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(2694, 6, '2020-02-26 14:40:33', '2020-02-26 22:40:33', '[vc_row][vc_column][vc_column_text]Last week I asked 14 friends if they had heard of the Boswell Sisters.\r\n\r\n13 said no.\r\n\r\nOne said, “Oh yeah. They’re amazing!\"\r\n\r\nThat friend was a jazz singer.\r\n\r\nIf you like Pentatonix, GQ, Take 6, The Manhattan Transfer, the Andrews Sisters or Lambert, Hendricks &amp; Ross––thank the Boswell Sisters. They invented the jazz vocal ensemble.\r\n<blockquote>\"Without the Boswell Sisters there would be no Andrews Sisters.\" -Patty Andrews</blockquote>\r\nIf you like Diana Krall, Bobby McFerrin, Wynonna Judd, Billie Holiday or Ella Fitzgerald––thank the Boswells again. They developed the modern approach to jazz and pop singing.\r\n<blockquote>\"Who influenced me? There was only one singer who influenced me. I tried to sing like her all the time, because everything she did made sense musically… and that singer was Connie Boswell.\" -Ella Fitzgerald</blockquote>\r\nThe Boswell Sisters are one of the most awe-inspiring and important groups to have ever made music.\r\n\r\n[caption id=\"attachment_986\" align=\"alignnone\" width=\"600\"]<img class=\"size-medium wp-image-986\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Crazy-still-1-PS2-2-600x443.jpg\" alt=\"\" width=\"600\" height=\"443\" /> Connie, Vet, Martha[/caption]\r\n\r\nIn a 3-minute song, a Boswell Sisters’ arrangement can seamlessly traverse through multiple key changes, several 90-degree tempo shifts, complete reharmonization of various sections, scatting, gulling, lyrics sung in “gibberish,” and all mesmerizingly executed with jaw-dropping style and a wondrous sense of swing.\r\n\r\nAfter many years as a music professional, I cannot believe I was unaware of this stunning vocal trio until January 2015, when I stumbled upon them by accident while surfing the Net. I watched the live 2-minute film clip of  “Crazy People”–– and that was all it took. I was hooked. Or, as Boswell Sisters aficionados say, I was “Bozzed.”\r\n\r\nThis was a new musical world. A wild take on jazz with no words to adequately describe it. I launched a YouTube quest for as much Boswell Sisters music as I could find. Fortunately, many of their tracks are posted on YouTube and CD reissues are readily available on Amazon.\r\n\r\nBefore you read any further…check out the “Crazy People” video.\r\n\r\nFor those who have not taken the trip to Planet Boz––you are in for one doozie of a ride.\r\n\r\n<span style=\"text-decoration: underline;\"><strong>The Boswell Sisters – “Crazy People”</strong></span>\r\n\r\nhttps://www.youtube.com/watch?v=R-O5U4uuPF8\r\n\r\n<strong>The Boswell Sisters were the most popular music group in America from 1931 to 1936.</strong>\r\n\r\nThen suddenly, in 1936, it was all over.\r\n\r\nThey quickly faded from the scene––and the public’s memory.\r\n\r\nSo…who were they?\r\n\r\nAnd why was this incredible trio largely forgotten?\r\n<h2><img class=\"alignnone size-full wp-image-979\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/boswell-sisters-early-1a-Cropped.jpg\" alt=\"\" width=\"497\" height=\"563\" /></h2>\r\n<h2></h2>\r\n<h2>SHUFFLE OFF TO NEW ORLEANS</h2>\r\nFate can be like a slot machine. The tumblers must align themselves in just the right way to trigger a jackpot. The Boswell Sisters’ story is like that. There’s everything that makes a compelling tale: tragedy, victory, loss, pain, luck, secrets, betrayal, talent, and a deep love forged by strong family bonds. The sisters had an incredible ability to turn adversity into triumph, making the most of every opportunity. Their saga is as compelling as their music.\r\n\r\nThe “Bozzies” (as they are affectionately called) were three bright, über-cute, funny, playful, and extraordinarily talented sisters: Martha (1905-1958), Connie (1907-1976) and Helvetia (1911-1988, known as Vet).\r\n\r\nWhile the girls were very young, the Boswell family settled in New Orleans. With its eclectic blend of cultures and the sound of blues, jazz and gospel all around them, these three brilliant young women––encouraged by musical parents and a strong-willed mother––created a sound so fresh, so unique, that it caused a musical sensation, changing the face (and ears) of popular music.\r\n\r\n[caption id=\"attachment_987\" align=\"alignnone\" width=\"507\"]<img class=\"size-medium wp-image-987\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/early-boswells-pix-book-507x600.png\" alt=\"\" width=\"507\" height=\"600\" /> The Early Boswells<br />CONNIE–cello         MARTHA–piano         VET–violin[/caption]\r\n<h2>THAT’S HOW RHYTHM WAS BORN</h2>\r\n<blockquote>\"Their music hit me right between the eyes, and what hit me was their originality. There was just no one like them.\" -David McCain, Boswell authority</blockquote>\r\nThe young Boswells were trained to be classical instrumentalists. The very essence of music coursed through their veins; Martha was going to be concert pianist, Connie, a cellist, and Vet, a violinist. Yet something else began tugging at their heels.\r\n\r\nIn a 1925 interview with the Shreveport Times, Martha said: “We studied classical music. . .and were being prepared for the stage and a concert tour throughout the United States, but the saxophone got us.”\r\n\r\nConnie traded her cello for a tenor sax, Vet took up the banjo and Martha’s classical piano arpeggios morphed into hot jazz rhythms and ragtime licks.\r\n\r\nThough untrained as vocalists, they sang amazingly well together––with that ethereal, other-worldly blend that seems reserved only for talented siblings with genetically-linked vocal cords. And they were connected in even more profound ways.\r\n<blockquote>David McCain comments: “They did have an uncanny telepathy with each other. It wasn’t only just their musical skill and ability. It was this telepathy they had…which even went beyond just being sisters. It was really being in tune with each other. It’s certainly evident on the records when you hear it.”</blockquote>\r\nThree personas forged into a single musical tour-de-force. They sang with an inspired, surgical precision never heard before, nor equaled since. Together they charted a new course in music where no road map existed.\r\n\r\n[caption id=\"attachment_982\" align=\"alignnone\" width=\"394\"]<img class=\" wp-image-982\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/bozwell_sisters_stacked.jpg\" alt=\"\" width=\"394\" height=\"508\" /> Connie (bottom) – Martha (middle) – Vet (top)[/caption]\r\n<h2>BETWEEN THE DEVIL AND THE DEEP BLUE SEA</h2>\r\n<blockquote>\"Connie Boswell is the most widely imitated singer of all time.\" -Frank Sinatra</blockquote>\r\nA surprising fact about the Boswell Sisters: Connie was confined to a wheelchair.\r\n\r\nAt the age of 3 either she was either severely injured when ejected from a careening homemade go-cart, had contracted polio, or both (each story was alternately told by Connie through the years). A further incident at age 22, involving a 15-foot fall from a window during a game of hide-and-seek, took away whatever remaining lower-body ability she had. The end result: she never walked again.\r\n\r\nFor their early gigs, Connie was carried “packsaddle” style by her sisters; Martha and Vet interlocked their forearms while Connie sat in the middle. They learned to rely on each other in profound ways: physically, musically, emotionally and spiritually. This intimacy was reflected in the music they created.\r\n<blockquote>Vet’s daughter, Chica Boswell Minnerly, observed: “They went everywhere together, socially. They did things together. Played their music together. And they thought alike. When you have that kind of closeness and you translate it into a musical form, it’s hard to explain what happens…with a trio. A trio begins to have its own identity. And that identity is very different from any of the sisters. So it becomes truly a trio.”</blockquote>\r\nIn the 1920s jazz was often referred to in derogatory terms, especially by religious groups (in the 1950s these same charges would be leveled at rock and roll).\r\n<blockquote>Chica continues: “Jazz, in some circles, was considered ‘the Devil’s music.’ But it was hard to call it ‘the Devil’s music’ when you had these three pretty little girls…one of whom couldn’t walk…and they’re singing this music. So it presented a contradiction. It’s interesting, because people had to make their minds up about it.”</blockquote>\r\n<img class=\"alignnone wp-image-2732\" src=\"https://paulchiten.com/wp-content/uploads/2016/02/postcard.jpeg\" alt=\"\" width=\"388\" height=\"298\" />\r\n<h2>ROLL ON, MISSISSPPI, ROLL ON</h2>\r\nBy 1929 the Boswell Sisters were New Orleans favorites. But if they wanted a higher level of success, they needed to play venues further from home.\r\n\r\nSo the young ladies hit the road, performing in an unglamorous sector of the Vaudeville circuit. Their show featured playing instruments––Martha on piano, Connie on sax, Vet on banjo (and some tap dancing), doing popular songs of the day. Oh…and a little singing was pitched in.\r\n\r\nAt their first out-of-town gig, in a small, dingy theatre in Chicago, the trio was suddenly stricken at show time with a serious case of stage fright. They were so nervous that they left their instruments backstage––all they could manage to do was sing to Martha’s piano accompaniment. When they finished, the stage manager, noticing their discarded instruments backstage, asked: <em>“Don’t you girls do anything but sing?”</em>\r\n\r\nAh, but fate was tampering with those slot machine tumblers––it was through their singing that they would create a musical sensation.\r\n\r\n[caption id=\"attachment_976\" align=\"alignnone\" width=\"339\"]<img class=\" wp-image-976\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Boswell-profiles-473x600.jpg\" alt=\"\" width=\"339\" height=\"430\" /> Vet, Martha, Connie[/caption]\r\n\r\nTheir tour ended up in Los Angeles, where the radio work was. One day Connie showed up for a live broadcast with a bad cold. She suggested the songs be transposed down “an octave or two,” and sing soft and close into the microphone. This close-mike technique is one of the first examples of using the newly developed electronic microphone for maximum effect. This gave the trio an important component of their signature sound.\r\n\r\nWhile doing radio shows in California, a letter came into the station with a scathing review. It was Martha who opened it. The listener wrote: “Get rid of those awful Boswell Sisters––they’re always changing the melody, and whenever they come on the radio, me and my friends turn them off.”\r\n\r\nIt closed with a bristling coda: <em>“We call them the savage chanters.”</em>\r\n\r\nMartha was so upset at this harsh critique that she broke down in tears. She was about to rip up the letter when Connie snatched it from her hand. Connie said it was proof that the trio was indeed doing something different, and that they should keep on doing it.\r\n\r\nWith the experience gleaned from touring and consistent radio work, it was time to move to New York, where the jazz scene was in full swing. It was 1930 and the Boswell Sisters were getting ready to take on the world.\r\n<h3></h3>\r\n<img class=\"alignnone wp-image-2733\" src=\"https://paulchiten.com/wp-content/uploads/2016/02/the-boswell-sisters.jpg\" alt=\"\" width=\"422\" height=\"529\" />\r\n\r\nMartha (bottom) – Connie (middle) – Vet (top)\r\n<h2></h2>\r\n<h2>THE MUSIC GOES ROUND &amp; ROUND</h2>\r\nThe Boswell Sisters came along at the right time. Vaudeville was giving way to that new invention––radio––which grew rapidly from a curiosity to a widely accepted form of entertainment.\r\n\r\nRecorded music was also going through a seismic transformation. Early recording technology used a crude horn to channel the sound. By 1925 the electronic microphone finally made it possible to capture nuances never heard in a recording before.\r\n\r\nThe Bozzies made their first few recordings (into those horns) in 1925. By the time they got to their main body of work, starting in 1931, the electronic microphone was firmly established as the new standard.\r\n\r\nLike today’s Internet, with the popularity of Facebook, YouTube, Twitter, Instagram––the sisters embraced the technologies of their day: radio, records and films. These burgeoning media marvels allowed them to reach a far wider audience than was ever possible through live shows alone.\r\n\r\nAnd the New York scene is where the sisters would find the success they worked so hard for.\r\n\r\nRecords in the 1930s meant a live studio performance. There was no tape, overdubbing, or editing. Each take was recorded in mono onto a wax disc––worlds away from modern digital recording. There was no concept of “fix it in the mix.” The performance had to be good or the “waxie” was tossed. The Bozzies went through a lot of “waxies” before they were satisfied with a record.\r\n\r\nIn the studio, they were fortunate to work with some great musicians of the day, many of whom later became well known: Glenn Miller (trombone and arranger), Tommy Dorsey (trombone), Jimmy Dorsey (alto sax), Benny Goodman (clarinet), Artie Shaw (clarinet), Bunny Berigan (trumpet), Manny Klein (trumpet), Joe Tarto (bass/tuba), Eddie Lang (guitar), Dick McDonough (guitar), Carl Kress (guitar), Joe Venuti (violin), Victor Young (violin) and Stan King (drums). They also worked with the orchestras of Jimmy Grier, Victor Young and Paul Whiteman.\r\n\r\nMany of these celebrated musicians were members of AFM Local 47 (Hollywood): Benny Goodman, Tommy and Jimmy Dorsey, Artie Shaw, Bunny Berigan, Joe Venuti, Manny Klein, Joe Tarto and Victor Young.\r\n\r\n[caption id=\"attachment_989\" align=\"alignnone\" width=\"600\"]<img class=\"size-medium wp-image-989\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Musicians-BW-600x400.jpg\" alt=\"\" width=\"600\" height=\"400\" /> Hamming it up with The Ramblers band during the first European tour.[/caption]\r\n\r\nSo how could three white middle-class southern gals come to sound like a sassy trio of soulful jazz singers? Most people who heard them. without seeing them, assumed they were black. Their influences included gospel, jazz, blues and “race” records. Connie was a fan of early blues vocalists Bessie Smith, and especially Mamie Smith––whom she patterned her style after. Her other two major influences were a disparate pair: hot-jazzer Louis Armstrong and operatic tenor Enrico Caruso.\r\n\r\nThe Bozzies’ vocal sound is a curious combination. Martha and Connie were contraltos, while Vet was a mezzo-soprano with an exceptional range. The typical vocal registers were thrown out the window, because they had the uncanny ability to shift parts at will, creating ever-morphing three-dimensional sonic shapes.\r\n\r\nMartha called this “blending.” Connie referred to it as “passing harmony.” Whatever you call it, it meant that the melody could continually move between the three voices. The shuffling of parts, the rapid tempo changes, the modulations and continual reharmonization––indeed rising to the level of recomposition––make that unmistakable Boswell Sound. Nobody had done music this way before. Or since.\r\n\r\nIn a 1965 interview, Connie reflected on the trio’s sound. She said when people heard them for the first time, they couldn’t believe they were sisters, because “no family could have 3 sisters who could sing like this.” At the same time, they HAD to be sisters, because “no 3 voices could possibly blend this well without being from the same family.”\r\n\r\n[caption id=\"attachment_975\" align=\"alignnone\" width=\"600\"]<img class=\"size-medium wp-image-975\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/At-piano-600x376.png\" alt=\"\" width=\"600\" height=\"376\" /> Vet, Martha, Connie[/caption]\r\n\r\nTheir father, A.C., a former Vaudevillian and Barbershop singer, taught them a language he called “gibberish.” It’s a zany, word-morphing, pig-Latinish kind of thing––and the girls loved it. This “gibberish” shows up in a number of their recordings. A variation on “gibberish” is heard on the second section of “Everybody Loves My Baby,” which features nonsense sounds sung at an insanely fast tempo, performed with perfect diction in astonishingly precise 3-part harmony––a typical Bozzie Dazzle Moment.\r\n<h4><span style=\"text-decoration: underline;\">Everybody Loves My Baby</span></h4>\r\n[audio mp3=\"https://paulchiten.com/wp-content/uploads/2015/09/Everybody-Loves-My-Baby.mp3\"][/audio]\r\n\r\n&nbsp;\r\n\r\nEvery time I hear this track, a jolt of electricity shoots up my spine. The vocal histrionics are as energetically wild as they are highly disciplined. Connie even “gulls” (a technique of extreme glottal stops) in the middle of everything. Hey, if this doesn’t get you to sit up and take notice, you’re in a musical coma.\r\n\r\nThe sisters created all their own arrangements, working collectively, each sparking off the other. But just how did they come up with these wildly inventive sound canvasses?\r\n\r\nConnie provided some insight in a 1932 interview: “The method we use is rather quaint, and I know will amuse you when you hear about it––we learn our songs backwards! ...That is to say, we start at the end of the chorus and work back to the beginning. None of our arrangements are written out. Once we learn a song we never forget the arrangement.”\r\n\r\nOnstage, Martha played piano accompaniment (and on most of their recordings). Connie sat next to her on the piano bench and Vet stood behind, resting one hand on each sister’s shoulder, choreographing the trios’ movements.\r\n\r\n[caption id=\"attachment_985\" align=\"alignnone\" width=\"600\"]<img class=\"size-medium wp-image-985\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Crazy-People-Martha-smile-600x450.png\" alt=\"\" width=\"600\" height=\"450\" /> Connie, Vet, Martha[/caption]\r\n<h4><span style=\"text-decoration: underline;\">Shout, Sister, Shout!</span></h4>\r\n[audio mp3=\"https://paulchiten.com/wp-content/uploads/2015/09/Shout-Sister-Shout.mp3\"][/audio]\r\n\r\n&nbsp;\r\n\r\nA Boswell Sisters’ theme song; truly a pocket symphony.\r\n\r\nIn a span of 3 minutes, it’s quite a ride through snappy jazz textures, dark gospel, fast scatting, all culminating in bayou-infused swampy soul.\r\n\r\nThe fact that these beautiful and talented young women become so successful in a world dominated by men––at a time when women had only fairly recently been given the right to vote––is testimony of their sense of empowerment as females. They went on the road with no chaperones, managed their own business, and charted their own destinies.\r\n\r\nThe Bozzies were also in control, and responsible for, their musical creations. Rare for recording artists at that time. Their unique musicality, uncanny skill, playful hearts and wistfully “witchy” soulfulness kept them leagues ahead of any competition.\r\n\r\n<img class=\"alignnone  wp-image-2742\" src=\"https://paulchiten.com/wp-content/uploads/2019/10/Screen-Shot-2019-10-18-at-10.26.11-PM.png\" alt=\"\" width=\"461\" height=\"465\" />\r\n\r\nTwo new phrases entered the musical language of their time: “Boswell Sound” and “Boswell Rhythm.”\r\n\r\n“Boswell Sound” referred to their ability to conjure up unusual and infinitely appealing vocal harmonies, coupled with an astounding vocal blend and wildly creative arrangements with unexpected changes, and amazing vocal gymnastics.\r\n\r\n“Boswell Rhythm” was their jazzy, syncopated phrasing and astonishingly precise tempo changes, all executed with an extraordinary sense of musical swing.\r\n\r\nRhythmically, they could push the pulse so it sat on the leading edge of the beat––almost rushing, but not quite. This aggressive hanging over the leading edge of the beat was also called “New Orleans drive.” Many musicians from that scene played on top of the beat, but nobody sang quite like this. And 3 people doing it in perfect synchronicity? Only the Bozzies could do it this incredibly.\r\n<h4><span style=\"text-decoration: underline;\">Heebie Jeebies</span></h4>\r\n[audio mp3=\"https://paulchiten.com/wp-content/uploads/2015/09/Heebie-Jeebies.mp3\"][/audio]\r\n\r\n&nbsp;\r\n\r\nTheir good-luck song. The spirit is as intoxicating as the smell of down-home southern gumbo.\r\n\r\nA classic Boswell madcap slap-dash romp through many tempo and textural changes, the first-ever 3-part harmony scatting–– delivering a salvo of infectious musical energy that inevitably leaves the listener smiling…and breathless.\r\n\r\n<img class=\"alignnone size-medium wp-image-983\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Brunswick-publicity-PS2-600x385.jpg\" alt=\"\" width=\"600\" height=\"385\" />\r\n<h2>IT DON’T MEAN A THING,  IF IT AIN’T GOT THAT SWING</h2>\r\nWhen the Bozzies recorded their first side for Brunswick Records, “When I Take My Sugar To Tea,” (their first charted hit), the veteran studio musicians expected a typical session with your average young vocal group. They got anything but. The sisters possessed a musicianship equal to their own. The music was challenging, the girls were accomplished, charming and fun, and the players were given latitude to improvise solos in their own style.\r\n\r\nWhen they finished the first successful run-through of the song, all the musicians spontaneously got up––and gave the sisters a standing ovation. This kind of thing simply did not happen. This was a moment vital to the trio’s sense of self- confidence.\r\n\r\nThe Boswell Sisters were definitely on their way.\r\n\r\n[caption id=\"attachment_978\" align=\"alignnone\" width=\"600\"]<img class=\"size-medium wp-image-978\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Boswells-at-piano-600x495.jpeg\" alt=\"\" width=\"600\" height=\"495\" /> Connie, Vet, Martha[/caption]\r\n<h2>WE’RE ON THE HIGHWAY TO HEAVEN</h2>\r\nFrom 1931 to 1936 the Boswell Sisters rode the wave of their greatest popularity. They racked up 20 hits on the US charts, and a #1 in 1935 with “The Object Of My Affection.”\r\n\r\nThey sold 75 million records at a time when many Americans didn’t even have enough money to buy fresh bread. This was the Great Depression. Americans found the sisters’ music so uplifting, so transportive, that it helped momentarily lift the nation out of its collective miseries. Their music reminded people of the joy of being alive at a time when all that seemed to lay ahead for the country was more gloom.\r\n<blockquote><em><img class=\" wp-image-2729 aligncenter\" src=\"https://paulchiten.com/wp-content/uploads/2016/02/Charicature-color-479x600.jpg\" alt=\"\" width=\"372\" height=\"466\" /></em>\r\n\r\n<em>\"You know, they never cartoon folks unless they are known world wide.\"</em> -A. C. Boswell,  father (in a letter to his daughters)</blockquote>\r\nFor some reason, history has generally underestimated the impact, revolutionary sound and popularity that the Boswell Sisters had. If any musical act has the right to use the word “magic,” it certainly is the Bozzies. Music publishers rarely gave permission for artists to alter songs. Of course, the Boswell Sisters were the exception. Their changes invariably added to the compositional intrigue of the song (the fact that they also sold a lot of records didn’t hurt).\r\n\r\n<img class=\"alignnone wp-image-973\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/when-i-grow-too-old-boswells-uk.jpg\" alt=\"when-i-grow-too-old-boswells-uk\" width=\"324\" height=\"446\" />\r\n<h2>MY FUTURE JUST PASSED</h2>\r\nBy 1936 it all ended.\r\n\r\nThe trio broke up.\r\n\r\nAfter over 20 years of making music together––and 5 years at the top––the country’s most popular musical group was no more.\r\n\r\n<strong>Why did they break up at the height of their success?</strong>\r\n\r\nThe reason given at the time was that Martha and Vet wanted to get married and raise families, while Connie desired a solo career. While this is true, there were deeper dynamics in play.\r\n\r\nPerhaps for Connie to have a full-on solo career, she needed to break away from the trio. Harry Leedy––Connie’s husband, and manager for both Connie and the trio––could have contributed in sowing the seeds of dissention by promoting Connie over the group, nudging the trio into the shadows.\r\n\r\nPerhaps because the trio had run its course. Intense creativity often embodies the seeds of its own destruction within it.\r\n\r\n<strong>Why were they largely forgotten?</strong>\r\n\r\nMaybe because their music was so new and revolutionary, it defied classification.\r\n\r\nThe music business has a difficult time packaging unique acts. Particularly after they’ve disbanded.\r\n\r\nMaybe because their moment in the spotlight was brief––1931 to 1936––and life moved them on in different directions.\r\n\r\nMaybe because they were popular during the Great Depression, a time that was so painful that Americans wanted to forget this distressing part of their history.\r\n\r\nAfter the breakup, Martha and Vet did retire from the biz, settled down to married life and raised families. Connie continued on with a successful solo career. In 1942, she changed the spelling of her name to “Connee.” From 1936 to 1954, she had 29 songs on the US charts, including two #1 hits which were duets with Bing Crosby.\r\n\r\nBut our slot machine hit a once-in-a-google jackpot.\r\n\r\nThe Bozzies will never be duplicated.\r\n\r\nWhat endures is <strong>the amazing musical legacy the Boswell Sisters left to the universe.</strong>\r\n\r\n<img class=\"alignnone wp-image-980\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Boswell-Sisters-logo-cropped.jpg\" alt=\"Boswell-Sisters-logo-cropped\" width=\"385\" height=\"562\" />\r\n<h2>PUT THAT SUN BACK IN THE SKY</h2>\r\nAfter being largely forgotten for over 70 years, there is a resurgence of interest in the Boswell Sisters. The Internet has certainly helped create a new audience. YouTube and Vimeo have provided access to dozens of their songs and some film clips and compilation CDs are readily available.\r\n\r\nTribute groups and Bozzie-influenced bands are growing from all over the globe: the Pfister Sisters, the Puppini Sisters, Boswellmania, the Stolen Sweets, the DeGeleonardo Sisters, the Ditties, the Boswell Project, the Hazelnuts, O Sister! and more. A burgeoning Boswell Sisters Revival is taking place.\r\n\r\nThe Boswells created their music in the first part of the 20th century, but this isn’t nostalgia. Those 78rpm records may have the audio imprint of another era, but the music itself is still fresh, innovative, and as vibrant as when it was first birthed. The Boswell Sisters deserve wider recognition for their considerable contributions to popular music as well as their important place in American music history.\r\n\r\nThanks to Vet’s granddaughter, Kyla Titus, we now know more of the Boswell Sisters’ story. She wrote a wonderful book, “The Boswell Legacy,” published in 2014. My appreciation of their music deepened the more I learned of their backstory. This book is the best, most authentic source for getting the scoop on the fascinating Boswell saga, from a true insider.\r\n\r\nIf your appetite for the Boswell Sisters has now been aroused, check out the links below.\r\n\r\n<strong>Warning…</strong>\r\n\r\nAs I mentioned at the top of this article, listening to Boswell Sisters’ music will put you at risk of “getting Bozzed.”\r\n\r\nYou can get hooked, finding yourself listening to their songs over and over and over again.\r\n<h5 style=\"text-align: center;\">Constant exposure can result in a state of long-lasting euphoria.</h5>\r\n&nbsp;\r\n\r\n<img class=\"alignnone size-full wp-image-981\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Boswell-Sisters-poster.jpg\" alt=\"Boswell-Sisters-poster\" width=\"355\" height=\"468\" />\r\n\r\n<strong>ACKNOWLEDGEMENTS:</strong>\r\n\r\nSource material was compiled from “The Boswell Legacy” by Kyla Titus, Chica Boswell Minnerly, Boswell authority David McCain, Vet Boswell Family Collection LLC, TheBoswellSisters.com, Bozzies.org, “Time For The Boswells” by Dennis Yancey, “Three Perfect Minutes” blog by Bryan Mangum, and “The Boswell Sisters: Close Harmony” documentary by Joshua Tree Productions.\r\n\r\n<strong>LINKS:</strong>\r\n<ul>\r\n 	<li><span style=\"color: #0000ff;\"><a style=\"color: #0000ff;\" href=\"https://www.facebook.com/TheBoswellSisters\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook</a></span></li>\r\n</ul>\r\n<span style=\"text-decoration: underline;\"><strong>Websites:</strong></span>\r\n<ul>\r\n 	<li><a href=\"http://www.theboswelllegacy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Boswell Legacy.com</a></li>\r\n 	<li><a href=\"http://www.bozzies.org\" target=\"_blank\" rel=\"noopener noreferrer\">bozzies.org</a></li>\r\n</ul>\r\n<strong><span style=\"text-decoration: underline;\">The Boswell Legacy book:<img class=\"size-full wp-image-2727 aligncenter\" src=\"https://paulchiten.com/wp-content/uploads/2016/02/Boswell-Legacy-book.jpg\" alt=\"\" width=\"227\" height=\"300\" /></span></strong>\r\n\r\n&nbsp;\r\n<ul>\r\n 	<li><a href=\"https://www.amazon.com/The-Boswell-Legacy-Sisters-Orleans/product-reviews/1502350912/ref=cm_cr_dp_see_all_btm?ie=UTF8&amp;showViewpoints=1&amp;sortBy=recent\" target=\"_blank\" rel=\"noopener noreferrer\">“The Boswell Legacy” by Kyla Titus</a></li>\r\n</ul>\r\n<strong><span style=\"text-decoration: underline;\">Internet Music Archive:</span></strong>\r\n<ul>\r\n 	<li><a href=\"https://archive.org/search.php?query=boswell%20sisters\" target=\"_blank\" rel=\"noopener noreferrer\">archive.org Boswell Sisters</a></li>\r\n</ul>\r\n<strong><a href=\"mailto:pchiten424@gmail.com\" target=\"_blank\" rel=\"noopener noreferrer\">Contact</a> <a style=\"line-height: 1.5;\" href=\"mailto:nakedpreymusic@gmail.com\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Chiten</a></strong>\r\n\r\n<strong><img class=\"alignnone wp-image-2731\" src=\"https://paulchiten.com/wp-content/uploads/2016/02/Paul-Chiten-600x600.jpg\" alt=\"\" width=\"302\" height=\"302\" />Paul Chiten</strong> is a Los Angeles-based songwriter, composer, producer, musician, singer and artist. His songs have earned him multi-platinum and gold records. His compositions and productions have won Telly, Aurora and Emmy Awards.\r\n\r\nHe has worked with Michael Jackson, Anita Baker, Tina Turner, Donna Summer, Cyndi Lauper and countless others.\r\n\r\nPaul was Music Director/Orchestrator/Arranger/Performer for the 2015 EMC World event in Las Vegas. He\'s currently working on making a large part of his music library accessible for downloading and streaming worldwide.  Many of his albums are now available on iTunes, Amazon, Apple Music, Google Play, Deezer, Tidal and Spotify.\r\n\r\n<a href=\"http://sweethartproductions.com/PaulChiten.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Chiten - Sweetheart Productions website</a>\r\n\r\n<a href=\"https://paulchiten.com/featured-artist-paul-chiten/\" target=\"_blank\" rel=\"noopener noreferrer\">bio</a>\r\n\r\n<img class=\"alignnone size-full wp-image-2737\" src=\"https://paulchiten.com/wp-content/uploads/2019/10/Screen-Shot-2019-10-18-at-10.11.08-PM.png\" alt=\"\" width=\"193\" height=\"191\" /><a href=\"https://paulchiten.com/wp-content/uploads/2015/09/Ive-Been-Bozzed-cropped.png\"><img class=\"alignnone wp-image-1054\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Ive-Been-Bozzed-cropped-300x300.png\" alt=\"I\'ve Been Bozzed-cropped\" width=\"144\" height=\"144\" /></a>[/vc_column_text][/vc_column][/vc_row]', 'The Greatest Trio You Never Heard Of - The Boswell Sisters', 'The Boswell Sisters are one of the most awe-inspiring and important groups to have ever made music.', 'inherit', 'closed', 'closed', '', '1080-autosave-v1', '', '', '2020-02-26 14:40:33', '2020-02-26 22:40:33', '', 1080, 'https://afm424.org/1080-autosave-v1/', 0, 'revision', '', 0),
