jazztrain

I can field that question. There's the famous quote about Bix's cornet sounding like a girl saying "yes." Let me see if I can find it.... OK. It's in Condon's "We Called It Music:" >>> Beiderbecke smiled like an embarrassed kid and muttered something. Then he got up on the stand and walked over and sat down -- at the piano. "Clarinet Marmalade," somebody said. Bix nodded and hit the keys. Then it happened. All my life I had been listening to music, particularly on piano. But I had never heard anything remotely resembling what Beiderbecke played. For the first time I realized that music isn't all the same, that some people play so differently from others that it becomes an entirely new set of sounds. That was the first time I heard the New Orleans Rhythm Kings, except on records, but I actually didn't hear them at all; I listed to Beiderbecke. When we rushed out to grab out train I was completely confused. Trying to get to sleep in an upper berth I kept thinking -- what about the cornet, can he play that too? The next day we got up as the train came into Cleveland. With nothing to do but sit and stare at the scenery from there to Buffalo I began to wonder again about the cornet. I got out my banjo. Eberhardt dug up his saxophone and doodled along with me. Finally Beiderbecke took out a silver cornet. He put it to his lips and blew a phrase. The sound came out like a girl saying yes... >>>

My first exposure to jazz was probably hearing Beach's "Just Jazz" radio show on WRVR in the early 1970s. His program, in part, is responsible for the ensuing close to 40 years of my listening and collecting and to my own radio efforts. Thanks, Ed. Anyone else remember any of the pseudonyms he would sometimes use (like Ashley (or Ashly?) Seadrift and Desmond Ebbtide)?

Sad news indeed. I found a copy of Jazz Street years ago at a very reasonable price in a used book store on Cape Cod. I subsequently loaned it to a friend who, to the best of my knowledge, still has it. Figuring it would likely never come back, I tracked down another (albeit somewhat more pricey) copy a few years ago. Stock really had an eye.

Chewy: Nice find. Never have come across a copy. Steve: No to the born on the ocean liner question. Here's some information from John Chilton's "Song of the Hawk." >>> Late in life Hawkins became mysterious about his place of birth, and touchy about giving the date on which he was born. In 1956 he said he was born at sea, while his mother and father were returning from Europe: "On the Atlantic Ocean, on a boat. To me it's hard to say actually where my real birth would be." The truth was not quite as romantic. Coleman Randolph Hawkins was born on 21 November 1904 at 1713 Angelique in the Buchanan District of Saint Joseph, Missouri; he was delivered by Dr Preston Edwards. Coleman's parents, William and Cordelia, lived at 1713 Angelique with Cordelia's parents..." >>>

Jaffa: I had a longer response partially drafted, but it disappeared. I'll try again, but more briefly. Andrew and Gerhart Thrasher had performed and recorded as part of "The Thrasher Wonders" before Ahmet Ertegun joined them with Clyde McPhatter and others to form The Drifters. I found a few references on line to The Thrasher Wonders having been a family group and a few other references to a sister (Bernice) as being part of the group. I have been unable to find any connection between these Thrashers and the Thrasher Sisters. Here's a link to a page that lists 8 radio apperances by The Thrasher Sisters between 1941 and 1946. The page has a copyright notation, so I'll just paste the link and some summary information rather than all the information itself: http://radiogoldindex.com/cgi-local/p3.cgi?ArtistName=The+Thrasher+Sisters&ArtistNumber=39805 - The Show That Jack Built. January 30, 1941. WLW. Cincinnati. - The Fountain of Fun. October 11, 1942. WLW. Cincinnati. - The Fountain of Fun. October 18, 1942. WLW. Cincinnati. - The Fountain of Fun. October 25, 1942. WLW. Cincinnati. - The Fountain of Fun. November 1, 1942. WLW. Cincinnati. - The Kate Smith Hour. March 3, 1944. CBS with AFRS rebroadcast. - Music Depreciation. February 4, 1945. Mutual network, KHJ, Los Angeles. - Jubilee. February 1946. Program #178. AFRS. It appears that the October 11, 1942 broadcast of "The Fountain of Fun" may be available for listening from a link that can be found here (see link for 11-23-2008 broadcast of "Same Time, Same Station" program): http://vintageradioplace.com/broadcast/arcsametime0811.html. It also appears to be available as a podcast from this page: http://www.podcastblaster.com/directory/podcast-16888.html. Here's a link to radio listings showing an appearance by The Thrasher Sisters Trio at 10:30 am on May 14, 1945 on WMAQ (Chicago): http://jjonz.us/RadioLogs/pagesnfiles/logs_files_OCR/CDT/1940s/45-49/1945/%5bc%5d45-05-14-(Mon)ocr.pdf#search='wenrrhythm' Here's a link to another page that appears to list The Thrasher Sisters as guest artists on the January 16, 1945 broadcast of "The Roy Rogers Show." http://www.otrr.org/FILES/Logs_txt/The%20Roy%20Rogers%20Show.txt Here's a link to listings for the same program (see listing for WOR (New York) at 8:30 pm): http://jjonz.us/RadioLogs/pagesnfiles/logs_files_OCR/CDT/1940s/45-49/1945/%5bc%5d45-05-14-(Mon)ocr.pdf#search='wenrrhythm' Page 321 of John Dunning's "On The Air: The Encyclopedia of Old-Time Radio" shows The Thrasher Sisters (DeeDee, Mary, and Betty) as having been singers between 1944 and 1945 on "The Hoagy Carmichael Show." That show aired weekly on Mutual on Sundays at 8:30 (presumably PM). The May 22, 1943 issue of Billboard (viewable via Google Books) contains the following: "SOPHIE TUCKER, stricken ill in her final weeks at Beverly Hills Country Club, Newport, Ky., last week, was replaced by the Thrasher Sisters, the WLW singing kiddies turning in a swell job." The Beverly Hills Country Club was in northern Kentucky, not far from Cincinnati (Ohio). My parents have told me about having seen shows there. Northern Kentucky at the time was "wide open" at the time, at least compared to Cincinnati. As I recall from the stories, Beverly Hills Country Club offered gambling in addition to food and entertainment. There's a listing from 2007 for a property in Monterey Park, California showing Mary J. Thrasher (Co Trustee) and Thrasher Sisters (Trust) as owners. It may not be current. Note also that these Trasher Sisters should obviously not be confused with "The Four Thrasher Sisters" (mentioned under Star Circuit in the May 1923 issue of "The Lyceum Magazine" (available for viewing via Google Books).

