Keith Moore Mitchell (September 20, 1927, New York City - November 8, 1992, Salem, Oregon), better known as Red Mitchell, was an American jazz double-bassist, composer, lyricist, and poet.
Red was raised in New Jersey by a father who was an engineer and loved music, and a mother who loved poetry. His first instruments were piano, alto saxophone, and clarinet. Although Cornell University awarded an engineering scholarship to Mitchell, by 1947 he was in the US Army playing bass. The next year he was in a jazz trio in New York City.
Mitchell became known for performing and/or recording with Mundell Lowe, Chubby Jackson, Charlie Ventura, Woody Herman, Red Norvo, Gerry Mulligan, and, after joining the West Coast jazz scene in the early 1950s, with Andre Previn, Shelly Manne, Hampton Hawes, Billie Holiday, Ornette Coleman, and others. He also worked as a bassist in the TV and film studios around Los Angeles, occasionally appearing on screen. Mitchell also appeared in documentaries about Tal Farlow, and Zoot Sims.
Saxophonist Harold Land and Mitchell founded and co-led a quintet in the early 1960s. In 1966, Red began tuning his bass in fifths (as the violin, viola, and cello are tuned), and his tuning method opened up many possibilities for bassists.
Mitchell moved to Stockholm in 1968 and he won Swedish Grammy Awards in 1986 and 1991 for his recorded performances as a pianist, bassist, and vocalist, and for his compositions and poetic song lyrics.
Keith Moore Mitchell (20 de septiembre de 1927, ciudad de Nueva York - 8 de noviembre de 1992, Salem, Oregón), más conocido como Red Mitchell, fue un contrabajista, compositor, letrista y poeta de jazz estadounidense.
Red fue criado en Nueva Jersey por un padre que era ingeniero y amaba la música, y una madre que amaba la poesía. Sus primeros instrumentos fueron piano, saxofón alto y clarinete. Aunque la Universidad de Cornell otorgó una beca de ingeniería a Mitchell, en 1947 estaba en el Ejército de los Estados Unidos tocando el bajo. Al año siguiente estuvo en un trío de jazz en la ciudad de Nueva York.
Mitchell se hizo conocido por actuar y / o grabar con Mundell Lowe, Chubby Jackson, Charlie Ventura, Woody Herman, Red Norvo, Gerry Mulligan y, luego de unirse a la escena del jazz de la Costa Oeste a principios de los años cincuenta, con Andre Previn, Shelly Manne, Hampton Hawes, Billie Holiday, Ornette Coleman, y otros. También trabajó como bajista en los estudios de televisión y cine de Los Ángeles, apareciendo ocasionalmente en la pantalla. Mitchell también apareció en documentales sobre Tal Farlow y Zoot Sims.
El saxofonista Harold Land y Mitchell fundaron y lideraron un quinteto a principios de los años sesenta. En 1966, Red comenzó a afinar su bajo en quintos (como el violín, la viola y el violonchelo están afinados), y su método de afinación abrió muchas posibilidades para los bajistas.
Mitchell se mudó a Estocolmo en 1968 y ganó los Premios Grammy de Suecia en 1986 y 1991 por sus actuaciones grabadas como pianista, bajista y vocalista, y por sus composiciones y letras de canciones poéticas.
Rare Earth estaba vinculada con el sello de la Motown que tenía su mismo nombre. Una temprana versión de la banda, se formó en 1961, en la ciudad de Detroit, bajo el nombre de The Sunliners y durante varios años, se movieron en el terreno del soul y blues. En 1967 se refundaron como Rare Earth y extendieron sus influencias al entonces naciente jazz rock (en la contraportada de su primer disco, se reivindicaban como cercanos a Blood, Sweat & Tears).1
La formación de Rare Earth en esta primera época, era la siguiente: Gil Bridges (vocalista, saxo, flauta y percusión), Rod Richards (guitarra y voz), John Persh (bajo y voz), Kenny James (órgano y piano) y Pete Riviera (batería y voz).
En 1970, se incorpora el percusionista Ed Guzmán (congas) y, en 1971, Ray Monette sustituye a Richards en las guitarras y Mark Olson se hace cargo de los teclados, tras la marcha de James.
