IN THIS ISSUE:

An interview with BILL TOLE BIG * k Reviews of BOOKS AND RECORDS to consider BAND

★ A SMALL GROUPS JUMP TRIVIA QUIZ NEWSLETTER ★ LETTERS TO THE EDITOR about PAT FRIDAY, LORRAINE ELLIOTT, VIBES, TURNTABLES, BALLROOMS & OTHERS

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

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VOLUME LXXIV BIG BAND JUMP NEWSLETTER MAY-J UNE 2001

BILL TOLE INTERVIEW

The Background

For years we’ve seen the name Bill Tole listed as a member of the trombone section of various bands recorded on the west coast, then we became ac­ quainted with two CDs he had released with a solid band under his own name. Little by little, as information tends to accumulate, we discovered that Bill Tole is the brother of singer Nancy Knorr, who works with the Bill Tole as Bill Tole Jimmy Dorsey orchestra directed by Jim Miller. We also found out that Bill has a brother who is also a trombonist, and also works in the west coast studios.

We got to know Bill Tole on a one-to-one basis when he led a style orchestra on a spring BBJ cruise on the S.S. Rembrandt. We didn’t know until then that he’d portrayed Tommy Dorsey in a feature motion picture years earlier, assuming the Dorsey mannerisms, and of course playing the Dorsey music. He is a personable, easy-to-know musician who is fully dedicated to just that.... being the best musician he can be. Bill Tole as Tommy Dorsey

Why, you might ask, would a relative unknown such as however. The following is the product of that race. Bill Tole be interviewed for the newsletter? The motion The Interview picture portrayal of Tommy Dorsey is one reason, but more than that, Bill Tole is a logical choice in the future In view of the fact that everyone in the Tole family to lead the official Tommy Dorsey Orchestra if a seems to be involved in music, there was a logical leadership change should occur. There are a couple of j umping offpoint: other Tommy Dorsey tie-ins, too. His sister, Nancy Knorr, owns the rights to the name Pied Pipers and also BBJ: Tell us about your family’s musical background. the rights to the name of the Tommy Dorsey small group, the Clambake Seven. There may just be a Big BT: There are four children in my family, I have two Band dynasty forming! sisters and a brother, and we’re all involved in music. Actually, Mom is a piano player and a vocalist The Scene who sang with master chorales around Western Penn­ sylvania, and played piano. My Dad is a piano player and The interview was conducted in an upper deck cabin on a trombone player and taught school for many years and the ship, and there was a friendly race up the staircase has played professionally all his life; still is playing to see whether Bill Tole or Don Kennedy would reach professionally at the age of 85. I’m the oldest child and the cabin deck first. Bill Tole won with no apparent they tried to get me to play piano, but I never had any effort, but Kennedy wasn’t far behind, breathing heavily, interest in piano. A brass instrument was my love, so VOLUME LXXIV BIG BAND JUMP NEWSLETTER MAY-JUNE 2001

I’ve been playing trombone since I was about 11 or 12 Air Force I moved to New York City, and worked in the years old. My sister is a vocalist named Nancy Knorr studios there for several years. At a point in the mid­ and travels with the Jimmy Dorsey Orchestra with Jim fifties a lot of the work seemed to be going to the west Miller and also is the lead singer and featured vocalist coast. I was working with Billy Byers and Quincy with the Pied Pipers. My younger brother is also a Jones, and quite a few of the composers in New York trombone player and has hisownband in the Los Angeles who were doing a lot of their work in California. They area. We both live out on the west coast and work in the encouraged me to move in July of ’57 and I’ve been in studios. My youngest sister is not interested in playing an Los Angeles ever since. instrument, but she’s probably our biggest fan. BBJ: Are you staying busy? B B J : How old were you when you decided to make music your life’s work? B T : Oh, yeah. The studio work isn’t what it was. In the ’60s and ’70s it was really swinging.... a BT: Right away. By the time I got into high school lot of TV, a lot of movie work, a lot of recordings. It’s I knew what I wanted to do for the rest of my changed somewhat, but I’m doing other things. I’m life. My Dad had played a job in Wisconsin for the probably busier now than I was then just doing a variety whole summer with the Bob Rhodes Band, and the of things. I’m fronting my own band, I tour in Australia band featured two pianists and Dad was one of the and New Zealand every year fronting a band and I teach piano players.... but only one trombone, and evidently private students several days a week, so I really don’t the trombone player became ill and had to leave the have any days off. I’m finding there’s something to do engagement early, so Dad finished the job on trombone. every day. I’m either busier than I ever was, or now that When he came back at the end of the summer the I’m a little older I do everything slower and it just takes trombone went into the closet and Dad went back to more time! teaching school. I guess I found the trombone in the closet and started playing it, and they right away sent B B J: You played Tommy Dorsey in the movies. me to take private lessons. B T : Right. About 1975 or ’761 got a call from my We always had records playing in the house, especially friend Orrin Tucker who told me they were Tommy Dorsey records and I think right from the very looking for someone to play the role of Tommy Dorsey beginning I fell in love with trombone and knew from in the motion picture NEW YORK, NEW YORK, and that point on what I wanted to do for the rest of my life, he suggested I should go down and take a screen test. and I’ve been trying to do that ever since! (Laughs) That would be something I never tried before. I never did want to become an actor, but I thought it might be fun B B J : You played for the Pittsburgh symphony. to try. He suggested I look for some glasses and try to look like Tommy Dorsey, which he thought I did. At the BT: I did a few engagements with them. At the time I didn’t think so at all. When I took the screen test time I didn’t perform the symphonic works. on video tape, I got the part, and it surprised me. When they did a light pops orchestra or when they featured a group, I was in the jazz portion. I thought I’d take a shot at it. I explained to Martin Scorcese, the director of the show, that I had a band the BBJ: What took you to the west coast? same size as Tommy Dorsey’s that worked around Los Angeles and we did a lot of Dorsey-type songs. I asked BT: After four years of school I left Duquesne if he’d be interested in hiring the whole band. He said University, went on the road with the Tommy that would probably be a good idea, but the only thing that Dorsey Orchestra directed by Warren Covington and we require is that I have somebody that looked like toured with them for about fifteen or sixteen months, , someone like and some­ ended up in the Airmen of Note Jazz Band in Washing­ one to look like Buddy DeFranco. That was the era of ton, D.C. with the Air Force, and after four years in the the Tommy Dorsey band they wanted to portray. As it 2 VOLUME LXXIV BIG BAND JUMP NEWSLETTER MAY-JUNE 2001

