CD-1:
1.Introduction By Deems Taylor (5:37)
2.The Farmer Leaves The Hay (4:47)
3.Blue Belle Of Harlem (7:01)
4.Cowbell Serenade (4:32)
5.Quonk (5:48)
6.The Seventh Day (7:15)
7.The Bell Fugue (5:30)
8.St. Louis Blues (14:43)
9.Gay Mood,Peasant Song And Finale Opus 1 (10:16)

CD-2:
1.Cuban Overture (14:24)
2.Talk (10:37)
3.Nursery Ballet (2:33)
4.Bumpy Weather Over Newark (4:28)
5.Suicide Cliff (3:47)
6.Mexican Jumping Bean (4:38)
7.Trylon And Persiphere (13:03)
8.Shadrack (4:06)
9.Nobody Knows The Trouble I've Seen (4:23)
10.Rhapsody In Blue (8:45)

Recorded Live At Carnegie Hall,December 25,1938

Paul Whiteman (leader); 
Jackie Bell, Murray Cohan (flute,piccolo,oboe,alto & baritone sax); 
Vincent Capone (flute,tenor sax); 
George Ford, Harold Feldman (piccolo,oboe,English horn); 
Frank Gallodoro, Art Drelinger (clarinet,bass clarinet,tenor sax); 
Salvator Franzella (clarinet,alto sax); 
Pete Pumiglio, Artie Shaw (clarinet); 
Anton Malay (oboe); 
Nat Reines, Morris Kirchner (bassoon); 
Dave Harris (tenor sax); 
Goldie Goldfield, Bob Cusmano, Bob Axley, Russ Case, Charlie Teagarden (trumpets); 
Jack Teagarden, Vincent Grande, Miff Mole (trombones); 
Norman McPherson (tuba); 
Frank Signorelli, Rosa Linda, Walter Gross, Roy Bargy (piano); 
Art Ryerson (guitar); 
Mike Pingatone (banjo); 
George Wettling (drums); 
Louis Armstrong (vocal); 
Strings Orchestra.

In the 1920s Paul Whiteman was billed as "The King of Jazz," but his brand of concert music only used jazz as an ingredient, not as the main dish. Whiteman often employed major jazz musicians and singers, most notably cornetist Bix Beiderbecke, C-melody saxophonist Frankie Trumbauer, the Dorsey Brothers, Bing Crosby and Mildred Bailey, and he had occasional jazz performances. But his general audience was interested in dance music and his main goal, like that of Stan Kenton 20-years-later, was to create a new form of music that combined the more "civilized" aspects of jazz with classical music. One of Whiteman's most notable performances was in 1924 at Aeolian Hall when his band, with George Gershwin on piano, debuted "Rhapsody in Blue." It was the first of eight Experiment In Modern American Music concerts that he organized over a 14-year-period which were designed to present fresh new third stream pieces along with some of Whiteman's repertoire from the era. Among the pieces that received early performances at these concerts were Bix Beiderbecke's "In a Mist" (which Bix played on piano), Gershwin's Concerto in F, Ferde Grofé's "Metropolis" and "Grand Canyon Suite." The eighth and final concert in this series took place December 25, 1938 and is released for the first time on this double-CD Carnegie Hall Concert. Deems Taylor is the narrator and emcee. His good-natured and often humorous comments are a major asset to the concert. Although most of the music is not jazz, there are exceptions. Artie Shaw, who had become a household name that year, is featured in brilliant form on clarinet throughout a 14-and-1/2-minute blues exploration titled "St. Louis Blues" but often hints at his Concerto for Clarinet which would not debut until 1940. Louis Armstrong sings (but unfortunately plays no trumpet) on the spirituals "Shadrack" and "Nobody Knows the Trouble I've Seen" with the Lynn Murray Singers. And the Raymond Scott Quintette (or at least four members of the popular novelty group including the leader) performs "Bumpy Weather Over Newark," "Suicide Cliff" and "Mexican Jumping Bean."

