Left Field 1953 Band Leaders on NBC Radio – 14 April Phantom Dancer

Sauter-Finegan, Stan Kenton and Billy May were three 1953 bands making way-out sounds on NBC radio and are this week’s Greg Poppleton Phantom Dancer feature artists. You’ll also hear from vocal group The Hi-Los, an influence on young pianist, Herbie Hancock. Read the three band leader stories below…

The Phantom Dancer is your non-stop 2 hour mix of swing and jazz from live 1920s-60s radio. On-air with Greg Poppleton since 1985.

The Phantom Dancer produced and presented by 1920s-30s singer and actor Greg Poppleton can be heard online from 12:05pm AEST Tuesday 14 April at https://2ser.com/phantom-dancer/

The last hour is all vinyl.

Sauter-Finegan Orchestra

SAUTER – FINEGAN

The Sauter-Finegan Orchestra was an American swing jazz band popular in 1953.
The orchestra was led by Eddie Sauter and Bill Finegan, who were both experienced big band arrangers. Sauter played mellophone, trumpet, and drums. He had attended Columbia University and Juilliard. Finegan had studied at the Paris Conservatory. They began recording together in 1952, using inventive arrangements that made use of a variety of unusual instruments, including many orchestral instruments as well as oddities like the kazoo and the beaten human chest.

A June 7, 1952, article in the trade publication Billboard described the new group as “a creative band, which will combine dance music as well as mood interpretations.”

The group initially had a three-year contract with RCA Victor, with plans “for about 16 sides a year.” Their first chart appearance was with “Doodletown Fifers”, their version of a Civil War tune called “Kingdom Coming and the Year of Jubilo”. “Nina Never Knew” (featuring vocalist Joe Mooney) and “The Moon is Blue” (with Sally Sweetland) soon followed on the charts. With the success of the singles, they put together a 21-member touring ensemble and began playing venues in 1953.  Because the group played in dance halls rather than concert venues, they encountered little success on the road, and quit touring in 1955 after having accrued much debt.

June Christie singing with the Stan Kenton Orchestra

STAN KENTON

In 1950 Kenton fput together the large 39-piece Innovations in Modern Music Orchestra that included 16 strings, a woodwind section, and two French horns. The music was an extension of the works composed and recorded since 1947 by Bob Graettinger, Manny Albam, Franklyn Marks and others. Name jazz musicians such as Maynard Ferguson, Shorty Rogers, Milt Bernhart, John Graas, Art Pepper, Bud Shank, Bob Cooper, Laurindo Almeida, Shelly Manne, and June Christy were part of these musical ensembles. The groups managed two tours during 1950–51, from a commercial standpoint it would be Stan Kenton’s first major failure.

In order to be more commercially viable, Kenton reformed the band in 1951 to a much more standard instrumentation: five saxes, five trombones, five trumpets, piano, guitar, bass, drums. The charts of such arrangers as Gerry Mulligan, Johnny Richards, and particularly Bill Holman and Bill Russo began to dominate the repertoire. The music was written to better reflect the style of cutting edge, be-bop oriented big bands like those of Dizzy Gillespie and Woody Herman. Young, talented players and outstanding jazz soloists such as Maynard Ferguson, Lee Konitz, Conte Candoli, Sal Salvador and Frank Rosolino made strong contributions to the level of the 1952–53 band. The music composed and arranged during this time, which you hear from live 1953 radio, was far more tailor-made to contemporary jazz tastes and was one of the high points in Kenton’s career as band leader.

Billy May, sousaphone

BILLY MAY

After playing tuba for a few local bands, May heard Charlie Barnet’s band on the radio in his hometown of Pittsburgh. In the summer of 1938, he approached the bandleader and asked if he could write arrangements for the band. From 1938–40, he wrote arrangements and played trumpet for Barnet’s big band.

His arrangement of the Ray Noble composition “Cherokee” became a major hit of the swing music era. During the Barnet days, May revealed a significant flair for satire on a composition, “The Wrong Idea”, composed with Barnet, ridiculing the bland “Mickey Mouse” style of safe big-band music, with specific aim at bandleader Sammy Kaye, known for his “swing and sway” trademark. May’s caustic lyrics to the song called it “swing and sweat with Charlie Barnet”. Bandleader Glenn Miller hired May away from Barnet in 1940. “May points out that he was not responsible for any of the [Glenn Miller] band’s signature hits, but he did write the beautiful left-field introduction to [Bill] Finegan’s [arrangement of] ‘Serenade In Blue'”.

May’s charts often featured brisk tempos and intricate brass parts. One distinctive feature of his style is his frequent use of trumpet mute devices; another, a saxophone glissando, is widely known as his “slurping saxes”. He wrote in slower tempos, sometimes using string arrangements.

LOOK AT THIS 1930s DRUM KIT

Your Phantom Dancer Video of the Week is from a Larry Clinton 1939 Vitaphone short with vocals by Bea Wain and Ford Leary. Also note the clear shots of the 1930s drum kit where the cymbals are on bent poles attached to the bass drum.

14 APRIL PLAY LIST

Play List – The Phantom Dancer 107.3 2SER-FM Sydney, Live Stream, Digital Radio Community Radio Network Show CRN #432
107.3 2SER Tuesday 14 April 2020 After the 2SER 12 noon news, 12:04 – 2:00pm (+10 hours GMT) and Saturdays 5 – 5:55pm National Program: 1ART ArtsoundFM Canberra Sunday 10 – 11pm 5GTR Mt Gambier Mon 2:30 – 3:30am 4NAG Keppel FM 3 – 4am 2SEA Eden Monday 3 – 4am 2MIA Griffith Monday 3 – 4pm 2BAR Edge FM Bega Monday 3 – 4pm 3VKV Alpine Radio Monday 6 – 7pm 7MID Oatlands Tuesday 8 – 9pm 2ARM Armidale Friday 12 – 1pm 7LTN Launceston 5 – 6am 3MGB Mallacoota Sunday 5 – 6am
Set 1	1930s True Crime, Fox and Gypsy
Calling All Cars Theme	Studio Orchestra	‘Calling All Cars’ KNX CBS LA 17 Nov 1938
Unidentified Song	Jaroslav Jezek Orchestra	Comm Rec Prague 1938
Hallelujah!	Svenskahotkvintetten	Comm Rec Stockholm Oct 1939
Set 2	1930s European Pop on 1930s US Radio
The Lambeth Walk	Benny Goodman Orchestra (voc) Martha Tilton	‘Camel Caravan’ WABC CBS NY 6 Sep 1938
Harbour Lights	Rudy Vallee (voc) Robert Ambruster Orchestra	‘Chase and Sanborn Hour’ WEAF NBC Red NY 3 Oct 1937
My Prayer	Paul Whiteman Orchestra (voc) Joan Edwards	‘Chesterfield Show’ WABC CBS NY 25 Oct 1939
Set 3	Spotlight Bands 1943-45 Blue Network
Open + Blue Skies	Jimmy Joy Orchestra	‘Spotlight Bands’ Harlingen Tx Blue Network 6 Jan 1945
Chatanoogo Choo Choo Boogie	Sammy Kaye Orchestra	‘Spotlight Bands’ Washington DC Blue Network 31 Jan 1942
Take It Down + What Is This Thing Called Love + Close	Leo Reisman Orchestra	‘Spotlight Bands’ National Press Club Washington DC Blue Network 23 Jan 1943
Set 4	Way-Out Sounds on 1953 Radio
Open + Tweedle-Dee Tweedle-Dum	Sauter – Finnegan Orchestra	‘All Star Parade of Bands’ Blue Note WMAQ NBC Chicago 12 sep 1953
Blue Eyes	Stan Kenton Orchestra (voc) Conte Condoli	‘Concert in Miniature’ Student Union Teachers’ College WBOW NBC Terre Haute Indiana 16 June 1953
Do You Ever Think Of Me?	Billy May Orchestra (voc) The Encores	‘All Star Parade of Bands’ Palladium Ballroon KFI NBC LA 21 Dec 1953
Set 5	Mellow Swing on 1940s Radio
Brahm’s Lullaby	Les Elgart Orchestra	Radio Transcription New York City 1946
Trouble, Trouble	Benny Carter Orchestra (voc) Betty Roche	‘Jubilee’ AFRS Hollywood 1944
It’s Mellow	Glen Gray and the Casa Loma Orchestra	Terrace Room Hotel New Yorker WABC CBS New York May 1944
Way Low	Duke Ellington Orchestra	‘A Date With The Duke’ 400 Restaurant WJZ ABC NY 28 Apr 1945
Set 6	Trad Jazz on 1930s-40s Radio
Won’t You Come Over To My House, Baby?	Lazy Ade’s Big 4 (voc) Ade Monsborough	3AW Melbourne 1949
Waiting For The Evening Whistle	Eddie Condon Group	‘Eddie Condon’s Town Hall Jazz Concert’ Town Hall WJZ Blue NY 30 Sep 1944
You’re Driving Me Crazy	Bob Crosby’s Bobcats	‘Camel Caravan’ WABC CBS NY 18 Jul 1939
Dixieland Band	Benny Goodman Orchestra (voc) Helen Forrest	Palomar Ballroom KFI NBC Red LA 22 Aug 1935
Set 7	1940s Radio Big Band Swing
Open + Jeep Rhythm	Jimmie Lunceford Orchestra	‘Spotlight Bands’ Jefferson Barracks, Missouri Mutual Network 23 Nov 1945
The New Look	Charlie Spivak Orchestra	Palladium Ballroom KNX CBS LA 4 Apr 1948
Mister Pastor Goes To Town	Tony Pastor Orchestra	Broadcast New York City 1945
One O’Clock Jump	International Sweethearts of Rhythm + Armed Forces Radio Service Orchestra	‘Jubilee’ AFRS Hollywood Mar 1945
Set 8	Mod Sounds on WHDH Boston 1953 – 54
Hi Beck	Lee Konitz	Storyville Copley Square Hotel WHDH Boston 5 Jan 1954
Them There Eyes	Billie Holliday	Storyville Copley Square Hotel WHDH Boston Oct 1953
Groovin’ High	Charlie Parker	Storyville Copley Square Hotel WHDH Boston 22 Sep 1953

Richard Himber Unusual Arrangements 1936-38 Radio – Phantom Dancer 18 February 2020

This week’s 18 February Phantom Dancer mix of swing of jazz feature artist from live 1920s-60s radio, on radio and online, is composer, band leader, violinist, and magician, Richard Himber.

Richard Himber was a gimmicks man. He had the first vanity phone number back in 1932, R-HIMBER, and he came up with the idea of bands playing on the back of flatbed trucks for promotions. Hear him on 1936-38 radio on this week’s Phantom Dancer with Greg Poppleton.

The Phantom Dancer with actor and 1920s-30s singer Greg Poppleton can be heard online now at https://2ser.com/phantom-dancer/

The last hour is all vinyl.

 

From his Wiki entry…

Richard Himber Orchestra

TUCKER

He was born as Herbert Richard Imber in Newark, New Jersey to the owner of a chain of meat stores. His parents gave him violin lessons but when they found him performing in a seedy Newark dive, they took the instrument away from him and sent him to military school. In 1915, he stole away into New York City, where Sophie Tucker heard him play and hired him as a novelty act to play with her and the Five Kings of Syncopation where Himber was the highlight of the cabaret act.

He worked his way through Vaudeville and down Tin Pan Alley. He managed Rudy Vallee’s orchestra service, which sent out bands for private parties and society functions. A suave salesman and irrepressible idea man, he soon had his own band booking agency. In 1932, he acquired the first known “vanity” telephone number, R-HIMBER, answered 24 hours a day. Later that year, Himber finally formed an orchestra of his own, parlaying a gig at New York’s Essex House Hotel into national NBC radio exposure. Among the top-notch professionals in its ranks were Benny Goodman, Tommy Dorsey, Artie Shaw and many other future stars of the music world.

