The Sound of 78s: Show Notes 10/21-25

 Reprocessing 78 Audio - Less Is More

...But you can't have too many Records!

I used to be all about comparing myself to other people. How did I stack up? Am I better than him? Worse than her? I wanted to know. But then I came to understand that comparing myself to others was a fool's errand; there is really no way to make a meaningful comparison without considering all the factors in a person's life. And in the end, the whole exercise is merely an outgrowth of my ego wanting validation, wanting to look good. 

Life is not a competition or some type of race. If it is, it's a pretty unfair race, with everyone running on a different course with wildly varying characteristics. Some are running downhill in the shade all the way. Some are running straight uphill against the wind in 110° heat. Some are wearing bathing suits. Some are wearing overcoats. Some are running hungry while others are overfed. Some have rocks in their pockets. Others have a rocket pack. And everyone has a different start and finish line. In short, life is not an even playing field. There are certain factors that can be managed, but others are out of anyone's control. Sometimes, failure is rewarded and success punished. The world is a random and chaotic place. And that is why I have tried very hard not to compare myself to other people. 

Stay with me here...

And reprocessing 78s is very similar in many ways. How's that for a segue? Seriously, though, it makes no sense to compare your own audio restoration work to that of other people beyond the point that you learn how to get better results yourself. Every record is a little different. Some are pristine, while others show signs of abuse. Some are hardly played, and others are played hard. Some are off-center or warped. Still others never sounded good, even when brand-new. The task is really to make the most of what you've got to work with. 

Just like life. 

As collectors and archivists in the world of our own collections, we all share common goals: to preserve the music and the performances of the past, to celebrate the artistic achievements of the performers and the recording technicians, and to (hopefully) present the historic material as accurately and attractively as possible. 

My specific goal with my collection is to digitize and sanitize as much original material from the Big Band Era (roughly 1920 - 1954) as possible, and make it available for use on the weekly In the Mood radio show. Toward that end, I've processed almost 40,000 individual songs in the last 20 years, much of it right off the original 78 shellac releases. In the process, I've learned a few things, and here is where I share some of my thinking and techniques.

In previous posts, we've already established that we want to play clean records. No point in preserving a bunch of surface noise and scratches, so we wash the record before playing. I wash them on a round drink tray stolen from a hotel hallway 25 years ago. Forgive me, Father, for I have sinned. I wash 78s in tepid tap water using a few drops of Dawn on each record, and a nylon-bristled vegetable brush. Nylon is softer than shellac, so it won't scratch the record. Scrub the record gently in a circular motion, following the groove. I rinse with a little tap water first, then spray with distilled water and dry with a clean, soft towel. Do not let any water evaporate off of the surface of the record, or you will hear the mineral deposit left behind. Yes, even with distilled water.

Now that the record is clean, we will get the best possible sound from it, reflecting the record's true condition. If you are fortunate enough to have a pristine copy to work with, congratulations. But for the vast majority of us, some remedial measures will be called for. The less we can get away with doing to the audio, the better. Less is more. 

I play 78s on our 1935 RCA Type A Transcription Turntable, affectionately known around here as Big Bertha. She's been updated with an Audio Technica AT-1009 tone arm and a Shure M-55 cartridge and Shure N-44-3 78 stylus. I might record the left or the right side of the mono groove, depending on which sounds cleanest. Usually, I use an L+R mix. If there's a lot of surface noise, I may use the parametric EQ on the Mackie board to roll off some top end.

Once the side is on the hard drive, I use Wave Corrector to remove pops and clicks. Adobe Audition also has very good pop/click removal, but Wave Corrector is much easier to use on individual pops left behind by the automated sweep. Then, we employ Goldwave to enhance the audio quality. Depending on the record's condition, I may use a bandpass filter to cut all frequencies below 60 Hz and above 6 kHz. That's about the recorded spectrum of most pre-WWII electric 78s. Everything outside of those frequencies is noise. I'll play around with that upper cutoff number till I get the best compromise between surface noise and reasonably crisp audio. Sometimes, that's enough. I might use a little graphic EQ to shape the remaining spectrum to give it a little bottom end bounce and clear top end. 

But if we still have noise that makes the record hard to enjoy, I might resort to some digital noise reduction. This is a drastic step, and is not taken lightly. It is very easy to do significant harm with digital noise reduction, and our Prime Directive is Do No Harm. There are 3 or 4 different techniques that can be used with DNR: you can manually create an envelope for the DNR to work within, you can sample the noise to be removed and sic the DNR on it, you can have the DNR work off of a sonic sample of the recording, or you can have it use an average of signal and noise relationship. Depending on the specific characteristics of the recorded material and the noise, you may get startling, superb results. Or not. Often, the best answer is to make multiple passes with the the DNR, each time removing a little bit of the noise. This method often reduces the amount of noise artifact left behind by the software. In the end, it's a subjective decision, and it's up to you to make the call. You really have to experiment to see how to get the best outcome in each case...and yes, it is tedious, time-consuming work. I think, in fact, that audio restoration at this level is indeed an art form in itself.

This is where i would normally start talking about the artists featured on this week's show and some of the specific songs that will be included...but this blog has run over time already. Suffice it to say that this week, we will enjoy some great original sides from Glenn Miller, Ray Anthony and the rest of the best Big Bands of the Era. You'll hear some professionally-restored originals from re-releases by the major record labels, plus some nice 78 sides from the World's Greatest Record Library. What you WON'T hear is CDs. We play RECORDS ONLY.  

I sincerely hope you enjoy it. Visit our Facebook Page and get the complete broadcast schedule, including Live Links to the radio stations' Live Streams. 

Be good to one another this week, and above all, 

Keep Swinging! 

Scott

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The 78 Challenge: Show notes 10/4-11

 Success with 78s: the Secret Sauce

Step 1: Do NOT play your records on a Victrola

If the image above makes you a little queasy, I'm with you. That is not something you would do to a record you really cared about. Unfortunately, that's something that's already been done to a lot of the 78s still in circulation, or "in the wild," as some collectors like to say. Those old 
Victrolas were murder on record surfaces. The sound box was ridiculously heavy, and armed with a steel needle that actually had a fatter tip by the time it got to the end of the record. Two factors made this abuse acceptable: (1) lower expectations, and (2) different materials. Records in those days weren't held to high audio standards by the public - everyone was just so amazed at these machines, and, of course, there was nothing to compare it to. So, yes, the record-buying public was considerably less sophisticated than it would come to be. Also, records of the acoustic era were made of tougher stuff than post-War 78s, which could not tolerate more than a dozen or so plays on an old Victrola before it was worn out completely. 

And there it is - our #1 enemy when it comes to 78 audio: wear. When I was a kid, most of my records were 78s, played on all kinds of old phonographs. They all sounded terrible, with lots of scratches and surface noise. I will never forget how utterly stunned I was the first time I heard a new 78 record. It sounded fantastic! Amazing! I never dreamed records could sound so good! And through the years, it has become undeniably apparent to me that the worst thing a person could do to their records was to enjoy them for years and years. For every time a record is enjoyed, it is also degraded. It's a trade-off that cannot be avoided. 

