[78-L] Artie Shaw Radio Performances 1936-1941

[simmonssomer]

On July 22, 1937 he also recorded "How Dry I Am" Br 7936 and a second take 
for OK 4182
You asked why any network would broadcast a 30 minute sustaining Big Band 
broadcast .Well, because every network and many independents picked up 
remotes by big bands from 11:30 pm on....some even earlier. It was cheap 
programming and it entertained the late-to -bed crowd.
No network programming was economicallyy feasible after say 11 p.m. in those 
days so that was an inexpensive way to stay on the air another hour or so 
while passing a little pop music and glamour from exciting nite spots to the 
public. The bands welcomed the free publicity and exposure so everyone was 
happy.
Sometimes local ads were peddled to a local store. Some Big Band 
transcriptions were bicycled around for late hour transmission for 
independents so that
they could generate ad dollars from local advertisers....and so forth and so 
on.

Al S.

----- Original Message ----- 
From: "Geoffrey Wheeler" <dialjazz at verizon.net>
To: <78-l at klickitat.78online.com>
Sent: Monday, April 26, 2010 12:34 PM
Subject: [78-L] Artie Shaw Radio Performances 1936-1941



Artie Shaw 1936 to 1941
(Plus selections from 1942, 1945, and 1946)
The following addresses specific discographic details in the text of
Artie Shaw A Musical Biography and Discography by Vladimir Simosko,
published by Scarecrow Press Inc., Lanham, MD 2000 as Studies in Jazz
No. 39. Series editor is Dan Morgenstern, Director of the Institute of
Jazz Studies, Rutgers University, New Jersey. With 32 pages of photos
and 142 pages of biography, this is the first in-depth work on the
day-to-day career and accomplishments of clarinetist/bandleader, Artie
Shaw. Since it is likely to remain the definitive work on Shaw for
years to come, it is important to correct errors and elaborate on
details or contexts that may not otherwise be clear to the reader. The
following addresses only discographic details for radio performances
during the years 1936 to 1941, plus specific recordings from 1942,
1945, and 1946. Comments regarding Old Gold, Blue Room, and Burns and
Allen broadcasts are based on reel-to-reel and DAT tapes dubbed from
original acetates in the late 1990s, plus accompanying documentation.
Additions, corrections, and refinements welcome.

Sunday, November 1, 1936 CBS Broadcast from the French Casino, New York
City
(Note: These recordings made on aluminum discs remain unissued. Sound
quality is clear but not bright. This is Shaw’s band with strings. Each
number is announced by title only. After the second tune, the announcer
says the music is “coming to you from the French Casino on the Great
White Way…”)

Take Another Guess (vocal Tony Pastor, PT: 2:19) studio recording
issued on Br 7771
There’s Something in the Air (vocal Peg LaCentra, PT 3:01) studio
recording issued on Br 7778
Skeleton in the Closet (instrumental, PT 2:28) studio recording issued
on Br 7778
There’s Frost on the Moon (vocal Peg LaCentra, PT 2:32) studio
recording issued on Br 7771
Note: On “Skeleton…” Tony Pastor (tenor sax) and a Berigan-like Lee
Castle (trumpet) trade pairs of eights, followed by Shaw on clarinet.
[These four selections were issued in 2007 as tracks 1 through 4 on
Soundcraft CD SC-8004: Artie Shaw & His Orchestra 1936 to 1940
Broadcasts. Produced by Ed Burke, this series of eight CDs are the last
Mr. Burke will produce, per a phone conversation July 17, 2007.]

Note: Shaw recorded these four selections on Friday, October 30, 1936
for Brunswick Record Corp. The bridge in the arrangement for
“Skeleton…” was later expanded into what became Artie Shaw’s theme,
“Nightmare.”

Recording Session for Brunswick July 22, 1937
Afraid to Dream (vocal Peg LaCentra) unissued take 21423-2 (Simosko
does not list)
Sweet Adeline (vocal Tony Pastor) unissued take 21425-6 (Simosko does
not list)
Source: tape dubbed at 15 ips from 16-inch studio acetates.

