Wednesday, July 8, 2020

Blow Your Top: Show Notes 7/8-12

Ballads Schmallads!

Ballads? We don't need no stinking ballads! The Count Basie band is famous for many things, but its delivery of sentimental ballads is not one of them. That's apparent to me every time I put together a Basie feature for the show. That band loved to SWING! And swing they did, in best Kansas City style. What is Kansas City style Jazz? Well, the Basie band can explain it much better than I could. 

We open the show with a perfect example - Blow Top from 1940. You'll recognize the sax riff right away. You hear it, and your brain says, "Oh yeah, THAT one!" The saxes are riffing at top speed, the brass is punching away in the cracks, and then The Count opens things up with a piano solo that's so transparent that the mood lightens instantly...but that tempo is rockin' steady. We get a couple of minutes of solos from Basie's great sidemen of 1940, a guitar-and-bass break, and then it's a rollicking finish with a Harrier-jet-style vertical landing. The guys on the stand are lighting cigarettes and checking racing forms before the applause even starts. And that's the sure-handed confidence of the Count Basie band. They did it for over 50 years, and nobody did it better. 

And we're off and running with Basie and his men for our first 20 minutes or so. We hear from trumpet soloists Harry "Sweets" Edison (almost always muted) and Buck Clayton, tenor saxists Lester Young and Herschel Evans, altoist Earl Warren, and, in a superb cut from the band's tenure on Verve Records in the mid-1950s, the great Frank Wess on both flute and tenor sax. Our selection even includes outstanding performances from two of Basie's most exciting vocalists, Jimmy Rushing and Joe Williams. 

And not a ballad among them!

Hour Two kicks off with 20 minutes from the King of Swing, Benny Goodman. We are confining ourselves to Benny's big band here, since we often highlight his smaller combos. The Goodman Big Band played a book heavily populated with top-shelf arrangements from Fletcher Henderson, Jimmy Mundy and Eddie Sauter, three of the best in the business. And what strikes you as you listen is that, no matter what the tempo of the song, fast or slow, this band swings relentlessly. Even the ballads swing. And the dance tempos are always perfect. If you're not a dancer, you might not appreciate this aspect of the best of the Big Bands. Tempo is SO important, with just a slight variation changing the complexion of a song entirely. In those days, it was a dancer's world. And no matter whether you were Wayne King or Artie Shaw, your customers came to DANCE. 

We start our Goodman set with Swingtime in the Rockies, a Jimmy Mundy creation that was a real favorite out on the dance floor - and for obvious reasons. It's a real jitterbug, with Gene Krupa and guitarist Allen Reuss laying down the breakneck tempo with razor-sharp precision. Benny's brother Harry Goodman is on bass, but Gene and Allen just kind of push him out of the way; he can barely be heard on this famous recording. We are blessed with a pristine copy of the original Victor scroll label 78 from 1935. It's a genuine thrill to spin this one. 

This segment is loaded with examples from Benny's Victor and Columbia catalogs. They are all solid swingers, and offer ample evidence of the prowess of Benny's stable of talent - both the writing and the playing variety. This week's show marks the first time we have played Pound Ridge from 1941, which contains one of the dirtiest Cootie Williams trumpet solos on record from that period. He adds a few shakes to his solo in a nod to Harry James, who previously occupied that chair. We also get to hear from four of Goodman's most popular girl singers - Helen Forrest, Martha Tilton, Liza Morrow, and Helen Ward. It's amazing to hear how they all managed to put their own personal touches into these performances, just like Benny's great instrumentalists. 

If you're not knocked flat out by these special segments with Count Basie and Benny Goodman, you will surely be rendered unconscious by the superb offerings of Tommy Dorsey, Erskine Hawkins, Harry James, Glenn Miller, Will Bradley, Larry Clinton, Duke Ellington and Fats Waller. We get to hear from trumpet greats Harry James, Henry Busse (yes, THAT record!), and Ziggy Elman, along with the Ink Spots, Ella Fitzgerald and Cab Calloway (yes, THAT record!). 

