BIG BAND JUMP NEWSLETTER

VOLUME XVIII BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 1992

HELEN WARD INTERVIEW______The Interview The Background BBJ: How did Benny Goodman find you?

A reader's letter gave us the incentive to get in touch HW: Through a mutual friend. His name is George with Helen Ward. The reader wanted her phone Bassman, and I met George socially through my number, and we were happy to oblige, but as is often parents at age 17, and he knew Benny as a staff the case, Helen Ward is under­ standably wary of talking to un­ known fans or having her number given out. We did find her, how­ ever, living comfortably with her husband in suburban Washington, DC. She's no longer singing pro­ fessionally, even though the urge is still there as you'll discover in the following interview.

Since Helen Ward was the first singer with Benny Goodman ... acknowledged as the band starting the Big Band Era, her experience is rich and meaningful. She is, by association, the" Queen of Swing," and the pioneer of the big band singer's art, setting the pattern for all who followed. She mentioned in an album note for her last recording that Big Band singers were hired mostly to "Look pretty and sing the lyrics of the popular songs of the day." She recalls that Benny Goodman told her, "Sing the melody, Helen," whenever she Helen Ward took liberties with an ad-lib phrase now and then. As a single with a smaller group, musician at NBC. When Benny was forming his band, which Helen prefers, she sings the melody, but he said Benny was looking for a singer, and why don't interprets it with tasteful "liberties" allowing us to I go down and meet him? I sang for him, and the rest revel in her personal and captivating style. is history.

A review of Helen's album is in the RECORDS TO BBJ: How did you get singing experience at that CONSIDER section of this Newsletter. young age? VOLUME XVIII BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 1992

HW: I had already done some work in NBC date that I had a chance to do my thing. It turned out myself, and auditioned to sing with Enric Madriguera, so well. The songs I recorded with Gene were and all of this was before Benny. MUTINY IN THE PARLOR and I'M GONNA CLAP MY HANDS. Those tunes never made a lot of BBJ: Were your parents behind you in this effort? waves, but I had a ball making that record with Gene.

HW : Very much so. I was a freshman at NYU, and BBJ: When you hear your records now, does it I had to promise my parents that if I didn't make it I'd sound to you as if you're listening to someone else? go back and finish college. As it turned out I was able to make good, and I never went back to finish, sorry HW: No, absolutely not. It does surprise me when to say. (Laughs) I hear those early records that I sang so high. In other words, my voice has lowered through the years. BBJ: What record was the turning point for you? BBJ: We also discovered you played pretty good HW: There wasn't any one record. I was very piano. secure right from the start. We just started out together. I'm proud to say that. HW: Not bad. I played piano before I ever thought of singing. I used to play for the kids in school when BBJ: Some say Benny was difficult to work with. they'd stand around and sing in the gym. My dad was Did you find him that way? a marvelous musician. He didn 't make a profession of it, but he played piano by ear. He taught me little HW: No, he was very fine to me. It was different chords. I'm blessed with having inherited his talent with the guys. But he would say, "That stinks. Do it and I'm able to play everything by ear. over again!" I couldn't take offense at that because he was looking for perfection. I'm not saying my singing BBJ: Do you have perfect pitch? was perfect; I'm just saying that he made us buckle down and get it right. HW : So they tell me. It was a blessing when I was working. Jess Stacy, God love him, used to be on the BBJ: You were on the Camel Caravan in 1939 with other end of the room and he'd run over and hit a note Johnny Mercer and that gang. on the piano and yell out, "What note is that?" I was able to tell him, and we used to have fun with that. HW: That was fun. I really enjoyed that. I always looked forward to Johnny's NEWSIE BLUSIES, and BBJ: Didn't you leave Benny because you were there was one time I was scheduled to go on the air engaged to get married? and five or ten minutes before I was to go on I developed a cramp in my toes, and I was in such HW: In December, '361 came down with the most agony, but I had to go on and managed to get through God-awful strep throat that ever happened, and I had it. Everybody was trying to rub my foot, and they to go to the hospital. If it hadn't been for that I'd have were only making it worse! I was on for about six been with Benny a little bit longer, because I didn't months. It was a good time. intend to marry immediately. Having been ill, I was away from the band. Then I got married, and that was BBJ: I was surprised to learn you sang briefly with it. That was just before Benny went into the Para­ Gene Krupa. mount, so I left at a time when everything was on the upswing. HW: Well, it was only on a record date. It happens that one of my favorite records that I did I made with BBJ: Later on you joined Harry James. Gene. I always preferred singing with a smaller group, and it was on Gene's small group recording HW: He called me to join his band out at the