Nuevos cambios en 1975, incorporando un segundo saxofonista y vocalista, Jerry LaCroix, que había estado en Blood, Sweat & Tears, y haciéndose cargo del bajo y batería, Reggie McBride y Barry Eugene Frost, respectivamente. Más tarde, Rivera retornaría al grupo, en su segunda etapa, sustituyendo a Frost.
Después de su disolución, dos de los miembros fundadores Gil Bridges y Peter Rivera, continuaron en el mundo de la música manteniendo una agria disputa sobre los derechos del nombre de la banda. Hoy en día Gil Bridges lidera una nueva banda con el nombre de Rare Earth, a la que durante un tiempo también estuvo ligado Ray Monette. Por su parte Peter Rivera, en compañía de una serie de músicos provenientes de otras antiguas bandas de rock, lidera una formación denominada The Classic Rock All Stars. https://es.wikipedia.org/wiki/Rare_Earth
/////////
Rare Earth is an American rock band from Detroit, Michigan. According to Louder, "Rare Earth’s music straddles genres and defies categorisation, slipping seamlessly between the two seemingly disparate worlds of classic rock and R&B." The band was signed with Motown's Rare Earth record label. Although not the first white band signed to Motown, Rare Earth was the first big hit-making act signed by Motown that consisted only of white members. (None of the previously signed all-white acts, The Rustix, The Dalton Boys, or The Underdogs, had any hits.)
1960s The group formed in 1960 as The Sunliners and changed its name to Rare Earth in 1968. The band felt the name "Rare Earth" was more in keeping with the names other bands were adopting, such as Iron Butterfly, more "with it."
After recording an unsuccessful debut album, Dream/Answers, on the Verve label in 1968, the group was signed to Motown in 1969. The band was one of the first acts signed to a new Motown imprint that would be dedicated to white rock acts. The record company did not have a name for the new label yet and the band jokingly suggested Motown call the label "Rare Earth". To the band's surprise, Motown decided to do just that.
The main personnel in the group were Gil Bridges, saxophone, flute, vocals; Peter Hoorelbeke (aka Peter Rivera), lead vocals, drums; John Parrish (aka John Persh), bass guitar, trombone, vocals; Rod Richards (born Rod Cox), guitar, vocals; and Kenny James (born Ken Folcik), keyboards. The group's recording style was hard-driving.
In late 1969 Edward "Eddie" Guzman (congas and assorted percussive instruments) was added to the group.
During 1969 the group contributed music to the film Generation that starred David Janssen and Kim Darby. An accompanying soundtrack album was released, but quickly withdrawn after the film failed commercially, with only a small number of copies sold. Several tracks were remixed and included on the next LP, Ecology, in 1970. The soundtrack album was reissued as a limited edition LP for Record Store Day 2020. The issue was pressed on hot pink vinyl and limited to a run of 2,000 copies.
1970s Rare Earth had a number of Top 40 hits in 1970–71, including remakes of The Temptations' "(I Know) I'm Losing You" (which was used in the skateboarding video It's Time) and "Get Ready". Each was more successful than The Temptations original, with "Get Ready" being their biggest hit, peaking at #4 on the US Billboard Hot 100 chart. This disc sold over one million copies and received a gold record awarded by the Recording Industry Association of America. The group gained a bit of notoriety when it was mentioned dismissively in Gil Scott-Heron's 1970 poem, "The Revolution Will Not Be Televised", which included the line, "The theme song [to the revolution] will not be written by Jim Webb, Francis Scott Key, nor sung by Glen Campbell, Tom Jones, Johnny Cash, Engelbert Humperdinck, or the Rare Earth."
In 1971 Richards left due to musical differences, and James, weary of the group's increased touring schedule, also departed. Ray Monette (guitar) and Mark Olson (keyboards, vocals) joined to replace them.
The group's hits from late 1970 to early 1972 were "Born To Wander" (#17), "I Just Want to Celebrate" (#7), and "Hey, Big Brother" (#19). There were no significant hits thereafter. Nevertheless, the band continued to record into the 1990s.
By 1972 Motown had decided to relocate from Detroit to Los Angeles and Rare Earth soon followed suit. Persh, however, decided not to make the move and was succeeded in the band by Mike Urso (Persh later died from a hospital staphylococcal infection on January 27, 1981).
Their 1973 album, Ma, written and produced by Norman Whitfield, is considered one of their best overall works, and features their version of "Hum Along and Dance". Unfortunately, it didn't sell all that well and produced no hits.