Here's a suggestion: if you're a player,c do what I often do when listening to the show: grab your horn and jam along with the records. It'll do wonders for your improvising skills! If you're a singer, open up and sing right along with us! There are no better examples to follow for phrasing and accuracy.

Remember to call a band student and invite them to listen to the show with you this week! They need this music like tomatoes need salt. Be good to one another this week, and above all, Keep Swinging! 


Wednesday, July 1, 2020

Crash & Croon: Show Notes 7/1-5

"Square" Doesn't Even Begin to Cover It

Before the advent of Swing, popular music in the United States was designed to appeal mainly to the dead. If you've ever listened to pop music from the 1920s, you've heard the dreck. Pretentious tenors and baritones rolling their "Rs" as they sing Tin Pan Alley songs about how they miss their old home Away Down South in Alabamy. Then there are the songs along the lines of Whatever Happened to that Old Gang of Mine? There were the romantic love ballads such as Jeanine, I Dream of Lilac Time. Oh, there were dance bands that played smooth waltzes and stiff fox trots...even peppy one-steps and two-steps. But none of it "swung." 

By the end of the 20s, young folks were thirsty for more than bathtub gin; they needed a new style of music that could express their pent-up energy, their zest for life, their desire to have a good time. In the early 30s, a few of the Black dance bands like Duke Ellington, Jimmie Lunceford and Fletcher Henderson were playing a smooth, flowing fox-trot with a "dotted quarter" syncopation that brought dancers to the floor like a magnet. It also inspired rhythmic solos from the musicians that covered a whole new range of expression. White kids started to hear these bands on the radio and in dance halls. And even more importantly, white musicians were paying attention. They were also paying the admission fees to hear these bands in person. The aforementioned Black bands were held in very high esteem by white players who were in the know. 

Benny Goodman had this figured out before almost any of the other white bandleaders. He bought Fletcher Henderson's book, and hired Fletcher to write new arrangements for his band. Almost immediately, Benny was leading "The" cutting-edge Swing Band on the scene. There was a year or two (1934-35) when Swing, or simply, "hot music," as it was called before widespread use of the term "Swing," was a tough sell. But then came that night of August 21, 1935, at the Palomar Ballroom in Los Angeles, when the kids went crazy and rushed the bandstand, nearly causing a riot in their fervent embrace of Swing. Little did Benny know that these kids had been listening to his late-night radio broadcasts from the Midwest, and couldn't wait to hear the band swing out in person.

When Swing hit, it hit big. Within a matter of months, all the major bands were having their books re-arranged in Swing time. By early 1936, Swing was the Thing, and Goodman was the King. It was noting short of a pop music revolution that started in a few of the best Black bands. But it took a white performer with the wide acceptance of a Benny Goodman to really put it over on a national level. And Benny did it when almost no other white bandleader would even consider it. 

And Gene Krupa was there for all of it.

Benny had hired Gene Krupa back in 1934, in the early days of his band. Gene was the drummer who helped bring forth the Swing revolution, listening to Zutty Singleton and Baby Dodds for inspiration. By the time of the Goodman band's landmark Carnegie Hall Jazz Concert in January  of 1938, Gene was a star. And he now felt constrained by Goodman's vision for his band. Gene wanted the freedom to explore new musical territory with a band of his own. Also, Benny was a strange guy who could be very hard to work for. 

So, early in 1938, Gene struck out on his own, putting together an excellent band that always showed up very well-rehearsed and ready to play good Swing. Even the band's earliest recordings are impressive. And Gene was playing it to the hilt, engaging audiences with lots of physicality and movement on the stand. Some of the magazine critics chided him for playing it so big, but the public lapped it up. 

I always thought Gene had the looks of a Hollywood leading man, and I wondered why he hadn't tried his hand in the movies. And then I saw him in Ball of Fire with Barbara Stanwyck and Gary Cooper. It was a little bizarre. His movements were jerky and ungraceful, and he gave off a kind of a "wild man" vibe. He ended up coming off more like Cosmo Kramer than Cary Grant. But I digress.

