Eddie Lang
STUDIO CHATTER
December 5, 1932
The commentary on December 5, 1932, has been updated since its initial publication in 2002 when it first appeared in the booklet for The Classic Columbia and OKeh Joe Venuti and Eddie Lang Sessions box set. Produced by Mosaic Records, the collection brought together a goldmine of Venuti & Lang material, lovingly remastered (mostly from the original metal parts), thoroughly researched and annotated, and beautifully packaged. A monumental work for Venuti, Lang, and Jazz Age fans, Mosaic Records has continued to produce quality collections for over forty years, a testament to their extraordinary work ethic and love of the music—many thanks to Michael Cuscuna, Charlie Lourie, Fred Pustay, and Scott Wenzel. For more Mosaic Records, visit mosaicrecords.com. (2023mp)
1932, December 5 (Mon): Brunswick Records RECORDING SESSION, 1776 Broadway (Broadway @ 57th Street), NYC. (1)
“Colonel” Martin (Moe “The Gimp”) Snyder, Ruth Etting, Victor Young (conductor, arranger), Eddie Lang (guitar), Joe Venuti (violin), Dave Kapp (Brunswick Records A&R man), unknown trumpet, clarinet, piano, bass, studio engineer.
Before tape or larger wax sources (offering more extended storage space), recording in the 1920s and early 1930s was a quick and clean process. If there were issues with a performance (mistakes or anything extraneous to the recording), it was scrapped. Fortunately, a number of alternate takes and/or unreleased music from sessions have survived. There are also test grooves (found along the rim of a metal part) that, every once in a while, contain a few brief seconds of studio activity (of various content & quality).
What if there were a recording from the early 1930s that lasted not seconds but minutes, capturing the goings on in a studio before a recording session, the things we rarely think about when listening to a record: microphone adjustments, the placement of musicians, discussion about the music, tuning up, and general conversation(s). Well, children, such a recording exists, and on it are the voices of some of the notable music makers of the Jazz Age.
Our source for this rare piece of audio is a test record made just before a December 1932 Ruth Etting recording session for Brunswick Records (two titles were scheduled to be recorded: TAKE ME IN YOUR ARMS & SOMEDAY WE’LL MEET AGAIN). Thanks to Mosaic Records, this previously unissued disc takes us inside the recording studio, where we hear what transpired for nearly four minutes before the red light went on and Victor Young gave the downbeat. The audio is a revelation. We can now place voices (and personalities) with names. Eddie Lang, “America’s Radio Sweetheart” Ruth Etting, Victor Young, Etting’s husband and manager, “Colonel” Martin (Moe “The Gimp”) Snyder, Brunswick Records A&R man Dave Kapp, and Joe Venuti all come to life via this disc.
There are two known instances where you can hear Lang’s voice, and they both involve Ruth Etting; this test record and a March 1932 Vitaphone short starring Etting titled “A Regular Trouper” where upon entering the singers train compartment, Lang (with guitar in hand) can be heard in fine voice gently saying, “Hello Ruth.” Contrary to belief, Eddie has no speaking role in the 1932 Paramount Picture, The Big Broadcast.
Some clarification is necessary to place events in perspective.
After having finished filming The Big Broadcast, appearing on radio and in theatres on the West Coast, Bing Crosby, Eddie Lang, and Lennie Hayton returned to NYC in October. At the time of this session, the trio had just finished a week in Lang's hometown of Philadelphia (Friday, Nov 25-Thursday, December 1), appearing at the top of the bill at the Carman Theatre. (5)
Eddie Lang, The Big Broadcast, July-August, 1932
Carman Theatre appearance ad, Nov 25-Dec 1, 1932
Back in New York, they opened the next day, headlining at the Capitol Theatre (Friday, December 2- Thursday, December 8). Bob Hope was also on the bill.
