Thank you God for these 2 beautiful gentlemen that you let come into the world and give us a beauty thank you God and God bless both of these beautiful men Rest in peace in the arms of God
Louis Krompiere ( he may have used the stage name Louis White). If you go to the wikipedia page for the band he is in the picture... He was about 23 and he looked exactly like me...
I knew another of Whiteman's drummers, Tony Colangelo. He was my driving teacher just after college, and he was a hoot - used to rap out drumming patterns on his thighs while he told me how to signal for a turn.
for some reason, I have always preferred the original acoustic recording. although the orchestration and quality of sound is little in terms of sophistication compared to other versions, I just find I love this one more than any others. I have a Columbia 78 of this played by someone else, and it's really not the same. I think its the real pronunciation on the clarinet glissando and Gershwin's masterful piano playing that really does it for me. also I feel that the original jazziness that was intended for it has been lost through the years.
What a beautiful performance and recording! Considering the available technology back then, this sounds wonderfully full of life. It's also interesting to hear the interpretation played by wonderful musicians who lived in that time. It intrigues me to think that this was made by such a highly talented and well rehearsed band in not necessarily the most desirable conditions, considering today's comfort expectations and the fact that this was made in early June prior to air conditioning.
You know great music when you hear it! Music that is timeless is music that makes sense! Good for you! There a massive treasure trove of great music on youtube keep on listening to what you like and not what others think you should like at 16!
I have an acetate in my collection a friend cut for me years ago that has the 1924 acoustic version and the 1927 electric version on the flip side that he took from his 1950-51 Victor LP re-issue. i didn't find out until recently that the 1927 session was conducted by Nat Shilkret. He went on to conduct Gershwin's first recording of An American in Paris for Victor in 1929.
Very good fidelity for the twilight of the acoustic era. Although I became used to the slower tempo of more recent interpretations I'm beginning to appreciate the original intent of Gershwin for a faster pace. All in all one of Gershwin's and Whiteman's masterpieces.
oh man, let's give credit where due.... ross gorman on at least 6 instruments in this version, including the opening clarinet glissando.... dig his bass clarinet too
As a kid , eons ago, I heard and saw this performed in a bio-pic about Gershwin. I was enthralled and remained so. A marvelous painting of a world that existed and still does in some quarters. Thank You
Many thanks for such a precious item! I knew the story of the "first night", all the thrill, the very cosmopolitan audience, etc., but only once had I heard on radio the piece with Gershwin at the piano. Very different from more "modern", symphonic renderings. Moreover the quality of this record is impeccable! Didn't know the funny story about the clarinet glissando! -:)) Shared on Google+
***** I am lucky enough to have a connection with Michael Feinstein, who, in his early career worked with Ira Gershwin to catalogue his vast music collection. he sent me four rare Gershwin 78s in the post in February, and a letter saying he liked the way I sing and the I was 'the future of the great American songbook'. amazing he worked with Ira!
One should note that both this and the 1927 electric recording that Gershwin made is significantly shortened because Columbia records would only allot two 78 RPM sides to the work. One should also note that this is the first of five orchestrations that Ferde Grofe made of the work created specifically for the instrumentation of the Whiteman band. The second was for a theater orchestra of the time and the third - published in 1942 but maybe created much earlier - was for full symphony orchestra. While this allowed pianists (maybe even Gershwin, we aren't sure) to play it with a symphony orchestra it sacrifices the original 20s jazz band sound and quick tempos of the original conception. No banjo, limited saxophones. Grofe did two other arrangements, Gershwin did it for two pianos and solo piano, and there are god knows how many "simplified and shortened" editions floating around for student pianists. One other thing of interest is that Aeolian Hall is STILL around. Actually, it was a concert hall for only a few years. On the third floor of what was then the Aeolian Building, that building later became the home of the City University Graduate Center is now where the SUNY College of ophthalmology is. As a student in that building years ago it never occurred to me to check out the third floor. But, you can see the music-inspired sculptures on the building on 33 W. 42nd Street - right near the New York Public Library on the other side of the street.
