More Attribution Mysteries

The Whodunnit plot rethickens

Believe it or not, the story continues, and maybe Robert "Missing" Link is indeed the missing link in the evolutionary process of "(That Slippery) Slide Trombone". Robert recently wrote me, saying,

I should have told you that I knew Bill Oler when he was a freshman and I 

was a senior; I assume that he's the reason that Song Fest got into the 

Whiff repertory. Also, a many years friend of mine is Brower McClintock, 

'40, a founding member of O&Bs. If it's in the O&B repertory, I assume that 

Brower got it there.

So the trail has not gone cold. Oler, Brower.... Connections and all part of the evolutionary process.... By the way, Mr. Link was made an honorary Whiffenpoof in 1947, as I said before, but is also an honorary O&B. Connections....

Connections... and another Whodunnit

Another fun whodunnit story surrounds the classic Whiff arrangement, "I'll Take Romance". I engraved this long time favorite many months ago from a manuscript that was marginally readable. Before and after screenshots of a few measures this piece can be found on our home page, Acappellanation.com. Of side interest, this note: there is an error in that screenshot that has since been corrected in the actual engraving.

But I digress, don't I? During some months last Summer after making that engraving, I also engraved another half dozen or so arrangements by the same Whiff arranger, but these from his undergrad years in the Bakers Dozen. This arranger is Lewis Girdler, known for "MacNamara's Band" as well as "When Sunny Gets Blue", among other gems. I wrote about him before as the man I believe introduced the faux string bass line in a cappella singing. This humble genius probably turned the a cappella singing world on it's ear in the late 1950's and opened the door to some of the expression we have seen flourish in our genre ever since. That's another investigation....

I'm still digressing, but it's a story! Well, I attributed the arrangement to him because I could make out his name in the top, right corner where it emerged from a black cloud caused by too many xerox generations. I also recognized the handwriting, but so many of the works I engraved had been recopied by others hands making this evidence less credible. However the style of the arrangement, it's voicings, pace and rhythms all sounded like classic Girdler, so I had no reason to doubt it was his.

Arranged by "Unknown"!

Nonetheless months after I submitted it, our lead editor and musicologist bounced it back to me saying to change the arranger to "Unknown". I looked at the original xerox (interesting combination of words there). Girdler's name was clearly legible at the top and I was baffled. Perhaps the black cloud from which it emerged had said, "copied by", but the rest of the evidence suggested otherwise.

Luckily, I had come to know Mr. Girlder while doing the Bakers Dozen engravings, and I sent him a copy of the copy asking, "What about it?". Yes, he replied, and thanked me for sending the manuscript so he could say for certain. It turns out our lead editor had asked Lewis about 10 years ago at some Whiff function if he'd arranged "Romance" and well, he wasn't sure he had. So rather than take credit for what might be someone else's work, he said, "No." Remember what I said about humble? Besides, Mr. Girlder's contribution to both the Whiff and Bakers Dozen repertoires is vast and this is but one sweet "Romance" that slipped his mind. ;-)

Once Mr. Girdler recognized his own hand writing, we'd solved this whodunnit. Luckily, he's still matriculating along with the rest of us, otherwise this piece might have remained forever "Unknown".

Dick Peaslee's Garden of Earthly Delights on Broadway now!

Quick note before I depart: Dick Peaslee, another Whiff and Bakers Dozen arranger I've mentioned in earlier blogs, has a new musical on Broadway, called "Garden of Earthly Delights". Click on the name to visit the web page about it. The man is a powerhouse. I am currently engraving another bunch of his works from the 50's that he'd saved away in his attic and there are some great songs there! 

 

Bob

The case of (That Slippery) Slide Trombone, continued

"Missing" Link is found and tells all!

Robert Frederick "Missing" Link wrote me back and has relieved me of my position that he is the "missing link" in the case of (That Slippery) Slide Trombone. I hate to see this theory blown, but oh, what fun!