We'll enjoy some tasty treats from Gene and his band this week, covering both his pre-war and post-war periods. We'll spin some of the sides Anita O'Day cut with the band, and include some solid Swing and even a little light Bebop from the mid-40s. We hear from Gene's great sidemen too, like trumpet star Roy Eldridge and tenor saxist Charlie Ventura. 

Hour 2 kicks off with about 20 minutes of great memories of Bing Crosby. We cover some of his earliest solo hits from the 1930s, movie songs from the 40s and memorable pop hits from the early 50s. Of course, Bing was there throughout the Big Band Era, but he wasn't actually part of a band after 1929 when her left Paul Whiteman's employ and went solo. He did make numerous personal appearances and a handful of records with his little brother Bob Crosby's band, and some of those were sizable hits. He also made a few successful records with his old drinking buddy Eddie Condon when both were signed to the Decca label in 1949-50. 

We begin with the famous Take B of St. Louis Blues, recorded by Bing with the Duke Ellington orchestra in 1932. It's a jazzy side of Bing that we saw less and less of over the next several years. We play our Brunswick 78 of his breakout hit Just One More Chance from 1931, along with some of his monster hits from the 40s. You might even hear a hilarious duet with Bob Hope.

Besides these delightful Spotlight features on Gene Krupa and Bing Crosby, we'll offer swinging sides from Benny Goodman, Duke Ellington (a Double-Play!), and Glenn Miller's Army Air Force Band. We've found a great example of Jack Leonard delivering one of his trademark vocals with the Dorsey band shouting the patter lyrics behind him (NOT the one you're thinking of), as well as a Boppish version of Tuxedo Junction from Harry James and his new 1947 Sextet. Besides Bing, we'll hear from great singers like Ella Fitzgerald, Louis Prima, the Andrews Sisters and more. 

Thanks for hanging out with the In the Mood blog! I hope it contributes to your appreciation for the music and to your enjoyment of the show. 

Remember to call a young music student and invite them to listen to the show with you this week! They NEED to hear this music! Be good to one another, and above all, Keep Swinging! 


Wednesday, June 24, 2020

Big Swing Thing: Show Notes 6/24-28

A Hamp for All Seasons

I guess anything goes when you're promoting an artist. Just this past week, I was putting a Lionel Hampton album on the hard drive when I decided to peruse the LP's liner notes while listening to it roll. The unnamed author described the process of song selection for the project, a 1958 Harmony label package entitled Hamp in Hi Fi. In this description, he makes the assertion that Hamp did not know how to read music, so certain steps had to be taken to help him get familiar with the tunes.

I would have to throw the bulls--t card on that one. Lionel Hampton was a highly-educated professional musician, not some seat-of-the-pants mallet whacker who just seemed to get incredibly lucky time after time after time. His musical education began at a private prep school for boys in Kenosha, Wisconsin, and continued in Chicago, where he received advanced musical training as a member of the Chicago Defender newsboys' band, in which he played trumpet, drums, flute and orchestra bells. He received a degree in music (not the honorary kind) from USC in Los Angeles in 1935. It would be extremely unlikely that the University of Southern California would award a sheepskin in music to someone who could not read music. But hey, it makes a good story, right?

So great was Hamp's talent, Benny Goodman gave him an extremely liberal contract when he hired Lionel in 1936. Uncharacteristically, Goodman agreed to allow Hamp to record and perform, independent of Benny's direction, with his own groups. In contrast, Harry James was not allowed to blow a note that was not directed by Benny. 

Hampton took full advantage of this freedom, assembling "orchestras" under his own name for concerts and record dates starting almost immediately after he came on board with Goodman. Hamp's enormous talent and inclusive leadership style brought out some of the biggest names in jazz to play in his groups. It was very common for the Hampton recording groups to contain top sidemen from many of the biggest name bands of the day. On one notable date, Coleman Hawkins, Chu Berry and Ben Webster were all in the reed section, and all three played solos. 

For me, this is what makes the Lionel Hampton sessions of the 1930s and 40s so exciting. We get to hear some of the top jazzmen of the Big Band Era, all relaxed and swinging freely, feeding one another, taking their cues from Hamp. Often, we hear musicians who would never have played together otherwise. 

