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Home , Billy Butterfield, Blues in the Night, Bob Crosby, Bob Haggart, Buddy Morrow, Darn That Dream

Interview with

Mail about actor of fame

Review of new a'o biography of JIMP N EWSLETTER

V O L U M E 126 BIG BAND JUMP NEW SLETTER JANUARY-FEBRUARY, 2010

INTERVIEW - BOB CROSBY BC: I was the seventh kid in my family. Dad was a bookkeeper and didn’t make much money so I was picking cucumbers for twenty-five cents an hour. I In our 1989 interview with , the bass player, got a telegram from Anson Weeks asking me if I would composer and arranger with the Bob Crosby Band, he come and sing with the orchestra. I stayed with Anson pointed out that Bob Crosby was simply the front man off and on for a year and then left him at the Aragon and not responsible for the band’s music. That being Ballroom in to join . said, a great deal of the success of any organiza­ B B J : I understand Tommy tion is its public perception Dorsey was a real and Bob Crosby gave the task master. band an aura of friendli­ ness and warmth. Fact is, BC: W ell, more than ’s organizational that. He inhibited a skills and Bob Haggart’s lot of people. And also I felt that musical talents were the as a singer I was not qualified to powers behind the up­ take the place of and front Crosby public pres­ with the Dorsey band I was sing­ ence. ing out of my range. Tommy wouldn’t have anything made up It turns out that the same for me and I was singing stocks or year our original interview whatever I could find and I devel­ with Bob Haggart was oped a vibrato that took me about conducted, radio pioneer 20 years to overcome. I was Fred Hall had his conver­ unhappy with the Dorsey band and sation with Bob Crosby. then organized a band, probably a Crosby was then semi- year and a half after ’s retired and spending a band had broken up. great deal of time raising horses on his ranch near BBJ: WhatwasGil Rodin’s Sacramento. He still used Bob Crosby part in all this? the Bob Crosby name in appearances with a band playing some of the original BC: Gil was a catalyst. The “Pops” of the band. arrangements, but for the most part without the original He was the one who kept it all together. He was players. the one who kept the small group that was with Ben Pollack which was and and When it’s appropriate, we’ll drop in comments from our Eddie Miller and himself and but when Haggart interview. The essence of Fred Hall’s far- we organized the band we went up and found people like reaching Bob Crosby interview forms the basis, how­ Bob Haggart, , Bob Zurke, Irving ever. Trite as it is, the “How did you get started” Fazola..... now none of this fit into the Ben Pollack question is always the opener in these interviews. This picture in any way. We wrote most everything that we one is no exception. played and we were a community rather than a coopera­ tive band. If you listen to the Bobcat records you can VOLUME 126 BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY, 2010 find no similarity with the Pollack band. I just stepped up by who was writing for Bing Crosby at and took a stick and gave two beats and the drummer the time. We got a wire from the Crosby office that said changed the tempo correctly and that made me a the I’M FREE was recorded by Bing and was now bandleader. titled WHAT’S NEW. I’d never heard the lyric or met Johnny Burke or anything but it went on from there and B B J : Was it collectively decided the emphasis would it’s been goin’ ever since. be on the two-beat sound? BBJ: There’s a story about how SOUTH RAM­ BC: Well, that’s a misnomer. We did not play two- PART STREET PARADE came to be written. beat. We played more four-beat than two-beat We played a great deal of two-beat but when we did we BH : We were at the New Yorker Hotel and at one took Dixieland out of the honky tonk field and built intermission Ray Bauduc said, “Hey, I’ve got it into the Big Band sound. an idea for a tune. It’s a New Orleans march.” He started singing me this thing. I wrote ledger lines on the We were as much a jazz band as we were Dixieland white table cloth and wrote down “Da da da dat” the though we did believe in traditional jazz. We wrote our first strain and part of the second strain. I took the own things: SOUTH RAMPART STREET PARADE, tablecloth home and made the arrangement from that. BIG NOISE, WHAT’S NEW?. We were a creative band (Back to the Bob Crosby comments, also from 1989.)

B B J: Did the band hit its stride quickly?

BC: No, we started out doing one-nighters and our first steady engagement was at Tybee Beach, Georgia just outside of Savannah. We had one week and a second week option and we didn’t have enough money to make the next jump unless we got that second week picked up. The Friday night at the end of the first week the owner of the ballroom, a big, tall Southern bootlegger, came up and said, “Who’s the leader of the band?” I said, “I am.” He said, “Well, lead it on out of here, you’re done tomorrow night.”

