Kay Kyser in a reader’s letter

Bunny Berigan: part of 1936 In Music

Presorted Standard U.S. Postage PAID Atlanta, GA Permit No. 3259 BIG BAWD JUMP N EWSLETTER

VOLUME 113 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER, 2007 INTERVIEW - GENE KRUPA

The Background

We’ve been searching for a Gene Krupa interview to place in this slot since the publication of the BBJ NEWSLETTER began 18yearsago. Quite by accident we were on the mailing list advertising Krupa drum­ sticks and Krupa publications. It is from the “World of Gene Krupa” book we’ve excerpted the following Gene Krupa comments, presented in interview style.

BBJ host Don Kennedy interviewed Gene Krupa in 1949 or early 1950 when Krupa was appearing at the Palace Theater in Youngstown, Ohio. The interview was set up for one o’clock in the morning, after the last of the six or seven daily ‘live’ performances between showings of the feature movie. That taped interview has long since been lost, but one distinct memory The young Krupa at work remains: the extremely courteous behavior of Gene came from the Buddy Rogers band. I knew Stan in the Krupa. Kennedy recalls the event. old days when I worked for Red Nichols. THE place then was Plunkett’s (a speakeasy on 53rd Street) and “I was nineteen or twenty and my dad went with me for Stan was a very big name then and much respected by company. While I was setting up that bulky early tape me, not so much for his talent, because I was going the recorder, Gene Krupa talked to my 66 year old dad, a other way for guys like Chick Webb and Tommy Miles. former march drummer, as an equal. Krupa discussed drumming techniques with my dad as if HE was the star BBJ: Your recollections of that legendary Good­ drummer. He showed the same courtesy to me, an inept man tour to the coast? youthful announcer, as he did my father. Later I heard Krupa stories confirming what a real gentleman he GK: I remember when we were playing Elitch’s was.” Gardens in Denver we never had more than five people on the floor and it was very discouraging. Here is the interview assembled from various Gene One night Benny laid out a lot of rhumbas and stocks. Krupa comments as transcribed from radio appear­ “What’s up, Benny?” I said. Benny shook his head. “I ances. guess this jazz idea of ours is no good. I’m going to get people to dance if I have to play all the mouse music BBJ: Tell us about your early days with Benny ever written.” I shook my head right back. “Look, Goodman. Benny. I’m making $85.00 a week with you and if you’re going commercial I might as well go back to GK: I followed Stan King in the Goodman band. I Buddy Rogers and make $ 125.00 a week. Let ’ s stick to VOLUME 113 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER, 2007 the original idea even if we go under.” Benny did and reasons the band got so good was because we never a week later at the Palomar in Los Angeles we clicked stopped playing. for good. When we opened at the Palomar Ballroom in 1935, all hell broke loose. BBJ: Did you and Benny Goodman work well to­ gether? BBJ: How did Goodman’s success affect your own career? GK: Often something almost magical happens as we play. He feeds me and in turn I feed him, GK: Had Benny thrown in the towel before his first and the excitement builds. Working with him is always great triumphs at the Palomar and the Congress a great experience. Of course we’ve had our disputes, in Chicago, there’s little doubt that many of us who but the relationship has remained firm over the years. have enjoyed success, prominence, and considerable The only thing I’m unhappy about is that I didn’t have financial rewards since the late thirties would ever have his business acumen. Benny, along with being a great attained these heights. Benny built himself a band musician, knows what the score is commercially. playing musicians’ music, but didn’t shoot over the heads of the public. It took the people time but once (Editor's note) There were rumblings o f dissatisfaction they grasped the Goodman musical sermon, they easily between Krupa and Goodman, resulting in GeneKrupa understood, accepted and followed. leaving the band without notice March third o f 1938, after a one week engagement at Philadelphia’s Earle BBJ: But musicians were playing that way before Theater. On April 16'h, 1938, less than six weeks later, Goodman, weren’t they? Gene Krupa had staffed, rehearsed and opened at the Marine Ballroom at Atlantic City's Steel Pier. The GK: In the days before the band was a showcase for Krupa, o f Goodman era we played that way course, but after the first year it too, but in smaller bands with no became evident that Krupa would similar success or in sessions held have to diversify to maintain the in empty halls with no one to appre­ band’s high level o f appeal. ciate our efforts but the fellows play­ ing the other instruments. For all BBJ: Tell us about the differ­ that Benny did for music, for jazz, ent approach for your for musicians and for me, I for one band after the first year. doff my cap in a salute of sincere appreciation. GK: That change in direction helped us make it. Sing­ BBJ: Did you enjoy those years ers like Leo Watson, Irene Daye and with Goodman? Anita O’Day, and our soloists, par­ ticularly Roy Eldridge, were what GK: Musically speaking, to state that the period I put the band over. Sure people came to see me, but spent playing drums in Benny Goodman’s Anita and Roy and the others give us that extra push and orchestra was about the happiest of my career, would be got things cooking. a gross understatement. After the record-breaking engagement at New Y ork’ s Paramount Theater (March, BBJ: How did your first theme, APURKSODY, 193 7) it got so we never had any time. Rehearsals, j obs, come about? traveling, personal life became a jumble. Sleep was a rarity. It seemed we were playing all the time, some­ GK: We kind of goofed around until we found what times doubling and triplingjobs. At one point we were we thought told the feel of the band. We didn’t doing a radio show, the Paramount Theater and the want to sound too much like Goodman, but still we Hotel Pennsylvania, all at once. I guess one of the wanted to swing. Ellington was really more of an

