Duane Keilstrup Broadcast Archives
April 2018

Philco Radio Click to hear the Program of 4-1-18

This Week's Classics & Curios Show:

"Echoes of Songs and Laughter"

Episode 250

CLASSICS & CURIOS EASTER SPECIAL (ENCORE)

It's a time of joy as we again celebrate our risen Lord on this CLASSICS & CURIOS Easter Special. So, first, "Turn Your Radio On" and get in touch with God with the Gaither Homecoming Friends; then get your Easter bonnet on for the "Easter Parade" with the Lewis Family; and after that attend the 1933 Broadway Revue "As Thousands Cheer;" and, finally, hear the first performance of Irving Berlin's "Easter Parade," which Berlin first composed in 1917 as "Smile, and Show Your Dimple."

Andy Griffith sings "I Love to Tell the Story of Jesus and His Love" and the Gaither Vocal Band performs the rousing "Let Freedom Ring." Our joyful celebration comes to a crescendo with Don Francisco's moving "He's Alive."

As Don Francisco sings and as the Bible tells us, Jesus is indeed alive today, and we cannot achieve heaven by what we accomplish. But through Christ's sacrificial death on the cross He makes it possible for us to receive forgiveness for having turned from God since He first created mankind and gave us freedom of choice.. Through Christ’s resurrection He gives blessed hope and eternal life at the very moment people accept His saving sacrifice and choose to receive Him into their hearts. And that is what Andy Griffith affirms as he sings, "I know 'tis true" and why Christians around the world celebrate Easter Sunday with joy and reverence.

Christians like Andy "love to tell the story of Jesus and His love," -- just as Swiss theologian Karl Barth and Christian scholar Francis Schaeffer loved to summarize the core of Christian faith in the wonderful words of the hymn, "Jesus Loves Me [This I Know For the Bible Tells Me So]."

In parts of Eastern Europe over the centuries the standard greeting of "Good Day" was insufficient for believers at Easter, so they would instead exclaim, "He is risen!" It's in that spirit that we celebrate Easter in this episode.

****************************************************************** Some of the above Easter comments are paraphrased from THE CHRISTIAN PROFESSOR IN THE SECULAR UNIVERSITY: SINGING & SOARING ON PATHS OF JOY, pp. 151-152, Xulon Press, Amazon, & Kindle by Duane Keilstrup. Among Easter references also often cited by Barth and Schaefer see especially New Testament passages: Ephesians 2:8-10, John 3:16, Romans 3:23, John 5:24, Hebrews 9:14, and Revelations 3:20>

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Philco Radio Click to hear the Program of 4-8-18

This Week's Classics & Curios Show:

"Echoes of Songs and Laughter"

Episode 293

MORE FABULOUS DORSEYS — A TRIPLE-HEADER

On this triple-header Episode of The Fabulous Dorseys series, which aired on Wednesdays on NBC in the 1950’s, we begin again down in Dixie in Memphis to hear a remote from the Balinese Room of the Hotel Claridge. Tommy continued to front the band, and Jimmy was prominently featured on sax.

Among the new songs and a few repeated tunes, the performance of an extended version of the classic “When the Saints Go Marching In” stands out on this Classics & Curios Episode. And the Tommy Dorsey Jazz Band has probably never been better on this first show on the bill as we also are treated to Jimmy Dorsey and his saxophone on “Perfidia.” The band does a fine version of “For Sentimental Reasons” as does Lynn Roberts on “Sentimental Baby” and John Amoroso on “No Other Love.”

As the band returns to the Statler Hotel in New York another Dorseys show reprises “Muskrat Ramble” and includes a solid performance of “Yes, Indeed” with Lynn Roberts. Tommy displays the band’s gentle ballad touch on “Ebb Tide” and “Yesterday” and also pays homage to Jackie Gleason with his theme “Melancholy Serenade.”

Gleason, of course, featured, produced, and promoted the Dorseys, first, as his summer replacement in 1954. Then Jackie brought the Dorseys’ “Stage Show” back in the fall of 1955 as a half-hour show and scheduled it in the time slot prior to The Honeymooners on Saturday nights. In 1956, Bobby Darin made his national TV debut on the program, singing "Rock Island Line.” Also, incredibly, in 1956 the Dorseys and their big band featured the first national television appearance by rock legend Elvis Presley — even before Ed Sullivan and Steve Allen. (Wikipedia online)

Finally, the third Dorseys show reprises more show favorites and also highlights beautiful versions of “Autumn in New York” and “Blue Love.” Gordon Polk does his usual novelty style on “On the Sunny Side of the Street,” and “Rampart Street Parade” marches the show to its conclusion New Orleans style.

