Showing posts with label Count Basie. Show all posts
Showing posts with label Count Basie. Show all posts

23 March 2025

Buster and Ernie at the Ol' Ball Yard

Winter has turned to spring in this part of the world, and that means the advent of yet another baseball season. To get you in the spirit, blogging buddy Ernie and I are offering an unusual collection of baseball songs. (In the photo above, Ernie seems skeptical of my ballplaying prowess.)

Ernie was the mastermind behind most of the playlist, and he has selected some of the most obscure selections you can imagine - from comic monologues to tribute songs, from country to classics, stretching from as long ago as 1903 to 1957. There are tunes celebrating the stars of old along with the obscurities - adding up to 22 selections in all.

As usual, we'll cover these in chronological order.

Cal Stewart - Uncle Josh Playing Base Ball

Cal Stewart as Uncle Josh

The earliest piece comes from Cal Stewart, who visits the ball park in "Uncle Josh Playing Base Ball" from 1903. Actually Josh first goes to a football game and then on to the baseball field, where he joins the action with predictable consequences. Josh was a yuk-yuk-yuk hayseed character, and his routine is very much in the vein of his previous appearances here, when he encountered the big city department store and a cafeteria, except this one involves an angry goat.

Concert Band - Cubs on Parade

Tinker, Evers, Chance, and all the Cubbies

The Chicago Cubs were the hottest thing in the major leagues from 1906-8, when they won two out of three World Series. They then hit a fallow period for the next 108 years. In 1908, a generically named Concert Band came out with a lively march called "Cubs on Parade," which we presume was in honor of the baseball team rather than denoting something zoological.

Weber and Fields - Base Ball

Joe Weber and Lew Fields were huge stars in vaudeville, but only worked together sporadically by the time Columbia recorded their "Base Ball" routine in 1916. Their "Mike and Meyer" characters spoke in German dialect, here with one explaining the game to the other. This routine features our first instance of "kill the umpire" and ends with a joke at the expense of the long-gone and not very successful St. Louis Browns.

"Babe" Himself - "Babe" Ruth's Home Run Story

The Babe

In 1920 the biggest star in baseball was the Great Bambino, Babe Ruth, who had just moved over to the Yankees from the Red Sox and was busy setting home run records in both 1919 and 1920. This recorded monologue - "'Babe' Ruth's Home Run Story" - is a remarkably contrived and uninformative three minutes with the slugger detailing his triumphs in a laconic manner. Still, it's fascinating to hear his voice in his prime.

Les Brown and His Orchestra - Joltin' Joe DiMaggio

Let's jump ahead to 1941, where we're in a different world with Les Brown's swing band hymning the praises of a later Yankee - "Joltin' Joe DiMaggio." Singer Betty Bonney tells the story of the Clipper's 56-game hitting streak, which is still the record. Betty died recently, and her New York Times obituary gives the background of the song. 

From this time forward, most records found it obligatory to bawl "strike one" etc., and "kill the umpire," along with the crack of hickory on horsehide (or is it horsehide on hickory?).

Ferko String Band - Babe (Dedicated to Babe Ruth)

Joe Ferko formed the Ferko String Band more than 100 years ago to perform in Philadelphia's Mummers Parade on New Year's Day. In the late 1940s, the Ferkos made a series of records for the local Palda label, including our next selection, which is my own favorite in this group. It is a loose and lusty reading of "Babe (Dedicated to Babe Ruth)" by Charles Tobias and Peter DeRose. I believe this was recorded in recognition of Ruth's 1948 death from cancer. It is a joyous sing-along celebration of his life, accompanied by a ensemble that sounds like it is part marching band and part stage band - which is what the Ferkos were.

