DOCSLIB.ORG

Benny Goodman Hits of the Swing Craze Volume 9 (1936-1939) Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Benny Goodman Hits of the Swing Craze Volume 9 (1936-1939) Mp3, Flac, Wma Benny Goodman Hits Of The Swing Craze Volume 9 (1936-1939) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Hits Of The Swing Craze Volume 9 (1936-1939) Country: France Released: 1973 Style: Big Band MP3 version RAR size: 1709 mb FLAC version RAR size: 1398 mb WMA version RAR size: 1866 mb Rating: 4.3 Votes: 561 Other Formats: AIFF MMF AAC WAV MOD VQF ADX Tracklist Hide Credits Pick Yourself Up A1 2:51 Written-By – Dorothy Fields, Jerome Kern St. Louis Blues A2 3:20 Arranged By – Fletcher HendersonWritten-By – William Christopher Handy* Love Me Or Leave Me A3 3:36 Arranged By – Fletcher HendersonWritten-By – Gus Kahn, Walter Donaldson Ruffin' At The Ritz A4 3:24 Written-By, Arranged By – William Miller* Bugle Call Rag A5 2:56 Arranged By – Fletcher HendersonWritten-By – B. Meyers*, E. Schoebel*, J. Pettis* Minnie The Moocher's Wedding Day A6 2:57 Arranged By – Fletcher HendersonWritten-By – Harold Arlen, Ted Koehler I Never Knew A7 2:20 Arranged By – Fletcher HendersonWritten-By – Gus Kahn, Ted Fiorito Sweet Sue, Just You A8 3:26 Written-By – Victor Young, Will J. Harris* The Flat Foot Floogee B1 3:18 Arranged By – Joe BelfordWritten-By – Bud Green, Slam Stewart, Slim Gaillard Margie B2 2:10 Arranged By – James Mundy*Written-By – B. Davis*, C. Conrad*, J. R. Robinson* Russian Lullaby B3 2:22 Written-By – Irving Berlin Topsy B4 2:57 Written-By – Eddie Durham, Edgar Battle My Honey's Lovin' Arms B5 2:25 Arranged By – Fletcher HendersonWritten-By – Herman Ruby, Joseph Meyer Farewell Blues B6 2:11 Arranged By – James Mundy*Written-By – E. Schoebel*, L. Rappolo*, P. Mares* I'll Always Be In Love With You B7 3:03 Arranged By – Fletcher HendersonWritten-By – Bud Green, Herman Ruby, Sam H. Stept Who'll Buy My Bublitchki? (The Pretzel Vendor Song) B8 2:50 Written-By – Gregory Stone, Lester O'Keefe Companies, etc. Printed By – A.R.E.A.C.E.M. Credits Alto Saxophone – Benny Goodman (tracks: A4), Bill Depew (tracks: A1 to A5), Dave Matthews (tracks: A7 to B7), George Koenig (tracks: A6), Hymie Schertzer (tracks: A1 to A6, B8), Milt Yaner (tracks: A7 to A8), Noni Bernardi (tracks: B1 to B8) Bass – Harry Goodman Clarinet – Benny Goodman (tracks: A1 to A3, A5 to B8) Drums – Budy Schutz* (tracks: B5 to B7), Dave Tough (tracks: A7 to B3), Gene Krupa (tracks: A1 to A6), Lionel Hampton (tracks: B4, B8) Guitar – Allan Reuss (tracks: A1 to A6), Ben Heller (tracks: A7 to B8) Liner Notes – Pierre Lafargue Piano – Jess Stacy (tracks: A2 to B8) Reissue Producer – Jean-Paul Guiter Tenor Saxophone – Arthur Rollini, Bud Freeman (tracks: A7 to B6), Dick Clark (tracks: A1 to A3), Jerry Jerome (tracks: B7 to B8), Vido Musso (tracks: A2 to A6) Translated By – Don Waterhouse Trombone – Bruce Squires (tracks: B8), Murray McEachern (tracks: A1 to A6), Red Ballard, Vernon Brown (tracks: A7 to B8) Trumpet – Gordon "Chris" Griffin*, Corky Cornelius* (tracks: B8), Harry James (tracks: A6 to B7), Manny Klein (tracks: A1), Pee Wee Erwin (tracks: