See Special Christmas Gift Suggestions in This Issue!

Total Page:16

File Type:pdf, Size:1020Kb

See Special Christmas Gift Suggestions in This Issue! ♦ j C news SEE SPECIAL CHRISTMAS GIFT SUGGESTIONS IN THIS ISSUE! 95 «sälü*- — ------------------------------------------------------------------------------------------------- C A P IT O L NEWS CAPITOL N EW S PAGE 3 D A V E DEXTER'S n e w s Published Monthly by CAPITOL PUBLICATIONS, INC. Herman Heading For Havana Sunset and Vine, Hollywood 28, Calif. Printed in U. S. A. ' SURFACE NOISE ^ W ill Use Only 6 EDITED BY DAVE DEXTER, JR. Thoughts While Unpacking a Suitcase Men in New Combo The census figures make no bones about it—N ew York, Chicago, When Woody Herman Philly, Los Angeles and other cities are larger than New Orleans, an d N a t Cole conclude But if you love music, and jazz in particular, the colorful little their current concert tour Louisiana metropolis has 'em all skunked. In Oklahoma City Dec. 4, Jazz got its start down there by the muddy Mississippi and even Woody will dismiss his today, as a new half-century begins, New Orleans offers more in musicians, hire six of them the w a y of creative, exciting, dynamic hot music than any other back and immediately fly Old-timer Ben Pollack is back city in the world. leading a band in Hollywood. to Havana for three weeks And it's a 6-piece Dixie combo The Roosevelt Hotel advertises big name orchestras but four at the Tropicana with his abbrevi­ which the vet drummer is pacing blocks away, in the ancient, decadent Vieux Carre section of the ated combo of Woodchoppers. at the Beverly Cavern with Matty city, you'll find more jazz bands within a six-block area than ever Bill Harris Sticks Matlock on clarinet, Walt Yoder existed on 52nd Street, or in the Loop, or on Sunset Boulevard. on bass and others. It won't be the end of the road Leon Prima, Phil Zito, old Papa Celestin with Alphonse Picou on for Herman's big band, for The Dixie fever is fast-spread­ clarinet, Joe Loyacano, Frank Federico, Armand Hug, Sharkey and ing. Ted Veseley's spirited two- W oody intends, in 1950, to re­ his Kings of Dixie and a dozen others work every night, all of beat gang moved into Sardi's organize a full-size orchestra with eight brass for occasional concert Monkey Room on Hollywood them blowing the happy, surging drop-beat stuff called Dixieland. tours. Boulevard in the wake of Pete Sharkey's little band is especially popular, having its own TV Daily. Pete took his gang of Chi­ "But we'll end 1949 and begin show, a Sunday concert, radio shots and two—that's two—nitery cagoans (see back cover photo) 1950," said Herman, "with a new to San Francisco. jobs. Twice every night Sharkey grabs his trumpet and his side- idea in music. Shelly Manne will Which leaves the entire west men and they rush in a cab from the Famous Door to the ornate be on drums, Bill Harris on trom­ coast with but one regularly- Roosevelt Blue Room—a frantic double. Then, too, they play bone and Neal Hefti on trumpet. employed bop brigade. "w elcom e" concerts down at the docks for the steamer passengers The new group also will feature Ralph Burns at the piano, Milt returning from cruises to Havana. Jackson on the vibes and Mert The old, legendary streets of New Orleans are still there and Oliver behind the bass. plainly marked, streets made famous the world over by the Olivers, W ill Record With New Group Mortons, Armstrongs, Bechets and scores of other jazzmen. Basin "Burns and Hefti have been Street, Iberville, Canal, Rampart, Bourbon, Decatur, Dauphine and writing new arrangements and ’r—we'll spell it, not try to say it—Tchoupitoulas Street. And from we have a lot of optimism about Canal you'll still see the riverboats plodding upstream, much as THERE'LL BE no white Christmas a new Woodchoppers group. It they did when jazz was young. this month for Gordon MacRae, will be an adaptable unit, just Ventura Combo who with Mrs. MacRae just re­ right for niteries and ideal for W alk down a street, any street, and you hear music. A new turned from a trek to New York. hotels. General Artists (booking ¡azz rag, "Bourbon Street Bounce," is on every jukebox and disc Gordie, with a virile voice and agency) is lining up January en­ jockey