Day In, Day Out - The Page Cavanaugh Big Band - Somethings Happening at Page Cavanaughs! (Vinyl, LP)
Considering the context — James P. Over a twenty-five year period, James P. From the middle of the Twenties, James P. Both his discography and biography suggest that he was not always in good health — another good reason for our not having even more recorded evidence.
I wonder if James P. I wish James P. If someone uncovers Day Out - The Page Cavanaugh Big Band - Somethings Happening at Page Cavanaughs! (Vinyl James P. Because this blogpost threatens to slide into the morose, I will offer a recording that has never failed to cheer me up: the duet of James P.
What a pleasure to hear James P. Having good friends is a delight in themselves. Let me wish you lots of success with your singing. Hello Barbara: — Just to let you know where I am, and what I am doing. I am counsler at this camp for kids and I am having a ball.
I shure wish you could drive over here and see the camp it is only 20 some miles from Boston George Wein and the band were up here last week. He has been gone for nearly sixty years. And since we can all dream of hearing Mr. Newton and Miss Leacock together, I offer here yet unheard evidence of such a musical meeting.
He had an unerring sense of what to add to the musical conversation. Working alongside and learning from Jaki Byard, Dick Katz, Al Casey, and other veterans had affected him, audible through his playing, arranging, and compositions. Last year, I heard his Septet for the first time. See the end of this post for three examples from that session:. I was delighted to learn that Michael and the Septet had issued a compact disc of his music. Swing, yes; imitation, no — creative evocation, yes.
When heard casually from another room, the sound might suggest the rocking little band of Johnny Hodges in the early Fifties, but close listening reveals quirky, surprising touches.
His compositions are more than disguised reheatings of overplayed chord changes. Like many other listeners, I knew Jane Harvey as a wonderful singer with a singular voice its charm immediately apparent beginning with her recordings with Benny Goodman, later ones with Zoot Sims and Dick Wellstood, among others. Here she is, appearing in with Jane Pauley on the Today Show — singing a medley of Stephen Sondheim classics with delicacy and emotional power:.
And it has the even nicer fact of not being posthumous! The CDs can be purchased individually at surprisingly low prices at Amazon. In an attempt to reach a wider audience, Atlantic added a large string orchestra, overdubbed.
Eight bonus tracks show Jane off in front of orchestras conducted by Billy Strayhorn and others or the Page Cavanaugh trio:. When a disc begins with two performances where Jane is backed by the Duke Ellington orchestra — Strayhorn on piano and Ellington talking in the control booth — listeners are in a magical place.
Other performances on this disc have Jane paired with Les Paul, Ellis Larkins an eight-minute Arlen-Koehler medleyand larger studio orchestras:. The time is always right for Jane Harvey. Her energy, jazz feeling, and empathy are undimmed. Her voice is a pleasure to listen to; she honors the melodies, and she deeply understands the lyrics: no pretense, no overacting. The Amazon link to the CDs can be found here. And for any other matters pertaining to Miss Harvey, please contact Alan Eichler at aeichler earthlink.
For some time now, he has been the finest scholar of jazz violin improvisation — with several books devoted to Eddie South and Stuff Smith, as well as the elusive pianist Henry Crowder. The books and liner notes to the CDs are written with great attention to detail always with surprising photographs yet with great humor and warmth.
Both the text and the music are at the very peak. Anthony has announced his latest offering — not a full-fledged CD production, but something that has the mildly subversive charm of an under-the-table offering, with its own rules — a limited edition, for contributors only, available in March — with approximately fifty-five copies not yet spoken for.
This CD-R is in principle available free to the first people who request it. Instead, however, you are asked kindly to make a contribution, if you can, in any amount you can afford, however small or large, to our costs and our work in general.
As we have written before, this work, its research, acquisition and releases, over the years has been substantially financially loss making, though rewarding in almost all other ways. Anything you can help us recoup will assist what we may be able to do in the future. Direct transfer is also possible to our sterling or euro accounts please ask for details. Anthony has many more strings to his bow as the saying goes and other magical music he would like to share, so consider the rewards now and in the future.
His father, Archie Taylor, Sr. It was my privilege to see him swing the band every time he started a gentle beat with his brushes or tapped his closed hi-hat.
Drumming becomes a musical art form in the hands of these outstanding percussionists. Sadiq and Mike totally explore the drum set with all its possibilities.
