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Home , Artie Bernstein, Bob Eberly, Dick Haymes, Harry James, Helen Forrest, In the Mood

IN THIS ISSUE:

♦ An in-person interview with ♦ LETTERS TO THE EDITOR DICKHAYMES about Charlie Barnet, Fran Warren, , Russ ♦ A mini-bio of Columbo, Ralph Sharon, NAT "KING” COLE Jimmy Joy and more

♦ Reviews of BOOKS AND RECORDS to consider BIG ♦ A song writers BAND TRIVIA QUIZ

♦ Sidelights from the antics of JUMP NEWSLETTER

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

VOLUME LXI______BIG BAND JUMP NEWSLETTER MARCH-APRIL 1999

DICK HAYMES INTERVIEW

The Background

Please forgive this personal recollection, inserted here because it may have significance in evaluating the personality of our interview subject. It was 1949, backstage at the Stanley Theater in Pittsburgh, Penn­ sylvania when I met DickHaymes. He was in the star’s dressing room, located conveniently just beyond the wings at stage left. Two things remain in my memory these fifty years later, after the filtering of time. One is the kindness displayed by to a 19 year old kid who undoubtedly asked awkward questions. He was gentlemanly in a formal way, reflective of his upbringing in private schools. The other memory is the only answer recalled now as I asked Dick Haymes about his early days with Harry James. The tape of that interview has long since been lost, but his comment about his performances on those James recordings has stayed with me all these years. He said, “I sounded very young, I assure you.” The post Dick Haymes

Now, a half century later, we’re fortunate to have sure as a vocalist, working for Harry James. access to this excellent Dick Haymes interview con­ ducted by Fred Hall, the Big Band broadcaster and The Interview writer who has been a significant force in keeping the music and the stories behind the music in front of the BBJ: You were selling your songs to Harry James? public. We’re indebted to him for his permission to use portions of the interview, excerpted from his book DH: Yeah, and he didn’t particularly like the songs. DIALOGUES IN SWING. (Please see review in this He had no use for them at the time, but he hired issue.) me because Frank had just gone with . The chronology of that was that Jack Leonard had just DickHaymes was bom in Argentina, attended the finest been drafted and Frank left Harry and Harry was schools, and as a result of his international upbringing, sans male vocalist. So I just happened to fall into a slot. was multi-lingual. He was married several times, He said, well, I don’t like your songs, but how about including a much heralded marriage to . singing with the band and I said, sure. And I had some singing experience prior to that inasmuch as even as a kid The Scene I was a lifeguard in the daytime at the Long Beach Country Club in Westport, Connecticut and on the The interview took place in March of 1978 at Haymes’ weekends I used to sing with a band at night. home in Oxnard, . Fred Hall began with a logical question concerning Dick Haymes first expo- BBJ: Local band? VO LU M E LXI BIG BAND JUMP NEWSLETTER MARCH-APRIL 1999

DH: Well, you know what country clubs are.... you ban on recording and that was kind of unlucky because know, local pick up men, probably. And so I would have loved to have recorded with Tommy. He singing came very, very naturally to me. The rest of the was so tasty, he really was, he was very special. know-how came from just watching people like Tom, particularly Tom. BBJ: Let’s go back to Harry James because in talking to she still feels that Harry was BBJ: Tommy Dorsey? the happiest time for her as opposed to Goodman and Shaw. DH: Oh, yes. Harry was great experience because he had a new band and it was a new experience DH: I don’t think she’s in love with Goodman. She for him as well, so we were all just sort of growing really is a bitter lady about Goodman. I don’t together and stumbling and we had our growing pains. know why. We were making all our mistakes all together and we played some of the damnest places you’ve ever. .. I BBJ: How about you? mean you wouldn’t dream of playing them today with sound systems that were absolutely rumors, but you just DH: I have no qualms about Benny. I have my own took it in stride and got back on the bus and travelled. theory about Benny. I don’t think anything But the actual Tiffany’s of the orchestra world in those existed such as the “ray.” I think Benny is one of those days was the Tommy Dorsey orchestra because he gave people. .. I think Benny is guileless, I think that best you a showcase. He was a star maker and he’s another describes him. I think he’s on cloud nine all the time and one for whom I have this tremendous respect because he he gets the baby stares. And if he happens to be staring said, “Okay, here’s your spot.... do you like this song?” at you and you were self-conscious about it, he wasn’t And he used to carry arrangers with him. .. Axel giving you the “ray,” he was looking at nothing, really, Stordahl, and , I mean we had the he was thinking of something and God knows he’s a cream of everything.... this big, huge, wonderful or­ master at his instrument. And he’s a peculiar guy, you chestra. And so my main lessons in performing as well know. I’ll give you an example. I finally got bugged at as singing and delivery and the whole thing and an Benny because every time I sang improvement on breathing, just watching Tom, were he’d come up and stand next to me at the microphone and with the short two years I was with Tommy Dorsey. play the melody with me. And I finally stopped one night and I said, “Look, Benny, you want to play it, be my BBJ: Was Tommy Dorsey difficult to work with? guest,” and walked away from the microphone and he ran after me like a pussycat and said, “What’s the matter, DH: Tommy Dorsey wasn’t difficult. Tommy pops, what’s the matter?” And I said, “Why don’t you Dorsey was the last of the band leaders. He was shut up and let me just sing my song and stop helping me a disciplinarian, he was strict with his people, but if you with your goddamn horn, you know.” And he said, understood Tommy, I mean Tommy by far had the most “Man, I didn’t know I was bugging you.” You know, avant garde band of its day. He was always ahead of his this is Benny. He didn’t know he was being aggravating. time, if he got drunk he was difficult, but then who the hell isn’t difficult if you get drunk, you know, but as a BBJ: Did you make just one record, IDAHO, with rule he was very fair and a very good business man and him? as I said, a star maker. I got along beautifully with him. I had my beefs with him, but you know, he.... DH: No, I made quite a few songs with Benny, TAKE ME... KALAMAZOO. Yeah, Benny BBJ: Did you make any records with T ommy Dorsey, was. .. boring. Everything was strictly business with aside from the DAYBREAK aircheck that’s Benny, there were no laughs and he never, never, never available? ceased to try out reeds. And he usually wound up having a dressing room next to mine. You know, between shows DH: No, I didn’t because that was during the union and between sets and everything he was always trying out reeds. One day I just said, “Benny, aren’t you ever V O LU M E LXI BIG BAND JUMP NEWSLETTER MARCH-APRIL 1999 gonna’ find a reed that satisfies you?” And again, he was.... ”Hey, pops, I don’t mean to...” You know. So there you are.

