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Home , Blue Champagne, Bob Snyder (musician), Chattanooga Choo Choo, George Cates, Johnny Desmond, Les Demerle

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

VOLUME XLVII BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1996

our impression of is that’s she’s a business­ JO STAFFORD INTERVIEW like person with no pretensions. Down-to-earth might be another way to describe our reaction to the conversation. The Background Her voice seems deeper than it was during her singing years; she admits to having Jo Stafford has been in the mu­ been a “dedicated smoker”until sic business since the ’30s, when just ten years ago. Our first she began her professional ca­ question concerned Jo’s life be­ reer with two older sisters. fore she became one of the Pied Pauline and Christine, as one of Pipers. a trio at a time when sister acts (, the The Interview Boswell Sisters) were popular. How did you get into The Stafford Sisters worked in southern on radio and music? in movie musicals until 1938 I had two older sis­ when Jo became the only girl ters, quite a bit older, singer with a group of seven 11 and 14 years older than I. men who called themselves the They were already in local ra­ Pied Pipers. dio in Long Beach, California and finally came up to Holly­ Jo is a native of California, where her Tennessee bom wood, doing radio in and around . When I parents moved just before she was bom in 1917. Even graduated from high school it was a very natural thing to though neither of her parents had a good singing voice, join them, and we were together for about two or three Jo liked to sing to amuse herself from her earliest years singing in radio and background singing in motion remembrances, and by age ten could read music and pictures. We had quite a successful run of it, and then play the piano. I graduated from them to the Pipers. In the beginning there were eight of us, and we got together on what we The impetus to do these interviews often comes from called a “cattle call,” for a musical called readers. You may have read previously about Jonathan ALEXANDER’S RAGTIME BAND. I guess every and Darlene Edwards in LETTERS TO THE EDI­ singer in Southern California was auditioning; there was TOR, encouraging us to do an in-depth interview with a huge singing chorus. The four Esquires were one of the “Darlene”.... Jo Stafford. We had been in touch with her groups, four boys, and the three Rhythm Kings and we husband, , and their son Tim to arrange to just started fooling around on the set between takes and handle some of their CORJNTHIAN RECORDS, a started singing together and wound up as a group called label established by the Westons featuring Jo’s vocals and Paul’s instmmentals, as well as a combination of . both. It was logical, then, that we do a formal interview. BBJ: Your first solo number with was LITTLE MAN WITH A CANDY In setting up the interview, Jo told us that “my husband CIGAR. What kind of was it? is ill,” and asked that we not mention that illness in the interview. Itwas onlytwo weeks laterthat Paul Weston JS: Strictly a ballad written by and died. ....a very beautiful song.. .and I asked Tom as a special favor if he’d let me record it and Certain impressions are formed in the interview process; VOLUME XLVII BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1996

JS: In a way it was, except by that time I was so used to Paul that I wanted to continue working with him and I had it in my contract that if he left the record company I could go too. When he went to Columbia, very shortly thereafter I went to Columbia, too.

BBJ: What are some of your favorite records by you....a trite question, but an important one.

JS: Yes, and very difficult for me to pick one. There’s no way I could do that. I love the in the GI Joe album, the World War II songs. The music was so great then. The songs were so great in that era, so I love all the songs in there. I like the American folks songs; again, there’s no way I can pick my favorite Jo with the Pied Pipers, plus a skinny recording by me. Jerome Kern’s ALL THE THINGS solo vocalist and a trombone player. YOU ARE is my favorite song, so that’s about as close he said, “It’s yours, Josie!” That’s how easy it was. as I can come to picking a favorite record.

