sign in sign up
<<
Home , Bobby Byrne (musician), Buddy Morrow, Charlie Spivak, Chez Paree, Enoch Light, Helen Forrest

IN THIS ISSUE:

An in-person interview with LETTERS TO THE EDITOR LYNN ROBERTS about HAGEN WILLIAMS, HELEN FORREST, BOBBY Sidelights about BYRNE, JOHNNY JACK PURVIS, , DESMOND & OTHERS THE DORSEYS, & CHICK WEBB Reviews of BIG BOOKS AND RECORDS to consider BAND A NICKNAME PHRASE TRIVIA QUIZ JUMP E S S S S S S ® NEWSLETTER

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

¿5 BIG 1SA\D JUMP N EWSLETTER

VOLUME LXIV______BIG BAND JUMP NEWSLETTER______SEPTEMBER-OCTOBER 1999

LYNN ROBERTS INTERVIEW

The Background

Lynn Roberts has been entertaining audiences with her vocal talents since 1937, two years after her birth, and she’s dedicated to continuing as long as she’s able. She’s been seen on PBS in specials with the current orchestra led by , and is busy with personal appearances throughout the nation, so strong is the demand for her talents. She was, as she suggests in the interview, on the outside cusp of the Era, having worked for Charlie Spivak at age 15, then for Tommy Dorsey and . She is, by virtue of her experience, one of the finest Big Band singers still working today, continuing the tradition of girl vocalists who came before. We should mention one other fact: Lynn Roberts is a genuinely nice person, paying personal attention to everyone, without excep­ tion. On the bandstand she’s totally in charge, combin­ ing professionalism with her effusive personality to create the ultimate vocal entertainment. Lovely Lynn at work, with Michael Moore playing bass & Bucky Plzzarelli’s guitar The Scene in show business although my father was a frustrated During a break at a Big Band dance held in the social piano player. He loved music and he was good. He used hall of a church in Edgewater, Maryland, we set up the to play for me all the time at home. recorder in a church office. Lynn was stopped by fans several times on the way to the office to sign her CDs, BBJ: What happened between humming at sixteen but was finally able to courteously break away. The months and working for Spivak? first questions was the logical one, prompted by our knowledge of her early start in the business. LR: In between that time, I guess I was abouttwo, my father took me to some kiddie shows we used to BBJ: Did you want to sing ever since you can have around the area, and I auditioned remember? and he played for me and I sang on Aunt Martha’s Kiddie Hour at the age of two. Then I became a regular on LR: Absolutely. The story goes that I was about another children’s program called the Horn and Hardart sixteen months old and I could hum a tune Children’s Hour, with Ed Herlihy who was the master of before I could talk, so I guess I really wanted it. ceremonies on that show. I was on that show for many years and that took me up to the age of twelve, and during BBJ: Is it genetic? that time, believe it or not, I was in vaudeville. I sort of got in on the tail-end of that, too. I played a lot of theaters LR: I don’t know. Nobody in my family was ever all over the country; in Atlantic City on the Steel Pier, the VOLUME LXIV BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 1999

Adams Theater in Newark, the Met in Providence, 1956, and Jimmy six months later. Rhode Island, the State in Hartford, Connecticut. .. it was the end of that era. I keep getting in on the end of BBJ: You were singing with them all that time? eras. LR: There was a year I left the band. Actually, I was BBJ: Who was with you all this time? fired. Tommy fired me because he got this thing about my pony-tail. I used to have this long blond pony­ LR: My dad, and of course my mother used to tail, it was sort of a trade mark, and he came to me one travel with me. I was a little kid, about seven, day and said, “I don’t like that pony-tail anymore. Cut eight, nine years old, so when I say that I’ve been in it off. ” I said, “I don’t want to cut my pony-tail off. ” He show business for fifty-five years people think I’m said, “Well, I think you should.” We compromised. I about ninety or something but I did start pretty young. told him I’d wear it up if he didn’t like it, and he said OK. I was married to the lead trumpet player, Flea Campbell, BBJ: Your first Big Band was Spivak? at the time. One night I came to work and Flea and I were celebrating our first wedding anniversary. I said to Flea, LR: I was fifteen. I had graduated from high school “You know, it’s our anniversary. I think I’m going to and I was doing a local New York afternoon wear my hair down with the pony-tail. ” Flea didn’t know television show, a kind of a talk show with music. Jerry whether I should do that, but I thought I would. I think Jerome had the band, and I was a guest on that show and I was being a little defiant. Irene Daye, who was Charlie Spivak’s wife, called the station and asked if I would be interested in auditioning I showed up at work that night, we were in , and for her husband. He was looking for a . I said I was sitting on the bandstand. Tommy got on the sure and ran over to Nola Studios in New York and there bandstand and he looked at me; he didn’t say anything, were about fifty girls auditioning for Charlie and I sang he just walked up to the trumpet section and he said to my a couple of tunes and went home. That evening I got a husband, “Guess she doesn’t care what anybody says, phone call from Charlie’s manager and he asked me if huh?” Poor Flea said, “Well, you know, Tommy, it’s our I’d like to join the band. He said they were leaving anniversary and she just wanted to wear her hair down.” Thursday morning from the President Hotel, and there And he said, “You can tell her that from tomorrow night I was with my prom dress, the only gown I had, and I on she can wear it down for the rest of her life because started singing with Charlie Spivak and he was a darling she’s finished.” The next night I was gone. man. I love him. I stayed away for a year, and I guess about nine or ten BBJ: You must have been terribly bright to graduate months later I was doing a night club act working at the high school at fifteen. Chez Paree in Montreal and Tommy came into the club and asked me if I’d like to come back with the band and LR: I just wanted to get out! I wanted to sing! I told me that they were going to play the Paramount skipped a couple of grades and I started early. Theater with Sinatra that coming August and he wanted I don’t remember being particularly bright. I just really me to be with the band, and I couldn’t say no to that. To wanted to sing, that’s what I wanted to do as my work with Frank Smatra. Wow! mission. BBJ: Your last big name band was Harry James. BBJ: Tommy Dorsey. LR: Yeah, and I always wanted to sing with him, LR: That was a great learning experience. Actu­ and that didn’t happen until much later; it was ally, what happened was I joined Tommy in 1978 when I joined Harry. It was a lovely experience. He 1951 and then in 1953 Jimmy joined Tommy so I was a terrific guy and a great musician. actually spent two years with Tommy without Jimmy, and then Jimmy joined and that became the fabulous BBJ: Who manages you now.... you? Dorsey Brothers the second time until Tommy died in 2 VOLUME LXIV BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 1999