2 VOLUME 113 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER, 2007 influence, I’d say. We recorded this at the same time we CIATION session of BBJ has been scheduled for made that “Some Like It Hot” picture (1938) out in the weekend of 1-2 December, 2007. Please see Hollywood. That’s Sam Donahue on tenor. UPCOMING BBJ PROGRAM TITLES on pages 11 and 12. BBJ: You made the record QUIET AND ROLL ‘EM with a title based on your movie experience. LETTERS TO THE EDITOR

GK: We got that title from the direction they used to Letters to BIG BAND JUMP or the BBJ NEWS­ give us on the movie lot, just before they’d LETTER may be sent to the address below, or begin to shoot. That’s Donahue’s tune and arrange­ e-mailed to: [email protected]. When you ment. Y ou know, Sam had a lot of charm to his playing; e-mail, please give your name and address. All he almost had a Lester Young sound, and he’d play letters are answered, but the volume of mail pretty things and interesting changes and he always had sometimes delays a ti/tiely response. such a good time. He’s such a gentleman. The clarinet BBJ NEWSLETTER is by the other Sam, Sam Musiker. Listen to that good Box 52252 pure sound he used to get. Atlanta, GA 30355 B BJ: LET ME OFF UPTOWN changed tempo over the years. The published letters have been edited for space considerations, but the meaning has been preserved. GK: You know, it’s a funny thing about tempos. After you’ve played a number many times, it Don Wagner About ten years ago I heard seems you almost automatically increase the tempo. Rock Island, IL your program about one Maybe it’s because, subconsciously, you feel you need o’clock on a Saturday after­ to give it some added excitement and you can ’ t think of noon. The music was so captivating I knew Big Band any other way to do it. But you can work it the other music was for me even though at the time I didn’t know way, too. much about it. On a subsequent program I heard TICO- TICO and HAWAIIAN WAR CHANT with Buddy You can slow down a tune purposely, just to get it in a Rich. Great stuff! different groove. Iremember when I was with Goodman and Benny was off the stand and it was up to me to set I am from a younger generation, bom in the fifties, but the tempos. I used to try some that were different from this music is timeless. Thanks again for bringing it to those he used to set....some faster and some people of all ages. I listen to BBJ on WVIK-FM in slower.. ..hoping the guys might get a fresh approach. Rock Island, Illinois and also on the internet to WEAV- It worked many times, but there were times when I FM in Myrtle Beach, SC. goofed up pretty badly, too. On this particular record­ ing we had the feeling pretty well set because we’d More and more listeners are writing to say they ’re been playing it on the j ob for quite some time before we members of a younger generation, for the quality recorded it. You know the part where the crowd roars? of the music IS timeless. Also encouraging is Mr. We felt we had to put that on the record, even though it ’ s Wagner’s use of the internet to hear BBJ. There only the guys in the band yelling, because almost every are a couple of dozen stations broadcasting BBJ time we played the tune, the crowd actually did roar in at various times, and may be accessed through that spot. www.bigbandjump.com. Another younger gen­ eration note below. There is so much cogent comment available from the gentlemanly Krupa. We continue this inter­ Sher Hurlburt Love the themed show! As a view next issue when Krupa talks about his drug Scottsdale, AZ 50ish person, I wasn’t around bust, his later bands and music in general. As a to save the vinyls when these tie-in to this interview, a GENE KRUPA APPRE­ recordings were made and I can only get these insights