BBJ: You went into sometime later. BBJ: How long did you and Paul Weston work together before you made it a permanent union? JS: Very early on. When we were still with Dorsey, was a big fan of the Tommy JS: Oh, we were friends for quite a few years before Dorsey band, and whenever he was in and we we really got serious about each other. We were playing there or out here at the Palladium, he’d were on opposite coasts most of the time, and we’d see always come to see the band. On one of those visits, he each other two or three times a year if I’d come out to told me and the Pipers that he was forming this record record, or he’d come east to record, but we were on company and if and when we ever left Tommy he’d like opposite coasts for so long. We didn’t really get to to talk to us about coming with the record company as finally know each other in a romantic sense until the late a quartet, and he’d like to have me do some solo work, ’40s when I brought my radio show, at that time coming too. Several months after we left Tommy we did come from New York, out here to California. Paul was the back out here to California and got in touch with John. conductor, so we started seeing each other seriously. We He was as good as his word and signed us to Capitol were good friends for a long period of time before we Records which as a very new company then. It was a were romantically involved. wonderful place to work because the whole thing was run by strictly musicians. BBJ: Was it difficult working with Paul and then being home with him, too? BBJ: There’s a story about Johnny Mercer’s ten­ dency to send roses the day after being unkind to JS: Well, I wasn’t with him that much. He was head musical artists. of A&R at Columbia when we were first mar­ ried, so he was at his work there, and the only time that JS: (Laughs) John was very kind with me. I never our careers were together was when I would have a was on the bad end of one of those tirades, but record date and we would be recording, because I almost one night it looked as if it was going to come to an end a hundred percent recorded with him. He had his work and I was going to be one of his victims and before he got and was gone most of the day just like anybody else. really good and started, I just told him: “John, I don’t want to receive a dozen red roses tomorrow morning.” BBJ: There was the Jonathan and Darlene period That stopped him and he never went on with it. when you and Paul purposely recorded some material that was off-key and off-tempo. There are still BBJ: When you left Capitol and moved to Columbia, some people who, on first hearing, wonder what’s was it an emotional move? funny. VOLUME XLVII BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1996

JS: That was a good parlor trick, to put it on with TER, May-June, 1995) My son has his own record- other records and have this sound start coming producing company. He’s just finished producing an out. People would just look at each other, and they album. They’re both busy little bees. didn’t know whether to say anything or not, and some listeners were perfectly happy with it. BBJ: Amy did rock before she began singing with a Big Band. BBJ: How did the Jonathan and Darlene thing come about? JS: She can do both ofthem; that’s one thing I could never do, I could never switch from one to the JS : For years at friend’s houses or little get-togethers, other, but she can do the rock style stuff well, but she Paul had this silly version of STARDUST that tends to like ’40s type music better. The stuff that Amy he used to do just for laughs. There was a Columbia does with Bill Elliott are my charts. Record convention down in Key West, and one night after the meetings they all went into a little bar there, and BBJ: What are your thoughts about the current the piano player in the bar was pretty much a copy of condition of music? Jonathan Edwards. After the piano player packed up and left, Paul sat down and played that goofy version of JS: I think it’s worse than it’s ever been. There are STARDUST that he’d been doing for years out here for exceptions, but I don’t think the music is as fun, and a couple of the guys from Columbia said, good now as it was in the late ’50s and ’60s. I don’t have “You’ve got to make an album.” Paul thought they were the faintest notion where it’s going. Most of the time I kidding, but they thought it was pretty dam funny and read reviews of acts in the paper, and I can’t tell if pretty wonderful. they’re talking about music or tumbling bears. Music seems to have very little to do with it. I think it’s more On the way back home on the plane he got cold feet and performing and exhibition than music; I think the music thought, “Well, I need a partner on this; I can’t do the is a very small part of it, it’s not very musical. whole thing.” That’s when Darlene came into being. And Darlene started because of songs that I’ve had to BBJ: Do you work anymore? record from time-to-time that I really thought were pretty terrible songs, and at the end of the record date, JS: No, I haven’t for years. We have this little if we had a few minutes, the musicians in the band had record company that Paul started which does an equal opinion of the song I’d been recording, thought quite well. When I left Columbia I had a lawsuit with it ought to be given the treatment it deserved. The guys Columbia over a favored-nation’s clause, and as part of would then play it real straight and corny and bad, and the settlement I got all of my masters back from Colum­ I would sing it bad. That was where Darlene came from, bia. I own them, so Paul has formed this little record and when Jonathan and Darlene hitched up together the company called Corinthian Records and we have be­ result was five albums. tween 25 and 30 albums out in cassettes and CD’s. We have distributors overseas, in Holland and Japan and in BBJ: Isn’t it tough to miss those notes, and slide from this country, too, so we keep our finger in that way. one note to another? Jo Stafford sings only to her grandchildren now, and at JS: What you have to do is listen real carefully, and age 78 is living comfortably in Beverly Hills. Informa­ then do it wrong! tion about a Jonathan and Darlene Edwards recording is noted on the center yellow insert o f this newsletter. BBJ: Your daughter Amy is singing with a Big Band Some Tommy Dorsey/Jo Stafford recordings are in­ now part time. cluded in the BIG BAND JUMP programfor November 2-3, and parts o f the audio version o f this interview is JS: Yes, she’s singing with a Big Band out here the basis for the BBJ program on the weekend o f called Bill Elliott, and she really gets a kick out December 14-15. of that. (See Bill Elliott interview: BBJ NEWSLET­ mm 3 VOLUME XLVII BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1996