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(2703, 4, '2018-12-11 08:05:56', '2018-12-11 16:05:56', '[vc_row][vc_column][vc_column_text]\r\n<h2><span style=\"color: #ff0000;\">Access Denied.</span></h2>\r\nYou don\'t have access to view this page. If you believe this is an error on our part, please <a href=\"https://afm424.org/contact/\">contact us</a>. If you\'re looking to join, please <a href=\"https://afm424.org/join/\">select your membership</a>.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=\"1/2\"][/vc_column][vc_column width=\"1/2\"][vc_cta h2=\"Local 424 AFM Member Benefits\"]\r\n<ul>\r\n	<li>Local and Federation sponsored booking/referral services</li>\r\n	<li>Signatory Booking Agents</li>\r\n	<li>Exclusive Member Services</li>\r\n	<li>Immigration Assistance</li>\r\n	<li>Claims on Default</li>\r\n	<li>and <a href=\"https://afm424.org/benefits/\">many more</a></li>\r\n</ul>\r\n[/vc_cta][/vc_column][/vc_row]', 'Access Denied', '', 'inherit', 'closed', 'closed', '', '1218-revision-v1', '', '', '2018-12-11 08:05:56', '2018-12-11 16:05:56', '', 1218, 'https://paulchiten.com/1218-revision-v1/', 0, 'revision', '', 0),
(2704, 4, '2018-12-11 08:05:56', '2018-12-11 16:05:56', '[vc_row][vc_column width=\"2/3\"][vc_column_text]\r\n<h1>Important Member Documents</h1>\r\n[/vc_column_text][vc_column_text]\r\n\r\nCopyright forms:    <a href=\"http://www.copyright.gov/forms/\">http://www.copyright.gov/forms/</a>\r\n\r\nElectronic Copyright filing;    <a href=\"http://www.copyright.gov/eco/\">http://www.copyright.gov/eco/</a>\r\n\r\nASCAP     <a href=\"http://www.ascap.com/join\">http://www.ascap.com/join</a>\r\n\r\nBMI      <a href=\"http://www.bmi.com/creators/#join\">http://www.bmi.com/creators/#join</a>\r\n\r\nSound Exchange   <a href=\"http://www.soundexchange.com\">http://www.soundexchange.com</a>\r\n\r\nUSA Radio Royalties   <a href=\"http://www.bmi.com/creators/royalty/us_radio_royalties\">http://www.bmi.com/creators/royalty/us_radio_royalties</a>\r\n\r\nLog onto ASCAP, BMI or Sound Exchange\'s websites above to find out more about performing rights organizations and your royalties.  If you have work that has already been published join \"Sound Exchange\" too.\r\n<h1>U.S. Radio Royalties</h1>\r\n<h2>U.S. Radio Feature Performances</h2>\r\nBMI considers a radio feature performance of a popular song to be one that lasts 60 seconds or more and is the sole sound broadcast at the time of the performance.\r\n\r\nBMI makes separate payment for three categories of radio feature performances, based upon a sampling of stations licensed by BMI.\r\n<ul>\r\n	<li>COMMERCIAL RADIO</li>\r\n	<li>CLASSICAL RADIO</li>\r\n	<li>COLLEGE RADIO</li>\r\n</ul>\r\n<h2>Commercial Radio</h2>\r\nBMI uses performance monitoring data, continuously collected on a large percentage of all licensed commercial radio stations, to determine payable performances. This census information is factored to create a statistically reliable and highly accurate representation of feature performances on all commercial music format radio stations throughout the country.\r\n\r\nRoyalties for performances of works in the BMI repertoire that occur on United States commercial radio stations will be paid according to the following rules:\r\n\r\nRoyalty payments will be based upon the license fees that BMI collected from each individual station that performed a work. As a result, royalty payment rates will vary from quarter to quarter depending upon the amount of the license fees collected from stations that aired each work during that quarter. In addition, the rates may fluctuate from quarter to quarter depending upon the total dollar amount available for each quarter’s commercial radio distribution.\r\n\r\nIn furtherance of BMI’s tradition of serving writers and publishers of all types of music, BMI’s long-standing goal — to support all affiliates with distribution methodologies that fairly value their creative efforts — has not changed. Accordingly, supplemental criteria may be used to establish an increased valuation for certain works performed on U.S. commercial radio stations. A small additional allocation from the amount available for distribution each quarter, which will include funds received by BMI from General Licensing and other income sources, may be used for this purpose. Such allocations will appear in the Hit Song Bonus column of the BMI royalty statement.\r\n\r\nUnder the BMI radio payment system, each feature work, including those written for films and the theater, can become eligible for up to three distinct royalty payment components each quarter. They are called the CURRENT ACTIVITY PAYMENT, the HIT SONG BONUS and the STANDARDS BONUS.\r\n<h1>Support The Songwriter Equity Act. ASCAP</h1>\r\n<strong>Songwriters, composers and music publishers earn royalty income through two separate rights:</strong> the right to publicly perform their music works, and the right to make reproductions of those works and distribute those reproductions.\r\n<h2>Write Your Rep</h2>\r\n<a class=\"bluebtnHor\" href=\"http://www.ascap.com/about/legislation/songwriter-equity-act?vvsrc=%2fcampaigns%2f35072%2frespond\"><span class=\"icon\">✒</span></a><a href=\"http://www.ascap.com/about/legislation/songwriter-equity-act?vvsrc=%2fcampaigns%2f35072%2frespond\"> Urge Congress to act</a>\r\n\r\n<strong>However, two outdated portions of the Copyright Act, Section 114(i) and Section 115, prevent songwriters and composers from receiving royalty rates that reflect fair market value</strong> for the use of their intellectual property. This has created inequity in the marketplace that harms America’s songwriters, composers and music publishers in the digital age. Now is the time to fix it.\r\n<h2>Get the Facts</h2>\r\n<a class=\"bluebtnHor\" href=\"http://www.ascap.com/about/legislation/songwriter-equity-act?vvsrc=%2fcampaigns%2f35072%2frespond\" target=\"_blank\"><span class=\"icon\">✒</span> Download fact sheet (PDF)</a>\r\n\r\n<strong>Thankfully, Congressman Doug Collins (R-GA), has introduced a bill, the Songwriter Equity Act (SEA), H.R. 4079,</strong> that will allow a \"rate court\" to consider other royalty rates as evidence when establishing digital performance rates for songwriters and composers, and it would adapt a fair rate standard for reproduction (mechanical licenses). <b>The companion Bill, S. 2321, was recently introduced in the Senate by Senator. Lamar Alexander (R-TN).</b>\r\n<h2>Tweet Your Support</h2>\r\n<a class=\"bluebtnHor\" href=\"https://twitter.com/share?url=http://www.ascap.com/playback/2014/02/action/songwriter-equity-act.aspx&amp;count=none&amp;text=I support the %23SongwriterEquityAct and fair pay for music creators! Get the facts %2B Retweet: http://t.co/Vvj5JP5lLv\" target=\"_blank\"><span class=\"icon\">✒</span> Tweet #SongwriterEquityAct</a>\r\n\r\nThe bill has received public support from the NMPA, BMI, The Recording Academy and SESAC.\r\n\r\n<strong>Now we need the help of all songwriters, composers and music publishers to urge Congress to take an important first step toward modernizing the music licensing system by amending these outdated provisions.</strong>\r\n\r\n<a href=\"http://www.ascap.com/about/legislation/modernize-music.aspx\">Add your voice</a> of support to the Songwriter Equity Act. And join ASCAP\'s effort to build a stronger future for music. <a href=\"http://www.ascap.com/about/legislation/modernize-music.aspx\">Sign up</a> for the latest news and information about how you can help ASCAP\'s music advocacy initiatives.\r\n<h2>Get Involved</h2>\r\n<a class=\"bluebtnHor\" href=\"http://www.ascap.com/about/legislation/modernize-music.aspx\"><span class=\"icon\">✒</span> Sign up for more info</a>\r\n<div class=\"letter\">\r\n\r\n<strong>About Sections 114(i) and 115 of the Copyright Act and What The Songwriter Equity Act of 2014 (SEA) Will Do to Fix Them</strong>\r\n<strong>Section 114(i) of The Copyright Act</strong> forbids federal courts from considering sound recording royalty rates as a relevant benchmark when setting performance royalty rates for songwriters and composers. In fact, the performing rights organizations (PROs) that collectively license on behalf of songwriters and publishers to music users including satellite radio, digital music services, restaurants, television and more, are not allowed to present this evidence to the courts at all. The result is an uneven playing field where songwriters and composers receive substantially less than sound recordings for a performance or “stream,” of the same song.\r\n\r\n<strong>Section 115 of the Copyright Act</strong> has regulated musical compositions since 1909, before recorded music existed. Section 115 allows anyone to seek a compulsory license to reproduce a song in exchange for paying a statutory rate. The initial rate set by Congress in 1909 was 2 cents per song. Today, that rate is 9.1 cents per song. This minimal increase is due to current law, which directs the Copyright Royalty Board (CRB) – the government body responsible for setting the rate – to apply a standard that does not reflect market value.\r\n\r\n<strong>Specifically, the Songwriter Equity Act would:</strong>\r\n\r\n<strong>Allow a “rate court” to consider other royalty rates as evidence when establishing digital performance rates |</strong> Amend Section 114(i) of the Copyright Act and allow a rate court to consider all relevant evidence when determining songwriter compensation, an ability that is currently prohibited by law. The specifics of how the rate court will apply the evidence are left to the rate court’s discretion.\r\n\r\n<strong>Adopt a fair rate standard for reproduction (mechanical) licenses</strong> | Replace the current substandard rate used by the CRB to determine mechanical royalties with a rate that reflects free market conditions.\r\n\r\n</div>\r\n<strong>The Songwriter Equity Act is an important step toward modernizing the music licensing system and leveling the playing field to ensure that songwriters, composers and publishers are appropriately compensated for the use of their intellectual property.</strong>\r\n\r\n<a class=\"bluebtnHor\" href=\"http://www.ascap.com/about/legislation/modernize-music\"><span class=\"icon\">✒</span> Sign up for more info</a>\r\n\r\n&nbsp;\r\n\r\n[/vc_column_text][/vc_column][vc_column width=\"1/3\"][/vc_column][/vc_row]', 'Important Member Documents', '', 'inherit', 'closed', 'closed', '', '384-revision-v1', '', '', '2018-12-11 08:05:56', '2018-12-11 16:05:56', '', 384, 'https://paulchiten.com/384-revision-v1/', 0, 'revision', '', 0),
(2705, 4, '2018-12-11 08:05:56', '2018-12-11 16:05:56', '[vc_row][vc_column width=\"2/3\"][vc_column_text]\r\n<h1>Join the AFM</h1>\r\n<h3>It\'s a Great Time to be a Member!</h3>\r\nIf you are a full-time or part-time musician, it is to your advantage to belong to the only organization that truly represents the interests of musicians and performers. For a detailed explanation of the numerous benefits and services Local 424 and the AFM have to offer the professional musician, please read the <a href=\"/benefits\">Membership Benefits</a> page. Once again, thank you for your interest, and we look forward to the opportunity to support you!\r\n\r\n<strong>Check out these AFM Solution Series Brochures (PDF)</strong>\r\n<ul>\r\n	<li><a href=\"http://afmquartet.org/shared/why_join_AFM.pdf\">Why Join The AFM? Good Question, Great Reasons</a></li>\r\n	<li><a href=\"http://afmquartet.org/shared/alive_working.pdf\">How To Stay Alive And Working</a></li>\r\n	<li><a href=\"http://afmquartet.org/shared/independent_recording.pdf\">How To Protect Your Independent Recording</a></li>\r\n	<li><a href=\"http://afmquartet.org/shared/more_money.pdf\">How To Get More Money From Your Music</a></li>\r\n	<li><a href=\"http://afmquartet.org/shared/new_use.pdf\">How The New Use Procedure Benefits You</a></li>\r\n	<li><a href=\"http://afmquartet.org/shared/music_is_our_business.pdf\">Music Is Our Business... And Yours</a></li>\r\n</ul>\r\n<strong>Membership Rates</strong>\r\n\r\nFor Regular Members Dues if Paid Annually: $114.00\r\nFor Regular Members Dues if Paid Quarterly: $28.50\r\nFor Life Members Dues if Paid Annually: $68.00\r\nFor Life Members Dues if Paid Quarterly: $17.00\r\nLocal Initiation Fee (one-time): $55.00\r\nFederation Initiation Fee (one-time): $65.00[/vc_column_text][/vc_column][vc_column width=\"1/3\"][vc_cta h2=\"Live in Contra Costa County?\" h4=\"Join Our Local 424 Chapter.\" txt_align=\"center\" add_button=\"bottom\" btn_title=\"Join Local 424\" btn_style=\"flat\" btn_color=\"danger\" btn_align=\"center\" add_icon=\"top\" i_icon_fontawesome=\"fa fa-users\" i_background_style=\"rounded\" i_background_color=\"white\" btn_link=\"url:http%3A%2F%2Fafm424.org%2Fjoin-afm-local-424%2F||\" btn_button_block=\"true\" i_on_border=\"true\"][/vc_cta][vc_cta h2=\"Outside of Contra Costa County?\" h4=\"Click below to find your local chapter.\" txt_align=\"center\" add_button=\"bottom\" btn_title=\"I Live Outside Contra Costa\" btn_style=\"classic\" btn_color=\"primary\" btn_align=\"center\" add_icon=\"top\" i_icon_fontawesome=\"fa fa-user\" i_background_style=\"rounded\" i_background_color=\"white\" btn_link=\"url:https%3A%2F%2Fwww.afm.org%2Fjoin||target:%20_blank\" btn_button_block=\"true\" i_on_border=\"true\"][/vc_cta][/vc_column][/vc_row]', 'Join', '', 'inherit', 'closed', 'closed', '', '22-revision-v1', '', '', '2018-12-11 08:05:56', '2018-12-11 16:05:56', '', 22, 'https://paulchiten.com/22-revision-v1/', 0, 'revision', '', 0);
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(2706, 4, '2018-12-11 08:05:57', '2018-12-11 16:05:57', '[vc_row][vc_column][vc_column_text]\r\n<h1>Join Local 424 AFM or Renew Membership</h1>\r\nBelow you can join or renew your <em><strong>single</strong></em> Local 424 Membership. If you want to join as a group, <a href=\"#group\">click here</a>.[/vc_column_text][vc_row_inner][vc_column_inner el_class=\"ihc-level-item-wrap-group-new\" width=\"1/3\"][vc_column_text el_class=\"ihc-level-item-title\"]New Single Membership (Annual)[/vc_column_text][vc_column_text el_class=\"ihc-level-item-price\"]$234 first year[/vc_column_text][vc_column_text el_class=\"ihc-level-item-content\"]New Single Memberships (Annual) are set up as a one-time fee for one year. You will be asked to renew after your one year is up at a discounted price (see below).\r\n<ul>\r\n	<li>1st year - $114+ LIF $55 + FIF $65 = <strong>$234</strong></li>\r\n	<li>Each additional year -<strong>$114/yr</strong></li>\r\n</ul>\r\n[/vc_column_text][vc_column_text el_class=\"ihc_level_template_3 ihc-level-item-link\"]\r\n<div>[ihc-level-link id=1][/ihc-level-link]</div>\r\n[/vc_column_text][/vc_column_inner][vc_column_inner width=\"2/3\"][vc_cta h2=\"Local 424 AFM Member Benefits\"]\r\n<ul>\r\n	<li>Local and Federation sponsored booking/referral services</li>\r\n	<li>Signatory Booking Agents</li>\r\n	<li>Exclusive Member Services</li>\r\n	<li>Immigration Assistance</li>\r\n	<li>Claims on Default</li>\r\n	<li>and <a href=\"https://afm424.org/benefits/\">many more</a></li>\r\n</ul>\r\n[/vc_cta][/vc_column_inner][/vc_row_inner][vc_column_text]\r\n<h2>Renewing Your Membership?</h2>\r\nNo problem! Select your plan below.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=\"1/4\" el_class=\"ihc-level-item-wrap-group\"][vc_column_text el_class=\"ihc-level-item-title\"]Renew Single Membership (Annual)[/vc_column_text][vc_column_text el_class=\"ihc_level_template_3 ihc-level-item-price\"]$114/yr[/vc_column_text][vc_column_text el_class=\"ihc-level-item-content\"]Renew Life Memberships (Annual) are set up on a yearly recurring payment until otherwise cancelled.[/vc_column_text][vc_column_text el_class=\"member-renew-btn ihc_level_template_3 ihc-level-item-link\"]\r\n<div>[ihc-level-link id=5]Renew[/ihc-level-link]</div>\r\n[/vc_column_text][/vc_column][vc_column width=\"1/4\" el_class=\"ihc-level-item-wrap-group\"][vc_column_text el_class=\"ihc-level-item-title\"]Renew Single Membership (Quarterly)[/vc_column_text][vc_column_text el_class=\"ihc-level-item-price\"]$28.50/qtr[/vc_column_text][vc_column_text el_class=\"ihc-level-item-content\"]Renew Life Memberships (Quarterly) are set up on a yearly recurring payment until otherwise cancelled.[/vc_column_text][vc_column_text el_class=\"member-renew-btn ihc_level_template_3 ihc-level-item-link\"]\r\n<div>[ihc-level-link id=2]Renew[/ihc-level-link]</div>\r\n[/vc_column_text][/vc_column][vc_column width=\"1/4\" el_class=\"ihc-level-item-wrap-group\"][vc_column_text el_class=\"ihc-level-item-title\"]Renew Life Membership (Annual)[/vc_column_text][vc_column_text el_class=\"ihc-level-item-price\"]$68/yr[/vc_column_text][vc_column_text el_class=\"ihc-level-item-content\"]Renew Life Memberships (Annual) are set up on a yearly recurring payment until otherwise cancelled.[/vc_column_text][vc_column_text el_class=\"member-renew-btn ihc_level_template_3 ihc-level-item-link\"]\r\n<div>[ihc-level-link id=3]Renew[/ihc-level-link]</div>\r\n[/vc_column_text][/vc_column][vc_column width=\"1/4\" el_class=\"ihc-level-item-wrap-group\"][vc_column_text el_class=\"ihc-level-item-title\"]Renew Life Membership (Quarterly)[/vc_column_text][vc_column_text el_class=\"ihc-level-item-price\"]$17/qtr[/vc_column_text][vc_column_text el_class=\"ihc-level-item-content\"]Renew Life Memberships (Quarterly) are set up on a yearly recurring payment until otherwise cancelled.[/vc_column_text][vc_column_text el_class=\"member-renew-btn ihc_level_template_3 ihc-level-item-link\"]\r\n<div>[ihc-level-link id=4]Renew[/ihc-level-link]</div>\r\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]<a name=\"group\"></a>\r\n<h2>Joining as a Group?</h2>\r\nSpecial Offer: Save $120. Sign up as a group of 2 or more. LIF $55 &amp; FIF $65 fees are FREE. Join for only $114/yr each.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=\"1/4\" el_class=\"ihc-level-item-wrap-group\"][vc_column_text el_class=\"ihc-level-item-title\"]New Group Membership – <strong>2 Members</strong> (Annual)[/vc_column_text][vc_column_text el_class=\"ihc-level-item-price\"]$228/yr[/vc_column_text][vc_column_text el_class=\"ihc_level_template_3 ihc-level-item-link\"]\r\n<div>[ihc-level-link id=6]Group Sign Up[/ihc-level-link]</div>\r\n[/vc_column_text][/vc_column][vc_column width=\"1/4\" el_class=\"ihc-level-item-wrap-group\"][vc_column_text el_class=\"ihc-level-item-title\"]New Group Membership – <strong>3 Members</strong> (Annual)[/vc_column_text][vc_column_text el_class=\"ihc_level_template_3 ihc-level-item-price\"]$342/yr[/vc_column_text][vc_column_text el_class=\"ihc_level_template_3 ihc-level-item-link\"]\r\n<div>[ihc-level-link id=7]Group Sign Up[/ihc-level-link]</div>\r\n[/vc_column_text][/vc_column][vc_column width=\"1/4\" el_class=\"ihc-level-item-wrap-group\"][vc_column_text el_class=\"ihc-level-item-title\"]New Group Membership – <strong>4 Members</strong> (Annual)[/vc_column_text][vc_column_text el_class=\"ihc-level-item-price\"]$456/yr[/vc_column_text][vc_column_text el_class=\"ihc_level_template_3 ihc-level-item-link\"]\r\n<div>[ihc-level-link id=8]Group Sign Up[/ihc-level-link]</div>\r\n[/vc_column_text][/vc_column][vc_column width=\"1/4\" el_class=\"ihc-level-item-wrap-group\"][vc_column_text el_class=\"ihc-level-item-title\"]New Group Membership – <strong>5 Members</strong> (Annual)[/vc_column_text][vc_column_text el_class=\"ihc-level-item-price\"]$570/yr[/vc_column_text][vc_column_text el_class=\"ihc_level_template_3 ihc-level-item-link\"]\r\n<div>[ihc-level-link id=9]Group Sign Up[/ihc-level-link]</div>\r\n[/vc_column_text][/vc_column][/vc_row]', 'Join Local 424 AFM', '', 'inherit', 'closed', 'closed', '', '888-revision-v1', '', '', '2018-12-11 08:05:57', '2018-12-11 16:05:57', '', 888, 'https://paulchiten.com/888-revision-v1/', 0, 'revision', '', 0),
(2707, 4, '2018-12-11 08:05:57', '2018-12-11 16:05:57', '[vc_row][vc_column width=\"2/3\"][vc_column_text]\r\n<h1>Member Dashboard</h1>\r\nBelow you can view and update information pertaining to your account.\r\n\r\n<strong>All personal data inputted on this page is encrypted/secure.</strong>[/vc_column_text][ihc-user-page][/vc_column][vc_column width=\"1/3\"][vc_column_text]You\'re currently logged in.[/vc_column_text][ihc-logout-link][vc_separator css=\".vc_custom_1444142360664{margin-top: 10px !important;}\"][vc_cta h2=\"Looking for Members Only content?\" txt_align=\"center\" add_button=\"bottom\" btn_title=\"Members Only Area\" btn_style=\"classic\" btn_color=\"danger\" btn_align=\"center\" btn_link=\"url:https%3A%2F%2Fafm424.org%2Fmembers-area%2F||\"]As an Local 424 AFM member, you have exclusive access to members only content. Click the button below.[/vc_cta][/vc_column][/vc_row]', 'Member Dashboard', '', 'inherit', 'closed', 'closed', '', '921-revision-v1', '', '', '2018-12-11 08:05:57', '2018-12-11 16:05:57', '', 921, 'https://paulchiten.com/921-revision-v1/', 0, 'revision', '', 0),
(2708, 4, '2018-12-11 08:05:57', '2018-12-11 16:05:57', '[vc_row][vc_column width=\"1/2\"][vc_column_text]\r\n<h2>Local 424 AFM Member Login</h2>\r\nYou can use your <strong>username</strong> or <strong>email address</strong> to log in.[/vc_column_text][vc_message icon_type=\"openiconic\" icon_openiconic=\"vc-oi vc-oi-key-inv\"]Existing member &amp; need password? <a href=\"https://afm424.org/lost-password/\">Click here</a>.[/vc_message][ihc-login-form][vc_raw_js]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[/vc_raw_js][/vc_column][vc_column width=\"1/2\"][vc_cta h2=\"Local 424 AFM Member Benefits\"]\r\n<ul>\r\n	<li>Local and Federation sponsored booking/referral services</li>\r\n	<li>Signatory Booking Agents</li>\r\n	<li>Exclusive Member Services</li>\r\n	<li>Immigration Assistance</li>\r\n	<li>Claims on Default</li>\r\n	<li>and <a href=\"https://afm424.org/benefits/\">many more</a></li>\r\n</ul>\r\n[/vc_cta][/vc_column][/vc_row]', 'Member Login', '', 'inherit', 'closed', 'closed', '', '903-revision-v1', '', '', '2018-12-11 08:05:57', '2018-12-11 16:05:57', '', 903, 'https://paulchiten.com/903-revision-v1/', 0, 'revision', '', 0),
(2709, 4, '2018-12-11 08:05:57', '2018-12-11 16:05:57', '', 'Member Logout', '', 'inherit', 'closed', 'closed', '', '917-revision-v1', '', '', '2018-12-11 08:05:57', '2018-12-11 16:05:57', '', 917, 'https://paulchiten.com/917-revision-v1/', 0, 'revision', '', 0),
(2710, 4, '2018-12-11 08:05:58', '2018-12-11 16:05:58', '[vc_row][vc_column width=\"2/3\"][vc_column_text]\r\n<h1>Member Register</h1>\r\n<strong>All personal data inputted on this page is encrypted/secure.</strong>[/vc_column_text][ihc-register][vc_message message_box_color=\"alert-info\" icon_fontawesome=\"fa fa-exclamation-circle\"]You will be redirected to PayPal after you fill out your information to complete payment and registration.[/vc_message][vc_raw_js]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[/vc_raw_js][/vc_column][vc_column width=\"1/3\"][vc_cta h2=\"Local 424 AFM Member Benefits\"]\r\n<ul>\r\n	<li>Local and Federation sponsored booking/referral services</li>\r\n	<li>Signatory Booking Agents</li>\r\n	<li>Exclusive Member Services</li>\r\n	<li>Immigration Assistance</li>\r\n	<li>Claims on Default</li>\r\n	<li>and <a href=\"https://afm424.org/benefits/\">many more</a></li>\r\n</ul>\r\n[/vc_cta][/vc_column][/vc_row]', 'Member Register', '', 'inherit', 'closed', 'closed', '', '945-revision-v1', '', '', '2018-12-11 08:05:58', '2018-12-11 16:05:58', '', 945, 'https://paulchiten.com/945-revision-v1/', 0, 'revision', '', 0),
(2711, 4, '2018-12-11 08:05:58', '2018-12-11 16:05:58', '[vc_row][vc_column width=\"2/3\"][vc_column_text]\r\n<h2>Congratulations, you\'re now a member of the Local 424 AFM!</h2>\r\nLet\'s get started by checking our your dashboard, <a href=\"https://afm424.org/member-update/\">click here</a>.\r\n\r\n[/vc_column_text][/vc_column][vc_column width=\"1/3\"][/vc_column][/vc_row]', 'Member Success', '', 'inherit', 'closed', 'closed', '', '915-revision-v1', '', '', '2018-12-11 08:05:58', '2018-12-11 16:05:58', '', 915, 'https://paulchiten.com/915-revision-v1/', 0, 'revision', '', 0),
(2712, 4, '2018-12-11 08:05:58', '2018-12-11 16:05:58', '[vc_row][vc_column width=\"2/3\"][gravityform id=\"2\" title=\"false\" description=\"false\" ajax=\"false\"][/vc_column][vc_column width=\"1/3\"][/vc_column][/vc_row]', 'Member Update', '', 'inherit', 'closed', 'closed', '', '911-revision-v1', '', '', '2018-12-11 08:05:58', '2018-12-11 16:05:58', '', 911, 'https://paulchiten.com/911-revision-v1/', 0, 'revision', '', 0),
(2713, 4, '2018-12-11 08:05:58', '2018-12-11 16:05:58', '[vc_row][vc_column][vc_column_text]\r\n<h1>Can We Help?</h1>\r\nWe noticed you had an issue joining our Local 424! It was probably something we did. Sorry about that. Click the link below to get signed up. We\'re looking forward to your membership.[/vc_column_text][vc_cta h2=\"Join Local 424 AFM Now!\" add_button=\"bottom\" btn_title=\"Join Now\" btn_color=\"danger\" btn_align=\"left\" btn_link=\"url:http%3A%2F%2Fafm424.org%2Fjoin%2F||\"][/vc_cta][/vc_column][/vc_row]', 'Membership Help', '', 'inherit', 'closed', 'closed', '', '885-revision-v1', '', '', '2018-12-11 08:05:58', '2018-12-11 16:05:58', '', 885, 'https://paulchiten.com/885-revision-v1/', 0, 'revision', '', 0),
