Podcast appearances and mentions of The Dorsey Brothers

Features vintage recordings by The Boswell Sisters, The Dorsey Brothers and Ina Ray Hutton.  We also listen to a catchy little jingle from "Patti Cake Cookies". Consider supporting The Big Band and Swing Podcast by becoming a Hepcat.  Learn more at SupportSwing.com. * The music featured in this podcast is considered Public Domain.  Artists are credited within the podcast.

Support us on Patreonhttps://www.patreon.com/user?u=4279967Jack Benny TV Videocasthttps://open.spotify.com/show/6BDar4CsgVEyUloEQ8sWpw?si=89123269fe144a10Jack Benny Show OTR Podcast!https://open.spotify.com/show/3UZ6NSEL7RPxOXUoQ4NiDP?si=987ab6e776a7468cJudy Garland and Friends OTR Podcasthttps://open.spotify.com/show/5ZKJYkgHOIjQzZWCt1a1NN?si=538b47b50852483dStrange New Worlds Of Dimension X-1 Podcasthttps://open.spotify.com/show/6hFMGUvEdaYqPBoxy00sOk?si=a37cc300a8e247a1Buck Benny YouTube Channelhttps://r.search.yahoo.com/_ylt=AwrOoc1Q5bllBgQA469XNyoA;_ylu=Y29sbwNncTEEcG9zAzEEdnRpZAMEc2VjA3Ny/RV=2/RE=1707891281/RO=10/RU=https%3a%2f%2fwww.youtube.com%2f%40BuckBenny/RK=2/RS=nVp4LDJhOmL70bh7eeCi6DPNdW4-Support us on Patreonhttps://www.patreon.com/user?u=4279967

Support us on Patreonhttps://www.patreon.com/user?u=4279967Jack Benny TV Videocasthttps://open.spotify.com/show/6BDar4CsgVEyUloEQ8sWpw?si=89123269fe144a10Jack Benny Show OTR Podcast!https://open.spotify.com/show/3UZ6NSEL7RPxOXUoQ4NiDP?si=987ab6e776a7468cJudy Garland and Friends OTR Podcasthttps://open.spotify.com/show/5ZKJYkgHOIjQzZWCt1a1NN?si=538b47b50852483dStrange New Worlds Of Dimension X-1 Podcasthttps://open.spotify.com/show/6hFMGUvEdaYqPBoxy00sOk?si=a37cc300a8e247a1Buck Benny YouTube Channelhttps://r.search.yahoo.com/_ylt=AwrOoc1Q5bllBgQA469XNyoA;_ylu=Y29sbwNncTEEcG9zAzEEdnRpZAMEc2VjA3Ny/RV=2/RE=1707891281/RO=10/RU=https%3a%2f%2fwww.youtube.com%2f%40BuckBenny/RK=2/RS=nVp4LDJhOmL70bh7eeCi6DPNdW4-Support us on Patreonhttps://www.patreon.com/user?u=4279967

Mary Gilbert was there singing with her Uncle's Big Band when she was a child. Part of the Jessup genes have been past on to Mary, who along with husband Brent Gilbert have managed to secure a place in Mid-Michigan's jazz scene, with the likes of Easy Street & Co., Second Time Around, and their own duo, He Said She Said. Between Brent's lush guitar tones, rush Mary's unique vocal delivery, a stand out mid-state to those who love jazz as well as the likes of Crosby/Stills/Nash. Her story begins with her Uncle Dick Jessup and continues to this day. Tune in to the MMHP now to get your 40s/50's/60's swing of Sammy Davis Jr. and the Dorsey Brothers, updated to now, with absolutely incredible detail and backstory...

SynopsisThe American composer John Harbison was born in 1938, and so, as a young lad, grew up at the tail end of the Golden Age of radio and the big band Era of Count Basie, Duke Ellington, the Dorsey Brothers, and Benny Goodman.“Over the radio,” writes Harbison, “came sounds played by bands in hotels and ballrooms, now distant memories that seemed to a seventh-grade, small town, late-night listener like the pulse of giant imagined cities.”Decades later, John Harbison translated those early musical memories into a three-movement composition for a big band orchestra. “These sounds,” he recalled, “layered with real experience of some of their places of origin, magnified, distorted, idealized, and destabilized, came into contact with other sounds, some of recent origin, and resulted in a celebratory, menacing suite I titled Three City Blocks.”The U.S. Air Force Band gave the premiere performance of “Three City Blocks” on today's date in 1993. And, keeping in the spirit of the old days when every major hotel could boast its own dance band, Harbison's Three City Blocks premiered at the Hilton Hotel in Fort Smith, Arkansas.Music Played in Today's ProgramJohn Harbison (b. 1938) Three City Blocks New England Conservatory Wind Ensemble; Frank Battisti, conductor. Centaur 2288

Features vintage recordings by The Dorsey Brothers, Martha Tilton and Harry James.   Ronnaldo dusts off the Panoram 2000 to play a Soundie called "The Skunk Song". Consider supporting The Big Band and Swing Podcast by becoming a Hepcat.  Learn more at SupportSwing.com. * All music in this podcast are Creative Commons.  Artists are credited within the podcast.

Bert Parks hosts The Dorsey Brothers on this broadcast from October 11, 1956.

Six performances on television across nine weeks in early 1956. Not only did Elvis's life and career changed so dramatically between them, but the face of America's cultural landscape, as the establishment voices of popular and country music fought the tidal wave of rock and roll on all fronts, winning some small victories like Dot Records's attempt to obliterate Little Richard's original "Tutti Frutti" with Pat Boone's atrocity, but ultimately losing the war as Elvismania takes over the nation. When Elvis first steps on camera for Tommy and Jimmy Dorsey's TV program in January, 1956, he's a novelty that can only be compared to Johnnie Ray... by the time he leaves, he's on track to being on the big screeen. Bec, Gurdip and Justin sit down to review all six Stage Show appearances, twelve songs in total, and try to unpack their significance. For Song of the Week, Justin takes the lead first to draw attention to the last real new cut for Elvis penned by Mort Shuman, "You'll Think of Me," then Bec digs deep on the gospel classic "Lead Me, Guide Me" and its writer Doris Akers, and finally, Gurdip tries to reason out why a 1957 Elvis bothered with the moody Cole Porter ballad, "True Love," originally by Bing Crosby and Grace Kelly. Sadly, video of Elvis's Stage Show appearances are largely commercially unavailable. Some individual performances are available in documentaries like Elvis '56, This is Elvis (theatrical and extended cuts) or The Great Performances. Some fans have shared a handful of performances on YouTube and other video hosting sites sourced from old non-official products and VHS collections, but we must acknowledge that there simply is currently no one-stop shop for all of them. If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. If you are unable to support us via Patreon, but want to support us another way, please make sure to leave a positive review or mention our show to another like-minded music history and movie enthusiast.

1 - Who Stole the Lock - Alabama Washboard Stompers - 19312 - The Man That Stole My Luncheon - The Boys from Home (Larry Griffin and Dinny Doyle) – 19283 - Somebody Stole My Gal - Cab Calloway and his Orchestra – 19314 - Someone's Stolen My Sweet, Sweet Baby - Bennie Krueger - 19255 - Some Rival Has Stolen My True Love Away - Alexander Kisselburgh - 19286 - The Pal That I Loved Stole the Gal That I Loved - Vernon Dalhart – 19247 - Somebody Stole My Rose-Colored Glasses - The Striders - 19488 - Someone Stole Gabriel's Horn - Bing Crosby with the Dorsey Brothers' Orchestra – 19409 - Oh! You Rogue (You Stole My Heart) - The New Dixie Demons – 193610 - The Song that Stole My Heart Away - Henry Burr - 191411 - Oh, Joe, with Your Fiddle and Bow (You Stole My Heart Away) - Peerless Quartet – 191612 - One Stolen Kiss - International Novelty Orchestra – 192513 - Stolen Moments - Rudy Vallee and his Connecticut Yankees – 193014 - Who Stole the Tiger's Rug? - Eddie Tower und sein grosses Tanzorchester – 194115 - Hanno Rapito La Luna (Stolen Moon) - Nino D'Aurelio - 194516 - Somebody Stole My Break - Louis Armstrong and his Orchestra - 193617 - That Stolen Melody - Tommy Dorsey and his Orchestra - 193718 - Gracie Takes up Crime Solving - George Burns and Gracie Allen – 1947 (Radio Comedy)19 - The Purloined Ruby – Sherlock Holmes – 1945 (Radio Drama)20 – You Stole My Wife, You Horse Thief - Dizzy Gillespie and his Orchestra – 194921 - Somebody's Stolen My Honey – Ernest Tubb – 194822 - Who Stole That Train – Ray Price – 1953

The Little Ramblers - small group recordings from the California Ramblers . . Goofus Five, Little Ramblers and the Five Birmingham Babies featuring Adrian Rollini, Bobby Davis, the Dorsey Brothers, Red Nichols, Bobby Moore, Chelsea Quealy, Sam Ruby and Abe Lincoln among others - great hot jazz from the mid 1920's! --- Support this podcast: https://anchor.fm/john-clark49/support

Shellac Stack No. 275 salutes brothers and sisters. We hear from the Hylton Sisters, the Brown Brothers, the Aaron Sisters, the Mills Brothers, the Cook Sisters, and the Dorsey Brothers… you get the idea! It's the Sounds of Siblings on this Shellac Stack. Thanks for your support on Patreon: patreon.com/shellacstack

Jazz musician Snoozer Quinn (1907 - 1949) is one of the guitar world's great enigmas. In his prime, he performed alongside Paul Whiteman, Bix Beiderbecke, the Dorsey Brothers, Louis Armstrong, and others; lore has it that even Les Paul even learned how to hammer-on and pull-off from Snoozer. But today Snoozer is largely forgotten because his only attempt at solo studio recordings completely disappeared and he died young after a long battle with tuberculosis. To add insult to injury, the only surviving film footage of Snoozer playing guitar has no audio and the only solo recordings we have of him were literally taped from his deathbed. On this week's Fretboard Journal Podcast, we take a look at Snoozer's life and legacy with Katy Hobgood Ray and Dan Sumner, who just co-authored a book entitled Snoozer Quinn: Fingerstyle Jazz Guitar Pioneer (Out of the Past Music). Half of the book features Katy's exhaustive biography on Quinn (one of her distant relatives) with rare photos, while the other half features Dan's transcriptions of eight Snoozer Quinn arrangements. Over the course of our interview, we learn about Snoozer's troubled life, how he got his name, his reputation among his peers, his Gibson instruments, and more. Then Dan sheds light on the Herculean task of transcribing the complex work of Snoozer from the available fragments and breadcrumbs, the guitarist's unique technique and tunings, and a lot more. Snoozer Quinn: Fingerstyle Jazz Guitar Pioneer is available here.  The Fretboard Journal is a reader-supported magazine. If you'd like to subscribe, support what we do, and get our 50th issue (now mailing), simply click here. We're throwing a 2022 Fretboard Summit in Chicago, where for three days you can attend workshops, panel discussions, live podcast tapings, and try out rare and priceless guitars with the staff of the FJ. Click here for ticket information.  This episode is sponsored by Peghead Nation (use the promo code FRETBOARD and get your first month free or $20 off any annual subscription); Retrofret Vintage Guitars; Izotope (use the discount code FRET10 to save 10% off your Izotope purchase); and Calton Cases.

