[78-L] Do, Do, Do

Thu Apr 30 10:45:09 PDT 2009

I know of other *tolerable* Sheppies.
And definitely, I stick to Ken Griffin's version of Ebb Tide.

Iñigo Cubillo
----- Original Message -----
From: "Taylor Bowie" <bowiebks at isomedia.com>
To: "78-L Mail List" <78-l at klickitat.78online.com>
Sent: Thursday, April 30, 2009 4:20 AM
Subject: [78-L] Do, Do, Do

> 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.
> >
> >
> >
> >> [Original Message]
> >> From: warren moorman <wlmoorman3 at yahoo.com>
> >> To: 78-L Mail List <78-l at klickitat.78online.com>
> >> Date: 4/29/2009 4:57:53 PM
> >> Subject: Re: [78-L] How well did they do it.
> >>
> >>
> >> This is certainly an issue for listeners, but let me mention a similar
> > thing from the other direction. Psychologists have suggested that for
some
> > longtime performers, part of the reinforcing lure of a performing life
is
> > that the actual sound of applause (or for comics, laughter) is literally
> > the
> > same over time, and thus offers the illusion of having suspended the
> > march of time.
> >>
> >> Warren
> >>
> >>
> >> --- On Wed, 4/29/09, soundthink at aol.com <soundthink at aol.com> wrote:
> >>
> >> > From: soundthink at aol.com <soundthink at aol.com>
> >> > Subject: Re: [78-L] How well did they do it.
> >> > To: 78-l at klickitat.78online.com
> >> > Date: Wednesday, April 29, 2009, 2:45 PM
> >> > When I was in New York recently, I saw Vince Giordano &
> >> > his Nighthawks perform at Club Cache. The musicians are all
> >> > seasoned studio performers,?most play on period instruments,
> >> > and the group uses original charts - for me, that's as
> >> > close as I will get to hearing what a '20s jazz/dance
> >> > band might have sounded like.
> >> >
> >> > Cary Ginell
> >> >
> >> >
> >> > -----Original Message-----
> >> > From: DAVID BURNHAM <burnhamd at rogers.com>
> >> > To: 78-L at 78online.com
> >> > Sent: Wed, 29 Apr 2009 2:42 pm
> >> > Subject: [78-L] How well did they do it.
> >> >
> >> >
> >> >
> >> > ?I've been thinking about exactly how accurately
> >> > recordings were able to capture
> >> > the sounds of the 20s, over 80 years ago.?? It's almost
> >> > impossible to compare a
> >> > recording with the original sound.? Any singers which were
> >> > around then who might
> >> > still be here certainly don't have the same voice.?
> >> > Orchestras develop over the
> >> > years and don't sound like they did 80 years ago.? I
> >> > don't think any concert
> >> > hall or recording studio has remained unchanged for that
> >> > time.? Even if we could
> >> > find instruments which were used on recordings then, the
> >> > artists are all gone
> >> > and the instruments also change with time.? One may find a
> >> > pipe organ that
> >> > hasn't been modified in 80 years but I can't think
> >> > of one which was recorded
> >> > back then which might still sound the same - Temple church
> >> > was bombed in WWII,
> >> > Royal Albert Hall's organ and acoustics have changed
> >> > drastically since then.? I
> >> > don't know if Mark Andrews', Jesse
> >> > Crawford's?or Lew White's organs are still
> >> > around.?
> >> >  Choruses and choirs, of course are constantly changi
> > ng.?
> >> >
> >> > What brought this thought to mind was that I was listening
> >> > to records the other
> >> > day recorded in 1927 which, I believe, are unique in that
> >> > they are probably a
> >> > few of the only recordings which can be compared today the
> >> > their original
> >> > source.? Those are the 5 Victor sides which are?recordings
> >> > of the Carillon, (to
> >> > avoid the word "Biels),?at the Victory Tower, Ottawa,
> >> > (now the Peace Tower).?
> >> > I've heard that Carillon many times and it's
> >> > interesting to compare the
> >> > recordings to the sound of the Carillon.
> >> >
> >> > db
> >> >
> >> > P.S. as soon as I finished this letter I imagined some
> >> > mention of Herbert Von
> >> > Carillon, so I'm glad I got that out of the way
> >> > _______________________________________________
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> >> >
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> >>
> >>
> >>
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> >
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