Word: goodmans
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Dates: during 1940-1949
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Victor, continuing its reissues on Bluebird, brings out a Goodman Trio record of "Nobody's Sweetheart" and "More Than You Know" next week. And due out shortly are the following which should be plenty good: "Swing Out" (a new master of this Luis Russell record)... "When It's Sleepy Time Down South" by Louis Armstrong... "New Orleans Twist" by Gene Gifford... "Swing Is Here" by Gene Krupa (with Chu Berry, Roy Eldridge, and Jesse Stacy solos, this is worth getting)... "Peggy" by McKinney's Cotter Pickers... "Stingeree Blues" by King Oliver...
...strike, then a grounder, right into Cookie Lavagetto's mitt. Frey came up. A strike, two balls, another strike, another ball. It seemed eternity before the announcer spoke: a fly, high into right field-Cullenbine took it just in front of the bleachers. Then came Goodman, a dangerous batter in a tight spot. The first was high and inside. Then the announcer's voice rose to a deafening crescendo. "Folks it's a no-hitter!" Old Tex Carleton, 33, and recently resurrected from the minor-league Milwaukee Brewers, had mown down the mighty Reds...
...talking about the "jazz classics" where you have the privilege of paying a small fortune to hear Bud Freeman and Pee Wee Russell grunt into their respective instruments on a pretty label. I'm, talking about the records-six bits down-of the Count and the Duke, of Benny Goodman and Glenn Miller, Bittle Holiday and Mildred Balley, Fats Waller and Frankle Newton, and a host of others...
...seldom agree with Mike about jazz. For example, he's not too fond of Artie Shaw's new band, while I think It's the biggest thing in dance music since Benny Goodman. But at least Mike will give me a very convincing argument as to why he doesn't like Shaw, which is something I could never do, nor could anyone else who has, for the past few years, written what passes as criticism, for the various Harvard publications...
...some comparison, listen to Tommy Dorsey's smooth work on his recording, or Jimmy Lunceford's Deccording with its beautiful brass work behind the vocal. Then listen to Louis Armstrong's (Vocalion) disc for what most critics consider to be the greatest solo work on "Stardust," and Benny Goodman's (Victor) for the top orchestral rendition. Unusual versions are Art Tatum's fast but flashy pianistics (Decca), the binging of the one and only Crosby (Brunswick), and movie star Anita Louise's harp pluckings for Royale