DOCSLIB.ORG

In This Issue

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
In This Issue H IG H LIG H TS IN THIS ISSUE: Dinah Shore profile Lunceford CD review Georgia Gibbs anecdote FIRST-CLASS MAIL U.S. POSTAGE PAID Atlanta, GA Permit No. 2022 BIG BAND JIMP NEWSLETTER VOLUME 103 BIG BAND JUMP NEWSLETTER ___________MARCH-APRIL 2006 INTERVIEW WITH LES PAUL (Part Two) The Background Last issue Les Paul talked about his early days playing country and western music when he was known as ‘Rhubarb Red,’ then filled us in on his invention of the solid-body guitar, the clever means he devised to meet and work for Bing Crosby and his thrilling experience with ‘Jazz at the Philharmonic.’ The Les Paul life is so rich in both musical and technical achievement, it was necessary to continue his interview to cover events of his later life. In this issue Les Paul talks about his work for Armed Forces Radio Service and V-Discs, his near fatal acci­ dent and his development of multi-track recording. The Les Paul today, surrounded by his electronic devices. first question dealt with Les Paul’s days as a soldier/ musician in the service. very privileged and very grateful for that. BBJ: Tell us about your recollections of your work BBJ: You did a marathon session for V-Discs in with AFRS and some of the specific shows for August of 1945 when you Recorded 32 tunes the armed forces. in a single day. LP: 1 had a trio in the armed forces on the same LP: Oh yeah. That was nothing to do that. We did street that I lived on. I would play for, in the that a lot. Sometimes we were up at six armed forces, Kate Smith, Bob Hope, Bing Crosby, o’clock in the morning and we would go, start sessions, Rudy Vallee, anybody you want to name. Amos & and it would be with Dinah Shore and it would be with Andy....there’s nobody I haven’t played for. That goes Judy Garland. It would be this one and that one....a for Reagan, that goes for Gary Cooper, that goes for lotta ’ singers. And we ’ d run one in and run the next one Laurel & Hardy; just goes for everyone. Played for ‘em in and the next one in and the next day would be all stuff all. Harry James, all of ‘em. for the armed forces with my quartet which I had in the armed forces. Then I played in the band also, so I’m We did “Jubilee,” “Mail Call,” “Command Perfor­ playing with Orson Welles, I’m playing with every­ mance,” all of the best shows. “At Ease.” And they body that you could dream of. So it was just a....it was were all shipped to the forces overseas, and of course a wonderful....V-Discs was very good to us. They that’s where Django would hear Les Paul. That’s swapped the material between the armed forces and V- where Tokyo Rose would get our records and play ‘em Discs. to the troops, telling them to lay down their arms and join the Japanese, and all of that. And so I was around I had another great job and my job was to pick the jazz the world working with the armed forces. It was one of people. Meredith Wilson was my commanding officer the greatest breaks that anybody could ask for. I was and he used to ask me if I would do him that favor and VOLUME 103 BIG BAND JUMP NEWSLETTER MARCH-APRIL 2006 pick ‘em because he didn’t know jazz. It was great to have all the greats like Lester Young, Coleman Hawkins and Ben Webster and you know, Chu Berry, on and on with the tenor men and you’d do the same thing pickin’ five great piano players or the five guitar players or vibes players or clarinet players; Artie Shaw and Benny Goodman and the rest of ‘em. BBJ: Do you like one of your V-Discs above all the others? LP: You know I don’t know. We have so many V- Discs and so many armed forces discs. And look, it goes for my inventions, whether it’s the guitar, whether it’s writing songs, whatever it is, people ask, “What are you most proud of?” And I can’t say I’m proud of any one particular thing any more than the other. At the time when I make something like ALABAMY BOUND or RUNNIN’ WILD or I play something I’m very proud of at that