tag:blogger.com,1999:blog-32403805792544767862023-11-16T09:25:40.266-08:00In the Mood with Scott MichaelsIn the Mood with Scott Michaelshttp://www.blogger.com/profile/06788805875060450804noreply@blogger.comBlogger40125tag:blogger.com,1999:blog-3240380579254476786.post-49036110378604978432020-10-21T15:14:00.000-07:002020-10-21T15:14:18.625-07:00The Sound of 78s: Show Notes 10/21-25<h2 style="text-align: center;"> Reprocessing 78 Audio - Less Is More</h2><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbUsi8Urn1ai4XSlivBQCPv8idfMPO0YgpPe5cdV1l6-awXdC4nL2Lq-hPXDPGxzzEJtyEreXEqp38QwLAncNfff9-FYLYB0cYKpdl19E9iBP247w-3rt4XRUQQ629mg5ILANewD-Jbq0/s640/Listen+Records+Couple+on+Floor.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbUsi8Urn1ai4XSlivBQCPv8idfMPO0YgpPe5cdV1l6-awXdC4nL2Lq-hPXDPGxzzEJtyEreXEqp38QwLAncNfff9-FYLYB0cYKpdl19E9iBP247w-3rt4XRUQQ629mg5ILANewD-Jbq0/s320/Listen+Records+Couple+on+Floor.jpeg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><b style="font-size: large;">...But you can't have too many Records!</b></div><div class="separator" style="clear: both; text-align: center;"><b style="font-size: large;"><br /></b></div><div class="separator" style="clear: both; text-align: left;"><b style="font-size: xx-large;">I </b>used to be all about comparing myself to other people. How did I stack up? Am I better than him? Worse than her? <i>I wanted to know.</i> 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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Stay with me here...</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">And reprocessing 78s is very similar in many ways. How's <i>that</i> 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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Just like life. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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 <i>In the Mood</i> 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.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">In previous posts, we've already established that we want to play <i>clean</i> 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.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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 <i>Do No Harm.</i> 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.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">I sincerely hope you enjoy it. Visit our <a href="https://www.facebook.com/inthemoodwithscottmichaels">Facebook Page </a>and get the complete broadcast schedule, including Live Links to the radio stations' Live Streams. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Be good to one another this week, and above all, </div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Keep Swinging! </i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Scott</i></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: x-large;">. </span></div><br /><div><br /></div>In the Mood with Scott Michaelshttp://www.blogger.com/profile/06788805875060450804noreply@blogger.com0tag:blogger.com,1999:blog-3240380579254476786.post-67176437622431359612020-10-06T15:00:00.000-07:002020-10-06T15:00:23.145-07:00The 78 Challenge: Show notes 10/4-11<h2 style="text-align: center;"> Success with 78s: the Secret Sauce</h2><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL3OXnCMOuhlb5yl6n10Q2D9hZZSmLOjZioOPIAVEHsAQRooY0m3VGdXPGpDDB-ardFJccRkl2eGzaGxMlgYsANQQ76i4IEYvpoEf5-CRa3GI0oYJirqF5BphBe79H0geKH5liJ9XqA9U/s1426/Victor+Head.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="802" data-original-width="1426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL3OXnCMOuhlb5yl6n10Q2D9hZZSmLOjZioOPIAVEHsAQRooY0m3VGdXPGpDDB-ardFJccRkl2eGzaGxMlgYsANQQ76i4IEYvpoEf5-CRa3GI0oYJirqF5BphBe79H0geKH5liJ9XqA9U/s320/Victor+Head.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><b>Step 1: Do NOT play your records on a Victrola</b></div><div class="separator" style="clear: both; text-align: left;"><b><br /></b></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: x-large;">I</span>f 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 <br />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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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 <i>In the Mood</i> show every week - to put these recordings in front of an appreciative audience and acknowledge the artistic and technical heights they represent. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">We begin with the seldom-heard <i>Sunny Side of the Street</i> 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>I'm Confessin that I Love You;</i> a Capitol side from the late 1940s, <i>Nagasaki;</i> 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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">I think you will enjoy this show. I certainly did! </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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!</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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 <a href="https://facebook.com/inthemoodwithscottmichaels">Facebook Page. </a> </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Be kind to one another this week, and above all, </div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Keep Swinging! </i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Scott</i></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: x-large;"> </span></div><br /><div><br /></div>In the Mood with Scott Michaelshttp://www.blogger.com/profile/06788805875060450804noreply@blogger.com2tag:blogger.com,1999:blog-3240380579254476786.post-69269403374554720222020-09-21T19:28:00.000-07:002020-09-21T19:28:11.749-07:00The Assassin: Show Notes 9/23-27<h2 style="text-align: center;"> Killing the Undesirables</h2><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqLFpPBSMs1Q5X9E-SDPb-PNm1IgV2B-TSy2rdrCH9NTTnZqzTPqKZNEPX3IVOduI-vyVnlf81q9okDfaviaxJwQ9khXDQhukFc2sXb5FHdLyT8882sDyKSHHOAd6Fspaht1iLfOjfriI/s2048/Wave+Corrector+Screen+Shot.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1160" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqLFpPBSMs1Q5X9E-SDPb-PNm1IgV2B-TSy2rdrCH9NTTnZqzTPqKZNEPX3IVOduI-vyVnlf81q9okDfaviaxJwQ9khXDQhukFc2sXb5FHdLyT8882sDyKSHHOAd6Fspaht1iLfOjfriI/s320/Wave+Corrector+Screen+Shot.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><b>The Anatomy of a Pop</b></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><b><br /></b></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: x-large;">L</span>ast 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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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!</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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 <i>absence </i>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 <i>sound</i> of the Shure M-55 suits the material I'm working on to a "T." </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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). </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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 <i>Metronome</i> 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.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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!</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">As always, we'd love to hear from you with a comment or request, either here or on our <a href="https://facebook.com/inthemoodwithscottmichaels">Facebook page.</a> Be kind to one another this week, and above all, </div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Keep Swinging! </i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Scott</i><span style="font-size: x-large;"> </span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: x-large;"> </span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: x-large;"> </span></div><br /><div><br /></div>In the Mood with Scott Michaelshttp://www.blogger.com/profile/06788805875060450804noreply@blogger.com0tag:blogger.com,1999:blog-3240380579254476786.post-27442146712488194952020-09-16T11:09:00.000-07:002020-09-16T11:09:38.460-07:00The Vinyl Solution: Show Notes 9/16-20<h2 style="text-align: center;"> Great Sound from Good Records</h2><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAPrwxySav43kTkwvooOnnGXDTeUKavEC_qcaUHznJwmK03GYF8qL2_5abZY3KYN1wfXgU4knQFnIFFGM6eaafsTyzr3PSf84zx2HvlhqohYwA4OUnd2nbyd2FK20SoJpKqLTwGW0HXBY/s2048/20200916_092456.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAPrwxySav43kTkwvooOnnGXDTeUKavEC_qcaUHznJwmK03GYF8qL2_5abZY3KYN1wfXgU4knQFnIFFGM6eaafsTyzr3PSf84zx2HvlhqohYwA4OUnd2nbyd2FK20SoJpKqLTwGW0HXBY/s320/20200916_092456.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><b>Our trusty JVC QL Y5F</b></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: x-large;">E</span>very week, <i>In the Mood</i> 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.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">One particularly important new technique developed by RCA in the late 1950s brought us <i>The Great Band Era, </i>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 <i>The Great Band Era, The Swing Years, In the Groove with the Kings of Swing, </i>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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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 <i>clean </i>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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Record collectors have come up with a lot of ways to do this over the years. Here's the method I use.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">***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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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 <i>clean</i> records from now on.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">As always, we'd love to hear from you with a comment or request, either here or on our <a href="https://www.facebook.com/inthemoodwithscottmichaels">Facebook Page.</a> Above all, be kind to one another this week, and </div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Keep Swinging! </i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Scott</i><span style="font-size: x-large;"> </span></div><br /><div><br /></div>In the Mood with Scott Michaelshttp://www.blogger.com/profile/06788805875060450804noreply@blogger.com0tag:blogger.com,1999:blog-3240380579254476786.post-82259729109751466722020-09-09T17:32:00.000-07:002020-09-09T17:32:17.448-07:00Arts & Crafts: Show Notes 9/9-13 <h2 style="text-align: center;"> A Collaborative Effort</h2><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF0yM1A1ZxA8NZoYumlq8FjF86-w67xYGlu-dQHaHMRRxbcrgn3CKArr3daS5q1Oq-MemcaCc4_4fu3aYA-5z1boAs2AZAoVX_c3qKHGJFpyo1tOCctOlhzu2USBBwoPC_F2gdjBgjezk/s640/Scott+Cutting+the+first+record.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF0yM1A1ZxA8NZoYumlq8FjF86-w67xYGlu-dQHaHMRRxbcrgn3CKArr3daS5q1Oq-MemcaCc4_4fu3aYA-5z1boAs2AZAoVX_c3qKHGJFpyo1tOCctOlhzu2USBBwoPC_F2gdjBgjezk/s320/Scott+Cutting+the+first+record.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><b>RCA Record Cutting Lathe 1940</b></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><b><br /></b></span></div><div class="separator" style="clear: both; text-align: left;"><b style="font-size: xx-large;">R</b>ecord-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 <i>In the Mood.</i> </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">In the 1930s and much of the 40s, commercial recordings were mastered direct-to-disc, which is the most difficult way to record. <i>Any</i> 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, <i>at the same time</i>, from the artist at the microphone to the engineer at the cutting table. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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 <i>million</i> 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>I Can't Get Started</i> or Harry James' <i>Flight of the Bumble Bee. </i>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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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>I can Hear It Now,</i> you were hearing the first obvious example of tape editing on a commercially-released recording.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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, <i>A String of Pearls</i> for the first time in a public performance. And it sounds <i>exactly</i> like the record. Rock solid, total confidence through and through. In those days, you went into the recording studio <i>prepared.</i></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Our tribute to Glenn Miller opens Hour 1 of <i>In the Mood</i> 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 <i>Star Dust, Serenade in Blue, Moonlight Cocktail,</i> and we may even indulge ourselves with our best copy of the show's namesake. Maybe. Just maybe.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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 <i>great</i> copy of <i>When You Were Sweet Sixteen.</i></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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!</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">As always, we welcome your input, comments and requests, either here or on our <a href="https://www.facebook.com/inthemoodwithscottmichaels">Facebook Page.</a> </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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! </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Be good to one another this week, and above all, <i> </i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Keep Swinging! </i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Scott</i><span style="font-size: x-large;"> </span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: x-large;"> </span></div><br /><div><br /></div>In the Mood with Scott Michaelshttp://www.blogger.com/profile/06788805875060450804noreply@blogger.com0tag:blogger.com,1999:blog-3240380579254476786.post-60874556666140860362020-09-02T18:13:00.000-07:002020-09-02T18:13:35.104-07:00Why No CDs? Show Notes 9/2-6<h2 style="text-align: left;"><span> </span><span> "We Don't Play CDs on This Show"</span> </h2><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0z14MAadxptD-gniWCJmMRMBOqshiCDCbFf0Dx-fgJEO1XUB5f94OKzeFNpxKIXOmF6PdnLCHkw8Y25jqDrXs3s_bP_H0IpWKWNv6BtTKdCvQCzVfaJOn4_GTvh5pAMkwgYR9E48v2o8/s700/No+CDs.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0z14MAadxptD-gniWCJmMRMBOqshiCDCbFf0Dx-fgJEO1XUB5f94OKzeFNpxKIXOmF6PdnLCHkw8Y25jqDrXs3s_bP_H0IpWKWNv6BtTKdCvQCzVfaJOn4_GTvh5pAMkwgYR9E48v2o8/s640/No+CDs.jpg" /></a></div><div style="text-align: center;"><b>"Nope...Just Records."