It was tough. We probably made our reputation when Crosby watches Haggartplay we finally decided to go strictly with what we liked to play. We were booked into the Adolpus Hotel in Dallas (The following excerpts are from our Bob Haggart and the manager came to us before we played a note interview published in 1989.) and said, “Fellas, we’ve been able to do no business here on the roof of the Adolfus and the Baker Hotel across BH: W HAT’S NEW was a song I’d written in the street gets all the business. I’m very sorry to tell you, Chicago when we were at the Blackhawk The but on your opening night I have to give you two weeks title I put on it was I’M FREE It came out in an notice.” So we were fired before we played a note. featuring all the guys in the band, Fazola, the player and Eddie Miller and Bob Zurke....I’M FREE Well, on the way in to the first set we got together and came out of this Bob Crosby showcase. It was the first we said, “Look, we’re nuts trying to play this dinner thing Billy Butterfield had been featured on and it caused music that compromises what we really believe in, quite a sensation, the way Billy played that tune. On the which is jazz.” We opened the dinner session with strength of that a lyric was written in COME BACK, SWEET PAPA and we played straight 2 VOLUME 126 BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY, 2010 on through MARCH OF THE BOBCATS and a few interview from the excellent book “Dialogues other things. Within about three days you couldn’t get In Swing” by Fred Hall, available on line at: into the room. We stayed there for, I believe, eight www.swing-thing.com or by phone at 1-800- months. The owner was impressed and he gave us the 693-9030. We encourage you to read the Lexington Hotel and the New Yorker Hotel up in New entire interview and to make this outstanding York and the band was on its way. book a part of your library along with its companion book ‘‘More Dialogues In Swing. BB J : Any favorites other than those already men­ tioned? LETTERS TO EDITOR

B C : I think I liked everything we did outside of the Letters to BIG BAND JUMP or the BBJ pop tunes we were forced into doing, but I like NEWSLETTER may be sent to the address below mostly the things we created ourselves. or e-mailed to [email protected]. When you e-mail, please give your name and address. BB J : How about those in which you sang? All letters are answered, but the volume sometimes delays a timely response BC: I never tried to be a singer after I started to lead the band. When I sang it was under pressure BBJ NEWSLETTER and because it was a ballad or something that somebody Box 52252 had to sing. I knew I was gonna’ be called Bing Atlanta, GA 30355 Crosby’s brother the rest of my life, but I figured I had The published letters have been edited for space a better band than Bing had and he was a better singer, considerations, but the meaning has been pre­ so I let it go at that. I had no ambitions to sing. served. BBJ: Was there estrangement between you and Bing somewhere along the line?

BC: No, no. It was a great publicity stunt once in awhile for someone to write that he and 1 didn’t get along. The reason people probably thought Bing and I didn’t get along was that we were never together. He was out making motion pictures and I was out on one- nighters. No, there was no quarrel between Bing and me and I loved him very much. He was a very fine man.

BBJ: Today’s society? Ken Curtis as Ken Curtis as Festus Ken Curtis (with ) BC: I just hope that we can get back together and back on a basis of what creative jazz does and Tom Sandow A friend told me that actor Ken Curtis, that is where we can understand one another, no Concord, CA who had roles in “” and mistaking what we’re saying. I wish the United Nations “Mr. Roberts” and other movies and were composed of nothing but jazz musicians from the played the sappy deputy Festus Haggin on TV’s various countries of the world. Let them play a couple “Gunsmoke,” was a singer during the big band years. of choruses of HONEYSUCKLE ROSE and we’d He said Curtis had a popular recording of SOMEONE ’ S know exactly what they’re saying. They can’t lie in ROCKIN’ MY BOAT among others. Can jazz. this be true? Thanks for any information on this. Yes, it’s true. Not only did he sing briefly with We ‘ve distilled the basic parts of the Bob Crosby the band, but also with Shep

3 VOLUME 126 BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY, 2010

Fields and then as part of the Sons Of The and even satellite services all program the same Pioneers. He appeared in Cowboy epics for things. We debated whether to publish the following in the mid-forties as a sing­ representative letters supporting BBJ and the kind ing cowboy romantic lead and in 1948 hosted of music the program represents. They’re printed and sang on “WWVA Jamboree ” in Wheeling, below as a sampling of positive response to indicate . that there’s an audience out there for non-rock, non-rap, non-talk programming. Since Ken Curtis was the son-in-law of movie director he had the opportunity to Ketchum A sl’m listening to this week ’ s appear in many of the Ford- mov­ Port Huron, MI program I note you use a lot of ies. He will be forever known, however, as air-checks on your program. Marshall Dillon’s deputy on ‘‘Gunsmoke. ” Ken Are these air-checks available commercially to us Curtis played Festus in 239 “Gunsmoke” epi­ civilians? Or are these recordings you’ve just happened sodes. His last television appearance was in on through the years? Or do you have access to radio 1991 as an old cattle rancher in “.” libraries that hold these rarities? Just curious. Keep up He died that same year. the fine programming.