moment, or Mary is very proud of what she’s singin’....HOW HIGH THE MOON, whatever it is, at that moment that is the biggest day. But then four hours later I invent some­ The dashing younger Les Paul thing and that’s the round wheel and that’s what I’m most excited about. do ‘ em right here in my garage and that ’ s too bi g a band and I don’t think I wanna’ go there.” I should have done it. To this day I don’t pay much attention to what people say... .they can say some very nice things and I appreci­ Since then I have recorded some Big Bands: Doc ate them, but I don’t let ‘em get to me where I start Severinsen, Joe Bushkin, a lot of guys in my band here believing how great I am. I never think that way. I like in New Jersey. And I close mic ‘em and I get the to wear my Levis; I just don’t want to be big and greatest sound out of that band. famous. BBJ: Is it true that Helen Forrest kissed you after a BBJ: You have some un-released recordings of Kay recording session? Starr. LP: Yes, she did and so did Ben Bemie! He came LP: Kay Starr and I have hung out together and she out of the control room and ran over and kissed used to come into my backyard and record, and me because of how they liked the way I played. That’s I made some recordings that’re gonna’ be a treat to quite shocking to me, and when Ben Bemie came out release, and put ‘em on the air and let these people hear slobberin’ with that cigar he had....when he came over Kay Starr and Les Paul playing in that garage. You’ll and kissed me, that’s the first GUY that did that to me. appreciate this. Who walks in my back yard but Tex And he kisses me and he said, “Where have you been Beneke. Tex says, “Les, I want to ask a favor of you.” all my life?” He says, “I want you to do my recording dates.” And I says, “Well I can’t do ‘em here in this garage, I BBJ: Back to Helen Forrest. couldn’t get you guys in there.” And he says, “No, you do ‘em at RCA.” And I don’t know to this day why I LP: It was when she was on one of my albums, “Les didn’t do it, other than the fact that I said, “No, I wanna’ Paul and Friends.” It’s the one that’s on 2 VOLUME 103 BIG BAND JUMP NEWSLETTER MARCH-APRIL 2006 Universal right now, and she sings on it. She was a good LP: I called Dave Kapp. He came over and listened band singer. Well, she came in and I’d heard of her but to it and he says, “Well, that’ll maybe sell one she’d never heard of me, and of course when she come record and I’ll give you a couple of cents for a record. out, oh my goodness she just loved the fact that I’d just RCA had problems with the engineering union. If you played these couple of....you know, you know the key record within 3 3 miles of a recording studio, you had to to it is not to play too much and to play the right note in use an engineer... .one of their engineers. Well I wouldn ’ t the right place. Most people that play have a go for that. tendency....they don’t want to hear anything blank. They don’t want to hear ‘nothing’ and ‘nothing’ is just I took my 21 multiple track recordings to Capitol as important as the note is. My job is to make a person Records. They had a canvas sign that said Capitol better. Whoever that person is, performing, is the star, Records. And I walked in this little side door....the so he’s the picture and I am merely the frame around people were leaving, it was five o’clock....and I says, that picture and what I should do is do everything I can “Who runs this place?” She says, “Well, they’re all do to make that person sound better. leaving now, it’s five o’clock.” I backed up the stair­ way and they thought I was leaving with the rest of BBJ: Tell us about the studio in your garage where them. And I backed up there and there’s the vice- you made the first multi-track recordings. president, Jim Conklin, and he’s packing his suitcase to come to New York, and he was about to leave and I says, LP: Well, it’s a little long, but I’ll tell you how it “Knock, knock.” And he says, “Who is it?” I says, “Les happened.