program. Music seems to mean more in the Crescent City. Rushing W est extraordinary acting ability, is gagements and the response is The poorest people buy records regularly for their old, hand- consistently becoming more and marvelous." Charlie Ventura, his tenor pipe cranked phonos. And the small, forsaken bars off on the dimly- more popular in films, on records The Tropicana date will be the and small combo are due in Los and via radio. He, his wife and first Herman has ever played in lighted sidestreets invariably feature at least a pianist. Angeles this month for a run at daughters (shown) now live in Cuba. None of his musicians has the Red Feather, nabe nitery on Mardi Gras doesn't begin until the Krewe of Carrollton next Southern California. ever been there, either. HOM E A G A IN in California the city's far south side. Feb. 12. And Christmas is still a few weeks away. But the visitor to after a concert tour and a run at Opening night is booked for The new Herman herd—smallest New Orleans senses, feels, smells and hears a festive spirit within the New York Paramount, Paul Dec. 7, with George Shearing, unit Woody has ever fronted— a 10-minute drive from the sprawling Moisant Airport. Hollywood Ziggy Swings Wand Weston and Jo Stafford find blind British pianist, set to follow also will record for Capitol. has its points, but returning to the Vine & Sunset office routines Frank Sinatra hired Ziggy there's no rest for the weary. Ventura on Jan. 7. Shearing has Elman to conduct on his night­ is like trying to tackle Emil Sitko. No Girl Singer . Yet Here they are recording for Capi­ never played in Southern Cali­ ly NBC airshow which is air­ Current conditions make it vir­ tol. And Jo has a raft of radio fornia. Ventura, slated to play ing from N ew York this month. Love that Creole Gumbo and Bourbon Street. Merry Christmas! tually impossible for a big band, guest shots booked for the new the Empire Room last winter, Elman takes over for Jeff with a payroll as hefty as Her- year. didn't play any nitery when the Alexander. Empire folded suddenly. (Over to Page 14) CAPITOL NEWS PAGE 4 CAPITOL NEWS PAGE 5 Gillespie, Katz Soon To W a x W IT H VIC DAMONE set doing four other hours of straight On Cap Label for an M GM film, those radio in addition. Services are ex­ pected to be conducted by Christ­ persistent rumors that Dizzy Gillespie affixed his sig­ mas eve. nature to a Capitol contract in Billy Eckstine and Lena late November and, in the fu­ Horne also will be teamed Kid Ory's Vine street nitery ture, will record with his new and in a feature flick are being folded fast, but it was no fault revamped orchestra exclusively heard again. Eckstine's handlers of Ory's. AFM Local 47 pulled his for the royal purple Cap label. have "officially" announced he band off the stand when the Still Leads 'Big' Combo was soon to face the Lion's cam­ union learned the spot was being One of the few musicians to eras at least 10 times in the last managed by Billy Berg, alleged SIGNS . Dizzy Gillespie and gain fame since Pearl Harbor, four years but the studio just as to be on the unfair list. Ory, who his revamped ork soon will be Dizzy's dizzy trumpeting and un­ determinedly denies each report. left a steady job at the Beverly heard on Capitol platters. The orthodox band style were credited The baritone, riding high these Cavern to move to Vine street, bop trumpeter has shifted the with introducing bebop. His cur­ days, has tested but the films ap ­ was trying to get the union and style of his band and it now is rent combo, however, although as parently never got out of the pro­ Berg straightened out so "his" said to be "melodic and dance- large as his previous orks, is of­ ducer's projection rooms. MGM club could reopen. The Cavern, able." Jim Conkling pacted him fering a radical change. The em­ also squelched reports that Lena meanwhile, hired Andy Blakeny's to the new contract. phasis is on melodic, danceable would star in a pic based on the band. Leader is a former Ory ensembles, a far cry from the trumpeter with a combo patterned career of Josephine Baker. Steve Gibson and the Red Caps erotic music Diz purveyed in the after Ory's style. open at Larry Potter's nitery in years following the