Capitol Theatre ad, December 1932
At the same time, Crosby's recordings of PLEASE and BROTHER, CAN YOU SPARE A DIME were the best-selling records in the nation. (4)
Having returned to NYC after being on the road with Crosby, Eddie Lang heads back to the recording and radio studios. Ruth Etting is broadcasting on CBS Monday & Thursday evenings at six and nine on the Chesterfield radio program “Music That Satisfies” (Lang is in the orchestra six nights a week with Etting, The Boswell Sisters, and Arthur Tracy). Crosby would join the Chesterfield roster at the start of the new year on January 4th, broadcasting Wednesday & Saturday evenings, with Hayton conducting the orchestra all six nights.
Metronome, February, 1933
Ruth Etting & Bing Crosby, 1933
Part of Chesterfield’s Music That Satisfies radio cast: comedians Tom Howard & George Shelton, Ruth Etting, Bing Crosby, announcer Norman Brokenshire, conductor Lennie Hayton, 1933 publicity shot. (6)
Joe Venuti is freelancing on radio, records, and playing club dates and vaudeville.
As with this session, Victor Young is recording, producing, and arranging sessions of dance music, pop, jazz, and semi-classics for Brunswick Records, utilizing the top jazz players and singers in New York.
Joe Venuti & Eddie Lang, 1932
Victor Young
December 5, 1932
The recording studio is a small, sound-proofed room, cozy. Once filled with eleven people, it makes for an intimate setting but crowded. Several conversations are occurring, some simultaneously. Those nearest the microphone (Etting, Lang, Snyder, Young, and the studio engineer) are heard clearly; others (Venuti and the accompanying musicians) are off the mic and get buried under their chatter.
Etting’s husband and manager, Marvin (Moe) Snyder, called “Colonel” to his face and “The Gimp” behind his back (because of a lame left leg), dominates with a piercing voice and overbearing attitude. Everyone defers to him. Only Lang, of all people (his voice hoarse but amazingly boyish), attempts to get a word in.
Snyder & Etting, Catalina Island, California, July 10, 1928 (6)
Snyder began “requesting” the guitarist participate in Etting’s recording sessions in late 1928; Eddie appears on many of them. Snyder feels quite comfortable with Lang as the “Colonel” is relentless in directing much of the early portion of the conversation towards Lang, teasing him about Bing Crosby’s Capitol Theatre appearance (poor attendance) and Venuti not being a part of the gig, even suggesting Eddie blackmail Crosby into hiring the violinist! Snyder ruled with an iron fist and controlled every aspect of Ruth Etting’s life and career. There is little doubt as to who is in charge of this session. We also learn something about Lang’s violin partner from this test record. Venuti, conspicuous by his silence, waits until the “Colonel” has relinquished center stage before he starts to get in on the chatter (going after the engineer, of all things!).
A selection from the May 1932 photo session @ Maurice Seymour’s Chicago studio. Bing, Eddie and his wife Kitty all posed for publicity shots.
One last note about Snyder. Mid-way through the recording, we hear him explain to Dave Kapp (brother of Jack, at the time, a Brunswick exec.) why he was so angry earlier on. Unfortunately, the name of “the punk” who “set him (Snyder) off” is inaudible. A two-bit thug, Snyder was allegedly a fringe member of Chicago’s underworld. In 1937, Etting divorced him, and almost six years to the day of this recording session, Snyder was on trial for putting two slugs into Etting’s accompanist/boyfriend Myrl Alderman (whom she later married, and together, they lived happily ever after in Colorado). (6)
The most fascinating moment of the recording is the very brief exchange between Ruth Etting and Lang. The singer is surprised by how hoarse Lang’s voice has become (Venuti called it “guttural”), presumably not having heard it since they last recorded together two months earlier in October ’32. In December 1932, the guitarist, with coaching from Crosby, was beginning to consider his options for resolving this nagging problem with his voice (and throat).
So here we have a moment captured in time. It’s a Monday morning in December, one of the warmest on record. A recording session with Ruth Etting is about to begin, and you are a fly on the wall.
(A conversation is already in progress)
Snyder: We out dress em’, and we out smart em’
Young: (laughs)
Etting: (laughs)
Snyder: Why uh
Young: Come on Eddie I, I’ll explain this to you
unknown male whistling: “Take Me In Your Arms”
Snyder: uh
(The studio becomes noisy, as if someone opened a window)
Lang: Oh
Snyder: Say, Bing is terrific over there (at the Capitol Theatre)
Lang: What?
