BIG BAND JUMP Presorted Standard B ox 5 2 2 5 2 U. S. Postage A tla n ta GA 30355-0252 PAID , Atlanta, GA Permit No. 3259

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MG B A iV D JUMP Interview with Kenton tenor sax man Bob Cooper

Profile of arranger Bill Finegan

» ^ Review o f a new s I book by Richard Grudens

Harry James part of Trivia Quiz BIG BAND JIMP N EWSLETTER

VOLUME 118 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2008

INTERVIEW - BOB COOPER

The Background

Those of us who grew up in the ‘40s paid special attention to tenor sax man Bob Cooper, at first because of his youthful performances and later because he became the husband of June Christy. He joined Kenton in 1945atage 19and remained with the band until 1951. When Bob Cooper left Kenton he and June settled in the Los Angeles area where he was in demand for record­ ing, motion picture and television work.

The Cooper interview is adapted from the highly de­ tailed book about Stan Kenton titled ‘The Kenton Kronicles” written by Stephen D. Harris, reviewed in this newsletter when it was first published in 2000. Notable is the fact Bob Cooper spent much of the interview talking about his wife, who had died years before this 1993 interview. All reports are that both Christy and Cooper had a selfless quality of concern for Stan watches; Cooper plays others. Our thanks to Stephen Harris for the use of the interview and for his remarkable book. told me later she thought, “That’s for me!” When June BBJ: You joined Stan Kenton’s band almost by first joined, Stan told her there was to be no dati ng band accident. members....that’s off-limits. June understood, so for a long time we were cautious and did not date unless there BC: 1 came to hear the Kenton band in Pittsburgh at was a group of us. Westview amusement park in June of 1945 when, loand behold, there was an empty chair where the BBJ: How did you eventually break the news to second tenor player sat. I knew one of the trumpet Stan? players who told Stan 1 was in the audience. Stan invited me to sit in that night and 1 stayed there for the BC: Finally, one day at the Paramount Theater in next six years. The top salary 1 made when 1 left the late 1946, Stan and I were in an elevator when band was $175.00 a week. I told him we wanted to be married. I’d already told a few guys in the band and I suspected Stan knew. He BBJ: All music fans are interested in you meeting said, “Do you know what you’re doing, Coop?” He and marrying June Christy. gave me his approval after 1 told him, “I think so, we’re very much in love.” 1 remember June saying, “1 hope he BC: Before I joined Stan 1 heard June Christy on the doesn’t think like Tommy Dorsey, when he found out radio with the Kenton band and she really one of his musicians was marryi ng a gal out of the vocal knocked me out. I think I was in love from the first group and cut both their salaries!” After a year and a moment I saw her and she said that about me, too. She half, June and I tied the knot on January 14, 1947. VOLUME 118 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2008

BBJ: How did Stan feel about the fact June couldn’t read music?

BC: Stan was not for June learning how to read or study music at all. He thought it would destroy her originality. He did, however, find an operatic coach for her in New York and J une studied the basics of voice projection and warming-up vocal chords, which helped her a great deal. But I think June’s best singing was done after she left the orchestra. I remember Billy Eckstine approached me in the fifties and commented, “Well, there’s one thing that girl can do: make great records.” So, I wasn’t the only one who thought so.

