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JEAN SHEPHERD–Early Shep Forensics

WHEREFORE ART THOU, EARLY SHEP?

Some familiar with my thinking about Jean Shepherd’s early radio work will remember some of my comments regarding his “overnight” New York broadcasts (January to mid-August, 1956). Lois Nettleton, Shep’s early “The Listener,” when she read those dates in my EYF! book,  couldn’t believe it only lasted that short a time! I put it all here together, with my familiar comments.

(Some of this info gotten from http://www.flicklives.com)

shep1952

Cincinnati and Philadelphia 1/30/1947-1/30/1954

Earliest reported broadcasts (no comments about earlier-than-this-Shep on the radio).

All that is available that I know of is a short snippit from the beginning of a Cincinnati show and his last two half-hours from Philadelphia. These two suggest that, as some have reported, his casual, improvised, and stream-of-consciousness style began and continued for some time during this period. That no recordings of the period have yet surfaced might well be because affordable recording equipment was not yet available to the general public.

young shep

New York WOR “overnights” 1/7/1956-8/13/1956

This is the period of listeners most appropriately referred to as “Night People,” and included late-night listeners such as jazz musicians, artists, Lois Nettleton, etc. A few people have reported listening during this period, but have no extensive memories. This period includes the I, Libertine hoax, the Sweetheart Soap commercial, and his reporting that he had been fired. A few people reportedly retain recordings from this important period, but none have come forward with any. Early tape machines readily available (but expensive) were then for sale and probably mostly bought by musicians wishing to record others and themselves. (My mother bought one to record her violin playing, so I began using it to record Shep as early as Sunday nights, September, 1956.)

(A well-known jazz musician/critic has not yet come forward with his recordings.) As I’ve done before, I implore people to come forth so that such early recordings are preserved–before those recordings are tossed in dumpsters by the Shep-enthusiasts’ heirs.

New York WOR Sundays 9:05-1:00 A.M. 9/9/1956-9/11/1960

From the few extant recordings of this period, Shep’s style might be assumed to be similar to his previous overnight style, though my guess is that the overnights (because of the late hours) may well have been even more laid-back, and he seemed to have played, during the Sunday nights, less extensive musical interludes.

1955-mm-dd_022_Into_Unknown_Front

“Jean Shepherd Into the Unknown With Jazz Music”

I include this 1955 recording with its cuts of Shep intermixed with jazz music, because it represents early-Shep in a form probably similar to some of his earliest radio work.* It includes some of his references such as the Little Orphan Annie decoder pin.

  • *The musician/composer listed, Mitch Leigh, I believe, is the same one who went on to create the musical “Man of La Mancha.” (Attempts to contact him to discuss what he remembered about working with Shep on this early creation, failed. Now he’s dead.)

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