</b></div><div style="text-align: center;"><b><br /></b></div><div style="text-align: left;"><b style="font-size: xx-large;">I</b>t'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 <i>believe</i> 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. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">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. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">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. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">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. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">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. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">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.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">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 <i>Sentimental Journey.</i> 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>I Sustain the Wings</i> program have survived well into the 21st Century. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">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!</div><div style="text-align: left;"><br /></div><div style="text-align: left;">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.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">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 <a href="https://www.facebook.com/inthemoodwithscottmichaels">Facebook page.</a> Take good care of one another this week,and above all, </div><div style="text-align: left;"><i><br /></i></div><div style="text-align: left;"><i>Keep Swinging! </i></div><div style="text-align: left;"><i><br /></i></div><div style="text-align: left;"><i>Scott</i> <span style="font-size: x-large;"> </span></div><br /><div><br /></div><p></p>In the Mood with Scott Michaelshttp://www.blogger.com/profile/06788805875060450804noreply@blogger.com4tag:blogger.com,1999:blog-3240380579254476786.post-53348223514413887442020-08-26T14:43:00.000-07:002020-08-26T14:43:52.493-07:00Lightning in a Bottle: Show Notes 8/26-30<h2 style="text-align: center;"> Bebop or the Blues - Walking the Line</h2><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMC0oDhVCcgldaspwLwSPctkn0KUqDdD9z6soVAfVDK3diItmnaxxywWszYDtI0EiWfMyPnFJGgnxrK7B2XwFb12zwot84J0r0j1l9Cz2iwS740kngZstLm97VVODN627PtIEI01vWR4E/s1200/lightning-feat.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMC0oDhVCcgldaspwLwSPctkn0KUqDdD9z6soVAfVDK3diItmnaxxywWszYDtI0EiWfMyPnFJGgnxrK7B2XwFb12zwot84J0r0j1l9Cz2iwS740kngZstLm97VVODN627PtIEI01vWR4E/s640/lightning-feat.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><span style="font-size: x-large;">I</span><span>n 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. </span><span>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!</span><div><span><br /></span></div><div><span>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. </span></div><div><span><br /></span></div><div><span>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. </span></div><div><span><br /></span></div><div><span>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. </span></div><div><span><br /></span></div><div><span>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. </span></div><div><span><br /></span></div><div><span>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, <i>Woodchopper's Mambo</i>. Trust me - you'll like it. We hear the theme song of the Band that Plays the Blues, <i>Blue Flame,</i> 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. </span></div><div><span><br /></span></div><div><span>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 <i>swing!</i> Everything he did, from the BG Trio and Quartet all the way up to his big band, <i>everything</i> was done with a swing. Yes, even the ballads. And it <i>worked.</i> 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. </span></div><div><span><br /></span></div><div><span>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 <i>Slipped Disc, On the Alamo, Limehouse Blues,</i> and even one of the famous takes from the Sextet's original recording session in October of 1939. Sweet stuff. Do not miss.</span></div><div><span><br /></span></div><div><span>In addition to the aforementioned, <i>In the Mood</i> 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. </span></div><div><span><br /></span></div><div><span>That oughta whet your whistle!</span></div><div><span><br /></span></div><div><span>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! </span></div><div><span><br /></span></div><div><span>As always, we'd love to hear from you, either here on the blog page, or on our <a href="https://www.facebook.com/inthemoodwithscottmichaels">Facebook Page.</a> Leave a comment or a request, and let us know where you are and how you listen to <i>In the Mood! </i> </span></div><div><span><br /></span></div><div><span>Be good to one another this week, and above all, </span></div><div><span><i><br /></i></span></div><div><span><i>Keep Swinging! </i></span></div><div><span><i><br /></i></span></div><div><span><i>Scott</i><span style="font-size: xx-large;"> </span></span><div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div><br /></div></div></div>In the Mood with Scott Michaelshttp://www.blogger.com/profile/06788805875060450804noreply@blogger.com0tag:blogger.com,1999:blog-3240380579254476786.post-12772511957558156312020-08-20T12:36:00.001-07:002020-08-20T12:53:16.740-07:00Sweet and Hot: Show Notes 8/19-23<h2 style="text-align: center;"> The Two Greatest Bands of All Time?</h2><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9lKnM0OlIFkmWoUI9YPc6MGRCmMO9JbvtDEe78wofzBOpFXx0d0uNfihDX9T9FyfWz5TDzKhvKTdzJmvFtk__PPjmZhcUccS8rwqri8qKsBRSfUN9TwmF23tpzO9vESXFz364WwQcqmI/s600/big+bands+greatest+hits+Cpver.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="592" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9lKnM0OlIFkmWoUI9YPc6MGRCmMO9JbvtDEe78wofzBOpFXx0d0uNfihDX9T9FyfWz5TDzKhvKTdzJmvFtk__PPjmZhcUccS8rwqri8qKsBRSfUN9TwmF23tpzO9vESXFz364WwQcqmI/s0/big+bands+greatest+hits+Cpver.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><b>Both Kinds of Music: Sweet and Hot</b></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: xx-large;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: xx-large;">T</span>here 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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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!</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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 <i>Ellington '55. </i>Of course, we can only scratch the surface of Ellington's genius here in 22 minutes. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">In addition to these special features focused on Casa Loma and Duke Ellington, <i>In the Mood</i> 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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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 <a href="https://www.facebook.com/inthemoodwithscottmichaels/">Facebook Page.</a> Scroll the posts, and you'll find a complete broadcast schedule for the week, including live links to all the stations' Live Streams.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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, </div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Keep Swinging! </i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Scott</i><span style="font-size: xx-large;"> </span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: xx-large;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: xx-large;"> </span></div><div><br /></div>In the Mood with Scott Michaelshttp://www.blogger.com/profile/06788805875060450804noreply@blogger.com0tag:blogger.com,1999:blog-3240380579254476786.post-34809684686437606162020-08-12T18:41:00.001-07:002020-08-12T18:41:39.778-07:00Chick Webb-Short & Sweet: Show Notes 8/12-16<h2 style="text-align: center;"> A Lot to Do and Not Much Time to Do It</h2><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5V2FejrBe_j87oB0rucjLTJy7oVPEmI8pSROD8QQKM8LYlaqdHzzcIpJrb-SopWxHSux_og_H-6Lp62kHfiaaNyjjXSvUDDHilQyte82E2kGC9YtpOrMvmWwacfO2nzHxHHtt8Yy-XGM/s960/Chick+Webb+Tuxedo.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="567" data-original-width="960" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5V2FejrBe_j87oB0rucjLTJy7oVPEmI8pSROD8QQKM8LYlaqdHzzcIpJrb-SopWxHSux_og_H-6Lp62kHfiaaNyjjXSvUDDHilQyte82E2kGC9YtpOrMvmWwacfO2nzHxHHtt8Yy-XGM/s640/Chick+Webb+Tuxedo.jpg" width="640" /></a></div><div style="text-align: center;"><b>Chick Webb - 1933</b></div><div style="text-align: center;"><b><br /></b></div><div style="text-align: left;"><b style="font-size: xx-large;">C</b>hick 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. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">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. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">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 <i>there.</i> 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."</div><div style="text-align: left;"><br /></div><div style="text-align: left;">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 (<i>much</i> 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. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">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.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">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. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">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. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">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.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">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. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">As always, we'd love to hear from you with a comment or a request, either here or on our Facebook page at </div><div style="text-align: left;"><br /></div><div style="text-align: left;">facebook.com/inthemoodwithscottmichaels </div><div style="text-align: left;"><br /></div><div style="text-align: left;">Be kind to one another this week, and above all, </div><div style="text-align: left;"><i><br /></i></div><div style="text-align: left;"><i>Keep Swinging! </i></div><div style="text-align: left;"><i><br /></i></div><div style="text-align: left;"><i>Scott</i> <span style="font-size: xx-large;"> </span></div><div style="text-align: left;"><span style="font-size: xx-large;"><br /></span></div><div style="text-align: left;"><span style="font-size: xx-large;"><br /></span></div><div style="text-align: left;"><span style="font-size: xx-large;"> </span><span style="font-size: xx-large;"> </span></div>In the Mood with Scott Michaelshttp://www.blogger.com/profile/06788805875060450804noreply@blogger.com0tag:blogger.com,1999:blog-3240380579254476786.post-82540475994910950652020-08-05T16:27:00.001-07:002020-08-05T16:27:36.132-07:00It's Showbiz! Show Notes 8/5-9<h2 style="text-align: center;">Making it Look Easy</h2><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhvf64S5EMPHSiCzLhKvGOiJavaRPAObHI40iz_kij6_J8FmPBa4FeZg8vnjZncGDXpE-yI1bc_5sJEEWPKNpuhENAAUW1R0TwVaqHpd0IYlkXWnuyfABA6LusonJughg59CLyhKd3wLM/s752/frank-sinatra-1942-dan-haraga-canvas-print.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="752" data-original-width="582" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhvf64S5EMPHSiCzLhKvGOiJavaRPAObHI40iz_kij6_J8FmPBa4FeZg8vnjZncGDXpE-yI1bc_5sJEEWPKNpuhENAAUW1R0TwVaqHpd0IYlkXWnuyfABA6LusonJughg59CLyhKd3wLM/s640/frank-sinatra-1942-dan-haraga-canvas-print.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><b>Frank Sinatra 1942</b></div><div class="separator" style="clear: both; text-align: center;"><b><br /></b></div><div class="separator" style="clear: both; text-align: left;"><font size="6">W</font>hen 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.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Or was it?</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Remember those terms of separation? Under that agreement, Dorsey was entitled to one-third of Frank's earnings - <i>for life</i>. 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." </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">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. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Feel free to leave a comment or request, either here on on our <a href="facebook.com/inthemoodwithscottmichaels">Facebook Page.</a> </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Be good to one another this week, and above all, </div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Keep Swinging! </i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Scott</i><font size="6"> </font></div><div class="separator" style="clear: both; text-align: left;"><font size="6"><br /></font></div><div class="separator" style="clear: both; text-align: left;"><font size="6"> </font></div><div class="separator" style="clear: both; text-align: left;"><font size="6"> </font></div><div style="text-align: center;"><br /></div>In the Mood with Scott Michaelshttp://www.blogger.com/profile/06788805875060450804noreply@blogger.com0tag:blogger.com,1999:blog-3240380579254476786.post-41664378417323404262020-07-30T15:05:00.000-07:002020-07-30T15:05:30.988-07:00White-Hot Jazz: Show Notes 7/29-8/2<h2 style="text-align: center;">The Lunceford Magic<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0oUAZKhfOyjbVaoa0sX-OJwxO2zhXZPMenNLoiGtUVFGFPLaAuGsw44WURwQ07U34kfKVIwRdF9-L-TLkHO1t_7wNnShrPtVwZotl6YEQkrCRiwEFx02tUNFdNQOTLXqUo-dcPhdks9o/s275/Jimmie+Lunceford.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="275" data-original-width="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0oUAZKhfOyjbVaoa0sX-OJwxO2zhXZPMenNLoiGtUVFGFPLaAuGsw44WURwQ07U34kfKVIwRdF9-L-TLkHO1t_7wNnShrPtVwZotl6YEQkrCRiwEFx02tUNFdNQOTLXqUo-dcPhdks9o/s0/Jimmie+Lunceford.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;">Jimmie Lunceford - 1939</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><span style="font-weight: normal;">E</span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: medium; font-weight: normal;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: medium; font-weight: normal;">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.</span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: medium; font-weight: normal;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: medium; font-weight: normal;">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. </span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: medium; font-weight: normal;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: medium; font-weight: normal;">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.