end of World NEWEST TEAM to parlay their Al Jarvis, reputedly the first North Hollywood Dec. 1 for eight War II. talents on records finds Maggie disc jockey ever to face the tele­ John Anderson, trumpeter lead­ weeks. The deal for Gillespie to swing Whiting, just back from Tennes­ Nappy Out With vision cameras, now may be seen ing the band at the L. A. Oasis, over to Capitol was set by Diz see, making duets with Bing all afternoon, every afternoon, a hangout for USC students, fea­ M atty Matlock out, Rosy Me- and his manager, Willard Alex­ Crosby's uncle, Robert Hope, and frantically whirling discs and con­ tures Gerald Wiggins, piano; Britt Hargue in, to play clarinet with ander, with Jim Conkling, who the fun they're having revolves New Dixie Band ducting business over KLAC-TV in Woodman, trombone; Charlie Red Nichols' Pennies at the Holly­ bosses the waxwork's artists and around the shamrocked sweatshirt Los Angeles.
Recommended publications
  • Learn to Lead Activity Guide
    LEARN TO LEAD ACTIVITY GUIDE CIVIL AIR PATROL CADET PROGRAMS TEAM LEADERSHIP PROBLEMS MOVIE LEARNING GUIDES GROUP DISCUSSION GUIDES Preface LEARN TO LEAD ACTIVITY GUIDE Do you learn best by reading? By listening to a lecture? By watching someone at work? If you’re like most people, you prefer to learn by doing. That is the idea behind the Learn to Lead Activity Guide. Inside this guide, you will find: • Hands-on, experiential learning opportunities • Case studies, games, movies, and puzzles that test cadets’ ability to solve problems and communicate in a team environment • Recipe-like lesson plans that identify the objective of each activity, explain how to execute the activity, and outline the main teaching points • Lesson plans are easy to understand yet detailed enough for a cadet officer or NCO to lead, under senior member guidance The Activity Guide includes the following: • 24 team leadership problems — Geared to cadets in Phase I of the Cadet Program, each team leadership problem lesson plan is activity- focused and addresses one of the following themes: icebreakers, teamwork fundamentals, problem solving, communication skills, conflict resolution, or leadership styles. Each lesson plan includes step-by-step instructions on how to lead the activity, plus discussion questions for a debriefing phase in which cadets summarize the lessons learned. • 6 movie learning guides — Through an arrangement with TeachWithMovies.com, the Guide includes six movie learning guides that relate to one or more leadership traits of Learn to Lead: character, core values, communication skills, or problem solving. Each guide includes discussion questions for a debriefing phase in which cadets summarize the lessons learned.
    [Show full text]
  • Jazz Lines Publications Fall Catalog 2009
    Jazz lines PubLications faLL CataLog 2009 Vocal and Instrumental Big Band and Small Group Arrangements from Original Manuscripts & Accurate Transcriptions Jazz Lines Publications PO Box 1236 Saratoga Springs NY 12866 USA www.ejazzlines.com [email protected] 518-587-1102 518-587-2325 (Fax) KEY: I=Instrumental; FV=Female Vocal; MV=Male Vocal; FVQ=Female Vocal Quartet; FVT= Femal Vocal Trio PERFORMER / TITLE CAT # DESCRIPTION STYLE PRICE FORMAT ARRANGER Here is the extended version of I've Got a Gal in Kalamazoo, made famous by the Glenn Miller Orchestra in the film Orchestra Wives. This chart differs significantly from the studio recorded version, and has a full chorus band intro, an interlude leading to the vocals, an extra band bridge into a vocal reprise, plus an added 24 bar band section to close. At five and a half minutes long, it's a (I'VE GOT A GAL IN) VOCAL / SWING - LL-2100 showstopper. The arrangement is scored for male vocalist plus a backing group of 5 - ideally girl, 3 tenors and baritone, and in the GLENN MILLER $ 65.00 MV/FVQ DIFF KALAMAZOO Saxes Alto 2 and Tenor 1 both double Clarinets. The Tenor solo is written on the 2nd Tenor part and also cross-cued on the male vocal part. The vocal whistling in the interlude is cued on the piano part, and we have written out the opening Trumpet solo in full. Trumpets 1-4: Eb6, Bb5, Bb5, Bb5; Trombones 1-4: Bb4, Ab4, Ab4, F4; Male Vocal: Db3 - Db4 (8 steps): Vocal key: Db to Gb.