LR: (Laughs) Me! At my age I just do it. It’s nice. Hofstra University. I was actually invited to this confer­ My kids are all grown and married and OK and ence of people who had worked with him, for him; I can really just go and do whatever I want to do. I’ve writers, engineers.... Phil Ramone, Pat Williams.... just been doing a lot of wonderful dates with . tons of people, and did the evening tribute. We’ve been doing a lot of symphony dates where he uses He did all Frank’s arrangements. He’s just superb. He the Big Band within the symphony. The show is called just gets better. Big Band Hit Parade and he’s guest conductor at many symphonies across the country. That’s a lot of fun; he’s BBJ: Are you going to keep singing? wonderful, gosh, he’s great to work with. LR: I’m going to do this as long as I can, and I feel BBJ: What’s the future for Big Band music? blessed, you know, because it’s a gift, and there’s a responsibility when you haveagift to use it, and LR: There is a future, I think, and I’m seeing it. I see to give it back and that’s what I want to do. this new interest that kids seem to have in swing dancing. If they’re gonna’ do that they’re gonna’ do it At the last part o f the interview, the orchestra leader to our music. There has to be a place for our music in popped into the room to tell Lynn it was time to be back our culture, because it’s our heritage. This is American on the bandstand, and o ff she went to, as she said, give music. These are our poets. It really is a mission for me back some o f the gift with which she was blessed. to do this as long as I can, and I do see more young people attending concerts and listening to this kind of LETTERS TO THE EDITOR music and I hope there’s a place for it. I don’t think it’ll ever be the way it was, but there’s gotta’ be a place All letters to the program or the newsletter are an­ because it belongs to us. swered eventually, although only letters deemed of most general interest are used in this newsletter; please BBJ: Who are your favorites? be patient, for the volume is greater than our ability to handle in a timely fashion. Questions and comments LR: Well, the usual. I’ll tell you a singer who I about either the BBJ NEWSLETTER or the BIG BAND really think is wonderful. Recently I saw her on JUMP radio program may be sent to: a PBS special, and she was doing standards, and she’s really a country singer.... k.d. lang. Gosh, she’s a good BBJ NEWSLETTER singer, and Natalie Cole I love, and Barbra Streisand, Box 52252 she’s the best, and Eydie Gorme. I just saw Steve and Atlanta, GA 30355 Eydie recently doing a show in Myrtle Beach where I live, at the Palace Theater there, and when I left I was.... The letters that follow have been edited for space and everyone in the audience.... was on cloud nine, considerations, but the meaning has been preserved. because they’re just so wonderful, and who does that anymore? Where do you go to see that kind of a show? David Belaire From one curmudgeon to They’re thrilling and they’re great singers and the music Santa Ana, CA another, your little piece, is wonderful. criticizing listeners to Big Band music who are devoted to familiar bands and BBJ: How about the boy singers? arrangements only, got me thinking. The editor invi­ ted our views, so here we are. LR: Well, Jack Jones and and all those guys. Are there any new male singers? I My first thought was that your are ignoring the part, don’t know. large or small, which that old rascal nostalgia may play. For me, as an example, the older I get and the more I BBJ: Vic Damone? observe what has evolved over the years, the more I long for the years when the Big Bands flourished, and the LR: I just attended a conference at lifestyle that was prevalent then. Besides nostalgia,