(2714, 4, '2018-12-11 08:05:58', '2018-12-11 16:05:58', '<strong>Pension.</strong>  The American Federation of Musicians’ and Employers’ Pension Fund is one of the largest pension funds in the entertainment industry, with more than a half billion dollars in assets.  Every year millions of dollars are paid out to participating musicians.  For detailed information and an application, visit <a href=\"http://www.afm-epf.org\">www.afm-epf.org</a>.  You can also download a Summary Plan Description, which highlights the Plan’s features and helps you understand how the Plan works.\r\n\r\n<a href=\"http://www.afm-epf.org\">www.afm-epf.org</a>', 'Pension Plan', '', 'inherit', 'closed', 'closed', '', '624-revision-v1', '', '', '2018-12-11 08:05:58', '2018-12-11 16:05:58', '', 624, 'https://paulchiten.com/624-revision-v1/', 0, 'revision', '', 0),
(2715, 4, '2018-12-11 08:08:22', '2018-12-11 16:08:22', '[vc_row][vc_column width=\"2/3\"][vc_column_text]\r\n<h1>Referral Service</h1>\r\nOur members are available for touring, recording, freelance work, writing, transcribing and teaching. Some of our 424 members are recording artist professionals, multi-talented musicians who aspire to create music from their unique Contra Costa County, East Bay Area multi-cultural experience. Their musical background are internationally known  and they are historically recognized players who have influenced the San Francisco Bay Area music scene. With roots in Gospel, Blues, Jazz, Latin, Metal Rock, Pan Ethnic, Country and Indigenous Ceremonial Music. Local 424\'s past encompasses a historical tradition in the East North Bay Area since it was chartered April 20th, 1907 in Richmond, California.\r\n\r\nFor assistance in locating a particular talent please contact:\r\n\r\n<a href=\"mailto:local424@gmail.com\" target=\"_blank\">Email Local 424</a> or call 510-758-3011 for more help.[/vc_column_text][vc_column_text]\r\n<h2>Musicians For Hire</h2>\r\n[/vc_column_text][vc_masonry_grid post_type=\"post\" max_items=\"6\" style=\"load-more\" grid_id=\"vc_gid:1443622749412-9f2a1bb2-be46-10\" taxonomies=\"23\"][/vc_column][vc_column width=\"1/3\"][vc_widget_sidebar sidebar_id=\"sidebar-3\"][/vc_column][/vc_row]', 'Referral Service', '', 'inherit', 'closed', 'closed', '', '34-revision-v1', '', '', '2018-12-11 08:08:22', '2018-12-11 16:08:22', '', 34, 'https://paulchiten.com/34-revision-v1/', 0, 'revision', '', 0),
(2716, 4, '2018-12-11 08:11:31', '2018-12-11 16:11:31', '<strong>Live Nation</strong> is a Bay Area box office company run by BGP who advertise and sell tickets to every major venue in the San Francisco north, east and south Bay Areas. Live Nation sells tickets for The Concord Pavilion &amp; The Craneway Pavilion. These two major venues are in 424\'s jurisdiction.  Live Nation; <a href=\"http://livenation.com\">www.livenation.com</a> for listing of concert\'s in the greater bay area and to purchase your ticket.\r\n\r\nThe Craneway Pavilion is in the City of Richmond\'s Marina Area.  The Craneway Pavilion\'s capacity is 5,000 people.  <a href=\"http://www.craneway.com\">www.craneway.com</a> . Click the link to see the venue, hear about who\'s playing and when.', 'Concert Calendar', '', 'inherit', 'closed', 'closed', '', '11-revision-v1', '', '', '2018-12-11 08:11:31', '2018-12-11 16:11:31', '', 11, 'https://paulchiten.com/11-revision-v1/', 0, 'revision', '', 0),
(2719, 6, '2019-01-19 09:59:42', '2019-01-19 17:59:42', '[vc_row][vc_column width=\"2/3\"][vc_column_text]\r\n<h1>Featured Artist</h1>\r\nA page for a revolving Featured Artist’s bio/resume and any other pertinent info.[/vc_column_text][vc_basic_grid post_type=\"post\" max_items=\"1\" element_width=\"12\" item=\"1511\" grid_id=\"vc_gid:1454718137546-67415b1a-5d94-8\" taxonomies=\"5\"][/vc_column][vc_column width=\"1/3\"][vc_wp_search title=\"Search\"][vc_column_text css=\".vc_custom_1454718672534{margin-bottom: 20px !important;}\"]\r\n<h3>Featured Artists Archives</h3>\r\n[/vc_column_text][vc_basic_grid post_type=\"post\" max_items=\"5\" element_width=\"12\" item=\"1511\" grid_id=\"vc_gid:1454718137552-e8f0d8d3-1cbf-8\" taxonomies=\"5\" offset=\"1\" el_class=\"sidebar-post-grid hide\" css=\".vc_custom_1454718608579{margin-bottom: 20px !important;}\"][vc_widget_sidebar sidebar_id=\"sidebar-8\"][/vc_column][/vc_row]', 'Featured Artists', '', 'inherit', 'closed', 'closed', '', '831-revision-v1', '', '', '2019-01-19 09:59:42', '2019-01-19 17:59:42', '', 831, 'https://paulchiten.com/831-revision-v1/', 0, 'revision', '', 0),
(2723, 6, '2019-10-18 17:12:58', '2019-10-19 00:12:58', '[vc_row][vc_column width=\"2/3\"][vc_column_text]\n<h1>Local 424 AFM</h1>\n<em><strong>Welcome to the new AFM Local 424 website.</strong></em>\n\nThe American Federation of Musicians (AFM) is the largest organization in the world dedicated to representing the interests of musicians, singers, songwriters, composers, arrangers and DJs.\n\nThe AFM has well over 90,000 members nationwide. We represent all styles of music—rock, alternative, classical, jazz, pop, country, folk, bluegrass, funk, R&amp;B, gospel, J-Pop, K-Pop, world beat, singer/songwriter, Latin, contemporary Christian, big band, reggae and more.\n\nWith such active members as Bruce Springsteen, Metallica, Counting Crows, Roberta Flack, Santana, Yo-Yo Ma, Sheila E, Suzanne Vega, The Goo Goo Dolls, Willie Nelson and Branford Marsalis, the AFM has strong representation in all areas of popular music.\n\n<hr />\n\n<h4 style=\"text-align: center;\"><span style=\"color: #3399dd;\">The AFM has been promoting and protecting musicians for over 110 years.</span></h4>\n\n<hr />\n\nLocal 424 is committed to bringing the AFM into the 21st century––embracing all the latest technological developments in popular entertainment.\n\nLocal 424 is here to serve those whose passion is music and help them realize their dreams.[/vc_column_text][/vc_column][vc_column width=\"1/3\"][vc_cta h2=\"Become an AFM Member!\" h4=\"Join our ever-growing community of artists.\" txt_align=\"center\" shape=\"square\" add_button=\"bottom\" btn_title=\"Join AFM\" btn_shape=\"square\" btn_color=\"primary\" btn_align=\"center\" add_icon=\"top\" i_icon_fontawesome=\"fa fa-users\" i_background_style=\"rounded\" i_background_color=\"white\" i_on_border=\"true\" btn_link=\"url:http%3A%2F%2Fafm424.org%2Fjoin%2F||\"][/vc_cta][vc_cta h2=\"International Musician\" txt_align=\"center\" shape=\"square\" add_button=\"bottom\" btn_title=\"Current Issue\" btn_style=\"flat\" btn_shape=\"square\" btn_color=\"danger\" btn_align=\"center\" add_icon=\"top\" i_icon_fontawesome=\"fa fa-book\" i_background_style=\"rounded\" i_background_color=\"white\" i_on_border=\"true\" btn_link=\"url:http%3A%2F%2Finternationalmusician.org||target:%20_blank\"][/vc_cta][/vc_column][/vc_row][vc_row][vc_column][vc_separator][vc_column_text]\n<h2>Latest News</h2>\n[/vc_column_text][vc_row_inner][vc_column_inner width=\"1/4\"][vc_basic_grid post_type=\"post\" max_items=\"1\" element_width=\"12\" item=\"1562\" grid_id=\"vc_gid:1464008515262-154cfe44-478c-4\" taxonomies=\"5\"][/vc_column_inner][vc_column_inner width=\"1/4\"][vc_basic_grid post_type=\"post\" max_items=\"1\" element_width=\"12\" item=\"1562\" grid_id=\"vc_gid:1464008368370-6c808090-f273-6\" taxonomies=\"18\"][/vc_column_inner][vc_column_inner width=\"1/4\"][vc_basic_grid post_type=\"post\" max_items=\"1\" element_width=\"12\" item=\"1562\" grid_id=\"vc_gid:1464008402506-fcfed35b-b60a-3\" taxonomies=\"22\"][/vc_column_inner][vc_column_inner width=\"1/4\"][vc_basic_grid post_type=\"post\" max_items=\"1\" element_width=\"12\" item=\"1562\" grid_id=\"vc_gid:1464008472652-ad036203-af2d-9\" taxonomies=\"7, 11, 8, 25\"][/vc_column_inner][/vc_row_inner][/vc_column][/vc_row]', 'Home  Copy', '', 'publish', 'closed', 'closed', '', 'home-copy', '', '', '2019-10-18 17:12:58', '2019-10-19 00:12:58', '', 0, 'https://paulchiten.com/home-copy/', 0, 'page', '', 0),
(2724, 6, '2019-10-18 17:16:46', '2019-10-19 00:16:46', '<p>[vc_row][vc_column width=\"2/3\"][vc_column_text]</p>\n<h1>Local 424 AFM</h1>\n<p><em><strong>Welcome to the new AFM Local 424 website.</strong></em></p>\n<p>The American Federation of Musicians (AFM) is the largest organization in the world dedicated to representing the interests of musicians, singers, songwriters, composers, arrangers and DJs.</p>\n<p>The AFM has well over 90,000 members nationwide. We represent all styles of music—rock, alternative, classical, jazz, pop, country, folk, bluegrass, funk, R&amp;B, gospel, J-Pop, K-Pop, world beat, singer/songwriter, Latin, contemporary Christian, big band, reggae and more.</p>\n<p>With such active members as Bruce Springsteen, Metallica, Counting Crows, Roberta Flack, Santana, Yo-Yo Ma, Sheila E, Suzanne Vega, The Goo Goo Dolls, Willie Nelson and Branford Marsalis, the AFM has strong representation in all areas of popular music.</p>\n<hr />\n<h4 style=\"text-align: center;\"><span style=\"color: #3399dd;\">The AFM has been promoting and protecting musicians for over 110 years.</span></h4>\n<hr />\n<p>Local 424 is committed to bringing the AFM into the 21st century––embracing all the latest technological developments in popular entertainment.</p>\n<p>Local 424 is here to serve those whose passion is music and help them realize their dreams.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_separator][vc_column_text]</p>\n<h2>Latest News</h2>\n<p>[/vc_column_text][vc_row_inner][vc_column_inner width=\"1/4\"][vc_basic_grid post_type=\"post\" max_items=\"1\" element_width=\"12\" item=\"1562\" grid_id=\"vc_gid:1571444127709-60632ace-2be1-7\" taxonomies=\"5\"][/vc_column_inner][vc_column_inner width=\"1/4\"][vc_basic_grid post_type=\"post\" max_items=\"1\" element_width=\"12\" item=\"1562\" grid_id=\"vc_gid:1571444127710-abfce872-d526-5\" taxonomies=\"18\"][/vc_column_inner][vc_column_inner width=\"1/4\"][vc_basic_grid post_type=\"post\" max_items=\"1\" element_width=\"12\" item=\"1562\" grid_id=\"vc_gid:1571444127710-28c0d096-7389-3\" taxonomies=\"22\"][/vc_column_inner][vc_column_inner width=\"1/4\"][vc_basic_grid post_type=\"post\" max_items=\"1\" element_width=\"12\" item=\"1562\" grid_id=\"vc_gid:1571444127711-c9da28fa-03f6-10\" taxonomies=\"7, 11, 8, 25\"][/vc_column_inner][/vc_row_inner][/vc_column][/vc_row]</p>\n', 'Home  Copy', '', 'inherit', 'closed', 'closed', '', '2723-autosave-v1', '', '', '2019-10-18 17:16:46', '2019-10-19 00:16:46', '', 2723, 'https://paulchiten.com/2723-autosave-v1/', 0, 'revision', '', 0),
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(2752, 6, '2020-02-26 13:59:29', '2020-02-26 21:59:29', '[vc_row][vc_column][vc_column_text]Last week I asked 14 friends if they had heard of the Boswell Sisters.\r\n\r\n13 said no.\r\n\r\nOne said, “Oh yeah. They’re amazing!\"\r\n\r\nThat friend was a jazz singer.\r\n\r\nIf you like Pentatonix, GQ, Take 6, The Manhattan Transfer, the Andrews Sisters or Lambert, Hendricks &amp; Ross––thank the Boswell Sisters. They invented the jazz vocal ensemble.\r\n<blockquote>\"Without the Boswell Sisters there would be no Andrews Sisters.\" -Patty Andrews</blockquote>\r\nIf you like Diana Krall, Bobby McFerrin, Wynonna Judd, Billie Holiday or Ella Fitzgerald––thank the Boswells again. They developed the modern approach to jazz and pop singing.\r\n<blockquote>\"Who influenced me? There was only one singer who influenced me. I tried to sing like her all the time, because everything she did made sense musically… and that singer was Connie Boswell.\" -Ella Fitzgerald</blockquote>\r\nThe Boswell Sisters are one of the most awe-inspiring and important groups to have ever made music.\r\n\r\n[caption id=\"attachment_986\" align=\"alignnone\" width=\"600\"]<img class=\"size-medium wp-image-986\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Crazy-still-1-PS2-2-600x443.jpg\" alt=\"\" width=\"600\" height=\"443\" /> Connie, Vet, Martha[/caption]\r\n\r\nIn a 3-minute song, a Boswell Sisters’ arrangement can seamlessly traverse through multiple key changes, several 90-degree tempo shifts, complete reharmonization of various sections, scatting, gulling, lyrics sung in “gibberish,” and all mesmerizingly executed with jaw-dropping style and a wondrous sense of swing.\r\n\r\nAfter many years as a music professional, I cannot believe I was unaware of this stunning vocal trio until January 2015, when I stumbled upon them by accident while surfing the Net. I watched the live 2-minute film clip of  “Crazy People”–– and that was all it took. I was hooked. Or, as Boswell Sisters aficionados say, I was “Bozzed.”\r\n\r\nThis was a new musical world. A wild take on jazz with no words to adequately describe it. I launched a YouTube quest for as much Boswell Sisters music as I could find. Fortunately, many of their tracks are posted on YouTube and CD reissues are readily available on Amazon.\r\n\r\nBefore you read any further…check out the “Crazy People” video.\r\n\r\nFor those who have not taken the trip to Planet Boz––you are in for one doozie of a ride.\r\n\r\n<span style=\"text-decoration: underline;\"><strong>The Boswell Sisters – “Crazy People”</strong></span>\r\n\r\nhttps://www.youtube.com/watch?v=R-O5U4uuPF8\r\n\r\n<strong>The Boswell Sisters were the most popular music group in America from 1931 to 1936.</strong>\r\n\r\nThen suddenly, in 1936, it was all over.\r\n\r\nThey quickly faded from the scene––and the public’s memory.\r\n\r\nSo…who were they?\r\n\r\nAnd why was this incredible trio largely forgotten?\r\n<h2><img class=\"alignnone size-full wp-image-979\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/boswell-sisters-early-1a-Cropped.jpg\" alt=\"\" width=\"497\" height=\"563\" /></h2>\r\n<h2></h2>\r\n<h2>SHUFFLE OFF TO NEW ORLEANS</h2>\r\nFate can be like a slot machine. The tumblers must align themselves in just the right way to trigger a jackpot. The Boswell Sisters’ story is like that. There’s everything that makes a compelling tale: tragedy, victory, loss, pain, luck, secrets, betrayal, talent, and a deep love forged by strong family bonds. The sisters had an incredible ability to turn adversity into triumph, making the most of every opportunity. Their saga is as compelling as their music.\r\n\r\nThe “Bozzies” (as they are affectionately called) were three bright, über-cute, funny, playful, and extraordinarily talented sisters: Martha (1905-1958), Connie (1907-1976) and Helvetia (1911-1988, known as Vet).\r\n\r\nWhile the girls were very young, the Boswell family settled in New Orleans. With its eclectic blend of cultures and the sound of blues, jazz and gospel all around them, these three brilliant young women––encouraged by musical parents and a strong-willed mother––created a sound so fresh, so unique, that it caused a musical sensation, changing the face (and ears) of popular music.\r\n\r\n[caption id=\"attachment_987\" align=\"alignnone\" width=\"507\"]<img class=\"size-medium wp-image-987\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/early-boswells-pix-book-507x600.png\" alt=\"\" width=\"507\" height=\"600\" /> The Early Boswells<br />CONNIE–cello         MARTHA–piano         VET–violin[/caption]\r\n<h2>THAT’S HOW RHYTHM WAS BORN</h2>\r\n<blockquote>\"Their music hit me right between the eyes, and what hit me was their originality. There was just no one like them.\" -David McCain, Boswell authority</blockquote>\r\nThe young Boswells were trained to be classical instrumentalists. The very essence of music coursed through their veins; Martha was going to be concert pianist, Connie, a cellist, and Vet, a violinist. Yet something else began tugging at their heels.\r\n\r\nIn a 1925 interview with the Shreveport Times, Martha said: “We studied classical music. . .and were being prepared for the stage and a concert tour throughout the United States, but the saxophone got us.”\r\n\r\nConnie traded her cello for a tenor sax, Vet took up the banjo and Martha’s classical piano arpeggios morphed into hot jazz rhythms and ragtime licks.\r\n\r\nThough untrained as vocalists, they sang amazingly well together––with that ethereal, other-worldly blend that seems reserved only for talented siblings with genetically-linked vocal cords. And they were connected in even more profound ways.\r\n<blockquote>David McCain comments: “They did have an uncanny telepathy with each other. It wasn’t only just their musical skill and ability. It was this telepathy they had…which even went beyond just being sisters. It was really being in tune with each other. It’s certainly evident on the records when you hear it.”</blockquote>\r\nThree personas forged into a single musical tour-de-force. They sang with an inspired, surgical precision never heard before, nor equaled since. Together they charted a new course in music where no road map existed.\r\n\r\n[caption id=\"attachment_982\" align=\"alignnone\" width=\"394\"]<img class=\" wp-image-982\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/bozwell_sisters_stacked.jpg\" alt=\"\" width=\"394\" height=\"508\" /> Connie (bottom) – Martha (middle) – Vet (top)[/caption]\r\n<h2>BETWEEN THE DEVIL AND THE DEEP BLUE SEA</h2>\r\n<blockquote>\"Connie Boswell is the most widely imitated singer of all time.\" -Frank Sinatra</blockquote>\r\nA surprising fact about the Boswell Sisters: Connie was confined to a wheelchair.\r\n\r\nAt the age of 3 either she was either severely injured when ejected from a careening homemade go-cart, had contracted polio, or both (each story was alternately told by Connie through the years). A further incident at age 22, involving a 15-foot fall from a window during a game of hide-and-seek, took away whatever remaining lower-body ability she had. The end result: she never walked again.\r\n\r\nFor their early gigs, Connie was carried “packsaddle” style by her sisters; Martha and Vet interlocked their forearms while Connie sat in the middle. They learned to rely on each other in profound ways: physically, musically, emotionally and spiritually. This intimacy was reflected in the music they created.\r\n<blockquote>Vet’s daughter, Chica Boswell Minnerly, observed: “They went everywhere together, socially. They did things together. Played their music together. And they thought alike. When you have that kind of closeness and you translate it into a musical form, it’s hard to explain what happens…with a trio. A trio begins to have its own identity. And that identity is very different from any of the sisters. So it becomes truly a trio.”</blockquote>\r\nIn the 1920s jazz was often referred to in derogatory terms, especially by religious groups (in the 1950s these same charges would be leveled at rock and roll).\r\n<blockquote>Chica continues: “Jazz, in some circles, was considered ‘the Devil’s music.’ But it was hard to call it ‘the Devil’s music’ when you had these three pretty little girls…one of whom couldn’t walk…and they’re singing this music. So it presented a contradiction. It’s interesting, because people had to make their minds up about it.”</blockquote>\r\n<img class=\"alignnone wp-image-2732\" src=\"https://paulchiten.com/wp-content/uploads/2016/02/postcard.jpeg\" alt=\"\" width=\"388\" height=\"298\" />\r\n<h2>ROLL ON, MISSISSPPI, ROLL ON</h2>\r\nBy 1929 the Boswell Sisters were New Orleans favorites. But if they wanted a higher level of success, they needed to play venues further from home.\r\n\r\nSo the young ladies hit the road, performing in an unglamorous sector of the Vaudeville circuit. Their show featured playing instruments––Martha on piano, Connie on sax, Vet on banjo (and some tap dancing), doing popular songs of the day. Oh…and a little singing was pitched in.\r\n\r\nAt their first out-of-town gig, in a small, dingy theatre in Chicago, the trio was suddenly stricken at show time with a serious case of stage fright. They were so nervous that they left their instruments backstage––all they could manage to do was sing to Martha’s piano accompaniment. When they finished, the stage manager, noticing their discarded instruments backstage, asked: <em>“Don’t you girls do anything but sing?”</em>\r\n\r\nAh, but fate was tampering with those slot machine tumblers––it was through their singing that they would create a musical sensation.\r\n\r\n[caption id=\"attachment_976\" align=\"alignnone\" width=\"283\"]<img class=\" wp-image-976\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Boswell-profiles.jpg\" alt=\"Vet, Martha, Connie\" width=\"283\" height=\"359\" /> Vet, Martha, Connie[/caption]\r\n\r\nTheir tour ended up in Los Angeles, where the radio work was. One day Connie showed up for a live broadcast with a bad cold. She suggested the songs be transposed down “an octave or two,” and sing soft and close into the microphone. This close-mike technique is one of the first examples of using the newly developed electronic microphone for maximum effect. This gave the trio an important component of their signature sound.\r\n\r\nWhile doing radio shows in California, a letter came into the station with a scathing review. It was Martha who opened it. The listener wrote: “Get rid of those awful Boswell Sisters––they’re always changing the melody, and whenever they come on the radio, me and my friends turn them off.”\r\n\r\nIt closed with a bristling coda: <em>“We call them the savage chanters.”</em>\r\n\r\nMartha was so upset at this harsh critique that she broke down in tears. She was about to rip up the letter when Connie snatched it from her hand. Connie said it was proof that the trio was indeed doing something different, and that they should keep on doing it.\r\n\r\nWith the experience gleaned from touring and consistent radio work, it was time to move to New York, where the jazz scene was in full swing. It was 1930 and the Boswell Sisters were getting ready to take on the world.\r\n<h3></h3>\r\n<img class=\"alignnone wp-image-2733\" src=\"https://paulchiten.com/wp-content/uploads/2016/02/the-boswell-sisters.jpg\" alt=\"\" width=\"390\" height=\"489\" />\r\n\r\nMartha (bottom) – Connie (middle) – Vet (top)\r\n<h2></h2>\r\n<h2>THE MUSIC GOES ROUND &amp; ROUND</h2>\r\nThe Boswell Sisters came along at the right time. Vaudeville was giving way to that new invention––radio––which grew rapidly from a curiosity to a widely accepted form of entertainment.\r\n\r\nRecorded music was also going through a seismic transformation. Early recording technology used a crude horn to channel the sound. By 1925 the electronic microphone finally made it possible to capture nuances never heard in a recording before.\r\n\r\nThe Bozzies made their first few recordings (into those horns) in 1925. By the time they got to their main body of work, starting in 1931, the electronic microphone was firmly established as the new standard.\r\n\r\nLike today’s Internet, with the popularity of Facebook, YouTube, Twitter, Instagram––the sisters embraced the technologies of their day: radio, records and films. These burgeoning media marvels allowed them to reach a far wider audience than was ever possible through live shows alone.\r\n\r\nAnd the New York scene is where the sisters would find the success they worked so hard for.\r\n\r\nRecords in the 1930s meant a live studio performance. There was no tape, overdubbing, or editing. Each take was recorded in mono onto a wax disc––worlds away from modern digital recording. There was no concept of “fix it in the mix.” The performance had to be good or the “waxie” was tossed. The Bozzies went through a lot of “waxies” before they were satisfied with a record.\r\n\r\nIn the studio, they were fortunate to work with some great musicians of the day, many of whom later became well known: Glenn Miller (trombone and arranger), Tommy Dorsey (trombone), Jimmy Dorsey (alto sax), Benny Goodman (clarinet), Artie Shaw (clarinet), Bunny Berigan (trumpet), Manny Klein (trumpet), Joe Tarto (bass/tuba), Eddie Lang (guitar), Dick McDonough (guitar), Carl Kress (guitar), Joe Venuti (violin), Victor Young (violin) and Stan King (drums). They also worked with the orchestras of Jimmy Grier, Victor Young and Paul Whiteman.\r\n\r\nMany of these celebrated musicians were members of AFM Local 47 (Hollywood): Benny Goodman, Tommy and Jimmy Dorsey, Artie Shaw, Bunny Berigan, Joe Venuti, Manny Klein, Joe Tarto and Victor Young.\r\n\r\n[caption id=\"attachment_989\" align=\"alignnone\" width=\"600\"]<img class=\"size-medium wp-image-989\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Musicians-BW-600x400.jpg\" alt=\"\" width=\"600\" height=\"400\" /> Hamming it up with The Ramblers band during the first European tour.[/caption]\r\n\r\nSo how could three white middle-class southern gals come to sound like a sassy trio of soulful jazz singers? Most people who heard them. without seeing them, assumed they were black. Their influences included gospel, jazz, blues and “race” records. Connie was a fan of early blues vocalists Bessie Smith, and especially Mamie Smith––whom she patterned her style after. Her other two major influences were a disparate pair: hot-jazzer Louis Armstrong and operatic tenor Enrico Caruso.\r\n\r\nThe Bozzies’ vocal sound is a curious combination. Martha and Connie were contraltos, while Vet was a mezzo-soprano with an exceptional range. The typical vocal registers were thrown out the window, because they had the uncanny ability to shift parts at will, creating ever-morphing three-dimensional sonic shapes.\r\n\r\nMartha called this “blending.” Connie referred to it as “passing harmony.” Whatever you call it, it meant that the melody could continually move between the three voices. The shuffling of parts, the rapid tempo changes, the modulations and continual reharmonization––indeed rising to the level of recomposition––make that unmistakable Boswell Sound. Nobody had done music this way before. Or since.\r\n\r\nIn a 1965 interview, Connie reflected on the trio’s sound. She said when people heard them for the first time, they couldn’t believe they were sisters, because “no family could have 3 sisters who could sing like this.” At the same time, they HAD to be sisters, because “no 3 voices could possibly blend this well without being from the same family.”\r\n\r\n[caption id=\"attachment_975\" align=\"alignnone\" width=\"600\"]<img class=\"size-medium wp-image-975\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/At-piano-600x376.png\" alt=\"\" width=\"600\" height=\"376\" /> Vet, Martha, Connie[/caption]\r\n\r\nTheir father, A.C., a former Vaudevillian and Barbershop singer, taught them a language he called “gibberish.” It’s a zany, word-morphing, pig-Latinish kind of thing––and the girls loved it. This “gibberish” shows up in a number of their recordings. A variation on “gibberish” is heard on the second section of “Everybody Loves My Baby,” which features nonsense sounds sung at an insanely fast tempo, performed with perfect diction in astonishingly precise 3-part harmony––a typical Bozzie Dazzle Moment.\r\n<h4><span style=\"text-decoration: underline;\">Everybody Loves My Baby</span></h4>\r\n[audio mp3=\"https://paulchiten.com/wp-content/uploads/2015/09/Everybody-Loves-My-Baby.mp3\"][/audio]\r\n\r\n&nbsp;\r\n\r\nEvery time I hear this track, a jolt of electricity shoots up my spine. The vocal histrionics are as energetically wild as they are highly disciplined. Connie even “gulls” (a technique of extreme glottal stops) in the middle of everything. Hey, if this doesn’t get you to sit up and take notice, you’re in a musical coma.\r\n\r\nThe sisters created all their own arrangements, working collectively, each sparking off the other. But just how did they come up with these wildly inventive sound canvasses?\r\n\r\nConnie provided some insight in a 1932 interview: “The method we use is rather quaint, and I know will amuse you when you hear about it––we learn our songs backwards! ...That is to say, we start at the end of the chorus and work back to the beginning. None of our arrangements are written out. Once we learn a song we never forget the arrangement.”\r\n\r\nOnstage, Martha played piano accompaniment (and on most of their recordings). Connie sat next to her on the piano bench and Vet stood behind, resting one hand on each sister’s shoulder, choreographing the trios’ movements.\r\n\r\n[caption id=\"attachment_985\" align=\"alignnone\" width=\"572\"]<img class=\" wp-image-985\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Crazy-People-Martha-smile.png\" alt=\"Connie, Vet, Martha\" width=\"572\" height=\"429\" /> Connie, Vet, Martha[/caption]\r\n<h4><span style=\"text-decoration: underline;\">Shout, Sister, Shout!