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BIG BAUD NEWSLETTER JUMP

VOLUME XXXIII JUMP NEWSLETTER JULY-AUGUST 1994 Famous Door, where several radio broadcasts a week INTERVIEW CAPSULES spread the word about ’s exciting new band.

It occurred to us that only the first subscribers to the The Scene BBJ NEWSLETTER, which began with the March- April issue o f1989, have had the advantage o f reading It was between sets at a dance featuring the Count Basie some o f the initial interviews. Rather than repeat them, Band and the guys were all outside taking a smoke and but to still give newer readers an opportunity to enjoy talking, but we caught the Count in the kitchen behind their comments, we offer these mini-interview com­ the ballroom. ments from two o f the music personalities featured in the first six months o f the BBJ NEWSLETTER. Basie leaned on a counter, relieving his legs of the weight, and was matter-of-fact, apparently not enjoying COUNT WILLIAM BASIE being interviewed. We later learned of his shyness, giving us the illusion that he didn’t want to be inter­ viewed, when in fact he later mentioned the value of such conversations. The year was 1971.

The Interview Capsule

BBJ: How did your theme, ONE O’CLOCK JUMP originate?

CB: Well, that started in Kansas City. We were doing that number for some time without a name, and then we happned to be on the air at that time, too. We actually had a name for the tune, but it couldn’t be used in public. In those days we didn’t have to program numbers on ahead, and the announcer said, “What’s the name of this one, Base?” I just happened to look at the clock and it was about ten minutes to one, so I said, “Just call it ONE O’CLOCK JUMP.” That Count Basie was during the time we were on those late night broad­ The Background casts out of the Reno Club in Kansas City.

BBJ: How have some of your other instrumentals If it hadn’t been for radio, there’s every chance William been named? Basie might have continued as the leader of a regional midwest band for some years beyond the late thirties, when most of us first heard of him. He was broadcasting CB: I know how we picked ours sometimes in the from the Reno Club on W9XBY when music critic John past. Some things kind of happen, and you name them after people.... some characters. And then Hammond heard him and set up his first national tour, I remember how JUMPIN’ AT THE WOODSIDE got ending at Roseland in New York City in late 1936. The its name. That was named for the first hotel we stopped band achieved top notoriety in 1938 and 1939 as the result of their work at the Savoy Ballroom and then the at. We used to rehearse and get a lot of things together there at the Woodside Hotel. That's how that got started. VOLUME XXXIII BIG BAND JUMP NEWSLETTER JULY-AUGUST 1994

BBJ: Do your melodic ideas come from riffs that just occur, do they come from ideas in your head, or can you describe the process?

CB: You’ve asked a beautiful question there. But I ’ m afraid you ’ 11 have to get the answer from the guys they really come from. They’re not mine. They come from some very talented arrangers who have been writing for the band in the past fifteen or twenty years. They’re the ones with the brainchilds. Before that, I had a few ideas of my own. Now, my ideas are sort of on the back shelf. The kids are coming up, and they’ve been doing marvelous things. They have their own ideas now. We’ve got a couple of guys in the band who are writing. watches work Eric Dixon, Bobby Plater, Quincy Jones, Neal Hefti, , Chico O’ Farrell and . sparkplugs of the Bob Crosby Orchestra in the late Guys like that have been doing some wonderful things 30’s and early 40’s, writing such enduring favorites for the band. I’m not going to take credit when it’s not as SOUTH RAMPART STREET PARADE and due. WHAT’S NEW, and performing as whistler, bass player and ad-lib composer with drummer BBJ: You’re being too modest. on which became an instant success on record. He began his career CB: I’m being truthful! playing banjo and guitar during his childhood on Long Island, and played trumpet and piano in a BBJ: You’ve been in the music business for several school band in Salisbury, Connecticut. He switched decades now. You’ve been besieged by fans to string bass in high school. and interviewers... .you get tired of it, I know. How do you keep a pleasant outlook? The Scene

CB: Oh, I think this is a beautiful thing, because if Bob Haggart seemed more like Mr. Haggart, not be­ this would stop you’d be through. You know, cause of any formal behavior, but as a natural reaction when people stop asking for autographs and interviews to his distinguished appearance. With his grey hair and and all those type things, then you’d better believe it’s erect bearing, he could easily be mistaken for a bank over. You’d just as well go home and turn on the TV and executive or chairman of a multi-national corporation forget about it! instead of a working musician.

Count Basie never had to go home and turn on the TV. His bass was in the comer of the room, carefully He played until afew weeks before his death on the 26th sheathed in its leather case, ready for action any mo­ o f April, 1984. ment, it seemed. Even though he’d probably answered the same ques­ BOB HAGGART tions many times before, he was extremely polite and casual, giving apparent thought to each comment as ifhe The Background hadn’t heard the question before, and carefully going into detail. He was 75 at the time of the interview, (1989) Robert Sherwood Haggart has become a living legend in but seemed to be twenty years younger, exhibiting a music, not only because he plays excellent bass, but quiet vitality; he obviously enjoyed talking about music. perhaps more important, because he also has composed and arranged from his earliest years. He was one of the The Interview Capsule 2 VOLUME XXXIII BIG BAND JUMP NEWSLETTER JULY-AUGUST 1994

