BIG BAND JUMP NEWSLETTER

BIG BAND JUMP NEWSLETTER FIRST-CLASS MAIL Box 52252 U S. POSTAGE Atlanta, GA 30355 PAID Atlanta, GA Permit No. 2022 BIG BAND j i m p N EWSLETTER

VOLUME XLIX______BIG BAND JUMP NEWSLETTER MARCH-APRIL 1997 FRANCES LANGFORD PROFILE

BBJ NEWSLETTER friend and contributor Richard Grudens was recently in touch with Frances Langford, the girl singer on the Bob Hope radio show, and the glamorous half of the Bob Hope USO tours during WWII. Frances Langford was, you ’ll recall, co- starred with DonAmeche as halfofTHEBICKERSONS, a radio program that ran into the ’70s, about a typical married couple who disagreed on nearly everything and voiced those disagreements in no uncertain terms.

The interview, along with other material, will appear in Richard Gruden’s forthcoming book, THE SONG STARS, THE LADIES WHO SANG WITH THE BANDS to be published in April. Chances range from good to a cinch that the book will be reviewed in the next newsletter.

The interview began with the logical question.

BBJ: Tell us about the start of your career. The delicious young Frances Langford. FL: Well, I studied opera at Southern College, but (We're envious of whoever Bill is.) tonsillitis changed my voice from soprano to contralto. I was very surprised at the change in my own my first picture for him. . .EVERY NIGHT AT EIGHT voice after the operation. Later, Rudy Vallee heard me with George Raft. sing in New Orleans and invited me to sing on his radio show (Rudy Vallee and His Connecticut Yankees). It BBJ: In which movie did you sing with Benny was my first important job. Goodman’s band?

BBJ: You appeared in the stage play HERE GOES FL: That was HOLLYWOOD HOTEL, I think in THE BRIDE, which nearly ruined your career. 1937orso. He was very hot in thosedays. That movie led to many more chances for me. FG: Yes, that’s true. (Chuckles) I got a second chance at ’s birthday party when I BBJ: Tell us about sharing the mie with Louis sang his great song NIGHT AND DAY just for him, Armstrong and at the same time. with Johnny Green’s Orchestra at the Waldorf in 1935. I had never heard it before and never sung it publicly FL: Sure! WemadetherecordingPENNIESFROM before. Many important people w'ere there including HEAVEN. I also recorded with Tony Martin, movie producer Walter Wanger. That night he invited Bob Hope and Bing later on. I sang with many different me out to Hollywood for a screen test. I went and did bands. There was Skinnay Ennis, Stan Kenton and Les VOLUME XLIX BIG BAND JUMP NEWSLETTER MARCH-APRIL 1997

Brown....good old Les. Those are pretty good creden­ BBJ: You performed on radio as Blanche Bickerson tials, aren’t they? with Don Ameche.

BBJ: In YANKEE DOODLE DANDY you sang FL: Yes, and they made two of the show OVER THERE. How did that come about? which did pretty well. Don and I later appeared with the King Sisters and Bing on the HOLLYWOOD FL: Well, Jimmy Cagney called me and wanted me PALACE television show. In 1991 we all recorded a to do those numbers because he said I would do show on tape called STARS AND STRIPES, all about them better than anyone else. I was very pleased....it Hollywood during the war, you know, when we were all was a big film... .a wonderful film, and it’s lasted so long. selling war bonds. I see it on television every now and then. BBJ: What do you do for fun these days? BBJ: There’s a funny story about your appearance with Bob Hope at the San Diego Naval Base FL: You won’t believe it. I’m a deep sea fisherman. during one of the early USO tours. My biggest catch was a 750 pound tuna. I’ve always been a fisherman. We have a 110 foot boat and FL: Oh, that was funny. It seems they had to cut the travel to Europe on it. My husband and I fish all the way. song YOU GO TO MY HEAD, which I was I’ve learned how to do it. supposed to sing that night for the sailors at the naval base. We hadn’t realized the word “head” was the navy BBJ: Who are your favorite female vocalists? word for toilet. It would have brought down the house, FL: I like Peggy Lee. She’s the best of everybody so Bob cut it. when it comes to singing. I like Connie BBJ: Bob Hope called you “Mother Langford” dur­ Haines... she’s so cute. I think Keely Smith has a great ing those tours. voice. I like to listen to her; she’s fabulous. Great voice. I also like Jo Stafford. FL: Sure! I took care of everyone whether they were just homesick or really sick, or whatever. BBJ: Do you ever see any of the old crowd?

