BIG BAND JIMP

NEWSLETTER

BIG BAND JUMP NEWSLETTER FIRST-CLASS MAIL Box 52252 U.S. POSTAGE Atlanta, GA 30355 PAID Atlanta, GA Permit No. 2022 BIG BAND JIMP NEWSLETTER

VOLUME XLIV (O ur 8th year!)______BIG BAND JUMP NEWSLETTER MAY-JUNE 1996

RALPH SHARON INTERVIEW The Background

It must have been a decade or so ago when an old friend phoned to enthuse about a fellow named Ralph Sharon whose piano skills as he accompanied Tony Bennett were called to his attention at a Bennett concert. That was the first we had heard the name Ralph Sharon, for concentration on non-vocal recordings in the Big Band idiom had steered us away from most of the currently popular vocalists except as they related to former Big Band affiliations. When our friend talked about this guy who’s musical inventiveness was so apparent, we began to listen, first as an adjunct to the Bennett vocals, and later to an instrumental album of the Sharon Trio playing Sammy Cahn melodies with guest star Gerry Mulligan.

Back in the Ted Heath days, it was Sharon’s piano we heard in the Heath rhythm section, it turns out. He moved to the states in the early 50’s and landed a job as Pianist Ralph Sharon in a portrait by Tony Bennett Bennett’s accompanist nearly by accident, as detailed in the interview. He’s been a vital part of Tony Bennett’s Rodgers, George Gershwin, Irving Berlin and Harold success, selecting material for him and being present Arlen. wherever he performs, building a solid foundation for the lyrics plus providing an interesting filigree of sound In retrospect, the greater part of Ralph Sharon’s adult at the bridges. A recent “live” cable TV request show life has been spent with Tony Bennett, and while his starring Tony Bennett pointed up not only Ralph work with Ted Heath was important, these trio albums Sharon’s skill and versatility, but the way the trio has are his first move into the international spotlight as an become melded to Bennett’s style. Phoned requests individual performer. during the show were filled as if they had been rehearsed and planned; there was no hesitation or moments of The Scene indecision, and the performance of these spur-of-the- moment titles came off with not only professional The interview was set up by Tony Bennett’s publicist, perfection but with artistic innovation. scheduled for one of the rare times when Ralph Sharon was available. Between TV, records and personal Most recently a British company has released a series of appearances for Tony Bennett and his own flurry of trio composer-based albums by Sharon and an English trio recording activity in Britain, there aren’t many spare made up of drummer Jack Parnell, with whom Sharon minutes left on the Sharon dance card. We had to wait worked in the Heath band some four decades ago, and several days before a time could be worked out, but it bassist Lenny Bush. Included in the releases are albums was worth the wait. featuring the melodies of the great American composers of this century: Cole Porter, Jerome Kern, Richard Ralph Sharon is a good interview subject. He’s easy to VOLUME XLIV (Our 8th year!) BIG BAND JUMP NEWSLETTER MAY-JUNE 1996 talk with, and his answers are given naturally, without the guys I was dealing with, they just knew right away the veneer that sometimes goes with performers who are exactly what was needed. They also made some very subjected to so many varied personalities. It was as if good suggestions themselves that helped me a lot. we were talking with an old friend and his answers, even though he’s repeated them countless times in other BBJ: We’re constantly amazed at the ideas you come interview situations, were delivered with the ease and up with in these trio albums making familiar freshness of having been related for the first time. tunes sound so fresh.

Since the most recent recordings of his trio have brought RS: Nice of you to say that. I’m going to say that him to the fore, it was logical that our first question be when you’ve played a lot in your career.... concerned with them. when I sit down and think about what I’m going to play for these particular tunes, I do try to come up with some The Interview fresh ideas. I sort of take the basic framework of the song and say, “Now, let’s see what I can do with it.... if BBJ: How did the recordings with the British trio I can take it a quicker tempo, change some chords. ” I try come about? to make it interesting for myself so the listener will find it interesting, and as far as where I come up with those RS: I am from England originally; I don’t know ideas, that’s a compliment when you say that. I try to get whether you knew that. I go back every so often, something interesting in what I do. but I live in the states now. There’s a recording company there interested in me doing something with the trio, but BBJ: Would you repeat the story of how you audi­ with British musicians, the very finest drummer. .. Jack tioned for Tony Bennett? Parnell and a bass player named Lenny Bush. Top people in Britain. The record company had the idea of RS: I had immigrated to the states from London in taking... what you might call a songbook... taking an 1953 and was living in New York and just individual composer and doing a jazz trio version of started playing around.... forming a trio. I got a phone their work. That’s how that came about. call out of the blue; somebody said would you like to play for Tony Bennett, to audition. I really didn’t know BBJ: You played piano for Ted Heath. a lot about him, but I said, “Yes, sure.” He was having some auditions at Nola Studios and there were a couple RS: That’s exactly right. Jack Parnell was the of other fellows in there, and I played something and he drummer with the Heath Band when I was sang something and he said, “OK, that’s it. You’re the there. That was many years ago, but that’s what he was guy.” On a simple handshake we’ve been together now doing at that time. for going on thirty years.