BBJ: WHAT’S NEW was written for a specific minute.” The tables had table cloths, of course, and I reason. Would you tell us that story? wrote ledger lines on the white table cloth and wrote down da daaah da da dat... the first strain and part of the BH: Well, WHAT’S NEW was originally a I’d second strain. I took the table cloth home and made the written in Chicago when we were at the arrangement from that. Blackhawk, and and I used to go out to Squirrel Ashcraft’s house. Now, he’s a lawyer who had BBJ: How’dyou get tied up with the Bob Crosby a recording machine and we’d go out there on our night Orchestra in the first place? A lot of the players off ...and I had just come up with this melody which I were left over from Pollack. had no title for... .1 play a little piano... .1 taught it to Billy on the spot and we made this little aluminum disc with BH: Yeah, the whole band were orphans from the the cactus needles. We’d go there on our nights off... and Band. Well, I just got a call from drink scotch whiskey, of course... and have a lot of fun, . They were looking for a new bass player and this was one of the things we did. The title I put on because Pete Peterson, the bass player they had, decided it was I’M FREE. About a week later, I think it was, I he didn’t want to leave New York and they were going had made an arrangement for the Crosby Band and we on the road and my name came up recommended by went into the studio and recorded it and it came out I’M different people, Ray McKinley, , Jimmy FREE. It came out in an featuring all the guys in Dorsey. the band, Fazola, the player and Eddie Miller and Bob Zurke.... BBJ: Isn’t it unusual for a bass player to be such a good composer and arranger? BBJ: And Butterfield did his solo. .. BH: Well, just lucky I guess. I’ve been so involved BH: And Billy did this... and I’M FREE came out of in music since I was in high school, I wanted to this Bob Crosby showcase. It was the first thing write arrangements. I never went to school formally, or Billy had been featured on and it caused quite a sensa­ anything like that. I was never trained to play the bass tion, you know, the way he played that tune. On the in the symphony....I sort of learned the hard way by strength of that, a lyric was written in by going out and playing, ‘cause I love to play with good , who was writing for at that players. The Ben Pollack Band was one of my favorite time. Burke and van Heusen were a team that wrote groups of guys, you know, Ray Bauduc and Eddie most of Bing’s then....about 1939. We got a wire Miller and Matlock and being an old fan of Jack from the Crosby office that said the song I’M FREE Teagarden, well that was the Ben Pollack Band origi­ recorded by Bing was now titled WHAT’S NEW. I’d nally when they were at the Park Central in 1929. I was never heard the lyric or met Johnny Burke or anything, in high school. I used to catch the band every night on but it went on from there and it’s been goin’ ever since. the air with Benny and and Jimmy McPartland. It was a beautiful band. BBJ: It’s been an annuity for you, hasn’t it? BBJ: How do you feel about the bands that imitate, BH: It sure has. Been smilin’ all the way to the bank. for example the Time-Life series? How do you Linda Ronstadt in particular. feel about these people who imitate the classic original recordings? BBJ: . ..and there’s the story of how you wrote SOUTH RAMPART STREET PARADE. BH: Well, of course, I prefer the original myself because it has a certain spark and spirit even BH: I think we were at the New Yorker at one with the mistakes. Now in Hollywood, got intermission, and Ray (Bauduc) said, “Hey, the record and made a whole new arrangement just like I’ve got an idea for a tune, it’s a New Orleans March,” the old one, only he’ll fix a lot of the voicing so it’s more and he started singing me this thing. I said, “Wait a perfect and they’ll get guys who can imitate those solos

3 VOLUME XXXIII BIG BAND JUMP NEWSLETTER JULY-AUGUST 1994 and play them note for note. . .like , you MATTHEW SCIARRO I’m a big fan of the got the two tenors splitting up a coupla’ choruses. MT. PLEASANT, SC BIG BAND JUMP There’s and A1 Klink. Each guy would style of music. I’m follow each other with two bars each, and that’s all been fifteen years old and was very much influenced and written down in a stock orchestration. You can buy that inspired the first time I heard your show about three and just play it as it is, but it’s not like the original. The years ago. I was so inspired that I’ve devoted a large original has a certain rawness to it, a certain excitement. portion of my time to playing clarinet and saxophone in I guess you could play it even better than the original ... .1 the Big Band style. I joined the high school band last like it the way it was. STRING OF PEARLS, the way year and still haven’t mastered music reading, but I can played it, you can buy the stock on that play by ear very well. Well enough to be first chair one, too. clarinet for two consecutive years.

BBJ: The question is, what is better: The spirit and Unfortunately, I am unable to locate a radio channel that enthusiasm of the original or the perfection? carries your show. WOKE, AM 1340 in Charleston, SC used to carry your show twice weekly on Sunday, BH: That’s right, I’m not too crazy about things that but it’s no longer on then. are too perfect. I mean, I like to hear mistakes you know, like trying something. Talk about nice letters! More and more young people are discovering the dynamic appeal of Big Band music, Bob Haggart is living in Florida now, and still plays and it’s a thrill to know we 're a small part o f that once in a while. Talking to Bob Haggart confirms that discovery. WOKE is still programming BIG BAND he's one o f the greats o f the Big Band Era, often JUMP, but it’s now on during the week, heard in hourly contributing from behind-the-scenes, and leaving us a blocks Monday-Wednesday and Friday from IF. 05 to legacy o f superb recordings and excellent arrange­ Noon, which is, unfortunately, school time. ments, as well as compositions. JANA H. TEEHAN I have a tape given to me by a A collection o f a dozen interviews o f Big Band Era ELKTON, FL friend on which a band plays bandleaders and vocalists is available in bound form, a lively version of TWELFTH takenfrom the earlier interviews ofthe BBJ NEWSLET­ STREET RAG. It is unique because of the prominence TER. The interview collection is noted in the yellow of “Doo Wacky Doos” and a piano playing slightly off catalog sheets attached to this newsletter. key. Can you identify it?

LETTERS TO THE BBJ NEWSLETTER was recorded and released by Pee Letters are edited for space considerations but the Wee Hunt on meaning is retained. We attempt to answer all letters about 1949. it was a million- personally, but some thought to be of most general seller because of the doo- interest are printed here. whacka-doo sound and bur­ lesque o f . Pee Wee Questions and comments connected with both the Hunt was a trombone player BBJ NEWSLETTER and the BIG BAND JUMP and sometimes singerwith Glen radio program may be sent to: Gray,and in the later forties organized a small group to play relief during intermission at BBJ NEWSLETTER such places as the Palladium. Box 52252 The success of TWELFTH Atlanta, GA 30355 STREET RAG was followed by several similar record­ ings in the same style, but none was as popular as the original. 4 VOLUME XXXIII BIG BAND JUMP NEWSLETTER JULY-AUGUST 1994