</span></h4>\r\n[audio mp3=\"https://paulchiten.com/wp-content/uploads/2015/09/Shout-Sister-Shout.mp3\"][/audio]\r\n\r\n&nbsp;\r\n\r\nA Boswell Sisters’ theme song; truly a pocket symphony.\r\n\r\nIn a span of 3 minutes, it’s quite a ride through snappy jazz textures, dark gospel, fast scatting, all culminating in bayou-infused swampy soul.\r\n\r\nThe fact that these beautiful and talented young women become so successful in a world dominated by men––at a time when women had only fairly recently been given the right to vote––is testimony of their sense of empowerment as females. They went on the road with no chaperones, managed their own business, and charted their own destinies.\r\n\r\nThe Bozzies were also in control, and responsible for, their musical creations. Rare for recording artists at that time. Their unique musicality, uncanny skill, playful hearts and wistfully “witchy” soulfulness kept them leagues ahead of any competition.\r\n\r\n<img class=\"alignnone size-full wp-image-2742\" src=\"https://paulchiten.com/wp-content/uploads/2019/10/Screen-Shot-2019-10-18-at-10.26.11-PM.png\" alt=\"\" width=\"494\" height=\"498\" />\r\n\r\nTwo new phrases entered the musical language of their time: “Boswell Sound” and “Boswell Rhythm.”\r\n\r\n“Boswell Sound” referred to their ability to conjure up unusual and infinitely appealing vocal harmonies, coupled with an astounding vocal blend and wildly creative arrangements with unexpected changes, and amazing vocal gymnastics.\r\n\r\n“Boswell Rhythm” was their jazzy, syncopated phrasing and astonishingly precise tempo changes, all executed with an extraordinary sense of musical swing.\r\n\r\nRhythmically, they could push the pulse so it sat on the leading edge of the beat––almost rushing, but not quite. This aggressive hanging over the leading edge of the beat was also called “New Orleans drive.” Many musicians from that scene played on top of the beat, but nobody sang quite like this. And 3 people doing it in perfect synchronicity? Only the Bozzies could do it this incredibly.\r\n<h4><span style=\"text-decoration: underline;\">Heebie Jeebies</span></h4>\r\n[audio mp3=\"https://paulchiten.com/wp-content/uploads/2015/09/Heebie-Jeebies.mp3\"][/audio]\r\n\r\n&nbsp;\r\n\r\nTheir good-luck song. The spirit is as intoxicating as the smell of down-home southern gumbo.\r\n\r\nA classic Boswell madcap slap-dash romp through many tempo and textural changes, the first-ever 3-part harmony scatting–– delivering a salvo of infectious musical energy that inevitably leaves the listener smiling…and breathless.\r\n\r\n<img class=\"alignnone size-medium wp-image-983\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Brunswick-publicity-PS2-600x385.jpg\" alt=\"\" width=\"600\" height=\"385\" />\r\n<h2>IT DON’T MEAN A THING,  IF IT AIN’T GOT THAT SWING</h2>\r\nWhen the Bozzies recorded their first side for Brunswick Records, “When I Take My Sugar To Tea,” (their first charted hit), the veteran studio musicians expected a typical session with your average young vocal group. They got anything but. The sisters possessed a musicianship equal to their own. The music was challenging, the girls were accomplished, charming and fun, and the players were given latitude to improvise solos in their own style.\r\n\r\nWhen they finished the first successful run-through of the song, all the musicians spontaneously got up––and gave the sisters a standing ovation. This kind of thing simply did not happen. This was a moment vital to the trio’s sense of self- confidence.\r\n\r\nThe Boswell Sisters were definitely on their way.\r\n\r\n[caption id=\"attachment_978\" align=\"alignnone\" width=\"867\"]<img class=\" wp-image-978\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Boswells-at-piano.jpeg\" alt=\"Connie, Vet, Martha\" width=\"867\" height=\"715\" /> Connie, Vet, Martha[/caption]\r\n<h2>WE’RE ON THE HIGHWAY TO HEAVEN</h2>\r\nFrom 1931 to 1936 the Boswell Sisters rode the wave of their greatest popularity. They racked up 20 hits on the US charts, and a #1 in 1935 with “The Object Of My Affection.”\r\n\r\nThey sold 75 million records at a time when many Americans didn’t even have enough money to buy fresh bread. This was the Great Depression. Americans found the sisters’ music so uplifting, so transportive, that it helped momentarily lift the nation out of its collective miseries. Their music reminded people of the joy of being alive at a time when all that seemed to lay ahead for the country was more gloom.\r\n<blockquote><em><img class=\" wp-image-2729 aligncenter\" src=\"https://paulchiten.com/wp-content/uploads/2016/02/Charicature-color-479x600.jpg\" alt=\"\" width=\"372\" height=\"466\" /></em>\r\n\r\n<em>\"You know, they never cartoon folks unless they are known world wide.\"</em> -A. C. Boswell,  father (in a letter to his daughters)</blockquote>\r\nFor some reason, history has generally underestimated the impact, revolutionary sound and popularity that the Boswell Sisters had. If any musical act has the right to use the word “magic,” it certainly is the Bozzies. Music publishers rarely gave permission for artists to alter songs. Of course, the Boswell Sisters were the exception. Their changes invariably added to the compositional intrigue of the song (the fact that they also sold a lot of records didn’t hurt).\r\n\r\n<img class=\"alignnone wp-image-973\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/when-i-grow-too-old-boswells-uk.jpg\" alt=\"when-i-grow-too-old-boswells-uk\" width=\"324\" height=\"446\" />\r\n<h2>MY FUTURE JUST PASSED</h2>\r\nBy 1936 it all ended.\r\n\r\nThe trio broke up.\r\n\r\nAfter over 20 years of making music together––and 5 years at the top––the country’s most popular musical group was no more.\r\n\r\n<strong>Why did they break up at the height of their success?</strong>\r\n\r\nThe reason given at the time was that Martha and Vet wanted to get married and raise families, while Connie desired a solo career. While this is true, there were deeper dynamics in play.\r\n\r\nPerhaps for Connie to have a full-on solo career, she needed to break away from the trio. Harry Leedy––Connie’s husband, and manager for both Connie and the trio––could have contributed in sowing the seeds of dissention by promoting Connie over the group, nudging the trio into the shadows.\r\n\r\nPerhaps because the trio had run its course. Intense creativity often embodies the seeds of its own destruction within it.\r\n\r\n<strong>Why were they largely forgotten?</strong>\r\n\r\nMaybe because their music was so new and revolutionary, it defied classification.\r\n\r\nThe music business has a difficult time packaging unique acts. Particularly after they’ve disbanded.\r\n\r\nMaybe because their moment in the spotlight was brief––1931 to 1936––and life moved them on in different directions.\r\n\r\nMaybe because they were popular during the Great Depression, a time that was so painful that Americans wanted to forget this distressing part of their history.\r\n\r\nAfter the breakup, Martha and Vet did retire from the biz, settled down to married life and raised families. Connie continued on with a successful solo career. In 1942, she changed the spelling of her name to “Connee.” From 1936 to 1954, she had 29 songs on the US charts, including two #1 hits which were duets with Bing Crosby.\r\n\r\nBut our slot machine hit a once-in-a-google jackpot.\r\n\r\nThe Bozzies will never be duplicated.\r\n\r\nWhat endures is <strong>the amazing musical legacy the Boswell Sisters left to the universe.</strong>\r\n\r\n<img class=\"alignnone wp-image-980\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Boswell-Sisters-logo-cropped.jpg\" alt=\"Boswell-Sisters-logo-cropped\" width=\"385\" height=\"562\" />\r\n<h2>PUT THAT SUN BACK IN THE SKY</h2>\r\nAfter being largely forgotten for over 70 years, there is a resurgence of interest in the Boswell Sisters. The Internet has certainly helped create a new audience. YouTube and Vimeo have provided access to dozens of their songs and some film clips and compilation CDs are readily available.\r\n\r\nTribute groups and Bozzie-influenced bands are growing from all over the globe: the Pfister Sisters, the Puppini Sisters, Boswellmania, the Stolen Sweets, the DeGeleonardo Sisters, the Ditties, the Boswell Project, the Hazelnuts, O Sister! and more. A burgeoning Boswell Sisters Revival is taking place.\r\n\r\nThe Boswells created their music in the first part of the 20th century, but this isn’t nostalgia. Those 78rpm records may have the audio imprint of another era, but the music itself is still fresh, innovative, and as vibrant as when it was first birthed. The Boswell Sisters deserve wider recognition for their considerable contributions to popular music as well as their important place in American music history.\r\n\r\nThanks to Vet’s granddaughter, Kyla Titus, we now know more of the Boswell Sisters’ story. She wrote a wonderful book, “The Boswell Legacy,” published in 2014. My appreciation of their music deepened the more I learned of their backstory. This book is the best, most authentic source for getting the scoop on the fascinating Boswell saga, from a true insider.\r\n\r\nIf your appetite for the Boswell Sisters has now been aroused, check out the links below.\r\n\r\n<strong>Warning…</strong>\r\n\r\nAs I mentioned at the top of this article, listening to Boswell Sisters’ music will put you at risk of “getting Bozzed.”\r\n\r\nYou can get hooked, finding yourself listening to their songs over and over and over again.\r\n<h5 style=\"text-align: center;\">Constant exposure can result in a state of long-lasting euphoria.</h5>\r\n&nbsp;\r\n\r\n<img class=\"alignnone size-full wp-image-981\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Boswell-Sisters-poster.jpg\" alt=\"Boswell-Sisters-poster\" width=\"355\" height=\"468\" />\r\n\r\n<strong>ACKNOWLEDGEMENTS:</strong>\r\n\r\nSource material was compiled from “The Boswell Legacy” by Kyla Titus, Chica Boswell Minnerly, Boswell authority David McCain, Vet Boswell Family Collection LLC, TheBoswellSisters.com, Bozzies.org, “Time For The Boswells” by Dennis Yancey, “Three Perfect Minutes” blog by Bryan Mangum, and “The Boswell Sisters: Close Harmony” documentary by Joshua Tree Productions.\r\n\r\n<strong>LINKS:</strong>\r\n<ul>\r\n 	<li><span style=\"color: #0000ff;\"><a style=\"color: #0000ff;\" href=\"https://www.facebook.com/TheBoswellSisters\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook</a></span></li>\r\n</ul>\r\n<span style=\"text-decoration: underline;\"><strong>Websites:</strong></span>\r\n<ul>\r\n 	<li><a href=\"http://www.theboswelllegacy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Boswell Legacy.com</a></li>\r\n 	<li><a href=\"http://www.bozzies.org\" target=\"_blank\" rel=\"noopener noreferrer\">bozzies.org</a></li>\r\n</ul>\r\n<strong><span style=\"text-decoration: underline;\">The Boswell Legacy book:<img class=\"size-full wp-image-2727 aligncenter\" src=\"https://paulchiten.com/wp-content/uploads/2016/02/Boswell-Legacy-book.jpg\" alt=\"\" width=\"227\" height=\"300\" /></span></strong>\r\n\r\n&nbsp;\r\n<ul>\r\n 	<li><a href=\"https://www.amazon.com/The-Boswell-Legacy-Sisters-Orleans/product-reviews/1502350912/ref=cm_cr_dp_see_all_btm?ie=UTF8&amp;showViewpoints=1&amp;sortBy=recent\" target=\"_blank\" rel=\"noopener noreferrer\">“The Boswell Legacy” by Kyla Titus</a></li>\r\n</ul>\r\n<strong><span style=\"text-decoration: underline;\">Internet Music Archive:</span></strong>\r\n<ul>\r\n 	<li><a href=\"https://archive.org/search.php?query=boswell%20sisters\" target=\"_blank\" rel=\"noopener noreferrer\">archive.org Boswell Sisters</a></li>\r\n</ul>\r\n<strong><a href=\"mailto:pchiten424@gmail.com\" target=\"_blank\" rel=\"noopener noreferrer\">Contact</a> <a style=\"line-height: 1.5;\" href=\"mailto:nakedpreymusic@gmail.com\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Chiten</a></strong>\r\n\r\n<img class=\"alignnone  wp-image-2731\" src=\"https://paulchiten.com/wp-content/uploads/2016/02/Paul-Chiten-600x600.jpg\" alt=\"\" width=\"239\" height=\"239\" />\r\n<img class=\"alignleft size-thumbnail wp-image-601\" src=\"https://paulchiten.com/wp-content/uploads/2015/05/Paul-Chiten-150x150.jpg\" alt=\"Paul-Chiten\" width=\"150\" height=\"150\" />\r\n\r\n<strong>Paul Chiten</strong> is a Los Angeles-based songwriter, composer, producer, musician, singer and artist. His songs have earned him multi-platinum and gold records. His compositions and productions have won Telly, Aurora and Emmy Awards.\r\n\r\nHe has worked with Michael Jackson, Anita Baker, Tina Turner, Donna Summer, Cyndi Lauper and countless others.\r\n\r\nPaul was Music Director/Orchestrator/Arranger/Performer for the 2015 EMC World event in Las Vegas. He\'s currently working on making a large part of his music library accessible for downloading and streaming worldwide.  Many of his albums are now available on iTunes, Amazon, Apple Music, Google Play, Deezer, Tidal and Spotify.\r\n\r\n<a href=\"http://sweethartproductions.com/PaulChiten.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Chiten - Sweetheart Productions website</a>\r\n\r\n<a href=\"https://paulchiten.com/featured-artist-paul-chiten/\" target=\"_blank\" rel=\"noopener noreferrer\">bio</a>\r\n\r\n<img class=\"alignnone size-full wp-image-2737\" src=\"https://paulchiten.com/wp-content/uploads/2019/10/Screen-Shot-2019-10-18-at-10.11.08-PM.png\" alt=\"\" width=\"193\" height=\"191\" /><a href=\"https://paulchiten.com/wp-content/uploads/2015/09/Ive-Been-Bozzed-cropped.png\"><img class=\"alignnone wp-image-1054\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Ive-Been-Bozzed-cropped-300x300.png\" alt=\"I\'ve Been Bozzed-cropped\" width=\"144\" height=\"144\" /></a>[/vc_column_text][/vc_column][/vc_row]', 'The Greatest Trio You Never Heard Of - The Boswell Sisters', 'The Boswell Sisters are one of the most awe-inspiring and important groups to have ever made music.', 'inherit', 'closed', 'closed', '', '1080-revision-v1', '', '', '2020-02-26 13:59:29', '2020-02-26 21:59:29', '', 1080, 'https://paulchiten.com/1080-revision-v1/', 0, 'revision', '', 0);
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(2753, 6, '2020-02-26 14:17:37', '2020-02-26 22:17:37', '[vc_row][vc_column][vc_column_text]Last week I asked 14 friends if they had heard of the Boswell Sisters.\r\n\r\n13 said no.\r\n\r\nOne said, “Oh yeah. They’re amazing!\"\r\n\r\nThat friend was a jazz singer.\r\n\r\nIf you like Pentatonix, GQ, Take 6, The Manhattan Transfer, the Andrews Sisters or Lambert, Hendricks &amp; Ross––thank the Boswell Sisters. They invented the jazz vocal ensemble.\r\n<blockquote>\"Without the Boswell Sisters there would be no Andrews Sisters.\" -Patty Andrews</blockquote>\r\nIf you like Diana Krall, Bobby McFerrin, Wynonna Judd, Billie Holiday or Ella Fitzgerald––thank the Boswells again. They developed the modern approach to jazz and pop singing.\r\n<blockquote>\"Who influenced me? There was only one singer who influenced me. I tried to sing like her all the time, because everything she did made sense musically… and that singer was Connie Boswell.\" -Ella Fitzgerald</blockquote>\r\nThe Boswell Sisters are one of the most awe-inspiring and important groups to have ever made music.\r\n\r\n[caption id=\"attachment_986\" align=\"alignnone\" width=\"600\"]<img class=\"size-medium wp-image-986\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Crazy-still-1-PS2-2-600x443.jpg\" alt=\"\" width=\"600\" height=\"443\" /> Connie, Vet, Martha[/caption]\r\n\r\nIn a 3-minute song, a Boswell Sisters’ arrangement can seamlessly traverse through multiple key changes, several 90-degree tempo shifts, complete reharmonization of various sections, scatting, gulling, lyrics sung in “gibberish,” and all mesmerizingly executed with jaw-dropping style and a wondrous sense of swing.\r\n\r\nAfter many years as a music professional, I cannot believe I was unaware of this stunning vocal trio until January 2015, when I stumbled upon them by accident while surfing the Net. I watched the live 2-minute film clip of  “Crazy People”–– and that was all it took. I was hooked. Or, as Boswell Sisters aficionados say, I was “Bozzed.”\r\n\r\nThis was a new musical world. A wild take on jazz with no words to adequately describe it. I launched a YouTube quest for as much Boswell Sisters music as I could find. Fortunately, many of their tracks are posted on YouTube and CD reissues are readily available on Amazon.\r\n\r\nBefore you read any further…check out the “Crazy People” video.\r\n\r\nFor those who have not taken the trip to Planet Boz––you are in for one doozie of a ride.\r\n\r\n<span style=\"text-decoration: underline;\"><strong>The Boswell Sisters – “Crazy People”</strong></span>\r\n\r\nhttps://www.youtube.com/watch?v=R-O5U4uuPF8\r\n\r\n<strong>The Boswell Sisters were the most popular music group in America from 1931 to 1936.</strong>\r\n\r\nThen suddenly, in 1936, it was all over.\r\n\r\nThey quickly faded from the scene––and the public’s memory.\r\n\r\nSo…who were they?\r\n\r\nAnd why was this incredible trio largely forgotten?\r\n<h2><img class=\"alignnone size-full wp-image-979\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/boswell-sisters-early-1a-Cropped.jpg\" alt=\"\" width=\"497\" height=\"563\" /></h2>\r\n<h2></h2>\r\n<h2>SHUFFLE OFF TO NEW ORLEANS</h2>\r\nFate can be like a slot machine. The tumblers must align themselves in just the right way to trigger a jackpot. The Boswell Sisters’ story is like that. There’s everything that makes a compelling tale: tragedy, victory, loss, pain, luck, secrets, betrayal, talent, and a deep love forged by strong family bonds. The sisters had an incredible ability to turn adversity into triumph, making the most of every opportunity. Their saga is as compelling as their music.\r\n\r\nThe “Bozzies” (as they are affectionately called) were three bright, über-cute, funny, playful, and extraordinarily talented sisters: Martha (1905-1958), Connie (1907-1976) and Helvetia (1911-1988, known as Vet).\r\n\r\nWhile the girls were very young, the Boswell family settled in New Orleans. With its eclectic blend of cultures and the sound of blues, jazz and gospel all around them, these three brilliant young women––encouraged by musical parents and a strong-willed mother––created a sound so fresh, so unique, that it caused a musical sensation, changing the face (and ears) of popular music.\r\n\r\n[caption id=\"attachment_987\" align=\"alignnone\" width=\"507\"]<img class=\"size-medium wp-image-987\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/early-boswells-pix-book-507x600.png\" alt=\"\" width=\"507\" height=\"600\" /> The Early Boswells<br />CONNIE–cello         MARTHA–piano         VET–violin[/caption]\r\n<h2>THAT’S HOW RHYTHM WAS BORN</h2>\r\n<blockquote>\"Their music hit me right between the eyes, and what hit me was their originality. There was just no one like them.\" -David McCain, Boswell authority</blockquote>\r\nThe young Boswells were trained to be classical instrumentalists. The very essence of music coursed through their veins; Martha was going to be concert pianist, Connie, a cellist, and Vet, a violinist. Yet something else began tugging at their heels.\r\n\r\nIn a 1925 interview with the Shreveport Times, Martha said: “We studied classical music. . .and were being prepared for the stage and a concert tour throughout the United States, but the saxophone got us.”\r\n\r\nConnie traded her cello for a tenor sax, Vet took up the banjo and Martha’s classical piano arpeggios morphed into hot jazz rhythms and ragtime licks.\r\n\r\nThough untrained as vocalists, they sang amazingly well together––with that ethereal, other-worldly blend that seems reserved only for talented siblings with genetically-linked vocal cords. And they were connected in even more profound ways.\r\n<blockquote>David McCain comments: “They did have an uncanny telepathy with each other. It wasn’t only just their musical skill and ability. It was this telepathy they had…which even went beyond just being sisters. It was really being in tune with each other. It’s certainly evident on the records when you hear it.”</blockquote>\r\nThree personas forged into a single musical tour-de-force. They sang with an inspired, surgical precision never heard before, nor equaled since. Together they charted a new course in music where no road map existed.\r\n\r\n[caption id=\"attachment_982\" align=\"alignnone\" width=\"394\"]<img class=\" wp-image-982\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/bozwell_sisters_stacked.jpg\" alt=\"\" width=\"394\" height=\"508\" /> Connie (bottom) – Martha (middle) – Vet (top)[/caption]\r\n<h2>BETWEEN THE DEVIL AND THE DEEP BLUE SEA</h2>\r\n<blockquote>\"Connie Boswell is the most widely imitated singer of all time.\" -Frank Sinatra</blockquote>\r\nA surprising fact about the Boswell Sisters: Connie was confined to a wheelchair.\r\n\r\nAt the age of 3 either she was either severely injured when ejected from a careening homemade go-cart, had contracted polio, or both (each story was alternately told by Connie through the years). A further incident at age 22, involving a 15-foot fall from a window during a game of hide-and-seek, took away whatever remaining lower-body ability she had. The end result: she never walked again.\r\n\r\nFor their early gigs, Connie was carried “packsaddle” style by her sisters; Martha and Vet interlocked their forearms while Connie sat in the middle. They learned to rely on each other in profound ways: physically, musically, emotionally and spiritually. This intimacy was reflected in the music they created.\r\n<blockquote>Vet’s daughter, Chica Boswell Minnerly, observed: “They went everywhere together, socially. They did things together. Played their music together. And they thought alike. When you have that kind of closeness and you translate it into a musical form, it’s hard to explain what happens…with a trio. A trio begins to have its own identity. And that identity is very different from any of the sisters. So it becomes truly a trio.”</blockquote>\r\nIn the 1920s jazz was often referred to in derogatory terms, especially by religious groups (in the 1950s these same charges would be leveled at rock and roll).\r\n<blockquote>Chica continues: “Jazz, in some circles, was considered ‘the Devil’s music.’ But it was hard to call it ‘the Devil’s music’ when you had these three pretty little girls…one of whom couldn’t walk…and they’re singing this music. So it presented a contradiction. It’s interesting, because people had to make their minds up about it.”</blockquote>\r\n<img class=\"alignnone wp-image-2732\" src=\"https://paulchiten.com/wp-content/uploads/2016/02/postcard.jpeg\" alt=\"\" width=\"388\" height=\"298\" />\r\n<h2>ROLL ON, MISSISSPPI, ROLL ON</h2>\r\nBy 1929 the Boswell Sisters were New Orleans favorites. But if they wanted a higher level of success, they needed to play venues further from home.\r\n\r\nSo the young ladies hit the road, performing in an unglamorous sector of the Vaudeville circuit. Their show featured playing instruments––Martha on piano, Connie on sax, Vet on banjo (and some tap dancing), doing popular songs of the day. Oh…and a little singing was pitched in.\r\n\r\nAt their first out-of-town gig, in a small, dingy theatre in Chicago, the trio was suddenly stricken at show time with a serious case of stage fright. They were so nervous that they left their instruments backstage––all they could manage to do was sing to Martha’s piano accompaniment. When they finished, the stage manager, noticing their discarded instruments backstage, asked: <em>“Don’t you girls do anything but sing?”</em>\r\n\r\nAh, but fate was tampering with those slot machine tumblers––it was through their singing that they would create a musical sensation.\r\n\r\n[caption id=\"attachment_976\" align=\"alignnone\" width=\"283\"]<img class=\" wp-image-976\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Boswell-profiles.jpg\" alt=\"Vet, Martha, Connie\" width=\"283\" height=\"359\" /> Vet, Martha, Connie[/caption]\r\n\r\nTheir tour ended up in Los Angeles, where the radio work was. One day Connie showed up for a live broadcast with a bad cold. She suggested the songs be transposed down “an octave or two,” and sing soft and close into the microphone. This close-mike technique is one of the first examples of using the newly developed electronic microphone for maximum effect. This gave the trio an important component of their signature sound.\r\n\r\nWhile doing radio shows in California, a letter came into the station with a scathing review. It was Martha who opened it. The listener wrote: “Get rid of those awful Boswell Sisters––they’re always changing the melody, and whenever they come on the radio, me and my friends turn them off.”\r\n\r\nIt closed with a bristling coda: <em>“We call them the savage chanters.”</em>\r\n\r\nMartha was so upset at this harsh critique that she broke down in tears. She was about to rip up the letter when Connie snatched it from her hand. Connie said it was proof that the trio was indeed doing something different, and that they should keep on doing it.\r\n\r\nWith the experience gleaned from touring and consistent radio work, it was time to move to New York, where the jazz scene was in full swing. It was 1930 and the Boswell Sisters were getting ready to take on the world.\r\n<h3></h3>\r\n<img class=\"alignnone wp-image-2733\" src=\"https://paulchiten.com/wp-content/uploads/2016/02/the-boswell-sisters.jpg\" alt=\"\" width=\"390\" height=\"489\" />\r\n\r\nMartha (bottom) – Connie (middle) – Vet (top)\r\n<h2></h2>\r\n<h2>THE MUSIC GOES ROUND &amp; ROUND</h2>\r\nThe Boswell Sisters came along at the right time. Vaudeville was giving way to that new invention––radio––which grew rapidly from a curiosity to a widely accepted form of entertainment.\r\n\r\nRecorded music was also going through a seismic transformation. Early recording technology used a crude horn to channel the sound. By 1925 the electronic microphone finally made it possible to capture nuances never heard in a recording before.\r\n\r\nThe Bozzies made their first few recordings (into those horns) in 1925. By the time they got to their main body of work, starting in 1931, the electronic microphone was firmly established as the new standard.\r\n\r\nLike today’s Internet, with the popularity of Facebook, YouTube, Twitter, Instagram––the sisters embraced the technologies of their day: radio, records and films. These burgeoning media marvels allowed them to reach a far wider audience than was ever possible through live shows alone.\r\n\r\nAnd the New York scene is where the sisters would find the success they worked so hard for.\r\n\r\nRecords in the 1930s meant a live studio performance. There was no tape, overdubbing, or editing. Each take was recorded in mono onto a wax disc––worlds away from modern digital recording. There was no concept of “fix it in the mix.” The performance had to be good or the “waxie” was tossed. The Bozzies went through a lot of “waxies” before they were satisfied with a record.\r\n\r\nIn the studio, they were fortunate to work with some great musicians of the day, many of whom later became well known: Glenn Miller (trombone and arranger), Tommy Dorsey (trombone), Jimmy Dorsey (alto sax), Benny Goodman (clarinet), Artie Shaw (clarinet), Bunny Berigan (trumpet), Manny Klein (trumpet), Joe Tarto (bass/tuba), Eddie Lang (guitar), Dick McDonough (guitar), Carl Kress (guitar), Joe Venuti (violin), Victor Young (violin) and Stan King (drums). They also worked with the orchestras of Jimmy Grier, Victor Young and Paul Whiteman.\r\n\r\nMany of these celebrated musicians were members of AFM Local 47 (Hollywood): Benny Goodman, Tommy and Jimmy Dorsey, Artie Shaw, Bunny Berigan, Joe Venuti, Manny Klein, Joe Tarto and Victor Young.\r\n\r\n[caption id=\"attachment_989\" align=\"alignnone\" width=\"600\"]<img class=\"size-medium wp-image-989\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Musicians-BW-600x400.jpg\" alt=\"\" width=\"600\" height=\"400\" /> Hamming it up with The Ramblers band during the first European tour.[/caption]\r\n\r\nSo how could three white middle-class southern gals come to sound like a sassy trio of soulful jazz singers? Most people who heard them. without seeing them, assumed they were black. Their influences included gospel, jazz, blues and “race” records. Connie was a fan of early blues vocalists Bessie Smith, and especially Mamie Smith––whom she patterned her style after. Her other two major influences were a disparate pair: hot-jazzer Louis Armstrong and operatic tenor Enrico Caruso.