Johnny Mercer - The First Baseball Game

Johnny Mercer

A preacher delivering a sermon using baseball as a simile sounds like something that Johnny Mercer the songwriter would come up with, but it actually is a 1948 song by Don Raye and Gene de Paul called "The First Baseball Game" that Johnny the singer recorded for Capitol. Among the lyrics: "Ol’ Saint Pete was checkin’ errors / Also had charge of the gate / Salome sacrific’d Big John the Baptist who wound up ahead on the plate." Not sure what the lesson was, but the lyrics are terrific.

Count Basie and His Orchestra - Did You See Jackie Robinson Hit That Ball?

Jackie Robinson

One of the great events in baseball history was in 1947 when Jackie Robinson broke the Major League's color line by joining the Brooklyn Dodgers. There was more than one song written to mark the occasion, the best-known being Buddy Johnson's "Did You See Jackie Robinson Hit That Ball?", here in Count Basie's 1949 recording. Ernie also uncovered a "Baseball Boogie" recorded in Robinson's honor by Brownie McGhee, but that 78 was quite noisy, so we opted for the better-known song.

Gene Kelly and Betty Garrett - Take Me Out to the Ball Game

There have been any number of films with a baseball theme; one notable example from the musical realm is Take Me Out to the Ball Game, which, with a title like that, just had to utilize Albert von Tilzer and Jack Norworth's 1908 classic "Take Me Out to the Ball Game." In the 1949 film, the song is allotted to Gene Kelly and Betty Garrett. Neither had a great voice, but they both radiated personality, so this is a fine record of perhaps the most famous baseball song of them all.

Michel Rosenberg - Getzel at a Baseball Game

Michel Rosenberg

Baseball has appealed to all facets of society and is an example of sport bringing us together. In the late 1940s, Banner was a well-known Yiddish and Hebrew label whose best known artists were perhaps Molly Picon, Myron Cohen and the Barry (Bagelman) Sisters. On this side, Borscht Belt comedian Michel Rosenberg does his "Getzel at a Baseball Game" routine. It's in Yiddish, but he does throw in the occasional phrase in English, e.g., "Gimme blintzes!" and "It's gonna be some game!"

Fat Man Humphries - Doby at the Bat

The first player to break the color line in the American League, Cleveland's Larry Doby, also was honored in more than one song. An earlier post includes Freddie Mitchell's "Doby's Boogie." And today's collection features Fat Man Humphries' "Doby at the Bat," a rough-and-ready, small-label R&B toast to a great player. It dates from 1950.

Glenn Young Orchestra - Harry Caray Polka

Harry Caray in St. Louis

Radio announcers were (and still are to an extent) the portals to baseball for avid fans who could not attend in person. They themselves became popular personalities. One of the most famous - and longest lasting - of this breed was Harry Caray, whose most notable assignments were for the St. Louis Cardinals, the Chicago White Sox and the Chicago Cubs. Harry was quite a promoter, so my guess is that the idea for this rollicking "Harry Caray Polka" from 1950 originated with the man himself. It features his catchphrases "It might be ... it could be ... it IS a home run!" and "Holy cow!"

Johnny Vadnal - The Baseball Polka

Johnny Vadnal

Let's move on to another polka from the same year, this one from Johnny Vadnal, one of the leading lights of the very active Slovenian polka scene in Cleveland, whose best-known exponent was Frankie Yankovic. These ensembles tended to have a smooth sounding female trio offsetting the pronounced polka beat and decidedly choppy male vocals. Vadnal is choppier than most, at least in this "Baseball Polka," also from 1950.

Sugar Chile Robinson - The Bases Were Loaded


Baseball songs and stories have often adopted the pitcher-batter duel as a drama in miniature, starting with "Casey at the Bat." Here, juvenile boogie woogie pianist/singer Sugar Chile Robinson has it tougher than most, being called on a strikes by a pitch that beaned him - and that with the bases full. This drama can be found in a 1950 Rudy Toombs creation called "The Bases Were Loaded," which Robinson recorded for Capitol.

Helen Traubel - Take Me Out to the Ball Game

"Yo-ho-te home run!"

