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JUMP NEWSLETTER VOLUME XXIX BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1993

HENRY MANCINI INTERVIEW

THE BACKGROUND

The promotion people put us in touch with as part of the advertising campaign for a concert tour he was making at the time. He talked on a “live” local radio program with Don Kennedy. Mancini and Kennedy grew up within twelve miles of each other in the steel-making area of Western Pennsylvania, just thirty miles from Pittsburgh, although separated in time by half a generation. Mancini was a contemporary of Kennedy’s older musician brothers, so there were some common memories tied with the stories of his early years playing in steel-town beer joints.

THE SCENE

Unlike some celebrities of Henry Mancini’s stature, the Mancini at work. interview wasn’t difficult to arrange. He is so approach­ able and unaffected by his success, however, that he has BBJ: What kind of musical experience did you have a tendency to be off-hand with his answers, resulting in there? an interview with shorter answers and in some instances less depth than most musical celebrities. Mancini’s HM: Every kind! (Laughs) I started playing when answer to a couple of questions was something such as I was a kid, when my Dad gave one to me. He was a flute “Oh, sure.” Some of those one and two word answers player, too. That was at the age of eight, and then I were edited out in places where Kennedy’s persistence started playing piano about eleven and then took up eventually resulted in a longer, more meaningful answer, arranging on my own at about fourteen. but in some places there are still one and two word responses. Talking apparently isn’t important to Henry BBJ: You taught yourself to arrange? Mancini; music is. HM: At the beginning, yes. No one was teaching that THE INTERVIEW stuff then, and I also played flute in the high school band and played piano in the dance bands around the Beaver BBJ: Even though you’re internationally known, it all Valley there. started locally, didn’t it, in a place called Aliquippa, Pennsylvania? BBJ: What brought you to national prominence?

HM: I was bom actually in Cleveland. W henlwasfour HM: Well, I did almost, you would call it, an my Dad got a job in the Jones & Laughlin Steel Mill in apprenticeship at Universal Studios from 1952 to 1958, Aliquippa, and I spent all my school years there, up and when I got out of there, Blake Edwards asked me through high school. to do Peter Gunn, and that’s when I really started to go. VOLUME XXIX BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1993

BBJ: During your time at Universal, you were respon­ HM: It looks like next spring. sible for much of the music for the STORY, about 1954. BBJ: And who will star?

HM: I did that score, yes. Of course I didn’t write HM: Julie. or any of those things, but I put them all together. B B J: When you’re on the road making concert appear­ ances, how many musicians do you take with you? BBJ: When you talk about PETER GUNN, that was your association with Blake Edwards, when you talk HM: I have five people with me, because we have such about the PINK PANTHER, that was with Blake limited rehearsal time with the orchestras, and to go in Edwards. All those became popular records, as well as and teach a drummer the whole book in two and a half music for the shows. hours is not very practical.

HM: Yeah, that’s what happened. PETER GUNN BBJ: Are those five musicians mostly rhythm section made me a record force....a record act, actually. That players? was very unusual at that time, 1958, to have a record become number one. HM: No, they’re , saxophone, bass, drums and guitar. BBJ: The vocalists were in power at that time. BBJ: And you are piano, of course. HM: Yeah, and rock was starting to happen, too. HM: Yeah, I play once in a while! (Laughs) BBJ: What’s the hope for Big Bands and “real music” coming back? BBJ: You have a recent magnificent CD having to do with giant medleys of tunes assigned to various compos­ HM: I think the future of Big Bands as we’ve known ers, and in one instance to the themes of the Big Bands. them is this, kinda’ like, you would treat a great work in a museum or something. I think it’s that way so far as HM: I called it Big Band Montage, and I had a lot of the form that we know it, because I think the older people fun doing it, because that’s what I grew up on and when remember the Big Bands along with the music they I had a chance I put all the themes of my favorite bands played... .the songs that stuck with us going up through together... .all into one medley. I’ve done that medley in World War II, and up through the Korean War and to concerts. Everybody’s in there: Goodman, Shaw, Kenton, Vietnam, when rock seemed to take over. It’s a state of the Dorseys....all of ‘em. mind, and I don’t think there’s a big enough market for it now for it to cause rock any problems. BBJ: You also have a tribute to Victor Young on that . BBJ: You scored the motion picture VICTOR, VICTORIA with the hit song, LE JAZZ HOT. HM: Yes, Victor Young was probably one of my biggest influences because of his melodic approach to HM: We needed a number for to sing as writing. the number in which she reveals herself as a woman playing a man playing a woman, and I came up with the BBJ: Your wife Ginnie is active in a vocal society, isn’t title LE JAZZ HOT and Leslie Bricusse wrote the she? words. We’re working right now on the Broadway Musical version of LE JAZZ HOT. HM: Well, she was a studio singer for a long time. She was with Mel Torme and the Mel-Tones, but for the last BBJ: When’s it going to open? ten or fifteen years or so she hasn’t been singing but she 2 VOLUME XXIX BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1993 has been president of a group called the SOCIETY OF SINGERS.

BBJ: What does the SOCIETY OF SINGERS do?

HM: They take care, financially, of singers that have come upon bad times. Everybody thinks that just because Helen Forrest made all of those records, for example... and all of this business... .they’re pretty well off,andthat’s justnottrue. Those singers in those days would get maybe twenty-five dollars for the record, and have no piece of the action at all, so a lot of the singers who were active in the Big Band days and later have come upon bad times, and the SOCIETY OFSINGERS takes care of them.

