Laurel and Hardy-A Chump at Oxford (1940)

This is our first Laurel and Hardy post. It has taken us a while to get to one of the greatest comedy teams of all time. Stan(1890-1965) and Ollie (known affectionately as Babe) (1892-1957) will be back for many more posts. Along with the 3 Stooges, they are personal favorites and I am proud to be a member of the Boston Brats chapter of the Sons of the Desert (the Laurel and Hardy Appreciation Society).

A Chump at Oxford is one of my favorite L & H features and the penultimate made for Hal Roach studios, their home studio and scene of their best comedies. (the 1941-5 features made for Fox and MGM were sadly below average). In high school , I smartly used this film as an essay in English and recieved an A for it (one of my few As-it payed to review Stan and Ollie). While we have much of the patented L & H slapstick, we also get an interesting role for Stan as he gets to use a new persona as Lord Paddington towards the film's climax.

Before we sample some of the film's highlights , here are some backround points of interest. The film was originally released as a 42 minute featurette , then expanded to 63 minutes , (for European release) adding the pre- Oxford employment sequences. The creative talent involved was top-notch. In 1941 the full version was released in the states.
The director , Alf Goulding was an ex-vaudevillian who introduced Hal Roach to Stan's talents back in 1918. He was a personal friend of Stan , however this was his first directorial job with the boys.

The screenplay was by three comedy pros. Harry Langdon , a comedy superstar of the 20s now reduced to shorts and writing assigments had worked an 2 previous L &H comedies. Charley Rogers , was another comic/writer and a fellow countryman of Stan's. He had on many of the Roach films. Felix Adler was a veteran gagman and worked for years at Columbia with the 3 Stooges and other comics. The title was a takeoff on a popular Robert Taylor film , A Yank at Oxford.

The cast had many familiar faces. At Oxford , one of the boys' favorite foils Charlie Hall was aboard (as a student!) along with Forrester Harvey (their valet, Meredith) , a young Peter Cushing and Wilfred Lucas (the warden in Pardon Us) as the dean. In the earlier scenes two old favorites , Anita Garvin and James Finlayson returned as the Van Deveres , the boys' employers. (they both went back to the Roach silents and were comedy pros). We also had the bonus of the wonderful music of Marvin Hatley , always a highight in a Roach film.(a few touches of swing music pop up along with the usual breezy score).

We open with the boys riding in style in the back of a chauffeured limo. It turns out the chauffeur is giving them a lift. After a catastrophe trying to ride on the back of a water truck the boys arrive at the Employment office in the back of a wrecker. The only jobs available call for a butler and maid at the Vandevere party. Ollie grabs the assignment and Stan is recruited to play Agnes the maid as he did in Another Fine Mess (1930) which also featured James Finlayson. The boys are met with dubious reactions by the Vandeveres, but they're in a bind and decide to give them a try. The folowing sequences borrow from L & H's silent classic From Soup to Nuts using some classic kitchen and servant gags. Ollie's efforts at seating the guests turns into a mele while Stan makes the error of following Finlayson's orders to take those cocktails (he gets himself drunk) and serving the salad undressed (in his underwear!). Finally Fin can take no more and escorts the boys out of the house with his rifle-his shot hits an unsuspecting cop! (L & H regular Harry Bernard).

The boys' next job is as sanitation workers. As they take a lunch break outside a bank , Stan's errant banana peel causes a bankrobber to trip during his getaway , making the boys heroes. (this is a great way of using one of the oldest gags in the book). Their reward is an education at Oxford and here is where we start the original film.

On arriving at Oxford , the boys are put thru a series of pranks by the aforementioned "students". First they are sent thru a maze of shruberry that leads to their quarters. The maze provides some fun gags and of course a "spook" appears to scare them off and we get the old extra hand gag (the spooks' hand lighting up Stan's pipe, twiddling thumbs, etc.). Finally the boys find their quarters , only it turns out to be the Deans' rooms. The boys have some fun with a seltzer bottle , trying to squirt the Deans' picture only to have the real Dean step in. A fight with the Dean ensues climaxing in a pillow fight and the "students" getting found out for their pranks on Stan and Babe.

The students promise to get revenge on L & H , who finally get their proper rooms. Their valet , Meredith regonizes Stan as Lord Paddington , the schools' greatest athlete and scholar who dissapeared years ago. Ollie gets a good laugh over this! When the students come after the boys Stan gets conked on the head by his window and in his daze assumes the persona of Lord Paddington! He quickly dispatches the nasty students out said window including Ollie who leaves a sizable hole in the ground - the Dean winds up in the hole with Ollie.

The last part of the film has great acting from Stan as he gets to ham it up as the stuffy , sarcastic Lord. Ollie has been made his "lackey" and the Dean fusses all over the return of his Lordship. Ollie's exasperation is classic! When the Lord gets to critical of Ollie's abilities and double chins , Ollie prepares to leave for the states. When Stan gets conked on the dome once more he returns to his simple character , much to Ollie's delight! The last shot has Ollie laughing in delight ,embracing Stan and checking his chin! These moments show the wonderful humility and lovable characters that were Stan and Babe. This is what made their films so special.

