We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
BEST BROADCASTS OF 1939-40
tor of Tommy Dorsey. He didn’t like that idea, either. Then Glenn evolved that five-man sax section idea that typified his music, and look at him now!
Hamilton. — And you imply by that that Tommy Dorsey was successful because he was the first to feature a trombone?
Simon. — Exactly. None of the many trombone-playing leaders today are as successful. It’s not primarily because their bands may not be as good, but rather because the public has ac¬ cepted Tommy as the man in that field. The same goes for Benny Goodman on clarinet and as swing leader, in general, for that matter, and for Eddy Duchin on piano. And, I might add, the same probably will be true of the Chamber Music Society of Lower Basin Street. It brings us music such as we can get nowhere else on network radio today.
Hamilton. — Thank you, Dr. George Simon, editor of the musi¬ cians’ magazine Metronome. And if you’ll just hang your hat on Dr. Levine’s embrochure and wait for a moment, we can promise you something special. It’s the musical story of the three boys who walked into a fiery furnace some years back . . . three boys by the name of Shadrach, Meshach, and Abednego. The selection was composed by Dr. Bob McGimsey, and you have heard it many times. But just wait till you hear what Maestro Paul Laval does to it now. Here is “Shadrach.”
Music. — ( Laval and orchestra). “ Shadrach.”
Hamilton. — As you all know, fellow members of the Chamber Music Society of Lower Basin Street, we take no stock in rumors. Thus we have politely pooh-poohed those who say that Professor Joe Sullivan could not possibly play as much piano as Professor Joe Sullivan plays. For instance, one group maintains that the professor is really triplets. Another group says, no . . . but that he is helped out greatly by the fact that he has fingers on his feet. We recently saw Professor Sullivan playing with his band at the Caf6 Society, here in New York, and, frankly, we couldn’t tell which is correct. So we merely present him now, playing his own great work, “The Ginmill Blues.”
Music. — ( Joe Sullivan at piano). “Ginmill Blues."
Hamilton. — Of course a recital by Professor Joe Sullivan would not be complete without at least a small portion of the
320