I see the optometry building from Google Street View, but about those sculptures, are you referring to the raised decorations on the lintel above the two strips of windows -- or to something else?
For an acoustic recording, it's pretty good. This abridged version was made in New York, just weeks after its 12 February 1924 debut at Aeolian Hall. The sonically better, electrically recorded version was done in 1927, with Whiteman's band and Gershwin again at the piano. Whipped up in just six weeks after Whiteman promised new Gershwin music at his concert.
I've loved this recording since I first heard it on an RCA Victrola LP reissue in the early 1980's, backed by Nathaniel Shilkret's 1929 world premiere recording of "An American in Paris" and Gershwin's own recordings of his "Three Preludes" and eight of his songs. Amazing, and better than the Whiteman-Gershwin electrical version from 1927 and the two subsequent Whiteman recordings from the 1950's. This and Gershwin's solo piano roll from 1925 and 1927 are the definitive performances of "Rhapsody in Blue."
I am presenting a paper over Rhapsody in Blue and culture in the Jazz Age soon. I've been looking for musical examples and your recording is the best I've found. May I use your video, or cite the audio?
@@OldiesAl go find a copy. I have Camden and Montreal pressings of the 1938 reissue. They used the correct stamper for the A side first part but wrong metal master for the B side second part by mistake. The acoustical recording by 1924 was so good you have to listen closely to detect. But I know other collectors who have discovered the same!
Favoring this version seems to be the thing now as in terms of the band, this was basically the "original Cast" so to speak, And it was revealed that the 1927 re-make was by the Whiteman Orchestra of that year, and not all the original players from 1924 were present and further that Whiteman had a tiff with Victor, left the studio in a huff, and Nat Shilkret took up the baton, and conducted the two sides, and released under Whiteman's name with no credit for Shilkret. this re-make was also released in 1950's on RCA-Victor in their "Gold Standard" singles series. I had a report from a collector (Don't have his name) snd he had what a thought was the 1927 version, but (and I did not get to hear it) but discovered that one side of the record was accidentally pressed from the acoustic version. this seemed possible. Has anyone else heard of this happening on this release? Sorry I don't have more info.
hi AI i know i have heard this song somewhere you have done a great tranfer of this i also know paul whiteman did an electrical recording of this as he did with several other popular songs that were recorded acousticly
Thanks James, a very special record for me. I have always preferred this to the electrically recorded version and I had 2 copies arrived broken, one in almost mint condition by the look of the shellac, before I got this one. This is still in beautiful condition though.
I've heard both versions however i agree with you on the accusic recording it has something that the electric hasn't got it's a complete shame that a majority of shellac records sent don't arive intact and there are videos on how to pack 78rpm records they seem farly reputable I've had it before it's not all good but i look back and say i was foolish at that time and new to collecting records in general but it's a learning obsession with many avenues to go down and try cheers James
your very luck if i was going to get a record of the internet would there be someone you could suggest I've have bought steel needles rubber gaskets and diaframs from someone in Holland those things have arrived with no problem what so ever
correct me if I am in error, but didn't Mr. P. Whiteman have an early TV show and use this music as his theme song and I think the sponsor was Nash I think I remember he had a contest where he gave a Nash away if you could guess within an inch the total distance of the wheel base, my memory might be fooling me but I need collaboration or correction PLEASE HELP , THX
I have been thinking that the playing of this music by modern "classic " players are not exact with the composer's intends because those are not a kind of jazz such time of Great Recession age. But this, it is just "Rhapsody in Great Blue".
I think the term interpretation is not correct for this recording, because the composer played and performed on the piece itself.. so this was, justifyingly mere performance by the original artist himself
I see no mention of interpretation in any of the description or commentss I've read. As you say this is how Gershwin intended it to be, Ferde Grofe was the arranger but must have worked with or at least consuled Gershwin. His main job was abridging a piece nearly 20 minutes long to fit over 2 sides of a 12" 78 rpm record
Thank you God for these 2 beautiful gentlemen that you let come into the world and give us a beauty thank you God and God bless both of these beautiful men Rest in peace in the arms of God
"Don't let them kid you about Whiteman. He has been a big man in our music." -- Duke Ellington (to the New York Times, 1943).
my dad had this 78 which I listened to as a kid and have loved the music ever since, thanks
Absolutely⚡KILLER⚡...! Imagine hearing this in 1924 - LIVE - right there in front of you...!
