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Jazz of the past. Welcome to our knowledge of jazz classics from the private collection of plenty of. These old 78 rpm recordings are now a collector's item and here to comment on the music and laying some of the records for you is let me guess it would be interesting to have shows like the one we're going to have tonight every time as far as I'm concerned because of course this is the show where we distribute different records. That is records that are piano sides and then of course this first one is a trio side with a real wound blues singer. And so that's the kind of show it is tonight. And that's what we're going to do on this show. So let's just start out with the times and sing when you're drunk. When you wake up in Amman and round and round smell
like something then you know. Then you know brown then you know then you know drought then you drown then you know you've been out all mana and then you knock on your door and you get in there you know then you drop you know. Then you know drought then you know then you know. I like the rug
out. From the. Ground. That of course was Jimmy Noonan clarinet the great New Orleans clarinet man. And of course the
vocal was by Ed Thompson and certainly I've never heard much of and seems to be very at home with that song when you're drunk though. Now we're going to play a second record is a record is made in the late 40s by Pete Daley and it's a real Dixie tune but it's not you know revised from A in another form it's sort of I'm going to original kind of approach to a very you know kind of tune and it's called I want to linger. The next thing we're going to hear is an up tune is by a piano man it is the only thing on his
record that we're going to hear is a piano. But wow does he play a lot of piano is a very percussive kind of approach to it. And Max Miller is actually a vibe man and I think in a part of this record you can tell where he's using the technique that Hampton uses where he uses his fingers you know on the piano and Lionel Hampton didn't you know several records like that. And Max Miller does that here. And boy he really well I'll let you judge and this next one is just an original of Max who still owes me two books from 1947. I wrote here it is Harvey. The next director we're going to hear is probably the most famous record to the public that is the
best to the general public does he Smith ever made and she made it with a great crew of sidemen to air the latter part of her career. Thing is made in exactly 1933 and she had been a Goodman on clarinet and Jack Teagarden. And there's a great trumpet solo on this by Frankie Newton you don't hear tea you don't hear B.G. on this one. And of course there's a three minute rhythm section without a drummer. But boy she didn't need a drummer. You know I think you feel it too when you hear it. Give me a pig's foot in a bottle of beer. Now we're going to hear is another piano solo by the great Joe Sullivan made in
1041. It's not very familiar as a tune but a beautiful tune is called for evermore. Next record is by Clyde Hart's group that he
recorded in the late forties also. And of course this has been a Harris on trumpet. It's called Little Benny title and it has Oscar Pettiford on bass Clyde or piano Denzel best on drums and Herbie feel is Reed man. So it's one of those sides it was created during a time that BOP was so much in the public eye satellite record is called Little Benny. And. And. The end.
I am. I
am. I am. The end. Now we're going back a little bit in time and this was recorded in Rome 1939
and it was a day did Frankie Newton the troubled man on the Bessie Smith record played to great soul. And this is a day that you Tennessee got together and Victor and his Pete Brown and of course in his right you know in trumpet mismeasure own clarinet in a real strong rhythm section with James P. Johnson on piano and his call Robin. Now next record is really was it was a nice day that was made in 1040
and had people like Danny Pearl on clarinet. And of course Danny Boyle I think is a very underrated clarinetist. He died quite young and it was a date that was led by Joe Sullivan. And well it's everybody is very active on this record and of course it's a Gershwin standard lady be good. But the. In at most part why we can find on this when the the great clarinetist Ehrhoff who is playing the solo on clarinet and polo is on tenor which is very interesting. And Anderson is drop it man and both Ed Hall and Joe Sullivan solo on this. So let's hear this lady be good. I am I
am I am I am. I am I am. I AM I AM I AM I AM I
AM I AM I AM. I am. I am I am. Next week it is again so like several recordings from
his private collection of 78 rpm jazz classics and he'll play them for you on. The University of Alaska broadcasting. This program was distributed by the national educational radio network.
Visiting scholars
Charles R. Keller, part one
Producing Organization
Cleveland Public Schools
Contributing Organization
University of Maryland (College Park, Maryland)
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Episode Description
This program, the first of two parts, features an interview with Dr. Charles H. Keller, former chair, history department, Williams College.
Series Description
This series features interviews with outstanding scholars from various fields.
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Interviewee: Keller, Charles H.
Interviewer: Evans, Cecelia
Producing Organization: Cleveland Public Schools
AAPB Contributor Holdings
University of Maryland
Identifier: 68-2-11 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
Duration: 00:14:45
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Chicago: “Visiting scholars; Charles R. Keller, part one,” 1968-02-13, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed June 23, 2024,
MLA: “Visiting scholars; Charles R. Keller, part one.” 1968-02-13. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. June 23, 2024. <>.
APA: Visiting scholars; Charles R. Keller, part one. Boston, MA: University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from