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Here is another lovely song by one of Sam Lanin’s many bands, this time under his own, abovementoned denomination. Sam (C.) Lanin (1891-1977) was an American jazz bandleader.Lanin’s brothers, Howard and Lester, were also bandleaders, and all of them had sustained, successful careers in music. Lanin was one of ten children born to Russian-Jewish immigrants who emigrated to Philadelphia in the decade of the 1900s. Sam played clarinet and violin while young, and in 1912 he was offered a spot playing in Victor Herbert’s orchestra, where he played through World War I. After the war he moved to New York City and began playing at the Roseland Ballroom in late 1918. There he established the Roseland Orchestra; this ensemble recorded for the Columbia Gramophone Company in the early 1920s. Sam recorded with a plethora of ensemble arrangements, under names such as Lanin’s Jazz Band, Lanin’s Arcadians, Lanin’s Famous Players, Lanin’s Southern Serenaders, Lanin’s Red Heads, Sam Lanin’s Dance Ensemble, and Lanin’s Arkansaw Travelers. He did not always give himself top billing in his ensemble’s names, and was a session leader for an enormous number of sweet jazz recording sessions of the 1920s. Among the ensembles he directed were Ladd’s Black Aces, The Broadway Bell-Hops, The Westerners, The Pillsbury Orchestra and Bailey’s Lucky Seven. He had a rotating cast of noted musicians playing with him, including regular appearances from Phil Napoleon, Miff Mole, Jules Levy Jr. and Red Nichols, as well as Jimmy Dorsey, Tommy Dorsey, Manny Klein, Jimmy McPartland, Bix Beiderbecke, Eddie Lang, Bunny Berigan, Nick Lucas and Frankie Trumbauer. Lanin did little actual playing on these records; his main contributions were clean, well-orchestrated arrangements and session directions. In addition to his recordings, he also played regularly on radio after 1923, and the Roseland Orchestra played on New York radio weekly every Monday from 1923 to 1925. He entered into a sponsorship with Bristol-Myers for their toothpaste, Ipana; as a result, his ensemble was renamed The Ipana Troubadors. In 1928 and 1929, Lanin recorded with Bing Crosby. The 1929 stock market crash hit Sam Lanin hard, unlike his brother Lester; in 1931, he lost his contract with Bristol-Meyers, his radio show and the name Ipana Troubadors. By the middle of the 1930s, Sam was spending much of his time cutting transcription discs. While his fame had waned, he was still well off from the money he saved in the 1920s and retired from the music business by the end of the 1930s. He was essentially forgotten at the same time Lester went on to stardom. He died in 1977, having never returned to music. This lovely recording was made in 1927. Vocal by a singer credited ‘Russell Douglas’ who actually is Les Reis.

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Madi Diaz’s full-length album, Plastic Moon is out now! An advance EP, Far From Things That We Know, was released in September, 2011 with glowing praise from RollingStone.com, Marie Claire, IFC.com, AOL, and many more. The music reflects a lifelong attraction to song craft as well her deep-rooted affinity for contrasting types of music. One part pop music and one part organic Americana, the album is a hooky, confident collection of songs that is as heartbreaking in places as it is catchy in others, sometimes within the span of a single song.
The 25-year-old, Nashville-based musician is herself a bit of a contrast, growing up in Lancaster, PA, surrounded by Amish farms, where she was home schooled by her Peruvian mother, Nancy, a proponent of early childhood development and the visual arts, and her Danish father, Eric, a woodworker and musician. Madi began piano lessons at age five at the behest of her father, himself a keyboard player in the Frank Zappa tribute band, Project Object.
In her early teens, Diaz switched from piano to guitar and when she sought advanced instruction, she landed at School of Rock in Philadelphia. Diaz was a standout among the pupils and became a focal point of director Don Argott’s 2005 documentary about the program, Rock School.
After high school, Diaz was accepted to Berklee College of Music in Boston, where she got serious about pursuing music as a career. A fellow student’s production assignment provided the first opportunity to work with Kyle Ryan, Nebraska-raised guitarist would turn into her future songwriting collaborator. The pair began their creative collaboration when a fellow student, a producer looking for a project, offered Diaz the chance to record an album in Hawaii—all expenses paid, no strings attached. The self-released, alt.country-leaning Skin And Bones was the result, and a songwriting and performing partnership between Diaz and Ryan was struck for good, as well as a friendship.
Not long after that, Diaz tired of Berklee and subsequently left the program. She and Ryan kept writing though, and, armed with a strong batch of new material, the pair began heading down to New York City regularly for gigs. One otherwise inauspicious night at Greenwich Village landmark The Bitter End led to a chance meeting with a manager who had come to see another artist and stayed when she heard Diaz’s voice. The manager left her card, and soon thereafter she began representing Madi. Their first order of business turned out to be sending Diaz and Ryan for a month-long visit to Nashville to do some co-writing. The trip went so swimmingly that Diaz and Ryan relocated to Music City in mid-2010. “When we moved to Nashville it was like clouds lifted off our heads,” she says. The pair was quickly thrust into the center of the city’s nascent indie-pop scene, eventually landing Madi on the Ten Out Of Tenn tour showcasing the best of Nashville’s emerging artists.
With the release of the EP, Ten Gun Salute, Diaz began receiving some encouraging exposure, touring with The Civil Wars and Landon Pigg, garnering favorable press in Paste (who dubbed her one of the “Top Ten Buzziest Acts” at SXSW 2009) AOL’s Spinner and on NPR, as well as and having her songs licensed for ABC Family’s Pretty Little Liars and Lifetime’s Drop Dead Diva and Army Wives.
Diaz’s full-length album, from which the EP is culled, initially began as a self-produced project. Diaz and Ryan gathered up “60 or 70” songs in progress and started paring them down, looking for a collection that held together as a singular work. At the same time, producer John Alagia (Dave Matthews Band, John Mayer, Liz Phair) was seeking his next project and connected with the pair, who then decamped for Dave Matthews’ palatial studio near Charlottesville, Virginia. The result departs from Diaz’s early rootsier side, though the record is no less heartfelt and arguably even more so with its poignant melodies and inventive arrangements. Thanks to Alagia’s meticulous and sympathetic production, the music keeps Diaz’s indie spirit intact while bringing forth a more sophisticated soundscape, with everything from Fender Rhodes to marimba popping up in the mix. The strength of the record was enough to land a deal with tinyOGRE for Diaz, meaning that she may not remain Nashville’s best-kept secret for much longer.

www.madidiaz.com
www.facebook.com/madidiazmusic
www.twitter.com/madidiaz

Cindi Avnet: Producer / Talent Booker
Milo Stokes: Cinematographer
Recorded & Mixed By: Karla Barrera
Gabe Dauer: Editor
Atara Gottschalk: Co-Producer / Talent Booker
Leah Hobbs: Associate Producer
Lydia Reed: Production Assistant
Carnell Breeding : Photography
Courtney Arwin: Balcony Location

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