BBJ: Arranger Bob Graettinger joined the band in Cooper & Christy 1947. BBJ: Some music fans questioned the lack of black BC: While rehearsing for our Commodore Hotel musicians in the Kenton bands. engagement at the end of 1947, Graettinger had come in from the West Coast with some new charts and BC: There’s a controversy still remaining with we were running them down. We got to a part using this people who followed Stan. Some just didn’t beautiful line with two trumpets in half tones, which like the band; others wondered whether Stan was was very difficult to play forabout 16 bars. Stan looked prejudiced against black musicians because there were at Graettinger with a jovial expression on his face. so few in the band. Some say he never had black “Bob, that’s absolutely gorgeous!” Bob hesi­ musicians, which is not true. I remember just before 1 tated....’’Stan, that’s supposed to be in unison—some­ joined there had been two - trumpeter Karl George and body missed a key change!” drummer Jesse Price. I know the problems the blacks were facing in the deep South at that time finding BBJ: Tell us about some of your solo spots. hotels. Some of the great black bands had a list of rooming houses where they knew they could stay, and BC: I GET A KICK OUT OF YOU was originally had friends and great food. But Stan didn’t know any arranged by Pete Rugolofor Vido Musso. When of those places so when the band would go down South, he left, I took his chair and Stan made that my feature. it would be a difficult time finding a place for the black I TOLD YA 1 LOVE Y A, NOW GET OUT was my first musicians to stay and be comfortable. 1 don’t think recorded saxophone solo. It was a thrill for me, but I do Stan was prejudiced at all; it was just a matter of remember being very frightened about the whole thing. convenience that it went the way it did. Again, it was a thrill for a kid like me to play with the Innovations Orchestra and be on stage at Carnegie Hall. BBJ: Some bands have faded away, but Kenton fans seem to retain their enthusiasm. BBJ: How was public acceptance of the Innovations concept? BC: It’s always amazed me since Stan’s death that his fans have been so loyal; it’s just unbeliev­ BC: When Stan started the Innovations in 1950,1 able. They’ll have Kenton reunion concerts and people know he was paying thousands of dollars to show up from all over the place. When we had the 50lh rehearse that orchestra before we ever left Los Angeles. anniversary festival (Back to Balboa) in Newport Beach Then we’d be on the road and get to some little town, in the summer of ’91, people came in from all over the and maybe only a dozen people were in the audience world because they love Kenton’s music. Stan was like with a 40 piece orchestra on stage. a father to everyone. I know people hate to hear that, 2 VOLUME 118 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2008 but the band was full of 19 year olds like I was, and he BBJ is now on KIX1 in Seattle at AM 880 every helped us through a lot more than music, growing up Saturday at Midnight, and also in Nanaimo, and maturing. He was a good example for most of his Canada on FM 99,9 at 6 PM Sunday. If none of life for people to emulate. those stations are able to be received, you can hear BBJ on your computer on some twenty Two days after Stephen Harris conducted this streaming stations. Links to these stations are interview, Bob Cooper wcw on his way to an noted at www.highandjump.com where you August, 1993 studio session when he experi­ may also hear last week’s program on-de- enced chest pains and pulled off the highway. He mand, simply by clicking the ‘on-demand’ was found dead at age 67. sentence near the top of the home page.

Author Stephen Harris is working on his second Kenton book to be titled Diary Of A Road Band - The Day-By-Day Travels Of Stan Kenton & His Or­ chestra. Harris has collected hundreds of new itinerary dates, new alumni interview excerpts and scores of rarely seen photos for the new book, scheduled to be published for Stan Kenton ’s birth centennial in late 2011.

LETTERS TO THE EDITOR

Letters to BIG BAND JUMP or the BBJ NEWSLET­ TER may be sent to the address below or e-mailed to [email protected]. When you e-mail, please Grable & Haymes give your name and address. All letters are an­ swered, but the volume of mail sometimes delays a Dora Duran I would like to congratulate timely response. Riverside, CA you for your excellent Big Band Jump program. 1 heard BBJ NEWSLETTER a few years ago that Dick Haymes was from Argentina. Box 52252 Can you confirm this with some more ancestry info on Atlanta, GA 30355 him? He sings so beautifully.

The published letters have been edited for space Yes, he was born in Buenos Aires. His Irish considerations, but the meaning has been pre­ mother, Marguerite, was a vocal coach and his served. father was Scottish and Irish. He was moved to the United States as an infant but retained his Kathryn Monaghan I have been listening to you Argentine citizenship, a point of contention dur­ Victoria, BC for some time. 1 have also ing WW11 as he avoided military service because ordered CDs through you and Argentina was a neutral country and he charac­ was happy with the results. 1 am unfortunately unable terized himself as non-belligerent. to get you now at 3 PM on Sundays. 1 am running into static and terrible interference. I was receiving you John Hossfeld In the 1970s I was seeking from Oak Harbor, Washington state. Could you assist Novato, CA a copy of one of the Sauter- me in finding another station to receive your program? Finegan arrangements suit­ ] am abl e to recei ve you on my car radio but not at home. able for a 75 piece non-profit community band here in 1 really miss your program. It is really super Sunday Marin County. After several telephone calls I was able entertainment! to speak to Sauter in Nyack, New York. He said