turned out they didn ’ t want a Buddy Rich look alike, and all the particulars they wanted didn ’ t really materialize, LETTERS TO THE EDITOR so I ended up having most of my band do it. Letters to BIG BAND JUMP or the BBJ NEWS­ B B J: Is the movie available on VCR? LETTER may be sent to the address below, or e­ mailed to: [email protected]. All letters BT: Yes, it is. are answered, but the volume of mail sometimes delays a timely response. B B J: What’s in the future for you? BBJ NEWSLETTER B T : Well, I’m gonna’ keep doing this until I get it Box 52252 right, I guess. I’m still fronting the band and Atlanta, GA 30355 doing a lot of work in and out of the L.A. area. I’m just going to keep active. I’ve got two CDs with my band, The published letters have been edited for space ON THE MOVE and BIG BAND MEMORIES, and considerations, but the meaning has been preserved. we did a CD backing up the Modemaires with Paula Kelley, Jr. featuring two numbers with Tex Beneke Fred Bruwelheide There were references (on singing, and one or two with the band. Silver Spring, MD BBJ) made to Pat Friday do­ ing the singing for Lynn Bari in BBJ: The trend for music? the two Glenn Miller movies. If that is so, then who is Lorraine Elliott? If my memory is OK it seems to me you BT: I like the way the trend looks for music. I don’t said Lorraine Elliott did some singing for Lynn Bari. think the Big Bands ever died. I think because of the economic problems and because of a lot of What are “vibes?” Is this jazz slang for what instru­ different styles of music and fads, the Big Band popu­ ment? larity got shelved a little bit.... but it was still on the shelf, it wasn’t gone. I think with this new swing movement, there is definitely a resurgence of interest. I see in the concerts I’m doing and the dances I’m doing both here and over in Australia and New Zealand, a definite youth movement. Young people are requesting the swing tunes. STOMPIN’ AT THE SAVOY, OPUS ONE, JOHNSON RAG, and anything that Goodman did that would sing. Louis Jordan and , anything you could do of those is loved by the young people. I think that’s an investment in the future of the Big Bands. The nice thing about it is almost every hotel has a large ballroom, and that’s where I see a lot of the functions in the future. Milt Jackson & Vibes With Barry Manilow doing a Big Band album a few years back, Harry Connick, Jr. and Tony Tennille, I There’s a soundtrack album out with Lorraine Elliott think we’re reaching more of a young audience than singing AT LAST, with Ray Eberle and the ever before. Modemaires, actually recorded for use in the first picture, SUN VALLEY SERENADE. It was not used Bill Tole has a combination o f niceness, musical in that first Miller movie, and re-recorded with Pat ability and solid business practicality to be a key Friday, Ray and the Modemaires for use in OR­ factor in any future Big Band demands that CHESTRA WIVES. Lorraine Elliott, who did a should come along. number o f "ghost” numbers for the movies, was not