3 VOLUME LXIV BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 1999

what I will refer to as “melodic appeal” can play a part present the new bands. said it well in whether a music listener accepts or rejects a given Big when he told us there are more bands out there Band piece. Bill Haley played ROCK AROUND THE today than there were in the Big Band Era. I f we CLOCK and SEE YA LATER ALLIGATOR as new don’t support them on the air and wherever they and different music which, almost childlike in nature, appear, there can be no continued appreciation nevertheless set many aBig Band Era toe to tapping. His of Big Bands for younger generations. later rock-n-roll successors, however, got so heavy into “There ’s room for all the recordings and bands, noise and light shows, that they lost all of us. Next, I new and old, and we must appreciate them all. recall Bert Kaempfert. It was hearing his rendition of Repeating our view, ‘the music should be style- some Big Band tunes (familiar) which sent me to the based, not calendar-based. ’” record shop for the first time for anything but Sinatra or . Same with Ray Conn iff. Dave Van Sant I agree with fellow BBJ NEWSLETTER reader Jerry loved - the old style jazz - for this Port Charlotte, FL Selman whose letter in the he formed his small groups. But July-August edition stated that vo­ when it came to the Big Band, he calist Helen Forrest started life as played ensemble music with a beat, Helen Fogel. with only occasional brief impro- visational departures. At least, Ms. Forrest and I both come from that’s the way I heard it. That was the Atlantic City, area. also the way that ’s I remember meeting her brother band played, with great success Ed when I was a kid back in the for so many years after the Big ’40s. He was an accountant or Band Era. ALL OF ME, APRIL CPA as I recall. IN PARIS, Etc. Here is the story I heard about how The melodic approach would un­ she chose her professional name. doubtedly presage a new Big Band There was a laundry firm in Atlan­ Era. Especially if the bands em­ tic City named Forrest Laundries. ployed singers. Please get started The Forrest trucks frequently went soon, doggone it, at 78 I don’t up and down the main street, At­ have that much time left to enjoy lantic Avenue, with the company the new Era! name emblazoned on the sides of the trucks. When she was trying to All in fun, Hagen. Yours was a decide on a stage name she glanced good article and I hope it inspired out a window just as a Forrest lots more responses. Hopefully, it truck went by and in that instant Helen Forrest in the ’50s may be in starting the chose the name “Forrest” with two Big Band pot boiling. “Rs”. J can’t guarantee the story is true. Perhaps Ms. Forrest will give you the answer. We asked Hagen Williams, author o f the commen­ tary, to respond: “Your comments are right on. A couple o f months ago we attempted to set up an The essence o f the article simply calledfor appre­ interview with Helen Forrest, but she said she ciation of the fresh, new bands out there.... not didn ’t feel up to it. Since the last issue and Mr. the ones playing for musicians, but the ones Van Sant ’s letter, Helen Forrest died o f conges­ preserving the Big Band style which created it all. tive heart failure. She was 82. Next issue, We didn 't mean to infer that the great bands o f the however, we feature a late ’70s Helen Forrest past are not to be played, but we should also interview conducted by radio host Fred Hall.

4 SEPTEMBER-OCTOBER 1999 VOLUME LXIV BIG BAND JUMP NEWSLETTER

Bill Sullivan I am a new and thankful recipient of to the M iller unit Sun City, AZ the BBJ NEWSLETTER. A recent from the start. published letter mentioned and I thought I would add some info. While We don't know serving as merchandising manager for a consumer if he legally electronics company in the ’60s, I worked with Bobby changed his who had become a recording executive and producer in name, but suspect New York with and Loren Becker of he was listed on STEREO DIMENSION records and COMMAND ABC military rolls as records. We worked on promotional discs as demos for Giovanni Alfredo my company. deSimone, his real name. Because of this relationship, my wife and I were invited to sit in on one of Benny Goodman’s last sessions. He Ken Errair My family and I greatly enjoyed the top was appearing at the Rainbow Roof with a small group Oakland, CA 20 program of August that included and Bemie Leighton of the 8th. We were very surprised that Harry ’40s Goodman band, as well as the superb George James’ TRUMPET BLUES and ’s BEGIN Duvivier on bass. Bobby Byrne helped engineer and THE BEGUINE failed to make it. Incredible! We were produce that LP and when Benny called out from the equally surprised that comparatively inferior tunes like studio for Byrne to join them, Bobby replied that “I WELL, GIT IT and SING, SING, SING did make it. turned the trombone into a lamp at home.” Unbelievable! Also Harry James’ STRICTLY IN­ STRUMENTAL should have been in there. Otherwise, Bruce Cox What about all the Big Band great show. North Canton, OH videos in the vault at Disney­ land? Live performances of Reminds us o f the punch line o f the old joke: “Other­ many of the greats shot in the late seventies and eighties wise, how did you like the show, Mrs. Lincoln? ” We ’re at Disneyland. What a crime that they stay in the can, doing this again soon, maybe next issue, for the opin­ not made available. They are all one hour live gigs. I ions and tastes o f Big Band enthusiasts may change, or have , and Cab be subject to a passion o f the moment. It ’ll be interest­ Calloway. Great stuff. ing to see i f a new survey turns up a different top twenty.

Bill Ellis During WWII (Summer of ‘43) I Lewisburg, WV was stationed at Lawson Field, Mindy Carson We really enjoyed the King Sister’s Fort Benning, Georgia with the Big Sur, CA program. What could be better - the 607th Trooper Carrier Squadron. A squadron member pounding surf of the Pacific on the was one . Is he the Johnny Desmond rocks below, a roaring fire in the fireplace, a pitcher of who was the featured male singer with the martinis and BIG BAND JUMP on the radio!?! Heaven!! Air Force Band? (Her punctuation.)

In August Johnny was one of the first members of the We hope you know how much BIG BAND JUMP and squadron to receive his overseas shipping orders. ^ e newsletter are appreciated. Please, never stop!