Rare Earth was the opening act at California Jam festival in Ontario, California on April 6, 1974. The festival attracted over 250,000 people, and the band appeared alongside 1970s rock groups Black Sabbath; Emerson, Lake & Palmer; Deep Purple; Earth, Wind & Fire; Seals and Crofts; Black Oak Arkansas and Eagles. Portions of the show were broadcast on ABC Television in the U.S., exposing the band to a wider audience.
In 1974 the group began working with Motown producer Frank Wilson on their next project. But in his autobiography, "Born to Wander", Hoorelbeke described his having objections when Wilson okayed a song contributed by Olson without running it by the others first. Hoorelbeke thought the song was not up to the band's usual standards and Wilson ended up being taken off the project.
In July 1974 the group divided. Mike Urso left the group along with Hoorelbeke and they formed a new band, HUB, with Rare Earth's 1970–1972 co-producer, Tom Baird, using the initials of their surnames (Hoorelbeke, Urso and Baird). HUB went on to record two albums for Capitol Records ("HUB" and "Cheata'") but came to a sudden end in November 1975 after Baird was killed in a boating accident.
The others (minus Olson who left to join the backup band for Jennifer Warnes) decided to continue as Rare Earth and brought in new players: Jerry LaCroix (vocals, sax, harmonica, formerly of The Boogie Kings, Edgar Winter's White Trash and Blood, Sweat & Tears), Paul Warren (guitar, backing vocals), Bartholomew ("Frosty") Eugene Smith-Frost (formerly with Sweathog and Lee Michaels, drums), Reggie McBride (ex-Stevie Wonder, bass) and Gabriel Katona (keyboards).
The new lineup recorded Back to Earth in 1975 and went back on the road. However, both Paul Warren and Frosty left during this tour and new drummer Chet McCracken (who would go on to join the Doobie Brothers) was hired to finish out their 1975 tour. The band then recorded Midnight Lady (minus Katona and McCracken), which was released in 1976. Frank Westbrook replaced Katona on keyboards, whilst McCracken was not replaced, instead session musician Ollie Brown handled percussion duties for Midnight Lady. But neither of these releases sold as well as the band had been used to and they soon found themselves bogged down and unable to tour when they brought a lawsuit against former member Hoorelbeke, falsely claiming that he'd tried to make off with the group's name and retirement monies. The lawsuit was eventually settled in Hoorelbeke's favor and he was given a settlement.
In late 1976, a former Motown vice president, Barney Ales, an earlier champion of Rare Earth, returned to the company to head up one of their new offshoot labels, Prodigal Records. He made an offer to the group to reunite with Peter Hoorelbeke. The 1972–74 membership of the band (Hoorelbeke, Bridges, Urso, Olson, Monette and Guzman) were scheduled to record a new album on Prodigal. However, Monette and Olson did not agree to the terms and abstained. Session players Dan Ferguson (guitar) and Ron Fransen (keyboards) were brought in instead to play on Rarearth, which was produced by James Anthony Carmichael (who later had success with The Commodores and Lionel Richie). It was released in 1977 but failed to reach expectations.
Later in 1977, the group reassembled with Chicago-based producer John Ryan (who worked with Styx and others) to begin work on two new albums. This time, Monette and Olson agreed to join in and the results were Band Together and Grand Slam, both released in 1978 and featuring more of a late 1970s disco sound, with the former providing the Bee Gees-penned hit "Warm Ride", which peaked at #39. Other than the one solitary hit, neither album was a big seller and the band soon found themselves without a home. Gap Band bassist Robert Wilson contributed to some of the tracks on Band Together.
In June 1979, Urso left the band again. On his recommendation, and after hearing several bass players, the group recruited bassist Ken Johnston, who joined the group's road tours for two years until June 1981. Johnston had just completed a stint with jazz singer Maxine Weldon and had rejoined Las Vegas comedian/songster Kenny Laursen. He interrupted his tour with Laursen to join Rare Earth in Florida.
1980s and 1990s This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2016) (Learn how and when to remove this template message)
Former Motown writer Dino Fekaris, who'd penned the band's hits "I Just Want to Celebrate" and "Hey Big Brother", was next to step back into the group's life in 1980. He'd just come off back to back successes with Gloria Gaynor and Peaches & Herb and had won a Grammy for Gaynor's huge hit I Will Survive. RCA expressed interest in the band's new project and gave them an advance to go ahead and start recording. The project was originally to be titled King of the Mountain, with the title track slated to be the theme of a 1981 movie of the same name that starred Harry Hamlin. But the movie people passed on the song, and when the record was done, RCA was not happy with Fekaris' production, so they passed as well. This album, retitled Tight & Hot, saw a very limited release in 1982 in Canada only.