BBJ: They have a fund-raising get-together every year, and also put out records. Mancini beckoning. HM: They’re good records, aren’t they? compose at the piano, although a lot of times I’ll think BBJ: Yes, we have the feeling each singer has selected of something away from that piano that I’ll write down. his or her own favorite, combined with some highly commercial material. What’s in the immediate future BBJ: Thanks very much for taking the time to talk with for you? Are you going to keep scoring for the movies? us. HM : You ’ re very welcome. HM: I am. I have two pictures coming out. I will do music for TOM & JERRY, the movie. (That movie was POSTSCRIPT: When you consider Henry Mancini’s released some weeks ago.) Oh, and the SON OF THE massive contributions to motion picture sound tracks, PINK PANTHER is coming out, and I have some including , HATARI, out for RCA. THE PINK PANTHER series, VICTOR-VICTORIA and others, then add those to the TV music for PETER BBJ: Do you like arranging? It’s a lonely job, isn’t it? GUNN and MR. LUCKY, plus more, you begin to realize what an influence h e ’s had on music in the post HM: When you consider the world out there today, Big Band days. It’s not easy to go through a week sometimes it’s better to be by yourself! (Laughs.) without hearing some part o f Mancini's work, either originally or stylistically. He has been a part o f our BBJ: Is it more fun for you to be in the studio after you lives for four decades. write the arrangements? TOP TEN BIG BANDS HM: Well, yeah, it’s a two part deal. You’re in there figuring it all out, and then you go and put it in front of In the September-October, 1993 (previous) issue of the a band and they play it, and that’s the biggest feeling, BBJ NEWSLETTER we asked readers to name their that’s a great feeling. single favorite all-time Big Band. The results are listed on the next page, along with METRONOME BBJ: When you’re arranging, do you hear what’s going MAGAZINE’S swing band top ten poll results from on in your head? 1939 in an attempt to give a comparison of listeners' taste during one of the prime Big Band Era years as HM: Oh, yes. Oh, yes, you have to. I arrange and compared to our selections a half century later. 3 VOLUME XXIX BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1993 METRONOME’S 1939 BIG BAND JUMP’S TOP TEN TOP TEN 1 Glenn Miller 2 Benny Goodman 3 Stan Kenton 4 Artie Shaw 5 Glenn Miller Tommy Dorsey 6 7 Jimmy Dorsey 8 Harry James Count Basie 9 Jimmie Lunceford 10 Duke Ellington

Interesting to note that just under 31% of the BBJ Harry James, number six on your all-time Big Band list NEWSLETTER votes were for Glenn Miller, with While the survey mood is with us and for the fun of it, Benny Goodman gamering a clear second place in your here are the top ten tunes for 1939 as listed by VARI­ all-time category with nearly 13% of the total votes ETY. It was the heart of the , but the seeds cast. The Stan Kenton third place position surprised of vocal and novelty which grew so quickly a decade us all, and pleased most of us. Kenton enthusiasts later, were already beginning to sprout. sent in 8% of the total number of ballots, edging out Artie Shaw’s more traditional sound for fourth place VARIETY’S TOP TEN TUNES FOR 1939 with a trifle over 7% of the total votes; Tommy Dorsey commanded 5% of the vote. The second five selections in your voting were fairly well bunched together, sepa­ 1 AND THE ANGELS SING This one swung because of the trumpet of rated by two or three percentage points. Ziggy Elman. The bands just missing the top ten cut included Glen Gray, , Ted Heath, , Blue Barron, Guy 2 Lombardo, Jan Savitt and . Bands with Bouncy, but not swing. scattered votes in distant positions included Eddy Howard, Jimmy Dorsey, , , Isham 3 DEEP IN A DREAM Jones, Les Elgart and . There was even Whatever happened to that one? a vote for Enoch Light, a studio band of the sixties best known for its highly separated left-right recording in the 4 JEEPERS CREEPERS early days of stereo. Alas, there were only a few votes Written for the movies, this one was princi­ for Spike Jones, characterized by one voter as the “elite of pally novelty, but was swingin' in some bands. the elite.” There was a single vote for Ina Ray Hutton’s Orchestra, notable not for its music but for its well-con­ 5 MAN WITH THE MANDOLIN structed leader and her revealing attire. Recalled in distant memory. Our warmest thanks to all of you for taking the time to 6 MOON LOVE fill out and send in a ballot. There’ll be a BIG Based on the classics; wasn't this one a BAND JUMP program based on your top ten votes hit? the weekend of November 20-21. 4 VOLUME XXIX BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1993

(Variety's 1939 Top Ten, continued) Time To Shine Guy Lombardo Robert Bums cigars 7 Glenn Miller Chesterfield cigarettes Another ballad. Lovely melody, but not swing. Russ Morgan Phillip Morris cigarettes Ozzie Nelson The Baker’s Broadcast 8 George Olsen Royal Crown Cola From the movie, of course. Johnson’s Wax Paul Whiteman Old Gold cigarettes **************** 9 PENNY SERENADE More enduring than MAN WITH THE MAN­ WHY DON’T YOU DO RIGHT, the Benny Goodman DOLIN, but down the list of musical memories. recording which brought national prominence to singer , was recorded July 27, 1942 just four days 10 before theNational Musician’s Union imposed aban on all Frankie Carle was still with , but recording which lasted until August 1,1944. On that day Glam Miller’s recording of his melody hit the big time. Goodman also waxed SIX FLATS UNFURNISHED.