First, Robert made clear he was merely an honorary Whiff. He actually graduated in 1942 but was made an honorary member of the 1947 Whiffenpoofs. I'm sure there's another story there and I won't venture any guesses beyond saying the guys at Yale during the War years didn't pass and become forgotten at the usual rate of 4 years apiece. Robert may never have sung with the Whiffs or he may have done a ton of pick-up singing to fill the ranks - this I don't know yet. He says he probably got the song in his head hearing the '42 Whiffs sing it.

But Robert was the man whose hand wrote the pages of music I described. First he wrote me that he had little if anything to do with Slide Trombone, certainly had not arranged it. He said he might have written it down in 1946 among a group of songs he called "Song Fest" that he and a bunch of guys probably sang together at least once, maybe many times. He said songs like that were floating around being sung and shared. He suggested perhaps the "Silver Dollar Quartet" was the inspiration the arrangement of Slide Trombone.

Well, that seemed like a dead end, but I thought I'd see if my mysterious song cycle happened to be this "Song Fest", so I wrote him back, naming all the songs I mentioned below. Well, he said, if I looked at the piece "Slow Motion Time", "There should be a picture of feet sticking out from a sombrero" on the last page. Indeed, when I brought up the scan and scrolled to the last page, there was his little hombre in the sombrero.

Oh, how I laughed to know something about the source of these charts.

What can be known about anything?

Many years ago, I read "The Perfect Storm" and the author said the thrill of writing that book was creating a story about an event that was not witnessed and about which nothing could be known. But in the process of researching narratives of others in that storm, some kind of knowledge clearly emerged.

Sometimes, you can't know anything about certain things, but every once in a while you can get a glimpse. I just read "Shadow Divers" about one of my schoolmates named John Chatterton who was diving a deep wreck off New Jersey, a vessel that from his first dive, he thought might be a submarine. On one of his first dives, he found a dish and in 200 feet of cold, turbid water and he turned the dish over to find a swastika on the underside. For some long minutes, John was the only person in the world who knew the wreck he was diving was a German U-boat from the big War. A sudden glimpse, and it made him laugh.

So I laughed!

A link was made way into the past, concerning documents I had seen in 1971 and gave me pause. Other SOB compadres have also observed and wondered about these same charts. My thoughts about the genesis and life of these songs, of this manuscript, including where these particular songs went in published records have been shared by everyone who has seen them. And now, for a few moments I know something! They are "Song Fest", recorded in 1946 by Robert "Missing" Link.

And they're definitely part of that whole "oral tradition" thing. As Robert wrote to me, "Sometimes songs arrange themselves in an evolutionary way." He doesn't really know how he knew all the pieces, note for note. Really quite a bit of knowledge there. His explanation: "I osmosed them somehow when I was there."

So who arranged (That Slippery) Slide Trombone? Maybe "WBB" is short for "we'll never know".

Still on the trail,
Bob

How is The Sunshine Girl?

Hey, Sunshine Girl!

What's happening with the Whiffenpoofs of 1973 Sunshine Girl? I promised to get back to you on this and detail some of my experience.

The CD has been on sale now for months and it hasn't hit number one. But the cool thing is, it's selling. Gosh darn it, people like us! I have three vendors (and happily all my royalties are paid): amazon.com, acappella.com and Cutler's Records in New Haven, CT.

What's it like being a record magnate? Same as not being one. We see steady sales at all three locations. Each venue sells a few CDs per month without any real advertising or marketing. The Whiffenpoofs have a cachet, and collectors are always looking for interesting or "lost" recordings. This is an "original recording remastered", so if it didn't exist, it would be pretty much gone from the planet. People like getting something like that.

The CD was lovingly remastered and the result is very fine quality. I've heard some worn records that were remastered without high end filtering that are just barely listenable. This was a pristine LP and was given lots of attention and high end treatment. It's very close to the original quality of the master tapes and certainly more than equal to a pristine LP record. You are not distracted by lots of snaps, crackles and pops. It's quite smooth and clear.

Amazon.com

One thing I learned at Amazon is that it does not really pay to be a Premium Seller unless you're doing high volume. They don't keep any inventory on hand, so you do all the work whether you are a Premium Seller or just another bozo. They send you an email, you print a packing slip, package the goods and mail it to the buyer, all within 2 business days. If Amazon fails to notify you, which happened to me in one case, the buyer will stew for a few weeks and then write a nastygram to Amazon, at which point Amazon will notify you, and the buyer will never believe you were not notified in the first place. Try complaining to Amazon? It's "talk to the hand". There's no one listening.