Syncopated Yodelin' Man - overcome your prejudices! While the three singers here (Roy Evans, Jimmie Rodgers and Emmett Miller) have definite country and minstrel influence, they are backed by some great bands including the Dorsey Brothers, Benny Goodman, James P. Johnson, Louis Armstrong, Jack Teagarden and Arthur Whetsol --- Support this podcast: https://anchor.fm/john-clark49/support

Includes vintage Big Band recordings by Duke Ellington, Kay Starr, Bea Wain and The Dorsey Brothers.  We also learn Ronnaldo still needs a lot of work with his German and we are introduced to the Robot Monster. Consider supporting The Big Band and Swing Podcast by becoming a Hepcat.  Learn more at SupportSwing.com. * All music in this podcast are Creative Commons.  Artists are credited within the podcast.

ARTIE SHAW brief bio and Ritz Carlton, Boston. Radio show August 19, 1930 on NBC Network. Helen Forrest, vocalist. COUNT BASIE NBC Parade Of Bands from Birdland, NYC July 7, 1956. TED WEEMS on Beat The Band radio show April 7, 1940 with vocalist Perry Como. Garry Moore is host. BEN POLLACK radio remote broadcast. DICK JURGENS Hotel Clairmont remote on NBC Jun 26, 1946. BENNY GOODMAN Camel Caravan radio show Swing School in CBS August 10, 1937. DICK STABILE on Navy Swings transcription. DORSEY BROTHERS from Cafe Rouge Hotel Statler NYC on NBC. DUKE ELLINGTON November 7, 1940. GLENN MILLER September 25, 1940. GLEN GRAY Meadowbrook Ballroom.

Shellac Stack No. 255 wipes the pan with the High Hatters and dreams with Elliot Lawrence's Orchestra. Along the way, we hear from Morton Harvey, Fats Waller, the Dorsey Brothers, Duke Ellington, Jack Denny, the Ritz Quartet, Buddy Clark, Ruth Etting, and many more. Join us! (Support the Shellac Stack on Patreon: patreon.com/shellacstack — thank … Continue reading »

Shellac Stack No. 247 shimmies with the Dorsey Brothers! We hear from Turk Murphy's Jazz Band, the Royal Hawaiian Serenaders, Helen Forrest, Shep Fields, Coon-Sanders, Frankie Marvin, Sam Lanin, the Drifters, and many more in this variety-packed musical hour. Thanks for keeping the Shellac Stack spinning with your contribution on Patreon: patreon.com/shellacstack

WETF Show - Solo Hop - early Glenn Miller arrangements for the Dorsey Brothers Orchestra, The Ray Noble American Orchestra and Miller's first recording session. Charlie Spivak, Bunny Berigan, Pee Wee Erwin, George Thow, Tommy Dorsey, Jack Jenney, Johnny Mince, Jimmy Dorsey, Skeets Herfurt, Eddie Miller, Bud Freeman, Claude Thornhill and others! --- Support this podcast: https://anchor.fm/john-clark49/support

1 - You Got to Get Yourself a Job, Girl - Wynonie "Mr. Blues" Harris and his All-Stars – 19472 - Going Up, With the Elevator Man - Burkhart and Standard Quartette – 19123 - Elevator Woman - Sonny Boy Williamson - 19464 - Willie, the Chimney Sweeper - Ernest Rogers – 19275 - I Lost My Job Again - Billy Williams with Swing and Sway with Sammy Kaye – 19456 - Zapateado (The Cobbler) by Sarasate - Sasha Culbertson, violin and Helen Hamilton, piano - 19267 - Papa Niccolini (The Happy Cobbler) - Garry Stevens and the Stardusters with Charlie Spivak and his Orchestra – 19418 - Ice Man Blues - George Kirby with Tom Archia and his All Stars - 19479 - Ice Man! - Billy Mitchell – 195310 - The Happy Blacksmith - Prince's Orchestra - 191511 - The Village Blacksmith Owns the Village Now - The Happiness Boys: Billy Jones and Ernest Hare – 192612 - A Job Like That - Will F. Denny - 189913 - We've Got a Job To Do - Fred Waring and his Pennsylvanians – 194214 - A Little White Lighthouse - Jack Leonard with Tommy Dorsey and his Orchestra - 193715 - Det Gamle Fyr (The Old Lighthouse) - Zetterstrom og Kristoffersen med Willy's Kvintett - 1930's16 - Lumberjack's Call - The Georgia Crackers - 194617 - My Very Good Friend - The Milkman - Kay Weber and Bob Eberle with the Dorsey Brothers' Orchestra – 193518 - The Body Snatchers - Suspense – 1942 (Radio Drama)19 - A Job for Willie - The Phil Harris /Alice Faye Show – 1948 (Radio Comedy)20 - The Blacksmith and his Anvil - Prince's Orchestra - 1914

Songs include: Windy City Boogie Woogie, Gone With the Wind, Night Winds, They Call the Wind Mariah, The Four Winds and the Seven Seas and Ill Wind. Musicians include: Maxine Sullivan, the Dorsey Brothers, Nat King Cole, Chet Baker, Big Joe Turner, Mel Torme and Stan Getz.

Bing, Oh Where Can You Be . . early recordings of Bing Crosby with the Rhythm Boys, Paul Whiteman, Gus Arnheim, the Dorsey Brothers . . also his first solo records with Red Nichols, Matty Malneck, Eddie Lang, Snoozer Quinn, Frank Trumbauer, Jimmy and Tommy Dorsey, etc. --- Support this podcast: https://anchor.fm/john-clark49/support

Episode 7. – The Power Of Krill. Dave and Igor will be re-posting the initial 9 episodes of Lambert’s Basement, for you to once more enjoy. Since there is no new Big Band sounds being created, and that Dave has limited availability these days, a regeneration of the Classic Era sprang to mind. Listen in and hear a plethora of Big Band Jazz from a veritable Golden Age of music, and the humble beginnings of Lambert’s Basement. Kicking off with some Duke Ellington, and Benny Goodman, then on to The Dorsey Brothers, and Ellie Mae Morse, with many more! Dave had a rather obvious cold, so forced Igor to self-isolate.

Andrew and Dan have spent the majority of this podcast trying to outrun the Dorsey Brothers, but it seems the time of reckoning has finally come. This week, they discuss Big Band juggernaut Jimmy Dorsey and one of his many hits of the War Years. They also spend an inordinate amount of time talking about Zack Snyder's Justice League. Go figure!

The Gene Kardos Orchestra was a busy and frequently recorded band in the early 1930's - based at the Gloria Palast in the Bronx, they were one of the few white groups playing really hot dance music during the Depression years. While they recorded under Kardos' name (and a variety of pseudonyms) for Victor, Melotone and the ARC labels, it was featured under the name of their pianist, Joel Shaw for recordings made for the Crown label. These records were, if anything, hotter than the Kardos sides - featuring no well known Jazz players, this band was known to swing harder than its competition - Ben Pollack, Casa Loma and the Dorsey Brothers. --- Support this podcast: https://anchor.fm/john-clark49/support

1 - Dance and Grow Thin - Joseph C. Smith's Orchestra – 19182 - Hand Me Down My Walkin' Cane - The Boswell Sisters and The Dorsey Brothers – 19323 - I'm Walking Around in Circles - Broadway Bellhops - 19264 - Walkin' This Boogie - Roosevelt Sykes and The Honey Drippers - 19525 - Walking Blues - Raymond Barrow – 19296 - Dance of the Octopus - Red Norvo Quartet – 19337 - Run, Rabbit, Run! - Marion Mann with Bob Crosby and his Orchestra – 19408 - Run Little Rabbit - Cab Calloway and his Orchestra – 19419 - Bug Dance - Chet Atkins and his Colorado Mountain Boys – 194710 - Run, Run, Run - The Andrew Sisters with Vic Schoen And His Orchestra - 194411 - Running Around in Circles - Lil Green and Her Band - 194912 - Run Joe - Louis Jordan and The Calypso Boys – 194613 - Save The Last Dance for Me - Erno Rapee's Orchestra – 193214 - Shall We Dance - Rose Blaine with Abe Lyman and His Californians – 193715 - Dance-O-Mania - Selvin's Novelty Orchestra - 192016 - Dance-O-Mania - Isham Jones Rainbo Orchestra – 192017 - Tain't No Sin to Dance Around in Your Bones - Dick Gardner with George Olsen and his Music – 1929

Episode 37 features classic tunes from Benny Goodman, Gene Krupa, Charlie Barnet, The Dorsey Brothers and many more.  Ronnaldo also plays a "comforting" Atomic Bomb public service announcement.  ...and remember, if you want to listen to more Big Band and Swing Music check out SwingCityRadio.com to hear Your Big Band Favorites from the 1930's, 40's and Today! * All music in this podcast are Creative Commons.  Artists are credited within the podcast.

Cleveland disc jockey Bill Randle introduced Elvis Presley on his national television debut on The Dorsey Brothers program, Stage Show,Saturday, January 28, 1956.Prior to that he had worked with Elvis in October 1955 on"Making a Movie Short"The title was "The Pied Piper of Cleveland" I’m joined by Roger Hall who is a music preservationist and 1960s songwriter and drew his inspiration from Elvis songs.He worked with Bill Randle in the 70's and discusses with me the possible whereabouts of the movie today and other Elvis related topics. Please visit Rogers website using the link belowhttp://www.americanmusicpreservation.com/earlyelvis.htmYou can contact me by e mail atelvistheultimatefanchannel@gmail.comand on Facebook and Twitter also.My podcasts are available on all good podcast providers such asSpotify, Amazon Music,Apple Podcasts,Podbean,Google Podcasts,Stitcher and iHeart Radio to name just a few. 