CAREER

In 1933 Richard Himber made his first records, for Vocalion under the name “Dick Himber,” which intimates always called him. Among the selections was his own theme song, “It Isn’t Fair,” a song he wrote which became a hit. In 1934 after a single session for Victor’s budget label Bluebird, he began recording for the full-priced Victor label until 1939. He led one of the most sophisticated “sweet” dance bands of the era, featuring Joey Nash as his vocalist (1933–1935), who was replaced by Stuart Allen (1935–1939). We hear Stuart Allen on this week’s Phantom Dancer.

Himber was also a skilled magician, and invented many magic tricks including “The Himber Wallet,” “The Himber Ring,” and the “Himber Milk Pitcher.” In later years, his band act often included an interlude of magic and he conjured on many television shows as well.

An amazing Richard Himber magic trick – with comedy patter!

Himber was the publisher of the R-H Log, a weekly survey of the most popular tunes on radio and television. To the annoyance of most music publishers, he refused to accept payola. He once ordered his secretary to phone every major publisher and tell them he had a stroke, to which many of them joyfully replied, “It’s about time.”

Other popular tunes that Himber composed were “Moments in the Moonlight,” “After the Rain,” “Monday in Manhattan,” “Haunting Memories,” “Time Will Tell,” “Am I Asking Too Much,” and “I’m Getting Nowhere Fast with You.” In 1957 he wrote a TV theme for NBC’s Tonight! America After Dark when Jack Lescoulie was the interim host—before Jack Paar took over.

In the late 1930s Himber’s band was featured in short-subject films produced in New York by Paramount Pictures and Himber was also the maestro for New York’s annual Harvest Moon Ball.

FLATBED TRUCK

Among Himber’s novel promotions was a traveling bandstand on a flatbed truck, sponsored by Pepsi-Cola. The orchestra used it for free outdoor concerts in the New York City area in the 1960s. It was during one of these concerts in 1966 that Himber suffered a heart attack, dying several hours later.

VIDEO

Here is The Phantom Dancer Video of the Week, the Richard Himber 1937 soundie, ‘Richard Himber Plays For You’.

Make sure you come back to this blog, Greg Poppleton’s Radio Lounge, every Tuesday, for the newest Phantom Dancer play list and Video of the Week!

18 FEBRUARY PLAY LIST

Play List – The Phantom Dancer 107.3 2SER-FM Sydney, Live Stream, Digital Radio Community Radio Network Show CRN #424
107.3 2SER Tuesday 18 February 2020 After the 2SER 12 noon news, 12:04 – 2:00pm (+11 hours GMT) and Saturdays 5 – 5:55pm National Program: 1ART ArtsoundFM Canberra Sunday 10 – 11pm 5GTR Mt Gambier Mon 2:30 – 3:30am 4NAG Keppel FM 3 – 4am 2SEA Eden Monday 3 – 4am 2MIA Griffith Monday 3 – 4pm 2BAR Edge FM Bega Monday 3 – 4pm 3VKV Alpine Radio Monday 6 – 7pm 7MID Oatlands Tuesday 8 – 9pm 2ARM Armidale Friday 12 – 1pm 3MGB Mallacoota Sunday 5 – 6am
Set 1	1938 – 40 Glenn Miller
Moonlight Serenade (theme) + I Never Knew	Glenn Miller Orchestra	Paradise Restaurant WEAF NBC Red NY 30 Dec 1938
Bei Mir Bist Du Schoen	Glenn Miller Orchestra (voc) Andrew Sisters	‘Chesterfield Show’ WABC CBS NY 27 Dec 1939
My My + Close	Glenn Miller Orchestra (voc) Marion Hutton	Cafe Rouge Hotel Pennsylvania WJZ NBC Blue NYC 15 Apr 1940
Set 2	Modern Radio
Prez’s Mood	Lester Young	1958 recording
I Got It Bad	Woody Herman Orchestra (voc) Mary Ann McCall	‘Excursions in Modern Music’ Rendezvous Ballroom KHJ Mutual LA 30 Jul 1949
My Lady + Bill’s Blues	Stan Kenton Orchestra (alto sax Lee Konitz)	‘Concert Encores’ Palladium Balroom KFI NBC LA 15 Jan 1953
Set 3	Benny Goodman and Fletcher Henderson
Some of These Days	Benny Goodman Quartet	‘Camel Caravan’ WABC CBS NY 13 Sep 1938
Pic-a-Rib	Benny Goodman Orchestra	‘Camel Caravan’ WEAF NBC Red NY 14 Oct 1939
Blue Skies	Benny Goodman Orchestra and Fletcher Henderson	‘Camel Caravan’ WABC CBS NY 13 Sep 1938
Set 4	Richard Himber
Bei Mir Bist Du Schoen	Lucky Strike Orchestra directed by Richard Himber (voc) Buddy Clark	‘Your Hit Parade’ WEAF NBC Red NY 15 Jan 1938
Yesterdays	Richard Himber and his Studebaker Champions	‘Magic Key’ WJZ NBC Blue NY 27 Dec 1936
Through the Courtesy of Love + It’s DeLovely	Richard Himber and his Studebaker Champions (voc) Stuart Allen	‘Magic Key’ WJZ NBC Blue NY 27 Dec 1936
Set 5	Women Big Band Singers  1937 – 40
I’m Getting Sentimental Over You (theme) + I’ll Those In Favour of Swing Say Aye	Edythe Wright (voc) Tommy Dorsey Orchestra	Cafe Rouge Hotel Pennsylvania WABC CBS NY 14 Sep 1939
It’s a Blue World	Ella Fitzgerald Orchestra (voc) EF	Savoy Ballroom Harlem WEAF NBC Red NY 4 Mar 1940
Darn That Dream	Helen Humes (voc) Count Basie Orchestra	Southland Cafe WNAC NBC Red Boston 20 Feb 1940
One, Two Button Your Shoes	Ivie Anderson (voc) Duke Ellington Orchestra	Cotton Club WABC CBS NY 18 Mar 1937
Set 6	1940s Swing Bands on Radio
Combination Solid	Charlie Spivak Orchestra	Radio Transcription 1941
Nightmares (theme) + Bedford Drive	Artie Shaw Orchestra	‘Spotlight Bands’ Santa Ana Ca. Mutual Network 3 Oct 1945
Is You Is or Is You Ain’t My Baby?	Bob Strong Orchestra (voc) Betty Martin and Randy Ryan	Glen Island Casino New Rochelle NY WOR Mutual NY 5 Aug 1944
Minding My Business	Buddy Rich Orchestra (voc) Dottie Reid	‘Spotlight Bands’ Phoenixville PA 24 Dec 1945
Set 7	Cab Calloway Commercial Sides
A Minor Breakdown	Cab Calloway Orchestra	Comm Rec 10 Dec 1937
Vuelva	Cab Calloway Orchestra	Comm Rec 17 Dec 1939
I Like Music	Cab Calloway Orchestra	Comm Rec 26 Jan 1938
Do I Care? No. No.	Cab Calloway Orchestra	Comm Rec 18 Mar 1940
Set 8	Harry James on 1954 Radio
Caxton Hall Swing	Harry James Orchestra	Radio Transcription New York City 23 Jan 1954
Cherry	Harry James Orchestra	NBC Superior WI 29 May 1954
Woodchopper’s Ball	Harry James Orchestra	‘All Star Parade of Bands’ WOW NBC Omaha 1954
Roll ‘Em + Cirribirribin (theme)	Harry James Orchestra	Aragon Ballroom WBBM CBS Chicago 20 Jun 1954

First Nighters Feature – Latest From 3MGB Radio Mallacoota – Phantom Dancer 7 Jan 2020

First nighters for the first Phantom Dancer of 2020 – your non-stop mix of swing and jazz from live 1920s-60s radio and TV hosted by me, Greg Poppleton.

Hear excepts from the 1939 radio premier of Morton Gould’s ‘American Symphonette #2’, the first all African-American Variety show on NBC in 1948, and Duke Ellington introducing his Shakesphere suite over CBS from the 1957 Ravinia Festival

3MGB Radio Mallacoota plays The Phantom Dancer every week. Mallacoota has faced some of the worst of the 2019 – 2020 bushfires where the sky turned red and the Navy is now in the process of evacuating people from the town.

Map showing warning areas near bushfires in Victoria, Australia. The areas with a black line and grey fill are designated for evacuation. The red lines indicate “emergency warning”. The arrow points toward Mallacoota, Victoria. The width of the largest emergency warning area is approximately 204km (110 miles), east to west. Map by Vic Emergency, Dec. 31, 2019

The ABC (the Australian national broadcaster) has just posted news from 3MGB volunteer, Francesca Winterson, 2 Jan…

“Francesca Winterson is a volunteer at Mallacoota’s community radio station 3MGB, and plenty of you were concerned about her safety earlier in the week. We’ve been able to have a long chat with her this morning.

She said misinformation had been spreading on Facebook.

“I think people are starting to get incredibly anxious because they have been isolated for so long but they have to accept that right at the moment there’s absolutely nothing we can do,” she told ABC Gippsland.

“Some people have been able to get back into their homes. I was one person fortunate enough that at the moment my house is standing.”
Ms Winterson said water supplies had been restored but power was still out and the only road out of town was still closed.

Paramedics had been brought in by police helicopter and only people with acute medical emergencies were being airlifted out, she said, as the town waits for a navy ship docked nearby to start evacuating people.

But amid the chaos people were doing what they could to help.

“There’s a lot of smiles, a lot of waves,” she said.

“Yes there are some people who are incredibly anxious but basically the community is pulling together and that’s what we’ve got to do. We all have to pull together, reach out to other people, offer them accommodation, offer them a shower.

“We’re a strong little town and most of the people that come here have been coming here for a long time and they love Mallacoota so they’ll help us.”

Source – ABC Blog

You can hear The Phantom Dancer online now at https://2ser.com/phantom-dancer/

FIRST NIGHTERS

Every week The Phantom Dancer brings you a feature artist. This week, it’s feature programs. Excerpts from three historic first nighters with some explaination about why they are so important below…

AMERICAN SYMPHONETTE No.3 RADIO PREMIER – WOR MBS New York City / CBC CANADA, 1939

Joseph Stevenson writes,
“This 1939 composition is one of the most convincing classical attempts to create a jazz spirit. It succeeds in doing so without the presence of any jazz players or use of improvisation. Nevertheless, jazz devices of coloration are used, such as wire brushes on drums, glissandi and lip slurs, and chord voicings that are common to jazz arrangements of the time. In addition, the themes (and their scales and harmonies) are jazz- and blues-derived. So successful was Gould in devising “jazz” themes for this symphonette that the second movement, “Pavane” has been widely quoted in actual jazz performances by such masters as John Coltrane, Dizzy Gillespie, and Glenn Miller. The outer two movements of this three-movement piece are marked “Moderately fast” and “Very fast–Racy,” respectively. Incidentally, you have heard and are quite familiar with the theme of the Pavane, whether you know it or not. Outstanding listening. Gould is notable for creating excellent music, perfectly crafted, seemingly almost commercial in intent and yet, when really listened to, revealing unusual breadth. I always conclude listening to this piece believing that it is a true masterpiece without even trying to be. Wonderfully ingratiating music.”