Old Gold Broadcasts “Melody and Madness” (with Artie Shaw and His
Orchestra, vocalist Dick Todd, and “that man who taught America how to
sleep—Robert Benchley”). The show aired Sunday nights at 10:00 P.M.
over CBS. The program originated from the studios of WABC. James Forbes
and Del Sharbutt announced. “M and M” first aired Sunday, November 20,
1938. The last broadcast in the series was Tuesday, November 14, 1939.
Acetate discs from CBS and NBC document Shaw features beginning with a
November 18, 1938 rehearsal through the broadcast of Tuesday, June 27,
1939. Because of illness, Shaw was absent from several programs,
including April 23 and May 7, 1939. Lud Gluskin substituted on at least
three shows as conductor (source: John Dunning’s The Encyclopedia of
Old-Time Radio).

Rehearsal November 18, 1938
(At several points, smattering of applause; Robert Benchley ad-libs
before “Softly as in a Morning Sunrise.” Shaw plays brief uptempo
“chaser.” Fragment sounds like what would be introduced on the March
12, 1939 program as “Double Mellow,” Shaw’s arrangement of “Oh, Lady Be
Good” without Gershwin’s melody. Program introduction: “Will somebody
please wake up Benchley!…”; eight bars of theme “Crazy Rhythm.” Each
selection announced.

The Yam
Two Sleepy People (vocal Dick Todd)
Begin the Beguine
Softly as in a Morning Sunrise (Announcer mis-titles this selection
twice with “Artie Shaw calls the cats out of the wigwam to introduce
his own version of ‘Indian Love Call’” before the band starts into the
number. Shaw’s voice and conversation in background before number
starts.)

Broadcast November 20, 1938
The Yam (Taken at a slower tempo than at rehearsal. Shaw’s solo totally
different; trumpeter Bernie Privin’s similar; after his solo,
trombonist George Arus makes a one-note fluff in ensemble passage.)

Two Sleepy People (vocal Dick Todd) announcer’s intro different from
rehearsal
Softly as in a Morning Sunrise
Non-Stop Flight (substituted for “Begin the Beguine”)
Close

Rehearsal November 25, 1938
Opening
Begin the Beguine
When I Go a-Dreamin’ (vocal Dick Todd)
Who Blew Out the Flame (vocal Helen Forest)
Shoot the Rhythm to Me, John Boy (This is Shaw’s composition “Shoot the
Likker to Me, John Boy.” The tune was also featured in the 1939
Paramount film short Class in Swing.)
Close

Undated; perhaps from this rehearsal as an alternate number.
Back Bay Shuffle
Close

November 25, 1938
While appearing weekly on Melody and Madness, Shaw begins a series of
sustained broadcasts over NBC network from the Blue Room of the Hotel
Lincoln, New York City. Broadcasts typically last 30 minutes and are
broken into two parts for the benefit of NBC affiliates that only want
to carry 15 minutes of the program. Why would NBC broadcast a half-hour
of unsponsored airtime with a swing band? The Shaw broadcasts may have
been NBC’s answer to Benny Goodman’s Camel Caravan programs over
network rival CBS. Both bands appealed to the same young audience.
Simosko lists programs through December 30, 1938 [pages 177-180]. The
contents match what is on the author’s tapes. The personnel on
broadcasts for December 27, 29, and 30, 1938 are, however in question.
Drummer Buddy Rich is said to have joined the Shaw band by December 25,
but George Wettling is clearly the drummer on the December 27 and
December 30 broadcasts. Either Rich had not yet joined the band and
Wettling was still the drummer; Rich was out on the December 27 and 30
broadcasts and Wettling subbed for him; or the broadcasts have been
incorrectly dated. Clarence C. Hintze’s discography in “Mister I Am the
Band! Buddy Rich His Life and Travels” [page 149] repeats the same
information for the December 30 broadcast (the December 27 broadcast is
not listed) but notes Rich does not appear on a performance of “I Cover
the Waterfront” issued on Hindsight HSR-176 Vol. 5 from the December 29
broadcast. By contrast, “Jeepers Creepers,” the only other issued
performance dated from that broadcast is said to have Rich on drums
[see booklet in RCA Victor LPT-6000]. The author has not heard the
complete broadcast as listed in Simosko. This raises the issue of
whether material from some NBC Shaw broadcasts has been incorrectly
dated.