</span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: medium; font-weight: normal;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: medium; font-weight: normal;">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. </span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: medium; font-weight: normal;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: medium; font-weight: normal;">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. </span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: medium; font-weight: normal;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: medium; font-weight: normal;">Needless to say, this will be a fantastic way to kick off the show this week. Hope you're ready to be impressed!</span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: medium; font-weight: normal;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: medium;"><font style="font-weight: normal;">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</font></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: medium; font-weight: normal;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: medium; font-weight: normal;">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. </span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: medium; font-weight: normal;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: medium; font-weight: normal;">Yes, I must admit, I am a shameless name-dropper!</span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: medium; font-weight: normal;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: medium; font-weight: normal;">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! </span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: medium; font-weight: normal;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: medium; font-weight: normal;">Of course, we would love to hear from you with a comment or a request, either here or on our </span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: medium; font-weight: normal;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: medium; font-weight: normal;">Be good to one another this week, and above all, </span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: medium; font-weight: normal;"><i><br /></i></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: medium; font-weight: normal;"><i>Keep Swinging! </i></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: medium; font-weight: normal;"><i><br /></i></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-weight: normal;"><i><font size="3">Scott</font></i></span> </div><div class="separator" style="clear: both; text-align: left;"><br /></div></h2>In the Mood with Scott Michaelshttp://www.blogger.com/profile/06788805875060450804noreply@blogger.com0tag:blogger.com,1999:blog-3240380579254476786.post-92017521176871024592020-07-22T19:13:00.000-07:002020-07-22T19:13:16.980-07:00Technique to Spare: Show Notes 7/22-26<h2 style="text-align: center;">
Too Good for Swing?</h2>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFfWrIGSu3AIncenGpGt4XaOQ2CQbDjYi8RIUK4ntOEQcDv9IdBW5ulHlAnb6b0lFVBi55_JdQvEQBzhwaGSrAcB2ansMzpiN31ImdSea-GgPr6N4tr1KWzavgV8gJyrAwT21haNcACV0/s1600/Harry+James+trumpet.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFfWrIGSu3AIncenGpGt4XaOQ2CQbDjYi8RIUK4ntOEQcDv9IdBW5ulHlAnb6b0lFVBi55_JdQvEQBzhwaGSrAcB2ansMzpiN31ImdSea-GgPr6N4tr1KWzavgV8gJyrAwT21haNcACV0/s1600/Harry+James+trumpet.jpg" /></a></h2>
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<b>Harry James - 1953</b></div>
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<b style="font-size: xx-large;">H</b>arry James was from Albany, Georgia, born into a circus family in 1916. In fact, Harry's middle name was the same as the name on the circus wagons: Haag. Harry's father, Everette, was the circus bandmaster, and determined early on that Harry was to be a musician too. </div>
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Starting at age 10, Harry took trumpet lessons from his father. Everette gave him a new page from the Arban's book to learn every day, often withholding recreation and play time from the boy until the new lesson was thoroughly learned. I once told Chuck King that story, and asked how difficult it might be to learn a page from Arban's every day. "That depends on the page," was his reply. </div>
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Like many young men of that time, Harry dreamed of being a baseball player. He'd missed the chance to play as much as he wanted as a kid, and he tried to make up for it for the rest of his life. There are many stories about the informal baseball league that existed among the Big Band musicians of the 1930s and 40s. Harry's team was a strong competitor, and none more so than Harry himself. He was known to have the band bus pull over at almost any time of the day or night for a quick game of catch. And his band's on-the-field rivalry with the Tommy Dorsey band was the stuff of legends. </div>
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Circus music is a brand of endeavor all its own, and Harry spent several years in the Haag Circus Band, playing these demanding pieces from America's brass band tradition. These thrilling and difficult marches and concert pieces, sometimes called "screamers," provided a rigorous course of study for Harry, and the experience served him well.</div>
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This musical tradition of trumpet pyrotechnics was a priceless training ground for a young trumpeter, and its herculean demands are evident in the showpieces in the James repertoire, including Flight of the Bumble Bee, Trumpet Blues and Cantabile, and others. Harry learned these amazing feats of trumpet prowess in the circus band. </div>
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Harry's talent and technique was recognized immediately when he joined the Ben Pollock band in Chicago in 1934. They called him "Hawk" because of his sight-reading abilities. And by the time Harry landed in the Benny Goodman band in 1937, he was already, at age 20, the whole package. He was a consummate professional, capable of reading and playing any style from classical to swing, as well as composing and arranging. Such was Harry's talent and temperament that when he left Goodman to start his own band, Benny bought in with a cash investment.</div>
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We begin this week's show with a 20-minute Spotlight feature on Harry James, and we're playing some great examples of his outsize talents. We start from his 1972 recording of Don't Be That Way, which contains some of his potently swinging solo work. We will also hear big chart hits with singers Kitty Kallen and Dick Haymes. And then there is Moten's Swing, an extended arrangement that comes directly off of our original 78 copy. We've combined the two sides of the record into one for your dining and dancing pleasure. We hear some impressive solos from Harry, Willie Smith, Jack Gardner, and others. Know a young trumpet student? They need to hear this segment! </div>
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Was Harry James "too good for Swing?" IMHO, there is no such thing. I don't think there is any doubt that, if anything, Harry James elevated Swing music by playing it with all the quality and technique at his command. For many players and fans alike, Harry was the greatest trumpeter of the Big Band Era, without peer until the emergence of Al Hirt in the late 1940s. There is ample evidence to support this proposition, and we will hear some fine examples this week.</div>
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Hour 2 kicks off this week with approximately 20 minutes devoted to the amazing talent of Ella Fitzgerald. We start with her beginnings in the Big Band Era, singing with Chick Webb, and then her own band in the 1930s and early 40s. We trace her steps through her duets with the Ink Spots and Louis Armstrong to her sensational scat-singing to her mastery of the Great American Songbook on Verve Records in the 1950s and 60s. In the end, we are left to marvel at her versatility and virtuosity. Even as early as age 16, you could tell that Ella Fitzgerald "had something." And we celebrate that "something" this week.</div>
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Besides Swingin' Spotlight features on Harry James and Ella Fitzgerald, this week's In the Mood is a swinging garden of delights dotted with major hits from Glenn Miller, Benny Goodman, Tommy Dorsey, Russ Morgan, and many more. We'll hear some Blues from Duke Ellington, some danceable swing from Ralph Flanagan, and a toe-tapper from Ray McKinley. We've just done a much-needed digital restoration on our thoroughly-played LP copy of the 1955 Coleman Hawkins gem, The Hawk in Hi Fi, and we'll hear a sample, plus some unforgettable treats from Tiny Hill, Casa Loma, and Louis Armstrong. </div>
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Think you can afford to miss this show? Think again!</div>
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Please feel free to leave us a comment or request either here or on our <a href="http://facebook.com/inthemoodwithscottmichaels">Facebook Page.</a> Invite a band student to listen to the show with you this week! Be good to one another, and above all, </div>
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<i>Keep Swinging! </i></div>
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<i>Scott</i><span style="font-size: x-large;"> </span></div>
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In the Mood with Scott Michaelshttp://www.blogger.com/profile/06788805875060450804noreply@blogger.com0tag:blogger.com,1999:blog-3240380579254476786.post-61888302454903206702020-07-15T15:28:00.002-07:002020-07-15T15:37:22.281-07:00The Next Best Thing: Show Notes 7/15-20<h2 style="text-align: center;">
Reunion 2020 - Pandemic Style</h2>
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<b>Toni Tennille & the Auburn Knights Orchestra 1960</b></div>
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<span style="font-size: x-large;">F</span>or about the last 25 years or so, I've been a regular and enthusiastic attendee at the annual Auburn Knights Orchestra Reunions, held at the Marriott Grand National Hotel in Opelika, Alabama in July each year. This is a magical event that reunites the many talented musicians who have played in the AKO down through the years. As you might imagine, these players come to play, and they bring their horns.</div>
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Truth be told, they do a lot more than that. The Auburn Knights Alumni Association has seen the event grow beyond the borders of band members, their families and friends. This event draws attendees from all over the country, many who have no connection to Auburn or the band itself beyond fandom. The Association has built and fostered a tradition of former players reuniting to play the charts they played as youthful students and band members. </div>
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Let's say your name is Steve and you played trumpet in the Auburn Knights in 1968, and then grew up to become Mayor of Gadsden. Every year, Steve gets a packet of sheet music in the mail - charts he will play at this year's AK Reunion. He'll brush up on his parts until the second Monday in July, when he and the other alumni will gather at the hotel in Opelika to start rehearsing. They work together day and night all week, polishing their performance, until they hit the ballroom stage downstairs either Friday or Saturday night. </div>
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This is a ritual engaged in simultaneouisly by the members of the 1950s & 60s Band, the 1970s Band, the 1980s Band, and so on. There's even a group of players who goes back and re-creates the original charts played by the band in the 1930s and 40s. </div>
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As an audience member, you can expect to hear each of these "decade" bands play a 45-minute set either Friday or Saturday night, culminating around 10:00 Saturday night, when the current Auburn Knights Orchestra takes the stand. They will proceed to blow the roof off the place (from the basement!) for the next couple of hours. After all, there is no substitute for youth. </div>
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The Reunion event is a tangible demonstration that we are all - players and fans alike - part of the great continuum of Jazz. Reaching across the generations, it connects us each to one another, and to all the great and humble students of Jazz who've come before us. And the Auburn Knights is a family, like all families, bound together by History and by its love and respect for the music and the musicians who play it. </div>
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That begins to explain why the cancellation of this year's Auburn Knights Reunion was such a bitter disappointment for so many of us. We're getting to that age now when familiar faces start to go missing. It begins to dawn on us that we won't be here forever. </div>
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And then, we lift our heads to see the next two or three generations of young players coming up behind us, respecting the master craftsmen of Jazz, blowing their heads off and making great music with all their hearts. And we know that, even though we may pass on through this ballroom, the music will still be here. It will always be here. Because those young lions will always be coming up behind us.</div>
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As a pale substitute for this year's Auburn Knights Reunion, In the Mood offers a little over 20 minutes of the best of the AKO's studio recordings from the last 60 years. We'll hear the teenage Toni Tennille singing with the 1960 band. We'll hear the 1968 band with our friend Steve in the trumpet section. And we'll hear from some of the "young" hot-shots from the 2001 band as well. Even if you have no connection to the AKO or Auburn University...or the State of Alabama for that matter...I think you'll agree - it's just Good Jazz. For More about the Auburn Knights Alumni Association, visit their website <a href="http://auburnknightsalumni.org/">HERE.</a> </div>
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Normally, I'd walk and talk a little here about the other records coming up on this week's show, but I think I'm just going to invite you to listen and leave it here. To see our full broadcast schedule and program updates, or to leave us a comment or request, visit our <a href="http://facebook.com/inthemoodwithscottmichaels">Facebook Page.</a> </div>
