NRR Project: 'Jazz at the Philharmonic' (July 2, 1944)

 

NRR Project: ‘Jazz at the Philharmonic’

Recorded July 2, 1944

First, let me point you to Tom Maxwell’s clear and comprehensive essay on this entry at the National Recording Registry.

Jazz changed during the war years. Swing music faded away as the dominant form. The tight arrangements and sweeping sway of Goodman, Shaw, Miller, and Dorsey no longer enchanted the majority of the country’s listeners. Instead, singers began to become the focus of mainstream music, and bands began to perform as glorified backup ensembles.

Meanwhile, bebop came along, forged on the West Coast in the mid-1940s. This new style, in which jazz became a kind of chamber music, cut out the need to make something to dance to and replaced it with something connoisseurs could sit quietly and listen to. Much more adventurous in nature, bebop and related subgenres of jazz appealed to a smaller but enthusiastic listenership.

Enter Norman Granz. The jazz enthusiast and promoter was dedicated to providing the audience with content that was normally reserved for after-hours jam sessions. Granz wanted to bring this raw creativity to the average listener. He began booking gigs on Monday nights, first in clubs and then in L.A.’s Philharmonic Auditorium. He booked jazz’s greatest exponents and simply let them get together and blow.

The results he recorded and released, beginning a new tradition in jazz. The excitement of these live sessions was easily translated onto vinyl, and Granz continued to curate lively recording sessions for decades.

Another huge step forward was the debut of the racial integrated ensemble. To this point in jazz history, there had been white bands and Black bands. Granz struck down those barriers, choosing his participants for their talent, not for the color of their skin.

The lineup for the very first Jazz at the Philharmonic was stellar. Nat King Cole played paino, and Les Paul was on guitar. Illinois Jacquet and Bumps Myers were on tenor sax, pianist Lux Lewis was there, trumpeter Shorty Sherlock as well, Johnny Miller on bass, Together they tore up the night with wild improvisations, in front of an enthusiastic crowd. A newchapter in jazz was being written.

The National Recording Registry Project tracks one writer’s expedition through all the recordings in the National Recording Registry in chronological order. Next time: The Library of Congress Marine Corps Combat Field Recording Collection, Second Battle of Guam. (July 20-August 11, 1944).

 

 

NRR Project: Eisenhower addresses troops, Europe on D-Day (June 6, 1944)

 

NRR Project: D-Day address to the troops/to occupied Europe

General Dwight D. Eisenhower

Broadcast June 6, 1944

1:49/3:18

In World War II, the Allied invasion of Europe took place on D-Day, June 6, 1944. This massive operation involved hundreds of thousands of men. The fate of the war rested on its successful outcome.

Gen. Dwight D. Eisenhower, Supreme Commander of the Allied Expeditionary Forces, knew it was important to communicate to both his troops and to the people of occupied countries. To give them hope, and to invoke their patience. He recorded two messages for broadcast: first, to his soldiers:

“Soldiers, Sailors, and Airmen of the Allied Expeditionary Force:

You are about to embark upon the Great Crusade, toward which we have striven these many months.

The eyes of the world are upon you. The hopes and prayers of liberty-loving people everywhere march with you.

In company with our brave Allies and brothers-in-arms on other Fronts you will bring about the destruction of the German war machine, the elimination of Nazi tyranny over oppressed peoples of Europe, and security for ourselves in a free world.

Your task will not be an easy one. Your enemy is well trained, well equipped, and battle-hardened. He will fight savagely.

But this is the year 1944. Much has happened since the Nazi triumphs of 1940-41. The United Nations have inflicted upon the Germans great defeats, in open battle, man-to-man. Our air offensive has seriously reduced their strength in the air and their capacity to wage war on the ground. Our Home Fronts have given us an overwhelming superiority in weapons and munitions of war, and placed at our disposal great reserves of trained fighting men. The tide has turned. The free men of the world are marching together to victory.

I have full confidence in your courage, devotion to duty, and skill in battle. We will accept nothing less than full victory.

Good Luck! And let us all beseech the blessing of Almighty God upon this great and noble undertaking.”

His second address was broadcast to Europe that same day. In addition, millions of copies of it, in five different languages, were distributed surreptitiously across the continent.

“People of Western Europe: A landing was made this morning on the coast of France by troops of the Allied Expeditionary Force. This landing is part of the concerted United Nations plan for the liberation of Europe, made in conjunction with our great Russian allies.

I have this message for all of you. Although the initial assault may not have been made in your own country, the hour of your liberation is approaching.

All patriots, men and women, young and old, have a part to play in the achievement of final victory. To members of resistance movements, I say, follow the instructions you have received. To patriots who are not members of organized resistance groups, I say, continue your passive resistance, but do not needlessly endanger your lives until I give you the signal to rise and strike the enemy. The day will come when I shall need your united strength. Until that day, I call on you for the hard task of discipline and restraint.

Citizens of France! I am proud to have again under my command the gallant Forces of France. Fighting beside their Allies, they will play a worthy part in the liberation of their Homeland.