Now, I think of collecting records as one might think of any historical preservation pursuit. But I find a certain romance, an allure, if you will, in the idea that these records, many of which are quite a lot older than I am, are not only a historical document of American musical entertainment, but also a document of the lives of the people who played and enjoyed them before me. In a small way, there's a kinship to be appreciated there, a connection to a continuum that predates me, and will (hopefully) continue long after I am gone from here. 

For now, I choose to be more than a mere curator of these historic documents; I choose to celebrate the achievements they represent, both technical and artistic, and to share them as widely as possible with like-minded fellow travelers. That is why I do the In the Mood show every week - to put these recordings in front of an appreciative audience and acknowledge the artistic and technical heights they represent. 

OK, everything you've just read amounts to a kind of a policy statement, I suppose - a declaration of what I get out of this and the notions that drive it for me. In recent blog posts here, we've discussed my philosophy when it comes to preserving and enhancing 78 audio for public enjoyment. And now would be the time to delve into the technical details of what I do to make 78s sound as good as new. But I'm going to save those gory details for our next geek post. For now, let's simply take a little time to enjoy the superb music we have for you on this week's show. 

Hour 1 begins with a Swingin' Spotlight feature on one of my very favorite groups: the Benny Goodman Sextet. As a swing guitarist, it's easy for me to listen to these super-tight little recordings and identify with the values that brought them about. The melodies are intricate, although simple in form and progression, and the Sextet carries them off with a relentlessly swinging approach. The ensemble passages are immaculate, and the solo work is highly developed and free, but sticks close to the rails. Benny was forever changing the personnel, which gave the Sextet a sound that was never stale, always refreshed by the inspiration of new blood. 

I spent years gathering as many Goodman Sextet recordings as I could, and went through several copies of the 1950 and 1951 re-issues on the Columbia Six-Eye label, trading up to better copies every chance I got. Then, we transferred these LPs to the hard drive with minimal enhancement necessary. I especially love these specific re-issues of this material, as I think Columbia got everything right - the right EQ, the right compression ratios, etc. These cuts stand up, sit down, fight, fight, fight! And I think you'll appreciate that aspect as you listen. 

We begin with the seldom-heard Sunny Side of the Street with ingenue Peggy Lee on the vocal, a side originally released by Columbia on its OKeh label in 1941. We hear from a 1940 Sextet that includes Count Basie on piano, Cootie Williams on trumpet and Charlie Christian on guitar; the loosely-swinging I'm Confessin that I Love You; a Capitol side from the late 1940s, Nagasaki; and an all-time favorite from the Sextet's first session in October of 1939. Besides the magic of spontaneous musical creation heard here, I think you will also find the audio characteristics of these recordings exciting and very satisfying. 

We kick off Hour 2 with about 20 minutes of straight-ahead dance music from clarinet and sax playing Les Brown and his Band of Renown. Baritone sax man Butch Stone will sing us a novelty number, we'll hear some of Les's dance arrangements of classical tunes, Joe will jolt one for us, and we'll get a couple of numbers with Doris Day at the mic. 

Of course, we include as many of the great bands of the 1930s, 40s and 50s as possible in every show, and this week, we get to hear some real gems of the Big Band Era from the likes of Eddy Howard, Stan Kenton, Artie Shaw, Louis Armstrong, Glenn Miller, Ralph Flanagan, Casa Loma, Jimmie Lunceford, Tommy Dorsey, and many more. We will even go back to 1931 for an original 78 classic from the Duke Ellington band. 

I think you will enjoy this show. I certainly did! 

Support your local Band Student! Call a young player and invite them to listen to this week's show with you. It will make their day!

As always, we would love to hear from you with a comment or a request for the show, either here on the blog page or on our Facebook Page.  

Be kind to one another this week, and above all, 

Keep Swinging! 

Scott

                 

The Assassin: Show Notes 9/23-27

 Killing the Undesirables

The Anatomy of a Pop

Last week in this space, we discussed the cleaning of vinyl records, and I shared my DIY record-cleaning solution, which has given me terrific results. You can hear those results every week on the show. We talked about the many contaminants that might be found on records, especially records of the age that we normally play. I have washed everything from Pepsi and decades-old gravy to mold and tobacco juice off of records, all just to get down to the sweet, sweet music underneath. Sometimes it's been worth the effort. other times not so much. 

Of course, it's nice to play a clean record; but what we find underneath all that muck and mire is still a coin-toss. If we're lucky, we will find that we had a record that was dirty but undamaged. Records can get damaged in a lot of ways, but the most common damage to records is simple wear. Ever notice that popular records of great music often sound terrible, while records of stuff nobody wants to hear are pristine? Well, of course they do. I can't tell you how many times I've looked at a 50-year-old polka album and thought, "How about that...no wear on it at all..." Well, duh! The really good stuff's been played to a frazzle!

Soooo...now that we have a nice clean record to work with, all we have to worry about is actual groove damage. And this can be very time-consuming and tedious to overcome. I've had lots of people come to me over the years with an album or a stack of albums that belonged to their mom and dad, and they want to hear them again for old times' sake, but they sound scratchy or skip all over the place and they want to know if I can clean them up for them. Maybe burn them to a CD or a flash drive..? The first thing I always do is go to eBay and Amazon and see if the album is available on CD. If so, game over. Buy the CD for $10 plus shipping, and you'll save me 20 hours of high-concentration restoration work. I must admit, it's been tempting on a few occasions to just buy the CDs, burn them a copy, and let them marvel at the amazing job I did on their old records. But I would never do that. 

So, let's get down to specifics. I promised last week that I would spill the beans on the cartridge and stylus I prefer, and the software I use to accomplish these tasks. Let's start with the cartridge and stylus. I'm in love with the Shure M-55, a cartridge with origins in the early 1960s that's been refined and improved through the years. I especially like this cartridge for a couple of specific reasons: (1) The Sound. It has a "dated" sound characterized by a solid mid-range and a very smooth top end. It has a warmth and creaminess because of full, firm bass response coupled with the absence of the super-bright top end favored by many audiophiles today. Remember, I'm re-processing LP audio from the late 1940s through the mid-1960s for the most part. Even after the advent of Hi Fi, it was rare to find much of anything but noise on a record above 11 or 12 kHz. On many, the ceiling is much lower. That's the first reason: I think the sound of the Shure M-55 suits the material I'm working on to a "T." 

Reason (2): The Styli. Last time I checked, Shure made about 8 different styli for the M-55 (the N-44 Stylus Series). They made conical styli, elliptical styli, high-tracking-force styli, mono styli, a 78 stylus, and a few others. Most of these are still readily available as NOS. In addition, several manufacturers are still making a variety of high quality knockoffs which perform very well. Old LPs come with a mix-N-match set of problems, and this arsenal of stylus choices offers appropriate paths to success for most of them.

Now, let's devote a little attention to software. Again, there are many choices available, and the greatest difference between most of them seems to be ease of use, rather than raw capability. I have a couple of favorites that I dearly love. One is Wave Corrector, made by Ganymede Test & Measurement in the UK. I paid $45 for this software 20 years ago, and have added every update as it was introduced. I think the most recent update was made in 2011. It's a free download now for Windows machines. WavCor is an open-ended digital recorder. By that I mean it will start recording when you hit the red button, and it will continue recording until you tell it to stop. No initializing of a blank file to record on. See the picture at the top of this blog? that's a screen shot of the main screen of WavCor. In the center is a nice, big, fat, juicy pop. WavCor kills them dead, dead, dead, without a trace. It has an automated sweep feature, and it's extremely simple to manually kill a pop that the auto sweep misses. It also has some noise filtering that works well for certain types of surface noise and tape hiss.

