Reconstructed drawing room of Sir William Burrell; part of the Burrell Collection in Glasgow, Scotland

A drawing room is a room in a house where visitors may be entertained. The name is derived from the sixteenth-century terms withdrawing room and withdrawing chamber, which remained in use through the seventeenth century, and made its first written appearance in 1642 (OED). In a large sixteenth- to early eighteenth-century English house, a withdrawing room was a room to which the owner of the house, his wife, or a distinguished guest who was occupying one of the main apartments in the house could "withdraw" for more privacy. It was often off the great chamber (or the great chamber's descendant, the state room or salon) and usually led to a formal, or "state" bedroom.^[1]

History and development[link]

Middle-class drawing room in Blackheath, London, 1841, painted by James Holland

In eighteenth-century London, the royal morning receptions that the French called levées were called "drawing rooms", with the sense originally that the privileged members of court would gather in the drawing room outside the king's bedroom, where he would make his first formal public appearance of the day.

During the American Civil War, in the White House of the Confederacy in Richmond, Virginia, the drawing room was just off the parlor where C.S.A. President Jefferson Davis greeted his guests. At the conclusion of these greetings, the men remained in the parlor to talk politics and the women withdrew to the drawing room for their own conversation. This was common practice in the affluent circles of the Southern United States.

In 1865, an architectural manual in England defined "drawing room" in this way:^[2]

This is the Lady's Apartment, essentially, being the modern form of the Lady's Withdrawing-room, otherwise the Parlour, or perfected Chamber of mediaeval plan. If a Morning-room be not provided, it is properly the only Sitting-room of the family. In it in any case the ladies receive calls throughout the day, and the family and their guests assemble before dinner. After dinner the ladies withdraw to it, and are joined by the gentlemen for the evening. It is also the Reception-room for evening parties. There is only one kind of Drawing-room as regards purpose: there is little difference, except in size and evidence of opulence, between that of the duchess and that of the simplest gentlewoman in the neighborhood. . . .

In size, a small Drawing-room will be about 16 feet wide by from 18 to 20 feet long: 18 by 24 feet is a good size: 20 by 30 to 26 by 40 is enough for a very superior apartment.

An Indian drawing room

Until the mid-twentieth century, after a dinner the ladies of a dinner party withdrew to the drawing room, leaving the gentlemen at table, where the cloth was removed. After an interval of conversation, the gentlemen rejoined the ladies in the drawing room.

The term drawing room is not used as widely as it once was, and tends to be used in Britain only by those who also have other reception rooms, such as a morning room, a nineteenth-century designation for a sitting-room, often with east-facing exposure, suited for daytime calls, or the middle-class lounge, a late nineteenth-century designation for a room in which to relax; hence the drawing room is the smartest room in the house, usually used by the adults of the family when entertaining. This term is still widely used in India and Pakistan, probably since the colonial days, in the larger urban houses of the cities where there are many rooms.

The term parlour initially designated the more modest reception rooms of the middle classes, but usage changed in the UK as homeowners sought to identify with the grander homes of the wealthy. Parlor remained the common usage in North America into the 20th century. In French usage the word salon, previously designating a state room, began to be used for a drawing room in the early part of the 19th century, reflecting the salon social gatherings that had become popular in the preceding decades.

Railroad usage[link]

The term has also been applied to passenger trains, to designate some of the most spacious and expensive private accommodations available on board a sleeping car or private railroad car. In North America, it meant a room that slept three or more, with a private washroom. While Amtrak has retired cars built with drawing rooms, they are currently still used by Via Rail Canada, although the traditional nomenclature is seen as archaic and are officially sold as "triple bedrooms".

Drawing-room plays[link]

The drawing room, being a room in the house to entertain visitors, gave its name to drawing room plays, a genre of theatrical productions and motion pictures. Beginning with the early forms of drama, the drawing room play has evolved to encompass comedy as well as to include the forms of the dramatic monologue. The play format itself has also grown out of the traditional drawing room performance and back into main street theater and film. While the drawing room itself has fallen out of favor, the play format has continued to provide a source of entertainment.

Drawing room comedy typically features wit and verbal banter among wealthy, leisured, genteel, upper class characters. Drawing room comedy is also sometimes called the "comedy of manners." Oscar Wilde's The Importance of Being Earnest and several of the plays of Noël Coward are typical works of the genre. George Bernard Shaw's Heartbreak House adds an undercurrent of social criticism to the genre. Cary Grant appeared in a number of filmed drawing-room comedies. Ernst Lubitsch was especially known as a director of drawing-room comedies.