2 VOLUME XVIII BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 1992

Palladium in California in '43 or '44. I joined the get embarrassed when I see contemporaries of mine, band, but when I first did any work with Harry it was even feeling ill, going on. I think it's just better to only for a record date. The name of the tune I have people remember you the way you were. remember was DADDY. BBJ: Why do you think that's the case? BBJ: Weren't you with Hal McIntyre for a while? HW: Some people are hams, you know, and they HW: I was with his orchestra after my divorce. I have to be in front of an audience, but I never was built was with him for several months. It was after that I that way. It was never an obsession where I had to went with Harry. keep going, and I was lucky enough that I didn't have to. BBJ: When did you stop singing professionally? BBJ: How difficult was it when you were young HW: I never really stopped. I was in and out. In travelling with a bunch of guys in a bus? 1953 I had a phone call from Benny to join him for a tour. We ended up in Carnegie Hall. That was when HW: May I tell you that when you're that young, Benny took ill in the middle of the tour and Gene and having never been west of New Jersey, I had a Krupa then led the band, and we finished out, but we ball. There was no such animal as tired. Oh, we were never got to California as we were supposed to. The knocked out at times, but it didn't matter. Benny said whole spirit was gone without Benny. to me, "If we had to do that today, we'd be dead!" He was right. We were all just starting out and had such BBJ: You made an album in the last decade or so, high hopes and ambitions, and were dedicated to what didn't you? we were doing. The spirit there was so wonderful.

HW: Yes. Bill, my husband, got after me to make We all became fast friends, and I regularly commu­ an album in 1979. The name of it is HELEN SINGS, nicate with those who are left to this day. We were HELEN SWINGS, HELEN WITH STRINGS. I part of a big family, and you don't find that today played the ukulele in that album. (Laughs) anymore.

BBJ: Was that the last singing you did profession­ People like Jess Stacy and Toots Mondello and Dick ally? Clark who played tenor in the band; we're still writing to each other. HW: Yes. I also did a solo act, which I had never done in my entire life. I went into a little club called BBJ: What about the musicians today? MARTY'S in New York, and I'm proud and immod­ est enough to say the ropes were up every night. I HW: Bless 'em all and they should all do their couldn't believe so many New Yorkers remembered thing, but oh my! What has happened to music? It me. That was in 1979 and into 1980. Do you know isn't music anymore. It breaks my heart. One of the that people came to MARTY'S that I went to grammar fellows who was on tour with us in '53 said something school with? It was incredible. It went very well. I think is so descriptive of what's happening now on stage and on these CD's. He said, "It's become BBJ: Do you have any desire to sing anymore? animalistic. They don't listen with their ears any­ more. They listen with their eyes." The more spec­ HW: The desire is always there. My gosh, music tacular these acts are to the eyes, the better the kids was my whole life, but as I told a fellow who asked love it. me to come to the coast and do an appearance, I like to leave 'em laughing. I feel it's time to hang up my BBJ: Are you happy? gloves. I don't know whether I should say this, but I

3 VOLUME XVIII BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 1992

HW: Oh, yes! Everything has come up roses. I'm Jan Greer Thank you for your commentary very fortunate. I have a lovely daughter who lives in Lexington, KY in the Sept-Oct issue of the BBJ London and a wonderful husband. NEWSLETTER. I agree com­ pletely. The only brainstorm I have is to write shows In a conversation with Helen's husband, we discov­ to see if they will have a segment on Big Band music. ered he has copies o f every record Helen ever made, Perhaps if enough people write, these shows will and some o f those recordings will be featured along respond. Enclosed are some addresses. with her recorded comments on a future BIG BAND JUMP program. Sunday Morning - Linda Mason, Producer - 524 West 57th St. - Box K - New York, NY 10019 Next issue, an interview with the man who fronts the Tommy Dorsey Orchestra, trombonist Buddy Mor­ Sixty Minutes - CBS - 51 West 52nd St. - New York, row. He talks about his life as a sideman, as a leader NY 10019 o f his own NIGHT TRAIN band, and then as the long­ time conductor o f the Tommy Dorsey organization, Barbara Walters - 20/20 - ABC - 77 West 66th St. - said by some to be the best road band in the business New York, NY 10023 today. Larry King - Mutual Radio- Washington, DC