\r\n\r\nThe Bozzies’ vocal sound is a curious combination. Martha and Connie were contraltos, while Vet was a mezzo-soprano with an exceptional range. The typical vocal registers were thrown out the window, because they had the uncanny ability to shift parts at will, creating ever-morphing three-dimensional sonic shapes.\r\n\r\nMartha called this “blending.” Connie referred to it as “passing harmony.” Whatever you call it, it meant that the melody could continually move between the three voices. The shuffling of parts, the rapid tempo changes, the modulations and continual reharmonization––indeed rising to the level of recomposition––make that unmistakable Boswell Sound. Nobody had done music this way before. Or since.\r\n\r\nIn a 1965 interview, Connie reflected on the trio’s sound. She said when people heard them for the first time, they couldn’t believe they were sisters, because “no family could have 3 sisters who could sing like this.” At the same time, they HAD to be sisters, because “no 3 voices could possibly blend this well without being from the same family.”\r\n\r\n[caption id=\"attachment_975\" align=\"alignnone\" width=\"600\"]<img class=\"size-medium wp-image-975\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/At-piano-600x376.png\" alt=\"\" width=\"600\" height=\"376\" /> Vet, Martha, Connie[/caption]\r\n\r\nTheir father, A.C., a former Vaudevillian and Barbershop singer, taught them a language he called “gibberish.” It’s a zany, word-morphing, pig-Latinish kind of thing––and the girls loved it. This “gibberish” shows up in a number of their recordings. A variation on “gibberish” is heard on the second section of “Everybody Loves My Baby,” which features nonsense sounds sung at an insanely fast tempo, performed with perfect diction in astonishingly precise 3-part harmony––a typical Bozzie Dazzle Moment.\r\n<h4><span style=\"text-decoration: underline;\">Everybody Loves My Baby</span></h4>\r\n[audio mp3=\"https://paulchiten.com/wp-content/uploads/2015/09/Everybody-Loves-My-Baby.mp3\"][/audio]\r\n\r\n&nbsp;\r\n\r\nEvery time I hear this track, a jolt of electricity shoots up my spine. The vocal histrionics are as energetically wild as they are highly disciplined. Connie even “gulls” (a technique of extreme glottal stops) in the middle of everything. Hey, if this doesn’t get you to sit up and take notice, you’re in a musical coma.\r\n\r\nThe sisters created all their own arrangements, working collectively, each sparking off the other. But just how did they come up with these wildly inventive sound canvasses?\r\n\r\nConnie provided some insight in a 1932 interview: “The method we use is rather quaint, and I know will amuse you when you hear about it––we learn our songs backwards! ...That is to say, we start at the end of the chorus and work back to the beginning. None of our arrangements are written out. Once we learn a song we never forget the arrangement.”\r\n\r\nOnstage, Martha played piano accompaniment (and on most of their recordings). Connie sat next to her on the piano bench and Vet stood behind, resting one hand on each sister’s shoulder, choreographing the trios’ movements.\r\n\r\n[caption id=\"attachment_985\" align=\"alignnone\" width=\"572\"]<img class=\" wp-image-985\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Crazy-People-Martha-smile.png\" alt=\"Connie, Vet, Martha\" width=\"572\" height=\"429\" /> Connie, Vet, Martha[/caption]\r\n<h4><span style=\"text-decoration: underline;\">Shout, Sister, Shout!</span></h4>\r\n[audio mp3=\"https://paulchiten.com/wp-content/uploads/2015/09/Shout-Sister-Shout.mp3\"][/audio]\r\n\r\n&nbsp;\r\n\r\nA Boswell Sisters’ theme song; truly a pocket symphony.\r\n\r\nIn a span of 3 minutes, it’s quite a ride through snappy jazz textures, dark gospel, fast scatting, all culminating in bayou-infused swampy soul.\r\n\r\nThe fact that these beautiful and talented young women become so successful in a world dominated by men––at a time when women had only fairly recently been given the right to vote––is testimony of their sense of empowerment as females. They went on the road with no chaperones, managed their own business, and charted their own destinies.\r\n\r\nThe Bozzies were also in control, and responsible for, their musical creations. Rare for recording artists at that time. Their unique musicality, uncanny skill, playful hearts and wistfully “witchy” soulfulness kept them leagues ahead of any competition.\r\n\r\n<img class=\"alignnone size-full wp-image-2742\" src=\"https://paulchiten.com/wp-content/uploads/2019/10/Screen-Shot-2019-10-18-at-10.26.11-PM.png\" alt=\"\" width=\"494\" height=\"498\" />\r\n\r\nTwo new phrases entered the musical language of their time: “Boswell Sound” and “Boswell Rhythm.”\r\n\r\n“Boswell Sound” referred to their ability to conjure up unusual and infinitely appealing vocal harmonies, coupled with an astounding vocal blend and wildly creative arrangements with unexpected changes, and amazing vocal gymnastics.\r\n\r\n“Boswell Rhythm” was their jazzy, syncopated phrasing and astonishingly precise tempo changes, all executed with an extraordinary sense of musical swing.\r\n\r\nRhythmically, they could push the pulse so it sat on the leading edge of the beat––almost rushing, but not quite. This aggressive hanging over the leading edge of the beat was also called “New Orleans drive.” Many musicians from that scene played on top of the beat, but nobody sang quite like this. And 3 people doing it in perfect synchronicity? Only the Bozzies could do it this incredibly.\r\n<h4><span style=\"text-decoration: underline;\">Heebie Jeebies</span></h4>\r\n[audio mp3=\"https://paulchiten.com/wp-content/uploads/2015/09/Heebie-Jeebies.mp3\"][/audio]\r\n\r\n&nbsp;\r\n\r\nTheir good-luck song. The spirit is as intoxicating as the smell of down-home southern gumbo.\r\n\r\nA classic Boswell madcap slap-dash romp through many tempo and textural changes, the first-ever 3-part harmony scatting–– delivering a salvo of infectious musical energy that inevitably leaves the listener smiling…and breathless.\r\n\r\n<img class=\"alignnone size-medium wp-image-983\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Brunswick-publicity-PS2-600x385.jpg\" alt=\"\" width=\"600\" height=\"385\" />\r\n<h2>IT DON’T MEAN A THING,  IF IT AIN’T GOT THAT SWING</h2>\r\nWhen the Bozzies recorded their first side for Brunswick Records, “When I Take My Sugar To Tea,” (their first charted hit), the veteran studio musicians expected a typical session with your average young vocal group. They got anything but. The sisters possessed a musicianship equal to their own. The music was challenging, the girls were accomplished, charming and fun, and the players were given latitude to improvise solos in their own style.\r\n\r\nWhen they finished the first successful run-through of the song, all the musicians spontaneously got up––and gave the sisters a standing ovation. This kind of thing simply did not happen. This was a moment vital to the trio’s sense of self- confidence.\r\n\r\nThe Boswell Sisters were definitely on their way.\r\n\r\n[caption id=\"attachment_978\" align=\"alignnone\" width=\"867\"]<img class=\" wp-image-978\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Boswells-at-piano.jpeg\" alt=\"Connie, Vet, Martha\" width=\"867\" height=\"715\" /> Connie, Vet, Martha[/caption]\r\n<h2>WE’RE ON THE HIGHWAY TO HEAVEN</h2>\r\nFrom 1931 to 1936 the Boswell Sisters rode the wave of their greatest popularity. They racked up 20 hits on the US charts, and a #1 in 1935 with “The Object Of My Affection.”\r\n\r\nThey sold 75 million records at a time when many Americans didn’t even have enough money to buy fresh bread. This was the Great Depression. Americans found the sisters’ music so uplifting, so transportive, that it helped momentarily lift the nation out of its collective miseries. Their music reminded people of the joy of being alive at a time when all that seemed to lay ahead for the country was more gloom.\r\n<blockquote><em><img class=\" wp-image-2729 aligncenter\" src=\"https://paulchiten.com/wp-content/uploads/2016/02/Charicature-color-479x600.jpg\" alt=\"\" width=\"372\" height=\"466\" /></em>\r\n\r\n<em>\"You know, they never cartoon folks unless they are known world wide.\"</em> -A. C. Boswell,  father (in a letter to his daughters)</blockquote>\r\nFor some reason, history has generally underestimated the impact, revolutionary sound and popularity that the Boswell Sisters had. If any musical act has the right to use the word “magic,” it certainly is the Bozzies. Music publishers rarely gave permission for artists to alter songs. Of course, the Boswell Sisters were the exception. Their changes invariably added to the compositional intrigue of the song (the fact that they also sold a lot of records didn’t hurt).\r\n\r\n<img class=\"alignnone wp-image-973\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/when-i-grow-too-old-boswells-uk.jpg\" alt=\"when-i-grow-too-old-boswells-uk\" width=\"324\" height=\"446\" />\r\n<h2>MY FUTURE JUST PASSED</h2>\r\nBy 1936 it all ended.\r\n\r\nThe trio broke up.\r\n\r\nAfter over 20 years of making music together––and 5 years at the top––the country’s most popular musical group was no more.\r\n\r\n<strong>Why did they break up at the height of their success?</strong>\r\n\r\nThe reason given at the time was that Martha and Vet wanted to get married and raise families, while Connie desired a solo career. While this is true, there were deeper dynamics in play.\r\n\r\nPerhaps for Connie to have a full-on solo career, she needed to break away from the trio. Harry Leedy––Connie’s husband, and manager for both Connie and the trio––could have contributed in sowing the seeds of dissention by promoting Connie over the group, nudging the trio into the shadows.\r\n\r\nPerhaps because the trio had run its course. Intense creativity often embodies the seeds of its own destruction within it.\r\n\r\n<strong>Why were they largely forgotten?</strong>\r\n\r\nMaybe because their music was so new and revolutionary, it defied classification.\r\n\r\nThe music business has a difficult time packaging unique acts. Particularly after they’ve disbanded.\r\n\r\nMaybe because their moment in the spotlight was brief––1931 to 1936––and life moved them on in different directions.\r\n\r\nMaybe because they were popular during the Great Depression, a time that was so painful that Americans wanted to forget this distressing part of their history.\r\n\r\nAfter the breakup, Martha and Vet did retire from the biz, settled down to married life and raised families. Connie continued on with a successful solo career. In 1942, she changed the spelling of her name to “Connee.” From 1936 to 1954, she had 29 songs on the US charts, including two #1 hits which were duets with Bing Crosby.\r\n\r\nBut our slot machine hit a once-in-a-google jackpot.\r\n\r\nThe Bozzies will never be duplicated.\r\n\r\nWhat endures is <strong>the amazing musical legacy the Boswell Sisters left to the universe.</strong>\r\n\r\n<img class=\"alignnone wp-image-980\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Boswell-Sisters-logo-cropped.jpg\" alt=\"Boswell-Sisters-logo-cropped\" width=\"385\" height=\"562\" />\r\n<h2>PUT THAT SUN BACK IN THE SKY</h2>\r\nAfter being largely forgotten for over 70 years, there is a resurgence of interest in the Boswell Sisters. The Internet has certainly helped create a new audience. YouTube and Vimeo have provided access to dozens of their songs and some film clips and compilation CDs are readily available.\r\n\r\nTribute groups and Bozzie-influenced bands are growing from all over the globe: the Pfister Sisters, the Puppini Sisters, Boswellmania, the Stolen Sweets, the DeGeleonardo Sisters, the Ditties, the Boswell Project, the Hazelnuts, O Sister! and more. A burgeoning Boswell Sisters Revival is taking place.\r\n\r\nThe Boswells created their music in the first part of the 20th century, but this isn’t nostalgia. Those 78rpm records may have the audio imprint of another era, but the music itself is still fresh, innovative, and as vibrant as when it was first birthed. The Boswell Sisters deserve wider recognition for their considerable contributions to popular music as well as their important place in American music history.\r\n\r\nThanks to Vet’s granddaughter, Kyla Titus, we now know more of the Boswell Sisters’ story. She wrote a wonderful book, “The Boswell Legacy,” published in 2014. My appreciation of their music deepened the more I learned of their backstory. This book is the best, most authentic source for getting the scoop on the fascinating Boswell saga, from a true insider.\r\n\r\nIf your appetite for the Boswell Sisters has now been aroused, check out the links below.\r\n\r\n<strong>Warning…</strong>\r\n\r\nAs I mentioned at the top of this article, listening to Boswell Sisters’ music will put you at risk of “getting Bozzed.”\r\n\r\nYou can get hooked, finding yourself listening to their songs over and over and over again.\r\n<h5 style=\"text-align: center;\">Constant exposure can result in a state of long-lasting euphoria.</h5>\r\n&nbsp;\r\n\r\n<img class=\"alignnone size-full wp-image-981\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Boswell-Sisters-poster.jpg\" alt=\"Boswell-Sisters-poster\" width=\"355\" height=\"468\" />\r\n\r\n<strong>ACKNOWLEDGEMENTS:</strong>\r\n\r\nSource material was compiled from “The Boswell Legacy” by Kyla Titus, Chica Boswell Minnerly, Boswell authority David McCain, Vet Boswell Family Collection LLC, TheBoswellSisters.com, Bozzies.org, “Time For The Boswells” by Dennis Yancey, “Three Perfect Minutes” blog by Bryan Mangum, and “The Boswell Sisters: Close Harmony” documentary by Joshua Tree Productions.\r\n\r\n<strong>LINKS:</strong>\r\n<ul>\r\n 	<li><span style=\"color: #0000ff;\"><a style=\"color: #0000ff;\" href=\"https://www.facebook.com/TheBoswellSisters\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook</a></span></li>\r\n</ul>\r\n<span style=\"text-decoration: underline;\"><strong>Websites:</strong></span>\r\n<ul>\r\n 	<li><a href=\"http://www.theboswelllegacy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Boswell Legacy.com</a></li>\r\n 	<li><a href=\"http://www.bozzies.org\" target=\"_blank\" rel=\"noopener noreferrer\">bozzies.org</a></li>\r\n</ul>\r\n<strong><span style=\"text-decoration: underline;\">The Boswell Legacy book:<img class=\"size-full wp-image-2727 aligncenter\" src=\"https://paulchiten.com/wp-content/uploads/2016/02/Boswell-Legacy-book.jpg\" alt=\"\" width=\"227\" height=\"300\" /></span></strong>\r\n\r\n&nbsp;\r\n<ul>\r\n 	<li><a href=\"https://www.amazon.com/The-Boswell-Legacy-Sisters-Orleans/product-reviews/1502350912/ref=cm_cr_dp_see_all_btm?ie=UTF8&amp;showViewpoints=1&amp;sortBy=recent\" target=\"_blank\" rel=\"noopener noreferrer\">“The Boswell Legacy” by Kyla Titus</a></li>\r\n</ul>\r\n<strong><span style=\"text-decoration: underline;\">Internet Music Archive:</span></strong>\r\n<ul>\r\n 	<li><a href=\"https://archive.org/search.php?query=boswell%20sisters\" target=\"_blank\" rel=\"noopener noreferrer\">archive.org Boswell Sisters</a></li>\r\n</ul>\r\n<strong><a href=\"mailto:pchiten424@gmail.com\" target=\"_blank\" rel=\"noopener noreferrer\">Contact</a> <a style=\"line-height: 1.5;\" href=\"mailto:nakedpreymusic@gmail.com\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Chiten</a></strong>\r\n\r\n<img class=\"alignnone  wp-image-2731\" src=\"https://paulchiten.com/wp-content/uploads/2016/02/Paul-Chiten-600x600.jpg\" alt=\"\" width=\"230\" height=\"230\" />\r\n\r\n<strong>Paul Chiten</strong> is a Los Angeles-based songwriter, composer, producer, musician, singer and artist. His songs have earned him multi-platinum and gold records. His compositions and productions have won Telly, Aurora and Emmy Awards.\r\n\r\nHe has worked with Michael Jackson, Anita Baker, Tina Turner, Donna Summer, Cyndi Lauper and countless others.\r\n\r\nPaul was Music Director/Orchestrator/Arranger/Performer for the 2015 EMC World event in Las Vegas. He\'s currently working on making a large part of his music library accessible for downloading and streaming worldwide.  Many of his albums are now available on iTunes, Amazon, Apple Music, Google Play, Deezer, Tidal and Spotify.\r\n\r\n<a href=\"http://sweethartproductions.com/PaulChiten.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Chiten - Sweetheart Productions website</a>\r\n\r\n<a href=\"https://paulchiten.com/featured-artist-paul-chiten/\" target=\"_blank\" rel=\"noopener noreferrer\">bio</a>\r\n\r\n<img class=\"alignnone size-full wp-image-2737\" src=\"https://paulchiten.com/wp-content/uploads/2019/10/Screen-Shot-2019-10-18-at-10.11.08-PM.png\" alt=\"\" width=\"193\" height=\"191\" /><a href=\"https://paulchiten.com/wp-content/uploads/2015/09/Ive-Been-Bozzed-cropped.png\"><img class=\"alignnone wp-image-1054\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Ive-Been-Bozzed-cropped-300x300.png\" alt=\"I\'ve Been Bozzed-cropped\" width=\"144\" height=\"144\" /></a>[/vc_column_text][/vc_column][/vc_row]', 'The Greatest Trio You Never Heard Of - The Boswell Sisters', 'The Boswell Sisters are one of the most awe-inspiring and important groups to have ever made music.', 'inherit', 'closed', 'closed', '', '1080-revision-v1', '', '', '2020-02-26 14:17:37', '2020-02-26 22:17:37', '', 1080, 'https://paulchiten.com/1080-revision-v1/', 0, 'revision', '', 0);
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(2754, 6, '2020-02-26 14:24:26', '2020-02-26 22:24:26', '[vc_row][vc_column][vc_column_text]Last week I asked 14 friends if they had heard of the Boswell Sisters.\r\n\r\n13 said no.\r\n\r\nOne said, “Oh yeah. They’re amazing!\"\r\n\r\nThat friend was a jazz singer.\r\n\r\nIf you like Pentatonix, GQ, Take 6, The Manhattan Transfer, the Andrews Sisters or Lambert, Hendricks &amp; Ross––thank the Boswell Sisters. They invented the jazz vocal ensemble.\r\n<blockquote>\"Without the Boswell Sisters there would be no Andrews Sisters.\" -Patty Andrews</blockquote>\r\nIf you like Diana Krall, Bobby McFerrin, Wynonna Judd, Billie Holiday or Ella Fitzgerald––thank the Boswells again. They developed the modern approach to jazz and pop singing.\r\n<blockquote>\"Who influenced me? There was only one singer who influenced me. I tried to sing like her all the time, because everything she did made sense musically… and that singer was Connie Boswell.\" -Ella Fitzgerald</blockquote>\r\nThe Boswell Sisters are one of the most awe-inspiring and important groups to have ever made music.\r\n\r\n[caption id=\"attachment_986\" align=\"alignnone\" width=\"600\"]<img class=\"size-medium wp-image-986\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Crazy-still-1-PS2-2-600x443.jpg\" alt=\"\" width=\"600\" height=\"443\" /> Connie, Vet, Martha[/caption]\r\n\r\nIn a 3-minute song, a Boswell Sisters’ arrangement can seamlessly traverse through multiple key changes, several 90-degree tempo shifts, complete reharmonization of various sections, scatting, gulling, lyrics sung in “gibberish,” and all mesmerizingly executed with jaw-dropping style and a wondrous sense of swing.\r\n\r\nAfter many years as a music professional, I cannot believe I was unaware of this stunning vocal trio until January 2015, when I stumbled upon them by accident while surfing the Net. I watched the live 2-minute film clip of  “Crazy People”–– and that was all it took. I was hooked. Or, as Boswell Sisters aficionados say, I was “Bozzed.”\r\n\r\nThis was a new musical world. A wild take on jazz with no words to adequately describe it. I launched a YouTube quest for as much Boswell Sisters music as I could find. Fortunately, many of their tracks are posted on YouTube and CD reissues are readily available on Amazon.\r\n\r\nBefore you read any further…check out the “Crazy People” video.\r\n\r\nFor those who have not taken the trip to Planet Boz––you are in for one doozie of a ride.\r\n\r\n<span style=\"text-decoration: underline;\"><strong>The Boswell Sisters – “Crazy People”</strong></span>\r\n\r\nhttps://www.youtube.com/watch?v=R-O5U4uuPF8\r\n\r\n<strong>The Boswell Sisters were the most popular music group in America from 1931 to 1936.</strong>\r\n\r\nThen suddenly, in 1936, it was all over.\r\n\r\nThey quickly faded from the scene––and the public’s memory.\r\n\r\nSo…who were they?\r\n\r\nAnd why was this incredible trio largely forgotten?\r\n<h2><img class=\"alignnone size-full wp-image-979\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/boswell-sisters-early-1a-Cropped.jpg\" alt=\"\" width=\"497\" height=\"563\" /></h2>\r\n<h2></h2>\r\n<h2>SHUFFLE OFF TO NEW ORLEANS</h2>\r\nFate can be like a slot machine. The tumblers must align themselves in just the right way to trigger a jackpot. The Boswell Sisters’ story is like that. There’s everything that makes a compelling tale: tragedy, victory, loss, pain, luck, secrets, betrayal, talent, and a deep love forged by strong family bonds. The sisters had an incredible ability to turn adversity into triumph, making the most of every opportunity. Their saga is as compelling as their music.\r\n\r\nThe “Bozzies” (as they are affectionately called) were three bright, über-cute, funny, playful, and extraordinarily talented sisters: Martha (1905-1958), Connie (1907-1976) and Helvetia (1911-1988, known as Vet).\r\n\r\nWhile the girls were very young, the Boswell family settled in New Orleans. With its eclectic blend of cultures and the sound of blues, jazz and gospel all around them, these three brilliant young women––encouraged by musical parents and a strong-willed mother––created a sound so fresh, so unique, that it caused a musical sensation, changing the face (and ears) of popular music.\r\n\r\n[caption id=\"attachment_987\" align=\"alignnone\" width=\"507\"]<img class=\"size-medium wp-image-987\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/early-boswells-pix-book-507x600.png\" alt=\"\" width=\"507\" height=\"600\" /> The Early Boswells<br />CONNIE–cello         MARTHA–piano         VET–violin[/caption]\r\n<h2>THAT’S HOW RHYTHM WAS BORN</h2>\r\n<blockquote>\"Their music hit me right between the eyes, and what hit me was their originality. There was just no one like them.\" -David McCain, Boswell authority</blockquote>\r\nThe young Boswells were trained to be classical instrumentalists. The very essence of music coursed through their veins; Martha was going to be concert pianist, Connie, a cellist, and Vet, a violinist. Yet something else began tugging at their heels.\r\n\r\nIn a 1925 interview with the Shreveport Times, Martha said: “We studied classical music. . .and were being prepared for the stage and a concert tour throughout the United States, but the saxophone got us.”\r\n\r\nConnie traded her cello for a tenor sax, Vet took up the banjo and Martha’s classical piano arpeggios morphed into hot jazz rhythms and ragtime licks.\r\n\r\nThough untrained as vocalists, they sang amazingly well together––with that ethereal, other-worldly blend that seems reserved only for talented siblings with genetically-linked vocal cords. And they were connected in even more profound ways.\r\n<blockquote>David McCain comments: “They did have an uncanny telepathy with each other. It wasn’t only just their musical skill and ability. It was this telepathy they had…which even went beyond just being sisters. It was really being in tune with each other. It’s certainly evident on the records when you hear it.”</blockquote>\r\nThree personas forged into a single musical tour-de-force. They sang with an inspired, surgical precision never heard before, nor equaled since. Together they charted a new course in music where no road map existed.\r\n\r\n[caption id=\"attachment_982\" align=\"alignnone\" width=\"394\"]<img class=\" wp-image-982\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/bozwell_sisters_stacked.jpg\" alt=\"\" width=\"394\" height=\"508\" /> Connie (bottom) – Martha (middle) – Vet (top)[/caption]\r\n<h2>BETWEEN THE DEVIL AND THE DEEP BLUE SEA</h2>\r\n<blockquote>\"Connie Boswell is the most widely imitated singer of all time.\" -Frank Sinatra</blockquote>\r\nA surprising fact about the Boswell Sisters: Connie was confined to a wheelchair.\r\n\r\nAt the age of 3 either she was either severely injured when ejected from a careening homemade go-cart, had contracted polio, or both (each story was alternately told by Connie through the years). A further incident at age 22, involving a 15-foot fall from a window during a game of hide-and-seek, took away whatever remaining lower-body ability she had. The end result: she never walked again.\r\n\r\nFor their early gigs, Connie was carried “packsaddle” style by her sisters; Martha and Vet interlocked their forearms while Connie sat in the middle. They learned to rely on each other in profound ways: physically, musically, emotionally and spiritually. This intimacy was reflected in the music they created.\r\n<blockquote>Vet’s daughter, Chica Boswell Minnerly, observed: “They went everywhere together, socially. They did things together. Played their music together. And they thought alike. When you have that kind of closeness and you translate it into a musical form, it’s hard to explain what happens…with a trio. A trio begins to have its own identity. And that identity is very different from any of the sisters. So it becomes truly a trio.”</blockquote>\r\nIn the 1920s jazz was often referred to in derogatory terms, especially by religious groups (in the 1950s these same charges would be leveled at rock and roll).\r\n<blockquote>Chica continues: “Jazz, in some circles, was considered ‘the Devil’s music.’ But it was hard to call it ‘the Devil’s music’ when you had these three pretty little girls…one of whom couldn’t walk…and they’re singing this music. So it presented a contradiction. It’s interesting, because people had to make their minds up about it.”</blockquote>\r\n<img class=\"alignnone wp-image-2732\" src=\"https://paulchiten.com/wp-content/uploads/2016/02/postcard.jpeg\" alt=\"\" width=\"388\" height=\"298\" />\r\n<h2>ROLL ON, MISSISSPPI, ROLL ON</h2>\r\nBy 1929 the Boswell Sisters were New Orleans favorites. But if they wanted a higher level of success, they needed to play venues further from home.\r\n\r\nSo the young ladies hit the road, performing in an unglamorous sector of the Vaudeville circuit. Their show featured playing instruments––Martha on piano, Connie on sax, Vet on banjo (and some tap dancing), doing popular songs of the day. Oh…and a little singing was pitched in.\r\n\r\nAt their first out-of-town gig, in a small, dingy theatre in Chicago, the trio was suddenly stricken at show time with a serious case of stage fright. They were so nervous that they left their instruments backstage––all they could manage to do was sing to Martha’s piano accompaniment. When they finished, the stage manager, noticing their discarded instruments backstage, asked: <em>“Don’t you girls do anything but sing?”</em>\r\n\r\nAh, but fate was tampering with those slot machine tumblers––it was through their singing that they would create a musical sensation.\r\n\r\n[caption id=\"attachment_976\" align=\"alignnone\" width=\"283\"]<img class=\" wp-image-976\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Boswell-profiles.jpg\" alt=\"Vet, Martha, Connie\" width=\"283\" height=\"359\" /> Vet, Martha, Connie[/caption]\r\n\r\nTheir tour ended up in Los Angeles, where the radio work was. One day Connie showed up for a live broadcast with a bad cold. She suggested the songs be transposed down “an octave or two,” and sing soft and close into the microphone. This close-mike technique is one of the first examples of using the newly developed electronic microphone for maximum effect. This gave the trio an important component of their signature sound.\r\n\r\nWhile doing radio shows in California, a letter came into the station with a scathing review. It was Martha who opened it. The listener wrote: “Get rid of those awful Boswell Sisters––they’re always changing the melody, and whenever they come on the radio, me and my friends turn them off.”\r\n\r\nIt closed with a bristling coda: <em>“We call them the savage chanters.”</em>\r\n\r\nMartha was so upset at this harsh critique that she broke down in tears. She was about to rip up the letter when Connie snatched it from her hand. Connie said it was proof that the trio was indeed doing something different, and that they should keep on doing it.