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As always, remember to call a young music student and invite them to listen to the show with you this week. They will be especially inspired to hear the college students in the Auburn Knights Orchestra swinging out. Be good to one another this week, and above all, </div>
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<i>Keep Swinging! </i></div>
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<i>Scott</i><span style="font-size: x-large;"> </span></div>
In the Mood with Scott Michaelshttp://www.blogger.com/profile/06788805875060450804noreply@blogger.com0tag:blogger.com,1999:blog-3240380579254476786.post-34169728155115958702020-07-08T14:54:00.000-07:002020-07-08T14:54:14.513-07:00Blow Your Top: Show Notes 7/8-12<h2 style="text-align: center;">
Ballads Schmallads!</h2>
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<span style="font-size: x-large;">B</span>allads? 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 <i>SWING!</i> 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. </div>
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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. </div>
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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. </div>
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And not a ballad among them!</div>
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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. </div>
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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. </div>
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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. </div>
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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!). </div>
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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.</div>
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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, <i>Keep Swinging! </i></div>
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<i>Scott</i><span style="font-size: x-large;"> </span></div>
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In the Mood with Scott Michaelshttp://www.blogger.com/profile/06788805875060450804noreply@blogger.com0tag:blogger.com,1999:blog-3240380579254476786.post-22681249265131616302020-07-01T19:00:00.003-07:002020-07-01T19:00:46.190-07:00Crash & Croon: Show Notes 7/1-5<h2 style="text-align: center;">
"Square" Doesn't Even Begin to Cover It<div class="separator" style="clear: both; text-align: center;">
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<span style="font-weight: normal;">B<span style="font-size: small;">efore 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." </span></span></div>
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<span style="font-weight: normal;"><span style="font-size: small;">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 <i>have a good time.</i> 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. </span></span></div>
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<span style="font-weight: normal;"><span style="font-size: small;">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.</span></span></div>
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<span style="font-weight: normal;"><span style="font-size: small;">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. </span></span></div>
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<span style="font-weight: normal;"><span style="font-size: small;">And Gene Krupa was there for all of it.</span></span></div>
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<span style="font-weight: normal;"><span style="font-size: small;">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. </span></span></div>
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<span style="font-weight: normal;"><span style="font-size: small;">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. </span></span></div>
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<span style="font-weight: normal;"><span style="font-size: small;">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.</span></span></div>
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<span style="font-weight: normal;"><span style="font-size: small;">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. </span></span></div>
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<span style="font-size: small;"><span style="font-weight: normal;">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 </span><span style="font-weight: 400;">sizable</span><span style="font-weight: normal;"> 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. </span></span></div>
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<span style="font-weight: normal;"><span style="font-size: small;">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.</span></span></div>
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<span style="font-weight: normal;"><span style="font-size: small;">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. </span></span></div>
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<span style="font-weight: normal;"><span style="font-size: small;">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. </span></span></div>
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<span style="font-weight: normal;"><span style="font-size: small;">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, <i>Keep Swinging! </i></span></span></div>
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<span style="font-weight: normal;"><span style="font-size: small;"><i>Scott</i> </span> </span></div>
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In the Mood with Scott Michaelshttp://www.blogger.com/profile/06788805875060450804noreply@blogger.com0tag:blogger.com,1999:blog-3240380579254476786.post-11976903936143400262020-06-24T17:14:00.000-07:002020-06-24T17:14:08.246-07:00Big Swing Thing: Show Notes 6/24-28<h2 style="text-align: center;">
A Hamp for All Seasons</h2>
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<span style="font-size: x-large;">I</span> 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 <i>Hamp in Hi Fi. </i>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.</div>
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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?</div>
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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. </div>
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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. </div>
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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. </div>
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And we shall hear a stout representative sample of these records on this week's <i>In the Mood</i>. 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.</div>
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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 <i>The Duke's Idea, The Count's Idea</i> and <i>The Right Idea. </i>You will be surprised and delighted by this swinging segment.<i> </i></div>
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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.</div>
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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.</div>
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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...<i>Keep Swinging! </i></div>
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In the Mood with Scott Michaelshttp://www.blogger.com/profile/06788805875060450804noreply@blogger.com0tag:blogger.com,1999:blog-3240380579254476786.post-26499934550162918192020-06-10T16:34:00.002-07:002020-06-10T16:34:38.119-07:00Why Do I Do This? Show Notes 6/10-14<h2 style="text-align: center;">
We're on a Mission from God</h2>
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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. </div>
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Here at <i>In the Mood,</i> 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. </div>
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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. </div>
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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. </div>
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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. </div>
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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>I</i>...could be playing this stuff!" </div>
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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. </div>
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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. </div>
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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. </div>
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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, <i>call them now and invite them to tune in. </i>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.</div>
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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.</div>
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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. </div>
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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, <i>Keep Swinging!</i></div>
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<i>Scott</i><span style="font-size: x-large;"> </span></div>
In the Mood with Scott Michaelshttp://www.blogger.com/profile/06788805875060450804noreply@blogger.com2tag:blogger.com,1999:blog-3240380579254476786.post-71874962887728030692020-06-03T15:37:00.002-07:002020-06-03T15:37:43.341-07:00Fresh & Familiar: Stan & Bunny - Show Notes 6/3-7<h2 style="text-align: center;">
A New Kind of Big Band</h2>
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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. </div>
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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. </div>
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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. </div>
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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. </div>
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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!" </div>
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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. </div>
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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. </div>
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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.</div>
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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 <i>In the Mood</i> 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. </div>
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How do we do it? Well, you just leave that to us and stop asking so many questions.</div>
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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 <a href="http://facebook.com/inthemoodwithscottmichaels">Facebook Page.</a> </div>
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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! </div>
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Please be kind to one another this week, and above all, </div>
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<i>Keep Swinging!</i></div>
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In the Mood with Scott Michaelshttp://www.blogger.com/profile/06788805875060450804noreply@blogger.com0tag:blogger.com,1999:blog-3240380579254476786.post-53620172529962819282020-05-27T17:50:00.002-07:002020-05-27T18:15:25.372-07:00Woody 'N Les: Show Notes 5/27-31<h2 style="text-align: center;">
Two of A Kind</h2>
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<b>Woody Herman & Les Brown</b></div>
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This week, <i style="font-weight: bold;">In the Mood</i> 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. </div>
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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.</div>
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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 <i>Caldonia</i>, 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 <i>Laura,</i> 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.</div>
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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, <i>Joltin' Joe DiMaggio,</i> 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. </div>
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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 <i>Robin Hood </i> was their first hit after the war, and the second was <i>Sentimental Journey,</i> a song co-written by Brown that spent 13 weeks at the top spot on the charts. </div>
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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. </div>
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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.</div>
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Along with Swingin' Spotlight features on Woody and Les this week, <i><b>In the Mood</b></i> 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. </div>
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I can't wait to hear this show myself! </div>
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We have new affiliates carrying the show at new times this week, so be sure to scroll our <a href="http://facebook.com/inthemoodwithscottmichaels">Facebook Page</a> to see the updated schedule. I've also posted it to this <a href="https://theinthemoodblog.blogspot.com/2020/05/latest-broadcast-schedule.html">Blog Page</a> for your convenience. As always, feel free to leave us a comment or request.</div>
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Be good to one another this week, and above all, <i>Keep Swinging!</i></div>
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<i>Scott</i></div>