BBJ: What were those USO tours like? FL: Just Bob from time to time, mostly at charity shows. I’m away from all that, you know, FL: We started in Alaska.. ..it was a foreign country living in Florida. I don’t go to parties like I used to. then, and we entertained in so many other camps throughout the country. Then we began going Our thanks to Richard Grudens for the benefit o f his overseas first with only a few of us.... Bob, Tony Romano conversation with Frances Langford. (guitarist) and Jerry Colonna (comedian and one time Big Band trombone player) and sometimes Jack Pepper, a song and dance man. We went to England first, then THE FOLKS WHO PUT THIS NEWSLETTER TOGETHER: to North Africa and then to Italy. It was always great fun. Bob was always funnier offstage than onstage. Editorial decisions: Hagen Williams He’s a great man, just like an everyday person. I just Features and some random input: Don Kennedy love him. Typesetting, layout and advice: Herb Gershon Proofreading, research & mailing: Ethel May Sadler BBJ: You were in the movie GLENN MILLER Contributing writers and advisors: John Barbe, STORY. Arthur Montgomery, Richard Grudens Subscriptions & renewals: Tommie Anne Crissman FL: Of course. I played myself along with Gene Printing: Royal Printing, Inc. Krupa, Ben Pollack, Louis Armstrong and the ....and a bundle of readers who make this effort Modemaires....and Jimmy Stewart and June Allyson possible. Our thanks to all of you. too. 2 VOLUME XLIX BIG BAND JUMP NEWSLETTER MARCH-APRIL 1997 RECALLiNGTHEINKSPOTS

One o f the longest-lived popular vocal groups, the Ink Spots were, when you think about it, also one of the most imitated. They featured a high tenor lead, deep bass and frequent recitations, all devices used at one time or another by individual and group vocalists who followed. The Ink Spots were organized in 1934, admit­ tedly in debt to the Mills Brothersfor paving the wayfor groups performing popular and novelty songs with close harmony. By the time o f theirfirst major record success, IF I DIDN’T CARE, the group consisted of tenor Bill Kenney who had replaced Jerry Daniels, Ink Spots circa 1939 tenor and guitarist Charles Fuqua, baritone and gui­ BBJ: When did the original group begin? tarist Ivory “Deek” Watson and baritone and bass player Orville “Hoppy” Jones, renowned for those PP: They started in 1934, but then Jerry Daniels recitations o f the lyrics. Orville died in 1944 and was was the tenor with them. Bill Kenney joined replaced by Bill Kenney's brother Herb. them later in Baltimore; Bill and I are from the same area near Baltimore. When they made their first hit, IF I A remarkable number o f the Ink Spots recordings have DIDN’T CARE, I was just a teen-ager. become standards; many have been revived through the years by other groups. In 1956 The Platters BBJ: Tell us the story about the beginning of those brought backMYPRA YER, nearly a direct imitation o f “Hoppy” Jones recitations. the 1939 Ink Spots version. The same group also revived TO EACH HIS OWN in 1960, fourteen years PP: Bill Kenney was singing, and “Hoppy” Jones after it was released on Decca by the Ink Spots, and couldn’t remember the lyrics totally and just went on to re-record IF I DIDN’T CARE and I ’LL talked the words on one of the record takes. It was so NEVER SMILE AGAIN. The group Manhattan Trans­ appealing they just kept it in. It became their original fer used 1940’s JAVA JIVE as a key part of their style. repertoire into the ’80s. BBJ: Were the Ink Spots unique to their era? None of the original Ink Spots is alive, but several groups claiming their name travel the nation, cashing- PP: Well, and the Ink Spots were in on their still formidable reputation. Fortunately, popular, but quartets were the rage at the time. there’s still a latter-day Ink Spot member who worked There were such luminous groups as The Red Caps and with some o f the original group as a substitute and then the Delta Rhythm Boys....just a lot of ‘em. as a permanent part o f the organization. H e’s Pico Payne, who now lives in Honolulu. We asked him first BBJ: There’s a story about the Ink Spots being so about the dates o f his association with the group. wealthy at the peak of their careers that they had a full-time valet travel with them. PP: I was with, first the original group as an extra to begin with, and I started with them in 1949 PP: I was in the service at the time that was or ’50. I worked as an Ink Spot off and on until 1983 or happening, but yeah, they had their valet travel ’84. Most of the original members had passed away, of with them. course. The last performance of the group was here in Hawaii. Bill Kenney, the original tenor, had died in BBJ: Tell us about the personalities of the original Vancouver in about ’75. members.

3 VOLUME XLIX BIG BAND JUMP NEWSLETTER MARCH-APRIL 1997

PP: Bill Kenney was a nice guy; didn’t talk too and go four more hours before the performance. Every­ much, but a very nice person with a lovely thing had to be perfect, the showmanship....everything personality. “Deek” Watson was what I would call the else, or you don’t do it. Then it got raggedy, and some clown of the group, but he was a showman. Charlie decided this is a money-maker, and groups started Fuqua and “Hoppy” Jones tended to be kind of quiet, but popping up all over the country. they were just normal guys having a good time. “Deek” Watson did have a little ego problem when Bill Kenney BBJ: Standard question for all our interviewees. joined the group. He was always singing the lead and What do you think of rock? “Hoppy” doing those recitations, and they broke up in the latter part of the ’40s or early ’50s and “Deek” PP: I hate rock and I hate rap. Now, some of it I can Watson started his own group called the Brown Dots. listen to, but rap has been going on for years. So Bill Kenney took the residue of the group that stayed Rapping really started with the Golden Gate Quartet, but with him, and then he eventually retired. He met a girl it was more like a chant then. DIDN’T IT RAIN or THE from Canada and stayed there until he died. STORY OF NOAH, and then they would do a narrative.. .a narrative spiritual to rhythm, and it had a BBJ: Now there are several Ink Spots groups, aren’t tune to it. Something like: (Pico begins to beat out the there? rhythm and sing) Well, my God got angry upon his throne, and the angel in the heaven begin to moan. He PP: Yeah, it goes like each member of the group says, go down angel, stir up a flood. Blow out the sun would split, and all those guys that were in the and change the moon to blood. (Stops the rhythm.) group when Bill Kenney left....or in the Brown Dots Now, rapping is the same thing but guys just verbally group decided to form a group of their own. Each one, speak it with something going on the background. Ninety having sung with the original group decided to have a percent of the people can’t understand it, but it’s got a group called the Ink Spots. It started a whole thing of rhythm. It has to decline to come back again, and most Ink Spots groups going around the country. of it is noise.