Lawrence Vernazza What was Albert Ammons’ We have no special access but we’ve been San Mateo, CA BOOGIE-WOOGIE hit? Did collecting for a while. A record company no Avery Parrish write it? longer in existence specialized in just such rare recordings, first issued during the LP Albert Ammons performed ’s origi­ days and then on CD. They’re still out there nal BOOGIE-WOOGIE, if the reference is to but you have to look for them and a good place Ammons’ appearance at Carnegie Hall in the to start is Google. You ’ll be gratified at what late ‘30s as captured on the album titled you can find. ‘‘Boogie Beat.” Pinetop Smith’s original BOOGIE-WOOGIE is the basis for the famous Tommy Dorsey recording of that name. Avery Parrish was the pianist with Erskine Hawkins whose most famous recording is AFTER HOURS.

Gene Gorski You’re the greatest. Sitting here Toledo,OH listening to “Moments In Music” after hearing the “Goodman-Mercer Cara­ van” and the memories you bring back puts me right in that time. Look forward to your program every week and am really glad if I miss it on Saturday it’s on the web so us lucky people can hear it more than once, and believe me, I do listen more than once.

Mr. Gorski's letter helps us make the point that BBJ is available on the internet ON-DEMAND whenever you want to listen. We get e-mails wondering where BBJ can be heard, and our program is right at their Fats at the Yacht Club doing a broadcast. fingertips on the computer at www.bigbandjump.com near the top of the home page. It looks as if the Scott Copeland I greatly enjoy listening to BBJ internet may eventually be the only remaining source Wyoming, MI every Sunday on 960 WAKV for Big Band and associated music as radio stations in Plainwell,Michigan. Thank you very much for the wonderful radio program. VOLUME 126 BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY, 2010

My question is, I remember my father having a Fats Gina Alianiello I love your show!!!!!!!!!!!! Waller LP album in the late ‘50s. Part of the lyrics of Littleton, CO (We counted the exclamation one of the songs went something like bag-a-nag-a- points to be sure to reproduce sackie, the fellas chew tobaccy and the women wicky- the correct number. There were a dozen.) I’m a 47 wacky woo. Could you please tell me the name of the year old woman, just so you ’ll know what type of people song that it comes from? are listening. Of course, my dad loved the type of music you play. The song is NAGASAKI, written in 1928. The Fats Waller version is available on order from any good More and more notes such as the above are coming record shop or on line. The lyrics are: "Hot ginger from younger generations and most of them refer to and dynamite / There's nothing but that at night / a parent who acquainted them with the music. Even though peer pressure may Back in Nagasaki where the have caused them to em­ fellas chew tobaccy / And the brace a different style in women wicky-wacky-woo." (We their teens, they came back don’t know what Wicky-Wacky- to what can rightfully be Woo means but it sounds entic­ term ed “Great American ing.) The melody, written by , has been used Music. ” ever since by jazz groups. ARRANGER PRO­ FILE- Jimmy Heath I’ve been enjoy- Trenton, NC ing your show Let’s imagine you’re being for about 20 years now. I discovered it back in introduced to Frank De Vol at 1990 when I picked up your broad­ a party, and you have no idea who he is or what he’s done. cast on AM 1450 WNOS in New Bern, North Carolina. I fell in love Your host might ease your mind by saying something like, with it and have been listening “You recall Frank De Vol. ever since. I’m so grateful you continue your show, especially on He’s the one who composed and directed the music for the the internet. (WNOS in New Bern movies and has changed format and dropped Pillow Talk. Remember the BBJ.) I’ve never taken the time to write to a show before, but I felt I needed to thank you TV shows and ’? He personally Thanks for the show and PLEASE (his caps) wrote the themes for those programs. He also played keep it on the internet. the sour-faced bandleader Happy Kyne in the late seventies TV parody, In Fernwood 2 Night.” James Bowdon I listen to BBJ streamed on Lynchburg, VA KCSM broadcast Sunday All that achievement, on-camera and behind the scenes, morning 9 to 11 EST. I’ve was the result of Frank De Vol’s approach to his work. loved your show since I discovered it over a year ago “I never turn anything down,” he said. His Big Band and listen faithfully every week. In fact, we spent the background included arranging for and summer in Hawaii and I awoke at 3 AM each Sunday then for . His work in the radio and recording just to listen because of the time difference. studios in began with a phone call from radio station KHJ while he was working the graveyard Greater love hath no man than to wake up at 3 shift at Lockheed. Station management needed a music o ’clock in the morning to listen to a radio program! director and since KHJ was a key west coast affiliate of the Mutual Broadcasting System he soon was music

5 VOLUME 126 BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY, 2010 director for network programs with stars such as Rudy death in 1989. He married Helen O ’Connell in 1991. Vallee, , and Jack Carson. Helen O’Connell died in 1993. W ithahistoryofwriting the music for nearly fifty movies, seven television The De Vol reputation led to arranging and conducting series, countless record , five Emmy and five recording sessions and radio programs for top singers of Academy Award Nominations plus numerous acting the day: , , , credits, Frank De Vol “never turned anything down.” and . It was a Frank De Vol’s And he did it all with professional skill and the admiration string and piano arrangement that helped Nat Cole’s of his peers. Frank De Vol died in 1999. recording of reach the top in 1948. The strength of that success caught the attention of Next issue we continue our series of arranger which commissioned him to arrange profiles with a look at ’s career, and conduct a series of mood music albums titled possibly best known for his early work with “Music By De Vol.” Frank .

