Podcasts about Eddie Condon

Eddie Condon was een Amerikaanse jazzmuzikant. Hij was vooral bekend als gitarist en bandleider, speelde vaak met andere bekende jazzmusici en is op honderden opnames te horen. In deze podcast hoor je hem in de jaren twintig, dertig en veertig. Reacties: jazztrain@studio040.nl

RED MCKENZIE & EDDIE CONDON:“THE CHICAGOANS” Chicago, December 8 & 16, 1927Sugar, China boy, Nobody's sweetheart (1), Liza (1)Jimmy McPartland (cnt) Frank Teschmacher (cl) Bud Freeman (ts) Joe Sullivan (p) Eddie Condon (bj) Jim Lannigan (tu,b) Gene Krupa (d) Mezz Mezzrow (cymbals -1) “CHICAGO RHYTHM KINGS” Chicago, March 27, 1928I've found a new babyMuggsy Spanier (cnt) Frank Teschmacher (cl) Mezz Mezzrow (ts) Joe Sullivan (p) Eddie Condon (bj) Jim Lannigan (tu) Gene Krupa (d) Red McKenzie (vcl) BUD FREEMAN Chicago, December 3, 1928Crazeology, Can't help lovin' dat man (rmk vcl)Johnny Mendell (tp) Floyd O'Brien (tb) Bud Jacobson (cl,as) Bud Freeman (ts) Dave North (p) Herman Foster (bj) Johnny Mueller (b) Gene Krupa (d) Red McKenzie (vcl) New York, December 4, 1935What is there to say ?, The buzzard, Tillie's downtown now, Keep smiling at troubleBunny Berigan (tp) Bud Freeman (cl,ts) Claude Thornhill (p) Eddie Condon (g) Grachan Moncur (b) Cozy Cole (d) FRANKIE TRUMBAUER New York, February 4, 1927Singin' the blues (1), Trumbology, Clarinet marmalade,Bix Beiderbecke (cnt) Bill Rank (tb) Frankie Trumbauer (c-mel) Jimmy Dorsey (cl,as) Paul Mertz (p) Howdy Quicksell (bj) Eddie Lang (g-1) Chauncey Morehouse (d) New York, August 25, 1927Three blind mice, Blue river (se vcl), There's a cradle in Caroline (se vcl)Bix Beiderbecke (cnt) Bill Rank (tb) Frankie Trumbauer (c-mel) Doc Ryker (as) Don Murray (cl,bar) Adrian Rollini (bassax) Itzy Riskin (p) Eddie Lang (g) Chauncey Morehouse (d) Seger Ellis (vcl) Continue reading Puro Jazz 25 de octubre, 2024 at PuroJazz.

RED MCKENZIE & EDDIE CONDON:“THE CHICAGOANS” Chicago, December 8 & 16, 1927Sugar, China boy, Nobody's sweetheart (1), Liza (1)Jimmy McPartland (cnt) Frank Teschmacher (cl) Bud Freeman (ts) Joe Sullivan (p) Eddie Condon (bj) Jim Lannigan (tu,b) Gene Krupa (d) Mezz Mezzrow (cymbals -1) “CHICAGO RHYTHM KINGS” Chicago, March 27, 1928I've found a new babyMuggsy Spanier (cnt) Frank Teschmacher (cl) Mezz Mezzrow (ts) Joe Sullivan (p) Eddie Condon (bj) Jim Lannigan (tu) Gene Krupa (d) Red McKenzie (vcl) BUD FREEMAN Chicago, December 3, 1928Crazeology, Can't help lovin' dat man (rmk vcl)Johnny Mendell (tp) Floyd O'Brien (tb) Bud Jacobson (cl,as) Bud Freeman (ts) Dave North (p) Herman Foster (bj) Johnny Mueller (b) Gene Krupa (d) Red McKenzie (vcl) New York, December 4, 1935What is there to say ?, The buzzard, Tillie's downtown now, Keep smiling at troubleBunny Berigan (tp) Bud Freeman (cl,ts) Claude Thornhill (p) Eddie Condon (g) Grachan Moncur (b) Cozy Cole (d) FRANKIE TRUMBAUER New York, February 4, 1927Singin' the blues (1), Trumbology, Clarinet marmalade,Bix Beiderbecke (cnt) Bill Rank (tb) Frankie Trumbauer (c-mel) Jimmy Dorsey (cl,as) Paul Mertz (p) Howdy Quicksell (bj) Eddie Lang (g-1) Chauncey Morehouse (d) New York, August 25, 1927Three blind mice, Blue river (se vcl), There's a cradle in Caroline (se vcl)Bix Beiderbecke (cnt) Bill Rank (tb) Frankie Trumbauer (c-mel) Doc Ryker (as) Don Murray (cl,bar) Adrian Rollini (bassax) Itzy Riskin (p) Eddie Lang (g) Chauncey Morehouse (d) Seger Ellis (vcl) Continue reading Puro Jazz 28 de octubre, 2024 at PuroJazz.

Great Condon-styled dixieland made for the war effort via V-discs in 1944, 45 and 48. In addition to Spanier and Hackett are Cutty Cutshall and Lou McGarity (trombone), Pee Wee Russell and Peanuts Hucko (clarinet), Bud Freeman (tenor), Ernie Caceres (baritone), Charlie Queener, Jess Stacy (piano), Eddie Condon and Hy White (guitar), Bob Casey, Irv Manning (bass), and George Wettling and Morey Feld on drums. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

..Great sessions featuring Davison's cornet and Russell's clarinet along with George Brunies, Lou McGarity and Jack Teagarden on trombone, Gene Schroeder and Dick Cary on piano, Bob Casey and Morrie Rayman on bass, George Wettling, Danny Alvin and Johnny Blowers on drums and of course Eddie Condon on guitar . . Commodore and Decca records under Davison's Brunies' and Condon's names. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

Brad Gowans was better known as a valve trombonist and arranger, but he was an adept clarinetist who was initially inspired by the first jazz records by the Original Dixieland Jazz Band. He brought trombonist Eddie Edwards, pianist Frank Signorelli and drummer/kazoo player Tony Sbarbaro from the original group into the World, Commodore and V Disc studios with contemporary players like Wild Bill Davison, Bobby Hackett, Max Kaminsky, Gene Schroeder, Teddy Roy, Eddie Condon and Bob Casey to recreate some of the original tunes, albeit with a bit more swing. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

Classic Condon-styled dixieland led by cornetist Wild Bill Davison and featuring George Brunies, George Lugg, Lou McGarity, Joe Marsala, Ed Hall, Albert Nicholas, Bill Miles, Gene Schroeder, Joe Sullivan, Dick Cary, Eddie Condon, Jack Lesberg, Bob Casey, George Wettling and Dave Tough. All recorded for Commodore, 1943-47. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

We celebrate legendary American jazz pianist, organist, composer, violinist, singer, and comedic entertainer Thomas Fats Waller. He laid the groundwork for modern jazz piano and some say he paved the way for rock-n-roll. Waller started playing piano at the age of 6, and copyrighted over 400 songs during his career, including Grammy winners "Ain't Misbehavin'" and "Honeysuckle Rose". Waller was a critical and commercial sensation in the United States and Europe. Unfortunately he died from pneumonia at the early age 39 in 1943. We have Fats Waller performing live in 1938, an appearance on the popular Edgar Bergen Show just before his death in 1943, a tribute concert by Eddie Condon in 1944, plus a dramatization of life of Fats Waller on Destination Freedom. More at http://krobcollection.com

EDDIE CONDON AND HIS BAND: New York, December 8, 1943Pray for the lights to go out, Singin' the bluesMax Kaminsky (tp) Brad Gowans (v-tb) Pee Wee Russell (cl) Joe Bushkin (p) Eddie Condon (g) Bob Casey (b) Tony Sbarbaro (d) [ Tony Spargo (d) ] New York, December 11, 1943Back in your own backyard, All the wrongs you've done to me, You can't cheat a cheater, Save your sorrowMax Kaminsky (tp) Lou McGarity (tb) Pee Wee Russell (cl) Gene Schroeder (p) Eddie Condon (g) Bob Casey (b) George Wettling (d) BUCK CLAYTON'S BAND F/ RUBY BRAFF BUCK MEETS RUBY New York, July 1, 1954Love is just around the corner, Kandee, Just a groove (I) (no tb,ts)Buck Clayton (tp) Ruby Braff (cnt) Benny Morton (tb) Buddy Tate (ts) Jimmy Jones (p) Steve Jordan (g) Aaron Bell (b) Bobby Donaldson (d) MUGGSY SPANIER AND HIS RAGTIMERS: New York, April 22, 1944Sweet Lorraine, Lady be good, SugarMuggsy Spanier (cnt) Ernie Caceres (bar) Pee Wee Russell (cl) Dick Cary (p) Eddie Condon (g) Sid Weiss (b) Joe Grauso (d) New York, September 27, 1944Riverside blues, RosettaMuggsy Spanier (cnt) Miff Mole (tb) Pee Wee Russell (cl) Boomie Richman (ts) Gene Schroeder (p) Eddie Condon (g) Bob Haggart (b) George Wettling (d) Continue reading Puro Jazz 28 Mayo 2024 at PuroJazz.

EDDIE CONDON AND HIS BAND: New York, December 8, 1943Pray for the lights to go out, Singin' the bluesMax Kaminsky (tp) Brad Gowans (v-tb) Pee Wee Russell (cl) Joe Bushkin (p) Eddie Condon (g) Bob Casey (b) Tony Sbarbaro (d) [ Tony Spargo (d) ] New York, December 11, 1943Back in your own backyard, All the wrongs you've done to me, You can't cheat a cheater, Save your sorrowMax Kaminsky (tp) Lou McGarity (tb) Pee Wee Russell (cl) Gene Schroeder (p) Eddie Condon (g) Bob Casey (b) George Wettling (d) BUCK CLAYTON'S BAND F/ RUBY BRAFF BUCK MEETS RUBY New York, July 1, 1954Love is just around the corner, Kandee, Just a groove (I) (no tb,ts)Buck Clayton (tp) Ruby Braff (cnt) Benny Morton (tb) Buddy Tate (ts) Jimmy Jones (p) Steve Jordan (g) Aaron Bell (b) Bobby Donaldson (d) MUGGSY SPANIER AND HIS RAGTIMERS: New York, April 22, 1944Sweet Lorraine, Lady be good, SugarMuggsy Spanier (cnt) Ernie Caceres (bar) Pee Wee Russell (cl) Dick Cary (p) Eddie Condon (g) Sid Weiss (b) Joe Grauso (d) New York, September 27, 1944Riverside blues, RosettaMuggsy Spanier (cnt) Miff Mole (tb) Pee Wee Russell (cl) Boomie Richman (ts) Gene Schroeder (p) Eddie Condon (g) Bob Haggart (b) George Wettling (d) Continue reading Puro Jazz 28 Mayo 2024 at PuroJazz.