Sometimes, a record is covered with a certain type of pop that is better removed by the Auto pop & click removal feature of Adobe Audition. I have version 1.5, and its pop & click elimination and surface noise reduction features are very effective. Of course, there is a learning curve, but you learn to predict which records will give the best results with WavCor and which with Audition. 

And then there is Goldwave. I love this program for easy and quick manicuring of music files. Once the file is clean, I use Goldwave to adjust the EQ curve, add compression or expansion, manicure the beginning and end of the file, and set the peak volume level (normalization). 

These are the methods and tools I've used on LP records to clean and prep over 40,000 music files from the World's Greatest Record Library over the last 20 years or so. Next week, we start revealing the secrets of restoring audio from 78 records. 

As for this week's show, we kick off Hour 1 with our first-ever feature on the Metronome All Star Band. This band was a Dream Team of Jazz whose members were selected according to the results of Metronome magazine's annual Readers' Poll. This band only played together once, for a recording session held in January of each year. Generally, the band laid down two sides for posterity. Different record labels did the sessions from year to year, and the proceeds were donated to the AFM Pension Fund. As you might imagine, the musicians selected and the sound of the band evolved tremendously over the years, sometimes with stark differences in sound and approach from one year to the next. We'll take a listen to the All-Stars from 1939 (the first year), 1941, 1944, 1947, 1950 and 1953. You will be amazed at the evolution in Jazz represented by these records.

Hour 2 begins with a loving look back at some of the best records made by the Stan Kenton band. We concentrate on the band's "hit years" between 1941 and 1950. This big, brash, bombastic band was so brass-heavy with 5 and sometimes 6 trumpets and 4 or 5 trombones, it had trouble really swinging a lot of the time, although some of the members, like singer Anita O'Day, worked hard to overcome that. But swinging was never as important to Stan as making progressive sounds with new and unusual shadings and harmonies. His was the first progressive band to gain national prominence, and it paved the way for Herman's Herds of the 1940s and for the wide acceptance of Bop just a couple of years later. We'll hear a good representative sampling of the band's output from that period.

In addition, we will enjoy the sounds of Artie Shaw, Casa Loma, Will Bradley, the Benny Goodman Sextet. Earl Hines, and many more. Count Basie will tickle the ivories, the Andrews Sisters will harmonize, Gene Krupa will beat some skins, and the one and only Helen Kane will bring us the original recording of her signature song from 1929 in this week's Wayback feature. All told, a show not to be missed!

Remember to contact a young musician or band student and invite them to listen to the show with you this week. They need to hear this music, and they need to know that you support their musical dreams. 

As always, we'd love to hear from you with a comment or request, either here or on our Facebook page. Be kind to one another this week, and above all, 

Keep Swinging! 

Scott    

   

                       

The Vinyl Solution: Show Notes 9/16-20

 Great Sound from Good Records

Our trusty JVC QL Y5F

Every week, In the Mood meets the challenge of getting great audio from a huge collection of very old recordings. We have about 10,000 discs (and cylinders) in the World's Greatest Record Library, and none of them were made in this century. Obviously, the 78s are mostly original issues of the Big Band hits from the 1930s and 40s. 78s were pretty much phased out by the major US record labels by 1958, and they present their own specific set of challenges. But for this blog post, we're going to concentrate on how we pull great audio from the LP section of the collection.

LP records were introduced by Columbia in 1948. LP stands for Long-Playing, to differentiate these new discs from the standard 78 records, which were mainly singles with one song on each side. The original LP records were 10 inch discs like the old 78 format, but they contained four songs on each side instead of just one. This expanded recording time was achieved by a combination of two factors: narrower grooves and slower turntable speed. Recording studios, radio stations and record labels had been using 33.3 rpm discs since the early 1930s. Generally used for mastering, archiving and industrial purposes, such as the audio tracks for Vitaphone movies, these records were for internal uses and were never made available to the general public. Some were pressed on shellac, but most were pressed on vinyl, yielding longer record times and less surface noise. But all were cut using the same 0.03" groove size as 78 records. When Columbia came out with the LP record, it turned at 33.3 rpm, but it had a much narrower 0.007" groove, or microgroove. The sound quality was noticeably better, with higher highs, lower lows, and a much quieter surface.

Within a year, Columbia was leasing out its new technology to other record labels, and the new format began to proliferate. Almost immediately, Columbia and Victor began digging into their vaults, re-processing and re-releasing material from the 1930s and early 40s in the new format. 

By the mid-1960s, the labels were employing an arsenal of new and improved tools to make new and old recordings sound better than ever before. Sophisticated equalization circuits had been developed, allowing for correction and re-balancing of the tonal quality of older recordings. RCA had developed the compression amplifier in the late 40s, and its presence can be heard on their new recordings of 1948-49, offering a smoother sound, fuller bass response and a higher average volume level without distortion. All of these advancements lent new life to the re-releases of older recordings. 

One particularly important new technique developed by RCA in the late 1950s brought us The Great Band Era, a landmark box set of LPs chock-full of re-processed Big Band hits from the 1930s and 40s with surprisingly excellent sound quality. This was achieved by going back to the original metal molds used to press the 78 records of those days, cleaning them carefully, and making brand-new pressings of these recordings on high quality vinyl. These new 78 pressings were then tracked and recorded on tape, where engineers re-balanced the tonal characteristics, and even used razor blades and splicing tape to literally "cut out" the small pops and clicks that were inherent in even the most pristine recordings from that era. Using these steps, RCA was able to achieve new heights in audio quality for these old recordings. They partnered with Readers' Digest to market a slew of these box sets to the public, including The Great Band Era, The Swing Years, In the Groove with the Kings of Swing, and many others.These box sets were made available in original mono with just a slight dab of added reverb, and in a version that was literally ruined with fake stereo effects. We've successfully gathered together a group of excellent mono copies of these box sets in the World's Greatest Record Library, and all have been digitized and sanitized for use on the show. Of course, a lot of what we play on the show was recorded in the 1950s Hi Fi Era, and some even in the post-1957 Stereo Era. 

It's our job to get the cleanest, most original sound from all of these recordings. And here's how we do it. First and foremost, we have to start with a clean record. The newest records we play on the show date back 50 to 60 years. Over that span of time, all kinds of trash can be expected to find its way onto the record surface and into the grooves. Even carefully-handled records of that age are generally filthy at the microscopic level of stylus and groove. Vinyl records often hold a static charge, literally making them a dust magnet. Then, there's the cigarette smoke, household dust, pet dander, chicken grease, newsprint, sweat, and every other kind of grease and grime people have on their hands. It's all there on their records. Now, add a half-century to let it all solidify, and you've got a genuine challenge to deal with. 

Obviously, we don't want to play any of that stuff; we just want to hear the record. When that needle comes down, we want it touching nothing but vinyl. And so, we've developed a simple, affordable and effective way to remove the garbage from the record without damaging the surface. 

Record collectors have come up with a lot of ways to do this over the years. Here's the method I use.