Old Gold Broadcast November 27, 1938
Opening
Begin The Beguine
When I Go A-Dreamin’ (vocal Dick Todd)
Who Blew Out the Flame (vocal Helen Forest)
Shoot the Rhythm to Me, John Boy
Close

Old Gold Rehearsal December 2, 1938
Yesterdays
What is This Thing Called Love
Have You Forgotten (vocal Dick Todd)
Copenhagen

Old Gold Broadcast December 11, 1938
Opening
It Had to Be You
Simple and Sweet
I’m Madly in Love with You (vocal Dick Todd)
Rockin’ the State (a..k.a “In the Bottom” and “Leapin’ at the Lincoln.”
The latter is not Charlie Barnet’s tune of the same title. “The State”
possibly refers to the State Theatre in Hartford, Conn. Arrangement is
based partly on Benny Goodman’s June 25, 1935 recording of “Get Rhythm
in Your Feet” [Vi 25081], with vocal by Helen Ward.)

Old Gold Rehearsal (Simosko dates as December 16, 1938, but otherwise
undated)
My Reverie (vocal Dick Todd)
Just You, Just Me

Old Gold Broadcast December 18, 1938
Opening
You Got Me
My Reverie (vocal Dick Todd)
In the Mood (rehearsal, not broadcast)

Sunday, December 25, 1938. “Art Shaw” performs in concert at Carnegie
Hall as guest soloist with Paul Whiteman and his 50-piece orchestra. It
is Whiteman’s eighth “experimental” concert. The first was the landmark
Aeolian Hall concert in 1924 that introduced Gershwin’s “Rhapsody in
Blue.” This 1938 concert closes with “Rhapsody…” featuring pianist Roy
Bargy. Other guest artists and featured composers include: Louis
Armstrong, Bert Shafter, the late George Gershwin, Duke Ellington,
Walter Gross, Morton Gould, Nathan Van Cleve, Rosa Linda, Richard
Regas, Raymond Scott, Ferde Grofe, Fred Van Epps, and Jack Teagarden
from the Whiteman Orchestra. Shaw’s astounding 12-minute performance is
generically titled “The Blues.” Handy’s “St. Louis Blues” is a
recurring theme throughout. In his text, Simosko quotes Deems Taylor as
saying “You just can’t DO that on a B-flat clarinet” after Shaw’s
performance but it is Paul Whiteman who makes the remark. Simosko also
states on page 67 that “part of the program was broadcast” and
“fortunately, Shaw’s blues performance was among the broadcast items.”
Not so. An advertisement in the Drama-Screen-Music-Dance-Art-Radio
section of The New York Times, Sunday, December 18, 1938 announced this
Christmas Night concert for 8:30 P.M., featuring “Paul Whiteman and his
All-American Band, An Experiment in Modern American Music,” with Deems
Taylor, commentator. “This Concert Will Not Be Broadcast,” the ad
emphasizes. A check of Times Radio Logs for the night of Sunday,
December 25, confirms this. The entire concert was privately recorded
on a single set of 16-inch 33-1/3 aluminum-base acetates. These were
given to Whiteman a day or two later. Written in pencil on one of the
sleeves is the notation: “Please deliver to Mr. Whiteman at (his New
York address).” The acetates are now in private hands. The recorded
sound is excellent. The drummer for the concert was George Wettling,
who had been working with the Shaw band but was unavailable for the
following broadcast because the concert continued past the time of the
broadcast. According to Mister, I Am the Band: Buddy Rich, His Life and
Travels by Doug Meriwether and the discography by Clarence C. Hintze
[page 149], Buddy Rich is the drummer on the December 25 Old Gold
Broadcast and on the December 29, broadcast from the Hotel Lincoln Blue
Room of “Jeepers Creepers” issued on Victor set LPT-6000. Wettling had
a distinctive style and was an excellent, experienced big-band drummer.

Old Gold Broadcast December 25, 1938
Opening and lead–in to Shine on Harvest Moon
Deep in a Dream (vocal Dick Todd)
Jeepers Creepers (vocal Tony Pastor)
Hold Your Hat

Old Gold Broadcast January 1, 1939
Opening and lead-in to I’ve Been Saving Myself
They Say (vocal Dick Todd)
Indian Love Call (vocal Tony Pastor)
Time Out (written and arranged by Eddie Durham, this selection is
incorrectly announced as “an original Artie Shaw composition…”)

Old Gold Broadcast January 8, 1939
Opening lead-in to Serenade to a Savage
My Reverie (vocal Dick Todd)
Downbeat Award Presented to Artie Shaw
Softly as in a Morning Sunrise
Diga Diga Do

Old Gold Broadcast January 15, 1939
Opening and lead-in to Begin the Beguine
A Room with a View (vocal Dick Todd)
My Heart Belongs to Daddy
Prosschai (vocal Tony Pastor)

