[78-L] No longer waitin'
citrogsa at charter.net.invalid
Tue Sep 6 16:59:38 PDT 2016
On 9/6/2016 4:01 PM, Inigo Cubillo wrote:
> Abrams-Settlemier online discog says
> CAROLINA COLLEGIANS (KEMP)
> WAITIN' FOR KATY
> and it could have been taken from Rust. Let's check...
> Rust ADBD lists this matrix also, same data but w/o take number, under Hal
> Kemp, and mentions no pseudonym. Adds NY as recording location. Formation
> for early 1928 is given as:
> Hal Kemp cl-as-v-dir, Bob Mayhew-Earl Geiger-t, Wendell "Gus" Mayhew-tb-v,
> Jack Mayhew-cl-as, Ben Williams-cl-as-bar, Saxie Dowell-cl-ts-v, Bromo
> Sulser-vn, John Scott Trotter-p-a, Olly Humphries-bj, Jim Mullen-bb, Skinny
> BTW. Listening (since a boy) to late 30s-early 40s Bing Crosby songs
> accompanied by J S Trotter orch, I marveled specially at those with the
> soft windy "wooden sound" arrangements, these sounds always (since 35 years
> ago) astonished me. Is it possible so a beautiful, original sound and
> clever arrangements?
> Later in years I knew of Kemp, and acquired some records of his orchestra
> (1940-41 Victors) and THERE WAS that soft windy wooden sound again! At the
> beginning, although it rang a bell, I couldn't relate the Kemp sound to the
> old cherished Crosby songs. I gave all the merit of the sound to Kemp.
> Lately I learned and understood, JST arranger was involved in both cases.
> No doubt; these original wind arrangements are JST work, and he has all the
I am not really convinced that this is the correct Carolina Club.
Here we have Hal Kemp. He we actually discovered by Specht and brought
to public attention in the early 20's. He previously worked the Atlantic
steamers, which was in those days a vital part of the business. Specht
himself earned his passage to England several times on the
trans-Atlantics. I have programs and photos of his 1926 trip.
What an incredibly rapid change of musical styles in 1930! The end of
the flapper era was almost cataclysmic, preceded by the new demands of
electric recording. His early stuff was good, but not really as
distinctive as his later work, which based itself upon triple tongueing
clarinet-trumpets in counterpoint. And there was Skinnay's distinctive
airy southern charm.
I also noted in this piece the work of banjoist Olly Humphries, who
mostly followed with counterbeat, as a percussive backup, a low pitched
A good example of Kemp's early hot stuff is here
Skinnay's voice is unmistakable.
Specht also used the pseudonym, Carolina Club. Nowadays it is more
confusing than useful, but in those days, Specht could juggle his many,
many units with no concerns.
Ok, here's Waitin' for Katy:
Entirely different style. And there's Johnny Morris, not Skinnay. Now
listen to the banjo. That Lou Calabrese, who was still with the band for
a few months more, just before he stayed behind at the Capitol Theater
in New York when Specht left there as principle conductor, to be
replaced by Walt Roesner.
Mark L. Bardenwerper, Sr.
Visit me at http://citroen.cappyfabrics.com
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