My grandfather was the drummer
Wait, really?
Who was your Grandfather?
Louis Krompiere ( he may have used the stage name Louis White). If you go to the wikipedia page for the band he is in the picture... He was about 23 and he looked exactly like me...
Truly wonderful!
I knew another of Whiteman's drummers, Tony Colangelo. He was my driving teacher just after college, and he was a hoot - used to rap out drumming patterns on his thighs while he told me how to signal for a turn.
The music of George and Ira Gershwin is still very relevant today.
😊😊 😊 I'm very vpls to know I'm not the only one that loves😍 👆 the song but when last did you play it 💖
The electric recording gets all the attention, but this one is clearly superior in terms of interpretation.
Thanks for your comment Felix, there is something magical about this recording, great clarity for an acoustic recording too
@preservationhall01 Thanks for your information!!!
for some reason, I have always preferred the original acoustic recording. although the orchestration and quality of sound is little in terms of sophistication compared to other versions, I just find I love this one more than any others. I have a Columbia 78 of this played by someone else, and it's really not the same. I think its the real pronunciation on the clarinet glissando and Gershwin's masterful piano playing that really does it for me. also I feel that the original jazziness that was intended for it has been lost through the years.
Omg! What a treasure!
I have always loved Rhapsody in Blue.
Thanx so very very much for sharing this wonderful recording!
Fabulous!
What a beautiful performance and recording! Considering the available technology back then, this sounds wonderfully full of life. It's also interesting to hear the interpretation played by wonderful musicians who lived in that time. It intrigues me to think that this was made by such a highly talented and well rehearsed band in not necessarily the most desirable conditions, considering today's comfort expectations and the fact that this was made in early June prior to air conditioning.
i am 16 and i tell you this song is one of my favorites
Good ear, youngster, hold on to it - forever.
But it’s not a song, it’s an orchestral work.
You know great music when you hear it! Music that is timeless is music that makes sense! Good for you! There a massive treasure trove of great music on youtube keep on listening to what you like and not what others think you should like at 16!
It's fantastic, the best version I've heard!
I have an acetate in my collection a friend cut for me years ago that has the 1924 acoustic version and the 1927 electric version on the flip side that he took from his 1950-51 Victor LP re-issue. i didn't find out until recently that the 1927 session was conducted by Nat Shilkret. He went on to conduct Gershwin's first recording of An American in Paris for Victor in 1929.
The very best of its time. Love Gershwin's music.
It is amazing how good some acoustic recordings sound.
Thanks for you comment, I have a full playlist of my acoustic recordings and adding to it all the time, some are amazing with there quality.
Very good fidelity for the twilight of the acoustic era. Although I became used to the slower tempo of more recent interpretations I'm beginning to appreciate the original intent of Gershwin for a faster pace. All in all one of Gershwin's and Whiteman's masterpieces.
Don't forget Ferde Grofé.
A slower tempo actually was the original intent. They just played faster for this recording to make it fit on the record.
oh man, let's give credit where due.... ross gorman on at least 6 instruments in this version, including the opening clarinet glissando.... dig his bass clarinet too
+Mel Woodrose Right. and Ross Gorman left Whiteman a year or two later to form his own band. Another reason why he was missing from the 1927 re-make.
Me too! As a bass clarinetist, I love studying his music.
Gershwin. George Gershwin on this recording.
So fun to see photos of Paul and the band. Thanks!
As a kid , eons ago, I heard and saw this performed in a bio-pic about Gershwin. I was enthralled and remained so. A marvelous painting of a world that existed and still does in some quarters. Thank You
It is an incredible recording from over 90 years ago so happy you and others think so too
Outstanding!!