3 VOLUME 118 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2008

that, at the time, he was concentrating on classical reason, network broadcasts had to be performed music. When I mentioned some of his earlier Big Band twice, once for the east and Central time zones things, he said he didn’t even have copies of some of then again for the Mountain and Pacific time those recordings. While he couldn’t help me with the zones arrangement copy, it was a very pleasant conversation! W.C. Head About five months ago Thank you for your article about Eddie Sauter. I E-mail land, USA on a Wednesday you believe he was somewhat overshadowed by others, played bands which were some with less talent, during the Big Band Era. In his very good but never got out of their local areas. Two stint with Benny Goodman 1 think his efforts had a lot young men put a band together that became very popu­ to do with Peggy Lee’s early popularity. Listening to lar around New Jersey, you said. The piece of music her simple, straightforward vocals, even the “throw­ you selected for them to play and their arrangement of away” tunes, you can hear that this is something spe­ it has bugged me ever since. I recall it was the last piece cial, a melding of the vocalist with the exceptional before you signed off at 10 o’clock. orchestral background. Kennedy says he doesn’t recall the specific tune, Arranger Bill Finegan of the Sauter-Finegan Or­ but the band is the one led by the Midiri Brothers. chestra is profiled in this issue. No need to wait five months for an inquiry. You can always e-mail him directly at: Thomas Elin What are airchecks? [email protected] with current questions Fullerton, CA or comments. They’re recordings made as ‘live ’ broadcasts took place in the days of real BEI MIR BIST DU SCHOEN radio, long before tape or wire or hard drive or digitization. Generally they were sixteen inch There are stories behind many of the famous transcriptions at 33 1/3 RPM long before LPs songs, but some are more interesting than others were developed. Because they were made “off- and reader Joe Searight called our attention to the-air” they were called airchecks. this story of the origin of BEI MIR BIST DU SCHOEN from an unknown source. Glenn Miller ordered airchecks of most of his broadcasts; other bandleaders ordered them once No one knows their last names, but an Apollo Theater in a while. Sometimes the ad agency would have singing duo calling themselves Johnny and George one made to prove to their sponsor/client that the somehow found an August gi g at the famed Grossi nger ’ s program ran as scripted with the commercial in the Catskills. While there Jenny Grossinger gave announcements included as ordered. Coca-Cola, them a Jewish song to sing.The audience loved it and for example, had airchecks (transcriptions) made they took it with them back to Harlem. of all their ‘‘Spotlight Band” programs, although most have been lost in time. Young songwriters Sammy Cahn and Saul Chaplin Because of these airchecks, never meant to be were watching one night from the Apollo balcony when heard by the public after the ‘live ’program was Johnny and George sang the song.They both knew the broadcast, we ’re able to now hear these pro­ song could be a national sensation, not just a Harlem grams just as they went out on the air so long ago. novelty. They discovered it had originally been written We should mention that these difficult to make for a Yiddish stage production. They bought the song transcriptions came long before any other means from composers Jacob Jacobs and Sholom Secundafor of sound preservation. Also, it should be noted $30.00 and immediately offered it to Tommy Dorsey that ALL network programs in those days were who was appearing at New York’s Paramount Theater. broadcast ‘live’ because networks did not then Dorsey wasn’t interested in a song with Yiddish lyrics, allow the use of recorded material. For that so Cahn and Chaplin translated the words to English. 4 VOLUME 118 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2008

They found out a young girl’s trio was about to record a Gershwin song called NICE WORK IF YOU CAN GET IT in the Decca studios, but needed a throw-away song for the ‘B’ side of the record. The recording was released just after Christmas in 1938. By the end of January BEI MIR BIST DU SCHOEN had sold over 350,000 copies, remarkable in those days. The song earned millions of dollars for singers and record com­ panies over the years. There was even a successful lawsuit by the original writers; Secunda and Jacobs got the rights back in 1961 after selling the song over two decades earlier for $30.00.

What happened to Johnny and George, whose enthusi­ astic Apollo Theater presentation first brought BEI MIR BIST DU SCHOEN to the public’s attention, whose performance was indirectly the reason the song was given national exposure? They’ve disappeared from all musical historic annals. No one even remem­ bers their last names.

GLENN MILLER - What Simon Didn’t Say By Larry Bruff

Just another soft-cover tome about Glenn Miller, maybe a re-hash of his movies, his hit records and his entry into military service? This reviewer had low expectations Book cover at the outset, but this reviewer was absolutely wrong. This book, made up of oral recollections of a young Larry Bruff, who had some early announcing experi­ gofer working for the ad agency representing Chester­ ence at Cornell University, sometimes subbed for Paul field, Miller’s radio program sponsor, is filled with Douglas or Mel Allen when they were not available, interesting detail and personal anecdotes. The book and for a time was the only announcer on the Chester­ was assembled by Miller devotee Ed Policfrom audio field Glenn Miller program. Bruff tells of the ego cassettes made by Larry Bruff years after his close problems such announcing substitution sometimes association with the details of Miller’s broadcasts. caused with Douglas, who had a tendency to stay at the Polic checked recalled events against his specific knowl­ bar next door until minutes before the program began. edge where possible, resulting in a chronicle complete with dates plus personal detail. Stories of personalities connected with the radio pro­ gram include the Andrews Sisters who appeared with One of those details is the story of the classic Miller Miller for the first thirteen weeks, Fred Waring who photo on the cover of the book, shown above. The also appeared for Chesterfield, the nervousness of photo of Larry Bruff holding Miller’s trombone was veteran announcer Don Wilson and events including actually taken afew minutes before the Miller photo as Tommy Dorsey, Ray Anthony, Marion Hutton, Ray Bruff served as a stand-i n so the photographer could set Eberly and Tex Beneke. his lights. Bruff had been responsible for seeing that Miller’s trombone was there for the photo shoot. Much of the book has to do with the travails of travel