Their concerts open with a brief discourse on the history and development of the drum and the evolution of various styles of drumming. Students should bring sticks, a practice pad or snare drum and stand.
On the day of the concert please call Tour The Gallery at www. Click on the link below and hear these tantalizing excerpts —. What follows is only the smallest sample of its contents. Fascinating stories resulted, which eventually proved stronger than their grief for a way of life that they had seen vanish. But because many of the musicians had never been asked to talk about Harlem, they responded with fresh stories that were hilarious, profound, touching.
I remember I had to have a tuxedo and my mother paid two dollars for it. But some of the things people are playing make people sad, and these folks will just sit there, drink a Coca-Cola, and stay all night. That sounded great to me. The book is full of stories: impatient Stuff Smith wandering out on the ledge of a tall building.
Al Casey paying tribute to Teddy Bunn. Buddy Tate remembering the last time he saw Charlie Parker alive. And the book comes with a compact disc of many of the giants playing and talking — musical history.
Were I a different sort of person, I could blame my parents, who were lovingly overprotective. I could be irked at them now for not encouraging me to leave my suburban nest at 14 or 15 to go into New York City. I miss them all, but feel so fortunate that I was there to breathe the same air, to hear their sounds.
Enter your email address to subscribe to this blog and receive notifications of new posts by email. Email Address:. Sign me up! Skip to content. Like this: Like Loading May your happiness increase! And two musical events — Marty encompasses multitudes, so he gets two parties. Posted on October 28, 5 comments. I can hear his hi-hat and rimshots as I write this, his brushes on the snare drum. He was leading the band, but he let the men on the stand direct traffic: in retrospect, he was a true Condonite, letting the music blossom as it would.
I was shy then, but I got my courage together and spoke to him — I must have seemed an unusual apparition, a college student breathless with enthusiasm about swing drumming and especially about Sidney Catlett. Burgevin if he had them or would like a tape of that concert. And so we arranged something: perhaps I asked him for a copy of the records he had made with Doc Cheatham. To say the music I heard that night made an impression is putting it mildly. Memory is treacherous, but what I remember next is being invited to the apartment he and his wife Patty — Patricia Doyle, if we are being formal — shared on East 33rd Street in an apartment building called The Byron.
And often. I had been brought up to be polite, but I blush to think of how many meals I ate in their apartment, how long I stayed, how much time I spent there.
Often MB was at work on a piece of commercial art in his little studio, wedged in a corner: I played the records he had or the ones I had just bought for him. We had much to talk about, and I learned to hear more under his gentle tutelage.
But we admired J. I cringe now to think that MB and Patty might have liked to be left in peace a little more. I wonder how many meals were stretched to include a hungry guest.
When, in this century, I apologized to MB and Patty for my late-adolescent oblivious gaucheries, they said they remembered nothing of the sort. I take this as a great kindness.
Chicken cacciatore, Dave Tough, a feisty little terrier named Rex, are all inextricably combined in my mind. I can see that rectangular apartment now. MB lent me records and books, tapes and other music-related treasures, and in general made his house mine, open-handedly and open-heartedly.
It was all subtle, never dramatic. One thing MB encouraged me to do was to bring recording equipment along to gigs he was playing. And again in this century he told me this story that I had not been aware of while it was happening. Blithely, I came in, said hello to MB, and began setting up my reel-to-reel recorder. As a result, Kenny, with some polite irascibility, showed me where to set up my microphone for better results. He delighted especially in the sounds of Fats Waller and his Rhythm, and took every advantage possible to get together with Jimmy Andrews, Al Casey, Herman Autrey, and Rudy Powell to recapture some of that jovial spirit.
Leeman stepped down from the drums and MB asked politely if he could sit in with the intermission players — Steve Lacy on soprano saxophone and Ralph Sutton, piano. My friendly contact stopped abruptly when MB had a heart attack. I was terrified of going to a hospital to visit anyone I have said earlier in the piece that I was young, perhaps far too young. Before I could muster the maturity to visit him, he and Patty seemed, as if in a snap of the fingers, to flee the city for points unknown upstate.