DONALD A. COOPER I listen and truly cn- titles. They may have to order them, but they are ST. LOUIS, MO joy your show every available. Sunday night on WRTH, AM 1430 in St. Louis. During the A company called AUDIO 78 in Pacifica, CA supplies MAILBAG broadcast on Sunday, April 10,1 did not 78 turntables. They may be phoned at (415) 359-7431 catch the titles of two songs at the beginning of the or written at: Box 387 -Pacifica, CA 94044. Our second hour, one said to be a “popular Big Band disc thanks to reader Keith Warner for this information. jockey theme song.” JAM ES R. ALLEN, SR. Have you ever heard Both opening selections were by . The FLORENCE, AL of a radio program first was JAMES SESSION and the one often used as that used to be called a local program theme on record shows in the Big MOON RIVER? It came on about Midnight with beau­ Band days was MUSIC MAKERS. tiful organ music, some poetry and songs sung by Phil Britto. It was either on WLW in Cincinnati or WWL in DICK CUCHETTI At 56,1 am teaching band in New Orleans. EDGEVVATER, FL my “older age,” elementary level, no less. Next school It was a staple o f WLW in Cincinnati for years. It was year I will be starting a high school band in Daytona broadcast before the advent o f tape recording, and Beach and really look forward to moving into some Big so far as we know, no recordings (they d have to be Band charts along with the usual band music we acetate one-of-a-kind airchecks) remain. Many artists perform. worked on the show over the years, both announcers and singers. Phil Britto worked as a single in the fifties, If any of your readers, maybe older “cats” who still as we recall. Maybe readers have some information. have some Big Band music around that they don’t want, or don’t use.. .we could use them at this end. JOHN BRENNEMAN I listen to your pro- This would be a chance to give some younger musi­ CHAMBERSBURG, PA gram on WWMD on cians a look at the past and possibly shape their future. Sunday from 5 to 7 PM, and enjoy the music very much. Can you tell me where Another o f those encouraging signs o f the growth o f to get CELERY STALKS AT MIDNIGHT by Will interest by younger folks in the Big Band sounds. I f Bradley and THEY DIDN’T BELIEVE ME by Johnny you have arrangements you 're not using, Mr. Mercer? Cuchetti's address is: Box 970 - Edgewater, FL 32132-0970. CELERY STALKS is available on CD or Cassette, one o f the selections in the album o f Will Bradley and R.H. BABYLON In the months I’ve listened to Ray McKinley listed on the yellow catalog sheets SMITHSBURG, MD BIG BAND JUMP I can’t attached to this newsletter. recorded recall hearing a show dedi­ for Capitol, and collections o f his songs are available cated to just one artist. I’d very much like to hear a from them through any good record store. show of cuts. My own library has 46 titles which are on 78, and I can’t play. L.T. McNAUGHT Would you know of any place PENN YAN, NY I could obtain any of the old Shucks! We had a full two hours titled KRUPA 8x10 glossy photos of the bands APPRECIATION back in the middle o f January o f and artists? I enjoy BIG BAND JUMP every Sunday this year. O f course, everyone can’t hear every show, morning on the Seneca Falls, NY station and tape and but from time to time we repeat the most popular save each one. programs. Meantime, Columbia/Sony has re-re- leased many o f the greatest Krupa hits on CD or Ed Burke in Florida has a collection o f rare and wonder­ Cassette, and a trip to any good record store with your ful Big Band 8x10 glossies. He may be contacted at: request for them to check the cross-index will yield HOUR - Box 841408 - Pembroke Pines, FL 33084. VOLUME XXXIII BIG BAND JUMP NEWSLETTER JULY-AUGUST 1994

her recording of MY IDEAL. HANK MORGAN’S CORNER During his tenure composing tunes for Hollywood musicals Whiting produced GIVE ME A MOMENT Hank Morgan has be­ PLEASE which became the radio and vaudeville theme come a regular con­ for the Dave Rubinoff Orchestra, and ONE HOUR tributor to the News­ WITH YOU, Eddie Cantor’s radio show theme song. letter, and we thank Whiting’s ON THE GOOD SHIP LOLLIPOP helped him for his depth o f Shirley Temple maintain her standing as moviedom’s top research and copious drawing star, and LOUISE, his song from the musical personal knowledge of INNOCENTS OF PARIS, introduced the French singing star Maurice Chevalier to world audiences. things musical. This Hank Morgan issue he has two o f — - Other notable Whiting successes were TILL WE MEET America’s finest on his mind. AGAIN, AIN’T WE GOT FUN, SLEEPY TIME GAL, SHE’S FUNNY THAT WAY, YOU’RE AN OLD RICHARD WHITING Richard Whiting, one of SMOOTHIE, BEYOND THE BLUE HORIZON, America’s most successful composers of popular WHEN DID YOU LEAVE HEAVEN, BREEZIN’ songs, was a ALONG WITH THE BREEZE, GUILTY, SOME SUN­ self-taught mu­ DAY MORNING, HONEY, TOO MARVELOUS sician who be­ FOR WORDS and HOORAY FOR HOLLYWOOD. gan writing songs as a teen­ Richard Whiting’s relatively short career ended with his ager in his home death in 1938 at the age of 47. town of Peoria, . As a MITCHELL PARISH It is not generally young man in known that Mitchell Parish, the excellent popular song 1912, he took lyricist who wrote the sensitive lyrics to Hoagy several of his Carmichael’s haunting STARDUST, as well as SO­ compositions to PHISTICATED LADY, HANDS ACROSS THE the Jerome TABLE, STARS FELL ON ALABAMA, DEEP Remick song PURPLE, publishers in STAIRW AY Detroit. Remick TO THE accepted three STARS, LI­ of his songs on The studious Richard Whiting LACS IN speculation, THE RAIN, while offering him the position of office manager at a RUBY, salary of $25.00 a week, which funds he augmented by SLEIGH playing piano in a hotel band. RIDE and oth­ ers, also wrote Whiting’s first published song in 1915 was IT’S TULIP the lyrics to TIME IN HOLLAND which signalled the beginning of Ellington’s his great career as the producer of an abundance of pop­ M OOD IN ­ ular song hits. His JAPANESE SANDMAN in 1920 DIGO. The serious Mitchell Parish became the recording industry’s first Big Band million seller as performed by the Orchestra. In The tune was originally an instrumental titled DREAMY the mid-twenties his MY BLUE HEAVEN sold nearly two million copies as performed by the recording indus­ BLUES, when it was given a new name by Parish. try’s first crooning super star Gene Austin. However, since his work was a buy-out, that is, sold for a flat fee, his name does not appear in the credits In 1931 the Boswell Sister’s first national recording was nor did he ever receive any royalties from the song’s of Whiting’s MY FUTURE JUST PASSED. In 1943 sheet music or recorded successes, which went instead his daughter Margaret attained singing star status with to the song’s purchaser-publisher . 6 VOLUME XXXIII BIG BAND JUMP NEWSLETTER JULY-AUGUST 1994