‘SWINGTIME AT THE SAVOY’ WNBC NBC NY, 28 Jul 1948

New York Times headline: “The News of Radio; All-Negro Variety Show, ‘Swingtime at the Savoy,’ Will Bow Tonight on NBC”

“An all-Negro variety show, entitled “Swingtime at the Savoy,” will have its premiere at 8 o’clock tonight on NBC. The regular cast will include Lucky Millinder and his orchestra, Miller and Lee, comedians; Jackie (Moms) Pabley, comedienne, and the King Odem Quartet.” New York Times, 28 July 1948

RAVINIA FESTIVAL – DUKE ELLINGTON SHAKESPHERE SUITE PREMIER, CBS 1 JUL 1957

The Ravinia Festival is the oldest outdoor music festival in the United States, with a series of outdoor concerts and performances held every summer from June to September. In Ravinia Park’s first summer of 1905, it hosted the New York Philharmonic, and the prairie style Martin Theater dates from this time period. It has been the summer home of the Chicago Symphony Orchestra (CSO) since 1936. Located in Highland Park, Illinois, the festival operates on the grounds of the 15 ha Ravinia Park, with a variety of outdoor and indoor performing arts facilities – Wiki

“In 1957, Duke Ellington premiered the latest in what would become a series of suites based on various subjects and inspirations. This one, inspired by the plays of William Shakespeare, had its U.S. premier at the Ravinia Festival in Chicago and was broadcast (much, but not all of it) via CBS Radio on July 1st, with the performance already underway. An album of the suite was planned and recorded, slated for release in November of 1957, but apparently the stereo version was scrapped and only the mono version was available until 1999. The world premier of the piece was given at the Stratford Shakespeare Festival, where Ellington and his band were scheduled to play for two nights. It was there that Ellington got the idea to do a suite based on Shakespearean themes, and along with his co-writer Billy Strayhorn, worked on the suite to be premiered the following year at the festival. So the actual world premier of most of Such Sweet Thunder took place at Stratford around June 30 1957, but it wasn’t complete and no recording of it exists.” Gordon Skene.

Now, tirelessly searching YouTube for a swingy, jazzy, instructive, or ‘weird and wonderful’ Video of the Week, I’ve found this for your ocular delectation, a whole set of soundies by the 1940s all-women swing orchestra, International Sweethearts of Rhythm, recently featured on your Phantom Dancer with Greg Poppleton. Enjoy!

Make sure you come back to this blog, Greg Poppleton’s Radio Lounge, every Tuesday, for the newest Phantom Dancer play list and Video of the Week!

Thank you.

7 JANUARY PLAY LIST

Play List – The Phantom Dancer 107.3 2SER-FM Sydney, Live Stream, Digital Radio Community Radio Network Show CRN #418
107.3 2SER Tuesday 7 January 2020 After the 2SER 12 noon news, 12:04 – 2:00pm (+11 hours GMT) National Program: ArtsoundFM Canberra Sunday 10 – 11pm Edge FM Bega Monday 3 – 4pm 7MID Oatlands Tuesday 8 – 9pm 2ARM Armidale Friday 12 – 1pm 3MGB Mallacoota Sunday 5 – 6am and early morning on 23 other stations.
Set 1	Swing on 1930s Radio
Open + Panamania	Leith Stevens Orchestra	‘Saturday Night Swing Club’ WABC CBS NY 12 Jun 1937
Naila (Delibes)	Arnold Johnson Orchestra	Comm Rec (unissued) Variety Records New York City 26 May 1937
RCA Radio Ad + Wolverine Blues + Study In Brown (theme)	Larry Clinton Orchestra	‘RCA Campus Club’ Glen Island Casino New Rochelle WEAF NBC Red NY 2 Jul 1938
Set 2	Latin Sounds on 1946-53 Radio
Open + Chiu Chiu	Desi Arnez Orchestra	Ciro’s KNX CBS LA 1946
Bolero	Sergio Torres Orchestra (voc) unannounced woman singer	‘Chiclets Program’ XEW Mexico City 1949
Chi sas? Chi sas?	Xavier Cugat Orchestra	‘All-Star Parade of Bands’ Hotel Last Frontier NBC Las Vegas 30 Nov 1953
Set 3	1943-44 Swing Radio
Joshua	Richard Himber Orchestra	‘Spotlight Bands’ Aniston, Alabama Blue Network 13 Nov 1943
I’ve Got You Under My Skin	Leo Reisman Orchestra	‘Spotlight Bands’ National Press Club Washington DC Blue Network 23 Jan 1943
I Got Rhythm + Close	Lenny Conn Orchestra	‘One Night Stand’ Los Angeles AFRS Re-broadcast 1949
Set 4	Special Music Programs
First Movement	Morton Gould Orchestra	‘American Symphonette No. 3’ WOR MBS/CBC New York City 1939
Open + I’ve Got Rhythm + Money Money (calypso)	Lucky Millinder Orchestra with Noble Sissle and the Hall Sisters	‘Swingtime At The Savoy’ WNBC NBC NY 28 Jul 1948
Circle of Fourths + Jam With Sam	Duke Ellington Orchestra	‘Ravinia Festival’ WBBM CBS Chicago 1 Jul 1957
Set 5	1939 Radio Singers
We Three	Johnny Messner Orchestra (voc) Johnny Messner	Radio Transcription New York City 1939
Stairway To The Stars	Teddy Wilson Orchestra (voc) Thelma Carpenter	‘America Dances’ CBS NY / BBC London 1939
From The Bottom Of My Heart	Harry James Orchestra (voc) Frank Sinatra	‘America Dances’ CBS NY / BBC London 19 Jul 1939
Chew, Chew Your Bubblegum	Chick Webb Orchestra (voc) Ella Fitzgerald	Southland Cafe WNAC NBC Boton 4 May 1939
Set 6	Traditional Jazz on 1939 – 1951 Radio
Way Down Yonder In New Orleans (theme) + Maple Leaf Rag	Wild Bill Davison	‘This Is Jazz’ WOR Mutual NY 19 Apr 1947
You’re Driving Me Crazy	Bob Crosby Bobcats	‘Camel Caravan’ WABC CBS NY 18 Jul 1939
Snag It	Henry ‘Red’ Allen Dixielanders	‘Doctor Jazz’ Stuyvesant Casino WMGM NY 1950
There’ll Be Some Changes Made + I Would Do Anything For You	Eddie Condon Group (voc) Red McKenzie	‘Eddie Condon Town Hall Jazz Concert’ Town Hall WJZ Blue NY 16 Sep 1944
Set 7	Benny Goodman On The Air
The World Is Waiting For The Sunrise	Benny Goodman Quintet	‘Jubilee’ AFRS Re-broadcast Jan 1948
Clarinade	Benny Goodman Orchestra	Meadowbrook Gardens Culver City Ca KECA ABC LA 26 Jan 1946
Sweet Georgia Brown	Benny Goodman Quintet	‘Spotlight Bands’ Springfield Mass. Blue Network 29 Sep 1943
Jack Benny-Gary Cooper Skit + One O’Clock Jump	Benny Goodman Orchestra	‘Jack Benny Show’ WEAF NBC NY 13 Dec 1942
Set 8	Modern Sounds on 1940s-50s Radio
All of Me + VIP’s Boogie	Duke Ellington Orchestra (voc) Bette Roche	Town Casino NBC Cleveland 1952
Hot House	Barry Ulanov’s All Star Modern Jazz Musicians	‘Bands For Bonds’ WOR MBS NY 13 Sep 1947
Painted Rhythm	Stan Kenton Orchestra	Palladium Ballroom KNX CBS LA 27 Nov 1945
Fine and Dandy	Slim Gaillard Quintet	‘Symphony Sid Show’ WJZ ABC NY 2 Jun 1951

Paper Magnetic Tape for Tape Recorders – Phantom Dancer 30 July 2019

STRAIGHT FROM THE SOURCE

This week’s Greg Poppleton Phantom Dancer feature has been sent to The Phantom Dancer by Matt who lives in the USA. It’s a WBBM CBS Chicago aircheck of the Woody Herman Orchestra broadcasting from the Palladium Ballroom in Hollywood. Matt has transferred it from the original brittle paper reel-to-reel tape.

The aircheck includes a bop inspired swinger I’ve never heard before called ‘Non-Alcoholic’.

I had thought audio tape had always been ‘plastic’. So this paper tape Matt sent is a revelation to me. I found some information about paper audio tape on Wiki which I’ve edited into a few tantalising paragraphs below…

Thank you, Matt!

ONLINE

This week’s Phantom Dancer will be online right after the 30 July 107.3 2SER Sydney live mix at 2ser.com.
Hear the show live every Tuesday 12:04-2pm on 107.3 2SER Sydney

PAPER RECORDING TAPE

Wax

The earliest known audio tape recorder was a non-magnetic, non-electric version invented by Alexander Graham Bell’s Volta Laboratory and patented in 1886. It employed a 3⁄16-inch-wide (4.8 mm) strip of wax-covered paper that was coated by dipping it in a solution of beeswax and paraffin and then had one side scraped clean, with the other side allowed to harden. It never went into commercial production largely due to the poor sound quality of the tape.

Photoelectric

In 1932, after six years of developmental work, Detroit radio engineer, Merle Dunstan, created a tape recorder that used chemically treated paper tape. During the recording process, the tape moved through a pair of electrodes which immediately imprinted the modulated sound signals as visible black stripes into the paper tape’s surface. The sound track could be immediately replayed from the same recorder unit, which also contained photoelectric sensors, somewhat similar to the various sound-on-film technologies of the era.

Iron Oxide

Magnetic tape recording as we know it today was developed in Germany during the 1930s at BASF and AEG in cooperation with the state radio RRG. This was based on Fritz Pfleumer’s 1928 invention of paper tape with oxide powder lacquered to it. The first practical tape recorder from AEG was the Magnetophon K1, demonstrated in Germany in 1935. Eduard Schüller of AEG built the recorders and developed a ring-shaped recording and playback head. It replaced the needle-shaped head which tended to shred the tape. Friedrich Matthias of IG Farben/BASF developed the recording tape, including the oxide, the binder, and the backing material. Walter Weber, working for Hans Joachim von Braunmühl at the RRG, discovered the AC biasing technique, which radically improved sound quality.

German WW2 Tape Recorder

End of Paper Tape

In 1938, S.J. Begun left Germany and joined the Brush Development Company in the United States, where work on magnetic tape recorders continued. This work attracted little attention until the late 1940s when the company released the very first consumer tape recorder in 1946: the Soundmirror BK 401.

Tapes were initially made of paper coated with magnetite powder. In 1947/48 Minnesota Mining & Manufacturing Company (3M) replaced the paper backing with plastic or polyester and coated it first with black oxide, and later, to improve overall sound quality, red iron oxide.

VIDEO

This week’s Phantom Dancer video of the week is from the late 1940s, an unidentified woman reading to paper tape. Enjoy her story!