LETTERS TO THE BBJ NEWSLETTER Jan Greer is referring to a Hagen Williams commen­ tary suggesting that pure lack o f exposure is the reason Big Band and associated music isn 't accepted Space limitations prevent us from publishing all the by today's generation. He pointed out how eagerly letters received by both the NEWSLETTER and the Harry Connick, Jr. and Natalie Cole have been BBJ program, but we attempt to print the ones most embraced by younger record buyers, simply because representative each issue. They're edited, but the they are peers and have had the exposure. meaning is retained. We welcome your comments and questions. Our address is: Robert Murphy I especially like the recent Miami, FL hour on the greatest of all BBJ NEWSLETTER bands, in my opinion, Stan Box 52252 Kenton. I first heard Kenton on V-Discs while serv­ Atlanta, GA 30355 ing on USS Purdy during WW II. Too bad he was not more popular with the masses. If you're able to secure Delores & Paul Miller We are trying to find an any music by Herbie Fields, I'd appreciate it. His Lock Haven, PA album, CD or disk by version of DARDENELLA on alto sax is unforget­ Frank Foster and the Cab table. As Carlos Santana recently stated on Larry Calloway Orchestra, and an album by Sister Rosetta King's program, the music of the 30's and 40's was Tharpe. Also, we'd like to get in touch with Billy the best period in America. Eckstine to tell him his voice is just as great as ever. We enjoyed his concert at Tanglewood so much. I Todd Biederman A few weeks ago Don Kennedy collected his records as a kid and he still sounds the West Allis, WI did a show featuring various disc jockeys from all over the country same. playing their favorites. It would be a good idea if We suspect you 're referring to the Count Basie band maybe another show could be done revolving around which is now led by tenor man Frank Foster. That certain "private collectors" such as myself, as well as band is available on Denon records. Rosetta Tharpe others. I think it would prove to be very special. sang with Lucky Millender and a few LP's o f the Millender band are still available. An excellent idea, but a logistical and technical nightmare. Hagen Williams tells us it was difficult to 4 VOLUME XVIII BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 1992 even get the announcers who have easy access to equipment and records to do segments; they weren 't DEAN HUDSON unwilling, they justdidn 't take the time, and these are It was the early thirties when Bud Brown led an guys who do it every day! orchestra at the University of Florida, an organiza­ tion which eventually became the DEAN HUDSON Joseph Marra I recently met Connie Haines ORCHESTRA. Dean recalls the reason for his name Port Richey, FL and she told me that Jack being changed to Dean Hudson: "Les Brown was Leonard, the wonderful vo­ becoming an important part of the Big Band scene calist preceding Frank Sinatra with Tommy Dorsey's then, and we thought another Brown wouldn't be a band, has passed away. Jack was my idol and inspiration and it was because of him that I became a vocalist in the late 30's. I would be ever so grateful if you were to confirm this in your newsletter.

Jack Leonard moved on a couple o f years ago; sorry we don't have the exact date.

Ann Petropoulos Sonny Dunham passed away Leesburg, FL in May of 1990. He was living in North Miami, FL. I love your newsletter. Please tell Douglas Parker about Sonny's death.

Constance Hillman Whose orchestra was it that San Diego, CA performed with Fran War­ ren on SUNDAY KIND OF LOVE, and what year was it released?

Fran Warren sang then with Claude Thornhill, and the ASCAP book notes the release date as 1946.

Freddy Barstow What ever happened to Larry Cleveland, OH Elgart? He recorded some medleys of Big Band selec­ tions in the sixties, and then seemed to fade away. good idea, so we picked a name out of the air.

Larry Elgart now lives in Florida; Les tells us he While the DEAN HUDSON group never was in the moved there in the past year. Les lives in Dallas and front echelon of the Big Bands, it was considered by is still actively leading an orchestra. Larry works less musicians to be an excellent band, playing all the key ballrooms and hotel rooms of the nation, heard on the often. air almost nightly. Joy Blackshear Are DOWNBEAT and MET- Chicago, IL RONOME still being pub­ Dean continued as a leader, playing prom dates and lished? I used to read both college dances until a few months before he left us publications avidly in the 40's. early in December of 1991. He was 79. If there was ever a man who promoted the band business, Dean METRONOME is gone but there's still a DOWN- Hudson was that man. He was described as part BEAT, although its subject material, as you can musician and part Barnum and Bailey, so enthusiastic imagine, deals mostly with rock musicians. was he about continuing the tradition of Big Band 5 VOLUME XVIII BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 1992 music. Up until the end he played his trumpet on such melodies as his theme MOON OVER MIAMI and STARDUST, but by his own admission, spent most of his time on the dance floor talking to the fans and often demonstrating dance steps from another era.

Dean Hudson, Jr. says he's going to keep a Dean Hudson band on the road if he's at all able. Dean's son says there are hundreds of arrangements in the Hudson book, charts developed by such names as Les Elgart and Sy Oliver in the early years.

