Compared with the abilities of - "today's musicians": A very "snappy" rendition of this "all-time-classic"! Yes, it's all common, that the Alex-Mendham-Orchestra gives us a lot of finest tunes of the "Golden Era" and nowadays a lot of pleasure, but especially in this version the drummer is remarkable in the stylish und correct using of the bass-drum (in those days an essential aspect to all dance-bands, but today often underrated...unfortunately). But here: Yeah! Please, Alex, go on and your band too. Gratulations: from a real dance-band-fan in the capital of Germany - Berlin!
The recording techniques of the late 20s and 1930s don’t seem to capture the drums very well at all. Cymbals usually cut through, but the bass drum is invariably inaudible. The big advantage of listening to live orchestras like this, even if recorded by modern techniques, is we can finally hear what they would have sounded like in the 30s - those drums were not for show!
@@SAHBfan One have to mention: that the recording abilities, you'd pointed out, of late '20ths to early '30ths, created a "trend" within the recording engineers: They were afraid to spoil the wax-work, especially by the bass-drum-playing, 'cause it cut such bigger waves in the wax, so that it became a "recording-studios' nightmare": that the grooves would went out of their way or hit each other. The result was, that mostly the studios prefer snare drums and cymbals. But the ciritics of those days (for example Edgar Jackson, of British "Melody Maker", also active with reviews in "The Grammophon") wrote often reviews with crititicism about a lack in bass-drum-playing. So soon engineers then managed the problem; and around 1930/'31, they really got some fine results by using the bass-drum in studios. For example in the then "His-Masters-Voice"-recordings by Bert Ambrose and his Band. The reviews in "The Grammophon" pointed out this great advantage in body and style of the whole music. One have to sum up: the abilities of the recordings were quite higher - than the encouragement and experiences by the studio-staffs. A lot of technique was almost really new and one had to deal with the expensive method of "try-and-error"! About all those things I had fortunately the chance to talk about with some veteran musicians in Germany. They were busy in Berlin's Jazz- and Danceband-Scene in 1920ths to 40ths. Yes, and they told me the same thing: The microphones had more abilities, but a lot of engineers in the recording-industry didn't get it. And often they were too shy, careful and conservative. Yes, sometimes (so in good old Berlin) they even hadn't an ear for those then modern "rhythms" and the whole "Dance-Band-Music", but only for classical music by legitimate musicians (means: symphonies, chamber music etc.).
These chaps(and girls) are the best!!!
WONDERFUL!! This performance makes my whole being smile...bigly!! And, my feet move to the rhythm. Love this! Thanks to all the musicians!😁🎶💕
Looks like the front row of the audience remember this song when it was new.
i want this to get passed to future generations
I cannot stop smiling. Wonderful!
they have movement!joe overby atlanta ga
Very good, I love this!
Great stuff!
I can only imagine the memories those two old-timers, in the front, are having.
Compared with the abilities of - "today's musicians": A very "snappy" rendition of this "all-time-classic"! Yes, it's all common, that the Alex-Mendham-Orchestra gives us a lot of finest tunes of the "Golden Era" and nowadays a lot of pleasure, but especially in this version the drummer is remarkable in the stylish und correct using of the bass-drum (in those days an essential aspect to all dance-bands, but today often underrated...unfortunately). But here: Yeah! Please, Alex, go on and your band too. Gratulations: from a real dance-band-fan in the capital of Germany - Berlin!
Nick certainly does a great job on the skins!
The recording techniques of the late 20s and 1930s don’t seem to capture the drums very well at all. Cymbals usually cut through, but the bass drum is invariably inaudible. The big advantage of listening to live orchestras like this, even if recorded by modern techniques, is we can finally hear what they would have sounded like in the 30s - those drums were not for show!
@@SAHBfan One have to mention: that the recording abilities, you'd pointed out, of late '20ths to early '30ths, created a "trend" within the recording engineers: They were afraid to spoil the wax-work, especially by the bass-drum-playing, 'cause it cut such bigger waves in the wax, so that it became a "recording-studios' nightmare": that the grooves would went out of their way or hit each other.
The result was, that mostly the studios prefer snare drums and cymbals. But the ciritics of those days (for example Edgar Jackson, of British "Melody Maker", also active with reviews in "The Grammophon") wrote often reviews with crititicism about a lack in bass-drum-playing. So soon engineers then managed the problem; and around 1930/'31, they really got some fine results by using the bass-drum in studios. For example in the then "His-Masters-Voice"-recordings by Bert Ambrose and his Band. The reviews in "The Grammophon" pointed out this great advantage in body and style of the whole music.
One have to sum up: the abilities of the recordings were quite higher - than the encouragement and experiences by the studio-staffs. A lot of technique was almost really new and one had to deal with the expensive method of "try-and-error"!
About all those things I had fortunately the chance to talk about with some veteran musicians in Germany. They were busy in Berlin's Jazz- and Danceband-Scene in 1920ths to 40ths. Yes, and they told me the same thing: The microphones had more abilities, but a lot of engineers in the recording-industry didn't get it. And often they were too shy, careful and conservative. Yes, sometimes (so in good old Berlin) they even hadn't an ear for those then modern "rhythms" and the whole "Dance-Band-Music", but only for classical music by legitimate musicians (means: symphonies, chamber music etc.).
lots of movement!joe overby artlanta ga
Marvellous. Food for the soul.
Love it! (Brian Towers)
just wonderful!!!!!! Who is the arranger's name please . Thanks a lot
Has Alex got happy feet 👣 he sounds in pain. What do you think Dunlop Sisters
Not bad, but you can still learn from the Royal Society Jazz Orchestra.
Very good, except that live recordings of big bands are rarely as good as studio ones.