As a Premium Seller at Amazon, you pay hefty monthly fees for their service. Without this status, you have to renew your selling "site" every 60 days. It's a pain, but well worth it if you're losing money paying their service fees. Otherwise, they deduct your profits from the fees you owe and you gain nothing. Not so sweet. If you make money, they direct deposit it to you. Sweet.

Acappella.com

Acappella.com, on the other hand will keep some small inventory on hand and ship to the buyers. You have to keep track of the sales and resupply them periodically, but there is no ongoing cost. You won't lose money in a month where nothing sells. They pay the postage, do the shipping and send you checks when they sell - sweet! But your record must be good enough for them to include it in their catalog. They listen and if they figure it won't sell, you're toast!

Cutler's Records & Brick and Mortar operations

The brick and mortar operations like Cutler's Records work pretty much the same way. They accept a small inventory, sell it at an agreed upon "split", and you have to check with them periodically to keep them supplied, at which point they pay you for what was sold. Like acappella.com, brick and mortar operations won't waste space unless they think they can sell your product. Luckily, the Whiffenpoofs are a proven commodity and Cutler's is glad to carry us.

CDBaby.com

I read up on CD Baby recently, and they operate much like acappella.com - small inventory, simple profit split, no monthly overhead and lots of happiness for all. CDBaby will carry you no matter what. You pay a small one-time fee and that's all there is to it. Look for Whiffenpoofs Sunshine Girl there soon!

Pay the royalties and licenses to your composers, lyricists, arrangers...

If you want to sell publicly, make sure you pay for all the intellectual property rights you need to be legal. It's really very simple. You go to Harry Fox agency on the web, research every song in their database and declare how many CD's you're making and pay it in advance when you are manufacturing the CDs. Pretty much everyone who wants to be paid is listed there. Rarely they are not listed and you have to track them down and make a private deal. When making the Sunshine Girl CD, I had the opportunity to pay license fees for downloads but did not opt for that. There's a serious profit margin there, but unless you're expecting a feeding frenzy on your music, it's probably more bother than it's worth. Don't take my word for it but you gotta sell to make money, that's for sure!!

For most of us, it's just cool to be selling it and bragging to our spouses and girlfriends. Make sure you stay legal and that you don't lose your shirt for the bragging rights!

Bob

The Whiffenpoof Songbook project: Whodunnit?

To bring you up to date and give the executive summary: we have engraved hundreds of arrangements using Finale to preserve and protect the Whiff's hundred year old tradition. I have engraved something like 70 arrangements from all over the 20th Century.

Many of the originals were in a poor state, copied over by hand several times, and then copied by xerox many times over. By and large, the music was readable but there were times when you really had to squint. Then, many oddities could only be revealed by playback and still more errata found only by superb editing by our music leader, who now sits at piano and plays through every engraving weeding out glosses applied by copyists, errors applied by the engraver and truing up harmonics to match early recordings.

A Musical Whodunnit?

One very interesting problem that came up several times was that of attribution. Sometimes the songs themselves have unknown origins. They may have been Tin Pan Alley songs whose copyrights have lapsed and no information exists about them at ASCAP or Harry Fox. Some of these may have been composed by undergrads, and no one took credit. Some of the arrangers names got lost over the years when manuscripts were copied. These mysteries have proven difficult to solve, especially when songs go back more than 50 years and few folks are around to remember.

One piece I engraved was "Slide Trombone". Whiff records have the composer as Alstyne and the lyricist as Williams. You will not find this song anywhere on ASCAP or Harry Fox, nor will you find the lyrics posted anywhere. The Internet does not know this song exists! For the arranger, Whiff records show "WBB", which is an abbreviation for "Whiffenpoof Blue Book". It's in the book. Yes, there was an actual "Blue Book" assembled at some point which few people have ever seen and probably no one is allowed to touch. Maybe it's in Salt Lake City and heavily guarded! Anyway, it's in that book and no one knows who arranged it. "WBB" is short for "we don't know".