An album note writer said it all years ago, at a time when no one thought Dean Hudson would ever not be in front of a band. "There'll always be a Dean Hudson!" Benny Goodman in a reflective mood Cold In Here Andre Previn recalls a record date SIDELIGHTS______when the studio was so cold the musicians' fingers were practically numb. One of the Benny Goodman was a source for hundreds of stories, musicians pointed out that they could barely play. so enigmatic was he. We've culled some of the lesser- Benny said, "You're absolutely right." He put on a known anecdotes about Mr. Goodman, taken from warm sweater and told everyone to continue playing. various sources, including word-of-mouth. His close­ ness with a dollar is legendary, as was his proclivity Generosity In a jam session with Goodman and for forgetfulness. None of this is meant to demean his Lester Young, Lester was playing a abilities or the inestimable contributions he made to clarinet instead of his sax, even though he realized his the Big Band scene, but rather to give you an insight style on clarinet wasn't as developed as his sax into the man himself, aside from the public perception technique. He played a metal clarinet of the kind of the forties. Nearly every story about Benny generally used by high school musicians, which Goodman ends with a sentence something like " ... doesn't create as warm a tone as the wooden, and but he was a helluva clarinet player. "He was, and had more expensive clarinets. In the middle of the ses­ the ability to organize an orchestra with the best sion, Benny Goodman gave Lester h]s personal players and make that orchestra perform well. clarinet to keep, indicating that he could be generous.

Mercenary? There was no question that Benny Who? The scene was an appearance by the Goodman Goodman was a man who liked Orchestra on the old Ed Sullivan TV pro­ money, and who strived to earn as much as possible gram, but Teddy Wilson wasn't available that day, so and spend as little as possible, as described by men Bernie Leighton filled in at piano. Ed Sullivan asked who worked for him, but he cut off much of his him to introduce the band, but when he got to the potential when he hired black musicians, and stuck by piano player he couldn't remember Leighton's name, his decision. At that time, his band couldn't play in so he said, "On piano, Teddy Wilson!" the South with the black musicians, so through the hiring of Charlie Christian, Teddy Wilson, Lionel Comments About Benny: Zoot Sims - "Every Hampton or Cootie Williams, Goodman eliminated gig with Benny is that potential area income entirely. like playing in Russia.”

His manager wanted the black musicians to enter Goodman seldom, if ever, bought cigarettes. He’d through the kitchen of a hotel location, but Benny make a scissors movement with his fingers in front of wouldn't hear of it. His entire band went to the the band, and someone would "loan" him a cigarette. ballroom through the lobby.

6 VOLUME XVIII BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 1992

MORE BENNY GOODMAN SIDELIGHTS COMMENTARY BY HAGEN WILLIAMS

Borrowing Benny Goodman had a habit of bor­ In a meeting with bandleader Bo Thorpe the other rowing clarinet reeds from members day, he mentioned that one of the 24 hour satellite of his sax section, apparently to avoid buying them services refuses to play his new CD because they only program "the hits" from certain years. The young himself. On one job, he borrowed Vido Musso's last program director of that service selects the music reed, and then called for a number requiring Musso that's played by checking the Billboard Magazine top to play clarinet. records for the years he wants to cover. That's easy, "I can't play it," said Vido. and it's effective for a time, but intelligent listeners "Why?" asked Benny. want to hear not only the "tried and true" selections "No reed." but some of the new material being recorded in the "Well then," said Goodman, "Fake it!" Big Band idiom.