3 VOLUME 113 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER, 2007 from shows such as yours. I listen through Winamp on look forward every week to the BB J program. It means my computer. cranking up the generator and a thorough cabin clean ing for normally four or five couples get together and a A.J. Ward Did Kay Kyser ever play at lot of dancin’ is goin’ on. Thanks for the program. Allendale, NJ Frank Dailey’s Meadow- Greg Olzack I particularly enjoyed your brook in Cedar Grove, New Atwater, CA show on sax players. Missed Jersey? If so, do you know the dates the first few minutes but did you in­ he played there? clude Johnny Bothwell, the sax player I’ve heard referred to as “the white This was a tough question, but we Johnny Hodges”? What do you finally found a reference to Kay Kyser fulfilling a four week com­ know about him? mitment to play the Meadowbrook, even though during WWII he The reason we don ’t hear much vowed never to appear commer­ about Johnny Bothwell is he left cially again. There was no date the music business at the end of connected with that Meadowbrook the ‘40s. During the short time he appearance but the article said was active he recorded with Kay Kyser followed Harry James. Woody Herman, Sonny Dunham, The Kay Kyser Meadowbrook date Boyd Raeburn and Gene Krupa. was noted in yet another article He led his own groups from the as 1946, following the war. Ac­ mid to the late AOs. He surprised cording to the information the ap­ everyone when he turned his back pearance was highly successful Kay Kyser on his musical career. There is and featured all new arrange- even an album of his work titled, ments, the entire Kyser book having been de­ “Whatever Happened To Johnny Bothwell. stroyed earlier in a fire. John Richardson Can you tell me the relation­ Myrtle Beach, SC ship between the Hutton girls, Richard Reynolds I listen to or tape your pro­ June, Ina Ray, Betty and Bettendorf, IA gram every Saturday night Marion? from WVIK FM 90.3 in Rock Island, Illinois. One of the few records I bought in my younger days was one I heard Tommy Dorsey play several times. It was a 78 called DEEP VALLEY and I broke my copy in 1966. If you can work the request in somewhere, great!

Maybe it was Tommy Dorsey's DEEP RIVER Mr. Reynolds recalls. It was one of the few pop artist twelve inch 78s issued by RCA Victor, most twelve inch records were devoted to classical works. DEEP RIVER is a classic work in the Big Band field, however, as arranged by Sy Oliver. Ina Ray directs - June smiles Ron Haynes Hello there from a small Ketchikan, AK log cabin in Alaska! (His Betty and Marion are full sisters, but no relation exclamation.) Wanted to let to June and Ina Ray who are half-sisters. As you you know that some of us in the great white north know, Betty was the movie star and Marion worked with Glenn Miller. Ina Ray at various times led

4 VOLUME 113 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER, 2007 an all-girl band and an all-male band and June a clean shirt and a clean shave on everyone of you guys. variously sang with Charlie Spivak ’s Star dusters, There’ll be no bums playing in my band.” The drum­ the Pied Pipers and on her own accompanied by mer went “Burr-rum-pum.” “And when I say a blue husband Axel Stordahl. jacket, I want to see a nice blue blazer. Don’t come in here wearing the top half of a worn-out black suit.” The SIDELIGHTS drummer went “Brrrum-rum-pum-crash!” “And if I find out who’s making that noise...... ”

There are jokes about musicians who play every kind of instrumen t, generally told by other musi­ BOOKS & RECORDS TO CONSIDER cians who play a different instrument. There follow some of these gags, some well-worn, oth­ SUE RANEY - A Tribute to Doris Day ers somewhat timely. Our thanks to Bill Crow, Fresh Sound Records FSR 5045 CD author of the book Jazz Anecdotes. You might remember Sue Raney from her appearances DRUMMERS There’s the story about terror­ on the TV talk shows: Johnny Carson, Mike Douglas, ists who were holding thirty Joey Bishop....or her appearances on variety shows drummers hostage. They were threatening to release one such as Red Skelton and Dean Martin. This experi­ of them every six hours until their demands were met. enced lady draws on her depth of talent to present a CD full of songs made memorable by Doris Day. She has A salesman was at the bar bragging about his ability to done that without copying the originals or taking any­ talk with anyone, no matter his IQ. To demonstrate to thing away from Doris Day. his companions, he tapped another patron on the shoul­ der and asked his IQ. When he was told it was 200 he For the most part Sue Raney approaches each song engaged him in a conversation about nuclear physics. directly, letting the effect of the song itself and the The next candidate admitted to an IQ of 100 and the braggart talked with him about politics and ecology. The last demonstration was with a man who said his IQ was 34. The salesman asked him, “What kind of drums do you play?”

How about the drummer who simply couldn’t keep the tempo, always slowing it down. He started out OK, but as the tune went on he kept slowing down. He was even late with his fills and accents. The leader had a serious talk with him, but to no avail; the drummer kept slowing the beat, slower and slower. The entire band threatened to quit unless the leader fired the drummer, and after several reprieves, the leader finally told the drummer he was through... .out... .finished. The poor drummer was so despondent he went down to the railroad tracks and threw himself behind a train.