See also[link]

• Living room

Notes[link]

External links[link]

• Victorian Drawing Room

Raymond Scott
Background information
Birth name	Harry Warnow
Born	(1908-09-10)September 10, 1908 Brooklyn, New York, United States
Died	February 8, 1994(1994-02-08) (aged 85) North Hills, Los Angeles, California, United States
Genres	Jazz, exotica, electronica, film soundtracks, Broadway
Occupations	Musician, composer, arranger, bandleader, audio engineer, inventor, producer
Instruments	Piano, celeste, electronic devices
Years active	1931–1985
Labels	Brunswick, Columbia, Decca, Master, Audivox, MGM, Coral, Everest, Top Rank, Epic, Basta
Associated acts	Raymond Scott Quintette, Secret Seven, Raymond Scott Orchestra, Your Hit Parade Orchestra
Website	raymondscott.com
Notable instruments
Clavivox, Electronium, Circle Machine, Rhythm Modulator, Bass-Line Generator

Raymond Scott (born Harry Warnow, September 10, 1908 – February 8, 1994)^[1] was an American composer, band leader, pianist, engineer, recording studio maverick, and electronic instrument inventor.

Although Scott never scored cartoon soundtracks, his music is familiar to millions because of its adaptation by Carl Stalling in over 120 classic Bugs Bunny, Porky Pig, Daffy Duck and other Warner Bros. Looney Tunes and Merrie Melodies animated shorts. Scott's melodies have also been heard in twelve Ren & Stimpy episodes (that used the original Scott recordings), while making cameos in The Simpsons, Duckman, Animaniacs, The Oblongs, and Batfink. (The only music Scott actually composed to accompany animation were three 20-second electronic commercial jingles for County Fair Bread in 1962.)

Early life & career[link]

He was born in Brooklyn, New York to Russian Jewish immigrants, Joseph and Sarah Warnow.^[2] His older brother, Mark Warnow, a conductor, violinist, and musical director for the CBS radio program Your Hit Parade, encouraged his musical career.

A 1931 graduate of the Juilliard School of Music, where he studied piano, theory and composition, Scott, under his birth name, began his professional career as a pianist for the CBS Radio house band. His older (by eight years) brother Mark conducted the orchestra. Harry reportedly adopted the pseudonym "Raymond Scott" to spare his brother charges of nepotism when the orchestra began performing the pianist's idiosyncratic compositions. In 1935 he married Pearl Zimney (1910-2001).

In late 1936, Scott recruited a band from among his CBS colleagues, calling it the "Raymond Scott Quintette." It was a six-piece group, but the puckish Scott thought Quintette (his spelling) sounded "crisper"; he also told a reporter that he feared "calling it a 'sextet' might get your mind off music." The original sidemen were Pete Pumiglio (clarinet); Bunny Berigan (trumpet, soon replaced by Dave Wade); Louis Shoobe (upright bass); Dave Harris (tenor sax); and Johnny Williams (drums). They made their first recordings in New York on February 20, 1937, for the Master Records label, owned by music publisher/impresario Irving Mills (who was also Duke Ellington's manager).

The Quintette represented Scott's attempt to revitalize Swing music through tight, busy arrangements and reduced reliance on improvisation. He called this musical style "descriptive jazz," and gave his works unusual titles like "New Year's Eve in a Haunted House," "Dinner Music for a Pack of Hungry Cannibals" (recorded by the Kronos Quartet in 1993), and "Bumpy Weather Over Newark." While popular with the public, jazz critics disdained it as novelty music. Besides being a prominent figure in recording studios and on radio and concert stages, Scott wrote and was widely interviewed about his sometimes controversial music theories for the leading music publications of the day, including Down Beat, Metronome, and Billboard.

Scott believed strongly in composing and playing by ear (quote: "You give a better performance if you skip the eyes"). He composed not on paper, but "on his band" — by humming phrases to his sidemen, or by demonstrating riffs and rhythms on the keyboard and instructing players to interpret his cues. It was all done by ear, with no written scores (a process known as "head arrangements"). Scott, who was also a savvy sound engineer, recorded the band's rehearsals on discs and used the recordings as references to develop his compositions. He reworked, resequenced, or deleted passages, or added themes from other discs to construct finished works. During the developmental process, his players were allowed to improvise, but once complete, the piece became relatively fixed, with little further improvisation permitted — a practice that alienated some jazz purists and critics. Although Scott rigidly controlled the band's repertoire and style, he rarely took piano solos, preferring to direct the band from the keyboard and leaving solos and leads to his sidemen. He also had a penchant for adapting classical motifs in his compositions; this earned him the wrath of some serious music authorities who dismissed such practices as "trivializing the classics." The public, who bought his records by the millions, seemed indifferent to any controversy.