3 VOLUME LXXIV BIGBAND JUMP NEWSLETTER MAY-JUNE 2001

heard in either o f the two Miller movies, and we were we haven't done any ballroom story, east or west, mistaken when we said she did, but she IS on the for a while. soundtrack album, even though her work did not appear in either Miller movie. Sam Butera, Jr. On the internet I always South Lake Tahoe, CA receive the BBJ program Vibes is the short name for vibraharp or vibra­ of several months ago. phone. It's the instrument with the tuned metal bars Why isn’t the current BBJ program available on the mounted over cylinders or tubes with rotating metal website? discs operated by an electric motor creating a vibrating or vibrato sound. The use o f three or four In deference to the radio stations which program mallets at a time creates chords. BBJ weekly, we wait until after they play the program to put that episode on the internet. Betsy Buckley I just wanted to let you know Since Mr. Butera wrote, w e’ve abandoned de­ Richmond, VA how much my Dad enjoys the pendence on broadcast.com for our BBJ feed. BIG BAND JUMP website I t ’s now handled by our own webmaster as an and music. After recuperating from a second heart adjunct to our web page at attack, your website has given him an opportunity to do www.bigbandjump.com where not only last something he enj oy s without exerting himself. week’s show is available, but five or six weeks are archived, with the most recent show joining Bob Kuchar I received in the mail information the archives when its week is over with the oldest Westmont, IL on two nostalgia 78,45, and LP program dropping off. Our sister program, the record playing machines which DK SHOW, is still handled by broadcast.com and should bepassedonto readers. The company’s address is available from a link on our website, although is: LIFESTYLE FASCINATION, INC. 110 Lehigh we plan to also feed it ourselves when some Avenue - PO Box 3023 - Lakewood, NJ 08701-8123. logistic problems are solved. BBJ is still on Phone 1-800-669-0987. broadcast.com, but we’re no longer dependent on their timely handling of the program. We checked with the company to confirm avail­ ability o f their players. They have an AM/FM/ Charles Barngrover What can you tell me about Turntable set for about $150.00, and an AM/FM/ Cincinnati, OH CIRIBIRIBIN? One of my Turntable/CD/Cassette player for about $200.00. books says it was written in They told us to add $20.00 for shipping. (We 1898 and most of the books start with details of songs have no financial interest in the company or its after 1900. They all tell whose theme song it was, products, but pass the information along to an­ however I am interested in what the word means, who swer letters we get asking about where disc record wrote it and things like that. players can be bought. Our thanks to Mr. Kuchar for telling us about the company.) We called an Italian speaking friend of ours who said she had never heard the word, then we Ross Staley On ballrooms, please drop that phoned the Italian Embassy and the library, who Palo Alto, CA eastern bias. One of the best was both said “ ciribiribin” is probably a word from the Hollywood Palladium. The an old Italian dialect that‘s no longer in use. The floor was mounted on springs. next day, the library called back to say the ciri biri were an ethnic group o f Romanian origin Maybe it's been an eastern and mid-western bias, who lived as gypsies in northeast Italy, known for we’ve done articles on ballrooms in both those locally as the CBs. The melody is, we know, a areas, but he’s correct that we haven't written a folk song, but the Harry James recording o f it story about the world-famous Hollywood Palla­ lists James and Jack Lawrence as the composers. dium. We ’re going to correct that in this issue, for James, o f course, made the old melody popular 4 VOLUME LXXIV BIG BAND JUMP NEWSLETTER MAY-JUNE 2001 and Lawrence wrote the words. As a folk song, The quality of the music is superb. it probably was public domain, and so not writ­ ten by any one person, but a tune developed over Should be available at any good record store, or ask the the years. The line in the lyrics o f the Crosby/ store to order it. Andrews Sisters ’ recording is: "Ciribiribin is so in love, ” leading us to believe that Ciribiribin perhaps describes a young lady in the ciri biri SETTING THE TEMPO gypsy group. Maybe a reader can help solve this FIFTY YEARS OF GREAT JAZZ LINER NOTES problem for Mr. Barngrover. Edited by Tom Piazza