BBJ: What part did you sing? BBJ: Thanks.

PP: I sang first tenor, but I had a wide range and PP: It’s a pleasure talking to you, sir. could sing high soprano to bass. Pico Payne is himself retired now and living the good BBJ: Why is there not a single Ink Spots group, life in Honolulu. similar to a single....say... Tommy Dorsey Official Orchestra, rather than several groups? DON REDMAN - A BIG BAND FATHER PP: The name was never copyrighted. That was the glitch in it, and the name became public do­ There are so many behind-the-scenes people who con­ main. There were several suits between the Ink Spots tributed so much to the sound of the Big Bands over the groups, each claiming rights to the name. They can’t do years whose names are legend to musicians and Big anything in the court because it wasn’t copyrighted. Band devotees, but are unknown to the general public. Some were bandleaders who paved the way for better- BBJ: We’ve heard some pretty bad current groups known groups to follow, others were arrangers. Donald using the name. Mathew Redman was one of those now nearly forgotten Big Band pioneers, and both a leader and arranger PP: When we were singing back in the ’40s, if you during his career. He was among the first of the Big were not good, you didn’t get on stage. You Band arrangers, introducing voicings that are still heard couldn’t just throw something together... no. We would wherever Big Bands play. rehearse four hours in the morning and then take a break 4 VOLUME XLIX BIG BAND JUMP NEWSLETTER MARCH-APRIL 1997 bands of the time led by , Jimmie Lunceford, Chick Webb or old boss Fletcher Henderson. However, the name and the fame of the Don Redman Band never reached the heights it should have. During all this time, the prolific Don Redman was selling . From the ’20s into the ‘50s, much of the success of other bands was because of his unheralded work. He was an arranger for the early Louis Armstrong. Paul Whiteman was the first lead­ ing white orchestra to buy arrangements from a black musician. The list stretches over the decades: Ben Pollack, Isham Jones, Jimmy Dorsey, Benny Goodman, Charlie Barnet, and Harry James are just some of the bands which benefited from his work. During the ’40s he also wrote for radio, and later for television. Into the ’50s, he was musical director for singer Pearl Bailey, but today his name is obscure. Don Redman died in 1964 at age 64, but his contribu­ tions included arrangements that have given color and excitement ever since they were introduced by Redman. The reason why the orchestra carrying his name and his arrangements didn’t become a prominent part of musical history is lost in the public mood of the past, Don Redman sings but in a musical sense, all the swingin’ Big Bands that have followed are Don Redman’s. Dating to the mid-1920s, Don Redman played alto sax Our thanks to the Grove Dictionary o f and Neil and clarinet for Fletcher Henderson, whose band became McCaJfreyfor vital information used in this profile. There a nationally-known organization with music scored for are, we understand, some longerjazz works written by Don Big Band jazz, later contributing massive amounts of Redman in his later years, but never performed in public. material to the Goodman book. It was Redman who had Would that this would change. a great deal to do with the Henderson style, proving that jazz didn’t need to be confined to small groups. His bandleading began as the di­ rector of McKinney’s Cotton Pickers in Detroit in 1927, and for four years that band was considered near the top of swingin’ organizations; Redman did nearly all the ar­ ranging. It was logical, then, that Don Redman should lead his own band, and he did, be­ ginning in 1931. Those who were there say the Don Redman Orchestra was in the same league as the other black Redman with clarinet. 5 VOLUME XLIX BIG BAND JUMP NEWSLETTER MARCH-APRIL 1997

Ted Heath and Syd Lawrence, Thilo Wolf and Andy Prior are favorites here which immediately come to LETTERS TO THE EDITOR mind. There are many developments in Big Band music All letters to the program or the newsletter are an­ from several nations. swered eventually, although only letters deemed of most general interest are used in this newsletter; TONIGHT WE LOVE was popularized by Freddy please be patient, for the volume is greater than our Martin, POLONAISE was recorded in one popular ability to handle in a timely fashion. Questions and form by Carmen Cavallero, SONG OF INDIA was a comments about either the BBJNEWSLETTER or the 1937 hit for Tommy Dorsey. Additionally, IN A PER­ BIG BAND JUMP radio program may be sent to: SIAN MARKET by Albert Ketelby was a successful Larry Clinton recording, recorded later by a host o f Big BBJ NEWSLETTER Bands after its introduction by Clinton, an excellent Box 52252 arranger who began his career with Tommy Dorsey. Atlanta, GA 30355