Load more

Recommended publications
  • FOR SHORE the LPGA Tournament Now Known As the ANA Inspiration Has a Rich History Rooted in Celebrity, Major Golf Milestones, and One Special Leap
    DRIVING AMBITION In the inaugural tournament bearing her name, Dinah Shore was reportedly more concerned about her “golfing look” than her golfing score. Opposite: In 1986, the City of Rancho Mirage honored the entertainer by naming a street after her. Dinah’s Place, FOR SHORE The LPGA tournament now known as the ANA Inspiration has a rich history rooted in celebrity, major golf milestones, and one special leap. by ROBERT KAUFMAN photography from the PALM SPRINGS LIFE ARCHIVES NE OF THE MOST SERENDIPITOUS Palmolive. Already a mastermind at selling toothpaste and soaps, Foster moments in the history of women’s professional recognized women’s golf as a platform ripe for promoting sponsors — but if golf stems from the day Frances Rose “Dinah” the calculating businessman were to roll the dice, the strategy must provide Shore entered the world. In a twist of fate just a handsome return on the investment. over a half century following leap day, Feb. 29, During this era, famous entertainers, including Bob Hope, Bing Crosby, 1916, the future singer, actress, and television Andy Williams, and Danny Thomas, to name a few, were already marquee personality would emerge as a major force names on PGA Tour events. Without any Hollywood influence on the LPGA behind the women’s sport, leaping into a Tour, Foster enlisted his A-list celebrity, Dinah Shore, whose daytime talk higher stratosphere with the birth of the Colgate-Dinah Shore Winner’s show “Dinah’s Place” was sponsored by Colgate-Palmolive, Circle Oin 1972. to be his hostess. The top-charting female vocalist While it may have taken 13 tenacious female golfers — the likes of Babe of the 1940s agreed.
    [Show full text]
  • The Twist”—Chubby Checker (1960) Added to the National Registry: 2012 Essay by Jim Dawson (Guest Post)*
    “The Twist”—Chubby Checker (1960) Added to the National Registry: 2012 Essay by Jim Dawson (guest post)* Chubby Checker Chubby Checker’s “The Twist” has the distinction of being the only non-seasonal American recording that reached the top of “Billboard’s” pop charts twice, separately. (Bing Crosby’s “White Christmas” topped the holiday tree in 1942, 1945, and 1947). “The Twist” shot to No. 1 in 1960, fell completely off the charts, then returned over a year later like a brand new single and did it all over again. Even more remarkable was that Checker’s version was a nearly note-for- note, commissioned mimicry of the original “The Twist,” written and recorded in 1958 by R&B artist Hank Ballard and released as the B-side of a love ballad. Most remarkable of all, however, is that Chubby Checker set the whole world Twisting, from Harlem clubs to the White House to Buckingham Palace, and beyond. The Twist’s movements were so rudimentary that almost everyone, regardless of their level of coordination, could maneuver through it, usually without injuring or embarrassing themselves. Like so many rhythm and blues songs, “The Twist” had a busy pedigree going back decades. In 1912, black songwriter Perry Bradford wrote “Messin’ Around,” in which he gave instructions to a new dance called the Mess Around: “Put your hands on your hips and bend your back; stand in one spot nice and tight; and twist around with all your might.” The following year, black tunesmiths Chris Smith and Jim Burris wrote “Ballin’ the Jack” for “The Darktown Follies of 1913” at Harlem’s Lafayette Theatre, in which they elaborated on the Mess Around by telling dancers, “Twist around and twist around with all your might.” The song started a Ballin’ the Jack craze that, like nearly every new Harlem dance, moved downtown to the white ballrooms and then shimmied and shook across the country.
    [Show full text]
  • Hits from the 1940S
    Hits from the 1940s ¯ Boogie Woogie Bugle Boy – Andrews Sisters ¯ Chattanooga Choo Choo – Glenn Miller ¯ Cool Water – Sons of the Pioneers ¯ Don’t Fence Me In – Bing Crosby/Andrews Sisters ¯ Don’t Get Around Much Anymore – Ink Spots/Duke Ellington ¯ Don’t Sit Under the Apple Tree – Glenn Miller/Andrews Sisters ¯ I Love You (For Sentimental Reasons) – Nat King Cole/Dinah Shore ¯ I’ll Be Seeing You – Bing Crosby/Liberace ¯ I’m Looking Over a Four Leaf Clover – Art Mooney ¯ Jingle Jangle Jingle – Kay Kysor/Gene Autry ¯ Peg O’ My Heart – Harmonicats ¯ Sentimental Journey – Doris Day/Les Brown ¯ Star Dust – Artie Shaw ¯ Stormy Weather – Lena Horne ¯ Swinging on a Star – Bing Crosby ¯ Take the “A” Train – Duke Ellington ¯ The White Cliffs of Dover – Vera Lynn/Kay Kysor/Glenn Miller ¯ This Land is Your Land – Woody Guthrie ¯ When You Wish Upon a Star – Cliff Edwards/Glenn Miller/Guy Lombardo ¯ You Are My Sunshine – Gene Autry/Bing Crosby/Lawrence Welk You may find the original versions of many of these songs on You Tube. Many are also available to purchase through ITunes. Most artists referenced here had multiple hits. So once you start searching for the songs listed here you will no doubt find many others to enjoy. For lyrics try AZLyrics.com or songlyrics.com where you can copy and paste lyrics for your personal use only. www.SingingHeartToHeart.com Mary Sue Wilkinson .