I wondered about him in those years, heard his music, and thought of him with love — but we had drifted apart. Once before, he had played with that group. It seems odd to hear him gently trying to get gigs, but it is a good all-around picture of Michael Burgevin, his sound solo and in an ensemble with Warren Vache, Dan Block, Harry Allen, Howard Alden, and others and it gives glimpses of his paintings:.
A few years ago, MB seriously mastered the computer and moved from writing letters to writing emails, and we stayed in contact, sometimes several times a week, that way. I sent him music and jazz arcana, and we had deep philosophical conversations — the ones I had not been ready for in the early Seventies. Recently he burst forth of Facebook, and had a delighted time sharing photographs of his friends from the old days. A few years ago, he came down to New York City to meet the Beloved, and he and our mutual friend Romy Ashby had lunch together.
MB was beautifully dressed and as always sweetly gallant. It was foolish of me to think we would always have our email conversations, or another meeting in person, but we never want the people we love to move to another neighborhood of existence.
That thought gave and continues to give me pleasure. Born with rhythm! About 10 years away from music working as a freelance commercial artist and graphic designer. Returned to drumming in Lived in Manhattan. Traveled to NYC for many engagements. Michael Burgevin seems to me to be the embodiment of kind generosity. Near me, as I write, I have a little autograph book full of inscriptions of jazz musicians that he bought and gave to me. Invaluable, like its owner. Reading these words, I hope his warmth and gentle nature comes through, his enthusiasm for Nature and for human nature, for the deep rhythms of the world and the way a good jazz ensemble could make us feel even more that life was the greatest privilege imaginable.
A deeply spiritual man, he preached Day Out - The Page Cavanaugh Big Band - Somethings Happening at Page Cavanaughs! (Vinyl most sustaining gospel without saying a word. I have a story I can only call mystical to share. Yesterday, on the morning of the 17th, I was writing a blogpost — which you can read here. Through the open window, the softer passages had an oddly delightful counterpoint of birdsong, something you can hear on my video.
Landers Funeral Home in Sidney, New York the place name is appropriate for those who understand : the visitation at noon, the service at 1 PM. Adieu for now, Michael Burgevin. Kind friend, lovely generous man, beautiful musician.
Born January 10, Made the transition June 17, It seems odd to close this remembrance in the usual way — but someone like MB increases my happiness, even in sadness, that I will continue as I always have. May you, too, have people like him in your life, and — more importantly — may you be one of the loving Elders to others, and older brother or sister or friend who shelters someone who might not, at the time, even recognize the love he or she is being shown. But without saying that one musician is more important than another Bobby Gordon, Frank Wess, Al Porcino, Jim Hall, Chico Hamilton, Sam Ulano, and a dozen others I am not mentioning here I want to write and share a few words about two deaths of late Both of them were ardent workers in the jazz vineyards, and both in their own subtle ways did as much to advance the music as more-heralded musicians.
I Day Out - The Page Cavanaugh Big Band - Somethings Happening at Page Cavanaughs! (Vinyl occasion to observe and interact with Red Balaban many times inagain in the early Eighties, and once in I and several friends made pilgrimages there.
The Mustache was a huge hall with sawdust on the floor, creaking long tables and wobbly chairs. But for a nominal admission charge and the purchase of food and drink of dubious quality, we could sit as close to the bandstand as possible and often illicitly record the music.
He called the tunes in consultation with the guest star, chose tempos, and led the session. But I did see Eddie Condon in the audience, which would make the Sunday sessions memorable even if no music had been played.
And his daughter Liza was there now and again, photographing the musicians. Finally, I got to meet Red once again, after a lapse of decades, at the October house party created by Joel Schiavone and Jeff Barnhart. I introduced myself as someone who had good reason to be grateful to him for those Sunday sessions, and we chatted a bit. Thanks to CineDevinewe have two samples of Red, late in his career, gently entertaining the room, with assistance from Jim Fryer, Jeff Barnhart, and others.
In a Waller-Razaf mood:. He was a kind man who came from a very interesting family. Without Red Balaban, I doubt that I — and many others — would have heard as much memorable music as we did in those New York years. So we owe him a great deal. And he will be missed. Another view of Red can be found here. Bob devoted his life to celebrating Jelly Roll Morton and his music.
Across the distance of the decades, I think of Bob as a brilliant actor, committed with all his heart and energy to one role and to the perfection of that role — not a bad life-goal.