  I sat down with my dear friend, the great Hammond B3 organist, Papa John DeFrancesco. When I first starting exploring the music scene in Phoenix, AZ after moving here in 2004, I came across this cool club called Bobby C's near downtown Phoenix. On Sundays, they would serve the most amazing Southern food and they had Papa John and band playing jazz that I hadn't heard since I left New York City. Papa John, if you haven't already guessed, is the father of the great organist Joey DeFrancesco. Papa John and I took to each other right away and he used to let me sit in and we became life long friends. When the drum chair opened up with his band, I got the call and we've been playing together ever since. I hope you enjoy this conversation with this beautiful person and amazing jazz organist. He's a treasure and I'm honored to call him a friend and mentor. Connect with Papa John DeFrancesco: Personal Facebook Page: https://www.facebook.com/john.defrancesco3 Facebook Fan Page: https://www.facebook.com/Papa-John-DeFrancesco-101631944618/ Papa John's CDs: "Desert Heat" - https://amzn.to/2BXx9JF "All in the Family" - https://amzn.to/39V5aH2 "Comin' Home" - https://amzn.to/3ibVnj4 "Big Shot" - https://amzn.to/33oo5sJ "A Philadelphia Story" - https://amzn.to/2XrsFm6 "Hip Cake Walk" - https://amzn.to/3fC4nfH "Walkin Uptown" - https://amzn.to/3keUMyz "Jumpin'" - https://amzn.to/33ooiw1 "Doodlin" - https://amzn.to/3ftpmB2 Podcast Music By: Andy Galore, Album: "Out and About", Song: "Chicken & Scotch" 2014 Andy's Links: http://andygalore.com/ https://www.facebook.com/andygalorebass If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts/iTunes? It takes less than 60 seconds, and it really makes a difference in helping to convince hard-to-get guests. For show notes and past guests, please visit: https://joecostelloglobal.com/#thejoecostelloshow Subscribe, Rate & Review: I would love if you could subscribe to the podcast and leave an honest rating & review. This will encourage other people to listen and allow us to grow as a community. The bigger we get as a community, the bigger the impact we can have on the world. Sign up for Joe's email newsletter at: https://joecostelloglobal.com/#signup For transcripts of episodes, go to: https://joecostelloglobal.com/#thejoecostelloshow Follow Joe: Twitter: https://twitter.com/jcostelloglobal Instagram: https://www.instagram.com/jcostelloglobal/ Facebook: https://www.facebook.com/jcostelloglobal/ YouTube: https://www.youtube.com/channel/UCUZsrJsf8-1dS6ddAa9Sr1Q?view_as=subscriber Transcript Papa John: Right now, I'm praying. Joe: Hey, everybody, welcome to the Joe Costello show. I'm really happy that you're here and you are giving me your ears and listening to the podcast. I have a very special dear friend, special guest, amazing jazz musician, my dear friend, Papa John DeFrancesco. Welcome, Papa John. How are you doing, man? Papa John: Yes, I'm doing good, I'm talking to you. Joe: So Papa John: My Joe: Nice Papa John: Main Joe: To see your Papa John: Man. Joe: Face there. Papa John: Good to see you, Joe. Joe: Yeah, man, so how are you doing? Papa John: Then. Joe: How are you doing? Papa John: I'm doing good, Joe. Every day is a better day. Man. Joe: That's good, yeah. Papa John: I got the say Angel me so she's Joe: I Papa John: Like. Joe: Know, I know Papa John: Putting up with my crap Joe: You Papa John: The. Joe: And you're doing Papa John: The. Joe: Some swimming, right? You're staying cool. Papa John: Yeah, in the past, we had Joe: Yeah, Papa John: A big bathtub Joe: Yeah, Papa John: Man, Joe: Is it warm? Papa John: The pool was like ninety seven man eighty nine the other day. Joe: Oh, my gosh. Papa John: I know you when you first go in, you cool off Joe: Yeah, Papa John: And then you get warm. Joe: Yeah. Papa John: And then you come out and you're cool for about 30 seconds. Joe: Welcome to Arizona. Papa John: Is beautiful that. Joe: Yeah, so, man, I'm really excited, I want to give my own quick sort of history of you and I and and then and then I want to kind of go back to where you started and how we both actually had similar influences with our our fathers being Papa John: I Joe: Musicians Papa John: Saw that Joe: And stuff. Papa John: In. Joe: Yeah. Yeah. So for me, so I moved to I moved to Arizona, Scottsdale, Arizona in two thousand four, didn't really know what the scene was, did and didn't play much, didn't go out to do anything. And then all of a sudden I heard about this cool place called Bobby C's Papa John: Oh, my God, that was the place, man. Joe: Yeah, and I walk in the door and it's just all Southern cooking and you're behind the B3 and you have all these great musicians playing with you. And I just say, WOW!. And I think we started making it a Sunday ritual that we would go there every Sunday Papa John: Yeah, Joe: And hang out. Papa John: You Joe: Yeah, Papa John: Were there Joe: Yeah. Papa John: With Joe: And Papa John: Their Joe: Then Papa John: Brother. Joe: And everybody was nice enough to some point I got to sit in and then I got to got to sit in a little bit more and Papa John: We Joe: Then Papa John: To talk. Joe: Yeah. Papa John: And Joe: We Papa John: You Joe: Had. Papa John: Would never say you were a drummer when I found that out. Get your butt off your back. Joe: I was keeping it on the down low, there was a lot of Papa John: Yeah. Joe: Great players there. I didn't want to, you know, Papa John: Your Joe: I wanted Papa John: Great Joe: That Papa John: Player, Joe: Just Papa John: Joe. Joe: Thanks man. That means a lot coming from you, as you know. Papa John: Now we play, I tell you what, I enjoy working with the. Joe: Well, thank Papa John: You're Joe: You. Papa John: You're you're one of the very few people you played music with that listen. Joe: Well, thank Papa John: You Joe: You. Papa John: Know that deal, you get up there and nobody is listening Joe: Yeah, well, Papa John: Everybody Joe: I appreciate Papa John: Playing in Joe: It. Papa John: A different place played a different band Joe: Yeah, Papa John: And. Joe: Yeah, well, Papa John: Well, let's Joe: That Papa John: Go, let's go, Joe: I Papa John: Let's Joe: Appreciate Papa John: Go. Joe: That and yeah, and I feel the same way because literally I didn't know many people around town but you and you and I've said this to you before and but I don't think it has sunk into your thick skull that you literally gave me like a chance and a more opportunity Papa John: Oh, Joe: Than Papa John: My God. Joe: Most people have ever given me in my musical career. Papa John: Oh, Joe: And that's Papa John: My Joe: The truth. Papa John: God, Joe: It's the truth. Papa John: You're going to make me cry live Joe: No, Papa John: In. Joe: No, no, it's the truth, I was nobody I was in and after sitting in for a while and you would always let me sit in and then and then we started playing together, like, regularly. Papa John: Yeah, Joe: Right. And Papa John: Yeah. Joe: That was cool. I was like, wow, I'm playing with one of the jazz greats on the B3. And it means a lot to me. And my father Papa John: Na Joe: Was proud. Papa John: Na Joe: My parents Papa John: Na, Joe: Were Papa John: Then Joe: Proud. Papa John: Your Joe: Yeah. Papa John: Dad was cool man Joe: Yeah, it meant a lot. So Papa John: We had a Joe: Yeah, we had a blast. Papa John: Mutual man like we got into some nice grooves. Joe: Yeah, we did, Papa John: Now, Joe: Yeah, we Papa John: Boy, Joe: We had some nice gigs. Papa John: Nice, nice gig, Joe: Well, Papa John: Good Joe: Hopefully, Papa John: Music. Yeah. Joe: Hopefully there'll be more coming up once the world gets back to some sort of Papa John: And. Joe: Whatever. I don't know what it's going to be, but. Right. Papa John: God help us to get back, Joe: All right, Papa John: It Joe: Cool. Papa John: Always does by then I'll be one hundred and forty cases of that. Joe: They long as you're here with us, that's cool. We Papa John: Ah Man Joe: Don't care, so. Papa John: Beautiful Joe Joe: So let's go back and tell me how this started for you, because I know besides music, like I said, we we talked about what what part of this you want to talk about. And if it's all Papa John: Would Joe: Music Papa John: Anyone? Joe: Or you want to you want to talk about anything else. So tell me about your father or how this music started for you. Papa John: It's very similar, I guess, here, but I was I wanted to play man, and so he said I told him I wanted to play the saxophone. I was about six five. He said it's too big for you, so he started me out on clarinet. I started playing clarinet and then I heard this guy named Louis Armstrong. Trumpet player. I saw I play trumpet. He said I got 15 million saxophones in there. You want to play trumpet? Though he got when I bought me a trumpet, I was about 10 years old i guess. He taught me how to play. And. Next person I saw that kind of play school band in school, and there is a lot of good friends I met when I was a junior in high school and Joe: And where was Papa John: The next. Joe: This, was this all Philadelphia? Papa John: Niagara Falls, New Joe: Oh, Papa John: York. Joe: That's right, I totally forgot Niagara Papa John: And Joe: Falls. Papa John: A New York woman, we're Joe: That's Papa John: Both from Joe: Right. Papa John: New York Joe: I know, Papa John: State. Joe: But I forgot that's where you started out. Papa John: Niagara Falls, New York, man, it was a real beautiful city at one time. And I was always but I dug it,  I love airplanes and cars Joe: I know Papa John: And Joe: You like cars. Papa John: Yeah, and music was right at the top three. I love and you know, it was cool about the music my dad taught me, but it would also take me to all these air shows because, you know, I, liked airplanes my mom about you coming Jen, Jenny my mom. Where, to look at airplanes and I go shopping or something. So but most of my my life is the music that you go out and you hear somebody and you go nuts. And then my next biggest thing was in 1959 when I saw Jimmy Smith Joe: Where was that? Papa John: That was in Buffalo, Kleinhans Music Hall, The Trio too, Donald Bailey and Kenny Burrell, Joe: WOW! Papa John: Stanley Turrentine came later. But I saw, man those cats were dealing. Holy Cow!, that organ, ya know, it's spiritual side. And it just grabbed me, but Joe: That was Papa John: I Joe: Fifty Papa John: Didn't get. Joe: Nine, you said. Papa John: Yeah, and I didn't do nothing till the 60's with the organ, but I was playing trumpet the whole time. Big band singing, all that, you know the deal. Then, I got married and the kids started coming, so I was still playing. But not the full-time I was like, well, not for three or four nights a week. Places were jumping then, you know. Joe: And this was all still Niagara Falls. Papa John: Niagara Falls, the left Niagara Falls in 1967, went to Philly, went to Philly in '57. Joe: What made you go there? Papa John: I was I was my uncle has got to get a job at Boeing aircraft, and he asked me for Niagara Falls is starting to go down and. It was on the ground, and so, yeah, I worked on airplanes and cars, so, you know, it got that bad. I met a bunch of horn players down there. Right. I was in town for two months and I met a guy at work, Am I talking to much Joe? Joe: No, this is what you're here to do. You're here to tell your story, I want to hear it in this. This is all at Boeing. Papa John: Now and I wish you could play organ man. Absolutely. I know you went downtown one time for a session and in Chester you can't get an organ player with him and said this cats gotta go. If you go, you've got to come up here, man. And then we did a lot of road thing at that time. They had Cabaret's they use to call them Cabaret's I did a ton of those Joe: So Papa John: Other people, man. Joe: So when did you start the organ? Papa John: Nineteen sixty three, wait, sixty four Joe: Sixty four. Papa John: I come home from work day and  my wife had one,  she got it for me. Joe: Oh, wow. And this is still Niagara Falls because you didn't go to Philly Papa John: No. Joe: Until 67. Papa John: Yeah, it was still there. She thought of all of this, too bar in organ called My house was never the same since man. Joe: And are you completely self-taught? Papa John: Yes, and the organ yeah, on my dad, I had a basic knowledge of me, but, you know, horn, not chords you're playing chords like, I was trying to transfer all that Joe: Right. Papa John: And it was tough, but. Joe: Well, then the tough part, too, especially for the B3 players, is the independence in the left hand right playing the base line and then being able to solo over it. Papa John: Split your brain in half man. And you thinking and you do it too. Joe: Explain to me how the organ ended up in, I know you said Laurene bought one, but was it because you saw like were you listening people like Jimmy Smith? Papa John: Oh, Joe: Was that after Papa John: Man. Joe: You saw him? You were just bit by the bug. And that was Papa John: Not Joe: That. That was it. Papa John: Every album that would come out, I get from Jimmy and then I tell Jack McGuff and there was a lot of burner's out there Ganpati. I mean there was a ton then, you know, Charles Earling and I met all these guys so now we're out doing some serious. I learned so much. Joe: So what was that first organ that was in the house? Papa John: Or the spin it. Joe: He has no say couldn't have been a full B3. I like Laurene. Papa John: Now, it was a Spinet Joe: Ok. Papa John: And then I bought Leslie. But it still wasn't a B man. And I found a B for sale, so I sold all my stuff, but B and then that's how I really learned how to play like on this thing man [plays organ] Joe: Exactly. So what was your first real gig on it? It was somewhere in Philadelphia with this when you met these guys. Papa John: On the organ?, on the B?, back in Niagara Falls, I had the organ in Niagara Falls, yeah. Once I got to B3, I got out and started playing, I love a man, I was still learning. I mean, the coordination, the coordination is tough Joe Joe: The coordination is tough, the hauling the thing around is tough. Papa John: Well, that's why I had to get surgery on my back. No, that wasn't much but you're hauling that son of a gun man, Joe: Yeah. Papa John: You know, I bought vans. I bought my old van, used to be rented trailer, mostly with trailer till I came out with vans and got a van. You know, it was it was funny, man. You go, well, I've got to move organ, the drummer said "I go get a pack of cigarettes." Joe: Exactly. Papa John: I'll be right back because I get to go get a loaf of bread. I'll be right back. Joe: Yeah, Papa John: Yeah, Joe: Yeah. Papa John: But it was quite experience lugging that monster. Joe: Yeah, so did you bring so you had a B3 in Niagara Falls, did you bring that with you to Philly? Papa John: Yes. Yeah, Joe: And then Papa John: That's. Joe: Where is that where is that now? Papa John: And at the Musical Museum. Joe: That's the original one. Papa John: Yes, the one that we played that night when we when we did the gig. Joe: Yeah. Papa John: At my first box man. Joe: Oh, my gosh, I didn't even realize that. Papa John: Nineteen sixty six by. Joe: Wow. Papa John: That's Joe: Yes, Papa John: My Joe: So Papa John: Yeah. Joe: So everybody for everybody listening in here in Phoenix, Arizona, there's the Musical Instrument Museum. It's called The MIM for short. Papa John's original B3 is there on display. They probably move it in and out on display. Right. Sometimes they'll do it's not permanent. Papa John: Yeah, Joe: They keep it there. Papa John: There, but it was Joey's first organ too ya know Joe: That's Papa John: That. Joe: Really cool. Papa John: Yeah, well, my fathers horns there at one time now playing them, yeah, was that was the first to go that the number one man we had redone. It was like. From being out on the road, being banged around, we had a guy redo it, that's the one man. Joe: Well, I didn't know that, so that that night we did that concert there, that was your we literally play it on your very first B3 organ. Man, Papa John: We're going, yeah, Joe: Oh man, Papa John: Man. Yeah. Joe: I didn't know that. I just thought that was just one of them. I didn't know that was THEE one. Papa John: That's the one I never got rid of it, never. Joe: Wow, Papa John: Never, Joe: That's incredible. Papa John: I would not you know, I could have sold that, that's Daisy, we had a name and we know what the name was, "Oh, boy." Joe: Oh, boy, Papa John: Yeah, Joe: Nice. Papa John: Come on, we had to go Ol Boy Joe: That Papa John: Mad, Joe: Is Papa John: Matt. Joe: So funny, so in those days when you weren't playing out, that was, was it always inside the house the way yours is now in your house, like you're literally sitting behind your B3 three now at your house? Papa John: And I am. It was Joe: Or. Papa John: Either in the house or in the van. Joe: Ok. Papa John: You know, one or the other, and mostly if if it was along, never had much time to take it out of the van, you know, Joe: And Papa John: It was Joe: A lot, Papa John: A