Our information tells us that Johnny Desmond had Fontaine Sewell Would you see if you can find enlisted in the Air Corps and got the callfrom Glenn AltaLoma, CA an address for Peggy Lee? Last Miller while he was home on leave in 1943, which year she had a major stroke matches the date you mention but not the place. Our from which the doctors were amazed she survived. information is that he was specifically assigned

5 VOLUME LXIV BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 1999

You can write her care of: THE PEGGY LEE FAN Casa Lomans, Jean Goldkette, Leo Reisman, Fred War­ CLUB-744 Collier Drive-San Leandro, CA 94577, ing, Coon-Sanders, , Ted Lewis, Wayne or e-mail a [email protected]. King, Fletcher Henderson, Gus Amheim, Isham Jones and . There’s a brief look at the ballrooms (^BOOKS & RECORDS TO CONSIDER^) of the nation, with plenty of pictures.

JUKEBOX SATURDAY NIGHT Part Two concentrates on the Big Band Era bands as Richard Grudens - Celebrity Profiles Publishing noted above beginning with Artie Shaw, (whose Gruden’s interview was featured in this newsletter last issue) and Author Richard Grudens continues to turn out books including side trips to include vocalists, arrangers, play­ giving us the benefit of his numerous interviews with key ers and current leaders of some of the “ghost bands”. music personalities, plus information about the stars of Part Three deals with three of the lesser-known compos­ the Big Band Era. This latest soft-cover presentation ers of Tin Pan Alley and vocalists Carmel Quinn and features interviews and anecdotes about such top names Beryl Davis as well as visits with guitarist and innovator as Artie Shaw, Les Brown, , Stan Kenton, Les Paul and Big Band museum developer Sally Bennett. Red Norvo, , Tommy Dorsey, Harry Part Four looks at overseas bands and Part Five is about James, Glenn Miller and Les Paul. one of the nation’s most dedicated Big Band radio stations, WLIM on Long Island.

This is the kind of book you can read in small chunks, for it’s wide-ranging and eclectic, giving the reader the opportunity to absorb the total story of a specific section without having leftover thoughts to contend with. The photos alone are worth the price of admission, for there are over sixty pictures of both people and places con­ nected with Richard Gruden’s experiences. It’s the fifth book from this prolific author, who has dedicated his life to spreading the word about Big Bands and associated artists. If you enjoyed his previous books, you certainly will enjoy this one. If you haven’t read Richard Gruden’s books yet, this would be a good way to get acquainted with his work. 250 pages.

May be ordered directly from the author: CELEBRITY PROFILES PUBLISHING - Box 344 Main Street - Stony Brook, New York 11790-0344, Phone (516) 862-8555. $ 17.95 includes regular shipping. Add $3.00 for priority mail shipping, which can include up to two books.

YOUNG MAN WITH A HORN Doris Day & Harry James

This is a re-mastered version of an originally put Richard Gruden’s latest book out on a ’50s LP; the music from the movie YOUNG MAN WITH A HORN. Harry James played the trumpet In logical progression, Part One of the book outlines on the soundtrack as Kirk Douglas, playing trumpet some early dance bands, including , the player Rick Martin, mimed on the screen. YOUNG 6 (Please fold on dotted line)

(Please fold on dotted line)

BBJ NEWSLETTER Place Box 12,000 Atlanta, GA 30355 Stamp

Here

BBJ NEWSLETTER Box 12,000 Atlanta, GA 30355

(Tape or Staple Here) THE CENTER PAGE OFFER - THE TONY CORBISCELLO BIG BAND IN FULL SWING

Why, you might ask, would you present an album by a guy who's name Is either totally unknown or at the very best, little known?

It’s because his band is a solid representation of what a band should be, and Tony himself is the leader. It is, in short, a current, vital, working band with a future only to be determined by the support the band receives.

Arrangements are by Marion Evans, the arranger whose work has produced 65 gold records for such stars as Tony Bennett, Count Basie, Steve Lawrence, and Patti Page among others.

Tony’s was the band chosen to open for Frank Sinatra during his final world tour, and has performed with Rose­ mary Clooney, John Pizzarelli and ....plus others, of course.

The cuts on this impressive CD include: CLOSE AS PAGES IN A BOOK,THAT OLD FEELING, I'LL NEVER SAY 'NEVER AG AIN ' AGAIN, SATURDAY NIGHT IS THE LONLIEST NIGHT OF THE WEEK, BUT NOT FOR ME, DREAM, MARGIE, WHEN THE SUN COMES OUT, HAVE YOU MET MISS JONES?, LADY OF SPAIN, LOVER and three originals by Marion Evans titled JOHNNIE'S THEME, AROUND TOWN a n d BIKINI BOSSA. With New York's leading players, the finest arrangements and the crisp drumming and precise leadership of Tony Corblscello, this is a do n 't miss album :

(BB-27) TONY CORBISCELLO IN FULL SWING CD Only $ 15.95 (Plus $2.50 S&H)

Please fill out and return this sheet, using the self-mailer as indicated on the reverse, or an envelope, and send to: BBJ NEWSLETTER - Box 1 2 ,0 0 0 - Atlanta, GA 30355. Or call our toll-free order line - 1-800-377-0022.

