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The Recordings
Appendix: The Recordings These are the URLs of the original locations where I found the recordings used in this book. Those without a URL came from a cassette tape, LP or CD in my personal collection, or from now-defunct YouTube or Grooveshark web pages. I had many of the other recordings in my collection already, but searched for online sources to allow the reader to hear what I heard when writing the book. Naturally, these posted “videos” will disappear over time, although most of them then re- appear six months or a year later with a new URL. If you can’t find an alternate location, send me an e-mail and let me know. In the meantime, I have provided low-level mp3 files of the tracks that are not available or that I have modified in pitch or speed in private listening vaults where they can be heard. This way, the entire book can be verified by listening to the same re- cordings and works that I heard. For locations of these private sound vaults, please e-mail me and I will send you the links. They are not to be shared or downloaded, and the selections therein are only identified by their numbers from the complete list given below. Chapter I: 0001. Maple Leaf Rag (Joplin)/Scott Joplin, piano roll (1916) listen at: http://www.youtube.com/watch?v=9E5iehuiYdQ 0002. Charleston Rag (a.k.a. Echoes of Africa)(Blake)/Eubie Blake, piano (1969) listen at: https://www.youtube.com/watch?v=R7oQfRGUOnU 0003. Stars and Stripes Forever (John Philip Sousa, arr. -
Tommy Dorsey 1 9
Glenn Miller Archives TOMMY DORSEY 1 9 3 5 Prepared by: DENNIS M. SPRAGG Chronology Part 1 - Chapter 1 Updated February 5, 2021 “I’ll Never Say Never Again” “The Brothers” Jimmy and Tommy Dorsey The Dorsey Brothers’ Orchestra opened at the Glen Island Casino, New Rochelle, New York on May 15, 1935. Many celebrities attended the successful opening night and the band was in top form. All signs pointed to a successful summer season and further sales of more records. In addition, the Glen Island Casino was wired for numerous nationwide radio broadcasts. However, an undercurrent of tension existed between the brothers. May 30, 1935, during the Decoration Day holiday weekend (now known as Memorial Day), the situation came to a head. As Tommy led the band into the tune “I’ll Never Say “Never Again” Again”, the vocal trio of Roc Hillman, Skeets Herfurt and Don Matteson were approaching the microphone. They remembered hearing Jimmy say something like “Hey, Mac, that’s a little fast, isn’t it?” Tommy reportedly replied, “You want to take over? It’s all yours” and he walked off the bandstand before the audience at the Glen Island Casino. By late July Tommy reluctantly returned to finish the engagement with Jimmy and the band at the urging of Tommy Rockwell and a threat by Michael DeZutter, owner of the Glen Island Casino, to nullify the Dorsey Brothers’ Orchestra contract for the remainder of the engagement. Cork O’Keefe unsuccessfully tried to reconcile the brothers. Tommy refused to work with his brother and the Dorsey Brothers’ Orchestra became Jimmy Dorsey and his Orchestra. -
VIDO MUSSO Discography Thanks to Daniel Gugolz, Bob Sunenblick and Leo T
VIDO MUSSO Discography Thanks to Daniel Gugolz, Bob Sunenblick and Leo T. Sullivan for Research Assistance Vido Musso, tenor saxophone on all tracks: Benny Goodman (cl) and His Orchestra: Pee Wee Erwin, Sterling Rose, Gordon Griffin, tpts; Red Ballard, Murray McEachern, trbs; Hymie Schertzer, Bill DePew, as; Dick Clark, Arthur Rollini, ts; Jess Stacy, pno; Alan Reuss, gtr; Harry Goodman, sb; Gene Krupa, dms; Fletcher Henderson, arr*; Jimmy Mundy, arr**; Helen Ward, vcl*** Hollywood, CA, August 21, 1936 97748-1 St. Louis Blues* Victor 25411 97750-1 Love Me or Leave Me* Victor 25406 97751-2 Bugle Call Rag Victor LP LPM-10022 Teddy Wilson (pno) and His Orchestra: Gordon Griffin, tpt; Benny Goodman, cl*; Alan Reuss, gtr; Harry Goodman, sb; Gene Krupa, dms; Lionel Hampton, vibes; Helen Ward (as Vera Lane), vcl**; Red Harper, vcl*** Los Angeles, August 24, 1936 LA-1158-A You Came To My Rescue*/** Brunswick 7739 LA-1159-A Here's Love In Your Eyes*/** - LA-1160-A You Turned The Tables On Me*** Brunswick 7736 LA-1161-A Sing, Baby, Sing*** - Benny Goodman (cl/as#) and His Orchestra: Gordon Griffin, Zeke Zarchy, Ziggy Elman, tpts; Red Ballard, Murray McEachern, trbs; Hymie Schertzer, Bill DePew, as; Arthur Rollini, ts; Jess Stacy, pno; Alan Reuss, gtr; Harry Goodman, sb; Gene Krupa, dms; Fletcher Henderson, arr*; Jimmy Mundy, arr**; Helen Ward, vcl*** New York City, October 7, 1936 0798-1 When a Lady Meets a Gentleman Down South*** Victor 25434 0799-1 You're Giving Me a Song and Dance*** - 02101-1 Organ Grinder's Swing Victor 25442 02102-1 Peter -
