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ARSCLIST  September 2009

ARSCLIST September 2009

Subject:

Re: Radio in Chicago

From:

George Brock-Nannestad <[log in to unmask]>

Reply-To:

Association for Recorded Sound Discussion List <[log in to unmask]>

Date:

Tue, 15 Sep 2009 21:50:57 +0200

Content-Type:

text/plain

Parts/Attachments:

Parts/Attachments

text/plain (157 lines)

 From: Patent Tactics, George Brock-Nannestad

Hello,

Mike Biel to the rescue, and obviously I had given too little information. 
Thank you very much for the background, which complemented the WikiPaedia 
note. To prove to myself that I could find my item, I did, and I have 
documented it below. I cannot find my source for the "facsimile" labels, it 
may just have been my own guesswork.

The 10" album has four records inside and is simply called:

HUDSON-ROSS PRESENT
DAVE GARROWAY'S
11:60 CLUB
FAVORITES

with a portrait on the left and a steeple with a clock at midnight on the 
right; a wavy system of music notes at the bottom.

All the text there is (apart from on labels) is on the inside front cover. 
Here it is:

[GBN note: album inside cover page. Original orthography adhered to]

DAVE GARROWAY´S 11:60 CLUB FAVORITES

   Here are four records that have brought a great deal of that warm inside 
feeling to me, and I think, may they will to you too, old fabulous.
   They are records that the 11:60 Club has played often, and that have been 
generally unavailable in latter years, until Hudson-Ross persuaded the 
manufacturers to re-press them for this album    not, of course, the "Blues 
for Garroway", which is a new side and available only at Hudson-Ross.
   We hope that this album will be the first of a series of special re-press 
albums of impossible-to-obtain collector´s items and some considerable love 
to Hudson-Ross for making possible an undertaking that I have long 
considered.
[GBN note: facsimile signature Dave Garroway] 

APPLE  HONEY               Woody Herman
This side, one of the "Great Eight" that the Herd made in 1941-42 is a 
memorial to what every jazz writer believes to be the firmest, most virile 
drive band ever to blow. For the sheer "spirit of the body" for joyous head 
back, happy-with-the-music playing, no big band has ever approached the 
intensity of Woody´s band in the period  . . . the solos are a delight here, 
too, as on "Bijou" and "Father´s Mustache", especially Flip and Bill´s, but 
it´s the incredible togetherness of the whole band in the wildest parts that 
makes "Apple Honey" a thing to get up close to the speaker and hang on to . . 
. get a good grip when you do . . . these boys are movers, from that first 
tremendous opening sound . . .
[GBN note: Columbia 36803 (CO 34289)]

PASSION  FLOWER          Johnny Hodges
Hodges looks about as much like a musician as I do like a Pat Stevens model 
on Saturday night . . . small, hard, tough, dry . . . which merely goes to 
insert another needle in Lombroso´s beaten up theory . . . for inside of 
little Johnny is one of the most sensuous and seething musical organizations 
anywhere . . .
You might easily consider this title as programatic . . . consider Hodges 
alto as a real flower, beginning as the record opens, to feel the germinal 
spring surge, under a protecting floor of leaves . . . and with the white sun 
beating down decaying beginning to spiral slowly sinuously upward into the 
world of love where exists its destiny, hear his alto reach  its passionate, 
yet delicate fulfilment, and its slow regretful return to quiescence on the 
forest floor.
[GBN note: RCA Victor 20-2822-A (matrix no. identical!) "RE-ISSUED by 
Request"]

BLUES  FOR  GARROWAY          Father Hines Trio
The title is a warm gesture from the Father, and is much appreciated, ole 
dear, but the real title, the title of the side before it was written, as it 
was played and ever later, is really just "Blues" . . .
This record, released exclusively in this album, is one that I heard 
originally (before title) as a recording of a private little session made 
real late one night after a long big band session of cutting commercial 
sides, by the "Fatha" and two of his side men, Doc Ashley on guitar and Tom 
Crump on tenor . . . in fact, the record is essentially a guitar chorus 
followed by a tenor chorus, by two guys who are not yet in the musical hall 
of fame, and yet who here have captured the very thing that jazz is all about 
. . . two guys who are playing for the love of it, for the joy of the music, 
for the peace it gives them . . . and who, lucky day, happened to be doing it 
where they could be recorded . . . I have heard lots of late nite sessions, 
where I would have donated my right earlobe to get it down on wax . . . but 
nothing finer in its field than this . . . and here´s the wax . . .
[GBN note: SUNRISE 2116 (SU-2120 C)]