His scores for the movies Pillow Talk, Hush Hush Sweet Charlotte, and Guess Who’s Com­ BOOKS & RECORDS TO CONSIDER ing To Dinner in the late fifties and early sixties earned him four Academy Award nominations. While the TALK OF THE TOWN - public remembers him best for writing the theme for the Ben Grasafi Orchestra long-running television show The Brady Bunch, he’s also written themes for , and My Three Ben Grasafi is one Sons as well as scores for specific episodes of The of the good guys, Love Boat and McCloud. The music contributions working even in re­ should have been enough, but Frank De Vol also did tirement to keep the some work in front of the camera. Big Band sound alive. For years he’s His best ledaBigBandinhis known on- native New York, camera and now in work was on his own and as probably as part of the Sally Bennett Big Band Happy Grasafi album cover Kyne in the Hall Of Fame. He ‘70s TV visits high schools and colleges to speak to them and series In demonstrate the nuances of the style and he arranges Fernw ood and records the kind of music that represents the best 2 Night, a of the era combined with today’s approach. send-up of television The album we’re mentioning here is not a new one, talk p ro ­ having been recorded in 1995 in Glen Cove, New York, Frank De Vol in the '90s grams. He but no matter; it has the verve and excitement created also appeared as various characters in episodes of by combining familiar tunes with his full-bodied ar­ , , Petticoat Junction and The rangements. It’s our good fortune that his tenor sax is Jeffersons as well as McClintock and Brady Bunch. used liberally, for his experience playing with top Big Bands is evident in his ability to make a melody come Singer Helen O’Connell found happiness in later life alive. The melody is the key; it’s always prominent. when she became the second wife of Frank De Vol. His 54 year marriage to his first wife ended with her A total of eighteen selections include MY BUDDY, 6 (Please fold on dotted line)

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(Tape or Staple Here) CENTER PAGE OFFER - THE GIRL SINGERS

What a magnificent collection of ladies who sang with the Big Bands and then later as solo performers. They’re represented in both roles in this two CD set containing fifty-one (51) performances by two dozen different vocalists. The listing of the songs and singers is below.

The introductory price for this recently produced two CD collection is $28.00 with FREE shipping and handling. You can order on the phone at 1 -800-377-0022 or by mail using Visa or MasterCard as below, or with a check. Either way, you’re in for a treat as these talented singers fill your ears with melodies and lyrics you’ve been wanting to hear again.

GIRL SINGERS - CD ONE GIRL SINGERS - CD TWO TRACK LIST

1 In The Night Dinah Shore 1 Sentimental Journey Doris Day 2 Teach Me Tonight 2 Whatever Lola Wants Sarah Vaughan 3 With My Eyes Wide Open 3 Autumn In New York Jo Stafford 4 Waitin’ For The Train To Come In 4 You’ll Never Know 5 1 Remember You Sarah Vaughan 5 6 I’ve Got A Crush On You Kitty Kallen 6 7 Skylark Anita O ’Day 7 Why Don’t You Do Right? Peggy Lee 8 Rosemary Clooney 8 They Didn’t Believe Me Dinah Shore 9 Stormy Weather Lena Horne 9 Ginny Simms 10 Oh, What Is Seemed To Be Marjorie Hughes 10 Fran Warren 1 1 11 Allegheny Moon Patti Page 12 Do It Again 12 My Ideal Margaret Whiting 13 I’ve Heard That Song Before 13 It’s The Talk Of The Town 14 Love For Sale Julie London 14 September Song Sarah Vaughan 15 In The Still Of The Night Ella Fitzgerald 15 I’ve Got The Sun In The Morning Roz Patton 16 My Funny Valentine Dinah Shore 16 Willow Weep For Me June Christy 17 I Got It Bad Ivie Anderson 17 Mean To Me 18 Just For A Thrill Helen O ’Connell 18 Rumors Are Flying Marjorie Hughes 19 The Man I Love 19 It All Depends On You Dinah Shore 20 My Dreams Are Getting Better Doris Day 20 Fools Rush In Keely Smith 2 1 Golden Earrings Peggy Lee 21 Baubles, Bangles And Beads Peggy Lee 22 Darn That Dream Mildred Bailey 22 My Heart Belongs To Daddy Kitty Kallen 23 I Cried For You Helen Forrest 23 Bewitched Doris Day 14 I’ll Close My Eyes 24 But Beautiful Margaret Whiting 25 You Belong To Me Jo Stafford 25 1 Can’t Get Started Fran Warren 26 Love Is Here To Stay Ginny Simms