Bob was respected by his peers. I had the pleasure of seeing him in concert many years ago. He was always enthusiastic about music. I recorded with him 40 years ago and most recently for Jazzology. It was wonderful to record with him again, and a joy to be with such a remarkable talent.
I will miss him……. The first time I saw Bob Greene, he was playing a poor electric piano with a fairly loose ensemble, on the back of a flat bed truck. The band on the truck was trying, unsuccessfully, to recreate the feeling generated by old time bands on wagons in New Orleans.
It is a long way from New Orleans to Manassas, Virginia, and was a half a century removed from those heady days in the Crescent City. I know it happened because I have a snapshot to prove it. You had to look pretty hard to find out anything about Bob.
There are other guys who could play more notes, play King Porter Stomp louder or Fingerbuster faster, but when it came to really delivering the goods, with just the right mix of technique, exuberance and sentiment, nobody else even came close.
Which was just fine for Bob. He never had any intention of being a full time musician. The world was just full of too many other things to try. Bob made his first recordings in with Conrad Janis Circle and in with Sidney DeParis Blue Note and recorded intermittently for the next sixty years, whenever it was convenient.
His performance schedule was about the same. Goodness knows what else he may have been up to. When he wrote a book about the OSS exploits of his cousin, Paul Blum, he had LP) difficulty gaining access to the highest levels of the intelligence community. But back to the music. After Bob climbed down off the back of the truck during the ill-fated parade in Manassas, I discovered he could also play a real piano and when he played Morton it was special.
He had all he needed to get his point across. Much in the same as Thelonoius Monk. Other people played Just A Gigolo better than Monk, but nobody played it with more quirky feeling. The first time I really heard Bob was when I was asked to round up the gear to record a band to be led by the then legendary, now largely forgotten drummer, Zutty Singleton.
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Even stations which were affiliated to the national networks faced this need, because NBC and CBS themselves did not yet have full-day programming. Such was the void that transcription companies set out to fill. To the all-live programming produced by both local and networks, transcription services offered a convenient alternative: pre-recorded programming, made available to local stations across the nation on a relatively cheap rate.
The transcription companies produced the programs, and took care of production costs. Meanwhile, and as already mentioned, interested radio stations committed to a subscription plan, which involved paying a fee for the right to receive their choice of programs. Episodes from the chosen shows were sent on a weekly, monthly or annual plan.
Syndicated radio was thus born. In addition to competitive pricing, convenience and flexibility were the greatest incentives. Since they were transmitted live, the programs supplied by NBC and CBS could be scheduled only once, at the time on which the networks transmitted them.
Meanwhile, transcription services offered pre-recorded programming, sent out to local radio stations in the form of discs. Within a pre-stipulated time period typically a monththe stations enjoyed the freedom and advantage of scheduling or even re-playing the discs to which they had subscribed on any day and time of their choice.
The matter of sponsorship, or lack thereof, also provided an incentive. An affiliated local station was expected to find local sponsors for the networks' programs, or else, the station itself would have to pay fees for locally running the network's show on a "sustained" basis.
That state of affairs would change for the better in years to come, as individual advertisers became more actively involved in the production and sponsorship of radio programming. But, in these early years, the networks' impositions must have been onerous for affiliates.
Sponsorship was not, on the other hand, a significant factor in the early world of transcription programming. Since they worked on a syndicated model or "subscription-and-fee" plan, ET companies had no reason to make the recruitment of sponsors a demand from its subscribers.
What's more, savvy ET marketers willingly and actively helped radio stations find sponsors, thereby increasing the appeal of the ET business model. Such brand of savvy was notably cultivated by the owner of the World Transcription Service, who will be a subject of discussion later, below.
Amos 'n' Andy : Paving The Road To Syndication Recording, the technique or strategy on which ET companies depended, had been available to the world of radio since the first half of the s. According to Old-Time Radio expert Michael Biel, some broadcasts were being recorded to disc as early as Inthe popularity of a sitcom named Sam 'n' Henry broadcast at Chicago's WGN station compelled its main actors to ask for the program to be recorded on rpm discs, so that discs could be distributed and played at other stations.