After Saps at Sea (1940) , L & H left Roach. Roach had been downsizing his comedy roster and was concentrating on features. Stan and Babe wanted to form their own production company.

Sorry to say they were eventually signed up with Fox and MGM for some dismal films without the care and love that Hal Roach gave them. These assembly-line comedies treated the boys as pure simpletons and had none of the humility of the Roach films. Thankfully , the bulk of their films were made for the Roach banner and contain their best work. There will be more to come.
A Chump at Oxford is available on DVD from Amazon. Sad to say , not many of the Hal Roach product is available on DVD , let's hope that will corrected in the future.


Till next time , Keep Laughing.

Ira Ironstrings plays Santa Claus (1959)

This Christmas post will celebrate a personal favorite Christmas album and a wonderful series of recordings by the infamous Ira Ironstrings on Warner Bros, Records.
This series featured great jazz playing and clever swinging arrangements with a touch of Spike Jones' comedy. For years the identity of Ira Ironstrings was unknown but now we know that it was Big Bandleader/Guitar Great Alvino Rey doing some moonlighting. Rey was under contract to Capitol records and created the Ironsides persona as a way to make these fun, swinging albums. (Alvino had a great sense of humor). Alvino plays banjo on these sides , the rest of the players are unknown but have to be a core of the Hollywood studio pros-the musicianship is superb! Warren Barker handled much of the arranging and I suspect guitarist Jack Marshall might have also had a hand- some of the charts sound like his work for other albums.

There's a lot of dixieland, swing ,banjo and plenty of slap-mallet vibe work.(Whoever the player was, he got a workout on the sessions-Emil Richards, a top studio pro has been suggested) . The comedy is subtle but still in the Spike Jones' style-It really comes into play on the Christmas album.(Subtitled-Christmas Music For Those Who Have Heard Everything). I first discovered this album during a stint at a local music store. The owner loved this album and played it during the holidays-I borrowed it and made a cassette copy and now am delighted to have the CD from Collector's Choice Music. Dave Kapp's exellent liner notes echo his own childhood fascination with this album.

The original cover is reproduced with Santa tied down ala Gulliver by irate citizens! The original liner notes are also here-they were always a highlight of the Ironsides series. Despite the humor and bogus persona we get a lot of great jazz and amazing playing by Alvino and his studio pros.
I'm sure some of the usual suspects would include Mannie Klein, Shorty Sherock and John Best-trumpets , Si Zenthner,Abe Lincoln and Moe Scneider-trombone , Skeets Herfurt, Babe Russin, Matty Matlock (who also contributed some of the arrangements) and Gus Bivona-reeds , Ray Sherman or Lou Busch,piano(Lou produced this album-better known as Joe "Fingers" Carr, he guested on another Ira lp) , Morty Corb, bass and perhaps Nick Fatool or Alvin Stoller, drums. If anyone has info. on the personell (especially the mystery vibes man) I'd love to hear from you.

Now on to some of the many musical highlights:
Let it Snow-We get off to a swinging start with a neat riff on the familiar melody. Next is a Dixieland passage (the soprano sax sounds a bit like George Probert from the Firehouse 5) followed by the vibes (a fixture of the Ira sound) , with swinging backround, some growl trumpet, bass clarinet , back to the unison and a dixie ending.


Jingle Bells Stomp-The dixie group opens up followed by bass clarinet backed by sleigh bells, slap vibes, more dixie and back to the bass clar. and bells.

Skater's Nightmare (Waltz)-This is one of the wildest cuts and has popped up on Music Choice on Cable channels. We start with trombone lead backed by tricky piano noodling and growl trumpet. Alvino's banjo handles the verse , a band interlude brings on the vibes(always swinging in 4/4) , unison banjo/vibes on the verse with more trumpet growls and a wild drum break. An all-out band chorus brings back Alvino for the verse, a touch of tympani and dixie finish. All in 2 and a half minutes!.

I Saw Mommy Kissing Santa Claus- Shuffle Rhythm opens with trombone lead and wa-wa trumpet. Next is the dixie band and vibes followed by a mellow trumpet (or flugelhorn) solo. A bit of growl trombone, soprano and dixie finish with a Lawrence Welk ending!

Christmas is for the Birds!-An original , probably by Alvino and/or Barker. Lots of sleigh bells, flutes and bird calls. Banjo takes the bridge with some Spike Jones effects , some dixie , a chimes interlude incorporating other Xmas tunes then back to the theme , a unison bridge , touch of banjo and dixie finish with a birdcall coda. Lots of Fun!