A1 to A3), Sterling Bose (tracks: A2 to A3), Zeke Zarchey* (tracks: A5), Ziggy Elman (tracks: A5 to B8) Notes front cover says 741 102 back cover says 741102 label says 741.102 "Note: Saxophonists also play clarinet for some arrangements." Track A1: Hollywood, August 13, 1936 Tracks A2 to A3: Hollywood, August 21, 1936 Track A4: New York, October 7, 1936 Track A5: New York, November 5, 1936 Track A6: Hollywood, September 6, 1937 Tracks A7 to A8: New York, April 8, 1938 Track B1: New York, May 31, 1938 Tracks B2 to B3: Chicago, September 14, 1938 Track B4: New York, November 10, 1938 Tracks B5 to B6: New York, November 23, 1938 Track B7: New York, December 15, 1938 Track B8: Chicago, May 4, 1939 Barcode and Other Identifiers Rights Society: SACEM Related Music albums to Hits Of The Swing Craze Volume 9 (1936-1939) by Benny Goodman Fletcher Henderson - 1924 / 1927 Fletcher Henderson - Swing 1929 To 1937 May I Refuse / Mrs. Fletcher - A Split Benny Goodman - Fletcher Henderson Arrangements Fletcher Henderson And His Orchestra - Fletcher Henderson 1931: February to April 1931 Recordings Fletcher B / Fletcher B, Mr. G - Show Dem Yuh Tag / Gully Banks Benny Goodman, Duke Ellington, Bennie Moten, Cab Calloway, Fletcher Henderson, Glenn Miller - Masters Of Swing Guy Fletcher - Guy Fletcher Various - Masters of Swing Guy Fletcher - Turn Me.
Load more

Recommended publications
  • JUKEBOX JAZZ by Ian Muldoon* ______
    JUKEBOX JAZZ by Ian Muldoon* ____________________________________________________ n 1955 Bill Haley’s Rock Around the Clock was the first rock and roll record to become number one on the hit parade. It had made a stunning introduction in I the opening moments to a film called Blackboard Jungle. But at that time my favourite record was one by Lionel Hampton. I was not alone. Me and my three jazz loving friends couldn’t be bothered spending hard-earned cash on rock and roll records. Our quartet consisted of clarinet, drums, bass and vocal. Robert (nickname Orgy) was learning clarinet; Malcolm (Slim) was going to learn drums (which in due course he did under the guidance of Gordon LeCornu, a percussionist and drummer in the days when Sydney still had a thriving show scene); Dave (Bebop) loved the bass; and I was the vocalist a la Joe (Bebop) Lane. We were four of 120 RAAF apprentices undergoing three years boarding school training at Wagga Wagga RAAF Base from 1955-1957. Of course, we never performed together but we dreamt of doing so and luckily, dreaming was not contrary to RAAF regulations. Wearing an official RAAF beret in the style of Thelonious Monk or Dizzy Gillespie, however, was. Thelonious Monk wearing his beret the way Dave (Bebop) wore his… PHOTO CREDIT WILLIAM P GOTTLIEB _________________________________________________________ *Ian Muldoon has been a jazz enthusiast since, as a child, he heard his aunt play Fats Waller and Duke Ellington on the household piano. At around ten years of age he was given a windup record player and a modest supply of steel needles, on which he played his record collection, consisting of two 78s, one featuring Dizzy Gillespie and the other Fats Waller.