Why didn ’ t someone think of this before? Album notes, ( b o o k s & RECORDS TO CONSIDER) or liner notes, contain some of the most vital information about an artist and the music, and are generally well- SPITFIRE BAND’S GREATEST written by men and women who know their subject. 20TH ANNIVERSARY EDITION Tom Piazza has collected some of these liner notes from Alanna ACD 5589 albums by jazz oriented artists. The only drawback is the lack of Big Band information, for Mr. Piazza concen­ Toronto’s SPITFIRE BAND hasn’t recorded for a trates mostly on individual jazz performers, some of the while, but a compilation of some of their most memo­ most interesting being the early purveyors of this “new” rable selections has been released by the United States music, as printed on the back of LP’s devoted to both manufacturer and distributor of their recordings, and archival and current recordings. given a digital boost. The straight-ahead musical style of the SPITFIRE BAND appeals to a massive percent­ Bunk Johnson’s recorded work is reviewed by David age of the B ig Band listening public, and this CD brings Stuart, Chicago-style clarinetist Frank Teschemacher ’ s out the best with some technical sound magic adding to work on a record album is written up by George Frazier, the already crisp performances. George Avakian analyzes and comments on the album from his band’s appearance at New­ Trumpeter Mickey Erbe is the man who leads the port. There are a total of 49 liner note articles in the SPITFIRE BAND, originally organized by Canadian book, covering the early years as critics George Avakian record executive and entertainer Jackie Rae, who sings and Charles Edward Smith comment on Chicago and on a few of the seventeen tracks. Included are: I’VE jazz groups, extending to notes on indi­ HEARD THAT SONG BEFORE, TIME AFTER viduals such as , Pee Wee Russell, TIME, AT LAST, a medley of Jimmy Dorsey favorites, , Jess Stacy, Billie Holiday, Ben Webster, LAURA, AND THE ANGELS SING with Mickey James P. Johnson, Chu Berry and Earl Hines among Erbe’s trumpet recalling Ziggy Elman’s original with many others. , SATURDAY NIGHT IS THE LONELIEST NIGHT OF THE WEEK, and others for Even if your tendency is heavily toward Big Band a total of 21 selections including the medleys. Our rather than solo jazz performers, there’s plenty in this hands-down favorite is IT HAPPENED IN book of album notes to interest any music enthusiast. MONTEREY, an with dynamic differ­ Because it’s a compilation of relatively short album ences to keep it interesting. notes, it can be absorbed a little bit at a time. Maybe someone should publish a similar book featuring a The only subjective criticism we have of the album is collection of liner notes from Big Band albums. the use of the sound of a Spitfire plane at the beginning of SING, SING, SING. Nice touch to identify the time Anchor Books - New York period historically, perhaps, but extraneous in our opin­ 369 pages - $14.00 in soft cover. ion. Not to worry, though, the sound effect is a minor Should be available at any good book store, or they annoyance, and may be appealing to others. can order it.

5 VOLUME LXXIV BIG BAND JUMP NEWSLETTER MAY-JUNE 2001

READING LYRICS it and in earlier days, wrote and arranged it. There is a Robert Gottlieb & Robert Kimball group of Big Band aficionados who can’t abide Kenton’s music, but the devotion of the Kenton fans makes up for One of the most frequent categories any lack of universal appeal. Yet of questions we receive at BBJ has another book has been written about to do with lyrics of songs. Now a Stan Kenton, by an author who is couple of men have taken up the perhaps one of the most devoted fans. massive job of collecting over a thousand song lyrics, covering the THE KENTON KRONICLES is a years from 1900 through 1975. It coffee table size book filled with nearly would be impossible in this review to 300 previously unpublished photo­ name all the composers covered in graphs and interviews from over a book cover this clever tome, but a sampling includes Otto Harbach, hundred musicians, family members George M. Cohan, Harry Ruby, Irving Berlin, Gus and other related artists associated with the Kenton Kahn, Cole Porter, A1 Dubin, Lorenz Hart, Howard band. Harris’s research has been scholarly and exhaus­ Dietz, Johnny Mercer and Oscar Hammerstein II; tive, with a never-before-published 9,000 entry itinerary there are at least 180 lyricists represented. There are, of of the entire 37 year Kenton band’s touring career, course, lesser-known lyrics noted, particularly when their including recording sessions. There is even a filmography words are familiar to us. Herman Hupfeld, for example, documenting over 100 appearances of Stan Kenton on isn’t exactly a household name, but he’s the one who film, plus printed transcripts of over 35 recorded radio wrote, “The fundamental things apply, as time goes by.” and TV interviews with Mr. Kenton. American song lyrics are the most recognized poems of our national culture, reflecting the mood of the There is a foreword by former Kenton arranger/com- country through different eras, expressing a variety of poser Pete Rugolo, followed by the writer’s narrative of experiences. Love is the most common subject, as well Stan Kenton’s early years, and then the transcript of an it should be, but it’s framed in so many different ways actual conversation with Kenton. A collection of news­ from deeply serious to whimsical. Cole Porter’s LET’S paper articles, reviews of the orchestra’s performances, DO IT reflects the whimsical: “Birds do it, bees do it, never-before-seen pictures in each era of the band’s even educated fleas do it. Let’s do it. let’s fall in love.” development, re-prints of concert programs.... all put the reader there, compressing time and revealing both hard This is a fun book to have, and certainly handy when facts and amusing or informative background stories to you can’t complete a lyric that’s been haunting you. If give the reader amazing insight into each step of the any recording is referred to by you as a “song” then we history of the band and its personnel. highly recommend this book. If you’re one of the Big Band enthusiasts who prefers instrumentals, this is still We like this book. If you’re a Kenton fan, this book a good book to have in your library as a poignant should be in your library. Even if you’re not enamored reminder of the focus of songs through the years. of Kenton, this book will entertain and inform you about a driven personality who made a considerable contribu­ Random House - New York tion to music. A sentence from the Pete Rugolo 702 pages. $39.50 at book stores, or they can order it. foreword sums it up. “It’s a piece of recorded history no Kenton fan should be without.” It certainly is the product THE KENTON KRONICLES of a devoted, detail-minded writer.... and fan. Stephen Harris Dynaflow Publications - Pasadena, CA The fan base for Stan Kenton is tremendous; he is, we 460 pages - Available directly from: DYNAFLOW would guess, the bandleader most written about after PUBLICATIONS - 148 North Catalina Avenue #4 - the top four or five. Kenton was more than devoted to Pasadena, CA 91106. $65.00 plus $6.95 S&H. his music; he lived it and promoted it and encouraged