Because the initial landing has been made on the soil of your country, I repeat to you with even greater emphasis my message to the peoples of other occupied countries in Western Europe. Follow the instructions of your leaders. A premature uprising of all Frenchmen may prevent you from being of maximum help to your country in the critical hour. Be patient. Prepare!

As Supreme Commander of the Allied Expeditionary Force, there is imposed on me the duty and responsibility of taking all measures necessary to the prosecution of the war. Prompt and willing obedience to the orders that I shall issue is essential.

Effective civil administration of France must be provided by Frenchmen. All persons must continue in their present duties unless otherwise instructed. Those who have made common cause with the enemy and so betrayed their country will be removed. As France is liberated from her oppressors, you yourselves will choose your representatives, and the government under which you wish to live.

In the course of this campaign for the final defeat of the enemy you may sustain further loss and damage. Tragic though they may be, they are part of the price of victory. I assure you that I shall do all in my power to mitigate your hardships. I know that I can count on your steadfastness now, no less than in the past. The heroic deeds of Frenchmen who have continued the struggle against the Nazis and their Vichy satellites, in France and throughout the French Empire, have been an example and an inspiration to all of us.

This landing is but the opening phase of the campaign in Western Europe. Great battles lie ahead. I call upon all who love freedom to stand with us. Keep your faith staunch – our arms are resolute – together we shall achieve victory.”

The National Recording Registry Project tracks one writer’s expedition through all the recordings in the National Recording Registry in chronological order. Next time: Jazz at the Philharmonic.

NRR Project: George Hicks' D-Day broadcast

NRR Project: George Hicks’ D-Day broadcast

Recorded June 6, 1944

13:57

It is nothing short of astonishing to hear this recording. NBC correspondent George Hicks was assigned to cover the Allied invasion of Europe on D-Day – June 6, 1944. Lugging a heavy recorder, he placed himself high up in the workings of the U.S.S. Ancon, a support vessel sitting close off the coast of Normandy.

What we hear is 15 minutes of combat, narrated by Hicks. The ship is endangered by German plane attacks. The ship’s gunnery crew shoots one down. Hicks lets the story tell itself, only occasionally breaking in to provide some explanation for what we are hearing and what he is seeing. This is warfare, with no quarter given.

The recording was played over radio networks hours later, after the recording had returned safely to England. This slice of life on the battlefield was breathtaking then, and is still impressive today.

The National Recording Registry Project tracks one writer’s expedition through all the recordings in the National Recording Registry in chronological order. Next time: Eisenhower’s D-Day address.

 

 

 

 

 

NRR Project: Hot Lips Page and 'Uncle Sam Blues' (1944)

 

NRR Project: ‘Uncle Sam Blues’

Performed by Oran ‘Hot Lips’ Page with Eddie Condon’s Jazz Band

Recorded 1944

3:18

“Uncle Sam ain't no woman

But he sure can take your man
Uncle Sam ain't no woman
But he sure can take your man
Women wringing their hands and a-cryin'
All over the land

I know you cross your fingers, baby
And pray for me every night
I know you cross your fingers, baby
And pray for me every night
With you in my corner
Lord knows everything's alright

Fritz and Tojo sure got themselves in a jam
Fritz and Tojo sure got themselves in a jam
They gotta go now
I'm crossing up my Uncle Sam”

The sentiments were apt. The U.S. was deep inside World War II, and the war, the Armed Forces, and the draft were on all citizens’ minds.

I must first point you to the excellent explanatory essay by Todd Bryant Weeks at the National Recording Registry. He spells out the history of Hot Lips Page, and outlines his significance in the history of blues and jazz. He speculates on the song as an expression of skepticism towards “Uncle Sam” and his ability to separate a man from his woman.

There are multiple alternate lyrics to this song, among these this very cynical set:

“You know I'm headed off for war
I got my questionnaire baby
You know I'm headed off for war
Well, now I'm gonna do some fightin'
Well, no one knows what for

Well, Uncle Sam ain't no woman
You know he sure can take your man
Said, "Uncle Sam ain't no woman"
You know he sure can take your man
Well, there's forty thousand guys in the service list
Doin' somethin', somewhere, they just don't understand

Well, I'm gonna do some fightin'
Of that I can be sure
Said, "I'm gonna do some fightin"
Of that I can be sure
Well, now I wanna kill somebody
Won't have to break no kind of law

I got my questionnaire baby
You know I'm headed off for war
I got my questionnaire baby
You know I'm headed off for war
Well, now I want to kill somebody
Won't have to break no kind of law”

Hot Lips’ original version is the canonical set.

He was a double threat: a vocalist who could improvise endlessly, and an admirable trumpeter. The music really swings; it’s a classic of straight-up blues, a particularly American sound that marks the sway of overwhelming current events over the soul of the guy in the street.

The National Recording Registry Project tracks one writer’s expedition through all the recordings in the National Recording Registry in chronological order. Next time: George Hicks’ D-Day radio broadcasts.

NRR Project: 'This Land Is Your Land' (1944)

 

NRR Project: ‘This Land Is Your Land’

Written and performed by Woody Guthrie

Recorded 1944

2:47

First, I must point you to Bill Nowlin’s excellent essay on the song at the National Recording Registry. It covers all the territory!