go. Joe: Right? Papa John: Yeah, the only time I'd bring it down would be maintenance. You replace tubes, do the wiring and it was traveling. Joe: Did you work on it yourself, because I know a lot of you B3 organ players, man, you know Papa John: They're. Joe: You know that instrument because you can't trust that anybody else in the room is going to know what's going on. Papa John: That's right, Joe: Right, we've had Papa John: The. Joe: A member of Bobby C's, we had like something weird happen one day. Papa John: And try to remember what? Joe: And I remember you just you took off the front lid and people were in there and not people, Papa John: Yeah. Joe: But but you were kind of telling somebody, hey, just try this or whatever, and next thing you know, it's working again. Papa John: That's from years and years and years of that, putting that instrument through its bad. I mean, patience. I got a story we were playing upstairs, so we took the organ upstairs. We were taking it up. So we put two by fours on each side so we could slide it up Joe: Oh, Papa John: And Joe: Like. Papa John: A rope and the leg and the guys up front in the back pushing and all of a sudden the rope broke. I said, what? So I run down, jump. It was like lined up with a door outside door, so I jumped out the door, jumped out the door. I heard it coming down, breaking all there was Joe: Oh, Papa John: There was lights on the sides Joe: Oh, Papa John: Broke every one. Joe: My God. Papa John: Everyone came flying out almost out the door on its back. Joe: My gosh, that's like those those cartoons, that piano like it's like the Three Stooges move in a piano. Papa John: It is, it is, Joe: Oh, Papa John: And Joe: My gosh. Papa John: Flipped it over, put the tubes back in they were all loose and brought it back and went right to work, Joe: I'm sure Papa John: Played a Joe: It's Papa John: Delayed. Joe: Amazing, it's amazing. Papa John: Now it's cursing everybody, Joe: Oh, Papa John: man. Joe: Gosh. So when you you started playing in Niagara Falls on Papa John: Right, Joe: The organ and Papa John: Right. Joe: You were still playing trumpet at the same time. Papa John: Yes. Joe: Ok, and then were you also maybe while you were playing organ in a band on stage, did you ever actually pull out the trumpet, play a trumpet solo also? Papa John: Yes, yes, Joe: You did. It's called. Papa John: Because I was still learning to organ man that and I said, man, I, I've got to do something else, throw me out the gate. Joe: Oh, my Papa John: So Joe: Gosh. Papa John: I was vocalizing and playing hard, but little by little. Left, left, left. the B captured my soul, man. I just I love the instrument man. Joe: So when you were first starting to play and you had to deal with the whole left hand independence and then laying down the chords and then potentially even soloing with your right hand over the left hand bass, Papa John: They Joe: Did you? Papa John: Move in all the time. Joe: Yeah. Papa John: Yeah. Joe: Did you have in your early groups that you played in, were there bass players in those groups where you Papa John: With Joe: Didn't have Papa John: The Joe: To worry? Papa John: organ. Joe: Yeah. Papa John: Not when I got the organ man. Joe: Really? So you never. Papa John: Even with that, even with the Spinet of playing the pedal, playing the pedal. Joe: Really? Papa John: So I thought that's how you played the B3 until I got hip. I never once I got the organ. Maybe a couple times in the beginning. Yeah, I have to admit, it was a couple few gigs, man. Yeah, couldn't Joe: Yeah, Papa John: Play it, I mean. Joe: I would think you'd want that safety net in the beginning when Papa John: I Joe: You're not. Papa John: Did. You brought it back, you brought it, you just brought that guy had a base electric base, he had like a fender, I guess. Yeah, because I was like sloppy Joes and, you know. Not you Joe: No, no, no, no. Papa John: Might think my hands were going like the bottom is trying to play with the top and it can I tell you, if you lay off of this a while, your coordination takes a minute to come back. Joe: That instrument will kick your ass. Papa John: Oh, double time. And. Joe: So these gigs early on in Niagara Falls, where they were a trio gigs, were they like organ Papa John: Quartet. Joe: Or organ guitar, drums or what was the combo? Papa John: That mostly that, and then it got to Jack's one word that good, I saw it again man, you know, so then it was Jack's trio with the guitar and then we got the sax it was a quartet Joe: Ok, so let's go ahead now back to Philly and you're there, you're you're working for Boeing, right? And you are working on airplanes and helicopters. Wow, OK. Papa John: Chinooks. Joe: And then and your playing out at night, about four or five nights a week. Papa John: Yeah, but yeah, but it got very hectic, they were it was during Vietnam that. Now, where they started working 12 hour days, 6 days a week 7. So I still played on the weekends and I have to keep playing, I would be I'd be kind of mental, Joe: Yeah, now I hear Papa John: You Joe: You Papa John: Know. Joe: And at this point, do you have any kids yet? Papa John: Yeah, have two. Joe: So you had did you have any before you left Niagara Falls? Papa John: Cheryl and Johnny Joe: You did so they were born in Niagara Falls and then was Papa John: Joey Joe: Joey Papa John: You're was born here. Joe: In Philly. Got Papa John: Yeah. Joe: It. OK. All Papa John: And Joe: Right. Papa John: then then reality started to coming around Joe: Yeah, yeah. Papa John: Oh, I got to do this traveling, babies. You know what I got to say? This man, my wife never gave ultimatums. I've been blessed a lot. So I just feel so blessed man. Go through all this stuff and the kids all turned out great. Lucky, I'm blessed! people say they're lucky and blessed and lucky. Joe: We're in Philly, you're working really hard for Boeing because the Vietnam War is happening, you Papa John: Yeah. Joe: Have you have two children. I know Johnny is the oldest or Papa John: Cheryl. Joe: The Cheryls's the oldest. Papa John: Johnny Second. Joe: Then Johnny is the middle. That's why Johnny and I get along, because we're both middle Papa John: Those middle Joe: See! Ballbusters Papa John: Aged. Joe: Both of us just Papa John: Now, Joe: Right in the middle. Papa John: What about the baseball bat boy? He Joe: And Papa John: Was Joe: Then Papa John: A big Joe: And Papa John: Bob. Joe: Then Joey enjoys the youngest. Papa John: We did just go. You're going to be 50 this year. Joe: Wow. Papa John: Johnny is fifty five and Cheryl's fifty eight. Joe: So she and I are the same age. Papa John: Yeah, 1962. Joe: Yeah. Papa John: Now, October, she was born. Joe: Yeah, I was February, so Papa John: There Joe: I'm even Papa John: Is a Joe: I'm even older than her see Papa John: Couple months, and you could have been my kid man! Joe: Yeah, there you go. Papa John: Now lighting up! Joe: All right, sorry. Papa John: Nah man Joe: So we're there, we're in Philly, you're working, playing Papa John: Yeah. Joe: A little bit, but works, you know, a lot of work going on. So you're busy. Do you remember who was the first, most famous person you played with? Papa John: You try to think of, well, I played with Jimmy Smith, we played together Bobby C's to do what we did, an organ thing man. That was to me, that's my favorite. That was my. Joe: So that was Papa John: I Joe: Like, Papa John: Love the cat and Joe: Yeah. Papa John: Then George Benson and Steve Gadd. Now all them guys, I dug all those guys other cats too Jack McDuff God, he was a neat person, man. We did a lot jams, me, Jack, Gene Ludwig. Joe: I used to go see Jack McDuff up in Harlem when I lived in New York. Papa John: You were going to the right spot man that cat, what a soulful player he was. A lot of the guys that come up and play, you know, Bobby C's, we would cats come there and once they tell me name, Oh, Joe: I know Papa John: We Joe: It was. Papa John: Get a lot of cats came in like there was a guitar player there one day that played with Miles Davis . Joe: Now, we used to get a lot of incredible Papa John: Yeah, Joe: People, it was, you know, Papa John: It was a great spot. Joe: Yeah, we need another another place like that. Papa John: But that would be that wouldn't that be fun Joe: Yeah, Papa John: To Joe: But Papa John: Trade bands in and out Joe: But you played with a bunch of people like well before you came to Arizona, I mean, you're with all those Papa John: The. Joe: Heavyweights in Philly and you were telling me how even Dennis Chambers and you were really good Papa John: Dennis. Joe: Friends, right? Yeah, Papa John: Yeah, yeah, it's a real good. Joe: Right. Papa John: Your Joe: And Papa John: Good friends. Joe: And I remember when I was at the NAMM Show out in Anaheim, you had that residency gig during the week of the NAMM Show at Steamers. Papa John: Yeah, I did. Yeah, we just played the. Joe: Arturo Sandoval was on it, Papa John: Yeah, and Joe: Right, Ramon Papa John: No, Joe: Banda right? Papa John: He passed away, man. Ramone played, yeah, there was a guitar player can't think of his name, but he was a heavyweight too Joe: Oh, yeah, Papa John: Like Joe: Yeah. Papa John: We all get our shots. How about Joe Pesci? Joe: That's right, he sang, he Papa John: Yeah, Joe: Sang that night I was there sitting Papa John: Yeah, Joe: Right in front. Papa John: Yeah, Joe: That's a Papa John: Joe. Joe: Night that actually you let me sit in that night. So I got to play with Arturo and the rest of the guys. Yeah. Papa John: get your as up! Joe: Yeah, yeah, that was fun because there are a lot of I think I think that night, to be honest with you, I think if I remember correctly, Marcus Miller was sitting in the audience. Papa John: Yeah he was Joe: So Papa John: Were. Joe: Like when you pointed and I was already looked around the room and Joe Pesci was singing with you and I'm like, whoa, wait a second. But it was fun. I had it was a good time. Papa John: Joey too. Joe: That's right, Joey was on stage to right? Papa John: Yeah, yeah, what a night everybody was up there. That place is closed man. Joe: Yeah, Papa John: Is Joe: Yeah, Papa John: damn shame Joe: I know. Papa John: damn shame Joe: Yeah, so when you were in Philly, did you get up to New York, much to play. Papa John: Played a little bit in New York. Yeah, not not a lot, but a lot. I met a lot of cats in New York, I a lot of good players, but I did play there trying to think of some of the rooms. Joe: I know Philly had such a strong scene that, you know, Papa John: Ah man Joe: You probably Papa John: It Joe: Never Papa John: Was. Joe: Had to leave there to go play New York because it had its own. Papa John: We had and then I played to shore. I played in Atlantic City, I played at the Club Harlem with Manny Cambell and the Fiestas, and it was great man the ban was good too. He Be played vibes. We had a conga drummer, drummer, a horn player and a woman singer man, and in the back room there was a front room. We were playing in front of the bar, the back room, Sammy Davis Jr. playing with big band back there. Yeah, I mean, Club Harlem, Kentucky Avenue man. Across the street, Gracie,  Wild Bill Davis was there. Joe: And this was a separate room from any of the casinos. Papa John: Yeah, there was no casinos man this is 1966, '67 Kentucky was like all the clubs, like you went to Harlem or Buffalo and all that, that that's what Kentucky Avenue was all, had all the bands and mostly organ groups that was hot thing, man I got pictures, my wife and I got picture with her of people coming around and get a picture,  remember that? Yeah, you got a picture taken, Joe: Oh, you mean Papa John: There were. Joe: Like at the table, like they would do that, yeah, yeah, yeah, yeah, yes. It's also. Papa John: Back in the old days man, the old days man, let's see, you were just a baby because you were my daughter's age, I use to take the kids. I could get them into places. I'd take um. Joe: Yep, yeah, my father would do the same. Papa John:  Yeah man people would look, he was cool, he knew? He Joe: Yeah, Papa John: Knew. Joe: Yeah, it's the only way, right? It's the exposure. Papa John: Now, the kids loved it, Johnny played, Joey played, Cheryl played for a while, Joe: What she Papa John: You Joe: Play. Papa John: Know, Alto sax yeah in junior high. Joe: Yeah, and it was Johnny always drawn to the guitar. Papa John: Yeah, in fact he played trumpet for awhile. Yeah, and my dad was my dad was living with us, and then he got guitar and my dad could play his ass off too my dad, one of those old time musicians man Joe: Yeah, did he play in the in the army or the in the war during the war time or. No. Papa John: Too old man. He played with all the big bands like back, and he played with the Dorsey Brothers before the were famous when they were together, he told me they would argue from morning till night. I said, you sure they Joe: Yeah, Papa John: Weren't Italian? Joe: Exactly. Oh, nobody has seen anything until they see you and Joey and Johnny together in the same room. That right Papa John: Up Joe: There, that is gold reality TV right there, if I if I can produce that show. Papa John: Get a show, get one! Joe: Oh, Papa John: The. Joe: My gosh. Papa John: You are. Joe: Oh, my gosh. Papa John: We have to make you a part of it that you couldn't just sit out there and produce. Joe: So let's talk about your CDs, because I want to make sure I have the count right, but I count nine. Papa John: Nine. Joe: Yeah, Papa John: You Joe: That's Papa John: Got Joe: What I. Papa John: It, I got it, my wife put him in a picture frame. Joe: So do you have nine too is that, is that the count you have? Papa John: I that's that's what I have nine Joe: Yeah, because I have Papa John: That's on my own. Joe: So if I go from 19, so the first one I have is 1990 for "Doodlin". Is that correct? Papa John: That's it. That's the one that Joe: Yeah, Papa John: Was ninety Joe: It says nine. Papa John: Nine, Joe: It says Papa John: Yeah. Joe: 94. And then "Comin' Home" was released in 95. Papa John: That's the next one. Joe: And then "All in the Family" was ninety eight, and then I have "Hip Cakewalk", which was Papa John: That's Joe: Two thousand Papa John: It Joe: Two Papa John: For Joe: Thousand Papa John: Us, Joe: One. Papa John: Right? Joe: Right, and then I have "Walking Uptown" two thousand four. Papa John: That's one of my favorite one to go. Joe: And then there's two in two thousand six. There Papa John: "Jumpin'", Joe: Is. Papa John: "Jumpin'". And dadaji. Joe: "Desert Heat". That's correct, and then then we have two thousand nine, which is "Big Shot." Papa John: "Big Shot". Yeah, Joe: And then Papa John: I Joe: The Papa John: Forgot Joe: "Philadelphia Papa John: About that, Joe: Story" in 2011. Papa John: Yeah. That's the last one. Joe: That's the last one you put up a post, I think, on Facebook that that cool album cover. Does that mean there's something in the works? Papa John: I did that, I did that picture, by the way, I have an app that said, I'm going to go out here and start, man. I must have got a million hits. Joe: I know, Papa John: One day I'm coming out. We'll get it. Joe: See? Papa John: I just that's what I was doing, that somehow this is our clock. Joe: Oh, I see it moving in the background. Papa John: Yeah, my sister-in-law got it for us. I forgot about it. I would I would have turned it off and we had we had a dog and it's got all the Joe: That's Papa John: It's Joe: Also. Papa John: Got all the seasons on it Christmas. I don't know what that is pretty but I got them all memorized Joe: Yeah, Papa John: [scats] Joe: Yeah, how it Papa John: It's Joe: Long ago Papa John: Over. Joe: How long is that going to play? You know, we Papa John: It's Joe: Only Papa John: Over right now. Joe: We only have an hour. Papa John: There it goes. Hey, man, we only have an hour. Lighten up, take a break, you Joe: It's Papa John: Union Joe: Take a break. Papa John: Take a break? Joe: Is there any thoughts of, I mean or any conversation of a new new CD? Papa John: Yeah, I talked to Clark, Clark calls me about once a month. Wants to know how you feelin' and then he says, well, "When you come in the studio, Pop?", I got a bunch of stuff too I could do. I mean, I've been I don't you get ready now and have your ass in there. Unless you don't have time for. Joe: I always whataya kiddin' me...it would would be an Papa John: I Joe: Honor. Papa John: Love Joe: I'm Papa John: The. Joe: Looking at the names of all these people on these CDs and I'm like, damn, my name's not on that one, wait a second, my name's not on that one, no I'm only, kidding. Papa John: They were all done on the East Coast except Desert Heat and was with the Banda Brothers. Joe: Yeah, yeah, that Papa John: That Joe: Was special. Papa John: Was yeah, that was 05, I think, wasn't it, '06 Joe: In desert, he was '06, Papa John: Yeah, Joe: Yeah, Papa John: That's when I moved here Joe: Oh, that's when it was so it was two years after I moved here. Got it. Papa John: Yeah, that's right. You