Deck them Halls- Two guitars in harmony open with the theme (probably Alvino) backed by bells. Some dixie follows , chimes lead to banjo/vibes unison with some dirty Spike Jones-ish trombone (perhaps Abe Lincoln?). More vibes , dixie and back to the 2 guitars for a fugue ending. A real clever chart.

Over the River (And thru the Woods)- We open with dixie and the familiar vibes followed by a cute unison riff ,more dixie a chimes break and dixie to the coda. A neat twist on a real Christmas oldie.


Rudolph the Red Nosed Reindeer- Bass clarinet states the melody with cute band answers , a banjo bridge , touch of flute then into the dixie chorus with some honky tonk piano(probably Lou) and soprano sax. Back to the Bass Clar. and the vibes ride out the coda.


Frosty the Snowman- A dixie intro followed by more honky tonk piano , the dixie band (vibes and banjo on bridge) and a neat unison passage by the band. Some more hokey trombone and back to the piano and dixie band with a neat modulation.


Sleigh Ride- The Leroy Anderson favorite gets a swinging ride by Ira and pals. Banjo/vibes state melody with trombone playing the counter melody with growl trumpet on bridge. On the second chorus the next theme is played in unison with some banjo licks , more drum breaks and a dixie finale with banjo on the bridge and coda.


Santa Claus is Comin' to Town- We wrap things up with a mellow version of this perennial. Bass clarinet has a clip-clop figure while banjo/vibes state melody backed by bells with wa-wa trumpet. Next is dixie with vibes on bridge and back to unison melody with bas clar. having the last say.



We hope this review inspires you to pick up this very special and un-traditional Christmas album. Hopefully we will see more Ironstrings albums reissued. There are great titles such as Ira Ironstrings plays for People with $3.98 , Destroys the Great Bands , Plays with Matches and Meets Joe "Fingers" Carr-Together for the Last Time Vol.1.
These albums are a testament to the musical talents and humor of Alvino , his arrangers and top sidemen.

Happy Holidays.

Billy Butterfield: "Conniff Meets Butterfield"--"Just Kiddin' Around"

Our recent Bob Crosby post (11/1/09) lauded the talents of trumpeter Billy Butterfield (1917-88). Billy was a consummate jazzman, lead and section man which made him extremely valuable in the world of big bands, traditional jazz and swing.

These two albums recorded for Columbia in 1959 and 1963, respectively, show his beautiful tone and jazz feel, even in a more commercial setting. Conniff Meets Butterfield reunites Billy with his old buddy from the Bob Crosby band, Ray Conniff (1916-2002). Ray, an excellent trombonist (more on that later) and arranger, had hit it big at Columbia with a simple but effective series of vocal albums featuring his Singers backed by tasty arrangements usually with rhythm section backing.

The 1959 session is a trumpet showcase for Billy playing a series of popular standards backed by Ray's rhythm and catchy charts. Many of the tunes utilize the shuffle rhythm made so popular by Jonah Jones over at Capitol records. The one constant is Billy's huge, gorgeous tone whether muted or open. His jazz ideas are given free reign even though this is essentially an easy listening album. Personally, this album was an early exposure to great trumpet playing and still evokes happy memories. Here are some highlights:

Most of the tunes have Billy either cup muted or open playing some great standards backed by a rhythm section. Despite the commercial nature of the album Billy gets in great jazz phrasing and licks on all the tunes.

The opener Beyond the Blue Horizon gets off to a great start with shuffle rhythm and Billy's pungent cup muted horn. Billy goes open for the second chorus with nice variations before going up high for a classic ending. The rest of the album doesn't disappoint. Ray's arrangements are sparce, but clever. On You must have been a Beautiful Baby, Billy plays open and has a nice jazz chorus with a catchy riff before reprieving the melody with cup.

Time on my Hands has cup mute melody then Billy plays a nice unison riff with the rhythm. What a Differance a Day Makes opens with Billy in cup then a nice open passage over shuffle rhythm with Louis-like glisses before going out up high.

South of the Border is another swinger with shuffle rhythm, more trumpet-rhythm unison and some more Louis high ones. Billy uses the Ay-ay-ay strain as a coda. Rosalie also swings nicely over shuffle with more glisses (Billy sure knew his Louis) and a repeated ending with a hint of Salt Peanuts. Ray's original A Love is Born (Song of the Trumpet) , is a beautiful, haunting theme , just perfect for the great Butterfield horn. Only one chorus, the theme shows off Billy's control and gorgeous tone. A highlight of the album, for sure. The other tracks , I Found a Million Dollar Baby, Can't we be Friends, All the Things You Are, Oh What a Beautiful Morning and Something to Remember You By all have wonderful Butterfield solos.

The only drawback to the album is a gimmicky echo in the rhythm section that sounds like the drums and guitar are behind the beat. This was the era of hifi/stereo and these effects are very annoying-Too bad it wasn't omitted on the reissue. (It would get worse on the next album).