Many thanks for such a precious item! I knew the story of the "first night", all the thrill, the very cosmopolitan audience, etc., but only once had I heard on radio the piece with Gershwin at the piano. Very different from more "modern", symphonic renderings. Moreover the quality of this record is impeccable! Didn't know the funny story about the clarinet glissando! -:)) Shared on Google+
Another great historic record Al, and a fascinating story attached.
I agree!
Thanks Joe, been after this for a while, that's how I found Birth Of The Blues
Had 2 versions of the 1927 recording arrive broken before I found this Henry, they were both near mint too. 12'' 78's are a nightmare in the post
ferrarial ...it's a brave man...:-))
***** I am lucky enough to have a connection with Michael Feinstein, who, in his early career worked with Ira Gershwin to catalogue his vast music collection. he sent me four rare Gershwin 78s in the post in February, and a letter saying he liked the way I sing and the I was 'the future of the great American songbook'. amazing he worked with Ira!
Exhilirating 🎹🎶🎷🎺🎻
Conservo gelosamente questa esecuzione che ho sul mio vinile.
A great find to start my day , Thankyou
This is the best song ever made
Super excellent
Thank you enjoyed it
It was released on two sides of a 78. Part 2 begins at 4:33.
One should note that both this and the 1927 electric recording that Gershwin made is significantly shortened because Columbia records would only allot two 78 RPM sides to the work. One should also note that this is the first of five orchestrations that Ferde Grofe made of the work created specifically for the instrumentation of the Whiteman band. The second was for a theater orchestra of the time and the third - published in 1942 but maybe created much earlier - was for full symphony orchestra. While this allowed pianists (maybe even Gershwin, we aren't sure) to play it with a symphony orchestra it sacrifices the original 20s jazz band sound and quick tempos of the original conception. No banjo, limited saxophones. Grofe did two other arrangements, Gershwin did it for two pianos and solo piano, and there are god knows how many "simplified and shortened" editions floating around for student pianists. One other thing of interest is that Aeolian Hall is STILL around. Actually, it was a concert hall for only a few years. On the third floor of what was then the Aeolian Building, that building later became the home of the City University Graduate Center is now where the SUNY College of ophthalmology is. As a student in that building years ago it never occurred to me to check out the third floor. But, you can see the music-inspired sculptures on the building on 33 W. 42nd Street - right near the New York Public Library on the other side of the street.
Actually recorded for Victor Records in New York in both '24 and '27.
I see the optometry building from Google Street View, but about those sculptures, are you referring to the raised decorations on the lintel above the two strips of windows -- or to something else?
I can't speak for Columbia offer I g only two sides. But since Victor recorded both this '24 and the '27 version, I suppose they agreed to the same.
For an acoustic recording, it's pretty good. This abridged version was made in New York, just weeks after its 12 February 1924 debut at Aeolian Hall. The sonically
better, electrically recorded version was done in 1927, with Whiteman's band and Gershwin again at the piano. Whipped up in just six weeks after Whiteman promised new Gershwin music at his concert.
Amazing!! Thanks..
Musik wie vom anderen Stern.Phantastisch.
great
I've loved this recording since I first heard it on an RCA Victrola LP reissue in the early 1980's, backed by Nathaniel Shilkret's 1929 world premiere recording of "An American in Paris" and Gershwin's own recordings of his "Three Preludes" and eight of his songs. Amazing, and better than the Whiteman-Gershwin electrical version from 1927 and the two subsequent Whiteman recordings from the 1950's. This and Gershwin's solo piano roll from 1925 and 1927 are the definitive performances of "Rhapsody in Blue."
At United, we're connecting people, uniting the world, and doing it safely. From all of us, thank you and enjoy your flight!
Thank you!!!
Anyone who has not heard this has not heard Rhapsody In Blue.
that would be me. I thought I had been an expert on this music for nearly 40 years. this recording shows that I knew nothing at all.
Great
I am presenting a paper over Rhapsody in Blue and culture in the Jazz Age soon. I've been looking for musical examples and your recording is the best I've found. May I use your video, or cite the audio?
The 1938 Victor reissue under the '27 catalog number had the electric '27 version on the A side and the acoustic '24 version on the B side!