\r\n\r\nWith the experience gleaned from touring and consistent radio work, it was time to move to New York, where the jazz scene was in full swing. It was 1930 and the Boswell Sisters were getting ready to take on the world.\r\n<h3></h3>\r\n<img class=\"alignnone wp-image-2733\" src=\"https://paulchiten.com/wp-content/uploads/2016/02/the-boswell-sisters.jpg\" alt=\"\" width=\"390\" height=\"489\" />\r\n\r\nMartha (bottom) – Connie (middle) – Vet (top)\r\n<h2></h2>\r\n<h2>THE MUSIC GOES ROUND &amp; ROUND</h2>\r\nThe Boswell Sisters came along at the right time. Vaudeville was giving way to that new invention––radio––which grew rapidly from a curiosity to a widely accepted form of entertainment.\r\n\r\nRecorded music was also going through a seismic transformation. Early recording technology used a crude horn to channel the sound. By 1925 the electronic microphone finally made it possible to capture nuances never heard in a recording before.\r\n\r\nThe Bozzies made their first few recordings (into those horns) in 1925. By the time they got to their main body of work, starting in 1931, the electronic microphone was firmly established as the new standard.\r\n\r\nLike today’s Internet, with the popularity of Facebook, YouTube, Twitter, Instagram––the sisters embraced the technologies of their day: radio, records and films. These burgeoning media marvels allowed them to reach a far wider audience than was ever possible through live shows alone.\r\n\r\nAnd the New York scene is where the sisters would find the success they worked so hard for.\r\n\r\nRecords in the 1930s meant a live studio performance. There was no tape, overdubbing, or editing. Each take was recorded in mono onto a wax disc––worlds away from modern digital recording. There was no concept of “fix it in the mix.” The performance had to be good or the “waxie” was tossed. The Bozzies went through a lot of “waxies” before they were satisfied with a record.\r\n\r\nIn the studio, they were fortunate to work with some great musicians of the day, many of whom later became well known: Glenn Miller (trombone and arranger), Tommy Dorsey (trombone), Jimmy Dorsey (alto sax), Benny Goodman (clarinet), Artie Shaw (clarinet), Bunny Berigan (trumpet), Manny Klein (trumpet), Joe Tarto (bass/tuba), Eddie Lang (guitar), Dick McDonough (guitar), Carl Kress (guitar), Joe Venuti (violin), Victor Young (violin) and Stan King (drums). They also worked with the orchestras of Jimmy Grier, Victor Young and Paul Whiteman.\r\n\r\nMany of these celebrated musicians were members of AFM Local 47 (Hollywood): Benny Goodman, Tommy and Jimmy Dorsey, Artie Shaw, Bunny Berigan, Joe Venuti, Manny Klein, Joe Tarto and Victor Young.\r\n\r\n[caption id=\"attachment_989\" align=\"alignnone\" width=\"600\"]<img class=\"size-medium wp-image-989\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Musicians-BW-600x400.jpg\" alt=\"\" width=\"600\" height=\"400\" /> Hamming it up with The Ramblers band during the first European tour.[/caption]\r\n\r\nSo how could three white middle-class southern gals come to sound like a sassy trio of soulful jazz singers? Most people who heard them. without seeing them, assumed they were black. Their influences included gospel, jazz, blues and “race” records. Connie was a fan of early blues vocalists Bessie Smith, and especially Mamie Smith––whom she patterned her style after. Her other two major influences were a disparate pair: hot-jazzer Louis Armstrong and operatic tenor Enrico Caruso.\r\n\r\nThe Bozzies’ vocal sound is a curious combination. Martha and Connie were contraltos, while Vet was a mezzo-soprano with an exceptional range. The typical vocal registers were thrown out the window, because they had the uncanny ability to shift parts at will, creating ever-morphing three-dimensional sonic shapes.\r\n\r\nMartha called this “blending.” Connie referred to it as “passing harmony.” Whatever you call it, it meant that the melody could continually move between the three voices. The shuffling of parts, the rapid tempo changes, the modulations and continual reharmonization––indeed rising to the level of recomposition––make that unmistakable Boswell Sound. Nobody had done music this way before. Or since.\r\n\r\nIn a 1965 interview, Connie reflected on the trio’s sound. She said when people heard them for the first time, they couldn’t believe they were sisters, because “no family could have 3 sisters who could sing like this.” At the same time, they HAD to be sisters, because “no 3 voices could possibly blend this well without being from the same family.”\r\n\r\n[caption id=\"attachment_975\" align=\"alignnone\" width=\"600\"]<img class=\"size-medium wp-image-975\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/At-piano-600x376.png\" alt=\"\" width=\"600\" height=\"376\" /> Vet, Martha, Connie[/caption]\r\n\r\nTheir father, A.C., a former Vaudevillian and Barbershop singer, taught them a language he called “gibberish.” It’s a zany, word-morphing, pig-Latinish kind of thing––and the girls loved it. This “gibberish” shows up in a number of their recordings. A variation on “gibberish” is heard on the second section of “Everybody Loves My Baby,” which features nonsense sounds sung at an insanely fast tempo, performed with perfect diction in astonishingly precise 3-part harmony––a typical Bozzie Dazzle Moment.\r\n<h4><span style=\"text-decoration: underline;\">Everybody Loves My Baby</span></h4>\r\n[audio mp3=\"https://paulchiten.com/wp-content/uploads/2015/09/Everybody-Loves-My-Baby.mp3\"][/audio]\r\n\r\n&nbsp;\r\n\r\nEvery time I hear this track, a jolt of electricity shoots up my spine. The vocal histrionics are as energetically wild as they are highly disciplined. Connie even “gulls” (a technique of extreme glottal stops) in the middle of everything. Hey, if this doesn’t get you to sit up and take notice, you’re in a musical coma.\r\n\r\nThe sisters created all their own arrangements, working collectively, each sparking off the other. But just how did they come up with these wildly inventive sound canvasses?\r\n\r\nConnie provided some insight in a 1932 interview: “The method we use is rather quaint, and I know will amuse you when you hear about it––we learn our songs backwards! ...That is to say, we start at the end of the chorus and work back to the beginning. None of our arrangements are written out. Once we learn a song we never forget the arrangement.”\r\n\r\nOnstage, Martha played piano accompaniment (and on most of their recordings). Connie sat next to her on the piano bench and Vet stood behind, resting one hand on each sister’s shoulder, choreographing the trios’ movements.\r\n\r\n[caption id=\"attachment_985\" align=\"alignnone\" width=\"572\"]<img class=\" wp-image-985\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Crazy-People-Martha-smile.png\" alt=\"Connie, Vet, Martha\" width=\"572\" height=\"429\" /> Connie, Vet, Martha[/caption]\r\n<h4><span style=\"text-decoration: underline;\">Shout, Sister, Shout!</span></h4>\r\n[audio mp3=\"https://paulchiten.com/wp-content/uploads/2015/09/Shout-Sister-Shout.mp3\"][/audio]\r\n\r\n&nbsp;\r\n\r\nA Boswell Sisters’ theme song; truly a pocket symphony.\r\n\r\nIn a span of 3 minutes, it’s quite a ride through snappy jazz textures, dark gospel, fast scatting, all culminating in bayou-infused swampy soul.\r\n\r\nThe fact that these beautiful and talented young women become so successful in a world dominated by men––at a time when women had only fairly recently been given the right to vote––is testimony of their sense of empowerment as females. They went on the road with no chaperones, managed their own business, and charted their own destinies.\r\n\r\nThe Bozzies were also in control, and responsible for, their musical creations. Rare for recording artists at that time. Their unique musicality, uncanny skill, playful hearts and wistfully “witchy” soulfulness kept them leagues ahead of any competition.\r\n\r\n<img class=\"alignnone size-full wp-image-2742\" src=\"https://paulchiten.com/wp-content/uploads/2019/10/Screen-Shot-2019-10-18-at-10.26.11-PM.png\" alt=\"\" width=\"494\" height=\"498\" />\r\n\r\nTwo new phrases entered the musical language of their time: “Boswell Sound” and “Boswell Rhythm.”\r\n\r\n“Boswell Sound” referred to their ability to conjure up unusual and infinitely appealing vocal harmonies, coupled with an astounding vocal blend and wildly creative arrangements with unexpected changes, and amazing vocal gymnastics.\r\n\r\n“Boswell Rhythm” was their jazzy, syncopated phrasing and astonishingly precise tempo changes, all executed with an extraordinary sense of musical swing.\r\n\r\nRhythmically, they could push the pulse so it sat on the leading edge of the beat––almost rushing, but not quite. This aggressive hanging over the leading edge of the beat was also called “New Orleans drive.” Many musicians from that scene played on top of the beat, but nobody sang quite like this. And 3 people doing it in perfect synchronicity? Only the Bozzies could do it this incredibly.\r\n<h4><span style=\"text-decoration: underline;\">Heebie Jeebies</span></h4>\r\n[audio mp3=\"https://paulchiten.com/wp-content/uploads/2015/09/Heebie-Jeebies.mp3\"][/audio]\r\n\r\n&nbsp;\r\n\r\nTheir good-luck song. The spirit is as intoxicating as the smell of down-home southern gumbo.\r\n\r\nA classic Boswell madcap slap-dash romp through many tempo and textural changes, the first-ever 3-part harmony scatting–– delivering a salvo of infectious musical energy that inevitably leaves the listener smiling…and breathless.\r\n\r\n<img class=\"alignnone size-medium wp-image-983\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Brunswick-publicity-PS2-600x385.jpg\" alt=\"\" width=\"600\" height=\"385\" />\r\n<h2>IT DON’T MEAN A THING,  IF IT AIN’T GOT THAT SWING</h2>\r\nWhen the Bozzies recorded their first side for Brunswick Records, “When I Take My Sugar To Tea,” (their first charted hit), the veteran studio musicians expected a typical session with your average young vocal group. They got anything but. The sisters possessed a musicianship equal to their own. The music was challenging, the girls were accomplished, charming and fun, and the players were given latitude to improvise solos in their own style.\r\n\r\nWhen they finished the first successful run-through of the song, all the musicians spontaneously got up––and gave the sisters a standing ovation. This kind of thing simply did not happen. This was a moment vital to the trio’s sense of self- confidence.\r\n\r\nThe Boswell Sisters were definitely on their way.\r\n\r\n[caption id=\"attachment_978\" align=\"alignnone\" width=\"867\"]<img class=\" wp-image-978\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Boswells-at-piano.jpeg\" alt=\"Connie, Vet, Martha\" width=\"867\" height=\"715\" /> Connie, Vet, Martha[/caption]\r\n<h2>WE’RE ON THE HIGHWAY TO HEAVEN</h2>\r\nFrom 1931 to 1936 the Boswell Sisters rode the wave of their greatest popularity. They racked up 20 hits on the US charts, and a #1 in 1935 with “The Object Of My Affection.”\r\n\r\nThey sold 75 million records at a time when many Americans didn’t even have enough money to buy fresh bread. This was the Great Depression. Americans found the sisters’ music so uplifting, so transportive, that it helped momentarily lift the nation out of its collective miseries. Their music reminded people of the joy of being alive at a time when all that seemed to lay ahead for the country was more gloom.\r\n<blockquote><em><img class=\" wp-image-2729 aligncenter\" src=\"https://paulchiten.com/wp-content/uploads/2016/02/Charicature-color-479x600.jpg\" alt=\"\" width=\"372\" height=\"466\" /></em>\r\n\r\n<em>\"You know, they never cartoon folks unless they are known world wide.\"</em> -A. C. Boswell,  father (in a letter to his daughters)</blockquote>\r\nFor some reason, history has generally underestimated the impact, revolutionary sound and popularity that the Boswell Sisters had. If any musical act has the right to use the word “magic,” it certainly is the Bozzies. Music publishers rarely gave permission for artists to alter songs. Of course, the Boswell Sisters were the exception. Their changes invariably added to the compositional intrigue of the song (the fact that they also sold a lot of records didn’t hurt).\r\n\r\n<img class=\"alignnone wp-image-973\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/when-i-grow-too-old-boswells-uk.jpg\" alt=\"when-i-grow-too-old-boswells-uk\" width=\"324\" height=\"446\" />\r\n<h2>MY FUTURE JUST PASSED</h2>\r\nBy 1936 it all ended.\r\n\r\nThe trio broke up.\r\n\r\nAfter over 20 years of making music together––and 5 years at the top––the country’s most popular musical group was no more.\r\n\r\n<strong>Why did they break up at the height of their success?</strong>\r\n\r\nThe reason given at the time was that Martha and Vet wanted to get married and raise families, while Connie desired a solo career. While this is true, there were deeper dynamics in play.\r\n\r\nPerhaps for Connie to have a full-on solo career, she needed to break away from the trio. Harry Leedy––Connie’s husband, and manager for both Connie and the trio––could have contributed in sowing the seeds of dissention by promoting Connie over the group, nudging the trio into the shadows.\r\n\r\nPerhaps because the trio had run its course. Intense creativity often embodies the seeds of its own destruction within it.\r\n\r\n<strong>Why were they largely forgotten?</strong>\r\n\r\nMaybe because their music was so new and revolutionary, it defied classification.\r\n\r\nThe music business has a difficult time packaging unique acts. Particularly after they’ve disbanded.\r\n\r\nMaybe because their moment in the spotlight was brief––1931 to 1936––and life moved them on in different directions.\r\n\r\nMaybe because they were popular during the Great Depression, a time that was so painful that Americans wanted to forget this distressing part of their history.\r\n\r\nAfter the breakup, Martha and Vet did retire from the biz, settled down to married life and raised families. Connie continued on with a successful solo career. In 1942, she changed the spelling of her name to “Connee.” From 1936 to 1954, she had 29 songs on the US charts, including two #1 hits which were duets with Bing Crosby.\r\n\r\nBut our slot machine hit a once-in-a-google jackpot.\r\n\r\nThe Bozzies will never be duplicated.\r\n\r\nWhat endures is <strong>the amazing musical legacy the Boswell Sisters left to the universe.</strong>\r\n\r\n<img class=\"alignnone wp-image-980\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Boswell-Sisters-logo-cropped.jpg\" alt=\"Boswell-Sisters-logo-cropped\" width=\"385\" height=\"562\" />\r\n<h2>PUT THAT SUN BACK IN THE SKY</h2>\r\nAfter being largely forgotten for over 70 years, there is a resurgence of interest in the Boswell Sisters. The Internet has certainly helped create a new audience. YouTube and Vimeo have provided access to dozens of their songs and some film clips and compilation CDs are readily available.\r\n\r\nTribute groups and Bozzie-influenced bands are growing from all over the globe: the Pfister Sisters, the Puppini Sisters, Boswellmania, the Stolen Sweets, the DeGeleonardo Sisters, the Ditties, the Boswell Project, the Hazelnuts, O Sister! and more. A burgeoning Boswell Sisters Revival is taking place.\r\n\r\nThe Boswells created their music in the first part of the 20th century, but this isn’t nostalgia. Those 78rpm records may have the audio imprint of another era, but the music itself is still fresh, innovative, and as vibrant as when it was first birthed. The Boswell Sisters deserve wider recognition for their considerable contributions to popular music as well as their important place in American music history.\r\n\r\nThanks to Vet’s granddaughter, Kyla Titus, we now know more of the Boswell Sisters’ story. She wrote a wonderful book, “The Boswell Legacy,” published in 2014. My appreciation of their music deepened the more I learned of their backstory. This book is the best, most authentic source for getting the scoop on the fascinating Boswell saga, from a true insider.\r\n\r\nIf your appetite for the Boswell Sisters has now been aroused, check out the links below.\r\n\r\n<strong>Warning…</strong>\r\n\r\nAs I mentioned at the top of this article, listening to Boswell Sisters’ music will put you at risk of “getting Bozzed.”\r\n\r\nYou can get hooked, finding yourself listening to their songs over and over and over again.\r\n<h5 style=\"text-align: center;\">Constant exposure can result in a state of long-lasting euphoria.</h5>\r\n&nbsp;\r\n\r\n<img class=\"alignnone size-full wp-image-981\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Boswell-Sisters-poster.jpg\" alt=\"Boswell-Sisters-poster\" width=\"355\" height=\"468\" />\r\n\r\n<strong>ACKNOWLEDGEMENTS:</strong>\r\n\r\nSource material was compiled from “The Boswell Legacy” by Kyla Titus, Chica Boswell Minnerly, Boswell authority David McCain, Vet Boswell Family Collection LLC, TheBoswellSisters.com, Bozzies.org, “Time For The Boswells” by Dennis Yancey, “Three Perfect Minutes” blog by Bryan Mangum, and “The Boswell Sisters: Close Harmony” documentary by Joshua Tree Productions.\r\n\r\n<strong>LINKS:</strong>\r\n<ul>\r\n 	<li><span style=\"color: #0000ff;\"><a style=\"color: #0000ff;\" href=\"https://www.facebook.com/TheBoswellSisters\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook</a></span></li>\r\n</ul>\r\n<span style=\"text-decoration: underline;\"><strong>Websites:</strong></span>\r\n<ul>\r\n 	<li><a href=\"http://www.theboswelllegacy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Boswell Legacy.com</a></li>\r\n 	<li><a href=\"http://www.bozzies.org\" target=\"_blank\" rel=\"noopener noreferrer\">bozzies.org</a></li>\r\n</ul>\r\n<strong><span style=\"text-decoration: underline;\">The Boswell Legacy book:<img class=\"size-full wp-image-2727 aligncenter\" src=\"https://paulchiten.com/wp-content/uploads/2016/02/Boswell-Legacy-book.jpg\" alt=\"\" width=\"227\" height=\"300\" /></span></strong>\r\n\r\n&nbsp;\r\n<ul>\r\n 	<li><a href=\"https://www.amazon.com/The-Boswell-Legacy-Sisters-Orleans/product-reviews/1502350912/ref=cm_cr_dp_see_all_btm?ie=UTF8&amp;showViewpoints=1&amp;sortBy=recent\" target=\"_blank\" rel=\"noopener noreferrer\">“The Boswell Legacy” by Kyla Titus</a></li>\r\n</ul>\r\n<strong><span style=\"text-decoration: underline;\">Internet Music Archive:</span></strong>\r\n<ul>\r\n 	<li><a href=\"https://archive.org/search.php?query=boswell%20sisters\" target=\"_blank\" rel=\"noopener noreferrer\">archive.org Boswell Sisters</a></li>\r\n</ul>\r\n<strong><a href=\"mailto:pchiten424@gmail.com\" target=\"_blank\" rel=\"noopener noreferrer\">Contact</a> <a style=\"line-height: 1.5;\" href=\"mailto:nakedpreymusic@gmail.com\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Chiten</a></strong>\r\n\r\n<strong><img class=\"alignnone  wp-image-2731\" src=\"https://paulchiten.com/wp-content/uploads/2016/02/Paul-Chiten-600x600.jpg\" alt=\"\" width=\"302\" height=\"302\" />Paul Chiten</strong> is a Los Angeles-based songwriter, composer, producer, musician, singer and artist. His songs have earned him multi-platinum and gold records. His compositions and productions have won Telly, Aurora and Emmy Awards.\r\n\r\nHe has worked with Michael Jackson, Anita Baker, Tina Turner, Donna Summer, Cyndi Lauper and countless others.\r\n\r\nPaul was Music Director/Orchestrator/Arranger/Performer for the 2015 EMC World event in Las Vegas. He\'s currently working on making a large part of his music library accessible for downloading and streaming worldwide.  Many of his albums are now available on iTunes, Amazon, Apple Music, Google Play, Deezer, Tidal and Spotify.\r\n\r\n<a href=\"http://sweethartproductions.com/PaulChiten.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Chiten - Sweetheart Productions website</a>\r\n\r\n<a href=\"https://paulchiten.com/featured-artist-paul-chiten/\" target=\"_blank\" rel=\"noopener noreferrer\">bio</a>\r\n\r\n<img class=\"alignnone size-full wp-image-2737\" src=\"https://paulchiten.com/wp-content/uploads/2019/10/Screen-Shot-2019-10-18-at-10.11.08-PM.png\" alt=\"\" width=\"193\" height=\"191\" /><a href=\"https://paulchiten.com/wp-content/uploads/2015/09/Ive-Been-Bozzed-cropped.png\"><img class=\"alignnone wp-image-1054\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Ive-Been-Bozzed-cropped-300x300.png\" alt=\"I\'ve Been Bozzed-cropped\" width=\"144\" height=\"144\" /></a>[/vc_column_text][/vc_column][/vc_row]', 'The Greatest Trio You Never Heard Of - The Boswell Sisters', 'The Boswell Sisters are one of the most awe-inspiring and important groups to have ever made music.', 'inherit', 'closed', 'closed', '', '1080-revision-v1', '', '', '2020-02-26 14:24:26', '2020-02-26 22:24:26', '', 1080, 'https://paulchiten.com/1080-revision-v1/', 0, 'revision', '', 0);
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(2755, 6, '2020-02-26 14:37:10', '2020-02-26 22:37:10', '[vc_row][vc_column][vc_column_text]Last week I asked 14 friends if they had heard of the Boswell Sisters.\r\n\r\n13 said no.\r\n\r\nOne said, “Oh yeah. They’re amazing!\"\r\n\r\nThat friend was a jazz singer.\r\n\r\nIf you like Pentatonix, GQ, Take 6, The Manhattan Transfer, the Andrews Sisters or Lambert, Hendricks &amp; Ross––thank the Boswell Sisters. They invented the jazz vocal ensemble.\r\n<blockquote>\"Without the Boswell Sisters there would be no Andrews Sisters.\" -Patty Andrews</blockquote>\r\nIf you like Diana Krall, Bobby McFerrin, Wynonna Judd, Billie Holiday or Ella Fitzgerald––thank the Boswells again. They developed the modern approach to jazz and pop singing.\r\n<blockquote>\"Who influenced me? There was only one singer who influenced me. I tried to sing like her all the time, because everything she did made sense musically… and that singer was Connie Boswell.\" -Ella Fitzgerald</blockquote>\r\nThe Boswell Sisters are one of the most awe-inspiring and important groups to have ever made music.\r\n\r\n[caption id=\"attachment_986\" align=\"alignnone\" width=\"600\"]<img class=\"size-medium wp-image-986\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Crazy-still-1-PS2-2-600x443.jpg\" alt=\"\" width=\"600\" height=\"443\" /> Connie, Vet, Martha[/caption]\r\n\r\nIn a 3-minute song, a Boswell Sisters’ arrangement can seamlessly traverse through multiple key changes, several 90-degree tempo shifts, complete reharmonization of various sections, scatting, gulling, lyrics sung in “gibberish,” and all mesmerizingly executed with jaw-dropping style and a wondrous sense of swing.\r\n\r\nAfter many years as a music professional, I cannot believe I was unaware of this stunning vocal trio until January 2015, when I stumbled upon them by accident while surfing the Net. I watched the live 2-minute film clip of  “Crazy People”–– and that was all it took. I was hooked. Or, as Boswell Sisters aficionados say, I was “Bozzed.”\r\n\r\nThis was a new musical world. A wild take on jazz with no words to adequately describe it. I launched a YouTube quest for as much Boswell Sisters music as I could find. Fortunately, many of their tracks are posted on YouTube and CD reissues are readily available on Amazon.\r\n\r\nBefore you read any further…check out the “Crazy People” video.\r\n\r\nFor those who have not taken the trip to Planet Boz––you are in for one doozie of a ride.\r\n\r\n<span style=\"text-decoration: underline;\"><strong>The Boswell Sisters – “Crazy People”</strong></span>\r\n\r\nhttps://www.youtube.com/watch?v=R-O5U4uuPF8\r\n\r\n<strong>The Boswell Sisters were the most popular music group in America from 1931 to 1936.</strong>\r\n\r\nThen suddenly, in 1936, it was all over.\r\n\r\nThey quickly faded from the scene––and the public’s memory.\r\n\r\nSo…who were they?\r\n\r\nAnd why was this incredible trio largely forgotten?\r\n<h2><img class=\"alignnone size-full wp-image-979\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/boswell-sisters-early-1a-Cropped.jpg\" alt=\"\" width=\"497\" height=\"563\" /></h2>\r\n<h2></h2>\r\n<h2>SHUFFLE OFF TO NEW ORLEANS</h2>\r\nFate can be like a slot machine. The tumblers must align themselves in just the right way to trigger a jackpot. The Boswell Sisters’ story is like that. There’s everything that makes a compelling tale: tragedy, victory, loss, pain, luck, secrets, betrayal, talent, and a deep love forged by strong family bonds. The sisters had an incredible ability to turn adversity into triumph, making the most of every opportunity. Their saga is as compelling as their music.\r\n\r\nThe “Bozzies” (as they are affectionately called) were three bright, über-cute, funny, playful, and extraordinarily talented sisters: Martha (1905-1958), Connie (1907-1976) and Helvetia (1911-1988, known as Vet).\r\n\r\nWhile the girls were very young, the Boswell family settled in New Orleans. With its eclectic blend of cultures and the sound of blues, jazz and gospel all around them, these three brilliant young women––encouraged by musical parents and a strong-willed mother––created a sound so fresh, so unique, that it caused a musical sensation, changing the face (and ears) of popular music.\r\n\r\n[caption id=\"attachment_987\" align=\"alignnone\" width=\"507\"]<img class=\"size-medium wp-image-987\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/early-boswells-pix-book-507x600.png\" alt=\"\" width=\"507\" height=\"600\" /> The Early Boswells<br />CONNIE–cello         MARTHA–piano         VET–violin[/caption]\r\n<h2>THAT’S HOW RHYTHM WAS BORN</h2>\r\n<blockquote>\"Their music hit me right between the eyes, and what hit me was their originality. There was just no one like them.\" -David McCain, Boswell authority</blockquote>\r\nThe young Boswells were trained to be classical instrumentalists. The very essence of music coursed through their veins; Martha was going to be concert pianist, Connie, a cellist, and Vet, a violinist. Yet something else began tugging at their heels.\r\n\r\nIn a 1925 interview with the Shreveport Times, Martha said: “We studied classical music. . .and were being prepared for the stage and a concert tour throughout the United States, but the saxophone got us.”\r\n\r\nConnie traded her cello for a tenor sax, Vet took up the banjo and Martha’s classical piano arpeggios morphed into hot jazz rhythms and ragtime licks.\r\n\r\nThough untrained as vocalists, they sang amazingly well together––with that ethereal, other-worldly blend that seems reserved only for talented siblings with genetically-linked vocal cords. And they were connected in even more profound ways.\r\n<blockquote>David McCain comments: “They did have an uncanny telepathy with each other. It wasn’t only just their musical skill and ability. It was this telepathy they had…which even went beyond just being sisters. It was really being in tune with each other. It’s certainly evident on the records when you hear it.”</blockquote>\r\nThree personas forged into a single musical tour-de-force. They sang with an inspired, surgical precision never heard before, nor equaled since. Together they charted a new course in music where no road map existed.\r\n\r\n[caption id=\"attachment_982\" align=\"alignnone\" width=\"394\"]<img class=\" wp-image-982\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/bozwell_sisters_stacked.jpg\" alt=\"\" width=\"394\" height=\"508\" /> Connie (bottom) – Martha (middle) – Vet (top)[/caption]\r\n<h2>BETWEEN THE DEVIL AND THE DEEP BLUE SEA</h2>\r\n<blockquote>\"Connie Boswell is the most widely imitated singer of all time.\" -Frank Sinatra</blockquote>\r\nA surprising fact about the Boswell Sisters: Connie was confined to a wheelchair.\r\n\r\nAt the age of 3 either she was either severely injured when ejected from a careening homemade go-cart, had contracted polio, or both (each story was alternately told by Connie through the years). A further incident at age 22, involving a 15-foot fall from a window during a game of hide-and-seek, took away whatever remaining lower-body ability she had. The end result: she never walked again.\r\n\r\nFor their early gigs, Connie was carried “packsaddle” style by her sisters; Martha and Vet interlocked their forearms while Connie sat in the middle. They learned to rely on each other in profound ways: physically, musically, emotionally and spiritually. This intimacy was reflected in the music they created.