The Quintette existed from 1937 to 1939, and racked up numerous big-selling discs, including "Twilight in Turkey," "Minuet in Jazz," "War Dance for Wooden Indians," "Reckless Night on Board an Ocean Liner," "Powerhouse," and "The Penguin." One of Scott's best-known compositions is "The Toy Trumpet," a cheerful pop confection that is instantly recognizable to many people who cannot name the title or composer. In the 1938 film Rebecca of Sunnybrook Farm, Shirley Temple sings a version of the song with lyrics. Trumpeter Al Hirt's 1955 rendition with Arthur Fiedler and The Boston Pops has become a standard. Another oft-recorded Scott classic, "In An Eighteenth-Century Drawing Room," is a pop adaptation of the opening theme from Mozart's Piano Sonata in C, K. 545.

Opening bars of melody line of "The Toy Trumpet"

In 1939 Scott, seeking greater challenges during the swing era, folded his Quintette into a big band, including bass player Chubby Jackson. They were both a recording and touring success. When Scott was appointed music director of CBS radio in 1942, he made history by breaking the color barrier, organizing the first racially integrated radio band. Over the next two years, he hired some of the hottest black jazz heavyweights of the day, such as saxophonist Ben Webster, trumpeter Charlie Shavers, bassist Billy Taylor, trumpeter Emmett Berry, trombonist Benny Morton, and drummer Cozy Cole. In 1942, Scott—who once told an interviewer he wouldn't hire himself to play piano in his own bands—relinquished his keyboard duties with his bands, so he could focus more closely on hiring, composing, arranging and conducting. (He later returned to the keyboard with some of his bands.)

Middle career[link]

After serving as CBS radio music director for a number of variety programs from 1942 to 1944, Scott left the network to pursue other projects. He composed and arranged music (with lyrics by Bernie Hanighen) for the 1946 Broadway musical Lute Song, starring Mary Martin and Yul Brynner.

In the late 1940s, contemporaneous with guitarist-engineer Les Paul's studio work with Mary Ford, Scott began recording pop songs using the layered multi-tracked vocals of his second wife, singer Dorothy Collins (1926-1994). A number of these were commercially released, but the technique failed to earn Scott the chart success of Les and Mary.

In 1948, Scott formed a new six-man "quintet," which served for several months as house band for the CBS radio program, Herb Shriner Time. The ensemble also made studio recordings, some of which were released on Scott's own short-lived Master Records label. (This was not the Irving Mills-owned label of the same name; Scott allegedly named his label in tribute to the by-then-defunct Mills enterprise.)

When his brother Mark Warnow died in 1949, Scott succeeded him as orchestra leader on the popular CBS Radio show Your Hit Parade sponsored by Lucky Strike cigarettes. The following year, the show moved to NBC Television, and Scott continued to lead the orchestra until 1957. (Collins was a featured singer on Your Hit Parade.) Although the high-profile position paid well, Scott considered it strictly a "rent gig," and used his lavish salary to finance his electronic music research and development, largely out of the public limelight.

In 1950 Scott composed his first—and only known—"serious" (classical) work, entitled Suite for Violin and Piano. The five-movement suite was performed at Carnegie Hall on February 7, 1950, by violinist Arnold Eidus and pianist Carlo Bussotti, who subsequently recorded the work. (Unreleased at the time, the archival recording is scheduled for Fall 2011 CD release by Basta Audio-Visuals.)

In 1958, while serving as an A&R director for Everest Records, Scott produced singer Gloria Lynne's album Miss Gloria Lynne.^[3] The sidemen included many of the same session players (e.g., Milt Hinton, Sam "The Man" Taylor, George Duvivier, Harry "Sweets" Edison, Eddie Costa, Kenny Burrell, Wild Bill Davis) who participated in Scott's 1959 Secret 7 recording project.

Electronics and research[link]

Scott, who attended Brooklyn Technical High School, was an early electronic music pioneer and adventurous sound engineer. During the 1930s and 1940s, many of his band's recording sessions found the bandleader in the control room, monitoring and adjusting the acoustics, often by revolutionary means. As Gert-Jan Blom & Jeff Winner wrote, "Scott sought to master all aspects of sound capture and manipulation. His special interest in the technical aspects of recording, combined with the state-of-the-art facilities at his disposal, provided him with enormous hands-on experience as an engineer."^[4]

In 1946, Scott established Manhattan Research, a division of Raymond Scott Enterprises, Incorporated, which he announced would "design and manufacture electronic music devices and systems." As well as designing audio devices for his own personal use, Manhattan Research Inc. provided customers with sales & service for a variety of devices "for the creation of electronic music and musique concrete" including components such as ring modulators, wave, tone and envelope shapers, modulators and filters. Of unique interest were instruments like the "Keyboard theremin," "Chromatic electronic drum generators," and "Circle generators."^[5] Scott often described Manhattan Research Inc. as "More than a think factory - a dream center where the excitement of tomorrow is made available today."^[6] Bob Moog, developer of the Moog Synthesizer, met Scott in the 1950s, designed circuits for him in the 1960s, and acknowledged him as an important influence.

