all the others --)
Please stay safe and think Zen, to keep the stress minimal.
Not to worry. I am a tough old bird, and as long as the house is warm and the refrigerator cold, we are fine.
Today gas stations will implement a rule of odd/even plate numbers to distribute gas. Both my cars end with even numbers! I believe people who fill gas cans are not included. As long as I can get my two 5-gallon cans filled every day, I am on easy street.
As I was going out the door to get gas, a service truck pulled in. The service men were from Buffalo, helping out the local guys. Within 15 minutes, they took care of the short, added a piece of wire to the connection from the pole to my house and reset the relay.
Hi Albert - on Staten Island, my neighborhood lost electricity for 36 hours, but we never had a drop of water in the basement! (Unlike the unfortunate folks who live in places like Midland Beach, South Beach, etc. on Staten Island - I am sure you've seen their plight on television and the internet..) We still do not have Time Warner cable tv or land-line telephone - after two weeks! It took me a week to get back to the office, as we are in the "blackout" zone of Lower Manhattan (Tribeca, on the Lower West Side by the Holland Tunnel, which was closed for nearly a week and a half). Trying times, but we're all getting through it as best we can.
Considering what other folks had to go through, our plight seems a piece of cake. Fortunately, neither you nor we suffered personal and property damage. Others lost their homes and dear ones. Close to home, Long Island was devastated. And there are still homes without electric power.
The knife switch saved me several trips from the garden shed where I keep the generator to the basement of my house where the main electric panel with connections to the rest of the house and circuit breakers is located. The three connections at the top of the switch are the output (240 volts) of the generator. The three connections at the bottom go to an underground cable that goes from the shed to the basement of the house. It is curious that the 240 volt output of the generator does not come with a cable and switch. I guess every installation is different and they just provide a receptacle.
It all worked like a charm, except for the daily two-hour lines in search of gasoline.
That's it. I will not bore you any longer with my difficulties during the power outage.
I like this version and the way they sprinkled in the phrase from "I'm Coming (Home) Virginia". The visual part is also interesting and thanks again to my friend Lisa Ryan (who is no doubt thrilled with her baseball Giants World series win!) who put it all together.
All recordings by Paul Whiteman, except Kitten on the Keys and To A Wild Rose..
Mamma Loves Papa. Oct 29, 1923.. Whispering. Aug 23, 1920. Limehouse Blues. Jan 22, 1924. I Love You. Sep 20, 1923. Raggedy Ann. Oct 30, 1923. Kitten On the Keys. Zez Confrey. May 4, 1922. A Suite of Serenades. Parts 1 and 2. Jun 12, 1924. Pale Moon. Apr 8, 1924. To A Wild Rose. Chester Hazlett, May 9, 1929. Chansonette. Paul Whiteman. Apr 29, 1927. Rhapsody in Blue. Jun 10, 1924..
but there are some glitches in your latest WBIX post. The opening of the "Rhapsody in Blue" cuts off and then the piece starts again, and there's an awfully long gap of silence between the two parts of the "Rhapsody" recording. Other than that, this is an excellent compilation and you must have worked hard on it. Many of the pieces (especially "A Suite of Serenades" and "Raggedy Ann") are played considerably better on these original recordings than they were on Maurice Peress's re-creation of the concert (which you mentioned in your announcement and which I have on the original cassettes). Thank you once again for another great WBIX program!
I don't mind at all. On the contrary: I am glad to see that at least one person listens to the WBIX programs. I will fix the Rhapsody in Blue file and re-upload the rm and mp3 files. Give me one day. If I can't do it tomorrow, it may be several days. Sandy is visiting Long Island and the power company predicts that we may be one week without electricity.
Thank you again for this fascinating WBIX episode, and I'm really glad you made it through Sandy O.K. Now, just one question: why did you include the Whiteman recording of "I Love You," a song he didn't play at the Aeolian Hall concert (at least according to Maurice Peress's reconstruction), and not his recording of "Linger Awhile," which he DID play at the concert?
This is on the 2007 "The Jazz Singer" deluxe box set
I love these Vitaphone shorts! The deluxe box set of 1927's the Jazz Singer, released as an 80th anniversary tribute, includes some other Jolson talkie shorts, instructional films current to those days of how talkie movies were made, and these fabulous Vitaphones with vivacious Hazel Green and her cute musicians, playing with such verve -- she just exudes so much cheerfulness and joy, proving how attractive a plump lady could be, even in those stringbean-thin flapper days of fashion. Very enjoyable!