Please send me: (BB-27) ( ) CD Only $ 15.95 (Plus $ 2.50 S&H)

NAME______

ADDRESS______

C1TY______STATE______ZIP______I’m enclosing a check or money-order, or please charge to my VISA or MASTERCARD, as above. 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 and throughout the world.

BIG BAND JUMP NEWSLETTER SUBSCRIPTION FORM

IT'S RENEWAL TIME FOR FIFTY-NINTH ISSUE SUBSCRIBERS TO THE BBJ NEWSLETTER

If your address label has a (59) on it, this is the last issue of the BBJ NEWSLETTER you'll receive under your current subscription.

If you'd like to receive the BIG BAND JUMP NEWSLETTER for a year, six issues, one every other month, please fill out this form and charge or send check or money order for $22.95 to:

NEWSLETTER Box 12,000 Atlanta, GA 30355

( ) [New subscribers] Yes, please send me the BIG BAND JUMP NEWSLETTER for a year. I'll receive six copies, one every other month.

( ) [Renewals] Yes, please renew my subscription.

Account Number Expiration Date

M o n th Y e a r

NAM E______

ADDRESS______

CITY______STATE______ZIP

I’m enclosing a check or money-order, or please charge to my VISA or MASTERCARD, as above. (64) (Please fold on dotted line)

(Please fold on dotted line)

BBJ NEWSLETTER Box 12,000 Atlanta, GA 30355

BBJ NEWSLETTER Box 12,000 Atlanta, GA 30355

(Tape or Staple Here) VOLUME LXIV BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 1999

MAN WITH THE HORN was adapted from a novel by MORE DIALOGUES IN SWING Dorothy Parker about a trumpet player who lacked self­ Fred Hall - Pathfinder Publishing esteem and who succumbed to the evils of alcohol. The novel was loosely based on the life of Bix Beiderbecke, The first of this series of books was reviewed here two who died of alcoholism in 1931. The movie, however, issues ago. The second of the series, written in 1991, is has a happy ending, as movies tend to do. the one being reviewed here, with a third book in the works. The result of Fred’s long-time association with musicians, these conversations with the people whose music we’ve all come to know so well give us added insights into how that music came about.

With a foreword by Jo Stafford and Paul Weston, Fred Hall launches into interviews with Kay Starr, Count Basie, , Teddy Wilson, and the King Sisters, Herb Jeffries, Johnny Green, Les Brown, Harry James and Tony Bennett as well as the two Helens of the Big Band Era, Forrest and O’Connell. Fred Hall has been in radio for longer than most of us have been listening to it, and knows his subject. That knowledge shines through in his approach to each personality, bringing forth information and anecdotes that shed new light. Also included are some record source suggestions for the artists in the book.

This book should be in your library if you’re a Big Band fen. Doris & Kirk Softcover: $16.95; Hard cover $20.95. Maybeordered Part of the fun of this album is the reproduction of the directly from: Fred Hall - PO Box 612478 - South Lake “long-playing microgroove” label on the CD, along Tahoe, CA 96152. Price includes shipping. with reprints of the actual original album notes on the CD booklet. They come out much too small to easily read, butthe charm is there. I MAY BE WRONG, THE SIDELIGHTS MAN I LOVE, THE VERY THOUGHT OF YOU, PRETTY BABY, WOULD I LOVE YOU, TOO Anecdotes about musicians and those associated with MARVELOUS FOR WORDS, GETHAPPY, I ONLY the Big Bands. HAVE EYES FOR YOU, WITH A SONG IN MY HEART and LULLABY OF BROADWAY are the JACK PURVIS Purvis was a trumpet player Doris Day songs on the album. Pure instrumentals who was described by Charlie feature Harry James playing MELANCHOLY RHAP­ Barnet as one of the wildest men he ever met. Coming SODY, LIMEHOUSE BLUES and a bonus track not from , who himself was the instigator of on the original album, MOANIN’ LOW, which was some untamed moments, that’s high praise. One inci­ heard at the very beginning of the film. dent occurred while Purvis was playing with Fred War­ ing According to Charlie, Jack Purvis’ pride and joy Gee, but Doris Day can sell a song. Golly, that James was a moustache he spent hours waxing and trimming. guy can play a trumpet. The moustache disturbed the dictatorial Waring, who wanted his crew to look collegiate, and ordered Purvis to $15.95 plus $2.50 S&H - Available from BBJ Sales. shave it off. This order came just before their opening at (continued next page)