BBJ: Was there any difficulty reading each other’s BBJ: You select some of his songs for him. character when you got together to do these trio numbers after so many years? RS: I do pick his stuff. My biggest claim to fame as far as Tony’s concerned is I did find I LEFT RS: A good question. I find that whether it’s in MY HEART IN SAN FRANCISCO for him. I was England where I come from or the states where living in New York at the time and I had a couple of I live now, a certain musician who is thoroughly versed friends who used to write songs and they knew I was with in what you’re doing, which is jazz in my particular Tony Bennett. They used to show me these songs they case, the music language is the same. You say I’d like had written and they usually weren’t that great; they to do this and play this and they know what you’re were sort of children’s songs.... for school children. talking about. There’s no struggle that way. It would They weren’t the Tony Bennett kind of thing. One time be tough if, I want to say, inferior musicians. .. but if they gave me a whole bunch of songs and said, “Have a they were less expert musicians, you’d have a little look at these.” I put them away in a drawer. trouble. You’d say, “That’s not quite right.” But with 2 VOLUME XLIV (Our 8th year!) BIG BAND JUMP NEWSLETTER MAY-JUNE 1996

About two years later I was looking for a shirt in a chest RS: Not only my old friends but my own family! of drawers and I saw this piece of music there. It was People there don’t resent the accent, but quite titled I LEFT MY HEART IN SAN FRANCISCO. I a few people say, “Although you left and went to was going with Tony Bennett to San Francisco for an America, why did you have to become an American engagement so I put the song in my bag. I hadn’t even citizen?” That’s quite a surprising comment to me. I looked at it.... hadn’t even opened it. Onthewayto San always tell them that it’s a place I emigrated to, I got Francisco we had an engagement in Hot Springs, Arkan­ married there, I live there, I’m very happy there and I sas of all places. I pulled this song out of my bag and actually wanted to become a citizen. I feel if you’re not looked at it. I said to Tony, “We’re going to San a citizen in a country, you’re nothing. You’re just an Francisco next week. It might be a nice idea to sing this immigrant and you have to check in every now and song.” I remember we went right down to the bar of the again. I quite believe in that, so it’s not just the accent. hotel we were at in Hot Springs and I played it for him. I really haven’t lost much of my accent, although you He thought it was sort of a nice idea. might disagree with that.

We went on to San Francisco and I did an arrangement BBJ: We were surprised at how American you sound. for him and he sang it there. The people liked it, but we actually thought it was just a local thing like singing RS: (Laughs) A lot of people here think I come from NEW YORK, NEW YORK in New York or CHI­ Boston. I’ll tell you something funny. In the CAGO in Chicago. There was a man there at the time world of fashion, a British person who emigrates to the who worked for Columbia Records who suggested we United States, that’s called a transatlantic accent and record the song when we got back to New York. He it’s supposed to be a good way of speaking the English thought at least we’d sell some records in San Francisco. language, so I have a transatlantic accent. We did record it and it took a while, but it became a world-wide hit. It’sTony’s signature song.... and that’s BBJ: In a Tony Bennett “live” interview a couple of the story ofthat song. If I hadn’t been looking for a shirt years ago, he sang a request song on the spur it would never have happened. of the moment. We asked for ALL OF YOU and your trio and Tony instantly played and sang it as if it had BBJ: You look like a retired banker. You don’t look been planned. like a swingin’ musician but the ideas that come out of your head are certainly not banker-like. RS: I think we pride ourselves on that. I know a lot of songs and Tony knows a lot of songs and we RS: (Laughs.) I think my wife would appreciate usually can, at the drop of a hat, go right into it. that. I wish I were a banker in one way. That’s Sometimes at a show someone will call out something a funny comment, but I have had that said about me really remote, and he’ll know it. If he doesn’t know it, before. You know, the stereotype of a jazz musician, he’ll call out to me and ask if I know it. It’s quite a good they come in all shapes and sizes. There’s no particular game. Tony has an amazing memory for lyrics. I pride person, but I take that as a compliment. I don’t mind myself in knowing a lot of tunes, but Tony knows a lot looking like that at all. (Ralph’s emphasis) of lyrics.... going way back, too.

BBJ: What’s the latest album? BBJ: Thank you for talking with us.

RS: I just finished a trio album, just last week, it’s As noted last issue, these British trio albums by supposed to be out in about four weeks from now, all Ralph Sharon are available from: MUSIC LOV­ Harold Arlen tunes. We picked another composer and ERS RECORDING SOCIETY - Box 2222 - did his work. Doylestown, PA 18901.

BBJ: When you go back to England do your old friends there accuse you of having an Ameri­ can accent? 3 VOLUME XLIV (Our 8th year!) BIG BAND JUMP NEWSLETTER MAY-JUNE 1996 LETTERS TO THE EDITOR we received a flurry o f letters. Gerard Selman In the March-April, 1996 is- All letters to the program or the newsletter are West Palm Beach, FL sue of the newsletter under answered eventually, although only letters deemed UPCOMING BBJ PRO­ o f most general interest are used in this newsletter; GRAM TITLES you stated that IT’S A LONESOME please be patient, for the volume is greater than our OLD TOWN was the Ted Lewis theme. I’m really quite ability to handle in a timely fashion. Questions and sure that the song was Ben Bemie’s theme. comments about either the BBJ NEWSLETTER or the BIG BAND JUMP radio program maybe sent to: We 're wrong, Mr. Selman 's right. We especially should have recalled the fact that in Benny Goodman ’s BBJ NEWSLETTER early career he used to do a comedy version of Ted Box 52252 Lewis’s ME AND MY SHADO W... not IT ’S A LONE­ Atlanta, GA 30355 SOME OLD TOWN. Thanks for the correction.

The letters that follow have been edited for space Mr. & Mrs. Eldon Curtis Where have you been considerations, but the meaning has been preserved. Davenport, IA all our life? We just discovered you on Larry Clinton, Jr. I was delighted to receive your WVIK, Rock Island, Illinois. BIG BAND JUMP is our Sausalito, CA March-April issue, and to see favorite program and we wonder how long it’s been on? that MY REVERIE by my Please keep it on. We love it. late father and Bea Wain is one of the clear favorite vocal recordings of your subscribers. I notice you BIG BAND JUMP has been on WVIK, a Public sometimes run anecdotes or reminiscences about figures Broadcast Station, since October, 1989. There is a from the Big Band Era. If you like, I’d be happy to send one hour weekly version o f BBJ made especially for you one about my father’s first big break, which is a use on non-commercial stations here and abroad, classic Depression era rags-to-riches story. Meanwhile, but it isn 7 as widely distributed as the two hour keep up the good work. commercial station version.