Relying on several instruments of his own invention, such as the Clavivox and Electronium, Scott recorded futuristic electronic compositions for use in television and radio commercials as well as records of entirely electronic music. A series of three albums designed to lull infants to sleep, Scott's groundbreaking work Soothing Sounds for Baby was released in 1964 in collaboration with the Gesell Institute of Child Development. The music, which today sounds uncannily similar to the ambient work of Tangerine Dream or Brian Eno from the mid 1970s, did not find much favor with the record-buying public of the day.^[7] Still, Manhattan Research, Inc. had considerable success in providing striking, ear-catching sonic textures for broadcast commercials.

Scott developed some of the first devices capable of producing a series of electronic tones automatically in sequence. He later credited himself as being the inventor of the polyphonic sequencer. (It should be noted that his electromechanical devices, some with motors moving photocells past lights, bore little resemblance to the all-electronic sequencers of the late sixties.) He began working on a machine he said composed using artificial intelligence. The Electronium, as Scott called it, with its vast array of knobs, buttons and patch panels is considered the first self-composing synthesizer.^[8] Some of Raymond Scott's projects were less complex, but still ambitious. During the 1950s and 1960s, he developed and patented a large number of consumer products that brought electronically produced sounds into the homes and lives of Americans. Among these were electronic telephone ringers, alarms, chimes, and sirens, vending machines and ashtrays with accompanying electronic music scores, an electronic musical baby rattle and an adult toy that produced varying sounds dependent on how two people touched one another.^[9] It was Scott's belief that these devices would "electronically update the many sounds around us - the functional sounds."^[9]

Scott and Dorothy Collins divorced in 1964, and in 1967, he married Mitzi Curtis (1918-2012). During the second half of the 1960s, as his work progressed, Scott became increasingly isolated and secretive about his inventions and concepts; he gave few interviews, made no public presentations, and released no records. In 1966-67, Scott (under the screen credit "Ramond Scott") composed and recorded electronic music soundtracks for some early experimental films by Muppets impresario Jim Henson.

During his jazz/big band period, Scott had often endured tense relationships with musicians he employed (quote: "No one worked with Scott; everyone worked under Scott"). However, when his career became immersed in electronic gadgetry, he made friends with and seemed to prefer the company of technicians, including Bob Moog, Herb Deutsch, Thomas Rhea, and Alan Entenmann. From time to time Scott welcomed curious visitors to his lab, among them the renowned French electronic music pioneer Jean-Jacques Perrey, in March 1960. The eccentric electronic instrument builder and children's music composer Bruce Haack visited Scott in the early 1970s (though there is no indication Haack and Scott collaborated in any way).

In 1969, Motown Records impresario Berry Gordy, tipped off about a mad musical scientist engaged in mysterious works, visited Scott at his Long Island labs to witness the Electronium in action. Impressed by the infinite possibilities, Gordy hired Scott in 1971 to serve as director of Motown's electronic music and research department in Los Angeles, a position Scott held until 1977. No Motown recordings using Scott's electronic inventions have yet been publicly identified.

Guy Costa, Head of Operations and Chief Engineer at Motown from 1969 to 1987, said about Scott's hiring:

"He started originally working [on the Electronium] out of Berry’s house. They set up a room over the garages, and he worked there putting stuff together so Berry could get involved and see the progress. At one point Scott worked out of a studio. The unit never really got finalized—Ray had a real problem letting go. It was always being developed. That was a problem for Berry. He wanted instant gratification. Eventually his interest started to wane after a period of probably two or three years. Finally Ray took the thing down to his house and kept working on it. Berry kind of lost interest. He was off doing Diana Ross movies."

Scott later said he "spent 11 years and close to a million dollars developing the Electronium."^[10] Scott was, thereafter, largely unemployed, though hardly inactive. He continued to modify his inventions, eventually adapting computers and primitive MIDI devices to his systems. He suffered a series of heart attacks, ran low on cash, and eventually became a mere "Where Are They Now?" subject.

Largely forgotten by the public by the 1980s, Scott suffered a major stroke in 1987 that left him unable to work or engage in conversation.^[11] His recordings were largely out of print, his electronic instruments were cobweb-collecting relics, and his once-abundant royalty stream had slowed to a trickle.