BBJ: Chronologically it was James, Goodman and then Dorsey. Tell us about how the James/ Haymes I’LL GET BY came about.

DH: Most of the stuff.... I’LL GET BY... emerged on the bus with Harry and I sitting together, you know, just sort of putting things together off the tops of our heads. And he’d get these ideas or I’d get an idea and we’d have it written up and that’s how those things emerged. I’LL GET BY, Ithink, probably turned out to be one of those classic records because it was an easy swing feel, as opposed to it always having been sung as a dramatic ballad, Rubato style by various saloon singers.

BBJ: And OLD MAN RIVER was done in triple tempo from what you usually expect. The youthful Dick Haymes DH: Yeah, that turned out fine. We’ve had a lot of DH: Lateron. Because when I first joined Harry the imitators since then.... a lot of people have vocal chorus was always in the middle of the done it that way by now, I guess. chart. But later on he started showcasing. I think the singers were probably responsible for that. And later on BBJ: Today an artist will spend months on a single he learned dynamics because when I first joined the band album by the time they get through with all the everything was at one level and everything was loud, engineering! Then, you just knocked out some sides. loud, loud. It was a revelation to hear myself.

DH: Yeah, the average date was three hours and it BBJ: What was the attitude of the side men toward the just depended when we were all hungry and it singers in the average band? Were you consid­ depended when we were available and the studio space ered just another instrumentalist in the band? was available for us to get in there and I, to this day, hate recording.... I think any singer, if he admits it, hates to DH: With Harry, yes, but it was a good.... It wasn’t sing in the morning. But sometimes it was just abso­ a put down thing.... it was a team effort because lutely necessary. One of the big records I had with we were all working for peanuts, you know, and trying Harry was a tune called YOU’VE CHANGED. Now to pay the Greyhound Bus company and pay the arrang­ that was a morning session and it was supposed to be for ers and pay the hotel bills. So it really was a team effort the girl singer and she couldn’t cut it. Now her register where three and four of us were rooming together and it was down in the rupture department in my register, was a.... The singer was just a side man; but by the time right? But had it not been morning I never could have I left Harry the singers or vocalists, to use the term that cut it. In other words, I got down to those low E flats, was used then, were starting to emerge and become you know, which later I had the reputation of having the important themselves. low notes of all time. But it was really a combination of fatigue and the hour of the day. BBJ: Did Sinatra do that?

BBJ: Did Harry James showcase the singers? DH: I don’t think so. I think Jack Leonard was very hot, was very hot. Bob Eberly was MARCH-APRIL 1999 V O LU M E LXI BIG BAND JUMP NEWSLETTER