    [Show full text]
  • BIG BAND JUMP NEWSLETTER FIRST-CLASS MAIL Box 52252 U.S
    IN THIS ISSUE: ir An interview with KAY STARR, Pt. 2 ir Reviews of BOOKS AND RECORDS to consider BIG ☆ A new KEY RECORDINGS BAND SINGER BIG BAND TRIVIA QUIZ JUMP ★ LETTERS TO THE EDITOR about HARRY JAMES, ANITA O’DAY, MICHEL NEWSLETTER LEGRAND, PBS STATIONS and others BIG BAND JUMP NEWSLETTER FIRST-CLASS MAIL Box 52252 U.S. POSTAGE PAID A£hnta,GA 30355 Atlanta, GA Permit No. 2022 BIG BAND JUMP N EWSLETTER VOLUME 94 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2004 INTERVIEW WITH KAY STARR (Part Two) The Background In the last issue, we had Kay Starr’s comments about her early start in the singing business; her penchant for singing at age nine for the neighbors and her family. At first, Kay’s mother was hesitant, but her aunt had a business sense and saw that there was a future for Kay, insisting that she enter a number of amateur contests, leading to her performances at radio stations in Dallas and Memphis and finally being hired by famous violin­ ist and bandleader Joe Venuti whose guidance helped her achieve fame. She told us about her work with the Bob Crosby Band, her one week stint subbing for Marion Hutton with Glenn Miller at Glen Island Casino and her years with the Charlie Barnet Band, where she recalled pressing Kay Starr Capitol CD cover the band ’ s uniforms as well as being a featured vocalist. Jimmy Dorsey’s band. That why they didn’t have her. The Scene But they had every other girl singer. A girl singer they did not need.
    [Show full text]
  • Perkins, Anthony (1932-1992) by Tina Gianoulis
    Perkins, Anthony (1932-1992) by Tina Gianoulis Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2007 glbtq, Inc. Reprinted from http://www.glbtq.com The life and career of actor Anthony Perkins seems almost like a movie script from the times in which he lived. One of the dark, vulnerable anti-heroes who gained popularity during Hollywood's "post-golden" era, Perkins began his career as a teen heartthrob and ended it unable to escape the role of villain. In his personal life, he often seemed as tortured as the troubled characters he played on film, hiding--and perhaps despising--his true nature while desperately seeking happiness and "normality." Perkins was born on April 4, 1932 in New York City, the only child of actor Osgood Perkins and Janet Esseltyn Rane. His father died when he was only five, and Perkins was reared by his strong-willed and possibly abusive mother. He followed his father into the theater, joining Actors Equity at the age of fifteen and working backstage until he got his first acting roles in summer stock productions of popular plays like Junior Miss and My Sister Eileen. He continued to hone his acting skills while attending Rollins College in Florida, performing in such classics as Harvey and The Importance of Being Earnest. Perkins was an unhappy young man, and the theater provided escape from his loneliness and depression. "There was nothing about me I wanted to be," he told Mark Goodman in a People Weekly interview. "But I felt happy being somebody else." During his late teens, Perkins went to Hollywood and landed his first film role in the 1953 George Cukor production, The Actress, in which he appeared with Spencer Tracy.