    [Show full text]
  • LEGISLATIVE RESOLUTION Commemorating the 96Th Birthday of Ella Fitzger- Ald and Her Tremendous Contributions to Jazz
    LEGISLATIVE RESOLUTION commemorating the 96th birthday of Ella Fitzger- ald and her tremendous contributions to jazz WHEREAS, It is the sense of this Legislative Body to recognize and commend those musical geniuses who brought entertainment and cultural enrichment to the citizens of the great Empire State; and WHEREAS, Also known as the "First Lady of Song", "Queen of Jazz", and "Lady Ella", Ella Fitzgerald was an American jazz vocalist noted for her purity of tone, impeccable diction, phrasing and intonation, and a "horn-like" improvisational ability, particularly her scat singing; she was a notable interpreter of the Great American Songbook; and WHEREAS, Ella Fitzgerald was born on April 25, 1917, in Newport News, Virginia, the daughter of Temperance "Tempie" and William Fitzgerald; her parents separated soon after her birth, and Ella and her mother went to Yonkers, New York; she and her family were Methodists and were active in the Bethany African Methodist Episcopal Church; and WHEREAS, In her youth, Ella Fitzgerald wanted to be a dancer, although she loved listening to jazz recordings by Louis Armstrong, Bing Crosby and The Boswell Sisters, and idolized lead singer Connee Boswell; after the death of her mother in 1932 and overcoming many hardships and obsta- cles, a young Ella made her singing debut at age 17 on November 21, 1934, at the Apollo Theater in Harlem, New York and the rest was histo- ry; and WHEREAS, Over the course of her 59-year recording career, the First Lady of Song sold 40 million copies of her 70-plus albums, won 13 Grammy Awards and was awarded the National Medal of Arts by former president Ronald Reagan and the Presidential Medal of Freedom by former president George H.
    [Show full text]
  • Crossing Over: from Black Rhythm Blues to White Rock 'N' Roll
    PART2 RHYTHM& BUSINESS:THE POLITICAL ECONOMY OF BLACKMUSIC Crossing Over: From Black Rhythm Blues . Publishers (ASCAP), a “performance rights” organization that recovers royalty pay- to WhiteRock ‘n’ Roll ments for the performance of copyrighted music. Until 1939,ASCAP was a closed BY REEBEEGAROFALO society with a virtual monopoly on all copyrighted music. As proprietor of the com- positions of its members, ASCAP could regulate the use of any selection in its cata- logue. The organization exercised considerable power in the shaping of public taste. Membership in the society was generally skewed toward writers of show tunes and The history of popular music in this country-at least, in the twentieth century-can semi-serious works such as Richard Rodgers and Lorenz Hart, Cole Porter, George be described in terms of a pattern of black innovation and white popularization, Gershwin, Irving Berlin, and George M. Cohan. Of the society’s 170 charter mem- which 1 have referred to elsewhere as “black roots, white fruits.’” The pattern is built bers, six were black: Harry Burleigh, Will Marion Cook, J. Rosamond and James not only on the wellspring of creativity that black artists bring to popular music but Weldon Johnson, Cecil Mack, and Will Tyers.’ While other “literate” black writers also on the systematic exclusion of black personnel from positions of power within and composers (W. C. Handy, Duke Ellington) would be able to gain entrance to the industry and on the artificial separation of black and white audiences. Because of ASCAP, the vast majority of “untutored” black artists were routinely excluded from industry and audience racism, black music has been relegated to a separate and the society and thereby systematically denied the full benefits of copyright protection.
