06-16-2006
( Reply#: 515 ) |
diskojoe |
I think that one song that would be good for your podcast for Shep's birthday would be Ray Davies' "Storyteller" |
06-22-2006
( Reply#: 518 ) |
diskojoe |
Jim:
I've been thinking about your proposed podcast for Shep's bithday & one thing you have to realize is that Shep didn't care too much for rock 'n roll (when you listen to a "classic rock" station, maybe you can see his point Shep LOL). Shep was more of a Jazzbo. Besides Ray Davies' "Storyteller" (which I feel has lyrics that relate to Shep's career), I would suggest that you play stuff like early 20's jazz (Louie Armstrong's Hot Five & Sevens), jugband music, Spike Jones, early Bonzo Dog Band, stuff that has that "hairy vitality" that Shep prized. Hope this is helpful to you. |
06-22-2006
( Reply#: 519 ) |
jmosbrook |
When Shepherd did longer shows and played music, particularly early in his career at KYW and all-night on WOR, he played a lot of 1920s jazz, particularly Chicago jazz by such artists as Benny Goodman, Frank Teschmacher, Muggsy Spanier, Gene Krupa, Bud Freeman, etc. He also spent a lot of time talking about the music and knew what he was talking about. Unfortunately, this interest in early jazz faded later in his career. |
06-23-2006
( Reply#: 520 ) |
ebruceb |
As I suggest in my book, I think his decreasing mentions and playing of more "progressive" jazz (more difficult jazz) had a lot to do with his increasingly large audience of younger people who knew little and understood little of this kind of music. (I include myself as one who was/is ignorant of the more difficult jazz forms.)[V]
His interest in jazz lingered in his use of Dixiland and other funky, more easily understood jazz during the 1960s and 1970s. I'm always looking for comments and recordings of these earlier programs (pre-1961), including information regarding those early days and Shep's talking about this more progressive jazz. What can you tell me?
Eugene B. Bergmann ebbergmann@aol.com |
06-23-2006
( Reply#: 521 ) |
jmosbrook |
In the earlier years, when Shep had longer shows and more elbow room, he frequently did almost jazz history lectures (with records) based on, I assume, his listening to early jazz on radio in the Chicago area. He continued this briefly when he was doing the all-night show on WOR.
A couple of us visited him at the Carteret transmitter site where he was doing the show and I was amazed by the large collection of early jazz records he brought with him, some quite obscure, and his knowledge of them.
But, as he gained popularity in New York, I believe he began to come into contact with jazz musicians in the city and started to appreciate what some of them were doing at the time. I don't think it was consciously intended for a specific audience, but rather, simply a reflection of his interests at the time.
For the Podcaster, don't forget Shepherd recorded with Charlie Mingus in 1957.
Joe Mosbrook |
10-14-2006
( Reply#: 589 ) |
paskunia |
quote:
Originally posted by jmosbrook
When Shepherd did longer shows and played music, particularly early in his career at KYW and all-night on WOR, he played a lot of 1920s jazz, particularly Chicago jazz by such artists as Benny Goodman, Frank Teschmacher, Muggsy Spanier, Gene Krupa, Bud Freeman, etc.
While in high school, I listened to the likes of Mssrs Freeman, Teschmacher, and Krupa, whose band music was on an anthology album called "Dream Street" that I used to borrow from the local library and wear out. I already had been a Fathead for several years, so if he'd ever broken out one of their songs, I would have been thrilled.
His musical choices for the show back in the early 70s were rather eclectic but always listenable, since he often used them to create a mood for the story he was telling. But the Sons of the Whisky Rebellion are especially memorable, perhaps because they used to play in the same style as the above mentioned jazzmen, whose history, BTW, can be traced at a website that I discovered over the summer. If anyone is curious about what early Shep music sounded like {they even have MP3s), then proceed to:
http://www.redhotjazz.com/austinhighgang.html
Keep your knees loose, and remember to clean out your spit valve.
Paskunia
If Chicago was America's broad shoulders, then Hohman had to be America's broad rear end. |
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