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In the Mood with Scott Michaelshttp://www.blogger.com/profile/06788805875060450804noreply@blogger.com0tag:blogger.com,1999:blog-3240380579254476786.post-76006884326239587032020-05-26T18:48:00.001-07:002020-05-26T18:48:14.522-07:00Latest Broadcast Schedule<h2 style="text-align: center;">
Where Can I Hear In the Mood?</h2>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ-poqkQIwmpnRr48hUzPey1SHv3Ddac1tOIXD9ZgN3lYs41JwGtjz1CjhAZaYYwlBUaO3ux7NayZPB_MepPg5RYOW7Hc0HATvlxj-QwncwFBSh1xNd-qNZaurI9FSwJqtwympTThg2uQ/s1600/boy-listening-to-the-radio-.jpg" imageanchor="1"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ-poqkQIwmpnRr48hUzPey1SHv3Ddac1tOIXD9ZgN3lYs41JwGtjz1CjhAZaYYwlBUaO3ux7NayZPB_MepPg5RYOW7Hc0HATvlxj-QwncwFBSh1xNd-qNZaurI9FSwJqtwympTThg2uQ/s320/boy-listening-to-the-radio-.jpg" width="320" /></a></div>
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<i style="font-weight: bold;">In the Mood</i> 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).</div>
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<b>Weekly Broadcast Schedule</b></div>
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Wednesday:<br />11:00 am - 1:00 pm: 920 WON The Apple in New York City <a data-ft="{"tn":"-U"}" data-lynx-mode="async" data-lynx-uri="https://l.facebook.com/l.php?u=http%3A%2F%2Fwonnewyork.net%2F920-won-the-apple%3Ffbclid%3DIwAR32Jrc8Sn3nm5FXwZdbd4VB3Ramr0ET59B_rTDRCCOHUC3Co1o7wvsgJRg&h=AT3U3JlwtV0mQOZmvn_PRAkOLUvRokM4-yYxAPWSbG8KVhtSwXkxQterVl5RWxTsLLBXTLJCJH96V-5fzVqVLNOGbO3wnlf_vEJJk0XFu_dk9kwOkXJYFBgApYh1RyvSyk8HQ9ZFq4voxU894GtQGtbtOAWfAYBvdgaZBtKLCb9bJ3FFRjds7_kbobqitjwXn6nbotgW4LAw5BestR2YouSRxobD2d-bLpo2lZ_x-VC1m3TXPdYYLj7hAXmvNdfgGO0eAyP9kDVpvMxtCEZxZ3PsEC46CEIxWdkOYBc9HrT_nHCrBQiUeovwcSkAIHmEMLYk9ovkyLnGvlfs3SdFXLtx5_3Q6LgAhyg6l5Iw-k6kGpdR3bfJM3QfDY7fanGD94YeedF6NB71aZvd5C7NNXGaF_Ng2rJqHMI1QLNw4kBaMD3gqAXHYeDxvpeGA2Nz3UiPeiaVfWkaVkxIJcQmJWIdLAdZj7AGOllzrbVvRAhPTunpMrbexsk5PP--d4CvF5cUfY_O1dzogdmgkuNd3zNllM1V8qmGNQLhqmq7Vb1pdxzYEXI1Lflcw8tElK03BMO2QFHCat4X22O6qk4il96iWj6RcJO354f3q6v67yQ5GJJHjrQyWvQuxGVJYc_VszmPsXbPb7wuoucg59_6-Is" href="http://wonnewyork.net/920-won-the-apple?fbclid=IwAR32Jrc8Sn3nm5FXwZdbd4VB3Ramr0ET59B_rTDRCCOHUC3Co1o7wvsgJRg" rel="noopener nofollow" style="color: #385898; cursor: pointer; font-family: inherit; text-decoration-line: none;" target="_blank">wonnewyork.net/920-won-the-apple</a></div>
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Friday:<span class="text_exposed_show" style="display: inline; font-family: inherit;"><br />8:00 - 10:00 pm: WSSE-DB in Clarksville, Tennessee <a data-ft="{"tn":"-U"}" data-lynx-mode="async" href="https://l.facebook.com/l.php?u=http%3A%2F%2Fwsseonline.com%2F%3Ffbclid%3DIwAR3UsJwyYO7PHQ1x-NdwhwXPBc94Tex6iWAWT3BL42AjiWBRzXkxQGUsLMI&h=AT3OYrAePeJyEGhKY8Y3SCvEkbOeAaigPePdh6nOJ6rOYnjlYbyjIay1hdLSFZbmk4vL_D2uhwn8oEp6gTXaHvLTDW_SO1_o6AGelEyS3WUeF7nvwNxeMutjvORk-KWVM8yxFvXH_h9SkMcT9s8vaX55KQER4Zal3m1zS4zX5ElDOHE9k5glD2HCm28HGt6eP5Gy6ienaIYFWwAnzfMWuCGknIbMiuVqkSsl__xc5C5wEzXyy4AwigSHsG6zxow59ebF-hwrE7ETzj-jhbMhsmh9BphKEMO6TvxGeRCqn8fpa8g5-CJ6Ms1JEvFtPGb1MOAllv5-MMoxXqHjhhJDniVfVeybyBqE4WEQupyeFvuwySd1N_P3yPF83iDfdbaNR5jkzpAufYKheXE9UxSo4Q28zBq0ro-f-d87a16nabwc0k9Pih8Qw8e2aB49ZsRFQ0tqB9iJnGYUygeFziwHMiYCcEQfsFhYSiOFoqAdepchdwlsIVy_PEsIbRkxuGV4_OOlPzGcuG6fZcBIu6PxolHXutV-s2D_E4ci3VSAHwOVz7195h4xnz7vyZ6-LBpPidYOjBxCNnUPebgAbr6VZKKqQDgIDHBZzuVm-fIT5IsEW3iDdWLWauDGPUhoBWxS9UB4JDpwXrcO5MIKY6fEy4g" rel="noopener nofollow" style="color: #385898; cursor: pointer; font-family: inherit; text-decoration-line: none;" target="_blank">wsseonline.com</a></span></div>
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Saturday:<br />8:00 - 10:00 am: Jazz Hall Radio 91.1 FM in Birmingham, Alabama <a data-ft="{"tn":"-U"}" data-lynx-mode="async" data-lynx-uri="https://l.facebook.com/l.php?u=http%3A%2F%2Fjazzhall.com%2F%3Ffbclid%3DIwAR0o4YB_OsYGQm77ub7B4ilqHNJoOjq3HVGIZAFFoVB-gnLosrVudOTc7oA&h=AT11e7t5wT83K87XXun_9tqXo--9Q4Yf0yU145ERvvzrVDiBizIe24g90_TMRfV4qIWbTS2HLv3IyPW9XhSffPhR9QnLIJGgbr4t9OHRD7NOmWnclVIg60Njx_UHdGrmYSmZDPka9aK8t2PKLKxQu3QaQzt5HkngI9_NdijeD19B2yCa4hQg7Le1VMFrkRgkDZvXlUpnmEMR2J8Hb2fuaEovm58j3b91e6AhVfOQNXPyNnBjF7Y7GcmxoDWQnLUu5jdoX2ZOf0-ykG6aj9AiKiuulAmaCifHl5ZX4MYwXl5Q3e2jFc3qUkQcV9fnTGV5qaAX7eVEF_Kqb7E8FIh0HY98pecUSzmWRFkUd7wRF2aJtV882Q5OOxTvdR4lxx4RgMSSjRGwH_4a84biK8trrOsGbuxX5PkDUPpJtrE7CKFcaeBYYoc7YUDpSThuARWLrFeMDeW3FqKQSEs6swinBhLxs27f9dJ4GAhOL_Jq3wpx9tYPEP0j9Rg2HA-HYvAfzBusaXYpLOqF7LIcD8BHpDdiU5AawD6jGaFWRycdmeUjQeEm6TqGwFV4Olf7E4l3z59zvnoTzO_1zmf24zkgd-PO6K4bVPkdfMCIGHlUBTLKPlb-kVxf-k2cLpYTYLAYfdI5IhjE5ot89aLHGv465Og" href="http://jazzhall.com/?fbclid=IwAR0o4YB_OsYGQm77ub7B4ilqHNJoOjq3HVGIZAFFoVB-gnLosrVudOTc7oA" rel="noopener nofollow" style="color: #385898; cursor: pointer; font-family: inherit; text-decoration-line: none;" target="_blank">jazzhall.com</a><br />3:00 - 5:00 pm: WKLF AM 1000/FM 95.5 in Clanton, Alabama <a data-ft="{"tn":"-U"}" data-lynx-mode="async" href="https://l.facebook.com/l.php?u=http%3A%2F%2Fwklfradio.com%2F%3Ffbclid%3DIwAR2XI7roVGRdd6WxK7au0RONUmzWLuvBD22BCP-bSpEd0Gjy8rLo97o59Ak&h=AT0SZqJ3hoPew6lakYkpJnEqPm1-ezptYaFiX9y90sw8b6Wj4vyhZKE5XGR6FiQP6X6GSZaoRkAU_xJTlvXcPVZp2sNWpBVeaxSBvcLv66RFn54xF4GWV2fZTPGABcD9IAH6GEvHUR9Vzd_tdXdJZewWGagqpcluw4rIg5yBkx04HqwxiAHEsBXbcQj3eIa9m8MT6hMXbCX7P0YjzsEITWNmysFNkVk1I_L5k6UdKR3aHEa-MDdoYR71B7GyC9b06rbpo4hcaS9jj0rB6sayjU0nKNRVKda2AMFlE-7ajne314G1DhxjnmDMP7tmV3rhZWQpmlAWe7j6s0LytsxAQQdmgOTnw0VTQ9PB-hyNhx2gvHlyOUrHj87qzG8CqYO1RmjLHn7d2gyqF9goA7DAar9xZIp6Qle5yqxAbwjP-t9Wg4h6yXLagqd3Eoyci0gkfa6j_DbQoWzWu3-aCehV58W9kLaJD3RJhc0ZPrN9obYDZBtOd6TT6ENKUL0tTmR-nP1avEOxioRByiwuIqzY8YT_nmQEa8MLEfQ5tb9_jlXk20GZvLsSZ2MXPzrQv-npV-CZlfRimFvDKAxVzrNrObb_WHsGwMLz6HAHU9kJaKzJVj5X8mW2TzT7rU4TDCCR-i5B06ktQGGSHaYAlx-ljU0" rel="noopener nofollow" style="color: #385898; cursor: pointer; font-family: inherit; text-decoration-line: none;" target="_blank">wklfradio.com</a><br />10:00 pm - 12 midnight: Swingin' 105 in Austin, Texas <a data-ft="{"tn":"-U"}" data-lynx-mode="async" href="https://l.facebook.com/l.php?u=http%3A%2F%2Fswingin105.com%2F%3Ffbclid%3DIwAR3y3jgdbeSgJ8uXjxL7dScmGc1fM0OD55ika1Q2OhzYfH3ievuP20cef8c&h=AT2hvJG0xyXqb9-59laZYmXuzY6SE0qc1oFntfY4EZTl5mKvlXxViFr8yY8lHxSpREvw8whhjykNAj14Hc3hKlC1SJust_ZSopwX4wThVdYRlayCZjt_Xr8dtIBx7WThIzQgkns1IYzcY9EjffCX64f_-zB7VswlvC3IZCuHvm0f22k3zk_gcE9JXU_WXoUyKMxTmUyigyLPdVERPOPp8qq8tqUzfUTSCVde1Ytl9-CN5E13CUobaG_x4viE99GZRsIsO2Ig7er2DjVrlPVQngGmfVWaqFU0UTK65TaoCBCPxjKFcj1bHG2pAX1St5Eg1W0knSBQYE939L4WhSk4QQHAeRfutQcDqzRliXQpLcBFiSXvV4ZmhYpVnPyjZ-OQtDi4tqyHOIlKwv-Q-AGxw2COAgvJrJHZi5loXbs7qjhjUeOM34rru1qFNJZ0fxTFuyRGExbfzGwDkbjXvEW0EwkXd3IH-un1mfRohifC1OCQj2B50zk5fZneF0_0BP4dHAmWMqY2hRhEqCyUCwGHgar5UVOKm5B2JfRS_L6pudDVxTOjpwpzje7S3Ykw_kLGm7HWh93rKcOs-DZrfZcnmunk__ycxUKOjHX9Z5sgG9v1CsyzDDkOwaHb33Cg7ENoQXFnFVL6aMiJcJlBvItkF80" rel="noopener nofollow" style="color: #385898; cursor: pointer; font-family: inherit; text-decoration-line: none;" target="_blank">swingin105.com</a><br />10:00 pm - 12 midnight: WSSE-DB in Clarksville, Tennessee <a data-ft="{"tn":"-U"}" data-lynx-mode="async" data-lynx-uri="https://l.facebook.com/l.php?u=http%3A%2F%2Fwsseonline.com%2F%3Ffbclid%3DIwAR1nG1byFYbpmf_QTop1_6xOmONoJ0ZxQxCfDA0flzQOn7_EQbgMaG2J5Cs&h=AT0k2o9O4Vg07d5XpjTHDddiR9UNQpmFidMugR-KqRzJ3e_-Fk8DWOWzrnS_FTmmN8S2mwogO8VjF4zQx4Noj6nz2_nqBaiQSN-Fta9YUmIuBj-Cb2uDogLxEohOHj_qWv0_loCsaWKzCQ2XZ9ZwHlSgw--VKtG1wMj4jQAOB4DiFQ7TMZU5-GXC2ZxGC-BJiSRqIRynJKh1saxXuLOeS2JM7tOuOT37LGsHnNbAcfBL2pqWLxZQiFS1w_AZV0KDTzvnwUre-dl3Ndd9VZQwcfA7lwZDFyys1Z1Kk-sfaEJWbG2KCHf1s92IRVxTftFjQ_3Dtafvlyysedotg1ciRq41HNYXAgyxTtKPwh0CwMAeo_WsJa3B2M0X5WtKinIGpDf2FSMu_NX8BMFYiVmmm2Xj6hWp3L4V58jLFQ0944FB8Z8yrzDR3jRyEuswvMCpD4N8ZIL2tJoZSeV1yXQIX8Qoqafmy44YuoT-zxn3flxjrwnp_6ihf2g-3TYz3lSnZC3NMWB382k0iPNzBMcUAtxzHaaeAHqIynCLUh4ytUfJrIOWs33a6NySESrj7SvY0a_fM674_X7NDbwJwrVhObcQyTegm3tItll1IY-cfp65xtzUmrJyeo7JLWKrXUSA55ysGpCnfw05AiXrLGpBClY" href="http://wsseonline.com/?fbclid=IwAR1nG1byFYbpmf_QTop1_6xOmONoJ0ZxQxCfDA0flzQOn7_EQbgMaG2J5Cs" rel="noopener nofollow" style="color: #385898; cursor: pointer; font-family: inherit; text-decoration-line: none;" target="_blank">wsseonline.com</a></div>
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Sunday:<br />9:00 - 11:00 am: Funky Media Radio in London, UK funkymediaradio.app<br />10:00 am - 12:00 Noon: SeaBird Radio in Hull, UK <a data-ft="{"tn":"-U"}" data-lynx-mode="async" data-lynx-uri="https://l.facebook.com/l.php?u=http%3A%2F%2Fseabirdradio.co.uk%2F%3Ffbclid%3DIwAR3XkXsE8H6xkNMKTklQBmPXx1BsK0fZRoGD5GIvjMmxDgVsix4Rm9C_-HU&h=AT3xtPpwQHRPfoA147DSsu4vomxBs1JNHF6gVbkoBtfc3JMHy5Ik-NNwkDJ2D0If1_fgPF9YCeZnMvrmxFYAiL5prafMIm0bV4XaKf-NltFA_4CSPZb8dlRrROJbUnlPGxFu81YyLevLctlYhOwEVKplNL5FSEJPs-rjlzgHeu5ZZC8lIfmsuRJS17vhVghrMGdi_Y9XydcXWLw-s1MwxZ4qeDhpgztFKxI7KBhGxl7ZViYFk_pDrOBNb8nZr2tOn0bkUkMFq2nTzhBVcAq8Ff-pViJS_Wu-gTutL6KQ0G23jXXkHxzeFf2VZAahiN2FR8Hq2YNBg57xvidRoJilNFgiDo_GTSkqS9dZeXsqF0_A7oekCgqrc8Ra-QKkRwXWNgHN-doYWljbtjGzIOJyNIWTOd9jgR67FkSV5uKcqF1ixW7FFC5UF248S387wLRf0WB0wKSKQzntnm1hnanKRmCch2K8rRkQjL6mjf7DMdkxqJxISJpfmrFIYCsb4wrD8Ake4YLnmPsc000RThQudu-RQ7fvx7bvdhNcZdk7pH5abwUcKfUtYCjA6Gc3O6GC2m8tOIcJMxm2-1uLDRwfDiXD2Er5HZTUyERmPcP-uAeRN29_5unuzyFNbObbWOXAjqOVpxWg80uCIxwNoGjCXpY" href="http://seabirdradio.co.uk/?fbclid=IwAR3XkXsE8H6xkNMKTklQBmPXx1BsK0fZRoGD5GIvjMmxDgVsix4Rm9C_-HU" rel="noopener nofollow" style="color: #385898; cursor: pointer; font-family: inherit; text-decoration-line: none;" target="_blank">seabirdradio.co.uk</a><br />3:00 - 5:00 pm: WVAS 90.7 FM in Montgomery, Alabama <a data-ft="{"tn":"-U"}" data-lynx-mode="async" data-lynx-uri="https://l.facebook.com/l.php?u=http%3A%2F%2Fwvasfm.org%2F%3Ffbclid%3DIwAR3PppOh1eEnabuSpoVj4nCx8zKpc2K6ed-MTyAlHy3ByOeaX8moVhIOLqQ&h=AT3dLl7N3uFFnXA8S1OBMtTR5EibWaubaIN6omPc_3IjeA7ivIfY1Wc0Gp7tHWUIdmulWVTfUT76OJQ3WaGiPzonwI1K8gOsXPi8cJk5mJIL_Jqr3PEVaDNXKv32qVtzJcYduefpBse0a-mmTae8MVVmNJQMDsWUEdNT9y4ONnOM-vnRGHa7KfhUgAVIFIUNQHmhujcQL1UKObc_PpVJ-BbpcjwUf8BAuaeGTlyVxepfFmGPuweDdoDMZxKzyc07L_BQ2HEZL4iuCxzdlMJcW6LaYu9x2A2jv_Zo1TG1TJdDVVlLfPz0GwjafdWqMmS8CJIa9tRGCJX2Vc7T7WuHbA-vuPWNfy-Ny9NSXPxAMElfHIruhJt3IBQ3UWtZs-i0UnZdFMNYfXL92_xwrU2r0V45XcYGeaMoM4WwdmwKb07hQLpVhtZu5aHdWsBqtUKmFZECWl-wk4_f2nm0aedEaz0VsRVMitrABHIbGS16iNAQZ978otfuvL3Pk5fBp1Dy_Lcu7xvBZeCwY9E8XmnhAy5ERheGS8yuVYY9xgk-7rt0PLMaaxiISucfiqSEO15RDbKvIgnMgbN0juXTa7fdi8SXcw9vYMSREPZmeC7nN694VRIn5Sm5mXufyKZguNYVajL7SCXJ-5zLpFimC0ucYqI" href="http://wvasfm.org/?fbclid=IwAR3PppOh1eEnabuSpoVj4nCx8zKpc2K6ed-MTyAlHy3ByOeaX8moVhIOLqQ" rel="noopener nofollow" style="color: #385898; cursor: pointer; font-family: inherit; text-decoration-line: none;" target="_blank">wvasfm.org</a><br />6:00 - 8:00 pm: The Fox Oldies in Burleson, Texas <a data-ft="{"tn":"-U"}" data-lynx-mode="async" data-lynx-uri="https://l.facebook.com/l.php?u=http%3A%2F%2Fthefoxoldies.com%2F%3Ffbclid%3DIwAR2cCRk7xKEsdqBV_g7Z_a4ovu-RqndzCJmHqArdPwLzFat-VMc2ZXSE-7E&h=AT1rT3Kq7oSoS07uoZWDMTVUe8k15IitYUROxS8hGdybs_MXRx5UKpwH08IsIMTy7cVu-Ai_PmzVy9NCMDEXQ5U3fJxQwcXCjqWo1th7UcutEDz-yEdQn7XRzGqpQNyJPIBfTTRPRbH5NCzLpadPqNyKWv1Zfj4UcI7ELrK7jJc8AMWGdI_yXh9NpPk_fm5dyfFiCGF0zaHt_xbgflLtglr-5_M9iKrU7ELNZvegPdLuP8DzfyproH8z7bSXUUEuEmh6mcGGkcK1yt9sGDMwl9aq4opZXjCVxdfeNrUnqGfPv2nVXxsRAvTP4zjV2M9Jv5XUcTATK_QwUxKC0lqyb2sZZ6DBHy41q6Ypz3oGuA_jpZb-z3Lr5BP_TDpyFsl-39Mb6vZEMTODhNxyC2fSiXBHhM3TnUbrpVG1TEihkNCUsjmRXLwnCr_p3a-ZRzgMHtcmfYohaXemu1juccT3EsDVRHlnWjoV1eYilutNFf7WzkRsZDHaHAxXt4qufxqXcfJGU_etAdiYBu5F5GBsXJ2tOQbabh-ZVcjYCvHinWkifHVCbXegdsNT0vYJOFSJkvQIl7mTNvsbT2yYT4aGE4KnwDyzhmGED-knDzxQiZGBmde4fda7N722R2VRzBTDUNcoKPIBUu-yoJ1S3DT8etE" href="http://thefoxoldies.com/?fbclid=IwAR2cCRk7xKEsdqBV_g7Z_a4ovu-RqndzCJmHqArdPwLzFat-VMc2ZXSE-7E" rel="noopener nofollow" style="color: #385898; cursor: pointer; font-family: inherit; text-decoration-line: none;" target="_blank">thefoxoldies.com</a><br />6:00 - 8:00 pm: Swingin' 105 in Austin, Texas <a data-ft="{"tn":"-U"}" data-lynx-mode="async" data-lynx-uri="https://l.facebook.com/l.php?u=http%3A%2F%2Fswingin105.com%2F%3Ffbclid%3DIwAR1cAZoILC5ohWj-bFZBQKFrPr51Wf6_xFhJc08_gLSxav2hugvRRfGPnSU&h=AT3bVV4AXfHsZNgEeJkywJ-9ZEUVQctqqTYGDoeLecM6i7Il4lMYZVbmoe9AZkrYVM3HeocQUYWJE9QHcbW70tIxsU2CjYqWpky07YivXILjKxaO3UNNIJ5HrZIZdTRCAjAbyjZuMXGB4WpjBAMEqND1bQTSmkjyE8uib42OQs9UOhIW7FGOJyQtkERxnD2w1MQZ26RK7cnU0_rqNs7XWXl8Q9_BGJ1Ysw-kcl7Gb9R9ndmNRCfh9JpXkJtx7j5kx__AcNQDu3oLvSe-MpWemDTqEB6lY-U61c9rl7ArEQEcRoIIv7IqEJwc5Y68BAYgkuamybo7i3feAUkhZVO9LwIpeyM4hV8yRW3iD9Sgz0fBodCRqcIhazN_CBuldbGuzCtdTAKtKMpa0ZRSHHzRxraK6cPNaHhimfPIVSk4XBaGfhjcLUrSXm0jlnX8sAGQ-Ep7IMdTUaFUyNcWCMTnfN0k1fNjfp2vXRwCuGmWMP5EV68cHPnC3gjrMKVdMHcU8WsiK0n4r3F20E_nPQoGqoK1mguquIXsbx6cO7g1zi_Jdi-tmfx2pzj_4FgG6fB09_zJLqf6AeJdjrbuzNgnjEnVcwtn2X-ioxCMoC4Yx94UVp-bj8e6fpqkHhpBf5uYNpneffo71Xc7U3jWD6NwcKk" href="http://swingin105.com/?fbclid=IwAR1cAZoILC5ohWj-bFZBQKFrPr51Wf6_xFhJc08_gLSxav2hugvRRfGPnSU" rel="noopener nofollow" style="color: #385898; cursor: pointer; font-family: inherit; text-decoration-line: none;" target="_blank">swingin105.com</a><br />8:00 - 10:00 pm: Jazz Hall Radio 91.1 FM in Birmingham, Alabama <a data-ft="{"tn":"-U"}" data-lynx-mode="async" href="https://l.facebook.com/l.php?u=http%3A%2F%2Fjazzhall.com%2F%3Ffbclid%3DIwAR2hzubQmK7Urck7ag3kG8brqub8o7c3uJKsn9-g3p8mI6ILYyGRYtHu-Ks&h=AT2wGfNvvoKw_S6uQaqWJQIbmzUycNF8EMgHUq9M1_kZ2zME2mVaUv7wpaYK_uuzwbL_PIPUXXxe9KxUmJYAsIFc0FHda6r00DDIewm8AK0Z5Bj-dXBosZ1rF5Z04-GRumYC98kM3K6DOxaYbAZGUP877hNfyraLwb7fSngDA1A6-w8OFA86lmOrij0rMeALNfI-HqRPjLQ7yGMWwNUJRWk46_oGQ_Mhk1iZAmkLjCYm35jwqm0SEjqoknt7YUtoIvCwVgmCThycvYxeP-73vsrLeDjNuFLoxqWSR-OaVyAEKy-bUpxLVcN2Q4iR7etkelzthVZP2KlkpScR54lzEC7-8_pK0QUgBDeYJCvB820zNWbFuNyaYBKOPDcGErTG7p8TOemg_38t7x0efqlmTmklKvvtDsoR_8GWPJ6ka2ZGFfpA4WwCkOFQ_Lz_v022CuZ8mzcUXa-fGVZVbQncQVMyfkYv6Qn-FrbHhHG1H58nNWBjHEmKWvFNficqg7qefdK9XJWjuc4tcIue_kRJjQ3II9IwnYb7Fjj_TGLVbEWACXt7PCY65W-ExD2goqUo1KF4onZ0r6H5ePAHz8t9S2rOXl34mgPZk5ELJibKDzmPTndehEEArzuHVAcbenOoS7XeXWOT7eMk3UtziQGjpTY" rel="noopener nofollow" style="color: #385898; cursor: pointer; font-family: inherit; text-decoration-line: none;" target="_blank">jazzhall.com</a></div>
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Leave us a comment or a request here OR on our <a href="http://facebook.com/inthemoodwithscottmichaels">Facebook Page.</a></div>
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In the Mood with Scott Michaelshttp://www.blogger.com/profile/06788805875060450804noreply@blogger.com0tag:blogger.com,1999:blog-3240380579254476786.post-51092989098203259112020-05-20T21:02:00.003-07:002020-05-20T21:03:35.463-07:00Glenn Miller and the BG Sextet: Show Notes 5/20-24<h2 style="text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5EqBGccnoz-f8WGOcnoj4q8Gmi7h3TB46PFgVDjFRat0p1oBby1cShul43e-5LZ-TN_HNl9R2_Q3d9-hPMujrq3-UiEOzf2mEvxl337eZaIj4rPbUgxeOd2U-MKk5IJElZux7LHeM2FI/s1600/glenn-miller-in-the-mood-bluebird-2-78.jpg" imageanchor="1"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5EqBGccnoz-f8WGOcnoj4q8Gmi7h3TB46PFgVDjFRat0p1oBby1cShul43e-5LZ-TN_HNl9R2_Q3d9-hPMujrq3-UiEOzf2mEvxl337eZaIj4rPbUgxeOd2U-MKk5IJElZux7LHeM2FI/s320/glenn-miller-in-the-mood-bluebird-2-78.jpg" width="320" /></a></div>