By the summer of 1981, Mike Urso had returned to Rare Earth after a two-year absence, but he left again in mid-1983, and has not returned to the band since then. Tim Ellsworth was then brought in as new bassist/vocalist in September 1983. By the tail end of that year, Peter Hoorelbeke was gone from the band as well after disagreements with Gil Bridges. (Hoorelbeke went on to form The Classic Rock All-Stars in 1992.) Drummer Tony Thomas replaced Hoorelbeke on drums. After Hoorelbeke's departure, Ellsworth and Olson took over lead vocals. By that time most of the members of the band had moved back to Detroit, and the group continued to tour playing mostly clubs despite the lack of a recording contract.
Personnel shuffles abounded in the mid-80s. In September 1984 Bob Weaver took over the drum throne and played with the group into 1985. He was temporarily succeeded by Bob Brock, whose professional name was Bobby Rock (not Bob Rock, the famous Hard rock/Heavy metal producer from Canada), but returned only to be replaced by Jerry LeBloch in mid-1985. Also in September of '84, Andy Merrild replaced Tim Ellsworth as bassist until the end of June 1985. Ellsworth then returned and toured with the group until the end of August of '85. The group's road manager, Randy "Bird" Burghdoff, took over as Rare Earth's bassist in September 1985 and has remained in that position ever since. Mark Olson was let go in 1986 after increasing personal and substance abuse troubles. (Olson died on April 14, 1991, at the age of 41, from liver disease.) Rick Warner was then rolled in as the band's new keyboardist and Wayne Baraks, who was brought in in 1987 on rhythm guitar, took over much of the lead vocals as well.
In the late 80s and early 90s the personnel changes slowed down somewhat as things stabilized and the band found itself in demand to play on "oldies" bills with other acts of the 60s and 70s.
Drummer Dean Boucher replaced LeBloch on drums in 1989 and RE signed with the small foreign label Koch International and began work on a new album. The result was Different World (released in February 1993) which was a collection containing a few covers of older songs and new material. It was mostly overlooked by the public and not even issued in the U.S.
On July 29, 1993, the band suffered the loss of another member when long time percussionist Eddie Guzman (age 49) died at his home in Howell, Michigan.
The group kept going, though, and brought in new drummer Floyd Stokes Jr., who also took over for the departing Boucher, and took on lead vocal duties too after guitarist Baraks pulled out of the group in 1994.
Other than Mike Bruner's succeeding Rick Warner in January 1998 and Ivan Greilich's filling in for Ray Monette for five years (2004–2009), the lineup has been stable overall during the last decade or so.
Rare Earth continues to perform at corporate events and on the oldies circuit. Bits from their recordings have been used as samples on recordings as diverse as Beck's "Derelict", UNKLE, and DJ Shadow's "GDMFSOB (feat. Roots Manuva - U.N.K.L.E. uncensored version)", Black Sheep's "Try Counting Sheep", Peanut Butter Wolf's "Tale of Five Cities", Scarface's "Faith", NWA's "Real Niggaz Don't Die" and Eric B. and Rakim's "What's Going On".
2000 and beyond Their hit "I Just Want to Celebrate" has been used in US-wide advertising campaigns by Ford Motor Company, AT&T Corporation, and Nicoderm.
In 2005, Rare Earth was voted into the Michigan Rock and Roll Legends Hall of Fame.