The letters that follow have been edited for space V.S. Choslowsky A few months ago you fea­ considerations, but the meaning has been preserved. Washington, DC tured several contemporary Big Bands. Among them was Deem Gilimore I listen to BIG BAND JUMP the Blue Wisp Big Band of Cincinnati with one of their Arlington, VA on Saturday mornings on lively renditions. Much to my surprise you mentioned WWDC, AM 1260 in Wash- Helen Morr, who was the inspiration and guiding force ington, DC. I have a question. behind the Blue Wisp as its pro­ All Big Band music and jazz moter as president of MoPro seems to be United States in Records of Cincinnati. Helen origin. Didn’t anybody in Eu­ was happy to hear that she “made rope or Canada or South it’ on BIG BAND JUMP. She America develop any jazz or lost her fight with cancer and Big Band music? jazz music has lost a big fan and supporter. I know a lot of Big Band music comes from foreign music. Robert Robbins TONIGHT WE LOVE from Broomall, PA Tchaikowsky’s piano concerto. I call your attention to Michael The POLONAISE and I think Broom’s letter in the BBJ NEWS­ SONG OF INDIA are from for­ LETTER # 48 in which you eign musicians. I’d like to hear refer to a song entitled THOSE these some time and would like WERE THE GOOD OLD to know who made them popu­ DAYS as the theme to the ALL lar. IN THE FAMILY television se­ ries. THOSE WERE THE Big Band originated in the GOOD OLD DAYS was com­ United States, o f course, and as Freddy Martin and his music posed by Richard Adler and Jerry such is one o f our greatest ex­ Ross for the 1955 musical ports. There ore Big Bands in other countries, but by DAMN YANKEES, where it was performed by Ray and large they play U.S. inspired arrangements and Walston in the original Broadway and film productions certainly U.S. written melodies. Often Big Bands are and by Jerry Lewis in the recent revival. The ALL IN more popular in other nations than they are here. THE F AM ILYlyricsopeningthemewas THO SE WERE Many o f the Big Bands o f other countries, however, THE DAYS by Charles Strouse and Lee Adams, with have performed original melodies and arrangements. the following lyrics:

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BBJ Box 52252 Atlanta, GA 30355

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(Tape or Staple Here) NOW AVAILABLE FROM AIRCHECK TRANSCRIPTIONS

FATS WALLER - LIVE AT THE YACHT CLUB

Thomas Wright Waller died in 1943, but in the 39 years he was on this earth, he turned out hundreds of melodies, became renowned for his piano and organ playing, his singing and as a some-time bandleader. He was, without doubt, one of the most talented men of music in this century.

This CD of Fats at the New York City Yacht Club comes from a radio broadcast of 1938, and includes his little group consisting of drums, bass, sax, trumpet and guitar. Fats himself was allowed to announce, extremely unusual in those days, especially in an ad-lib situation with no script, and the results are pure Waller. Bubbly, exuberant, in-charge, Fats romps through 13 cuts packing three- quarters of an hour into this re-mastered . Some cuts last four or five minutes as the enthusiasm of the audience flows to the musicians and they react with free and easy choruses.

Includes: HOLD MY HAND, PENT UP IN A PENTHOUSE, HONEYSUCKLE ROSE, YACHT CLUB SWING, YOU LOOK GOOD TO ME, HALLELUJAH, ST. LOUIS BLUES, FLAT FOOT FLOOGIE, AFTER YOU’VE GONE, SOMEBODY ELSE’S TOO, MONDAY MORNING, WHAT DO YOU KNOW ABOUT LOVE? and I HAD TO DO IT. If you’re a Waller fan, this is an album you should have. If you’re not, it may make you one. If Waller is a turn-off for you, this album might be one to avoid, for it’s Waller all the way.

Nicely written folder with two pictures of Fats and comments from Dan Morgenstern, the jazz studies man at Rutgers.

(C-2) CD only $15.95 ($2.50 S&H)

PACKAGE OF BOTH WHEN ORDERED TOGETHER (Save on reduced pricing AND combined shipping discount) (CC-2) Two CD’s $28.00 (Plus $2.50 S&H for the pair) Please send me (C-2) □ (P-2) □ (CC-2) □ (Check your choice) Make check payable to BIG BAND JUMP, use the self-mailer envelope, or call our toll-free order line - 1-800-377-0022.

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JAZZ VOCALISTS RCAVICTOR^-'^ This CD or Cassette is part of the RCA Victor "Greatest Hits” series, and if you’re a vocal fan, it may be for you. One of the prime appeals of this series is the caricatures by Hirschfield, in this case whimsical drawings of and . The title referring to jazz may be a stretch, but the album is full of great moments in vocal music with Big Band accompaniment. The Sinatra cut is hardly jazz, for example, but maybe that doesn’t matter.