Chicago clarinetist Teschemacher influenced a generation of hot jazz players, despite dying in a car crash when he was in his mid-20's. Here he plays with several iterations of the Austin High Gang (with Muggsy Spanier, Mezz Mezzrow, Joe Sullivan, Jim Lannigan, Eddie Condon, Gene Krupa and Red McKenzie), Wingy Manone's band (with Art Hodes), Elmer Schoebel's Friars' Society Orchestra and possibly the Original Wolverines as well as with his own group consisting of himself, Mezz Mezzrow and Rod Cless on reeds with a rhythm section. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

Great sessions featuring Chicago cornetist Jimmy McPartland - the Wolverines in 1925 and Original Wolverines in 1927 (Jimmy Hartwell, Maury Bercov, Dick Voynow, George Johnson, Vic Moore, Bob Gillette), McKenzie and Condon's Chicago Rhythm Kings in 1927 (Frank Teschemacher, Bud Freeman, Joe Sullivan, Eddie Condon, Jim Lannigan, Gene Krupa) and Benny Goodman and His Boys in 1928 (Glenn Miller, Tommy Dorsey, Fud Livingston, Vic Briedis, Dick Morgan, Harry Goodman, Bob Conselman, Ben Pollack) --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

Johnny Windhurst was born in 1926 and by the time he was in his late teens was playing with Eddie Condon and Sidney Bechet. Here is a sampling of his work - informed in equal parts by Bobby Hackett and Louis Armstrong. Sidney Bechet's New Orleans Rhythm Kings (with Pops Foster), Eddie Condon and His Band (with Cutty Cutshall, Ed Hall and Gene Schroeder), Barbara Lea and the Billy Taylor Quintet, Walt Gifford's New Yorkers (with Condon, Eddie Hubble, Dick Cary and Bob Mitchell) and his own quartet in Boston. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

Bud Freeman was one of the most in-demand sidemen on record sessions in the 1930's - here he is featured extensively with Bunny Berigan (with Forrest Crawford, Chick Bullock), Gene Gifford (with Berigan, Matty Matlock, Claude Thornhill, Morey Samuels), Wingy Manone (with Dicky Wells, Teddy Wilson, Matty Matlock, Gil Bowers, Artie Shaw) and Eddie Condon (with Max Kaminsky, Floyd O'Brien, Pee Wee Russell, Joe Sullivan, Alex Hill) - all between 1933 and 1936. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

DON BYAS – THE DON BYAS QUARTET New York, September 12, 1945Embraceable you, The Sheik of Araby, Super session, Melody in swingDon Byas (ts) Johnny Guarnieri (p) Al Hall (b) Sidney Catlett (d) EDDIE CONDON – JAMMMIN' AT CONDON'S New York, June 24, 1954There'll be some changes made, Tin roof bluesWild Bill Davison (cnt) Billy Butterfield (tp) Cutty Cutshall, Lou McGarity (tb) Edmond Hall, Peanuts Hucko (cl) Bud Freeman (ts) Gene Schroeder (p) Eddie Condon (g) Al Hall (b) Cliff Leeman (d) FATS WALLER FATS WALLER AND HIS BUDDIES New York, March 1, 1929Harlem fussCharlie Gaines (tp) Charlie Irvis (tb) Arville Harris (cl,as) Fats Waller (p) Eddie Condon (bj) New York, September 30, 1929Lookin' good but feelin' bad (tfw vcl)Charlie Gaines, Henry “Red” Allen (tp) Jack Teagarden (tb,vib) Albert Nicholas, Otto Hardwick (as) Larry Binyon (ts) Fats Waller (p) Eddie Condon (bj) Al Morgan (b) Gene Krupa (d) The Four Wanderers (vcl group) : Herman Hughes, Charles Clinchscales, Maceo Johnson, Oliver Childs (vcl) New York, December 18, 1929Lookin' for another sweetie (or vcl,2), Won't you get off it, please ? Continue reading Puro Jazz 02 enero 2024 at PuroJazz.

MUGGSY SPANIER - AND HIS RAGTIMERS  - New York, April 22, 1944 Sweet Lorraine, Lady be good, September in the rain Muggsy Spanier (cnt) Ernie Caceres (bar) Pee Wee Russell (cl) Dick Cary (p) Eddie Condon (g) Sid Weiss (b) Joe Grauso (d) GARLAND WILSON - PIANO SOLO  - New York, May 18, 1931 (Medley :) Dear old southland, Limehouse blues, St. James infirmary (gw vcl) Garland Wilson (p,vcl)  - Paris, c. December 1933 Mood indigo Garland Wilson (p) EARL HINES AND THE DUKE'S MEN: SONNY GREER  - New York, May 16, 1944 Kansas City caboose, Sleepy baboon Rex Stewart (cnt) Lawrence Brown (tb) Jimmy Hamilton (cl,ts) Harry Carney (bar) Marlowe Morris (p) Teddy Walters (g) Oscar Pettiford (b) Sonny Greer (d) Brick Fleagle (arr) EARL HINES  - New York, April 26, 1944 Blues on my weary mind (br vcl), Design for jivin' (1) Ray Nance (tp,vln-1) Johnny Hodges (as) [as J. Harjes (as) on labels] Flip Phillips (ts) Earl Hines (p) Al Casey (g) Oscar Pettiford (b) Sidney Catlett (d) Betty Roche (vcl) CAT ANDERSON  - New York, May 14, 1947 Cat's boogie Cat Anderson, Lee Brown, Don Devilla, Archie Johnson (tp) Joe Stroud (tp,vcl) Joe Britton, Floyd Brady, LeRoy Hardison, George Stevenson (tb) Curby Alexander, Vince Royal (as) John Hartzfield, Vincent McCleary (ts) Howard Austin (bar) Horatio Duran (p) Bob Paige (b) Bobby Donaldson (d) JO JONES SEXTET - VAMP 'TIL READY  - New York, April 19, 1960 Vamp 'till ready, You're getting to be a habit with me(tf,tp & jj only), Should I ? (he,jf out), Thou swell (bg,jf out), Show time Harry "Sweets" Edison (tp) Bennie Green (tb) Jimmy Forrest (ts) Tommy Flanagan (p) Tommy Potter (b) Jo Jones (d)

Great eight piece band ushering in the era of Jazz nostalgia! With the leader on tenor sax was Max Kaminsky, Pee Wee Russell and trombonist and arranger Brad Gowans setting the style. In the rhythm section were Dave Bowman, Eddie Condon and several bassists and drummers. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

Three sessions done for World - two of which were basically copied from or to better known sessions on Commodore with identical bands . . the Davison band has George Brunies, Pee Wee Russell, Gene Schroeder, Eddie Condon, Bob Casey and George Wettling; the second Spanier session has Pee Wee, Condon and Casey with Ernie Caceres, Dick Cary and Joe Grauso and the first Spanier one (done in Chicago) has Warren Smith, Bud Jacobsen, Jack Gardner, Pat Pattison and Frank Rullo --- Support this podcast: https://anchor.fm/john-clark49/support

Sessions for Commodore and World Transcriptions of a band led by the trend setting trombonist of the 20's, Miff Mole. Great 1940's dixieland with either Bobby Hackett (Commodore) or Sterling Bose (World) on trumpet, Pee Wee Russell, Ernie Caceres, Gene Schroeder, Eddie Condon, Bob Casey and Joe Grauso --- Support this podcast: https://anchor.fm/john-clark49/support

Episode 2036: Our random article of the day is Eddie Condon's.

Domi & JD Beck, Max Mutzke mit seinem Idol, Erwin Lehn & Quincy Jones

Swing Mr. Bunny - Bunny Berigan and the house band from the Famous Door in 1936 featuring the virtually forgotten tenor and clarinet man Forrest Crawford along with Joe Bushkin, Bud Freeman, Eddie Condon, Mort Stuhlmaker, Carmen Mastren, Frank Signorelli, Red McKenzie, Cozy Cole and Stan King doing small group jazz under the leadership of Berigan, McKenzie and the Mound City Blue Blowers --- Support this podcast: https://anchor.fm/john-clark49/support

Comenzamos a analizar el trayecto de la guitarra en esta aventura del jazz lo cual nos llevará siete episodios. En la primera entrega rendimos homenaje a los guitarristas de blues (precursores) Robert Johnson, LeadBelly, Big Bill Bronzy y a los pioneros del jazz Johnny St Cyr y Lonnie Johnson.  La magia de la seccion rítmica de Freddie Green en el swing, Eddie Lang y Eddie Condon en Chicago y la revolución de Charlie Christian en swing y bop, entre otros

Songs include: At Twilight, Twilight Time, Twilight In Turkey, Twilight Rag, A Little Kiss At Twilight and Twilight Blues. Performers include: Benny Goodman, Les Brown, James P Johnson, Raymond Scott, Sol Ho'opi'i , Eddie Condon and Thomas " Fats" Waller.

Quaint, sweet, nostalgic…just a few adjectives to describe today's music. Digging into the digital bins we've surfaced some of the more familiar of tunes from the last century. Early century pop, country, jazz and vocal harmonies all being serenades with upbeat and good natured favorites of the Great American Songbook. We'll hear from Fats Waller, Eddie Condon, Ted Lewis, the Sons of the Pioneers, and Blind Blake with songs that ring a true bell in the heart. Songs about lazy rivers, love letters, the lovesick blues, and Kentucky moon. Don't let yourself get carried away as you lean in closer to the speakers. We certainly don't want you to hurt yourself. KOWS Community radio is a connection worth making with an eclectic blend of sounds from up and down the genre expanses…streaming to planet Earth at http://www.FreeSpeechNoBull.com. Join us.