Secret Seven[link]

In 1959, Scott organized a band of top-tier jazz session musicians and recorded an album entitled The Unexpected, credited to The Secret Seven, and released on the Top Rank label.^[12] The secrecy extended to withholding the identity of the musicians in the album's liner notes. The players were later identified^{[citation needed]} as Elvin Jones, Milt Hinton, Kenny Burrell, Eddie Costa, Sam "The Man" Taylor, Harry "Sweets" Edison, Wild Bill Davis and Toots Thielemans.

The cartoon connection[link]

In 1943 Scott sold his music publishing to Warner Bros., who allowed Carl Stalling, music director for Looney Tunes and Merrie Melodies, to adapt anything in the Warner music catalog.

Stalling immediately began peppering his cartoon scores with Scott quotes, such as in The Great Piggy Bank Robbery. Besides being used in Looney Tunes and Merrie Melodies, Scott's tunes have been licensed to propel the hijinks of The Simpsons, Ren and Stimpy, Animaniacs, The Oblongs, Batfink, and Duckman cartoons. "Powerhouse" was quoted ten times in the Warner Brothers feature Looney Tunes: Back in Action (2003).^[12]

Obscurity and rediscovery[link]

His legacy underwent a revival in the early 1990s with the release of Reckless Nights and Turkish Twilights (Columbia, 1992, produced by Irwin Chusid with Hal Willner as executive producer), the first major-label CD compilation of his groundbreaking 1937–39 six-man quintet. A year earlier, Irwin Chusid and Will Friedwald produced a CD of live Scott quintet broadcasts titled The Man Who Made Cartoons Swing for the Stash label. Around this time, the director of The Ren & Stimpy Show, John Kricfalusi, began hot-wiring his cartoon episodes with original Scott quintette recordings. In the late-1990s, The Beau Hunks (a Dutch ensemble originally formed to perform music created by Leroy Shield for the Laurel and Hardy movies) released two albums of Scott's sextet (a.k.a. "Quintette") repertoire, Celebration on the Planet Mars and Manhattan Minuet (both released on Basta Audio-Visuals). Various members of the Beau Hunks (reconfigured as a "Saxtet", then a "Soctette") also performed and recorded various Scott works, sometimes in collaboration with the Metropole Orchestra.

"Powerhouse" has been used as a promotional bumper for the Cartoon Network, as well has having been interpreted by the rock band Rush in their 1978 song "La Villa Strangiato" on their Hemispheres album. The same tune was reinterpreted as the song "Bus to Beelzebub" by the New York band Soul Coughing, who have used Scott samples in other compositions, such as Scott's "The Penguin" in their song "Disseminated." They Might Be Giants have also incorporated "Powerhouse" into their music, briefly including it in their song "Rhythm Section Want Ad" from their self-titled 1986 debut album. In 1993, Warner Bros. music director Richard Stone scored an entire installment of Steven Spielberg Presents Animaniacs around "Powerhouse" (the episode, entitled "Toy Shop Terror," notably had no dialogue except in the closing seconds, thus allowing Stone's Stalling-meets-Spike Jones arrangement to dominate the soundtrack). In late 2006, "Powerhouse" began airing regularly as the soundtrack for a Visa check card TV commercial. It has also often been used as a bumper on "Wait Wait... Don't Tell Me!," NPR's weekly quiz show. It also appeared in The Simpsons, played over the ludicrous and allegedly true method by which bowling alleys assemble new pins.

Clarinetist Don Byron has recorded and performed Scott's music, as have the Kronos Quartet, Steroid Maximus (J. G. Thirlwell), Jon Rauhouse, The Tiptons (with Amy Denio), Jeremy Cohen's Quartet San Francisco, Skip Heller, Phillip Johnston, and others. Robert Wendel arranged six Scott works and one medley for full symphony orchestra in the mid-1990s. The New York–based septet The Raymond Scott Orchestrette recorded an album of radically modernistic interpretations of Scott compositions (Evolver Records, 2002) and stages sporadic performances. Classical pianist Jenny Lin covered Scott's "The Sleepwalker" on her album InsomniMania (Koch Classics, 2008).

The posthumously released 2-CD set, Manhattan Research Inc. (Basta, 2000, co-produced by Gert-Jan Blom and Jeff Winner) showcases Scott's pioneering electronic works from the 1950s and 1960s on two CDs (the package includes a 144-page hardcover book). Microphone Music (Basta, 2002, produced by Irwin Chusid with Blom and Winner as project advisors), explores the original Scott Quintette's work. The 2008 CD release Ectoplasm (Basta) chronicles a second (1948–49) incarnation of the six-man "quintet" format, with Scott's future wife Dorothy Collins singing on several tracks.