A double surprise to hear from Larry Clinton, Jr., for we didn 't know there was a Larry Clinton, Jr. and also didn’t know he was a subscriber. He also writes extremely well, and the reminiscence he men­ tions in his letter is printed in this issue.

Joe Girimonte Finally caught you! On the San Francisco, CA program you stated the Disney portion of the movie for ALL THE CATS JOIN IN was cats dancing. (His under­ lines.) Sorry, it was teenagers and the artist did the drawing while the music played, starting out with a jalopy and ending in a malt shop with a juke box.

Ooof. Like a body blow to the solar plexus, Kennedy says, but Mr. Girimonte is absolutely right. Seriously, Kennedy says it’s the curse o f a bad memory and ad- libbing, but that’s no excuse. We ’re most appreciative Cover of Savoy's Prima album o f the corrections and Kennedy isn 7 the only one. See below for your editor's goofin the last issue, for which (See Paul Wood letter [next] for the Prima connection.) 4 VOLUME XLIV (Our 8th year!) BIG BAND JUMP NEWSLETTER MAY-JUNE 1996

Paul Wood Please repeat the great Louis alone these esoteric albums.) They are Columbia Falls Church, VA Prima-Lily Ann Carol record CS03I3 (Jonathan and Darlene Edwards in Paris) and o fl’LL WALK ALONE, plus Columbia CL 1024 (The Piano Artistry of Jonathan SENTIMENTAL JOURNEY and any other Prima Edwards). Out-of-print records can often be found at: Orchestra records you might have. Along with other WIRELESS MUSIC SOURCE 1-800-726-8742 or GI’s in WWII, I loved that number, but through the JOSLIN 'S JAZZ JO URNAL 1-316-421-4114. years I have been unsuccessful in locating a copy of the record.

There 's a collection o f Louis Prima WWII orchestra recordings available on: SAVOYJAZZ - ZDS 4420. It contains all those Prima Big Band hits, but quality is marginal because the masters o f all those records have been lost. The CD is made up mostly o f jukebox copies found in dusty boxes, but the Savoy folks have done the best job of restoration they could and still preserve the original music.

James F. Young I would like to subscribe to Tulsa, OK your newsletter. I am a fan of the Big Bands and the band and pop singers. My particular interest was Buddy Clark who did a lot of singing with the 30’s bands.

Mr. Young is an ardent fan o f Buddy Clark and has written a lengthy biography of him, plus some Jonathan Edwards' two right hands interesting sidelight stories. His telling of the Marlin Taylor Sam “the man” Taylor re- LINDA story, published here some years ago by Doylestown, PA corded a song called BUCK’S another author, is in this issue. COUNTY BOUNCE some forty years ago. Do any of your reader’s have it, and if Dr. Dan Steele Sometime in the 50’s or 60’s so would it be possible to get a copy? Cedar Falls, IA Jo Stafford put out an album or two where she sang just a Maybe someone can help. If you can, please let us little off key. They were really great. They were not know at Box 12,000 - Atlanta, GA 30355 and we ’ll done under her name. I would like to get one or both of pass the information along. these albums and hope you can help me. EVERYBODY’S DOIN’ IT.... BIRDS DO IT, BEES Jo Stafford and husband Paul Weston both ap­ DO IT, EVEN EDUCATED FLEAS DO IT! peared on the album(s) and called themselves Jonathan and Darlene Edwards. They presented Not falling in love, even though that’s the reference, of themselves as legitimate; it's said that they were course. BIG BAND JUMP is now on the ubiquitous making fun of a socialite at the time who fancied INTERNET at www.bigbandjump.com. Listed there herself a singer and issued vanity recordings o f her are the radio stations carrying the two hour weekly BIG off-key vocalization. For that reason, a lot of BAND JUMP radio program, along with the times and people bought them feeling they were “in the know. ” dial position. The DON KENNEDY SHOW stations The albums aren't beingpressed anymore, o f course. are also listed. Big Band product information is also (It’s difficult to find Jo Stafford’s or Paul Weston's noted, and as we expand the service we hope to include “real” records on Columbia/Sony anymore, let an audio feed of ours and other programs involving Big Bands and associated music.

5 VOLUME XLIV (Our 8th year!) BIG BAND JUMP NEWSLETTER MAY-JUNE 1996

THE LARRY CLINTON STORY between sets and selling him the charts. When they got there, they only had the price of one Larry Clinton, Jr. sent us a story about his father ’s admission, so my Mom agreed to wait in the car. “I’ll big break in the music business. (See LETTERS TO just be a few minutes,” Pop promised her. Since it was THE EDITOR.) This is that story, in Larry Clinton, winter, she sat out there with the motor running to keep Jr. ’s words as related to him by his mother. warm.

Nearly an hour went by, with the doorman constantly checking to be sure Mom wasn’t asphyxiating herself, before Pop finally re-emerged. Opening the car door, he smiled at her. “Come on, honey, we’re going inside.”

“What do you mean?” She replied.

“Well, not only did Tommy buy the arrangement, he hired me as the band’s full time arranger, and he’s invited us to be his guests for the second set.”