know how happy I am for you when I see all the stuff you're doing, man, I pray for this stuff for you. Joe: I'm just hustling, man, I got Papa John: Now, Joe: To just keep Papa John: Why Joe: I Papa John: You Joe: Don't Papa John: Got Joe: Like Papa John: The right? Joe: I don't like I don't like letting any grass grow under my feet. Papa John: And Joe, that's why you're going to do it, man. Joe: Yeah, well, you know what, it's I'm Papa John: That's Joe: Getting pretty Papa John: Why you're Joe: Old Papa John: Going to do Joe: If Papa John: It. Joe: Something doesn't happen soon. Papa John: Well, you can't go by now, what's going on, you knowthe epidemic or whatever the hell it is that's messed up, and the politicians, they're Joe: Yeah, Papa John: All nuts. Joe: Yeah. Papa John: I mean, so. And you're still making it. You're still doing it, man. So Joe: Well... Papa John: This is like a piece of cake after everything's straightens out. Joe: Let's hope so. We got to get back to playin' is what we had to do. Papa John: Love to man Joe: It's like Papa John: Our. Joe: Oxygen for us, you know, taking this away from us is this brutal. Papa John: You know, come here and playin' myself, and after a minute, like I tried a drum machine and I want to throw it through the window. Yeah, I try I just want to have something to play with somebody just. Joe: That's what we should do. I just throw my stuff in the car, come down there, we'll just do a little Sunday pasta dinner, but we'll Papa John: Yeah. Joe: We'll work up an appetite before that. Papa John: That would be fun Joe, I'm in! Joe: Swim a little bit. Papa John: It is our masks mandatory? Joe: No, I haven't been anywhere, you haven't been anywhere, right? Papa John: I feel like cabin fever, man, but I want to stick it out Joe: Yeah, you just Papa John: I'm Joe: Got to stay Papa John: Going Joe: Safe. Papa John: Nowhere. Joe: Yeah, both of you just need to stay safe. And Papa John: Yeah, Joe: How are Papa John: You, Joe: You going Papa John: Too. Joe: Out? Are you going out to get groceries and things like that or you having them delivered or what are you doing? Papa John: Laurine calls ahead and she goes, they throw him in the car in Joe: Good, Papa John: The back and Joe: Good, Papa John: Then she drives off Joe: Good. Papa John: Right now. Everybody out there that masks everybody Joe: Yeah, Papa John: Down here. Joe: Now Papa John: So. Joe: We wear it wherever we go, so Papa John: So do we... Joe: We'll cold, so did I miss anything that you wanted to talk about? I mean. Papa John: Well, just talking about my time on the railroad, Amtrak. Joe: Amtrak, that's right, that was after Boeing. Papa John: Way after I was playing in between all of that and then I went to Amtrak was the big one...I started as an electrician man, I start I had to learn, you have to go to school and stuff. And we needed I had my kids all grown up. And you're, like starting to go through grade school and middle school as Laurene and I are going to hang out, man. The railroad had a friend she had friends, lot of people on the railroad, and I got the job on the railroad in nineteen seventy seven. Joe: And there was a gap in between Boeing and that, so why did you leave Boeing? Just tired Papa John: Layoffs Joe: Of it. Papa John: Every 10 minutes. Government, government job and I went to Seven-Up for a while to the district sales manager and playing constantly, playing down the shore six nights. At Amtrak I became a supervisor at a big job, kept movin' and I was there 20, almost 30 years. Joe: As an electrician for Amtrak? Papa John: Let's do it in the beginning and end with electrical supervisor. We built substations, took care of all the new construction, but I was still playing Joe. I mean, my job, I was playing constantly. I had to come in to work, Saturday morning, we had to work every once in a while and I come in. Where are we? What is this? Where you go to get playin' and go to have breakfast or have a cup of coffee? So by the time you got home... Joe: Time to go right to the job. Papa John: Great. The music never stopped me, but thank God I went to the railroad because the railroad retirement is ridiculous. Joe: Yes, Papa John: So Joe: Something to be said for that, right? You know. Papa John: Yeah. I mean I never expected that. Never. That was so far from any of my thoughts. My Joe: Help. Papa John: Dad used to say when your dad said go to school, put something in that back pocket Joe: That's Papa John: What do Joe: Right, Papa John: You mean, good news, right? Joe: Yeah. Papa John: I was at your school, Fredonia, man. Joe: Yeah, because you were right out there, right? Papa John: Yeah, yeah, yeah, yeah, I, Joe: Yeah. Papa John: I worked, I did gigs there, I played yeah, well, I knew the guy who ran the station WBZ or something Joe: We forget what it is now. Papa John: Yeah, Fredonia is when I was out there, Don Menza was there, all cats who played with big bands, but that's a great music school man. Joe: Yeah, it was good when when I went, we were we were at at the peak of of what was happening with, you know, we had a student run jazz ensemble and competed at the Notre Dame Collegiate Jazz Festival, and those were run by the school. And we ran it ourself, you know. Papa John: The students you guys had a couple Joe: Yeah, it was fun. Papa John: You had some good players there, singers, players, if you wanted have somebody, go to the school, you had a great reputation Joe: Yeah, I got Papa John: And Joe: To play Papa John: Then. Joe: At the Tralfamadore Papa John: But Joe: Or. Papa John: Tralfamadore? Joe: Right. Papa John: The Tralf?. Joe: Isn't that what it was, The Tralf? That's what we called it. Right. For short, The Tralf. Yeah. Papa John: That's something man! Joe: And I spent when I was at Fredonia, I spent a summer in the Canadian side of Niagara Falls Papa John: Oh, Joe: Playing Papa John: Yeah, Joe: At that Papa John: We're. Joe: Amusement park that's right on the other side. Papa John: Right on the other side, I know, right off Lundie's Lane Joe: Yeah, and we played this little we did this doo wop show, it was Papa John: Of Joe: All Papa John: The. Joe: This company came and auditioned people at all the music schools for summer Papa John: Yeah, Joe: Jobs. Papa John: And Joe: So Papa John: You Joe: We Papa John: Got Joe: Got to hire. Papa John: Your. Joe: We got hired as a band. So it was my buddy on trumpet and a bass Papa John: The. Joe: Player friend, the sax player friend. And then we went there and played and we backed up these these two couples, that guy and girls Papa John: Right. Joe: That were doing this doo wop dancing and singing on the stage. Papa John: Ha Joe: We were Papa John: That's cool! Joe: The backup band behind them. We played a place called Lilly Langtry's Papa John: I know that is, oh Lilly...that's on Lundie's Land, you go up Lundie's Lane, the wax museum and. Joe: Correct, That's right. We actually were friends, so when we were when we were there because we lived there for the summer and these little apartments, the I think it was the either the tallest man in the world or tallest woman in the world. We Papa John: The woman. Joe: Literally yeah, we became friends with her and we would actually hang out at her apartment. And Papa John: She was cool man Joe: That's so Papa John: Or Joe: Funny. Papa John: That boy or girl, rah Joe: Yes, Papa John: Rah Joe: Yes. Yes, Papa John: Is just great Joe: Yes. Papa John: To leave it to me, to remember that stuff. Joe: It's so funny. Papa John: Remember the yard of beer? You went to the Yard In The Park when you had a yard of beer. Joe: I don't I don't know if I remember that. Papa John: The glass was a yard long filled it up. Joe: It's like those things that they walk around Atlantic City with, I mean, Papa John: Yeah, Joe: Las Papa John: Where Joe: Vegas, Papa John: They get Joe: Those huge. Papa John: Yard In The Park, it was called, Joe: That's so funny. Papa John: I played all over the place and Toronto, but you had a good gig. Joe: I don't know about that, but Papa John: It was a good gig. Joe: It was it was OK for at the time we had some fun. So. Papa John: What year was that Joe, do you remember? Joe: It had to be eighty two or three. Papa John: Oh, you are young. You're like my daughter. Joe: Yeah, I yeah, I'm surprised, I remember that I don't remember stuff that far back, but. Papa John: I remember not if it's if I want to remember that Joe: Yeah, Papa John: This done that, then  Joe: Yeah. Papa John: Railroad, I retired. The pension is crazy. Joe: And what was this what year was that, Papa John: '05 Joe: And then literally a year later, you moving out to Arizona? Papa John: Yes Joe:  Papa John:  Joe:  Papa John:  Joe:  Papa John:  Joe:  Papa John:  Joe:  Papa John:  Joe:  Papa John:  Joe:  Papa John:  Joe:  Papa John:  Joe:  Papa John:  Joe:  Papa John:  Joe:  Papa John:  Joe:  Papa John:  Joe:  Papa John:  Joe:  Papa John:  Joe:  Papa John:  Joe:  Papa John:  Joe:  Papa John:  Joe:  Papa John:  Joe:  Papa John:  Joe:  Papa John:  Joe:  Papa John:  Joe:  Papa John:  Joe:  Papa John:  Joe:  Papa John:  Joe:  Papa John:  Joe: There's our organ guitar trio once Johnny gets out here and a couple of years, Papa John: Yeah, Joe: Right. Papa John: We'll have some serious fun when. Joe: Hopefully we won't run out of places to play once we get kicked out of each one for being crazy. Papa John: Hopefully we WILL get kicked out. No, no, no, gigs are special you know,  we keep maintain part of the business man. You don't want to screw that up. Joe: So cool. So 2006, you retire Amtrak two thousand five, you pack up, move out two thousand six Papa John: Sold Joe: And Papa John: The crib back home, I Joe: You're. Papa John: Had a nice I had a nice crib too, that. Joe: But then you come out here and then and then we finally get to meet at one point, and then we play a bunch of gigs around town and. Yeah. Papa John: Yeah, we did. We played a lot man. You have to gigs you were getting gigs left and right. I went out there and start hustling your ass off. Joe: Hey, you have to, right? Papa John: Yeah. Joe: Can't sit by the phone. Papa John: No, what!? Joe: That's the that's the one thing that I just Papa John: Is Joe: Can't sit Papa John: All Joe: By the phone. Papa John: We'd be dead now you can use got to go out after man, but if you wait for the apple to drop off the tree, you'll starve to death, you got to go up and get it. His big thing was education and save your money Joe: And Papa John: To Joe: Save your money, well, you made Papa John: Get Joe: Him Papa John: An Joe: Proud Papa John: Education. Joe: Because you listen, you got yourself a nice a nice retirement package, right? Papa John: Well, I got lucky on that one man God, Thank Joe: You still Papa John: You. Joe: You still were able to maintain playing, Papa John: Yeah, Joe: You got an education Papa John: Oh, Joe: In the electrical field. Papa John: But Joe: What kind of car you have now? Papa John: Oh. Thirty nine Pontiac Joe: Yeah, Papa John: Hot Rod Joe: Yeah. Papa John: Yeah, man's got a big motor in three fifty chevy. All reworked, everything, everything's new and it's like a new car. Joe: How many times you get it out? Papa John: Well, right now, Johnny comes out, we take it out to terrorize the neighborhood, him and I put that car together. Joe: Oh, yeah. Papa John: Yeah, cut the frame off for a new frame underneath, it has disc breaks, power steering, Joe: What is Papa John: Big Joe: It again? Papa John: Motor, a thirty nine, nineteen thirty nine Pontiac, two door sedan. It's just it's a duplicate of a thirty nine Chevy. Joe: What is it like, is it blue or purple, one of the two, Papa John: Yeah, Joe: Which Papa John: Blue. Joe: One? Blue. Papa John: Yeah, Joe: Yeah. Papa John: Well, when you come down, will have to go out for a cruise man Joe: Yeah, I'd love to take that thing out. Papa John: It's fun man Joe: All right, Papa John: It's. Joe: We'll do it. We have a plan now. So we have a Papa John: Yeah. Joe: We have a Sunday pasta dinner. Papa John: A Sunday dinner, baby. Joe: But we jam first. And then we hop in the pool, get cooled off, then we come in and we eat our faces off. Papa John: Right, Joe: And then we Papa John: And. Joe: Go out for a little cruise when it gets Papa John: That's Joe: Cool Papa John: Right, Joe: Out, there Papa John: That's Joe: You go. Papa John: Well when we get done eating, we might not be able to move. Joe: That's true. So you might want to get everything done before we wat. Papa John: That one day you were making something, what was braciole that you make braciole? Joe: I have Papa John: You Joe: No. Papa John: Were cooking something, man. I don't know what it was Joe: I have no idea. I just made a killer designer for Jo Ellen's birthday Papa John: That. Joe: A couple of weeks ago. Yeah. Oh, maybe that's what it was. I put up Papa John: Yeah, Joe: The pot of the Papa John: I Joe: Sauce, Papa John: Love that Joe: The sauce boiling or the gravy, as we call it. Papa John: You call gravy. Joe: Yeah. I don't know if Papa John: You Joe: We're Papa John: Sauce Joe: Not Papa John: Tomato, Joe: Sure Papa John: Tomato, potato, potato, Joe: Exactly. Papa John: But some. Joe: You got to let us know if you're going to do a new recording so we can make sure we let everyone know. And like I said, as soon as all this pandemic stuff Papa John: No. Joe: Disappears, we see if we can get ourselves a gig or a concert somewhere again and get going. Papa John: Concert, Joe: Right. Papa John: I'd like to do that, yeah. Joe: We should get back at The MIM. Do another show up Papa John: I Joe: There. Papa John: Like the yeah, man, we could Joe: Yeah. Yeah. Papa John: Get a yeah, it was okay last time with nice man. Joe: Is there anything else that I missed? Papa John: Yeah, the gig in Albuquerque, wherever we were. Joe: Oh, my gosh. Papa John: Should have made a left turn at Albuquerque Joe: Oh, my gosh. Papa John: The Las Cruces Joe: Right, then we drive all the way there, we set up and then it poured Papa John: It rained Joe: And we couldn't play, right? We couldn't Papa John: That Joe: Play Papa John: They paid and Joe: And Papa John: We got Joe: They play. Papa John: Paid. Joe: So it was basically like a paid little two day trip. Papa John: Two day trip with pay Joe: Yeah, yeah, yeah, well, Papa John: That was terrible. I wanted to play. Joe: No, I know. Papa John: Well, I know we weren't going to play when a guy took the B3. He said it's raining, you guys aren't playing, put it in a van. They left. I guess we're not playing. Joe: Remember, we tried to even talk one of the bars around that outdoor stage to let us play. Papa John: Across the street, yeah. Joe: Yeah, it's like we're already got paid, so just move it all into your place in play inside. Oh, gosh. Papa John: We didn't get. Joe: We can't say we didn't try. Papa John: That's where I met that trumpet player, he's on the East Coast now. Joe: Cool! Papa John: This has been a nice pod... Joe: Thanks, Papa John: Of Joe: Man. Papa John: Spaghetti meatballs. Joe: They go Papa John: And little braciole Joe: Right? Papa John: Yeah, Joe: I'm Papa John: My Joe: Really Papa John: Wife Joe: Excited Papa John: Made Joe: That you Papa John: It. Joe: Came on what'd she say. Papa John: My wife made angel hair bolognese Sunday Joe: Nice. Papa John: Scrambled meat. Joe: Yeah. Papa John: I'm glad I came on too Joe Joe: Yeah, man, it's nice Papa John: I Joe: To Papa John: Love Joe: See your face Papa John: That you Joe: That Papa John: Like that and I like Joe: I Papa John: Your face too Joe. Joe: Haven't seen you in so long, so. Papa John: I know there Joe: Yeah. Papa John: Has been a year!? Joe: I don't know. Could be, gosh. Papa John: No Joe: Like Papa John: Time. Joe: I said, my brain doesn't go backwards too well, so Papa John: Time man time Joe: I know Papa John: Is. Joe: I hear Papa John: Time Joe: Yeah. Papa John: Is on my mind, yes it is Ya know what, we should do all that stuff, do I get all those coveres I Joe: Yeah, Papa John: Love doing it to. Joe: Yeah, Papa John: My favorite Joe: Well, Papa John: Was Sly, Sly and the Family Stone. Joe: Um. Papa John: I use to love those...cover that stuff Joe: Yeah, Papa John: [sings] You might have... Joe: Well, we'll we'll have a chance again. Papa John: I hope so, man. Joe: We will. So, listen, man, I really appreciate you doing this. Papa John: Anything for, you know, you're the man, you're my friend, one of my best friends. Joe: It's nice to see you. It really is, it's nice to talk with you. Papa John: Nice to talk to you, too, man Joe: Yeah, man. All right. Well, again, thank you. You you're one of the best. And Papa John: No. Joe: You you've you've been incredible to me. So I appreciate you and I love you. And I thank you for being here. Papa John: Thank you, Joe, Joe: Ok, Papa John: And Joe: Man. Papa John: I love you, too, brother. Joe: All right, and we'll talk soon and we'll play soon Papa John: Hopefully has, God Bless! Joe: All right, man, thank you. Papa John: All right, bye bye... Joe: Bye...