And we shall hear a stout representative sample of these records on this week's In the Mood. The World's Greatest Record Library is blessed with a plentiful selection of these gems, and we will open Hour 1 with about 20 minutes of Lionel Hampton's best.

Hour 2 kicks off this week with a fine array of swinging sides from the great band of Charlie Barnet. On full display will be Charlie's unapologetic admiration for Duke Ellington and Count Basie. Although less-swinging white bands were making more money, the Ellington and Basie bands were universally held by musicians in the highest esteem. Charlie's band went so far as to imitate them openly, with Charlie playing in the image of Johnny Hodges, and Bill Miller emulating the Duke and the Count on piano. We'll spin some of the best examples, including The Duke's Idea, The Count's Idea and The Right Idea. You will be surprised and delighted by this swinging segment.  

In addition to these special features focusing on Lionel Hampton and Charlie Barnet, we'll bring you a superb set of swinging singles from some of the best Big Bands of the Era, such as Artie Shaw, Tommy Dorsey, Benny Goodman, Glenn Miller, Willie Bryant, Bert Kaempfert and many more. We'll even  take 6 or 7 minutes to appreciate the magnificent version of No Name Jive recorded for Capitol by Glen Gray and the Casa Loma reunion band in 1956.

Once again, let me remind you to call a young player or band student and invite them to listen to the show with you. They need to hear this music! They need to know how delightfully exuberant Big Band music can be...and there are no finer examples than those you will find on this show.

Thanks again for sticking it out to the Bitter End with me on this week's blog! I sincerely hope you enjoy this week's show. Be kind to one another this week, and above all...Keep Swinging! 


Wednesday, June 10, 2020

Why Do I Do This? Show Notes 6/10-14

We're on a Mission from God

Elwood & Jake Blues - 1980

It's one of the most famous movie lines ever: "We're on a mission from God." Elwood and Jake were out to save an orphanage in Calumet City, Illinois. They succeeded, and brought a lot of exciting music to the public in the process. 

Here at In the Mood, we're on a mission of our own: to bring the swinging music of the Big Bands to an audience thirsty for Jazz they can relate to. And perhaps the most important segment of that audience is music students in middle school, high school and college band programs around the world. 

If you've ever learned, or tried to learn, to play a musical instrument, you understand how important it is to play music you love. And Big Band Swing can provide that inspiration while demonstrating the principles of melody, harmony, chord progression, tempo and time. 

The Big Band Swing of the 1930s, 40s and 50s is, above all, fun music. It's fun to dance to, fun to listen to, and fun to play. Much of it is actually quite simple, even elemental. And the arrangements that are so familiar to many of us are still widely available in original and simplified form. 

All across the country, Big Band music is enjoying something of a renaissance as tribute bands such as the World-Famous Glenn Miller Orchestra maintain a busy touring, performing and recording schedule. Music educators are starting to catch on, too. More and more school band programs are adding a Jazz Band to their list of options for student participation. More and more Swing tunes are being made available in simplified arrangements for student musicians. And the kids are loving it. The supply of potential songs is enormous, and the music's appeal is timeless. 

Let a room full of band students hear a recording like the 1956 No Name Jive by Glen Gray and the Casa Loma Orchestra, or the Glenn Miller arrangement of In the Mood, and watch what happens when they realize, "Hey, we...I...could be playing this stuff!" 

The music of the Big Band Era clearly demonstrates the musical principles on which modern Jazz is founded. The music of Duke Ellington and Count Basie in particular obviates the connection between Jazz and the Blues. And the young players of today could have no more inspirational examples to follow than Harry James, Tommy Dorsey, Lester Young, Gene Krupa, Charlie Christian and Benny Goodman. These players and their contemporaries demonstrate the value of technical proficiency while providing truly accessible examples of improvisations that open new doors while respecting the melodic intent of a song. 

