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Newsletter Jump BIG BAND NEWSLETTER JUMP VOLUME XXVIII BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 1993 MAXENE ANDREWS INTERVIEW The Background Maxene Andrews, the one generally on the left, recently went on tour to promote a book about the USO during WWII, and that was the occasion of our talk with her in a radio studio in Atlanta, GA. She arrived dressed casually, shepherded with great efficiency by her daughter, who carefully kept track of when she was supposed to be at different studios for promotional interviews. Revealing a good sense of humor, Maxene referred to Don Kennedy as Joe several times in the original interview for radio. When her daughter pointed out the mistake, she told Don he could call her Patty. (The radio version of the interview will be the basis for an hour of BIG BAND JUMP during the November-December scheduling.) Maxene didn’t want to say much about Patty, the other remaining Andrews Sister, but did say they hadn’t been in touch in some time. She hinted, however, that some conflict with Patty’s husband was at the root of their troubles. LaVerne, the one usually on the right, died in the 70's. The Interview BBJ: The usual trite but important question: How did it all start? MA: I don’t think you have enough space for me to Maxene today _______ tell you all of it, but we were all born in Minneapolis, and mother said we were all born singing! Singing was radio called the Boswell Sisters, and I guess LaVerne very natural to us. I was four years old when I first figured, “Well, I have two sisters and they sing and sang on the radio station in Minneapolis many years w e’ll have our own trio .” None of us had any formal ago. Patty was seven when my sister LaVerne started musical training because there was no money in the the trio. family as we were coming out of that terrible depres­ sion, but by the time LaVerne was six she played a BBJ: How did that idea come to LaVerne? mean piano. She used to fool around with it all the time, and she would try to recall some of the intricate MA: LaVerne was four years older than me. I was the parts of the Boswell Sister’s arrangements, and she’d middle child and LaVerne fell in love with a group on teach them to Pat and me. VOLUME XXVIII BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 1993 BBJ: Did you sing the Boswell Sister’s famous BBJ: You came here to talk about your book. MISSISSIPPI MUD? MA: Yes. During the war years there was a MA: That’s right! We also sang like Bing Crosby and wonderful organization called the USO. It was a the Rhythm Boys with Paul Whiteman. period of time when our country was so unified that everybody wanted to get in and do their bit. The USO BBJ: There’s a rumor that your first big hit, BEI MIR caused some 700 shows a week to be performed all BIST DU SHOEN, was a record you ladies didn’t over the world to our boys in different areas, whether want to record. it was the South Pacific, Alaska, wherever. We volunteered to go, and they sent us to Italy, North MA: No, that story is wrong. What happened was, Africa and Sicily. It was probably the most beautiful the first record we made for Decca, nobody bought. experience of our whole life. I think three records were sold; LaVerne bought one, Patty bought one and I bought one. After that I BBJ: Can you describe the reception from the soldiers thought they were going to give us our contract back, when you walked out on the stage? because who wanted three girls who couldn’t sell records? Then about two weeks later we got a call MA: I can tell you about it, but you’d have to from the president of Decca, Jack Kapp, who said, experience it to know the thrill. The first show we did “I’ve got a good song for you girls to do, and it’s was in Casablanca. We were supposed to be in Naples, called NICE WORK IF YOU CAN GET IT. It’s Italy....not in Casablanca, but the boys took us off the going to be a big song and we want you to record it plane and told us they had 35 thousand boys there who immediately.” Well, in those days it was the A side needed entertainment, so they kept us there for three and the B side. We thought if we could find another days! It was something to walk out on the stage and great song to put on the B side, maybe we’d have a look at those faces. For the first time I realized how double hit record to make up for the one we missed. young they were. It was just wonderful. We couldn’t find one but one day a young man walked into our rehearsal and told us he had a great song for You had a feeling that you wanted to cry for them, but us to sing. He told us it was a Jewish lullaby his that’s the one thing they didn’t want. Incidentally, the mother used to sing to him. Vic Schoen, who worked USO had some restrictions on music. They didn’t with us for twenty-some years, figured it out on the want you to sing “m other” songs, they didn’t want you piano and the melody was so infectious and so easy to to sing patriotic songs, they didn’t want you to sing any sing... .but the problem was there weren’t any English songs that would make the boys really homesick. lyrics. The young man who brought the tune to us They were homesick enough, but they had a big job to suggested he teach us the words in Yiddish, and he did do, so they wanted the boys to feel happy and forget that phonetically. for a few minutes or hours while they were being entertained. We went ahead with the recording session with NICE WORK IF YOU CAN GET IT for one side, and BEI The USO also blue-penciled a lot of the comic’s MIR BIST DU SCHOEN for theother. Jack Kapp had material. They didn’t want any suggestive material. the recording sessions piped into his office, and in the Strange how we’ve changed, isn’t it? middle of the recording session he came down to the studio and asked us where we got that song. We all BBJ: You were a human letter from home in those thought we’d offended him, and we pointed to Lou USO appearances. Levy, the young man who worked out the lyrics, and asked Lou if it’d be alright to get Sammy Cahn and Sol MA: We always felt what we were doing was so small Chaplin to write an English lyric. They did, and two in comparison to what the boys were doing. Now, I days later we came back and recorded it. do concerts all over the country, and so many times the boys....I still call them “the boys”....will come back 2 VOLUME XXVIII BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 1993 and see me, and we’ll cry a little and laugh a little and MA: BOOGIE WOOGIE BUGLE BOY was tell some funny stories. It’s wonderful! written for the Andrews Sisters by Don Raye and Hughie Prince for the picture with Abbott and BBJ: You could have easily written about the Costello called BUCK PRIVATE. Andrews Sisters. Why did you select the USO to write about? BBJ: Did it become a record success? MA: By the time the war ended, the USO camp shows MA: It never became a big hit for us. There were had presented over 293 thousand performances to over so many wonderful songs in that movie, but nobody 161 million service men. Those faces I’ll never forget, was pushing them and so it really wasn’t until Bette and I waited and waited, but nobody ever wrote about Midler did it, moving us into today’s generation. the USO. Bob Hope wrote a book, but he wrote about For that, we’re very grateful to her. Bob Hope. I started looking around for a writer who would feel the same way I felt about writing the kind BBJ: What does the younger generation think of of book I wanted to write. It wasn’t until I heard from the Andrews Sisters? Bill Gilbert that I got the feeling someone understood what I was trying to say. M A: I get about fifty letters a month from a lot of kids from elementary school and high school who want to We started about a year and a half ago. One feeling do impersonations of the Andrews Sisters. They want I wanted to get in there was the period of time when me to send them harmony sheets. Well, there are no the country was so unified, and what it was like to sing harmony sheets for the Andrews Sisters because none for the hospitals and the camps before the boys were of us read music, so everything was done by memory shipped over; many of the boys hadn’t been out of their and just what we heard in our heads. home area their entire lives. BBJ: How difficult was that lack of ability to read There was a time in Seattle when they took us to the music when you were working with an orchestra? dock and we sang and waved goodbye to the boys as they were being shipped out.
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