J. B. When Benny Goodman and Artie Shaw played Another satellite service which was popular for together in the studios before either was awhile played the MOONLIGHT SERENADES and famous, Benny noticed that Artie filled spare time by the TANGERINES over and over again until folks reading a book. Thereafter, he referred to Shaw as tired of the repetition. T ruth is, we want to hear what "J.B." After weeks of this, Artie Shaw finally asked we hear. If Martin Block, for example, hadn't played Benny what that meant. "George Bernard," smiled YOU MADE ME LOVE YOU repeatedly, chances Benny. are it wouldn't have become a record success for Harry James. Now please don't get the wrong impres­ Payment In the middle of a long run at the New sion. There's nothing wrong with YOU MADE ME York Paramount, Benny wanted to LOVE YOU, or MOONLIGHT SERENADE and all the other oft-repeated standards, but to keep the Big take a week off. He wasn't ill, he was just tired of Band sound vital and alive, new material must be working from 10 in the morning until 2 AM each day, introduced. There is, for example, a local program so he asked Charlie Barnet to sub for him. At the end which plays the old stuff, but also inserts the magnifi­ of the week when Benny returned, he gave Charlie a cent new compositions and arrangements of such Dunhill lighter for his trouble. orchestras as Pat Longo, Gene Harris, Andy Pryor, Harry Connick, Jr. and Bo Thorpe. Mixed in with Later Charlie Barnet was told by Benny's brother that those new sounds (in the Big Band style ... but new the Dunhill was a gift to Benny earlier, and Benny had sounds) are some of the standards re-done in fresh the engraving changed to make it look as if it was a performances recorded in the past few months by gift from him specifically for Charlie. Goodman was such artists as Rosemary Clooney, Mel Torme, earning at least $10,000 a week for the Paramount Marlene VerPlanck, Steve Lawrence, Tony Bennett, job, but the lighter was Charlie Barnet's sole pay­ Vic Damone, Johnny Mathis and Henry Mancini, ment. liberally sprinkled with less-often heard cuts by Harry James, Tommy Dorsey, Glenn Miller, Woody No Excuse One sideman working with Benny Herman and the like. had to miss an engagement because his grandfather died, and the funeral was scheduled What's happened? Listeners to this local program are two days hence at the time of a gig. Goodman said, now requesting the newer material, for they've be­ come exposed to it. How can a listener learn to like "Oh, that's too bad." Later, though, he leaned over any recording unless it's heard? Another remarkable to the musician and asked, "Hey, Pops, can you get trend has been observed. There are fewer and fewer out of that thing?" requests for the hoary old versions, simply because of listener exposure to the bright, innovative and thrill­ Much o f the material for SIDELIGHTS comes from ing new records available ... aH in the non-rock Bill Crow's entertaining JAZZ ANECDOTES, pub­ traditional music of America Big Band style. lished by Oxford Books, New York. (continued next page)

7 VOLUME XVIII BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 1992

Picking music for a radio program by the numbers stellar musicians as Slam Stewart, Ruby Braff, Pee (the hits and the big sellers of certain times) is akin to Wee Erwin, Bernie Privin and Bobbie Rosengarden. painting by the numbers. Any child can do it, and it’s There are 15 songs total with S'WONDERFUL, the safe way to paint a picture (or program a station) SWEET GEORGIA BROWN, COME RAIN OR but the result lacks the depth and appeal of a more COME SHINE, I THOUGHT ABOUT YOU, I'VE thoughtful and experienced approach. GOT THE WORLD ON A STRING and PENNIES FROM HEAVEN among others, plus copious album Programming by the numbers is safe, but results in no notes. human warmth or involvement. It also grows old quickly because of repetition and thin, horizontal, COUNT BASIE-Live Roulette Recordings '59-62 directionless (and gutless) lack of the aforementioned Mosaic Records - 35 Melrose Place - Stamford, depth. CT 06902 - (203) 327-7111 Fresh arrangements by Neal Hefti, Quincy Jones and Where are the radio programs piloted by knowledge­ others highlight the 133 prime live cuts, 108 of them able folk who are confident of their taste without never before released to the public. Eight CD's or 12 relying on numerical selection? Where are the pio­ LP's include fresh approaches to such standards as neers who veer from the ordinary through knowledge LI'L DARLIN' and APRIL IN PARIS at a time when of their audience and genuine feeling for the growth the Basie aggregation was known as the "Atomic of that audience? Band." Other titles include: IN A MELLOTONE, SMACK DAB IN THE MIDDLE and MOTEN Would that they would return to radio, replacing the SWING taken from concerts taped in Miami, bean-counter mentality leading a flock of blind sheep Stockholm and New York. Available only by mail. over the edge of the cliff. Perhaps the pendulum will swing again. BENNY GOODMAN -Way Down Yonder Jass Records - VJC 1001 (Hagen Williams is a radio producer and writer who V-Disc masters transferred digitally to CD, and admits to a foul humor much o f the time, but who also featuring Gene Krupa, Teddy Wilson, Red Norvo and believes in the individual's right to fail.) Zoot Sims, as well as Mel Powell and Jess Stacy. It's the 1943 Goodman organization taken from those ( RECORDS TO CONSIDER ) excellent vinyl 78's as supplied to the service person­ nel during WW II. As was the case with radio GLENN MILLER - Legendary Performer transcriptions, the performances on V-Discs were RCA-Bluebird 0693-2-RB more natural when released from commercial and Glenn Miller commissioned an engineer to record his tight time restrictions. Dynamic stuff. most important "live" broadcasts, and because of this there's a fund of the more thrilling performances JOHNNY MERCER- Too Marvelous For Words available, many of them included on this recently Capitol CDP - 7 96791 2 released CD. Most poignant is the final civilian Capitol Records has finally started to make use of broadcast from a theater in Passaic, NJ on September their rich archival material, after other record compa­ 24, 1942. Also included are some seldom heard nies showed them the way. In this CD, they salute melodies, including JINGLE BELLS with Ray Eberly, Johnny Mercer, without doubt one of the four or five Marion Hutton, Tex Beneke and the Modernaires. foremost lyricists of the nation, and one of the Twenty-two cuts of exciting "live" airchecks far founders of the then innovative Capitol Records. outdistancing studio versions. Twenty-four cuts of Mercer lyrics, performed origi­ nally on Capitol by Ella Mae Morse, Martha Tilton, HELEN WARD - The Helen Ward Songbook Gordon MacRae, Judy Garland, the Pied Pipers, Lyricon - Box 1074 - Falls Church, VA 22041 Benny Goodman, Dinah Shore, Dean Martin, Chris Referred to in the Ward interview, this collection of Connor, VicDamone, Lena Horne, Kay Starr, Nancy songs is performed with a small group, preferred by Wilson, Louis and Keely, Andy Russell, and a couple Helen in her role as a single. The group is led by by Mercer himself, as well as Harold Arlen singing famed guitarist Bucky Pizzarelli and includes such the Arlen-Mercer collaboration, BLUES IN THE