5 VOLUME 118 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2008 as Larry Bruff was responsible for finding a broadcast time or wants to refer to familiar facts again. As noted location, following up on tickets to assure an audience, on the cover, the book is more than just a Big Band making technical arrangements with the local CBS reference, but a review of some of the singers, indi­ affiliates and handling script changes, often seconds vidual musicians, arrangers, song writers and even before the program went on the air. The smooth results radio broadcasters who directly or indirectly touched we now hear from aircheck transcriptions on CD don’t Richard Grudens' life. reveal the hassle related to constant travel, timing and acoustic problems. One amusing incident is about Singers form an important part of the book with stories having to silence the switch-engine in a rail yard and photos of two dozen selected male singers and a like adjacent to a ballroom so its noise wouldn’t be heard on number of female singers. The categories are noted as “The Greatest Male Vocalists” and “The Greatest Fe­ the broadcast. male Vocalists” in some detail with listings of addi­ Lots of photos, although not top quality reproduction. tional singers. Singing groups are given their own Entertaining reading if you’re interested in behind-the- chapter starting with the Brox and Boswell Sisters and scenes details. 116 pages plus index. Order from: ending with the DeCastro and Fontane Sisters. Glenn Miller Birthplace Society by e-mail Retired Swiss businessman Max Wirz contributed sto­ at:[email protected] - $17.00 plus $6.95 S&H. ries reflecting the Big Band picture in Europe. Various music personalities and writers submitted their listings H.W. of personal top ten recordings, two pages are devoted to humorous anecdotes and arrangers; broadcasters are STAR DUST-The Bible Of The Big Bands noted. The note from the late Frankie Laine sums up the Richard Grudens book so well: “A constellation of nostalgic memories come to life.” They are Richard Grudens' memories This may be the lovingly assembled. Because the book is separated into crowning achieve­ categories and often brief glimpses, it’s ideal to read in ment of the series random moments or as quick reference to a specific of thirteen books subject. written and pub­ lished by Richard Available from Amazon.com or directly from the au­ Grudens, based on thor on line at: www.RichardGrudens.com. $35.00. his in-person inter­ views with celebri­ RUSS MORGAN AND HIS ORCHESTRA ties through the 50 Original Classic Recordings years. It is the re­ sult of a massive This two CD set is a amount of work, the Russ Morgan his­ Author Richard Grudens coalescence of his tory lesson with the years of meeti ng and havi ng his photo taken with scores original Russ Mor­ of entertainment personalities who appeared in and gan performing half around New York City. Grudens’ early association a hundred of his with NBC as a page and later with TV’s “Today Show” most beloved re­ whetted his appetite and gave him access to well- cordings. He was known names in show business. unique in that he not only played trom­ With nearly 700 pages and over 600 photographs, his bone and piano, ar­ personal approach to the listings and stories makes this ranged and sang, a Richard Grudens' Almanac, ideal for the reader who but found a way to Russ Morgan sm¡|es is either being introduced to the Big Bands for the first distinguish his or- ______

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(Tape or Staple Here) ______CENTER PAGE OFFER______ARMED FORCES RADIO RECORDINGS - Two CDs

Every so often CDs come into the BBJ office capturing immediate attention. That's what happened when these ARMED FORCES RADIO RECORDINGS arrived. These appear to be from Navy and National Guard recruiting programs, but no matter the reason for their production, for they consist of various Big Bands performing unique versions of both familiar hits and less-heard gems.

A caution for those who demand pure recordings without announce­ ments. There are a few announcements in the mix as Don Wilson (he of Jack Benny radio fame) opens each CD and talks (gasp!) over the music. The technical and musical quality is absolutely amazing for recordings made so long ago. The beauty of these unique CDs is how many (not all) o f the performances vary from the commercial recordings. They carry the excitement and immediacy that's a part of 'live' performance. That seldom happens any more. An additional caution: you've got to have a sense of musical adventure for these recordings to appeal to you. If you have that exploratory sense, these albums will thrill you. If not, best you not take a chance. Here's the line-up: CD ONE: CD TWO:

BIG JOHN SPECIAL - Harry James MOTEN SWING - Woody Herman ROCK-A-BYE-RIVER - Dulse Ellington SLEEPY TIME GAL - Harry James SKYLINER - Charlie Barnet YOU ARE MY SUNSHINE - Les Brown I’VE GOT MY LOVE TO KEEP ME WARM - Les Brown CORNUCOPIA - Charlie Barnet CALDONIA - Woody Herman RAIN CHECK - Dulse Ellington DEEP PURPLE - Elliot Lawrence WAY DOWN YONDER - Spike Jones LOVE YOU LIKE MAD - Lionel Hampton SAMPSON’S BOOGIE - Lionel Hampton CHERRY — Harrv James BIJOU - Woody Herman TAKE THE A TRAIN - Dulse Ellington HOW DEEP IS THE OCEAN - Elliot Lawrence EARLY AUTUMN - Woody Herman ULTRA - Harry James OH LADY BE GOOD - Claude Thornhill AFTER ALL - Dulse Ellington CHARLESTON O MIO - Spike Jones HEAT WAVE - Les Brown BASIE BOOGIE-Count Basie CHARLIE MY BOY - Spike Jones SENTIMENTAL JOURNEY - Doris Day GOLDEN BULLET - Count Basie ELEVATION - Elliot Lawrence SEVEN TWENTY IN THE BOOKS - Claude Thornhill STRIKE UP THE BAND - Elliot Lawrence A total of thirty-one (31) singular recordings by top bands of the late forties. Both CDs (two single CD albums) for $30.00 with FREE shipping and handling.

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(Tape or Staple Here) VOLUME 118 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2008 chestra from the others with his wah-wah trombone sound. It was this sound that let listeners i nstantly know who they were hearing, a virtual musical trademark.

The Morgan Orchestra, organized in 1936 with the encouragement of radio star Rudy Vallee, enjoyed steady recording success but their biggest hit wasn’t until the Big Band Era was over. In 1948 , a 44 year old Russ Morgan featured his stylized trombone and his gentle voice on SO TIRED, followed in early 1949 with CRUISING DOWN THE RIVER (with the then nearly unknown Ames Brothers)and FOREVER AND EVER, all in this two CD set.

Not only are the obvious hits included, but earlier recordings stretching from 1936 through his late ‘40s John Kirby’s little band. Pianist Billy Kyle I’M LOOKING OVER A FOUR LEAF CLOVER, on the right nearly out of the photo CHARLEY MY BOY (with the Andrews Sisters) and The script had the directions: “Show surprise, both I950’s SENTIMENTAL ME. The Russ Morgan Or­ facially and vocally.” (You can see this coming, can’t chestra played “Music in the Morgan Manner,” a style you?) Fats opened the door, looked down at the well represented in this far-reaching collection. unconscious villain, turned to the camera and with an impish face said, “One never knows, do one?” Available from BBJ Sales - 1-800-377-0022 - $33.00 with FREE shipping and handling. Fats was playing a church charity in Charleston, South Carolina where a food table was set up. The food was SIDELIGHTS to be sold to benefit the good works of the church. When Waller was finished playing he dashed off the Certain people say and do humorous things, often bandstand to the food counter, buying outright a twenty without knowing it. Writer/bass player Bill Crow pound fresh ham. He then decided he wanted some assembled some of the strange or funny anecdotes as gravy so he bought the pan the ham was in plus a applied to musicians for his "Jazz Anecdotes. ” Fats carving knife and a gallon of mustard. Waller, for example, was a genuine character. ARRANGER PROFILE - Fats Waller was a fan of John Kirby’s little group. When pianist Billy Kyle first met Fats Waller, Waller BILL FINEGAN told him he was a fan of Kyle's piano work on the record When the July-August, 2008 issue went to press titled REHEARSIN’ FOR A NERVOUS BREAK­ with a profile o f Eddie Sauter, we promised a Bill DOWN. Waller patted Kyle on the back and told him, Finegan profile for this issue. In the meantime “That modulation you play from A-flat to F is simply BUI Finegan died June 4lh in a Bridgeport, Con­ terrific! Where’d you get that, man?” Kyle said, “I took it off one of your records!” necticut hospital at age 91, so this becomes not only a profile but a memorial of sorts. It is part of a series to better acquaint us with the arrang­ Anyone who has heard Fats Waller on record probably remembers a classic line of his. It might have been bom ers who created the sounds of the Big Bands. from his role in the movie “Stormy Weather” when he The general public may best remember Bill Finegan for was supposed to open a door to discover the prostrate some of the more than 300 arrangements he wrote for villain that Bill Robinson had just punched on the chin. Glenn Miller, including LITTLE BROWN JUG, SUN-