When people ask me why I do this show, this is the long-form answer I want to give them...but time and the situation rarely permit me to do so. Modern Jazz is an acquired taste, and, especially for young musicians, it can be intimidating and confusing. The Big Band Swing of the mid-Twentieth Century was originally intended to appeal to average people with an appreciation for melody and rhythm. It was really Jazz thinly disguised as Dance Music for the masses. The melodies were straightforward, usually built on the Major, Melodic Minor and Pentatonic scales, supported by chord progressions derived from those harmonized scales. 

Whether you're learning to play a brass, reed or wind instrument, a guitar, bass, piano or drum, once you have covered the basics and studied some of the appropriate classics, Big Band Swing is a natural first step into Jazz. And that's why I'm such a staunch advocate for this music. A program of Big Band standards is a sure-fire crowd pleaser at performance time. And this body of material contains a seemingly endless supply of inventive, engaging songs for the student musician. 

I've said all that to say this, and I say it at the beginning of every show: If you know a young musician in one of our high school or college bands, call them now and invite them to tune in. This show is as much for them as it is for those of us who were there and remember the music from our own personal experience.

This week's show is a perfect example of what I've been talking about. Hour 1 opens with about 20 minutes of sheer excellence from the bands led by drumming legend Gene Krupa. Any young student of the drums will be thrilled to hear what Gene and his band could do. We provide some excellent examples, such as Opus No. 1, Swing Is Here, and (a special treat for trumpet students) the Krupa band's treatment of After You've Gone, a showpiece for trumpet star Roy Eldridge. Hour 2 kicks off with a downshift into two-time Chicago Jazz classics by Eddie Condon and his All Stars, who faithfully deliver the early classics of jazz from the era of Bix Beiderbecke and Jack Teagarden in modern recordings from the 1940s and 50s. Their treatments of gems like Fidgety Feet and Jazz Me Blues (both included in this show) bridge the gap between improvisation and Arranged White Dixieland. I think it's also important to make the point that these guys started playing jazz together while still in high school in the 1920s.

This week's show also offers dancers' delights from Artie Shaw, Duke Ellington, Benny Goodman, Fats Waller, Harry James, Charlie Barnet and many more. Bing will sing, Frankie Carle will tickle the ivories, and we'll hear what happens when Benny forgets to tell the guys when to call it quits. 

Lots of fun and excitement await our listeners young and old this week, so set a reminder to catch the show on your favorite station, and don't forget to call that young player you know and get them on board! Thanks for sticking it out to the bitter end with me here! Remember to be kind to one another this week, and above all, Keep Swinging!


Wednesday, June 3, 2020

Fresh & Familiar: Stan & Bunny - Show Notes 6/3-7

A New Kind of Big Band

America was a dancing culture when Stan Kenton started his Big Band in 1941. When teens and 20-somethings went out on a Saturday night date, dancing was usually part of the plan. And why not? Talented musicians were everywhere, providing quality dance music for the masses in hotel ballrooms, night clubs, auditoriums, and in the thousands of dance halls that dotted the map. So popular was the dance culture that many ballrooms became nationally famous dance destinations due to the regular and frequent network radio broadcasts they hosted. Listeners across the country could hear their favorite dance bands holding forth in real time from storied spots like Frank Dailey's Meadowbrook, the Cocoanut Grove, the Aragon, the Trianon, the Glen Island Casino, the Palladium, the Savoy and countless others. If kids were pinched for cash (as usual), they could turn on, tune in, roll up the rug and dance at home for free. That's the reason that so very many of the popular songs of the day were recorded in strict dance tempo. Even beautiful, melodic ballads like Star Dust were originally recorded at Fox Trot tempo, which often killed the emotional impact of the song. 

All that began to change with the Stan Kenton band. Although this was originally a dance band, it quickly evolved into a band for listening, rather than dancing. Stan's music embraced modern harmonies, altered chords, and complex tempos that confounded most recreational dancers. Sure, the Kenton book contained danceable numbers like Tampico and Her Tears Flowed Like Wine, but there were also plenty of items like Unison Riff and Peanut Vendor that would clear a dance floor in moments. 