UPCOMING BBJ PROGRAM TITLES diverse Big Band musical contributors as Buddy Mor­ row, so popular in the 50’s, and Billy Butterfield, who’s contributions stretched from the Crosby Orchestra (fea­ July 2-3, 1994 One of the most requested of tured in the preceding program) through solos with CLASS OF ’42 the BBJ titles is the “Class of’ and into the 60’s as a featured artist on his series, each year concentrat­ own in the early stereo days. ing on the key recordings and historical and musical events of that year. 1942 was a pivotal year in American July 23-24, 1994 Dean Hudson was a music, and certainly a key year in history. Glenn BIG BAND PROFILES III regional band in one M iller’s suc­ sense, although his cesses will be radio broadcasts made his name known throughout the replayed, we’ll . Never in the top echelon of Big Bands, the visit Hope and Dean Hudson style was nevertheless one of the most C rosby on interesting of the era. We combine Dean Hudson with THE ROAD Claude Thornhill and Ted Weems in this continuing TO M O ­ look at some of the Big Bands in more general profile. ROCCO, re­ live the senti­ July 30-31, 1994 The Nelson family m ental m o­ BIG BAND PROFILES IV has reached across ments in music some three groups of with Tommy of listeners (and viewers) in the United States. There Dorsey’s was the Ozzie Nelson Orchestra with vocalist Harriet young Frank BIG BAND JUMP host Don Kennedy Hilliard, the Ozzie and Harriet television program and Sinatra, hear later Ricky Nelson as a singing star on his own. More again , , Bing Crosby, recently, Ricky’s daughter Tracey has continued the , The Ink Spots, Jimmie Lunceford, show business Nelson tradition as an appealing actress Harry James, , Spike Jones, Jimmy on the small screen. We hear the beginnings of this Dorsey, Claude Thornhill and . family performing tradition, and then listen to Larry Clinton, also a 30’s influence, and Dick Jurgens who July 9-10,1994 Back to basics with a was so popular in the mid-west. BIG BAND PROFILES I series of shows de­ voted to some of the August 6-7,1994 In our effort to reach key names in the development of the Big Band Era, BIG BAND PROFILES V all tastes and plumb stressing those not as often heard, but vital to the growth the depths of the Big and diversity of that time. In this two hour period, Andy Band experience, we look into three of the later entries. Kirk, Johnny Long and Bob Crosby among others. Art Mooney became a bandleader after the Era was Kirk’s influence, even though a so-called regional band, over, as did Si Zentner and Elliot Lawrence. The fact was deep and lasting. The outstanding collection of they all emerged at a later time in the total scheme of soloists in the Crosby Orchestra assured variety. things does not mean they were at all similar in their approach to music. Art Mooney was a more commer­ July 16-17, 1994 The Kenton name cial orchestra, Elliot Lawrence liked to experiment with BIG BAND PROFILES II keeps emerging in varied sounds and instrumentation, as well as being on phone calls and let­ the edge of bop, Si Zentner featured more traditional ters . Those who are devoted to are nearly swing, but with a sixties flavor. All three will be fanatic, and with good reason. Even though BBJ has featured on this program. devoted full programs to the Kenton creative music world, and often drops in Kenton singles, the requests August 13-14, 1994 In past programs continue. Stan Kenton’s standards will be a key part of BIG BAND PROFILES VI we’ve featured a bit this band profile, as well as contributions from such of Bunny Berigan, 7 VOLUME XXXIII BIG BAND JUMP NEWSLETTER JULY-AUGUST 1994 often as part of other’s orchestras, but in this part of our grams or delaying them within certain time periods continuing profile, he’s spotlighted with his own Big for sports events or news coverage. Please check Band. Combined with Bunny Berigan will be some of your local station for exact time and program titles. the key musical contributions of the Gene Krupa Or­ chestra, so often under-rated, and the Band, a loose and fun-loving group of musicians. HOME ENTERTAINMENT TO CONSIDER (Books - Records - Videos) August 20-21, 1994 More from Tommy BIG BAND PROFILES VII Dorsey. There have : been at least two pro­ A Biography of the First Lady of Jazz grams devoted to the legend in the past, Stuart Nicholson 334 pages and we approach it again, for each time it’s investigated a fresh side emerges, combining with the other oft- The recent news of a year-old double amputation of repeated facts to give us a new angle on both the Ella Fitzgerald’s legs below the knee, the result of background and the music of Tommy Dorsey. There diabetes, pointed up how little we know or have were so many facets to both his personality and his known about the private Ella. Stuart Nicholson’s music over the years. biography comes along to fill us in on her private life, or as much of it as it was possible to discover. August 27-28, 1994 Every so often we check in to CURRENT BANDS see who’s keepingthe Big Band It’s noteworthy that Mr. Nicholson could not get light in the window, assessing permission to interview Ella Fitzgerald herself in the current Big Bands, wherever they may be. This preparation for the book. He could not, similarly, group includes a German Big Band led by young Thilo gain access to bassist Ray Brown, to whom Ella was Wolf (his recording reviewed elsewhere in this issue) married for six years. He has, though, talked to and some of the current United States Big Bands some­ scores of friends and co-workers who now know or times overlooked in our efforts to keep the 40’s music in have known Ella at various stages of her career, and front of an eager audience. All the music in this program pieced together a most definitive picture of a little won’t be by known names; most of it will be by relative orphan girl who truly became “America’s first lady unknowns who are serving a new generation of music of song.” enthusiasts. The story’s highlights are well-known to those who September 3-4,1994 It wasn’t much of a year so have followed Ella Fitzgerald’s career over the years. CLASS OF ’47 far as Big Bands were con­ She ran away from a Bronx orphanage at age 17, cerned. Count Basie had lived on Harlem streets or with friends until she met recorded a novelty melody for his old vaudeville Chick Webb and joined his band in 1935. Her switch friend Dusty Fletcher, Tex Beneke was leading the from Big Band singer to solo artist happened faster official , but not for long; than most. .. and certainly occurred at a tender age Claude Thornhill experienced his greatest hit that for Ella. year, featured a song by Buddy Clark written for a little girl’s birthday and a 30’s instru­ What we haven’tknown is the sadness ofthe Fitzgerald mental was brought back to life for Ted Weems. private life. Stuart Nicholson writes of a successful Vocalists were strong then, and bandleader-vocalists lady who is confident and cool on stage and in the had a natural way to appeal to a lyric-loving public. studio, but emotionally un-fulfilled otherwise. Some Eddy Howard and both had record critics say this lack of passion carries over to her successes in 1947, and a regional band from Nash­ singing, but the purity and youthful clarity and ville topped the charts with . phrasing more than make up for whatever may be missing emotionally. Programs are supplied to stations as noted above, but stations have the option of substituting pro­ Scribners - About $23.00 at all good book stores. 8 VOLUME XXXIII BIG BAND JUMP NEWSLETTER JULY-AUGUST 1994