Spend the dough on the deluxe box set -- it's worth every penny, honest, despite the cringingly mawkish aspects of the Jazz Singer film itself -- all the "bells and whistles" which are included in this package make for a week's worth of entertainment, selecting something to watch every evening. It's truly like being drawn into a 1926-27 time capsule.
A while ago I checked out the "Jazz Singer" boxed set from the local library and watched some of the shorts included as bonus items, including the one featuring Hazel Green. Here's what I had to say about it at the time (notice I was particularly impressed with her dancing):
Hazel Green and Company turned out to feature Hazel Green (who knew?), a zaftig performer who proved to be a surprisingly agile dancer for someone of her weight, even though I suspect her voice was considerably bigger than it appeared here. I suspect the Vitaphone technicians told her to suppress it and sing more softly than usual to avoid either overloading the recording or blowing the microphones, with the result that her band frequently drowned her out. (Remember that these Vitaphone shorts, essentially the first music videos, were films of on-the-spot live performances, with no pre-recording or post-production remixing possible; what went on the Vitaphone record during filming was what the audience heard.)
This was delightful, and I was so glad the playback was included, as well. It so perfectly recreates "back in the day" -- and I'm not mistaken in noticing that the song title was announced by shouting into the speaker horn, just the way they used to do with the very first old cylinder recordings? He did it so quickly I wasn't sure. It's fun to see an old popular tune announced that way, prior to playing the music; I only have opera recordings from 1898-1907 that have that -- example: a plummy-voice announcing in a 1903 recording of "Obstination"
"Duet for voice and cello! Sung by Madame Suzanne Adams and Mister Leo Stern! Columbia Rrrrrcorrrrds!"
Or heavily accented-opera singers announcing their numbers themselves, identifying "Disque Columbia!" or "Voce del Padrone!" -- Victor was His Master's Voice in Europe and Britain.
Anyway, back to Davenport and the lovely re-creation of original acoustical recording -- you guys sounded absolutely terrific and I sure hope Bix's spirit was there with you listening, and enjoying it as much as we did!
Good music, talented musicians, I'm no expert but the acoustics sounded fantastic to me. Was that the living room where the Beiderbecke piano was? I'm sure Bix enjoyed playing and composing in that space.
Fantastic evening with Andy Schumm and Josh Duffee
by Malcolm Walton
Here in the UK we are indeed fortunate to, just every so often, achieve the realisation of a dream.The village of Wimborne St. Giles is not normally o the UK Jazz Map, being a sleepy little place tucked away in the Dorset coutryside. Neverthelees something quite remarkable happened in the Bull Inn last Tuesday 23rd Oct. Andy Schumm and Josh Duffee arrived from Chicago that day and three musicians also arrived from the Netherlands. They, together with a British string bass player, played a three hour concert to an ecstatic audience including myself ! The whole event was organised by Hans Eekhoff, who also played trumpet and tuba during the evening, and to whom many thanks are extended for achieving "the impossible".
The line up was:
Andy Schumm: cornet
Jan Alt: clarinet and alto sax
Victor Bronsgeest: Trombone
Matthijs Willering: Guitar and Banjo
Derek Jones : String bass
Hans Eekhoff : Trumpet and Tuba
I was so impressed with the quality of the musicianship; and the Dutch musicians more than held their own with the two Americans. In fact I would go as far to say the Victor Brongeest was the closest to Bill Rank that I have ever heard !
I was fortunate enough to be able to join the band for a few numbers and Andy and I did the odd "chase" chorus. We also had a chat about Conn Victor Cornets, which both of us were using that evening.
Just trying to come down from the"high" now !!
Frank Gillis (1914-1999 ) was a pianist and director of the Archives of Traditional Music at Indiana University. Here is a letter from Frank Gillis to Hoagy Carmichael where Gillis reports on his interview of Curt Hitch. Curt Hitch said, "Let me tell you, first off, that to me two of the most talented and musically important people in jazz are Hoagy Carmichael and Bix Beiderbecke."
Curt Hitch was the pianist and leader of Hitch's Happy Harmonists. They waxed recordings for Gennett from 1923 to 1925, four sessions. In the last session, Jan 19, 1925, Hoagy replaced Hitch as pianist and director.
Un homme et une femme (A Man and A Woman) is a great film ....
.... from 1966, directed by Claude Lelouch and starring Anouk Aimee and Jean Paul Trintignant. The film won two Oscars in 1967, Best Foreign Language Film and Best Writing, Story and Screenplay - Written Directly for the Screen. The music in the soundtrack is fantastic.