On July 30, 1942 Goodman cut four more sides includ­ ing MISSION TO MOSCOW, as the recording compa­ HANK MORGAN’S CORNER nies rushed to stockpile their products ahead of the ban. Random thoughtsfrom sportscaster and Big Band enthu­ It is interesting to note that WHY DON’T YOU DO siast Hank Morgan, resulting from his copious reading RIGHT was written by guitarist Joe McCoy, a and exhaustive research, plus his early experience as a singer with the . It had been drummer and dance-band remote announcer. recorded a month earlier by blues singer Lil Green, but that version was a loss against the great national success The 1930’s and 40’s were the heyday for airings of the of the Goodman recording. Big Bands on national radio networks. The nightly broadcasts were in the form of “remotes” which usually Meanwhile, WHY DON’T YOU DO RIGHT’S platter emanated from dance halls and night spot locations mate, SIX FLATS UNFURNISHED, displayed some where the various bands were playing their regular live interesting properties. engagements. The airings usually began in late evening following the network’s prime time broadcasts and It was the only piece (an original) that ace arranger continued until midnight and later as the time zones Richard Maltby ever wrote for Goodman. It featured swept from east to west across the nation. counter-melodies running along rather than the call and response system which was more likely to occur in a However, many name bands were accorded headliner Goodman arrangement. status by commercial sponsorship during radio’s prime time hours. Among those bands were: It was the only hit record by the band on which Goodman does not solo. The only solo is by tenor saxophonist Jon Tommy Dorsey Raleigh and Kool cigarettes Walton who died young, and of whom Goodman said, Jimmy Dorsey Twenty Grand cigarettes “Had he lived, he’d have been great.” Woodbury soap **************** Benny Goodman National Biscuit Company Glen Gray Casa Loma Camel cigarettes BOOGIE WOOGIE was probably Tommy Dorsey’s Horace Heidt Alemite Company all-time best-selling Victor recording (1942). It was an Richard Himber Studebaker automobiles upscale full band arrangement re-creating PINETOP’S Wayne King Lady Esther cosmetics BOOGIE WOOGIE which first appeared as a piano- Lucky Strike cigarettes monologue release on another label in the late 1920’s. 5 VOLUME XXIX BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1993 Clarence Pinetop Smith was a pianist and vaudeville MERCER SONGBOOK performer whose PINETOP’S BOOGIE WOOGIE set Dec 4-5, 1993 the pace for boogie beat stylists who followed. **************** Each year we get requests to repeat this program featuring Hank Morgan ’s notes about the Big Bands and asso­ the music and the story of Johnny ciated musical subjects appear several times a year. Mercer, one of the great lyric writers of the golden era of American . The UPCOMING BBJ PROGRAM TITLES Mercer personality is brought Don Kennedy, host FRANKIE CARLE Captured in two broadcast of BIG BAND JUMP into focus with the voices of AIRCHECKS/ remote airchecks at the Mercer himself, his wife Gin­ REQUESTS peak of his orchestra’s ger and long-time friend . Nov 13-14,1993 unique sound, we hear all the ’s lyrics are performed by Whiting, well-known Frankie Carle Marlene VerPlanck, Woody Herman, Pee Wee favorites, including RUMORS ARE FLYING, Hunt, Hoagy Carmichael, , Bing GLOW WORM, FIVE MINUTES MORE and OH, Crosby and others. WHAT IT SEEMED TO BE, as well as melodies such as BLUE SKIES, ROSITA and CHERRY not MANCINI MAGIC What is it about Henry often heard performed by the Carle organization. In Dec 11-12, 1993 Mancini that’s kept him in the the second hour we handle random requests for spotlight for nearly four de­ both artists and compositions, and hear Bing cades as composer for both television and the big Crosby, Stan Kenton, Gene Krupa, screen? What appeal does his music have that keeps and Ella Mae Morse. him in the top-selling ranks of recording artists? We ask some of those questions and get some answers TOP TEN BANDS The results of a survey of from Henry Mancini, a man whose career spans a Nov 20-21,1993 BBJ NEWSLETTER readers time when he arranged the music for THE GLENN and BBJ radio listeners will MILLER STORY to his present work for Blake be revealed to the radio audience, indicating which Edwards and others on sound tracks. We hear music United State’s Big Bands are favorites of our group. from HATARI, PETER GUNN, PINK PANTHER (The survey results for the information of our readers and VICTOR-VICTORIA including a delightful are published elsewhere in this issue.) The program medley of marches composed by Mancini for the will present recordings by each of the top ten bands movie screen and his recollection of the themes of the plus background of each organization. Big Bands. From Aliquippa, PA to Hollywood, CA....we investigate the source of the Mancini THE ANDREWS They were the most popular Magic from the man who created it. SISTERS/ trio in the history of record- VOCAL GROUPS ings. We talk to Maxene, one BIG BAND The warmth and feeling of a Nov 27-28,1993 of the two remaining An­ CHRISTMAS Christmas with the Big drews Sisters, and hear Dec 18-19, 1993 Bands is captured with their most popular recordings in original form, not only airchecks from including BEI MIR BIST DU SCHOEN, actual Christmas Season Big Band broadcasts but , and DON’T samples of music performed on records and tran­ SIT UNDER THE APPLE TREE, plus some of scriptions from the Big Band Era in the spirit of the records performed with Bing Crosby and a the holidays. Along the way some background later version of DON’T BE THAT WAY recorded stories of Christmas in past years set the scene for after the peak of the sister’s popularity. In the the unique music of a BIG BAND CHRISTMAS second hour we hear some other vocal groups .... some long forgotten, other selections firm in which recorded standard American music. memory. VOLUME XXIX BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1993