***NOTICE*** This method is recommended for vinyl records ONLY. Shellac 78s may be irreparably damaged by this method. We'll cover 78 cleaning methods in an upcoming post. 

Get a clean, new spray bottle and rinse it with distilled water. In the bottle, make a mixture of 10 parts distilled water, 4 parts 91% rubbing alcohol and a few drops of liquid Jet Dry. Mix well. Spray both sides of the record with the mixture and wipe it into the grooves with a microfiber cloth or painting pad. I've used a clean, dry wash cloth with excellent results. Wipe the solution thoroughly into the record surface, and then rinse with a second spray bottle filled with distilled water only. Dry the record thoroughly with a clean, dry towel. I just use a terrycloth towel that's been laundered without fabric softener. it's very important to remove all the water from the surface. Try to avoid letting any water evaporate off the surface, as even distilled water can leave an unwanted deposit, which you will clearly hear when playing the record.

This is an aggressive process, and should be necessary only once or maybe twice in a record's life. After you've performed this process, you should be able to keep the record pristine with a Discwasher or other standard record-dusting system.

I'll go into detail about the stylus and cartridge I use, plus the digital tools I routinely use to enhance the original quality of these antique recordings next week. But, if nothing else, this post will get you well on your way to playing clean records from now on.

This week's show is a doozie, with the hot, swinging trumpet work of the great Bunny Berigan and the extra-danceable arrangements of Ralph Flanagan in the Swingin' Spotlight. You'll hear these features at the beginning of each hour of the show. In addition, we'll hear from the great bands of Jimmie Lunceford, Benny Goodman, Count Basie, Artie Shaw, and more. That skinny kid Frank Sinatra will swing one with the Tommy Dorsey band. And we'll even hear Cut 1 from Side 1 of the very first modern (1958) LP from Ray Conniff and his orchestra. Billie Holiday will sing one with Teddy Wilson, Jack Teagarden will sing and take a tram-bone coda, and we even reunite Jimmy Durante with his old pals Eddie Jackson and Lou Clayton for this week's unforgettable Wayback feature.

Call a young musician or band student this week and invite them to listen to the show with you. Believe me, they NEED to hear this music, and they need to know that you support them. 

As always, we'd love to hear from you with a comment or request, either here or on our Facebook Page. Above all, be kind to one another this week, and 

Keep Swinging! 

Scott                    

Arts & Crafts: Show Notes 9/9-13

 A Collaborative Effort

RCA Record Cutting Lathe 1940

Record-making is a tough deal. A complex and unforgiving proposition that demands total concentration from all participants at all times throughout the process. Especially the records we play on In the Mood. 

In the 1930s and much of the 40s, commercial recordings were mastered direct-to-disc, which is the most difficult way to record. Any error, technical or artistic, could cause the take to be scrapped. The only option at the time was to start over from the top. So, on recording day, everybody had to get it right, at the same time,  from the artist at the microphone to the engineer  at the cutting table. 

Just imagine all the things that could possibly go wrong: the singer could be hearing back from that pizza from last night; the trumpeter may have a cold; a microphone might crackle; the gain rider may fail to anticipate a loud note and it over-modulates. And there were a million possible problems with the disc cutter itself. Getting a technically flawless take on disc was something of a minor technical miracle carried out multiple times daily at various locations in New York, New Jersey, L. A., Hollywod, Chicago and elsewhere. That's why I'm always impressed when I note that the famous Big Band recording I'm about to play was Take 1 in the studio. And doubly so when the recording is of a virtuoso performance on the level of Berigan's I Can't Get Started or Harry James' Flight of the Bumble Bee. There are a hundred ways a record cutting lathe can thwart the efforts of even the most attentive technicians. The process was, in fact, a significant fire hazard. The extremely fine shaving of acetate that was planed off the surface of the blank record was highly flammable; many radio stations, for example, had announcers in a booth on the ground floor with the mic wired to a cutting table in a concrete room in the basement with buckets of sand stationed about the room.    

And that's before we even get to making actual records. The record-pressing process itself is loud, hot, dangerous and sweaty. Steam is jetting about, and the presses are applying extreme heat and pressure. Toxic chemicals are used in the plating process and chemical baths. 

All of it done with no computers, no editing capabilities, and no margin for error. Pretty Impressive. What you hear on the record is exactly what went down in the studio. Until about 1946. If you've ever listened to the Edward R. Murrow collection I can Hear It Now, you were hearing the first obvious example of tape editing on a commercially-released recording.

Since Glenn Miller died in 1944, before the advent of tape recording  technology, we know that all his records were done in the studio just as you hear them on the record: perfect from front to back in a flawless take. This was driven home to me when I heard a live radio broadcast by the Miller band wherein they play their new tune, A String of Pearls for the first time in a public performance. And it sounds exactly like the record. Rock solid, total confidence through and through. In those days, you went into the recording studio prepared.

Our tribute to Glenn Miller opens Hour 1 of In the Mood this week, with a seldom-heard Decca recording by Glenn's 1937 band leading off. It's interesting to hear Glenn's arranging style before developing the "Miller Sound." We cover the hits like Star Dust, Serenade in Blue, Moonlight Cocktail, and we may even indulge ourselves with our best copy of the show's namesake. Maybe. Just maybe.

Hour 2 kicks off with a fond listen to the sweet and very danceable band of Dick Jurgens. This was the band that first introduced us to Eddy Howard, but went on after his departure to perhaps its greatest success. Jurgens ruled the Aragon Ballroom in Chicago the way Chick Webb ruled the Savoy. And, like Webb, his music was tailored to the local taste. Midwesterners preferred their music sweet, melodic, smooth, and not too flashy. You know - Lutheran. And Dick Jurgens gave them quality dance music that fit the bill. We'll hear a good representative sampling of this band's original recordings on Columbia and Okeh. I think they came out sounding pretty good...and downright hot in a couple of cases. I'm still looking for a great copy of When You Were Sweet Sixteen.

Additionally, we enjoy some of our perennial favorites from the World's Greatest Record Library this week, with entries from Benny Goodman, Jimmy Dorsey and The Brother, Benny Carter, Count Basie, Gene Krupa, Louis Armstrong and more. Bing will sing one, and we'll hear 78s from Tommy Dorsey, Johnny Guarnieri, the Basin Street Six and others. This one's gonna be a swingin' show with gems common and rare, so plan to join us!

As always, we welcome your input, comments and requests, either here or on our Facebook Page. 

Remember to contact a young musician or band student this week and invite them to listen to the show with you. It'll be a great experience for both of you! 

Be good to one another this week, and above all,  

Keep Swinging! 

Scott                 

     

Why No CDs? Show Notes 9/2-6

        "We Don't Play CDs on This Show" 

"Nope...Just Records."

It's true. This is a two-hour weekly show about Big Band music, and when it comes to the historic recordings of the popular bands of the 1930s, 40s and 50s, we rely on source material from the World's Greatest Record Library. Why? Because I can trust it. I've been collecting records since I was in Grade School. All those years have taught me how to identify the genuine article. And that's what I'm determined to play on this show. I believe in the original hit recordings of the Big Band Era. These are the records that went to the top of the charts. And I want to bring them to you sounding as authentic and original as I possibly can. 