The American composer John Harbison was born in 1938, and so, as a young lad, grew up at the tail end of the Golden Age of radio and the big band Era of Count Basie, Duke Ellington, the Dorsey Brothers, and Benny Goodman. “Over the radio,” writes Harbison, “came sounds played by bands in hotels and ballrooms, now distant memories that seemed to a seventh-grade, small town, late-night listener like the pulse of giant imagined cities.” Decades later, John Harbison translated those early musical memories into a three-movement composition for a big band orchestra. “These sounds,” he recalled, “layered with real experience of some of their places of origin, magnified, distorted, idealized, and destabilized, came into contact with other sounds, some of recent origin, and resulted in a celebratory, menacing suite I titled ‘Three City Blocks.’” The U.S. Air Force Band gave the premiere performance of “Three City Blocks” on today’s date in 1993. And, keeping in the spirit of the old days when every major hotel could boast its own dance band, Harbison’s “Three City Blocks” premiered at the Hilton Hotel in Fort Smith, Arkansas.

The American composer John Harbison was born in 1938, and so, as a young lad, grew up at the tail end of the Golden Age of radio and the big band Era of Count Basie, Duke Ellington, the Dorsey Brothers, and Benny Goodman. “Over the radio,” writes Harbison, “came sounds played by bands in hotels and ballrooms, now distant memories that seemed to a seventh-grade, small town, late-night listener like the pulse of giant imagined cities.” Decades later, John Harbison translated those early musical memories into a three-movement composition for a big band orchestra. “These sounds,” he recalled, “layered with real experience of some of their places of origin, magnified, distorted, idealized, and destabilized, came into contact with other sounds, some of recent origin, and resulted in a celebratory, menacing suite I titled ‘Three City Blocks.’” The U.S. Air Force Band gave the premiere performance of “Three City Blocks” on today’s date in 1993. And, keeping in the spirit of the old days when every major hotel could boast its own dance band, Harbison’s “Three City Blocks” premiered at the Hilton Hotel in Fort Smith, Arkansas.