By so doing, Kenton ushered in Progressive Jazz, which concentrated on innovation in melody, harmony and tempo. It also provided new opportunities for improvisations that were tonally and rhythmically unpredictable. The result was often a sound that dancers found challenging, but musicians found freeing and inspiring. 

We'll hear some excellent examples of Stan's groundbreaking adventures in composition and arrangement on this week's show...along with some selections that demonstrate the band's ability to faithfully execute more traditional swing. Hour 1 begins with about 20 minutes' worth of Kenton gems that our listeners will find both challenging and satisfying. 

For a more familiar flavor, we'll jump back into the heart of the Swing Era with a generous selection of favorites from trumpet slinger Bunny Berigan's swinging bands of the 1930s. Bunny cut his teeth on Big Band Swing, and few (if any) players of the Era could match his fearless and driving solos. When Bunny took the spotlight, listeners and (especially) other players were left open-mouthed, thinking, "I can't believe he just did that!" 

Inspired though his playing was, Bunny was no leader of men. His heavy drinking was problematic, both personally and professionally. Playing in the Berigan band made men out of a lot of little bad boys who discovered their own limits and strengths on the road in his employ. But he developed a reputation for missing gigs, or showing up too plastered to play. 

Eventually,  alcoholism took a toll on his health, and he had to throw in the towel and go back to work for Tommy Dorsey, along with a handful of his best sidemen. But things continued to get worse. Tommy pleaded with him to clean up his act, but Bunny just couldn't overcome it. Eventually, Dorsey had to let him go. Bunny died of alcoholism in 1942 at age 33. A sad end to a brilliant talent and all-around lovable guy who simply couldn't outrun his demons. 

But Bunny left behind a legacy of impressive recordings that strongly hinted at even greater achievements to come. We will dive into the World's Greatest Record Library for a loving listen to some of his most memorable performances, including his 1937 masterpiece, I Can't Get Started, which lives in the National Academy of Recording Arts and Sciences Hall of Fame.

As if these Spotlight features on Stan Kenton and Bunny Berigan weren't enough to satisfy any fan of the Big Band sound, this week's In the Mood brings you swinging delights from the excellent bands of Tommy Dorsey, Glenn Miller, Ralph Flanagan, the Benny Goodman Sextet, Fletcher Henderson, Jack Teagarden, Count Basie, Charlie Barnet, and more. 

How do we do it? Well, you just leave that to us and stop asking so many questions.

Thanks for slogging it out with me here on the Show Blog! As always, we invite your comments and requests, either here or on our Facebook Page. 

Remember to reach out to a young player or band student and invite them to listen to the show with you. They NEED to hear this music!  

Please be kind to one another this week, and above all, 

Keep Swinging!



Wednesday, May 27, 2020

Woody 'N Les: Show Notes 5/27-31

Two of A Kind

Woody Herman & Les Brown

This week, In the Mood brings you two of the Swing Era's great reed men: Woody Herman and Les Brown. Both were masters of the clarinet and alto sax. Both were conservatory-trained musicians. Both were popular and successful bandleaders in the 1930s, 40s, 50s and beyond. Both enjoyed long careers stretching into the 1980s. And both were relentless about encouraging young musicians. 

We open the show this week with about 20 minutes of great singles from Woody Herman's First Herd. That band recorded mainly for Columbia, and those 1940s Columbias can be problematic to restore. Columbia's EQ curve was a little bizarre compared to those of other record labels, with lots of honky-sounding mid-range, a dead top end, and very little bass on the record. Once you get them clean, you have to EQ the hell out of them to make them sound rich and full. It's always a contest between the bass player and the turntable rumble; it's hard to get enough of the first one without also getting too much of the second. But I think you'll find that we've hit a great-sounding "sweet spot" in that regard.