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(Tape or Staple Here) VOLUME 126 BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY, 2010 offered with upbeat verve. The soulful TALK OF THE yet, he’s been virtually forgotten. TOWN, COME BACK TO SORRENTO and BODY AND SOUL are tempered with a driving version of Author Steven Beasley acquaints us with Kay’s begin­ THERE WILL NEVER BE ANOTHER YOU. Grasafi nings as the son of the town pharmacist in Rocky Mount, pointed out his idea is to take melodies we all know, such North Carolina, through his time at the University of as OVER THE RAINBOW, I’M IN THE MOOD North Carolina and then on the road building a following FOR LOVE and WHEN I GROW TOO OLD TO town by town, city by city. As so often happens, the DREAM and give them a full band sound. DON’T national radio program grew from a local remote broad­ TAKE YOUR LOVE FROM ME, PERDIDO and cast. When the band was appearing at Chicago’s DIXIE help contribute to that idea and are part of the 72 Blackhawk Kay would clown around on the air asking minutes of satisfying melody making up the 18 tracks. simple questions of “contestants” from the audience of dancers. The local show became so popular it drew Available directly from Ben Grasafi at: hundreds of letters. Those letters helped Kay Kyser bengrasafibigband.com or by e-mailing him at convince the National Broadcasting Company to put the [email protected] or by phone at (561) 776-8855. same idea on the network. $ 15.00 plus shipping. Musicians of the time would question the use of the word “swing” in the title of this entertaining book. Kay KAY KYSER - The OF Professor of Swing! Kyser was often referred to as the “King of Korn” A Biography by Steven Beasley because of his simplistic clowning and basic jokes, directed mostly to an under age 21 audience. The fact The sub-title of is, however, the radio program and the novel recordings this remarkably and movies resulting from its popularity appealed to the Y.cij Fiy detailed book masses. The music stressed the melody, the singing The OF Processor of Swing! about Kay song titles gave each song (and recording) distinction Kyser is a n d “America’s Kay’s Forgotten fa m i 1 y Superstar” approach and that’s led to not an ex­ g e n e ra l aggeration popular­ or an ity. author’s lib­ erty with G i n n y Am« fact, for Simms by Steven Beasley Kyser was was per­ a superstar haps Kay Book Cover of his time. K y se r’s K a y b e s t - Kyser’s Wednesday night half-hour NBC radio known program was heard by 40 million people in a time Harry and Ginny female when the population of the was just singer over 130 million. It was headline news when he married and they had a close relationship. Kay’s connection model Georgia Carroll, his movies packed theaters and with Georgia Carroll began later when she was part of his personal appearances broke ballroom records all a military camp appearance, just so the soldiers could over the nation. If a television program today attracted look at her. Later, though, she began to sing and became as many viewers as Kay Kyser’s Kollege of Musical not only part of the on-air crew, but eventually Kay’s Knowledge did listeners, it would be a blockbuster. And wife. was perhaps the best-known of the 7 VOLUM E 126 BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY, 2010 male singers, re-joining the band after his Navy service and staying until Kay’s retirement from the entertain­ ment business. When Harry Babbitt went into military service he was replaced by who later became famous as a TV talk show host.

During WW1I, Kay Kyser entertained military person­ nel with over 1800 appearances. There were a few years in the late when the Kollege of Musical Knowledge was transferred to television, but then Kay totally retired from public life, moving back to his beloved North Carolina. The rest of his life was devoted to civic works including establishment of the non­ commercial television station WUNC, a drive to build medical facilities across the state and his work with Christian Science. Ella immersed in song TWELVE NIGHTS IN HOLLYWOOD - Ella The book stresses Fitzgerald the Kay Kyser Verve “Live” Four CD set films, complete with lobby cards With all the re-releases available, it’s and publicity something of a miracle for there to be fresh, shots, part of the new unreleased Ella Fitzgerald. This new scores of photos four CD boxed set is the result of a 1961- from Kay’s earli­ 1962 taping of Ella Fitzgerald as she per­ est days through formed at the Crescendo, an intimate Hol­ his public service lywood club. The tapes were recently period and until discovered and restored to capture Ella his death. In­ Fitzgerald’s personal style as no studio cluded are indi­ production ever could. vidual profiles of key band mem­ A total of 76 songs have been carefully bers, an extensive selected from the series of tapes commis­ discography and sioned by Norman Granz, EllaFitizgerald’s filmography as manager and the original owner of Verve, well as reprints of now owned by Polygram. If you’re an Ella a number of Fitzgerald fan, this set is like discovering internet blogs on auditory gems from some of her best years. the subject. Available at any good record store. A total of340 pages. $23.95 plus $2.77 shipping in soft cover available directly from: Richland Creek Publish­ SID ELIG H TS ing-9018 Balboa Blvd. # 605 -Northridge, CA 91325 Some classic humorous stories have not been re-told on these or from Amazon.com. pages because they were used in early newsletter editions. We do not want to be overly repetitious, but some o f the (As an adjunct to this hook review, a BBJ legendary musician anecdotes are repeated here in the hopes program about Kay Kyser has been scheduled the few early subscribers from twenty-some years ago will for the weekend of 6-7 March.) forgive us for they need to be read by the more recent (and much larger) subscriber audience. VOLUME 126 BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY, 2010