Paul Barbarin/Eddie Condon on Atlantic . .two very different traditional jazz groups . .one from New Orleans featuring Barbarin, John Brunious, Willie Humphrey, Lester Santiago, Danny Barker, Bob Thomas and Milt Hinton and the other celebrating Chicago with Condon, Max Kaminsky, Cutty Cutshall, Pee Wee Russell, Bud Freeman, Dick Cary, George Wettling and Leonard Gaskin --- Support this podcast: https://anchor.fm/john-clark49/support

Pianist Art Hodes and clarinetist Rod Cless made a unique and satisfying partnership until Cless died in 1944. Both steeped in the Chicago jazz tradition, their recordings on Signature (the Art Hodes Trio and the Chicago Boys with Marty Marsala and Earl Murphy), Decca (with Sidney DeParis, Brad Gowans, Eddie Condon, Murphy and Zutty Singleton) and live (with George Brunies, Duke Duval, Jacques Butler and Joe Grauso) compliment their better known efforts on Blue Note, which will be on a later podcast. --- Support this podcast: https://anchor.fm/john-clark49/support

BUD FREEMAN ANO HIS FAMOUS CHICAGOANS – Liederkranz Hall, New York, July 24, 1940 Shim-me-sha-wabble, That da da strain, Jack hits the road (jt vcl,mk out), Forty-Seventh and State (mk out), At the jazz band ball Max Kaminsky (tp) Jack Teagarden (tb,vcl) Pee Wee Russell (cl) Bud Freeman (ts) Dave Bowman (p) Eddie Condon (g) […]

Clarinet Marmalade - Edmond Hall on Commodore - featured as a sideman with Wild Bill Davison's Commodores (including George Brunies, Vernon Brown, Gene Schroeder and Eddie Condon), The DeParis Brothers (Sidney and Wilbur Deparis, Clyde Hart), and George Wettling's Rhythm Kings (Billy Butterfield, Wilbur DeParis, Dave Bowman) . . great mainstream/trad! --- Support this podcast: https://anchor.fm/john-clark49/support

Tunes include: Sunflower Slow Drag, Viper's Drag, Varsity Drag, Shim Sham Drag and Shoe Shiner's Drag. Musicians include: Thomas"Fats" Waller, Eddie Condon, The Kansas City Six, Garland Wilson and Jazz At the Philharmonic.

Swing the night away is an old-time swing and jazz music podcast by Ken Steele. Something a little different for the upcoming holidays. Please check out this special music podcast. Artist names and song titles are in order of play...Woody Herman and His Orchestra - At the Woodchopper’s Ball, Billie Holiday and Her Orchestra feat. Lester Young – Travelling All Alone, Eddie Condon & His Windy City Seven – Love Is Just Around the Corner, Will Bradley Orchestra – Beat Me Daddy, Eight to the Bar, Benny Goodman Sextet feat. Charlie Christian – Rose Room, Fats Waller and His Rhythm – Us on a Bus, Louis Armstrong and His Orchestra – When You’re Smiling, Jimmy Rushing acc. by Count Basie and His Orchestra – Boogie Woogie (I May Be Wrong), Fats Waller and His Rhythm – There’s Honey on the Moon Tonight, Louis Armstrong and His Orchestra – St. Louis Blues, Bud Freeman and His Summa Cum Laude Orchestra – Tia Juana, Lester Young and Billie Holiday – Back In Your Own Backyard, Fats Waller and His Rhythm – Sweet Sue, Just You, Billie Holiday acc. by Eddie Heywood (piano), John Simmons (bass), Sidney Catlett (drums)– On the Sunny Side of the Street, Louis Armstrong and His Orchestra – Jeepers Creepers, Bix Beiderbecke (solo) –Clementine, Artie Shaw and His Orchestra – Blues in the Night, Count Basie's Kansas City Seven feat. Lester Young – Dickie’s Dream, End. Thanks for listening from, Ken Steele.

Clyde Hart . . unheralded pianist who recorded with everyone from Red Allen and Eddie Condon to Charlie Parker and Dizzy Gillespie. A transitional figure from swing to bop, Hart died of TB at the very moment he was being embraced by the modernists. This is a selection of recordings made during 1944 and 45 (he died in March, 1945) featuring Hart with Eddie Condon, Dizzy Gillespie, Tiny Grimes, Trummy Young, Charlie Parker, Don Byas, Hot Lips Page, Ben Webster, Lester Young and Charlie Shavers --- Support this podcast: https://anchor.fm/john-clark49/support

Bob is back, three from him. Lovely 30s music and vocals 'On a steamer coming over,' 1933, from Billy Cotton. Eleven times married Charlie Barnet with another mode of transport 'Sky liner.' Think we need a new copy of that record!  Also up The Dixie Marimba Players, The Casa Loma Orchestra, The Deep River Boys,  Eddie Condon and Joe 'Fingers' Carr, who was in fact Lou Busch. The intriguing singer Billy Banks. Primarily known as a female impersonator on record- sounding male here with the jazz standard 'Margie.' Our oldest record is by GH Ghirgwin, 'Asleep in the Deep,' from 1912. Chirgwin act was 'black face.' An oddly popular style of entertainment until the 1970s. Remember the BBC series The Black and White Minstrel show?  I don't usually play the genre but Chirgwin's vocal performance is a straight one and his story is interesting. As is George Price. Performing at the age of six he impressed the mighty Caruso.  His stardom was brought to an abrupt halt when he fell out with Jacob Schubert, the theatre magnet. He did return to entertainment though and he shows a strong, unusual voice.  Patti Page sings about Johnny Guitar, 'My restless lover.  Its another naughty ending with Ozzie Nelson and 'The man who come around'. 

This was quite an anomaly - a free blowing jazz session in the heart of the depression with an integrated band! Red Allen, Pee Wee Russell, Fats Waller, Joe Sullivan, Eddie Condon, Gene Krupa, Zutty Singleton, Pops Foster, Tommy Dorsey, Happy Caldwell and the indescribable vocalist Billy Banks! --- Support this podcast: https://anchor.fm/john-clark49/support

Songs left off earlier podcasts. Music includes: Japanese Sandman, Dill Pickles Rag, Promenade, The Man From Harlem, Golden Earrings, No Strings and Who's Sorry Now? Musicians include: Peggy Lee, Fred Astaire, Paul Whiteman, Cab Calloway, Eddie Condon, The Chicago Symphony, Harry James and Bob Wills.

The first of the jazz albums presented George Avakian when he was still a college student! This one was devoted to the white musicians active on the Chicago Jazz scene in the 1920's who were still playing in 1940. These were players who were teenagers in the 1920's and who haunted places like the Lincoln Gardens to hear the music played by great New Orleans players. Sessions led by Eddie Condon, Jimmy McPartland and George Wettling and featuring Max Kaminsky, Pee Wee Russell, Bud Freeman, Boyce Brown, Dave Tough and Joe Marsala demonstrate how the style grew. --- Support this podcast: https://anchor.fm/john-clark49/support

Songs include: Alexander's Ragtime Band, It's Been a Long, Long Time, Now's The Time, I Didn't Know What Time It Was, Let The Good Times Roll and Baby, Baby All The Time. Performers include: Bessie Smith, Dave Brubeck, Louis Jordan, Charlie Parker, Harry James, Billie Holiday, Eddie Condon and Nat  King Cole.

STANDARD SEMANAL.- “Nuages” (Django Reinhardt-Paul Desmond-Oscar Peterson y Stéphane Grappelli-James Carter )-JAZZ RECUERDO ANIVERSARIO.- Dicky Wells - Bones For The King (1958)-JAZZ ACTUALIDAD .- Esta semana tendremos a SERGIO DE LOPE-A NIGT IN UTRERA. PROG.Nº 667.- Dos horas para el análisis y repaso a la historia y actualidad que generan esta música americana . Todo en el tono que acostumbra este programa, en dos secciones JAZZ ANIVERSARIO y JAZZ ACTUALIDAD importantes novedades y diferentes canales de comunicación que se ofrecerán al oyente. STANDARD SEMANAL.- “Nuages” (Django Reinhardt-Paul Desmond-Oscar Peterson y Stéphane Grappelli-James Carter ) JAZZ RECUERDO ANIVERSARIO.- Dicky Wells - Bones For The King (1958) Bones for the King es un álbum del trombonista Dicky Wells que fue grabado en 1958 y lanzado en elsello Felsted . Scott Yanow de AllMusic afirma: "Hay buena música basada en el swing para escuchar en todo este álbum, pero no ocurre nada esencial" Todas las composiciones de Dicky Wells excepto donde se indique. 1. "Huesos para el Rey" - 6:36 2. "Dulce papá Spo-de-o" - 7:26 3. "Me tomaste el corazón" (Skip Hall) - 6:01 4. "Hola Smack!" (Buddy Tate) - 6:20 5. "Ven y tómalo" - 8:04 6. "Danza de Stan" (Buck Clayton) - 6:35 7. Dicky Wells - trombón 8. Buck Clayton - trompeta (pistas 4-6) 9. Vic Dickenson , George Matthews , Benny Morton - trombón (pistas 1-3) 10. Rudy Rutherford - clarinete , saxofón barítono (pistas 4-6) 11. Buddy Tate - saxo tenor , saxofón barítono (pistas 4-6) 12. Skip Hall - piano , órgano 13. Everett Barksdale - guitarra (pistas 4-6) 14. Major Holley - bajo 15. Jo Jones - batería Se cree que Dickie Wells nació el 10 de junio de 1907 en Centerville, Tennessee , Estados Unidos. [4] Su hermano era el trombonista Henry Wells . Se mudó a la ciudad de Nueva York en 1926 y se convirtió en miembro de la banda Lloyd Scott . [4] Jugó con el conde Basie entre 1938-1945 y 1947-1950. [4] También jugó con Cecil Scott , Spike Hughes , Fletcher Henderson , Benny Carter , Teddy Hill , Jimmy Rushing , Buck Clayton y Ray Charles . [4] A mediados de la década de 1960, Wells realizó giras y se desempeñó extensamente, y el inicio del alcoholismo le causó problemas personales que lo llevaron a su semi-retiro. La publicación de su autobiografía en 1973 ayudó a que Wells volviera a su profesión. [4] Dicky Wells (izquierda) y hermano Henry Wells en Eddie Condon's de la ciudad de Nueva York en enero de 1947 En sus últimos años, Wells sufrió una fuerte paliza durante un atraco que afectó su memoria, pero se recuperó y continuó actuando. [4] Tocó con frecuencia en el club de jazz West End en 116th y Broadway, más a menudo con una banda llamada The Countsmen, dirigida por el saxofonista Earle Warren , su colega de los días del Conde Basie. Una marca registrada fue el mute "pepper pepper" de Wells que él mismo hizo. Murió el 12 de noviembre de 1985 en la ciudad de Nueva York . [4] Poco después de su muerte, la familia de Wells donó su trombón a la Universidad de Rutgers . JAZZ ACTUALIDAD .- Esta semana tendremos a SERGIO DE LOPE-A NIGT IN UTRERA. Este disco pone en entre dicho la idea de “lo puro” en música y exalta el concepto que afirma que en la mezcla está el gusto. En él podemos encontrar las composi ciones más íntimas, fruto de las vivencias y experiencias más flamencas y jazzeras. Este trabajo escenifica que la música ni se crea ni se destruye, se transforma. Flamenco y Jazz son músicas de raíz, músicas del pueblo y como los humanos se relacionan entre sí de una manera natural. En “A nigth in Utrera” caminan de la mano los cantes clásicos con los acordes oscuros del jazz y como telón de fondo el flamenco instrumental, siendo un todo en armonía donde encontraremos miles de noches en un solo anochecer. La flauta “alante” de Sergio de Lope será el hilo conductor de un esp