30 JULY PLAY LIST

Play List – The Phantom Dancer 107.3 2SER-FM Sydney, Live Stream, Digital Radio Community Radio Network Show CRN #397
107.3 2SER Tuesday 30 July 2019 After the 2SER 12 noon news, 12:04 – 2:00pm (+10 hours GMT) National Program: Edge FM Bega Monday 3 – 4pm 7MID Oatlands Tuesday 8 – 9pm 2ARM Armidale Friday 12 – 1pm 3MGB Mallacoota Sunday 5 – 6am ArtSoundFM Canberra Sunday 7 – 8pm and early morning on 23 other stations.
Set 1	One Night Stand Bands on 1945 Radio
Take The A-Train (theme) + Midriff	Duke Ellington Orchestra	‘One Night Stand’ Cafe Zanzibar NYC AFRS Re-broadcast 7 Oct 1945
Music for Moderns (theme) + Lullaby of Broadway	Jan Savitt Orchestra	‘One Night Stand’ Palladium Ballroom Hollywood AFRS Re-broadcast 20 Sep 1945
Candy Kid’s Note to a Classy Chassie + Twilight Time (close)	Vaughan Monroe Orchestra	‘One Night Stand’ Palladium Ballroom Hollywood AFRS Re-broadcast 8 Feb 1945
Set 2	Swinging 60s Radio
Walkin’	Harry James Orchestra	‘One Night Stand’ Palladium ballroom Hollywood AFRS Re-broadcast 22 Nov 1959
Alright OK You Win	Count Basie Orchestra (voc) Joe Williams	‘All-Star Parade of Bands’ Zardi’s KFI NBC LA 14 May 1956
Black Magic + Close	Buddy DeFranco Group	‘The Navy Swings’ Radio Transcription 1959
Set 3	1935-41 Paris Radio
Radio Cite ID + Open + C’est Gentil	Ray Ventura et ses Collegiens	Poste Parisien 1935
Swing Festival ’41	Django Reinhardt, Aime Barelli, Alix Combelle and more	Radio Paris 26 Dec 1940
Smoke Gets In Your Eyes + All I Do The Whole Day Through Is Dream of You + Close	Guy Berry + Charlotte Duvier & Charles Trenet	‘Le Enfante Terrible’ Poste Parisien 1935
Set 4	Woody Herman on Paper Tape
Swing Low Sweet Clarinet	Woody Herman Orchestra (voc) Mary-Ann McCall	Palladium Ballroom Hollywood WBBM CBS Chicago 15 Feb 1947
Apple Honey	Woody Herman Orchestra	Palladium Ballroom Hollywood WBBM CBS Chicago 15 Feb 1947
Non-Alcoholic + Close	Woody Herman Orchestra	Palladium Ballroom Hollywood WBBM CBS Chicago 15 Feb 1947
Set 5	Teddy Wilson 1944-45
Tiger Rag	Teddy Wilson Sextet	‘Mildred Bailey Show’ WABC CBS NY 19 Jan 1945
Body and Soul	Teddy Wilson Sextet	‘Mildred Bailey Show’ WABC CBS NY 1944
Smiles	Teddy Wilson Sextet	‘Mildred Bailey Show’ WABC CBS NY 12 Jan 1945
Sweet Georgia Brown	Teddy Wilson Sextet	‘Mildred Bailey Show’ WABC CBS NY 8 Dec 1944
Set 6	Red Norvo Vibes
Rockin’ Chair	Esquire All-Stars with Red Norvo (vibes) Mildred Bailey (voc)	‘Spotlight Bands’ Metropolitan Opera House WJZ Blue NY 18 Jan 1944
Clarinet Marmalade	Red Norvo Octet	‘Paul Whiteman Musical Varieties’ WJZ NBC Blue NY 8 Mar 1936
Somebody Loves Me	Benny Goodman Sextet with Red Norvo	‘Alistair Cooke Concert’ BBC Transcription New York City 8 Dec 1945
I Never Knew	Red Norvo Octet	‘Paul Whiteman Musical Varieties’ WJZ NBC Blue NY 8 Mar 1936
Set 7	Hal Kemp
When Summer is Gone (theme) + Did You Ever See a Dream Walking?	Hal Kemp Orchestra (voc) Skinnay Ennis	‘Lavena Program’ Radio Transcription New York City 1934
Everything I Have is Yours	Hal Kemp Orchestra (voc) Deane Janis	‘Lavena Program’ Radio Transcription New York City 1934
Thanks	Hal Kemp Orchestra (voc) Deane Janis	‘Lavena Program’ Radio Transcription New York City 1934
Between the Devil and the Deep Blue Sea + When Summer is Gone (theme)	Hal Kemp Orchestra	‘Lavena Program’ Radio Transcription New York City 1934
Set 8	Jubilee Swing 1943 and 1945
Blue ‘n’ Boogie (theme) + Opus X	Billy Eckstine Orchestra	‘Jubilee’ AFRS Hollywood Feb 1945
Love Me or Leave Me	Billy Eckstine Orchestra	‘Jubilee’ AFRS Hollywood Feb 1945
Vine Street Boogie	Jay McShann Orchestra	‘Jubilee’ AFRS NYC 1943
Jump the Blues + One O’Clock Jump (theme)	Jay McShann Orchestra	‘Jubilee’ AFRS NYC 1943

Marian, Erroll and Sir George – Jazz Piano Greats on Radio – Phantom Dancer 4 Jun 2019

PIANO

The Phantom Dancer feature artist with Greg Poppleton this week are feature artists – three jazz piano stars from 1950s radio: Erroll Garner, Marian McPartland and George Shearing.

The full Phantom Dancer play list of swing and jazz mixed by Greg Poppleton from live 1920s-60s radio below is ready for your perusal below.

ONLINE

This week’s Phantom Dancer will be online right after the 4 June 2SER live mix at 2ser.com.
Hear the show live every Tuesday 12:04-2pm on 107.3 2SER Sydney

ERROLL GARNER

Garner began playing piano at the age of three. Garner was self-taught and remained an ear player all his life. He never learned to read music. At age seven, he began appearing on the radio station KDKA in Pittsburgh with a group called the Candy Kids. By age 11, he was playing on the Allegheny riverboats. At 14 in 1937, he joined local saxophonist Leroy Brown.

He played locally in the shadow of his older pianist brother Linton Garner.

Garner moved to New York City in 1944. He briefly worked with the bassist Slam Stewart, and though not a bebop musician, in 1947 he played with Charlie Parker on the “Cool Blues” session. Although his admission to the Pittsburgh music union was initially refused because of his inability to read music, it relented in 1956 and made him an honorary member. Garner is credited with a superb memory of music. After attending a concert by the Russian classical pianist Emil Gilels, Garner returned to his apartment and was able to play a large portion of the performed music by recall.

Garner made many tours both at home and abroad and regularly recorded.

MARIAN McPARTLAND

Margaret Marian McPartland, OBE, was an English-American jazz pianist, composer, writer and Grammy winner.

She demonstrated an early aptitude at the piano and had perfect pitch. She studied violin from the age of nine, but never took to the instrument. She also trained as a vocalist and received a number of favorable reviews in the local paper. Her mother refused to find her daughter a piano teacher until the age of 16, by which time Margaret was already adept at learning songs by ear. This lack of early education meant that Marian was never a strong reader of notated music, and would always prefer to learn through listening.

Marian pursued studies at the Guildhall School of Music and Drama in London, where she worked toward a performance degree that would enable her to become a concert pianist, though she also did coursework in vocal performance. She studied with Orlando Morgan, who also taught Myra Hess. Turner’s talents for improvisation and composition were recognized early when she won the Wainwright Memorial Scholarship for Composition, the Worshipful Company of Musicians Composition Scholarship, and the Chairman’s School Composition Prize in 1936 and 1937. Much to her family’s dismay, she developed a love for American jazz and musicians such as Duke Ellington, Fats Waller, Teddy Wilson, Mary Lou Williams, and many others. In 1938, Turner sought out Billy Mayerl at his School of Modern Syncopation to seek lessons, and was convinced to audition for his piano quartet. Despite her family’s efforts to keep her at Guildhall, Turner left to join Billy Mayerl’s Claviers, a four-piano vaudeville act. There, she elected to perform under the stage name of Marian Page. She promised her family that she would one day return to finish her degree at Guildhall.[8] After the Claviers tour, Marian returned to London in the fall of 1938 and played sporadically for shows and on the Carroll Lewis Show. To avoid the draft during World War II, she volunteered for the Entertainment National Service Association (ENSA), a group that was playing for Allied troops, in fall 1940. In 1944, her friend Zonie Dale recommended that Marian join the United Service Organizations (USO) because they paid more and played with American men.

With the USO, Marian went through basic training and was issued a set of combat gear – GI boots, helmet, and uniform. Marian was assigned to a group called the Band Wagon, which followed the Allied forces after the D-Day invasion. In anticipation of wartime demands, Marian learned to play the accordion in the event that there was no piano available with which to play for the troops. In St Vith, Belgium, on 14 October 1944, Marian met a Chicago cornetist named Jimmy McPartland at a jam session. McPartland had volunteered for the army and was serving active duty when his superiors realized that he could do better work as an entertainer, since he was well-known among the troops. Jimmy was solicited to put together a sextet to entertain the troops, and invited Marian to join him as their pianist. They soon fell for each other, and signed an official US Army marriage document on 14 December 1944. They married on 3 February 1945, in Aachen, Germany, and played at their own military base wedding. Her marriage to an American man automatically gave Marian US citizenship, side-by-side with her British citizenship.[3] Marian was reluctant to tell her parents of the marriage, and had Jimmy’s commanding officer tell them when he had lunch with them in England in early 1945.[10] It was with Jimmy that Marian began her first real training in jazz. Jimmy and Marian did their first recording together on 6 January 1946 in London before leaving for the US. They arrived in New York City on 23 April 1946, and Marian would never live outside of the US again. However, she kept her British citizenship throughout her life.

After the war, Marian and Jimmy moved to Chicago to be near his family. Jimmy grew up in the Austin neighborhood of Chicago, and was an original member of the Austin High Gang that popularized Chicago-style Dixieland jazz in the 1920s. In June 1946, Marian made her American debut at the Moose Lodge. Soon, Jimmy’s group, which now included Marian, landed a standing gig at the Rose Bowl through the end of 1946. This engagement was followed by ones at Taboo, Capitol Lounge, and finally Brass Rail. Marian flourished in Jimmy’s group, and by association with him. They played at exclusive clubs like Blue Note and Silhouette with stars like Billie Holiday.

During their Chicago years, Jimmy and Marian also visited France in 1949 for the Paris Jazz Festival. This was semi-important for their association with the European jazz scene, but more significant because it marked the beginning of Marian’s writing career. Marian’s testimonial about the festival ran in the July 1949 issue of Down Beat.

In 1949, the McPartlands settled in Manhattan, living in an apartment in the same building as the Nordstrom Sisters. In 1950, she announced that she would no longer go by her stage name, Marian Page, but would now go by her married name, Marian McPartland. With Jimmy’s help and encouragement, Marian started her own trio, which started performing at the newly opened 54th street club called The Embers on 8 May 1951. Here, she learned how to lead her own group, and played with greats such as Roy Eldridge, Coleman Hawkins, and Terry Gibbs. After trying out different combos, she settled on a trio of piano, bass, and drums that would soon become standard. This gig led to the notorious Leonard Feather review that opened by saying: “Oh, she’ll never make it: she’s English, white and a woman.” She signed her first record deal without Jimmy in 1951, with Savoy Records. On 2 February 1952, Marian opened a gig at the Hickory House that would continue regularly through November 1962. During her time at the Hickory House, Duke Ellington would often come in to listen. Ellington was influential on McPartland’s development as a pianist, and told her she played too many notes, a sentiment she would take to heart.

In 1958 a black and white group portrait of 57 notable jazz musicians, including McPartland, was photographed in front of a brownstone in Harlem, New York City. Art Kane, a freelance photographer working for Esquire magazine, took the photo, which was called, “A Great Day in Harlem”, and it became a well-known image of New York’s jazz musicians of the time. Immediately preceding her death in August 2013, she was one of only four of the 57 participating musicians who were still alive. After many years of recording for labels such as Capitol, Savoy, Argo, Sesac, Time, and Dot, in 1969 she founded her own record label, Halcyon Records, before having a long association with the Concord label. Marian and Jimmy divorced in 1972, but they remained close, and remarried in 1991, shortly before Jimmy’s death.