The follow-up album was Just Kiddin' Around (1963) and this time Ray added his trombone work to his arranging talents. Ray had broken in as a trombonist with Bunny Berigan, followed by stints with Bob Crosby(where he met Billy), Vaughn Monroe, Artie Shaw and Harry James. His work with Shaw, especially his chart on 'Swonderful, established him as a top arranger and soon his trombone had to take a back seat. (He reworked the sWonderful chart for the Singers and had a hit with it.) Ray was a fine jazz player. His work on a March 1944 Blue Note session with Art Hodes, Max Kaminsky and Rod Cless show what a fine trad/dixie player he was. If he hadn't met with so much success as an arranger, he could have been a major player in the trad circles.

Ray and Billy only team up on 2 selections, the rest of the album has them splitting solo features. On Alexander's Ragtime Band, Billy and Ray duet the first chorus with Billy getting off some nice licks, Ray handles the verse and Billy wails up high on the outchorus with Ray sliding underneath. We even get some quotes from Cornet Chop Suey and Muskrat Ramble-A Great Opener! Just Kiddin' Around is a riff tune from Ray's Artie Shaw days with unison playing by the horns, more shuffle rhythm, trading fours a nice Basie-ish piano bridge and back to the unison. Now on to the features.

Billy's features are in the same format as the earlier album. Put your Arms Around Me is a standout with shufle rhythm and Billy getting off great drive and phrasing. After a modulation he wails the second chorus with a long held note on the coda. This Love of Mine has soaring open horn with a lot of Louis and Bunny like phrasing. On You'll Never Know, Billy gets in some nice Harry James licks in tribute to a fellow trumpet great. Louise and But Not for Me are both tasty renditions.

Ray's features are tasty but not as jazz oriented. However he plays strong and percussive-He obviously had been keeping his chops up. Heartaches, When I Grow Too Old to Dream, You Oughta be in Pictures and Peg O' My Heart are all nicely played with his patented tasty charts.
The lovely ballad I See Your Face Before Me has more of a Teagarden feel and is a jazz highlight.

All in all , these two lps show the greatness of Billy Butterfield as an all-round trumpeter and the dual talents of Ray Conniff. The CD versions are available on Columbia thru Amazon.

Till next time-Keep Swingin'

The 3 Stooges-Hula -La-La (1951)

The Stooges go native in this delightful 1951 short , one of their very best with Shemp as third stooge. The plot has the boys as dance teachers at a movie studio sent to a South Sea island to teach the natives how to dance , the studio is planning a big polynesian epic and find out their natives can't dance! Along the way the boys run afoul of beautiful island girls, headhunters, an evil witch doctor and a pesky idol with four arms!

This breezy short was directed by Hugh McCollum , primarily a producer at the Columbia Shorts Dept. His style was more laid-back and jovial than the violent Jules White, however we have the usual wild slapstick gags by the boys. The story was by Ed Bernds , himself one of the Stooges' best directors. His screenplay has loads of witty dialog and bad puns. Another plus is the little untitled island song that gets played thruout the short, it gives not only the proper flavor but a nice change of pace. (Columbia, always thrifty reused it as backround music at a waterfront cafe in the 1955 sci-fi classic , It Came from Beneath the Sea).

The supporting cast is an exellent one including Stooge regular Emil Sitka as Mr. Baines the studio chief.(he will be the subject of a future post) His part is small but he makes the most of it even getting in a nifty pratfall. Emil plays his own age here, he was very adept at old codgers and goofy professors.
Jean Willes plays the native girl Luana, she joined the Columbia shorts in the mid 40s as Jean Donahue and was a busy player with the Stooges and other comics thru the mid 50s. Jean was a tall, leggy brunette and like Christine McIntyre(the Stooges' first lady) she had a good flair for comedy. She worked in many features of the 40s and 50s, popped up in the feature version of McHale's Navy and was in the classic Twilight Zone episode , Will the Real Martian please Stand Up?
Another favorite Stooge foil Kenneth McDonald plays Varanu the Witch Doctor. Kenneth was a great slimy villain with his pencil mustace and theatrical voice , many Perry Mason fans remember him as one of the regular judges on the show. A Hawaiian named Lei Aloha (sounds like a stage name!) plays the idol and longtime bit player Heinie Conklin gets to mug a little as the king.

The comic highlights are many , but here are some of my favorites:
The opening scenes with the Stooges as dance instructors are a hoot. Moe telling Shemp that the "girls have their rondelets mixed up with their pirouettes and their fortissimos tangled with their allegrettos." Shemps's response- "Yeh, but what's wrong with their dancin'?" Shemp proceeds to give the girls a wild display of his dance style only to find he's dancing to a Trombone part! ( The boys were all great eccentric hoofers , but Shemp took the cake).