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RISE SERENADE and SER­ suggesting that with the demise of Big Bands and the ENADE IN BLUE. resulting drop in music quality, they should consider starting theirown band. The Sauter-Finegan Orches­ He contributed to the Miller tra resulted, beginning life with a stack of unusual but sound between 193 8 and 1942 ear-catchi ng arrangements and a 1 i mited contract with including the arrangements of RCA Victor for a few single recordings. One of the the melodies heard in the two first of those singles, DOODLETOWN F1FERS, Glenn Miller movies, “Sun surprised everyone by reaching number 12 on the hit Valley Serenade” in 1941 and charts. The year was 1952. “Orchestra Wives” in 1942. In lateryears, William James Finegan wrote music When asked about his work for commercials and taught music at the University with Miller, Bill Finegan said, of Bridgeport, plus writing for various small groups “Glenn Miller was not a nice including the Gotham Wind Symphony as late at guy. I didn’t like the way he 2007. An interview with Finegan a few years ago treated people. We sort of had an armed truce when I made clear his self-deprecation and shyness, for he was with him.” was dismissive of his massive contributions to the Era. Earlier, Bill Finegan wrote a few arrangements for He was a giant in his field. Tommy Dorsey, including LONESOME ROAD, sub­ mitted to Dorsey unsolicited. Tommy Dorsey was so BBJ TRIVIA QUIZ impressed he devoted both sides of a 78 to the extensive arrangement without changing a note. Finegan later commented he included “everything but the kitchen sink” in his version of the tune. Glenn Miller was so impressed with the Dorsey LONESOME ROAD re­ cording he offered Bill Finegan a permanent spot on his payroll as full-time arranger for the Miller band.

It was Bill Finegan who arranged the music for the motion picture, “The Fabulous Dorseys” in 1947 en­ couraging other bandleader biopics to come. He also wrote some appealing charts for the post-war Tommy Dorsey band, some including musical hints of things to come for the Sauter-Finegan band still in the future. New compositions for the later Dorsey included HOLLYWOOD HAT, PUSSY WILLOW and BINGO, BANGO, BOFFO, as well as clever arrange­ ments of THE CONTINENTAL and I GET A KICK OUT OF YOU among others. Also after the middle of the forties Finegan wrote some arrangements to fit the highly stylized band led by brothers Les and Larry The contemplative James during recording session Elgart. Writing arrangements within the commercial Another quiz based on background information heard limits demanded by record companies and bandleaders on previous BIG BAND JUMP radio programs. At was getting routine, but a release from those restrictions least for the moment we’ve settled on what may be was about to be born. Finegan was in Paris studying perceived as more difficult questions, but with the music at the Pari s Conservatory when he got a note from easier multiple choice format. fellow arranger Eddie Sauter, written on the back of a rejection slip from an unimaginative but highly com­ Questions come from BBJ programs titled: “Family mercial well-known bandleader. Finegan wrote back Affair,” “Whose Band Is That” and “Kitty Kallen

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Speaks.” Answers are, as always, in a box on page 12. 10 - Jimmy Dorsey’s most commercially successful record­ ing was SO RARE. On that recording he played: 1 - Kitty Kallen’s first job with a nationally-known band was with: (A) Clarinet (B) Soprano sax (C) Alto sax (A) Jimmy Dorsey (B) Jack Teagarden (D) He didn’t record it. (C) Harry James (D) Edmundo Ros

2 - Kitty Kallen’s birthplace was: (A) Pittsburgh (B) Paramus (C) Newark ANDRE PREVIN CAP (D) Philadelphia What a kick to discover a 79 3 - Kitty Kallen sang with Artie Shaw’s post-war year old musician who’s still band for a single because they were both on the same plying his craft, not only as a label at the time. The label was: jazz pianist but as a conductor (A) RCA Victor (B) Decca (C) Musicraft of classical music. Andre (D) Capitol Previn is that musician. In the fall of last year Andre Previn 4 - When Harry James did his direct-to-disc recording released a solo jazz CD titled: during the LP days, he performed where? “Alone: Ballads for Solo Pi­ (A) Hollywood Palladium (B) Aragon ano.” It is a recording for the (C) Presbyterian church (D) outdoors most part of wel 1 -known popu­ 5 - Arranger Sy Oliver was with what band when lar titles all improvised in one Tommy Dorsey hired him? take. (A) Erskine Hawkins (B) Duke Ellington (C) Jimmie Lunceford (C) No band But this isn’t about a specific recording, it’s about the longev­ ity and versatility of a man who not only conducts the Vienna 6 - Ray Anthony wasoneGlennMillertrumpetplayer Symphony Orchestra but has played at Harlem’s famed Apollo who formed a post-WWII band. Who was another Theater. He has either scored or been musical director for former Miller trumpet player who led a later band? over twenty motion pictures and in the mid-sixties released a (A) Billy May (B) Ziggy Elman small group jazz version of music from “My Fair Lady” that (C) Randy Brooks (D) Ernest Shinster sold a million copies, a first for pure jazz at that time. He even arranged Cole Porter’s FROM THIS MOMENT ON for a 7 - The singing group “The Sentimentalists” with Woody Herman recording. Tommy Dorsey were really: (A) Dinning Sisters (B) Clark Sisters His recording output starting in the forties has been prodigious (C) King Sisters (D) McGuire Sisters with over one hundred recordings made with various small groups, full orchestras and with others. He has conducted or 8 - Rosemary Clooney began her singing career with her sister______. co-starred on record with such varied talents as Mel Torme, (A) Nancy (B) Katherine (C) Edith (D) Betty Doris Day, Shelly Manne, David Rose, Doris Day, Dinah Shore, Julie Andrews, Benny Carter and Benny Goodman. 9 - Peggy Lee’s husband Dave Barbour played From a non-musical standpoint, Andre Previn is probably best-known for his 1970 marriage to actress Mia Farrow. He (A) Trumpet (B) Tuba (C) Saxophone should be remembered for his worldwide work keeping great (D) Guitar music alive as a performer and arranger of popular music over the years. At age 79 Andre Previn is still at the top of his game.