Wagnerian soprano Helen Traubel was a wonderfully good sport who liked to sing popular songs, including this splendid 1950 record of "Take Me Out to the Ballgame," with Arthur Fiedler and orchestra. The performance is notable for including the seldom-heard - and very good - verse by composer Albert von Tilzer and lyricist Jack Norworth. The latter actually wrote two verses for the song - one in 1908 and a replacement in 1927. Traubel sings the latter. Here is an explanation for the alternative versions.

LeRoy Holmes and His Orchestra - Little League

Baseball for the young ones was only loosely organized when I was a kid - largely via the Little League and then high school teams. Now my 10-year-old grandson is on an organized team that travels all over. A harbinger of this professionalization of a kiddie pastime was this recording of "Little League," the Official March of Little League Baseball, as recorded by LeRoy Holmes back in 1951. It may have had something to do with the Little League World Series, which had begun in 1947. 

Jane Morgan - Baseball, Baseball

Jane Morgan and the All-Stars

What if you are not all that interested in baseball and the object of your affection is more obsessed by the box score than by scoring points with you? Such was the dilemma faced by pop singer Jane Morgan in her entertaining 1954 record "Baseball, Baseball." She eventually gets her revenge but has to go to extreme measures to do so. Old reliable George Barnes provides the backing.

Phil Foster - A Brooklyn Dodgers Fan

In the mid-1950s, longtime comic and actor Phil Foster styled himself as "Brooklyn's Ambassador to the U.S.A." He even did a series of shorts called "Brooklyn Goes to ..." with the destinations being such glamorous locales as Paris and Cleveland. In his amusing 1954 record "A Brooklyn Baseball Fan" he gives some insight into Dodger fandom. Just a few years later (see sheet music above) he was praying to keep Dem Bums in Dat Ebbets Field. It didn't work - they were off to LA in 1957.

Tom Anderson - Love Goes on Like a Ball Game

Billboard review, February 20, 1954

We've already heard a preacher using baseball as a simile; now here's country singer Tom Anderson claiming that his "Love Goes on Like a Ball Game." Anderson only made a few records, but he was a good singer, and his lament here shows that off well. I believe that he and the Deep Valley Boys were from Virginia.

Willie Mays and the Treniers - Say Hey

Willie Mays

A baseball great who was both the subject and the purveyor of a song was centerfielder Willie Mays of the New York (soon to be San Francisco) Giants. Like Joe DiMaggio above, Mays appears at the beginning of the tune, then gives way to the kinetic Treniers. The song is named for Willie's catchphrase "Say Hey." Mays and the arranger of this record, Quincy Jones, both died within the past year. Twins Cliff and Claude Trenier passed away some time ago.

The Voices of Walter Schumann - Shoeless Joe from Hannibal, Mo.

From a staging of Damn Yankees

In Douglas Wallop's 1954 novel The Year the Yankees Lost the Pennant, middle-aged Joe Boyd makes a pact with the Devil to be transformed into young baseball phenom Joe Hardy so that he can save the Washington Senators' season. Wallop's story became a Broadway musical and the subsequent film Damn Yankees. In the staging the Senators welcome the new hero in the number "Shoeless Joe from Hannibal, Mo." here in a spirited version from the Voices of Walter Schumann.

The Voice of Mickey Mantle and Teresa Brewer - I Love Mickey

Teresa Brewer and Mickey Mantle

Teresa Brewer's singing was a strange combination of Kay Starr and Betty Boop. I don't care for her vocalizing, but here she extols my childhood hero, slugger Mickey Mantle of the Yankees, so we just had to include the record. For some reason, Coral billed the Mick as "The Voice of Mickey Mantle," so as to assure us we weren't getting his ear or elbow on the record. The conceit here is that Brewer squeaks "I Love Mickey" and The Voice of Mickey responds, "Mickey who?" It goes on like that for a couple minutes. I'll stick with the Treniers.

That's all for today. But Ernie and I enjoyed doing this so much that, to paraphrase Ernie Banks, "Let's post two!"