(SIDELIGHTS CONTINUED) Room with his party and wanted to hear some music. Claude Thornhill, often less than serious, appeared at JOE VENUTI A tireless practical joker, vio­ the piano just after the rest of the musicians arrived to linist JoeVenuti dur­ play for Mr. Rockefeller and his party, replete with ing his most famous starched shirt, black tie and tuxedo jacket, but without years performed his trousers... .just his multi-colored shorts. his most elaborate gag as reported in a The epilogue to this story is that Nelson Rockefeller was musician’s union publication. He amused and Claude Thornhill and Nelson Rockefeller phoned fifty acous­ remained close friends from that momentuntil Thornhill’s tic bass players to death in 1965. work with him on a one night job and ALVINO REY Early in the Alvino Rey Or­ told them all to meet chestra days they him at 5 PM on the were playing at the corner of Sunset Log Cabin in and Vine with their instruments. He found a room Armonk, New overlooking the famed Hollywood intersection and York with the band when five o’clock came all fifty musicians along with staying in dormitory their bass fiddles were gathered, asking one another type housing. Au­ where Joe Venuti was. dio tape hadn’t been The musician’s union made Joe pay scale to each of the invented yet, but fifty bass players, but apparently the gag was worth the Alvino Rey was an expense. electronics buff and The mature Alvino had secretly made We wonder, though, if ANY bass player ever again a disc of the open­ took a Joe Venuti phone call seriously. ing of one or their radio programs from the Log Cabin a couple of days before. CLAUDE THORNHILL In the mid-thirties Claude Thornhill It was about noon on Sunday, so the story goes, and the was playing piano band’s broadcast was scheduled for later that day. The for Ray Noble in the band members were sound asleep, their alarms set to fashionable Rain­ give them plenty of time to make the broadcast, still j ! bow Room atop 30 Rockefeller Center. hours away. Alvino quietly set up a public address One of the sidemen system and turntable and exactly at noon played the recalls it was a slow broadcast opening. “From the Log Cabin in Armonk, weeknight and Ray New York, it’s music by Alvino Rey and his orchestra! ” Noble let the or­ Then the band’s theme filled the dormitory. chestra wrap it up a few minutes early. There was massive confusion as each man, thinking he Ayoung Thornhill They were in the was the only one who overslept, scrambled out of bed dressing room changing from tuxedos into their street only to discover A1 vino’s smiling face standing in the hall clothes when Noble dashed in and asked them to put beside the giant loudspeaker It was a collegiate kind of their tuxedos back on and get back on the bandstand. joke, but they were collegiate age kids back then, only Nelson Rockefeller, the very man who developed later savoring the moment. Rockefeller Center, had just come into the Rainbow 9 VOLUME 126 BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY, 2010

5 - Singer Margaret Whiting’s MY IDEAL was with what TR IV IA QUIZ band?