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In-person interviews with outstanding Big Band music personalities.

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News about the men and women keeping the Big Band sound alive in the United States and throughout the world.

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(Tape or Staple Here) VOLUME LXXIV BIG BAND JUMP NEWSLETTER MAY-JUNE 2001

THE HOLLYWOOD PALLADIUM decided to build a dance hall highlighting two factors: a large dance floor and a night club atmosphere. He Every so often we present a profile of a famous acquired six acres at 6215 Sunset Boulevard, the site of ballroom. One o f our readers (see LETTERS TO the original Paramount Studios, and built a million dollar THE EDITOR) chided us for not writing about any facility that opened on October 29,1940. The publicity west coast ballrooms. We correct that omission. surrounding the opening was lavish from its inception to opening day; 23 top business men invested, motion picture star Lana Turner broke ground with a silver shovel, the opening orchestra was Tommy Dorsey with , Connie Haines and the Pied Pipers. Thousands of dancers surged into the Hollywood Palla­ dium that first night, with hundreds of people turned away. Those who recalled that night said it was like a movie premier, with the brand new thirty foot high electric sign spelling out the ballroom ’ s name, spotlights sweeping the sky, Hollywood stars and starlets wearing fashionable gowns or tuxedos, newsmen and photogra­ phers, and the ballroom lived up to its publicity.

The night club atmosphere was engendered by 750 tables which could be reserved, cigarette girls known as “corsage cufies” moving among the tables, and photog­ raphers offering to preserve a romantic moment forever on film. There were six bars, four of which served alcoholic beverages but two devoted entirely to soft drinks and ice cream for underage dancers. Roving housemen performed two duties; they preserved order and kept patrons from taking drinks and food onto the dance floor. Because of the order preserved by the housemen and the availability of the non-alcoholic bars, the Hollywood Palladium was endorsed by various Palladium religious and school groups, unusual among either night clubs or ballrooms. The hardwood dance floor at the Part of the reason for the development of the Holly­ Palladium covers over 10,000 square feet, built on a solid wood Palladium was the fire that destroyed the famous concrete base, but actually supported by mastic tar and Palomar Ballroom on October 1st, 1939. You may cork between the floor and the five inch foundation, recall that Charlie Barnet’s orchestra was playing at making the dancers feel as if the floor is feupported by the Palomar at that time, and all the band’s instruments springs. and were lost in the blaze. The Palomar was also the location for the now legendary Benny The effect of the publicity, the atmosphere, the spa­ Goodman orchestra triumph in August of 1935, consid­ cious dance floor and general public approval combined ered by most to be the beginning of the Big Band Era. to make the Hollywood Palladium an immediate suc­ When the Palomar burned, there was no comparable cess. It became known as one of the world’s largest, location for Big Bands to play for dancers. The next and certainly the most famous because of its location in year the Palladium filled that void. the center of the film industry. Many Hollywood celebrities have visited the Palladium, plus some political A former motion picture producer, Maurice Cohen, figures. Presidents Truman, Eisenhower, Kennedy, said he was tired of “postage-size” dance floors, and Johnson and Nixon have all been guests as well as some

7 VOLUME LXXIV BIG BAND JUMP NEWSLETTER MAY-JUNE 2001

Martin ’ s conductor/pianist at a rehearsal in , was overheard saying to his orchestra: “Now, tonight for the show, the number we have just finished will come immediately before or after the number preced­ ing it!”

TOMMY DORSEY Commenting on Decca Records distribution system at the time, Tommy Dorsey said, “Records aren’t released from Decca, they escape! If they had put the secret of the atomic bomb on Decca, the Russians never WOULD have gotten it!”