What did Goldkette and Whiteman have in common in addition to Bix and Bill?
From the Oskaloosa Daily Herald of May 1, 1924, Goldkette and Whiteman records are listed in the same ad.
In the Evening/Where the Lazy Daddy Grow were waxed in the first Goldkette recording session, March 27, 1924. By this time, Mar 31, 1924, Whiteman was a pro, with ca 200 recordings to his credit. Was Victor trying to promote Goldkette by advertising him along Whiteman? I think so. Note that within one week, Victor coupled recordings by Whiteman and Goldkette.
PAUL WHITEMAN & HIS ORCH
FRED LOGAN-JESSE GLICK
JEAN GOLDKETTE & HIS ORCH
FOX TROT CLASSIQUE
Victor 19345 (16000-27000 10 in. double-faced)
The following matrix(es) were issued with this catalog number:
One of the numbers played at Feb 12, 1924 concert in Aeolian Hall, "An Experiment in Modern Music." Arranged by Ferde Grofe; Don Rayno writes, "Siegrest plays a wonderful solo in the lower register of his trumpet, and Kurt Dieterle a nice violin obbligato underneath Maxon's trombone solo. Maxon uses a unique mute here."
There was also a version in 1941 by Tommy Dorsey with Frank Sinatra on vocal.
If you are interested in Fred Logan, you can read an obituary in
The historic Paul Whiteman Aeolian Hall Concert of 1924 was brought back to life in 1987 when Maurice Peress with highly talented musicans, among them Vince Giordano and Dick Hyman, recreated the concert using the arrangements from the Whiteman collection in Williams College. Originally, it was issued as a double LP. In 1996 it was issued as a CD.
13. Three Little Oddities: Orange Blossoms In California
14. Three Little Oddities: A Pretty Girl Is Like A Melody
15. Three Little Oddities: Alexander's Ragtime Band
16. Three Little Oddities: Pomp And Circumstance
17. Three Little Oddities: Russian Rose
18. Three Little Oddities: Pale Moon
19. Three Little Oddities: To A Wild Rose
20. Three Little Oddities: Chansonette
21. A Suite Of Serenades: Spanish
22. A Suite Of Serenades: Chinese
23. A Suite Of Serenades: Cuban
24. A Suite Of Serenades: Oriental
25. Rhapsody In Blue
Here is John Wilson's review in the New York Times, Feb 15, 1987.
RECORDINGS; THE WHITEMAN CONCERT OF 1924 LIVES ON
By JOHN S. WILSON Published: February 15, 1987
Paul Whiteman's ''Experiment in Modern Music'' at Aeolian Hall in February 1924 has been remembered until now only because it introduced George Gershwin's ''Rhapsody in Blue,'' which Whiteman had commissioned for the occasion. Most of the rest of the program was an attempt by Whiteman to demonstrate the ways in which he was making ''discordant jazz'' palatable. The attempt was misguided, at least in part, because Whiteman's concept of the ''true form of jazz,'' even as late as 1924, was the original Dixieland Jazz Band's 1917 recording of a bit of howling, barking barnyard hokum, ''Livery Stable Blues,'' with which he opened the program.
Two years ago Maurice Peress painstakingly recreated that 1924 concert for a performance at Town Hall, using scores from the Whiteman Archives at Williams College, the advice of Whiteman musicians and Whiteman scholars, and adaptations of 1920's stock arrangements. Ivan Davis took the piano role in ''Rhapsody in Blue'' that was performed in the original concert by Gershwin himself, and a segment by a popular pianist of the 1920's, Zez Confrey, was played by Dick Hyman, a brilliant and creative musical chameleon.
Since then Mr. Peress has taken the concert on tour, both in this country and as far afield as Israel. He has now recorded it digitally on a two-disk album, ''The Birth of Rhapsody in Blue'' (Musicmasters LP 20113X/ 14T; cassette 40113-4; CD 60113-4). Mr. Peress's reconstruction was the first live performance of the concert since 1924, but a recorded reconstruction using records of the period, primarily by the Whiteman Orchestra, with Zez Confrey as himself and George Gershwin as the soloist in the ''Rhapsody,'' was produced in 1981 for the Smithsonian Institution by Martin Williams and J.R. Taylor -''An Experiment in Modern Music: Paul Whiteman at Aeolian Hall.'' (The Smithsonian Collection R028, Smithsonian Customer Service, P.O. Box 10230, Des Moines, Iowa, 50336). Both sets have some exclusive merits - the Smithsonian has Gershwin and Confrey, Mr. Peress's version is digitally recorded and, thanks to vagueness in the original printed program about some of Confrey's selections (''Medley of Popular Airs'' and an untraced title, ''Ice Cream and Art'') Mr. Hyman has the leeway to play an uncharacteristic but charming group of mood pieces by Confrey, ''Three Little Oddities.''