7 VOLUME LXIV BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 1999

the brand new Roxy Theater in New York City. run by the musicians, for it was a co-op orchestra put together by Big Band booker Cork O’Keefe. Cork The opening night came, the spotlight picked up Waring suggested three people to front the band, Johnny “Scat” as the orchestra rose on the elevator-pit, who introduced Davis who was working as a scat singer with Fred the 1812 OVERTURE, including a trumpet solo only Waring’s Pennsylvanians, Harry Goldfield, a corny Jack Purvis could handle. The spotlight moved to trumpet player with Paul Whiteman or the singer with Purvis as he began his solo.... and he had shaved offhis , Bob Crosby. If the selection had moustache. .. as well as every hair on his head. “Sud­ turned out differently, we’d be listening to SOUTH denly,” Charlie Barnet recalls, “Jack Purvis became RAMPART STREET PARADE and BIG NOISE available to join my band.” FROM WINNETKA by, say, Johnny Davis and the orchestra ... or Harry Goldfield’s Big Band. MOOD INDIGO No one seems to really know who wrote the melody which became the now famous MOOD INDIGO, so success­ THE DORSEYS There actually was a real life fully recorded by Duke Ellington. Most of the theme Dorsey Brothers scene that came from who successfully sued to could have been used in the movies. On January 10th, have his name added to the copy­ 1939, Tommy Dorsey’s Band was right. Bigard says the first strain to finish their engagement at the of MOOD INDIGO actually came Hotel New Yorker, to be followed from his old clarinet by the Jimmy Dorsey Band. teacher, Lorenzo Tio, Jr. who used Tommy, instead of playing till 2 to play virtually the same number AM, played AULD LANG SYNE as DREAMYBLUES, which was, at midnight, then went into the old strangely, the same title put on Dorsey Brothers theme SAND­ some issues of the first Ellington MAN, still used by Jimmy at that recording. Duke Ellington claimed time. Jimmy came on and intro­ he wrote it in 20 minutes before the duced his own band with the brand recording session. We can be sure new theme CONTRASTS. The of one fact: the classic arrange­ parents, Mr. and Mrs. Thomas ment is Duke Ellington’s alone. Dorsey, were there and father Dorsey even played his trumpet VAUDEVILLE In 1920 with his sons as they did in the when vaudeville was a primary family orchestra. It was said Mom means of theater entertainment, a Dorsey was moved to Irish tears. group was founded to present black performers in front of black audi­ CHICK WEBB Duke Elling­ ences, providing fairly steady work ton actually for the artists in what became an got drummer Chick Webb his 80 theater chain. It was officially first bandleading job. called the Theater Owners and Ellington’s band was offered a Bookers Association (TOBA) but five month gig at a club called because of the grueling schedules the Black Bottom, but wanted was known in the business as to stay at the Kentucky Club, ‘Tough On Black Asses.” so he organized a quintet, appointed Chick as leader and got them the job. Chick and the group BOB CROSBY It’s well-known that the Bob earned $200.00 a week, but the Duke took $30.00 Crosby Orchestra was really each week in commission. 8 VOLUME LXIV BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 1999

By 1946, only Stan Kenton could attract such numbers, PUTTIN’ ON THE RITZ but a mere four years later with the advent of television, Bridgeport, Connecticut outdoor movie theaters and the intense radio popularity of vocalists, the same attraction, Stan Kenton, only drew The BBJNEWSLETTER intermittently tells the story of a gate of 750 people. one o f the great ballrooms o f the Big Band Era. After a decade of bare subsistence catering proms, class The Ritz actually began its life as the Brooklawn Dance parties, banquets and meetings, the Ritz held its final Pavilion in 1919, featuring that year the music of dance on New Year’s Eve, 1961. Shortly after, the building became a furniture outlet. Then, just nine years after the last dance, a raging fire burned the building to the ground along with thousands of warm memories of an evening of dancing to the top Big Bands of the nation. MINI-BIOGRAPHY - ERROLL GARNER

While Erroll Gamer didn't spend most of his life playing in a Big Band, his unusual piano technique and pure appeal make him one of the most interesting musicians of the Big Band Era. As with so many innovators, Erroll Gamer never learned to read music; some critics say if Ritz Ballroom in the '40s he had, his far-reaching style would have probably lost its intensity and interest. Vincent Lopez and his orchestra in a time a few years before radio would make Lopez a household name. Gamer's major Big Band association was from 1938 to Business was OK, but nothing spectacular, and the 1941 when dance floor was moved a few years later to a location on he played Fairfield Avenue where Vincent Lopez again played, in his home this time for the new location re-named the Ritz. The town with date was March 23, 1923, and admission to the ball­ Leroy room was fifty cents. Still, the crowds were only fair. Brown's For example, the appearance of Rudy Vallee in 1929 orchestra, attracted only 350 dancers. Strangely, however, the a Pitts- ballroom business blossomed just a year later, and in burgh, 1930 when the same Rudy Vallee orchestra appeared, Pennsyl­ ten times the number of dancers crowded the floor; the vania or­ box office counted 3,300 customers. g a n iz a ­ tion, and As with other locations, it was in the ’30s and during once in a World War II that the Ritz reached its peak, achieving while a place among the leading New England ballrooms. played cal­ Operating seven nights a week, the Ritz featured Polka liope on nights, square dancing once a week and a regular house Ohio River band on Saturday. Sunday was reserved for the name excursion bands when, in 1940 for example, Tommy Dorsey drew boats. He Erroll smilin' at work over 2,700 patrons, as did Kay Kyser. moved to New York City in the mid-forties, playing 9 SEPTEMBER-OCTOBER 1999 VOLUME LXIV BIG BAND JUMP NEWSLETTER solo in night clubs and often as a substitute for Art popular composition is, of course, MISTY, made even Tatum's club appearances. When bassist Slam Stewart more popular by its inclusion in the early seventies left the Tatum Trio to form his own trio, Gamer worked motion picture, PLAY MISTY FOR ME. He also with him, but soon formed his own trio. contributed the film score for the 1963 movie A NEW KIND OF LOVE, which included ERROLL'S The Gamer Trio became intensely popular in the '50s BOUNCE, resulting in a recording of that piece. and '60s, appearing in such clubs as Basin Street East, turning out numerous recordings and catching the imagi­ Erroll Gamer died in in 1977, a half year nation of the public. Erroll Gamer often "kicked" the before his 56th birthday, but these years later his en­ beat in drum style, his chords sometimes lagged behind thralling sounds are still considered to be ahead of their the beat, and his improvisational preludes to the melody time. Gamer's most quoted comment succinctly sums up became the stuff of legend. All this time, Gamer was his view on life and his inventive piano creations. He also composing melodies, sometimes drawing on a said, "I'm a new me every day." phrase from those fanciful introductions. His most