bigger than all of us, you know, with . I a couple of mean, hell, when he was singing AMAPOLA and GREEN Fran Warren EYES and THE BREEZE AND I and all those things r e c o rd in g s with Jimmy, with Helen O’Connell, hell, he was the on our pro­ hottest thing.... of course, he was one of the nice people gram of Feb­ in the world. ruary 20-21, fo c u se d on The second half of the Dick Haymes interview con­ the girl vo­ tinues in the next issue, when he answers questions calists. about his days after the Big Bands, when he became a single star as well as a motion picture attraction. Our thanks again to Fred Hall for his permission to We should publish excerpts o f this interview. There is an interview international Dick Haymes Society, which may be Fran W ar­ contacted through : Roger Dooner - 2951 Tyler Street, ren, and we NE -Minneapolis, MN 55418. prom ise we will and have D.K. it published in a future is­ LETTERS TO THE EDITOR sue, and pos­ sibly use the All letters to the program or the newsletter are an­ recording of swered eventually, although only letters deemed o f the interview most general interest are used in this newsletter; please on an hour be patient, for the volume is greater than our ability to devoted to handle in a timely fashion. Questions and comments her career. about either the BBJNEWSLETTER or the BIG BAND Stay tuned! JUMP radio program may be sent to: Robert J. Walter I have read biographies of a BBJ NEWSLETTER Bowie, MD number of Big Band leaders, Box 52252 but have never run across one Atlanta, GA 30355 on Harry James. To your knowledge has one ever been written and if so could you provide me with the author The letters that follow have been edited for space and title? Many thanks and keep up the good work. considerations, but the meaning has been preserved. That’s a question that’s never come up, and it's an J.M. Kennedy Would you please mention important one. Harry Hagg James is a favorite of Marysville, MI Charlie Barnet more often in many, and is frequently overlookedfor his contribu­ your notes? He had a fine band tions to swing because of his later reputation as and to me that soprano horn was so beautiful, especially leader of a band stressing highly commercial re­ in the section. He was my friend and I sure do miss him. cordings, many o f them with vocals. Books about When you interview girl singers, how about Fran War­ him include: THE HISTORY OF HARRY JAMES by ren, the greatest of them all? Thanks. C.Emge in 1951, THE HORN STILL BLOWS by J. Tynan published in 1958 and THE HARRY JAMES O f course everyone cannot hear every program, but STORY by L. Tomkins, dating to 1970, plus THE that curse has struck again. We featured an hour o f CLASSIC INTERVIEW: HARRY JAMES by the same Charlie Barnet on the program o f the weekend o f author in 1987. A collection o f the Harry James December 5-6,1998 with comments by him recorded orchestra arrangements and other of his musical just six months before his death. There were memorabilia are archived in Laramie at the Ameri- V O LU M E LXI BIG BAND JUMP NEWSLETTER MARCH-APRIL 1999 can Heritage Center o f the University o f Wyoming. a "song,"for he hasn’t been exposed to pure To refresh your memory, Harry James died o f instrumentals in his twenty some years. cancer in Las Vegas in 1983 just a few weeks after playing his last job. We ’llputsome “live” Jimmy Joy on our AIRCHECK program scheduled for the weekend of March 20-21, Robert Parsons, Jr. Finally, we in this city of 1999. El Paso, Texas 700,000 plus Juarez, Mexico can again hear BBJ, for the Leonard Grimstead Recently you played a tune by first time since KTSM-FM stopped carrying it. KSNM- Memphis, TN the Ralph Sharon Trio that FM (98.7) Las Cruces, NM has a good signal except ended with the famous tag Sunday morning.... sometimes! Ihave enjoyed the show melody of Para­ and your comments. mount News, “The Eyes and Ernie Whitney Back in the days of Bing Ears of the Overland Park, KS Crosby and there World,” com­ was a third named plete with cam­ Russ Columbo. If I remember correctly there was a era turning the song written called CROSBY, COLUMBO AND lens on the audi­ VALLEE. Am I imagining things or was there actually ence. You took a tune written with that name? Appreciate your help in note of the clearing up this mystery. melody and here’sabitmore. We never heard o f it, but you 're absolutely right. A The tune is a songwriter named wrote the music and march titled, ap­ the better-known Al Dubin wrote the lyrics for propriately, CROSBY, COLUMBO AND VALLEE in 1931. Both WORLD Dubin and Burke wrote for early movie musicals. EVENTS. It Two o f their better known collaborations are TIP was recorded in The inventive Ralph Sharon TOE THROUGH THE TULIPS and DANCING 1950 on a 10 WITH TEARS IN MY EYES. Dubin died in 1945, inch London label LP by the British Army’s Royal Burke in 1950. Artillery Band.

Lucille Keltgen Have you ever considered a Thanks! You guys fill us in on fascinating informa­ Minneapolis, MN program of Jimmy Joy? I was tion, and we appreciate it. Not only appreciate it, so impressed (her underlin­ but we ’ll steal it and use it! ing) with their section on a BBJ program months ago. I have a problem getting good reception on your Sunday Check us out on the Internet night broadcast from 5 to 7 PM. After sundown it is almost impossible... very noisy... I’m so sorry because BIG BAND JUXIP your program is my favorite. It’s on 1400 AM and 1470 and the companion program AM, Minneapolis and St. Paul. The Don Kennedy Show

In my opinion, the music after about 1945 stressed are repeated after broadcast vocalists too much, so I guess my choice is the real Big each week at Bands.... the band itself. WWW.BROADCAST.COM/ RADIO/CLASSICS/ We wish everyone felt this way. The neat, expres­ W e’re also available on E-Mail: sive, well-crafted instrumental is rare these days. [email protected]. One young friend o f ours thinks every recording is 5 VO LU M E LXI BIG BAND JUMP NEWSLETTER MARCH-APRIL 1999