Until then, as they say at your local Field of Misbegotten Dreams, "Play ball!"

LINK


04 March 2022

Three Evenings with Fred Astaire, Barrie Chase and Chrysler

Barrie Chase and Fred Astaire
I recently posted General Motors' 50th Anniversary television show, and noted in passing that while I had honored GM and Ford (after a sort; it was an Edsel promo), Chrysler had not yet been in the spotlight. Then reader Jeff M. reminded me that the Chrysler Corp. had sponsored three Fred Astaire specials, in 1958, 1959 and 1960, and had issued promotional LPs for each show.

Fortunately I have those LPs and they are the basis of today's post, which also gives me the opportunity to discuss the auto styling then in vogue at Chrysler.

On each of the programs, Astaire was partnered by dancer Barrie Chase, who is little heard on the LPs. Fortunately, Fred was a singer as well as dancer, or we would have a few hours of background music and guest stars.

Also, as a bonus, to honor one of Astaire's earlier (and most famous) partners, I am posting the singles that Fred and Ginger Rogers issued separately in connection with their 1938 film Carefree. It's on my other blog and features a nifty picture label with Fred's floating head front and center (well, to the left of the spindle hole anyway).

An Evening with Fred Astaire (1958)

The first show in the series was broadcast on October 17, 1958. As did GM, Chrysler chose this fall to show off its newly introduced models. As I mentioned with GM's 1958 models, the cars of the time were becoming ever more bloated. The top of the line 1959 Imperial below resembled a luxurious barge with fins, suitable for emperors and anyone else with the appropriate amount of cash.

The 1959 Imperial
Jonah Jones
The TV show was not nearly so ostentatious. Besides Barrie Chase, the program showcased trumpeter Jonah Jones and David Rose and his orchestra. The dance numbers are backed alternately by Rose and Jones, the latter of whom also gets a solo spot on "St. James Infirmary." Jones' trumpet playing is pure Louis Armstrong, his singing is Armstrong strained through Fats Waller. Jones' group was quite a swinging combo. Nothing original here, but still entertaining. Rose's orchestra and arrangements are enjoyable, too: good thing because we can't see the dance routines.

This is a good time to mention that the program was the first to be captured on video tape and can be seen in color on YouTube. should you want to see what Astaire, Chase and Hermes Pan cooked up. It is well worth watching. Fred was still a supreme dancer, and Chase was one of the best partners he ever had.

It also gives you a chance to see the Chrysler ads that were tastefully left off the LP. They are from another world than today's commercials, with a stentorian announcer leading into a male chorus, a la Mitch Miller's Sing-Along Gang, with a musical run-down on the cars' many attributes.

Fred sings "Change Partners," the superb Irving Berlin song from Carefree (which as noted above can be found in its original commercial release on my other blog), then a medley of his many hits, a feature he would continue through the next two shows.

The critics were ecstatic about the program. Jack Gould of the New York Times proclaimed it "a joy, an hour that will rank among the great contemporary theatre nights in any media." The show went on to win nine Emmy awards, and led to the two encore evenings we discuss next.

Missing the dancing, the LP is not worthy of such elaborate praise, although Jones' and David Rose's contributions are enjoyable. (Rose had a terrific piano player.) Reader Jeff was concerned about the sound quality on this LP, and it did prove to be screechy right out of the sleeve. However, with some adjustments, it and its successors now sound very good.

I do like the cover for this LP, with line drawings and calligraphy reminiscent of the jazz LP designs by David Stone Martin, Andy Warhol and Burt Goldblatt. The designer was Emrich Nicholson.

Another Evening with Fred Astaire (1959)

The first evening was so successful that Chrysler brought back the same team for an encore in 1959, and another promotional LP. They did vary things a bit by adding announcer Ken Nordine, who had issued a few quasi-hipster albums of what he called "Word Jazz." The bit on this show is a standard concept pivoting on the word "baby" and involving that popular cliché of the time, a visit to a beatnik hangout. (Astaire and Hermes Pan had done something similar in Funny Face.) Fred and Barrie Chase make the scene into an amusing dance nonetheless, which you can see on YouTube. Nordine's record company rushed out a single of "My Baby," noting on the label that it was "from the TV spectacular 'Another Evening with Fred Astaire.'"

