394:, demanding retake after retake in the rehearsal studio. About this process, Williams told historian Michèle Wood, "All he ever had was machines, only we had names." Williams, explaining Scott's (commercially successful) penchant for recording rehearsals and using the reference discs to develop and finalize his compositions, said, "He didn't write anything, but he edited everything. We would work these things up and we would never change them, ever. We had to do them note for note. It was highly unsatisfactory, and it sold like hell."
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of it," he told Wood. "We thought was descriptive, all right, but not jazz, because jazz is right now, not memorized note for note. And after all this compulsive rehearsal, suddenly it all caught on and we were making more money than anybody else in town, all thanks to him. We were doing records, public appearances, making movies, everything." Williams also acknowledged a performance dividend. "All that discipline helped ... It had to. I developed a technique way beyond what I'd had", he told Wood.
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Scott painted "portraits in jazz", or "descriptive jazz" — what he felt were musical vignettes of colorful evocations, such as "Reckless Night on Board an Ocean Liner" and "Celebration on the Planet Mars". Williams considered it undignified, but admittedly lucrative. "We really didn't want to do any
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Scott and his band returned to New York in 1938, allegedly due to the leader's disgust at
Hollywood culture ("They think everything is 'wonderful'," he told an interviewer). After dissolving his Quintette in 1939, Scott formed a swing-fashioned
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from the early 1930s to the late 1950s. In New York and
Hollywood, he worked on radio, in films, and as a recording artist. He was the father of film composer and conductor
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Throughout his association with Scott, Williams continued as an in-demand drummer for the CBS radio network. His assignments included playing for bands led by
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promotional booklet, October 1939, with
Raymond Scott, Kate Smith,
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in the 1930s and 1940s. (Note: Warnow was Scott's older brother.)
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Wood, Michèle, "The Men Who Made the Music: Raymond Scott", in
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544:"Johnny Williams Appears In Film With Sonja Henie".
51:. Unsourced material may be challenged and removed.
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694:Personnel of Scott's 1948-49 Quintet at AllMusic
462:'s orchestra on the long-running radio program
479:in soundtrack orchestras for such films as
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111:Learn how and when to remove this message
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528:. November 25, 1905.
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497:. In the 1953 film
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503:Ray Milland
460:Mark Warnow
448:Leo Reisman
358:Bath, Maine
240:Formerly of
235:1930s–1970s
213:Instruments
190:Los Angeles
745:Categories
665:Storyville
509:References
456:Kate Smith
311:(grandson)
222:percussion
205:Occupation
166:1905-11-15
151:Birth name
71:newspapers
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305:Relatives
101:June 2016
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200:Jazz
180:Died
160:Born
64:news
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