Tha album A Brand New World' was released on CD in 2008 on Rare Earth Music. https://en.wikipedia.org/wiki/Rare_Earth_(band)
Biography by Cub Koda In the 1930s, at the height of the Depression, rural Americans desperate for a laugh tuned in their radios to enjoy the cornball musical antics of the Hoosier Hot Shots. Their odd-sounding blend of a slide whistle and clarinet as the two lead instruments, the solid rhythm of the washboard, and their bizarre song lyrics made them the top novelty act of their day and the true precursor to the latter-day success of Spike Jones & His City Slickers. In the passage of some 50 to 60 years since their heyday and in the current climate of digital samplers, it becomes hard to imagine just how weird this four-piece combo sounded to the average listener. As clarinetist bandleader Gabe Ward put it, "People started to laugh as soon as we started playing. We had a funny sound with the whistle and the clarinet. The way Hezzie played it, it was funny." The Hezzie that Ward refers to was one Paul "Hezzie" Trietsch, the washboard-playing, slide whistle-blowing heart of the group. Ward had met him and his older brother Ken in their teenage years. All three had music in their blood and by the late '20s, they were playing together in an outfit called Ezra Buzzington's Rube Band. Buzzington's outfit worked the vaudeville circuit, its main claim to fame being its huge assortment of freak musical instruments. It was here that the trio stared honing their chops, with Ken becoming equally adept on guitar and banjo, Ward's clarinet style veering from swing to sweet to silly, and Hezzie coming into his own playing washboard, slide whistle, and a wild assortment of whistles, bells, and horns.
They stayed with Buzzington until he disbanded the group in 1929, the three vowing to stay in touch, and playing together in various on and off situations. In 1932, the Trietsch Brothers and Ward -- their stage moniker at the time -- were broadcasting over WOWO in Fort Wayne, IN. Doing a charity broadcast to help Ohio River Valley flood victims, they quickly found and developed their style doing novelty renditions of good-time songs, playing one after another during the course of the radio-thon. They picked up a 15-minute sustaining program on the station for no pay but with the chance to promote their own live appearances over the airwaves. They soon came to even wider prominence via their radio appearances on the National Barn Dance, broadcast over powerful station WLS in Chicago. The show was the first of its type to be broadcast and reach a wide audience, predating the subsequent success of Nashville's Grand Ole Opry and counting a young Gene Autry, Lulubelle & Scotty, and Red Foley among its many stars.
The show became a radio staple, broadcasting every Saturday night across the country for over 35 years. The trio -- under their new name, the Hoosier Hot Shots -- were an immediate hit, considering it an honor to be hooked up with the most prestigious show in country music. But the group just as quickly moved over to a regular guest spot on the Uncle Ezra Pinex Cough Syrup program, and when Uncle Ezra secured a national spot with NBC, he took the Hot Shots with him, and the group's national success was quickly assured.
They started making records around this time, and the Hot Shots couldn't have asked for a more sympathetic producer on their sessions than Art Satherly. Satherly, a distinguished Englishman, was in charge of Columbia Records' (at that time ARC) country and blues A&R division. As Gabe Ward put it, "What Art Satherly wanted on record was out visualness; he was trying to get that through. And he succeeded with us, because we were about the only people who could make people laugh after only four bars of music!" Satherly, for his part, would strip down to his shirt, put a bath towel around his neck, and go into the studio and dance to illustrate the tempo he wanted the Hot Shots to record at. The formula -- with Gabe calling out, "Are you ready, Hezzie?" at the start of each tune -- was a wildly successful one, with the band's records fitting comfortably on jukeboxes around the country in the "novelty dance" category. Among their hits were "I Like Bananas Because They Have No Bones," "The Coat and Pants Do All the Work," and "From the Indies to the Andies in His Undies," exactly the type of tunes that fitted the group like a glove. "We were tops in the novelty field," Ward would later reminisce, "all because of Art Satherly. He had the nerve to put them on the jukeboxes, even though they weren't always the top tunes. We'd do it for Art Satherly, with a beat for the jukeboxes." What Ward also fails to mention, however, is the group's tireless promotion of those records, making in-store appearances at all the Sears and Roebuck outlets nationwide when their 78s started appearing on the company's budget label, Perfect.
By the late '30s the Hot Shots started making movie appearances, debuting with a turn in In Old Monterey in 1939. The success of this and a couple others led the group to give up their sustaining radio spot with Uncle Ezra, relocating to the West Coast after World War II. Signing a movie deal with Columbia Pictures, the Hot Shots would go on to appear in 22 films into the early '50s. With the advent of changing tastes and the rise of television, the boys' star fell into eclipse somewhat, although they found steady work on the Nevada gambling casino circuit. The group soldiered on into the '70s, when Paul "Hezzie" Trietsch's death broke up the original group. Although nowhere near as wild as Spike Jones, nor possessing the "thinking man's hillbillies" personas of Homer & Jethro, it is impossible to think of either of those two acts existing -- much less prospering and finding an audience -- without the groundbreaking efforts of the Hoosier Hot Shots.