DIALOGUES IN SWING - Intimate Conversa­ (BOOKS i & RECORDS TO CONSIDER5 tions With The Stars Of The Big Band Era > Fred Hall VISIONS OF - THE FIRST CENTURY Gary Giddins - Oxford University Press - NY You’ve seen Fred Hall’s name on numerous liner notes, and heard him on the radio with his excellent program Author Gary Giddins has written about jazz in New about the music and personalities of the Big Band Era York’s VILLAGE VOICE for the past quarter-century. This tome is his sixth book on the subject, and certainly the most all-encompassing. In some 650 pages, Giddens spot checks some of his impressions of the past hundred years, touching on Bert Williams, , W.C. Handy, , Jelly Roll Morton, Duke Ellington, Coleman Hawkins, Chick Webb, , Benny Goodman, , , Roy Eldridge, Ella Fitzgerald, , Nat Cole, Dinah Washington.... and a host of others, often re-visiting one of the personalities as they reappear in historical con­ text. There is much to absorb in this giant book, but you may have to get used to the authors penchant for big words. It takes a while for a reader to ratchet up (or down, or over) to Giddens’ style. An example in a couple of sentences about Louis Armstrong: “Yet he never abandoned a joyful and even roguish disposition that resembled the comic archetype Constance Rourke delineated in AMERICAN HUMOR as the Negro min­ strel, a role that remained a viable strain in black entertainment well in the twentieth century.” In another part of the book, this observation about Count Basie: “Count Basie is a curious hyperbole.” Later, Giddens A young in her Tommy Dorsey days wrote: “Yet the unshakably succinct orchestra leader, and beyond. Fred Hall is asked to write those artist who conducted from the piano with his eyes and those profiles because he’s highly knowledgeable about his momentous piano tones.... had an uncanny knack for subject, plus the fact he writes with depth and meaning. playing a near-staccato note in a way that fueled the orchestra and revved it up.” Even though Fred’s book of Big Band Era interviews has been available since 1989, it hasn’t been noted here The author injects quite a bit of personal opinion in the for reasons we cannot discern; it’s certainly worthy of book along with a considerable sprinkling of facts. The your consideration. Fred Hall uses his musical and Big dust cover review says it well: “Combining criticism, Band knowledge to ask the right questions of such biography, history, anecdote and musicology with un­ personalities as , DickHaymes, Jo Stafford failing insight and wit...... ” There’s a lot to discover in and Paul Weston, , Mel Torme, George the book, it just takes a while to plow through the Shearing, Wild Bill Davison, , Artie Shaw, lavishly embellished text. Jimmy Van Heusen, Maxene Andrews as well as fash­ ioning a remembrance of through the 650 pages comments of , , , About $35.00 in any good book store. , , Paula Kelly, , Ray McKinley and June Allyson. Artie Shaw wrote the H.W. foreword in his typically thoughtful way, with a bit of

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(Tape or Staple Here) THE CENTER SHEET OFFER - GLENN MILLER &

A combination of the most famous Big Band Era SINGING GROUP and the most famous BIG BAND, performing together.

Patti, Maxene and LaVeme appeared on the radio with the in 1939 and 1940, but until recently these radio broadcasts weren’t available. Now, restored to remarkable sound quality by today’s digital techniques and CEDAR processing, we hear sixteen cuts from these original programs, along with the excitement of “live” radio.

Selecting the best artistic and technical examples from scores of broadcasts, the producers of this amazing recording have combined Andrews Sisters and Miller tunes from all the available broadcast transcriptions to make up a single presentation that’s put together as if it were a single radio program, using the most exemplary parts to create a perfect nearly hour-long single show.

The cuts include: OH, JOHNNY- I’VE GOT NO STRINGS - - INDIAN SUMMER - CHICO’S LOVE SONG - BEI MIR BIST DU SCHON - BEER BARREL POLKA - - 1 LOVE YOU MUCH TOO MUCH - DONKEY SERENADE - - SAY SI SI - THE RHUMBA JUMPS - HOLD TIGHT - YODELIN’ JIVE - ONE O’CLOCK JUMP, and the introduction and close of a typical broadcast, including announcer Paul Douglas who later became a Hollywood motion picture star.

All the above listed numbers are by the Andrews Sisters except Ray Eberle sings INDIAN SUMMER, sings THE RHUMBA JUMPS. IN THE MOOD, TUXEDO JUNCTION and ONE O’CLOCK JUMP are band features. Totals: 11 Andrews Sisters, one Bob Eberle, one Marion Hutton and three dynamic instrumentals.

We can’t stress strongly enough how vital and alive this sounds. Excellent notes and interesting behind-the- scenes pictures of the sisters and Glenn.