To be completely hones, I'm not sitting here in the studio spinning records as I do the show each week. I started back in 2000, dubbing records to the hard drive, and using a combination of analog and digital tools to help them sound as good as they can be made to sound. I use EQ, bandpass filters, and occasionally even some compression and expansion. I usually employ digital pop and click removal, and occasionally, digital surface noise reduction. What you hear on the show is these "sanitized" cuts playing back off the hard drive. Of course, the original records are still right here on the shelf. 

Big Band reissues on CD can be problematic for several reasons. Often, these releases are similar to the original hit version, but not the real deal. Maybe an alternate take from the same recording session...or maybe an obscure version cut years later. The true nature of each cut on a reissue CD can be very difficult to nail down. If you're like me, and you've been listening to this music all your life, you know the hit take when you hear it. Anything else fails to satisfy. 

Quite often, the engineers mixing and mastering these CDs get very ambitious trying to make these vintage recordings sound more modern, and have been known to employ a variety of subtle and not-so-subtle tricks and effects in that pursuit. Extreme brightening of the top end of the audio spectrum, or a major bottom-end roll-off may make some of these cuts more pleasing to modern ears. But this is an attempt to make these recordings into something they're not. Records made between 1935 and 1948 have a particular, charming sound due to the comparatively narrow frequency range of the recorded sound. As a sound engineer, you have to respect those boundaries and understand that the only thing on the record outside of that narrow range is noise: Rumble on the bottom and hiss on the top. 

My approach is to evaluate each record individually and make the most of what's there. I never add reverb or fake stereo effects. A lot of what we play comes off of the original 78s from the period. More comes from reissue albums from the major record labels. Surprisingly, over the years, RCA's Reader's Digest packages have yielded some of the cleanest transfers. And, IMHO, the way I process the audio delivers a more natural and certainly a more original sound. 

I've peeled off the cuts I need from the many compilation albums with various artists, and I'm now working through the single-artist LPs alphabetically. At this writing, I'm up to Woody Herman. And it's taken me 20 years to get this far. I'm 62 years old. I think I can make it to the finish line.

I sincerely hope you enjoy this week's show. We have special Spotlight features on Les Brown and the Glenn Miller Army Air Force band. We get to hear some of Les's best recordings, including some with Doris Day. This time, however, we successfully resist the impulse to play Sentimental Journey. And the AAF band is simply magnificent, packed full of some of the best players of The Greatest Generation. Luckily, the broadcast and dress rehearsal recordings of NBC's I Sustain the Wings program have survived well into the 21st Century. 

Other highlights this week include appearances by Peggy Lee with Benny Goodman, Artie Shaw's Gramercy Five, Fats Waller, Vaughn Monroe, and my all-time favorite record by Larry Clinton. We hear from Harry James, Count Basie, Kay Kyser, Duke Ellington and many more. We even go way back to 1932 for a special treat from Bing Crosby and the Mills Brothers. Bet you can guess what it is!

Remember to call a young musician or band student this week and invite them to listen to the show with you. They need to hear this music, and it'll be the high point of their week.

Thanks for wading through all the geek stuff here. People often ask me where I get the music for this show, so I thought I'd share a little about how all that works. As always, we'd love to hear from you, either here or on our Facebook page. Take good care of one another this week,and above all, 

Keep Swinging! 

Scott           

Lightning in a Bottle: Show Notes 8/26-30

 Bebop or the Blues - Walking the Line

In the mid-1940s, Woody Herman found himself with a tough decision to make. He'd enjoyed more than a reasonable amount of success with his band ever since taking over the old Isham Jones orchestra in 1936. Woody had been with Jones for several years, playing sax and clarinet, and providing a few ideas for this firmly-established traditional dance band. How traditional was it, you ask? It was SO traditional...that they still had a tuba and a banjo in the rhythm section instead of bass and guitar. Woody's task was to take most of these players, and a few new ones, and create a totally new band with an identity and a sound of its own. Simple!

It took almost a year and a half to bring forth the "Band that Plays the Blues," but by the time its first records appeared on Decca late in 1937, the transformation was complete. Gone were the tuba and the banjo. Gone were the ricky-ticky old arrangements, replaced by smooth new charts and a blues-based repertoire that contained none of the dated trappings of the old Jones band. And from late in 1937 until the spring of 1941, the Herman band was in the thick of it, with one-nighters, radio hookups, successful engagements at top venues, even a couple of movies for Paramount. But by 1941, Woody could feel a shift in the wind, and his own band started to sound dated and stale to him. He had seen the Jones band cling to its old, outdated sound rooted in the 1920s, and the slow, embarrassing decline that resulted. He knew he had to get out in front of the curve...whatever that was. 

What it was was a hotter, newer style of jazz dance music that some were calling "Progressive." It sneaked up on the band over a 2-year period, as players moved on and were replaced by a younger, hipper crop of musicians, arrangers and composers. 

This new style of music was brash and loud, with unexpected rhythms and jarring harmonies - potentially pretty dangerous stuff for an established band. Which brings us back to Woody's tough decision: How much of this new style should we incorporate, if any? As always, with many heads, good decisions are made, and Woody was a strong believer in getting lots of input from the guys, letting them take ownership of the band's creative force. It was decided that a little bop goes a long way, meaning that certain elements of this new style could genuinely enhance the product, both for the musicians and for the patrons. Pianist Ralph Burns and trumpeter Neal Hefti got busy writing, and pretty soon, these fresh and energetic new charts were lighting up the bandstand. The rules were simple: respect the melody, write parts that let your sections shine, make it sound like traditional dance music on steroids, but don't let it get out of hand, and play it hot and super tight. 

By combining the proven elements of successful dance music with new harmonic and rhythmic ideas, Herman's First Herd managed to strike a "sweet spot" between the new and the old; a sound that was fresh and exciting for the kids, and progressive enough to snag the mid-40s hipsters, while still playing music that "grown-ups" could enjoy. The combination was pure magic; you might call it Lightning in a Bottle. 

We open the show this week with a selection of tunes that represent the transitional period in the Woody Herman band. We open with a '50s update of the band's signature hit, Woodchopper's Mambo. Trust me - you'll like it. We hear the theme song of the Band that Plays the Blues, Blue Flame, along with a few other selections from 1941-43 that show the evolution of the band's sound over those few years. There's a lot to like here, including the biggest hit single of Woody's career. 

Hour Two begins with a little over 20 minutes of toe-tapping delights from the Benny Goodman Sextet. There are plenty of stories out there about what a weird guy Benny could be. He was quirky and cheap, obsessed with the clarinet, and lived in his own little world much of the time. But far and away, what Benny Goodman did best was swing! Everything he did, from the BG Trio and Quartet all the way up to his big band, everything was done with a swing. Yes, even the ballads. And it worked. Now, these classic recordings from the 1939-1945 period are all landmarks of chamber jazz. Many were written or conceived by Goodman himself and fleshed out as head arrangements in rehearsals with the Sextet. Occasionally, one gets to hear an alternate take of a familiar recording, and the evolutionary process is obvious. A lot of famous Goodman Sextet recordings are Take 2 or 3, whereas recordings by his big band are usually Take 1. 