GEORGE SHEARING

Sir George Albert Shearing, OBE, was a British jazz pianist and composer of over 300 titles, including the jazz standards ‘Lullaby of Birdland’ and ‘Conception’. He had multiple albums on the Billboard charts during the 1950s, 1960s, 1980s and 1990s.

Shearing also started to learn piano at the age of three and began formal training at Linden Lodge School for the Blind, where he spent four years.

Though he was offered several scholarships, Shearing opted to perform at a local pub, the Mason’s Arms in Lambeth, for ’25 bob a week’ playing piano and accordion. He joined an all-blind band during that time and was influenced by the records of Teddy Wilson and Fats Waller. Shearing made his first BBC radio broadcast during this time after befriending Leonard Feather, with whom he started recording in 1937.

In 1940, Shearing joined Harry Parry’s popular band and contributed to the comeback of Stéphane Grappelli. Shearing won six consecutive Top Pianist Melody Maker polls during this time.

In 1947, Shearing emigrated to the United States, where his harmonically complex style mixing swing, bop and modern classical influences gained popularity.

In 1949, he formed the first George Shearing Quintet, a band with Margie Hyams (vibraphone), Chuck Wayne (guitar), later replaced by Toots Thielemans (listed as John Tillman), John Levy (bass), and Denzil Best (drums). This line-up recorded for Discovery, Savoy, and MGM, including the immensely popular single ‘September in the Rain’ (MGM), which sold over 900,000 copies.

Shearing’s interest in classical music resulted in some performances with concert orchestras in the 1950s and 1960s, and his solos frequently drew upon the music of Satie, Delius, and Debussy for inspiration. He became known for a piano technique known as “The Shearing Sound”, a type of double melody block chord, with an additional fifth part that doubles the melody an octave lower. With the piano playing these five voices, Shearing would double the top voice with the vibraphone and the bottom voice with the guitar to create his signature sound.

VIDEO

This week’s Phantom Dancer video of the week is a trailer for a documentary about Marian Mc Partland . Enjoy!

4 JUNE PLAY LIST

Play List – The Phantom Dancer 107.3 2SER-FM Sydney, Live Stream, Digital Radio Community Radio Network Show CRN #389
107.3 2SER Tuesday 4 June 2019 After the 2SER 12 noon news, 12:04 – 2:00pm (+10 hours GMT) National Program: Edge FM Bega Monday 3 – 4pm 7MID Oatlands Tuesday 8 – 9pm 2ARM Armidale Friday 12 – 1pm 3MGB Mallacoota Sunday 5 – 6am and early morning on 23 other stations.
Set 1	Dance Bands on 1940s Radio
Open + Song of India	Billy Bishop Orchestra	‘One Night Stand’ Trianon Ballroom Chicago AFRS Re-broadcast 25 Feb 1945
The Moon of Monokoa	Ray Noble Orchestra (voc) Tony Martin	‘Songs of the Islands’ AFRS Hollywood 1944
Hittin’ on the Keys	Ted Straeter Orchestra	‘Spotlight Bands’ Hammond General Hospital AFRS Re-broadcast 9 Apr 1945
Set 2	Early Stan Kenton
Low Bridge	Stan Kenton Orchestra	Radio Transcription Los Angeles Nov 1941
Summer Idyll	Stan Kenton Orchestra (voc) Red Dorris	Radio Transcription Los Angeles Nov 1941
‘S Wonderful	Stan Kenton Orchestra	Radio Transcription Los Angeles Nov 1941
Set 3	Cocoanut Grove 1932-34
Rose Room (theme)+ A Boy and a Girl Were Dancing	Phil Harris Orchestra (voc) Geoffery Gill	Radio Transcription Los Angeles 1934
We’ve Got To Pit That Sun Back in the Sky	Jimmy Grier (voc) The Three Ambassadors	Radio Transcription Los Angeles 1932
I’ve Got a Right to Sing the Blues + Goodnight Sweetheart + Close	Ted Fio Rito Orchestra (voc) Rusty Bennett	Radio Transcription Los Angeles 1934
Set 4	Piano Jazz Stars
Lullaby of Birdland + Louisiana Hayride	Erroll Garner Trio	‘All-Star Parade of Bands’ Birdland WRCA NBC NY 24 Jul 1953
Falling in Love	Marian McPartland	‘All-Star Parade of Bands’ Birdland WRCA NBC NY 23 Apr 1956
Carnegie Horizons + Close	George Shearing	‘Stars in Jazz’ Birdland WNBC NBC NY 3 Jul 1952
Set 5	Count Basie 1940s-50s Radio
Rock a Bye Basie	Count Basie Orchestra	Aircheck Los Angeles Sep 1945
Jumpin’ at the Woodside	Count Basie Orchestra	Birdland WNBC NBC NY 31 Aug 1952
Andy’s Blues	Count Basie Orchestra	Avadon Ballroom KHJ Mutual LA Jun 1946
Paradise Squat + Lullaby of Birdland	Count Basie Orchestra	‘Stars in Jazz’ Birdland WNBC NBC NY 16 Jan 1953
Set 6	1930s British Dance Bands
That Lindy Hop	Roy Fox Orchestra	Comm Rec London 1932
Nobody’s Using It Now	Debroy Somers Orchestra (voc) Tom Barratt	Comm Rec London 11 Mar 1930
I Always Keep My Girl Out Late	Jack Jackson Orchestra (voc) Trio	Comm Rec London 25 Aug 1933
Rhythm Mad	Billy Cotton Orchestra	Comm Rec London 26 Mar 1935
Set 7	1930s Dance Bands
The Merry-Go-Round Broke Down	Dick Jurgens Orchestra (voc) Eddy Howard	Radio Transcription 1938
Between The Devil and the Deep Blue Sea	Isham Jones Orchestra	WOR Mutual NY 31 Jan 1936
The Continental	Henry Busse Orchestra	Radio Transcription 1935
Bye Bye Blues + Close	Hal Kemp Orchestra	‘Lady Esther Serenade’ WEAF NBC Red NY 26 Aug 1936
Set 8	Modern Sounds on Radio
Just You, Just Me	Tadd Dameron	‘Symphony Sid Show’ Royal Roost WMCA NY Sep 1948
Tenderly	Chubby Jackson	‘Symphony Sid Show’ Royal Roost WMCA NY 5 Mar 1949
Ain’t You a Mess	Stan Getz	Red Hill Inn Pennsauken NY WABC ABC NY 18 May 1957

Personality Girl, Barbara James, Australian 1940s Radio – Phantom Dancer 16 April 2019

An Australian dance band singer features on this week’s Phantom Dancer with some of her broadcasts from the 1930s and 1940s.

Presented every week by actor, Greg Poppleton, The Phantom Dancer, is your non-stop mix of swing and jazz from live 1920s-60s radio and TV.

It’s recorded live at 107.3 2SER Sydney, Tuesdays 12:04 – 2pm, and sent to 22 radio stations of the Community Radio Network and online.

Hear this week’s Phantom Dancer (after 16 April), and plenty of past Phantom Dancers for your enjoyment, online at radio 2ser.com

In the mix this week, live 1930s-60s radio by Glenn Miller’s Army Air Forces Band, Lee Konitz, Charlie Parker in Boston, a Frank Sinatra aircheck from 1939 (singing his first record release), singer Loyce Whiteman, and Australian dance band singer, Barbara James.

See the full play list below.

BARBARA JAMES

Born in Sydney in 1907 (some sources say 1908), Barbara James was a jazz and swing singer. Her parents were entertainers Will James and Malvena Moore. Her father, Will, taught her to play the saxophone, xylophone and banjo. She also played violin and danced. She was married to musician and band leader, Reg Lewis, who we’ll also here on this week’s Phantom Dancer.

Over her career, James performed and recorded with numerous jazz bands in Australia such as Frank Coughlan’s Trocadero Orchestra, Dick Freeman and his Trocadero Orchestra and Johnny Tozer and his Swing Band.

From 1921, she was contracted by Harry George Musgrove to Musgrove’s Theatres, appearing at theatres in Sydney and Melbourne, including the Tivoli circuit and Trocadero, and on ABC radio.

She first appeared on the Tivoli theatre circuit billed as a ‘child wonder xylophonist’.

This week’s Phantom Dancer presents a selection of her radio broadcasts from 1937-45.

Barbara toured Hong Kong in 1946. From 1949 to 1955, Reg and Barbara Lewis toured Europe and Britain.

In London, they performed in the West End at Café Anglaise and the Windmill Theatre.

London variety shows featuring Reg and Barbara Lewis included, ‘Stars, Songs and Society’ Windmill Theatre London, 1950, ‘Nudes of the East’ 1951, ‘The Talk of the Town’ Tribe Bros Ltd London, 1950-1951 and ‘Midday Music Hall’, 1953.

They appeared on BBC radio and TV.

They had a regular 15 minute vocal and piano show on Sydney radio in the 1960s called, ‘Between You and Me’.

Your Phantom Dancer Video of the Week, a tour through Australian commercial station, 3BA Ballarat, in the 1930s. Enjoy!

16 APRIL PLAY LIST

Play List – The Phantom Dancer 107.3 2SER-FM Sydney, Live Stream, Digital Radio Community Radio Network Show CRN #381 107.3 2SER Tuesday 16 April 2019 After the 2SER 12 noon news, 12:04 – 2:00pm (+10 hours GMT) National Program: ArtSoundFM Canberra Sunday 7 – 8pm and early morning on 23 other stations. Set 1 Swing Bands on 1943-44 Radio Theme + The Carioca Richard Himber Orchestra ‘Spotlight Bands’ Aniston, Alabama Blue Network 13 Nov 1943 I’m Beginning To See the Light (theme) + The One I Love Belongs To Somebody Else Enoch Light and the Light Brigade ‘One Night Stand’ New Park Casino Palisades Park NJ AFRS Re-broadcast 1944 One Night Stand + Close Denny Beckner Orchestra ‘Spotlight Bands’ Norfolk, Virginia AFRS Re-broadcast 30 Mar 1944 Set 2 Charlie Parker in Boston Ornithology Charlie Parker ‘Symphony Sid Show’ Hi-Hat Club WCOP Boston 18 Dec 1953 Laura Charlie Parker ‘Symphony Sid Show’ Hi-Hat Club WCOP Boston 1954 Out of Nowhere + Jumping with Symphony Sid Charlie Parker ‘Symphony Sid Show’ Hi-Hat Club WCOP Boston 24 Jan 1954 Set 3 Barbara James I Can’t Give You Anything But Love Barbara James (voc) Reg Lewis and his Trocadero Orchestra Comm Rec Sydney 1941 It Don’t Mean a Thing If It Ain’t Got That Swing Barbara James (voc) Frank Coughlan Trocadero Orchestra Radio Transcription Sydney June 1937 Small Town Boogie Barbara James (voc) Albert Fisher Orchestra ABC Sydney 1944 Set 4 1950s Swing on Radio It’s All In The Game Ray Anthony Orchestra ‘One Night Stand’ Cafe Rouge Hotel Statler NYC AFRS Re-broadcast 1952 Disorder at the Border Coleman Hawkins, Roy Eldridge, Horace Silver ‘Stars in Jazz’ Birdland WNBC NBC NY 1952 Everything Happens To Me Matt Denis Trio (MD voc) ‘All Star Parade of Bands’ Chi Chi Club WRCA NBC NY 15 Jun 1955 Set 5 Glenn Miller Army Air Forces Orchestra 1943-44 Jeep Jockey Jump Glenn Miller Army Air Forces Orchestra ‘Uncle Sam Presents’ AFRS Re-broadcast Oct 1943 Theme + Flying Home Glenn Miller Army Air Forces Orchestra ‘I Sustain The Wings’ Chicago Theatre WMAQ NBC Chicago 10 Jun 1944 Don’t Be That Way Glenn Miller Army Air Forces Orchestra ‘Uncle Sam Presents’ AFRS Re-broadcast Feb 1944 There Are Yanks + Close Glenn Miller Army Air Forces Orchestra (voc) Ray McKinley and the Crew Chiefs ‘I Sustain The Wings’ WEAF NBC New York City 15 Apr 1944 Set 6 Early Harry James Orchestra Cirribirribin (theme) + Tuxedo Junction Harry James Orchestra Southland Cafe WNAC NBC Red Boston 19 Mar 1940 FRom The Bottom Of My Heart Harry James Orchestra (voc) Frank Sinatra ‘America Dances’ WABC CBS NY and BBC London 19 Jul 1939 Andalucia (The Breeze and I) Harry James Orchestra Blue Room Hotel Lincoln WABC CBS New York City 22 May 1941 Feet Draggin’ Blues + Close Harry James Orchestra Aircheck Chatterbox Club Mountainside NJ 1940 Set 7 Loyce Whiteman 1930s Cocoanut Grove Sweet and Lovely (theme) + I’m Through With Love Gus Arnheim Orchestra (voc) Loyce Whiteman ‘Cocoanut Grove’ TRANSCO Radio Transcription Los Angeles 1931 Rain On The Roof Jimmie Grier Orchestra (voc) Loyce Whiteman ‘Cocoanut Grove’ TRANSCO Radio Transcription Los Angeles 1932 Whistling in the Dark Gus Arnheim Orchestra (voc) Loyce Whiteman ‘Cocoanut Grove’ TRANSCO Radio Transcription Los Angeles 1931 You Could Have Been the One, Baby Jimmie Grier Orchestra (voc) Loyce Whiteman ‘Cocoanut Grove’ TRANSCO Radio Transcription Los Angeles 1932 Set 8 Lee Konitz 1954 Radio Open + Hi Beck Lee Konitz Storyville Copley Square Hotel WHDH Boston 5 Jan 1954 Subconscious Lee Lee Konitz Storyville Copley Square Hotel WHDH Boston 5 Jan 1954