Woody Guthrie (1912-1967) was America’s troubadour. A confirmed leftist, he famously wrote on his guitar, “This Machine Kills Fascists.” He was a prolific writer, songwriter, and performer. His career was cut short by the onset of Huntington’s disease, which hospitalized him in 1956.

"This Land is Your Land” is his most famous song, and has become an unofficial national anthem. It spread by word of mouth in an age when popular songs only became such by being sung by the famous, or broadcast on media. This is a testament to the power of the composition. It is undeniably catchy and memorable.

It celebrates the natural beauty of the country, unity, and fellowship. “This land was made for you and me” is its refrain. (There are a couple of distinctly leftist political verses that are usually left out of covers of the song!) Guthrie advocated for the common people, those who culture and society routinely overlooked.

His work influenced countless musicians that followed him, including Pete Seeger, who played with him beginning in 1940, and Bob Dylan, who made pilgrimages to his bedside in the hospital. Even long after his death, many groups have set his unpublished lyrics to music, making new albums that celebrate his genius (Mermaid Avenue, Wonder Wheel).

He remains a central figure in American folk music, one who lit fires that are still burning.

The National Recording Registry Project tracks one writer’s expedition through all the recordings in the National Recording Registry in chronological order. Next time: ‘Uncle Sam Blues’.

NRR Project: The International Sweethearts of Rhythm (1944-1946)

  

NRR Project: ‘Hottest Women’s Band of the 1940s’

Performed by the International Sweethearts of Rhythm

Recorded 1944-1946; released 1984

49:07

Wow! This is a real find.

This is the story of the first integrated all-female jazz band in the United States. And they were GOOD. Before you do anything else, listen to this recording – it swings like all get-out!

The International Sweethearts of Rhythm were formed at the Piney Woods Country Life School in Mississippi in 1941. This group of young (14 to 19-years-old) musicians came together for a specific purpose – to raise money for the school. This they did, until they broke away from the institution and went professional.

Composed of white, Black, Latina, Asian, Native American, and Puerto Rican members, the group toured and performed with a 17-member conplement. They faced the usual trouble working for Southern audiences; many times, the white players would have to “black up” to make their performing possible. They were refused service at hotels and restaurants. They were paid miserably.

The group only stuck together for a few years. Deaths, marriages, the rigors of traveling, and other factors contributed to the group’s demise. By 1949, the band had broken up.

Thanks to jazz historian and producer Rosetta Reitz, archival recordings of the band via such mechanisms as the Armed Forces Radio Service were uncovered and committed to vinyl in 1984. Eighteen tracks are all that survive of their output, but it is enough. They were outstanding.

The National Recording Registry Project tracks one writer’s expedition through all the recordings in the National Recording Registry in chronological order. Next time: Woody Guthrie’s ‘This Land Is Your Land’.

NRR Project: Sister Rosetta Tharpe plays 'Down by the Riverside' (1944)

 

NRR Project: ‘Down by the Riverside’

American Spiritual

Performed by Sister Rosetta Tharpe with the Lucky Millinder Orchestra

Recorded 1944

3:04

“Sister” Rosetta Tharpe (1915-1973) was nothing less than the wellspring of rock and roll. Her killer guitar work, coupled with her inventive, high-charged vocals, made musical history. She called rock and roll just sped-up rhythm and blues. She pioneered work on the electric guitar.

Rosetta Tharpe was a child prodigy from Cotton Plant, Arkansas who played guitar and sang gospel songs for years at the Church of God in Christ. In 1938, at age 23, she began to record for Decca. In this same year, her other gospel single, “Strange Things Happening Every Day,” was a hit; this, too, proved popular.

Tharpe brings an overwhelming intensity to her performances. She is emphatic, precise; she can scat, she can warble. Her guitar work is rough, loud, nimble-fingered. She plays like someone who has had to play to lots of large live crowds. Her attack on a song is no-holds-barred; the church disapproved of some of her more secular hits as “I Want a Tall Skinny Papa.”

By and large, though, what she performed was a sacred music transformed by her in accordance with the driving rhythms of urgency, a blues sensibility, and virtuoso sing-shouting that became the voice that rockers aspired to but could not imitate. She mixes together the best of everything; she is sui generis.

Here, she begins to skit-scat through the lyrics about halfway through, then takes a guitar break that is tough, that swings. That break would influence countless guitarists.

As she moves to the climax of the song, she burns even hotter. She moves to full-on vocalese, a kind of speechful speechlessness that is the stuff of gospel and jazz and rock. The phrase “ain’t gonna study war no more” is powerful because it is for meant for real. It has conviction, and it is repeated with a vibrant insistence unfound elsewhere.

Her 2003 compilation “The Gospel of the Blues” gives you all of her best work. She was decades ahead of her time. In 1998, she belatedly appeared on a 32-cent stamp.

The National Recording Registry Project tracks one writer’s expedition through all the recordings in the National Recording Registry in chronological order. Next time: the International Sweethearts of Rhythm.