Swing Era Music
John Buchanan presents A JOURNEY THROUGH THE GREAT MUSIC OF THE SSWWIINNGG EERRAA 1937 – 1940 Volume 1 CD 2 The Bunny Berigan orchestra came into existence on April Fool’s Day 1937 and over the next two years they partic - ipated in twenty-two recording sessions for Victor. For almost a year it represented the most stable band Bunny ever fronted. Favourable reviews of Bunny’s records appeared lavishly throughout newspaper columns as well as in the usual trade papers. On the 7 August he chose to record, for the third time, a Vernon Duke tune with lyrics by Ira Gershwin, a tune that was destined to become his greatest hit and his theme song. The tune was “I Can’t Get Started”, one that he had recorded twice previously, but it was this extended four minute forty second version that he recorded with his full orchestra in August 1937 that took off. Bunny Berigan and his Orchestra New York 7 August 1937 Victor Bunny Berigan (t, voc) Irving Goodman, Steve Lipkins (t) Al George, Sonny Lee (tb) Mike Doty, Joe Dixon (cl, as) Clyde Rounds, Georgie Auld (ts) Joe Lippman (p) Tom Morgan (g) Hank Wayland (sb) George Wettling (d) Gail Reese (voc) Joe Lippman (arr) 1. I CAN’T GET STARTED (4:40) (Duke-Gershwin) vocal BB arr JL Life Magazine, the most popular magazine in the country at the time, was planning a photo feature on the Goodman phenomenon for its regular feature ‘Life Goes To A Party’. On 16 October, shortly after the band took up their three month stay at the Pennsylvania Hotel, the magazine sent their photographer to the Madhatten Room where he successfully captured the atmosphere of a Saturday evening of dining and dancing. -
Great Escape Vol. 30
THE GREAT ESCAPE!* ♪ *“Anything that is good jazz is a great escape. When you’re involved in playing or listening to great jazz, no one can get to you.” -Woody Herman Issue No 30 Presented by: www.dixieswing.com Our 30th Issue! The Story of Three Trumpet Players By Browser Joe Carlton Here are thumbnail sketches of three lesser known In his later years, Jimmy picked up the bagpipes and often trumpet players. This is not about the likes of Harry James, appeared playing them in New York City's St. Patrick's Day's Charlie Spivak or Louis Armstrong. It's about some of the parade. So, this was the life of a skilled trumpeter who had guys who paid their dues mostly in section work, two of an appealing tone but who lost his way as he aged. whom later becoming better known but of one who Harry Aaron Finkelman is the second of these three didn't. Thanks to Google and Wikipedia, I am able to tell you trumpet players. He picked up a catchy first name and at least, part of their stories. One of them made it and then shortened his last name, all of which gave him the stage faded away, never to return and another of who made it and name of Ziggy Elman. Born in 1914, at an early age he then disappeared only to return and one of them was really played for Jewish weddings and in their clubs. He joined great but got little acclaim. Benny Goodman at the age of 22 in 1936. -
A Portrait of Glenn Miller
A PORTRAIT OF GLENN MILLER Alton Glenn Miller (1904-1944) Produced by: DENNIS M. SPRAGG Updated April 2018 1 Alton Glenn Miller, 1904-1944 Produced by Dennis M. Spragg, with commentary from the GMA George T. Simon (1912-2001) Collection and Papers, Edward F. Polic Papers and Christopher Way Collection. Foreword By Harry Lillis “Bing” Crosby (1904-1977) “As the years go by, I am increasingly grateful that I was a tiny part of the era of the great swing bands. This was the golden age of popular music for me. They were all great, but I have to think that the Glenn Miller band was the greatest. Unlike so many of the others, Glenn was not a virtuoso instrumental soloist. And so instead of his horn he did it with great personnel and innovative harmonic experiments producing a sound that was his and his alone. Glenn employed a harmonization that was new and vastly different. If I even attempted a description of what he did, I would be immediately adrift. I think it was the way he voiced his instruments. It was just beautiful. And when you heard the sound, it was recognizable and memorable. It was just Glenn Miller. Glenn as a person was just as memorable. He was a very good personal friend, from the early days on, ever since he performed on some of the records I made with the Dorsey Brothers Orchestra during the early stages of my career. During World War II we were united for the last time, when I sang in London with his great AAF Orchestra. -
Introduction