1930s – 1940s Australian Swing Records – Phantom Dancer 15 January 2019

On this week’s Phantom Dancer with Greg Poppleton – swing and jazz from live 1920s – 60s radio – you’ll hear a set of 1930s-40s Australian swing by Jim Davidson and his ABC Orchestra and George Trevare, both based in Sydney.

You’ll also James P Johnson piano mentor to Fats Waller in a 1944 Eddie Condon tribute to Fats Waller, a set of swing bands on Spotlight Bands and Benny Goodman in a set of Camel Caravan shows from 1939.

See the full play list below. Hear the full show now online at 2ser.com

The Phantom Dancer is your non-stop 2 hour mix of swing and jazz from live 1920s-60s radio every week online and on 2SER radio.

The final hour of the mix is all vinyl.

The Phantom Dancer is live-streamed as the show goes to air on 107.3 2SER Sydney, Tuesdays 12:04 – 2pm  Sydney time.

The show is then archived for you to listen to any time at (with over a year of past Phantom Dancer mixes) at 2ser.com/Phantom_Dancer.

Your Phantom Dancer Video of the Week is George Trevare and his Southern Cross 7, “I’m Looking Over A Four Leaf Clover”.

Play List – The Phantom Dancer 107.3 2SER-FM Sydney, Live Stream, Digital Radio Community Radio Network Show CRN #371
107.3 2SER Tuesday 15 January 2019 After the 2SER 12 noon news, 12:04 – 2:00pm (+11 hours GMT) National Program: ArtSoundFM Canberra Sunday 7 – 8pm and early morning on 24 other stations.
Set 1	Swing Bands on 1936-37 Radio
Open + Swing High Swing Low	Peter van Steeden Orchestra (voc) Quartet	‘Town Hall Tonight’ WEAF NBC Red Ny 17 Mar 1937
Goodnight Sweetheart + If You Love Me	Paul Whiteman Orchestra with Ray Noble (voc) The King Singers	‘Paul Whiteman’s Musical Varieties’ WJZ NBC Blue NY 2 Feb 1936
King Porter Stomp + Goodbye (close)	Benny Goodman Orchestra	Joseph Urban Room Congress Hotel Chicago via WEAF NBC Red NY 3 Feb 1936
Set 2	Eddie Condon celebrates Fats Waller on 1944 Radio
The Joint is Jumpin’ + Squeeze Me	Eddie Condon’s Barefoot Gang (voc) Hot Lips Page	‘Eddie Condon Jazz Concert’ Town Hall WJZ Blue NY 17 Jun 1944
Willow Tree + Candied Sweets + I’m Crazy ‘Bout My Baby	James P Johnson (piano)	‘Eddie Condon Jazz Concert’ Town Hall WJZ Blue NY 17 Jun 1944
Set 3	Navy Star Time
Open + It’s A Lovely Day Today	Jo Stafford (voc) Buzz Adlam Orchestra	‘Navy Star Time’ Radio Transcription Hollywood 1952
On The Lone Prairie	Buzz Adlam Orchestra	‘Navy Star Time’ Radio Transcription Hollywood 1952
On The Sunny Side Of The Street + Anchors Aweigh	Frankie Laine (voc) Buzz Adlam Orchestra	‘Navy Star Time’ Radio Transcription Hollywood 1952
Set 4	1940s – 50s Swing Bands on One Night Stand
Summertime (theme) + The Whistler	Bob Crosby Orchestra	‘One Night Stand’ Hollywood Palladium AFRS Re-broadcast 12 Mar 1946
I Found A New Baby	Lenny Conn Orchestra	‘One Night Stand’ AFRS Re-broadcast 1952
Rolling Home + I Get A Kick Out Of You	Ray Anthony Orchestra	‘One Night Stand’ Cafe Rouge Hotel Statler NY AFRS Re-broadcast 1952
Set 5	Spotlight Bands Programmes
Nightmare (theme) + Tabu	Artie Shaw Orchestra	‘Spotlight Bands’ Mutual Network, San Diego 12 Sep 1945
Even Steven	Charlie Spivak Orchestra	‘Spotlight Bands’ Jamestown NY Blue Network 19 Jan 1945
St Louis Blues	Louis Prima Orchestra	‘Spotlight Bands’ Mitchell Field, Long Island NY Blue Network 15 Jan 1945
The Honeydripper + For Dancers Only	Jimmie Lunceford Orchestra (voc) Quartet	‘Spotlight Bands’ Jefferson Barracks Missouri Mutual 23 Nov 1945
Set 6	1930s-1940s Australian Swing
Annie Laurie	Jim Davidson and the ABC Dance Orchestra (voc) Alice Smith	Comm Rec Sydney 2 Jun 1938
Blue Velvet	George Trevare Orchestra (voc) Johnny Fitzgerald	Comm Rec Sydney 1944
We’re Off To See The Wizard	Jim Davidson and the ABC Dance Orchestra (voc) Band	Comm Rec Sydney 21 Nov 1939
Der Fuehrer’s Face	George Trevare Orchestra (voc) Dick Bentley	Comm Rec Sydney 1943
Set 7	Benny Goodman Camel Caravan 1939
And The Angels Sing	Benny Goodman (voc) Martha Tilton	‘Camel Caravan’ WBBM CBS Chicago 2 May 1939
Kingdom of Swing	Benny Goodman Orchestra	‘Camel Caravan’ WABC CBS NY 4 Apr 1939
St Louis Blues	Benny Goodman Orchestra (voc) Johnny Mercer	‘Camel Caravan’ Fox Theatre CBS St Louis 9 May 1939
Sing Sing Sing	Benny Goodman Orchestra featuring Lionel Hampton	‘Camel Caravan’ WABC CBS NY 11 Apr 1939
Set 8	Modern Jazz on 1950s Radio
The Duke (theme) + I’m in a Dancing Mood	Dave Brubeck Quartet	‘All-Star Parade of Bands’ Basin Street WRCA NBC NY Mar 1957
Ad + Hob Nail Boogie	Count Basie Orchestra	Birdland WNBC NBC NY 31 Aug 1952
Four	Buddy Rich Quintet	Birdland WABC ABC NY 7 Nov 1958

Shep Fields Rippling Rhythm – Phantom Dancer Swing Radio Mix 14 Aug 2018

Keys to success in popular music include a compelling back story that informs the music preferably with a rags to riches theme, a catchy name and/or a gimmick.

Shep Fields found fame almost as soon as he found the latter. And changing his name from Saul Feldman to the catchier Shep Fields also would have helped.

Shep Field is the feature artist on today’s Phantom Dancer. He was so popular and internationally famous even the Australian swing band of Wally Portingale included him in a song for their ‘All In Fun Revue’.

WHAT’S THE PHANTOM DANCER?

Excellent question young Harry. It’s your non-stop mixtape of swing and jazz from live 1920s-60s radio. And it’s been live-to-air on 107.3 2SER Sydney, Tuesdays 12:04 – 2pm, since 1985.

The Phantom Dancer is then re-broadcast on 22 radio stations of the Community Radio Network and online.

In fact, you’ll be able to hear this week’s Phantom Dancer on 2ser.com online after the show. And there’s a stack of past Phantom Dancer swing jazz mix tapes for you to enjoy there as well.

THIS WEEK’S PHANTOM DANCER MIX

– has a set of ‘Women in Jazz’ introduced by jazz writer Leonard Feather for the Voice of America in 1951, we go free form with John Coltrane over WCBS-FM in 1965 and there’s the Shep Fields feature.

See the full play list below….

SHEP FIELDS

was a Swing Era U.S musician and band leader. He found fame by incorporating a simple idea into his music.

This week’s Phantom Dancer video, below, is a 1930s dramatisation of the eureka moment the idea struck. But here’s how the story goes for those of you not into film.

UP THE LADDER

Shep played clarinet and tenor saxophone in bands while at university. He played in a band at the prestigious Roseland Ballroom in 1931. In 1933 he was leading a band in that great proving ground for New York musicians and comedians in the 1930s and 1940s – the Borscht Belt. Next year he replaced the Jack Denny Orchestra in a residency at Hotel Pierre in New York City. He left that gig to back the dancers Veloz and Yolanda on a tour. 1936 found him in Chicago, with a contract to play at the Palmer House with radio broadcasts from that same spot included.

EUREKA!

Now he had come this far, the question was, how could he distinguish himself sufficiently from all the other dance band on the air and on stage to move to the next level of ‘name band’.

The inspiration came when he and his wife were sitting in a milk bar. Mrs Fields was blowing bubbles into her soft drink through a straw.

Eureka! Shep decided there and then that bubbling sound was what would introduce his band over the air. This moment was dramatised in a short film for cinema release in the late 1930s.

A BRAND IS BORN

Fields staged a contest amongst his fans in Chicago to suggest a new name for his band with the new sound.

The word ‘rippling’ came up in a number of entries. Fields himself came up with ‘Rippling Rhythm.’ And so a brand was born.

IDENTITY

That same year, 1936, with brand in place and signature sound, Shep Fields landed a record deal with the popular Bluebird label. His hits for this famous jazz record company included ‘Cathedral in the Pines’, ‘Did I Remember?’ and ‘Thanks for the Memory’.

In 1937 Fields had his own radio show, ‘The Rippling Rhythm Revue’ with comedian Bob Hope, whose theme song was ‘Thanks for the Memory’ as announcer.

In 1938, Fields and Hope were featured together in the comedian’s first feature movie, The Big Broadcast of 1938.