I worked for many hours transferring our original 1950 and 1951 pressings of these cuts from Columbia's Six-Eye deep groove re-issues. I prefer those to any other releases of these sessions so far, simply because there is no added reverb or stereo effects. The Columbia engineers were generous with their audio compression and EQ curves, helping these original masters to really stand up and salute. Over the years, I've managed to get my hands on some very sparingly played copies of these albums, and I've meticulously removed the pops and scratches. The result is pretty spectacular, if I do say so. These recordings are a sheer joy to the ear. We'll hear Slipped Disc, On the Alamo, Limehouse Blues, and even one of the famous takes from the Sextet's original recording session in October of 1939. Sweet stuff. Do not miss.

In addition to the aforementioned, In the Mood has much in store for the lover of Big Band and Dance Music this week. Jimmy Rushing is scheduled to belt one out with the Count Basie band, Dick Haymes will croon a smoothie with Harry James, Ella swings one with Teddy Wilson, and Bing does a little cutting up with Eddie Condon and the gang. Big Bertha brings us a Roy Eldridge favorite right off the Decca 78, the Mills Brothers harmonize, and Ivie Anderson brings us a Duke Ellington classic. 

That oughta whet your whistle!

There's A LOT here that would greatly benefit a young band student. If you know one, call them now and invite them to listen to the show with you this week. You'll make their day! 

As always, we'd love to hear from you, either here on the blog page, or on our Facebook Page. Leave a comment or a request, and let us know where you are and how you listen to In the Mood!  

Be good to one another this week, and above all, 

Keep Swinging! 

Scott                     

Sweet and Hot: Show Notes 8/19-23

 The Two Greatest Bands of All Time?

Both Kinds of Music: Sweet and Hot

There have always been two camps in the world of Big Band Jazz: Sweet and Hot. Fans of sweet music had plenty to choose from.Sammy Kaye, Dick Jurgens, Hal Kemp, Jan Savitt,, Russ Morgan, Freddy Martin, Guy Lombardo and many others were ready, willing and able to get your foot tapping on one and three in no time. For the swing-a-roos, there were Benny Goodman, Tommy Dorsey, Artie Shaw, Count Basie, Woody Herman, Bunny Berigan, Jimmie Lunceford, and more, all swinging high and mighty. 

Last week, we profiled the Chick Webb orchestra, and we quoted Webb's trombonist Sandy Williams, as saying that the only two bands that ever beat the Webb band in the Savoy Ballroom cutting contests were Casa Loma and Duke Ellington. Interesting, The greatest of all the Dance Bands and the greatest of all the Jazz Bands. And it struck me that that would make for a pretty great show. On the one hand, you have Glen Gray and the Casa Loma Orchestra, who elevated popular dance music to new heights of elegance and musical proficiency. And on the other hand, there's Duke Ellington and his Famous Orchestra, blazing a trail across the Twentieth Century, charting new ground for Jazz and Pop music with fresh melodies, modern harmonies and solos that defined the Era. What a show that would be!

And that is the show we have planned for you this week. We start Hour One with about 20 minutes of pure Dance Band Delights, delivered by Glen Gray and the Casa Loma Orchestra. We include some remarkable items here, starting with the 1939 Sunrise Serenade with composer Frankie Carle at the CLO piano. It's the first recording of this now-standard tune, and it's one of Frankie's earliest recorded performances. We reach back to 1933, when the band was on Brunswick, for Blue Prelude, an excellent version of that song, which was recorded by multiple bands that year. The CLO version features the trombone work of Pee Wee Hunt, Clarence Hutchenrider on clarinet, Murray McEachern on alto sax, and the trumpet of Sonny Dunham. We get to hear one of Pee Wee's trademark vocals in this segment, and it winds up with one of the Casa Loma blockbuster "killer-dillers," replete with solos from their stable of great players. 

This band truly exemplifies the best things about sweet music. The melody is always strongly presented, the dance tempos are always customer-friendly, and the musicianship is top-notch. Combine all that with the CLO's impeccable stage presentation, and it's easy to see why they were a perennial favorite of the Big Band Era with a strong and loyal following.

Hour Two begins with a hearty helping of Jazz genius from Duke Ellington and his Famous Orchestra. We start with the always-exciting C Jam Blues from 1942. it's a bare-bones-simple musical idea enriched beyond measure by Duke and his men. It's just the beginning of our look at a small part of the amazing musical legacy left to us by Duke Ellington. Throughout the segment, we hear Duke's fertile mind conjuring new musical textures, melodic ideas and harmonies, while providing custom-tailored solo opportunities to his trusty sidemen. We get to hear all the Usual Suspects at work here: Ben Webster on tenor sax, Laurence Brown and Joe "Tricky Sam" Nanton on trombone, Jimmy Blanton on bass, Ray Nance and Cootie Williams on trumpet, Barney Bigard on clarinet, and, of course, Johnny Hodges on alto sax. And we wrap it up with our alma mater, swung mightily on the Capitol album Ellington '55. Of course, we can only scratch the surface of Ellington's genius here in 22 minutes. 

In addition to these special features focused on Casa Loma and Duke Ellington, In the Mood brings you a garden of musical delights this week. One is the Benny Goodman Quintet's nod to the boogie woogie craze of 1940, Grand Slam. And with such as Charlie Christian, Johnny Guarnieri and Nick Fatool on hand, you can be sure that it's light, tight, and just right. We also hear from Charlie Barnet, Claude Thornhill, Gene Krupa, Tommy Dorsey, Ralph Flanagan, Artie Shaw and many more. Joe Williams belts it out in front of the Count Basie band, Peggy Lee traces the history of Fevers throughout history, and we make a little history of our own, when I play a Spike Jones record for the first time ever on the show. 

As you can see, this is a show not to be missed. And you'll have 12 chances to hear it this week on a total of 9 different stations, all of which are streamed live 24/7 on the Internet. Of course, we would love to hear from you, so please leave us a request or a comment, either here or on our Facebook Page. Scroll the posts, and you'll find a complete broadcast schedule for the week, including live links to all the stations' Live Streams.

As always, remember to call a young band student or musician and invite them to listen to the show with you this week. They'll thank you for it! Be good to one another this week, and above all, 

Keep Swinging! 

Scott                 

 

Chick Webb-Short & Sweet: Show Notes 8/12-16

 A Lot to Do and Not Much Time to Do It

Chick Webb - 1933

Chick Webb started early and finished early. His career as a professional drummer started at age 11, and we lost him to complications of spinal tuberculosis at age 34 in 1939. Everything he did, including his drumming, was done with urgency and purpose; it was almost as if he knew his time would not be long. 

In the early '30s, Chick was King of the Savoy Ballroom, and, as Stanley Dance wrote in 1962, he could have been king of Harlem if he'd wanted to be. His immense talent was incongruous with his stature. Standing only about four feet tall, it was hard to imagine all that amazing energy coming from this little man - until you saw him play. And his personality, energetic and positive, won him friendships wherever he went. His band ruled their turf at the Savoy, making mincemeat of nearly all other bands in the "cutting contests" of the day. Chick's trombone soloist and close friend, Sandy Williams, recalled that the only two bands the actually bested the Webb outfit were Duke Ellington and, surprisingly (at least for me), Casa Loma. According to Williams, those were the only two times they were out-played and out-performed. 