DIGITAL MAGIC II What miracles digitalization GLOW WORM Dec 25-26, 1993 hath wrought. Those beetle- This 1952 hit for the Mills Brothers began life in browed engineers have not Germany in 1902. It was part of the score for Paul only preserved the nearly “live” sound of currently Lincke’s operetta LYSISTRATA and was then known produced recordings, but have brought out hereto­ as GLUEHWUERMCHEN. The tune was first heard fore unheard sounds from some of the old 78’s, in the in a 1907 Broadway musical, THE creating a new listening experience. We hear some of GIRL BEHIND THE COUNTER where it was sung by their work from restorations on CD’s, as well as a May Naudain. The first English lyrics were by Lilia couple of recent recordings. Goodman and Lee, Cayley Robinson. The second set of English lyrics were Louie and Keely, Wess and Edison, Les and from the talented pen of Johnny Mercer. It was his Butch.. .plus some other single names such as version that accounted for the Mills Brothers successful James, Norvo, Davis and Gibbs. recording. In 1966 Mercer raised another German song from obscurity to popularity. The result ... SUMMER NEW YEAR’S ’45/ It’s become a tradition over WIND, a blockbuster hit for . The music MUSICAL WISHES the years for BIG BAND was composed by Henry Mayer. Mayer’s other claim to Jan 1-2, 1994 JUMP to celebrate each New fame was the music for MY MELODY OF LOVE, Year with a unique Armed which singer Bobby Vinton and his polka-loving fans Forces Radio Broadcast captured off-the-air in 1945. turned into their theme song. From all over the U.S., the popular Big Bands of the time each played one selection for the hour before AVALON midnight, replete with the audience enthusiasm and the announcers and/or bandleaders sending their verbal This 1920 song, with music by Vincent Rose and lyrics greetings. The broadcast was a spectacular technical credited to A1 Jolson and B.G. DeSylva, was a huge feat for the mid-forties, and an artistic sound-record not performance hit for Jolson. However, the tune soon only of which bands were most popular then but what found itself enmeshed in litigation brought by the estate single melody each band selected as representative of of famed composer Giacomo Puccini. It was charged in their organization at the time. a copyright infringement action that the melody for AVALON was lifted bodily from the TOSCA aria “E HARRY CONNICK, We wonder if Harry Connick, lucevan le stelle”. In a courthouse, the JR./RIFFLIN' Jr., and others like him will Puccini attorneys, with the aid of a phonograph record, Jan 8-9,1994 promulgate the traditional mu­ trumpet, violin and piano, successfully substantiated sic of America, or is his their allegations. On January 28, 1921 the court ascendency simply a spike in the overall history of awarded the plaintiff damages of $25,000. A small music over the years? There’s no answer to that, of recording company that had all of its hopes wrapped up course, but it’s our hope that his efforts reach a younger in the manufacture and promotion ofthe AVALON disc audience, and his tribe increases. We hear many of was forced to go out of business. Jolson, on the other those earlier appealing Big Band and small group hand, continued to sing AVALON to great acclaim for arrangements from the motion picture WHEN HARRY the rest of his career and profited substantially from MET SALLY. In the second hour, we go back through performance royalties. the LP library to catch up on some of the so-called I CAN’T GIVE YOU ANYTHING BUT LOVE “vinyl” we may have recently overlooked. This very' popular song of 1928, with lyrics credited to and music by Jimmy McHugh has been dogged by two legends. The first and most popular TIMELESS TUNES; THEIR STORIES contends that McHugh and Fields, while under commit­ ment to provide the songs for LEW LESLIE’S BLACK­ Ken Smith from time to time contributes the well- BIRDS OF 1928 were struggling over a final number researched and well-written background to well- fortheshow. WhilestrollingNewYork’sFifth Avenue, known songs. they spotted a pair of impoverished lovers gazing wist- 7 VOLUME XXIX BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1993 fully into a Tiffany’s window. Inching closer to eaves­ drop on their conversation, the songwriters heard the man exclaim, “Gee honey, I’d like to get you a sparkler like that right now, but I can’t give you nothin’ but love.” Legend number two has the song having been bought by McHugh from Fats Waller and Andy Razaf. (It was not uncommon for Fats to sell songs for drinking money.) Fields' name was added because she and McHugh were contractual partners for the BLACKBIRDS show. Which legend, if either, do you prefer? You pays your money and you takes yer cherce. LETTERS TO THE BBJ NEWSLETTER

Letters are condensed to make maximum use of space, but the meaning is preserved. We try to answer letters personally, but the ones judged to be of most general interest are selected for this column. Questions or com­ ments connected with both the BBJ NEWSLETTER and the BIG BAND JUMP radio program may be sent to: Saxie Dowell and Judy Starr flanking Hal Kemp Robert Cooper After reading the Commentary by BBJ NEWSLETTER Timonium, MD Hagen Williams in the September/ Box 52252 October issue of your newsletter, Atlanta, GA 30355 I thought you might be interested in the Big Band radio happenings in Baltimore this Spring. Douglas Parker In the last line of the intro- West Boylston, MA duction to Maxene Andrews In May of this year Radio Station WITH in Baltimore interview, it was stated that was to be purchased by a children’s radio group, Laveme “died in the 70’s.” Laveme died on May 8, leaving this city without a 40’s style music station. 1967 at the age of 51. However, the old-timers in this area made so much noise about it, that several businessmen and the The other slip occurred in the SIDELIGHTS column. announcers formerly with WITH bought station Hal Kemp was killed in an auto accident on December WWLG and put the 40’s style and Big Band music 21, 1940. Either the story was mis-dated, or the back on the air. The owner of WITH is now reneging bandleader was someone other than Hal Kemp. on the sale, and has kept the 40’s style music going Gerry Selman Hal Kemp died on December there as before. W. Palm Beach, FL 21, 1940 of pneumonia two So, believe it or not, we now have two stations in days after a serious auto acci­ Baltimore playing our good old music, both on 24 hours dent in . The band your writer was referring a day. Your BBJ program is on the new WWLG and to was probably Skinnay Ennis, who played the Astor plenty of us listen to it. Roof quite often right after WWII. Joseph Marra Be advised that 3 speed turntables It’s a pleasure reading your newsletter. Port Richey, FL are available at the following ad­ dress, and way under $500.00. We were inundated with mail about Hal Kemp’s Send $1.00 for catalog to: demise in 1940, well before the date of our story about him after the war. We should have known WEST-TECH SERVICES better. Douglas Parker is a researcher and contribu­ 3725 Hollywood Blvd. # 129 tor to the BBJ NEWSLETTER who should have been Hollywood, FL 33021 consulted before releasing either story. Phone(305) 920-2154 8 VOLUME XXIX BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1993 Mr. Marra pointed out he has no connection with RHAPSODY IN BLUE, SUN VALLEY JUMP, AU­ this company, but wanted to help fellow music lovers TUMN SERENADE, STARDUST, IN THE MIDDLE and BBJ NEWSLETTER friends. We 're most OF MAY, MY BLUE HEAVEN and THE AIR indebted to him and all the folks who wrote with CORPS SONG in an extended version with Desmond, turntable information. and the band performing as a glee club.