But WGN did not acknowledge the actors' request, apparently failing to see any significant advantage in the practice, or perhaps unwilling to allow performers to dictate the station's moves. WMAQ did grant the actors' demand for their new sitcom to be recorded to rpm disc right from its first episode at the station, Day Out - The Page Cavanaugh Big Band - Somethings Happening at Page Cavanaughs! (Vinyl March 19, The name of that pioneering sitcom was Amos 'n' Andy. Syndication made Amos 'n' Andy hugely popular, not to say anything of trendsetting.
In a short period, the show was regularly being distribution on rpm disc over 70 other radio stations according to Old-Time radio expert, Elizabeth McLeod. Thus, thanks in no small to its syndication, Amos 'n' Andy became a nationally popular show. Paradoxically, the popularity of Amos 'n' Andy indirectly led to the end of its syndication in the second half of NBC bought the show and promptly terminated the practice of recording it on rpm disc.
The networks were not yet amenable to the practice. Until the war years, all the major networks but Mutual remained generally oblivious or wary of pre-recording practices. Mutual embraced it as a strategy right from its foundation inand continued to bask in it afterwhen it expanded its geographical reach from the East and mid-US to the West.
As for the other two networks, it was only from the post-war years onwards that, as the aforementioned Elizabeth McLeod has pointed out, we heard an increasing number of their shows opening or closing with the acknowledgment that they were "electrically transcribed for release.
After NBC acquired the show, the network rescheduled it from p. This change of schedule caused an outcry amidst West Coast listeners, for whom it meant that the show would be airing at p. Once again, Correll and Gosden were the ones who came up with a novel strategy that solved the problem: after performing the episode at p.
That second performance was the one that West Coast listeners heard at p. Amos 'n' Andy thus became the very first of the LP) of shows that the networks produced and broadcasted twice a day during radio's golden age, once for East Coast and once for West Coast audiences. It is the pre-NBC days of Amos 'n' Andy that are of primary interest to the present writeup, however.
Before the network's takeover, the resounding success of the situational comedy naturally caused the radio industry to pay close attention, and to imitate the elements or proceedings that had put it such advantageous position.
Imitation extended not only to plots and character but also the business strategies which had led to its popularity. Hence, in the late s and early s, many another radio show turned to syndication on rpm disc as well.
Even more importantly for our discussion, a new type of company, specializing in producing their own syndicated programming, was born.
Though founded in Omaha, Nebraska, its headquarters would be built in Newton, Iowa. Maytag, maker of kitchen appliances at this point in time, mostly washing machineswas not only NRAC's first client but also the catalyst for the idea. The manufacturer was on an upward trajectory, experiencing major growth, financial profit, and expansion even into the export field. Maytag also had happened to commission and sponsor a well-regarded local radio program.
Seeing how the show had succeeded at finding an appreciative audienceMaytag only regretted the fact the such a program was confined to the Chicago area. The consulted sources do not identify Maytag's program by name.
Judging from references about its "music and entertainment," it could have been an entertainment variety show, featuring both musical acts and actors performing dramatizations. We do know that it ran daily, and that it primarily used talent recruited from the Chicago and New York areas. In any case, this show's relevance for the present write-up is minimal: there were no known attempts at transcribing it. For that reason, further commentary about the show would fall outside of this essay's purview.
Maytag simply wanted its radio sponsorship to be heard beyond the Chicago airwaves. To that end, NARC and the manufacturer came up with the plan of creating, producing an pre-recording half-an-hour programs which would include Maytag announcements, and which would be offered for syndication to key stations across the nation.
Maytag's very first pre-recorded transcription disc was sent out to station KDKA Pittsburgh, Pennsylvania on December 18, and, around the same time, or soon thereafter, to its KYW branch which was located in Chicago, back then. Commentary about the whole enterprise was printed on the January 13, edition, The Pittsburgh Press : "Radio audiences in all sections of the country are getting new thrills due to the introduction of an entirely new type of radio broadcasting by the Maytag Co.
The new type of radio broadcasting The new process permits the assembling of talent in the largest cities, where a transcription is made by electrical reproduction and transported to the various stations elected to broadcast the programs This constitutes the largest independent radio schedule in the world A circus band furnishes the musical background.
The second [transcribed] program dramatized The Kissa story with collegiate atmosphere and a distinctive musical setting, written by Pat Barnes, popular radio announcer. Barnes also directed the production of his story and acted a prominent part in the play. At that early stage, Soat referred to it as a test program. His cast list of characters indeed points to a circus atmosphere. Soat's list of props also includes one musical instrument, an organ, whose specified purpose is to evoke a merry-go-round effect.