At the time, Tommy was recording for RCA Victor, and he had a coast-to-coast radio show on NBC. Since fans in those days were true trivia freaks and knew all the band personnel by name, Tommy would announce each Larry Clinton composition or arrangement he played.... songs like DIPSY DOODLE and SATAN TAKES A HOLIDAY. During one period, Tommy played DIPSY on thirty straight broadcasts, plugging Pop each time. Larry Clinton was becoming something of a household name. Larry Clinton at the peak of his career Eventually, RCA recording director Eli Oberstein, who had a lot of vinyl to sell, approached Pop about forming Pop had been supporting himself as a musician since his own band. The initial plan was to start with studio leaving school in 1924 at age 15. Over time he’d musicians playing Larry Clinton charts on radio and in gravitated from performing into arranging, since he was the recording studio. Pop cut his first sides for Victor in plagued with a “ 10 o’clock lip” which tended to give out late 1937, and after a few months the band got booked later in the evenings. He sold free lance arrangements to into the Terrace Room of the Hotel New Yorker for a Isham Jones, Louis Armstrong and Bing Crosby, and one-nighter. Other engagements followed, and Pop worked briefly for the Casa Loma Orchestra and the moved from behind the scenes into the limelight.... an Dorsey brothers. During the depth of the depression he “overnight sensation” after 14 years in the trenches! was all but out of the business, and he and my mom were selling silk stockings to keep body and soul together. BOOKS & RECORDS TO CONSId I r ^ )

One night, when Tommy Dorsey was playing at the Glen THE BEST DAMN TRUMPET PLAYER Island Casino, Pop announced that he’d written an Memories of the Big Band Era and beyond arrangement he felt was just right for Tommy’s band By Richard Grudens (sorry, the name of the tune is lost to history). He and my mother bundled into their old Ford and drove up to Author Richard Grudens, a frequent contributor to the Westchester County with the hope of catching Tommy BBJ NEWSLETTER’S interviews, has gathered to- 6 (Please fold on dotted line)

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BBJ Box 52252 Atlanta, GA 30355

BIG BAND JUMP Box 52252 Atlanta, GA 30355

(Tape or Staple Here) EXCLUSIVE FIRST TIME NEW RELEASES The CD-ROM Harry James NEW

You don't have to have a CD-ROM computer to play this CD, but if you do, it's more fun. In a regular CD player, it plays just the same as your other CD's, but in a CD-ROM equipped computer, it not only plays, but Don Kennedy tells you about the tunes, gives background about Harry James' life and historical information about the era, along with pictures to match the narration.

Selections include: CIRIBIRIBIN with Sinatra vocal, ONE & TWO O'CLOCK JUMPS, LIFE GOES TO A PARTY, BACK BEAT BOOGIE, 'TAINT WHAT YOU DO, LULLABY IN RHYTHM, CON­ CERTO FOR TRUMPET, FLASH and Frank Sinatra singing FROM THE BOTTOM OF MY HEART, HERE COMES THE NIGHT, ON A LITTLE STREET IN SINGAPORE and ALL OR NOTHING AT ALL. Vintage James and vintage Sinatra along with narration and pictures if you've got the equipment. Fun to listen to if you don't. CD Only $15.95 (Plus $2.50 S&H)

Dixieland That's Great Fun NEW

These are young west coast musicians who gottogetherto have fun, discovered it was good enough to record, and this i-s the result... delightful Dixieland and fabulous musicianship, overflowing with energy and presented with ease and elegance.

Presenting new material is the goal; keeping the Big Band and associated style is absolutely necessary while achieving that goal. This top-notch recording does both. We were thrilled to hear the technical and musical perfection combined with free-swigin' versatility, and we'll bet you will be too. CD $15.95 Cassette $9.95 (Plus $2.50 S&H)

A 3 CD or 3 Cassette Collection Classic Ellington With an 18 Page Booklet - 64 Selections

If you're a Duke Ellington fan, you won't want to miss this 3 CD or 3 cassette collection of mid-40's Ellingtonia. This was the band with Johnny Hodges, Lawrence Brown, Cat Anderson, Harry Carney, Oscar Pettiford, Taft Jordan, Al Sears, Ray Nanton, Sonny Greer and vocalists Al Hibbler, Ray Nance and Kay Davis.

The technical quality of these recordings originally transcribed for radio stations in 1946 and 1947 One of 3 in a is excellent. The freedom of the orchestral interpretations is without peer. PERDIDO, MEMPHIS boxed collection BLUES, ST. LOUIS BLUES, EMBRACEABLE YOU, HOW HIGH THE MOON... A TRAIN, PASSION FLOWER, 9:20 SPECIAL, ONE O'CLOCK JUMP, MOON MIST... they're all part of this 64 selection collection, along with an attractive 18 page descriptive booklet. There's only one Duke Ellington, and this collection captures his unique orchestra. 3 CD's $34.95 3 Cassettes $29.95 (Plus $3.00 S&H )

Please send me: ( ) Harry James CD-ROM (CD Only) () Side Street Strutters ( ) CD ( ) Cassette () Duke Ellington Set ( ) CD ( ) Cassette

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(The BIG BAND JUMP NEWSLETTER makes an excellent gift for anyone interested in the Big Band Era, the development of Big Band music or those who collect recordings and books about the Big Bands.)

COMING UP IN FUTURE ISSUES OF THE BIG BAND JUMP NEWSLETTER

In-person interviews with outstanding Big Band music personalities.

Reviews of books, records and videos to consider for serious collectors of Big Band music and information.

Anecdotes and background stories about the key personalities of the Big Band scene.

News about the men and women keeping the Big Band sound alive in the United States and throughout the world. (Please fold on dotted line)

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BBJ Box 52252 Atlanta, GA 30355

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(Tape or Staple Here) VOLUME XLIV (Our 8th year!) BIG BAND JUMP NEWSLETTER MAY-JUNE 1996

York City’s last “real” radio station, WNEW. It is at the same time a nostalgic and current view of the subjects mthe and their music.