M. Velebit Our only station for Big Band In record stores, or may be ordered from: HINDSIGHT Pompano Beach, FL music in this area, WMRZ, RECORDS, INC. - Box 7114 - Burbank, CA 91510. is now almost exclusively talk, talk, talk. Your BBJ program we heard every Sunday ARTIE SHAW AND HIS ORCHESTRA -1939 from 11 AM to 1 PM is now gone. Jazz Hour JH-1031

It’s so funny WMRZ changed its format to coincide Most Shaw aficionados refer to the 1938-39 Shaw with COMMENTARY BY HAGEN WILLIAMS in band as the most exciting organization, and this CD Volume XXVIII. catches the band in those remote broadcasts from the Hotel Lincoln in January of 1939 and from the Cafe The BBJ program folks are looking for another Rouge of the Hotel Pennsylvania in November of affiliate in Miami, but stations there are nearly all that year. rock, talk or latin. Featured are songs by Helen Forrest who has to be one ( records and bo oks to co nsider) of the three or four definitive Big Band singers of the Era, and the talents of Tony Pastor, Buddy Rich, FAREWELL PERFORMANCES Georgie Auld and Bemie Privin. (Privin is also fea­ Army Air Forces Overseas Orchestra tured on the album reviewed here.) conducted by Sgt. Jerry Gray HINDSIGHT HCD 248 There are eighteen cuts, with all the intros and announcements left intact, including ROSE ROOM, Yet another release of the Britain-based American Ex­ ROSALIE, MY HEART STOOD STILL, JUNGLE peditionary Forces Orchestra, with these selections re­ DRUMS, THIS CAN’T BE LOVE, I’M YOURS, corded in October and November of 1945, culled WHAT’S NEW, ANY OLD TIME, IT HAD TO BE from the final five radio programs presented by the Orchestra. Even though Glenn Miller had been lost over the English Channel three-quarters of a year ear­ lier, the Miller sound is inexorably evident. The AEF Orchestra as heard in these broadcast recordings was conducted by Jerry Gray, and featured and the Crew Chiefs, that vocal group being the mili­ tary equivalent of the civilian Modemaires.

The twenty-three cuts include a much-requested se­ lection written and arranged by Jerry Gray titled OR­ ANGES & LEMONS, based on the Westminster Chimes of Big Ben. It’s a five minute opus begin­ ning with a nearly symphonic sound, and then becom­ ing more popular and Millerish, with a vocal by the Crew Chiefs. Also included are the opening theme, , I CAN’T GIVE YOU ANY­ THING BUT LOVE with a vocal by Pvt. and a trumpet solo by Bemie Privin, Shaw album 9 VOLUME XXIX BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1993

YOU and ST. LOUIS BLUES in long form. they can order it. The book was not yet sent to retailers as this was written, but should be available by the time A way to sample a cross-section of the selections of you read this, or shortly thereafter. Artie Shaw in airchecks of an excellent organiza­ tion. May be ordered directly from: JAZZ HOUR - Simon & Schuster Box 841408 - Pembroke Pines, FL 33084. About $25.00

STEVE ALLEN PLAYS JAZZ TONIGHT - SOFT & SASSY Concord CCD-4548 Hindsight HCD 601

This is a pleasant CD with Steve Allen at the piano It’s been 3 1/2 years since Sarah Vaughan left this accompanied by a dynamic all-star group. They venue to perform sound like they’re having a good time, and maybe that’s in another set­ what it’s all about. Steve Allen commented that it took ting, but that only an evening to record all the cuts on this album, voice of hers while it takes some rock groups weeks to complete will be with us an album, editing and mixing multiple tracks. We for a long time. would suggest this album sounds better than all the This latest CD of rock albums ever made. Sarah Vaughan dates back over Includes nearly all standards: TANGERINE, THE three decades, to ONE I LOVE BELONGS TO SOMEBODY ELSE, 1961, in a ses­ BODY AND SOUL, AFTER YOU’VE GONE, A sion with just a SINNER KISSED AN ANGEL, YOU GO TO MY trio. While some HEAD, I CAN’T GET STARTED, FINE AND of the Musicraft DANDY and three of Steve Allen’s orginal composi­ and Roulette la­ tions. Maybe this is the kind of record you put on bel recordings while you’re reading the paper or catching up on a good featured a full book; then repeating at louder volume the cuts which studio orchestra The devine Sarah catch your ear. to provide a rich tapestry for Vaughan’s voice, these recordings allow In record shops, or may be ordered from: CONCORD us to get closer to her. RECORDS - Box 845 - Concord, CA 94522. Many of the significant standards are here, the songs BEYOND CATEGORY that’ll be sung (let us fervently hope) for de­ John Edward Hasse cades to come. SOMETIMES I’M HAPPY, ALL OF ME, I CRIED FOR YOU, OUT OF THIS A remembrance of Duke Ellington, this book draws WORLD, OVER THE RAINBOW, I’LL BE upon the copious archives of the Smithsonian Institu­ SEEING YOU, SUMMERTIME, TENDERLY and tion, in addition to family papers and other written HOW LONG HAS THIS BEEN GOING ON. material. Not only is Ellington’s life chronicled more There are sixteen cuts in all with the earliest, POOR deeply than previously, but the author lists Ellington BUTTERFLY, having been written in 1916. The Orchestra performances from over 400 Ellington CD’s most recent, SERENATA, was written by Leroy currently available; this listing worth the price of ad­ Anderson in 1950 with the lyrics added by Mitchell mission alone. Parish of STARDUST fame.

Should be readily available in any good book store, or Should be at your record shop, or they can order it.