NICKNAME PHRASE TRIVIA QUIZ

Newsletter contributor Douglas Parker came up with the follow­ ing quiz idea. During the Big Band Era, promotional people or announcers or writers nearly always came up with a phrase to describe each bandleader. Sometimes the phrases were excessive in their praise, sometimes they accurately described the talents of the leader or the overall sound of the band.

A couple of the phrases you’ll find in the following quiz will probably be a snap; others will take some thought. Simply match the name of the bandleader in the left column with the descriptive (or nickname) phrase in the right column. We’ll give you a hint to get you started: Jack Fina may have had rhyming talents, but they weren’t a part of his musical persona!

As is nearly always the case, the answers are in a box somewhere else in this issue. We don’t tell you the page because we don’t want you to look at the answers before you take the quiz. That would Dapper Del Courtney be cheating, deceitful and fraudulent.... and you don’t want to be any of those. 1) Ted Lewis A) The Hi-De-lIo Man 2) Jimmie Grier B) The 10 Most Talented Fingers in Radio 3) Carmen Cavallaro C) The Man Who Taught America to Sing 4) D) The Old Lefthander 5) Fred Waring E) The Old Smoothie 6) Perez Prado F) The King of the Mambo 7) Del Courtney G) The King of Swing 8) Benny Goodman H) The Poet of the Piano 9) Jack Fina J) The High Hat Tragedian of Song 10) Joe Sanders K) The Musical Host of the Coast 10 VOLUME LXIV BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 1999