Old Gold Broadcast January 22, 1939
Simosko cites Jazz Hour JHCD 1050 as his source for this listing:
Rose Room
My Reverie (vocal Dick Todd)
Softly as in a Morning Sunrise
Oh, Lady Be Good
Note: With the exception of “Rose Room” and “Oh Lady Be Good,” this is
the same lineup as the January 8th broadcast, which makes this listing
problematic. Not having a broadcast acetate or dub available for
January 22nd, the author can neither confirm nor refute this listing.
“Rose Room” may have been taken from the January 29th broadcast, which
follows. “Oh Lady Be Good” was not recorded commercially until August
27, 1939. The arrangement may have been scored earlier in the year but
this performance may be dated prematurely. It also does not appear in
the lineup of any other Old Gold broadcast. The Jazz Hour issue may
come from another source. “

Old Gold Broadcast January 29, 1939
Opening
Rose Room
This Can’t Be Love (Dick Todd)
My Own (Helen Forest)
At Sundown

Old Gold Broadcast February 5, 1939
Opening
Zigeuner
Good for Nothing But Love (vocal Dick Todd)
I Have Eyes (vocal Helen Forest)
Carioca

Old Gold Broadcast February 12, 1939
Opening
My Heart Stood Still (complete, recording quality excellent)
I’m Coming Virginia (complete)

Old Gold Broadcast (Assigned to February 12, 1939 by Simosko but
material otherwise undated)
Alone Together
This is It (vocal Helen Forest)

Old Gold Broadcast February 19, 1939
Opening
Diga Diga Do
Deep Purple (vocal Helen Forest)
You Must Have Been a Beautiful Baby (vocal Dick Todd)
Shot the Rhythm to Me John Boy

Old Gold Broadcast February 26, 1939
Opening
Together
This Can’t Be Love
I Cried for You (vocal Helen Forest)
Back Bay Shuffle

Old Gold Broadcast March 5, 1939
Rosalie (vocal Tony Pastor)
Jungle Drums
I Want My Share of Love (vocal Helen Forest)
Non-Stop Flight

Old Gold Broadcast March 12, 1939
Opening
My Heart Belongs to Daddy
The Chant
Double Mellow [Essentially the extended riff section employed in the
arrangement of “Oh, Lady Be Good” but without a statement of the
melody.]

Old Gold Broadcast March 19, 1939 (incomplete)
Better Than Average Girl (vocal Tony Pastor)

Old Gold Broadcast March 26, 1939
Gangbusters
Pastel Blue
It’s All Yours
Prosschai (vocal Tony Pastor)

Old Gold Broadcast April 2, 1939
Opening
One Foot in the Groove
Nightmare
I’m in Love with the Honorable Mr. So and So (vocal Helen Forest)
I’m Coming Virginia

Old Gold Broadcast April 23, 1939
(Artie Shaw ill; Jerry Gray directs)
Opening
Rosalie
Serenade to a Savage
You’re So Indifferent (vocal Helen Forest)
Copenhagen

Old Gold Broadcast May 7, 1939
Opening
At Sundown
Suppertime (vocal Helen Forest)
Snug as a Bug in a Rug (vocal Tony Pastor)
Diga Diga Do

Old Gold May 14, 1939 (only half of show available)
I’m Coming Virginia
Prosschai (vocal Tony Pastor)

Old Gold Broadcast May 23, 1939 (Old Gold Show switches to NBC; Dick
Todd leaves show)
Opening
Begin the Beguine
Shoot the Rhythm to Me John Boy
Carioca

Old Gold Broadcast May 30, 1939 (only half of show available)
It Had to Be You
Traffic Jam

Old Gold Broadcast June 6, 1939
Blue Skies
Octoroon
Don’t Worry ‘Bout Me (vocal Helen Forest)

Old Gold Broadcast June 13, 1939
Ziegeuner
Comes Love (vocal Helen Forest)
When Winter Comes (vocal Tony Pastor)
One Night Stand

Old Gold Broadcast June 20, 1939
Opening
Together
I Didn’t Care (vocal Helen Forest)
Show Your Linen Miss Richardson
Non-Stop Flight

Old Gold Broadcast June 27, 1939 (incomplete)
I Never Knew Heaven Could Speak (vocal Helen Forest)
Robert Benchley makes Radio Guide presentation to Shaw, then into
“Copenhagen.”