Preben Krupke's pladesamling er et tidsmæssigt nedslag i tiden omkring 1950, og den afspejler hvilke plader, der kunne købes især Sverige i årene efter 2.Verdenskrig. I denne 5. udsendelse i serien spiller Radio Jazz studievært Mogens Thorborg plader med Bobby Hackett (foto), Joe Marsala, Eddie Condon, Jørgen Ryg, Erik Moseholm, Duke Ellington, Roy Haynes, Sahib Shihab og Åke Persson. Sendt i Radio Jazz i 2020 Der er mere jazz på www.radiojazz.dk

Los años 20 y el Chicago style. Tres ingredientes en el cocktail musical en Chicago en dicha época: el jazz de New Orléans en su gloria (emigración al Norte), período clásico del blues y el resultado blanco, el Chicago style.   La música grabada de New Orléans que conocemos florece en Chicago: los clásicos de Jelly Roll, King Oliver y Satchmo se graban allí. El South Side es fermental para los jóvenes blancos, que aprenden de dichos maestros y crean su estilo. Modelado de New Orléans pero con menos polifonía, más solos y la aparición del tenor en pequeña banda. Trompetistas Jimmy Mc Partland, saxo Bud Freeman. La banda de Eddie Condon, el colorido guitarrista tradicionalista. Aparece la guitarra como solista en el jazz así como el violín: Eddie Lang y Joe Venuti (modelos para el Hot Club de Francia). Y, por supuesto, el máximo exponente: Bix Beiderbecke, pero eso lo vemos en el Episodio 10!

Den amerikansk guitarist og orkesterleder Eddie Condon (1905-1973) præsenteres af Radio Jazz studievært Knud L. Larsen. Sendt i Radio Jazz i 2017 Der er mere jazz på www.radiojazz.dk

Another color-themed show, with songs concerning yellow. Songs include: She Wore a Yellow Ribbon, Yellow Dog Blues, The Moon Was Yellow, A Little Yellow Ribbon, The Yellow Rose of Texas, Yellow Fire and Yellow Duck. Performers include: Bessie Smith, Bing Crosby, Gene Autry, Zoot Sims, Ella Fitzgerald, Earl Hines, Nat King Cole and Eddie Condon.

Yes, friends, it's true: the time has come for us to leave you. We've spent the last three years in a tumult of food highs (wartime cake!), fashion lows (remember that time I tried to describe how to tie an ascot?), and vice versa (remember that time Steph made a totally gorgeous outfit from a thrifted suit? Legendary.). Now, for our final bow, we're taking a trip back to our first failure, our worst failure, our gloopiest, ickiest, saddest failure: vegetarian jello. For what better way to say goodbye to you, our lovely listeners, than to make good on a three-year-old promise to try agar agar again? This month, we brave our fears and face our old foe, while talking '60s jello and the space-age fashion of the future. We said it all in the episode, but it bears repeating: thank you so much for listening. We've loved making this show. We hope hearing us fumble our way through food and fashion has made you as happy as it has made us. Feel free to find us outside of podcast-land! You can find Steph on Instagram @elle.steph, and Torey on Instagram @torelk. Here are the podcasts we recommend if you're looking to replace us in your feeds: Steph: History Chicks (the inspiration behind this show!), Unladylike, and Hysterical History Torey: Sawbones and Friends at the Table Our theme music and transitions comes from Nobody's Sweetheart, as performed by Eddie Condon in 1929. Check our facts Food How to make vegan grape jelly Guide to Agar Gels - Stella Culinary Adventures in vintage advertising: Jell-O Gelatin - Chronically Vintage Jiggle It: The History of Gelatins, Aspics and Jellies - Nate Barksdale, history.com How to Use Jello - Pearle B. Waite Archives Fashion How the 1960s' space-age fashions changed what we wear - BBC.com An introduction to 1960s fashion - V&A Space-age style by Andre Courreges - AnotherMag