///////
Biografía de Cub Koda En los años 30, en el punto álgido de la Depresión, los americanos rurales desesperados por una risa sintonizada en sus radios para disfrutar de las payasadas musicales de los Hoosier Hot Shots. Su extraña mezcla de un silbato de diapositivas y un clarinete como instrumentos principales, el sólido ritmo de la tabla de lavar y las extrañas letras de sus canciones los convirtieron en el acto más novedoso de su época y en el verdadero precursor del éxito de los últimos tiempos de Spike Jones & His City Slickers. En el paso de unos 50 o 60 años desde su apogeo y en el clima actual de los samplers digitales, se hace difícil imaginar lo raro que sonaba este combo de cuatro piezas para el oyente medio. Como dijo el director de la banda de clarinetes Gabe Ward: "La gente empezó a reírse en cuanto empezamos a tocar. Teníamos un sonido divertido con el silbato y el clarinete. La forma en que Hezzie lo tocaba era divertida". El Hezzie al que se refiere Ward era un Paul "Hezzie" Trietsch, el corazón del grupo que tocaba la tabla de lavar y tocaba el silbato de diapositivas. Ward lo había conocido a él y a su hermano mayor Ken en su adolescencia. Los tres llevaban la música en la sangre y a finales de los años 20, tocaban juntos en un grupo llamado Ezra Buzzington's Rube Band. El grupo de Buzzington trabajaba en el circuito de vodevil, y su principal reclamo a la fama era su enorme surtido de instrumentos musicales raros. Fue aquí donde el trío comenzó a afinar sus habilidades, con Ken convirtiéndose en un experto en guitarra y banjo, el estilo de clarinete de Ward cambiando de swing a dulce y a tonto, y Hezzie entrando en el suyo propio tocando la tabla de lavar, el silbato deslizante, y un salvaje surtido de silbatos, campanas y cuernos.
Permanecieron con Buzzington hasta que él disolvió el grupo en 1929, los tres jurando mantenerse en contacto, y tocando juntos en varias situaciones de dentro y fuera. En 1932, los hermanos Trietsch y Ward - su apodo artístico en ese momento - estaban transmitiendo por WOWO en Fort Wayne, IN. Realizando una emisión benéfica para ayudar a las víctimas de las inundaciones del valle del río Ohio, encontraron y desarrollaron rápidamente su estilo haciendo novedosas interpretaciones de canciones para pasar el rato, tocando una tras otra durante el transcurso de la radio-tonificación. Escogieron un programa de 15 minutos de duración en la emisora sin cobrar, pero con la posibilidad de promocionar sus propias apariciones en directo a través de las ondas. Pronto alcanzaron una mayor prominencia a través de sus apariciones en el National Barn Dance, transmitido por la poderosa estación WLS en Chicago. El espectáculo fue el primero de su tipo en ser transmitido y llegar a una amplia audiencia, antes del éxito posterior del Grand Ole Opry de Nashville y contando con un joven Gene Autry, Lulubelle & Scotty, y Red Foley entre sus muchas estrellas.
El programa se convirtió en un elemento básico de la radio, transmitiéndose todos los sábados por la noche en todo el país durante más de 35 años. El trío, bajo su nuevo nombre, los Hoosier Hot Shots, fue un éxito inmediato, considerando un honor estar conectado con el programa más prestigioso de la música country. Pero el grupo también se mudó rápidamente a un lugar de invitado regular en el programa de jarabe para la tos del tío Ezra Pinex, y cuando el tío Ezra se aseguró un lugar nacional en la NBC, se llevó los Hot Shots con él, y el éxito nacional del grupo se aseguró rápidamente.