    [Show full text]
  • Billie's Message: an Original Dance-Drama in the Modern Dance Idiom
    UNLV Retrospective Theses & Dissertations 1-1-1990 Billie's Message: An original dance-drama in the modern dance idiom Vicki Lynn Dale University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Dale, Vicki Lynn, "Billie's Message: An original dance-drama in the modern dance idiom" (1990). UNLV Retrospective Theses & Dissertations. 30. http://dx.doi.org/10.25669/f8vl-dzbd This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. INFORMATION TO USERS The most advanced technology has been used to photo­ graph and reproduce this manuscript from.the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction.
    [Show full text]
  • The Artie Shaw Orchestra
    The Artie Shaw Orchestra On the eve of America's entry into World War II, TIME magazine reported that to the German masses the United States meant "sky-scrapers, Clark Gable, and Artie Shaw." Some 42 years after that, in December l983, Artie Shaw made a brief return to the bandstand, after thirty years away from music, not to play his world-famous clarinet but to launch his latest (and still touring) orchestra at the newly refurbished Glen Island Casino in New Rochelle, New York. This new Artie Shaw Orchestra remains one of the swingingest outfits around. Featuring clarinetist Matt Koza, the group hews to the Shaw legacy, and continues with the time-tested formula that has always pleased a full spectrum of audiences from the “Begin the Beguine” fans of yesteryear to the new jazz fans who want to imbibe in an exciting and heady evening of Swing. A Brief History Artie Shaw was born in New York City on May 23, 1910 and was in the top echelon of bandleader/soloists from the great swing era of 1935-45. He made his first public appearance as a leader in 1936, in a Swing Concert (history’s first) held at Broadway’s Imperial Theatre. Shaw could scarcely have known that within a short time he would make a hit record of a song called “Begin the Beguine,” which he once jokingly refers to as “a nice little tune from one of Cole Porter’s very few flop shows.” Shortly before that he had hired Billie Holiday as his band vocalist (the first white bandleader to employ a black female singer as a full-time member of his band).
    [Show full text]
  • The Sam Eskin Collection, 1939-1969, AFC 1999/004
    The Sam Eskin Collection, 1939 – 1969 AFC 1999/004 Prepared by Sondra Smolek, Patricia K. Baughman, T. Chris Aplin, Judy Ng, and Mari Isaacs August 2004 Library of Congress American Folklife Center Washington, D. C. Table of Contents Collection Summary Collection Concordance by Format Administrative Information Provenance Processing History Location of Materials Access Restrictions Related Collections Preferred Citation The Collector Key Subjects Subjects Corporate Subjects Music Genres Media Formats Recording Locations Field Recording Performers Correspondents Collectors Scope and Content Note Collection Inventory and Description SERIES I: MANUSCRIPT MATERIAL SERIES II: SOUND RECORDINGS SERIES III: GRAPHIC IMAGES SERIES IV: ELECTRONIC MEDIA Appendices Appendix A: Complete listing of recording locations Appendix B: Complete listing of performers Appendix C: Concordance listing original field recordings, corresponding AFS reference copies, and identification numbers Appendix D: Complete listing of commercial recordings transferred to the Motion Picture, Broadcast, and Recorded Sound Division, Library of Congress 1 Collection Summary Call Number: AFC 1999/004 Creator: Eskin, Sam, 1898-1974 Title: The Sam Eskin Collection, 1938-1969 Contents: 469 containers; 56.5 linear feet; 16,568 items (15,795 manuscripts, 715 sound recordings, and 57 graphic materials) Repository: Archive of Folk Culture, American Folklife Center, Library of Congress, Washington, D.C. Summary: This collection consists of materials gathered and arranged by Sam Eskin, an ethnomusicologist who recorded and transcribed folk music he encountered on his travels across the United States and abroad. From 1938 to 1952, the majority of Eskin’s manuscripts and field recordings document his growing interest in the American folk music revival. From 1953 to 1969, the scope of his audio collection expands to include musical and cultural traditions from Latin America, the British Isles, the Middle East, the Caribbean, and East Asia.