(BB-1) CD $15.95 CASSETTE $9.95 (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 12,000 - Atlanta, GA 30355. Or call our toll-free order line - 1-800-377-0022.

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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.

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(Tape or Staple Here) V O LU M E LXI BIG BAND JUMP NEWSLETTER MARCH-APRIL 1999 philosophy and a great deal of good sense about the past LOU - LAURA - MORE THAN YOU KNOW - and the hoped for future of music. STARDUST - ACCENTUATE THE POSITIVE - SOLITUDE- TRAVELIN’ LIGHT - BLUE CHAM­ Especially good about this book is the reader’s ability to PAGNE - LET’S GO HOME - IT’S THE SAME OLD “feel” the personality of the person being interviewed. DREAM - SATURDAYNIGHT IS THE LONELIEST You’re able to not only learn facts about these interview NIGHT OF THE WEEK. subjects as a result of what they say, but learn something about their personalities because of how they say it, for The work of Irene Daye on this CD makes this reviewer not only their words but their speaking style, and in wonder why she wasn’t a bigger name in the Big Band some instances their mood of the moment, comes through. world. You’ll recall she had worked most notably with before joining the Spivak band in 1943, first Seven of the twelve headlined music personalities have as vocalist and later as Mrs. . This is a left us since the interviews took place, two others are most satisfying, and certainly welcome recording. It’s been very ill. Five ofthe people who commented about Glenn available for some time, but worthy of your attention. Miller have gone on to higher venues since the inter­ views were recorded. This book is valuable if for no Available at good record stores or from BBJ Sales. other reason than to preserve your memory of each participant, but it’s much more than that. It is a well H.W. written look at a large part of musical America, and it’s fun to read. A complete index and a discography are HOOKED ON SWING (ONE) included. This is the recording that put in the spotlight 223 pages - soft cover only again, after his original success with the Les & Larry May be ordered directly from: FRED HALL - PO BOX Elgart orchestra. Larry Elgart is a perfectionist, both 612478 - South Lake Tahoe, CA 96152 musically and from a recording standpoint, having honed $16.95 including shipping & handling the recording art to a fine edge over the years. He explains that mic placement is important, acoustic prop­ D.K. erties are important and mixing down the various sepa­ rate recorded tracks is an important function. As a CHARLIE SPIVAK AND HIS ORCHESTRA - musician AND a recording specialist, he’s able to get the Vocals by Irene Daye best quality from all these steps. Hindsight HCD 105 There are three HOOKED ON SWING albums avail­ Charlie Spivak’s band was financed by his old friend able, but this is the one most of us recall, the one and fellow radio studio musician, Glenn Miller. It promoted so heavily on television during the ’ 80s. There enjoyed considerable success, but isn’t recalled with as are some 71 selections on this generous CD, divided into much affection or as often as it should be these years six medleys listed as HOOKED ON SWING, later. Charlie’s sweet trumpet did, indeed, deserve the HOOKED ON BIG BANDS, HOOKED ON A STAR, title given him: “The man who plays the sweetest HOOKED ON ASTAIRE, HOOKED ON THE trumpet in the world.” and HOOKED ON BROADWAY, each per­ formed with the now familiar persistent rhythm that’s This CD is taken from studio transcriptions cut between become inexorably associated with Larry Elgart in 1943 and 1946. The quality is excellent, both artisti­ latter years. cally and technically, and the selection of melodies is equally good. There is the short version of Charlie’s Fun to listen to, but your listenership has to be in STARDREAMS theme, one of the loveliest and most short bursts, or you’ll overdose on the pure strength recognizable themes from the Era, followed by: MEAN of the music. TO ME - SERENADE IN BLUE - 1 USED TO LOVE YOU - CUDDLE UP A LITTLE CLOSER - BLUE Available from good record stores or from BBJ sales. V O LU M E LXI BIG BAND JUMP NEWSLETTER MARCH-APRIL 1999

TRIVIA QUIZ - WHO WROTE THAT SONG?

This should be easy for readers who grew up in the Big Band Era, or readers who listen to great American music. Many of the composers were, for example, identified regularly by radio announcer’s introductions. The same phrase occurred so often on intros to STARDUST, for example, it became a joke. It went something like: “Now, the Joe Schlunk orchestra enter­ taining from atop the Hotel Hampshire plays______’s immortal STARDUST. In all seriousness, it’s remarkable how many of the melodies that became standards and are played often currently were written in the ’30s and AOs. (It’s also remarkable how many ofthe songs written since the ’60s aren’t played often, but such a nasty comment should be stricken from the record. Let’s hope the printer takes it out.)

You’ll be surprised how many selections are easy to attach to composers. This might just be too easy, but give it a try anyway, even if you ace the test. Answers, as always, are located elsewhere in this issue, but you’re not allowed to peek. make it easier. Match the songs on the left with the We’ve made it an even dozen. There are even repeats to composers on the right.