This is quiz number 125, for one of the earlier BBJ NEWS- (A) (B) Billy Butterfield (C) LETTERS omitted the quiz. W e won’t do that again for (D) some readers say it’s the feature they go to first when the newsletter arrives. Of late,.quizzes have been based on facts 6 - Vocalist J o Stafford was married to: noted in recent BBJ programs. This one is based on the programs titled: “The Small Groups" - “The Girl Singers” (A) Freddie Slack (B) Billy Butterfield (C) Paul and “ Centennial.” Weston (D) Duke Ellington A score of six is respect­ 7 - Singer Ivie Anderson able, seven or eight cor­ sang with which band? rect indicates a superior grasp of the Big Band Era (A) Freddie Slack (B) and nine or ten correct Billy Butterfield (C) Paul puts you at the head of the Weston (D) Duke music class. Question Ellington nine is noted as unique with two correct answers 8 -Johnny Mercer’s col­ possible. You might want laborator on BLUES IN to award yourself an extra THE NIGHT was: point if you know both answers making a possible (A) TV7 award winner Dinah Shore perfect score of eleven. If (B) you achieve that perfect score please let us know so we can (C) Duke Ellington (D) Lawrence Welk salute you in print in our March-April, 2010 issue. You understand, of course, that no cheatingis tolerated but you 9 -Johnny Mercer wrote can check out your answers on page twelve. We start out both melody and lyrics gently and have supplied a copious number of photos to for: (There are two correct help key off your thinking process with visual cues. answers to this question. Tricky, huh?) 1 - The Gene KrupaJ azz Trio’s first hit recording was: (A) GIJIVE (A) DARK EYES (B) SAVOY (C) TEN RICHIE DRIVE (D)IDA (B) MOON RIVER 2 - ’s little band played what is sometimes (C) DREAM called “Chamber Music Jazz.” Whatinstrumentdid (D) LAURA hie Anderson in John Kirby play in his group? 10 - The Mercer lyric to (A) trumpet (B) sax (C) LAZYBONES was banned bass (D) xylophone during WWII in:

3 - The Nat Cole Trio was (A) England unusual in that it did not include: (B) Germany Nat Cole recording without (A) drums (B) guitar the trio. {Part of quiz.) (C) bass (D) piano (C) India

4 -Singer Dinah Shore was from: (A) Alabama (B) Arkansas (D) Brazil (C) New York (D) Tennessee

10 VOLUME 126 BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY, 2010

UPCOMING BBJ PROGRAM TITL E S 23-24 January, 2010 A trip into the far reaches of THELPFILE the back room gives us a chance to be reminded of some (The first three listings are repeats for new subscribers.) of the top tunes introduced to us on LP. While every 26-27 December, 2009 Producer Dave Riggs significant artist and melody has been transferred to CD SOUNDS OF CHRISTMAS is a fan of Christmas in the past couple of decades, we still find some inspira­ music and his collec­ tion back there; the LP art work and emphasis from tion of holiday tunes is extraordinary. We tap his library another time call our attention to both varied and highly to add extra variety to the season, along with a mythical standardized recordings. We hear two dozen of them, tour through a small residential town in mid-America. some not heard for a generation. The stories, the varied music, the sleigh bells and joyous 30-31 January, 2010 In the last few years voices combine to create a program for this holiday “LIVE” FROM CHICAGO the “live” series of weekend. BBJs have gained con­ 2-3 January,2010 The focus of siderable popularity as new listeners discover the now NEW YEAR’S DANCE PARTY BBJ by its rare sound of actual ballroom broadcasts and older very nature is listeners re-live a time when the fascination of radio was music for listening but we vary our program for this one paramount. As the name implies, this program concen­ weekend alone to provide the orchestras assembled trates on the bands appearing at the storied ballrooms and strictly for dancing., all with an easily perceptible beat. As hotels in the nation’s largest mid-west city including the brochures used to say, the music to be heard is for , , Dick Jurgens and Bob terpsichorean efforts. Ballroom legends will include Lester Crosby among others. The crowd reaction, the excite­ Lanin who said his music was played in a tempo with “the ment and the immediacy combine to give these preserved rhythm of a brisk walk.” Others to be heard in this vastly rare broadcasts a special flavor. different program are , Sammy Kaye and 6-7 February, 2010 This formula, selecting titles who all fashioned music with a danceable CITY HOUR or references to cities in each beat. You can, of course, listen if you want to but selection, was tried once be­ dancing is the focus for this weekend only. fore for just an hour. Now we dig deeper into the library 9-10 January, 2010 We go through the and come up with additional “city” songs to constitute the THETIMEMACHINE ‘40s with represen­ full two hours of BBJ. The ones you expect will be there, tative hits for each of course. New York and Chicago will be referenced but year starting with Tommy Dorsey, and the so will locations less prominent. The advantage of doing Pied Pipers singing I’LL NEVER SMILE AGAIN and a full two hours based on tunes with cities either in the title ending with Frankie Laines’s and Les or in the lyrics is the broad range of styles that approach Brown’s EVE GOT MY LOVE TO KEEP ME WARM. In yields. Singers you may not have heard recently, bands between will be recording successes by Andy Russell, not in the top echelon, melodies you possibly haven’t , and Bing Crosby heard for years, if at all. among many others. The transition of music styles will 13-14 February, 2010 So many of the com- be clearly evident as we embark on this review of the SAMMYCAHNLEGACY posers of popular leading recordings of that eventful decade. song are virtually un­ 16-17 January, 2010 You can’t see it, you can’t known, even though we all know their work. Sammy IT’S ABOUT TIME stop it and you can’t ignore it. Cahn’s name isn’t unknown but few of us recall he’s the Time is with us in so many one who wrote IT’S MAGIC, I’VE HEARD THAT forms, not the least of which is the subject for music SONG BEFORE, DA Y B Y DAY and I’LL WALK ALONE. titles. In some instances the titles carry an actual time, Cahn has received four for his songs such as 920 SPECIAL or 11:60 PM. In others the as well as often being considered a “personal” reference is more general: AFTER HOURS, FIVE MIN­ for Frank Sinatra who experienced success with so many UTES MORE and JUST IN TIME, for example. The Cahn lyrics.We hear the songs of per­ subject gives us an opportunity to hear such varied artists formed by Sinatra, and Doris Day among as Erskine Hawkins, Anita Kerr, and even others as we learn how a kid from Brooklyn became a Jimmy Durante. We attempt to make good use of our lyricist to top musical stars. programming time. 11 VOLUME 126 BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY, 2010