But the two collections complement each other so well that they are most interesting when heard in tandem. The Smithsonian's period records have nuances of style that Mr. Peress's musicians sometimes smooth over or characteristics of the period that Mr. Peress chooses to ignore (a vocal group singing ''So This Is Venice,'' a pop-song version of ''Carnival of Venice,'' using an Italian ''Long Gy-land'' accent). But Mr. Peress's recordings have a full, concert hall sound that the acoustically recorded disks of the 1920's cannot match, although some of the Whiteman records of the early 20's are surprisingly good.
A consistent difference between the Whiteman orchestra and Mr. Peress's recordings is the background of the members of the two groups. The musicians in Mr. Peress's orchestra have grown up listening to jazz and playing jazz, although not exclusively. Whiteman's musicians, on the other hand, may have had some awareness of jazz for five or six years, but it was not basic to their musical lives. Primarily they played Whiteman's strict-tempo dance music.
In his album's notes, Mr. Peress tries to suggest a familiarity on the part of Whiteman and his musicians with the music of Duke Ellington, whose band was playing at the Kentucky Club only a few blocks from Whiteman's base, the Palais Royale, and of Fletcher Henderson's orchestra, which was also nearby at Roseland.
But by early 1924, neither of these bands was playing much that would be instructive to the Whiteman band. Ellington was still essentially a stride pianist, and his orchestral style was barely beginning to germinate. The Henderson band had Coleman Hawkins in its saxophone section, but he was still playing slap-tongue solos that were not too far removed from ''Livery Stable Blues.'' It was not until Louis Armstrong joined the Henderson band eight months after the Aeolian Hall concert that Henderson's men began to pick up the jazz attack that Armstrong brought with him from Chicago and New Orleans.
Taken in this context, the jazz touches of some of Whiteman's musicians are remarkably good. A trombonist, Roy Maxon, plays a sly stop-time solo on Whiteman's ''Mama Loves Papa,'' a solo that becomes broader and more deliberately swinging when Dave Bargeron plays it with the Peress band. Ross Gorman, Whiteman's reed virtuoso, who had 10 instruments stacked around him at Aeolian Hall, plays alto saxophone solos in the jaunty, flying style of Rudy Wiedoft, which is emulated by Walt Levinsky for Mr. Peress.
In a segment of the concert titled ''Adaptation of Standard Selections to Dance Rhythm,'' one of many devices Whiteman used to break up his program, Gorman played a heckelphone, a rich-toned baritone double reed instrument, on Rudolf Friml's ''Chansonette.'' Mr. Peress managed to find a heckelphone and a heckelphone player, Andrew Shreeves, to follow in Gorman's footsteps.
The developments in recording techniques since 1924 give a translucency to the Peress recordings that is missing in Whiteman's. Although the banjo player, Mike Pingatore, was a special favorite in Whiteman's band, he is not as apparent in the recordings as Eddy Davis, whose banjo floats through many of Mr. Peress's performances, adding subtle touches that may have been present in the Whiteman band but did not come through on the records. Mr. Davis also has a chance to build up ''Linger Awhile'' as a banjo specialty in the whirlwind manner of Eddie Peabody.
As for ''Rhapsody in Blue,'' the Whiteman version has Gershwin at the piano, but it was recorded to fit on two sides of a 12-inch, 78-rpm record. To do this, cuts had to be made and Gershwin chose to omit almost the entire middle section. Mr. Peress has restored the cuts, some of which, he feels, he has recorded for the first time.
By going back to the original orchestration written for the dance-band instrumentation of Paul Whiteman's Orchestra, we hear a much leaner version of the ''Rhapsody'' than we are accustomed to when symphony orchestras play it. It is also more suitable as a setting for Ivan Davis's positive, sometimes bristling, piano approach, avoiding the clutter of background instruments trying simultaneously to project and stay out of the way.
Another restoration by Mr. Peress is the banjo that was in Ferde Grofe's original orchestration. It adds unanticipated sparkles that give this well-worn piece a delightful freshness. In fact, one of the special pleasures of Mr. Peress's album is its reminders of the virtually-forgotten capabilities of the banjo in the hands of as sensitive a musician as Eddy Davis.
Thanks to the generosity of Nick, here is the 1987 recording of Pale Moon.