1. STARDUST A. RODGERS & HART

2. BE CAREFUL, IT’S MY HEART B. IRVING BERLIN

3. EASTER PARADE C. COUNT BASIE

4. DO NOTHIN’ TILL YOU HEAR FROM ME D. GEORGE & IRA GERSHWIN

5. HOLIDAY FOR STRINGS E. JOHNNY MERCER & JEROME KERN

6. I’M OLD FASHIONED F. COLE PORTER

7. G. RODGERS & HART

8. ONE O’CLOCK JUMP H. GEORGE & IRA GERSHWIN

9. JUST ONE OF THOSE THINGS J. HOAGY CARMICHAEL & MITCHELL PARISH

10. A FOGGY DAY K. IRVING BERLIN

11. LOVER L. DAVID ROSE

12. W HO CARES? M. DUKE ELLINGTON & BOB RUSSELL

8 V O LU M E LXI BIG BAND JUMP NEWSLETTER MARCH-APRIL 1999

MINI-BIO -

Bom in Montgomery, Alabama on the 17th of March, 1917 as Nathaniel Adams Coles, Nat later dropped the “S” in his last name. Nat Cole’s family moved to where his father was called to be pastor when Nat was four, and by age twelve he was not only singing in the church choir, but playing piano and organ. His three brothers were jazz musicians, and by age 19 he made his first recording at Decca with brother Eddie Coles' band, known as the Solid Swingers.

Nat Cole’s piano style was strongly influenced by the rhythmic work of Earl Hines, so much so that two of Nat’s own early groups, the Rogues of Rhythm and the Twelve Royal Dukes often played Hines ’ arrangements. As so often happens, it was an accident that Nat Cole wound up leading a trio. He left Chicago in 1936 to lead a band in Eubie Blake’s revival of the revue SHUFFLE ALONG, setting up permanent residence in Los Ange­ les. The revue disbanded unexpectedly, and Nat later found work in a night club, playing as part of a quartet consisting of piano, bass, drums and guitar, but the drummer didn’t show up, and thus the Nat Cole Trio was bom, originally known as the Swingsters.

The trio sang in unison once in a while on their early performances, but continued to stress instrumental jazz There was also a starring role in 1958’s motion picture until, the story goes, a patron at the Swannee Inn in ST. LOUIS BLUES, with Nat Cole portraying com­ Hollywood asked Nat to sing. SWEET LORRAINE poser W.C. Handy. was that first solo song for that patron at the club, but his first recorded vocal hit was 1943’s STRAIGHTEN While the commercial success of scores of vocal albums UP AND FLY RIGHT, with his clean diction and will be remembered by Nat Cole fans, his instrumental smooth style. Gradually the importance of his excellent work as a piano player is of great musical significance. jazz piano was sublimated by his vocals as backed by One critic describes his style as having the intricate the trio, until in 1946 he recorded THE CHRISTMAS right-hand flavor of Earl Hines while his rhythmic left SONG with a large studio orchestra. The recording was hand was remindful of Count Basie. Nat Cole thought a huge commercial success, and Nat Cole from that of himself as a jazz piano player first, and a vocalist point on was known by the public more for his vocal second, even though it was his singing career that prowess than his piano stylings. brought him fame and a comfortable fortune. Even during the days when the lush studio orchestras accom­ Cole was one of the first black musical artists to have his panied Nat Cole’s vocals, he would often play with jazz own weekly radio show in 1948 and ’49, and bythe early groups under an assumed name. was known not only nationally but internation­ ally. There was a television program starring Nat Cole Nat Cole died in Santa Monica on the 15th of February, in the 1956-57 season, but fear of sponsoring a show 1965, just a month short of his 58th birthday. He was, featuring a black performer led to lack of sponsorship, by every account from those who knew him, not only an and the program was cancelled after the first season. accomplished and imaginative musician, but a nice man.

9 VOLUME LXI BIG BAND JUMP NEWSLETTER MARCH-APRIL 1999

SIDELIGHTS

These are human interest stories about musicians of the Big Band Era, many o f which are taken from the book JAZZ ANECDOTES by Bill Crow, published by Oxford Press. Benny Goodman was the source for possibly hundreds o f stories about his unusual behav­ ior, for he focused solely on his music, resulting in stories o f misdirection, absent-mindedness and self­ absorption. We list the stories by the names o f Goodman’s victims in each anecdote.