TOMMY DORSEY After a sax player had taken a jazz chorus: “If I want Stravinsky, I’ll HIRE him!” Another time when a early rock stars, but most people recall the Big Bands substitute drummer was filling in, and the Dorsey and their radio broadcasts that originally estabished the Orchestra was playing a Basie type number: “Con­ Palladium. gratulations! You ALMOST stopped that thing from swinging.” In the fifties, Ray Anthony and Perez Prado held the records in that decade for attracting dancers to the JIMMY DORSEY After rehearsing a new tune: Palladium, but throughout the sixties the Palladium was “Look guys, don ’ t try to make a thing out of it, because it’s not a thing to begin with, only open for special appearances, including Lawrence Welk’s organization which drew a crowd due to his you know?” television exposure. In the last few years the retro- dance clubs have rented the Palladium to dance to the THE SMALL GROUPS music of such current bands as Bill Elliot, who reports the acoustical properties are as spectacular as ever. TRIVIA QUIZ

The Hollywood Palladium is, without doubt, one of the Most bands in the Big Band Era had small groups, or a worl d ’ s finest remaining ballrooms. So many ballroom band within a band. The ten questions which follow locations throughout the nation have been tom down or allude to these small groups, either to the group’s name, converted permanently to other uses, but the grand old some key player’s names or instrumentation. We lady of Sunset Boulevard continues to exist, now into its never know how difficult these quizzes will be; on the second half-century of life. www.bigbandjump.com website, one of the weekly questions asked the stage name of trumpeter and short­ time bandleader Harry Finkelman. We thought that SIDELIGHTS question might not yield a great response, but scores of people knew that Harry Finkelman was Ziggy Elman. Anecdotes about musicians as culled from vari­ ous sources, with emphasis on human foibles. How difficult, then, will this quiz be? We apparently These stories were sent to us by a well-known can’t accurately assess the “tough” factor. For that arranger/player/composer who either experienced reason, the grading will be gentle this time, giving you the stories first-hand while a sideman with these the benefit of the doubt. If you get 10 right, you will of groups, or got the stories from friends. course move immediately to the head of the class. If you get eight correct, you can do a victory dance right TONY MARTIN CONDUCTOR A1 Sendrey, behind the guy in front, and we’ll even allow a shout of singer Tony 8 VOLUME LXXIV BIG BAND JUMP NEWSLETTER MAV-JUNE 2001 glee for a him or her who makes the match for six of the questions. Four or five correct is getting into an area where you might consider staying after school for additional study; three or fewer in the correct column and you’ll have to do make-up work with a good book about the Era.

Please fill in the blanks. Take your time, but don’t use a reference, for that would be cheating. Dig these facts out of your head and the satisfaction of knowing the answers will be all the sweeter. When you’re finished, you’ll find the words that fit in the blanks elsewhere in this issue. We know we don’t have to repeat the warning not to look at the answers ahead of time, so we won’t do it in this issue. Alright, class. Pick up your pencils and proceed. You have ten minutes. (Just kidding! Take all day if you like.)

1 The Artie Shaw small group was known as

2 Tommy Dorsey’s small group was called

3 The most famous tenor man who played with the GENE KRUPA JAZZ TRIO was

4 The JOHN KIRBY SEXTET played a sophisticated swing. It’s leader’s instrument was:

5 Woody Herman’s small group was called Woody’s

6 The Bob Crosby orchestra’s small group was named

7 An impromptu small combo from the Bob Crosby orchestra recorded BIG NOISE FROM WINNETKA. The combo consisted of two instruments: and

8 The harpsichord was first used as a jazz instrument by Johnny Guamieri in the Shaw small group recording of

9 The Benny Goodman Trio became a quartet with the addition of vibes played by

10 The Benny Goodman Sextet sound was changed in 1939 with the addition of an Oklahoman who played electric guitar. He was

9 VOLUME LXXIV BIG BAND JUMP NEWSLETTER MAY-JUNE 2001

ERROLL GARNER PROFILE

There are some musical artists who are missed more than others. The profoundly innovative music of Erroll Gamer is missed, perhaps because he gave so much of himself to the music.... music that originated from his inventive mind and filtered through his generous emo­ tional personality, reaching us through both our ears and our hearts. His music always sounded fresh because it was always new. He used to say, “I’m a new me every day!”

We miss the elaborate introductions to his recordings, each one nearly a composition itself, containing hints of what was to come when the melody emerged. We miss his easy demeanor with fans, always friendly and accommodating, even able to sign autographs with either hand, for he was ambidextrous. (He played tennis and golf the same way, equally comfortable with either hand.) We miss the way he used to make the rhythm lead the melody just a trifle, creating an urgency able to sweep the listener into his melodic web.