Photographs are liberally used, most with the author and his subject. This book adds to the wealth of information available, and should be an adjunct to every Big Band enthusiast’s library.

MEMORIES OF THE BIG BAND ERA AND BEYOND Available directly from the author for $ 15.95 plus S3.00 by Richard Grudens S&H. CELEBRITY PROFILES PUBLISHING - Box interviews and anecdotes 344 Christian Avenue - Stony Brook, NY 11790. featuring; Hatty Louis Ann&tfmj THE HARVEY GIRLS - MGM MUSICAL Beorsy Cexrfem Sif'rg Crosby SOUNDTRACK vVoedy He? 0*30 Rhino R272151 C&iftt Basic Hi»r:p*CP Bay Author? i&m If you like the original soundtracks of classic musicals, VstÉfiÿ Sarah '¿wfrw you’ll love THE HARVEY GIRLS, another of those

Dfca? S iasoi« Rhino releases in conjuntion with the Turner Entertain­ T? j-rry Benneh Andrews SiSteJS ment Group. Judy Garland stars in this 1945 musical, Fra* Wa«%n Sudd Jooosoc made as a result of the success of broadway’s OKLA­ Arvci: Shaw Tcm Postico HOMA. Roger Edens saw the broadway show before W&am A&xaf idei W(S«?u BWdsams. the opening, and convinced producer Arthur Freed that s*fie§ SsiSy fccksfin* the same all-American rural western setting would make ^grry Cooks a great movie. They were right. with 8 (oretsorS by photos ity C Cccvisr- Boato £ «»sYSissg FRANKIE LAINE THE HARVEY GIRLS refers to the group of girls hired by the Harvey restaurant chain to staff their new restau­ Richard Gruden’s Book Cover rants along the route of the Atchison, Topeka and Santa Fe railroad. The story revolves around Susan Bradley gether his treasury of in-person conversations, com­ (Judy Garland) who answered a matrimonial ad and is on bined them with his observations and produced a 186 the way to marry a man in Sandrock, New Mexico. The page book which presents some highly interesting be­ train also carries a group of young, pretty women who hind-the-scenes comments. Grudens has been a Big are on their way to work at the new Harvey House Band fan since his childhood, and that interest plus his Restaurant near Sandrock’s train station. Judy becomes proximity to New York City has helped him meet and talk a “Harvey Girl”. with so many of the great names of the Big Band Era. But story aside, the movie soundtracks carry with them The book title comes from trumpet player/bandleader the perfection of the motion picture studios of the time; Ray Anthony when he talked about the influence of the careful efforts to cover every detail of musical Louis Armstrong and Harry James on his style. “They excellence using the finest arrangers, conductors and were,” he said, “the best damn trumpet players ever.” musicians available. Harry Warren wrote most of the There are interviews with Harry James, Frankie Laine music, Johnny Mercerthe lyrics. Such notables as Lenny (who wrote the foreword), Count Basie, Tony Bennett, Hayton, Conrad Salinger and Kay Thompson arranged Benny Goodman, Bing Crosby, Buddy Rich, Kay Starr, the score....and talk about a Big Band! Woody Herman, Lionel Hampton, Sarah Vaughan, Perry Como, Fran Warren, Teddy Wilson. . .among a There’s the MAIN TITLE THEME, an eight minute ON total of 25 personalities....plus remembrances of New THE ATCHISON, TOPEKA AND THE SANTA FE,

7 VOLUME XLIV (Our 8th year!) BIG BAND JUMP NEWSLETTER MAY-JUNE 1996 a Ray Bolger dance sequence... you’ll just have to SONG OF THE VOLGA BOATMAN is next, and imagine the action here. . .the song HAYRIDE, and IN Count Basie is recalled with CUTE, SHINY STOCK­ THE VALLEY WHERE THE EVENING SUN GOES INGS, LI’L DARLIN’ and APRIL IN PARIS. Stan DOWN. Over 70 minutes of music from one of the most Kenton’s INTERMISSION RIFF, and his later memorable of the musicals created when movies were MALAGUENA, Tommy Dorsey’s OPUS ONE and made by studios with full-time employees. Woody Herman’s FOUR BROTHERS and EARLY AUTUMN round out the list. Available at any record store, or they can order it. The CARVED IN STONE title comes from the cover depicting the faces of Count Basie, Stan Kenton, Duke Ellington, Tommy Dorsey, Woody Herman and Glenn Miller as they might appear on Mt. Rushmore. The album cover is reproduced at left.

Available at: DIGITAL MUSIC PRODUCTS, INC. - Box 15835 - Stamford, CT 06901 or phone 1-800-926- 6545 for a catalog.