    [Show full text]
  • The Solo Style of Jazz Clarinetist Johnny Dodds: 1923 – 1938
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The solo ts yle of jazz clarinetist Johnny Dodds: 1923 - 1938 Patricia A. Martin Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Martin, Patricia A., "The os lo style of jazz clarinetist Johnny Dodds: 1923 - 1938" (2003). LSU Doctoral Dissertations. 1948. https://digitalcommons.lsu.edu/gradschool_dissertations/1948 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SOLO STYLE OF JAZZ CLARINETIST JOHNNY DODDS: 1923 – 1938 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in The School of Music By Patricia A.Martin B.M., Eastman School of Music, 1984 M.M., Michigan State University, 1990 May 2003 ACKNOWLEDGMENTS This is dedicated to my father and mother for their unfailing love and support. This would not have been possible without my father, a retired dentist and jazz enthusiast, who infected me with his love of the art form and led me to discover some of the great jazz clarinetists. In addition I would like to thank Dr. William Grimes, Dr. Wallace McKenzie, Dr. Willis Delony, Associate Professor Steve Cohen and Dr.
    [Show full text]
  • Whicl-I Band-Probably Sam; Cf
    A VERY "KID" HOWARD SUMMARY Reel I--refcyped December 22, 1958 Interviewer: William Russell Also present: Howard's mother, Howard's daughter, parakeets Howard was born April 22, 1908, on Bourbon Street, now renamed Pauger Street. His motTier, Mary Eliza Howard, named him Avery, after his father w'ho di^d in 1944* She sang in church choir/ but not professionally. She says Kid used to beat drum on a box with sticks, when he was about twelve years old. When he was sixteen/ he was a drummer. They lived at 922 St. Philip Street When Kid was young. He has lived around tliere all of his life . Kid's father didn't play a regular instrument, but he used to play on^ a comb, "make-like a. trombone," and he used to dance. Howard's parents went to dances and Tiis mother remembers hearing Sam Morgan's band when she was young, and Manuel Perez and [John] Robichaux . The earliest band Kid remembers is Sam Morgan's. After Sam died, he joined the Morgan band/ witli Isaiah Morgan. He played second trumpet. Then he had his own band » The first instrument he.started on was drums . Before his first marriage, when he got his first drums/ he didn't know how to put them up. He had boughtfhem at Werlein's. He and his first wife had a time trying to put them together * Story about }iis first attempt at the drums (see S . B» Charters): Sam Morgan had the original Sam Morgan Band; Isaiah Morgan had l:J^^i', the Young Morgan Band.
    [Show full text]
  • Jazz and the Cultural Transformation of America in the 1920S
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive.
    [Show full text]
  • (WR Has Heard Recordings of Lprenzo, Jr., Made When He Played The
    1 PAUL BEAULIEU Also present: William Russell I [of 4]-Digest-Retyped Ralph Collins June 11, 1960 (Interview conducted at liome of Paul Beaulieu on[1134 N.] Robertson Street Paul William Beaulieu was born on Burgundy Street in the French » ^ Quarter of New Orleans on October 20, 1888. His father was an amateur flute player. PB's first instrument was piano, which he studied with Ellen Myers [spelling?], beginning when he was eight or nine years old. He studied solfege with Mrs. [White?], when he was attending Straight University (which was tlnen-on Canal between Tonti and Rocbe'blave-Straight merged with New Orleans University to form the present Dillard University). When PB was a teen-ager, "he studied cello, the clarinet and the saxopl'ione. He studied cello with a French artist who was in New Orleans with the French Opera Company; PB had begun studying harmony with the French artist shortly before the latter left town. PB continued harmony study with Professor Louis "Papa" Tio (brother of Lorenzo Tioy Sr., and uncle of Lorenzo Tio/ Jr.). Lorenzo, Sr., moved himself and his family from New Orleans to Bay St. Louis or Pass Christian [Mississippi]. He and his brother, Louis, were cigar makers. Both brothers played all the reed instruments. Lorenzo, Sr., could tongue very rapidly; .he had a sweet tone; he was an excellent musician. He taught his son, Lorenzo, Jr. to play. (WR has heard recordings of Lprenzo, Jr., made when he played the [A. J.] Piron band.) PB doesn't know where the Tio family came fr om originally, but he.says they [Lorenzo, Sr./ and Louis] got their musical education at a conservatory in Mexico; they also spoke Spanish and French fluently.