Introduction Welcome to “The Greatest Hits Explained”. My name is Michael Winter and I’m the host and editor of the show. I’m a German American passionate music lover and if you’re one, too, ready to dive deep into the world of music history with me, awesome. No matter where you are on this beautiful planet, no matter what time zone you’re in or what you’re doing right now (maybe you’re in your car, maybe on a train, a plane, in your home or in the gym) – I’m glad you’re here and I’m really looking forward to this journey together. This show is not directed at people in a specific country – rather, it is a show that will hopefully find you on any of the 7 continents Asia, Africa, Europe, Australia, North America, South America or even Antarctica. Just drop me a note from one music lover to another – I hope to hear from all of you. Always remember that music is one of the major positive forces that connects us all as it doesn’t know any borders. Today, we’re gonna talk about one of the most recognizable popular songs and big band titles ever recorded: “In The Mood” by Glen Miller. And while the center of this episode is the song itself, you’ll hear me explore Glen Miller’s life and a number of interesting details about some of his contemporaries as well. That’s how I usually approach things – by picking a memorable song that made history and then I not only analyze the song but everything around it, too, with a noticeable German accent. -
A Portrait of Tommy Dorsey
A PORTRAIT OF TOMMY DORSEY Prepared by Dennis M. Spragg Glenn Miller Archive Updated April 21, 2015 1 THE TALENTED AND TEMPERAMENTAL TD Although he celebrated his birthday as November 19, 1905, according to Schuylkill County records, Thomas Francis “Tommy” Dorsey, Jr. was born November 27, 1905 in Mahanoy Plane, a small town outside Shenandoah, Pennsylvania, the second son of Thomas Francis “Pop” Dorsey (born 1872) and Theresa “Tess” Langton (married 1901), Americans of Irish ancestry. Their firstborn son was James Francis “Jimmy” Dorsey, born February 29, 1904. The Dorsey couple bore two additional offspring, Mary, born 1907 and Edward, born 1911. Edward only lived to the age of three. Shenandoah was located in the heart of Pennsylvania coal country. Coal miner Pop Dorsey was once quoted as saying; “I would do anything to keep my sons out of the mines”. The Dorsey parents were interested in music and musically inclined. They saw music as a path for their sons to escape what they considered the “dead-end” future of coal mining. Pop and Tess Dorsey instilled a love of music in their sons. The father favored the cornet as an instrument and his sons fought over who would play it better. Ultimately, Jimmy Dorsey would gravitate to reed instruments and Tommy Dorsey to brass instruments. As children, the sons played in local parades and concerts. As they grew into adolescence, the brothers took nonmusical jobs to supplement the Dorsey family income. Young Tommy worked as a delivery boy. In 1920, the family moved to Lansford, Pennsylvania, where Pop Dorsey became leader of the municipal band and a music teacher. -
Those Benny Goodman Stories by Bob Knack Benny Goodman Walks Onto a European Stage for a Was Supposed to Be for Three Weeks but Turned Into Several Concert
THE GREAT ESCAPE! ♪ *“Anything that is good jazz is a great escape. When you’re involved in playing or listening to great jazz, no one can get to you.” -Woody Herman Issue #10 September/October 2008 Presented by www.dixieswing.com Those Benny Goodman Stories by Bob Knack Benny Goodman walks onto a European stage for a was supposed to be for three weeks but turned into several concert. His fly is open. months. It’s where Teddy Wilson joined them to complete the Benny Goodman Trio with Gene Krupa on drums. Monday Bill Harris asks, “Why is Benny’s fly open?” night was an off night for Benny but the music continued with Jack Sheldon replies, “In case he has to count to Bill Hogan’s band. That group featured Richard Maltby on lead eleven.” trumpet, who would later write only one chart for Benny. The tune, “Six Flats Unfurnished,” was unusual in that Goodman For years, fans of the big bands have been hearing didn’t get a solo. Maybe that’s why Benny didn’t let him do those funny stories about the eccentric, preoccupied, frugal another one. and sometimes ill-mannered Benny Goodman. The one you’ve The late WGN Radio broadcaster and Browser Len all heard, of course, is when Benny jumped into a taxicab, Johnson told this most likely apocryphal BG story. It seems looked at the driver and after a long moment of silence asked there was an arrangement in the Goodman book involving a him, “What do I owe you?” Following are a few that perhaps clarinet ensemble with Benny and the whole reed section. -
THE JERRY GRAY STORY – 1955-1960 [Updated Jun 15, 2018 – Version JG.008E]