There is a total of 15 cuts on this album. Ella Fitzgerald sings GOODNIGHT MY LOVE with Benny Goodman, Jack Leonard again voices MARIE with Tommy Dorsey, ’s ANY OLD TIME with Artie Shaw is certainly classic, Fats Waller sings Al NT MISBEHAVIN’ and Frank Sinatra sings I’LL NEVER SMILE AGAIN. A very young Lena Horne voices DON’T TAKE YOUR LOVE FROM ME with Artie Shaw’s Orchestra, and there are two Glenn Miller cuts, one with Ray Eberle and ELMER’S TUNE; the other with Tex Beneke and DON’T SIT UNDER THE APPLE TREE. Joe Williams sings EVERY DAY I HAVE THE BLUES, and gives his unique treatment of SKYLARK with Earl Hines. AINT GOT NOTHIN’ BUT THE BLUES is Al Hibbler’s contribution with Duke Ellington, Louis Armstrong sings WHAT A WONDERFUL WORLD and does FINE AND MELLOW. The total playing time is over 50 minutes.

(D-2) CD $ 15.95 Cassette $ 9.95 (2.50 S&H) COMING UP IN FUTURE ISSUES OF THE BIG BAND JUMP NEWSLETTER

In-person interviews with outstanding Big Band music personalities.

Reviews of books and records 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 w orld.

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(Tape or Staple Here) VOLUME XLIX BIG BAND JUMP NEWSLETTER MARCH-APRIL 1997

"Boy, the way Glenn Miller played may be released in the future as part o f Digi’s regular Songs that made the hit parade re-mastering on cassette. You may contact Digi at Guys like us we had it made (703) 437-1600. Those were the days." Harry McGinley I was very disappointed that "And you knew who you were then Camden, NJ BIG BAND JUMP was dis­ Girls were girls and men were men. continued Sundays on WPEN Mister, we could use a man like in Philadelphia. Will you be broadcasting on another Herbert Hoover again." station in the area? I hope so.

WPEN, a BIG BAND JUMP affiliate since June of "Didn’t need no welfare state 1989, says they’ve received several complaint letters Ev’rybody pulled his weight about BBJ’s cancellation, as we have. They say, Gee our old LaSalle ran great, however, that they want to appeal to a more youthful Those were the days." audience to attract more advertisers. The program director reports it is a sales department decision I was unaware that Henry Mancini had recorded the having nothing to do with listener preference. song from DAMN YANKEES.

Curt Williams During one of your shows you Mr. Broom's letter referred to the title THOSE WERE Tamaqua, PA played HONEYSUCKLE THE GOOD OLD DA YS, but he meant THOSE WERE ROSE and YACHT CLUB THE DAYS, which was the Mancini song which ap­ SWING by Fats Waller. I said to my wife that HON­ peared on BBJ as performed in an album o f television EYSUCKLE ROSE sounded like the version played at and movie themes by Mancini. Mr. Broom’s letter was the famous Benny Goodman Carnegie Hall Concert in meant to be a humorous remembrance of the lyrics 1938. I’ve found that over the years the absolute best from the TV show. We appreciate the distinction from examples of brilliant performance have come from Mr. Robbins, who is the U.S.A. secretary for BIG “live” performances by the Big Bands back in those BANDS INTERNA TIONAL and a knowledgeablefriend days. Where can I get a copy of that Fats Waller radio o f BBJ. transcription you said was made in October of 193 8, just nine months after HONEYSUCKLE ROSE was per­ Robert Mathieson, Jr. I listen to your program over formed at Carnegie Hall? New Bern, NC 1450 AM in New Bern. Who was/is a singer by the name of You’re on WLSH in Lansford, PA from Noon to 1 PM JoDosh? I have three cuts from V-Discs made in 1945, Monday through Friday and on Saturdays from Noon EASY TO REMEMBER and IT HAD TO BE YOU till 2 PM and Sundays from 2 to 4 PM. with Marie Green. A solo of LOVE LETTERS STRAIGHT FROM YOUR HEART was a solo by Joe The Fats Waller we played camefrom a CD on the MR. Dosh. Both Joe Dosh and Marie Green have fine voices. MUSIC label. Please see album review in this issue. I have a feeling they might be someone else singing under It’s available from BBJ sales as noted in the yellow assumed names. center sheet. Gene Sedricplayed tenor on the record­ ing, Al Casey is the guitarist and Cedric Wallace plays We checked with Digi Digiantonio who handled the V- bass. The second location o f New York city's Yacht Disc program fo r the Navy during WWII. He told us Club where this broadcast was recorded was located in Joe Dosh was a blond singer who lived in Washington, the block between Broadway and Sixth Avenue. DC who was paired with Marie Green, as you men­ tioned. Digi recalls that Joe Dosh was a stage name, We should mention that Don Kennedy does another five but can’t remember his real name and doesn’t know hour a week program cleverly titled THE DON what became of him. The Joe Dosh V-Disc numbers KENNEDY SHOW, which explains the Monday through you noted are all available from Digi’s collection, and Friday broadcast on WLSH. 7 VOLUME XLIX BIG BAND JUMP NEWSLETTER MARCH-APRIL 1997 FAMOUS SONGS QUIZ

We often get phone calls asking us the titles of songs containing an obscure line quoted by the caller, and it occurred to us that such an exercise might just make an entertaining quiz. Match the line from a famous song with the title; they 're not all difficult, but some o f them could take a little thought, and maybe some research.

