What are you listening to?

[Fletch]

Sittin' Up Waitin' for You - Ted Weems & Ork., 1933.
A spritely Waller-Razaf opus I don't believe Fats ever made a record of. 3-star man Red Ingle (tenor, violin, vocals) croaks it.
How about that swell sleeve! I have one like that...someplace.
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Red with collaborators Bix Beiderbecke (l) and Spike Jones.

 

[LizzieMaine]

78s to try to kill a migraine before going to work by --

Now playing, from 1939 it's Jimmy Dorsey and his Orchestra with a pleasantly punchy performance of "Romance Runs In The Family," featuring a no-Bob-Eberly-butting-his-adenoids-into-the-thing vocal by Helen O'Connell. The folks at Decca evidently decided to prove that road asphalt could be used as a pressing compound for records with this particular disc.

Next, following a commercial for Forty Fathom Fish -- with the bones, heads, and tails removed! -- it's Gene Kardos and his Orchestra in 1931, and their soundtrack-in-search-of-an-animated-cartoon version of "Freddy The Freshman." Dick Robertson earns his varsity letter for the vocal.

 

[Fletch]

Definitely not migraine-soothing is Stan Kenton's Elegy for Alto, recorded by him in 1947.

Alto sax soloist George Weidler is better known for being Doris Day's second husband - for only part of that same year, 1947.

Staying with the theme of alto sax soloists in the last year of the officially pre-television era, we hear the soon-to-be-deposed world champeen, Johnny Hodges, with Billy Strayhorn's typically luxuriant A Flower is a Lovesome Thing.

The lapels date this pic of The Jeep to about that time, along with the Buescher Aristocrat sax he adopted around 1945.

Not that you care, but Weidler is pronounced WIDE-ler, and Buescher was pronounced BISH-er until sometime in the 50s, when it changed, god knows why, to BUSH-er.

 

[Chas]

Sarah Vaughan, "The Divine One", and "Summertime". Sublime.

 

[AtomicEraTom]

Today I was on a fishing trip with some friends and we were channel surfing on the ol' radio and they were playing 1940's radio programs! I, of course was excited. They also included some great commercials/jingles for Wildroot Hair Tonic.

 

[LizzieMaine]

78s to realize that it's going to be another one of *those days* by --

Starting off at the tail end of 1937, and a definitive record by Larry Clinton and his Orchestra, featuring a definitive Bea Wain vocal on "True Confession." Whenever I hear this song, I'm fifteen years old again, listening to Joe Franklin in the middle of the night on WOR. Martin Paints, my friends.

Next, ahead to 1939 and the Merry Macs with yet another novelty hit of the year, "Ta Hu Wa Nu Wa," otherwise known as "Hawaiian War Chant." I bet those other Polynesian tribes ran off in terror when they heard "Hobby Lobby Corn On The Cobby."

 

[Fletch]

Starting off at the tail end of 1937, and a definitive record by Larry Clinton and his Orchestra, featuring a definitive Bea Wain vocal on "True Confession." Whenever I hear this song, I'm fifteen years old again, listening to Joe Franklin in the middle of the night on WOR. Martin Paints, my friends.

Did Joe always have that disengaged babbling delivery? Where you talk realfastanduninflected and then pause whenever . . . you run out of air andthengorighton?

Joe's office is a picture of his mind. A visual manifestation of the ash pile of history - which, like compost, must be heaped, compressed, and kept from the air to generate warmth and life.

 

[BinkieBaumont]

"Times Square" from "On The Town" Leonard Bernstein

[YOUTUBE]DUh8Yk0RgQw&feature=related[/YOUTUBE]

 

[LizzieMaine]

78s to be glad I overslept by --

Starting off in 1938 with Vincent Lopez and his Suave Swing Orchestra and a suavely swinging version of "There's Honey On The Moon Tonight." The vocal is by Johnny Morris, who is not a three-foot-six guy in a bellhop uniform selling cigarettes.

Next, ahead to 1940 with Kay Kyser and his Orchestra and a song that's completely incomprehensible if you're not familiar with radio fads of the moment, "Who's Yehoodi?" Sully Mason takes the first verse, and then turns it over to Harry Babbitt, doing a dead-on impression of Jerry Colonna. "That's what I keep tellin' 'em down at the office!"

 

[Fletch]

shufflin' the Pod

Everybody Shuffle - Benny Carter & Ork, 1934. Benny very briefly took over Fletcher Henderson's band, but the time and place weren't right for his modern sound. Henry Allen's trumpet lights up a smoothly intricate swinger.

Chapel in the Moonlight - Shep Fields & Rrrrippling Rrrrhythm, 1936. Icky balladry about an ick who may be about to get stood up at the altar. No matter, he'll be there "till the organ turns to rust" - a fate I wouldn't wish on any man.

Let's Be Thankful - Orville Knapp & Ork, 1935. The band that raised Mickey Mouse to an art form lays a velvet cushion of Knapp-time rhythm beneath Ray Hendricks' tenoring of a topical tune from the era of turkeyless Thanksgivings and hand-me-down underwear.

Get Cannibal - Joe Haymes & Ork, 1932. "Boom chika boom chika" may have entered the popular lexicon via this energetic bit of Art Deco jungle jive. Caveman interjections by "Long John" Langsford, Haymes' seven-foot baritone saxophonist.