BENNY GOODMAN - CD-ROM Audio Plus Intersound 3551

This is a CD made up of some of the best-known of the Goodman recordings from both his 30’s band and his early 40’s organization. That isn’t unique, except that it’s one of the first Big Band CD-ROM’s, which means (and we had to have all this explained to us) that if you put the disc into a computer with CD-ROM capabilities, at your option it’ll introduce the selections or give you DMP BIG BAND - CARVED IN STONE facts about the era or biographical material on Goodman. DMP CD-512 This is one of a series narrated by our own BIG BAND JUMP host Don Kennedy. When this fancy-dancy CD Yet another recording by a band re-creating the arrange­ is in a computer talking to you, it also shows pictures ments of top Big Bands of the 40’s, but in the technical relating to what Kennedy’s talking about. It’ll also play sound of today. The Producer/engineer of this effort is in a regular CD. Tom Jung, who is obviously an electronics kind of guy, for he talks about the 20-bit high resolution recording The time-honored Goodman melodies on the CD are his system used to make this record. It is a clean, crisp, opening and closing themes LET’S DANCE and neatly performed presentation, whatever the technical GOODBYE, Helen Ward singing THESE FOOLISH means used to achieve it. It was recorded to be played THINGS, Martha Tilton’s vocalization of AND THE on Circle Surround and other matrix surround sound ANGELS SING (along with Ziggy Elman’s trumpet equipment, but is fully compatible with all stereos. For performance), Peggy Lee’s key recording of WHY us out here who may not understand what he’s talking DON’T YOU DO RIGHT, the Goodman quartet and about, it is an excellent performance of some highly sextet’s AVALON and FLYING HOME, STOMPIN’ familiar and frequently-played standards. They’re stan­ AT THE SAVOY, KING PORTER STOMP, SING­ dards, though, that we never tire of hearing. SING-SING, DON’T BE THAT WAY and MISSION TO MOSCOW. On this carefully assembled CD are 12 selections repre­ senting Big Bands. Duke Ellington’s TAKE THE A Available from: BIG BAND JUMP - Box 12,000 - TRAIN and SATIN DOLL lead off, Glenn Miller’s Atlanta, GA 30355 or phone 1-800-377-0022 to order. 8 VOLUME XLIV (Our 8th year!) BIG BAND JUMP NEWSLETTER MAY-JUNE 1996 LINDA IS STILL LINDA

In 1946 songwriter Jack Lawrence was asked by his friend and attorney, Lee Eastman, to write a song for his MÄRZ'96 STIMMEN youngest daughter. Lee explained to Jack that his other 5 W 1 N G P AHADE daughter was named Laura and there was a song by that PLATZ VORMONAT INTERPRET TfTEL title. Also, his wife was named Louise and there was a t 2 Glenn Miller Sag Si Si LOUISE song. His son’s name was Johnny and there 2 1 Prank Sinatra B/m Bam Baby 3 4 Ray Anthony Drive In were many Johnny songs, but his youngest daughter was 4- Neu Benny Goodman There's A Small Hotel named Linda and he wanted a song not about her but one s Neu Count Basie Jumpin' At The Woodside 6 s Woody Hermann Blues On Parade * with her name as the title. Jack obliged and wrote the 7 3 Ella Pifzgerald When Your Lover... ? 7 Glen Gray Moonglow * song LINDA. 9 Neu Antonio C. Joblm/ Astrud G/lberto Agua De Beber The orchestra chosen to record it was the Ray Noble 10 10 Ted Heath Swingin' Shepherd Blues orchestra with Buddy Clark as the vocalist. The ar­ ranger, Jack Anderson, wanted to try something new by NEUVORSCHLÄGE having a dialogue between the vocalist and “Linda”. A 11 RIAS-T anzorchester Georgine Ltg: Wemer Muller young girl named Anita Gordon was chosen to be the 12 Buddy Greco The Lady Is A Tramp voice of Linda on the record, but didn’t receive any 13 Ralph Planagan What's New 14. Alvino Rey Night Train k credit. The song was recorded on November 15, 1946 IS Dave Brubeck Take Pive m and released in early 1947. By March it hit the charts Das j and stayed there for eighteen weeks. The little five year Und so machen Sie mit: Wühlen Sie au* den Titeln Ihre drei Favoriten (aufter di« m it einem *. die waren viermal dabei und scheiden aus). Schreiben Sie die Titel auf eine old Linda who was the inspiration for the song is today Postkarte und schicken Sie diese bis zum 22. Marz 1996 an: SFB 88 8, Songs und Stimmen. 14046 Berlin. Sie finden die Swingparade auch tm T-Online. Wahlen Sie: SFB# Unter allen Tippern verlosen w ir CDs. Am a very beautiful woman who met her dream man and Ende des Jahres winkt eine Reis* fü r zwei Personen nach New Orleans. married him. She is now Linda Eastman McCartney, SFB ->Songs und Stim men immer Dienstags ab 21.05 Uhr auf 88 8<- the wife of former Beatle Paul McCartney. Berlin Public Radio’s Top Ten

Story contributed by reader James Young of Tulsa, OK. wondered, are these lists generated? Does Holger Wolgast play a number of his selections and have BERLIN, 1996 listeners vote on them, or are they random selections by listeners? As often mentioned, overseas countries seem to dig Big Bands more than we do in the United States. That may We’ll check with the Berlin people and have all the be an illusion because of the focus of information answers for you in the next BBJ Newsletter. coming to this publication, or it may be that people overseas have a deeper appreciation because Big Bands are so typically American.... and foreign imports are ______CD’s______often more appealing just because they’re foreign. Whatever the truth is, we just received an absolutely More and more excellent music of the Big Bands, both fascinating notice from a Berlin Public Radio Station. vintage and new, is available on CD’s, and we encour­ age you to consider buying a CD player. Please let us A young man named Holger Wolgast does a program on explain that CD reproducers, by their very nature, sound Berlin’s FM 88.8, and was nice to send us his March, great even if you purchase the lowest price playback 1996 top ten listing. It reads like a 40’s radio station Hit available... the difference being the mechanical part, not Parade in most ways. Especially interesting is that many the electronics, within most listener’s perception, at of the melodies on the top ten are fairly obscure to United least. CD players come as a unit complete with speak­ States Big Band enthusiasts. The actual list is printed ers, or you can get them separately to plug into your here as received by us. Note that March, 1996’s top hit present system. Either way, a CD player opens up an is Bim BAM BABY by Frank Sinatra. How, we entire listing of recordings not otherwise available. 9 VOLUME XLIV (Our 8th year!) BIG BAND JUMP NEWSLETTER MAY-JUNE 1996