THE JERRY GRAY STORY – 1955-1960 [Updated Jun 15, 2018 – Version JG.008e] Circa 1955: Jerry Gray and his Band of Today, with Linda Lee. AFRS/AFRTS Series EN-315. Jerry Gray appeared on at least six programs of this Series. He was interviewed on at least three of these programs, likely at the Hollywood Palladium. Bud Widom was a disc jockey/interviewer on this Series. It is unknown whether the versions of the Jerry Gray recordings used were the original Decca commercial releases or other versions. Buds Bandwagon was a 30-minute record program produced and hosted by Bud Widom. There were approximately 655 programs distributed by AFRS/AFRTS. The Billboard, Jun 4, 1955, Page 18: 3 AFRS Live Segs Axed for Economy HOLLYWOOD, May 28. – A move to eliminate all Armed Forces Radio Service productions that emanate live this week resulted in the termination of contracts of three civilian AFRS employees, disc jockey Bud Widom, sports announcer Fred Hessler, and Dave Young, announcer-narrator. Move reportedly came as a result of a recent government order to “effect a drastic budget cut,” with possible future plans of eliminating commercial AFRS shows. Widom, best known of the trio, conducted a successful disk jockey show for AFRS for the past four years, “Bud’s Bandwagon.” _______________ The Billboard, Jul 23, 1955, Page 3: Bernstein, Widom Set Up B&W Outfit HOLLYWOOD, July 16. – B&W Productions was formed here this week by packager Bud Widom and producer Richard Bernstein. First show, “Bud’s Bandwagon,” a five-day, 15-minute Hollywood interview and news strip, is now being packaged. -
BIG BAWD Jim P
IN THIS ISSUE: ♦ An in-person interview with ♦ LETTERS TO THE EDITOR FRANK TIBERI with comments about BBJ - LOUIE PRIMA - IN THE ♦ A mini-bio of JIMMY CRAWFORD MOOD and more ♦ The history of the STARLITE BALLROOM in Hershey, PA ♦ Information about some BIG BATTLES OF THE BANDS BAWD ♦ Star Statement TRIVIA QUIZ jim p ♦ Sidelight stories about ZUTTY SINGLETON - ERNIE SCHAFF - NEWSLETTER JUAN TIZOL and others BIG BAND JUMP NEWSLETTER FIRST-CLASS MAIL Box 52252 U.S. POSTAGE Atlanta, GA 30355 PAID Atlanta, GA Permit No. 2022 BIG b a n d NEWSLETTER VOLUME LIX BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1998 F R A N K T IB E R I IN T E R V IE W The Background Reed man Frank Tiberi has been leading the Woody Herman Orchestra since Woody’s death in 1987, and for brief periods before that when Woody was ill and could not appear. He had been a sideman with the Herman organization since 1969, and because of his long tenure, was a logical choice to direct the current Herman orchestra. Frank was also a fan and a friend as well as a sideman. The year Woody died, Frank Tiberi was quoted as saying of Woody, “He always had an old-fashioned kind of loyalty which you don’t always find in people of his stature. I felt that intimacy that we had. He was also a damn good player. He was the best lead alto player, and he could really ‘slurp’ on the alto. Of course, Johnny Hodges was his mentor. -
Chilowicz Sauter Thesis
©2013 Alex Chilowicz ALL RIGHTS RESERVED A Career Retrospective of Eddie Sauter, Jazz’s Overlooked Composer and Innovator By Alex Chilowicz A Thesis Submitted to the Graduate School-Newark Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research written under the direction of Dr. Lewis Porter and approved by ______________________________________ ______________________________________ Newark, New Jersey May, 2013 ABSTRACT OF THESIS A Career Retrospective of Eddie Sauter, Jazz’s Overlooked Composer and Innovator By Alex Chilowicz Thesis Director: Dr. Lewis Porter With a career that spanned nearly four decades during the height of jazz’s popularity, Eddie Sauter contributed arrangements and compositions to some of the most significant jazz groups in the music’s history. Through his unique style, his constant desire to expand upon his compositional prowess through studies with various classical composers, and his general willingness to experiment with unusual melodic and harmonic gestures, Sauter produced music vastly different from that of most of his contemporaries. It is for this reason that the pensive composer was deemed “twenty years ahead of his time” by several critics of the day. As the chief architect for much of Red Norvo’s songbook in the 1930s, dozens of arrangements and compositions for Benny Goodman in the early 1940s, creative originals for Ray McKinley in the late 1940s, a unique repertoire with co- conspirator Bill Finegan in their jointly led “expanded” big band of the 1950s, and a handful of gems for Stan Getz with orchestral accompaniment in the 1960s, “prolific” barely begins to describe the output of Eddie Sauter.