  Welcome to episode thirteen of A History of Rock Music in Five Hundred Songs. Today we’re looking at “(Mama) He Treats Your Daughter Mean” by Ruth Brown. Click the full post to read liner notes, links to more information, and a transcript of the episode. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. I used a few books for this podcast. One I haven’t talked about before is Blue Rhythms: Six Lives in Rhythm and Blues by Chip Defaa. The information on “Drinking Wine Spo-De-O-Dee” comes in part from Unsung Heroes of Rock ‘n’ Roll by Nick Tosches. This book is considered a classic, but a word of caution — it was written in the 70s, and Tosches is clearly of the Lester Bangs/underground/gonzo school of rock journalism, which in modern terms means he’s a bit of an edgelord who’ll be needlessly offensive to get a laugh.  Much of the information I’ve used comes from interviews with Ruth Brown and Ahmet Ertegun in Honkers & Shouters: The Golden Years of Rhythm and Blues by Arnold Shaw, one of the most important books on early 50s rhythm and blues. Ruth Brown also wrote an autobiography. And there are many good compilations of Brown’s R&B work — this one has most of the important records on it. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript While I’ve often made the point that fifties rhythm and blues is not the same thing as “the blues” as most people now think of it, there was still an obvious connection (as you’d expect from the name if nothing else) and sometimes the two would be more connected than you might think. So Ruth Brown, who was almost the epitome of a rhythm and blues singer, had her first hit on the pop charts with a song that couldn’t have been more blues inspired. For the story of “Mama, He Treats Your Daughter Mean”, we have to go all the way back to Blind Lemon Jefferson in the 1920s. Jefferson was a country-blues picker who was one of the most remarkable guitarists of his generation — he was a blues man first and foremost, but his guitar playing influenced almost every country player who came later. Unfortunately, he recorded for Paramount Records, notoriously the label with the worst sound quality in the 20s and thirties (which, given the general sound quality of those early recordings, is saying something). One of his songs was “One Dime Blues”, which is a very typical example of his style: [excerpt “One Dime Blues” by Blind Lemon Jefferson] See what I mean both about the great guitar playing and about the really lousy sound quality? That song was later picked up by another great blind bluesman, Blind Willie McTell. McTell is an example of how white lovers of black music would manage to miss the point of the musicians they loved and try to turn them into something they’re not. A substantial proportion of McTell’s recordings were made by John and Alan Lomax, for the Library of Congress, but if you listen to those recordings you can hear the Lomaxes persuading McTell to play music that’s very different from the songs he normally played — while he was a commercial blues singer, they wanted him to perform traditional folk songs and to sing political protest material, and basically to be another Leadbelly (a singer he did resemble slightly as a musician, largely because they both played the twelve-string guitar). He said he didn’t know any protest songs, but he did play various folk songs for them, even though they weren’t in his normal repertoire. And this is a very important thing to realise about the way the white collectors of black music distorted it — and it’s something you should also pay attention to when I talk about this stuff. I am, after all, a white man who loves a lot of black music but is disconnected from the culture that created it, just like the Lomaxes. There’s a reason why I call this podcast “A History of Rock Music…” rather than “THE History of Rock Music…” — the very last thing I want to do is give the impression that my opinion is the definitive one and that I should have the final word about these things. But what the Lomaxes were doing, when they were collecting their recordings, was taking sophisticated entertainers, who made their living from playing to rather demanding crowds, and getting them to play music that the Lomaxes *thought* was typical black music, rather than the music that those musicians would normally play and that their audiences would normally listen to. So they got McTell to perform songs he knew, like “The Boll Weevil” and “Amazing Grace”, because they thought that those songs were what they should be collecting, rather than having him perform his own material. To put this into a context which may seem a little more obvious to my audience — imagine you’re a singer-songwriter in Britain in the present day. You’ve been playing the clubs for several years, you’ve got a repertoire of songs you’ve written which the audiences love. You get your big break with a record company, you go into the studio, and the producer insists on you singing “Itsy-Bitsy Spider” and a hymn you had to sing in school assembly like “All Things Bright and Beautiful”. You probably could perform those, but you’d be wondering why they wouldn’t let you sing your own songs, and what the audiences would think of you singing this kind of stuff, and who exactly was going to buy it. But on the other hand, money is money, and you give the people paying you what they want. This was the experience of a *lot* of black musicians in the thirties, forties, and fifties, having rich white men pay them to play music that they saw as unsophisticated. It’s something we’ll see particularly in the late fifties as musicians travel from the US to the UK, and people like Muddy Waters discovered that their English audiences didn’t want to see anyone playing electric guitars and doing solos — they thought of the blues as a kind of folk music, and so wanted to see a poor black sharecropper playing an acoustic guitar, and so that’s what he gave those audiences. But McTell’s version of “One Dime Blues”, retitled “Last Dime Blues”, wasn’t like that. That was the music he played normally, and it was a minor hit: [excerpt: “Last Dime Blues” by Blind Willie McTell] And that line we just heard, “Mama, don’t treat your daughter mean”, inspired one of the most important records in early rock and roll. Ruth Brown had run away from home when she was seventeen — she’d wanted to become a singer, and she eloped with a trumpet player, Jimmy Brown, who she married and whose name she kept even though the marriage didn’t last long. She quickly joined Lucky Millinder’s band, as so many early R&B stars we’ve discussed did, but that too didn’t last long. Millinder’s band, at the time, had two singers already, and the original plan was for Brown to travel with the band for a month and learn how they did things, and then to join them on stage. She did the travelling for a month part, but soon found herself kicked out when she got on stage. She did two songs with the band on her first night performing live with them, and apparently went down well with the audience, but that was all she was meant to do on that show, so one of the other musicians asked her to go and get the band members drinks from the bar, as they were still performing. She brought them all sodas on to the stage… and Millinder said “I hired a singer, not a waitress — you’re fired. And besides, you don’t sing well anyway”. She was fired that day, and she had no money — Millinder refused to pay her, arguing that she’d had free room and board from him for a month, so if anything she owed him money. She had no way to make her way home from Washington. She was stuck. But what should have been a terrible situation for her turned out to be the thing that changed her life. She got an audition with Blanche Calloway, Cab’s sister, who was running a club at the time. Well, I say Blanche Calloway was Cab’s sister, and that’s probably how most people today would think of her if they thought of her at all, but it would really be more appropriate to say Cab Calloway happened to be her brother. Blanche Calloway had herself had a successful singing career, starting before her brother’s career, and she’d recorded songs like this: [excerpt “Just a Crazy Song”: Blanche Calloway and her Joy Boys] That was recorded several months *before* her brother’s breakout hit “Minnie The Moocher”, which popularised the “Hi de hi, ho de ho” chorus. Blanche Calloway wasn’t the first person to sing that song – Bill “Bojangles” Robinson recorded it a month before, though in a very different style – but she’s clearly the one who gave Cab the idea. She was a successful bandleader before her brother, and her band, the Joy Boys, featured musicians like Cozy Cole and Ben Webster, who later became some of the most famous names in jazz. She was the first woman to lead an otherwise all-male band, and her band was regularly listed as one of the ten or so most influential bands of the early thirties. And that wasn’t her only achievement by any means — in later years she became prominent in the Democratic Party and as a civil rights activist, she started Afram, a cosmetic company that made makeup for black women and was one of the most popular brand names of the seventies, and she was the first black woman to vote in Florida, in 1958. But while her band was popular in the thirties, it eventually broke up. There are two stories about how her band split, and possibly both are true. One story is that the Mafia, who controlled live music in the thirties, decided that there wasn’t room for two bands led by a Calloway, and put their weight behind her brother, leaving her unable to get gigs. The other story is that while on tour in Mississippi, she used a public toilet that was designated whites-only, and while she was in jail for that one of the band members ran off with all the band’s money and so she couldn’t afford to pay them. Either way, Calloway had gone into club management instead, and that was what she was doing when Ruth Brown walked into her club, desperate for a job. Calloway said that the club didn’t really need any new singers at the time, but she was sympathetic enough with Brown’s plight — and impressed enough by her talent — that she agreed that Brown could continue to sing at her club until she’d earned her fare home. And it was at that club that Willis Conover came to see her. Conover was a fascinating figure — he presented the jazz programme on Voice of America, the radio station that broadcast propaganda to the Eastern bloc during the Cold War, but by doing so he managed to raise the profile of many of the greatest jazz musicians of the time. He was also a major figure in early science fiction fandom — a book of his correspondence with H.P. Lovecraft is now available. Conover was visiting the nightclub along with his friend Duke Ellington, and he was immediately impressed by Ruth Brown’s performance — impressed enough that he ran out to call Ahmet Ertegun and Herb Abramson and tell them to sign her. Ertegun and Abramson were the founders of Atlantic Records, a new record label which had started up only a couple of years earlier. We’ve talked a bit about how the white backroom people in early R&B were usually those who were in some ways on the borderline between American conceptions of race — and this is something that will become even more important as the story goes on — but that was certainly true of Ahmet Ertegun. Ertegun was considered white by the then-prevailing standards in the US, but he was a Turkish Muslim, and so not part of what the white culture considered the default. He was also, though, extremely well off. His father had been the Turkish ambassador to the United States, and while young Ahmet had ostensibly been studying Medieval Philosophy at Georgetown University, in reality he was spending much of his time in Milt Gabler’s Commodore Music Shop. He and his brother Neshui had