I agree that Sensation is the "better" side... but not by much, LOL. Yes, these sides are LOUD which is why it's so difficult to find listenable copies that don't blast- it doesn't take many plays on an era- correct gramophone to wear these.
These two sides show just how great the musicians in this orchestra were.
Here's the real meat- although Tommy Dorsey was already present on these sides, this was recorded just
before the even more augmented Whiteman orchestra with Bix, Tram, Venuti, Lang, Jimmy Dorsey, and Adrian Rollini was formed after Whiteman wound up with all the Goldkette guys. BUT- Don Redman of McKinney's Cotton Pickers was the arranger. This was just as Whiteman was beginning what I call his "Sgt. Pepper phase"- he was moving from a mostly "society" sound to real jazz and other experimental music.
It always amazed me how "serious" jazz scholars always poo- poohed Whiteman, not only as a serious jazz musician, but as likely one of THE most important influences on American music overall. Obviously he was well recognized by other jazz musicians at the time- look at who the composers of the "Whiteman Stomp" were. He was like the Godfather, in a way- the path to success went through Whiteman.
But the tradition goes back even further, to the real "Pops" Whiteman- Wilberforce. Wilberforce was a music instructor- and a damn good one. One well kept secret aside from the fact that Paul owed his musical prowess and eye for talent to his dad is that others did too- Jimmie Lunceford was a student, for example. Yet, one sees Paul willfully diminished, Wilberforce forgotten, and Denver never mentioned as being of any importance in jazz history.
Without Whiteman, there would be no Dorseys, no Bix, no Tram, no Venuti/ Lang, no Bill Challis, no Gershwin, no Grofe, no Teagarden, no Crosby, no Hoagy Carmichael, no Ramona Davies... among others. Sure, all were capable and the absence of Whiteman wouldn't have changed that- but it's doubtful that they would have become the household names they did without Whiteman's promotion and advocacy.
One might argue that the Dorseys and Frankie Trumbauer would have made their great OKeh sides anyways, but that's just not true. One of the interesting and mainly forgotten things about Whiteman was that he not only allowed his sidemen to make their own records under their names- he encouraged it and often made the arrangements. The catch was that you had to use other Whiteman personnel in your sessions- not exclusively, but some had to be there. It was an arrangement that gave the world so much fine music... "Bix? Tram? Dorsey? Lang? Who the hell are these guys? What makes them think they can sell records? Nobody knows who they are! Nobody will buy this awful crap anyways!" likely would have been on the gravestone of jazz without Whiteman. When Whiteman spoke, record guys listened.
OK, I'm off my soap box now.
Dan, as always, your transfer of these sides just rocks.
Are you related to the Sooys, by chance?
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