Prop cover for "That Face"
Also new to the troupe were the excellent Bill Thompson Singers, who added some aural variety to the mix. They back Astaire as he sings and dances to "That Face," written for him by Alan Bergman and Lew Spence. In this, Astaire is inspired by a mock-Vogue cover with Barrie Chase's portrait.

Astaire himself wrote "The Afterbeat" with Johnny Mercer. It took the combined genius of those two distinguished fellows to come up with a piece that sounds just like "The Bunny Hop."

In another number, Chase dances with several swains, only to end up with Fred, who is wearing a mask of Mad magazine's Alfred E. Newman. Some reviewers thought this tasteless.

Jonah Jones and ensemble made a return appearance, accompanying Astaire in a "Night Train" scenario. "Train" is not a great composition, despite its Ellington roots, but Fred and the singers do well with its repetitive riffs.

Fortunately, Astaire left "The Bunny Hop," "Night Train" and Alfred E. Newman behind for a concluding medley of his many vocal hits.

It may have been "Valiant," but it sure wasn't attractive
As with the previous special, Chrysler used the platform to proclaim the merits of its new 1960 models. The best designed was probably the low-priced Plymouth, with its simple lines and swooping tail fins. New that year was the small Valiant, a clumsy looking effort that nonetheless was a preview of Chrysler's new design direction.

The critics were once again complimentary, with several saying that "Another Evening" was superior to the award-winning first "Evening." "Fred Scores Again! Tops 1st Triumph!" was one breathless headline. 

The cover of this second LP was not as striking as the first one, but did give Astaire a chance to show off both his immaculate footwork and his splendid wardrobe.

Astaire Time (1960)


The final edition in this three-year run (there was to be a reprise in 1968) was Astaire Time of 1961.

For this concluding episode, Jonah Jones's small group was replaced by Count Basie's big band, which ovr the years had evolved into a chrome-plated musical limousine such that the Chrysler Corporation never imagined. Basie himself is in exceptional form, and the remarkable band is propelled by his new drummer, Sonny Payne. The crew can be seen on YouTube, with Astaire dancing to "Sweet Georgia Brown."

Count Basie
Basie's vocalist, Joe Williams, is featured in a blues medley, which was his specialty. I think he sang "Everyday I Have the Blues" every time he appeared on TV. That's OK; it never got old.

Astaire and Barrie appear in Cole Porter's "Miss Otis Regrets," a famous if overworked tune. Their routine can be seen on YouTube. Fred later presents Porter's "Thank You So Much, Mrs. Lowsborough-Goodby," a sub-Noel Coward piece that I have never taken to. This is the lead-in to Astaire's third medley.

Chrysler, meanwhile, was introducing its 1961 lineup. The higher-priced lines still had the gigantic tail fins that had been a Chrysler signature for several years. The low-priced Plymouth, however, had tamped down the fins into a sweeping design that was very attractive. The dowdy Valiant soldiered on, this time with a sibling, the similar Dodge Lancer.

1961 Plymouth
As for the reaction to the show, the critics were again battling to see who could be most effusive with the praise. The winner was probably John Crosby, who insisted that, "Not only did it set a high mark for television, but it set a new high mark for everything else ... stage or screen or nightclubs."

As I mentioned, Astaire and Chase were to present one more special, The Fred Astaire Show, in 1968. Musical tastes had changed and in place of Count Basie were the immortal Simon & Garfunkel and the now-forgotten pop-rockers The Gordian Knot. No LP exists for this show, to my knowledge.

Just a reminder that Fred and Ginger can be heard in songs from Carefree on Buster's Swinging Singles.