Varanu showing the boys his collection of shruken heads has a great Columbia editing gaffe as Moe's scream gets dubbed in before he can react. Shemp's visit to Luana's hut has him hiding under the bed when Varanu enters and Shemp dealing with a visit from a baby and momma crocodile while still under the bed. Great Stuff! We even get the old "You can say that again" bit when Luana tells the boys that the witch doctor is a bad man. (she says it again, of course).

Moe and Larry's encounter with the Idol (Old Four Arms) is a classic with both getting heaps of punishment from the multiple arms before Moe gets her with a great eye-poke. (the Idol uses all 4 hands to cover her eyes). The Idol is guarding a box of hand grenades that the Stooges use in the finale. Shemp also gets in some good jungle dialog calling Luana's boyfriend,Kuala the Coca-Cola guy and instructing a native to Ungow! and get him some food.

Just when it looks like the boys are to be victims of Varanu's axe on the chopping block , Moe asks him for a sample of his work on the grenade box. When arrogant Varanu obliges he gets blown sky high with only his smoking sandals left! (a perennial Stooge gag). Finally the boys get to give the islanders their dance lesson. Moe, Larry, Shemp and the cast start skipping, shuffling and trying to hula accompanied by the little island song. Shemp again takes top honors with his wild contortions.

Hula-La-La is oneof the best of the many classic Shemp outings by the Stooges. It is available on Vol.6 of the Sony/Stooges collection. (which should be wrapping up in 2010).

Till next time-Keep Stooging!

Good News- Teresa Brewer and the World's Greatest Jazz Band

This delightful session from 1974 has been quite forgotten over the years, We hope this post will bring it some well deserved recognition.

The album was originally recorded for Bob Thiele's Flying Dutchman label. (he was Teresa Brewer's husband). While Miss Brewer is an acquired taste, her work here shows a maturity as a performer with a nice feel for jazz. (No doubt Mr. Thiele. a top jazz record producer helped). As for the World's Greatest Jazz Band , alias W.G.J.B. they have one of their best blowing sessions. The band has plenty of solo room, on some tunes Teresa sings just a single chorus! The addition of Bobby Hackett's cornet and Bucky Pizzarelli's guitar is also a strong plus.

The theme of the album is a salute to the wonderful songs of the team of DeSylva, Brown and Henderson. This threesome wrote some of the most popular show and movie tunes of the 20s and 30s. Quite a few of the songs came from the Good News show along with some other goodies by the team. (the show was enjoying a revival at the time).

The band's lineup is a strong one. Regular members included Yank Lawson (trumpet), Bob Wilber (clarinet & soprano) , Vic Dickenson (trombone) , Bud Freeman (tenor) , Ralph Sutton (piano) , Bob Haggart (bass) and Gus Johnson (drums). Trombonist Benny Morton had recently joined the band. (he and Vic had both worked with Hackett's tasty quintet). Benny didn't get a lot to do on the session , but was an old pro.Veteran arranger Glenn Osser devised some simple charts , but the structure is pretty loose and free-blowing.

Miss Brewer was always a cute and vivacious performer with a big voice and sometimes heavy vibrato. However she rises to the occasion in this stellar company. She especially connects with Hackett (what singer didn't, he was a master at vocal backup). The previous year Teresa had guested on Bobby's What a Wonderful World album. (another Flying Dutchman production).
While we miss Billy Butterfield's trumpet (he had recently left the band) , Bobby is a most welcome replacement. Bucky Pizzarelli's solid rhythm guitar adds to the already rock solid rhythm section. Now, on with the show!

Good News (1927) the opener is the title tune of the broadway show. Gus'hihat brings in the band wailing with Bud's twisting, percussive tenor on the bridge. The band modulates to Teresa's vocal backed by Bobby's tasty cornet , after another modulation Bob Wilber's soprano is on with a playful Hackett bridge. More Bud , a wry Dickenson trombone bridge and the band goes home with a driving tag by Gus. We're off to a great start!

I Want to be Bad from a 1930 show and film called Follow Thru. Bobby and Vic introduce the melody in duet leading to a cute vocal by Teresa.(right up her alley) A modulation brings on Yank and the band with a striding bridge by Sutton. The band takes things home with some nice noodling by Wilber over the last chord.

The old favorite Button up your Overcoat (also from Follow Thru) makes a perfect vehicle for Teresa. After a band intro Teresa is on with nice Wiber backup. The band wails one with Bud on the bridge folowed by a nice series of trading between Yank and Bobby folowed by Vic and Benny. The band moulates back to Teresa with more cute vocalizing (backed by Wilber) and the band riding her home. This rendition moves along nicely.

Sunnyside Up comes from a 1929 film of the same name and was also featured in the 1956 bio. of DeSylva, Brown & Henderson , The Best Things in Life are Free. Yank opens with his Harmon mute, a greattrademark sound of his , pushed by Bucky's great guitar. Wiber brings on Teresa for 2 great choruses getting hotter on the second backed by Ralph's striding. We modulate to more swinging Freeman tenor folowed by more trombone trading. Yank takes out the last half on Harmon with Wilber noodling underneath. A Great version!