Etiquette Blues - Six Jumping Jacks, dir. Harry Reser, 1928. "I'm the guy who wrote the book on etiquette," sings Tom Stacks, who really did sound about 3'6" tall. "I know just how all your vittles should be et." This being a 6JJ session, they should be et to the sound of growling cornet and flatulent bass sax.

 

[BinkieBaumont]

Lily Morris "Hes Only A Working Man"


[YOUTUBE]OANwX8pFC8A[/YOUTUBE]

 

[Shangas]

The World of Jeeves & Wooster OST - "The Daily Grind".

 

[LizzieMaine]

78s to wonder if I'll feel better if I put milk of magnesia on my cornflakes by...

Starting off with Maxine Sullivan in 1937, accompanied by Claude Thornhill and his Orchestra, and *the* version of "Loch Lomond." Funny, she doesn't look Scottish.

Next, still in 1937 with Tommy Dorsey and his Orchestra and Edythe Wright does a hat-tip to Ella with "A Tisket-A Tasket." Everyone gets into the act on the second chorus, but they still don't find the blasted basket.

 

[vitanola]

78s to wonder if I'll feel better if I put milk of magnesia on my cornflakes by...

Poor dear!

I hope that you are soon feeling yourself!

An aunt of mine had a favorite cocktail for these occasions,
a an old-fashioned glass half full of Milk of Magnesia, to
which is added a shot of vodka. This is quite a common
concoction, I'm sure that you've heard of it.





It's called a Phillips Screwdriver.

 

[Fletch]

*badumchuk* lol

still shufflin' the iTunes waiting for my ride to lunch...

You Can Be Kissed, Ted Fio Rito & Ork, 1934. Unless you're drinking Phillips Screwdrivers. Ech.
Why Was I Born?, Putney Dandridge & Ork, 1936. To sing with an extremely wide, fast vibrato, apparently.
And Then He Took Up Golf, Frank Crumit, 1929. "Heheh. And married men play golf too." Woe betide us if the ladies ever get into it.
With Plenty of Money and You, Henry Busse & Ork, 1936. "It's the root of all evil/Of strife and upheaval." Or is that Busse's namby-pamby trumpet?
So Beats My Heart for You, Waring's Pennsylvanians, 1930. Great chart, perfectly dreadful tenor vocal.
Deep Purple, Benny Carter 4tet, 1946. Too-short lovely interpretation.
You Can't Have My Sugar for Tea, Jack Hylton's Rhythmagicians, 1927. Irrepressibly peppy, except for a brief oboe solo.
By the Taj Mahal, Johnny Green & Ork, 1934. Ooop, there's the phone. 'Bye.

 

[chanteuseCarey]

God, I always love reading through this thread....

Thanks especially to Lizzie Maine's and Fletch's posts here. You're both 'the tops'!! I learn so music about the vintage music from you both.

 

[swinggal]

On my ipod at work today....

- Depeche Mode - Best of Albums
- Roy Eldridge - Little Jazz Trumpet Giant

 

[V.C. Brunswick]

Helen Kane -- I Wanna Be Loved By You (1928)
(with Leonard Joy and the Victor Orchestra)
Victor 21684

 

[LizzieMaine]

78s to pay my oil bill by --

Starting the morning off in 1932 with Russ Carlson and the High Steppers and the bouncy little Kalmar-Ruby ditty that made Zeppo Marx America's favorite crooner for about five minutes in "Horse Feathers," "Everyone Says I Love You." It's not Zeppo on the vocal on this record, alas, but Elmer Feldkamp sounds just as sincere.

Next, back to 1931 with Miss Ethel Waters and a pleading lament, "River, Stay 'Way From My Door." Clearly she's getting the same kind of weather I am.

 

[Fletch]

Here I am eating Greek yogurt (I think it's made from goats) and printing up 50th anniversary invitations for the 'rents while listening to:

Love Me Tonight - Anson Weeks & Mark Hopkins Ork, 1932. Now was this written for the Chevalier pic (great first date movie, BTW)? 'Cause I don't remember hearing it in there. Bill Moreing sings. Years later I began working with Bill Moring (no e), a NY bassist. No relation.

A Ghost of a Chance - Frances (Newbern) Langford (of Des Moines, IA). No date, but it's a Capitol master. Sounds 'late 40s, small ork w/t'bone, vibes.

Hand in Hand - Ray Noble, Al Bowlly & Ork., 1933. Strap on your rucksack and short pants, it's another 6/8 one-step touting the joys of the sun above and the road ahead. Never mind most of them were written by songwriters, a breed who lived on bicarbonate of soda and bus exhaust and tended to sunstroke walking back from lunch.

Slow Motion - Bennie Moten's Kansas City Ork, 1928. Amazing how these guys could convey hokum without actually playing any. Something in the thunk and fwoomp of their individual instruments, and that twenty-nine-cent sheet-metal cymbal on every other beat.

Try Your Luck:
Name 2 other female singers, besides Frances Langford, who were born in Des Moines.
The first even part-way correct answer wins a handsome wood-grained, silver-plated, bench-lasted, Underwire Laboratories-certified No-Prize™.