8 VOLUME XVIII BIG BAND JUMP NEWSLETTER JANUARV-FEBRUARY 1992

NIGHT. Oh, yes. Hoagy Carmichael sings SKY­ suspect that's the case. She scats on some of the cuts, LARK. Most of these recordings were made during but not too much, and uses her clear tones as an the Mercer tenure at Capitol when Frank DeVol, Paul instrument on a couple of cuts. Since O' Day was also Weston, Billy May and Nelson Riddle were among the a drummer, it may be that her sure rhythmic sense men who backed the vocals, so the music is magnifi­ comes from abuilt-in time machine in her brain, since cent. A chunk of musical history in a neat package. It's she's been singing nearly all her life, her precise our hope that Capitol does more of this. diction must come from pure experience combined with a respect for the lyrics and their meaning. FRANKIE CARLE (VIDEO) Recorded between 1958 and 1963. Hooo-Ray for CARLYLE SCHOOL - 1523 Nicollet O'Day! Minneapolis, MN 55403 A video documentary of the Carle contribution to Big BILLIE HOLIDAY - Lover Man CD Bands in both color and black and white, narrated by Zeta ZET 706 Reed Hagen, program director of one of the BBJ Performances from varied sources recorded between affiliates, KFBB in St. Paul, MN. Since Frankie Carle 1937 and 1958, and including the original. FINE started his band after the critics said the Band Era was AND MELLOW from the CBS television Sound Of over, he made an outstanding contribution to prolong­ Jazz presentation, taken directly from the sound track ing the sound with such melodies as his instrumental with Gerry Mulligan's baritone sax. Also included GLOW WORM and the vocal OH WHAT IT SEEMED are some airchecks from a 1937 broadcast from the TO BE, as well as his theme SUNRISE SERENADE, Savoy Ballroom with Count Basie's Orchestra, dis­ written by Carle. covered in John Hammond's personal collection of acetates and restored to the finest sound condition Frankie Carle is in his nineties now, so this could be possible, given the state of the recording art at that the definitive video of a career stretching over 70 time. Lester Young appears on some cuts, a favorite years of vaudeville, his years as a sideman with Mai instrumentalist of Ms. Holiday and the person said to Hallet and Horace Heidt, and his own band's history. be responsible for the "Lady Day" moniker. Included are clips from Carle's TV variety show, with The 17 cuts also include one with Skitch Henderson's guests Helen O'Connell, Johnny Desmond, June Orchestra, probably taken from a kinescope of the old Christy and Sarah Vaughn. Also seen are motion TONIGHT SHOW with Steve Allen, as well as her picture sequences delineating Carle's appearances work with the first Esquire All-Stars concert with with such stars as Jimmy Stewart, Paulette Goddard Roy Eldridge, Jack Teagarden, Coleman Hawkins and Leon Errol, with highlight vocal moments by and Art Tatum. Some overseas material is also Carle’s daughter, Marjorie Hughes. included from a German jazz tour appearance in ANITA O'DAY - Sings The Winners CD Cologne in 1954. Verve/Polygram 837 939-2 The instrumental backing and historical significance Nearly an hour of Anita singing with some of the combine to make a highly desirable recording to own. finest instrumentalists of our time, including Bud Shank, Lennie Hiehaus, Gene Harris and leaders Some readers have written to see if we can supply the Marty Paich and Russ Garcia, among others. Here is records we review. The BBJ NEWSLETTER does not a singer whose style has held up through the decades, represent any record dealer or producer, hut simply from her first national acclaim with Gene Krupa, reviews and suggests records that are available. An through her trials with drugs and crushing personal effort is often necessary to find the records, for the problems to the current day, for she's still singing. shops don't put them on the front shelf, but if you ask, This album features winning tunes associated with the they 'll generally look them up in their cross-index and likes of Duke Ellington (A Train), Woody Herman order them for you. (Four Brothers), Stan Kenton (Peanut Vendor), Glenn Miller (Blue Champagne), Chick Webb (Stompin' At Records and other products advertised on the BIG TheSavoy), and Benny Goodman (Don't BeThat Way). BAND JUMP radio program, however, are available through the program's advertising and marketing There's no self-consciousness here; Anita O'Day department, and an order blank has been enclosed sings as if she were born to do just that, and we with this issue. 9 VOLUME XVIII BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 1992