10 AVAILABLE BIG BAND PRODUCTS PAGE 1 ORDER FORM ENCLOSED

(JJ) D-DAY: 50TH ANNIVERSARY

Available in both Cassette or CD

THE BBC CONCERT ORCHESTRA • BBC SIN6ERS A premier recording commemorating the 50th Anni­ THE CENTRAL ARMY BAND OF THE ROYAL AIR FORCE versary of D-Day, available to BBJ NEWSLETTER SALUTE THE HEROIC EVENTS THAT LEO TO readers in this advance sale. It’s a story in music and words that tells it all, chronicling the heroic events that led to the Normandy Invasion. This one-of-a-kind recording was assembled by the British Broadcasting Company, and features the BBC Concert Orchestra and chorus, the Central Army Band of the Royal Air Force and the words of Winston Churchill, General Dwight D. Eisenhower and Franklin D. Roosevelt as well as a six minute medley of Glenn Miller music and a medley titled American Hoedown. Over 75 minutes of spectacular marches, songs and melodies to recall the events of that eventful day nearly a half-century ago. This is a keepsake those of you who took part in the invasion will treasure; it’s a keepsake forthose who did not for its accurate reflection of the sounds and music of that critical moment in history. "It sounds as though it’s an actual soundtrack of World War II. Enormously entertaining.” LT. COL. GEORGE B. POWERS - Pittsburgh, PA “I wish I were wealthy enough to buy a copy for everyone I know, and still had enough left over to share it with perfect strangers.” FRANK MASON - New York, NY “Finally the adage has absolute meaning; ‘You have to hearitto believe it.' It’s remarkable.” WILLIAM KELLEHER - Riverside, CA “The magnificence of this production is astonishing.” MAVIS BROGAN - Carlsbad, NM This is not a collection of Big Band recordings of the era; it is a musical production stressing the military enormity of the D-Day Operation, with two medleys of the popular American music of the time, as performed by the BBC Orchestra. A keepsake for all time, to be handed down through the generations. CD $ 16.95+ $ 2.50 S&H Total $19.45 Cassette $ 11.95 + $ 2.50 S&H Total $14.45 MORE PRODUCT DESCRIPTIONS AND AN ORDER FORM ON FOLLOWING PAGES AVAILABLE BIG BAND PRODUCTS PAGE 2 ORDER FORM ENCLOSED

(HH) AND HIS ORCHESTRA Available in both CD or Cassette

A magnificent recording of the ALVINO REY ORCHESTRA at the peak of its powers, with arrangements from the masterful pens of Billy May and Deane Kincaide, two of the finest arrangers of the Big Band Era.

In the orchestra are such top instrumentalists as Chuck Peterson in the trumpet section. (You’ll recall his work with Ziggy Elman in the Dorsey recording of WELL, GET IT.) The sax section includes Al Cohn, and Deane Kincaide; drums are handled by either or Dave Tough.

INCLUDES: Blue Rey (The theme) April In Russian Lullaby (Irving Berlin) Dardanella Sheik Of Araby Yesterdays Blue Lou Land of Sky Blue Water Bumble Boogie Two Guitars Stormy Weather Chinese Lullaby In An 18th Century Drawing Room Drowsy Old Riff Ol’ Rockin’ Chair Nighty Night

Yvonne King is featured in NIGHTY NIGHT, a melody that said goodnight to a generation of young men during WWII. The dynamic King Sisters harmonizing is heard on OL’ ROCKIN’ CHAIR, a charming Hoagy Carmichael melody.

CD $ 10.95 + $2.50 S&H Total $ 13.45 Cassette $ 6.95 + $2.50 S&H Total $ 9.45

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(GG) THE BEST OF BO THORPE Available on either CD or Cassette

It’s a two CD or two Cassette collection of the BEST OF BO THORPE, a Big Band that’s working full-time, an oddity these days. Bo Thorpe, who began his musical life as a drummer, decided later in life after success in a non-allied business to establish a band that’d bring back the familiar music with a new approach, without destroying the original “feel” of the Big Band Sound. He also realized he’d have to put later melodies into Big Band style in order to capture a younger audience. He’s accomplished both those goals, and this collection is the result of years of playing for some of the most prestigious groups in the nation, including some presidential balls. If you like to dance, Bo Thorpe is the ideal band for your CD player or cassette. If you like to hear what top society functions hear, Bo Thorpe is the band for you to listen to. Of particular interest is the group GENERATION SINGERS, and vocals by Jean Dennis, who appeared with Harry James and Tommy Dorsey before joining the Thorpe organization. Two CD's $24.95 + 3.00 S&H Two Cassettes $19.95 + 3.00 S&H Included in the collection: Opus One Spanish Eyes Brazil You Light Up My Life Memory How High The Moon There Are Such Things House Of Blue Lights Harlem Nocturne Dream Woodchopper’s Ball What I Did For Love I’m Beginning To See The Light Daybreak Penthouse Serenade Again Where Is The Love Too Young Battle Hymn Of The Republic Witchcraft Cherry Pink And Apple Blossom White Rainy Night In Georgia Come Fly With Me Touch & Go Boogie How Deep Is Your Love New York, New York Begin The Beguine Ridin’ I-95 Feelings Razzmajazz Swinging With Bo Thirty-one melodies most requested by young and old alike in the Bo Thorpe style. Two CD’s: $ 24.95 + 3.00 S&H Total $ 27.95 Two Cassettes: $ 19.95 + 3.00 S&H Total $22.95 MORE PRODUCT DESCRIPTIONS AND AN ORDER FORM ON FOLLOWING PAGES AVAILABLE BIG BAND PRODUCTS PAGE 4 ORDER FORM ENCLOSED