MISTY is the melody most often connected with Erroll Gamer, but his importance as a jazz creator goes beyond that best-known composition, andbeyond his abilities as The joyful Erroll a composer. He approached the melody with an infectious harmony and often a pounding rhythm, draw­ The first Erroll Gamer recording to be recognized by a ing the listener into those intricate musical patterns. He broad segment of the listening public was LAURA, was, in the opinion of critics, a joyful musical genius.... followed by appearances on early television late night but a genius who couldn’t read music. When he was in programs. In 1950 Gamer changed management and high school in his home town of Pittsburgh, Pennsylva­ was booked into the Cleveland Music Hall, opening up nia, his band teacher suggested that he NOT take music that august auditorium to jazz. His first “live” album, lessons, fearing that introduction to formal music would CONCERT BY THE SEA was another milestone. In destroy his talent. addition to displaying a vast part of the Gamer talent, the album helped him to become the biggest selling jazz Erroll Gamer and his twin brother Ernest were bom on artist on the Columbia label. Of course, MISTY moved June 15,1921 in Pittsburgh, the youngest of six children. him into the popular realm, even later spawning the The atmosphere at home was filled with music, and little movie PLAY MISTY FOR ME, starring Clint Eastwood, Erroll was playing the piano by age three, teaching a fan of jazz. himself as he went along. He played calliope on Ohio River stem wheelers when he was a kid, worked as a In his later career, in the ’60s and ’70s, Erroll Gamer Big Band pianist in Leroy Brown’s Pittsburgh orchestra added some Latin rhythms to his recordings and in his until 1941, shortly after that moving to New York City, personal appearances. Wherever he went, in the where he played in night clubs and most notably substi­ United States or overseas, the hall was sold out, but by tuted for Art Tatum. Slam Stewart and Tiny Grimes 1975 he was becoming too ill to stay on the road, and made up the trio, and when it became the Slam Stewart died of lung cancer on January 2, 1977. He was 55 Trio, Erroll Gamer was the piano player. years old. Erroll Gamer was, indeed, a musical genius.