Devo founding member Mark Mothersbaugh, through his company Mutato Muzika, purchased Scott's only (non-functioning) Electronium in 1996, with the intention of restoring it to working order, but with no progress in that direction as of 2010.^[8][13]

Quotations[link]

• "Perhaps within the next hundred years, science will perfect a process of thought transference from composer to listener. The composer will sit alone on the concert stage and merely 'think' his idealized conception of his music. Instead of recordings of actual music sound, recordings will carry the brainwaves of the composer directly to the mind of the listener." —Raymond Scott, 1949
• "The composer must bear in mind that the radio listener does not hear music directly. He hears it only after the sound has passed through a microphone, amplifiers, transmission lines, radio transmitter, receiving set, and, finally, the loud speaker apparatus itself." —Raymond Scott, 1938
• "Being introduced to the music of Raymond Scott was like being given the name of a composer I feel I have heard my whole life, who until now was nameless. Clearly he is a major American composer."—David Harrington, Kronos Quartet
• "It's those front-line types that go into uncharted areas, and pave the way for others. Life is short. Always go to the source, sources like Raymond Scott."—Henry Rollins
• "I had a big thing for Raymond Scott loops -- 'Bus to Beelzebub' is also Raymond Scott -- hell, if Soul Coughing ended tomorrow I'd probably eke out a living producing hiphop records, using nothing but breakbeats, Raymond Scott, and Carl Stalling's Warner Bros. orchestra playing Raymond Scott compositions."—Mike Doughty of Soul Coughing
• "Quirky, memorable [Scott] themes like 'Powerhouse' in Warner Bros. cartoons arguably helped shape the postwar musical aesthetic as much as anything Elvis or the Beatles did."—John Corbett, Chicago Reader
• “Raymond Scott was definitely in the forefront of developing electronic music technology, and in the forefront of using it commercially as a musician.”—Bob Moog

Discography[link]

• Raymond Scott and His Orchestra Play (LP, MGM Records, 1953)
• This Time With Strings (LP, Coral Records, 1957; CD, Basta Audio-Visuals, 2008)
• Rock 'n Roll Symphony (LP, Everest Records, 1958)
• The Secret 7: The Unexpected (LP, Top Rank Records, 1960; CD, Basta Audio-Visuals, 2003)
• Soothing Sounds for Baby Vols. 1-3 (LP, Epic Records, 1963; CD, Basta Audio-Visuals, 1997)
• The Raymond Scott Project: Vol. 1: Powerhouse (CD, Stash Records, 1991)
• The Music of Raymond Scott: Reckless Nights and Turkish Twilights (CD, Columbia, 1992; Columbia/Legacy, 1999)
• Manhattan Research Inc. (CD, Basta Audio-Visuals, 2000)
• Microphone Music (CD, Basta Audio-Visuals, 2002)
• Ectoplasm (CD, Basta Audio-Visuals, 2008)

Compositions[link]

• Powerhouse - Frequently used by Warner Brothers cartoons as backing for 'industrial,' 'machinery in action,' or 'repetitive labor' sequences.
• In An 18th Century Drawing Room - An 'updated' version of a Mozart etude.

Films[link]

In addition to Warner Brothers cartoons (which were originally intended for theatrical screening), the following films include recordings and/or works composed or co-composed by Scott: Nothing Sacred (1937, various adapted standards); Ali Baba Goes to Town (1938, "Twilight in Turkey" and "Arabania"); Happy Landing (1938, "War Dance for Wooden Indians"); Rebecca of Sunnybrook Farm (1938, "The Toy Trumpet"; with special lyrics by Jack Lawrence); Just Around the Corner (1938, "Brass Buttons and Epaulettes" [performed by Scott's Quintette, but not composed by Scott]); Sally, Irene and Mary (1938, "Minuet in Jazz"); Bells of Rosarita (1945, "Singing Down the Road"); Not Wanted (1949, theme and orchestrations); The West Point Story (1950, "The Toy Trumpet"); Storm Warning (1951, "Dinner Music for a Pack of Hungry Cannibals"); The Trouble with Harry (1955, "Flagging the Train to Tuscaloosa"; words by Mack David); Never Love a Stranger (1958, score); The Pusher (1960, score); Clean and Sober (1988, "Singing Down the Road"); Honey, I Shrunk the Kids (1989, "Powerhouse" [uncredited, affirmed in out-of-court settlement]); Search and Destroy (1995, "Moment Whimsical"); Funny Bones (1995, "The Penguin"); Lulu on the Bridge (1998, "Devil Drums"); Looney Tunes: Back in Action (2003, "Powerhouse"); Starsky and Hutch (2005, "Dinner Music for Pack of Hungry Cannibals"); RocknRolla (2008, "Powerhouse")

Theater[link]