The leader of a society band was having a few words with his musicians at the afternoon rehearsal before the job: “Now listen you guys. When I say eight o’clock, I mean the music starts at eight. I don’t want any of you just coming in the door at eight.” The drummer went “Rum-pum” on his snare and bass drum. “And I want Sue Raney

5 VOLUME 113 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER, 2007 inspired accompaniment combine to reach the listener. 1914, as one of the songs able to be performed with And what accompaniment it is! Alan Broadbent’s elegance but could also be swung if desired. From work captures your attention without being obtrusive there, Sheed bounds ahead with an obvious love for his and the total effect of voice and music is a melding of subject, and a minimum of scholastic folderol. talent. There are moments when Sue Raney gives in to the vocalist’s temptation to display vocalese, such as in the midst of LOVE ME OR LEAVE ME, artistically daunting but beyond most of our abilities to appreciate.

Having said all that, the album is fun to hear with an honest approach to most of the songs. QUE SERA, SERA is delivered as it should be, with gentleness. SENTIMENT AL JOURNEY takes nothing away from the original. EVERYBODY LOVES A LOVER and SHANGHAI are of necessity cute, but not too much so. The sound is clean and pure from both a technical and musical standpoint, and there is much to recommend his album if you’re not expecting a Doris Day imita­ tion. Sheed sets the tone in the foreword: “What follows is a labor of love, not of scholarship... .I’ll spare you the list Fourteen tracks with thirteen of them Doris Day favor­ of out-of-date books, articles and quotations.” ites including SENTIMENTAL JOURNEY, SECRET Now, that’s the kind of author who can write from his LOVE, IT’S MAGIC and PUT ‘ EM IN A BOX among heart and his head without carrying the weight of others. Should be available at any record store or dozens of others along with him. This is not to say that directly from www.freshsoundrecords.com. Wilfrid Sheed has not drawn on material he’s absorbed DK since his childhood; it is to say most of that information seems to flow naturally with the liveliness of a one-to- THE HOUSE THAT GEORGE BUILT one conversation. You’ll hear about Gershwin, of Wilfrid Sheed course, but also about Cole Porter, Hoagy Carmichael, Jimmy Van Heusen, Johnny Mercer, Richard Whiting, The sub-title of this book about American popular Harold Arlen and a bundle of others along the way from music is: “With a Little Help From Irving, Cole, and a the Broadway stage to the movie sound stage. Crew of About Fifty.” It covers, of course, the rise of Cy Coleman, Frank Loesser, Arthur Schwartz and the enduring popular song between the corny days of vaudeville or the black tie formality of Victor Herbert and the musical style called rock n ’ roll. It is a period roughly matching a new kind of Broadway musical presentation and the emergence of radio, records and sound movies to add to the public’s awareness of the most acceptable of those songs, previously distributed through sheet music.

Gershwin is in the title for he was both a dominant figure in composing and a man who encouraged others to write. He is, of course, not the only one inspiring the rise of that unique time when musical quality and Arthur Schwartz Cy Coleman public taste coincided, but his name is most recogniz­ able as a lynch-pin for that era. Sheed points to Jerome Burton Lane end the book in a section titled, “The Kern’s THEY DIDN’T BELIEVE ME, published in Curtain Won’t Stay Down,” but then the author, in the 6 (Please fold on dotted line)

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(Tape or Staple Here) CENTER PAGE OFFER - SUBSCRIBER PRICE IKG CROSBY - 50 Of His Many Hit

Bing Crosby was possibly the world’s most famous en ter­ tainer in the late ‘30s and into the ‘40s. He was in m ovies, on the radio and on record reaching countless millions o f fans not only in this country, but all over the planet. T h is two CD set is a collection of some of his recordings recalling key moments in his career.

MOONLIGHT BECOMES YOU, DELORES, WHITE CHRISTMAS, SAN FERNANDO [/ALLEY, WHAT'S NEW, PENNIES FROM HEAVEN and even PISTOL PACKIN’ MAMA (with the Andrews Sisters) are included in this album. NOW IS THE HOUR, BE CAREFUL IT'S MY HEART and YOU MUST HAVE BEEN A BEAUTIFUL BABY are also part of this enviable group of Bing Crosby hit recordings. As was the Decca habit, Bing is paired with other Decca groups including the Bob Crosby Orchestra, Jimmy Dorsey's Band, Carmen Cavallaro and even Guy Lombardo's Royal Canadians.

This two CD set is priced at $33.00, but BBJ NEWSLETTER readers can order it for just $29.00, and that includes FREE shipping and handling, not a small consideration in this day of rapidly rising postal rates.

You can order this album by phone at 1-800-377-0022, or by sending your check for $29.00 to: BIG BAND JUMP - Boh 52252 - Atlanta, GA 30355 or by filling in the information below and sending it to the above address using the self-mailer if you like.