    [Show full text]
  • Louis Armstrong
    A+ LOUIS ARMSTRONG 1. Chimes Blues (Joe “King” Oliver) 2:56 King Oliver’s Creole Jazz Band: King Oliver, Louis Armstrong-co; Honore Dutrey-tb; Johnny Dodds-cl; Lil Hardin-p, arr; Arthur “Bud” Scott-bjo; ?Bill Johnson-b; Warren “Baby” Dodds-dr. Richmond, Indiana, April 5, 1923. first issue Gennett 5135/matrix number 11387-A. CD reissue Masters of Jazz MJCD 1. 2. Weather Bird Rag (Louis Armstrong) 2:45 same personnel. Richmond, Indiana, April 6, 1923. Gennett 5132/11388. Masters of Jazz MJCD 1. 3. Everybody Loves My Baby (Spencer Williams-Jack Palmer) 3:03 Fletcher Henderson and his Orchestra: Elmer Chambers, Howard Scott-tp; Louis Armstrong-co, vocal breaks; Charlie Green-tb; Buster Bailey, Don Redman, Coleman Hawkins-reeds; Fletcher Henderson-p; Charlie Dixon- bjo; Ralph Escudero-tu; Kaiser Marshall-dr. New York City, November 22-25, 1924. Domino 3444/5748-1. Masters of Jazz MJCD 21. 4. Big Butter and Egg Man from the West (Armstrong-Venable) 3:01 Louis Armstrong and his Hot Five: Louis Armstrong-co, voc; Edward “Kid” Ory-tb; Johnny Dodds-cl; Lil Hardin Armstrong-p; Johnny St. Cyr-bjo; May Alix-voc. Chicago, November 16, 1926. Okeh 8423/9892-A. Maze 0034. 5. Potato Head Blues (Armstrong) 2:59 Louis Armstrong and his Hot Seven: Louis Armstrong-co; John Thomas-tb; Johnny Dodds-cl; Lil Hardin Armstrong-p; Johnny St. Cyr-bjo; Pete Briggs-tu; Warren “Baby” Dodds-dr. Chicago, May 10, 1927. Okeh 8503/80855-C. Maze 0034. 6. Struttin’ with Some Barbecue (Armstrong) 3:05 Louis Armstrong and his Hot Five.
    [Show full text]
  • ¶7櫥«Q }欻' / * #376;扎 #732;†
    120825bk Teagarden2 REV 29/3/06 8:46 PM Page 8 Track 14: John Fallstitch, Pokey Carriere, Sid Jack Lantz, trombones; Merton Smith, Vic Rosi, Feller, trumpets; Jack Teagarden, Jose Bob Derry, Bert Noah, Dave Jolley, saxes; Guttierez, Seymour Goldfinger, Joe Ferrall, Norma Teagarden, piano; Charles Gilruth, trombones; Danny Polo, clarinet, alto sax; Tony guitar; Lloyd Springer, bass; Frank Horrington, Antonelli, Joe Ferdinando, alto sax; Art Moore, drums Art Beck, tenor sax; Ernie Hughes, piano; Track 19: Charlie Teagarden, trumpet; Jack Arnold Fishkin, bass; Paul Collins, drums Teagarden, Moe Schneider, trombones; Matty Track 15: John Fallstitch, Pokey Carriere, Matlock, clarinet, tenor sax; Ray Sherman, Truman Quigley, trumpets; Jack Teagarden, piano; Bill Newman, guitar, banjo; Morty Corb, Jose Guttierez, Seymour Goldfinger, Joe Ferrall, bass; Ben Pollack, drums trombones; Danny Polo, clarinet, alto sax; Tony Track 20: Charlie Teagarden, trumpet; Jack Antonelli, Joe Ferdinando, alto sax; Art Moore, Teagarden, trombone; Jay St. John, clarinet; Art Beck, tenor sax; Ernie Hughes, piano; Norma Teagarden, piano; Kass Malone, bass; Arnold Fishkin, bass; Paul Collins, drums Ray Bauduc, drums Track 16: John Fallstitch, Pokey Carriere, Truman Quigley, trumpets; Jack Teagarden, Also available ... Jose Guttierez, Seymour Goldfinger, Joe Ferrall, trombones; Danny Polo, clarinet, alto sax; Tony Antonelli, Joe Ferdinando, alto sax; Art Moore, Art Beck, tenor sax; Ernie Hughes, piano; Perry Botkin, guitar; Arnold Fishkin, bass; Paul Collins, drums Track
    [Show full text]
  • The English Listing