I'll second the recommendation for Raymond Burke. Although Buck is sitting on a wealth of material, he has issued some gems, such as the Condon Town Hall concerts and the 6 and 7/8 String Band set. American Music seems to have died along with Bunk Johnson in the late 40s. But Atlantic and Good Time Jazz continued to make traditional recordings in the 50s (Paul Barbarin, Wilbur DeParis, Kid Ory, etc.) Storyville was also very active in the 50s, recording both US and European traditional bands. Joe Mares' Southland label was very active in New Orleans in the 50s. This was not always a good thing - the quality of their output varied a lot. But the best stuff was excellent, and a lot of it is coming out on American Music, since George Buck owns the Southland catalog now. Check out the underrated clarinetist Raymond Burke for an example of the good stuff.

You must mean "Back To The Ballroom -- Live At Donte's 1970" See here: http://www.dustygroove.com/item.php?id=rp2grmkwj9&ref=upcoming.php From the description, they appear together.

tranemonk: Sounds like you have just a "best of" set of selections from what was originally on the 10-cd box set.

Several online reviews of the Classics CD (which seem to point back to AMG) suggests that the horn players on that date are unknown: >>> Leading an intimate rhythm section billed as Edgar Hayes & His Stardusters, the pianist cut a version of "Stardust" for V-Disc in May of 1946 with a vocal by drummer Bryant Allen. The rest of the story took place in Los Angeles, where in 1948 Hayes laid down eight superb tracks with Allen, amplified guitarist Teddy Bunn, and legendary West Coast bassist Curtis Counce. Just as "In the Mood" had an enormous impact on popular music before and during the Second World War, "Fat Meat 'n Greens" would prove to be resoundingly influential throughout the 1950s. "Edgar's Boogie" and five additional groove tunes form a very hip finale to the Edgar Hayes story, with a strong shot of R&B and several unidentified horn players adding their sauce to the mix. >>>

Looks like the Muse LP is a reissue of the 1974 LP. See here: http://www.dustygroove.com/item.php?id=fqmrw4985f

The Shavers sides were also issued on an LP on Onyx.

Ironically, I was just listening to the 1946-1947 performances, volumes 1 & 2 yesterday. One of the transcription discs is also in the to be listened to pile.

Already mentioned in this thread: http://www.organissimo.org/forum/index.php...c=6416&st=0

Excellent news! Thanks for the heads up. The film was shown as part of a film festival a few weeks ago in the Boston area but, unfortunately, was sold out. I figured it would turn eventually, but not this soon.

Steve: Welcome to the board. This release was the subject of an earlier thread: http://www.organissimo.org/forum/index.php...5&hl=Waller I received a copy recently as a gift from another member and can heartily recommend it!

Rhymes with revs (as in what you might say that someone does with an engine). I often saw him in the neighborhood in which I lived in the 1980s. For some time after he passed, I still half expected to see him when I rounded the corner at Mass. Ave. and Boylston Street. He seemed like a nice guy.

There's another Rex label that seems to have been based in New York. I have a 78 album set of Barney Bigard on Rex (RX J-9001 and -9002).

Presumably it was Coulomb's Law. I had to look it up since it's been a long time, but it says that the electrostatic force between two charged bodies varies in direction proportion to the product of their charges and in inverse proportion to the square of the distance between them.

jazzbo550: I can't help you with any Teddy Weatherford (note spelling) recordings made in India beyond those on the Harlequin "Hot Jazz and Dance in India" LP which I gather you have already. You might be interested in the following thread that concerns, in part, Weatherford recordings: http://www.organissimo.org/forum/index.php...mp;hl=Gonsalves Perhaps you can shed some light on one issue that's discussed in that earlier thread, namely whether the tenor saxophonist Paul Gonsalves who recorded with Weatherford in India is the same musician who played with Duke Ellington. My recollection is that I found a book online that stated that it was a different Paul Gonsalves. However, another poster stated that it was in fact the same musician.

Make it four. I'm in.

Anticipating a possible follow up question, Atlantic SD1425 is issued as "Essence" by John Lewis with Gary McFarland's Orchestra.

Correct. "Night Float" is a Gary McFarland composition. A version from September 9, 1960 by John Lewis and His Orchestra (including Dolphy) was included on Atlantic SD1425.

Coincidentally, I just saw George in Brookline (just outside Boston) a couple of weeks ago as part of the group "Trio This." They have a new release called "That!" (GM Recordings 3050). No accordion.

Yes. The 40th anniversary.

I just saw Shepik last night (Tuesday) in Boston in a group with Dominique Eade (vocals), John Lockwood (bass), and Billy Hart (drums).