    [Show full text]
  • The Victor Black Label Discography
    The Victor Black Label Discography Victor 25000, 26000, 27000 Series John R. Bolig ISBN 978-1-7351787-3-8 ii The Victor Black Label Discography Victor 25000, 26000, 27000 Series John R. Bolig American Discography Project UC Santa Barbara Library © 2017 John R. Bolig. All rights reserved. ii The Victor Discography Series By John R. Bolig The advent of this online discography is a continuation of record descriptions that were compiled by me and published in book form by Allan Sutton, the publisher and owner of Mainspring Press. When undertaking our work, Allan and I were aware of the work started by Ted Fa- gan and Bill Moran, in which they intended to account for every recording made by the Victor Talking Machine Company. We decided to take on what we believed was a more practical approach, one that best met the needs of record collectors. Simply stat- ed, Fagan and Moran were describing recordings that were not necessarily published; I believed record collectors were interested in records that were actually available. We decided to account for records found in Victor catalogs, ones that were purchased and found in homes after 1901 as 78rpm discs, many of which have become highly sought- after collector’s items. The following Victor discographies by John R. Bolig have been published by Main- spring Press: Caruso Records ‐ A History and Discography GEMS – The Victor Light Opera Company Discography The Victor Black Label Discography – 16000 and 17000 Series The Victor Black Label Discography – 18000 and 19000 Series The Victor Black
    [Show full text]
  • Newsletter “In the Can.” for a Memorial Tribute to the Late, Great Jazz Writer & Ambassador, Herb Wong
    THE GREAT ESCAPE!* j *“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. 31 Presented by: www.dixieswing.com Benny’s Busy Day By Browser Bob Knack Transcriptions are 16 inch discs containing music that was not Benny Goodman must have slept well on the night of available on 78s but sold exclusively to radio stations for air-play. June 6th 1935, because he and his band sure had a busy day! Back then, because of the depression, it is said that He and his Rhythm Makers Orchestra went into the studio and in transcriptions actually outsold 78 RPM records. During the one sitting recorded 50 tracks (one a medley of two) for the RCA 1970’s, there was a “direct-to-disc” recording craze where bands transcription service. recorded a “live” session directly to a master disc with no editing The backstory: Benny in 1934 had organized a big band or mixing. Bands such as Harry James, Les Brown, Buddy Rich, for Billy Rose’s Music Hall in New York City. It was run as a and Benny Goodman participated in the production of these supper club with vaudeville acts opening and the Goodman band audiophile LP’s. Fact is Benny’s 1935 transcriptions were the playing for dancing later. A fortuitous aspect of the engagement same as direct-to-disc, and all 50 sides were done with one take! was that a radio broadcast was arranged for the performances So on June 6, Goodman, happy to have the work, went and Benny got some welcome exposure.
    [Show full text]
  • Download Booklet
    120665bk Teddy2 23/1/03 4:47 pm Page 2 1. Sweet Lorraine 3:02 8. Too Good To Be True 3:06 16. Where Or When 3:23 19. Just A Mood (Blue Mood) 6:42 (Cliff Burwell–Mitchell Parish) (Clay Boland) (Richard Rodgers–Lorenz Hart) (Teddy Wilson) Brunswick 7520, mx B 17916-1 Brunswick 7663, mx C 1377-2 Benny Goodman Trio Teddy Wilson Quartet Recorded 31 July 1935, New York Recorded 14 May 1936, Chicago Victor 25725, mx BS 015575-1 Brunswick 7973, mx LA 1429-A, 1430-A 2. Body And Soul 3:30 9. Warmin’ Up 3:11 Recorded 29 October 1937, New York Recorded 5 September 1937, Los Angeles (Johnny Green–Edward Heyman–Robert (Teddy Wilson) 17. Coquette 2:43 20. I’ve Found A New Baby 2:40 Sour–Frank Eyton) Brunswick 7684, mx C 1378-1 (Johnny Green–Gus Kahn–Carmen (Jack Palmer–Spencer Williams) Benny Goodman Trio Recorded 14 May 1936, Chicago Lombardo) Brunswick 7926, mx B 21220-1 Victor 25115, mx BS 92705-1 10. Why Do I Lie To Myself About You 3:04 Brunswick 7943, mx LA 1383-A Recorded 1 June 1937, New York Recorded 13 July 1935, New York (Benny Davis–J. Fred Coots) Recorded 30 July 1937, Los Angeles Teddy Wilson & His Orchestra except: 3. Life Begins When You’re In Love 3:03 Brunswick 7699, mx B 19496-2 18. The Hour Of Parting 3:12 Benny Goodman Trio (tracks 2 &16) and (Lew Brown–Victor Schertzinger–Harry Recorded 30 June 1936, New York (Gus Kahn–Mischa Spoliansky) Teddy Wilson Quartet (track 19) Richman) 11.