    [Show full text]
  • CITY of RANCHO MIRAGE PUBLIC WORKS 69-825 Highway 111, Rancho Mirage, CA 92270 General: 760.770.3224 Current Speed Zones by Roadway Segment
    CITY OF RANCHO MIRAGE PUBLIC WORKS 69-825 Highway 111, Rancho Mirage, CA 92270 General: 760.770.3224 Current Speed Zones by Roadway Segment Speed Limit Street Location (MPH) From Interstate 10 to Ramon Road 45 From Ramon Road to Dinah Shore Drive 55 From Dinah Shore Drive to Gerald Ford Drive 50 Bob Hope Drive From Gerald Ford Drive to Frank Sinatra Drive 55 From Frank Sinatra Drive to Country Club Drive 45 From Country Club Drive to Clancy Lane 45 From Clancy Lane to Highway 111 45 Cholla Lane From Verbenia Road to Country Club Drive 35 From Highway 111 to Morningside Drive 45 Country Club Drive From Morningside Drive to Bob Hope Drive 45 From Bob Hope Drive to Monterey Avenue 50 From Palm View Road to Los Alamos Drive 30 Cypress Lane From Los Alamos Drive to East End 30 From Century Park Drive to Ramon Road 45 From Ramon Road to Dinah Shore Drive 45 Da Vall Drive From Dinah Shore Drive to Gerald Ford Drive 50 From Gerald Ford Drive to Frank Sinatra Drive 45 From Plumley Road to Mission Hills Drive North 50 From Mission Hills Drive North to Bob Hope Drive 50 Dinah Shore Drive From Bob Hope Drive to George Montgomery Way 50 From George Montgomery Way to Monterey Avenue 45 30 Dunes View Road From Highway 111 to Gardess Road Current Speed Zones- Updated 2021 CITY OF RANCHO MIRAGE PUBLIC WORKS 69-825 Highway 111, Rancho Mirage, CA 92270 General: 760.770.3224 Current Speed Zones by Roadway Segment Speed Limit Street Location (MPH) From Highway 111 to Morningside Drive 50 From Morningside Drive to Bob Hope Drive 50 Frank Sinatra Drive From
    [Show full text]
  • Download Booklet
    120762bk DorseyBros 14/2/05 8:43 PM Page 8 The Naxos Historical labels aim to make available the greatest recordings of the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings. Available in the Naxos Jazz Legends and Nostalgia series … 8.120625* 8.120628 8.120632* 8.120681* 8.120697* 8.120746* * Not available in the USA NAXOS RADIO Over 70 Channels of Classical Music • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 120762bk DorseyBros 14/2/05 8:43 PM Page 2 THE DORSEY BROTHERS Personnel Tracks 1, 3 & 4: Bunny Berigan, trumpet; Tracks 8-11: Manny Klein & unknown, trumpet; ‘Stop, Look and Listen’ Original 1932-1935 Recordings Tommy Dorsey, trombone; Jimmy Dorsey, Tommy Dorsey, Glenn Miller, trombones; clarinet, alto sax; Larry Binyon, tenor sax; Jimmy Dorsey, clarinet, alto sax; unknown, alto Whether you call them The Fabulous or The over to the newly formed American Decca label. Fulton McGrath, piano; Dick McDonough, sax; Larry Binyon (?), tenor sax; Fulton Battling Dorsey Brothers, Tommy (1905-1956) In the two knock-down drag-out years that guitar; Artie Bernstein, bass; Stan King, drums McGrath (?), piano; Dick McDonough, guitar; and Jimmy Dorsey (1904-1957) were major followed, the Dorseys produced some Track 2: Bunny Berigan, trumpet; Tommy Artie Bernstein (?), bass; Stan King or Ray influences on the development of jazz in the outstanding and exciting jazz, all the while Dorsey, trombone; Jimmy Dorsey, clarinet; McKinley, drums 1920s and ’30s.