Lucky in Love , also from Good News opens with Haggart's familiar whistling before Teresa enters backed nicely by Hackett. The band modulates with Bud on the bridge. A lovely round toned Wilber chorus with Hackett's bridge then bring on the band who set up Teresa's final chorus (with more pretty Hackett noodling) with atasty unison figure and rideout. Glenn Osser's contributions are felt thruout the date, but the band gets plenty of wailing room.

Varsity Drag (Good News)- This is a real swinging track.A raggy piano intro by Ralph brings in Teresa for two great choruses, a bit Charleston-like on the first and swinging on the second. The band goes aboard with a nice chorded bridge by Bucky. Vic's up next with a strutting, slurring chorus with Wiber on the bridge and a modulation to Teresa's last chorus that swings along with nice vocal variations. (I like her line do the varsity drag-in drag). Vic closes the festivities with one of his dirty pedal notes. This rendition is no drag at all!

Just Imagine (Good News)- One of the highlights of the session. Teresa sings the lovely verse backed by Ralph. Bobby enters with his lovely sound and stays behind Teresa's plaintive vocal. Her maturity and jazz feel make this an outstanding vocal. Bud takes over playing pretty with an equally lovely bridge by Wilber. Teresa picks up the last half with Bobby stil behind her winding down to a long ending with Bobby weaving over the final chords into one of his classic codas. Bobby gives us some of his last great solos here (he passed on in 1976). Teresa and Bobby get MVP honors here.

Together- Another lovely ballad done with a light swing. This tune was featured in the 1956 bio.
Ralph gives us a striding intro into Teresa's vocal (backed by Wilber). A modulation brings on a weaving, twisting Hackett for a half chorus picked up by Bud. Wilber brings back Teresa for the last half and a nice closing vocal tag backed by Wilber, who shines here. Teresa's singing is very expressive on this track. Bud and Bob take the cake on this one.

You're the Cream in my Coffee-from a 1929 film, The Cock-Eyed World. Bob's soprano introduces the theme. (he was a master on the instrument). A nice interlude using some of the bridge's melody brings on Teresa for a strutting chorus. (more Bobby on the bridge).A swinging band chorus follows with Bobby in for the bridge. Bud and Vic split a chorus with Vic's laughing plunger on the bridge and the band takes us home with another bombastic tag by Gus. Plenty of good blowing by the band here.

We wrap up the party with The Best Things in Life are Free.(Good News). Bobby 's graceful cornet opens over bchords into Teresa's cheery vocal (with nice backup by Bobby and Bud) followed by more of Yank's driving Harmon with Wilber on the bridge. A break by Vic gives us more of his wry sound with Bobby darting in for the bridge. Bobby takes a pretty break that sets up Teresa's last chorus (more Bud and Wilber backup) and nice vocal turnaround (The cry in Teresa's voice is very effective) as the band swings us home with Vic's pedal note saying Goodbye!

Yank Lawson and Bob Haggart never were comfortable with the rather presumptous title of World's Greatest Jazz Band. (their sponsor Barker Hickox came up with it). They preferred the Lawson-Haggart Jazz Band which they used before and after the W.G.J.B. days. However, with lineups like this and the Bob Crosby feel of the band (Haggart did a lot of the aranging) it was indeed a very great jazz band. This session certainly reinforces that claim and gives Miss Brewer one of her best vocal outings. At this writing , only Bob Wilber and Bucky Pizzarelli survive (they're both still very active musically) , Miss Brewer passed on in 2007. This wonderful session , last available on Sony/Signature CD is a great testament to them all.

Here's hoping that all your news is Good News!

Louis Armstrong and the Decca House Band (1936/8)

The recent release of Louis Armstrong's Decca recordings of 1935-46 on Mosaic records has given new prominence to this wonderful but neglected chapter in Satchmo's recording career. Louis made many of his Decca sides with his own band, the exellent Luis Russell Orchestra. He also was backed up by some very fine studio groups and the bands of Jimmy Dorsey, Casa Loma and Bob Haggart.

These two delightful sessions find Louis backed by a group of studio pros casually known as the "Decca House Band". This group usually comprised of 7 to 10 players backed many Decca artists, especially Dick Robertson. (see our earlier post).

The session of February 4, 1936 found Louis waxing two popular tunes backed up by an exellent band including Louis disciple Bunny Berigan who was one of Louis' favorite trumpeters. Besides being a great jazzman, Bunny was a wonderful lead player and his huge, open horn is a highlight of the band's sound.(Bunny was doing a lot of studio work at the time).Also present were Bob Mayhew( trumpet), who worked with Bix in the Paul Whiteman Orchestra. Al Philburn was on trombone, he played on most of the Robertson sessions.