Empezaron a grabar discos en esta época, y los Hot Shots no podían haber pedido un productor más simpático en sus sesiones que Art Satherly. Satherly, un distinguido inglés, estaba a cargo de la división de country y blues A&R de Columbia Records (en ese momento ARC). Como dijo Gabe Ward, "Lo que Art Satherly quería en la grabación era nuestra visualidad; estaba tratando de conseguir eso. Y tuvo éxito con nosotros, porque éramos los únicos que podíamos hacer reír a la gente después de sólo cuatro compases de música!" Satherly, por su parte, se desnudaba hasta la camisa, se ponía una toalla de baño alrededor del cuello, y entraba en el estudio y bailaba para ilustrar el tempo en el que quería que se grabaran los Hot Shots. La fórmula, con Gabe gritando "¿Estás listo, Hezzie?" al principio de cada canción, fue un gran éxito, con los discos de la banda cabiendo cómodamente en las rocolas de todo el país en la categoría de "baile novedoso". Entre sus éxitos estaban "I Like Bananas Because They Have No Bones", "The Coat and Pants Do All the Work" y "From the Indies to the Andies in His Undies", exactamente el tipo de melodías que encajaban en el grupo como un guante. "Éramos los mejores en el campo de las novedades", recordaría Ward más tarde, "todo gracias a Art Satherly". Tuvo el descaro de ponerlas en las rocolas, aunque no siempre eran las mejores melodías. Lo hacíamos por Art Satherly, con un ritmo para las gramolas." Lo que Ward tampoco menciona, sin embargo, es la incansable promoción del grupo de esos discos, haciendo apariciones en tiendas en todos los puntos de venta de Sears y Roebuck a nivel nacional cuando sus 78 empezaron a aparecer en el sello de presupuesto de la compañía, Perfect.
A finales de los años 30, los Hot Shots empezaron a hacer apariciones en películas, debutando con un giro en In Old Monterey en 1939. El éxito de esta y otras dos llevó al grupo a renunciar a su anuncio de radio de apoyo con el tío Ezra, trasladándose a la costa oeste después de la Segunda Guerra Mundial. Firmando un contrato con Columbia Pictures, los Hot Shots aparecerían en 22 películas a principios de los 50. Con la llegada del cambio de gustos y el auge de la televisión, la estrella de los chicos cayó en un cierto eclipse, aunque encontraron trabajo estable en el circuito de casinos de Nevada. El grupo siguió adelante en los años 70, cuando la muerte de Paul "Hezzie" Trietsch rompió el grupo original. Aunque no son tan salvajes como Spike Jones, ni poseen los personajes de Homer & Jethro, es imposible pensar en ninguno de los dos actos que existen, y mucho menos en prosperar y encontrar un público, sin los esfuerzos pioneros de los Hoosier Hot Shots. https://www.allmusic.com/artist/hoosier-hot-shots-mn0000219445/biography
Biography by Scott Yanow A fine jazz player with a beautiful tone who has spent most of his career in the studios, Urbie Green is highly respected by his fellow trombonists. He started playing when he was 12; was with the big bands of Tommy Reynolds, Bob Strong, and Frankie Carle as a teenager; and worked with Gene Krupa during 1947-1950. Green had a stint with Woody Herman's Third Herd, appeared on some of the famous Buck Clayton jam sessions (1953-1954), and was with Benny Goodman off and on during 1955-1957. He played with Count Basie in 1963, and spent a period in the 1960s fronting the Tommy Dorsey ghost band (1966-1967), but has mostly stuck to studio work. Urbie Green recorded frequently as a leader in the 1950s up to 1963 (for Blue Note, Vanguard, Bethlehem, ABC-Paramount, and dance band-oriented records for RCA and Command). He has appeared much less often in jazz settings since then, but did make two albums for CTI in 1976-1977. https://www.allmusic.com/artist/urbie-green-mn0000300013#biography
///////
Biografía de Scott Yanow Urbie Green, un excelente intérprete de jazz con un tono precioso que ha pasado la mayor parte de su carrera en los estudios, es muy respetado por sus colegas trombonistas. Empezó a tocar a los 12 años, formó parte de las big bands de Tommy Reynolds, Bob Strong y Frankie Carle cuando era adolescente y trabajó con Gene Krupa entre 1947 y 1950. Green formó parte del Third Herd de Woody Herman, participó en algunas de las famosas jam sessions de Buck Clayton (1953-1954) y estuvo con Benny Goodman de forma intermitente entre 1955 y 1957. Tocó con Count Basie en 1963, y en los años sesenta estuvo al frente de la banda fantasma de Tommy Dorsey (1966-1967), pero se ha dedicado sobre todo al trabajo de estudio. Urbie Green grabó con frecuencia como líder en los años 50 hasta 1963 (para Blue Note, Vanguard, Bethlehem, ABC-Paramount, y discos orientados a bandas de baile para RCA y Command). Desde entonces ha aparecido con mucha menos frecuencia en el mundo del jazz, pero grabó dos discos para CTI en 1976-1977. https://www.allmusic.com/artist/urbie-green-mn0000300013#biography
