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DAB ensembles are groups of Digital audio broadcasting broadcasters transmitting multiple digital radio channels on a single radio transmission.

The digital audio feeds from each radio station are multiplexed into one digital transmission, to be decoded by the receiver. While each station can use a different bitrate, and either monophonic or stereophonic (one or two channels of audio), all stations will have exactly the same coverage area. Each ensemble can only have a certain maximum total bitrate, a sort of "bit budget" that participating broadcasters must work within. Increasing the number of stations on an ensemble requires lower quality audio, and while increasing audio quality requires removing audio channels.

The digital television equivalent is called a multiplex, though in some parts of the world, TV stations use a full channel for their own programming (one HDTV or multiplexed SDTV) and do not share with other stations. For example in the U.S., a private television station is assigned 6 megahertz exclusively, to be divided at its own discretion (WBAL 11-1, 11-2, 11-3, et cetera).

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Jesse Stone (November 16, 1901 – April 1, 1999) was an American rhythm and blues musician and songwriter whose influence spanned a wide range of genres. He also used the pseudonyms Charles Calhoun and Chuck Calhoun.

Ahmet Ertegün once stated that "Jesse Stone did more to develop the basic rock 'n' roll sound than anybody else."^[1]

Biography[link]

Origins and early career[link]

Born in Atchison, Kansas, United States, Stone grew up in Kansas where he was influenced by a wide array of styles. He came from a musical family who put on minstrel shows, and performed with a trained dog act at the age of 4. By 1926 he had formed a group, the Blue Serenaders, and cut his first record, "Starvation Blues", for Okeh Records in 1927. For the next few years he worked as a pianist and arranger in Kansas City, recording with Julia Lee among others, and then in the 1930s organised a larger orchestra.

New York in the 1930s and 1940s[link]

Duke Ellington got Stone's orchestra booked at the Cotton Club in 1936, and Ellington put Stone up free of charge in his apartment for four months. Over the next few years Stone worked as a bandleader at the Apollo Theatre, and more widely in Harlem as a songwriter and arranger, with Chick Webb's band (which included Louis Jordan), Jimmie Lunceford, and many others. He made some recordings under his own name in the 1930s and 1940s.

In 1941, Stone became musical director for the all female band, the International Sweethearts of Rhythm. He left after two years.

Stone's early writings show a deep blues influence. An early success was "Idaho", recorded by several artists, with the Benny Goodman version peaking at # 4 (pop) in 1942. The recording by Guy Lombardo sold three million copies. Jimmy Dorsey recorded his composition "Sorghum Switch", later retitled "Cole Slaw" by Louis Jordan. Stone also recorded novelty blues records for RCA Records, and wrote the standard "Smack Dab in the Middle".

Atlantic Records[link]

In 1945, with his friend Herb Abramson, he joined National Records, and two years later the pair joined the staff at Atlantic Records. At the time, Stone was the only black person on the Atlantic payroll.

Stone worked for Atlantic as a producer, songwriter, and arranger. During a trip to the South in 1949 with Ahmet Ertegün and Herb Abramson, Stone discovered that Atlantic's records were not selling in the southern states because they lacked a certain danceable quality. Stone later said: "I listened to the stuff that was being done by those thrown-together bands in the joints down there, and I concluded that the only thing that was missing from the stuff we were recording was the rhythm. All we needed was a bass line. So I designed a bass pattern, and it sort of became identified with rock'n'roll - doo, da-DOO, DUM; doo, da-DOO, DUM - that thing. I'm the guilty person that started that."^[1]

In 1953 he wrote Ray Charles' hit "Losing Hand" (1953), and also wrote "Money Honey", which became the first hit record for The Drifters, topping the national R&B chart for 11 weeks. The following year, he arranged "Sh-Boom" by The Chords.

As Charles Calhoun[link]

On Ertegün's advice, Stone used the pseudonym of Charles E. Calhoun, a name appropriated from an unknowing local builder, on his BMI tunes to avoid conflict with his membership in the other music licensing society, ASCAP. His best known composition as Calhoun was "Shake, Rattle and Roll". The song was first recorded by Big Joe Turner in 1954 for Atlantic and was a major hit for the rhythm and blues artist, often cited as one of the first rock and roll records. An even bigger success was a cover version of the song recorded later in 1954 for Decca Records by Bill Haley & His Comets. This version became one of the first rock and roll recordings to sell a million copies and be an international success (predating Haley's better-known "Rock Around the Clock" by nearly a year).

Stone also co-wrote "Flip, Flop and Fly" with Turner, which was another hit (Haley was also fond of the song and recorded it no less than three times during his career). Stone also had additional Haley connections: another Haley hit, 1955's "Razzle-Dazzle", was written by Stone under the Calhoun pseudonym. Stone is also credited as co-writer (along with James E. Myers a.k.a. Jimmy DeKnight, co-writer of "Rock Around the Clock") of "Rattle My Bones", a song recorded in 1956 by the Comets spin-off group, The Jodimars.