Pale Moon is attached. It was recorded in 1987 using the original score held at the Whiteman Archives. The lovely violin obbligato is played by Lamar Alsop, who as well as being the Concert master of the New York City Ballet also moonlighted as a saxophonist with Vince Giordano's Nighthawks.
Vince is also in this band, which was conducted by Maurice Peress. It accurately recreated Paul Whiteman's historic Aeolian Hall Concert of 1924 for a double LP recorded and issued in 1987, from which this track emanates.
Interpr.: Maurice Peress [ld]. Ivan Davis [p]. Dick Hyman [p]. Lamar Alsop [v]. Raymond Kunicki [v]. Andy Stein [v]. Walt Levinsky [cl as ss]. Jack Kripl [ss ts bs fl]. Andrew Shreeves [ob e-hr ...]. Alan Dean [co tp fl-h]. David Bilger [co tp fl-h]. Dave Bargeron [tb ...]. Alan Paph [b tb ...]. Vince Giordano [tu bs]. Eddy Davis [bj]. Chuck Spies [dr ...]. Larry Wolf [p celesta]. David Close [p]. Harold Kohon [v]. Rick Dolan [v]. Alvin Rogers [v]. Eric Degioia [v]. Kenneth Gordon [v]. Regis Iandiorio [v]. George Wozniak [v]. Paul Ingraham [principal]. Alexander Brofsky [h]. Homer Mensch [b].
60 years to the day after he helped introduce Rhapsody in Blue to the world, one Whiteman musician from the Aeolian Hall concert, Kurt Dieterle (vn), also performed in Maurice Peress' first live recreation. It was billed as something like "same day, same time, same block" as the first, and took place at Town Hall in New York at 3 pm on Feb. 12, 1984. If I remember correctly, Kurt took a solo turn on "To A Wild Rose."
At one of Peress' followup concerts (can't remember the date), in Englewood, NJ, I seem to recall that Vince and Andy got a feature spot (on Limehouse Blues?). And the trombonist scored a hit with the crowd when he played the slide whistle on Whispering.
On Feb 12, 1924, a snowy Tuesday in New York City, Paul Whiteman had lunch with Jules Glaenzer, Zez Confrey and George Gershwin. I am sure you all know about Confrey and Gershwin. But who was Jules Glaenzer? He was a Cartier (jewelry) executive, an amateur pianist who hosted dinner, cocktail and opening night parties in his fashionable East 65th Street duplex.
Following the lunch, Whiteman, Gerswhin and Confrey went over to 29-33 West 42nd Street the location of the Aeolian building which housed the 1100-seat Aeolian Hall.
At 3 pm, Paul Whiteman's orchestra presented a concert at 3 pm billed as "An Experiment in Modern American Music." Don Rayno tells us that the concert was a tremendous success.
Almost exactly two months later, on April 11, 1924, "An Experiment in Modern American Music" was presented in Carnegie Hall. Another smashing success.
Whiteman decided to bring the concert to several American and Canadian cities and left New York City on May 14, 1924. Concerts (not dances, except for Cleveland) were presented in Rochester, Buffalo, Pittsburgh, Indianapolis, Louisville, Cincinnati, St. Louis, DesMoines, Davenport, Milwaukee, Chicago, Cleveland, Toledo, Detroit, Toronto , Ottawa, Montreal, and returned home on June 2, 1924.
The Whiteman concert in the Davenport Coliseum was presented on May 23, 1924. At this time, Bix, with the Wolverines, was playing the W.S.G.A. (Women's Self Governmen Association) dance at Indiana University.
The local newspaper, the Davenport Democrat and Leader covered the appearance of the Paul Whiteman orchestra in several issues.
May 14, 1924.
May 18, 1924, p, 19.
May 18, 1924, p, 20.
May 19, 1924.
It will be seen that the program was a bit different than the original program of Feb 12, 1924.
The Benny Meroff Recording Session and "Burlesque."
On Friday, Sep 30, 1927, Rollini's New Yorkers (minus Sylvester Ahola and Eddie Lang) waxed two sides, Just An Hour of Love and I'm Wondering Who. These were issued on OKeh 40192 as by Benny Merof and His Orchestra.
