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A series of great  JAZZ Records from early Ragtime to Beb-Bop on 78 rpm Victrola Records

Paul Whiteman's famous fist US recording of the Jazz Standard,

Body and Soul (He pretty much uses the Jack Hylton arrangement with some Jazz Solos thrown in)/ Something to Remember you by

from the 1930 Libby Holman Broadway Hit THREE's A CROWD

Paul Whiteman And His Orchestra – Body And Soul / Something To Remember You By
Label: Columbia – 2297-D

A  Body And Soul = Cuerpo Y Alma)
Lyrics By [Uncredited] – Eyton*
Written-By – Heyman*, Green*, Sour*
B  Something To Remember You By = Dame Algo Para Recordarme De Ti)
Written-By – Schwartz And Bietz*


Credits
Alto Saxophone [Uncredited], Baritone Saxophone [Uncredited] – Charles Strickfaden
Alto Saxophone [Uncredited], Bass Clarinet [Uncredited], Clarinet [Uncredited] – Chester Hazlett
Alto Saxophone [Uncredited], Bassoon [Uncredited] – Frankie Trumbauer
Banjo [Uncredited] – Mike Pingitore
Clarinet [Uncredited], Tenor Saxophone [Uncredited] – Fud Livingston
Cornet [Uncredited] – Andy Secrest
Double Bass [Uncredited] – Mike Trafficante
Drums [Uncredited] – George Marsh (2)
Leader – Paul Whiteman
Piano [Uncredited] – Roy Bargy
Trombone [Uncredited] – Bill Rank, Herb Winfield, Jack Fulton
Trumpet [Uncredited] – Harry Goldfield, Nat Natoli
Violin [Uncredited] – Kurt Dieterle, Matty Malneck, Mischa Russell
Notes
Fox trots, from "Three's A Crowd".

"Viva-tonal Recording". Recorded September 10 1930, New York, NY. Columbia "Potato-Head" label.

"Body and Soul" is a popular song written in 1930 with lyrics by Edward Heyman, Robert Sour and Frank Eyton; and music by Johnny Green.
"Body and Soul" was written in London for Gertrude Lawrence and was first recorded by Jack Hylton and his orchestra.[1] Rising quickly to popularity, Libby Holman introduced it in the U.S. in the 1930 Broadway revue Three's a Crowd and it was used as the theme to the 1947 film, Body and Soul.[1] Like many pop songs of the time, it became a jazz standard, with hundreds of versions performed and recorded by dozens of artists. As with many pop standards, there are variations on the lyrics, primarily between renditions by male and female performers.

 

Paul Whiteman and his Orchestra was the most popular band of the 1920s and represented the apex of jazz to the general public. Over the years, critics and some musicians like Eddie Condon, have not had kind words to say about the band and have tended to represent Whiteman as a bad influence on the music in his attempts to "Make a lady out of Jazz". The title of "The King Of Jazz" which Whiteman was billed as seems somewhat politically incorrect these days, but in the 1920s he dominated the scene and hired the best White hot musicians like Bix Beiderbecke, Frankie Trumbauer, Eddie Lang, Joe Venuti, Jack Teagarden and many more to play in his band. Paul Whiteman greatly enriched American music by commissioning George Gershwin to write Rhapsody In Blue which became his orchestra's signature tune. He also "discovered" Bing Crosby and featured him in Paul Whiteman's Rhythm Boys, and gave the career of Hoagy Carmichael a boost, by recording several of Hoagy's songs early in his career. Jazz singer Mildred Bailey also rose to fame in the orchestra in the 1930s. So, what was it that has led Whiteman's name to be dragged through the mud in the annals of Jazz history? Paul Whiteman being the most popular Jazz band leader of the Jazz Age is blamed for the racism in America that denied African-American musicians the credit that they deserved in the history of Jazz. If there is such a thing as the "King of Jazz" the title belongs to Louis Armstrong, although that may not have been clear to most people in the 1920s. Whiteman is also criticized for not hiring African-American musicians to play in his band, but this argument ignores the commercial realities of the period. Paul Whiteman was clearly not a racist. He commissioned Duke Ellington to write for his modern music series, recorded with Paul Robeson and Billie Holiday, and hired Don Redman as an arranger in the 1930s and was generally held in high regards as a person by musicians both Black and White. The worst that can be leveled at Whiteman was that he was a businessman. Despite that, Whiteman made some very good Jazz records in the 1920s such as San, Washboard Blues, Mississippi Mud, Whiteman Stomp, Wang Wang Blues and I'm Coming, Virginia. His interest in making symphonic Jazz led the way for generations of Jazz musicians as diverse as Miles Davis, Gil Evans, The Modern Jazz Quartet and Winton Marsalis, who may not directly cite Whiteman as an influence, but have certainly walked down the path that he blazed at points in their careers.

 

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As you can see from my feedback, I try hard to earn your POSITIVE FEEDBACK and FIVE STAR RATINGS.

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The Grade (Excellent to Poor, I don't give Mint) refers to the WEAR of the record. Any other defects are stated separately

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Thank you very much, and enjoy these great records!!!

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