Tommy and Jimmy died six months apart in 1956 and 1957. (For much detail on the Dorseys see THE BIG BANDS by George T. Simon, esp. pp. 159-177.)

All three of these shows are available for purchase in Jerry Haendiges' Productions Collection.

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Philco Radio Click to hear the Program of 4-15-18
New programs added every Sunday

This Week's Classics & Curios Show:

"Echoes of Songs and Laughter"

Episode 294

ENCORE: A WORLD OF JAZZ (FEATURING HELEN FORREST) & HERE COME THE BIG BANDS AGAIN (FEATURING HARRY, BENNY, JIMMY DORSEY, THE COUNT, GLENN MILLER, & LES BROWN)

ENCORE: A WORLD OF JAZZ (FEATURING HELEN FORREST) & HERE COME THE BIG BANDS AGAIN (FEATURING HARRY, BENNY, JIMMY DORSEY, THE COUNT, GLENN MILLER, & LES BROWN)

Here, again, is my first show selection from “The World of Jazz”radio series hosted by John S. Wilson, widely respected 20th century New York Times critic. This show is followed by my first selection from “Here Come the Big Bands Again,” an ABC radio program featuring big bands from 1935-1945 and beyond hosted by Tedd Lawrence.

Big band vocalist Helen Forrest is the featured performer on this show selection from “The World of Jazz.” While Helen was not known as a jazz artist, few female jazz singers could surpass her ability to caress songs with her gentle phrasing and ability to hit the perfect notes to bring out the intent of composers and lyricists. She was in fact the only female singer to sing successfully with the three top swing bands: Artie, Benny, and Harry, so Wilson chooses songs that she recorded with those bands and also one she recorded later with Tommy Dorsey’s band under the direction of Sam Donahue. Songs include “I Have Eyes,” “It’s All Yours,” “I Didn’t Know What Time It Was,” “Perfidia,” “I’ve Heard That Song Before,” “It’s Been a Long Long Time,” and “My Melancholy Baby.”

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Then Tedd Lawrence with his “Here Come the Big Bands Again” program on ABC takes the stage to showcase more of Harry James and Benny Goodman, as well as Jimmy Dorsey, Count Basie, Glenn Miller, and Les Brown. Featured are Harry’s “Crazy Rhythm,” Benny’s “King Porter Stomp,” Jimmy’s “Just Swingin’,” Basie’s “Jumpin’ at the Woodside,” Glenn Miller's “Dipper Mouth Blues,” and Les Brown’s “Lover’s Leap.”

The “World of Jazz” and “Here Come the Big Bands Again” provide some of the finest big band performances ever recorded, and we are indebted to Jerry Haendiges for discovering, restoring, and remastering these two series of radio programs to add to his vast collection and our enjoyment. So young and old big band fans can enjoy the best orchestral sounds anew — kind of like the sheer delight that fills our senses as we view vast fields of newly blossoming Texas bluebonnetts as they paint glowing landscapes with the advent of each new spring. . .

Philco Radio Click to hear the Program of 4-22-18

This Week's Classics & Curios Show:

"Echoes of Songs and Laughter"

Episode 295

TWO "WORLD OF JAZZ" SHOWS: BOB CROSBY'S BIG BAND AND THE BOBCATS (WITH GUEST BING CROSBY)

Here’s an encore of two "World of Jazz" selections featuring Bob Crosby and, “the band that cared to be different.” While other big bands performed in the predominant new swing style led by Benny Goodman, the Bob Crosby big band “cared to be different” by reviving what had become the “ancient” New Orleans Jazz Style. While Bob was singing with the Jimmy Dorsey orchestra, Ben Pollack quit his band in New York City, and the senior members led by Gil Rodan, the guiding force behind the band, eventually called on Bob to act as affable front man and vocalist.