UPCOMING BBJ PROGRAM TITLES incidental part of the recording. was back from the Navy, leading a band mostly featuring his vocals; September 4-5,1999 (Repeat from previous issue achieved his greatest record success that for convenience of new sub­ year with a Fran Warren song and The Mills Brothers, REMEMBRANCE scribers.) Every once in a , and Eddy Howard were all while, a collection of record­ onthecharts....allsingingsongs. The only instrumental hit ings is issued by an obscure record company concen­ of 1947 was a leftover from the ’30s which featured trating on all the major efforts of a single whistling and a washboard. Big Band. That’s what happened here; a tiny British company devoted to the often September 25-26,1999 You would overlooked excellence of the Gene Krupa CLASS OF ’38 think, in all Orchestra issued a well annotated set re­ the years that stored with technical care. We've probably BBJ has been on the air, that we would never heard these recordings with such have long since included the music of 193 8 clarity, and certainly will thrill again (or in a specific program, but to our surprise, for the first time) to the superb Krupa we have not. We looked in the computer, arrangements and vocalists. LET ME went through the listings and the program OFF UPTOWN, DRUM BOOGIE and sheets, consulted with the folks in the of­ OPUS ONE are joined by some lesser- fice, and we just did not recall, nor do we BBJ host Don Kennedy known but equally dimensional recordings have a written record of EVER having such as CALLING DR. GILLESPIE and THAT’S spotlighted the year 1938, and what a shame. Among WHAT YOU THINK. Anita O’Day is here, of course, others, we’ll be hearing: A-TISKET A-TASKET, MY as is Irene Daye and others. A delightful gentleman who HEART BELONGS TO DADDY, TWO SLEEPY was respected by all who knew him, Gene Krupa is PEOPLE and MY REVERIE. That was the year a presented in this program with the reverence and regard young girl named Snow White met seven little guys, who he deserved. will be described here as height-challenged in accor­ dance with governmental sensitivity. (We’re not even September 11-12,1999 We recall the Andrews sure about Snow White's name, come to think of it.) Andrews Sisters/ Sisters plus their mem­ There’ll be more, of course, as we dig into the music Vocal Groups orable hits from the time heard by the kids of the class of 1938. when they were the most popular vocal group in America. On the second October 2-3,1999 The reason we do these alpha­ hour, we listen to other vocal groups, both individual THE “D” FILE betically programmed sessions groups and those connected with orchestras. It all is to expose us to music we comes from a time when the lyrics were easily under­ might not otherwise be aware of. Just slamming into the stood, and groups sang with a depth of feeling. file by alphabet brings up varied artists, such as Milton DeLugg, Sonny Dunham, Frank DeVol and Danny September 18-19,1999 That was a strange year, Davis. (We might never play any of those guys with the CLASS OF ’47 1947. The young people possible exception of Sonny Dunham, and that’d be a who were involved in shame, for all those “Ds” have recorded some highly WWII had been home for a year or so; some were in listenable music.) There will, of course, be the Tommy college and others were starting families. They weren’t and Jimmy Dorsey representation, as well as a small going to ballrooms in massive numbers as they did smattering of Doris Day. Oh, yes. Lenny Dee and during the ’30s and the early ’40s, and many of the Martin Denny will also be heard. ballrooms were operating just a few days a week. The popular melodies on the radio that year were a strange October 9-10,1999 Often listeners phone to say mixture of Big Band and vocal hits, plus some movie VOICE CAPSULES they missed a particular pro­ songs transferred to recordings. Buddy Clark sang gram containing comments by about LINDA, but ’s orchestra was an a favorite performer. We’ve combined some of those 11 SEPTEMBER-OCTOBER 1999 VOLUME LXIV BIG BAND JUMP NEWSLETTER comments into one program including Count Basie, Mel with Jimmy Dorsey, and finally with Harry James before Torme, Stan Kenton, Count Basie, Elliot Lawrence, Les going out on her own. She recorded as an independent Brown and Doris Day, Johnny Mercer, Kay Kyser and vocalist with an Artie Shaw led studio orchestra, but Ray McKinley. Those ten musical personalities not other than that, after leaving James she established only comment on their hits, but we hear such enduring herself as a top independent vocalist. We 11 hear a few recordings as: G.I. JIVE, SENTIMENTAL JOUR­ of those later Kallen single-performer efforts, but the NEY, THERE GOES THAT SONG AGAIN, EVE bulk of this hour will be devoted to the Big Band GOT MY LOVE TO KEEP ME WARM, JOHN connection, plus some comments by Kitty herself. SILVER, ONE O’CLOCK JUMP, ORANGE COL­ ORED SKY and FIVE O’CLOCK SHADOW, among In the second hour, we check the in-box to audition some others. It’s a way to kill ten birds with one stone, so to new releases for you. They’ve actually been auditioned speak.... and all ten birds DO speak. by us before you hear them, but we’ve set aside the most interesting for your personal ears. October 16-17,1999 Anothertrip to the letter sensi- THE “M” FILE tive record files yields perfor­ November 6-7,1999 It’s been a while since mances by Ralph Marterie FRANKIE CARLE SPEAKS we visited with Fran­ playing both CARAVAN and SMOKE RINGS. Billy kie Carle, who was May directs his orchestra in MADE ABOUT THE late into the Big Band leadership business, but made a BOY, TOP HAT, WHITE TIE AND TAILS and considerable mark in the mid ’40s with his band, featur­ LITTLE BROWN JUG. (Where have we heard that jug ing his facile piano and vocals by Maijorie Hughes. The tune before? Doesn’t some other orchestra play that, second hour’s subject is yet to be determined. too?) Glenn Miller will be heard in a few of his lesser- played recordings, as well as one played a lot, but the ANSWERS TO NICKNAME PHRASE TRIVIA QUIZ one that never seems to grow old. Hugo Montenegro, Buddy Morrow, The Harmonicats (under “M” because 1-J 2-K 3-H 4-A 5-C 6-F 7-E 8-G 9-B 10-D they’re led by Jerry Murad), Matt Monro, who didn’t Orderly elimination should have helped you with this one. Some use the “e” on the end of his name, and Vaughn Monroe, were self-explanatory, some were well-known, others more who did, will be part of the mix. difficult. If you've read about the Big Bands at all, you should have been able to come up with at least six correct answers. If There’ll even be a Mancini cut, and you’ll be surprised at you got six, you’re a most careful reader and a very good its title. (We’ll give you a hint: it was written by a former probability estimator. If you got seven or more correct, you vocalist.) This entire program may just work out. certainly should be commended, and you will be as you show October 23-24, 1999 The fact is we haven’t played your family and friends this quiz and your correct answers. If, TONIGHT SHOW the magnificent Doc Severin- however, you flubbed the exercise and guessed five or fewer BAND/RIFFLIN’ sen TONIGHT SHOW band correctly, you must forever refer to the bandleaders not by THROUGH THE on BBJ for at least eight nickname or descriptive phrases, but by their more generally RECORDS years, and maybe longer. That known name. band was the last regular ex­ Check us out on the Internet posure for Big Bands on the commercial television BIG BAND JIMP networks. Doc is still working, often with symphony orchestras throughout the nation, and frequently with and the companion program vocalist Lynn Roberts, but we need to hear him again. The Don Kennedy Show While we’re at it, we’ll do some rifflin’ through the are repeated after broadcast records, playing whatever comes to mind. Sometimes each week at that’s the most fun possible. WWW.BROADCAST.COM/ October 30-31,1999 She began her career RADIO/CLASSICS/ SPEAKS/ with trombonist Jack We’re also available on E-Mail: THE IN-BOX Teagarden, then sang [email protected]. 12 BIG BAND JUMP IS NOW ON THE INTERNET - Hear BIG BAND JUMP and its companion program THE DON KENNEDY SHOW repeated each week after the regular broadcasts at www.broadcast.com/radio/classics/ - We're also available on E-Mail - send your questions and comments to: [email protected].

IT'S RENEWAL TIME FOR FIFTY-NINTH ISSUE SUBSCRIBERS TO THE BBJ NEWSLETTER

If your address label has a (59) on it, this is the last Issue of the BBJ NEWSLETTER you'll receive under your current subscription. If you'd like to renew your subscription to the BBJ NEWSLETTER (and we certainly hope you do) there's a subscription and renewal form in the middle of this issue.

Several subscribers have given BBJ NEWSLETTERS as gifts to friends in other cities (and in two cases, other continents)... a wonderful idea, both for the friends and for us!

Our thanks to you for being a subscriber!