Otherwise, the music is outside of jazz. Whiteman in his large orchestra had such fine improvisers as trombonists Jack Teagarden and Miff Mole, trumpeter Charlie Teagarden, guitarist Art Ryerson (father of flutist Ali) and drummer George Wettling. But other than Jack Teagarden having a mournful blues solo on "Suicide Cliff" and a few very brief spots on "Blue Belle of Harlem," none of those players are heard from except buried in the huge and dense ensembles. In addition to the pieces mentioned, there are highly arranged works by Duke Ellington ("Blue Belle of Harlem"), Walter Gross, Fred Van Eps, Roy Bargy, Morton Gould, George Gershwin ("Cuban Overture"), Richard Rodgers ("Nursery Ballet"), Ferde Grofé and a few lesser-known composers. Most of the music is fairly colorful and the eighth and final concert concludes with a version of the hit from the first concert in the series, "Rhapsody in Blue." This historic release has enough intriguing music to make it recommended to listeners open to both classical music and swing. ---Scott Yanow, Rovi

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01 Avalon-Just Like a Gypsy 	 
02 Dear Old Southland 	 
03 Oriental Fox Trot 	 
04 Stumbling 	 
05 They Call It Dancing 	 
06 Three O'Clock in the Morning 
07 Sweet One 	 
08 By the Shalimar 
09 Chansonette 	 
10 Linger Awhile 	 
11 No More Worryin' 
12 Valencia[MusicBrainz (recording)] 
13 Soliloquy 	 
14 When Day Is Done 	 
15 S'posin' 	 
16 Laughing Marionette

Paul Whiteman and his Orchestra was the most popular band of the 1920s and represented the apex of jazz to the general public. Over the years, critics and some musicians like Eddie Condon, have not had kind words to say about the band and have tended to represent Whiteman as a bad influence on the music in his attempts to "Make a lady out of Jazz". The title of "The King Of Jazz" which Whiteman was billed as seems somewhat politically incorrect these days, but in the 1920s he dominated the scene and hired the best White hot musicians like Bix Beiderbecke, Frankie Trumbauer, Eddie Lang, Joe Venuti, Jack Teagarden and many more to play in his band. Paul Whiteman greatly enriched American music by commissioning George Gershwin to write Rhapsody In Blue which became his orchestra's signature tune. He also "discovered" Bing Crosby and featured him in Paul Whiteman's Rhythm Boys, and gave the career of Hoagy Carmichael a boost, by recording several of Hoagy's songs early in his career. Jazz singer Mildred Bailey also rose to fame in the orchestra in the 1930s. So, what was it that has led Whiteman's name to be dragged through the mud in the annals of Jazz history? Paul Whiteman being the most popular Jazz band leader of the Jazz Age is blamed for the racism in America that denied African-American musicians the credit that they deserved in the history of Jazz. If there is such a thing as the "King of Jazz" the title belongs to Louis Armstrong, although that may not have been clear to most people in the 1920s. Whiteman is also criticized for not hiring African-American musicians to play in his band, but this argument ignores the commercial realities of the period. Paul Whiteman was clearly not a racist. He commissioned Duke Ellington to write for his modern music series, recorded with Paul Robeson and Billie Holiday, and hired Don Redman as an arranger in the 1930s and was generally held in high regards as a person by musicians both Black and White. The worst that can be leveled at Whiteman was that he was a businessman. His band was wildly successful financially, and quite often his music sounds commercial and sweet, especially when compared to the top African-American Jazz bands of the era. Despite that, Whiteman made some very good Jazz records in the 1920s such as San, Washboard Blues, Mississippi Mud, Whiteman Stomp, Wang Wang Blues and I'm Coming, Virginia. His interest in making symphonic Jazz led the way for generations of Jazz musicians as diverse as Miles Davis, Gil Evans, The Modern Jazz Quartet and Winton Marsalis, who may not directly cite Whiteman as an influence, but have certainly walked down the path that he blazed at points in their careers. --- redhotjazz.com