It can't have had the full recordings as they both took up 2 sides of a 12" record originally.
@@OldiesAl go find a copy. I have Camden and Montreal pressings of the 1938 reissue. They used the correct stamper for the A side first part but wrong metal master for the B side second part by mistake. The acoustical recording by 1924 was so good you have to listen closely to detect. But I know other collectors who have discovered the same!
Animated graphical score: th-cam.com/video/bK98TmMoDEk/w-d-xo.html
Wow...great sound from a 95 yo recording...even better from the 1927 version.
Favoring this version seems to be the thing now as in terms of the band, this was basically the "original Cast" so to speak, And it was revealed that the 1927 re-make was by the Whiteman Orchestra of that year, and not all the original players from 1924 were present and further that Whiteman had a tiff with Victor, left the studio in a huff, and Nat Shilkret took up the baton, and conducted the two sides, and released under Whiteman's name with no credit for Shilkret. this re-make was also released in 1950's on RCA-Victor in their "Gold Standard" singles series. I had a report from a collector (Don't have his name) snd he had what a thought was the 1927 version, but (and I did not get to hear it) but discovered that one side of the record was accidentally pressed from the acoustic version. this seemed possible. Has anyone else heard of this happening on this release? Sorry I don't have more info.
Interesting bit of info, could be a very valuable disc if it does exist
If someone didn't pay attention to the master numbers at pressing, it's possible. The differences in sound quality would be obvious.
American culture at its finest, and we dont have much culture nowadays really
I read some where this song was written for Paul Whiteman to be the first to play it.
The full story is in the description
hi AI i know i have heard this song somewhere you have done a great tranfer of this i also know paul whiteman did an electrical recording of this as he did with several other popular songs that were recorded acousticly
Thanks James, a very special record for me. I have always preferred this to the electrically recorded version and I had 2 copies arrived broken, one in almost mint condition by the look of the shellac, before I got this one. This is still in beautiful condition though.
I've heard both versions however i agree with you on the accusic recording it has something that the electric hasn't got it's a complete shame that a majority of shellac records sent don't arive intact and there are videos on how to pack 78rpm records they seem farly reputable I've had it before it's not all good but i look back and say i was foolish at that time and new to collecting records in general but it's a learning obsession with many avenues to go down and try
cheers James
They are 2 of maybe 5 records that have arrived broken out of nearly 500 i have had sent through the post from all over the world.
your very luck if i was going to get a record of the internet would there be someone you could suggest I've have bought steel needles rubber gaskets and diaframs from someone in Holland those things have arrived with no problem what so ever
The electric recording was the Paul Whiteman orchestra but conducted by Nat Shilkret after Whiteman and Gershwin had had an argument.
The picture at 2:23. One of these things is not like the other (Hint: its the banji)
correct me if I am in error, but didn't Mr. P. Whiteman have an early TV show and use this music as his theme song and I think the sponsor was Nash I think I remember he had a contest where he gave a Nash away if you could guess within an inch the total distance of the wheel base, my memory might be fooling me but I need collaboration or correction PLEASE HELP , THX
I googled it and Mr Whiteman did indeed have a tv show 'The Whiteman Goodyear Revue' which ran from 1949 to 1952 with this as its signature tune.
I have been thinking that the playing of this music by modern "classic " players are not exact with the composer's intends because those are not a kind of jazz such time of Great Recession age. But this, it is just "Rhapsody in Great Blue".
is Gershwin playing the piano in this recording?
Yes he is, the story of the piece and the recording is in the description, he also played on the later electrically recorded one.
OldiesAl thank you so much!!
I'd love to know who the piano player was too
That comment was meant for the last video
What was the last video?
I think the term interpretation is not correct for this recording, because the composer played and performed on the piece itself.. so this was, justifyingly mere performance by the original artist himself
I see no mention of interpretation in any of the description or commentss I've read. As you say this is how Gershwin intended it to be, Ferde Grofe was the arranger but must have worked with or at least consuled Gershwin. His main job was abridging a piece nearly 20 minutes long to fit over 2 sides of a 12" 78 rpm record
Super excellent