over fifteen thousand jazz records between them, and would travel to places like New Orleans and Harlem to see musicians. And so Ahmet decided he was going to set up his own record company, making jazz records. He got funding from his dentist, and took on Herb Abramson, one of the dentist’s proteges, as his partner in the firm. They soon switched from their initial plan of making jazz records to a new one of making blues and R&B, following the market. Atlantic’s first few records — while they were good ones, featuring people like Professor Longhair, weren’t especially successful, but then in 1949 they released “Drinking Wine Spo-De-O-Dee” by Sticks McGhee: [excerpt “Drinking Wine Spo-De-O-Dee”] That record is another of those which people refer to as “the first rock and roll record”, and it was pure good luck for Atlantic — McGhee had recorded an almost identical version two years earlier, for a label called Harlem Records. The song had originally been rather different — before McGhee recorded it for Harlem Records, instead of singing spo-de-o-dee he’d sung a four-syllable word, the first two syllables of which were mother and the latter two would get this podcast put in the adults-only section on iTunes; while instead of singing “mop mop” he’d sung “goddam”. Wisely, Harlem Records had got him to tone down the lyrics, but the record had started to take off only after the original label had gone out of business. Ertegun knew McGhee’s brother, the more famous blues musician Brownie McGhee, and called him up to get in touch with Sticks. They got Sticks to recut the record, sticking as closely as possible to his original, and rushed it out. The result was a massive success,and had cover versions by Lionel Hampton, Wynonie Harris, and many more musicians we’ve talked about here. Atlantic Records was on the map, and even though Sticks McGhee never had another hit, Atlantic now knew that the proto-rock-and-roll style of rhythm and blues was where its fortunes lay. So when Herb Abramson and Ahmet Ertegun saw Ruth Brown, they knew two things — firstly, this was a singer who had massive commercial potential, and secondly that if she was going to record for them, she’d have to change her style, from the torch songs she was singing to something more… spo-de-o-dee. Ruth Brown very nearly never made it to her first recording session at all. On her way to New York, with Blanche Calloway, who had become her manager, she ended up in a car crash and was in hospital for a year, turning twenty-one in hospital. She thought for a time that her chance had passed, but when she got well enough to use crutches she was invited along to a recording session. It wasn’t meant to be a session for her, it was just a way to ease her back into her career — Atlantic were going to show her what went on in a recording studio, so she would feel comfortable when it came to be time for her to actually make a record. The session was to record a few tracks for Cavalcade of Music, a radio show that profiled American composers. Eddie Condon’s band were recording the tracks, and all Brown was meant to do was watch. But then Ahmet Ertegun decided that while she was there, they might as well do a test recording of Brown, just to see whether her voice sounded decent when recorded. Herb Abramson — who would produce most of Brown’s early records — listed a handful of songs that she might know that they could do, and she said she knew Russ Morgan’s “So Long”. The band worked out a rough head arrangement of it, and they started recording. After a few bars, though, Sid Catlett, the drummer — one of the great jazz drummers, who had worked with Louis Armstrong, Dizzy Gillespie, Duke Ellington and Benny Goodman, among others — stopped the session and said “Wait a minute. Let’s go back and do this right. The kid can *sing*!” And she certainly could. The record, which had originally been intended just as a test or, at best, as a track to stick in the package of tracks they were recording for Cavalcade of Music, was instead released as a single, by “Ruth Brown as heard with Eddie Condon’s NBC Television Orchestra” “So Long” became a hit, and the followup “Teardrops From My Eyes” was a bigger hit, reaching number one on the R&B charts and staying there for eleven weeks. “Teardrops From My Eyes” was an uptempo song, and not really the kind of thing Brown liked — she thought of herself primarily as a torch singer — but it can’t be denied that she had a skill with that kind of material, even if it wasn’t what she’d have been singing by choice: [excerpt: Ruth Brown “Teardrops From My Eyes”] While the song was picked for her by Abramson, who continued to be in charge of Brown’s recordings until he was drafted into the Korean War, the strategy behind it was one that Ertegun had always advocated — to take black musicians who played or sang the more “sophisticated” (I don’t know if you can hear those air quotes, but they’re there…) styles and to get them instead to record in funkier, more rhythm-oriented styles. It was a strategy Atlantic would use later with many of the artists that would become popular on the label in the 1950s. In the case of “Teardrops From My Eyes”, this required a lot of work — Brown spent a week rehearsing the song with Louis Toombs, the song’s writer, and working out the arrangement — and this was in a time when most hit records were either head arrangements worked out in half an hour in the studio or songs that had been honed by months of live performance. Spending a week working out a song for a recording was extremely unusual, but it was part of Atlantic’s ethos — making sure the musicians were totally comfortable with the song and with each other before recording. It was the same reason that for the next few decades vocalists on Atlantic also played instruments on their own recordings, even if they weren’t the best instrumentalists — the idea was that the singer should be intimately involved in the rhythm of the record. But it worked even better for Ruth Brown than for most of those artists. “Teardrops From My Eyes” became a million seller — Atlantic’s first. Or at least, it was promoted as having sold a million copies — Herb Abramson would later claim that all the record labels were vastly exaggerating their sales. But then, he had a motive to claim that, just as they had a motive to exaggerate – if the artists believed they sold a million copies, then they’d want a million copies’ worth of royalties. But Brown’s biggest hit was her third number one, “Mama He Treats Your Daughter Mean”, which was also one of the few records she made to cross over to the pop charts, reaching number twenty-three. This was not a record that Brown thought at the time was particularly one of her best, but twenty years later in interviews she would talk about how she couldn’t do a show without playing it and that when she said her name people would ask “the Ruth Brown who sings ‘Mama He Treats Your Daughter Mean’?” The song also made a difference to Brown because it meant she had to join the musicians’ union. Vocalists, unlike instrumentalists, didn’t have to be union members. But “Mama, He Treats Your Daughter Mean” had a prominent tambourine part, which Brown played live. That made her an instrumentalist, not just a vocalist, and so Brown became a union member. [excerpt: “Mama He Treats Your Daughter Mean”, Ruth Brown] Johnny Wallace and Herbert Lance wrote that song after hearing a blues singer playing out on the street in Atlanta. The song the blues singer was playing was almost certainly “Last Dime Blues”, and contained a line which they heard as “Mama, he treats your daughter mean”. Brown didn’t want to record the song originally — the way the song was originally presented to her was as a much slower blues — but Herb Abramson raised the tempo to something closer to that of “Teardrops From My Eyes”, turning it into a clear example of early rock and roll. You can hear the song’s influence, for example, in “Work With Me Annie” by Hank Ballard and the Midnighters from two years later: [Excerpt: “Work With Me Annie”, Hank Ballard and the Midnighters] But Brown always claimed that the reason for the song’s greater success than her other records was down to that tambourine — or more precisely because of the way she played the tambourine live, because she used a fluorescent painted tambourine which would shine when she hit it. That apparently got the audiences worked up and made it her most popular live song. Brown continued to have hit records into the sixties, though she never became one of the most well-known artists — in the seventies she used to talk about adults telling their children “she was our Aretha Franklin”, and this was probably true. Certainly she was the most successful female rhythm and blues artist of the fifties, and was popular enough that for a while Atlantic Records became known as “the house that Ruth Brown built”, but like many of the pioneers of the rock and roll era, she was largely (though far from completely) erased from the cultural memory in favour of a view that has prehistory start in 1954 with Elvis and history proper only arrive in 1962 with the Beatles. Partly, this was because in the mid fifties, just as rock and roll was becoming huge, she had children and scaled down her touring activities to take care of them, but it was also in part because Atlantic Records was expanding. When they only had one or two big stars, it was easy for them to give each of them the attention they needed, but as the label got bigger, their star acts would have the best material divided among themselves, and their hit rate — at least for those who didn’t write their own material — got lower. So by the early sixties, Ruth Brown was something of a has-been. But she got a second wind from the late seventies onwards, after she appeared in the stage musical Selma, playing the part of Mahalia Jackson. She became a star again — not a pop star as she had been in her first career, but a star of the musical stage, and of films and TV. And she used that fame to do something remarkable. She had been unhappy for years with Atlantic Records not paying her the money she was owed for royalties on her records — like most independent labels of the fifties, Atlantic had seemed to regard honouring its contracts with its artists and actually giving them money as a sort of optional extra. But unlike those other independent labels, Atlantic had remained successful, and indeed by the eighties it was a major label itself — it had been bought in 1967 by Warner Brothers and had become one of the biggest record labels in the world. And Ruth Brown wanted the money to which she was entitled, and began a campaign to get the royalties she was owed. But she didn’t just campaign for herself. As part of the agreement she eventually reached with Atlantic, not only did she get her own money back, but dozens of other rhythm and blues artists also got their money — and the Rhythm and Blues Foundation was founded with money donated by Atlantic as compensation for them. The Rhythm and Blues Foundation now provides grants to up-and-coming black musicians and gives cash awards to older musicians who’ve fallen on hard times — often because of the way labels like Atlantic have treated them. Now of course that’s not to say that the Rhythm and Blues Foundation fixed everything — it’s very clear that Atlantic continued (and continues) to underpay the artists on whose work they built a billion-dollar business, and that the Foundation is one of those organisations that exists as much to forestall litigation as anything else, but it’s still notable that when she had the opportunity to do something just for herself, Ruth Brown chose instead to also help her friends and colleagues. Maybe her time in the union paid off… Brown spent her last decades as an elder stateswoman of the rhythm and blues field, She died in 2006.  