9 VOLUME 118 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2008

REMEMBERING JO STAFFORD UPCOMING BBJ PROGRAM TITLES

The BIG BAND September 6-7, 2008 In this program we JUMP program for GOODMAN ALUMNI attempt to squeeze in the weekend of 16- the stories of some of 17 August had been the highly talented scheduled before Jo sidemen who Stafford died, and so worked for Benny i t became a deserved Goodman over the remembrance of this years. Surely we’ll down-to-earth lady. hear about Gene The realization that most of the popula­ Krupa and Harry tion didn’t know the James, Martha name Jo Stafford Tilton and Peggy Lee. but there are so Jo Stafford publicity shot and her varied in­ volvement in so many singers and much of the Era players who gained made her death seem more than the finality of a single fame as part of vari­ person’s life. It seemed to underline an era that ended ous Good-man mu­ over six decades ago, but left us with Great American One of the Goodman alumni sical organizations. Music. Lionel Hampton There was no “show-biz” affectation when you talked and Teddy Wilson will surely have a place with their to Jo Stafford. There was no feeling that she felt her individual careers; so will Mel Powell and Charlie considerable contribution to music made her any differ­ Christian. Singer Art Lund comes to mind along with ent than the girl next door. A conversation with Jo Stafford was like talking to someone over the back trumpet player Ziggy Elman. We may not be able to fence, for she transmitted the feeling that even though review them all in a single program, but you’ll certainly you were talking about her career, it didn’t exceed the hear about the most prominent of the Goodman gradu­ importance of raising children or being a wife or clean­ ates in this session. ing the house. One writerfound the word todescribe the essence of her September 13-14, 2008 We were surprised to recordings. They were “reassuring” for she sang di­ HAYMES SINGS/ find we’d never done rectly with no embellishment. No gimmicks were RECRUITING PROGRAMS an hour devoted to needed for her warm voice was able to reach out to you singer Dick Haymes. with apparent ease. The most talented people make We do that on this session as we check out his earliest their art seem easy. record success and also listen to the first song he ever Demonstrations of not taking herself seriously came performed in a motion picture. Often forgotten, Dick from her recordings as “Cinderella G. Stump” in “Tim- Haymes was at one time as popular as Sinatra and tay-shun” with Red Ingle’s Natural Seven and her alter- Crosby. We review that intense popularity. ego Darlene Edwards, a singer who sang off-key and out of tempo while her husband, Paul Weston, as The second hour will be devoted to CDs recently Jonathan Edwards, displayed equal inability at the piano. received consisting of Big Bands performing for mili­ tary recruiting programs of the late ‘40s. Many of the When asked about her Darlene Edward’s performance performances were ‘live’ allowing us to hear styles she said, “You have to listen real carefully and then do varied from commercial recordings of the same tunes as it wrong!” well as fresh, new titles by popular bands of the time. Jo Stafford did it right.

10 VOLUME 118 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2008

September 20-21, 2008 Another of those re- initiated a musician’s strike REQUESTS PLUS quest programs has against the record compa­ been scheduled sim­ nies, depriving the troops ply because we’ve received so many requests. On these (and civilians, too) of fresh programs we’ve found it’s fun to play a request and musical entertainment. De­ then veer off to another recording suggested by that spite government assurances request expanding the variety, hence the ‘plus’ added that all the V-Discs would to the program title. Here’s an example of how that be heard only by the troops works: One of the requests is for Tommy Dorsey’s and then destroyed, copies THE CONTINENTAL, suggesting inclusion of a sec­ were stashed away by avid ond Dorsey recording from his later years. These collectors. We hear some of BBJ host Don Kennedy programs might allow us to see new musical vistas. those unique performances including Frank Sinatra, Fats Waller, Sgt. Jack Leonard, September 27-28, 2008 Originally another Randy Brooks, Les Paul before multiple guitars, Eddie REQUESTS PLUS II program was sched­ Hey wood and Tommy Dorsey. uled for this slot but the number of requests in the in-tray demanded a October 18-19, 2008 Certain ball- second program. Some difficult to find requests will THE GLEN ISLAND CASINO room names be featured plus the classic recordings often mentioned became part by listeners in theire-mails, letters and phonecalls. We of the lore of the Big Band Era and the Glen Island were, quite honestly, shocked when we assembled the Casino was one of those. Overlooking Long Island request sheets that have accumulated. Rather than let Sound in New Rochelle, New York, the Glen Island them molder, we’re answering them in this second Casino was home to top bands, most notable of which program along with a tune or two recalled by each was Glenn Miller whose appearance there with the request. associated radio broadcasts were an important factor in his early popularity. You’ll hear broadcasts from that October 4-5, 2008 A listener wrote to say there historic ballroom just as they were heard during the Era ROMANCE were often too many fast and as patrons sat at balcony tables for dinners costing as sometimes loud numbers on much as two to three dollars. BBJ, so we’re fashioning this program to be strictly the music of romance. Everything on this program will October 25-26, 2008 Casual refer- either refer directly to love, marriage, dating or other GLENN MILLER AIRCHECKS/ ence to air- CHARLIE BARNET RECALLED checks’ forms of romance and no selection will actually swing. caused one It’ll be remindful of some of the late-night programs of reader to ask what they are. Before tape and digital, radio days past, except there will be no syrupy-voiced poetry intoned. We will throw in some background they were 16 inch one of a kind transcriptions ordered by either the bandleader or sponsor of a radio program stories, but maybe in a manner not too disturbing to the ears.