MEAN  TO  ME          Sarah Vaughan
Here in the early lush days of the first records of Sarah, when she was 
singing what she wanted when she wanted to sing it, as on this side, is the 
finest kind of example of the musicianship of one of the greatest talents of 
our nervous times . . . even though the tempo is up, and she is accompanied 
by the crisp tight Charley Parker alto, and Dizzy´s pin-point horn, Sarah 
sings completely relaxed, easily, happily, like alittle girl having fun, 
which simile is not too many light years from the truth . . . listen to the 
big full organ tones that she produces as easily as the average vocalist can 
say "my agent" . . . and listen to the way she ends words, singing all the 
way up to the close . . . a rare bird in a singer who can also pick her way 
so daintily thru the musical labyrinth on the end of this side . . .
[GBN note: CONTINENTAL C-6024-A (W 3327)]

[GBN note: album machine-stamped No. 1018]
[GBN note: each record has a B-side not discussed by Garroway]

----- to me, the small texts simulate intros to the various record sides. In 
the signed introduction he mentions that there might be more albums--does 
anybody know if that happened?

Kind regards,


George

> 
> Dave Garroway was one of many personalities who were developed at WMAQ
> radio in Chicago in the post-war years who moved into early TV at WNBQ
> and NBC.  Yes, the 11:60 Club was his jazz oriented radio show at 11 PM
> for an hour.  We had some recordings at Northwestern, both full shows
> and pre-record announcements.  If he couldn't make a show he would
> pre-record his record introductions on a 16-inch and leave it with a
> pile of 78s for the engineer.  He usually mentioned on the broadcast
> that he was doing this!  His TV show was Garroway at Large, and was the
> model "Chicago School" type TV show: low key, laid back, and what we now
> call minimalist.  Bare walls, no scenery, lights visible, and liberal
> use of a ladder.  He moved on to the network in NYC with Today, and then
> also Wide, Wide World, which yielded a 12-inch RCA Victor LP with misc
> jazz pieces.  He also narrated a freebie SRL-29 which came with a
> classical sampler compilation Getting Friendly With Music, LM 1995.  He
> promoted several other RCA Victor albums.  He never really did anything
> sustained after leaving Today, and ended up committing suicide a few
> months after appearing on the 30th Anniv program of Today.  
> 
> Being that his broadcasting career seems to be exclusively at NBC, was
> that album an RCA product?  What were the fascimilie labels?  
> 
> Other NBC Chicago personalities included Hugh Downs, Studs Terkel, John
> Chancellor, Mike (Myron) Wallace, and Burr Tillstrom's Kukla, Fran and
> Ollie.     
> 
> Hudson-Ross was a music store on South Wabash which became Rose Records
> in the 1960s and advertised itself as the World's Largest Record Store
> after the NYC main Sam Goody store was no longer what it had originally
> been.  I got a lot of great stuff at Roses.  The second floor was mainly
> discounts and cut-outs, and the back wall of the ground floor was
> nostalgia and reissues.  Every once in a while an old LP would have a
> Hudson-Ross price sticker.  Then there was the day that someone had
> uncovered a box of dealer stock of the Vogue picture disc dance lesson
> albums and put them on that back wall for about a buck.  I stupidly
> bought only one of Vol 1 and none of Vol 2.  Imagine what I could make
> on EBay if I had bought them all.  This also was the place where I was
> interviewed by the Chicago Tribune the morning after Elvis died when
> throngs were there to buy as many Elvis albums as they could carry.  I
> explained why they were crazy.  Just like what happened on EBay when
> Michael Jackson died and some idiot bought Thriller for over a thousand
> dollars when there were NO BIDS on it before he died.     
> 
> Mike Biel  [log in to unmask]  

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