It will be seen that the two tunes were composed by Albert von Tilzer, Peter DeRose (music) and Joe Trent (lyrics), and were part of the Broadway musical Burlesque. According to the IBDB, the production of the musical ran in the Plymouth Theatre from Sep 1, 1927 to Jul 14, 1928. It was a play in three acts produced by Arthur Hopkins, written by George Manker Watters and Arthur Hopkins, featuring songs by Albert von Tilzer, Peter DeRose and Joe Trent; Musical Director: Paul Van Loan. I have been unable to find what other songs were included in the production. One of the notable features of Burlesque is that it had Barbara Stanwick and Oscar Levant in the cast.
The musical Burlesque was the basis for three films. The name and the songs were changed in each successive iteration.
2. Swing High Swing Low. 1937. Starring Fred McMurray and Carole Lombard and with Dorothy Lamour and Anthony Quinn. The songs in the production were: "Swing High, Swing Low" (1937) (uncredited) Music by Burton Lane Lyrics by Ralph Freed Sung by an unidentifed chorus during the opening credits "You're in the Army Now" (uncredited) Traditional Variations in the score several times "Panamania" (1937) (uncredited) Music and Lyrics by Sam Coslow and Al Siegel Performed by Dorothy Lamour "I Hear a Call to Arms" (1937) (uncredited) Music and Lyrics by Sam Coslow and Al Siegel Performed by Carole Lombard with Fred MacMurray (trumpet) and Charles Butterworth (piano) Reprised by Dorothy Lamour at the El Greco nightclub Reprised again by Lombard and MacMurray at the end "Then It Isn't Love" (1937) (uncredited) Music and Lyrics by Leo Robin and Ralph Rainger Performed by Carole Lombard "Bridal Chorus (Here Comes the Bride)" (1850) (uncredited) from "Lohengrin" Written by Richard Wagner Performed by Fred MacMurray (trumpet and vocal) and Charles Butterworth (piano) "Spring Is in the Air" (1937) (uncredited) Music by Charles Kisco Lyrics by Ralph Freed Written for the movie but not sung "Lonely Little Señorita" (1937) (uncredited) Music and Lyrics by Leo Robin and Julian Oliver Written for the movie but not sung "The Black Rooster" (1937) (uncredited) Music and Lyrics by Al Siegel, Phil Boutelje and Charles Kisco Written for the movie but not sung Note the connection to Bix: Al Siegel, husband of Bea Palmer; they were married in Davenport when Bee Palmer appeared in the Columbia Theatre in the Spring of 1921.
In 1929, Brunswick gave Knoxville a try. Knoxville was appealing to them perhaps because the city was respected as a center for the burgeoning country-music market. Even before the landmark Bristol sessions, several Knoxville musicians like Charlie Oaks, George Reneau, and Ted and Mac, had found some success with records made in New York as early as 1924. In Knoxville, Brunswick found a good deal more than country.
In the summer of 1929, several technicians from Brunswick's offices in Muskegon, Mich., unloaded 1,600 pounds of recording equipment at the St. James Hotel to make use of the soundproof studio run by WNOX, the popular station that had been broadcasting from downtown Knoxville for nine years, its signal strong enough in those less-cluttered days to reach across several state lines.
The technicians who helped arrange each recording in Knoxville are remembered, barely, as R. Chaff, H.C. Bradshaw, and W.J. Brown. The guy in the booth was the musical director, Richard Voynow, who some sources suggest was the one who prompted the Knoxville sessions. Voynow was something of a celebrity in jazz circles. He'd been pianist with the original Wolverines, alongside legendary cornettist Bix Beiderbecke. He'd collaborated with songwriter/pianist Hoagy Carmichael, partly credited for the popular song "Riverboat Shuffle."
Word got around. Musicians came from all over to the hotel on Wall Avenue. During that brief period, before Nashville had any reputation for music recording, musicians from across the region, including several from Middle Tennessee, traveled to Knoxville to make records at the St. James. Among them was Nashville's biggest star, Uncle Dave Macon.
A couple of early jazz orchestras recorded there, including Knoxville's biggest big band, Maynard Baird and his Southern Serenaders, representing their party standard, "Postage Stomp." Like most of the others, their selections were a sampling of up-tempo songs they'd been playing for years. The St. James recording of "Postage Stomp" made it onto a Yazoo compilation aptly called Jazz the World Forgot. [Note by AH: also in the Timeless compilation Jazz Is Where You Find It 1924-1930. The Frog CD mentioned above is Territory Bands: What Kind of Rhythm Is That?]
Maynard Baird and His Southern Serenaders (circa 1929): Knoxvilles great jazz-age band on the stage of the original Riviera Theatre. A popular territory band, Bairds group toured all over the country during the 1920s and early 1930s, eventually cutting some hot sides for Brunswick-Vocalion Records during the prolific St. James Hotel Sessions of 1929-30. Band members identified in the photo include Maynard Baird, banjo, Joe Parrott Sr., drums, V.A. Johnston, piano, and junior hoofer Little Jackie Comer, future impresario of the Deane Hill Country Club.