Snyder: Caught ‘em
Lang: (inaudible)
(whistling continues)
Snyder: Terrific, ain’t bringin’ no joint, no customers in though sweetheart
(group laughter)
Snyder: What’s a matter?
Lang: Well (the) pictures not so good (The Mask Of Fu Manchu with Boris Karloff)
(group laughter)
Snyder: No, no, no … no, no. he’s, he’s, he’s dynamite
Lang: I don’t know anything about that
Snyder: But, business is, we walked in there and
Lang: I don’t know anything about (inaudible)
(group laughter)
Lang: I don’t even look at the audience
(laughter continues)
Lang: I only play (inaudible)
Etting: Say, all those pictures are primarily picture houses anyway
(Venuti checks his violin tuning)
Snyder: Well, I would, I couldn’t figure it out. He’s dynamite though
Young: Look Eddie, (the) introduction starts here, play the verse and (inaudible) go back through here see
Snyder: Sings the hell out of that there uh
(inaudible conversation)
Young: When you get back to the first ending go back to the verse, (the) verse is tacit (inaudible) piano section.
Snyder: (Brother Can You) Spare A Dime
(piano plays four chords)
Snyder: Dynamite
Young: (to Lang) Where’s your makeup?
Snyder: I enjoyed him very much
Etting: (to Lang) Got your makeup?
Lang: No
(Lang checks his guitar tuning)
Etting: (giggle)
Young: He’s dark as (inaudible)
Lang: I had a little makeup when they, uh, said I had too much makeup on, so I don’t put any on
(In the background Snyder is taking about betting on two upcoming football games, Army & Notre Dame. This is odd as Army’s season ending two days earlier on December 3. Notre Dame played USC on December 10th and lost.) (7, 8)
Etting: You’re hoarse, you’re not singing are you?
Young: (laugh)
Lang: (clears throat)
Etting: (laughs)
(Snyder conversation continues “I’m gonna bet on Army…”)
(violin tuning)
unknown musician: why don’t cha play around with (inaudible)
Kapp: See (he) even copies Bing Crosby (he) picks up his collar (Lang is wearing his shirt without a tie and open raised collar ala Crosby)
(group laughter)
(Lang tuning his guitar)
Snyder: Ya can’t do that when Hayton is directin’ that band up (at) that Chesterfield program
Lang: (big laugh)
Young: (to the musicians) Don’t forget the first ending (inaudible)
Snyder: (to Dave Kapp) I didn’t mean to ignore yuh there Dave when I walked in accidentally you know when yuh sez hello Colonel I sez hello. Ise hot under the collar, I don’t like that (inaudible). (Re)member when I walked through with (inaudible)
Lang: (inaudible) yeah
Etting: (humming)
Snyder: (I) hate that punk
Young: Now look, yeah, a bar before the chorus fellas (inaudible).
Snyder: (to Eddie about Joe) What’s a matter wit your sidekick here, isn’t he gonna be with yuh?
Lang: I don’t know where he is. I think he (inaudible) or something
(Young sings/explains the parts to the musicians)
Etting: He must have something going
Snyder: Whatta ya mean yuh don’t know, is that the kinda guy yuh are?
Lang: I would rather not talk, ah he can talk
Snyder: You ain’t got nuttin’ to do wit it
Lang: No sir
Snyder: Alls you gotta tell Crosby (is) that you won’t play for him (unless) and he’s signed.
Lang: Listen to me (inaudible)
Snyder: Crosby can’t get along without you.
Lang: You know who’s playing. Listen. You know who’s
Snyder: You gotta’ set that rhythm for Crosby.
(Venuti fiddles)
Lang: Listen you know (who’s) playing. You know who’s hiring the men
Snyder: Who?
Lang: Ah, the House
Snyder: Who?
Lang: The House, ah Columbia (Broadcasting System)
Snyder: Columbia?
Lang: Sure
Snyder: Ya know who’s hirin’ the men … Chesterfield!
Lang: Chesterfield?