    [Show full text]
  • NWWSMS Newsletter for October 2019.Pdf
    Vol. 36 , Issue 10 NorthWest Western Swing Music Society October 2019 PO Box 14003, Mill Creek, WA 98082 Preserving the music that is too country for Jazz Included In This Issue and too jazz for Country 1 Cowboy Chords by Whit Smith Cowboy Chords: An Introduction to Western 4 Western Swing Forum Cherishing the Memories Swing and Its Illustrious Guitarists MARCH 24, 2019 9 The Tommy Duncan Project, by Bob From the May/June 2019 issue of Acoustic Guitar | BY WHIT SMITH Richards New Release: Graham Lees’ Editor’s Note: Our thanks to Ramon autobiography Selby for sharing this article.. We hope you had the opportunity, either 12 Photo highlights of the WSS Festival in here in Seattle at Jazz Alley or at Sacramento the Machinist’s Hall in Sacramento, 13 29th Red Steagall Cowboy Gathering to enjoy the music of Whit Smith and Flyer, Ft. Worth, TX his Hot Club of Cowtown! 2019 Academy of Western Artists 2019 Academy of Western Artists The first Western swing Nomination Information record I heard was Bob Wills 14 Bobby Flores Cruise Information and the Texas Western Swing Time Radio Show P l a y b o y s ’ T i f f a n y Information Transcriptions, Vol.1. I was Bob Wills & the Texas Playboys 15 Bob Wills Fiddle Festival & Contest Flyer immediately amazed and Greenville, TX hooked. I had been listening to Eddie Lang records and other 1920s and 1930s guitar albums by Carl Kress, Dick McDonough, and George Van Eps. Hearing the “Tiffany Transcriptions,” I had In Every Issue an epiphany: I could apply all of my various jazz studies into one dynamic format and start a cool band that lots of people anywhere would like.
    [Show full text]
  • Jazz Guitarists
    List of Jazz Guitarists 1. Blake Aaron 2. Eivind Aarset 3. Rez Abbasi 4. John Abercrombie 5. Paul Abler 6. Steve Abshire 7. Morris Acevedo 8. Bernard Addison 9. Steve Adelson 10. Dan Adler 11. Ron Affif 12. Noel Akchote 13. Jan Akkerman 14. Odd Steinar Albrigtsen 15. Howard Alden 16. Johnny Alegre 17. Oscar Alemán 18. Glenn Alexander 19. Neal Alger 20. Laurindo Almeida 21. Peter Almqvist 22. Frode Alnæs 23. Leonardo Amuedo 24. Chuck Anderson 25. Tuck Andress 26. John Anello Jr 27. Michael Anthony 28. Ron Anthony 29. Marc Antoine 30. Bruce Arnold 31. Irving Ashby 32. Dave Askren 33. Badi Assad 34. Gustavo Assis-Brasil 35. Chet Atkins 36. Erich Avinger B 37. Elek Bacsik 38. Mike Baggetta 39. Derek Bailey (the most radical) 40. Sheryl Bailey (blazing style, need to check out) 41. Bob Bain 42. Clint Baker 43. Duck Baker 44. Matt Balitsaris 45. Dave Barbour 46. A Spencer Barefield 47. Danny Barker 48. Everett Barksdale 49. Junior Barnard 50. George Barnes 51. Jeff Barone 52. Carl Barry 53. John Basile 54. Frode Barth 55. Billy Bauer 56. Billy Bean 57. Gerry Beaudoin 58. Jeff Beck 59. Joe Beck 60. David Becker 61. Jean-Marc Belkadi 62. Robert Bell 63. Roni Ben-Hur 64. George Benson 65. Rolf Berg 66. Gonzalo Bergara 67. Chris Bergson 68. Randy Bernsen’s 69. Peter Bernstein 70. Gene Bertoncini 71. Mads Berven 72. Skeeter Best 73. Ed Bickert 74. Brian Blade 75. Jack Bland 76. Michael Bocian 77. Pascal Bokar 78. Paul Bollenback 79. Luiz Bonfá 80. Perry Botkin Sr 81.
    [Show full text]
  • Benny Goodman's Famous 1938 Carnegie Hall Jazz Concert
    BENNY GOODMAN’S FAMOUS 1938 CARNEGIE HALL JAZZ CONCERT OXFORD STUDIES IN RECORDED JAZZ Series Editor Jeremy Barham Louis Armstrong’s Hot Five and Hot Seven Recordings Brian Harker Th e Studio Recordings of the Miles Davis Quintet, 1965–68 Keith Waters Benny Goodman’s Famous 1938 Carnegie Hall Jazz Concert Catherine Tackley BENNY GOODMAN’S FAMOUS 1938 CARNEGIE HALL JAZZ CONCERT C ATHERINE T ACKLEY 1 1 Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto W i t h o ffi ces in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Th ailand Turkey Ukraine Vietnam Oxford is a registered trade mark of Oxford University Press in the UK and certain other countries. Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, New York 10016 copyright 2012 © Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction rights organization. Inquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above.