There was money to be made on the road if the tour worked SIDELIGHTS out, and Stuff Smith, the jazz violinist, made enough money one time to buy a new car... the year was 1936. Humorous or poignant anecdotes about music and musicians. Stuff walked into a LaSalle auto showroom in Chicago and bought a shiny new car, which he drove proudly out When Jimmy Maxwell was a young man in his home of the showroom directly onto the street... smashing into town of Tracy, California, he recalls seeing four or five an immovable object and immediately wrecking it. Stuff familiar faces on the street comer one day in the second didn't care. He went right back into the showroom and half of the 30's. "Aren't you Buck Clayton?" he asked bought another LaSalle, just like the first one. one of them. "Yeah." The next time he played Chicago his fans were bringing "What are you doing here?" requests up to the stand on pieces of paper. Stuff was glancing casually at the requests when one piece of "I'm here with my band and the promoters ran out." paper caught his special attention. It was a summons for Buck Clayton and Lee Young and the others were abso­ that second LaSalle. It turns out Stuff hadn't paid for it, lutely broke, with no place to stay and nothing to eat... they and the authorities garnished the entire band'a salary to hadn't eaten for a couple of days, so Jimmy Maxwell took pay for it. them home and his mother gave them all dinner. Our thanks to Bill Crow for these Sidelights excerpted from his book, JAZZ ANECDOTES, published by The Stan Kenton band grew so large as the arrange­ Oxford Press, which contains many such stories. ments became more complicated they had to have two buses to haul the musicians, instmments and equipment. One was designated the "Quiet Bus" with Bob Gioga in that one surrounded by string players who considered the jazz players barbarians. The other bus was called the "Balling Bus" where there were perpetual poker games and partying. Stan Kenton himself rode in the Balling Bus, and at one point sent an emissary to the Quiet Bus to "see what those intellectuals are doin' in there!" The mystified scout came back shaking his head in wonder.

"They're in there reading!" he reported. "And they're sleeping!"

Kenton was pacing the aisle of the band bus in the wee hours of the morning after an "Innovations in Modem Music" concert, wondering about the band's musical direction.

"We're in a rut," Stan said. "We're repeating the same old stale thing. We've got to find something new, something we've never done before."

Trumpeter A1 Porcino took a dim view of Stan's "Innovations" ideas. (Those who were there said you could hear his slow, nasal drawl from the back of the Vocalist Anita Boyer who worked forsuch Big Bands as bus cut through the silence.) Tommy and Jimmy Dorsey, Artie Shaw, Harry James and Leo Reisman. This picture doesn’t connect directly "How about swing, Stan?" with anything in this newsletter, but we’ve been waiting for an excuse to run it because she’s easy to look at.

10 VOLUME XLIV (Our 8th year!) BIG BAND JUMP NEWSLETTER MAY-JUNE 1996

if they were going to be on a desert island for the rest of their UPCOMING BBJ PROGRAM TITLES lives.. .provided, of course that the island was equipped with the finest playback equipment available. This hour (The May 4-5, 1996 listing is repeated from the previous displays number one selections of listeners from all over the issue for the convenience of new subscribers.) nation, revealing a cross-section of the musical taste of Big Band fans everywhere. May 4-5, 1996 Take a general in the army BO THORPE ORCH- reserve who played drums The second hour is the result of a suggestion from a lawyer ESTRA/LEFTOVERS as a kid, place him in a little in Brooklyn who wondered why we hadn’t played any town such as Rocky Mount, Herbie Fields. (How many Herbie Field’s records does it NC and imbue him with the ambition to lead a Big Band, take to satisfy a lawyer?) We don’t know the answer to that and what do you have? Bo question, but there’s an hour’s worth in this program. Thorpe is his name, and mu­ sic is his game. He’s been May 25-26, 1996 The Big Band Community is successful in establishing a BERLIN TOP TEN world-wide, as evidenced by a band that’s in demand for letter we received from Berlin’s dancing events, filled with ar­ Big Band broadcaster Holger Wolgast listing his top ten for rangements remindful of the March of this year. We were surprised to discover that what bands of the Big Band Era. is obscure to mostU.S. listeners is considered commonplace We talk with General Bo and there, so involved are they in the adoration of American Big listen to his music the first Bands of both the Era and today. The first hour of the hour. program is devoted to playing Berlin Public Radio’s top ten, as well as sampling bits of Mr. Wolgast’s program. In the second hour we play the leftovers, some of the melo­ The second hour will, by request, be devoted to more of the dies and artists we just didn’t radio broadcasts of the Big Band Era that’ve become so have an opportunity to put in BBJ host Don Kennedy popular with listeners, bringing back the moments in music past programs. when you might have hidden a radio under the covers to hear late-night dance band remotes. Ifyou didn’t live then, you’ll May 11-12,1996 Years have passed since CD’s be transported to a simpler time. D IG ITAL M AGIC became the standard for re­ cording music, using the digital June 1-2, 1996 The genesis of this program technology made possible by computers. In order to appeal THE OTHER SIDE was a collection of Harry James to Big Band record buyers, record companies have used this 78’s that turned up in a flea new recording method to restore older performances, bring­ market, some of his key hits from the 40’s. We’d forgotten, ing them to life again. Other new performances in the Big for example, what was on the other side of Harry James’ Band style have been captured digitally with a clarity and YOU MADE ME LOVE YOU, his first big recording crispness unknown until the past decade. This program success, even though we’d owned the record years ago. That takes advantage of digitalization of both old and new Big started us thinking about the other side of some additional Band and associated recordings. 40’s hits as they were originally released on 78’s. On this program we’ll hear the other side of the original 78’s of There’ll be some old Prima recordings lifted from worn SUNRISE SERENADE, BEGIN THE BEGUINE, 78’s, cleaned up as much as possible, you’ll hear the Wess- CHERRY, HOT LIPS, MARIE, CHEROKEE and others. Edison Orchestra recorded live in the style of Count Basie, You’ll discover, as we did, that the “other” side sometimes Les Brown has recorded in the past six years using digital turned out to the the “first” side, surprising the record sound, some Goodman classics have been brought back to company executives. life, and Terry Gibb’s Dream Band is heard again as they performed in a non-studio live appearance. Red Norvo is June 8-9,1996 Just last month a man heard, Peggy Lee’s radio broadcasts have been restored THE CURRENT BANDS in his twenties asked and excerpted digitally. This hour brings us sounds we might a surprising question. not have heard at all, had it not been for digital recording. “Are there any bands currently playing?” he wondered. That got us to thinking about the new Big Band CD’s we regularly May 18-19, 1996 We asked listeners receive at our BBJ office, sometimes sublimated to the bands DESERT ISLE PICKS/ what ten records of the 40’s because of listener demand. This program HERBIE FIELDS they’d take with them displays the bands that are now playing, regularly working