But Webb's drumming was never in question; he was universally admired by his contemporaries. Duke Ellington's longtime drummer, Sam Woodyard, recalled hanging outside the Savoy one night when he was still too young to go inside. The windows were open, and Chick's playing stuck with the impressionable kid. "He was the first drummer to make sense in a big band," said Woodyard. "His time was right there. He knew how to shade and color, and he knew how to bring a band up and keep it there." Another star drummer influenced by Chick Webb was Buddy Rich. "He was startling," said Buddy. "He was a tiny man with a hunchback and this big face and big stiff shoulders. He sat way up on a kind of throne and used a 28-inch bass drum, which had special pedals for his feet, and he had those old gooseneck cymbal holders. Every beat was like a bell."

Even though Chick had to literally be tied into a chair and made to listen to her audition, he recognized Ella Fitzgerald's talent almost immediately. And he featured her generously, acknowledging that her singing was good for the music and good for business. Record sales went through the roof on A-Tisket, A-Tasket, Ella's first Number One record with the band, and after that, it was a whole new ball game. Webb recognized what was happening as clearly as anyone: Ella's star was rising so far and so fast, the band became secondary to her singing. But the rewards were significant: better booking and more of them, bigger royalty checks from Decca (much bigger), and seemingly universal fame for himself, the band, and everyone in it. It is significant to note that the Chick Webb band sold more records during the last two years of Chick's life than it had in all the previous years combined. 

But, all too soon, Chick's old nemesis, the spinal tuberculosis which had stunted his growth in his youth, began to present new problems. His energy flagged, and although he was able to maintain his level of playing, he would often collapse after a gig and have to spend days recuperating. Family and friends (including Ella), urged him to take some time off to regain his health, but he refused. It all came to an end on June 16, 1939, when he could fight no more. At the urging of the guys in the band, Ella stepped in as leader, keeping things running as best she could for another two years before throwing in the towel.

We go to the 78 section of the World's Greatest Record Library for many of the Chick Webb selections in this week's feature. We'll hear a couple of Ella's most popular records with the band, but we will also focus on some other sides that demonstrate Chick's extraordinary abilities, including Liza and Strictly Jive,  a Chick Webb original, as well as a couple of others that highlight the substantial contributions of some of Chick's prominent sidemen, including Taft Jordan, Chauncey Houghton and Wayman Carver. The records themselves are in amazing shape considering their age, and we will let Big Bertha do her magic on them. 

Hour Two this week kicks off with about 20 minutes of The Sweetest Music This Side of Heaven with Guy Lombardo and the Royal Canadians. We start with a Carmen Lombardo composition, the little-heard Get Out Those Old Records. It's a nostalgic look back into the 'teen years of the early Twentieth Century's popular songs, sung by Carmen and Kenny Gardner. ("Boola-Boola, Yaaka Hula Hickey Dula"). I wouldn't recognize many of the song titles mentioned if I didn't also collect cylinder records. We'll hear big hits from the 1940s like Seems Like Old Times and Poor Little Rhode Island, both excellent examples of the "Businessman's Bounce" style of this band. We'll also spin the band's amazingly non-swinging 1936 recording of Bei Mir Bist Du Schon, sung by Carmen, and the mega-hit The Third Man Theme from 1950. Solid dance music from a band whose personnel and sound changed very little between 1935 and 1975. 

Besides these riveting Spotlight features on Chick Webb and Guy Lombardo, In the Mood brings you the best of the Big Bands of the 1930s, 40s and 50s this week, with entries from the bands of Artie Shaw, Lionel Hampton, Tommy Dorsey, Benny Goodman, Woody Herman, Glenn Miller, and many more. We'll hear Louis Armstrong in his first recordings with Duke Ellington, Ella Mae Morse striking out as a solo artist, and we'll pay tribute to the memory of Dame Vera Lynn, who just left us a few weeks ago at the age of 103. I'd tell you more, but if I haven't already got you, I'm not gonna get you by promising you Eddy Howard or a vintage side from Fred Waring and his Pennsylvanians.

So there you have it. This was a fun show to put together, and I hope you enjoy hearing it. Remember to call a young musician and make their day by inviting them to listen to the show with you this week. They need to hear this music. And they need to know that you support  their musical dreams. 

As always, we'd love to hear from you with a comment or a request, either here or on our Facebook page at 

facebook.com/inthemoodwithscottmichaels 

Be kind to one another this week, and above all, 

Keep Swinging! 

Scott        

            

It's Showbiz! Show Notes 8/5-9

Making it Look Easy

Frank Sinatra 1942

When Tommy Dorsey hired Frank Sinatra in 1939, he was taking a gamble. Sinatra had no track record of success. He'd only been in the "bigs" for a year or so. He'd made a handful of records with Harry James, but Dorsey hadn't heard them. All Tommy knew was that this skinny kid (and I DO mean skinny!) had a nice voice, could sing on key, and had that "certain something." At a time when secretaries and waiters made $15 a week, Sinatra was now making ten times that amount.

Suffice it to say that Dorsey didn't know what he was getting when he hired Sinatra, but he had his suspicions. Tommy was a quick and shrewd judge of talent and character, and he believed this kid had real potential. 

Little did he know how fiercely ambitious Sinatra was - or how all that ambition would translate into an amazing work ethic that drove Sinatra to work tirelessly on his technique, rehearsing every syllable of every word of every song until he was happy with it. Jo Stafford, lead singer of the Pied Pipers, remarked years later that she and the other band members were surprised and impressed with Frank's willingness to work and work a song until everyone was satisfied with every aspect of it. He even spent extra time rehearsing vocals with the Pied Pipers, making sure his intonation was perfect, and matching his vibrato to mesh seamlessly with the group. And when it came time to deliver the goods on the bandstand, Sinatra really came through with performances that were usually better than adequate, and occasionally thrilling. And the girls absolutely flipped for this guy. The bobby-soxers were swooning in the aisles. Women generally wanted to either mother him, maul him, or feed him. And Dorsey was watching. 

Tommy knew he really had something in this kid - but he also knew that he was in danger of being eclipsed by one of his own sidemen, and this could not be allowed. Tommy firmly believed that the leader of the band was the biggest star on the stand. So, after nearly three years, during which Sinatra built a substantial name for himself and contributed mightily to the Dorsey band's drawing power, terms of separation were agreed upon that would allow Frank to go forth and make his way as a single. 

Frank made his final appearance with the Dorsey band on September 3, 1942, on the band's weekly  network radio show. Tommy gave Frank a heartfelt sendoff, and used the occasion to introduce Frank's replacement, Dick Haymes, to the nationwide audience. Frank sang one final song with the band, The Song Is You, and it was over. 

Or was it?

Remember those terms of separation? Under that agreement, Dorsey was entitled to one-third of Frank's earnings - for life. Sinatra had signed the agreement, believing that he was betting on himself, and that his earnings would be so substantial that he could live without Dorsey's cut. This turned out to be a little optimistic, to say the least. Life after the Dorsey band was more of an uphill endeavor than Frank had anticipated, and he was actually having trouble supporting his young family. As time wore on, it became obvious that Frank would have to persuade Tommy to release him from bondage. But Dorsey would not be moved. Frank appealed again and again to his old boss, but Tommy stood firm, declaring, "A deal's a deal." 