    [Show full text]
  • Irving Randolph “Mouse”
    1 The TRUMPET of IRVING RANDOLPH “MOUSE” Solographer: Jan Evensmo Last updated: Feb. 12, 2018 Note: This is a complete solography with comments to all sessions. 2 Born: St. Louis, Missouri, June 22, 1909 Died: NYC. Dec. 10, 1997 Introduction: Irving Randolph was my very good friend, and every time I visited New York, I used to stay with him and his wife Henrietta at their apartment on Hamilton Terrace, close to Columbia University. He was really a prince, a very pleasant personality with so much humour. We had so much fun together, and he taught me to drink Bells whisky, his favourite brand. He is much underrated as a trumpet artist, although at his best in the middle 1930s, he had no peers only equals. Unfortunately he was taken ill in 1939, and he told me that when he returned to music, his embouchure never came back with him. The solography below is basically the one printed as Vol. 12 (1982) in my Jazz Solography series, but now continued until the end of his musical career. History: First professional work with Fate Marable’s Band, then joined Norman Mason’s Carolina Melodists. With drummer Floyd Campbell’s Orchestra (1928), then worked with Alphonso Trent and J. Frank Terry’s Band before joining Andy Kirk from 1931-1933, played occasionally for Fletcher Henderson early in 1934, spell with Benny Carter, then became regular member of Fletcher Henderson’s band from July 1934. Joined Cab Calloway from spring 1935 until late 1939, when he joined Ella Fitzgerald. With Don Redman from May 1943, then Edmond Hall sextet throughout the late 1940s.
    [Show full text]
  • Interview with Jimmy Wyble
    Jimmy Wyble by Jim Carlton www.jimcarlton.com The Amazing Captain C Chord Jimmy Wyble laughingly calls himself “Captain C Chord,” but I think he has the right to call himself Captain Marvel. He’s perhaps the most genuinely humble person I’ve ever talked to although he’s covered more ground musically than any guitarist I can think of. Early in his career he was an integral part of Bob Wills’ famous western swing band, the Texas Playboys. Later, he moved on to enhance the groups of both Benny Goodman and Red Norvo, among others, and like many of his peers spent years as one of Hollywood’s top studio players busily working recording dates, television shows, commercials and film scores. Not only has his jazz playing influenced countless others but his series of original, inventive and atmospheric guitar etudes have fascinated any number of classical artists. Jimmy’s a complete player with a legacy that’s yet to be totally discovered by the guitar world at large. That’s why it’s my pleasure to share a glimpse of, and I hope some insight to, this player who’s one of the world’s finest jazz guitarists. Many guitar-greats consider Jimmy Wyble a genius talent. Jimmy’s a soft-spoken man without pretense or ostentation. His mild- manned demeanor left me with a sense of his being a focused, centered and creative artist who nevertheless seems truly amazed at his own accomplishments. Few players have had such a comprehensive and interesting background and I sincerely believe he looks back fondly at a blessed and satisfying music career.
    [Show full text]
  • Universal to Roll New Pic Onjazz
    N EW S FROM HOLLYWOOD bhhmhhhhhhhhhhhhhmHmrHHHMI VOL. 3, NO. 4 A PRIL, 1945 SIXTEEN PACES Universal to Margaret O'Brien Will Record Roll New Pic Children's Albums for Capitol On Jazz Contracts were being signed as The Capitol went to press which will QELAYED by the strike within the find little Margaret O’Brien recording exclusively for the Capitol label motion picture industry in March, shortly. The diminutive actress, who was awarded a miniature Oscar Henry Blankfort’s production of a statuette at the Academy Awards presentation March 1 5 for being the full-length musical film which em­ “ best child actress of 1944,” has phasizes jazz and several outstand­ never before made records. ing jazz musicians is expected to It was Margaret who walked off with get the green light this month at the picture “ Meet Me in St. Louis,” and Universal with Coleman Hawkins, M il­ again in “ Music for Millions” (both pro­ dred Bailey and Josh W h ite slated for duced by MCM) she won raves for her important spots. masterful acting. Critics describe her as Blankfort, who wrote the screenplay the most gifted juvenile ever to be with Peggy Phillips, revealed that the film ed. picture’s title is “ Hear That Trumpet Capitol will feature Margaret in a Talk." The story concerns five young series of dramatic skits aimed at chil­ Navy men, all musicians who love jazz. dren. Special material is being written John Hoffman w ill be the directo r. for her phenomenal talent, and an or­ chestra will accompany her on the disc- Blankfort, who helped produce the ings, Capitol officials declared.