THE THIRD ANNUAL BIG BAND JUMP CRUISE One of the highlights this year was a new port: San Juan, but for most of the participants, the music was the thing: It's incumbent upon us to report on the third annual Big the reason for being there. Strange to say, the BIG BAND Band Jump Cruise on the S/S Norway, which this year JUMP T-shirts were a massive success this year. Jan featured the Estate Bands of Guy Lombardo, led by A1 Rodgers, the efficient lady who books the BIG BAND Pierson, Harry James' Band fronted by Art DePew, and the JUMP CRUISE each year, had a fetching design screened in-person appearances of trumpeter Ray Anthony with his on a blue-green shirt. It was so appealing there were band and Les Elgart with his distinctive arrangements. numerous requests for them, beyond the ones given to each There was music every night by two bands, and the vocals BIG BAND JUMP passenger. We don't advertise in the of Fran Warren with the James group a couple of nights. BBJ NEWSLETTER, but in order to accommodate those As is always the case, the food and accommodations on the who may want a shirt, we've enclosed an order form with S/S Norway were superb, but the real kick was meeting and this issue. talking with the personalities, as well as listening and The ship's photographer took a formal portrait of the artists dancing to four of the most familiar band sounds available who appeared and it's below. today. There were two sessions for the BIG BAND JUMP The next BIG BAND JUMP CRUISE on the S/S Norway group; a cocktail party with guests Ray Anthony and is scheduled for departure November 28th, 1992, with the esteemed Big Band writer George Simon and a Trivia Quiz bands yet to be announced. For more information on the get-together, both hosted by Big Band Jump' s Don Kennedy. cruise, phone 1-800-288-4882, toll free.

Guy Lombardo's Al Pierson, Ray Anthony, Art DePew of the Harry James Band and Les Elgart, with Fran Warren lending needed beauty 10 ORDER BLANK So many listeners and readers have written for listings of the available material offered by advertisers on BIG BAND JUMP, we've taken the liberty of noting them below, along with a form for ordering if you desire.

(A) JOHNNY DESMOND Ten cuts of 14 songs as originally recorded from broadcasts featuring Johnny Memories of WWII Desmond and the Army Air Force Band. Some were recorded overseas and some taken from SUSTAIN THE WINGS stateside broadcasts. Includes: MY HEART TELLS ME - SPEAK LOW - LONG AGO AND FAR AWAY - MY IDEAL - A LOVELY WAY TO SPEND AN EVENING - VICTORY POLKA - SUDDENLY IT'S SPRING - PEOPLE WILL SAY WE’RE IN LOVE - I'LL BE AROUND - WHAT DO THEY DO IN THE INFANTRY? - I'LL NEVER SMILE AGAIN/TANGERINE/AT LAST/CEST SI BON (Medley). Archival material brought to life as if the broadcasts were simply delayed a half century. ($16.95 including shipping and handling.)

(B) RAY ANTHONY - VIDEO A black and white video featuring the Ray Anthony All-Star band and guests Les Story of the Big Band Era Brown, Charlie Barnet, Jerry Gray, Herb Jeffries, Ann Richards and Vikki Carr re­ creating the seminal hits of the Big Bands. Includes: NO NAME JIVE - AND THE ANGELS SING - BEGIN THE BEGUINE - CHEROKEE/POMPTON TURNPIKE/SKYLINER (Medley) - HARLEM NOCTURNE - FLAMINGO - TAKE THE A TRAIN - FLYING HOME - WOODCHOPPER’S BALL - STRING OF PEARLS - ARTISTRY IN RHYTHM - THE LADY IS A TRAMP - LEAP FROG/SENTIMENTAL JOURNEY/I'VE GOT MY LOVE TO KEEP ME WARM (Medley) - ONE O'CLOCK JUMP - and a medley of various sounds of other significant bands over the years. Fifty minutes. ($28.00 including shipping and handling.)