The saxes consisted of leadman Phil Waltzer(alto), Sid Trucker(alto/clarinet), a busy studio man formerly with Russ Morgan and Paul Ricci (tenor), a veteran of the bands of Joe Haymes, Richard Himber and Bunny.

The rhythm section had Fulton McGrath on piano, he had worked with the Dorseys, Red Nichols and would have a brief spell in Bunny's big band. (he wrote the lovely ballad Mandy is Two). Dave Barbour on guitar(with Red Norvo at the time) would soon find fame with Benny Goodman and Peggy Lee.(also as Peggy's husband). Bassist Pete Peterson was also with Norvo and drummer Stan King was an old pro from the 20s. He was on many sessions with Red Nichols, the Dorseys and Miff Mole, his great time and swing are a plus on the session.

First up is Irving Berlin's I'm Putting all my Eggs in One Basket, a delightful tune with a tricky bridge. Fred Astaire and Ginger Rodgers introduced it in the film Follow the Fleet. Louis opens with a classic operatic cadenza then takes us into tempo for a lovely exposition of the melody with subtle variations. (Ricci handles the bridge nicely on tenor). Sid Trucker's clarinet leads into a cheery vocal by Pops with his usual superb time and phrasing . (Trucker's clarinet chips in with some backup). Bunny's strong lead brings on the band backed by King's great backbeat and Louis picks up the rest of the theme going operatic again for an equally impresive coda.

Yes Yes! My My! is a novelty by Sammy Cahn and Saul Chaplin. (the composers of Shoe Shine Boy, a Louis classic from this period).The band brings Louis in for a spoken Yes Yes, My My then right into the vocal. Pops' vocal is full of fun and McGrath has some nice piano fills. Bunny leads us into a tasty Philburn solo with Bunny contributing a few flares leading into a key change for Pops. His chorus is full of great note placement, blue notes and his gorgeous tone. By this point of his career Louis had pared his style to amazing simplicity mixed with his technical gifts. He finishes up high with a neat 4 note burst.
A Lovely session.

The session of June 24, 1938 saw a new "house" band, two new pop tunes and Louis revisiting two of his classic favorites. The band was an 8 piece unit ( the size of the Dick Robertson group).
On trumpets were Bob Cusumano , an exellent lead man formerly with Paul Whiteman, Larry Clinton and Tommy Dorsey and Johnny McGee who was on most of the Robertson sides and had been working with Richard Himber. Al Philburn was back on trombone. Sid Stoneburn was on clarinet, he had much big band experience including T. Dorsey, Bob Zurke, Joe Haymes and Larry Clinton, he gets in some nice jazz licks on these sides. Dave Barbour was back on guitar and Decca house man Haig Stephens played bass. Sammy Weiss, a top drummer with Goodman, T.Dorsey and Artie Shaw lays down some great rhythm.(he was also part of the Jack Benny show for years). Pianist Nat Jaffe only lived to be 27 , but shows a mature Jess Stacy-ish style. He worked with Charlie Barnet, Joe Marsala and Jack Teagarden. He contributes some nice solos and fills on the session.

First up is a rather obscure pop tune by Harry Barris, Naturally. The tune is pleasant with an unusual minor-sounding bridge. After a band intro Louis sings a mellow vocal with polite backup. The band comes in for an interlude with a nice Stoneburn spot. Louis enters backed by tasty Weiss rimshots and hihat. Pops gives us some tasty figures over the stoptime bridge and goes up high for the coda over the band ending.

I've got a Pocketful of Dreams(comp.Johnny Burke-Jim Monaco)was a new tune from the Bing Crosby film, Sing, You Sinners. After a band intro, Pops enters with the vocal. The tune is a bit rangy, so Louis plays around with a few notes, but with his usual swing and time. (Billie Holiday picked up this trick from Louis). The band gives us an interlude with spots by Sid and Jaffe and Philburn. The band modulates to Louis' chorus, his phrasing is tangy and close to the melody. Jaffe gets the bridge and has a nice spot with Pops closing out on a neat solo break backed by Weiss.

I can't give you Anything but Love was already one of Louis' standbys. This version , at a faster tempo from the original has some neat touches that make it unique. The Mosaic issue gives us some banter before the performance, Louis is kidding about "remembering the words". After a band intro, Pops' vocal is patented but has a few nice asides. The band modulates with nice Stoneburn fills and Pops picks up the rest (Weiss' hihat is very effective behind him). His time and accents are superb, giving us a more mellower but still exciting solo. Louis closes with another grand coda backed by Weiss' hihat. The renowned French critic Andre Hodeir singled this solo out in his exellent book, Jazz: It's Evolution and Essence.

Another Armstrong perennial , Fats Waller's Ain't Misbehavin' gets a redo. Following the band intro, Louis' vocal follows his original with some subtle changes. The band modulates with a nice horn figure and Philburn spot with Jaffe handling the bridge. Pops gives us subtle variations on his classic solo with a new bridge and a soaring outchorus going up high, backed by Weiss' tomtoms. Louis would continue to delight us with new versions of these old classics thru the years.