(Lang is obviously unaware who’s contracting the musicians for the radio show. Unlike the session musicians, Lang was brought into the program with Crosby)
(Venuti plays)
(Lang tunes his guitar)
Young: All right let’s go, let’s do it boys
Snyder: All right let’s go (and) make these two records
Young: Wanna’ try this
Etting: Yeah, I’ll have to have a (music) stand, is this right?
Snyder: How ya been kid Kapp’s?
Kapp: OK
Etting: Huh? Looks awfully low to me
Young: Yeah, it is low
Venuti: (inaudible conversation) Joseph Scoccio (unknown who Venuti is referring to)
Etting: (sings melody to “Take Me In Your Arms”)
Engineer: (inaudible) Eddie you’re too close, I wanted you to squeeze a (inaudible)
(inaudible collective talk)
Venuti: Look at that he didn’t play yet. He didn’t even play (referring to the studio engineer moving Lang away from the microphone)
(muted trumpet plays melody)
(group laughter)
Etting: No, I just wish it was high now
Snyder (in background) He know’s what he’s doin’ (referring to Venuti’s comment)
Engineer: It’s all right, it’s OK now
Venuti: He hasn’t played a note yet and sez your too close
Etting: I gotta have a stand
Engineer: Yeah I’ll get it
Etting: Seems like I’m down, this is way off the floor today
(Venuti keeps ribbing the engineer)
(laughter)
Venuti: He didn’t even play anything and he’s too close
Etting: Yes I am
Engineer: About a foot. (coughs)
(Lang tuning his guitar)
Etting: I should be about where that stand is
(inaudible background conversation)
Etting: Up a little higher. Yeah
(piano, violin, guitar tuning)
Unknown musician: Vic did you want (inaudible)
Etting: Victor, give me something to put behind this (stand) will ya
(inaudible conversations “You were gone the …”)
Snyder: Vic, why don’t you pull that curtain over there (curtains were hung along the walls for sound proofing)
(room acoustics get quieter)
(inaudible conversation)
Lang: (off mic, inaudible conversation)
Snyder: All right
Snyder: (sarcastic) Are we on the Chesterfield? I don’t know, is Crosby on the Chesterfield?
Unknown male whistling
(Lang checks guitar tuning by playing harmonics)
Young: (laughs) All right, let’s go huh
Kapp: Did you bring any cigarettes (from) on the Chesterfield?
Snyder: No I didn’t as a matter, uh we signed another thirteen weeks and (inaudible) instead I can bring you some the next time we come
(laughter)
Young: Oh. I see, otherwise you’d switch to Camels with the “Ole Maestro” (nickname for bandleader Ben Bernie)
1932, December 5 (Mon): Eddie Lang-guitar, Joe Venuti-violin, Brunswick Records, RECORDING SESSION, 799 Seventh Avenue (7th Avenue at 52nd Street), NYC. (2)
Ruth Etting
Ruth Etting-vocal, Victor Young-conductor, arranger, Eddie Lang-guitar, Joe Venuti-violin, unknown trumpet, clarinet, piano, bass.
TAKE ME IN YOUR ARMS-Melotone M-12563
SOME DAY WE’LL MEET AGAIN-Melotone M-12563
SOURCES
1. The Classic Columbia and OKeh Joe Venuti and Eddie Lang Sessions, Mosaic Records MD8-213, 2002. mosaicrecords.com
2. The Complete Entertainment Discography from the mid-1890’s to 1942, Brian Rust with Allen G. Debus, Arlington House, New Rochelle, NY, 1973.
3. Radio Dial, Week Ending December 15, 1932.
4. Bing Crosby, A Pocketful of Dreams, The Early Years, 1903-1940, Gary Giddins, Little, Brown and Company, 2001.
5. bingmagazine.co.uk
6. Ruth Etting, America’s Forgotten Sweetheart, Kenneth Irwin & Charles O. Lloyd, The Scarecrow Press, Inc., 2010.
7. 1932 Army schedule - www.sports-reference.com/cfb/schools/army/1932-schedule.html
8. 1932 Notre Dame schedule - www.sports-reference.com/cfb/schools/notre-dame/1932-schedule.html