From 1939 until his disappearance in 1942, Glenn Miller was the most successful of all the Big Bands of the Swing Era. See omnystudio.com/listener for privacy information.

Episode 11 features music from some of the best "Brothers" and "Sisters" of the Big Band Era. We will hear songs from The Dinning Sisters, The Mills Brothers, The King Sisters and The Andrews Sisters. We also listen to a historic recording from The Dorsey Brothers as well as a live radio performance from Bing and Bob Crosby. The Panoram 2000 makes it's podcast debut as we listen to the audio of a Soundie by The Stuart Sisters. ...and remember, if you want to listen to more Big Band and Swing Music check out SwingCityRadio.com to hear Your Big Band Favorites from the 1930's, 40's and Today! * All music in this podcast are Creative Commons.  Artists are credited within the podcast.

From 1939 until his disappearance in 1942, Glenn Miller was the most successful of all the Big Bands of the Swing Era.         See omnystudio.com/listener for privacy information.

1 - Shout, Sister, Shout! - The Boswell Sisters (Martha, Halvetia, and Connee) – 19312 - Miss Otis Regrets (She's Unable to Lunch Today) - The Four King Sisters (Louise, Alyce, Donna, and Yvonne) with The Rhythm "Reys" – 19413 - Three Little Sisters - The Andrews Sisters (LaVerne, Maxine and Patty) with Vic Schoen and His Orchestra - 19424 - Heebie Jeebies - The Boswell Sisters with the Dorsey Brothers – 19305 - Connee Boswell Interview - The Lee Philips Show – 19636 - River, Stay 'Way From My Door - The Boswell Sisters with the Dorsey Brothers – 19317 - Shein Vie Die Levoone (As Beautiful As The Moon) - The Bagelman Sisters (Minnie and Clara) - 19378 - Abi Er Ken Tantzen (As Long As He Can Dance) - The Bagelman Sisters – 19379 - Al Mar - Las Hermanas Padilla (Margarita and Maria) con Orquesta "Los Costenos" - 1930s10 - De Corazon a Corazon - Las Hermanas Padilla con Orquesta de Manuel S. Acuna - 1930s11 - Cinq Minutes De Plus (Five minutes more) - Les Soeurs Etienne (Louise and Odette) – 194712 - There's Nothing On My Mind - The Ponce Sisters, Ethel and Dorothea – 192513 - 'Twas on a Cold and Stormy Night - The Tietge Sisters – 192714 - Sittin' In A Corner - The Brox Sisters (Lorayne, Bobbe, and Patricia) - 192315 - Do I - The Brox Sisters with Bennie Krueger's Orchestra - 192216 - Iyone My Own Iyone - The Brox Sisters – 192617 - The Arizona Yodeler - The De Zurik Sisters (Caroline & Mary Jane) - 193618 - How'd You Like to Be My Daddy - The Farber Sisters – 191819 - A Donde Vas - Las Hermanas Fernandez con Abel Dominguez - 193720 - Little Red Schoolhouse - The Hart Sisters with Wilson and Brennan – 192221 - My Sweet Tooth Says I Wanna, But My Wisdom Tooth Says No - The Pickens Sisters with the Ben Selvin Orchestra - 193122 - Sunday - The Keller Sisters (Nan and Taddy) with the Gene Goldkette Orchestra – 192623 - The Texas Skip - The Kendall Sisters and Roy West with the W.G.A.R. Range Riders - 194624 - El Barbero (The Barber) - Las Hermanas Malagon con Ricardo Rico y su Orquesta - 1950s25 - Oh Mo'Nah - The Miccolis Sisters (Mary and Ruth) - 194726 - Inflation - The Moore Sisters (Viola, Bella, and Yvonne) with the Big Buckaroos – 194727 - Mahzel (Means Good Luck) - The Murphy Sisters (Margie, Dottie, and Muriel) with Jerry Jerome's Orchestra – 194728 - The Big Sisters - Dragnet - 1955

This week the Dorsey Brothers talk about their weeks, which includes an epic DND battle and saving a GOTdamn life. Then we traverse a dungeon and find a boss, talk about the bullshit repetition in JRPGs, make up some consequences for our vices, and sing a song shittily.