The arrangements on these sides were probably stocks with some doctoring done at the studio. (many studio jazz dates were done this way). Perhaps Barbour, Jaffe or McGrath had a hand in the changes or a house arranger may have been used. The two sessions are part of Mosaic's exellent set of the Armstrong Deccas 1935-46, highly recommended for any Pops fan. The entire collection shows the amazing quality of Louis' work during this period. These little "house band" sessions offer a fascinating part of this huge body of work.

Till next time, keep enjoying the Wonderful World of Pops.

Bela Lugosi meets a Brooklyn Gorilla (1952)

This film is one of those So Bad that it's Great offerings. Besides the presence of horror master Lugosi and other familiar B players we have the unique comedy team of Duke Mitchell and Sammy Petrillo doing their Martin & Lewis impersonation. (Petrillo's Jerry is so dead-on that it's scary!). In the 40s, the team of Wally Brown and Alan Carney did a similar take on Abbott and Costello.

The plot (what there is of it) involves entertainers Duke and Sammy stranded on a jungle island encountering friendly natives (the lovely Nona takes a shine to Duke and her hefty sister Saloma goes after Sammy) and the evil Dr. Zarnoff (Bela) who is conducting strange experiments and turns Duke into a gorilla when he sees Nona (his lab assistant!) getting too chummy with Duke. It's all good silliness in the tradition of the 3 Stooges, Abbott & Costello and the Bowery Boys.

The film was released by the Realart studio and produced by Jack Broder. The director, William Beaudine was known as "one-shot" for his ability to make a film in record time, quality notwithstanding. He made many low budget affairs for Monogram and American-International.
The screenplay was by veteran actor Tim Ryan who acted in and wrote many Monogram classics.(he and wife Irene-"Granny" of the Beverly Hillbillies had an act similar to Burns and Allen). Also contributing dialog was Leo "Ukie" Sherrin, an actor and writer for many Monogram cheapies. Duke Mitchell got to sing two songs (a la Deano) , the favorite Deed I Do and Too Soon( based on La Paloma).

A bit about the All-Star cast: Bela Lugosi at age 70 was at a low point of his career, beset by years of B movies and drug addiction. He pretty much sleepwalks thru the film, but occasionally raises an eyebrow or does a "take" to show he's getting a kick out of the comics.

Duke Mitchell(1926-81) and Sammy Petrillo (1934-2009) were nightclub entertainers who took advantage of the popularity of Martin and Lewis.(Duke had a bit part in Martin & Lewis' Sailor Beware (1951 ). They worked in and out of the business for years, Petrillo ran a comedy club in Pittsburg called the Nut House. Jerry Lewis threatened the team with a lawsuit and they dropped out of sight. Despite the obvious impersonation, they had good chemistry and Petrillo showed good comic timing.

Charlita (Regis) as the lovely native girl, Nona (complete with college education!) made a career of exotic and jungle type roles. (similar to B favorites Acquanetta and Lita Baron).
Mickey Simpson as Bela's hulking servant, Chula was a former boxer who specialized in tough guys and body guards with the likes of Abbott and Costello, Tarzan, Jungle Jim and the 3 Stooges. (Stooge fans will remember him as strongman Rocky Duggan in Gents in a Jam (1952).
Muriel Landers as Saloma, was a former dance partner of Ray Bolger and played many comic suporting roles in the 50s. She played "Tiny" in Sweet and Hot (1958), one of the worst 3 Stooges shorts.
We can't forget Ramona the Chimp, who Zabor plans to turn into a gorilla. When Duke gets hot with Nona, he turns him into the gorilla instead.

Petrillo's antics get to be a little too much ( of course so were those of the the real Lewis) and Mitchell's singing has a strange mix of Frankie Laine, Billy Daniels and Elvis! They do have good chemistry, it's too bad the Martin and Lewis take-off was so obvious, they could have developed into a good B comedy team ala the Bowery Boys. Likewise, the Mitchell/Charlita romance has a nice, genuine chemistry to it.

Things get sillier and sillier with the Duke gorilla, Romana and Nona all running around the jungle with Zabor after them. We seem to be getting melodramatic when Zabor shoots at Duke and buddy Sammy takes the bullets for him. But it turns out Sammy was dreaming all of this in his niteclub dressing room! To boot, all the lead players turn out to be employed at the club (with Bela as headwaiter!). The boys put on their tuxes and go into their act with Duke singing and Sammy mugging. (here they look just like the real Martin and Lewis club act). On this upbeat note we end this wild, little film.

Although a real cheapie 50s jungle comedy, this film has it's moments and is always amazing watching the Martin & Lewis takeoff of Duke and Sammy. My DVD copy came from a label called Digiview. I was pleasantly surprised at the exellent quality of the print, it was a pleasure to watch.
Until next time, Keep on Laughing.