Bob was a perfect fit, a capable singer, humble, and willing to yield the limelight to members of the band who respected and admired him. The orchestra soon proved that even big bands could appropriately perform New Orleans style jazz, and the band helped demonstrate that traditional non-jazz tunes could be done in New Orleans style, such as “The Old Spinning Wheel” and Rudy Vallee’s hit song in 1937 “Vieni, Vieni, Vieni.” But the band’s breakthrough recording came in April of 1936 with “Dixieland Shuffle” followed by “Come Back, Sweet Pappa” and “At the Jazz Band Ball.”

The band also turned to other styles, such as to swing versions of Gospel songs like “I’m Praying Humble” in 1938, following the lead of the Golden Gate Quartet, and also in 1938 the group performed the first big band version of a boogie woogie tune, “Yancy Special.” Bob Haggert’s and Ray Bauduc’s hit recording of their “South Rampart Street Parade” was done as an ensemble piece featuring Ray Bauduc, Haggart, and Bob Chester. Appearances at the Blackhawk Restaurant in Chicago and on radio’s Camel Caravan led to movie engagements, including playing on the soundtrack of the 1942 movie “Holiday Inn,” in which brother Bing introduced “White Christmas.”

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The second "World of Jazz" selection is devoted to the Bob Crosby band within a band, namely, the famous eight-man Combo called the BobCats.

Drummer Ray Bauduc and bassist Bob Haggert combined their unique and extraordinary talents to perform a duet on a tune that was actually simply the result of jamming by the two men improvising on their instruments while performing at the Blackhawk Restaurant. It’s perhaps my and my wife’s all time favorite jazz recording, “Big Noise from Winnetka.” Host and jazz critic John Wilson brings details in this World of Jazz show, including how the tune got its name and how Bob Haggert performed the whistling for the tune.

Other great pieces by the great BobCats include the blues tune “Five Point Blues,” Bob Zurke’s “Big Foot Jump,” “I Hear Ya Talkin’,” “Hindustan” with Billy Butterfield, and solos by vocalist Marion Mann, including “Sigh No More Ladies,” adapted from Shakespeare’s Much Ado About Nothing. Perhaps the piece de resistance, at least for me, is “Walkin’ the Floor Over You” with the last of the original BobCats in 1942. Making this recording of special interest is the guest jazz vocalist for the Bob Crosby Combo: Bing Crosby.

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Philco Radio Click to hear the Program of 4-29-18

This Week's Classics & Curios Show:

"Echoes of Songs and Laughter"

Episode 296

“THIS IS YOUR LIFE,” CHARLIE McCARTHY

Here is the NBC radio version of Ralph Edwards’ “This Is Your Life,” and this time the featured guest is Charlie McCarthy with his pal Edgar Bergen. Ralph comments that Edgar’s daughter Candace is now four years old which would place the program in 1950. Charlie’s “Life” spans two “This Is Your Life” thirty-minute shows, both available for purchase in Jerry Haendiges’ Productions Collection online.

The program traces the “birth” of Charlie from drawings that Edgar made while in school to his physical creation in 1919. Guests from Charlie’s “life” include Maureen O’ Sullivan, Ken Murray, Dorothy Lamour, William Boyd as Hopalong Cassidy, and Cary Grant, who talks of offering to manage Charlie’s career in 1936.

As Charlie’s amusing impudence, cleverness, and wit developed, he became ever more successful, and on the show he pokes fun at Bergen, saying that he could never get an acting job without Charlie after appearing in the film “I Remember Mama.”

A highlight in the first program is a recording of W.C. Fields whose jibes at Charlie were hilarious as were Charlie’s responses. In the second program Rudy Vallee comes on to play a segment from his radio show from December 17, 1936, on which Rudy introduces Charlie and Edgar after which they became regulars. Rudy explains why he chose to have a ventriloquist on the show emphasizing how Charlie’s words and personality command audience’s focus and not Edgar’s lips. Begen was known as the Noel Coward and Fred Allen of ventriloquists and more than "holds his own" with Charlie as they exchange comments with Ralph Edwards. I suspect Charlie could hardly refrain from commenting on Philip Morris’s “nose tests” on commercials.

At the conclusion Ralph presents several gifts to Charlie, such as a Bell and Howell camera, but all in all, Charlie would prefer a banana split, thank you!

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