(C) WONDERFUL ERA OF THE GREAT DANCE BANDS - BOOK A compilation of the history of the Big Leo W alker Bands by noted Band historian Leo Walker, including over 400 photos of bands and bandleaders. An invaluable reference or for casual reading. Facts and background not available anywhere else. ($22.00 including shipping and handling.)

(D) BIG BAND JUMP T-SHIRT Hanes quality blue-green T-shirt with raised screen printing in off-yellow reading BIG BAND JUMP in stylized fashion with musical notes and pictorial design. The same style T-shirt supplied to Cruise members on the S/S Norway. ($16.00 including shipping and handling.)

(E) BIG BANDS OF THE WAR YEARS - CASSETTE Narrated by Big Band Jump host Don Kennedy in the manner of a BIG BAND JUMP program, with some of the memories, voices and musical; sounds of the War Years. Not a com, pilation of the often-heard melodies, but a sound record of the spirit of the time with a young Dick Haymes singing with Harry James, Charlie Barnet swinging again and Doris Day with Les Brown among others. Includes: DAY BY DAY - I'VE GOT MY LOVE TO KEEP ME WARM - FRIM FRAM SAUCE - SNOWFALL -GOLDEN WEDDING - STARDREAMS - HE WEARS A PAIR OF SILVER WINGS - AT LAST - ALL OR NOTHING AT ALL -TWO O'CLOCK JUMP - CHERRY - SOMETHING SENTIMENTAL - REDSKIN RHUMBA - PHYLISSE - ALL I DESIRE - AIN'T GOT NOTHIN' BUT THE BLUES and others. Features Les Brown, Harry James, Charlie Spivak, Vaughn Monroe, Charlie Barnet, Tony Pastor, Duke Ellington and Claude Thornhill along with the voices of newsmakers of the War Years. Rare original recordings from radio transcriptions. ($11.95 including shipping and handling.)

Please send the following: (A) JOHNNY DESMOND ($16.95) ( ) (Check selections, please) (Specify CD or Cassette)

(B) RAY ANTHONY VIDEO ($28.00) ( )

(C) WONDERFUL ERA OF THE GREAT DANCE BANDS BOOK ($22.00) ( )

(D) BIG BAND JUMP T-SHIRT ($16.00) ( )

(E) BIG BANDS OF THE WAR YEARS ( ) ($11.95) Cassette

I' m enclosing a check for $______to cover the cost of items checked above, which includes shipping and handling.

Please send to: (NAME)______

(ADDRESS)______

(CITY)______(STATE)_____(ZIP)______BIG BAND .JUMP NEWSLETTER SUBSCRIPTION FORM

If you'd like to receive the BIG BAND JUMP NEWSLETTER for a year, six Issues, one every other month, please fill out this form and send check or money order for $19.95 to:

NEWSLETTER 18 Box 52252 Atlanta, GA 30355

( ) Yes, please send me the BIG BAND JUMP NEWSLETTER for a year. I'll receive six copies, one every other month.

( ) Yes, please renew my subscription. (Please enclose this sheet with your address label on the other side.)

NAME:------

ADDRESS:------

CITY: ______STATE:______ZIP CODE:______

(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 such outstanding Big Band music personalities as Buddy Morrow, Woody Herman and Benny Goodman, among others.

Reviews of books and records to consider for serious collectors of Big Band music and Information.

Anecdotes and background stories about the key personalities of the Big Band scene.

News about the men and women keeping the Big Band sound alive In the United States and throughout the world. (N3dO O l a v i i n s 3SV31d)

SSEOG V 0 “Biuenv 7&ZZ& xog H3 I 13~IRM3N dNOT QNV9 019

IT'S RENEWAL TIME FOR THIRTEENTH ISSUE SUBSCRIBERS TO THE BBJ NEWSLETTER

If your address label has a (13) after your name, this is the last issue of the BIG BAND JUMP NEWSLETTER you’ll receive.

If you'd like to renew your subscription to the BBJ NEWSLETTER (and we certainly hope you do) there's a subscription and renewal form on the back of this cover sheet.

Several subscribers have given BBJ NEWSLETTERS as gifts to friends in other cities (and in two cases, other continents) ... a wonderful idea, both for the friends and for us!

Our thanks to you for being a subscriber!