(FF) THE SPITFIRE BAND - Make Believe Ballroom Available on CD or Cassette

A great band....not just good, but great! Toronto’s SPITFIRE BAND is the make believe ballroom one of those relatively unknown bands keeping the sound alive, and doing it extremely well. Until recently, the SPITFIRE BAND recordings were difficult to get in the U.S. The very best bet is this extra-value album. It’s available as a single CD or Cassette, but each contains 35 selections, including eleven performed as medleys....a total of 24 dynamic cuts, played by a band that's created a sensation in Canada, and has been in demand recently in the United States because of its crisp arrangements and smooth vocal group. It’s as if you were hearing a band of the forties, but with the technical excellence of today. It's our choice for the most listenable, tasteful band on the North American continent combining familiar music with 3 ~ fresh, new arrangements keeping the mood of the originals. CD: $17.95 + $ 2.50 S&H Cassette: $ 11.95 + $ 2.50 S&H Don’t miss this one. If you’re not thrilled, we’ll be totally surprised. Includes: SING, SING, SING LET’S DANCE I CAN’T GET STARTED ST. LOUIS BLUES BASIN STREET BLUES YOU MADE ME LOVE YOU STARS FELL ON ALABAMA I’LL NEVER SMILE AGAIN GEORGIA FOR ALL WE KNOW CHEROKEE AFTER YOU’VE GONE AC-CENT-TCHU-ATE THE MARIE POSITIVE ATCHISON, TOPEKA & GREEN EYES SANTA FE AMAPOLA G.l. JIVE TANGERINE PENNSYLVANIA 6-5000 OLD SHANTY TOWN SENTIMENTAL JOURNEY BUGLE CALL RAG LEAP FROG STOMPIN’ AT THE SAVOY KALAMAZOO MAKE BELIEVE BALLROOM NO MORE DANCIN’ Well over an hour of excellent listening, joining nostalgia and a fresh, new approach. If you haven't heard the SPITFIRE BAND, you're missing a thrill. CD: $ 17.95+ $2.50 S&H Total $20.45 Cassette: $ 11.95 + $2.50 S&H Total $14.45 MORE PRODUCT DESCRIPTIONS ANDAN ORDER FORM ON FOLLOWING PAGES AVAILABLE BIG BAND PRODUCTS PAGE 5 ORDER FORM ENCLOSED

(W) GEORGE SIMON’S BOOK - THE BIG BANDS The finest book ever written to capture the atmosphere, the anecdotes and the stories behind the Big Band Era. Former METRONOME MAGAZINE editor George Simon writes with feeling and warmth about all the major Big Bands and many of the regional and lesser-known leaders with hundreds of behind-the-scenes photographs. There's a chapter on the Big Band Vocalists, the influence of radio and movies on the development of the Era, plus individual in-depth background of each of of the key names in the history of the Big Bands. If any Big Band buff was limited to one book to chronicle the Big Band Era, including the personalities, the music, the business and the history....this would be the one. Acclaimed by those who have it as an invaluable addition to their Big Band libraries. THE BIG BANDS - George Simon 600 pages-300 photographs-Profiles of hundreds of Big Bands and their leaders. Soft cover. $ 23.00 plus $3.50 S&H $26.50 (AA) THEMES OF THE BIG BANDS 3 Cassettes or 2 CD's

Forty-two of the familiar themes of the Big Bands in a collection of either three cassettes or two CD's, each played by the bands which made them famous, taken from original recordings to bring you historically authentic sound. The same melodies you recall introducing dance band remotes or Big Band programs during the era.

Includes twenty-one themes of the sweet bands and twenty-one themes of the swing bands, bringing back the sounds so familiar to you....the most recognizable music of all the tunes played. Includes: BIG BAND THEME BIG BAND THEME Benny Goodman Let's Dance Henry Busse Hot Lips Glenn Miller Moonlight Serenade Glen Gray Smoke Rings Woody Herman Woodchopper's Ball Lawrence Welk Bubbles In The Wine Harry James Ray Noble The Very Thought Of You 1 Can't Get Started Phil Harris Rose Room Count Basie One O'Clock Jump Ted Lewis When My Baby Smiles At Me Andy Kirk Until The Real Thing Comes Along Wayne King The Waltz You Saved For Me Bob Crosby Summertime Hal Kemp How I Miss You Jimmie Lunceford Jazznocracy Eddy Duchin Twilight Dream Tommy Dorsey Gettin' Sentimental Over You Clyde McCoy Sugar Blues Jimmy Dorsey Contrasts Art Kassel Hell's Bells Charlie Barnet Cherokee Russ Morgan Does Your Heart Beat For Me Snowfall Orrin Tucker Drifting And Dreaming Jan Savitt Quaker City Jazz Shep Fields Rippling Rhythm Stan Kenton Artistry In Rhythm Henry King A Blues Serenade Duke Ellington Take The A Train Skinnay Ennis Got A Date With An Angel Artie Shaw Nightmare Guy Lombardo Auld Lang Syne Flying Home Xavier Cugat My Shawl Gene Krupa Apurksody Kay Kyser Thinking Of You Les Brown Leap Frog Vincent Lopez Nola One of the most popular collections we've ever offered! Our supplier tells us there's a limited number still available. THREE CASSETTES: $ 16.95 plus $2.50 S&H $ 19.45 TWO CD'S: $ 21.95 plus $2.50 S&H $ 24.45 AVAILABLE BIG BAND PRODUCTS PAGE 6 ORDER FORM ENCLOSED

(E) BIG BANDS OF THE WAR YEARS Cassette Only Total Cuts: 21 Twenty-one selections by eight great bands, with narration by BIG BAND JUMP host Don Kennedy recalling the events, the voices, the mood and the feeling of WWII, a unique time in history. If you’re looking for just music or all familiar melodies, this cassette is not for you. It’s in answerto the hundreds of listeners who have asked for copies of BBJ programs. Since that’s not possible because of copyright restrictions, the BBJ producers have prepared this special program containing the most important narration and both familiar and unfamiliar music of the era. Selections include: Day By Day / I've Got My Love To Keep Me Warm / Frim Fram Sauce - Les Brown — Snowfall - Claude Thornhill — Stardreams / He Wears A Pair Of Silver Wings / - — All Or Nothing At All / Two O’clock Jump - Harry James — Something Sentimental - Vaughn Monroe — Redskin Rhumba / Phylisse - Charlie Barnet - 1 Got Nothin’ But The Blues - Duke Ellington.... 21 selections total, 70 minutes of music and narration. $ 9. 95 for Cassette + 2.50S &H Features: with Tony Pastor’s Orchestra Dick Haymes with Harry James with Charlie Barnet June Hutton with Charlie Spivak Vaughn Monroe and the Moon Maids The voices of Franklin Roosevelt, General Eisenhower and others.