    [Show full text]
  • Start Time Description Number-Cut Length User Defined 00:00:00 TOP
    Start Time Description Number-Cut Length User defined 00:00:00 TOP OF HOUR 00:00:00 RUN MACRO-ON AIR 00:00:00-E (:00)LEGAL ID 00:00:00-E (:00)Enjoy Yourself (It's Later Than You Thin 0069603-001 03:17:0 Artist - Guy Lombardo 00:03:17-E (:00)I STILL GET A THRILL 0145611-001 02:57:2 Artist - OZZIE NELSON AND HIS ORCH v OZZIE 00:06:14-E (:00)MAMA'S MAMBO (MAMA BIN ICH FARLIEBT) 0148806-001 02:35:5 Artist - IRVING FIELDS TRIO 00:08:50-E (:00)TALES FROM THE VIENNA WOODS 0149804-001 02:19:8 Artist - GUY LOMBARDO AND HIS ORCHESTRA 00:11:10-E (:00)MY MOTHER'S EYES 0159203-001 02:34:0 Artist - KENNY BALL AND HIS JAZZMEN 00:13:44-E (:00)FIDDLE FADDLE 0047118-001 02:55:6 Artist - THE THREE SUNS 00:16:40-E (:00)I WISH YOU LOVE 0170325-001 02:07:4 Artist - BLOSSOM DEARIE 00:18:47-E (:00)RIDIN' AROUND IN THE RAIN 0171407-001 02:36:4 Artist - RAIE DE COSTA 00:21:24-E (:00)You're Getting To Be A Habit With Me 1932 0172733-001 03:23:2 Artist - Ben Selvin HO v Muriel Sherman and Elmer Feldkamp 00:24:47-E (:00)DEEP IN THE HEART OF TEXAS 1942 0174154-001 02:40:6 Artist - BING CROSBY w WOODY HERMAN WC 00:27:28-E (:00)I'M ALWAYS CHASING RAINBOWS 1946 0174627-001 03:03:7 Artist - DICK HAYMES-HELEN FOREST 00:30:31-E (:00)Lonely Feet 1934 0003655-001 02:58:6 Artist - Harry Roy and his Orch v Harry Roy lmer Feldkamp 00:33:30-E (:00)MY TROUBLES ARE OVER 0175052-001 02:49:5 Artist - GUS ARNHEIM HO 00:36:20-E (:00)This Can't Be Lovel 1955 0181944-001 03:04:9 Artist - CAL TJADER 00:39:25-E (:00)Un Jeune Homme Chantait 1964 0182602-001 02:56:8 Artist - EDITH PIAF 00:42:22-E
    [Show full text]
  • Highlights in This Issue
    HIGHLIGHTS IN THIS ISSUE: Jim Cullum talks about Bobby Hackett Woody Herman part of 1945 in review Obscure Kitty Kallen lyrics revealed FIRST-CLASS MAIL U.S. POSTAGE PAID Atlanta, GA Permit No. 2022 BIG BAND JUMP NEWSLETTER VOLUME 104______________________ BIG BAND JUMP NEWSLETTER MAY-JUNE, 2006 JIM CULLUM TALKS professional musician. ABOUT BOBBY HACKETT His early career involved playing guitar and violin in hotel ballroom bands in Providence, Boston and Syra­ The Background cuse, but by 1933 he was play­ ing cornet with a trio at Jim Cullum, of RIVER- WALK Boston’s Crescent Club. By JAZZ public television fame 1936 he was specializing on was a friend of Bobby comet, and by the next year Hackett’s and as such was had moved to New York City. able to give us some valuable He was almost immediately insights into Hackett’s per­ in demand in the new York sonality and background. We Studios, but his bread-and- intersperse his comments with butter jobs were with society additional biographical in­ bands such as Lester Lanin formation about Hackett's and Meyer Davis. He worked varied career and remarkable briefly with Horace Heidt and achievements. led his own group at Nick’s and the Famous Door on 52nd The Story street. BBJ: Cornetist Bobby Even though Bobby Hackett Hackett was one of appeared often in studio ses­ those performers loved by sions arranged by jazz critic everyone, not only for his cor­ Leonard Feather and fre­ net virtuosity but for his gentle quently with Eddie Condon, demeanor. Over the years he played nearly every kind what was to become his most visible performance in of music including small group dixieland, Big Band those years was a salute to Bix Beiderbecke at Benny swing and romantic easy-listening music.
    [Show full text]