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(Tape or Staple Here) VOLUME 113 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER, 2007 mode of an unplanned gab-fest, throws in a coda, seemed to point to a less traumatic economic future. “Three More Majors (for Good Measure).” Arthur Goodman had a great deal to do with the popularity of Schwartz, Walter Donaldson and Vincent Youmans STOMPIN’ ATTHE SAVOY, introduced to the public slip into the last section of the book, and just when the in the summer, thence to become an all-time swing reader thinks the author is finished, there is an appendix favorite. It was written by Edgar Sampson and Chick listing 56 additional composers, each with a brief Webb with words added by Andy Razaf. At the end of outline of their contributions. Highly subjective? Yes. the year Jimmie Lunceford’s tasteful recording of Most entertaining? Yep. Informative? Sure, even ORGAN GRINDER’S SWING helped increase the though some old ground is plowed to give a proper public’s awareness of his brand of precise swing. background to first-time readers on the subject.

Sheed says by 1945 the kids had taken over and “The magical coincidence of quality and popularity was over, the music in the public square was nowhere near the best music anymore.” Some reviewers of the book point out the millions of recordings sold by rock, hip- hop and rap need no apology as if the quantity sold is an indication of quality. This reviewer is reminded of a reader who objected to our sardonic (and ill advised) comment about a musically unimaginative band. The irate reader defended the band by pointing out its remarkable commercial success, the wealth of the leader and the millions of records sold. The figures the Van & Bob - Both on the Broadway stage in 1936 reader quoted, however, didn’t improve the music. With a few notable and fortunately continuing exceptions, In April of ’36 “On Your Toes” openecj on Broadway author Wilfrid Sheed has the date of the death of mean­ with Rodgers and Hart introducing THERE’S A ingful music about right, in this reviewer’s opinion. SMALL HOTEL and SLAUGHTER ON TENTH If you’re a fan of Great American Music, and want to AVENUE. Imogene Coca and Van Johnson were two hear another fan (albeit one who ’ s unusually informed) new names in the cast of “New Faces of 1936” who talk about it, you’ll like this book. would become famous respectively for their work in TV and movies. Later radio and TV star Bob Hope was Published by Random House - 335 pages - About in the cast of two Broadway shows in 1936. InJanuary $30.00 at most book stores. he and Fanny Brice starred in “Ziegfeld Follies of HW 1936” producing the hit song IC AN’T GET STARTED resulting in Bunny Berigan’s most renowned record­ 1936 IN MUSIC ing. In the fall of the year Bob Hope joined cast members Jimmy Durante and Ethel Merman to sing IT’S DELOVELY in a show called “Red Hot & Blue.” This is the next to last “Year In Music ” article meant to span the most important years ofBig Band popular­ The top news of 1936 was what some observers called ity. The series began with 1947 and has moved back­ “the ultimate love story” as the King of England, ward every issue. Edward VIII, gave up his throne to marry Baltimore divorcee Wallis Warfield Simpson. A new picture In the spring of 193 6 a sprightly novelty recording sung magazine called “Life” made its debut in 1936, charg­ by Benny Goodman’s Helen Ward was playing all over ing a top price of ten cents per issue while “The the nation. GOODY GOODY lifted the spirits of kids Saturday Evening Post” sold for five cents. In retro­ who grew up in the worst years of the depression, and spect it seemed as if only one book of any importance

7 VOLUME 113 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER, 2007 was talked about that year as Margaret Mitchell’s “Gone With The Wind” sold over 50,000 copies on its DEVINE’S MILLION first day of publication. DOLLAR BALLROOM Every so often we profile one of the ballrooms of Even though the song hasn’t endured except for a few the Big Band Era, some gone, others still in use in some who re-create that time, a highly appealing novelty other capacity. called THE MUSIC GOES ROUND AND ROUND swept the nation in 1936. It was the year STEALIN’ APPLES was written by Fats Waller, to become a staple of swing bands for years to come. Scouring the charts that year reveals the emergence of A FINE ROMANCE, THE WAY YOU LOOK TONIGHT, I’M AN OLD COWHAND and THESE FOOLISH THINGS. Cole Porter alone wrote such hits as EASY TO LOVE and I’VE GOT YOU UNDER MY SKIN introduced in 1936.

Early photo of original building Franklin Roosevelt swept to a second term, defeating Alf Landon who carried only two states. Bruno Some of the storied ballrooms of the past were on the Hauptmann was executed in New Jersey for kidnap­ periphery of the city they served; not so for Devine’s ping the Charles Lindbergh baby. There was a portent Million Dollar Ballroom. Even though many of the of things to come in Europe as Germany ordered all best-known ballrooms of the nation had luxurious Jewish children ages six to fourteen to leave public dance areas, often from the outside they resembled an schools and Emperor Haile Selassie fled Ethiopia as industrial building or a warehouse. Devine’s exterior Benito Mussolini declared that nation belonged to Italy. promised the elegance of the interior.