\r\n<blockquote>Vet’s daughter, Chica Boswell Minnerly, observed: “They went everywhere together, socially. They did things together. Played their music together. And they thought alike. When you have that kind of closeness and you translate it into a musical form, it’s hard to explain what happens…with a trio. A trio begins to have its own identity. And that identity is very different from any of the sisters. So it becomes truly a trio.”</blockquote>\r\nIn the 1920s jazz was often referred to in derogatory terms, especially by religious groups (in the 1950s these same charges would be leveled at rock and roll).\r\n<blockquote>Chica continues: “Jazz, in some circles, was considered ‘the Devil’s music.’ But it was hard to call it ‘the Devil’s music’ when you had these three pretty little girls…one of whom couldn’t walk…and they’re singing this music. So it presented a contradiction. It’s interesting, because people had to make their minds up about it.”</blockquote>\r\n<img class=\"alignnone wp-image-2732\" src=\"https://paulchiten.com/wp-content/uploads/2016/02/postcard.jpeg\" alt=\"\" width=\"388\" height=\"298\" />\r\n<h2>ROLL ON, MISSISSPPI, ROLL ON</h2>\r\nBy 1929 the Boswell Sisters were New Orleans favorites. But if they wanted a higher level of success, they needed to play venues further from home.\r\n\r\nSo the young ladies hit the road, performing in an unglamorous sector of the Vaudeville circuit. Their show featured playing instruments––Martha on piano, Connie on sax, Vet on banjo (and some tap dancing), doing popular songs of the day. Oh…and a little singing was pitched in.\r\n\r\nAt their first out-of-town gig, in a small, dingy theatre in Chicago, the trio was suddenly stricken at show time with a serious case of stage fright. They were so nervous that they left their instruments backstage––all they could manage to do was sing to Martha’s piano accompaniment. When they finished, the stage manager, noticing their discarded instruments backstage, asked: <em>“Don’t you girls do anything but sing?”</em>\r\n\r\nAh, but fate was tampering with those slot machine tumblers––it was through their singing that they would create a musical sensation.\r\n\r\n[caption id=\"attachment_976\" align=\"alignnone\" width=\"339\"]<img class=\" wp-image-976\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Boswell-profiles-473x600.jpg\" alt=\"\" width=\"339\" height=\"430\" /> Vet, Martha, Connie[/caption]\r\n\r\nTheir tour ended up in Los Angeles, where the radio work was. One day Connie showed up for a live broadcast with a bad cold. She suggested the songs be transposed down “an octave or two,” and sing soft and close into the microphone. This close-mike technique is one of the first examples of using the newly developed electronic microphone for maximum effect. This gave the trio an important component of their signature sound.\r\n\r\nWhile doing radio shows in California, a letter came into the station with a scathing review. It was Martha who opened it. The listener wrote: “Get rid of those awful Boswell Sisters––they’re always changing the melody, and whenever they come on the radio, me and my friends turn them off.”\r\n\r\nIt closed with a bristling coda: <em>“We call them the savage chanters.”</em>\r\n\r\nMartha was so upset at this harsh critique that she broke down in tears. She was about to rip up the letter when Connie snatched it from her hand. Connie said it was proof that the trio was indeed doing something different, and that they should keep on doing it.\r\n\r\nWith the experience gleaned from touring and consistent radio work, it was time to move to New York, where the jazz scene was in full swing. It was 1930 and the Boswell Sisters were getting ready to take on the world.\r\n<h3></h3>\r\n<img class=\"alignnone wp-image-2733\" src=\"https://paulchiten.com/wp-content/uploads/2016/02/the-boswell-sisters.jpg\" alt=\"\" width=\"422\" height=\"529\" />\r\n\r\nMartha (bottom) – Connie (middle) – Vet (top)\r\n<h2></h2>\r\n<h2>THE MUSIC GOES ROUND &amp; ROUND</h2>\r\nThe Boswell Sisters came along at the right time. Vaudeville was giving way to that new invention––radio––which grew rapidly from a curiosity to a widely accepted form of entertainment.\r\n\r\nRecorded music was also going through a seismic transformation. Early recording technology used a crude horn to channel the sound. By 1925 the electronic microphone finally made it possible to capture nuances never heard in a recording before.\r\n\r\nThe Bozzies made their first few recordings (into those horns) in 1925. By the time they got to their main body of work, starting in 1931, the electronic microphone was firmly established as the new standard.\r\n\r\nLike today’s Internet, with the popularity of Facebook, YouTube, Twitter, Instagram––the sisters embraced the technologies of their day: radio, records and films. These burgeoning media marvels allowed them to reach a far wider audience than was ever possible through live shows alone.\r\n\r\nAnd the New York scene is where the sisters would find the success they worked so hard for.\r\n\r\nRecords in the 1930s meant a live studio performance. There was no tape, overdubbing, or editing. Each take was recorded in mono onto a wax disc––worlds away from modern digital recording. There was no concept of “fix it in the mix.” The performance had to be good or the “waxie” was tossed. The Bozzies went through a lot of “waxies” before they were satisfied with a record.\r\n\r\nIn the studio, they were fortunate to work with some great musicians of the day, many of whom later became well known: Glenn Miller (trombone and arranger), Tommy Dorsey (trombone), Jimmy Dorsey (alto sax), Benny Goodman (clarinet), Artie Shaw (clarinet), Bunny Berigan (trumpet), Manny Klein (trumpet), Joe Tarto (bass/tuba), Eddie Lang (guitar), Dick McDonough (guitar), Carl Kress (guitar), Joe Venuti (violin), Victor Young (violin) and Stan King (drums). They also worked with the orchestras of Jimmy Grier, Victor Young and Paul Whiteman.\r\n\r\nMany of these celebrated musicians were members of AFM Local 47 (Hollywood): Benny Goodman, Tommy and Jimmy Dorsey, Artie Shaw, Bunny Berigan, Joe Venuti, Manny Klein, Joe Tarto and Victor Young.\r\n\r\n[caption id=\"attachment_989\" align=\"alignnone\" width=\"600\"]<img class=\"size-medium wp-image-989\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Musicians-BW-600x400.jpg\" alt=\"\" width=\"600\" height=\"400\" /> Hamming it up with The Ramblers band during the first European tour.[/caption]\r\n\r\nSo how could three white middle-class southern gals come to sound like a sassy trio of soulful jazz singers? Most people who heard them. without seeing them, assumed they were black. Their influences included gospel, jazz, blues and “race” records. Connie was a fan of early blues vocalists Bessie Smith, and especially Mamie Smith––whom she patterned her style after. Her other two major influences were a disparate pair: hot-jazzer Louis Armstrong and operatic tenor Enrico Caruso.\r\n\r\nThe Bozzies’ vocal sound is a curious combination. Martha and Connie were contraltos, while Vet was a mezzo-soprano with an exceptional range. The typical vocal registers were thrown out the window, because they had the uncanny ability to shift parts at will, creating ever-morphing three-dimensional sonic shapes.\r\n\r\nMartha called this “blending.” Connie referred to it as “passing harmony.” Whatever you call it, it meant that the melody could continually move between the three voices. The shuffling of parts, the rapid tempo changes, the modulations and continual reharmonization––indeed rising to the level of recomposition––make that unmistakable Boswell Sound. Nobody had done music this way before. Or since.\r\n\r\nIn a 1965 interview, Connie reflected on the trio’s sound. She said when people heard them for the first time, they couldn’t believe they were sisters, because “no family could have 3 sisters who could sing like this.” At the same time, they HAD to be sisters, because “no 3 voices could possibly blend this well without being from the same family.”\r\n\r\n[caption id=\"attachment_975\" align=\"alignnone\" width=\"600\"]<img class=\"size-medium wp-image-975\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/At-piano-600x376.png\" alt=\"\" width=\"600\" height=\"376\" /> Vet, Martha, Connie[/caption]\r\n\r\nTheir father, A.C., a former Vaudevillian and Barbershop singer, taught them a language he called “gibberish.” It’s a zany, word-morphing, pig-Latinish kind of thing––and the girls loved it. This “gibberish” shows up in a number of their recordings. A variation on “gibberish” is heard on the second section of “Everybody Loves My Baby,” which features nonsense sounds sung at an insanely fast tempo, performed with perfect diction in astonishingly precise 3-part harmony––a typical Bozzie Dazzle Moment.\r\n<h4><span style=\"text-decoration: underline;\">Everybody Loves My Baby</span></h4>\r\n[audio mp3=\"https://paulchiten.com/wp-content/uploads/2015/09/Everybody-Loves-My-Baby.mp3\"][/audio]\r\n\r\n&nbsp;\r\n\r\nEvery time I hear this track, a jolt of electricity shoots up my spine. The vocal histrionics are as energetically wild as they are highly disciplined. Connie even “gulls” (a technique of extreme glottal stops) in the middle of everything. Hey, if this doesn’t get you to sit up and take notice, you’re in a musical coma.\r\n\r\nThe sisters created all their own arrangements, working collectively, each sparking off the other. But just how did they come up with these wildly inventive sound canvasses?\r\n\r\nConnie provided some insight in a 1932 interview: “The method we use is rather quaint, and I know will amuse you when you hear about it––we learn our songs backwards! ...That is to say, we start at the end of the chorus and work back to the beginning. None of our arrangements are written out. Once we learn a song we never forget the arrangement.”\r\n\r\nOnstage, Martha played piano accompaniment (and on most of their recordings). Connie sat next to her on the piano bench and Vet stood behind, resting one hand on each sister’s shoulder, choreographing the trios’ movements.\r\n\r\n[caption id=\"attachment_985\" align=\"alignnone\" width=\"572\"]<img class=\" wp-image-985\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Crazy-People-Martha-smile.png\" alt=\"Connie, Vet, Martha\" width=\"572\" height=\"429\" /> Connie, Vet, Martha[/caption]\r\n<h4><span style=\"text-decoration: underline;\">Shout, Sister, Shout!</span></h4>\r\n[audio mp3=\"https://paulchiten.com/wp-content/uploads/2015/09/Shout-Sister-Shout.mp3\"][/audio]\r\n\r\n&nbsp;\r\n\r\nA Boswell Sisters’ theme song; truly a pocket symphony.\r\n\r\nIn a span of 3 minutes, it’s quite a ride through snappy jazz textures, dark gospel, fast scatting, all culminating in bayou-infused swampy soul.\r\n\r\nThe fact that these beautiful and talented young women become so successful in a world dominated by men––at a time when women had only fairly recently been given the right to vote––is testimony of their sense of empowerment as females. They went on the road with no chaperones, managed their own business, and charted their own destinies.\r\n\r\nThe Bozzies were also in control, and responsible for, their musical creations. Rare for recording artists at that time. Their unique musicality, uncanny skill, playful hearts and wistfully “witchy” soulfulness kept them leagues ahead of any competition.\r\n\r\n<img class=\"alignnone size-full wp-image-2742\" src=\"https://paulchiten.com/wp-content/uploads/2019/10/Screen-Shot-2019-10-18-at-10.26.11-PM.png\" alt=\"\" width=\"494\" height=\"498\" />\r\n\r\nTwo new phrases entered the musical language of their time: “Boswell Sound” and “Boswell Rhythm.”\r\n\r\n“Boswell Sound” referred to their ability to conjure up unusual and infinitely appealing vocal harmonies, coupled with an astounding vocal blend and wildly creative arrangements with unexpected changes, and amazing vocal gymnastics.\r\n\r\n“Boswell Rhythm” was their jazzy, syncopated phrasing and astonishingly precise tempo changes, all executed with an extraordinary sense of musical swing.\r\n\r\nRhythmically, they could push the pulse so it sat on the leading edge of the beat––almost rushing, but not quite. This aggressive hanging over the leading edge of the beat was also called “New Orleans drive.” Many musicians from that scene played on top of the beat, but nobody sang quite like this. And 3 people doing it in perfect synchronicity? Only the Bozzies could do it this incredibly.\r\n<h4><span style=\"text-decoration: underline;\">Heebie Jeebies</span></h4>\r\n[audio mp3=\"https://paulchiten.com/wp-content/uploads/2015/09/Heebie-Jeebies.mp3\"][/audio]\r\n\r\n&nbsp;\r\n\r\nTheir good-luck song. The spirit is as intoxicating as the smell of down-home southern gumbo.\r\n\r\nA classic Boswell madcap slap-dash romp through many tempo and textural changes, the first-ever 3-part harmony scatting–– delivering a salvo of infectious musical energy that inevitably leaves the listener smiling…and breathless.\r\n\r\n<img class=\"alignnone size-medium wp-image-983\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Brunswick-publicity-PS2-600x385.jpg\" alt=\"\" width=\"600\" height=\"385\" />\r\n<h2>IT DON’T MEAN A THING,  IF IT AIN’T GOT THAT SWING</h2>\r\nWhen the Bozzies recorded their first side for Brunswick Records, “When I Take My Sugar To Tea,” (their first charted hit), the veteran studio musicians expected a typical session with your average young vocal group. They got anything but. The sisters possessed a musicianship equal to their own. The music was challenging, the girls were accomplished, charming and fun, and the players were given latitude to improvise solos in their own style.\r\n\r\nWhen they finished the first successful run-through of the song, all the musicians spontaneously got up––and gave the sisters a standing ovation. This kind of thing simply did not happen. This was a moment vital to the trio’s sense of self- confidence.\r\n\r\nThe Boswell Sisters were definitely on their way.\r\n\r\n[caption id=\"attachment_978\" align=\"alignnone\" width=\"867\"]<img class=\" wp-image-978\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Boswells-at-piano.jpeg\" alt=\"Connie, Vet, Martha\" width=\"867\" height=\"715\" /> Connie, Vet, Martha[/caption]\r\n<h2>WE’RE ON THE HIGHWAY TO HEAVEN</h2>\r\nFrom 1931 to 1936 the Boswell Sisters rode the wave of their greatest popularity. They racked up 20 hits on the US charts, and a #1 in 1935 with “The Object Of My Affection.”\r\n\r\nThey sold 75 million records at a time when many Americans didn’t even have enough money to buy fresh bread. This was the Great Depression. Americans found the sisters’ music so uplifting, so transportive, that it helped momentarily lift the nation out of its collective miseries. Their music reminded people of the joy of being alive at a time when all that seemed to lay ahead for the country was more gloom.\r\n<blockquote><em><img class=\" wp-image-2729 aligncenter\" src=\"https://paulchiten.com/wp-content/uploads/2016/02/Charicature-color-479x600.jpg\" alt=\"\" width=\"372\" height=\"466\" /></em>\r\n\r\n<em>\"You know, they never cartoon folks unless they are known world wide.\"</em> -A. C. Boswell,  father (in a letter to his daughters)</blockquote>\r\nFor some reason, history has generally underestimated the impact, revolutionary sound and popularity that the Boswell Sisters had. If any musical act has the right to use the word “magic,” it certainly is the Bozzies. Music publishers rarely gave permission for artists to alter songs. Of course, the Boswell Sisters were the exception. Their changes invariably added to the compositional intrigue of the song (the fact that they also sold a lot of records didn’t hurt).\r\n\r\n<img class=\"alignnone wp-image-973\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/when-i-grow-too-old-boswells-uk.jpg\" alt=\"when-i-grow-too-old-boswells-uk\" width=\"324\" height=\"446\" />\r\n<h2>MY FUTURE JUST PASSED</h2>\r\nBy 1936 it all ended.\r\n\r\nThe trio broke up.\r\n\r\nAfter over 20 years of making music together––and 5 years at the top––the country’s most popular musical group was no more.\r\n\r\n<strong>Why did they break up at the height of their success?</strong>\r\n\r\nThe reason given at the time was that Martha and Vet wanted to get married and raise families, while Connie desired a solo career. While this is true, there were deeper dynamics in play.\r\n\r\nPerhaps for Connie to have a full-on solo career, she needed to break away from the trio. Harry Leedy––Connie’s husband, and manager for both Connie and the trio––could have contributed in sowing the seeds of dissention by promoting Connie over the group, nudging the trio into the shadows.\r\n\r\nPerhaps because the trio had run its course. Intense creativity often embodies the seeds of its own destruction within it.\r\n\r\n<strong>Why were they largely forgotten?</strong>\r\n\r\nMaybe because their music was so new and revolutionary, it defied classification.\r\n\r\nThe music business has a difficult time packaging unique acts. Particularly after they’ve disbanded.\r\n\r\nMaybe because their moment in the spotlight was brief––1931 to 1936––and life moved them on in different directions.\r\n\r\nMaybe because they were popular during the Great Depression, a time that was so painful that Americans wanted to forget this distressing part of their history.\r\n\r\nAfter the breakup, Martha and Vet did retire from the biz, settled down to married life and raised families. Connie continued on with a successful solo career. In 1942, she changed the spelling of her name to “Connee.” From 1936 to 1954, she had 29 songs on the US charts, including two #1 hits which were duets with Bing Crosby.\r\n\r\nBut our slot machine hit a once-in-a-google jackpot.\r\n\r\nThe Bozzies will never be duplicated.\r\n\r\nWhat endures is <strong>the amazing musical legacy the Boswell Sisters left to the universe.</strong>\r\n\r\n<img class=\"alignnone wp-image-980\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Boswell-Sisters-logo-cropped.jpg\" alt=\"Boswell-Sisters-logo-cropped\" width=\"385\" height=\"562\" />\r\n<h2>PUT THAT SUN BACK IN THE SKY</h2>\r\nAfter being largely forgotten for over 70 years, there is a resurgence of interest in the Boswell Sisters. The Internet has certainly helped create a new audience. YouTube and Vimeo have provided access to dozens of their songs and some film clips and compilation CDs are readily available.\r\n\r\nTribute groups and Bozzie-influenced bands are growing from all over the globe: the Pfister Sisters, the Puppini Sisters, Boswellmania, the Stolen Sweets, the DeGeleonardo Sisters, the Ditties, the Boswell Project, the Hazelnuts, O Sister! and more. A burgeoning Boswell Sisters Revival is taking place.\r\n\r\nThe Boswells created their music in the first part of the 20th century, but this isn’t nostalgia. Those 78rpm records may have the audio imprint of another era, but the music itself is still fresh, innovative, and as vibrant as when it was first birthed. The Boswell Sisters deserve wider recognition for their considerable contributions to popular music as well as their important place in American music history.\r\n\r\nThanks to Vet’s granddaughter, Kyla Titus, we now know more of the Boswell Sisters’ story. She wrote a wonderful book, “The Boswell Legacy,” published in 2014. My appreciation of their music deepened the more I learned of their backstory. This book is the best, most authentic source for getting the scoop on the fascinating Boswell saga, from a true insider.\r\n\r\nIf your appetite for the Boswell Sisters has now been aroused, check out the links below.\r\n\r\n<strong>Warning…</strong>\r\n\r\nAs I mentioned at the top of this article, listening to Boswell Sisters’ music will put you at risk of “getting Bozzed.”\r\n\r\nYou can get hooked, finding yourself listening to their songs over and over and over again.\r\n<h5 style=\"text-align: center;\">Constant exposure can result in a state of long-lasting euphoria.</h5>\r\n&nbsp;\r\n\r\n<img class=\"alignnone size-full wp-image-981\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Boswell-Sisters-poster.jpg\" alt=\"Boswell-Sisters-poster\" width=\"355\" height=\"468\" />\r\n\r\n<strong>ACKNOWLEDGEMENTS:</strong>\r\n\r\nSource material was compiled from “The Boswell Legacy” by Kyla Titus, Chica Boswell Minnerly, Boswell authority David McCain, Vet Boswell Family Collection LLC, TheBoswellSisters.com, Bozzies.org, “Time For The Boswells” by Dennis Yancey, “Three Perfect Minutes” blog by Bryan Mangum, and “The Boswell Sisters: Close Harmony” documentary by Joshua Tree Productions.\r\n\r\n<strong>LINKS:</strong>\r\n<ul>\r\n 	<li><span style=\"color: #0000ff;\"><a style=\"color: #0000ff;\" href=\"https://www.facebook.com/TheBoswellSisters\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook</a></span></li>\r\n</ul>\r\n<span style=\"text-decoration: underline;\"><strong>Websites:</strong></span>\r\n<ul>\r\n 	<li><a href=\"http://www.theboswelllegacy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Boswell Legacy.com</a></li>\r\n 	<li><a href=\"http://www.bozzies.org\" target=\"_blank\" rel=\"noopener noreferrer\">bozzies.org</a></li>\r\n</ul>\r\n<strong><span style=\"text-decoration: underline;\">The Boswell Legacy book:<img class=\"size-full wp-image-2727 aligncenter\" src=\"https://paulchiten.com/wp-content/uploads/2016/02/Boswell-Legacy-book.jpg\" alt=\"\" width=\"227\" height=\"300\" /></span></strong>\r\n\r\n&nbsp;\r\n<ul>\r\n 	<li><a href=\"https://www.amazon.com/The-Boswell-Legacy-Sisters-Orleans/product-reviews/1502350912/ref=cm_cr_dp_see_all_btm?ie=UTF8&amp;showViewpoints=1&amp;sortBy=recent\" target=\"_blank\" rel=\"noopener noreferrer\">“The Boswell Legacy” by Kyla Titus</a></li>\r\n</ul>\r\n<strong><span style=\"text-decoration: underline;\">Internet Music Archive:</span></strong>\r\n<ul>\r\n 	<li><a href=\"https://archive.org/search.php?query=boswell%20sisters\" target=\"_blank\" rel=\"noopener noreferrer\">archive.org Boswell Sisters</a></li>\r\n</ul>\r\n<strong><a href=\"mailto:pchiten424@gmail.com\" target=\"_blank\" rel=\"noopener noreferrer\">Contact</a> <a style=\"line-height: 1.5;\" href=\"mailto:nakedpreymusic@gmail.com\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Chiten</a></strong>\r\n\r\n<strong><img class=\"alignnone wp-image-2731\" src=\"https://paulchiten.com/wp-content/uploads/2016/02/Paul-Chiten-600x600.jpg\" alt=\"\" width=\"302\" height=\"302\" />Paul Chiten</strong> is a Los Angeles-based songwriter, composer, producer, musician, singer and artist. His songs have earned him multi-platinum and gold records. His compositions and productions have won Telly, Aurora and Emmy Awards.\r\n\r\nHe has worked with Michael Jackson, Anita Baker, Tina Turner, Donna Summer, Cyndi Lauper and countless others.\r\n\r\nPaul was Music Director/Orchestrator/Arranger/Performer for the 2015 EMC World event in Las Vegas. He\'s currently working on making a large part of his music library accessible for downloading and streaming worldwide.  Many of his albums are now available on iTunes, Amazon, Apple Music, Google Play, Deezer, Tidal and Spotify.\r\n\r\n<a href=\"http://sweethartproductions.com/PaulChiten.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Chiten - Sweetheart Productions website</a>\r\n\r\n<a href=\"https://paulchiten.com/featured-artist-paul-chiten/\" target=\"_blank\" rel=\"noopener noreferrer\">bio</a>\r\n\r\n<img class=\"alignnone size-full wp-image-2737\" src=\"https://paulchiten.com/wp-content/uploads/2019/10/Screen-Shot-2019-10-18-at-10.11.08-PM.png\" alt=\"\" width=\"193\" height=\"191\" /><a href=\"https://paulchiten.com/wp-content/uploads/2015/09/Ive-Been-Bozzed-cropped.png\"><img class=\"alignnone wp-image-1054\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Ive-Been-Bozzed-cropped-300x300.png\" alt=\"I\'ve Been Bozzed-cropped\" width=\"144\" height=\"144\" /></a>[/vc_column_text][/vc_column][/vc_row]', 'The Greatest Trio You Never Heard Of - The Boswell Sisters', 'The Boswell Sisters are one of the most awe-inspiring and important groups to have ever made music.', 'inherit', 'closed', 'closed', '', '1080-revision-v1', '', '', '2020-02-26 14:37:10', '2020-02-26 22:37:10', '', 1080, 'https://paulchiten.com/1080-revision-v1/', 0, 'revision', '', 0);
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(2756, 6, '2020-02-26 14:40:53', '2020-02-26 22:40:53', '[vc_row][vc_column][vc_column_text]Last week I asked 14 friends if they had heard of the Boswell Sisters.\r\n\r\n13 said no.\r\n\r\nOne said, “Oh yeah. They’re amazing!\"\r\n\r\nThat friend was a jazz singer.\r\n\r\nIf you like Pentatonix, GQ, Take 6, The Manhattan Transfer, the Andrews Sisters or Lambert, Hendricks &amp; Ross––thank the Boswell Sisters. They invented the jazz vocal ensemble.\r\n<blockquote>\"Without the Boswell Sisters there would be no Andrews Sisters.\" -Patty Andrews</blockquote>\r\nIf you like Diana Krall, Bobby McFerrin, Wynonna Judd, Billie Holiday or Ella Fitzgerald––thank the Boswells again. They developed the modern approach to jazz and pop singing.\r\n<blockquote>\"Who influenced me? There was only one singer who influenced me. I tried to sing like her all the time, because everything she did made sense musically… and that singer was Connie Boswell.\" -Ella Fitzgerald</blockquote>\r\nThe Boswell Sisters are one of the most awe-inspiring and important groups to have ever made music.\r\n\r\n[caption id=\"attachment_986\" align=\"alignnone\" width=\"600\"]<img class=\"size-medium wp-image-986\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Crazy-still-1-PS2-2-600x443.jpg\" alt=\"\" width=\"600\" height=\"443\" /> Connie, Vet, Martha[/caption]\r\n\r\nIn a 3-minute song, a Boswell Sisters’ arrangement can seamlessly traverse through multiple key changes, several 90-degree tempo shifts, complete reharmonization of various sections, scatting, gulling, lyrics sung in “gibberish,” and all mesmerizingly executed with jaw-dropping style and a wondrous sense of swing.\r\n\r\nAfter many years as a music professional, I cannot believe I was unaware of this stunning vocal trio until January 2015, when I stumbled upon them by accident while surfing the Net. I watched the live 2-minute film clip of  “Crazy People”–– and that was all it took. I was hooked. Or, as Boswell Sisters aficionados say, I was “Bozzed.”\r\n\r\nThis was a new musical world. A wild take on jazz with no words to adequately describe it. I launched a YouTube quest for as much Boswell Sisters music as I could find. Fortunately, many of their tracks are posted on YouTube and CD reissues are readily available on Amazon.\r\n\r\nBefore you read any further…check out the “Crazy People” video.\r\n\r\nFor those who have not taken the trip to Planet Boz––you are in for one doozie of a ride.\r\n\r\n<span style=\"text-decoration: underline;\"><strong>The Boswell Sisters – “Crazy People”</strong></span>\r\n\r\nhttps://www.youtube.com/watch?v=R-O5U4uuPF8\r\n\r\n<strong>The Boswell Sisters were the most popular music group in America from 1931 to 1936.</strong>\r\n\r\nThen suddenly, in 1936, it was all over.\r\n\r\nThey quickly faded from the scene––and the public’s memory.\r\n\r\nSo…who were they?\r\n\r\nAnd why was this incredible trio largely forgotten?\r\n<h2><img class=\"alignnone size-full wp-image-979\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/boswell-sisters-early-1a-Cropped.jpg\" alt=\"\" width=\"497\" height=\"563\" /></h2>\r\n<h2></h2>\r\n<h2>SHUFFLE OFF TO NEW ORLEANS</h2>\r\nFate can be like a slot machine. The tumblers must align themselves in just the right way to trigger a jackpot. The Boswell Sisters’ story is like that. There’s everything that makes a compelling tale: tragedy, victory, loss, pain, luck, secrets, betrayal, talent, and a deep love forged by strong family bonds. The sisters had an incredible ability to turn adversity into triumph, making the most of every opportunity. Their saga is as compelling as their music.\r\n\r\nThe “Bozzies” (as they are affectionately called) were three bright, über-cute, funny, playful, and extraordinarily talented sisters: Martha (1905-1958), Connie (1907-1976) and Helvetia (1911-1988, known as Vet).\r\n\r\nWhile the girls were very young, the Boswell family settled in New Orleans. With its eclectic blend of cultures and the sound of blues, jazz and gospel all around them, these three brilliant young women––encouraged by musical parents and a strong-willed mother––created a sound so fresh, so unique, that it caused a musical sensation, changing the face (and ears) of popular music.