| NAME | MESSAGE |
| Candace Scott |
posted 07/07/05 04:42 PM Central Time (US)  contact the author directly
I've been really listening to the Rhythm Boys' 1930 recording of "Happy Feet." Though I've heard it a hundred times over the years (and always liked it), I've been very much struck by the orchestration and arrangement. To my ears, it sounds very futuristic and modern for 1930, especially the mix of strings with brass. The arrangement is just superb, especially the descending violin notes interspersed with the horns. Does anyone else think "Happy Feet" is one of Whiteman's finest moments, at least in terms of how the orchestra performed on this number? |
| John J. Murphy, Jr. |
posted 07/07/05 08:37 PM Central Time (US) contact the author directly
Candace, I have listened to this recording many times as well since I purchased the album "Bing Crosby in Hollywood 1930-1934" in the 1970. I, too, believe this is the finest recording out of the King of Jazz sides that Whiteman waxed in 1930. I found the other recordings, save "Song of the Dawn" with Bing on the main vocal, trite and tired. I am also amazed at how tight Whiteman kept his orchestrations. If you've seen the "King of Jazz" movie, the orchestrations are the same except the film allows the full treatment of the song since time was not a factor in the movie as it was with the 78rpm records that allowed 3-4 minutes. Whiteman, along with Ellington and Henderson, in terms of orchestration was way ahead of the curve in those times. |
| Candace Scott |
posted 07/08/05 09:00 AM Central Time (US) contact the author directly
I really think Whiteman does not get his due in the pantheon of big band leaders. His was a different style, obviously, than Goodman, Miller, the Dorseys or Artie Shaw, none of whom regularly used strings. I hope others here give a moment to listen once more to "Happy Feet," because it's an amazing recording. It's nothing special vocally, but the orchestration is so intricate for the period. And John, I agree with you about "Song of the Dawn." It is indeed trite (a good description!) |
| John J. Murphy, Jr. |
posted 07/09/05 10:44 PM Central Time (US) contact the author directly
Candace, if I may draw a parallel. Whiteman is music's equivalent of the N.Y. Yankees to baseball, which means there will be a lot of comments thrown at the guys at the top. Whiteman, as we know, dominated the 1920's music scene while cutting new ground for other orchestras to follow. I do not believe today’s musical historians have given him his true worth. I've had discussions with several musicians about musical preferences: jazz age or swing era. I've always responded that the jazz age was actually more creative because it had never been done before. Jazz orchestrations were being tried out for the very first time and Whiteman was a major catalyst. Many folks will argue that Paul Whiteman did not play jazz but rather over-orchestrated scores. I tend to think this is somewhat knit picky because there are many genuine jazz recordings that Whiteman released during this time frame. I think when one observes the larger picture Paul Whiteman was a marvelous entertainer whose orchestra provided great tunes over a broad spectrum of genres. Many new techniques found there beginnings therein. Benny Goodman hit it big several years after Whiteman peaked. Music however metamorphosed in the 5 years between Goodman's breakout and Whiteman's pinnacle years. So we see Goodman becoming a leader of swing music. The Dorsey's, amazing technical talent, also got on board to swing. Ironically, if you've listened to their 1928 recording of "Lover Come Back" you'll understand immediately that they were trying to copy Whiteman's "tone themes" especially when Jimmy and Tommy break off after the first half of the song. Meanwhile, the reason for this bulletin board, Bing, was defining his own singing style breaking away from 1920's styled vocals (which I have absolutely no problem with) into the accomplished 1930's styled singer. His later 1930's vocals I think represented a swing style all its own, although he was an original. Great topic you brought up. |
| Ronald Sarbo |
posted 07/10/05 10:21 AM Central Time (US) contact the author directly
"Pops" discovered and nurtured many great musicans and singers. He also had great respect for the "Classical" tradition and like Gershwin sought to bridge Classical and Popular music. He kept informed on all matters musical and had no antipathy to Rock and Roll. Whiteman said shortly before his death that if he were young and just starting out he would "grow his long long and start a rock group". |
| Candace Scott |
posted 07/10/05 11:32 AM Central Time (US) contact the author directly
I also have a small mention of Whiteman in a 1966 edition of "Look" magazine, shortly before his death the next year. He said that he that Lennon-McCartney were the Beethoven and Mozart of the new generation. Not a bad call by Pops. I always thought it strange somehow that Whiteman was only 13 years older than Bing, when he seemed so much older. |
| John J. Murphy, Jr. |
posted 07/11/05 10:55 PM Central Time (US) contact the author directly
Candace and Ron, Whiteman also indicated that he liked the sounds of the Tijuana Brass. He was truly a gifted person. |