The Whiff singing society sang, collected songs, stuck them in folders, passed them along and didn't always care very much about history and keeping records. Arrangers noted their work often by just putting their initials on the page. Three letters, nothing more. So now on their 100th anniversary, folks come along to document what this fun-loving bunch of guys did, and knowing stuff like who arranged what is suddenly very important.

The case of (That Slippery) Slide Trombone

So here's my story about Slide Trombone that actually leads to knowing something more about this piece than has been known for probably the last 50 years.

While engraving the SOB songbook, which I noted earlier in this blog included a bunch of songs "stolen" at some point from the Bakers Dozen, there were a number very old manuscripts in a hand that was, well "scary". I had seen these charts years ago when as Pitchpipe, I had the actual SOB songbook in 1971 and 1972. A set of songs including "Slow Motion Time", "Jungle Town", "Deh Wind Blow Ober Mah Shoulder", "George Jones" and "Slide Trombone". I remember the handwriting of these charts vividly, since they gave me a shiver when I looked them over in 1971. Several of these songs ended up in the Yale Songbook, also known as "Songs of Yale".

That songbook as we know it today was assembled by the great Marshall Bartholomew in 1953 but had had many editions published. The first copyright was 1903 and there were copyrights in 1906, 1918, 1934 and 1953. Songs in the 1953 edition had been passed on for many years without attribution. I have some of those in the "Songs of Yale" assembled by C. S. Elliot published in 1870, including earlier versions of songs you can see in the 1953 edition. The songs apparently had a life of their own; they grew, got embellished, updated and probably were just sung in the wider College community in the "oral tradition".

In any case, wondering who arranged the Slippery slide Trombone, I took a look at the ancient manuscript for Slide Trombone that is in the SOB archive. It's clearly very old, and it is sitting among what appear to be a group of songs that were floating around the singing community described above, some of which became part of the Whiffenpoof "Blue Book" and some of which were published in Bartholomew's 1953 edition of "songs of Yale". It's not exactly note for note the same as the one in the "WBB", but it's clearly an ancestor, and a very close one. In a court case on plagiarism, this manuscript would convict.

And this copy has something on it. It's an inscription, mostly unreadable, saying something like "Old song- freely cooked up...", then some unintelligible stuff, and then "by R. F. L.". Like I said before: three letters, nothing more. I am not sure what we really have here, but when I look into the Whiffenpoof records, I find only one singer in the 100 year history of the group with those initials. He is Robert Frederick "Missing" Link who sang 2nd bass with the Whiffs in 1942. The stars are aligning. Did he arrange it? Well, maybe he did or he knows who did, or maybe he was just the guy who transcribed what was being sung around campus. The search for truth and the meaning of life goes on....

More next time on some other finds.

Bob

Blue of a Kind Recording Update

The guys showed up ready to play for the next session. Compared to the second session which produced only 2 keepers, the third session produced 5. For a couple hours of hard work, standing around microphones and trying it again and again, you have to have something to show for the effort.

Speaking from the point of view of music director, sometimes you just gotta apply some tough love! Members of the ensemble have to take responsibility for their music. Too many singers are along for the ride and are pushed and pulled by whatever happens in the next moment. Your ensemble will not rise to the top if your singers don't do their homework.

The list of keepers is lengthening and the dream is in sight. Now as we complete this aspect of the project, we have to begin thinking about all the other assets we need to develop - the CD cover, liner notes, photos and etc. There is still a bit of work ahead! Luckily, we have a great artist and designer in the group who has experience doing CD cover artwork.

Bob

Recording "Blue of a Kind"

I've taken Blue of a Kind into the studio to make our first CD. We've had 2 sessions so far at Chillhouse Studios. It's a marvelous experience working in the studio, one you'll never forget. Working with Eric at Chillhouse is really good because he's got such a great ear. He can mike the group in a way that you can analyze problems and make corrections, and he knows when a take basically works. With a couple of active ribbon mikes at hand, some great condensers and the iso booth, you can really rock.