The one recorded by Maynard Baird and Hs Southern Serenaders was composed by someone with last name Hodgson. The flipside of Baird's Sorry is Just for You, and it was composed by Hodgson too. I don't have his first name. Anyone?
That is really fascinating! Too bad there was no sound -- honestly, that was such a "real slice of life" depiction of natural if a little self-conscious behavior of a radio audience -- the fashions were charming; all the hats! Then the hilariously overwrought performance of that dancing little girl, no doubt with her pushy stage mother lurking in the stage wings -- the band was amused, watching her.
I love seeing 1920's "home movie" films made outside of a studio, nothing rehearsed, no professional actors. On youtube there's a college campus home movie filmed by some frat boy with his own camera, showing the students hanging around their fraternity house, going to classes, playfully mugging a little for the camera, their visiting girlfriends on the all-male university hanging out with them, a lot of football practice action, and some very mild harmless hazing of Freshmen. It;s from 1928 -- can't recall the name of the college but if you type in 1920's college movie it should come up.
Those people are jammed into that studio like sardines! Some of them look none too happy. I'll bet the atmosphere was CLOSE. Anyway, it's great to have this silent look at Maynard Baird and his boys in action. It's a reminder that in the late '20s, practically every crossroads in America could field a dance band that played hot.
Back in 1929, a billards concern turned big record company, Brunswick, came to Knoxville from Michigan looking for musical talent. Brunswick had a reputation for scouting out new sounds before they had been discovered. They set up shop in the bustling center of Knoxville, at the WNOX studios. Musical acts flocked from all around to be discovered and recorded, not unlike todays reality talent shows on television. The songs represented a variety of genres, everything from hill music to the new and scandalous "blues." Up until that point, Knoxville had mainly been known for Great Harp singing, an interesting form that is currently enjoying an unlikely revival. In all, around 100 songs we recorded. They weren't widely distributed and most went widely unheard until they were digitized. Our concern here, though, isn't the music that was made in the studio, rather the building in which the studio was housed. If one is so inclined, most of the songs that were recorded from 1929-1930 during the St. James sessions can be heard here:
Included are the four issued recordings by Maynard Baird and His Orchestra. Listen to Just for You. www.lynnpoint.com/mp3/st_james/maynard_baird_just_for_you.mp3 I think the trumpet player must have been listening carefully to Bix. Don't you? I already mentioned the Bixian obbligatos in Sorry. All the musicians were at the level of the best guys in Chicago or New York. Great solos, breaks, little phrases, excellent, imaginative arrangements. Great stuff!!.
Glenda writes, "Attached is a post card image of the St. James Hotel, at the north eastern end of Market Square in downtown Knoxville. I'm sure Brad Kay will be reassured to see that the post card proudly proclaims that the hotel is FIREPROOF. No need for the fire marshall to stay up late worrying about all that hot music at Knoxville's finest hotel!"
This message has been edited by ahaim on Oct 20, 2012 4:36 AM
I agree. I think all the players in that band had done some listening to the Bix and Tram recordings, and they had come up with a sophisticated arrangement that showed off their hot soloists well. The trombonist seems to have been influenced by Miff Mole and was an especially able improvisor who would have fit in with Pollack or Selvin or the other New York bands.
Thanks for these entries. They prove the truth of the "iceberg effect." Hot jazz was being played all over--thanks to the recording industry and radio, and this trumpet player certainly had studied his Beiderbecke just as Bix studied LaRocca a decade earlier. Bix lived--in Knoxville in 1928.
I am certain that you are all familiar with Bix Beiderbecke's last recording session. It took place in the Victor Record Studio 2 on 24th Street, New York City, on Sep 15, 1930. Hoagy Carmichael was the band leader and L. L. Watson the Recording Director. Three tunes were waxed at that session: Georgia On My Mind, One Night in Havana, and Bessie Couldn't Help It. Bix participated in the first and third numbers, but not in the second, One Night in Havana.
I wish to discuss here One Night in Havana, a composition by Hoagy Carmichael and Raymond Porter. In a letter to a man named Tom, Hoagy wrote "After graduating from school--L.L.B. I went to Florida to practice law. Did well but certain things didn't pan out right so I returned to Indianapolis and practiced there for awhile. Before leaving Fla. I made a trip to Cuba and the music I heard down there inspired me to write "One Night in Havana". This tune had lots of merit at that time and was one of the first attempts at Rumba in this country but the tune got kicked around something awful. Warings made a marvelous concert record of it with all the rhumba licks but Victor wouldn't release it."