Only a mile west of downtown Milwaukee sits the Eagle’s Club, the building formerly housing Devine’s Ballroom, the location for a memorable evening of dancing from 1934 until the mid-fifties. The 10,000 square foot oval dance floor, the multiple lights in the chandelier, the gold ornamented blue ceiling and the private boxes twenty feet above the floor offered opu­ lent majesty to dancers. And dance they did to not only bands headquartered in the mid-west, but nationally famous bands setting new records for attendance.

The Dick Jurgen’s band, a fixture at Chicago ’ s Aragon, Orphan Annie with her decoder rings and Bob Bums traveled north to appear at Devine’s in the spring of with his Bazooka were heard on the radio in 1936 while everyone seemed to be doing “knock, knock” jokes. 1940, playing to 5,000 dancers who bought advance Doors in small towns were seldom locked, cars sat at tickets at fifty cents each, seventy-five cents at the door. the curb with the keys in them and it seemed everyone In November of 1944 the Harry James Orchestra went to church. Music and our culture were on the very drew another gate of 5,000, but this time at $2.50 edge of change in 1936, a year recalled more for what a person rather than a half dollar. didn’t happen than what did. 8 VOLUME 113 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER, 2007

The largest crowd, though, came to dance to Sammy Kaye. In 1942, 12,000 Allis-Chalmers employees crowded the floor for a company party. The Sammy Kaye music was to be broadcast that night on the Blue Network but someone moved the wires connected to the telephone line feeding the studio. The announcer spoke his lines, the band played and the audience applauded, but all the network heard was silence as they filled with substitute programming. Engineers tried to fix the wiring error, but they couldn’t get through the dense crowd to the telephone room. Broad­ cast or not, the attendance record for Devine’s Million Dollar Ballroom was set.

The ballroom interior Vaughn Monroe’s band nearly equaled that 1942 Sammy Kaye attendance record when they were on the Devine’s bandstand in 1948, but it was a night tied to a crime. Over 9,000 dancers came to hear and dance to BBJPROGRAM an appealing mix of songs made popular by Vaughn Monroe’s RCA Victor records, and seldom-heard TRIVIA QUIZ instrumentals by the band. When the night was over it was discovered a bandit made off with the gate receipts Conforming to the pattern established in recent quiz­ of between twelve and fifteen thousand dollars, putting zes, the questions below are based on information somewhat of a damper on one of the three or four contained in BIG BAND JUMP radio programs heard largest crowds in the ballroom’s history. during the past few months. In this quiz we tap BBJ programs from August, September and October, 2007. Devine’s Million Dollar Ballroom suffered a fire caus­ ing a half-million dollars damage in 1955. The fire, Since every reader has a different mental process, discovered by a night watchman at 3 AM Monday was there ’ s no way to accurately grade these quizzes, but we caused by a smoldering cigarette and was put out by the give grading a reasonable guess. If you get all ten fire department in less than an hour. Four inches of correct, you are of course a musical genius. Seven water from the fire hoses covered the spacious dance correct would be absolutely wonderful, for some of the floor, but owner George Devine had repairs made questions are fairly obscure. within a half year, restoring the ballroom to its previous splendor. The point of these quizzes is, in the final analysis, to Now, decades later, the old ballroom continues to serve provide a hopefully interesting way to increase your the entertainment industry as “The Rave/Eagle’s Club general knowledge of the Big Band Era. Thus, it really ballroom and concert venue.” Unlike most Big Band doesn’t matter what your score is, for the very act of Era ballrooms, this location’s previous glory has been taking part might point up some material you either preserved, albeit to serve a vastly different kind of hadn’t know or hadn’t thought of for a while. Have fun musical taste. Separate performance areas include The Rave Bar, The Rave Vibe Room, The Rave Hall, The taking this quiz with no fear or retribution from the Eagle’s Hall and The Eagle’s Ballroom. Acts sched­ principal or the teacher with the brief case, thick glasses uled to appear at the time this article was written and perpetual frown. You know the type: the one who included groups with names such as “Korn,” “Bad tends to clench his teeth together when he speaks and Religion,” “Static-X” and “Kottonmouth Kings.” generally teaches either chemistry, physics or calculus.