• Lute Song (1946) - musical - composer and orchestrator; the production included what was arguably Scott's most-recorded "pop" song, "Mountain High, Valley Low" (lyrics by Bernie Hanighen)
• Peep Show (1950, produced by Mike Todd) - composed "Desire" to accompany the "Cat Girl" dance routine
• Powerhouse (2009, produced by Sinking Ship Productions), first staged during the New York International Fringe Festival, is a comedic biography of Scott choreographed with his music and recordings

Covers and samples[link]

• Gotye samples Scott's voice (from a 1962 electronic instrument demonstration) at the end of "State of the Art," on his 2011 album "Making Mirrors"
• Doom, on his 2009 album Born Like This, samples Scott's electronic recordings "Bendix 1: The Tomorrow People" and "Lightworks" on the track entitled "Lightworks" (which also samples a J Dilla beat)
• Gorillaz: Self-titled album Gorillaz (2001), featured a track titled "Man Research (Clapper)" that uses a sample from "In the Hall of the Mountain Queen" from Scott's Manhattan Research, Inc. The sample was uncredited on the album and the infringement acknowledged in an out-of-court settlement.
• J Dilla: Album Donuts (2006), featured "Lightworks," a remix of the track of the same name on Scott's Manhattan Research, Inc.. It also briefly sampled "Bendix: The Tomorrow People."
• El-P: Solo album "Fantastic Damage" (Def Jux 2002), features a track named "T.O.J" that contains samples from "Cyclic Bit," "Ripples (Montage)" and "County Fair (Instrumental)" from Raymond Scott's Manhattan Research, Inc..
• Soul Coughing: Album Irresistible Bliss (1996), had a track titled "Disseminated" that used samples from "The Penguin" by the Raymond Scott Quintette (reissued version on the CD Microphone Music); the group's album Ruby Vroom (1994) features a track titled "Bus to Beelzebub" that adapts a motif from Scott's composition "Powerhouse"; on the same album the track "Uh, Zoom Zip" uses an uncredited sample from Scott's "The Toy Trumpet," although the tempo of the sample has been manipulated as to be near-unrecognizable
• The Kleptones: Used a sample of "IBM MT/ST: The Paperwork Explosion" in their song "Work" off their album A Night At The Hip-Hopera.
• Freezepop: Recorded cover of "Melonball Bounce," electronic commercial jingle composed by Scott around 1960 for the soft drink Sprite.
• The Boys: Early 1990s Motown R&B band based "The Saga Continues" on melody of Scott's "Powerhouse"
• Venus Hum: Recorded cover of "Lightworks," Scott electronic commercial jingle
• Optiganally Yours: Performed cover of "Powerhouse" live during an over-the-phone radio interview with Irwin Chusid of WFMU [1]
• Madlib: Hip-hop star has used numerous samples of Scott's work, including the voice in "Baltimore Gas & Electric Co." for the track Electric Company, off his album Beat Konducta Vol 1-2: Movie Scenes.
• Lee Press-on and the Nails: Covered Scott's "Powerhouse" on their album "Jump-Swing From Hell"; the band have also recorded the Scott compositions "At An Arabian House Party" and "Devil Drums"
• moe.: Has frequently teased "Powerhouse" in various improvised jams during live performances, most notably Farmer Ben and Spine of a Dog.
• The Coctails: Recorded a medley of "The Penguin/Powerhouse" for a 7" single released by Bob Mould's Singles Only Label (SOL) in 1992. The disc was executive-produced by Irwin Chusid, who also plays percussion on the track.
• TV on the Radio sampled a slowed version Scott's piece "Night and Day" for their track "Say You Do."
• Teengirl Fantasy sampled "Portofino 2" for their track "Portofino."

References[link]

Notes

Bibliography

• Bloom, Ken. American song. The Complete Musical Theater Companion. 1877–1995’’, Vol. 2, 2nd edition, Schirmer Books, 1996.
• Kernfeld, Barry Dean. The New Grove Dictionary of Jazz, Macmillan Press, 1988.
• Larkin, Colin. The Encyclopedia of Popular Music, 3rd edition, Macmillan, 1998.
• Press, Jaques Cattell (Ed.). ASCAP Biographical Dictionary of Composers, Authors and Publishers, 4th edition, R. R. Bowker, 1980.
• Goldmark, Daniel, and Yuval Taylor, eds. The Cartoon Music Book (Chicago Review Press; 2002), ISBN 1-55652-473-0, ISBN 978-1-55652-473-8. Includes chapter by Irwin Chusid on how Scott's music has been adapted for cartoons

External links[link]