As a bandleader, Stone recorded several singles in the late 1940s and mid 1950s, on RCA Victor, Atlantic and other labels, either under his own name or as "Chuck", "Charles" or "Charlie" Calhoun.

Later career and retirement[link]

In 1960, he served as arranger and orchestra director for a session for LaVern Baker which produced four songs including the hit "Bumble Bee".^[2] In 1961, after a brief and temporary retirement, Stone was recruited to run Randy Records in Chicago. However, he left after a few years, moving first to New York and then Florida.

Stone was honored by the Rhythm and Blues Foundation in 1992 with a Pioneer Award. Stone died at age 97 in Altamonte Springs, Florida.^[3]

Legacy[link]

• Sam Cooke performed Stone's "Shake, Rattle and Roll" on his Night Beat album in 1963.
• The Jerry Garcia Band performed Stone's "Don't Let Go" live in concert at least 154 times, between March 30, 1976 and April 21, 1995.^{[citation needed]}
• The Steve Miller Band covered "Your Cash Ain't Nothing but Trash" (written as Charles Calhoun) on the 1973 album The Joker. It was also released as a single in 1974.
• Commander Cody and His Lost Planet Airmen covered "Don't Let Go" on their eponymous 1975 album.
• Isaac Hayes covered "Don't Let Go" on Polydor's album by the same name in 1979.
• Jeff Lynne covered "Don't Let Go" as track 2 on his 1990 solo album Armchair Theatre.
• Huey Lewis and the News covered "Your Cash Ain't Nothing but Trash" on their 1994 album Four Chords & Several Years Ago.
• Count Basie wrote in autobiography that Stone had the reputation as the best piano player in Kansas City when Basie first performed there in 1920.
• Kansas City jazz historian Frank Driggs wrote that Stone did the first written horn arrangements for a jazz band, and was instrumental in modernizing the form to be performed in 4/4 time.
• He was named one of the 2010 recipients of Ahmet Ertegun Award from the Rock and Roll Hall of Fame.^[4]
• Ry Cooder covered "Money Honey" on his 1971 album, Into the Purple Valley, and "Smack Dab in the Middle" on Chicken Skin Music.
• Wanda Jackson covered "Like a Baby" on her 2011 album, The Party Ain't Over.

References[link]

External links[link]

• Jesse Stone memorial via soul-patrol.com
• The Godfather of Rock & Roll, Jesse Stone! via the African-American Registry

Sammy Nestico

Samuel "Sammy" Louis Nestico (born February 6, 1924 in Pittsburgh, Pennsylvania) is a prolific and well known composer and arranger of big band music. Nestico is most known for his arrangements for the Count Basie orchestra.^[1]

Biography[link]

Sammy Nestico received a Bachelors degree in music education from Duquesne University in 1950, and has since then received an honorary Doctor of Music degree there, as well as numerous awards.

He has been a professional music arranger since 1941, when he became a staff arranger for ABC radio station WCAE in Pittsburgh at age 17. During his career, he arranged music for the Count Basie Orchestra (1967–1984), the US Air Force Band (15 yrs) and the US Marine Band (5 years) both in Washington, DC. In addition, he played the trombone in the big bands of Tommy Dorsey, Woody Herman, Gene Krupa, and Charlie Barnet.

In 1998-1999 Nestico was a professor at the University of Georgia, teaching commercial orchestration and conducting the Studio Orchestra, but was unable to find the necessary administrative support to remain there. He also directed music programs at Los Angeles Pierce College, Los Angeles, CA, Westinghouse Memorial High School, and Wilmerding, PA.

During his long career in the television and film industry, he has arranged and conducted projects for artists such as Bing Crosby, Sarah Vaughan, Toni Tennille, Frank Sinatra, Phil Collins, Barbra Streisand, Count Basie, and many others. As orchestrator, he has worked on nearly seventy television programs, including Mission: Impossible, Mannix, Charlie's Angels, and The Mod Squad.

He has also written commercial jingles for Anheuser-Busch, Zenith, Ford Motor Company, Mattel Toys, Pittsburgh Paints, the National Guard, Dodge, Remington Bank, Americard and more.

Sammy Nestico has published nearly 600 numbers for school groups and many for professional big bands. He has conducted and recorded his arrangements with several leading European Radio Jazz Orchestras including the BBC Big Band in London, Germany's SWR Big Band and NDR Big Band and the DR Big Band.

The Sammy Nestico Award[link]

The Airmen of Note, the premier jazz ensemble of the USAF, sponsor an annual competition^[2] for composers and arrangers of big band music, in honor of Sammy Nestico. Previous winners include:

Discography[link]

• 1982: Dark Orchid (Palo Alto Records)
• 1986: Night Flight
• 2000: Basie and Beyond - Quincy Jones/Sammy Nestico Orhestra (Qwest Warner Records)
• 2004: A portrait of Sammy (Fenwood Music Inc Records)
• 2004: No Time Like the Present - Sammy Nestico and the SWR Big Band (SWR Music 94118)

References[link]

External links[link]

• http://www.sammynesticomusic.com/