For our Herman segment, we chose some exciting sides, which was easy to do, since Herman's Herd specialized in that very commodity. We kick off the show with Caldonia, a song written and originally recorded with a hotter-than-hell boogie beat by Louis Jordan. Woody's vocal is just as outrageous as Jordan's, but the band has the boogie tempo smoothed out to a solid, hard swing. And the solos delivered by Woody's upstart sidemen are strictly up-to-date with a strong tinge of Bop. We also hear Woody's soulful tenor sax on Laura, another of his trademark vocals. Along with a handful of potent sides by this band, we also pause to throw back to Woody's earlier assemblage, known as The Band That Plays the Blues, for some enchanting small-group action from his Decca days.

Hour 2 begins with 20 minutes of high quality pop from Les Brown and the Band of Renown. Les started his band at Duke University in 1935, and after a storied string of one-nighters up the East Coast, it gelled into an experienced, swinging, stable outfit. We'll play the band's first hit record, Joltin' Joe DiMaggio, on this show. The record celebrates the Yankee Clipper's historic 56-game hitting streak of the 1941 season. Les and the band enlisted as a unit into the US Army Special Services, and spent the next four years entertaining US military personnel and their families all over the US and around the world. This is why Les's band posted no hit records from December of 1941 until the spring of 1945. 

Doris Day had sung with the band for about a year in 1941, and spent her time getting married and starting a family while the band was touring military bases. After the end of hostilities, everybody got back together in LA and got back in the band business. Butch Stone's version of Robin Hood  was their first hit after the war, and the second was Sentimental Journey, a song co-written by Brown that spent 13 weeks at the top spot on the charts. 

Most of Les's hits from the 40s are also on Columbia, and these 78 singles were a challenge, but the results are quite enjoyable. We'll hear an excellent representation of Les Brown hits from the 40s, and even reach into the 50s, when the band charted once again backing up the Ames Brothers. 

So, quite a few similarities between these two bandleaders, Woody Herman and Les Brown. Both reed players and excellent leaders, both on Columbia, both with long careers embracing new faces and new sounds. But these guys had one other thing in common, and that is that they were both extremely well-liked and much-respected by their sidemen. Both were famous for playing high-quality music, routining and rehearsing their bands intelligently, and for treating their musicians the way they wanted to be treated - with affection and respect.

Along with Swingin' Spotlight features on Woody and Les this week, In the Mood brings out all-time favorites from Charlie Barnet, Benny Goodman, Artie Shaw, Stan Kenton, Glenn Miller, Count Basie and more. We'll hear from the great singers of the Swing Era too, like Helen Forrest, Ella Fitzgerald, Mel Torme, Kitty Kallen and Bing Crosby. 

I can't wait to hear this show myself! 

We have new affiliates carrying the show at new times this week, so be sure to scroll our Facebook Page to see the updated schedule. I've also posted it to this Blog Page for your convenience. As always, feel free to leave us a comment or request.

Be good to one another this week, and above all, Keep Swinging!





Tuesday, May 26, 2020

Latest Broadcast Schedule

Where Can I Hear In the Mood?

In the Mood has grown again! The world's favorite Big Band show is now broadcast 12 times per week on a total of 9 stations! Here is the latest, up-to-the-minute schedule. All times CDT (GMT -5 hours).

Weekly Broadcast Schedule

11:00 am - 1:00 pm: 920 WON The Apple in New York City
8:00 - 10:00 pm: WSSE-DB in Clarksville, Tennessee
8:00 - 10:00 am: Jazz Hall Radio 91.1 FM in Birmingham, Alabama
3:00 - 5:00 pm: WKLF AM 1000/FM 95.5 in Clanton, Alabama
10:00 pm - 12 midnight: Swingin' 105 in Austin, Texas
10:00 pm - 12 midnight: WSSE-DB in Clarksville, Tennessee
9:00 - 11:00 am: Funky Media Radio in London, UK
10:00 am - 12:00 Noon: SeaBird Radio in Hull, UK
3:00 - 5:00 pm: WVAS 90.7 FM in Montgomery, Alabama
6:00 - 8:00 pm: The Fox Oldies in Burleson, Texas
6:00 - 8:00 pm: Swingin' 105 in Austin, Texas
8:00 - 10:00 pm: Jazz Hall Radio 91.1 FM in Birmingham, Alabama

Leave us a comment or a request here OR on our Facebook Page.