(DD) BIG BAND PERSONALITY INTERVIEW COLLECTION PERSONALITY Book $9.95 + $ 2.00 S & H. INTERVIEWS We’ve collected the Big Band personality interviews from early BBJ NEWSLETTERS BIG into a single bound publication with a dozen revealing, personal, up-close interviews with photographs of those personalities. Includes in-depth interviews with COUNT BASIE, BAND ARTIE SHAW, FRANKIE CARLE, HELEN O’CONNELL, MEL TORME, RAY ANTHONY, ERSKINE HAWKINS, CHARLIE BARNET, STAN KENTON, YANK JUMP LAWSON, BOBBY HAGGART and RAY McKINLEY.

The best way to learn about the Big Band Era is from the people who lived it. The dozen Big Band personalities give valuable insights into the era, reaching beyond the surface and lending richness and meaning to each anecdote and experience.

$11.95 Total

MORE PRODUCT DESCRIPTIONS ANDAN ORDER FORM ON FOLLOWING PAGES AVAILABLE BIG BAND PRODUCTS PAGE 7 ORDER FORM ENCLOSED

TOMMY DORSI Y M O HIS ORCHESTRA 1942 WAV BOND BROADCAST (G) TOMMY DORSEY ORCHESTRA - 1942 War Bond Radio Programs Voca* £ly: TRANK SlNA fHA ' CHCK HAYMES / JO STAfrORO / PIED VIPERS Available on CD Total cuts: 1 6 Total selections: 20

A suspension in time recording, with Dick Haymes (who never recorded commer­ cially with Tommy Dorsey) singing some of the songs identified with Frank Sinatra, and an earlier broadcast with Sinatra. JUST AS THOUGH YOU WERE HERE, WHO, SOMEBODY LOVES ME, SWING HIGH, I'VE FOUND A NEW BABY, IT STARTED ALL OVER AGAIN, EXACTLY LIKE YOU and others. All except BLUES IN THE NIGHT excellent quality. Recorded in and Hollywood. Features: Ziggy Elman Buddy Rich Dick Haymes Frank Sinatra Pied Pipers $1 3.95 forCD + $2.50S&H One of the favorites with good reason. Thrilling, transporting sound and emotion.

(P) FRANKIE CARLE & HIS ORCHESTRA - Radio remotes Total cuts: 1 9

This is the Frankie Carle band we all recall, with Marjorie Hughes singing OH, WHAT IT SEEMED TO BE and RUMORS ARE FLYING, with other cuts including GLOW WORM, TO EACH HIS OWN, FIVE MINUTES MORE, DEEP PURPLE, BLUE SKIES, BEGIN THE BEGUINE, ZIGEUNER, SURPRISE PARTY, MY BLUE HEAVEN, CARLE BOOGIE and PENGUIN AT THE WALDORF. Complete with nostalgic announcements in broadcasts from and the Meadowbrook.

When he heard this recording, Frankie Carle said it was the best he ever heard of his band.

$13.95 for CD $9.95 for Cassette + $2.50 S&H

ORDER FORM ON NEXT PAGE ORDER FORM - NOVEMBER-DECEMBER, 1993 Please send the following: (Check selections, please.) (JJ) D-DAY: 50TH ANNIVERSARY ( ) (HH) ALVINO REY & ORCHESTRA ( ) (CD $ 19.45 Total - Cassette $14.45 Total) (CD $ 13.45 Total - Cassette $ 9.45 Total) (Specify CD [ ] or Cassette [ ]) (Specify CD [ ] or Cassette [ ]) (GG) THE BEST OF BO THORPE ( ) (FF) THE SPITFIRE BAND ( ) (CD $ 27.95 Total - Cassette $ 22.95 Total) (CD $ 20.45 Total - Cassette $ 14.45 Total) (Specify CD [ ] or Cassette [ ]) (Specify CD [ ] or Cassette [ ]) (W) GEORGE SIMON'S BIG BANDS ( ) (AA) THEMES OF THE BIG BANDS ( ) (Book-$26.50 Total) (CD $ 24.45 Total - Cassette $ 19.45 Total) (Specify CD [ ] or Cassette [ ]) (E) BIG BANDS OF THE WAR YEARS( ) (Cassette only - $ 12.45 Total) (DD) PERSONALITY INTERVIEWS ( ) (Book-$ 11.95 Total) (G) TOMMY DORSEY BOND SHOWS ( ) (CD only-$ 16.45 Total) (P) FRANKIE CARLE REMOTES ( ) (CD $ 16.45 Total - Cassette $ 12.45 Total) (Specify CD [ ] or Cassette [ ])

Georgia residents please add 6% sales tax to purchase price.

Items and prices noted on these sheets good through Dec. 31, 1993. Allow 4 to 6 weeks for delivery. Make checks payable to NEWSLETTER. Return order form and check to: BBJ NEWSLETTER, Box 12,000, Atlanta, GA 30355

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COMING UP IN FUTURE ISSUES OF THE BIG BAND JUMP NEWSLETTER

In-person interviews with outstanding Big Band music personalities. Reviews of books and records to consider for serious collectors of Big Band music and information. Anecdotes and background stories about the key personalities of the Big Band scene. News about the men and women keeping the Big Band sound alive in the United States and throughout the world.