SWING IT - Thilo Wolf Big Band It is “commercial” in the sense that it reaches beyond MDL CD 1915 traditional Big Band as we hear it in our mind’s ear, to embrace a more rollicking sound that may be attuned to First, we heard a younger audience. That’s the very reason for the from a European review of this album. . .it is fresh and new, and it is friend about this attracting a younger audience. These audiences may young man Thilo later embrace more “standard” sounds or may demand Wolf who was not a greater variation of what we who are older think of as yet thirty, but was the Big Band sound. Whatever these listeners think fronting a Big Band stylistically, they’ve been exposed to a Big Band. in Germany. Later we heard that trum­ Add this to other youthful Big Bands overseas and the peter Harry Connicks and John Pizzarellis of the United was to appear on a States, and perhaps it adds up to a trend among thinking German television young people to expand their musical taste. program with the same Thilo Wolf, All album notes in German. who apparently has captured the imagi­ Available from: BIG BANDS - 9288 Kinglet Drive - nation of a segment , CA 90069. of German youth with Big Band GLENN MILLER: America’s Musical Hero sounds. VIDEO - BMG - VHS or LASERDISC This is essentially a documentary of the Miller mu­ The album features sical life, using film clips, interview segments, rarely a mix of standards Thilo Wolf seen home movie footage and newsreel segments. (I GOT RHY------It’s tied together by recollections from reporters, THM, NIGHT TRAIN, SUMMERTIME, C-JAM sidemen, folks on the business side of music in the BLUES, EXACTLY LIKE YOU, LOVE FOR SALE, 40’s and a couple of well-known personalities. ONE O’CLOCK JUMP) and originals written and arranged by Thilo Wolf (SWING IT!, JUST 4, A BIG The late Henry Mancini, who arranged the music in BAND DRUMMERS’ BATTLE) plus a couple of the Miller style for the 1954 GLENN MILLER blatantly commercial vocals by a group called the STORY movie, comments on Miller’s contribution, WALL STREET CRASH. and the man who played Miller in that movie, Jimmy Stewart, reveals the knowledge of Miller he gained in In a day when we wonder about the direction of music preparing for his role. and can only guess at what some of the kids see in VHS about $20; LASERDISC about $40 at Video Stores bumpy-sounding beat-accented lyrics....no, not lyrics....words strung together, it’s refreshing and not a : little thrilling to see that piano-player-drummer-com- Adventures in the Kingdom of Swing poser-arranger-leader Wolf is leading a Big Band. VIDEO - CMV - VHS

This album is not IN THE MOOD and STRING OF Another documentary, this one depending on clips from PEARLS. They’ve been done so well in the past. It is many of the nine films Benny Goodman appeared in at perhaps a hint of things to come, combining near rhythm the height of the Big Band craze he helped usher in. The & blues with some wild swing and a couple of cuts BIG BROADCAST OF 1937 is excerpted, as is the somehow remindful of Ray McKinley’s novelty vocals, classic HOLLYWOOD HOTEL, when Gene Krupa with a touch of Louis Jordan thrown in, but performed sings a line or two. You’ll see parts of STAGE DOOR by a group of five vocalists who sing in perfect English. CANTEEN, THE POWERS GIRL and others. VOLUME XXXIII BIG BAND JUMP NEWSLETTER JULY-AUGUST 1994

If you’re new to the Big Band scene, this is one of the Apparently a number first videos you should get to discover what it was all of great businessmen in the entertainment field have about. If you grew up with the Big Bands, this video will difficulty with bring back some memories, and maybe introduce you to words, even some scenes and sounds you’ve forgotten. though their meaning is clear. VHS about $20.00 at Video Stores Sam Goldwyn comes to mind TIMELESS TUNES: THEIR STORIES when movies are mentioned, Ed TRY A LITTLE TENDERNESS Sullivan said some surprising Composer Harry Woods was bom with no fingers on his things on televi­ left hand, but was able to play the piano with his stump. sion and Lawrence One of his failings was a serious drinking problem. W elk’s verbal When in the grip of the grape, he was both short-fused gaffs are tradi­ and quarrelsome. On one occasion he got into a shouting tional in the music match with an equally inebriated bar customer. As the field. Here are argument escalated to the physical, the bartender called some of them: the Law. The police arrived to find Woods sitting “We have a rule in astride the chest of his adversary. Harry had the guy’s our organization, throat in his good hand and was pounding away with the and that is, there Lawrence Welk stump of his left hand. As the two were being separated, are no rules” ~~ a very proper-looking woman entered the restaurant and “I’m keeping perfect time. I’ll get abarometer to prove it.” recoiled at the bloody sight. “Who is that horrible man?” she asked. One of Harry’s drinking pals, sitting at the “You’re combing your hair too close to your head.” bar, replied proudly, “Why that’s Harry Woods. He “Now, here’s Bill Barnes from Gary, Indiana. Bill, wrote TRY A LITTLE TENDERNESS. Which he did, come out here and tell the people your name and where in 1932, with lyrics by Jimmy Campbell and Reginald you’re from.” Connelly, who together also wrote the words to “The records are selling like wild cakes.” GOODNIGHT SWEETHEART and SHOW ME THE WAY TO GO HOME. Among Harry Woods other hits “Here’s a song from World War Eye.” were WHEN THE RED, RED ROBIN COMES BOB, “Cut the talk down a hundred percent. Maybe more.” BOB, BOBBIN’ ALONG, I’M LOOKING OVER A “People will come in groves.” FOUR-LEAF CLOVER and WHEN THE MOON COMES OVER THE MOUNTAIN. “Those airplanes make Masonic booms.”

Ken Smith, who researches and writes these back­ SAX MAN A baritone saxophonist named ground stories o f familiar songs, contributes regularly COMMENTS Joe Temperley broke a little to this newsletter. bone in his foot while in the middle of a tour with the Lincoln Center Jazz Orchestra. He was able to continue the tour with a cast on his foot, but for a while he thought SIDELIGHTS he’d have to drop out. His comment was classic: “My Bassist Bill Crow preserves anecdotesfor musicians in entire salary flashed before my eyes!” the New YorkMusician 's Union newspaper, and is also the author oftwo books, one titled JAZZ ANECDOTES Tenor man Zoot Sims had a telling observation during and a recent one titled FROM BIRDLAND TO BROAD­ the late sixties when the first moon landing took place. WAY, both published by Oxford Press. We 're indebted “Geez,” he said, “they’re putting men on the moon and to him for these humorous glances at musician's lives. I’m still playing Indiana!” AVAILABLE BIG BAND PRODUCTS

Box 12,000 ORDER FORM ON BACK PAGE Atlanta, GA 30355

New Products

Columbia was the home of so many of the great Big Bands during the Big Band Era. Their producers have collected some memorable selections highlighting Harry James and the Bradley-McKinley Orchestra.