VIDO MUSSO Benny Goodman was well known for borrowing clarinet reeds from his sidemen, for he was never satisfied with a reed. (See Dick Haymes interview this issue.) On one job, he borrowed ’s last clarinet reed, then called the tune BACH GOES TO TOWN, requiring five Artie Shaw & Benny Goodman with clarinets. Musso told Benny he couldn’t play it. “Why Edison Hotel’s Maria Kramer not?” Benny asked. “No reed,” said Musso. Goodman For reasons Artie Shaw couldn’t fathom, Goodman glowered at him as if it was his fault. “Then,” Goodman called him “J.B.” all the time. Artie didn’t want to let said, “fake it!” Goodman know he was curious about why he was ARTIE SHAW Before either Artie Shaw or always referred to as “J.B.” by Benny, but after several weeks he finally had to ask. “Okay,” Shaw asked. Benny Goodman was famous, “What does J.B. stand for?” they often played beside each other in the radio studios. Shaw always had a book with him to read between It was a smiling Benny Goodman who let Shaw in on his rehearsals and while waiting for the programs to begin. clever secret. “George Bernard,” he said. (continued on page 12)

Big Bands w ill be on one ship. The QE2 w ill sail BAND JUMP from Miami October 23rd with a Benny Goodman salute by Bob Wilber, thejimmy Dorsey orchestra CRUI THIS FALL and the Billy May orchestra led by former orches­ tra members, plus Larry Elgartand Ray Anthony in There are two Big Band Jump cruises this fall. For person with their Big Bands. It's a ten day cruise the first time ever in the history of cruising, FIVE including stops at Nassau, Oranjestad, St. Thomas, Cartegena and a partial transit of the Panama Canal.

The Norway w ill sail from M iam i for seven days on November 27th, visiting St. Marteen, St.John, St. Thomas and Great Stirrup Cay. On board will be the Guy Lombardo orchestra, the Artie Shaw orchestra, the Terry Meyers tribute to Benny Goodman and in person, Tex Benekeand his music.

For information or reservations on either cruise, phone our exclusive cruise director, Jan Rodgers The Queen Elizabeth II toll-free at 1-800-666-4988. 10 V O LU M E LXI BIG BAND JUMP NEWSLETTER MARCH-APRIL 1999

UPCOMING BBJ PROGRAM TITLES fortune that a few Big Band airchecks remain, giving us a window in time. The entire two hours will be devoted to these relatively rare recordings of “live” broadcasts. March 6-7,1999 (Repeat listing for the ROMANTIC RECORDS benefit of new sub­ March 27-28, 1999 Just as airchecks (described scribers.) A lady in V-DISCS above) give us a means of Iowa wrote us to ask why we didn’t play reaching into the past, so do V-Discs give more soothing music, and suggested we us access to performances we might other­ change the name of the program to fit such wise never hear. V-Discs were 78 RPM 12 a broadcast. “Play more romantic music,” inch vinyl recordings made especially for she wrote. In answer to that letter, you’ll service personnel during WWII. They hear , SOPHISTICATED were special recordings made exclusively LADY, YOU’VE CHANGED, MOON­ for the armed forces and at the time un­ LIGHT COCKTAIL, ONCE IN A available to the general public. Because WHILE, THERE I’VE SAID IT AGAIN, the V-Discs were a government non-profit AS LONG AS I’M DREAMING, VEL­ not-for-sale project purely for entertain­ VET MOON and others.... all with an eye ment of military folks, unique combina­ to romantic endeavor; all by Big Bands and tions of musicians free of contractual obli­ vocalists from the Big Band Era. gations sometimes occurred. In nearly all BBJ host Don Kennedy instances, a particular artist’s selections March 13-14,1999 We did a pro­ on V-Discs were either never recorded commercially, or SENSUOUS SAXES/ gram with this title several performed in varied versions not on commercial records. PRETTY PIANO years ago; this is an update of King Cole will be a key ingredient of this session; so will that program with fresh, new Charlie Spivak and , and sax performances that’ll tug at your heartstrings. . Much of the V-Disc material we’ll be Coleman Hawkins, Larry Elgart, Charlie Barnet, Mar­ hearing is brand new to us ... as brand new as a half- shal Royal, Bob Wilber, Benny Carter and Johnny century old recording can be, of course. Hodges will be represented as well as a few sensuous examples of sax section work. April 10-11,1999 There were some pretty ter­ In the second hour, some pretty piano, some in a Big REMEMBERING rible commercial bands in Band setting, others performing with just a trio or small KAY KYSER the Big Band Era, and some group accompaniment. None of this is recorded yet, and musically unique bands that the truth is, we can’t wait to hear some of the prime were none-the-less hard to listen to, but Kay Kyser examples of both the sax and piano artistry from the Big combined a very commercial sound with musical excel­ Band Era and beyond. lence and downright fun. In the mid ’30s he was ex­ tremely popular at a time when Benny Goodman, for March 20-21,1999 For those who have asked, an example, was having trouble drawing a crowd. That AIRCHECKS aircheck in the 30s and 40s changed for Benny Goodman, but Kay Kyser continued days of live radio was gener­ to combine broad general appeal with listenable music ally a 16 inch one of a kind transcription recorded not for into the ’40s. We’ll hear from Kay himself, his wife public exposure but as a means of hearing what the Georgia Carroll and daughter Kimberly, along with program sounded like over the air. Glenn Miller, for some key recordings of the unique Kyser orchestra. example, had all his important radio broadcasts airchecked so he could listen for ways to improve the April 17-18,1999 If the Big Bands oftoday don’t band’s performance. Larry Elgart honed his recording LAST DECADE continue to play the great stan­ skills through aircheck transcriptions, experimenting dards and at the same time with varied microphone and instrument placement. Some develop new arrangements that could become the stan­ sponsors of programs commissioned airchecks to pro­ dards of tomorrow, the magnificent sound of Big Bands vide the proof of broadcast of their announcements, and could be lost forever in a few years. For that reason, networks sometimes had controversial programs re­ every so often we stress the Big Band and associated corded on transcription for legal reasons. It’s our good artists who have released recordings in the past decade. 11 VO LU M E LXI BIG BAND JUMP NEWSLETTER MARCH-APRIL 1999