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Glenn Miller had been in there swinging for years. He'd been part of the Jazz Scene almost from the very beginning. Glenn was 12 years old when the Original Dixieland Jazz Band made the first jazz records in 1917. He was already a beginner trombone student. And as Glenn matured both musically and personally, so did jazz. </div>
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By 1924, jazz was starting to take shape as a musical genre with legs under it This was also the year that Glenn Miller decided to drop out of college and get into the music business as his full-time pursuit. Within a few years, the trombone-playing arranger was quite busy indeed, putting together bands and combos for record dates, dances and radio shows. He saw the music itself developing rapidly. He also saw the dance craze reaching peak velocity. Literally hundreds of dance bands were flourishing across the country. And by 1935, Glenn Miller wanted a piece of the action. </div>
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A new band has to get a lot of things right. It also has to have some good luck. Glenn's first three bands, in 1935, 1937 and 1938, were not able to put it all together. But Glenn learned important lessons with each attempt. By this time, Glenn had amassed a wide support network, encompassing players, other bandleaders, agents, publicists, financial backers, music publishers, theater, ballroom and hotel operators, radio producers, record executives and A & R men. </div>
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But the final piece of the puzzle didn't fall into place until 1939. You can build the greatest support and distribution network in the world, but it all goes for naught without the <i>product.</i> Until 1939, Glenn;s bands had been missing that one element that would set it apart from all the rest: a signature sound. Glenn finally achieved that in spades when he hit on what came to be known as The Miller Sound. It was a sound that was tailor-made for dancing, with lush ballads and swingy pop tunes set forth by a shimmering reed section arranged with Willie Smith playing lead clarinet on top. Duke Ellington was leading the way with improvisational jazz at the time, and Glenn wisely wrote into his new arrangements plenty of solo opportunities for his talented sidemen, especially Tex Beneke on tenor sax and trumpeters Bobby Hackett, Clyde Hurley and Dale McMickle. Once Glenn had satisfactorily codified the Miller Sound, he brought on arrangers Bill Finegan and Billy May to add their trademark touches.</div>
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And then there were the singers. Ray Eberle (brother of Jimmy Dorsey's popular boy singer Bob Eberly), was part of the band from the beginning. He was joined by Paula Kelly, Marion Hutton and the Modernaires. And of course, there was also Tex Beneke, who sang most of the band's novelty numbers. </div>
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We will enjoy some of the Miller band's most memorable sides to begin the show this week, including PEnnsylvania 6-5000, Glenn's original arrangement of the Johnson Rag, and a picture-perfect delivery of A String of Pearls from a live radio broadcast. We might even break down and play our show's <i>alma mater </i>for good measure. </div>
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We begin Hour 2 this week with a loving listen to some seldom-heard swingers from the Benny Goodman Sextet. This chamber jazz group has its roots in the free-swinging jazz combos of the 1920s...but with an always-fresh coat of polish from Goodman and his ever-changing array of sidemen. </div>
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I think it's interesting to note that, after the Sextet's first recording session in October of 1939, Benny began tinkering with the lineup of musicians almost immediately. First he changed pianists. Then drummers. Then, he began experimenting with different combinations of instruments. The result was that the Sextet had a perennially fresh sound, always benefiting from the synergy created by combining different musicians. </div>
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We will spend the first 20 minutes or so of Hour 2 enjoying a playlist of Sextet numbers that we have never played on the show until this week. And I think our selections will shed some new light on the remarkable franchise that was the Benny Goodman Sextet. The audio quality is particularly satisfying, I think, because we have bypassed Columbia's mid-1980s reissues of these masters, going back to the label's first LP reissues from the early 1950s on the Columbia Six-Eye label. These releases were processed with a fatter, richer sound that I personally find much more satisfying. I hope you will agree. In any case, the material itself is compelling and revealing in its own right, regardless of compression ratios or EQ curves. </div>
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In addition to our Swingin' Spotlight features on Glenn Miller and the Benny Goodman Sextet, this week's In the Mood brings you a generous swerving of the best of the Big Bands of the 1930s, 40s and 50s. We'll hear solid swingers from Tommy Dorsey, the Gene Krupa band, Ella Fitzgerald, and Big Joe Williams with Count Basie. We'll hear vocal classics from Bing and Gary Crosby, the Ink Spots, Frankie Laine and Billie Holiday. Duke Ellington and his Famous Orchestra will make a couple of appearances, as will Benny Goodman and his Big band. </div>
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Yes, it'll be a lip-smacking tasty treat for every Big Band fan, so please invite a friend to listen to the show with you this week. And if you know a young player or band student, make it your business to be certain that they hear this show. They'll thank you for it, I promise.</div>
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As always, feel free to leave us a request or comment here or on our <a href="http://facebook.com/inthemoodwithscottmichaels">Facebook Page.</a> Be good to one another this week, and above all, <i>Keep Swinging!</i></div>
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In the Mood with Scott Michaelshttp://www.blogger.com/profile/06788805875060450804noreply@blogger.com0tag:blogger.com,1999:blog-3240380579254476786.post-38375449662081387552020-05-13T21:03:00.001-07:002020-05-13T21:03:36.168-07:00The Duke & Casa Loma: Show Notes 5/13-17<h2 style="text-align: center;">
Amazing at Every Age</h2>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-XHNi1V0F8-ohroEenDPZ6zny7ZtIN7LmWDOr3T4EHFBWqx_u5BTLuboOOkye7qIUYOqpVfbbOTEaqgztQeqb5nWV-CIyEdyAu_mdQ3An8ca2NiXvnW0X11PXlWR9j1OrJHCRPidKBzk/s1600/Duke+Apollo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="646" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-XHNi1V0F8-ohroEenDPZ6zny7ZtIN7LmWDOr3T4EHFBWqx_u5BTLuboOOkye7qIUYOqpVfbbOTEaqgztQeqb5nWV-CIyEdyAu_mdQ3An8ca2NiXvnW0X11PXlWR9j1OrJHCRPidKBzk/s320/Duke+Apollo.jpg" width="256" /></a></div>
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<b>Duke Ellington - 1964</b></div>
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Talent, I think, is an oft-misunderstood commodity. I consider talent a gift that makes learning and developing proficiency at certain tasks easier for some than for most. Talent is a gift freely given without consideration of merit: you have certain talents whether you deserve them or not. </div>
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Talent is not to be confused with skill or proficiency, which are <i>learned</i> and <i>earned.</i> Skills are built with time and experience, repetition and rote. But talent is simply a gift, and it is yours whether you use it or not. </div>
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Which brings us to the acknowledgement of a still higher and nobler attribute, inspiration. Thomas Edison once famously observed that "Genius is 1% inspiration and 99% perspiration." And tiny though it may be, that spark of inspiration is what separates the creators from the replicators. It takes talent, skill and proficiency to play a piano concerto; it takes inspiration to write one. </div>
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I'm a replicator. I don't really have a creative bone in my body. I'm very good at picking up ideas and techniques from others, and then applying them or combining them to suit my purpose. But as far as actually creating something new? Once, maybe twice. <i>In my entire life.</i> </div>
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That is why it is such a rare pleasure to contemplate the work of Duke Ellington. His inspiration index was off the chart. He did occasionally steal musical ideas, but mainly from himself, borrowing phrases from one of his compositions to use in another. But, as a composer and arranger, his sheer creativity was immense. Fresh ideas and (at the time) unexpected turns in melody, harmony and chord progression are common hallmarks of his work. </div>
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Ellington assembled a group of musicians in his band and built a symbiotic relationship with each of them. His tunes and his arrangements drew inspiration from the players themselves, building on their individual strengths and talents. Many of his compositions were originally designed as showcase pieces for specific players, many of whom rose to lasting jazz stardom in the Ellington band. </div>
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As you might imagine, this created a set of circumstances so satisfying for the players that mere cash could not compete. Over the fifty-two years of the Ellington band's existence, the personnel remained incredibly stable. By 1945, many of Duke's sidemen had been with him for nearly twenty years.</div>
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Ellington left us in 1974, leaving a legacy of over one thousand original compositions, many of which have become jazz standards. In addition to the compositions themselves, his arrangements of those songs for his own orchestra were groundbreaking in their own right, and are studied today with as much interest as his compositions.</div>
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We will spend the first twenty minutes or so of Hour 1 this week enjoying a few gems from one of Duke's most productive periods - the early 1940s. We'll hear from famous Ellington sidemen Cootie Williams, Barney Bigard, Ray Nance, Lawrence Brown, Jimmy Hamilton, Joe Nanton, Harry Carney and Johnny Hodges. Hold on. The inspiration might just blow you away. </div>
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Hour 2 begins with a loving listen to some of the best sides from Glen Gray & the Casa Loma Orchestra. This was perhaps the best of the Dance Bands of the early 1930s. They played a combination of music that was either very hot or very sweet. But the players were so good that they could play both ends of the spectrum with equal appeal. </div>
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Casa Loma was renowned for its book of "killer-dillers," hot dance tunes that required extreme technical proficiency, with the arrangements calling for entire sections of the band to play intricate riffs and runs <i>in unison </i>at breakneck tempos. We'll hear some fine examples, including the original recordings of such flag-wavers as <i>Casa Loma Stomp</i> and <i>Black Jazz.</i> We'll also hear some of this band's beautiful ballad work, including the unique and impressive vocal stylings of Kenny Sargent. </div>
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Casa Loma started in 1929 and held together for nearly twenty years - that's like 110 in people years. Critics and commentators sometimes remarked that Casa Loma's records just didn't really capture the band's true excitement. If that's the case, I think I would pass out listening to them in person. I think you should listen and judge for yourself.</div>
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In addition to the opportunity to savor the <i>delicat essen</i> of Duke Ellington and the Casa Loma band, this week's <i>In the Mood</i> brings you tasty treats from Harry James, Glenn Miller, Benny Goodman, Tommy Dorsey and many others. The Andrews Sisters will harmonize, Ella Mae Morse will swing sassily, and Clyde McCoy will wah-wah the old <i>Sugar Blues</i> for us one more time. And please, try not to blush when Bix and the gang swing into <i>Barnacle Bill the Sailor! </i>It might be a good idea to get the kids away from the radio about 40 minutes into Hour 2. You've been warned.</div>
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I love <i>In the Mood</i> because, for two hours every week, we have no differences among us. At least none that matter. We can sit back together and enjoy this great music and the nostalgia that goes with it. We can listen with our kids and grandkids, delighting in their discovery. Know a young musician in the high school or college band? Call them and invite them to listen to the show with you. They NEED to hear this music!</div>
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Want to leave us a comment or request? Do it right here or visit our <a href="http://facebook.com/inthemoodwithscottmichaels">Facebook Page.</a> You'll also find a complete and up-to-the-minute Broadcast Schedule there.</div>
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Above all, remember to be good to one another this week, and <i>Keep Swinging!</i></div>
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In the Mood with Scott Michaelshttp://www.blogger.com/profile/06788805875060450804noreply@blogger.com0tag:blogger.com,1999:blog-3240380579254476786.post-29364873277534637272020-05-06T20:04:00.001-07:002020-05-06T20:04:20.645-07:00Show Notes 5/6-10<h2 style="text-align: center;">
An Overnight Success that Took 20 Years</h2>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwVUWWauG0oD87bOkC2U2uxiJQczHvn5ZR4YU-39CHeuIXW3KlYBtIwBvSZjjLySrUGyTTX9SmZSgBM2l79dAd_Q2NNyXXcSyA1NtKwx3Wphue4-D4ZDgWsVhfYn9XJqmH9NPh5n4R908/s1600/Frank+look+up.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="333" data-original-width="236" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwVUWWauG0oD87bOkC2U2uxiJQczHvn5ZR4YU-39CHeuIXW3KlYBtIwBvSZjjLySrUGyTTX9SmZSgBM2l79dAd_Q2NNyXXcSyA1NtKwx3Wphue4-D4ZDgWsVhfYn9XJqmH9NPh5n4R908/s320/Frank+look+up.jpg" width="226" /></a></div>
