Tag Archives: NBC Television

“IDOL OF MILLIONS OF POPULAR MUSIC LOVERS THROUGHOUT AMERICA”

Quick, now.

Which person comes to mind when you read “Idol of popular music lovers throughout America”?

Admittedly, the phrase has a certain archaic sound to it.  But even so: Elvis Presley? Bing Crosby? Benny Goodman?  Glenn Miller?

No, it’s EDDIE CONDON!

I’ve been posting about the fabled Eddie Condon Floor Show for some time now.  My friend Rob Rothberg — who has a fabulous collection of what Ebay calls “entertainment memorabilia” — generously sent along copies of what appears below.  Circa 1949, it appears to be a prospectus for the program, an effort to find a sponsor (cash bulging out of corporate pockets) so that the show could stay on the air.  I assume that the booklet was the creation of Ernie Anderson, but I am sure that Phyllis Condon and Paul Smith, her brother, made some contributions; both of them worked for advertising agencies.

Although the Condons had a dog, whose name escapes me as I write this, I find it difficult to envision Eddie or perhaps Joe Bushkin telling everyone how Ken-L-Ration made for bright eyes and a healthy coat.  Or Tide detergent.  But stranger things have happened.  Some jazz fans will remember the radio and television commercials Louis did for Schaefer and Rheingold beers and Fords — why else would I hear his voice ringing out, “You’re ahead in a Ford / All the way!” some forty-five years later?

The prospectus didn’t succeed, but here are pictures and text:

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Condon and Sidney Bechet, of course.

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Looking off (handsomely) to the mysterious East, where the sponsors ride over the mountains in expensive suits:

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You see I didn’t invent this enthusiastic prose.

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That camera makes me think of the NBC peacock — spreading its animated self as a totem of “living color” even when most viewers saw it in black and white.

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I didn’t know that “the proverbial duck” also played tenor guitar, but no matter.

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These photos are more familiar; they surfaced in Hank O’Neal’s EDDIE CONDON’S SCRAPBOOK OF JAZZ, a wonderful book.

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It’s an interesting mix of “jazz” and “popular” — Condon recognized talented musicians, however they might have defined themselves.  I wonder, however, what songs Frankie Carle played when he appeared.

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A cherubic Billy Butterfield, a pleased Joe Bushkin — sixty years ago, when newspapers paid attention to jazz.

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That’s a dramatic art photo — Gene Krupa and Roy Eldridge framed by the bent wood of the chair.  And, to the left is an easel.  Was this the program on which Mischa Reznikoff (husband of photographer Genevieve Naylor) sketched while the musicians improvised?

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Here comes the hard sell . . .

floor13Oh, how I wish this prospectus had appealed to some firm — Proctor and Gamble, say.  Then, instead of watching BONANZA on Sunday nights, we could have seen Cutty Cutshall and Pee Wee Russell.

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I think that Virgil Thompson was praising the Town Hall concert series, but the sentiments remained true.

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The VOA transcriptions might be the source for the audio portions of the Floor Show that survive.

floor16Ernie Caceres to the left, Peanuts Hucko, Bushkin, Butterfield . . .

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Alas, it didn’t work.  But Condon’s career didn’t end when the show did, and he kept playing and organizing bands into the early Seventies, when I got to see him in action — a subject for another post.  Right now, let us remember the time and place when it was possible to have such high art on nationwide television, with or without a sponsor.

MORE ABOUT EDDIE CONDON’S FLOOR SHOW

My posting of Stompy Jones’s memories of watching Eddie Condon’s Floor Show have resulted in some wonderful responses.  One reader of this blog, who didn’t want to be identified, offered the possibly-apocryphal story that has, he said, been circulating for years about the disappearance of the Floor Show kinescopes.  I hope that this lurid tale of criminal behavior  isn’t true and that someone like Mark Cantor stumbles upon a pile of film cans by surprise.  And then someone can find the discs of the Whiteman Old Gold radio programs.

Jim Lowe of the UK reminded me that I had left out Billie Holiday as a charter member of the Show’s cast, as indeed I had.  I also neglected to mention one of the high points — Louis Armstrong reading “The Three Bears,” a unique experience.

Rob Rothberg, whose collection of jazz-related still photographs is a marvel, sent these two along.  I assume (from the quality of their paper) that they come from newspapers of the time or perhaps Variety?condon-floor-show-1Whoever the singer is, and her identity eludes me, she surely isn’t Lee Wiley.  Was that woman even a singer, or was she a pretty secretary, added to the shot?  The people I do recognize are Roy Eldridge and a black-shirted Bobby Hackett, Peanuts Hucko, Condon himself, perhaps Jack Lesberg on bass (in sunglasses to protect himself from the bright studio lights?) and Cutty Cutshall on trombone.  An audio-only “Rose Room” from 1948 pairs Eldridge and Hackett, so perhaps this shot comes from that year.

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Apparently NBC thought that a photograph of Condon and Sidney Bechet, two of the “greatest names in pop music,” might attract Proctor and Gamble or Coca-Cola.  As I recall, the big companies weren’t terribly interested.  Or was it that Condon wanted to play music rather than selling detergent?

Other photographs taken on the set can be found in EDDIE CONDON’S SCRAPBOOK OF JAZZ — Hank O’Neal’s delicious trip through Condon’s photographs, letters, and memorabilia — with Eddie’s hilariously incisive comments.  There’s a tiny shot in that book of perhaps the world’s best jazz trio: Lips Page, James P. Johnson, and Zutty Singleton, the three men all looking foreshortened by the camera angle, even though we know they were giants, like Condon himself.