10 VOLUME LXXIV BIG BAND JUMP NEWSLETTER MAY-JUNE 2001

UPCOMING BBJ PROGRAM TITLES The Jones musical organization was, however, staffed with excellent musicians who chose to make fun of the hits of the time. If you’ve never heard Spike Jones, May 5-6, 2001 (Repeat listing for new sub­ you’re in for an amusing musical and historical treat; if HOST’S CHOICE scribers.) This will be one of you’re familiar with his recordings, it’ll be an hour of those programs done almost as if you were sitting in memories. someone’s living room or den and one of the visitors brought along his favorite Big Band and In the second hour we do what should associated recordings. In this instance, have been done months ago, and that’s it’s Don Kennedy who supplied the re­ check the mailbag. Now that the BBJ cordings, explaining the basis ofhis affec­ office is finally reasonably modem, the tion for each of them, plus some back­ mailbag will also include e-mail requests ground information about some of them as as well as the standard “slow mail” re­ they’re presented. As would be the case ferred to by computer cynics. These with an intimate gathering in the den, the mailbag programs frequently make us dig conversation could be on a highly personal deeper into the archives. level. We’lljusthaveto see what develops during this session. May 26-27, 2001 If a television pro­ BBJ host Don Kennedy KAY KYSER gram today attracts May 12-13, 2001 They were REM EM BRANCE thirty millionview BIG BAND THEMES the melodies that intro­ ers, it’s considered duced the Big Bands a massive success. In the early 1940s, however, the when they appeared on stage, in ballrooms or on the Kay Kyser Kollege of Musical Knowledge was heard radio. Although they were often referred to as theme by forty million radio listeners, at a time when the “songs,” they were usually instrumental except for population of the nation was only 130 million. Nearly singing bandleaders. This program will be filled with one-third of the population was listening to the radio nothing but those themes, always familiar melodies but each Wednesday night to hear the clowning of Ish sometimes with obscure titles. You’ll hear Charlie Kabibble, the songs of Harry Babbitt, Ginny Simms or Bamet ’ s spirited theme, Frankie Carle ’ s gentle musical Georgia Carroll, and the bubbly personality of Kay identification, the singing themes of Cab Calloway, himself. We recall Kay Kyser with the voice of Kay Skinnay Ennis and Eddy Howard; there will be a total himself, his wife Georgia Carroll and daughter Kim­ of two dozen theme recordings in this program, all easily berly. It’s a repeat BBJ program, scheduled as the recalled by anyone who was even a casual observer of result of a listener who asked, “Why don’t you ever do the Big Band scene. a program about Kay Kyser?” May 19-20, 2001 It’s been a decade since we’ve SPIKE JONES/ had the nerve to do a full hour June 2-3, 2001 Transcriptions were THE MAILBAG of Spike Jones; the last pro­ TRANSCRIPTION FILE giant recordings made gram featuring his for the exclusive use of music was in May radio stations from the very early ’30s through the mid- of 1991. Spike ’50s. Their value to us is that many of the top bands of Jones is either the time recorded for transcriptions, and now so many totally and years later we can listen to some unique melodies by completely loved those bands. It’s almost as if the orchestras have or despised by recorded a few weeks ago and we’re hearing fresh new listeners, so this recordings.... they’re just offset by a five decades or so. could be an hour Les Brown, Jimmie Lunceford, Alvino Rey, Jimmy heard by perhaps Dorsey with Helen O’Connell, the Red Norvo Trio, Ray half as many folks Anthony, Duke Ellington, Billy Butterfield and Skitch Spike Jones at work as usual. Henderson are all represented with selections which, 11 VOLUME LXXiV BIG BAND JUMP NEWSLETTER MAY-JUNE 2001 for the most part, were never heard on recordings Two available to the public. overall categories make these airchecks unusual, either teaming unlikely talents in a performance or hearing June 9-10, 2001 193 8 was a delightfully forma- selections not usually presented by a certain orchestra CLASS OF ’38 tive year for the Big Band or singer. For example, Bing Crosby will be heard business in the United States. singing with the Glenn Miller military orchestra, Frank Goodman began the year proving the value of swing to Sinatra sings MARIE, replacing Jack Leonard who an august audience at Carnegie Hall, Tommy Dorsey was heard on the commercial recording, Ray Anthony ’ s issued a crazy song called DIPSY DOODLE, a bunch Navy program yields some special material and Count of young men who got Bob Crosby to front their band Basie plays with Benny Goodman. Other rare airchecks had several successful records, Artie Shaw enjoyed his include Erroll Gamer, Harry James, Bunny Berigan and first record hit and Count Basie was the pride of the Charlie Spivak, among others. swing set in New York City. Trumpeter Bunny Berigan made what was to become his most famous, and June 30, July 1, 2001 During the past three certainly enduring, recording, and a Philadelphia radio INTERNET SURVEY months or so, we’ve asked the people who visit our station studio orchestra became so popular they became website (www.bigbandjump.com) to tell us their favor­ a national act. It was a wonderful time ofbeginnings for ite top ten recordings, the ones they’d take to a desert the Big Bands, and we hear the reason. island if they were allowed only ten. We conducted a similar survey several years ago, inviting on-air listeners and readers of this newsletter to respond; we’re inter­ June 16-17, 2001 Ella Fitzgerald was a ested to see if the strictly internet visitors come up with ELLA SINGS BERLIN/ “jazz” act until she put a different trend. We can tell you from early returns CURRENT BANDS out a series of record­ that the top titles haven ’ t changed much from previous ings of the great stan­ polls, but after the first few, the bottom numbers are dards, with backing by impressive studio orchestras vastly different. Should be an interesting musical view using lush arrangements. In this hour, it’s the music of through yet another method of polling. Irving Berlin, the most prolific of American composers. There are those who say Berlin’s music is too simplistic, SMALL GROUP TRIVIA QUIZ ANSWERS but if that’s true, it certainly doesn’t come out that way when interpreted by Ella Fitzgerald. Among others 1 The Grammercy Five. There were Grammercy Sixes and Sevens, we’ll hear HEAT WAVE, BLUE SKIES, HOW DEEP but the Grammercy part is what we were looking for, named for a New York City phone exchange, as you know. IS THE OCEAN, REMEMBER and PUTTIN’ ON THE RITZ. 2 The Clambake Seven. 3 . The second hour will be devoted to bands and smaller 4 John Kirby was a bass player. groups working today. The truth is, there are some 5 Woody Herman and his Chips. remarkable current Big Bands all across the nation, 6 Bobcats. often unknown except in their state or region. We seek 7 Drums and bass, with Ray Bauduc’s sticks on the strings of Bob those out as well as a few from overseas. There won’t Haggart’s bass. be any Tommy Dorsey, Harry James, Benny Goodman 8 Summit Ridge Drive, where Artie Shaw was living when the or Glenn Miller in this hour, but you’ll discover some recording was made, fresh, new talent performing both familiar and unknown 9 Lionel Hampton compositions. This could be a thrilling musical adven­ 10 Charlie Christian ture of discovery. (If you’re acomputertype, you can find a Big Band trivia question each June 23-24, 2001 Producer Dave Riggs has week on the BBJ website at: www.bigbandjump.com. Each week all RARE AIRCHECKS come up with some rare the correct answers are put into the prize box, and a winner, selected by a blindfolded office worker, receives a BIG BAND THEMES album “live” recorded musical as a prize.) moments, captured as they were happening in airchecks.

12 BIG BAND JlJMP IS NOW ON TH E INTERNET - Hear BIG BAND JUMP and its companic>n program THE DON KENNEDY SHOW repeated each week after the recjular broadcasts at www.bigbandjump.com - We're also available o n E-Mail - send ÿbtir ciüèstibnè äird don@ bigba ndjump.com.

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