• The Raymond Scott Collection (audio) at the Marr Sound Archives, University of Missouri, Kansas City, Missouri
• The Raymond Scott Collection (documents) at the LaBudde Special Collections Department, University of Missouri, Kansas City
• ASCAP index of compositions by Raymond Scott
• Chusid, Irwin. "Raymond Scott: The First 100 Years", BoingBoing.net, September 10, 2008
• Grimes, William. "Raymond Scott, 85, a Composer For Cartoons and the Stage, Dies", The New York Times, February 9, 1994 (Retrieved February 22, 2010)
• Miller, Paul D., editor. Sound Unbound: Sampling Digital Music and Culture (MIT Press, May 2008), ISBN 978-0-262-63363-5, ISBN 978-0-262-63363-5. Chapter 18: "The World of Sound: A Division of Raymond Scott Enterprises," by Jeff E. Winner

James Hal Kemp (March 27, 1904 – December 21, 1940) was a jazz alto saxophonist, clarinetist, bandleader, composer, and arranger. He was born in Marion, Alabama and died in Madera, California following an auto accident. His major recordings were "There's a Small Hotel", "Where or When", "This Year's Kisses", "When I'm With You", "Got a Date With an Angel" and "Three Little Fishies".

Career[link]

At the University of North Carolina at Chapel Hill he formed his own campus jazz group, the Carolina Club Orchestra. The band recorded for English Columbia and Perfect/Pathe records in 1924-5. This first group toured Europe in the summer of 1924 under the sponsorship of popular bandleader Paul Specht. Kemp returned to UNC in 1925 and put together a new edition of the Carolina Club Orchestra, featuring fellow classmates and future stars John Scott Trotter, Saxie Dowell, and Skinnay Ennis. In 1926, he was a member of the charter class of the Alpha Rho chapter of Phi Mu Alpha Sinfonia music fraternity, installed on the Carolina campus in February of that year. In 1927 Kemp turned leadership of the Carolina Club Orchestra over to fellow UNC student Kay Kyser and turned professional. The band was based in New York City, and included Trotter, Dowell, and Ennis, and a few years later trumpeters Bunny Berigan and Jack Purvis joined the group. The sound was 1920s collegiate jazz. Kemp once again toured Europe in the summer of 1930. This band recorded regularly for Brunswick, English Duophone, Okeh and Melotone Records.

In 1932, during the height of the Depression, Kemp decided to lead the band in a new direction, changing the orchestra's style to a that of a dance band (often mistakenly referred to as "sweet"), using muted triple-tonguing trumpets, clarinets playing low sustained notes in unison through large megaphones (an early version of the echo chamber effect), and a double-octave piano.

One of the main reasons for the band's success was arranger John Scott Trotter. Singer Skinnay Ennis had difficulty sustaining notes, so Trotter came up with the idea of filling in these gaps with muted trumpets playing staccato triplets. This gave the band a unique sound, which Johnny Mercer jokingly referred to as sounding like a "typewriter." The saxes often played very complex extremely difficult passages which won them the praise of fellow musicians. Vocalists with the band at this time included Ennis, Dowell, Bob Allen, Deane Janis, Maxine Gray, Judy Starr, Nan Wynn, and Janet Blair. During the 1930s, Kemp recorded for Brunswick, Vocalion and (RCA) Victor records. Hal Kemp, Kay Kyser and Tal Henry were often having a Carolinian reunion in New York. All three were great musicians from North Carolina and enjoyed the olde' time get together, according to the newspaper from Chapel Hill, NC where Hal and Kay were in school.

On December 19, 1940, while driving from Los Angeles to a booking in San Francisco, his car collided head-on with another. Kemp broke a leg and several ribs and suffered a punctured lung. He developed pneumonia while in the hospital and died two days later.

Kemp's band introduced or promoted numerous popular songs, including "Got a Date With an Angel", "Lamplight", "Heart of Stone", "There's a Small Hotel" and "Three Little Fishies" (written by the band's saxophonist, Saxie Dowell). Art Jarrett took on leadership of Kemp's orchestra in 1941.

Number one hits[link]

In 1936, Hal Kemp was number one for two weeks with "There's a Small Hotel" and two weeks with "When I'm With You". In 1937, his number one hits were "This Year's Kisses", which was number one for four weeks, and "Where or When", which was number one for one week.

Compositions[link]

Hal Kemp's compositions included "Blue Rhythm", "In Dutch with the Duchess", "Five Steps to Love", "Off the Beat", and "Workout". His brother T.D. Kemp, Jr. and sister Marie Kemp-Dunaway, in collaboration with bandleader Whitey Kaufman, wrote "Hurry Back, Old Sweetheart of Mine" which was an early Kemp recording. Contrary to popular belief, Hal did not compose his theme song "(How I'll Miss You) When the Summer is Gone", but purchased the rights to the song in 1937. Also, there is no evidence that he composed "The Same Time, the Same Place".

Honors[link]

In 1992, Hal Kemp was inducted into the Big Band and Jazz Hall of Fame.

External links[link]

• Hal Kemp biography and photo