Jazz of the past; Rhythm Makers
Jazz of the past. Welcome. Do I happen out 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 play some of the records for you is Lenny got. One on the show we're going to make tonight is really special really kind of dear to my heart because what we're going to do is to play a series of records that were made back in 1930 to the height of depression by a group that had a five man rhythm section which was usually constant in consisted of in most cases Jack La Lanne on guitar. Eddie kind of on banjo. Jody Singleton on drum Al hall generally on bass and variety of piano players. And on the first one this will be Joe Sullivan and then the trucker man
was constantly the same red Allan who passed away not too long ago from. New a new Algeria Louisiana down around New Orleans and then Peewee Russell was always in there somewhere out there when he wasn't playing clarinet which he does on his first record. Why he was honking away on a rather unique sounding tenor saxophone. And these records as I say were just made in the studio they were record date. But I think they're really exciting jazz with this vibe and rhythm section and then Henry red Allen sort of floating around and along with Peewee bobbing and weaving on top of this. So we're going to start out with these and we're going to get as many as we can. And I think you and well I hope that you know if you like jazz it you might feel that this is your kind of jazz because I know what you're mine so we're going to heard it first one and I think I told you who it was well enough so off with Bugle Call Rag.
Oh and now this next record was made with a little deaf person now and it has a sort of unusual thing about it because it has a young man that was a clarinet player named Jimmy lard who sounds to me although he doesn't play any solos never did it during his lifetime because he's about the only records he made. Sounds a great deal like he could have been other people he Russell. Well in this one I would feel that this would be a real tribute unless Jimi largest didn't know how to play any other you know like Alto or tenor but in any case peewee is on tenor sax here of course is certainly associated with you know all of his jazz career has been associated with clarinet. So here you have Peewee shifting to tenor and then you have Jimmy lard and you have red on trumpet and a rhythm section and this case has Fats Waller's or put Fats Waller replacing Joe solid. And as Danny pops fosters in base on this one and he was the other bass man most of the easy the possible hall on bass and all of
them were from New Orleans and I think probably this new sound of theirs is pretty unique in jazz is five man rhythm sation the guitar in the guitar and the banjo Jack playin and con and we're called the Goldust twins because they always you know they played together with the city blue blowers and so forth. Now we're going to hear this next one and Billy Banks unfortunately or fortunately whichever way you want to take it is a vocalist on this he's not really that bad it's just that you know it's sort of sad to think that Jimi lar didn't get to take any solos just because Billy Banks was singing this sort of pseudo kind of blue singing but this is me no bedbug blues.
Moan in the corner of. The car. Right.
Home. Now we're going to go back again to the same group that we heard before this record which is Joe Sullivan on
piano in of course Pee wee on clarinet no Jimi lard. And this one is called in again this one has Billy Banks on vocal and it's called Spider girl. I am awfully that Roanoke Raleigh and that home I am you going up there. Won't you come. Let me be
the big dog and when the pickguard come your mother can be our always I mean oh the graveyard show is I mean there's no us now no home here. I mean he hangs her head and we meet
our map and up there on our own.
Now next we're going to play is a record that we're going to have the second master. And this is second master and we're going to play the third master. Now the words you know most cases why they would find fit to do several masters and you get one good one out of it. And in this case why we have you know both as they say both of them in the studio city. So we're going to play him and let you sort of find out whether there's a difference especially if you tape him you can surely see there is one. Now this date has passed one on piano you know with the same rhythm section pops Foster on bass of course and the other rhythm section. And then Jimi lard is back on clarinet and he rustles on tenor and it's called the Yellow Dog Blues.
And he was off. Oh yeah. Prof.
Now we're going to hear on this next one the next or rather the third. M. That was the second you heard before that the next Master. And it's the same tune. And I think you know you can surely hear a difference here Temple wise and the wise yellow dog. I. Know. You.
Were. Wrong. And that I found out that he had no doubt now that he you know you had a nice hand back you know where the
And now we're going to go into another record that the rhythm makers made in this case the great trumpet man. Read Allen sayings and he really sings up a storm here in fact he gets carried away with the vocal on this. And of course it makes much more for a total jazz record as far as you know Billy Banks rather mediocre kind of voice bobbing and weaving in between this excellent jazz. Well here you have read Allen carrying the whole show. And again it's on clarinet right out on with the more than five man strong rhythm section I mean it might have been five it wasn't just that is that they all played with such spirit you see. And that's the way I feel about it. So here's a tune called Oh Peter you're so nice.
Man and Knight nothing. Oh now I. Found him.
Now we're going out with his last one so we can get it only in in the course it's yes or. No of my family coming here. Do I let out their my hand when I hear her and hear Oh I think I may have him or I had their own up landing right here reading when we are not 95. And then my hair. And I think I'm going to.
Go and write and I'm going without. And I come home with me when my name are in the wrong.
Yeah well I hope you've enjoyed these records. Bye. Of course this pickup group called the rhythm makers and I hope that we'll be able to play some few records that remain and I happen to have buy them that I think are just as exciting these tonight you know program in the future. So well keep tuned in maybe you'll get to hear it. And I surely hope you'll continue to enjoy jazz the past. For now what was it do. Next week at the time money recordings from his private collection of 78 rpm jazz classics he'll
- Jazz of the past
- Rhythm Makers
- Producing Organization
- KUAC-TV (Television station : Fairbanks, Alaska)
- University of Alaska Fairbanks
- Contributing Organization
- University of Maryland (College Park, Maryland)
- AAPB ID
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- For series info, see Item 3397. This prog.: Bugle Call Rag (1932)-Jack Bland, Eddie Connor, Red Allan, Peewee Russell; Mean Old Bed Bug Blues-Peewee Russell, Red allan, others; Spider Crawl; Yellow Dog Blues-Jimmy Lord, Pops Foster; Yes Sir-Rhythm Makers
- Media type
Producing Organization: KUAC-TV (Television station : Fairbanks, Alaska)
Producing Organization: University of Alaska Fairbanks
- AAPB Contributor Holdings
University of Maryland
Identifier: 68-21-7 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
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- Chicago: “Jazz of the past; Rhythm Makers,” 1968-07-01, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed January 16, 2021, http://americanarchive.org/catalog/cpb-aacip-500-ms3k221v.
- MLA: “Jazz of the past; Rhythm Makers.” 1968-07-01. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. January 16, 2021. <http://americanarchive.org/catalog/cpb-aacip-500-ms3k221v>.
- APA: Jazz of the past; Rhythm Makers. Boston, MA: University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-500-ms3k221v