    THE CROSBY 78's ZYXWVUTSRQPONMLKJIHGFEDCBAthe English listing Members may recall that we issued a THE questionnaire in 1990 seeking views and comments on what we should be providing in CROSBY BING. We are progressively attempting to fulfil 7 8 's these wishes and we now address one major ENGLISH request - a listing of the 78s issued in the UK. LISTING The first time this listing was issued in this form was in the ICC's 1974 booklet and this was updated in 1982in a publication issued by John Bassett's Crosby Collectors Society. The joint compilers were Jim Hayes, Colin Pugh and Bert Bishop. John has kindly given us permission to reproduce part of his publication in BING. This is a complete listing of very English-issued lO-inch and 12-inch 78 rpm shellac record featuring Sing Crosby. In all there are 601 discs on 10different labels. The sheet music used to illustrate some of the titles and the photos of the record labels have been p ro v id e d b y Don and Peter Haizeldon to whom we extend grateful thanks. NUMBERSITITLES LISTING OF ENGLISH 78"s ARIEl GRAND RECORD. THE 110-Inchl 4364 Susiannainon-Bing BRUNSWICK 112-inchl 1 0 5 Gems from "George White's Scandals", Parts 1 & 2 0 1 0 5 ditto 1 0 7 Lawd, you made the night too long/non-Bing 0 1 0 7 ditto 1 1 6 S I. L o u is blues/non-Bing _ 0 1 3 4 Pennies from heaven medley/Pennies from heaven THECROSBYCOLLECTORSSOCIETY BRUNSWICK 110-inchl 1 1 5 5 Just one more chance/Were you sincere? 0 1 6 0 8 Home on the range/The last round-up 0 1 1 5 5 ditto 0 1 6 1 5 Shadow waltz/I've got to sing a torch
    [Show full text]
  • K&Futfl&Iiet Results CADET WINS FIRST CLASS RATING
    • Glee Club Results The Glee dab will leave Thursday The results of the ACP 24-page for a three-day engagement at the criticism booklet on The Cadet's Earle Theatre In Washington. k&fUtfl&iiet rating will be printed next week. im VOLUME XXXIII LEXINGTON, VIRGINIA, APRIL 16, 1940 NUMBER 26 CADET WINS FIRST CLASS RATING Cadet Paper Awarded King to Head New Finance Committee Rating for Excellence On First Year's Entry R. H. Spessard Corps Hears Receiving a First Class rating for the excellence of its Treasurer General Reilly work, the VMI Cadet was included in the announcement of All-American honors for 76 college publications made at the Of Committee In JM Hall University of Minnesota last Saturday by the Associate Col- War Correspondent legiate Press, nationwide campus publication organization. New Committee The awards were made after a study of 406 college papers Tells of Today's Use in 43 states, Hawaii, and the District of Columbia. To Assume Duties Of New Equipment During This June A 24-page criticism booklet is expected here later this week "Wars today are not being won which will give The Cadet a rating on its make-up and its Everett Glenn King of Columbus, by highly developed, powerful style of writing, along with suggestions for improving both. Ga., will serve as chairman of the scientific equipment, but by well- This is the first year that The Cadet has been entered in Second Class Finance Committee of trained, well led men with guts," the annual criticism service offered by the Associated Col- the Class of 1942, according to an- Brig.
    [Show full text]