Jay David Cover of the AARP and Other Stuff Things we discuss in this episode: My flooded basement apartment. Playing venues in Philadelphia… There’s a section that got a little garbled, I guess due to a bad connection, Maybe Jay was walking through a dead zone in his house. For whatever reason, you may not be able to understand the audio. Don’t tune out, it gets clear again for the remainder of the show. He was telling me how he started at the age of two singing not the Horn & Hardart Children’s Hour. Horn and Hardart was a “food service automat”, where all the food came out of vending machines. I remember how my mother would never let us go in. She used to tell us, you won’t like anything in there. I wasn’t crazy about eating baked beans anyway. Or a slice of pie that had been sitting inside of a vending machine of who knows how long? Anyway, Jay went on to say how he started out banging out drumbeats on the dining room table and annoyed the hell out of people with his incessant drumming on everything. He eventually took  lessons but got bored. So he learned by listening to the records, eventually giving lessons the same way he wanted to learn. Taught drums by having drum students bring him the records with the songs they wanted to learn and just teach them to play those songs. I know some music teachers who hate guys like that.  If you’re not teaching the fundamentals, they look down their noses at you. Personally, I think there’s room for both teaching styles. Hey, what’s wrong with learning to play your favorite songs? We swapped stories about his mom and Frank Sinatra’s mom Drum Corp competitions.  Reilly’s Raiders in Willow Grove, PA (Still there!) Shelter dogs, Carnegie Hall, the Navy, Hospital Corps, Dolly Sinatra, Frank Sinatra, Nancy Sinatra. Boots. Dorsey Brothers, Jimmy and Tommy Dorsey, Brenda Lee, The Wagon Wheel, Mercury Records, Dr. Hook and the Medicine Show, getting signed by Clive Davis Links to Videos, etc. The Last Morning by Dr. Hook Cover of The Rolling Stone by Dr. Hook & the Medicine Show Cover of the AARP – parody by Jay David (music by Shel Silverstein) Cover of AARP Personnel Jay David wrote and recorded based on the music of Shel Silverstein Ooks of Hazzard played, and their drummer, Matt Tecu is the guy with the deep voice singing the 2nd verse Janiva Magness – blues singer sang harmony. Here’s a little  taste of Janiva singing Make It Rain (and doing a Tom Waits song some serious justice)

In our 87th episode, Julia waxes poetic about writer Dorothy Parker, who is best known today for her wit, satire, and black humor. …And you can’t talk about Parker without covering the Algonquin Round Table! Later, enjoy a quiz called “You Want A Round Table?” . . . [Music: 1) Bing Crosby with Dorsey Brothers’ Orchestra, “I Wished on the Moon,” 1935; 2) Frau Holle, “Ascending Souls,” 2017. Courtesy of Frau Holle, CC BY-NC 3.0 license.]

Our new announcer, Eddie, cues up the quartet (Bob, Nick Fatool, Ray Sherman, and Jud De Naut) who play a brighter tempo version of “Lady Be Good” as intro. “Blue Room” was written by Rodgers & Hart back in the 1920's, and many versions (the Dorsey Brothers and Benny Goodman, as well as in The Big Sleep) had already been heard. Song star Margo Powers lilts through “Ghost Of A Chance” before the quartet performs Adios, with Nick Fatool playing maracas for variety. Bob sets down his guitar to croon “Love Somebody” with Margo, a stronger version than we heard in podcast Episode 5. The set closes out with the great “Sweet Georgia Brown”, with precise synchronicity between Bob and Ray, and Bob's alternate harmonics! 

On Part 2 of the Birth of Swing, I would like to play some recordings by some of the other big bands that were recording and playing between 1934 and 1936. Some of the bands that were together during those years include The Casa Loma Orchestra, Jimmie Lunceford, Benny Carter, Duke Ellington, The Dorsey Brothers, and Andy Kirk. This is just a sample and if I have missed a certain band I will probably cover them in an upcoming show. There is a lot of variety on the show today and I hope that I play something from a favorite band of yours. Also, the big band puzzler is back this week. Please visit this podcast at http://bigbandbashfm.blogspot.com

Learn a little bit about the life and music of the infamous Dorsey Brothers.

REMEMBERING Show Business Siblings – brothers and sisters in the world of entertainment. Among those who will entertain us royally are the Mills Brothers and the Andrews Sisters, the Dorsey Brothers and the Clooney Sisters, and more!

Songs include: I Get a Kick Out Of You, You And The Night And The Music, Autumn In New York, I'll Follow My Secret Heart, One Day When We Were Young, You're The Top and Zing Went The Strings of My Heart. Performers include: Ethyl Merman, Frank Sinatra, The Dorsey Brothers, Webster Booth, Libby Holman and Paul Whiteman.

Shellac Stack No. 79 casts spotlights on singer Harold Van Emburgh and sharpshooter Annie Oakley. Along the way, we hear from Teddy Powell's Orchestra, Bunk Johnson, Harry Reser, Andy Kirk, the Dorsey Brothers, and more.

March 2017 – Peace, Love and Soup is going Irish in a big and Magically Delicious way… NO BLARNEY! In this, our 3rd episode, we make Dublin Coddle stew and as a special treat, Irish Soda Bread with guest baker, Dan Fagan, who also teachers us: “Good doesn’t need to be hard!” Jackie Boy Delaney shares his story about growing up in a working class Boston Irish family. He even sings us a tune & in perfect pitch too! Cheers … to Your Ears! We visit Kell’s Pub in NW Portland on St. Patrick’s Day to hear bagpipers and Irish clogging and to ask fellow celebrants, including the Wanderlust Nurtionists, the important question: “What’s the difference between soup and stew?” What do you think? We play some snippets from Dion, The Dorsey Brothers & Frankie Baby, but it is the Irish music that is the star this month including: The Killavil Jig, “Have A Drink With Me” & “The Shelf” Iarla O Lionaird, “Casadh an Tsugain” Blaggards, “Drunken Sailor” The Chieftains, “Tie The Ribbon – “The Bag of Potatoes” Please be sure to check out our recipes and behind-the-scene photos, by liking us on Facebook: https://www.facebook.com/peaceloveandsoup/?ref=aymt_homepage_panel and visiting our blog http://kboo.fm/topics/peace-love-and-soup Peace, Love and (of course…) Soup! Brian (Joseph Patrick) Delaney & Tavé Fascé Drake

On Part Four of the Dorsey Brothers we conclude the series with a live broadcast of the reunited brothers. The late 1940's was a hard time for the big bands with Tommy disbanding his band in 1946. But he couldn't stay away and was back with a new group. Jimmy gave up his band and the new group was billed as The Tommy Dorsey Orchestra featuring Jimmy Dorsey. They remained together until Tommy's death in 1956. The broadcast on today's show is from Frank Dailey's Meadowbrook ballroom recorded in 1955. Please visit this podcast at http://www.fgmiller.com/bbb/

On Part Three of the Dorsey Brothers we will turn our focus to the band of Tommy. When Tommy split from his brother Jimmy he took over the Joe Haymes orchestra. Molding it into the kind of band he wanted Tommy was soon recording many of his hit songs. I tried to pick out many of TD's hits and we will also learn about his career apart from Jimmy. In part four we will conclude the series with the reunited brothers in the 1950's. This is a great series filled with many hits that you are sure to like. Please visit this podcast at http://www.fgmiller.com/bbb/

On this the second part of my four part series on the Dorsey Brothers we will be focusing on Jimmy's orchestra. Jimmy was the older of the two brothers and after Tommy walked out on their combined orchestra, Jimmy continued the band under his name. He had many hits during the swing era and we will be playing many of them today. His biggest hits featured vocalists Bob Eberly and Helen O'Connell. Next week I will be looking at the career of Tommy Dorsey and in part four we will conclude with the reunited brothers. This is a great series filled with many hits that you are sure to like. Please visit this podcast at http://www.fgmiller.com/bbb/

Today I am starting a four part series on the Dorsey Brothers, Tommy and Jimmy. Together and separately they recorded some of the biggest hits of the big band era. We will be starting with some of the early original recordings of the Dorsey Brothers orchestra. Then in part two, I will be focusing on Jimmy's orchestra. In part three we will look at Tommy's orchestra and in the final part we will look at the Tommy Dorsey Orchestra featuring Jimmy Dorsey when they were together again. This is a great series filled with many hits that you are sure to like. Please visit this podcast at http://www.fgmiller.com/bbb/

Your host for this edition is Aaron CoplandIt is entitled The Given PartThe ContentFirst Sequence:Oreste & His Queensland Orchestra - When the Morning Glories Wake Up in the MorningLietzke's Midnight Serenaders - Maybe It's LoveArt Kreuger & His Columbians - Keeping Out of Mischief NowThe Picadilly Players - I'm Riding to GloryAdrian Schubert's Dance Orchestra - Syncopated JamboreeSecond Sequence:Smith Ballew & His Orchestra - CharmingArnold Johnson & His Orchestra - After My Laughter Came TearsJack Purvis & His Orchestra - Dismal DanTed Wallace & His Campus Boys - By a Lazy Country LaneLloyd Newton & His Varsity Eleven - St. Louis BluesThird Sequence:Ross De Luxe Syncopaters - Florida RhythmAlex Jackson & His Plantation Orchestra - I Call You SugarAlphonso Trent & His Orchestra - Gilded KissesZack Whyte's Chocolate Beau Brummels - It's Tight Like ThatRed Perkins & His Dixie Ramblers - Old Man BluesFourth Sequence:The Original Memphis Five - FireworksAl Katz & His Kittens - Ace in the HoleSol Wagner & His Orchestra - Zulu WailThelma Terry & Her Playboys - The Voice of the SouthlandThe Louisiana Rhythm Kings - The Dusky StevedoreSummation:The Dorsey Brothers & Their Concert Orchestra - Was It a Dream?

Listen[audio:http://media.rvanews.com/wp-content/uploads/2012/09/The-Bopst-Show-But-Not-Today-Episode-213.mp3|titles=The Bopst Show -- But Not Today -- Episode 213]SubscribeiTunes: The Bopst show podcastEverything else: The Bopst show podcastDownloadThe Bopst Show -- But Not Today -- Episode 213— ∮∮∮ —Title: The Bopst Show: "But Not Today (Episode 213)"Rating: PG-13 (Adult Situations & Language)Intent: to not pull a Josh MorganRandom Richmond Diversion: Yup, just adds to the billsRandom USA Diversion: Things have only gotten worseRandom World Diversion: But while these claims are plausible, the evidence for them is thinRandom Image: Distruggete Base LunaRandom Music Blog: Denim On DenimRandom Bopst Show: The Bopst Show: "8 Feet Short (Episode 104)"Mainstream Bopst Fluff: Big Star: "September Girls" from the CD release "#1 Record/Radio City" (Fantasy)Sheldon:http://www.youtube.com/watch?v=2B5o6-qNk6QConstruction Date: Saturday & Sunday September 15 & 16th, 2012Equipment: Mac G5, Free Audio Editor & Recorder Software from Audacity, Frontier US-122 USB Audio/MIDI Interface, Shure SM57 MicrophonePosted: September 17th, 2012Artists and Groups in order of appearance: C-SPAN, The Who, Wu-Tang, Prince Jammy & The Aggrovators, 101er’s, Antibalas, Paul Ngozi, The Dorsey Brothers (with Dee Parker), Government Issue, Prince, Hugh Porter, Miss Li, E.S.L., Sam Baker, Osipov State Russian Folk Orchestra, Tymon Dogg, Johnny Hawksworth, Stevie WonderLiner Notes Corporations are people, my friend... of course they are. Everything corporations earn ultimately goes to the people. Where do you think it goes? Whose pockets? People's pockets. Human beings, my friend." Mitt RomneyHere are some shows I’m hustling at Balliceaux this week...NEXT NEW SHOW: 09/24/12New show times. The Bopst Show airs Sundays, 11PM and Tuesdays, 6PM (EST-USA) on KAOS Radio Austin.Until Next Time:Stay clean,BOPSTHo there, reader of RSS feeds! Do you ever want to support RVANews in a real and tangible way? Or at least pay a small penance for reading ad-free content? If so, support us on Patreon for a couple bucks a month!

Brother and sister acts, including: The Andrews Sisters, The Mills Brothers, The Brox Sisters and The Dorsey Brothers. Songs include: My Old Flame, Lazy, Beer Barrel Polka and Frisco Blues.