Artie Shaw on the Burns & Allen Show, NBC July 1, 1940 to March 24, 1941
(The show’s format called for the Artie Shaw Orchestra to perform one
number and to accompany the vocal group The Smoothies on a second
number. Simosko does not list the vocal numbers, even though the Shaw
band accompanies the group. On some broadcasts, Gracie Allen replaces
The Smoothies vocal number. The show was sponsored by Spam and a few of
the program’s musical jingles are cited below.)

Broadcast July 1, 1940
Down by the Old Heigh-O (The Smoothies)
Frenesi

Broadcast, July 8, 1940
The Woodpecker’s Song (The Smoothies)
Alice Blue Gown

Broadcast, July 29, 1940
Opening Theme
Temptation
You’ve Got Me This Way (The Smoothies)

August 5, 1940
Sweet Sue
Mister Meadowbrook (The Smoothies)

August 12, 1940
Alabamy Bound (The Smoothies)
Frenesi

August 19, 1940
Madame La Zonga (The Smoothies)
King for a Day

August 26, 1940
Ciribiribin (The Smoothies)
Out of Nowhere

September 2, 1940
Pretty Baby (The Smoothies)
Jungle Drums

September 9, 1940
I’ll Never Smile Again (The Smoothies)
Begin the Beguine
Commercial: Spam jingle
(another version) Who’s Excited into Spam Commercial, then “Begin the
Beguine” into
broadcast close

September 16, 1940
Trade Winds (The Smoothies)
Rose Room

September 23, 1940
That’s for Me (The Smoothies)
Mama, She’s Making Eyes for Me (vocal Senor Lee)
My Romance

September 29, 1940 (not shown in Simosko)
Shaw guests on Fitch Bandwagon. NBC files in the Library of Congress do
not list program’s content.

September 30, 1940
My Heart Stood Still
I Got Rhythm (The Smoothies)

October 6, 1940 (not shown in Simosko)
Shaw guests on Fitch Bandwagon. NBC files in the Library of Congress do
not list program’s content.

October 7, 1940
Ferryboat Serenade (The Smoothies)
Through the Years

October 14, 1940
Stardust
Rhythm on the River (The Smoothies)

October 21, 1940
I Know That You Know (The Smoothies)
Temptation

October 28, 1940
Moonlight on the Ganges (The Smoothies)
Love of My Life (vocal Anita Boyer)

November 4, 1940
The Blues (from William Grant Still’s “Lenox Avenue Suite.”)
Trade Winds (The Smoothies)

November 11, 1940
Prelude in “C” Major

November 18, 1940
Beat Me Daddy (The Smoothies)
Sugar
Commercial jingle

November 25, 1940
Whispering (The Smoothies)
What is There to Say

December 2, 1940
Down Argentina Way (The Smoothies)
Diga Diga Do

December 9, 1940
Yesterdays
You’ve Got Me This way (The Smoothies)

December 16, 1940
This is Gracie (vocal chorus by Cast)
Dancing in the Dark

December 23, 1940
Frenesi
Jingle Bells (The Smoothies plus Cast)

December 30, 1940
Whispers in the Dark (vocal Anita Boyer)

January 6, 1941
Just a Song at Twilight (The Smoothies)
Prelude in “C” Major (noisy)

January 13, 1941
There’ll Be Some Changes Made (The Smoothies)
Nobody Knows the Troubles I’ve Seen

January 20, 1941
Jungle Drums
Accidentally on Purpose (vocal Gracie Allen)

January 27, 1941
Sweet and Low (The Smoothies)
Rockin’ Chair

February 3, 1941
Darling Nellie Gray (The Smoothies)
Georgia on My Mind

February 10, 1941
(Note: Simosko shows “There’ll Be Some Changes Made” unissued but this
is incorrect)
Georgia on My Mind
Whatcha Thinking of (The Smoothies)

February 17, 1941
It All Comes Back to Me Now (The Smoothies)
Deep River
Commercial jingle

February 24, 1941
Just a Song at Twilight (The Smoothies)
Sometimes I Feel Like a Motherless Child

March 3, 1941
When You and I Were Young Maggie (The Smoothies)
Little Gate Special (Ray Coniff’s arrangement of composition recorded
by Bunny Berigan)

March 10, 1941
(Note: Simosko shows “Swing Low, Sweet Chariot” but that is incorrect
for this date.
See March 17.)
Old Black Joe (incomplete, approximately 60 seconds)

March 17, 1941
Swing Low, Sweet Chariot
Let’s Get Away from it All (vocal Gracie Allen)

March 24, 1941
Sugar Pie (vocal Gracie Allen)
To a Broadway Rose plus closing announcement and theme

August 24, 1941 (not shown in Simosko)
Shaw appears on NBC’s Star Spangled Theatre. NBC files do not show
program’s contents.