What have we found out in the process? More than we want to know. We can sing in front of an audience, totally knock them out and give a full hour's entertainment before we wilt, but underneath there are guys improvising, slugging along and basically having a good time but they aren't drinking the same Koolaide the rest of us are. They are showing up for the big game with their shoes untied.

I stacked up songs for the first session that I thought we could nail pretty easily. The first session was quite successful. For the second session, I mixed comfort with some stretch, since I thought the guys would be better adjusted and would show "up ready to play", so we could cut some butter.

Let me say this: we're a medium-sized ensemble. There's room to hide.

It turns out maybe one sixth or one eighth of the group doesn't know their stuff, and now they are getting caught by their fellow singers. What seems to work in concert isn't cutting it when the harsher light of the studio is shone upon them. I'm not talking about the occasional flub - some guys are on a map all their own.

They fall into 2 basic categories. First, the guy has basically learned everything but is occasionally singing a line that is interesting but "off book". Maybe it's one individual in one song and another guy in another song. It might pull off the other singers, depending on the complexity of the song and whether they are near enough to hear. It creates muddiness and noise, but it isn't a total mess because it's so sporadic.

Second category: the guy just has not learned his stuff and is singing pretty much whatever comes to mind, being pushed and pulled freely by whatever else is going on around him, touching here and there on the vocal line he is supposed to present.

The first category is more correctable, and probably does less overall harm since the deviations are musical, creative and episodic. The second category is just like the plague and sucks life out of every performance. It creates an undercurrent of noise that permeates every piece. You can't put a finger on it; it's just always there muddying things up, taking the edge off every effect the arranger intended or what the director is going for. Combine the two, and a very small fraction of the group is heading you directly towards your next "train wreck".

What to do? We're a volunteer group, a bunch of guys who do this for fun. So I repeat, what to do? We are achieving our goals in the field and we want to make a CD to sell that represents us at our finest. So?

It's tough. I have decided to serve everyone notice. They have 7 days to polish 4-5 pieces they should already know by rote. Come the next session, if their compadres don't think they have a song down pretty much solid on the first take, they will ask them to stand down and try on the next song. Maybe sitting in the control room with their songbook open will help. It's ugly, but it might work. Last week we recorded 5 songs and produced maybe two keepers. The glass may be almost half full, but it's no good. Next week, we have to do better. The guys have to show up "mentally hot".

Look forward to a really great CD from these guys. I know they have it in them and Eric will definitely help us bring it out.

Bob

The O's and B's Songbook Restoration Project

Recently I sent off dozens of songs for proofing and vetting to Baker's Dozen arrangers from their founding years. How exciting to begin getting responses from these guys! Lewis Girdler gave me a complete set of corrections. The man remembered every note of every song he arranged more than 50 years ago. Wow!

Dick Peaslee wrote me back and said he's working on it but he's a little backed up with current work. Why? Well, he's a major composer with a full plate. Check him out at http://www.dickpeaslee.com. Herb Payson wrote me that he's on the case, still plays jazz piano every day and fondly remembers his BD days. Pete Sipple is floored to see his work from 50 years ago and is working his way through it all.

What a thrill!! I could not locate some of the BD founders. I tried every means I could, and all I can say is that time may have taken its' toll. I am still trying to contact a few guys. We'll see where it leads.

Meanwhile, I am still engraving the O's and B's music and trying to turn over a few rocks to see what we can find. The Internet is a major asset finding early recordings of these tunes so I can piece together melodies from recordings these arrangers probably listened to. How does a song go? Well, this is how Doris Day sang it....

I've made contact with some Spizzwinks(?) about working through their songbook and I hope to hear more from them. Then there's the Alley Cats and the Duke's Men. Sadly, the Bachelors and the Jesters are gone.

Why can't the best of this music be revived, not as it was done in the past, but interpreted for the modern ear? Some of these songs have been revived by directors who knew how to treat the music for the modern audience. The result has always been stunning. I want to hear this music sung again in the new way, with impeccable voices and creative direction. The best of the best from 1940-1970 in the hands of a great artist.

Would it sum things up? Connect old and new? Create new bonds between young and old? Re-utter the core 20th century music we all love in a powerful way? I want to know.

Bob