If you come up with ten correct, you are without doubt not only a bright-eyed genius but an Ameri­ can song expert. Eight correct allows you to sit in the reserved seat section for the next appear­ ance in your town of Stan Kenton's Orchestra featuring vocals by June Christy. (The foregoing comment is a clue to the first two lines!) Six right answers is certainly above average, and you 'll be allowed to hum or whistle the melodies in public places. Less than four correct and it’ll be necessary for you to write “Sometimes I wonder why I spend those lonely nights ” four hundred SIDELIGHTS- times on the blackboard. Here we go: Anecdotes about musicians DRUMMERS Overheard at a musician’s LINE FROM THE SONG SO N G TITLE party: “Know what you call a bunch of guys who hang out with musicians? - - Drummers.” 1) M akes your eyes light u p .... A) Laura

2) ....buy it cheaper at Saks. B) Over The Rainbow “ You know why all those guests are standing around the door outside? - - They’re all drummers and they 3) ....and the angels ask me to recall... C) don’t know when to come in.”

4) There’s a land that I’ve heard of.... D) Let’s Fall In Love Critic and Big Band Era (and beyond) record pro­

5) ....walk a little slower when you walk by me. E) Shoo Fly Pie ducer John Hammond tried to introduce BENNY GOODMAN to as many new talents as he could. 6) Picture a little love nest.... F) I Remember You One night after the Goodman band was finished, he took Benny to the Black Cat Club in Greenwich 7) From Natchez to Mobile.... G) There’s A Small Hotel Village to hear the then unknown play 8) ....you can see a distant steeple.... H) Makin’ Whoopee tenor. Goodman eventually sat in with the little group, and Lester Young switched to his metal J) T am pico 9) ....how familiar they seem. clarinet. The Young clarinet phrasing was as inno­ 10) Birds do it, bees do it.... K) This Is All I Ask vative and appealing as his tenor sax playing, but the metal clarinet just didn’t have the warm tone of the wood kind Goodman was playing. Answers are not very well hidden elsewhere in this issue. After Lester played a while Benny handed him his own clarinet. “Here,” he said, “take mine” .... meaning keep it. Goodman could get as many clarinets as he wanted, but it was still a remarkable gesture, a tribute to Lester’s playing and an indication that if Benny cared he could be very generous. 8 VOLUME XLIX BIG BAND JUMP NEWSLETTER MARCH-APRIL 1997 (RECORDS TO CONSIDER)

LIVE AT THE YACHT CLUB - Fats Waller Mr. Music MMCD-7004

This is Fats Waller at his best, presenting a “live” broadcast with an audience. We forget now, over a half century later, how popular Fats Waller was. He was making records, writing songs, appearing on his own radio show, making radio transcriptions and even re­ cording for Muzak, the background music service. Here, he was performing at the New York Yacht Club in October of 1938, having just returned from a trium­ phant European tour.

Sometimes these airchecks are of questionable quality, but not this one. It is both a clean technical recording and a superb musical experience, as well as an historic moment in music. Studio recordings just don’t do justice The young John Gary to most musical performances, for the interchange be­ tween artist and audience is an invaluable contributor to This RCA album is a fresh compilation of twenty of the the final product. most memorable of the John Gary songs including MY FOOLISH HEART, THE SHADOW OF YOUR Cuts include FLAT FOOT FLOOGIE, ST. LOUIS SMILE, TILL, THE NEARNESS OF YOU, EBB BLUES, HALLELUJAH, AFTER YOU’VE GONE, TIDE, DON’T BLAME ME, THIS IS ALL I ASK, WHAT DO YOU KNOW ABOUT LOVE?, HONEY­ SOME ENCHANTED EVENING, IF EVERI WOULD SUCKLE ROSE, YACHT CLUB SWING, HOLD LEAVE YOU, TENDERLY, DEEP PURPLE and MY HAND and others for a total of 13 cuts lasting TILL THERE WAS YOU among others. He’s accom­ three-quarters of an hour. If you’re a Fats Waller fan, panied by such magnificent musical arrangers as Gor­ this is gonna’ be fun for you to hear. don Jenkins, Billy May and Marty Paich, assuring instrumental backing to match the Gary excellence. Available from BBJ Sales 1-800-377-0022 Good liner notes based on interview material with John Gary.