Hoagy copyrighted the song on Jan 5, 1928.
In addition to the 1930 recording, Hoagy Carmichael recorded One Night in Havana three times in the 1920s.
1. Oct 28, 1927, Gennett Studios, Richmond, IN. Hoagy Carmichael and His Pals. Matrix number 13183 Issued as Gennett 6311. [The flipside was Stardust, recorded on Oct 31, 1927.]
2. May 2, 1928, Gennett Studios, Richmond, IN.Carmichaels Collegians. Matrix number 13726 unissued.
3. Feb 19, 1929, Victor Studios, Chicago, IL. Hoagy Carmichael and His Orchestra. Matrix number 48899 unissued at the time. Issued in the Sunbeam Bix set.
You can see (hear) that the two versions are totally different. Some of the rhythm in the 1927 recording reminds me of that in Washboard Blues.
One of the most interesting aspects of the 1927 recording is the roster of musicians.
Andy Secrest, cornet, Bob Mayhew, clarinet; Tommy Dorsey, trombone; Jimmy Dorsey, clarinet, alto sax; Nye Mayhew, tenor sax; Mischa Russell, violin, guitar, brass bass, drums. It will be seen that the majority of the musicians were members of the Paul Whiteman orchestra at the time. How did this come about?
At the end of September 1927, the Paul Whiteman orchestra went on a extended tour. In September-October 1927, the band gave concerts in Boston, Buffalo, Detroit, Cincinnati, Indianapolis, St Louis. The dates of interest are Oct 27 and 28, 1927. Two important events took place on Oct 27, Bix and Tram joined the Whiteman organization in Indianapolis, and Paul Whiteman met Hoagy Carmichael. Hoagy played Washboard Blues for Whiteman. Whiteman liked what he heard and assigned Bill Challis the task of making an arrangement for a recording session in Chicago in November. Washboard Blues was recorded by Whiteman on Nov 18, 1927 with Hoagy on piano and vocal and Bix on cornet, the first recording session of Bix with Whiteman. On Oct 28, 1927 Whitemans engagement at the Indiana Theatre in Indianapolis ended and all the musicians left to open at the Ambassador Theatre in St. Louis on Oct 29, 1927. Evidently, the Dorsey Brothers, the Mayhew Brothers and Mischa Russell must have gone to Richmond before the evening concert on Oct 28 and made the recording of One Night in Havana. The distance between Indianapolis and Richmond is about 70 miles. Thus, it was quite feasible for the Whiteman musicians to go to Richmond, record two numbers (the other was One Last Kiss, rejected, but available in the LP "Tommy Dorsey, Trumpets and Trombones, VolumeI.") and be back to Indianapolis on time for the evening concert at the Indiana Theater.
This message has been edited by ahaim on Oct 17, 2012 5:00 PM
On this 1930 Victor session, nobody was aware of course at the time that this was to have been Bix's very last recording session of all. Otherwise Hoagy would have made much more use of him on that September day. On "Georgia" surely Bix would have been allocated the 16 bars rather than Ray Lodwig. Likewise, he would have been featured more on "Bessie". But every time I listen to "One Night in Havana" I'm hoping I can hear Bix somewhere in the background, perhaps doodling a note or two here and there as he does on "Alabammy Snow". But no, alas, it never happens. According to Evans and Evans, the afternoon session lasted from 2.15 to 5.10. That would allow approximately one hour for each of the three selections. As "Havana" was cut secondly, did Bix stay in the studio? Or did he take a stroll down the street for some coffee or even something a little stronger in a nearby speakeasy?
Ken, I think everyone except perhaps Ray Lodwig's descendants would have been happy to have heard any of the excellent soloists in the room play that solo in "Georgia" instead. However, since there is some question about how Bix was feeling that day, perhaps Hoagy gave it to Ray to spare Bix's lip or feelings. Teagarden's solo is a wonderful lead-in to Bix's memorable closing solo in an important part of the arrangement.
On "Bessie," I wonder if Teagarden took the opening melody statement for the same reason. Granted, Hoagy had an abundance of riches in that studio and was likely hard pressed to give them all their moment.
As for "Havana," (IMHO), Bix's absence is sadly missed. As Hoagy said about Bix that day, "he really lifted the music." "One Night in Havana" could have done with a lift.