(W ) WILL BRADLEY & RAY McKINLEY Available on CD or Cassette

• c t et a «ANAS The amazing truth is these Bradley-McKinley melodies hold up as well today as they did a half- century ago. BEAT ME DADDY, EIGHT TO THE BAR - CELERY STALKS AT MIDNIGHT - RHUMBOOGIE - FIVE O’CLOCK WHISTLE - DOWN THE ROAD APIECE - BOUNCE ME BROTHER WITH A SOLID FOUR and others. A total of 16 cuts, all masterfully restored to sound as if they were recorded this year.

CD $ 15.95 Cassette $ 9.95 (Plus $2.50 S&H)

(QQ) HARRY JAMES Available on CD or Cassette

Some collections don’t include all top melodies, but this one does. Each tune on the album represents a highlight of the James Orchestra’s development. STRICTLY INSTRUMENTAL - I’VE HEARD THAT SONG BEFORE with Helen Forrest - THE MAN WITH THE HORN - 1 HAD THE CRAZIEST DREAM with Helen Forrest - SLEEPY LAGOON - TRUMPET BLUES - IT’S BEEN A LONG, LONG TIME with Kitty Kallen - I’LL GET BY with - CARNIVAL - 1 DON’T WANT TO V/ALK WITHOUT YOU with Helen Forrest - MUSIC MAKERS - I’M BEGINNING TO SEE THE LIGHT with Kitty Kallen.

A top value, with outstanding melodies for your memories. CD $ 15.95 Cassette $ 9.95 (Plus $ 2.50 S&H)

(PP) THE BEST OF THE DUKES OF DIXIELAND On CD or Cassette D u k e s Seldom are so many exciting, often-requested tried -and-true melodies combined in one dynamic m D ix ie l a n d digitally recorded collection. Captured as it originally sounded at historic Mahogany Hall in New r \ - - ' . v v y Orleans, this CD or cassette contains 70 minutes of joyful Dixieland. Includes SWEET GEORGIA 'v N V J ’ 1 1 - > s BROWN, THAT'S A-PLENTY, A CLOSER WALK WITH THEE, , TIGER RAG, SOUTH RAMPART STREET PARADE, FIDGITY FEET, BASIN STREET ' - i BLUES, BOURBON STREET PARADE, WHEN THE SAINTS GO MARCHIN' IN and others. ) ■ ’■ A masterful recording using only digital master tape recordings. An excellent value. esi CD $14.50 Cassette $ 9.50 (Plus $ 2.50 S & H) TWO BIG BAND CRUISES AVAILABLE IN NOVEMBER BIG BAND JUMP presents two Big Band 7 day Caribbean Cruises, one leaving Ft. Lauderdale, FL on 5 November featuring the Tommy Dorsey Orchestra with vocalist Walt Andrus and the songs of the Pied Pipers. It's on the Celebrity Cruise Lines ZENITH, and is designed for dancing. Cruise number two leaves Miami, FL on November 26 and features Larry Elgartand Si Zentner and their Orchestras in person, plus the Glenn Miller Orchestra and a salute to Benny Goodman by clarinetist Bob Wilber. It's on the S/S Norway. For information and a color brochure on either cruise, phone 1-800-666-4988.______AVAILABLE BIG BAND PRODUCTS PAGE TWO ORDER FORM ON BACK PAGE

(RR) TRIPLE VALUE PACKAGE HOLLYWOOD PALLADIUM RECORDINGS BY THREE GREAT BANDS

Les Brown, Jr. phoned us a few weeks ago to tell us about some remarkable recordings made at the Hollywood Palladium in the mid-fifties by two engineers experimenting with the new "stereo" recording technique. They approached , Sr., who was appearing at the Palladium, asking him if they could record his band. Les was so thrilled with the results, he convinced Harry James and Les & , who followed his band into the Palladium, to also record. Now, four decades later, Les Brown, Jr. has re-discovered these priceless recordings which comprise the basis of the CD's and cassettes described below. They're thrilling listening! Set of Three CD's or Three Cassettes LES BROWN AND HIS BAND OF RENOWN

Recorded at the Hollywood Palladium in the mid-fifties, these remarkable tapes have just been re-discovered. Les Brown says this band was the best he's ever had. Includes CHEROKEE, I’VE GOT A RIGHT TO SING THE BLUES, OUR LOVE IS HERE TO STAY, SKYLARK, SOMEONE TO WATCH OVER ME, , MAMBO #5, , LAURA, AUTUMN NOCTURNE, FLYIN' HOME and others. A total of 19 cuts ... available in CD or Cassette.

HARRY JAMES AND HIS MUSIC MAKERS

Nothing replaces the thrill of "live" music for an appreciative audience. From the mid-fifties Hollywood Palladium series, this CD or cassette contains TRUMPET BLUES, , CHERRY, PALLADIUM PARTY, CHERRY PINK & APPLE BLOSSOM WHITE, AUTUMN LEAVES, YOU MADE ME LOVE YOU, DON'T BE THAT WAY, STEALIN' APPLES, SLEEPY LAGOON, MAN WITH A HORN, ULTRA, JEALOUSIE, TWO O'CLOCK JUMP, BACK BEAT BOOGIE and others ... a total of 19 selections. On CD or Cassette.

LES AND LARRY ELGART ORCHESTRA

The Elgart sound was new when this was recorded at the Hollywood Palladium. The arrangements are a dancer's dream. Includes: AIN'T WE GOT FUN, HEART OF MY HEART, ALICE BLUE GOWN, ZING WENT THE STRINGS OF MY HEART, GIMME A LITTLE KISS, MAKIN' WHOOPEE, VARSITY DRAG, MEAN TO ME, DREAM, NIGHT TRAIN, NIGHT AND DAY, APRIL IN PARIS, DARN THAT DREAM, CHICAGO, I HADN'T ANYONE TIL’ YOU and o th e rs ... nineteen cuts total. Available in CD or Cassette.

(RR) Three CD's $ 39.95 plus $ 3.00 S & H, Three Cassettes $ 24.95 plus $3.00 S & H

(TT) SI ZENTNER - ALIVE IN LAS VEGAS On CD or Cassette Si Zentner JHeCk e m A veteran of the Harry James, and Les Brown Bands, as well as a respected MGM studio trombonist, Si Zentner brought Big Bands back to life in the late fifties and early sixties with a dynamic orchestra. Now recorded digitally, he plays his Grammy-Award-winning UP A LAZY RIVER, plus BYE BYE BLUES, TAKE THE A TRAIN, SENTIMENTAL JOURNEY, WITHOUT A SONG, DREAM OF YOU, CARAVAN, MARIA, MISSION TO MOSCOW, PERFIDIA, CHEROKEE and others ... a total of 20 selections, and over an hour of swingin' listening.