THE BEST OF JOHN GARY Available at any record store, or can be ordered by them. CD & Cassette RCA 7863-66998

Here’s a vocalist who at one time toured with Horace PLAY IT AGAIN SAM - Frank Capp Juggernaut Heidt, who holds several patents for deep water diving Concord Jazz 4747 devices and who is one of the finest singers in the nation. In the past year, John Gary has been fighting a recur­ Frank Capp is a drummer/bandleader who salutes the rence of a formerly defeated cancer, but he told us in a composing and arranging talents of , a mid-February conversation that he’s back in shape vital contributor to the Basie band of later years, as well again, and was scheduled to go back on the road for a as arranger for some of Harry James’ later offerings, series of appearaces starting in a few days. among other Big Band contributions. There are some cuts on this well-produced and well-recorded album

9 VOLUME XLIX BIG BAND JUMP NEWSLETTER MARCH-APRIL 1997 that, to these well-used ears, are just a bit too far out to be comfortable, but maybe that’s what it’s all about. Maybe we expand our Big Band appreciation by sam­ pling dishes that might seem too spicy at first. It could be we’ll never learn to appreciate those more spicy offerings, but it’d be a shame not to try.

Cuts include: THE HEAT’S ON, JA-DA, SWEET GEORGIA BROWN, WIND MACHINE, SOFT AS VELVET, YA GOTTA TRY, FRECKLE FACE, SATIN ‘N’ GLASS, 88 BASIE STREET, and NIGHT FLIGHT. We can’t assure you ’ll like every cut, but the chances are good you’ll find two or three cuts you like, and others on the edge for more ancient tastes. There’s no question about the solid rhythm section and flawless execution on any of the cuts. This was an interesting experience for us... .it may be for you. The Shaw album Available at any good record store, or they can order it.

HEART BELONGS TO DADDY, Hal Stevens sings I IRRESISTIBLE SWING - Artie Shaw Orchestra DON’T STAND A GHOST OF A CHANCE and Drive Archive DE2-41047 HOW DEEP IS THE OCEAN, with Teddy Walters voicing the lyrics of YOU DO SOMETHING TO ME. Gone are the days when the Big Bands are regularly available on known record labels. Some of the Artie If you’re a Shaw fan, this is an album you shouldn’t be Shaw recordings put out in the late ’40s on MGM 78’s without, for it’s among the last of the Shaw Big Band have found their way onto the Drive label. It was a time material. He fronted a bop group three years after this when the Big Bands were languishing and the MGM record was made, and then in the early ’50s re-organized label was new, so none of the Shaw offerings of that time the Grammercy Five, but by 1954 Shaw put down his reached the heights of, say, BEGIN THE BEGUINE or clarinet for good. We’re fortunate these cuts have been FRENESI. It wasn’t because the musical quality wasn’t preserved. there, it was just because the audience had lost interest. Now we can re-discover these Shaw cuts as if they were Available at any good record store, or may be ordered recorded a few days ago. directly from the record company at: 1-800-289-3748.

These 1946 recordings used a studio group and the ANSWERS TO FAMOUS SONGS QUIZ arrangements were more for dancing than pure swing listening, but the facile Shaw clarinet gives them distinc­ d-OI V-6 0-8 01 H"9 TS 31 iZ 31 tion. THE GLIDER, THE HORNET and ANNIVER­ SARY SONG are the swingingest instrumentals in this Either stand on your head to read these collection, but Mel Torme is heard in the appealing WHAT IS THIS THING CALLED LOVE with the answers or turn the page over to read Mel-Tones, probably one of the most important mile­ stones of the Torme vocal career. He’s also heard on them, while still on your feet. GUILTY. Kitty Kallen contributed a vocal on MY

10 VOLUME XLIX BIG BAND JUMP NEWSLETTER MARCH-APRIL 1997 UPCOMING BBJ PROGRAM TITLES but with the fresh view of today’s offerings, as well (The first listing is a repeat from the previous issue to as classic recordings of the accomodate new subscribers.) past. For example, a group called Wall Street Crash March 8-9, 1997 Mailbag programs are com- will be presented from the THE MAILBAG ing more often these days, with soundtrack of a German more and more listeners re­ television program, the sponding to the BIG BAND JUMP radio program group Manhattan Transfer across the nation. The letters range from suggestions for will be heard from, the Ray full two hour programs to single specific recordings. Conniff Singers, the Pied There are instances when Mailbag programs repeat Pipers and the Modemaires music that’s been played before, but missed by the letter writer; other requests are for recordings that have never s s s <^ 3 , 0 0 ^ ^ been programmed before. It promises to be a varied and elty offerings of Spike Jones and the fresh, new compo­ revealing show as we attempt to accomodate as many sitions and arrangements of Bill Elliott’s Big Band as listeners as possible. performed by the Vocalworks.