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1.Alabamy Bound 	12/29/1924 	 
2.California Here I Come 	2/1/1924 
3.Call of the South 	12/29/1924 
4.Doo Wacka Doo 	9/5/1924 
5.Fascinating Rhythm 	12/29/1924 	 
6.Gotta Get A Girl 	12/16/1924 	 
7.Hard Hearted Hannah 	9/2/1924 
8.Home in Pasadena 	2/19/1924 	 
9.I'll See You In My Dreams 	12/19/1924 	 
10.Indian Love Call 	11/17/1924 	 
11.It Had To Be You 	4/8/1924 
12.Lime House Blues 	1/22/1924 
13.Meditation from Thais 	6/12/1924 
14.My Road	 9/15/1924 
15.My Twilight Rose	 9/12/1924 
16.Oh, Lady Be Good! 	12/29/1924 
17.Rhapsody In Blue (1924)	 6/10/1924 
18.Rose-Marie	 9/18/1924 	 
19.San	 6/9/1924 	 
20.Somebody Loves Me 	7/11/1924 
21.Suite of Serenades (acoustic) 	6/11/1924 	 
22.Tell Her in the Springtime 	11/17/1924 	 
23.The Hoo Doo Man	 5/2/1924 	 
24.What'll I Do 		3/18/1924 
25.Where the Dreamy Wabash Flows 	8/13/1924 	 
26.Where the Rainbow Ends 	5/3/1924

1924 marked the final year for acoustically recorded phonograph records and the Victor Talking Machine Company lost no time pursuing electrical recording with the Western Electric Company System that became commercially available in 1925. Meanwhile Victor truly perfected the art of good recording with the old acoustic methods. This collection features the Paul Whiteman Orchestra before and after Paul's concert in 1924 "An Experiment in Modern Music" representing some very fine acoustically recorded performances. The Whiteman Orchestra even with the limits of the recording systems of the time sounded fuller than other bands, and the orchestrations are rich. Within these scores there is a similar pattern of orchestration using cornetist Henry Busse and reed player Ross Gorman that suggests the Bix and Tram pairings after 1927. This was typical of most Whiteman scores that pairs off soloists whether they be brass or reed players.

Also interesting within this group of recordings are many instances of "doo-wacka-doo" in the songs. Whiteman sees to it that his brass sections, his reeds, and if I heard correctly, even his banjoist, Mike Pingatore, utilize this musical idiom, which seemed to exist wildly in 1924. Later 1920's music scores do not resort to it. Even Billy Murray gets a vocal with Whiteman on the appropriately titled "Doo Wacka Doo."

I like San, the acoustic version as a contrast to the electric version made 4 years later with Bix, Tram, and the Dorsey Brothers. In the 1924 session there is some growling cornet work by Henry Busse and some good reed work by Ross Gorman. In the last third of the recording there is something going on that sounds like "razzing." I think it is Willie Hall on the bicycle pump with a kazoo attached. He was great for gimmicks during live performances. You can see an example of his act in the King Of Jazz movie from 1930. The sketch is called "Willie Hall - one of the boys." I think San is a classic piece of Jazz from the Jazz Age.

The Rhapsody in Blue is Gershwin's masterpiece with the acoustic version represented herein. I think it is still a great piece of American Music as are the many songs herein that are represented in the American Songbook. Please give this collection a good listen. If you do not enjoy a good speaker system with your computer listen through headphones. The listening experience is great. ---archive.org

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1. Wedding Of  The Birds
2. Weep No More My Mammy
3. We Just Couldnt  Say Goodbye
4. Weve Got Uor Love – Keep Us Warm
5. What Day Say
6. Whats The Name Of That Song
7. What Willl Do
8, When Buddha Smiles
9. When Day Is Done

The Victor Talking Machine Company began using the Western Electric Hi Fidelity Sound System commercially in early 1925. Paul Whiteman, Victor's premier popular orchestra, began recording with the microphone on May 5, 1925. Herein are 10 representitive recordings from mid 1925 that demonstrate the Whiteman sound in its full "Orthophonic" glory. --- archive.org

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