January 30, 1942
Artie Shaw Navy Band 501 America Salutes the President over NBC Network
Radio
Naval Air Base, Pearl Harbor, Honolulu Hawaii. Note: Seaman First
Class, Artie Shaw, was taken from his duties on minesweepers and net
patrols, promoted to Band Master, and given the opportunity to recruit
a professional band, providing each man would come in as an apprentice
seaman, go through the Bluejackets manual like any one else, and be a
“strictly Navy outfit.” The band under Shaw’s leadership was organized
in November 1942 and was at Pearl Harbor for three months. A photo in
the author’s possession shows Shaw in full uniform standing in front of
a map of The Pacific Ocean pointing to the islands of Hawaii. In 1943,
the band then made a tour of naval bases and islands throughout the
Southwest Pacific and to Brisbane, Australia, covering a total of
68,000 miles. The band returned to the States in December 1943, landing
at San Francisco, its original port of embarkation. Shaw was given a
discharge and reedman, Sam Donahue was appointed the new leader. (Down
Beat, March 15, 1945, page 19)

Theme (Nightmare)
Begin the Beguine
(Note: Simosko shows this as an unissued air check but the two
selections were issued on Side A
Track 1 of Big Band Gems BBG 092 Spotlite on Shaw. The author’s copy is
strange. The
front cover of the jacket lists the selections, venues, and dates, and
features a photograph of the
Shaw band. The back cover is blank. The white labels on both sides of
the record are totally blank, except for Side 1, which has “Side 1”
handwritten in ink. The selections included on this LP are:

Side A
Begin the Beguine
My heart Stood Still (Spotlite, Fort Ord, Calif, September 19, 1945)
There’s No Business Like Show Business—vocal by Mel Torme and the
Mel-Tones
(Musicraft, April 30, 1946) not listed in discography
Night and Day (Fitch Bandwagon, November 1945) Simosko shows November
6, 1945
Can’t You Read Between the Lines (Spotlite, Hoff General Hospital,
Santa Barbara, Calif.,
October 10, 1945)

Side B
Tabu (Spotlite, Naval Hospital, San Diego, Calif. September 12, 1945
Lucky Number (Spotlite, Naval Hospital, San Diego, Calif. September 12,
1945
Blue Skies (Spotlite, Camp Luis Obispo, Calif., September 26, 1945)
Sunny Side of the Street (Spotlite, Camp Luis Obispo, Calif., September
26, 1945)
Jumping on the Merry-Go-Round (Spotlite, Camp Luis Obispo, Calif.,
September 26, 1945)
Let’s Walk (Fitch Bandwagon, November 1945) Simosko shows November 7,
1945
Copenhagen and Theme (partial) Ritz Carlton Ballroom, Boston, August
1939
(Note: Simosko shows this as “unissued” from a broadcast emanating from
the Summer Terrace
of Boston’s Ritz Carlton, August 31, 1939. “Lucky Number” was an
expression used by announcers on the Coca-Cola Victory Parade of
Spotlite Bands to indicate the “lucky number seven” tune on the program
playlist.)

September 30, 1944 (per Simosko)
All Star Group
AFRS Command Performance, Hollywood

Honeysuckle Rose

Announcer Ken Carpenter says this performance comes from Roseland (New
York City) but the applause, the announcement, and the music sound like
they have been patched together from three different sources. Author’s
copy: dub of a tape dub made directly from an AFRS disc. As identified
by Carpenter, personnel on this JATP-style wailer is: Sgt. Ziggy Elman,
trumpet; Tommy Dorsey, trombone; Artie Shaw, clarinet; Illinois
Jacquet, tenor saxophone; Lionel Hampton, vibraphone; Count Basie,
piano; Les Paul, electric guitar; Sgt. Ed McKinney, bass; and Buddy
Rich, drums. Note: During his solo, Basie several times repeats the
notes that comprise the introduction to “Salt Peanuts.” This and other
performances that incorporate this pattern suggest it was floating
around the music world as a riff, much as Sy Oliver’s December 1939
composition, “Losers Weepers” consists of a series of common riffs
pieced together.

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