These are artists who are working today, keeping the of SENTIMENTAL JOURNEY to Les Brown's, there’ll musical banner flying both here and overseas as we be three TAKE THE A TRAINS, three ONE O’CLOCK approach a new century. JUMPs and a couple of CHEROKEEs. There’ll be others, of course, in this unusual look at top records of April 24-25,1999 There are some really special melodies and others not so well-known. JO STAFFORD PROFILE/ nice people in the en- RIFFLIN’ THRU RECORDS tertainment field, and Programs may be delayed by individual radio sta­ Jo Stafford is one of tions because o f sports or special events, but the them. Unaffected by her fame, unimpressed by adula­ dates above represent the programs as supplied to tion, but true to her craft, Jo Stafford brings us up-to- the stations. Please check your local adult standard date with the help of some of her most memorable station for days and times o f broadcast. Tommy Dorsey recordings as well as some singles. We'll hear YES, INDEED, FOR YOU, I DIDN’T SIDELIGHTS, continued from page 10 KNOW ABOUT YOU.... all with Tommy Dorsey. Benny Goodman nearly ig­ Among the singles will be IT COULD HAPPEN TO nored guitarist Charlie YOU, I DON’T WANT TO TALK WITHOUT YOU, Christian the first time he was introduced to him by critic ANYTHING GOES and MIDNIGHT SUN. A special and record producer John Hammond. Hammond had treat during this Jo Stafford hour will be at least one cut talked Goodman into flying Christian from Oklahoma to by Jonathan and Darlene Edwards (Paul Weston and Jo the West Coast to audition, but when Christian showed up Stafford’s alter egos) kinda’ singing and sorta’ playing dressed in his oversize hat, a purple shirt and yellow shoes, TAKE THE A TRAIN. Goodman only asked him to chord along with him on one number, not even giving him a chance to plug in his guitar As we riffle through the record stacks in the second amplifier. Benny wasn’t impressed, and that was sup­ hour, we turn up some delightful gems by Count Basie, posed to be the end of it. David Rose, Nat Cole and Billy May, , The next night, bassist and Hammond Art VanDamme, Bill Elliott and Amy Weston plus the carried Charlie Christian’s amplifier into the club where jazz violin of Stuff Smith. There may be others, too, in Goodman was playing, plugged it in and had it ready. this celebration of spontaneous record selection, high­ When it was time for Goodman to play, Christian came in lighting both Big Bands and Big Band Era individual through the club’s kitchen door, still wearing the same performers. outfit, jumped on the bandstand and plugged in his guitar. In front of the audience, all Goodman could do was at least May 1-2,1999 Often during the Big Band let Charlie Christian play one number, so he picked one he BIG BAND TWINS Era, one organization domi­ didn’t think Christian would know, a kind of revenge nated the record sales of a against John Hammond for his interference. Benny called particular tune, and because of that we sometimes ROSE ROOM for that first number. thought that group was exclusive to that tune. SUNNY Reports these years later are that Charlie Christian indeed SIDE OF THE STREET seemed to belong only to did not know the tune ROSE ROOM, but he listened Tommy Dorsey, for example. SENTIMENTAL JOUR­ carefully to Benny and Lionel Hampton, absorbing the NEY was the province of Les Brown’s band, GETTIN’ melody and chord structure. It was only a few minutes into SENTIMENTAL OVER YOU was “owned” by Tommy the time when the crowd was clapping and screaming with Dorsey. In this program we match those and other enthusiasm, for Goodman, Hampton and Christian were melodies with recordings of the same melodies by other inspiring each other to greater heights with each chorus. ROSE ROOM continued for more than 45 minutes, artists. Stan Kenton also will play SUNNY SIDE OF and when it was finished the Goodman quintet turned THE STREET, the Spitfire band will add their version sextet received a standing ovation.

ANSWERS TO TRIVIA QUIZ - WHO WROTE THAT SONG? 1-J 2-B 3-K 4-M 5-L 6-E 7-A 8-C 9-F 10-D 11-G 12-H How did you do? You knew more than you thought you knew, we’ll bet. This was so easy that if you got fewer than 5 correct, you’ll have to sing BOO HOO and imitate Lebert’s trumpet part after every phrase. If you got six or more correct you can take this quiz to your next door neighbor and tell him how well you did. Let him take it and that’ll show how bright you are. 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].

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