9 VOLUME 113 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER, 2007

5 Martha Wilkerson did a program directed to the troops during WWII. She was known as:

(A)GIJive (B) GI Ann (C) Tokyo Rose (D) GI Jill 6 Gene Krupa left Benny Goodmsan to lead his own band. Later, for a short time he worked for another major bandleader. Name the leader:

(A) Harry James (B) Tommy Dorsey (C) Charlie Spivak (D) Horace Heidt

7 During WWII a national company sponsored a Big Band program called Spotlight Bands. Name the company, please:

(A) Wildroot Cream Oil (B) Hires Root Beer (C) Pepsi-Cola (D) Coca-Cola

8 At least two Count Basie recordings carried the name of his home town. Please name Basie’s home town:

(A) Kansas City (B) Douglastown 1 Ralph Flanagan’s theme was: (C) Red Bank (D) St. Louis

(A) Ocean Breeze (B) Hot Toddy (C) Singing 9 On the “Class of 1940” BBJ we heard Orrin Winds (D) My Hero Tucker’s most famous recording about a boy named Johnny. Who sang it? 2 Ralph Flangan’s prime intrument was: (A) Bonnie Baker (B) Cynthia Baker (A) Piano (B) Tenor sax (C) Violin (C) Helen Baker (D) Josephine Baker (D) Trombone 10 The first BBJ for November and previous 3 Bobby Hackett was renowned for his comet programs have mentioned the now solos with Glenn Miller, Jackie Gleason and on classic program theme, MAKE BELIEVE his own, but he also played what instrument BALLROOM TIME. Glenn Miller and the with Miller? Modemaires recorded it for Martin Block’s (A) Piano (B) Drums (C) Vibes (D) Guitar record show, but the same theme was previously recorded by the Modemaires 4 Pianist/arranger Mel Powell worked for two with another band. That band was: major bandleaders, Goodman & Miller’s Army Band. Select the arrangement he DIDN’T (A) Larry Clinton (B) Charlie Bamet make for Goodman: (C) Tommy Dorsey (D) Jimmy Dorsey

(A) MISSIONTO MOSCOW (B) SIX FLATS Was it too easy or too difficult? Did some of the UNFURNISHED (C) WHY DON’T YOU DO questions actually give away the proper answers? Let RIGHT (D) CLARINADE us know the answers to these questions and they’ll be answered in the next episode of the BBJ TRIVIA QUIZ to be published in two months.

10 VOLUME 113 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER, 2007

November 24-25, 2007 This is the answer to listen= UPCOMING BBJ PROGRAM TITLES BBJ HIGHLIGHTS ers who say they’ve missed out on one program or an­ November 3-4, 2007 (Repeat listing for new sub- other. This two hours consists of some of the personal RADIO THEMES scribers.) This interview segments with various Big Band program is a celebrities, gathered together to bring you memorable up-to-date. You’ll hear comments and amalgam of the now abandoned practice music from Count Basie, Les Brown, Doris of identifying radio programs with signa­ Day, Helen O’Connell, Bob Haggart, ture music. Both record program themes Charlie Barnet, Ray McKinley and Billy and network entertainment shows are May. The voices of the people who actu­ sources for the music you’ll hear in this ally created the Big Band Era help bring rare collection, along with the stories be­ that time into perspective. hind their creation. Some examples in­ clude the introductory music for Easy Aces, December 1-2, 2007 A producer’s Make Believe Ballroom and Arthur GENE KRUPA notation on Godfrey. The use of themes is part of BBJ host Don Kennedy APPRECIATION the computer radio history lost in time as production page listing styles have changed. thisBBJ says: “Maynotbe for all listeners.” We’dlike to think that’s not true as this program reviews the November 10-11, 2007 The Woody considerable variety and innovative arrangements of WOODY HERMAN RECALLED Herman the man who brought drums to the front of the band­ Band was al­ stand. This program is the logical complement to the ways developing, always trying new things. As a Krupa interview comments being featured in this and result, the band's sound changed dramatically from the the next issue of the newsletter. All the top Krupa beginning through the so-called Herman Herd. In this recordings are scheduled, plus some that have been lost program we hear the early Herman recordings as well in the mist of time. All are worthy of your attention as some of the most interesting of the mid-forties band whatever your musical taste, for this is the product of a including some performances not often heard these sincere man who loved music and his audience. days. Along with the background stories, this program captures the mood of the first two decades of Woody December 8-9, 2007 Glenn Miller Herman’s leadership. OLD, NEW, BORROWED & BLUE used this wedding tra­ November 17-18, 2007 We do something dition to form medleys of j ust such melodies. We do the WEATHER MELODIES about the weather in same for the first hour as Benny Goodman plays the this program. We Miller theme, Duke Ellington plays a Miller hit and the don’t change it, of course, but we hear music and song Miller band imitates others. The second hour of this about it from such artists as Tony Bennett, Tex Beneke, highly varied session will be filled with actual Miller Tommy Dorsey, Claude Thornhill, George Shearing medleys as offered by the Miller Military Band in and a bundle of others. Everything from BLUE SKIES broadcasts captured and preserved for us to hear de­ to SEPTEMBER IN THE RAIN will be musically cades later. Ifyou’re a fan of Glenn Miller, you’ll revel described with some seasons thrown in for good mea­ in this program packed with music and historical facts. sure since they too bring with them specific weather phenomenon. Not only will fair skies and wet weather December 15-16, 2007 Just as you have certain re- be offered, but sun, storms, wind, snow and their effects HOST’S CHOICE cordings that have become on human emotions. your favorites, so does your BBJ host. This program offers some of those favorites