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How does one do it? How does one burst onto the scene, fully developed and swinging rampantly? Well, of course, the answer is that one does no such thing. Most overnight successes are, in fact, achieved over time - often a great deal of time. That was certainly the case with Frank Sinatra. </div>
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Sinatra, as are many who sustain success over the long haul, was a refined, "new-and-improved" version of himself, having re-invented himself more than once before achieving lasting success. First, there was the "boy singer," a shy, skinny band singer with Harry James and Tommy Dorsey. After three years with Dorsey, Frank was finally developing a substantive style of his own. </div>
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Then, there was the "pop crooner," a humble, still-skinny kid who sold a pretty decent number of singles for a while, delivering dewy-eyed love ballads and an occasional clunky swing tune. This Sinatra's career hit the skids after a two-year slide in 1951. For the next couple of years, Frank wasn't cool - he was cold. Columbia kept him paired with arranger Axel Stordahl, who had worked with Sinatra when both were in the employ of Tommy Dorsey. As the 1950s wore on, Stordahl's arrangements sounded ever more stuffy and old-fashioned. And so did Frank's records.</div>
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So, in 1953, with seemingly nothing to lose, Frank opted out of his contract with Columbia and signed a new record deal with Capitol. He was 38 years old. Capitol teamed Sinatra with arranger Nelson Riddle and producers Voyle Gilmore and Sonny Burke. The result was the "Swingin' Sinatra" of the next 20 years. And this is the guy we spotlight in Hour 1 of In the Mood this week. We'll hear some of Frank's swingin'-est sides for Capitol, all with the genius of Nelson Riddle and his hand-picked band of studio studs backing him up. </div>
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Frank Sinatra could not have achieved what he did without the experience he gained as a "boy singer" in the Big Bands. Of course, he moved beyond that, becoming a fully-realized talent in his own right. But his values as a performer were firmly rooted in the Big Band Era, when the business was so tough as a performer, you had to really love what you were doing; it was the only way to survive.</div>
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Hour 2 begins this week with some swinging 78 sides from the great band of Chick Webb. It was a real pleasure to comb through the 78 section of the World's Greatest Record Library to select the tunes for this feature. Most of the songs in this 20-minute segment come straight off of the original Decca shellac singles. We've used every means at our disposal to help these historic recordings from the mid-1930s sound their best.</div>
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Chick Webb was a talented and tireless drummer who led a band that rocked the "killer-dillers" and delivered ballads with a swing that the dancers found irresistible. They reigned supreme as the house band at Harlem's Savoy Ballroom for years, striking fear in the hearts of any band that might challenge their dominance. The band "cutting contests" of the day were the stuff of legends. And Chick did it all while suffering with a lifelong hunchback condition caused by spinal tuberculosis, a malady that would claim his life at the tragically young age of 33 in 1939. </div>
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Through it all, Chick Webb set a standard of excellence in jazz drumming that is still respected today. You'll understand when you hear his innovative and propulsive drive on these recordings. But Chick Webb gave us much more than a legacy of fine and inspired drumming. Chick Webb left us the gift of Ella Fitzgerald. She made her first professional appearances with his band, and made her first recordings with him also. It was under his direction that the teenage Ella Fitzgerald rose to her first fame, capturing the hearts of America's jitterbugs and swing-a-roos. </div>
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The cutesy double-entendre in the lyric of her first #1 hit, <i>A Tisket, A Tasket,</i> is lost on most people nowadays. She is singing about having lost her "little yellow basket." At one point, she sings, "That itty-bitty basket was a joy of mine.". But the way she swings the lyric, it sounds like, "That itty-bitty basque , it was a joy of mine," referring to a type of ladies' undergarment. Later, she sings, "Oh, gee, I wish that little girl I could see..." to which the guys in the band respond, "So do we, so do we, so do we, so do we." </div>
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But you have to read this blog to hear about that!!</div>
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We'll enjoy a generous helping of Chick Webb's finest work, both with and without Ella Fitzgerald, on this week's show. As you might guess, his band was populated with some of the most talented swing musicians, composers and arrangers of the day, and their body of work commands a high level of respect. If you're not too familiar with Chick and his band, I hope you hear something new that you like in this segment.</div>
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In addition to these special Spotlight features focused on Frank Sinatra and Chick Webb, <i>In the Mood</i> brings you the best of the Big Bands of the 1930s, 40s and 50s this week, with superb entries from Tommy Dorsey, Glenn Miller, Harry James, and many others. We'll hear the iconic voice of Mildred Bailey singing with the King of Jazz, Paul Whiteman and his orchestra in 1932. We'll hear Bix Beiderbecke on cornet with the Jean Goldkette Orchestra from 1927. And we will also play the rarely-heard <i>Blues</i> from William Grant Still's <i>Lenox Avenue Suite</i> in a landmark recording by Artie Shaw and his orchestra from 1940. </div>
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Reach out to a band student or young jazz player and ask them to listen to the show with you this week! These young players NEED to hear this music! As always, you're invited to leave us a comment or request here or on our <a href="http://facebook.com/inthemoodwithscottmichaels">Facebook Page.</a> </div>
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Remember to be kind to one another this week, and above all, </div>
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<i>Keep Swinging!</i></div>
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<i><b>Scott<span style="font-size: x-large;"> </span></b></i><span style="font-size: x-large;"> </span></div>
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In the Mood with Scott Michaelshttp://www.blogger.com/profile/06788805875060450804noreply@blogger.com0tag:blogger.com,1999:blog-3240380579254476786.post-85917350652436593842020-05-04T04:00:00.000-07:002020-05-06T14:10:19.880-07:00Updated Broadcast Schedule!<h2 style="text-align: center;">
<span style="font-size: small;">"Where can I hear In the Mood?"</span></h2>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Sx0NwWobPaWB1rZv796dyZyhcqzs33wjrUuXReKRHucqSAGWv7IfFfAUmvPtgXQa7G4aBda0BD9M8HvtbqsGweEzVG3HNcVRGFwD8EoVmPw1RlkX0XBqZNYbH2s3YVzKzSiqwUCo3Oo/s1600/radio.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="276" data-original-width="460" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Sx0NwWobPaWB1rZv796dyZyhcqzs33wjrUuXReKRHucqSAGWv7IfFfAUmvPtgXQa7G4aBda0BD9M8HvtbqsGweEzVG3HNcVRGFwD8EoVmPw1RlkX0XBqZNYbH2s3YVzKzSiqwUCo3Oo/s320/radio.jpg" width="320" /></a></div>
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<i style="font-weight: bold;">In the Mood </i>is growing! The show is now getting a total of 10 broadcasts per week over 8 terrestrial and Internet radio stations. Needless to say, we are thrilled! With the recent additions to our weekly broadcast schedule, we thought it wise to update everyone.<br />
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<b>WHAT'S NEW?</b><br />
A close look at the new schedule will show some changes to existing stations, as well as information on new stations now carrying the show:<br />
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<li><i>In the Mood</i> moves from WSMX-LP in Clanton, Alabama, to WKLF AM & FM/Clanton, Saturday afternoons at 3 pm</li>
<li><i>In the Mood</i> moves from Thursday at 11 am ET to Wednesday at 12 Noon on 920 WON The Apple in New York City </li>
<li><i>In the Mood </i> is now carried on The Fox Oldies.com Sunday evenings at 6 pm CT</li>
<li><i>In the Mood</i> is now airing weekly on Funky Media Radio in London, UK every Sunday afternoon at 3 pm BST</li>
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As of this date, here is the full "Where and When." All times CDT (GMT -5 hours).</div>
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<span style="background-color: white; color: #1c1e21; font-family: "helvetica" , "arial" , sans-serif;">Wednesday:</span><br />
<span style="background-color: white; color: #1c1e21; font-family: "helvetica" , "arial" , sans-serif;">11:00 am - 1:00 pm: 920 WON The Apple in New York City </span><a data-ft="{"tn":"-U"}" data-lynx-mode="async" data-lynx-uri="https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.wonnewyork.net%2F920-won-the-apple%3Ffbclid%3DIwAR2a3hPxW1R9Hixs-M2oFap4TI2wCjam4FtW6W-n8lKpXkzLs8_K_znc5Qc&h=AT3bHLZn_DMxB6QA5g8RaFob7ptmV5J2syvIeADvhpYR94yPXACfI2sXLC0iP7hSYWE0gndkVa0plNpROwFz49GJtNwXLP9ShWheQDGWehUOphB7Z6_e2fbEC6SOQxBLcd9XiPi6T6y4btkbr5nnOrZNvHxdpEiwnWsOfuzgXuuKqH5Iwq5iFdoArX90K9s_Hg3Io6QPKQfWQd8gpWBOSwvinwP3wfj2lFjku4hQeDoEopQ-OrECwpoxN_N991BrvuaVMFhHnGjKwddDDeksYi_GPfqYNmggD_h-PZGaTJivaTt7_3bl6cNvUz8cIS8dosaZBTV3WNvk8Z_t2-3eZ-VTV2gDN12QlSzPg-VRv1a_BS4IFoaQIXw5SCf-vGCWnvthQzLUK4D-menHa0da3F22M2FvPyHmVxgia8azVJLrVj-y-dNMCbFyEinG2aCqOIuvXYpO8EpB8YkusEKRHAfH1XbMdSjkgofbb35gmuANpjwdG3lRR3x9faAIIn4GhpKT0S71wx0lk-mT-ws7Pehb2skjrD6KNQoYFHkVIQ_4urCjM6Qa2TEjfynPUW4nZYruVWOQ-vetSVXMi6W7nuTnU9VT0FpkZtuL_jsDWeyzFPoiDgEljqxTU6v6kTiSmOk-KBi8ldg-qZg2EHta4DQ" href="https://www.wonnewyork.net/920-won-the-apple?fbclid=IwAR2a3hPxW1R9Hixs-M2oFap4TI2wCjam4FtW6W-n8lKpXkzLs8_K_znc5Qc" rel="noopener nofollow" style="background-color: white; color: #385898; cursor: pointer; font-family: Helvetica, Arial, sans-serif; text-decoration-line: none;" target="_blank">https://www.wonnewyork.net/920-won-the-ap<span class="text_exposed_show" style="display: inline; font-family: inherit;">ple</span></a><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-family: "helvetica" , "arial" , sans-serif;"><br /></span><br />
<span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-family: "helvetica" , "arial" , sans-serif;">Friday:<br />8:00 - 10:00 pm: WSSE-DB in Clarksville, Tennessee <a data-ft="{"tn":"-U"}" data-lynx-mode="async" data-lynx-uri="https://l.facebook.com/l.php?u=http%3A%2F%2Fwsseonline.com%2F%3Ffbclid%3DIwAR0glId04le4Po3mvtcm26PX8WYHh4q6-ceKZD07i9mr5esWROAu4s4-nI4&h=AT3rZOjgxocDfjB5WDGR1smVlTdIA92EiZxT86fgXWyRp1dmg72muBMF7ntW6MIW8CuWqMJvwWKVuFGlMf7ixSism416oXUVYSqSM2cQZc_hiEWyMnJ4IkuYcLKeZkAb3WisyXeHzaesy0KuU8pVXb5Q2HZuy_6fBGWU6BO9cjzJ_wBCB2_E9yK3LT8k2gZp6fWlLuRM3Wwc8iNnnJGoOnIjCikHa9KQZ9wEp-i_cnWgdII00gk2_8wXbZkjkyh1hJfgdOHvsvbVnpAWgB6lauhpRqPFwVQDNlpO4QvlPKO_tzg1VAVfAqTijnK-7m19OO4Me3dZ46nfc6WCNAUd1K4ucg6wa9STc33HDAso1qihjoDrS-mM4dDNmuLFd9ls2RKbDfkcgK4kn11LplBHwpbUQufV8kLCcsxJwtypQt2OgWr6DWIjkASwZ_uWK7CV50jglM-Fjjmrr8pg0Fkei8cwzheaOHjM5JQFEN3K-YrA_Bm9EzPuktxVf1PfC-ZO17HsjbxUqqaVO_SUrKfAoThSwZsJ2eyXaOPP2Oq03WdeAdDqCojPrwu9tOkVk4wd-NSUq2hF0z8exy-bRIoV3tqegTY1XlSF-U2RoMyST1kJpBq0UVjbXsWn22LM0Uq4v1_7dUSE5dJBn5zrrH0qRQI" href="http://wsseonline.com/?fbclid=IwAR0glId04le4Po3mvtcm26PX8WYHh4q6-ceKZD07i9mr5esWROAu4s4-nI4" rel="noopener nofollow" style="color: #385898; cursor: pointer; font-family: inherit; text-decoration-line: none;" target="_blank">wsseonline.com</a><br /></span><br />
<span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-family: "helvetica" , "arial" , sans-serif;">Saturday:<br />8:00 - 10:00 am: Jazz Hall Radio 91.1 FM in Birmingham <a data-ft="{"tn":"-U"}" data-lynx-mode="async" href="https://l.facebook.com/l.php?u=http%3A%2F%2Fjazzhall.com%2F%3Ffbclid%3DIwAR2706nrZdLEvYZbKtWDYJS6zRijwlrX_nrDOeubDHZNgT8qDELK_DVGwTM&h=AT1p1fHHP7UnerSe4i7p8jgNkkkYwRtBUUJkp8QpFxLf-XxmURUvPySt2Uiz2dApD47vwsIZay9insPY9bueSAlB1dClxFkayI1kMZTxQHKbOdQfJ2-MIE3JOqX-X5CJPQRjG-8IZoMCL_ljlKRARQxpDJWfQ40EBxJ8Cn17R5XNWcTxn5UgV1DtIjxV6iMKJV-oMzLxqd2V8t6EUaOs3XaMMKI2goiRr6uCUw3xYsBOXBwYMQIt_ykuu2KrmpzcGeywSMAmRivVQRyzbq9NTuKVhL1jaABg7UPn4hfpZ8G1RtEsV-t8pzupezdUS6bSyjv3sj4KuD34jlRGEebpQeL7BQU0XO6vqxR3BY4U305pdc6CscgVS1f_61iEurKNOPwZnaYwx8ou46RpX8u952j_g_gwMLWmXM07uqcZEOuzWmm9uAa0sZOog630lsWF43LzvennBggZ6gS-2y13pU8LCUNStglRE3_2d4xPXPrWplNgL4MTf9sdTdQqgwiAJFQIxrE-6zNwqoZimSmMAEhZezmILC-yUBB4YBTdiYfVGruauO4dKu8ZGnb687n73nxOaEVYbmz3y0VkaZEB7IllMKMeCjukcipfcbQi3CaFNxDK9vGPfH5bDUOLapQFkpdX12NXVryuquPhoZYJYUc" rel="noopener nofollow" style="color: #385898; cursor: pointer; font-family: inherit; text-decoration-line: none;" target="_blank">jazzhall.com</a><br />3:00 - 5:00 pm: WKLF AM 1000/FM 95.5 in Clanton <a data-ft="{"tn":"-U"}" data-lynx-mode="async" data-lynx-uri="https://l.facebook.com/l.php?u=http%3A%2F%2Fwklfradio.com%2F%3Ffbclid%3DIwAR1h6UOp8JJr5jhI1S6ANrly9Ro3IcBbBgzDuCixRj4mRieO3D-at5bHLdU&h=AT3-0C7bgOQxYj5t6Bp8Sms2_I3JPYLTgjt7Q6twdjusx0xYBId6-6Ey4gp6jVNd1J15dQGf-Gu_bGV-pXUWeC_kbGhCViQAAynKNio99qfFXFahjXFvBkZb-fZgOflFfLYZ-YodrlRZYD47OGNTnDTd8vkC5JsusyHnY4zWHswKu2NlmdNPKqHl0fkjSjSHg482L5QShyaxLio2EpPwkDy5dOJdbA_u-MMkT6WYP5vfbNgKRrkO0YZYwuJknv5Gjvj5ZhWJid4HQdyb0KHn8LpVv0hsdrDL5DfI9en3TtB3QxQgW1DEPPrXp_6DhOqAFTKa0Ov59YATlYYTTGIi2a9ct9I5jnjGsd4QaEzZhDg2d2XZNXVhPZ2nReudNN0EoUMAZOaOiO06-QpbEfmeCqGDTVZ3-i5vdEzcaNiJEFnzlxL4mHBvWwERgTbQN8AuyO5aWnCtIuyDGtQ5sFs157l_Wt3AOVCI2uw-1CiDAQavCqmNOscy4iVNithJQ4B-W_8JbqONcT2UJbRprc6jIYCJQTpObOEWXsIh7d7bvCeOS4ZHdvlNkOZx7OXDP17HX1Tg-8gIKw6ABGKE89COkIOPHhgiOyMsaPy8BPPrm3qLSnl67UA5PIcFIqUlaEAqt3q4FIH6Ip4JcDC0DygLmpQ" href="http://wklfradio.com/?fbclid=IwAR1h6UOp8JJr5jhI1S6ANrly9Ro3IcBbBgzDuCixRj4mRieO3D-at5bHLdU" rel="noopener nofollow" style="color: #385898; cursor: pointer; font-family: inherit; text-decoration-line: none;" target="_blank">wklfradio.com</a><br />10:00 pm - 12 midnight: WSSE-DB in Clarksville, Tennessee <a data-ft="{"tn":"-U"}" data-lynx-mode="async" href="https://l.facebook.com/l.php?u=http%3A%2F%2Fwsseonline.com%2F%3Ffbclid%3DIwAR2NyhyyDh_9Tazl0WItNUXVUk3YQCj82E_EWiolOTJE1rqPQ4FfxjCTKlQ&h=AT1G6ViLEpUtY9XG3QjM6pdrF0-2ViDJ_vDIsFVyDXkv_R-5q8TyiPNFrQ7OD3c4h70VJwpbqIVIP4-kxDUFgzeUvWmgDsm-ss8rqUtX1XaTIlpwugUSK56KhCW2X0RX5icu2GHgdCAsy8zwrSwJx5vmsG3Njz23i70kUHtUI_kXnPLRSWuwHU_kScOyTUH6RMP_rIOyHxY35RczsmNMortjtJofbR-n_lXlb69fjuw8K8DSlm1Yncxnv28GY5kNSW54MhUcRAH0q3kzDzSJP46hd9ve1rFOZgf9wcCV6UDNQw1Jhfg8_YkvYrFh-BBfQ_09_agSl8Fo23K9_7XRfvjIySB13UDsKa_r_1vFYcuT87ZMHkdRqMpAKtT910e9XXzbdA6dp4ev5hOGZCJKQgHE1mantAp85DkpzEb34zdmkkPNhAW7kv0q8Y0YllhDoFubjPSeCyccgvXagI9pqoUlQf3jhFGwiZYryMxKJsf0D2L5plMyzT_2XBupaVskyPLvmCCVhaRKAqUmdVFnIh9rfJp8v5ROdhF_cRu-9fw3MXq7eFAhwM3_G7-n-TZiZgjVH1qeg9GX5yXNrG1XuaOxylhCC-9lM2kMvhA09OYWd6KdshFRZECcWlfI-lmdXuIYi4QFsoIMck2Apz5svi8" rel="noopener nofollow" style="color: #385898; cursor: pointer; font-family: inherit; text-decoration-line: none;" target="_blank">wsseonline.com</a><br /></span><br />