  Welcome to episode thirteen of A History of Rock Music in Five Hundred Songs. Today we're looking at "(Mama) He Treats Your Daughter Mean" by Ruth Brown. Click the full post to read liner notes, links to more information, and a transcript of the episode. ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. I used a few books for this podcast. One I haven't talked about before is Blue Rhythms: Six Lives in Rhythm and Blues by Chip Defaa. The information on "Drinking Wine Spo-De-O-Dee" comes in part from Unsung Heroes of Rock 'n' Roll by Nick Tosches. This book is considered a classic, but a word of caution -- it was written in the 70s, and Tosches is clearly of the Lester Bangs/underground/gonzo school of rock journalism, which in modern terms means he's a bit of an edgelord who'll be needlessly offensive to get a laugh.  Much of the information I've used comes from interviews with Ruth Brown and Ahmet Ertegun in Honkers & Shouters: The Golden Years of Rhythm and Blues by Arnold Shaw, one of the most important books on early 50s rhythm and blues. Ruth Brown also wrote an autobiography. And there are many good compilations of Brown's R&B work -- this one has most of the important records on it. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript While I've often made the point that fifties rhythm and blues is not the same thing as "the blues" as most people now think of it, there was still an obvious connection (as you'd expect from the name if nothing else) and sometimes the two would be more connected than you might think. So Ruth Brown, who was almost the epitome of a rhythm and blues singer, had her first hit on the pop charts with a song that couldn't have been more blues inspired. For the story of "Mama, He Treats Your Daughter Mean", we have to go all the way back to Blind Lemon Jefferson in the 1920s. Jefferson was a country-blues picker who was one of the most remarkable guitarists of his generation -- he was a blues man first and foremost, but his guitar playing influenced almost every country player who came later. Unfortunately, he recorded for Paramount Records, notoriously the label with the worst sound quality in the 20s and thirties (which, given the general sound quality of those early recordings, is saying something). One of his songs was "One Dime Blues", which is a very typical example of his style: [excerpt "One Dime Blues" by Blind Lemon Jefferson] See what I mean both about the great guitar playing and about the really lousy sound quality? That song was later picked up by another great blind bluesman, Blind Willie McTell. McTell is an example of how white lovers of black music would manage to miss the point of the musicians they loved and try to turn them into something they're not. A substantial proportion of McTell's recordings were made by John and Alan Lomax, for the Library of Congress, but if you listen to those recordings you can hear the Lomaxes persuading McTell to play music that's very different from the songs he normally played -- while he was a commercial blues singer, they wanted him to perform traditional folk songs and to sing political protest material, and basically to be another Leadbelly (a singer he did resemble slightly as a musician, largely because they both played the twelve-string guitar). He said he didn't know any protest songs, but he did play various folk songs for them, even though they weren't in his normal repertoire. And this is a very important thing to realise about the way the white collectors of black music distorted it -- and it's something you should also pay attention to when I talk about this stuff. I am, after all, a white man who loves a lot of black music but is disconnected from the culture that created it, just like the Lomaxes. There's a reason why I call this podcast "A History of Rock Music..." rather than "THE History of Rock Music..." -- the very last thing I want to do is give the impression that my opinion is the definitive one and that I should have the final word about these things. But what the Lomaxes were doing, when they were collecting their recordings, was taking sophisticated entertainers, who made their living from playing to rather demanding crowds, and getting them to play music that the Lomaxes *thought* was typical black music, rather than the music that those musicians would normally play and that their audiences would normally listen to. So they got McTell to perform songs he knew, like "The Boll Weevil" and "Amazing Grace", because they thought that those songs were what they should be collecting, rather than having him perform his own material. To put this into a context which may seem a little more obvious to my audience -- imagine you're a singer-songwriter in Britain in the present day. You've been playing the clubs for several years, you've got a repertoire of songs you've written which the audiences love. You get your big break with a record company, you go into the studio, and the producer insists on you singing "Itsy-Bitsy Spider" and a hymn you had to sing in school assembly like "All Things Bright and Beautiful". You probably could perform those, but you'd be wondering why they wouldn't let you sing your own songs, and what the audiences would think of you singing this kind of stuff, and who exactly was going to buy it. But on the other hand, money is money, and you give the people paying you what they want. This was the experience of a *lot* of black musicians in the thirties, forties, and fifties, having rich white men pay them to play music that they saw as unsophisticated. It's something we'll see particularly in the late fifties as musicians travel from the US to the UK, and people like Muddy Waters discovered that their English audiences didn't want to see anyone playing electric guitars and doing solos -- they thought of the blues as a kind of folk music, and so wanted to see a poor black sharecropper playing an acoustic guitar, and so that's what he gave those audiences. But McTell's version of "One Dime Blues", retitled "Last Dime Blues", wasn't like that. That was the music he played normally, and it was a minor hit: [excerpt: “Last Dime Blues” by Blind Willie McTell] And that line we just heard, “Mama, don't treat your daughter mean”, inspired one of the most important records in early rock and roll. Ruth Brown had run away from home when she was seventeen -- she'd wanted to become a singer, and she eloped with a trumpet player, Jimmy Brown, who she married and whose name she kept even though the marriage didn't last long. She quickly joined Lucky Millinder's band, as so many early R&B stars we've discussed did, but that too didn't last long. Millinder's band, at the time, had two singers already, and the original plan was for Brown to travel with the band for a month and learn how they did things, and then to join them on stage. She did the travelling for a month part, but soon found herself kicked out when she got on stage. She did two songs with the band on her first night performing live with them, and apparently went down well with the audience, but that was all she was meant to do on that show, so one of the other musicians asked her to go and get the band members drinks from the bar, as they were still performing. She brought them all sodas on to the stage... and Millinder said "I hired a singer, not a waitress -- you're fired. And besides, you don't sing well anyway". She was fired that day, and she had no money -- Millinder refused to pay her, arguing that she'd had free room and board from him for a month, so if anything she owed him money. She had no way to make her way home from Washington. She was stuck. But what should have been a terrible situation for her turned out to be the thing that changed her life. She got an audition with Blanche Calloway, Cab's sister, who was running a club at the time. Well, I say Blanche Calloway was Cab's sister, and that's probably how most people today would think of her if they thought of her at all, but it would really be more appropriate to say Cab Calloway happened to be her brother. Blanche Calloway had herself had a successful singing career, starting before her brother's career, and she'd recorded songs like this: [excerpt "Just a Crazy Song": Blanche Calloway and her Joy Boys] That was recorded several months *before* her brother's breakout hit "Minnie The Moocher", which popularised the "Hi de hi, ho de ho" chorus. Blanche Calloway wasn't the first person to sing that song – Bill “Bojangles” Robinson recorded it a month before, though in a very different style – but she's clearly the one who gave Cab the idea. She was a successful bandleader before her brother, and her band, the Joy Boys, featured musicians like Cozy Cole and Ben Webster, who later became some of the most famous names in jazz. She was the first woman to lead an otherwise all-male band, and her band was regularly listed as one of the ten or so most influential bands of the early thirties. And that wasn't her only achievement by any means -- in later years she became prominent in the Democratic Party and as a civil rights activist, she started Afram, a cosmetic company that made makeup for black women and was one of the most popular brand names of the seventies, and she was the first black woman to vote in Florida, in 1958. But while her band was popular in the thirties, it eventually broke up. There are two stories about how her band split, and possibly both are true. One story is that the Mafia, who controlled live music in the thirties, decided that there wasn't room for two bands led by a Calloway, and put their weight behind her brother, leaving her unable to get gigs. The other story is that while on tour in Mississippi, she used a public toilet that was designated whites-only, and while she was in jail for that one of the band members ran off with all the band's money and so she couldn't afford to pay them. Either way, Calloway had gone into club management instead, and that was what she was doing when Ruth Brown walked into her club, desperate for a job. Calloway said that the club didn't really need any new singers at the time, but she was sympathetic enough with Brown's plight -- and impressed enough by her talent -- that she agreed that Brown could continue to sing at her club until she'd earned her fare home. And it was at that club that Willis Conover came to see her. Conover was a fascinating figure -- he presented the jazz programme on Voice of America, the radio station that broadcast propaganda to the Eastern bloc during the Cold War, but by doing so he managed to raise the profile of many of the greatest jazz musicians of the time. He was also a major figure in early science fiction fandom -- a book of his correspondence with H.P. Lovecraft is now available. Conover was visiting the nightclub along with his friend Duke Ellington, and he was immediately impressed by Ruth Brown's performance -- impressed enough that he ran out to call Ahmet Ertegun and Herb Abramson and tell them to sign her. Ertegun and Abramson were the founders of Atlantic Records, a new record label which had started up only a couple of years earlier. We've talked a bit about how the white backroom people in early R&B were usually those who were in some ways on the borderline between American conceptions of race -- and this is something that will become even more important as the story goes on -- but that was certainly true of Ahmet Ertegun. Ertegun was considered white by the then-prevailing standards in the US, but he was a Turkish Muslim, and so not part of what the white culture considered the default. He was also, though, extremely well off. His father had been the Turkish ambassador to the United States, and while young Ahmet had ostensibly been studying Medieval Philosophy at Georgetown University, in reality he was spending much of his time in Milt Gabler's Commodore Music Shop. He and his brother Neshui had over fifteen thousand jazz records between them, and would travel to places like New Orleans and Harlem to see musicians. And so Ahmet decided he was going to set up his own record company, making jazz records. He got funding from his dentist, and took on Herb Abramson, one of the dentist's proteges, as his partner in the firm. They soon switched from their initial plan of making jazz records to a new one of making blues and R&B, following the market. Atlantic's first few records -- while they were good ones, featuring people like Professor Longhair, weren't especially successful, but then in 1949 they released "Drinking Wine Spo-De-O-Dee" by Sticks McGhee: [excerpt "Drinking Wine Spo-De-O-Dee"] That record is another of those which people refer to as "the first rock and roll record", and it was pure good luck for Atlantic -- McGhee had recorded an almost identical version two years earlier, for a label called Harlem Records. The song had originally been rather different -- before McGhee recorded it for Harlem Records, instead of singing spo-de-o-dee he'd sung a four-syllable word, the first two syllables of which were mother and the latter two would get this podcast put in the adults-only section on iTunes; while instead of singing "mop mop" he'd sung "goddam". Wisely, Harlem Records had got him to tone down the lyrics, but the record had started to take off only after the original label had gone out of business. Ertegun knew McGhee's brother, the more famous blues musician Brownie McGhee, and called him up to get in touch with Sticks. They got Sticks to recut the record, sticking as closely as possible to his original, and rushed it out. The result was a massive success,and had cover versions by Lionel Hampton, Wynonie Harris, and many more musicians we've talked about here. Atlantic Records was on the map, and even though Sticks McGhee never had another hit, Atlantic now knew that the proto-rock-and-roll style of rhythm and blues was where its fortunes lay. So when Herb Abramson and Ahmet Ertegun saw Ruth Brown, they knew two things -- firstly, this was a singer who had massive commercial potential, and secondly that if she was going to record for them, she'd have to change her style, from the torch songs she was singing to something more... spo-de-o-dee. Ruth Brown very nearly never made it to her first recording session at all. On her way to New York, with Blanche Calloway, who had become her manager, she ended up in a car crash and was in hospital for a year, turning twenty-one in hospital. She thought for a time that her chance had passed, but when she got well enough to use crutches she was invited along to a recording session. It wasn't meant to be a session for her, it was just a way to ease her back into her career -- Atlantic were going to show her what went on in a recording studio, so she would feel comfortable when it came to be time for her to actually make a record. The session was to record a few tracks for Cavalcade of Music, a radio show that profiled American composers. Eddie Condon's band were recording the tracks, and all Brown was meant to do was watch. But then Ahmet Ertegun decided that while she was there, they might as well do a test recording of Brown, just to see whether her voice sounded decent when recorded. Herb Abramson -- who would produce most of Brown's early records -- listed a handful of songs that she might know that they could do, and she said she knew Russ Morgan's "So Long". The band worked out a rough head arrangement of it, and they started recording. After a few bars, though, Sid Catlett, the drummer -- one of the great jazz drummers, who had worked with Louis Armstrong, Dizzy Gillespie, Duke Ellington and Benny Goodman, among others -- stopped the session and said "Wait a minute. Let's go back and do this right. The kid can *sing*!" And she certainly could. The record, which had originally been intended just as a test or, at best, as a track to stick in the package of tracks they were recording for Cavalcade of Music, was instead released as a single, by "Ruth Brown as heard with Eddie Condon's NBC Television Orchestra" "So Long" became a hit, and the followup "Teardrops From My Eyes" was a bigger hit, reaching number one on the R&B charts and staying there for eleven weeks. "Teardrops From My Eyes" was an uptempo song, and not really the kind of thing Brown liked -- she thought of herself primarily as a torch singer -- but it can't be denied that she had a skill with that kind of material, even if it wasn't what she'd have been singing by choice: [excerpt: Ruth Brown "Teardrops From My Eyes"] While the song was picked for her by Abramson, who continued to be in charge of Brown's recordings until he was drafted into the Korean War, the strategy behind it was one that Ertegun had always advocated -- to take black musicians who played or sang the more "sophisticated" (I don't know if you can hear those air quotes, but they're there...) styles and to get them instead to record in funkier, more rhythm-oriented styles. It was a strategy Atlantic would use later with many of the artists that would become popular on the label in the 1950s. In the case of "Teardrops From My Eyes", this required a lot of work -- Brown spent a week rehearsing the song with Louis Toombs, the song's writer, and working out the arrangement -- and this was in a time when most hit records were either head arrangements worked out in half an hour in the studio or songs that had been honed by months of live performance. Spending a week working out a song for a recording was extremely unusual, but it was part of Atlantic's ethos -- making sure the musicians were totally comfortable with the song and with each other before recording. It was the same reason that for the next few decades vocalists on Atlantic also played instruments on their own recordings, even if they weren't the best instrumentalists -- the idea was that the singer should be intimately involved in the rhythm of the record. But it worked even better for Ruth Brown than for most of those artists. "Teardrops From My Eyes" became a million seller -- Atlantic's first. Or at least, it was promoted as having sold a million copies -- Herb Abramson would later claim that all the record labels were vastly exaggerating their sales. But then, he had a motive to claim that, just as they had a motive to exaggerate – if the artists believed they sold a million copies, then they'd want a million copies' worth of royalties. But Brown's biggest hit was her third number one, "Mama He Treats Your Daughter Mean", which was also one of the few records she made to cross over to the pop charts, reaching number twenty-three. This was not a record that Brown thought at the time was particularly one of her best, but twenty years later in interviews she would talk about how she couldn't do a show without playing it and that when she said her name people would ask "the Ruth Brown who sings 'Mama He Treats Your Daughter Mean'?" The song also made a difference to Brown because it meant she had to join the musicians' union. Vocalists, unlike instrumentalists, didn't have to be union members. But "Mama, He Treats Your Daughter Mean" had a prominent tambourine part, which Brown played live. That made her an instrumentalist, not just a vocalist, and so Brown became a union member. [excerpt: "Mama He Treats Your Daughter Mean", Ruth Brown] Johnny Wallace and Herbert Lance wrote that song after hearing a blues singer playing out on the street in Atlanta. The song the blues singer was playing was almost certainly “Last Dime Blues”, and contained a line which they heard as “Mama, he treats your daughter mean”. Brown didn't want to record the song originally -- the way the song was originally presented to her was as a much slower blues -- but Herb Abramson raised the tempo to something closer to that of "Teardrops From My Eyes", turning it into a clear example of early rock and roll. You can hear the song's influence, for example, in "Work With Me Annie" by Hank Ballard and the Midnighters from two years later: [Excerpt: "Work With Me Annie", Hank Ballard and the Midnighters] But Brown always claimed that the reason for the song's greater success than her other records was down to that tambourine -- or more precisely because of the way she played the tambourine live, because she used a fluorescent painted tambourine which would shine when she hit it. That apparently got the audiences worked up and made it her most popular live song. Brown continued to have hit records into the sixties, though she never became one of the most well-known artists -- in the seventies she used to talk about adults telling their children "she was our Aretha Franklin", and this was probably true. Certainly she was the most successful female rhythm and blues artist of the fifties, and was popular enough that for a while Atlantic Records became known as "the house that Ruth Brown built", but like many of the pioneers of the rock and roll era, she was largely (though far from completely) erased from the cultural memory in favour of a view that has prehistory start in 1954 with Elvis and history proper only arrive in 1962 with the Beatles. Partly, this was because in the mid fifties, just as rock and roll was becoming huge, she had children and scaled down her touring activities to take care of them, but it was also in part because Atlantic Records was expanding. When they only had one or two big stars, it was easy for them to give each of them the attention they needed, but as the label got bigger, their star acts would have the best material divided among themselves, and their hit rate -- at least for those who didn't write their own material -- got lower. So by the early sixties, Ruth Brown was something of a has-been. But she got a second wind from the late seventies onwards, after she appeared in the stage musical Selma, playing the part of Mahalia Jackson. She became a star again -- not a pop star as she had been in her first career, but a star of the musical stage, and of films and TV. And she used that fame to do something remarkable. She had been unhappy for years with Atlantic Records not paying her the money she was owed for royalties on her records -- like most independent labels of the fifties, Atlantic had seemed to regard honouring its contracts with its artists and actually giving them money as a sort of optional extra. But unlike those other independent labels, Atlantic had remained successful, and indeed by the eighties it was a major label itself -- it had been bought in 1967 by Warner Brothers and had become one of the biggest record labels in the world. And Ruth Brown wanted the money to which she was entitled, and began a campaign to get the royalties she was owed. But she didn't just campaign for herself. As part of the agreement she eventually reached with Atlantic, not only did she get her own money back, but dozens of other rhythm and blues artists also got their money -- and the Rhythm and Blues Foundation was founded with money donated by Atlantic as compensation for them. The Rhythm and Blues Foundation now provides grants to up-and-coming black musicians and gives cash awards to older musicians who've fallen on hard times -- often because of the way labels like Atlantic have treated them. Now of course that's not to say that the Rhythm and Blues Foundation fixed everything -- it's very clear that Atlantic continued (and continues) to underpay the artists on whose work they built a billion-dollar business, and that the Foundation is one of those organisations that exists as much to forestall litigation as anything else, but it's still notable that when she had the opportunity to do something just for herself, Ruth Brown chose instead to also help her friends and colleagues. Maybe her time in the union paid off... Brown spent her last decades as an elder stateswoman of the rhythm and blues field, She died in 2006.  