On October 4 and 5 ofthe program was successfully recorded on transcription disc at Brunswick's Chicago recording studios. In the two or three months that preceded the airing of The Yellow Streaka general interest in transcription recording was already becoming evident. In one of his letters from October ofSoat states that he already has three advertisers lined up for the sponsorship of transcription shows during the remainder of the season.
Soat's letters also refer to Victor's keen interest on recording for syndication on transcription disc. The impresario's writings intimate that future arrangements with Victor are likely. In the end, though, his advertisement agency stuck with Brunswick. These early, primeval transcription discs from NRAC and Brunswick measured 12 inches in diameter, were made of shellac, and ran at 78 revolutions per minute.
All prospective programs were apparently set to offer weekly not daily episodes, and advertisers were generally expected to pay for both talent and production costs. NRAC and Brunswick operated on an accelerated schedule -- once a week at a minimum. Next would be the the very first music-centered program, to be discussed below. And so on. NRAC's steady production and presumable success with its series of transcribed programs culminated with its incorporation or absorption into Brunswick in Sunny Meadows Sunny Meadows was the name of the aforementioned all-music transcribed show, the first of its kind.
It was named after its sponsor, the Meadows Manufacturing Company, known for its washing machines. Ray Miller And His Orchestra were the stars. A Brunswick artist, Miller was based in Chicago. He had been spending the second half of playing in town e. A female vocalist named Mary Williams was part of the ensemble, and there was one or more male vocalists as well e. The initial episode was recorded on December 14, Ensuing episodes of Sunny Meadows would be committed to record through January 5, 12, 18, 25, 28with the final installment being waxed on February 8 of Of course, Brunswick proceeded to transcribe other music shows soon after this first one.
They would feature not only big band and jazz but also classical music. The Rise Of The Transcription Business The "syndicated transcription" model enjoyed prompt and lasting success during the golden age of radio. Within the next paragraphs, several indicators of such success will be discussed in succession. An obvious barometer of success was the emergence of several radio transcription companies during the immediate years after the foundation of NRAC, and the debut of The Yellow Streak on the airwaves.
A vast array of musical talent recorded for these services at one point or another. Then there was the major network that sought to partake of the bounty. A minor, partially off-topic clarification is in order. As a result, the terms Thesaurus and Orthacoustic became intertwined, and often used interchangeably. While still in its early years, the transcription model was so embraced that it even gave rise to a brand new radio network. The new network was owned by a coop, consisting of independent radio stations from Chicago, Detroit, New York, and Cincinnati.
Despite the competitive challenges posed by the other, more solvent networks, Mutual remained in place throughout the golden age of radio. It was not until its sale to General Tire in that it ceased to be a coop. Perennially relied on transcription programming and perceived as something of an independent conglomerate, it consistently counted with more affiliates that CBS, NBC, and latecomer ABC.
The success of the transcription business model can also be gleaned from the concern that it raised in the headquarters of the American Federation Of Musicians. AroundAFM's James Caesar Petrillo objected to the model on the grounds that too many local radio stations including those affiliated to CBS and NBC were using music transcriptions as substitutes for live musicians, thereby depriving the latter of employment.
To appease the infamously combative union leader, most radio stations agreed to keep a staff orchestra under hire. Five years later, Petrillo's persistent displeasure on this matter and on a parallel matter pertaining to commercial records would lead to AFM's first nationwide recording ban. Further indication of the transcription model's success can be found in a late s attempt at imitation. Paradoxically, the prospective imitators were the commercial record labels, which had hitherto perceived the radio airwaves as a competing enemy, to whom they had forbidden any playing of retail product without express permission.
Nonetheless, the persistent thriving of transcription music over the airwaves eventually led to an obvious realization: there was potential for retail to make money on the radio. Hence the retail music industry finally told radio stations that the playing of commercial recordings would be allowed Unlike transcription services, however, record labels thought that the quality of their product merited exorbitant price tags.
Not surprisingly, the record labels found few enthusiastic takers, and their inflated prices only served to reaffirm the hold that ET services were enjoying over local radio stations. Radio expert Jim Ramsburg offers several telling statistics, all of them further evincing the hold of the transcription business over the world of local radio.
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