March 15-16, 1997 How would March 29-30, 1997 The reaction of listeners from THE TROMBONE PLAYERS/ you describe AIRCHECKS phone calls and letters often LEFTOVERS a trombone gives us a direction to take in to someone the development of a program subject, and listeners have who never saw one? This program presents the dic­ consistently reported their interest in airchecks, those tionary definition, but goes on to present some of the earlier recorded programs captured in a time before more important and/or interesting trombone players of wire, reel/cassette tape or digital recording. It’s our the Big Band Era. We’d done a program with the same good fortune that some such recordings, thought to be title before, so this could be called TROMBONE PLAY­ purely temporary at the time, have survived to make up ERS II, or SON OF TROMBONE PLAYERS in the a permanent part of the sound literature of the Big grand and honored movie tradition. In all seriousness, Bands. These unique moments in radio, recorded di­ we’ll hear from Buddy Morrow, Jack Teagarden, Tommy rectly from "live” broadcasts, will prove to be a time- Dorsey, Jack Jenney, Glenn Miller and others who capsule, reproducing not only the music but the mood of distinguished themselves with the Big Bands. times gone by. Younger generations are fascinated with the historic aspect of these broadcasts, older groups In the assembly of these programs, there are frequently recall the times they first heard similar offerings. melodies left over because time ran out or the particular record didn’t fit with the subject of the moment... .or we April 5-6, 1997 This is another of those pro- just haven’t presented an orphan recording that should SAX PLAYERS grams, the subject of which have been on the program. Whatever the reason, some had been used years ago, but of the most interesting shows have grown out of the hadn’t been approached anew. We look at the sax collection of LEFTOVERS. Let’s hope this hour proves players with a new eye (and listen with a new ear) these to be another one worthy of your aural involvement. years later, hearing some reed men we overlooked in past programs as well as re-acquainting ourselves with some March 22-23, 1997 This is another of those pro- tried and true performances from the past. There’ll be NOVELTY & grams based on a subject the oft-repeated IN THE MOOD sax duel between Tex VOCAL GROUPS we’ve ignored forthe past sev­ Beneke and A1 Klink, of course, and Coleman Hawkins eral years. Looking back, we will be well represented, but we’ll also hear some studio see that the last time we seriously attacked this category men whose names aren’t as familiar in the Big Band wasa 1988BBJ. New listeners often missed the earlier world. A revealing program, giving us fresh sax sounds programs, and so we’ll approach the subject again, we haven’t heard before, plus some we’ve forgotten. 11 VOLUME XLIX BIG BAND JUMP NEWSLETTER MARCH-APRIL 1997

April 12-13, 1997 In the past we’ve devoted BBJ April 19-20, 1997 A decade ago music critics GIRL VOCALISTS/ programs to the ladies who SEVENTY-FIVE from all over the nation were INSTRUMENTALS were Big Band vocalists, sit­ YEAR TOP TEN polled to determine the top ting primly on the bandstand melodies from the first three- quarters of this century. They came up with a list that represents the very best of that time. We’ve selected, for the most part, Big Band recordings of those composi­ tions, as well as extras along the way. We’ll give you a hint or two; Broadway contributed several of the selec­ tions, but the movies did just as well as the source for the music critic’s choices, and a few were written simply as popular songs for recording at that moment in time, but worked their way into our hearts over the years.

April 26-27, 1997 While we were at it, LISTENER’S TOP TEN we dug out our poll of the top ten Big Band recordings as selected by both listeners to BIG BAND JUMP and readers of the BBJ NEWSLETTER taken over the years. We’ve had several of these polls in the eight years the newsletter had been published, and the over ten years the program has been heard nationally. The surveys nearly always reveal the same top ten with few exceptions, so it’s incumbent upon us to bring you this distillation of favorites from listeners and readers.

May 3-4, 1997 A surprising number Ella sings SOUNDTRACK MAGIC of the melodies we take for granted as tapping their feet to the music, waiting for the moment having originated strictly as vehicles for a particular when they stepped to the mic to sing. This program recording artist actually began as music written for presents many of those same vocalists, but in recordings movie soundtracks. Although the commercial record­ made after they left the Big Bands and went out on their ings have had the most exposure over the years, they own, as well as a few who never did sing with a band. were often performed first in either musical motion Their work is no less appealing and in many cases more pictures or as adjuncts to dramatic big screen offerings. striking with the accompaniment of a studio band playing In this hour we hear the actual soundtrack versions. arrangements designed to highlight their vocal talents. Betty Grable sings CUDDLE UP A LITTLE CLOSER, Bing Crosby sings I LOVE YOU SAMANTHA, Carmen In the second hour, we hear some of the well-worn Big Miranda is heard again with one of those rhythmic latin Band purely instrumental recordings that have become numbers, Dick Haymes voices HOW BLUE THE NIGHT. classics over the years. Goodman’s Carnegie Hall Duke Ellington’s of COTTON CLUB performance of SING, SING, SING will be heard STOMP is heard in the re-creation version for the movie again, as well as some Count Basie standards including about that significant Harlem night spot, dancer Eleanor APRIL IN PARIS (one more once!) and his less-known but equally appealing TEDDY THE TENT. Standards Powell sings with Tommy Dorsey’s orchestra and Dick Powell is heard again in his original role as a vocalist. will also be performed by Harry James, Charlie Barnet, Tommy Dorsey, Glenn Miller and Benny Goodman. Dates may vary for a few stations. Please phone your Like a comfortable pair of slippers, many of these local Big Band station to confirm the time and day o f sounds will fit easily into your auditory canals. BIG BAND JUMP's broadcast in your area.

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