CD $ 14.50, Cassette $ 9.50 (Plus $ 2.50 S&H) AVAILABLE BIG BAND PRODUCTS PAGE THREE ORDER FORM ON BACK PAGE (YY) FOR SINATRA FANS ONLY! - 12 CD's - COMPLETE BOXED SET AND BOOK

You’ve gotta be a heavy Sinatra fan to want this collection, but if THE VOICE OF . you are, it’s an absolute must. It is undoubtedly the best presen­ THE SONGS THAT MADE tation, the most significant songs and the finest technical work the voice FAMOUS. ever done for any historically vital musical boxed set. , THE COLUMBIA YEARS 285 SONGS PLUS: THE COMPLETE l RECORDINGS: 1 * A 144 page cloth-bound book 1 9 4 3 - 1 9 5 2 .

* A deluxe, handmade maple On June 3, «943 Frank Sinatra wood box launched a career wiHi Colvmbia Records which would change the covrse of musical history. Now, * 150 songs not heard since 50 years later, we are proud to the 78 era announce die musical event of A twelve-CD fitoxed sot * 25 previously unreleased containing every song recorded Sinatra songs by Frank as a solo artist for Colvmbia. 1 * 1 * 3 newly discovered tracks from the Columbia Archives « 285 Songs bn ' ; s S x * £ * ~ 12 Compact Discs. ; > • Over 1 50 of these songs have not been available since the ‘ 78 era. h r Nr Available only on CD • 25 previously vnreleased (12 compact discs) songs. • 3 newly discovered tracks!

A deluxe, handmade jnapie COMPLETE SET IN wood box wiN include A 144- HANDMADE MAPLE BOX WITH CLOTH- Box Dimensions 6" Wide BOUND BOOK 81/2" Deep 1 111/4" High (YY) $ 239.95 (Plus $ 5.00 S & H)

There are 285 songs including: NANCY, , YOU’LL NEVER WALK ALONE, SWEET LORRAINE (with the Metronome All-Stars), NIGHT AND DAY, LET IT SNOW, SATURDAY NIGHT, CASTLE ROCK, PEOPLE WILL SAY WE’RE IN LOVE, STORMY WEATHER, APRIL IN PARIS, DREAM, DAY BY DAY, FIVE MINUTES MORE, BEGIN THE BEGUINE, , BLUE SKIES, ALL OF ME, ALWAYS, , LAURA, FOOLS RUSH IN, DON’T CRY JOE ..... all the classics, rarities and show stoppers from the Columbia Archives!

Other Big Band products and an order form on following pages AVAILABLE BIG BAND PRODUCTS PAGE FOUR ORDER FORM ON BACK PAGE

(AA) THEMES OF THE BIG BANDS Available on CD's only

Forty-two of the familiar themes of the Big Bands in a collection of 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. One of the most popular collections we've ever offered! Our supplier tells us there's a limited number still available. Includes:

BIG BAND THEME BIG BAND THEME Benny Goodman Let's Dance Henry Busse Hot Lips Glenn Miller Glen Gray Smoke Rings Woody Herman Woodchopper's Ball Lawrence Welk Bubbles In The Wine Harry James Ray Noble The Very Thought Of You Bunny Berigan I Can't Get Started 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 Claude Thornhill Snowfall Orrin Tucker Drifting And Dreaming 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 TWO CD’S: $19.95 plus $2.00 S & H

(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. 600 pages-300 photographs-Profiles of hundreds of Big Bands and their leaders. Soft cover.

$ 23.00 plus $3.50 S&H

(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 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 CD -$ 17.95 choice for the most listenable, tasteful band on the North American continent combining familiar music Cassette - $ 11.95 with fresh, new arrangements keeping the mood of the originals. (Plus $ 2.50 S & H) Don’t miss this one. If you're not thrilled, we'll be totally surprised. Includes:

S ing, Sing S ing - Let's Dance - 1 Can't G et Started - N ear Y ou - S t. Louis Blues - Basin S treet Blues - You Made M e Love Y ou - S tars Fell O n A labama - I'll Never S mile A gain - G eorgia - For A ll W e Kn o w - C herokee - A fter You've G one - Marie - T uxedo J unction - G reen Eyes - A mapola - G .l. J ive - T angerine - P ennsylvania 6-5000 - A merican Patrol - O ld S hanty T own - S entimental J ourney - B ugle Call Rag - Leapfrog - S tompin' A t T he Savoy - Kalamazoo - M ake Believe Ballroom

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. AVAILABLE BIG BAND PRODUCTS PAGE FIVE ORDER FORM ON BACK PAGE

ADDITIONAL POPULAR OFFERINGS IN THE BIG BAND SERIES OF PRODUCTS

(E) BIG BANDS OF THE WAR YEARS Twenty-one selections by eight great bands with narration by BBJ host Don Kennedy recalling the events, the voices, the mood and the feeling of WWII. An answer to the hundreds of listeners who've asked for copies of BBJ programs. Some familiar and obscure melodies of the time. Includes Les Brown’s DAY BY DAY, I'VE GOT MY LOVE TO KEEP ME WARM - Claude Thornhill's SNOWFALL - Charlie Spivak's STARDREAMS, , HE WEARS A PAIR OF SILVER WINGS - Harry James' , TWO O’CLOCK JUMP, plus Vaughn Monroe, Charlie Barnet and Duke Ellington. 21 selections; 70 minutes of music and narration ... with the voices of F.D.R., General Eisenhower and others. Cassette only - $9.95 plus $2.50 S & H

(DD) BIG BAND PERSONALITY INTERVIEW COLLECTION A dozen Big Band personality interviews collected from early BBJ NEWSLETTERS into a single bound publication with revealing, personal close-up conversations, with photographs. Includes in-depth interviews with COUNT BASIE, ARTIE SHAW, FRANKIE CARLE, HELEN O'CONNELL, MEL TORME, RAY ANTHONY, ERSKINE HAWKINS, CHARLIE BARNET, STAN KENTON, , BOBBY HAGGART and RAY McKINLEY. Valuable insights into the Big Band Era from the people who lived it, reaching beyond the surface and lending richness and meaning to each anecdote and experience. $9.95 plus $2.50 S & H