    [Show full text]
  • Download LEON BERRY “CHU”
    1 The TENORSAX of LEON BERRY “CHU” Solographer: Jan Evensmo Last update: May 30, 2018 2 Born: Wheeling, West Virginia, Sept. 13, 1910 Died: Conneaut, Ohio, Oct. 30, 1941 Introduction: Oslo Jazz Circle may be said to have developed upon the grave of Chu Berry!! From the very beginning he was identified as the most swinging tenorsax player of them all, the center of swing which all jazz revolved around. To be a member of the club, you had to answer correctly to a questionnaire related to his music, no amateurs were allowed to join this very serious association!! Great plans were made to commemorate him, including a statue, first of normal height to be located on a small island in the Molde fiord for the benefit of visitors to the Molde Jazz Festival, but later the vision was upgraded to the size of the Statue of Liberty in New York, with Chu blowing to warn ships in distress when the fog was coming. However, the ideas were not consistent with the new airport in Molde, a large statue would be a danger to air safety. So the plans were buried. For good? Who knows? Chu still deserves a statue, to me he is greater than ever!!! A Chu Berry solography was published in my Jazz Solography Series as Vol. 1 way back in the 1970s. Most of the comments have been left unchanged, but lots of additional material has been discovered since then! History: Came from a musical family, his brother, Nelson, is a tenor sax player. Took up sax after hearing Coleman Hawkins playing on a Fletcher Henderson summer tour.
    [Show full text]
  • Snoozer Quinn
    ©Copyright by Kathryn Damaris Hobgood, 2013 All Rights Reserved ACKNOWLEDGEMENTS Thank you to my Tulane University advising committee, John Baron, John Joyce, and Matt Sakakeeny; and to the friendly Newcomb Department of Music staff, Diane Banfell, Michael Batt, and Kathleen Crago. Thank you to the wonderful staff at the Hogan Jazz Archives, Bruce Raeburn, Lynn Abbott, and Nicole Shibatta; and to my friends at the Louisiana State Museum, Greg Lambousy, Beth Sherwood, and Arthur Smith. Thank you to the National Film Preservation Foundation. This study would not have been possible without the patient guidance of guitarists John Rankin and Chip Henderson. I am grateful. Joe Holland, Don Peterson, Claude Blanchard, Jr., Claudia Lee, Kay Kelly, Sam Brylawski, Jürgen Schwab, and Doug Pomeroy have been invaluable resources. So many others have encouraged me with their interest and given me great boosts in countless ways. The guitarists Leo Kottke, Mundell Lowe, Lloyd Wells, Les Paul, Frank Federico, and Marty Grosz have all been inspirational; special thanks to my buddy Steve Howell for lighting the match. Banjoists Jody Stecher and Steve Baughman, and guitarists John Stropes and Marshall Newman, your advice has been so helpful. Thank you to Mike Peters, Michael Brooks, Guy Van Duser, Tony Russell, Scott Black, Tad and Nancy Kivett, Sue Fischer, David McCain, Karl Koenig, Vince Giordano, George Schmidt, Jack Stewart, Justin Winston, Les Muscutt, Cliff Ocheltree, Don Marquis, George Buck, Charles Chamberlain, Allen Boudreaux, Bob Cassady, Tom Morgan, Dave Raudlaur, Cary Ginnell, Dave Sager, Richard Raichelson, Bill Trumbauer, John Brown, Wiley Hunt, Sara Berensen, Wynona Pollack Mitchell, John Colianni, Rob Hudak, David Garrick, Eric Brock, Joey Kent, and Chris Brown.
    [Show full text]