Songs with "light" in the title, including: Blue Moonlight, Lights Out, I'm Beginning to See the Light, By the Light of the Stars and I'll Keep the Lovelight Burning. Musicians include: Bing Crosby, Duke Ellington, Lee Wiley, Eddie Duchin, James P. Johnson, Rudy Valee and Eddie Condon.

Fizzy bubbles in a very non-medicinal ice cream float. This month we're flashing back to the 1950s and peeking behind the picket fence stereotype. With Valentine's Day approaching, we're talking love, romance, gender roles, and how all these things shook out in post-war Canada. In fashion, Torey's preparing for date night by trying to emulate some classic '50s hairdos. There are complications. In food, we're making ice cream floats (or "sodas," as some folks apparently say). Steph's got all the details on the history of this former medicine, and she's also outdone herself with a dizzying array of replicas. Steph is obsessed with: Very well-funded BBC documentaries and very fun-to-watch NFB films Torey is obsessed with: the Toronto Public Library's new streaming service provider, Kanopy, and its array of documentaries. Anita: Speaking Truth to Power is looking especially relevant. Thanks for listening! Find us online: Instagram @fashionablyateshow Facebook and Pinterest @fashionablyate Email us at fashionablyateshow@gmail.com And if you haven't already found us on iTunes, now's your chance! Download and subscribe -- and if you would be so kind, please leave us a star rating or review. We'd love the feedback. Check our facts: HISTORY Gendered roles after the wars by Robert Rutherdale in Canadian History: Post-Confederation Queer and other histories by John Belshaw and Tracy Penny Light The Canadian War on Queers by Gary Kinsman and Patrizia Gentile (note: this was the resource Torey mentioned searching for after a really excellent seminar. Thrilled to have found it!) The Canadian marriage at 150: A look back in the Globe and Mail Forbidden Love: The Unashamed Stories of Lesbian Lives NFB documentary by Lynne Fernie and Aerlyn Weissman, 1992 Teenage dating in the 1950s by Wendy Sombat, 2000 FOOD History of old fashioned soda fountainsSoda fountain history FASHION Nine memorable hairstyles of the 1950s Hair Story: Untangling the Roots of Black Hair in America by Ayana Byrd and Lori Tharps, 2002. The History of Black Hair in America by Kristin Booker History of the beehive hairdo Music credits: Eddie Condon, Nobody’s Sweetheart 1929 When Harry Met Sally 1989 Nora Ephron (writer) Rob Reiner (Dir) Kat’s Delicatessen scene. Markus Staab, Piano 2011 performance of Leroy Anderson, The Syncopated Clock 1945. 

    "Ye gods, what a lovely juice this monster does produce!" This month on Fashionably Ate we're taking our cue from the New York Public Library's menu database and attending a farewell banquet for the Lord and Lady Aberdeen in November 1898. First we're sashaying in style to Ottawa's Russell Hotel in fashions befitting a Governor General -- including the fanciest ties. Then we're supping on Mock Mock Turtle Soup -- our modern equivalent to the Aberdeens' genuine article -- and washing it down with some very strong Aberdeen Punch. Resources The menu for this banquet, our inspiration for the episode, can be found here. Fashion Photos of Lord and Lady Aberdeen, 1898 K.B. Brett's Women's Fashion in Ontario, 1867-1907 dates from the 1960s but is a wealth of knowledge on construction and technical changes. Eileen Collard's The Rise and Fall of the Bustle ca. 1867-98 -- a pictoral illustration of the evolution of women's dress in Canada. Eileen Collard has written a number of similar books for different eras and is a go-to resource for Canadian women's fashion. Clothing in English Canada ca 1867 to 1907 even includes some analysis of men's fashion in the same period. Caroline Routh's 100 Years of Canadian Fashion and Alexandra Palmer's Fashion: A Canadian Perspective are great sources for more long-term contextual analysis. For necktie tutorials: How to tie a puff tie using a normal neck tie How to tie a Victorian cravat How to tie an ascot Food: Our meat recipe: “Nan Marie’s Mock Turtle Soup” by Regina Charboneau, Dec. 10, 2010. Our veggie recipe: “Lorelai ‘Trix’ Gilmore’s (Mock) Mock Turtle Soup” by Randi Milgram, Dec. 21, 2013. “Traditional Scottish Recipes – Whisky Punch”  - You can find all sorts of Scottish recipes on this website. Ms. Fraser, from Almonte, ON, gives us a recipe for “Mock Turtle Soup” (the calf's head version) in The Canadian Economist: A book of Tried and Tested Receipts.  “What is Mock Turtle Soup?” by Eric Troy gives a great background on Turtle Soup in history and media, as does Stephanie Butler in “The Rise and Fall of Turtle Soup.” For a look at how big a Green Sea Turtle can be, and to read a romanticized version of turtle-soup-eating today, check out this Saveur article. David A. Steen responds to the Saveur article with information on endangered turtles here. The Toronto Star explains why a GTA restaurant can't serve endangered turtles. Find more about species at risk in Ontario here, and for Ontario Turtle Hunting Laws, search for regulation O. Reg. 5880/99, s. 3 Part VII. Our theme music is Nobody's Sweetheart, as performed by Eddie Condon in 1929. Enjoy! For more photos of our culinary/sartorial adventures check out our Facebook: Fashionably Ate and on Instagram:@fashionablyateshow   https://archive.org/download/FAEP1FarewellAberdeens/FAEP1.mp3

The Enduring Legacy continues....Ready for another great Sunday night in Ahmet's House? We are...and tonight we celebrate a birthday, and a great year in Atlantic history...1949...Stick McGhee had just scored Atlantic's first major hit, an R&B ditty written by Ahmet himself! Ruth Brown, Eddie Condon, Erroll Garner and Professor Longhair...now that was some year! But don't worry, we don't live in the past...we weave it all together. Keeping legacy music alive...that is Ahmet's House. Birthdays: Jerome"J."Geils

The Enduring Legacy continues....Ready for another great Sunday night in Ahmet's House? We are...and tonight we celebrate a birthday, and a great year in Atlantic history...1949...Stick McGhee had just scored Atlantic's first major hit, an R&B ditty written by Ahmet himself! Ruth Brown, Eddie Condon, Erroll Garner and Professor Longhair...now that was some year! But don't worry, we don't live in the past...we weave it all together. Keeping legacy music alive...that is Ahmet's House. Birthdays: Jerome "J." Geils

Eddie Condon and a band of talented musicians improvise great jazz on live radio beginning with “Sweet Georgia Brown.”  Original Air Date: May 20, 1944

Bands that revived New Orleans style jazz in the 1930s and 40s. Performers include: Lu Watters, Bunk Johnson, Turk Murphy, Muggsy Spainer, Eddie Condon and the Bob Cats.  Tunes include: Riverboat Shuffle, Ace in the Hole, Maple Leaf Rag, 12th Street Rag and Trouble In Mind.

To celebrate the 92nd birthday of George Avakian, the veteran record producer joins Alyn Shipton to pick his personal favourites from a long career in supervising record sessions, starting in 1939. From the Chicago jazz of Eddie Condon and Jimmy McPartland, the programme covers a vast stylistic range including Erroll Garner, Miles Davis's quintet and his Gil Evans collaborations, the Duke Ellington Orchestra, Dave Brubeck's most famous quartet and the Louis Armstrong All Stars.

Big Band Serenade presents Eddie Condon and His Band 1938-1950 The music in this program is listed in order of play;1) "Dill Pickels"  19502) "Love Is Just Around The Corner"  1938 Eddie Condon Windy City 73) "Ida,Sweet As Apple Cider" 19474) "Some Sunny Day" 1946 5) "There'll Be Some Changes Made" 1939 Eddie Condon's Chicagoans6) "California Here I Come" 19387) September 9, 1944 Remote Jazz Broadcast From New York's Town HallDon't forget to watch the Eddie Condon Video at http://bigbandvideo.libsyn.com *******Please Take Our Survey******  

Miller played and recorded with the likes of Tommy and Jimmy Dorsey (who on several of their records, featured an up-and-coming singer by the name of Bing Crosby), Gene Krupa, Eddie Condon and Coleman Hawkins. In addition, during that time, Glenn cut 18 sides for Goodman, and also worked for radio studio conductors like Victor Young, Carl Fenton and Jacques Renard. In 1934, Miller became the musical director of the Dorsey Band, and later went on to organize The Ray Noble Orchestra, which included such players as Charlie Spivak, Peewee Erwin, Bud Freeman, Johnny Mince, George Van Eps and Delmar Kaplan, among others. the Glenn Miller Army Air Force Band engaged in over 800 performances. Of these, 500 were broadcasts heard by millions. There were more than 300 personal appearances including concerts and dances, with a gross attendance of over 600,000. But Glenn was not to participate in the final six months of these activities. In the Fall of 1944, the band was scheduled to be sent on a six-week tour of Europe and would be stationed in Paris during that time. Miller decided to go ahead, in order to make the proper arrangements for the group's arrival. And so, on December 15th, Glenn Miller boarded a transport plane to Paris, never to be seen again. Go To GoDaddy, use the promo code blu19 and save 10%