\r\n\r\n[caption id=\"attachment_987\" align=\"alignnone\" width=\"507\"]<img class=\"size-medium wp-image-987\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/early-boswells-pix-book-507x600.png\" alt=\"\" width=\"507\" height=\"600\" /> The Early Boswells<br />CONNIE–cello         MARTHA–piano         VET–violin[/caption]\r\n<h2>THAT’S HOW RHYTHM WAS BORN</h2>\r\n<blockquote>\"Their music hit me right between the eyes, and what hit me was their originality. There was just no one like them.\" -David McCain, Boswell authority</blockquote>\r\nThe young Boswells were trained to be classical instrumentalists. The very essence of music coursed through their veins; Martha was going to be concert pianist, Connie, a cellist, and Vet, a violinist. Yet something else began tugging at their heels.\r\n\r\nIn a 1925 interview with the Shreveport Times, Martha said: “We studied classical music. . .and were being prepared for the stage and a concert tour throughout the United States, but the saxophone got us.”\r\n\r\nConnie traded her cello for a tenor sax, Vet took up the banjo and Martha’s classical piano arpeggios morphed into hot jazz rhythms and ragtime licks.\r\n\r\nThough untrained as vocalists, they sang amazingly well together––with that ethereal, other-worldly blend that seems reserved only for talented siblings with genetically-linked vocal cords. And they were connected in even more profound ways.\r\n<blockquote>David McCain comments: “They did have an uncanny telepathy with each other. It wasn’t only just their musical skill and ability. It was this telepathy they had…which even went beyond just being sisters. It was really being in tune with each other. It’s certainly evident on the records when you hear it.”</blockquote>\r\nThree personas forged into a single musical tour-de-force. They sang with an inspired, surgical precision never heard before, nor equaled since. Together they charted a new course in music where no road map existed.\r\n\r\n[caption id=\"attachment_982\" align=\"alignnone\" width=\"394\"]<img class=\" wp-image-982\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/bozwell_sisters_stacked.jpg\" alt=\"\" width=\"394\" height=\"508\" /> Connie (bottom) – Martha (middle) – Vet (top)[/caption]\r\n<h2>BETWEEN THE DEVIL AND THE DEEP BLUE SEA</h2>\r\n<blockquote>\"Connie Boswell is the most widely imitated singer of all time.\" -Frank Sinatra</blockquote>\r\nA surprising fact about the Boswell Sisters: Connie was confined to a wheelchair.\r\n\r\nAt the age of 3 either she was either severely injured when ejected from a careening homemade go-cart, had contracted polio, or both (each story was alternately told by Connie through the years). A further incident at age 22, involving a 15-foot fall from a window during a game of hide-and-seek, took away whatever remaining lower-body ability she had. The end result: she never walked again.\r\n\r\nFor their early gigs, Connie was carried “packsaddle” style by her sisters; Martha and Vet interlocked their forearms while Connie sat in the middle. They learned to rely on each other in profound ways: physically, musically, emotionally and spiritually. This intimacy was reflected in the music they created.\r\n<blockquote>Vet’s daughter, Chica Boswell Minnerly, observed: “They went everywhere together, socially. They did things together. Played their music together. And they thought alike. When you have that kind of closeness and you translate it into a musical form, it’s hard to explain what happens…with a trio. A trio begins to have its own identity. And that identity is very different from any of the sisters. So it becomes truly a trio.”</blockquote>\r\nIn the 1920s jazz was often referred to in derogatory terms, especially by religious groups (in the 1950s these same charges would be leveled at rock and roll).\r\n<blockquote>Chica continues: “Jazz, in some circles, was considered ‘the Devil’s music.’ But it was hard to call it ‘the Devil’s music’ when you had these three pretty little girls…one of whom couldn’t walk…and they’re singing this music. So it presented a contradiction. It’s interesting, because people had to make their minds up about it.”</blockquote>\r\n<img class=\"alignnone wp-image-2732\" src=\"https://paulchiten.com/wp-content/uploads/2016/02/postcard.jpeg\" alt=\"\" width=\"388\" height=\"298\" />\r\n<h2>ROLL ON, MISSISSPPI, ROLL ON</h2>\r\nBy 1929 the Boswell Sisters were New Orleans favorites. But if they wanted a higher level of success, they needed to play venues further from home.\r\n\r\nSo the young ladies hit the road, performing in an unglamorous sector of the Vaudeville circuit. Their show featured playing instruments––Martha on piano, Connie on sax, Vet on banjo (and some tap dancing), doing popular songs of the day. Oh…and a little singing was pitched in.\r\n\r\nAt their first out-of-town gig, in a small, dingy theatre in Chicago, the trio was suddenly stricken at show time with a serious case of stage fright. They were so nervous that they left their instruments backstage––all they could manage to do was sing to Martha’s piano accompaniment. When they finished, the stage manager, noticing their discarded instruments backstage, asked: <em>“Don’t you girls do anything but sing?”</em>\r\n\r\nAh, but fate was tampering with those slot machine tumblers––it was through their singing that they would create a musical sensation.\r\n\r\n[caption id=\"attachment_976\" align=\"alignnone\" width=\"339\"]<img class=\" wp-image-976\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Boswell-profiles-473x600.jpg\" alt=\"\" width=\"339\" height=\"430\" /> Vet, Martha, Connie[/caption]\r\n\r\nTheir tour ended up in Los Angeles, where the radio work was. One day Connie showed up for a live broadcast with a bad cold. She suggested the songs be transposed down “an octave or two,” and sing soft and close into the microphone. This close-mike technique is one of the first examples of using the newly developed electronic microphone for maximum effect. This gave the trio an important component of their signature sound.\r\n\r\nWhile doing radio shows in California, a letter came into the station with a scathing review. It was Martha who opened it. The listener wrote: “Get rid of those awful Boswell Sisters––they’re always changing the melody, and whenever they come on the radio, me and my friends turn them off.”\r\n\r\nIt closed with a bristling coda: <em>“We call them the savage chanters.”</em>\r\n\r\nMartha was so upset at this harsh critique that she broke down in tears. She was about to rip up the letter when Connie snatched it from her hand. Connie said it was proof that the trio was indeed doing something different, and that they should keep on doing it.\r\n\r\nWith the experience gleaned from touring and consistent radio work, it was time to move to New York, where the jazz scene was in full swing. It was 1930 and the Boswell Sisters were getting ready to take on the world.\r\n<h3></h3>\r\n<img class=\"alignnone wp-image-2733\" src=\"https://paulchiten.com/wp-content/uploads/2016/02/the-boswell-sisters.jpg\" alt=\"\" width=\"422\" height=\"529\" />\r\n\r\nMartha (bottom) – Connie (middle) – Vet (top)\r\n<h2></h2>\r\n<h2>THE MUSIC GOES ROUND &amp; ROUND</h2>\r\nThe Boswell Sisters came along at the right time. Vaudeville was giving way to that new invention––radio––which grew rapidly from a curiosity to a widely accepted form of entertainment.\r\n\r\nRecorded music was also going through a seismic transformation. Early recording technology used a crude horn to channel the sound. By 1925 the electronic microphone finally made it possible to capture nuances never heard in a recording before.\r\n\r\nThe Bozzies made their first few recordings (into those horns) in 1925. By the time they got to their main body of work, starting in 1931, the electronic microphone was firmly established as the new standard.\r\n\r\nLike today’s Internet, with the popularity of Facebook, YouTube, Twitter, Instagram––the sisters embraced the technologies of their day: radio, records and films. These burgeoning media marvels allowed them to reach a far wider audience than was ever possible through live shows alone.\r\n\r\nAnd the New York scene is where the sisters would find the success they worked so hard for.\r\n\r\nRecords in the 1930s meant a live studio performance. There was no tape, overdubbing, or editing. Each take was recorded in mono onto a wax disc––worlds away from modern digital recording. There was no concept of “fix it in the mix.” The performance had to be good or the “waxie” was tossed. The Bozzies went through a lot of “waxies” before they were satisfied with a record.\r\n\r\nIn the studio, they were fortunate to work with some great musicians of the day, many of whom later became well known: Glenn Miller (trombone and arranger), Tommy Dorsey (trombone), Jimmy Dorsey (alto sax), Benny Goodman (clarinet), Artie Shaw (clarinet), Bunny Berigan (trumpet), Manny Klein (trumpet), Joe Tarto (bass/tuba), Eddie Lang (guitar), Dick McDonough (guitar), Carl Kress (guitar), Joe Venuti (violin), Victor Young (violin) and Stan King (drums). They also worked with the orchestras of Jimmy Grier, Victor Young and Paul Whiteman.\r\n\r\nMany of these celebrated musicians were members of AFM Local 47 (Hollywood): Benny Goodman, Tommy and Jimmy Dorsey, Artie Shaw, Bunny Berigan, Joe Venuti, Manny Klein, Joe Tarto and Victor Young.\r\n\r\n[caption id=\"attachment_989\" align=\"alignnone\" width=\"600\"]<img class=\"size-medium wp-image-989\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Musicians-BW-600x400.jpg\" alt=\"\" width=\"600\" height=\"400\" /> Hamming it up with The Ramblers band during the first European tour.[/caption]\r\n\r\nSo how could three white middle-class southern gals come to sound like a sassy trio of soulful jazz singers? Most people who heard them. without seeing them, assumed they were black. Their influences included gospel, jazz, blues and “race” records. Connie was a fan of early blues vocalists Bessie Smith, and especially Mamie Smith––whom she patterned her style after. Her other two major influences were a disparate pair: hot-jazzer Louis Armstrong and operatic tenor Enrico Caruso.\r\n\r\nThe Bozzies’ vocal sound is a curious combination. Martha and Connie were contraltos, while Vet was a mezzo-soprano with an exceptional range. The typical vocal registers were thrown out the window, because they had the uncanny ability to shift parts at will, creating ever-morphing three-dimensional sonic shapes.\r\n\r\nMartha called this “blending.” Connie referred to it as “passing harmony.” Whatever you call it, it meant that the melody could continually move between the three voices. The shuffling of parts, the rapid tempo changes, the modulations and continual reharmonization––indeed rising to the level of recomposition––make that unmistakable Boswell Sound. Nobody had done music this way before. Or since.\r\n\r\nIn a 1965 interview, Connie reflected on the trio’s sound. She said when people heard them for the first time, they couldn’t believe they were sisters, because “no family could have 3 sisters who could sing like this.” At the same time, they HAD to be sisters, because “no 3 voices could possibly blend this well without being from the same family.”\r\n\r\n[caption id=\"attachment_975\" align=\"alignnone\" width=\"600\"]<img class=\"size-medium wp-image-975\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/At-piano-600x376.png\" alt=\"\" width=\"600\" height=\"376\" /> Vet, Martha, Connie[/caption]\r\n\r\nTheir father, A.C., a former Vaudevillian and Barbershop singer, taught them a language he called “gibberish.” It’s a zany, word-morphing, pig-Latinish kind of thing––and the girls loved it. This “gibberish” shows up in a number of their recordings. A variation on “gibberish” is heard on the second section of “Everybody Loves My Baby,” which features nonsense sounds sung at an insanely fast tempo, performed with perfect diction in astonishingly precise 3-part harmony––a typical Bozzie Dazzle Moment.\r\n<h4><span style=\"text-decoration: underline;\">Everybody Loves My Baby</span></h4>\r\n[audio mp3=\"https://paulchiten.com/wp-content/uploads/2015/09/Everybody-Loves-My-Baby.mp3\"][/audio]\r\n\r\n&nbsp;\r\n\r\nEvery time I hear this track, a jolt of electricity shoots up my spine. The vocal histrionics are as energetically wild as they are highly disciplined. Connie even “gulls” (a technique of extreme glottal stops) in the middle of everything. Hey, if this doesn’t get you to sit up and take notice, you’re in a musical coma.\r\n\r\nThe sisters created all their own arrangements, working collectively, each sparking off the other. But just how did they come up with these wildly inventive sound canvasses?\r\n\r\nConnie provided some insight in a 1932 interview: “The method we use is rather quaint, and I know will amuse you when you hear about it––we learn our songs backwards! ...That is to say, we start at the end of the chorus and work back to the beginning. None of our arrangements are written out. Once we learn a song we never forget the arrangement.”\r\n\r\nOnstage, Martha played piano accompaniment (and on most of their recordings). Connie sat next to her on the piano bench and Vet stood behind, resting one hand on each sister’s shoulder, choreographing the trios’ movements.\r\n\r\n[caption id=\"attachment_985\" align=\"alignnone\" width=\"600\"]<img class=\"size-medium wp-image-985\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Crazy-People-Martha-smile-600x450.png\" alt=\"\" width=\"600\" height=\"450\" /> Connie, Vet, Martha[/caption]\r\n<h4><span style=\"text-decoration: underline;\">Shout, Sister, Shout!</span></h4>\r\n[audio mp3=\"https://paulchiten.com/wp-content/uploads/2015/09/Shout-Sister-Shout.mp3\"][/audio]\r\n\r\n&nbsp;\r\n\r\nA Boswell Sisters’ theme song; truly a pocket symphony.\r\n\r\nIn a span of 3 minutes, it’s quite a ride through snappy jazz textures, dark gospel, fast scatting, all culminating in bayou-infused swampy soul.\r\n\r\nThe fact that these beautiful and talented young women become so successful in a world dominated by men––at a time when women had only fairly recently been given the right to vote––is testimony of their sense of empowerment as females. They went on the road with no chaperones, managed their own business, and charted their own destinies.\r\n\r\nThe Bozzies were also in control, and responsible for, their musical creations. Rare for recording artists at that time. Their unique musicality, uncanny skill, playful hearts and wistfully “witchy” soulfulness kept them leagues ahead of any competition.\r\n\r\n<img class=\"alignnone  wp-image-2742\" src=\"https://paulchiten.com/wp-content/uploads/2019/10/Screen-Shot-2019-10-18-at-10.26.11-PM.png\" alt=\"\" width=\"461\" height=\"465\" />\r\n\r\nTwo new phrases entered the musical language of their time: “Boswell Sound” and “Boswell Rhythm.”\r\n\r\n“Boswell Sound” referred to their ability to conjure up unusual and infinitely appealing vocal harmonies, coupled with an astounding vocal blend and wildly creative arrangements with unexpected changes, and amazing vocal gymnastics.\r\n\r\n“Boswell Rhythm” was their jazzy, syncopated phrasing and astonishingly precise tempo changes, all executed with an extraordinary sense of musical swing.\r\n\r\nRhythmically, they could push the pulse so it sat on the leading edge of the beat––almost rushing, but not quite. This aggressive hanging over the leading edge of the beat was also called “New Orleans drive.” Many musicians from that scene played on top of the beat, but nobody sang quite like this. And 3 people doing it in perfect synchronicity? Only the Bozzies could do it this incredibly.\r\n<h4><span style=\"text-decoration: underline;\">Heebie Jeebies</span></h4>\r\n[audio mp3=\"https://paulchiten.com/wp-content/uploads/2015/09/Heebie-Jeebies.mp3\"][/audio]\r\n\r\n&nbsp;\r\n\r\nTheir good-luck song. The spirit is as intoxicating as the smell of down-home southern gumbo.\r\n\r\nA classic Boswell madcap slap-dash romp through many tempo and textural changes, the first-ever 3-part harmony scatting–– delivering a salvo of infectious musical energy that inevitably leaves the listener smiling…and breathless.\r\n\r\n<img class=\"alignnone size-medium wp-image-983\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Brunswick-publicity-PS2-600x385.jpg\" alt=\"\" width=\"600\" height=\"385\" />\r\n<h2>IT DON’T MEAN A THING,  IF IT AIN’T GOT THAT SWING</h2>\r\nWhen the Bozzies recorded their first side for Brunswick Records, “When I Take My Sugar To Tea,” (their first charted hit), the veteran studio musicians expected a typical session with your average young vocal group. They got anything but. The sisters possessed a musicianship equal to their own. The music was challenging, the girls were accomplished, charming and fun, and the players were given latitude to improvise solos in their own style.\r\n\r\nWhen they finished the first successful run-through of the song, all the musicians spontaneously got up––and gave the sisters a standing ovation. This kind of thing simply did not happen. This was a moment vital to the trio’s sense of self- confidence.\r\n\r\nThe Boswell Sisters were definitely on their way.\r\n\r\n[caption id=\"attachment_978\" align=\"alignnone\" width=\"600\"]<img class=\"size-medium wp-image-978\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Boswells-at-piano-600x495.jpeg\" alt=\"\" width=\"600\" height=\"495\" /> Connie, Vet, Martha[/caption]\r\n<h2>WE’RE ON THE HIGHWAY TO HEAVEN</h2>\r\nFrom 1931 to 1936 the Boswell Sisters rode the wave of their greatest popularity. They racked up 20 hits on the US charts, and a #1 in 1935 with “The Object Of My Affection.”\r\n\r\nThey sold 75 million records at a time when many Americans didn’t even have enough money to buy fresh bread. This was the Great Depression. Americans found the sisters’ music so uplifting, so transportive, that it helped momentarily lift the nation out of its collective miseries. Their music reminded people of the joy of being alive at a time when all that seemed to lay ahead for the country was more gloom.\r\n<blockquote><em><img class=\" wp-image-2729 aligncenter\" src=\"https://paulchiten.com/wp-content/uploads/2016/02/Charicature-color-479x600.jpg\" alt=\"\" width=\"372\" height=\"466\" /></em>\r\n\r\n<em>\"You know, they never cartoon folks unless they are known world wide.\"</em> -A. C. Boswell,  father (in a letter to his daughters)</blockquote>\r\nFor some reason, history has generally underestimated the impact, revolutionary sound and popularity that the Boswell Sisters had. If any musical act has the right to use the word “magic,” it certainly is the Bozzies. Music publishers rarely gave permission for artists to alter songs. Of course, the Boswell Sisters were the exception. Their changes invariably added to the compositional intrigue of the song (the fact that they also sold a lot of records didn’t hurt).\r\n\r\n<img class=\"alignnone wp-image-973\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/when-i-grow-too-old-boswells-uk.jpg\" alt=\"when-i-grow-too-old-boswells-uk\" width=\"324\" height=\"446\" />\r\n<h2>MY FUTURE JUST PASSED</h2>\r\nBy 1936 it all ended.\r\n\r\nThe trio broke up.\r\n\r\nAfter over 20 years of making music together––and 5 years at the top––the country’s most popular musical group was no more.\r\n\r\n<strong>Why did they break up at the height of their success?</strong>\r\n\r\nThe reason given at the time was that Martha and Vet wanted to get married and raise families, while Connie desired a solo career. While this is true, there were deeper dynamics in play.\r\n\r\nPerhaps for Connie to have a full-on solo career, she needed to break away from the trio. Harry Leedy––Connie’s husband, and manager for both Connie and the trio––could have contributed in sowing the seeds of dissention by promoting Connie over the group, nudging the trio into the shadows.\r\n\r\nPerhaps because the trio had run its course. Intense creativity often embodies the seeds of its own destruction within it.\r\n\r\n<strong>Why were they largely forgotten?</strong>\r\n\r\nMaybe because their music was so new and revolutionary, it defied classification.\r\n\r\nThe music business has a difficult time packaging unique acts. Particularly after they’ve disbanded.\r\n\r\nMaybe because their moment in the spotlight was brief––1931 to 1936––and life moved them on in different directions.\r\n\r\nMaybe because they were popular during the Great Depression, a time that was so painful that Americans wanted to forget this distressing part of their history.\r\n\r\nAfter the breakup, Martha and Vet did retire from the biz, settled down to married life and raised families. Connie continued on with a successful solo career. In 1942, she changed the spelling of her name to “Connee.” From 1936 to 1954, she had 29 songs on the US charts, including two #1 hits which were duets with Bing Crosby.\r\n\r\nBut our slot machine hit a once-in-a-google jackpot.\r\n\r\nThe Bozzies will never be duplicated.\r\n\r\nWhat endures is <strong>the amazing musical legacy the Boswell Sisters left to the universe.</strong>\r\n\r\n<img class=\"alignnone wp-image-980\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Boswell-Sisters-logo-cropped.jpg\" alt=\"Boswell-Sisters-logo-cropped\" width=\"385\" height=\"562\" />\r\n<h2>PUT THAT SUN BACK IN THE SKY</h2>\r\nAfter being largely forgotten for over 70 years, there is a resurgence of interest in the Boswell Sisters. The Internet has certainly helped create a new audience. YouTube and Vimeo have provided access to dozens of their songs and some film clips and compilation CDs are readily available.\r\n\r\nTribute groups and Bozzie-influenced bands are growing from all over the globe: the Pfister Sisters, the Puppini Sisters, Boswellmania, the Stolen Sweets, the DeGeleonardo Sisters, the Ditties, the Boswell Project, the Hazelnuts, O Sister! and more. A burgeoning Boswell Sisters Revival is taking place.\r\n\r\nThe Boswells created their music in the first part of the 20th century, but this isn’t nostalgia. Those 78rpm records may have the audio imprint of another era, but the music itself is still fresh, innovative, and as vibrant as when it was first birthed. The Boswell Sisters deserve wider recognition for their considerable contributions to popular music as well as their important place in American music history.\r\n\r\nThanks to Vet’s granddaughter, Kyla Titus, we now know more of the Boswell Sisters’ story. She wrote a wonderful book, “The Boswell Legacy,” published in 2014. My appreciation of their music deepened the more I learned of their backstory. This book is the best, most authentic source for getting the scoop on the fascinating Boswell saga, from a true insider.\r\n\r\nIf your appetite for the Boswell Sisters has now been aroused, check out the links below.\r\n\r\n<strong>Warning…</strong>\r\n\r\nAs I mentioned at the top of this article, listening to Boswell Sisters’ music will put you at risk of “getting Bozzed.”\r\n\r\nYou can get hooked, finding yourself listening to their songs over and over and over again.\r\n<h5 style=\"text-align: center;\">Constant exposure can result in a state of long-lasting euphoria.</h5>\r\n&nbsp;\r\n\r\n<img class=\"alignnone size-full wp-image-981\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Boswell-Sisters-poster.jpg\" alt=\"Boswell-Sisters-poster\" width=\"355\" height=\"468\" />\r\n\r\n<strong>ACKNOWLEDGEMENTS:</strong>\r\n\r\nSource material was compiled from “The Boswell Legacy” by Kyla Titus, Chica Boswell Minnerly, Boswell authority David McCain, Vet Boswell Family Collection LLC, TheBoswellSisters.com, Bozzies.org, “Time For The Boswells” by Dennis Yancey, “Three Perfect Minutes” blog by Bryan Mangum, and “The Boswell Sisters: Close Harmony” documentary by Joshua Tree Productions.\r\n\r\n<strong>LINKS:</strong>\r\n<ul>\r\n 	<li><span style=\"color: #0000ff;\"><a style=\"color: #0000ff;\" href=\"https://www.facebook.com/TheBoswellSisters\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook</a></span></li>\r\n</ul>\r\n<span style=\"text-decoration: underline;\"><strong>Websites:</strong></span>\r\n<ul>\r\n 	<li><a href=\"http://www.theboswelllegacy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Boswell Legacy.com</a></li>\r\n 	<li><a href=\"http://www.bozzies.org\" target=\"_blank\" rel=\"noopener noreferrer\">bozzies.org</a></li>\r\n</ul>\r\n<strong><span style=\"text-decoration: underline;\">The Boswell Legacy book:<img class=\"size-full wp-image-2727 aligncenter\" src=\"https://paulchiten.com/wp-content/uploads/2016/02/Boswell-Legacy-book.jpg\" alt=\"\" width=\"227\" height=\"300\" /></span></strong>\r\n\r\n&nbsp;\r\n<ul>\r\n 	<li><a href=\"https://www.amazon.com/The-Boswell-Legacy-Sisters-Orleans/product-reviews/1502350912/ref=cm_cr_dp_see_all_btm?ie=UTF8&amp;showViewpoints=1&amp;sortBy=recent\" target=\"_blank\" rel=\"noopener noreferrer\">“The Boswell Legacy” by Kyla Titus</a></li>\r\n</ul>\r\n<strong><span style=\"text-decoration: underline;\">Internet Music Archive:</span></strong>\r\n<ul>\r\n 	<li><a href=\"https://archive.org/search.php?query=boswell%20sisters\" target=\"_blank\" rel=\"noopener noreferrer\">archive.org Boswell Sisters</a></li>\r\n</ul>\r\n<strong><a href=\"mailto:pchiten424@gmail.com\" target=\"_blank\" rel=\"noopener noreferrer\">Contact</a> <a style=\"line-height: 1.5;\" href=\"mailto:nakedpreymusic@gmail.com\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Chiten</a></strong>\r\n\r\n<strong><img class=\"alignnone wp-image-2731\" src=\"https://paulchiten.com/wp-content/uploads/2016/02/Paul-Chiten-600x600.jpg\" alt=\"\" width=\"302\" height=\"302\" />Paul Chiten</strong> is a Los Angeles-based songwriter, composer, producer, musician, singer and artist. His songs have earned him multi-platinum and gold records. His compositions and productions have won Telly, Aurora and Emmy Awards.\r\n\r\nHe has worked with Michael Jackson, Anita Baker, Tina Turner, Donna Summer, Cyndi Lauper and countless others.\r\n\r\nPaul was Music Director/Orchestrator/Arranger/Performer for the 2015 EMC World event in Las Vegas. He\'s currently working on making a large part of his music library accessible for downloading and streaming worldwide.  Many of his albums are now available on iTunes, Amazon, Apple Music, Google Play, Deezer, Tidal and Spotify.\r\n\r\n<a href=\"http://sweethartproductions.com/PaulChiten.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Chiten - Sweetheart Productions website</a>\r\n\r\n<a href=\"https://paulchiten.com/featured-artist-paul-chiten/\" target=\"_blank\" rel=\"noopener noreferrer\">bio</a>\r\n\r\n<img class=\"alignnone size-full wp-image-2737\" src=\"https://paulchiten.com/wp-content/uploads/2019/10/Screen-Shot-2019-10-18-at-10.11.08-PM.png\" alt=\"\" width=\"193\" height=\"191\" /><a href=\"https://paulchiten.com/wp-content/uploads/2015/09/Ive-Been-Bozzed-cropped.png\"><img class=\"alignnone wp-image-1054\" src=\"https://paulchiten.com/wp-content/uploads/2015/09/Ive-Been-Bozzed-cropped-300x300.png\" alt=\"I\'ve Been Bozzed-cropped\" width=\"144\" height=\"144\" /></a>[/vc_column_text][/vc_column][/vc_row]', 'The Greatest Trio You Never Heard Of - The Boswell Sisters', 'The Boswell Sisters are one of the most awe-inspiring and important groups to have ever made music.', 'inherit', 'closed', 'closed', '', '1080-revision-v1', '', '', '2020-02-26 14:40:53', '2020-02-26 22:40:53', '', 1080, 'https://paulchiten.com/1080-revision-v1/', 0, 'revision', '', 0),
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(1, 'Local 424 AFM Membership', '2015-09-07 19:05:08', 1, 0),
(2, 'Local 424 AFM Profile Update', '2015-09-09 19:26:05', 0, 0),
(3, 'Contact Us', '2015-09-29 13:21:57', 1, 0);

-- --------------------------------------------------------

--
-- Table structure for table `wp_rg_form_meta`
--

CREATE TABLE `wp_rg_form_meta` (
  `form_id` mediumint(8) UNSIGNED NOT NULL,
  `display_meta` longtext DEFAULT NULL,
  `entries_grid_meta` longtext DEFAULT NULL,
  `confirmations` longtext DEFAULT NULL,
  `notifications` longtext DEFAULT NULL
) ENGINE=InnoDB DEFAULT CHARSET=utf8mb4 COLLATE=utf8mb4_unicode_ci;

--
-- Dumping data for table `wp_rg_form_meta`
--

INSERT INTO `wp_rg_form_meta` (`form_id`, `display_meta`, `entries_grid_meta`, `confirmations`, `notifications`) VALUES
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-- --------------------------------------------------------

--