October 11-12, 2008 Similar to the term SWINGING ON A V-DISC ‘airchecks’ (see right column for program of 10-25/26) the term V- Discs has been used casually on the air as if everyone knows what they were. They were 12 inch 78 RPM vinyl recordings made under the auspices of the War Department between 1943 and 1949. They were bom at a time when American Federation of Musicians president James C. Petrillo Maxene, Patty, LaVerne, Mike & Glenn VOLUME 118 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2008 for later review. A few of those airchecks survived and the June, moon, spoon tunes we can find will be put into form the basis for this BBJ hour. As often pointed out, this soothing, emotion-filled hour with announcements the spontaneity of ‘live’ performance was often supe­ to fit the mood if it’s possible. rior to the same tune recorded in a sterile studio. This hour contains bits of on-air Glenn Miller excitement preserved all these years. BIG BAND TRIVIA QUIZ ANSWERS The second hour is a remembrance of Charlie Barnet, the bandleader much envied by musicians because he 1 - (B) Kitty Kallen was 16 years old when played what and how he wanted to play ignoring the she recorded with Teagarden. commercial consequences. The hour includes com­ 2 - (D) Philadelphia was the birthplace of ments by Charlie Barnet about singers Fran Warren, many singers including Eddie Fisher, Mario Frances Wayne, Mary Ann McCall and Lena Home, all of whom worked for hi m very early i n thei r careers. The Lanza, Pearl Bailey and Marian Anderson, for example. hour also includes the two largest-selling recordings of his band’s history, and even a comment from him about 3 -(C ) his dozen or so wives.

4 - (C) The church had perfect acoustics and November 1-2, 2008 Years ago a friend was near the Sheffield lab where the discs ALL-STAR JAM SESSION suggested the idea were cut. Engineers wanted no transmission loss for these unique recordings. for this kind of pro­ gram, consisting of recordings by musicians who don’t 5 - (C) The story goes that Tommy Dorsey normally work together. This is another edition of that idea, looking into the fund of material that’s become offered Sy Oliver “$5,000 more than you’re making now” to lure him away from available in the years since the first “Jam Session” was Lunceford. It worked. offered. The classic Metronome All-Stars will be part of the program, but so will Count Basie playing outside 6 -(A ) his band and the opportunities from V-Discs where contractual obligations were set aside, as well as a sampling of the Lionel Hampton Victor jam sessions. 7 - (B) Dorsey, obviously, called them the “Sentimentalists” to match his moniker “The Sentimental Gentleman of Swing.” November 8-9, 2008 Another double- NOVELTY/ROMANCE header on this BBJ 8 -(D ) session combines two unlikely subjects. It’s been much too long since a BIG 9 - (D) You’ll recall he was playing guitar BAND JUMP program offered tunes from the novelty category. Novelties, of course, include the cute or with Benny Goodman when he and Peggy met. funny recordings out of the mainstream. Examples would be Spike Jones or a legitimate orchestra clown­ 10 - (C) There were and are persistent rumors ing around with novel lyrics, such as Glenn Miller with what Jimmy Dorsey did not perform on his SO .JUKE BOX SATURDAY NIGHT or Butch Stone RARE recording. It’s true that Dick Stabile singing A GOOD MAN IS HARD TO FIND with Les subbed for Jimmy Dorsey on added tunes to Brown. create an album after Jimmy Dorsey’s death, but SO RARE did feature Jimmy Dorsey’s alto To counteract the effect of the first hour, we offer a sax. second hourfilled with nothing but romantic music. All

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The nice looking singer this issue is pretty, petite Peggy King