Today’s Phantom Dancer will feature 1930s radio transcriptions of Shep Field’s Rippling Rhythm Orchestra in the final vinyl hour. In a 1940 radio transcription you’ll hear singer Hal Derwin who later became a band leader in his own right.

ALL REEDS

Shep Fields dropped his Rippling Rhythm Orchestra in 1941 for a bold experiment, an all-reeds orchestra with rhythm section and no brass called Shep Fields and His New Music.

We’ll hear his New Music in a radio transcription from 1942.

Though the critics liked it, the public wanted Rippling Rhythm.

And with the popularity of the big bands declining after World War Two, Fields bowed to the public pressure of declining New Music ticket sales. In 1947 he re-launched his Rippling Rhythm Orchestra.

He had already brought his own venue to guarentee bookings and radio airtime, the prestigious Glen Island casino in New Rochelle, New York, which is where the opening track in this week’s Shep Field set originates.

The Rippling Rhythm Orchestra lasted until 1963. That year, Shep Fields quit band leading to be a radio disc jockey in Houston. When that ended, he worked at Creative Management Associates with his brother Freddie Fields in Los Angeles.

VIDEO OF THE WEEK

It’s Shep Fields and his New Music with the ‘soundie’ The Whistler’s Mother-in-Law. Happy viewing!

31 JULY PLAY LIST

Play List – The Phantom Dancer 107.3 2SER-FM Sydney, Live Stream, Digital Radio Community Radio Network Show CRN #327
107.3 2SER Tuesday 14 August 2018 After the 2SER 12 noon news, 12:04 – 2:00pm (+10 hours GMT) National Program: ArtSoundFM Canberra Sunday 7 – 8pm and early morning on 23 other stations.
Set 1	1944 Swing Bands
It’s Mellow	Glen Gray and the Casa Loma Orchestra	‘One Night Stand’ Tune Town Ballroom AFRS Re-broadcast St Louis 5 Apr 1944
Swinging on a Star	Bob Chester Orchestra (voc) Betty Bradley and David Allyn	‘One Night Stand’ Panther Room Hotel Sherman, Chicago AFRS Re-broadcast 8 Oct 1944
When I Get It + Blue Lou	Harry James Orchestra lead by Tommy Dorsey	Casino Garden Ocean Park Ca KECA ABC LA 12 Aug 1944
Set 2	Coltrane
My Favourite Things	John Coltrane	Half Note Club WCBS-FM CBS NY 26 Mar 1965
Set 3	Famous Singers
Eleg Volt Nekem Magabol (I’ve Had Enough of You)	Karady Katalin	Comm Rec Budapest 1943
Song of the Wanderer	Helen Humes (voc) Count Basie Orchestra	Aircheck 1939
Taking a Chance on Love	Ethel Waters	‘Jubilee’ AFRS Hollywood 17 Jul 1945
Set 4	Women in Jazz 1951
Boogie Mysterioso	Mary Lou Williams with Mary Osbourne (elec g)	‘Jazz Club USA’ Voice of America New York City 1951
Mary’s Guitar Boogie	Mary Osbourne	‘Jazz Club USA’ Voice of America New York City 1951
Low Ceiling	Beryl Booker with Mary Osbourne (elec g)	‘Jazz Club USA’ Voice of America New York City 1951
Set 5	Shep Fields Feature
Rippling Rhythm (theme) + My Future Just Passed	Shep Fields Rippling Rhythm Orchestra (voc) Toni Arden	Glen Island Casino New Rochelle NY Aircheck 1947
Heavenly, Isn’t It?	Shep Fields and his New Music	Radio Transcription New York City 1943
One Never One, Does One?	Shep Fields Rippling Rhythm Orchestra (voc) Robert Goday	Radio Transcription New York City 1937
Let There Be Love	Shep Fields Rippling Rhythm Orchestra (voc) Hal Derwin	Radio Transcription New York City 1940
Set 6	Sweet Bands on 1960s Radio
Open	Guy Lombardo and his Royal Canadians	New York World’s Fair WCBS CBS NY 1964
Auld Lang Syne + Let’s Do It Again	Guy Lombardo and his Royal Canadians	Grill Room Hotel Taft WNBC NBC NY 1 Jan 1970
Blue, Blue My Heart Is Blue	Russ Morgan Orchestra	Top of the Strip Dunes Hotel KLAV Las Vegas NV 19 Jul 1969
Medley	Jan Garber Orchestra	Lady Luck Lounge Desert Inn KLAC Las Vegas NV 4 Jul 1965
Set 7	Ray Noble’s American Orchestra
The Very Thought of You (theme) + Flowers for Madame	Ray Noble’s American Orchestra	‘Coty Hour’ Radio City WEAF NBC Red NY 13 Mar 1935
Irving Berlin Songs	Ray Noble’s American Orchestra	‘The Magic Key of RCA’ Radio City WEAF NBC Red NY 9 Feb 1936
Set 8	New Jazz on 1949 – 51 Radio
Perdido + Tiny’s Blues	Terry Gibbs All-Stars	‘Symphony Sid Show’ Birdland WJZ ABC NY 1951
Move	Stan Getz	‘Modern Jazz Concert’ Carnegie Hall NY Voice of America 25 Dec 1949

12 June Phantom Dancer A&P Gypsies

The Phantom Dancer, heard every week over radio 2SER 107. 3 Sydney, 23 Australian radio stations and online, is your non-stop mix of swing and jazz from live 1920s-60s radio and TV.

Presented by Greg Poppleton, you can hear Phantom Dancer episodes online at 2ser.com.

THIS WEEK’S PHANTOM DANCER MIX
– has sets of swing bands from 1940s radio, bop and hard bop from 1950s radio, 1943-45 commercial recordings by the Sydney swing orchestra of George Trevare, a set of women jazz singers on-air with the Duke Ellington Orchestra on 1930s-50s radio and more. See the play list below.

A & P GYPSIES
One of the curiosities on today’s Phantom Dancer is part of a weekly broadcast from 1933 of one of the last of the 1920s commercial brand orchestras. In this case, the orchestra is the A&P Gypsies.

A&P, otherwise known as the Great Atlantic & Pacific Tea Company, was a U.S chain of grocery stores that ceased supermarket operations in November 2015, after 156 years in business.

U.S radio historian Elizabeth McLeod writes about these commercial brand orchestras,

“The most popular program format of the late 1920s was the sponsored musical feature. It could be a large symphonic group, a dance orchestra, or a song-and-patter team—and it would usually carry the sponsor’s name. The A&P Gypsies, for example—a large, genre-crossing orchestra conducted by Harry Horlick. The Ipana Troubadors—a hot dance band directed by Sam Lanin. The Goodrich Zippers—a banjo-driven orchestra conducted by Harry Reser, when he wasn’t leading the same group under the name of The Clicquot Club Eskimos. Everyone remembers The Happiness Boys, Billy Jones and Ernie Hare—but what about Scrappy Lambert and Billy Hillpot, who performed exactly the same sort of material as Trade and Mark, The Smith Brothers. The list is endless: The Silvertown Cord Orchestra, featuring the Silver Masked Tenor. The Sylvania Foresters. The Flit Soldiers—yet another Harry Reser group. The Champion Sparkers. The Fox Fur Trappers. The Ingram Shavers, who were the Ipana Troubadours on alternate Wednesdays. The Yeast Foamers. The Planters Pickers. And, the magnificently named Freed-Eisemann Orchestradians. All playing pretty much the same sorts of music, all announced by Phillips Carlin or John S. Young or Alwyn Bach or Milton Cross in pretty much the same sort of stiffly formal style.”

Your Phantom Dancer Video of the Week this week is a 1929 commercial recording by the A&P Gypsies, ‘Only The Girl’. Happy Listening…

Make sure you come back to this blog, Greg Poppleton’s Radio Lounge, every Tuesday, for the newest Phantom Dancer play list and Video of the Week!

Thank you.

Play List – The Phantom Dancer 107.3 2SER-FM Sydney, Live Stream, Digital Radio Community Radio Network Show CRN #322
107.3 2SER Tuesday 12 June 2017 After the 2SER 12 noon news, 12:04 – 2:00pm (+10 hours GMT) National Program: 2RRR Gladesville Thurs 11am – 12 ArtSoundFM Canberra Sunday 7 – 8pm and early morning on 22 other stations.
Set 1	Swing 1940-44 Radio
Theme + Chopping Wood	Woody Herman Orchestra	Famous Door WEAF NBC Red NY 7 Jan 1940
It’s a Crying Shame	Woody Herman Orchestra (voc) Frances Wayne	Cafe Rouge Hotel Pennsylvania WABC CBS NY 21 Aug 1944
Flying Home	Lionel Hampton Orchestra	’One Night Stand’ Civic Auditorium Oakland Ca 4 Jun 1944
Set 2	Jazz Organ and Harpsichord
Sunrise Serenade (theme) + This Is The Missus	Rosa Rio	’Rosa Rio Time’ WJZ ABC NY 14 Jul 1947
Tea For Two	Johnny Saab	’Organ Interlude’ WJSV Washington DC CBS 21 Sep 1939
The Turkish March	Sylvia Marlowe (harpsichord)	’Chamber Music Society of Lower Basin Street’ WJZ NBC Blue NY 17 Dec 1941
Set 3	Latin Strains On 1930s-40s Radio
Theme + Chiu Chiu	Desi Arnez Orchestra (voc) DA and Band	Ciro’s KECA ABC LA 1947
Habenero and Vacero	A and P Gypsies	’A and P Show’ WEAF NBC Red NY 1933
Night Must Fall + Nightingale + My Shawl (theme)	Xavier Cugat Orchestra	’All-Star Parade of Bands’ Last Frontier NBC Las Vegas 30 Nov 1953
Set 4	Bop and Hard Bop on 1950s Radio
Strike Up The Band	Pete Brown Quintet	’One Night Stand’ Birdland WNBC NBC NY 2 Sep 1952
Happy Birthday + Body and Soul	Sarah Vaughan	’Stars in Jazz’ Birdland WNBC NBC NY 26 Mar 1953
Out of Nowhere + Jumping With Symphony Sid	Charlie Parker	Hi-Hat Club WCOP Boston 24 Jan 1954
Set 5	Women Singers with the Duke Ellington Orchestra on 1930s-50s Radio
In A Mizz	Ivie Anderson (voc) Duke Ellington Orchestra	Ritz Carlton Hotel WNAC NBC Boston 26 Jul 1939
Riff Staccato	Joya Sherrill (voc) Duke Ellington Orchestra	’One Night Stand’ Club Zanzibar AFRS Re-broadcast 28 Oct 1945
Take The ‘A’ Train	Betty Roche (voc) Duke Ellington Orchestra	‘Jubilee’ AFRS Hollywood Jan 1948
I Ain’t Got Nothin’ But The Blues	Kay Davis and Al Hibbler (voc) Duke Ellington Orchestra	’Date With The Duke’ Radio City WJZ ABC NY 10 Nov 1945
Set 6	Commercial Sides: George Trevare and His Australians
Don’t Sweetheart Me	George Trevare Orchestra (voc) Joan Blake	Comm Rec Sydney 1943-45
Under The Trees	George Trevare Orchestra (voc) Lawrence Brooks	Comm Rec Sydney 1943-45
No Love No Nothin’	George Trevare Orchestra (voc) Al Royal	Comm Rec Sydney 1943-45
Let’s Have One For The Road	George Trevare Orchestra (voc) Unknown	Comm Rec Sydney 1943-45
Set 7	Glenn Miller and his Orchestra 1939 – 41 Radio
Intro + Here We Go Again + White Cliffs of Dover	Glenn Miller Orchestra (voc) Ray Eberle	’Sunset Serenade’ Cafe Rouge Hotel Pennsylvania WJZ NBC Blue NY 27 Dec 1941
Georgia On My Mind	Glenn Miller Orchestra	’Sunset Serenade’ Cafe Rouge Hotel Pennsylvania WJZ NBC Blue NY 30 Aug 1941
Blueberry Hill	Glenn Miller Orchestra (voc) Marion Hutton	’Sunset Serenade’ Cafe Rouge Hotel Pennsylvania WJZ NBC Blue NY 6 Nov 1940
My Blue Heaven + Close	Glenn Miller Orchestra	NBC Baltimore 5 Sep 1939
Set 8	Kings Of Jazz Trumpet on 1930s-50s Radio
Night Song	Bunny Berrigan Orchestra	Manhattan Centre WNEW NY 26 Sep 1939
I’m Confessin’ That I Love You	Louis Armstrong	‘Jubilee’ AFRS LA Mar 1943
It Don’t Mean A Thing	Roy Eldridge (voc) Anita Love	Unissued Comm Rec Paris 9 Jun 1950
Down South Camp Meeting	Harry James Orchestra (voc) Anita Love	Hotel Astor Roof WCBS CBS NY 25 May 1953

3 April 2018 Phantom Dancer. Helen Keller On How The Deaf Heard Radio Music In The 1920s

There’re some rare, rare early jazz radio broadcasts for your listening pleasure on this week’s Phantom Dancer. And below, read an insight from Helen Keller about how radio brought music to the deaf in the 1920s.

