[78-L] Do, Do, Do

[David Lennick]

Agreed about Shep Fields' New Music, of which I've heard very few samples. Sid 
Caesar was in the band for a while and appears on the March 10/42 session. 
Notice that by 1940 he was recording titles like Boy Scout in Switzerland, 
Who's Yehoodi, When the Mush Begins to Rush Down Father's Vest..man, Bernie 
Privin and Jack Jenney are in the April 1940 lineup!

Sammy is okay for a couple of things, like "Daddy" and "I Used to Work in Chicago".

Ken Griffin is okay for skeet shooting and I have no idea who Audrey Williams is.

What do you want from me....I still can't stomach Stephane Grappelli and never 
will.

dl

Taylor Bowie wrote:
> Now, now,  Cary...I can steer you to some excellent records by a couple of 
> your "verboten" artists.
> 
> If you don't want to ripple,  try some of the Shep Fields "New Music" 
> records from ca. 1941.  My fave is the oddly titled and constructed "Ooh, 
> Does Your Mother Know That You Smoke."  Band sounds great,  excellent 
> clarinet solo by Gus Bivona,  damn clever tune.  Good, hip-chick vocal, 
> too...can't recall her name.
> 
> My two fave Sammy Kaye records are the Victors of "Daddy"  and "My Buddy." 
> Band sounds good on both of them.
> 
> Don't know Audrey Williams,  and I'll admit defeat with Ken Griffin.
> 
> Taylor B
> 
> 
> ----- Original Message ----- 
> From: <soundthink at aol.com>
> To: <78-l at klickitat.78online.com>
> Sent: Wednesday, April 29, 2009 7:10 PM
> Subject: Re: [78-L] How well did they do it.
> 
> 
>> I tend to listen to acoustic records more for their historic value than 
>> their musical value. I'm strictly in the electric era. There are certain 
>> sounds, however, that took some getting used to in order to appreciate 
>> them - for example: Sidney Bechet's rapid vibrato, the harmonies of the 
>> Carter Family, pre-war Cajun vocals, and bebop. Thirty years ago I couldn't 
>> relate to any of these musically; but after listening and listening, the 
>> layers peel away and now I enjoy all four of these kinds of music.
>>
>> Ken Griffin, Audrey Williams, Sammy Kaye, and Shep Fields, however, offend 
>> at every level.
>>
>> Good topic.
>>
>> Cary Ginell
>>
>>
>> -----Original Message-----
>> From: Bill McClung <bmcclung at ix.netcom.com>
>> To: 78-L Mail List <78-l at klickitat.78online.com>
>> Sent: Wed, 29 Apr 2009 4:07 pm
>> Subject: Re: [78-L] How well did they do it.
>>
>>
>>
>> A question I have pondered for awhile is, "Why don't I have an 'ear' for
>> many 78s recorded before 19XX?"  I love my postwar 78s and many "modern"
>> sounding prewar 78s but oftentimes when my fellow 78Lers are debating the
>> relative glories of Vaughn de Leath or What is Sweet I am lost because the
>> music being debated doesn't excite me and I haven't explored it.
>>
>> This is in no way a value judgement or a question of what is "good" or
>> "valuable".   I'm not really asking about genres.  I'm asking about sound.
>> And the components of one's personal "ear".
>>
>> Is it pre-electric guitar versus post-electric guitar?  Is it sweet band
>> versus swing versus bebop?   Again, not genres but sound.
>>
>> Is it what one heard growing up?  Is it the music a person first claimed 
>> as
>> one's own?  Is it historical as in the knowledge that one's favorite band
>> leader was once a sideman in an earlier band or that someone was a mentor
>> or influence?  Is it because you are a musician?
>>
>> I love Emmitt Miller and Annie Ross, Gid Tanner and Merle Travis, early
>> Louis and late Louis. Harlem Hamfats and the Treniers.  Blind Blake and
>> Mickey Baker. Some Ethel Waters and most Muddy Waters.
>>
>> But there is a huge range of music that just hasn't touched me yet.  I can
>> approach it academically but not emotionally.  My "ear" just doesn't
>> respond.
>>
>> Has the march of time changed what you like or what excites you musically?
>> Is there a time or a sound that just doesn't work for you?  How many eras
>> are there in 78s history and which ones have you embraced?
>>
>> I'll hang up and listen.
>>