11 VOLUME XLIV (Our 8th year!) BIG BAND JUMP NEWSLETTER MAY-JUNE 1996 to give new audiences the thrill of the dynamic sound of a past that have not often been heard, as well as spontaneous Big Band. Some of these current organizations play the hits spur-of-the-moment ideas. RANDOM CUTS is as close as of yesteryear, others specialize in fresh, new arrangements we come to the exercise of our momentary whims. In while still preserving a recognizable Big Band cohesive­ addition to the material we’ll pull out as the program ness. progresses, we’ll hear some Woody Herman broadcast aircheck material, a Count Basie small group boogie woogie Even though these newer bands are excellent, they’re not recording, a Harry James aircheck, some of the Artie Shaw heard as much as they should be for three major reasons: Grammercy Five and full orchestra recordings seldom heard, There’s no place for bands to play, they have no so-called and a Gene Harris pair of performances with a Duke “marquee” value, and they’re not exposed on the radio. A Ellington flavor. You may not be comfortable with some of high school trumpet player said he gave up the trumpet after the sounds you hear on this session, but we think they’re graduation because, even though he liked the Big Band gonna’ be enjoyable for you. If they’re not, please let us sound, there just wasn’t any place to perform. A booking know, for we value your opinions and ideas. agent frowned upon the possible use of an unknown but highly accomplished Big Bandbecause their name wouldn’t June 29-30,1996 Here’s a piano player/com- draw a crowd. These are valid, logical reasons why newer MANCINI MAGIC poser/arranger/leader who Big Bands haven’t achieved the notoriety of bands in the grewupintheBigBandEra, and 40’s. In this program we attempt in our limited way to who experienced his first recording success with a jazz display the commendable work of some of the new bands. version of a TV theme he composed. Henry Mancini was never on the road with a ballroom Big Band as such, but he June 15-16,1996 The series of “Class o f’ pro- did tour once in a while to present a massive musical CLASS OF ’44 grams are like a hit parade of organization playing his compositions. We hear some of the the year being covered. The Mancini work, including a salute to the Big Bands, PINK special fim of these programs is the discovery of melodies PANTHER, PETER GUNN, DAYS OF WINE AND ROSES that weren’t hit material. We also check into the major and a lovely DAVID ROSE MEDLEY. For sheer beauty events of the year with some voices of the people who were combined with the imagination and humor of a true musical in the news in 1944. genius, Henry Mancini would be difficult to beat. During the program we talk with Mr. Mancini in an interview recorded From a music standpoint, a young bandleader named Stan just a half year or so before his death. Kenton was just getting national attention in 1944, an earlier recording by Dick Haymes with Harry James was re- July 6-7, 1996 We hear often the melodies of released by Columbia in light of Hayme’s movie stardom, a KRUPA Tommy Dorsey, Glenn Miller, little-known vocalist named Kitty Kallen had replaced APPRECIATION Harry James and Artie Shaw; Helen O’Connell in the Jimmy Dorsey Orchestra and a trio we’re totally familiar with the made up of piano, bass and guitar came to prominence as arrangements of Duke Ellington and Count Basie, but we its leader sang his own composition. The Andrews Sisters seldom hear the magnificent arrangements of Gene Krupa. could do no wrong in 1944, nor could label-mate Bing He’s sometimes dismissed as just a “wild drummer” but the Crosby. A piano man named Thomas Waller was still truth is his band presented engaging and beautifully crafted popular with servicemen and some members of the public in arrangements played with verve and enthusiasm. This two 1944, even though he’d died in December of the previous hours is devoted to recalling those recordings, including year. A former Pied Piper named Jo Stafford enjoyed such gems as LET ME OFF UPTOWN, ROCKIN’ CHAIR, individual success that year, and a young man who worked MASSACHUSETTS, THAT’S WHAT YOU THINK, for a short time with Gene Krupa became a vocal star of the LOVER, STARBURST, OPUS ONE, LEAVE US LEAP, Miller military orchestra in England. Duke Ellington saw GENE’S BOOGIE and SKYLARK.. .and those are just a two of his instrumentals become million-sellers in 1944, few of them. The Krupa Jazz Trio numbers include DARK after words were added, and a young sax player and vocalist EYES and BODY AND SOUL, presenting againthe Charlie with a small group played and sang with a pulsating rhythm Ventura tenor, Teddy Napoleon’s piano and Krupa’s appro­ that would become the norm in later years. priate drum punctuations.

June 22-23,1996 This kind of program is fun be- Programs are scheduled for the dates shown, but may be RANDOM CUTS cause there’s no limitation delayed for sports or news events at the radio station’s placed on the content. We’ve option. Please check your local station to verify the time of taken liberty of picking at random some of the cuts from the the BIG BAND JUMP broadcast in your area.

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