11 VOLUME 113 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER, 2007 gleaned from the thousands of tunes offered on BBJ over the past three decades. Some tunes will be familiar MOMENTS IN MUSIC to you while others will be fresh, new sounds excavated Some of the stories behind the music, taken from from the library, some performed by artists not widely various episodes of the BIG BAND JUMP radio heard. Ted Heath, Elliot Lawrence, Ginny Simms, program. Alvino Rey, Frank Sinatra, Jimmie Lunceford and GIRL CRAZY The greatest number of enduring others combine to create two hours that may just hits from a single Gershwin Broad­ capture your imagination. way show came from 193 0 ’ s “Girl Crazy.” There were love songs, of course, but that show also produced a December 22-23, 2007 A brand new look at jazz vehicle titled, I GOT RHYTHM. Strange how BIG BAND CHRISTMAS the music of the holi­ some melodies stay in the minds of the public long after days, filled with the they’re introduced, becoming so-called ‘standards.’ stories of how the music developed, plus a generous “Girl Crazy” also produced the highly sentimental helping of the Christmas spirit. Big Bands were an EMBRACEABLE YOU and the song about lost love important part ofChristmas in the ’30s and ‘40s,andwe titled, BUT NOT FOR ME. All three have earned dig out some archival airchecks to help recreate the permanent spots in the top 100 of all-time melodies. mood of that time when neighbors went caroling and For reasons that may have to do with gender sensitivity, multi-colored lights twinkled in every window. You the revival of the show “Girl Crazy” emerged with a may be able to sample the crisp frostiness of the air new name: “Crazy For You.” outside and the warmth of spirit inside in this lovingly LAURA There are variations on the story be­ assembled program. hind how words came to be written for the purely instrumental background music composed December 29-30, 2007 Nothing by David Raksin for the the motion picture “Laura.” NEW YEAR’S DANCE PARTY moreneedbe One story credits bandleader Woody Herman with said after the having seen the movie and asking lyricist Johnny title of this program. It’s made up of music with a Mercer to add words to that haunting theme. He did, strong, rhythm specifically selected for dancing, an but the surprising fact is Mercer had never seen the activity traditional to welcome the new year. The old movie! Despite that the words he crafted for that theme announcers used to say, “For your dancing and listen­ fit both the mood and the story of the picture. The ing pleasure.” That fits here, for you can also simply resulting song combining those words and music was listen without leaving your chair. The nice thing about recorded first, as you might expect, by Woody Herman. this session is hearing some of today’s Big Bands offering a dancing beat. A ST AR IS BORN The third remake of the movie “A Star Is Bom” was made in January 5-6, 2008 Carnegie the mid-fifties, starring Judy Garland and James Ma­ BIG BANDS AT CARNEGIE HALL Hallwasjust son. Composer Harold Arlen dug a melody out of his for classical past, a melody never used and asked lyricist Ira Gershwin groups before January 16th, 1938 when Benny Goodman if he could fashion words to fit the tune. Gershwin introduced swing to that staid auditorium. Since that listened intently as Arlen played the melody, coming up with words to fit the last eight bars. Those words time, however, dozens of swing groups have performed were, THE MAN THAT GOT AWAY. Around that there, including Louis Armstrong, Glenn Miller, the premise, one of the most poignant torch songs of all Golden Gate Quartet, Duke Ellington, Tommy Dorsey, time was crafted. It was sung by Judy Garland in what Woody Herman, Ted Heath, A1 Hirt and Ella Fitzgerald. was called the “dive” number as she took part in an All of them plus some others will be heard in a remark­ after-hours jam session in a dimly lit bar. able collection of seldom-heard Carnegie Hall record­ ings. Acoustically, artistically and retrospectively, this BBJ TRIVIA QUIZ ANSWERS is a don’t-miss program. 1-C 2-A 3-D 4-B 5-D 6-B 7-D 8-C 9-A 10-B

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Rosemary Clooney from her movie days is the pretty singer photo this issue.