20-21 February, 2010 Requests for more SINGING GROUPS use of singing groups BBJ TRIVIA QUIZ ANSWERS is second or third in the list of suggestions from listeners. We heed those 1-A DARK EYES -The full band was to record but they suggestions in this session as we hear from such groups were arguing about tempo so sent them home as , the Clark Sisters, and and recorded with just Charlie Ventura andTeddy Napo­ of course the Andrews Sisters. The Ink Spots and the leon. DARK EYES was the result. Mills Brothers will also be represented as we listen to ten different singing groups both with the Big Bands and as 2 - C Bass. John Kirby could play multiple instruments stand-alone acts. As well as the names you recognize, but played bass in his group he called “Biggest Little you’ll hear groups you’ve possibly never heard of, in­ Band In The Land.” cluded for their musical excellence. If you like words with your music sung by harmonious groups, this is your program! 3- A You know the story. Nat Cole had a club date to be Nat Cole AND his trio but the drummer didn’t show up. 27-28 February, 2010 This program began It was piano, bass and guitar from then on. SINATRA BY OTHERS / as a purely instrumen- OTHER BAND’S HITS tal salute to songs iden­ 4- D Born in Winchester, Tennessee to Russian immi­ tified with Frank grant parents as Frances Rose Shore. She auditioned for Sinatra. As the program developed it was expanded to also Benny Goodman,Jimmy Dorsey and Tommy Dorsey and Include such songs as sung by others. A few examples: was turned down by all three leaders. THE LADY IS A TRAMP became identified with Frank Sinatra but we hear the highly stylized version by singer Buddy Greco. COME FLY WITH ME is certainly a 5- B You’ll recall that Margaret Whiting’s recording of Sinatra standard, interpreted for us instrumentally by Si MY IDEAL begins with a trumpet solo with the vocal Zentner. A dozen such Sinatra favorites are included as chorus later in the arrangement in the Big Band style most performed by others. often used. Later issues of the recording had Whiting’s name as star. Similar to songs made a part of the Sinatra legacy, certain hit recordings are most recalled by a particular Big Band. 6- C Paul Weston, of course, as profiled in the November- In this second hour we hear those familiar melodies as December, 2009issue. played by others.

6-7 March, 2010 We present this pro- 7- D Ivie Anderson may have been the most famous girl KAY KYSER RECALLED gram about Kay Kyser singer to come out of the Duke Ellington organization. as a tie-in to publica­ tion of a biography about him, reviewed in this issue. The 8- A Harold Arlen is generally cited as Johnny Mercer’s story is told with comments from Kay himself, his wife top collaborator out of a list of hundreds. After J ohnny’s Georgia Carroll and daughter Kimberly as well as with his death his wife Ginger expressed the wish that J ohnny had music. Whenever such a book is published, curiosity written more with Arlen. about subject is a natural consequence. Most compelling about this program are samples of sound from the Kyser 9- A & C DREAM, as you recall, was written as the theme motion pictures as well as originals of some of his for the radio program Mercer and Weston were doing in most famous recordings. the early forties. The oft-told story of GI JIVE is its 13-14 March, 2010 We tend to think ofthe Big Band inspiration when Mercer saw some servicemen crossing SECONDARY BANDS Era in terms of just a few ofthe the street in jaunty fashion while he stopped for a traffic most famous bands, but there light. It’s said he had the song written in his head by the were hundreds of bands then recording excellent material. time he arrived at his office. We dig out some of the secondary names as we listen to Hal McIntyre, , , Jack Jenney, 10- B Adolf Hitler was afraid LAZYBONES’ message Boyd Raeburn and . There will be others, too, would encourage sloth among G erman workers. as together we discover some beautifully performed but seldom heard gems from the Big Band world. 12 BIGBAND JUMP Presorted Standard Box 52252 U. S. Postage Atlanta, GA 30355-0252 PAID Atlanta, GA Permit No. 3259

The pretty singer this issue is ’s , best recalled for .