The Phantom Dancer is produced and presented by Australia’s only authentic 1920s-30s-style singer and band leader, Greg Poppleton.

The Phantom Dancer is your non-stop mix of swing and jazz from live 1920s-60s radio and TV. It’s made in the studios of 2SER in Sydney. The Phantom Dancer is heard across Australia on stations of the Community Radio Network.

Hear this week’s Phantom Dancer (and past Phantom Dancers online) at radio 2ser.com

Greg Poppleton music website.

In this week’s mix, you’ll hear sets of radio broadcasts by Buddy Rich, Benny Goodman over three days in October 1937 and The Andrew Sisters. There’s also a set of WW2 European dance bands from Prague, Moscow and Hilversum. The Prague recording features Andrew Sisters soundalikes, The Allan Sisters (Allanovy Sestry).

But the rare, rare radio comes from January 1929. Four ‘Sunny Meadows Washing Machine Programs’ featuring the Ray Miller Orchestra. These were recorded on five minute 78 rpm discs – six discs to a 30 minute show.

1920s radio set

And that got me thinking about 1920s radio and how it was perceived. That’s when I found two letters from 1924 and 1926 quoted by Timmy D. Taylor in his paper, ‘Music and the Rise of Radio in 1920s
America: technological imperialism, socialization, and the transformation of intimacy’, Historical Journal of Film, Radio and Television, Vol. 22, No. 4, 2002.

The two letters come from the very early years of radio as a mass entertainment medium. They both describe how deaf people could ‘hear’ music on the radio.

 

HELEN KELLER REPORTS…

Helen Keller

The first letter is from the famous deaf and blind social activist, Helen Keller, in 1924.

It is a letter to the Symphony Society of New York and describes her joy at hearing a symphonic concert on WEAF Radio, New York City.

“I have the joy of being able to tell you that, though deaf and blind, I spent a glorious hour last night listening over the radio to Beethoven’s ‘Ninth Symphony.’

I do not mean to say that I ‘heard’ the music in the sense that other people heard it; and I do not know whether I can make you understand how it was possible for me to derive pleasure from the symphony. It was a great
surprise to myself. I had been reading in my magazine for the blind of the happiness that the radio was bringing to the sightless everywhere. I was delighted to know that the blind had gained a new source of enjoyment; but
I did not dream that I could have any part in the joy.

Last night, when the family was listening to your wonderful rendering of the immortal symphony some one suggested that I put my hand on the receiver and see if I could get any of the vibrations. He unscrewed the top, and I lightly touched the sensitive diaphragm. What was my amazement to discover that I could feel, not only the vibrations, but also the impassioned rhythm, the throb and the urge of the music. The intertwined and intermingling vibrations from different instruments enchanted me. I could actually distinguish the cornets, the roll of the drums, deep-toned violas and violins singing in exquisite unison. How the lovely speech of the violins flowed and flowed over the deepest tones of the other instruments! When the human voices leaped up thrilling from the surge of harmony, I recognized them instantly as voices. I felt the chorus grow more exultant, more ecstatic, upcurving swift and flame-like, until my heart almost stood still. The women’s voices seemed an embodiment of all the angelic voices rushing in a harmonious flood of beautiful and inspiring sound. The great chorus throbbed against my Žfingers with poignant pause and flow. Then all the instruments and voices together burst forth—an ocean of heavenly vibration—and died away like winds with the atom is spent, ending in a delicate shower of sweet notes.

Of course, this was not hearing, but I do know that the tones and harmonies conveyed to me moods of great beauty and majesty. I also sensed, or thought I did, the tender sounds of nature that sing into my hand—swaying reeds and
winds and the murmur of streams. I have never been so enraptured before by a multitude of tone-vibrations. As I listened, with darkness and melody, shadow and sound filling all the room, I could not help remembering that the great composer who poured forth such a flood of sweetness into the world was deaf like myself. I marveled
at the power of his quenchless spirit by which out of his pain he wrought such joy for others—and there I sat, feeling with my hand the magniŽficent symphony which broke like a sea upon the silent shores of his soul and mine.

Let me thank you warmly for all the delight which your beautiful music has brought to my household and to me. I want also to thank Station WEAF for the joy they are broadcasting in the world.”

 

JAZZING THE DEAF

The second report about the deaf ‘hearing’ radio in the 1920s comes from ‘Jazzing the deaf by radio’, Popular Radio, March 1926, p. 296.

“This information has been conveyed to Paul Ash, orchestra leader and radio star of KYW in letters from several women who explain that these are the only sounds they have been able to hear and that they enjoy the jazz music although otherwise deaf.

A famous ear specialist of Chicago has become interested in the subject, it is reported, and is conducting a series of tests to determine the possibilities of utilizing this means of ‘bone conduction’ of sound so that those
who have lost normal hearing may through radio have the pleasures of music.

When the unique investigation has been completed the renowned specialist promises the issuance of a report and a test program over the air is to be given with deaf persons asked to ‘listen in’ and to report what they ‘hear’.”

 

VIDEOS OF THE WEEK

Your Phantom Dancer Videos of the Week feature Helen Keller herself.

In the first video, the teacher who taught her to speak, Anne Sullivan (who was blind herself), explains with Helen demonstrating, how Helen learnt to talk after hitherto being dumb as well as deaf and blind. Her first word was ‘it’. Her first sentence, “I am not dumb now.” Be amazed…

And here is a 1919 dramatisation of her childhood. The film is called ‘Deliverance’…

Play List – The Phantom Dancer 107.3 2SER-FM Sydney, Live Stream, Digital Radio Community Radio Network Show CRN #309 107.3 2SER Tuesday 3 April 2018 After the 2SER 12 noon news, 12:04 – 2:00pm (+10 hours GMT) National Program: ArtSoundFM Canberra Sunday 7 – 8pm and early morning on 22 other stations. Set 1 Russ Morgan his Wah-Wah Trombone and his Orchestra Does Your Heart Beat For Me? Russ Morgan Orchestra Radio Transcription Los Angeles 1937 Sheik of Araby Russ Morgan Orchestra ‘One Night Stand’ AFRS Re-broadcast 28 Apr 1944 Open Up That Door and Let Me In + So Long (Close) Russ Morgan Orchestra (voc) Al Jennings ‘One Night Stand’ Garden Room Hotel Claremont Berkeley Ca AFRS Re-broadcast 28 Jun 1945 Set 2 Andrew Sisters on Radio Open + Atcheson, Topeka and Santa Fe Andrew Sisters with Raymond Paige Orchestra ‘Kraft Music Hall’ KFI NBC LA 6 Sep 1945 Begin the Beguine Andrew Sisters with Glenn Miller Orchestra ‘Chesterfield Show’ WABC CBS NY 31 Jan 1940 White Christmas + Jingle Bells Nash Ad + Apple Blossom Time (Close) Andrew Sisters with Curt Massey and Vic Schoen Orchestra ‘Nash – Kelvinator Show’ KNX CBS Los Angeles 19 Dec 1945 Set 3 Swing from WWII Europe Poznate lehce nas rytmus Allanovy Sestry Comm Rec Prague 17 Dec 1942 Baron von der Pschek (Bel Mir Bist Du Schoen) Leonid Utesov Comm Rec Moscow 1943 Ja De Ramblers (voc) Ferry Barendse and Band Comm Rec Hilversum 2 Mar 1944 Set 4 Benny Goodman – 3 Days in October 1937 Stardust on the Moon + Dear Old Southland Benny Goodman Orchestra Manhattan Room Hotel Pennsylvania WABC CBS NY 20 Oct 1937 Where or When + Someday Sweetheart Benny Goodman Trio and Orchestra Manhattan Room Hotel Pennsylvania WABC CBS NY 20 Oct 1937 Dixieland Band + Goodbye Benny Goodman Orchestra (voc) Martha Tilton Manhattan Room Hotel Pennsylvania WOR Mutual NY 23 Oct 1937 Set 5 Duke Ellington on 1951-53 Radio VIP’s Boogie Duke Ellington Orchestra Aircheck Coeur d’Alene, Idaho 4 Oct 1953 Things Ain’t What They Used To Be Duke Ellington Orchestra Meadowbrook Ballroom Cedar Grove NJ WNBC NBC New York 11 Jun 1951 Great Times Duke Ellington Orchestra Radio Transcription New York City 11 Feb 1951 Just a Sit-in’ and a Rockin’ + Mood Indigo Duke Ellington Orchestra Blue Note WMAQ NBC Chicago 13 Aug 1952 Set 6 Ray Miller on 1929 Radio Open + Angry Ray Miller Orchestra ‘Sunny Meadows Program’ Radio Transcription Chicago 18 Jan 1929 I’ll Never Ask For More Ray Miller Orchestra ‘Sunny Meadows Program’ Radio Transcription Chicago 18 Jan 1929 I Ain’t Got Nobody Ray Miller Orchestra (voc) Mary Williams ‘Sunny Meadows Program’ Radio Transcription Chicago 18 Jan 1929 Tell Me Who + There’s No Place Like Home (theme) Ray Miller Orchestra (voc) Bob Nolan ‘Sunny Meadows Program’ Radio Transcription Chicago 25 Jan 1929 Set 7 Bob Crosby 1939 Radio South Rampart Street Parade Bob Crosby Orchestra ‘Camel Caravan’ WABC CBS New York City 27 Jun 1939 Little Rock Getaway Bob Crosby Orchestra (piano) Joe Sullivan ‘Camel Caravan’ WABC CBS New York City 4 Jul 1939 O, You Crazy Moon Bob Crosby Orchestra (voc) Helen Ward ‘Camel Caravan’ WABC CBS New York City 11 Jul 1939 Diga Diga Doo Bob Crosby Orchestra ‘Camel Caravan’ WABC CBS New York City 18 Jul 1939 Set 8 Buddy Rich Radio Rain on the Riff (theme) + Cool Breeze Buddy Rich Orchestra ‘Spotlight Bands’ Phoenixville PA Mutual 24 Dec 1945 Nellie’s Nightmare Buddy Rich Orchestra Aircheck New York City 1947 In a Prescribed Manner Buddy Rich Quintet Birdland WABC ABC NY 7 Nov 1958