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I probably should not have made a video of this record. The more I heard it as I was processing the transfer and the video the more I disliked what I was hearing.

Is it just me, or is Harry Rederman's trombone playing really terrible on this record? His tone is ugly, his improvisation skills seems to be a bit lacking, and his sense of rhythm is so bad I thought the record had skipped a couple of times. I even transferred it a second time because I thought there was a glitch in the transfer. But no, just akward entrances by the trombone over the orchestra.

In any case, here it is. Let me know if you think I am crazy

“Yellow Dog Blues” by Joseph C. Smith's Orchestra 1919

Featuring Harry Rederman and his Laughing Trombone

(Double-click the video above or click this link to watch the video on YouTube in HD.)

https://youtu.be/6hpOUHkgWBY

Oh, this has always been a fave of mine. I have the Victor 78 too.

The "Laughing Trombone" of Harry Raderman is my favorite part. It's off-kilter-ness is part of the fun.

melvind wrote: Is it just me, or is Harry Raderman's trombone playing really terrible on this record? His tone is ugly, his improvisation skills seems to be a bit lacking, and his sense of rhythm is so bad I thought the record had skipped a couple of times. I even transferred it a second time because I thought there was a glitch in the transfer. But no, just akward entrances by the trombone over the orchestra.

In any case, here it is. Let me know if you think I am crazy

Raderman (note that it's spelled "Rederman" on the label) is exploiting the glissando as a gimmick. His playing is quite accurate, both as to rhythm and pitch, and the glissandos are well placed and effective. There's little or no improvisation here; all of the effects are worked out in advance. The tone is quite typical trombone tone for its day, in fact it's more refined than some. If you've ever heard any Arthur Pryor recordings, you'll know what I mean. It wasn't until the '30s that trombone style began to sound more lyrical, "smoother," evolving toward the quality of Tommy Dorsey, who is the ultimate example of the effortless, singing style. TD was an acknowledged influence on the young Frank Sinatra, who sang in TD's band.

I was trained as a classical, symphonic trombonist, and my teacher at the Eastman School, the legendary Emory Remington, was a big admirer of Tommy Dorsey's' playing, especially his smooth, liquid legato style. While it's probably not a valid comparison between a novelty number like this Raderman/Rederman thing, and TD's "Marie" and "Getting' Sentimental Over You" (his theme song), yet is does show the change in taste over the decades.

Henry wrote: Raderman (note that it's spelled "Rederman" on the label) is exploiting the glissando as a gimmick. His playing is quite accurate, both as to rhythm and pitch, and the glissandos are well placed and effective. There's little or no improvisation here; all of the effects are worked out in advance. The tone is quite typical trombone tone for its day, in fact it's more refined than some. If you've ever heard any Arthur Pryor recordings, you'll know what I mean. It wasn't until the '30s that trombone style began to sound more lyrical, "smoother," evolving toward the quality of Tommy Dorsey, who is the ultimate example of the effortless, singing style. TD was an acknowledged influence on the young Frank Sinatra, who sang in TD's band.

Perhaps his playing is OK for the times. You know much more about trombone playing that I do. I have my degree in classical piano and voice so perhaps not the best judge of something like this recording. However, as to rhythm, check out the video at about 1:53 or so. Just plain sloppy and really bad coordination with the band. He does this 2 or 3 times during the recording which makes me doubt his musicianship. But, I guess still a fun song for the laughing glissandos. And, I guess that's why they made the record. It was intended to be fun.

Thanks for pointing out the spelling of Rederman. I have found that sources on the web spell it both ways. Sometimes in the same paragraph. But, I did edit the text for the video to match the record label. It's too late for the name in the video itself. I don't see any reason to fix it and upload a new video.

melvind wrote:However, as to rhythm, check out the video at about 1:53 or so. Just plain sloppy and really bad coordination with the band. He does this 2 or 3 times during the recording which makes me doubt his musicianship.

Those are just syncopated rhythms. Sounds tricky, but no sloppiness there; in fact, it fits together quite accurately.

Henry wrote:

melvind wrote:However, as to rhythm, check out the video at about 1:53 or so. Just plain sloppy and really bad coordination with the band. He does this 2 or 3 times during the recording which makes me doubt his musicianship.

Those are just syncopated rhythms. Sounds tricky, but no sloppiness there; in fact, it fits together quite accurately.

We will have to agree to disagree

Agree with syncopation.

Interesting presentation here. The record that is this thread subject gets a little overview at about the 37.00 mark.

(Double-click the video above or click this link to go to the video on YouTube.)

I agree with the "nightmarish treatment" comment!

Well you guys made me go dig out my copy of this record and analysis it. I'm not a big fan of the song. That is an opinion of non music expert that was born in the late 1980s (raised with mostly bad "hit" music).

So to sum up: the song is not good, but better than a Taylor Swift song