<span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-family: "helvetica" , "arial" , sans-serif;">Sunday:<br />9:00 - 11:00 am: Funky Media Radio <a data-ft="{"tn":"-U"}" data-lynx-mode="async" href="https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.funkymediaradio.app%2F%3Ffbclid%3DIwAR2LmrJNVWYodI7LMXPRMwNqI_qk5eqc_OCYO9BxAH8I0r29bE3L63VDHEY&h=AT2tlhUWwCufe0fo8TtIxaMxFLXgThYU4Vr5MmOq7jOV_XlEvbEgJpUduJKb0xv9O6kRtIibPjAstqkkiDi8RvJcUa6NgwadIBecBEEnd0i1xJpjIA1Q7v7aize9_5ZwN-4chzNQWkA1RJIYnQcUKPXrvnyTMVbm6F67_68hMQVUmWSbENtLXM-pPg9yMVjKTt5PyB5HL4FnX3xefuofDKRukBmnqOAWgLjyNAPydt0WPgsMGOcgE3ZxYkAcbws72gphMaj331IXUM1i0zPuXWsTWKwHNrJMmaGDlhF_y9LdCrXc5QS_M4YxvcypCOFfI7qndAiaGGxi80nCmd-URgBA4--K4JS_2UvzILurPYorNCxfjMLC57RDuc6khGCp8sunHH1PgnmOYkIjQbe2DFBJqmfeRomMeM1kthFo7qVE5dEagVbWYNcSsfoWZE7QTIjLnspC1vqy8UKXOInAqfBBfK5Ip4N8drsV7SE4j9PUeVSI-jPHzJMXG9plm-p5pt7VSJ3G6rFbML2u9QKLexA3EEbcVQN70aMupa5fXIIqevMUQvL-VIU8afCe5giT4StGYSPUpdoZdMdNqw0WcxfZCsQFIOJdLncq8XzRzWqqJ3m4J5G7NzvFM9yBegKKI4V1RCQ4c897u0AV_0GLGhE" rel="noopener nofollow" style="color: #385898; cursor: pointer; font-family: inherit; text-decoration-line: none;" target="_blank">www.funkymediaradio.app</a><br />10:00 am - 12:00 Noon: SeaBird Radio <a data-ft="{"tn":"-U"}" data-lynx-mode="async" href="https://l.facebook.com/l.php?u=http%3A%2F%2Fseabirdradio.co.uk%2F%3Ffbclid%3DIwAR2kToD95TsR3eyUJPm1FvCJoCz3MpEA-lxWjsXOj-FmHs20z1ANAKD4nQQ&h=AT0oLZG96-tx0023CIPnSy5zwi0tlyENBrXo_SW1Agcpv_7zleYyqM-lBsSPQg4c-LimOERk2q6W2n3p255njWQlSXfxy9XbLu8FzSO7vLy_KtphbROVzlb12GzGxRX0shqPIg0gt3AbDakku5G_Vd9O_wNDDSc7TsaXELrxvVeEYXF2PiFV6OOXcsngEqbFfR7tMs4aFAe5RpaNwvK-TcKtxhdxrquK7MUp5PHJroZAffEGtQtwmT5eN6pkLcGZKDDhSgwEmfGCh2YdtBXMixmw64hB5ziLbwMyOKNZ7rPTeBis02d1UNFicPCkA7b6wzj-K-8H5fN8ZU_0RCQsun1DW_v5mCsh8b1CaDR5HgukLdvzfcgeTNlIa5yf911kR8yiFErHI-P_6CPBZYzHDy_lX1upP0vtC7l3edyoulIj57b89KMKX9zadLJwXdOhcznUdYj0SYAPwLrOBHdD35E7HApnoajLqHxVRIfBI_r2Puhg7SSHp1QVOla6IgOKiMMghvsK_n1_W1YI2a_FBwbj0qxGRHUu-QX1lBfBNX2P3DgxzdrVsJGZbGGDUMvrtVptTCP2kE8yi6PJAm-Ib5-N_MuP6ScPVYMwBJTNvHu0XpiofWwgCeyJholyHyEeIDQhVY3F1Yu35Brt2dHvp6I" rel="noopener nofollow" style="color: #385898; cursor: pointer; font-family: inherit; text-decoration-line: none;" target="_blank">seabirdradio.co.uk</a><br />3:00 - 5:00 pm: WVAS 90.7 FM in Montgomery <a data-ft="{"tn":"-U"}" data-lynx-mode="async" href="https://l.facebook.com/l.php?u=http%3A%2F%2Fwvasfm.org%2F%3Ffbclid%3DIwAR1Rq8EXRpvp0T-4J401NKkZPxh_mkPiD7NrxBm2xrq0uHMdb8vjFidamsE&h=AT1mcqjb_jmYqoohqjyquQGxz5tnVm04z-_TTn7py_B5UTtN5xwGMzS9AanbRcS7cpxbnkYPWzApvo_bHM3kjbuTLNmOars5o-gKKoim_SqhccuEVKDxZ7iRsofqTRyISFu3aoyhMf-4AtEzgw1R-V9L0g8S_SocSfn7gz5zRTcPrBWl0MaQs93q2_fp5ypF4r88CNx6Ca3Idte7R-_SZ9jVTI8WJtBcQzMvAg8HJnHHMet5iGQb1LQl82Uz1eJemy7a3h-caj3gkBAQELpvQFWfTL-l9sDTviZpBmP0iA1uPukukkZBKK2_vNMfmpJc16pEOehH6pvCOptD6Sskluiab8SenGCUB7ZZr9F_HKThBcFlAUDGWL_AAkAFjxak0Vkr02sopUXVu6drn1PU9LLoks0yA0fKvd7ZjN5N8v_mqK7wNGnShvFb-zJ5wLjxK1VDYRXq0id1Ll9WXlPuDWtla0h3qT349HcOfw6wbWLXnsytAHbV2uyHgzOJ3C3e3HOvVhzGI4e_pZyQXI_8RD7PNYokEi5z__VPz9F2jKMYDXyX-vIOBjGSEmDjPl6uZXWOovOmdzCDEhFvunlB0Y6d0VvYumLGZk0YUMs2lDkRrz-5Takm0ntrTE9MxOl-oFMjIo6fQQODBVL-c4YMcnU" rel="noopener nofollow" style="color: #385898; cursor: pointer; font-family: inherit; text-decoration-line: none;" target="_blank">wvasfm.org</a><br />6:00 - 8:00 pm: The Fox Oldies <a data-ft="{"tn":"-U"}" data-lynx-mode="async" data-lynx-uri="https://l.facebook.com/l.php?u=http%3A%2F%2Fthefoxoldies.com%2F%3Ffbclid%3DIwAR1aclXlcKXnNbgxtu2TyrHGlKwnQlvx6IBtsC0V595y4xzwifxTG-iRfBE&h=AT3sF_Hl8WvWY8lfiK8-b0H0Yn6lu6iq6m8IcbKTltwT3AxJu1B5ZY0BQmboVYYZ0KsilFZzu-SsaOfNoP-GLDGXtcxc5W3nPkg2FwbcjDpnBNUX-6jrGfQtUUAgAaIc6Dl09932WQiHB-if7MOkdvMy3fOsC5TeNwWrDhx7ojXr43JapfH52hsF-FAxKKC7ttzjrp4uvFu9xeUCdLFies70oMYmED9kPscpbQudv9fYp0sfuzvKkZb1cKCeKUPklOPLhq9-CwwgDV5HIsEUd0GxKszLbzGd4CqXMesoZ4V3q0ulDDt7kjTt_IfXayLl_1C8Ncqa-w6lpTsVPlTlapjOzIgkH0MqMFgFpAT4X-oY0HWlKOWB5zngM0UhTdhb9wRaPQ0bViNrPvJMTF70yAnovN7hIQXz6JeOrALVeqxKNc5bF32MXDigo6BbjPyOex-iMSnfpOKK-KYds4Kj9cz56v0oizUxs3PyS6JFLccEOPjbdWWTw13Es_fqnIoLyuGt6w-kOluoE8kKditjYuajBP8lJIN08glKpb_p25r-3419uksR0IQE207WUzIQNAIwnxszDfK9vLO5efGjLXadMEIZsjPriIFhbHchA5pF4yM0E1Rv2rctcubFyxp_5PtpapCK8AilamQtKfVL22k" href="http://thefoxoldies.com/?fbclid=IwAR1aclXlcKXnNbgxtu2TyrHGlKwnQlvx6IBtsC0V595y4xzwifxTG-iRfBE" rel="noopener nofollow" style="color: #385898; cursor: pointer; font-family: inherit; text-decoration-line: none;" target="_blank">thefoxoldies.com</a></span><br />
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<span style="background-color: white; color: #1c1e21; font-family: "helvetica" , "arial" , sans-serif;">8:00 - 10:00 pm: Jazz Hall Radio 91.1 FM in Birmingham</span><span style="background-color: white; color: #1c1e21; font-family: "helvetica" , "arial" , sans-serif;"> </span><a data-ft="{"tn":"-U"}" data-lynx-mode="async" data-lynx-uri="https://l.facebook.com/l.php?u=http%3A%2F%2Fjazzhall.com%2F%3Ffbclid%3DIwAR01ImCDom2XZYVOLYNcU-Ecum-_cEMDcz_snx5ffxZduMJokRI68mIoveo&h=AT0J3ATBnPh5_yxpGYKNvqLOtSdVaPeAeZyOSSoZfw_9MSHfkTknpJH65DJiXxtYe8Seab4LDeIDU3ipvqd6penOzsNxJWuBe0ZmP0pXmKRw1boK34cnG2cMlNQ3IveqdOhhlk4T1D54qzd8TXyiQICAzWlvQ0U9qGeWZAXhJH5UsX-qd-QWbKQaSBrXL0Hw1LZbX8hiO46Gb62QGwJAR688elvugeyCttxlURaQZjTyN2pcX84ICDquGeMDAgeEC9SYbNux7268JkTqhBhIbskVRKXTGulmREaOqbVpJ6KO6dqj-4tTjfpXAvqBzikmiB73YKlsVjcpCIKOraKn8-_OTQ4fq-Eb6TbmSiVTaP-gn9FVvynobIwp9WdeHW5qrwiL40ZxwdJvm1KeCv9AClOwRBgK5cTMLyUShMpbJUA4Xq2UAPBzNZscBMa4KXoBzSvrUuORjpq07vF9FsKL4f369jqdU9sqDObI1L7Bedqt0ue9PqM7xzXQI0_0H3AvYnyIROdQ3xYEYldVPBtuJeUhnkZU3nYglevC9HM4_xlLr3BDwayB7pN8XtgiKCOZU6dqJlbKLqT-Ixo2trOZrwk_mFinyXjv7e5Jxbm2iMaJAJHD-cPi14TkMQa75GVNamvtCvDq1OiP798woclcA8Q" href="http://jazzhall.com/?fbclid=IwAR01ImCDom2XZYVOLYNcU-Ecum-_cEMDcz_snx5ffxZduMJokRI68mIoveo" rel="noopener nofollow" style="color: #385898; cursor: pointer; font-family: inherit; text-decoration-line: none;" target="_blank">jazzhall.com</a> </div>
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Many thanks to one and all for your support of the music and this show! As always, we welcome your comments and requests either here, or on our <a href="http://facebook.com/inthemoodwithscottmichaels">Facebook Page.</a> </div>
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In the Mood with Scott Michaelshttp://www.blogger.com/profile/06788805875060450804noreply@blogger.com0tag:blogger.com,1999:blog-3240380579254476786.post-27949757351333700322020-04-29T20:35:00.002-07:002020-04-29T20:35:45.312-07:00Show Notes 4/30-5/3<h2 style="text-align: center;">
Music: the Great Unifier</h2>
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Artie Shaw was a first-generation American, born in Baltimore to Jewish parents from eastern Europe in 1910. His family moved to New Haven, Connecticut, when Artie was four years old. Growing up in New Haven in the years surrounding World War I, Artie felt the ugly and perplexing sting of Antisemitism. He wrote about it in his autobiography, <i>The Trouble with Cinderella.</i> Naturally, being discriminated against was confusing to him as a child, and it embittered him throughout his adult life. But, his father would often remind him that, unfair and hurtful though it was, the situation was far better for the family than it had been in the former Russian Empire, where "things were not too good for the Jews." </div>
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But in early 20th Century America, minorities didn't protest in the streets demanding change; they kept quiet, and flew "under the radar" to the greatest extent possible. After all, women had just won the right to vote in 1920. And, though limited by comparison to the white, Christian community, the lot of American Jews was still, in many ways, better than that of Blacks and others of color. Artie's parents were able to shrug and say, "It could be worse." But he never could. </div>
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Artie Shaw's name doesn't come up when people discuss civil rights pioneers. But, in his own way, he made a difference. In 1938, his was the first "name" band to employ a Black vocalist - Billie Holiday. Her presence on the bandstand, seated in an evening gown next to Helen Forrest (who was Jewish), did more than raise eyebrows. It sparked open conflict between Shaw and many of the venue operators, who insisted that Billie appear on the stand only to sing her songs, and then disappear until called on again. Hotel ballroom and restaurant bosses demanded that she enter and exit the facilities through the kitchen or side entrance to protect the "sensibilities" of their patrons. And when management refused to let Billie stay at the hotels where the band was engaged, Shaw invariably took up her cause, even cancelling bookings in protest. After a year or so, Billie quit the band, acknowledging that it was an unwinnable uphill battle. Although she was grateful beyond measure for his support, she felt it was unfair to Artie and the rest of the band for her to continue. </div>
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Artie Shaw was a man who found it impossible to work on any but his own terms. He chose his sidemen based solely on talent and temperament, without regard for their ethnicity or background. He willingly went through many of the same battles over his associations with trumpeter Roy Eldridge, saxist/arranger Teddy McRae,, and others. And when you hear the music his band made, you get it. Artie understood that human nature changes incrementally, and he took his satisfaction in knowing that he had made his choices based on what was best for his band, and best for the music. In hindsight, we can see now that he did more than employ some talented people and make some quality music; he had moved the needle. </div>
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We will open this week's <i>In the Mood</i> with a sampling of the Artie Shaw band's most memorable sides, and I think it will be obvious to one and all why he was given the nickname, "The King of the Clarinet." But he was more than just a talented and successful musician; he was a man of integrity who lived his values.</div>
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Hour 2 starts off in a different direction, but one that you will find every bit as musically satisfying. We will spend a little more than 20 minutes savoring the sweet and utterly danceable sounds of Guy Lombardo and his Royal Canadians. Hailing from London, Ontario, this family-run band was a mainstay of the sweet-music scene for over fifty years. </div>
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To me, Guy Lombardo was something of a miracle worker. He not only led a very successful Big Band for over half a century, working right up to the time of his death at age 75, but he did it <i>working with his family.</i> Now, I realize that some people might not find that terribly remarkable. But there are many others, and you know who you are, who would rather spend their lives swimming with piranhas. The Royal Canadians was a band made up of six family members and six to eight "outsiders," with even more family members filling various administrative roles behind the curtain and offstage. Guy's younger brothers Carmen, Lebert and Victor all played in the band; baby sister Rose Marie was one of the band's vocalists. Kenny Gardner, another of the band's singers, was married to one of the non-musical sisters. And yet another sister worked in the band's management office. Brother Victor (the youngest of the musical brothers) was frequently a thorn in Guy's side, clamoring for more authority and independence, and repeatedly quitting the band to start one of his own, only to return a few months later after his band crashed and burned. Guy welcomed him back into the fold time after time. </div>
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Guy Lombardo and the Royal Canadians was one of the most successful musical franchises of the 20th Century. Their New Year's Eve broadcasts, first on radio from 1927, and then television beginning in 1954, were a North American tradition. So indelible, in fact, was the Lombardo imprint on New Year;s Eve, historians now acknowledge that he is personally responsible for the fact that we celebrate the holiday with the song <i>Auld Lang Syne</i> to this very day. It was Guy's choice as the band's traditional Midnight Song every year. </div>
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So, we will enjoy some of this history-making band's biggest and most dance-worthy hits this week, including <i>Humoresque, Enjoy Yourself, the Blue Skirt Waltz. </i>and the mega-hit <i>The Third Man Theme.</i> Does this band swing? No. Will you mind? Not at all!</div>
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Additionally, this week's program delivers a sumptuous array of dancers' delicacies, including hits by Bunny Berigan, Charlie Barnet, Glenn Miller, Benny Goodman, Count Basie, Tommy Dorsey, Duke Ellington and more. Crosby will croon, Woody will woodshed, the Mills Brothers will harmonize, Goodman will Swing into Spring, and Ralph Flanagan will drop by to personally introduce one of his band's earliest hits.</div>
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Don't even THINK about missing this show! As always, I'll be there to conduct you through it all with my usual grace and aplomb(!) My only hope is that you will call a young band student you know and invite them to listen to the show with you. Our young players NEED to hear this music! </div>
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So, leave us a comment or request, either here, or on our <a href="http://facebook.com/inthemoodwithscottmichaels">Facebook Page</a>. Remember to be good to one another this week, and above all, </div>
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<i>Keep Swinging!</i></div>
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<i>Scott </i></div>
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In the Mood with Scott Michaelshttp://www.blogger.com/profile/06788805875060450804noreply@blogger.com0