This part of the story has never been substantiated, but the tale has circulated for many years that Dorsey received a visit very late one night at his comfortable country home from some "gentlemen" who were very persuasive in their reasoning, and convinced Tommy to let Frank out of the contract. Was the Mob involved? Now, that's a very ugly accusation. Was violence threatened or implied? Was the barrel of a gun placed in the bandleader's mouth? Who can say? But Frank Sinatra found himself a free man in short order. 

We will start the show this week with about 20 minutes of Frank Sinatra's best recordings with the Tommy Dorsey band. We start with This Love of Mine, one of the first songs "owned" by Sinatra in the Dorsey band. The arrangement was written by one of Dorsey's staff men, Axel Stordahl, who wound up writing arrangements for and backing Sinatra in his Columbia recordings. Sinatra would adopt this as his radio theme song in the 1940s. Among others, we'll hear the big production number, Let's Get Away from It All, which pairs Sinatra with Connie Haines for some lighthearted banter, and the mega-hit I'll Never Smile Again, a sensitive and artful collaboration between Frank and the Pied Pipers.

To start Hour 2, we turn to the danceable, stylized sound of the Russ Morgan Orchestra. Russ was a versatile and hard-working arranger who knew his stuff and produced sparkling charts for symphony orchestras, Big Bands, studio orchestras, radio shows, movies, and more. Russ's band had many hit records, and several number one hits. And they were big favorites of dancers everywhere. They even delivered credible Dixieland performances from time to time. The one thing that the Morgan orchestra did not do was swing. They had a straight-ahead dance band style, ornamented with Russ's favorite bag of signature arranging tricks, and they stuck to it with great success. 

A lot of what Morgan played was considered "cornball" even by 1940s standards, but you can't argue with box office. "There are millions of squares out there," Russ once said, "Millions. And they like to dance too." There were no star soloists in this band; Russ was versatile enough to cover all solo spots, either on piano, singing, or on that muted wah-wah trombone. I'll admit, Music in the Morgan Manner is an acquired taste. But it doesn't take long to acquire. Your foot will be tapping before you know it. We'll hear a generous representative sampling of Russ Morgan's music on this week's show.

In addition to the aforementioned musical experiences with Frank Sinatra and Russ Morgan, this week's In the Mood brings you a delightful array of sweet and swinging treats from the likes of Benny Goodman, Woody Herman, Stan Kenton, Harry James, Count Basie, Dick Jurgens, the Dukes of Dixieland, and many more. Doris Day will sling a happy pop tune, Cab Calloway will shout and jive, and Eddy Howard will raise an eyebrow with one of the most suggestive songs we've ever played. In all, a well-rounded couple of hours.

As always, I am grateful for your interest in this music and this show. Remember to share this incredible music with a young band student or musician this week. They NEED the benefit of having this stuff in their back pocket. 

Feel free to leave a comment or request, either here on on our Facebook Page. 

Be good to one another this week, and above all, 

Keep Swinging! 

Scott 

     

                  

White-Hot Jazz: Show Notes 7/29-8/2

The Lunceford Magic

Jimmie Lunceford - 1939

E

Jimmie's band started in Memphis, Tennessee, back in the late 1920s. He was a high school band director (the first in Memphis), and he started his first band with his most promising students. They made their first records for Bluebird in 1930, and it was, even then, a very credible band indeed. And it only got better throughout the 1930s.

With all that youthful exuberance in the band, of course they played lots of hot jazz, much of it arranged by the band's pianist Ed Wilcox, later joined in that endeavor by trombonist Eddie Durham. These two provided the charts for the first Lunceford recordings to gain noticeable traction - Jealous, Bird of Paradise, Rhapsody Jr. Next came the formidable alto sax and clarinet savant Willie Smith, who wrote the intricate arrangements for such Lunceford trademarks as Mood Indigo, Rose Room and Runnin' Wild. Nearly all of these arrangements put the melody in the brass at a slow dance tempo, underpinned by intricate obbligato lines for the reeds, doodling and looping around the melody. Then, sometimes, as in Sleepy Time Gal, the deft reeds would take the spotlight, taking an acrobatic unison chorus filled with sixteenth and thirty-second notes. This formula was the sole property of the Jimmie Lunceford band for several years, and it brought them much success with the jitterbugs and dedicated dancers. 

Then there was Sy Oliver, who grew up playing trumpet in the Lunceford band. Sy wrote his first arrangements for Jimmie, and they remain standouts on the jazz landscape - most notably Stomp It Off, Rain, Since My Best Gal Turned Me Down, and of course, 'Tain't What 'Cha Do (It's the Way that You Do it). Sy's mastery of two-beat jazz on these songs and others like them is what got Tommy Dorsey's attention and prompted him to hire Oliver away from Lunceford in 1940. Of course, Sy went on to write some legendary charts for Dorsey as well.

The World's Greatest Record Library is blessed with a plentiful selection of Lunceford classics, and we will hear a pile of them on this week's show, including Stomp it Off, 'Tain't What 'Cha Do, Rose Room and Margie, as well as White Heat, a "killer-diller" recorded at one of the band's last sessions for Bluebird. Just a few months later, the band would switch to the new Decca label, and find immediate popular success. 

Of course, it takes great players to execute these complex and demanding arrangements, and we will hear ample evidence of the strength of Lunceford's lineup. We will hear the Great Eddie Tompkins, Tommy Stevenson and Sy Oliver on trumpets, Ed Wilcox on piano, Jimmy Crawford on drums, Moses Allen on bass...and then there's that amazing reed section populated with Willie Smith, Laforet Dent, Joe Thomas and Earl Carruthers. That section alone was responsible for more standing ovations than many bands got in their entire careers. 

Needless to say, this will be a fantastic way to kick off the show this week. Hope you're ready to be impressed!

Hour 2 begins with about 20 minutes of extremely high-quality dance music from one of the clarinet Greats, Artie Shaw and his orchestra. Artie proved early on that his band could make a lot of noise and bring the Lindy Hoppers onto the dance floor. And by 1939, Artie was moving toward a smoother, more sophisticated sound. We will hear some excellent examples of both from his 1938-40 bands, including Jungle Drums, I Surrender Dear, and a live broadcast of April in My Heart, from the Blue Room of the Hotel Lincoln in New York. We will even go back and spin our original Vocalion 78 of The Blues A & B from 1937

Besides the amazing segments dedicated to Jimmie Lunceford and Artie Shaw, this week's In the Mood brings on a tall stack of red-hot shellac from the best of the Big Bands of the 1930s, 40s and 50s, including, but not limited to, Count Basie, Woody Herman, Duke Ellington, Benny Goodman, Glenn Miller, Tommy Dorsey, Ralph Flanagan, Lionel Hampton and many others. We'll hear from the Andrews Sisters, Helen O'Connell, Eddie Heywood, Jack Teagarden, and even Bing Crosby singing with Paul Whiteman in 1928. 

Yes, I must admit, I am a shameless name-dropper!

Remember to contact a young player or band student and invite them to listen to the show with you this week! With all of our affiliates streaming online 24/7, you'll have plenty of chances to catch the show this week on any of our 9 affiliates! 

Of course, we would love to hear from you with a comment or a request, either here or on our 

Be good to one another this week, and above all, 

Keep Swinging! 

Scott