(G) TOMMY DORSEY WAR BOND SHOWS A broadcast recording of the Dorsey Band with Frank Sinatra, , Dick Haymes, Ziggy Elman, , the Pied Pipers. JUST AS THOUGH YOU WERE HERE, , IT STARTED ALL OVER AGAIN, EXACTLY LIKE YOU, and others. Excellent quality except for one cut of , included because it's one of a kind. CD only - $13.95 plus $2.50 S & H

(R) HARRY JAMES - THE D-DAY REMOTE Harry James was performing on a remote dance band broadcast featuring Kitty Kallen. Includes the early announcement of D-Day. Preserving an historic moment in time, this remarkable Harry James recording includes: IT COULD HAPPEN TO YOU, ON THE ALAMO, I'LL REMEMBER APRIL, KING PORTER STOMP, I'LL WALK ALONE, CHERRY, BACK BEAT BOOGIE, OPUS NUMBER ONE and others ... a total of 18 cuts. Available on CD only - $13.95 plus $2.50 S & H

(M) GLENN MILLER ARMY AIR FORCE BAND A suspension in time, as the Miller Air Force band per­ forms 20 selections originally broadcast in 1944 on the Armed Forces Radio Network from England. An exciting moment in time with (the Gl Sinatra) and , the military equivalent of . Excellent restoration. CD only - $15.95 plus $2.50 S & H

(H) GOODMAN AND M ILLER AT CARNEGIE H ALL Nearly two years after the original Goodman Carnegie Hall Concert, he was asked to appear with Glenn Miller's Orchestra. Dynamic performances resulted, with ten cuts by Goodman and thirteen cuts by Miller, including DON'T BE THAT WAY, , ONE O'CLOCK JUMP, FLYING HOME, SING SING SING, SHIEK OF ARABY and others featuring Lionel Hampton and Charlie Christian. Miller plays RUNNING WILD, LITTLE BROWN JUG, BUGLE CALL RAG, LONDONDERRY AIR and others featuring . 77 minutes of music - 23 total cuts. $15.95 for CD, $13.95 for Cassette plus $2.50 S & H

(HH) ’S ORCHESTRA W ITH Solid instrumentals arranged by Dean Kincaide and Billy May, along with two vocals by the magnificent KING SISTERS. Includes SHIEK OF ARABY, APRIL IN PARIS, BLUE LOU, NIGHTY NIGHT, OL' ROCKIN’ CHAIR and others. $10.95 for CD, $6.95 for Cassette, plus $2.50 S & H

(KK) BUDDY DE FRANCO - BORN TO SWING Featured in earlier catalog sheets, this new national release features the Al Raymond Big Band with nine (9) dynamic tracks by America's finest jazz clarinetist. MR. LUCKY, DON'T BE THAT WAY, SKYLINER, , TENDERLY and others. $10.95 for CD, $6.95 for Cassette, plus $2.50 S & H

(MM) GLENN MILLER REUNION BAND - Original Miller Reunion Concert Right after the release of , some of the remaining members of the Miller Orchestra got together for a concert, directed by Billy May. This dynamic “live” recording is the result. Features ANVIL CHORUS, , , PERFIDIA, STRING OF PEARLS, THAT OLD BLACK MAGIC, PENNSYLVANIA 6-5000, LITTLE BROWN JUG...a total of 13 cuts and 17 selections including a medley. $15.00 for CD, $9.00 for Cassette, plus $2.50 S & H ORDER FORM - JULY-AUGUST, 1994 Please send the following: (Check selections, please) (W) WILL BRADLEY & RAY McKINLEY Specify CD ( ) Cassette ( ) CD $ 18.45 - Cassette $ 12.45 (QQ) HARRY JAMES Specify CD ( ) Cassette ( ) CD $ 18.45 - Cassette $12.45 (PP) BEST OF THE DUKES OF DIXIELAND...... Cassette ( ) CD $ 17.00 - Cassette $ 12.00 (RR) TRIPLE VALUE PACKAGE...... Cassette ( ) LES & LARRY ELGART - LES BROWN - HARRY JAMES 3 CD's $ 42.95 - 3 Cassettes $ 27.95 (TT) SI ZENTNER - ALIVE IN LAS VEGAS...... Cassette ( ) CD $ 17.00 - Cassette $ 12.00 (YY) FRANK SINATRA - THE COLUMBIA YEARS CD's only ( ) 12 CD's and Book in Boxed Set $ 244.95 (AA) THEMES OF THE BIG BANDS...... Two CD's $ 21.95 (W) GEORGE SIMON'S THE BIG BANDS BOOK...... Book $ 26.50 (FF) THE SPITFIRE BAND-MAKE BELIEVE BALLROOM...... Specify CD ( ) Cassette ( ) CD $ 20.45 - Cassette $ 14.45 (Double-length album) (E) BIG BANDS OF THE WAR YEARS...... ) Cassette $ 12.45 (DD) BIG BAND PERSONALITY INTERVIEWS...... Book $ 12.45 (G) TOMMY DORSEY WAR BOND SHOWS...... CD only ( ) CD $ 16.45 (R) HARRY JAMES - THE D-DAY REMOTE...... CD $ 16.45 (M) GLENN MILLER AIR FORCE BAND...... CD only ( ) CD $ 18.45 (H) GOODMAN & MILLER AT CARNEGIE HALL...... Specify CD ( ) Cassette ( ) CD $ 18.45 - Cassette $ 16.45 (Extra-length album) (HH) ALVINO REY'S ORCHESTRA WITH KING SISTERS...... Cassette { ) CD $ 13.45 - Cassette $ 9.45 (KK) BUDDY DE FRANCO - BORN TO SWING...... Specify CD ( ) Cassette ( ) CD $ 13.45 - Cassette $ 9.45 (MM) GLENN MILLER REUNION BAND...... Cassette ( ) CD $ 17.50 - Cassette $ 11.50

ALL PRICES ABOVE INCLUDE SHIPPING AND HANDLING AS NOTED ON PREVIOUS PAGES. Georgia residents please add 6% sales tax to purchase price. Items and prices noted on these sheets good through September 30,1994. Please allow four to six weeks for delivery. Make checks payable to NEWSLETTER. Return order form and check to: BBJ NEWSLETTER - Box 12,000 - Atlanta, GA 30355 To order by phone, call toll-free 1-800-377-0022. V isa and Mastercard accepted.

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(The BIG BAND JUMP NEWSLETTER makes an excellent gift for anyone interested in the Big Band Era, the development of Big Band music or those who collect recordings and books about the Big Bands.)

COMING UP IN FUTURE ISSUES OF THE BIG BAND JUMP NEWSLETTER

In-person interviews with outstanding Big Band music personalities.

Reviews of books, records and videos 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.