Top hole! No dance or show band ever packed the rhythmic punch of Payne in his Columbia years. Even nigh on 9 decades later the fidelity and sonority achieved is unmatched. It adds markedly to the quality of the listening experience.
Prozoot, a big THANKS from another appreciative listener. You choose lovely old gems of music from a truly great era. Then you post them with superb technical quality. 👌Generous lists of links have unearthed forgotten musical delights from my childhood. Thanks again.
Trivia: The only song actually from the 1930s that was used in the 1973 Academy Award-winning picture, "The Sting." All other songs were Scott Joplin compositions from many years earlier. The movie was set in 1936.
0:00 "I'm a Hundred Percent in Love With You" 1931 2:48 "You Can't Stop Me From Loving You" 1931 5:44 "Sitting at a Table Laid For Two" 1931 8:53 "What's Keeping My Prince Charming?" 1931 11:44 "Little Girl" 1931
Lovely, clear, spacious transfers -- and, of course, great vitality from the Payne orchestra. "You Can't Stop Me," "Prince Charming" and "Little Girl" are standouts. ... And I've always loved the clever, flippant lyrics of "You Can't Stop Me" -- the line, "Tell me my brain's good as new" is a favorite.
Great combo of tunes by the great Jack Payne...”What’s Keeping my Prince Charming” is a personal favorite...thanks as always for your truly excellent posts.
....are there any bandleaders or musicians out there who can explain what is going on with that strange audio effect starting at 5:10, for just a few notes. It appears the trombone is firing into an echo chamber of some sort. I have never heard this kind of coloration coming from an orchestra before, or on any other Jack Payne record. It's too distinct to be just ambient reverb coming from a reposition of the instrument. (????)
No idea whatsoever. Any gimmick that didn't completely isolate the trombonist would have had some effect on other instruments. And if it was any more contrived than that - say involving a soundproof booth, multiple mics, etc. - then why do it just for 4 bars?
I don't know if Jack Payne used two trombonists (I can see only one in the picture). This disc may have been recorded in a public hall (there sounds to be a lot of natural reverb). I guess that, when the trombonist did his solo, he was playing briefly away from the central mic until beckoned back by the leader.
Sounds like a trombone megaphone near the microphone with the trumpets underneath. I've not heard it on a record before - I guess becuase they were primarily used to amplify the trombone on live gigs rather than as an "effect" th-cam.com/video/RYO_7jhx2JU/w-d-xo.html
Behind the trombone solo is a trio of brass (2 tpts, 1 tbn) playing sustained chords (long notes). As the trombone soloist plays short notes that are already being sustained in the chordal backing, it has the effect of reverberation. Of course it's very common to have a soloist playing with chordal backing, but usually the arranger would have the reeds section back a brass soloist, and vice versa. You notice the 'reverb effect' here because the brass instruments backing the trombone have a very similar timbre.
Top hole! No dance or show band ever packed the rhythmic punch of Payne in his Columbia years. Even nigh on 9 decades later the fidelity and sonority achieved is unmatched. It adds markedly to the quality of the listening experience.
Prozoot, a big THANKS from another appreciative listener. You choose lovely old gems of music from a truly great era. Then you post them with superb technical quality. 👌Generous lists of links have unearthed forgotten musical delights from my childhood. Thanks again.
LITTLE GIRL! = such a cute melody from a charming bygone era
Trivia: The only song actually from the 1930s that was used in the 1973 Academy Award-winning picture, "The Sting." All other songs were Scott Joplin compositions from many years earlier. The movie was set in 1936.
0:00 "I'm a Hundred Percent in Love With You" 1931
2:48 "You Can't Stop Me From Loving You" 1931
5:44 "Sitting at a Table Laid For Two" 1931
8:53 "What's Keeping My Prince Charming?" 1931
11:44 "Little Girl" 1931
Prozoot,You always make a wonderful presentation. THANKS
....thanks, Lou -- happy to know you are still groovin' on the tunes!
Lovely, clear, spacious transfers -- and, of course, great vitality from the Payne orchestra. "You Can't Stop Me," "Prince Charming" and "Little Girl" are standouts. ... And I've always loved the clever, flippant lyrics of "You Can't Stop Me" -- the line, "Tell me my brain's good as new" is a favorite.
Thank you for giving so many people pleasure it's a wonderful gift, Thanks once again.
Jack Payne and his Orchestra at their best, thanks for sharing these lovely records.
Great dance music, audiophile sound. Love it.
Great combo of tunes by the great Jack Payne...”What’s Keeping my Prince Charming” is a personal favorite...thanks as always for your truly excellent posts.
Buenísimo !! Qué tiempos aquellos de buena música y romántica...
Delightful
I love these, thank you!
Super excellent
Same ❤
12,04 my favorite
....are there any bandleaders or musicians out there who can explain what is going on with that strange audio effect starting at 5:10, for just a few notes. It appears the trombone is firing into an echo chamber of some sort. I have never heard this kind of coloration coming from an orchestra before, or on any other Jack Payne record. It's too distinct to be just ambient reverb coming from a reposition of the instrument. (????)
No idea whatsoever. Any gimmick that didn't completely isolate the trombonist would have had some effect on other instruments. And if it was any more contrived than that - say involving a soundproof booth, multiple mics, etc. - then why do it just for 4 bars?
There sounds to be two trombones, one is playing the bass line and the other one is playing the melody.
I don't know if Jack Payne used two trombonists (I can see only one in the picture). This disc may have been recorded in a public hall (there sounds to be a lot of natural reverb). I guess that, when the trombonist did his solo, he was playing briefly away from the central mic until beckoned back by the leader.
Sounds like a trombone megaphone near the microphone with the trumpets underneath. I've not heard it on a record before - I guess becuase they were primarily used to amplify the trombone on live gigs rather than as an "effect"
th-cam.com/video/RYO_7jhx2JU/w-d-xo.html
Behind the trombone solo is a trio of brass (2 tpts, 1 tbn) playing sustained chords (long notes). As the trombone soloist plays short notes that are already being sustained in the chordal backing, it has the effect of reverberation. Of course it's very common to have a soloist playing with chordal backing, but usually the arranger would have the reeds section back a brass soloist, and vice versa. You notice the 'reverb effect' here because the brass instruments backing the trombone have a very similar timbre.
I am looking for lyrics for California serenade, where to find it?
Db m
Same ❤