Roger Holstein Would appreciate a picture (if LETTERS TO THE EDITOR Springfield, MO possible) and info on Betty All letters to the program or the newsletter are an­ Bonney, gal singer with Les swered eventually, although only letters deemed o f Brown early forties. Her hit was JOLTIN’ JOE most general interest are used in this newsletter; please DiMAGGIO. be patient, for the volume is greater than our ability to Here it is. Betty Bonney, now Judy Johnson, is married handle in a timely fashion. Questions and comments to musical directorMort Lindsey (Merv Griffin Show - about either the BBJNEWSLETTER or the BIG BAND tour - Barbra Streisand tour - theme for JUMP radio program may be sent to: Jeopardy and Wheel O f Fortune) and is an avid horse woman. Les Brown, Jr. says she's a show jumper to this BBJ NEWSLETTER day, and is lively, fun and energetic. She still appears Box 52252 once in a while as Judy Johnson, generally when Merv Atlanta, GA 30355 Griffin does a “live ” show somewhere. Les, Jr. says The letters that follow have been edited for space she’s ageless, but we ’re guessing she’s somewhere the considerations, but the meaning has been preserved. other side o f 70 but this side o f 75.

Ed Ripley Have enjoyed your show for Maplewood, MN years on KLBB, AM 1400 in Minneapolis-St. Paul. From time to time you mention the Johnny Long Orchestra and play SHANTY IN OLD SFLANTY TOWN. I recall another of Johnny’s recordings that was similarly done in that same “glee club” style. It’s JUST FRIENDS, and I had this 78 in my youth. As 1 recall, it was on the King label out of Cincinnati. I haven’t heard this recording in 45 years, and would like to hear it again if you have it in your archives.

We looked, and didn ’t find it. I f you can help Mr. Ripley, h e ’s at: 2216 Holloway Avenue - Maplewood. M N 55109.

Robert Rubendall I enjoy your weekly program Halifax, PA over the Hagerstown, Mary­ land station at 104.7 FM each Sunday. A while ago you mentioned that Tommy Dorsey only made one old recording of I’M GETTING SENTIMENTAL OVER YOU on RCA Victor. I had two 78’s, either Decca or Vocalion he made when he and Jimmy recorded as which had doing the vocal. Can you locate this early The fleet’s in with Betty Bonney. That’s Butch Stone at recording and play it on your request program some­ the right just behind her with his sax and time? Abe Most back there with the pop-eyes. We had that recording and mis-placed it, but we meant Sam Werben I would like you to play some- that Tommy only recorded one instrumental version Mercersburg, PA thing by Ivy Anderson, who and should have said that. We are going to play a ’50s sang with be­ Tommy Dorsey vocal group version o f the tune on the fore she became ill. Also, I never hear ’s program o f December 7-8, titled Big Band Twins. CLARINET ALA KING anymore. 4 VOLUME XLVII BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1996

There’s a MAILBAG BBJ scheduled for the weekend of that you don’t have to like or even be familiar with November 9-10. Your requests may just show up there! the people involved to enjoy the reading experience.

Dee Krieg Regarding a Woody Herman North Point/Farrar, Straus & Giroux Yellow Springs, OH program you did some time About $21.00 - Available at most book stores ago, I recall hear­ ing HAPPINESS THE ARMY AIR FORCE IS A THING BAND V-DISC SESSIONS CALLED JOE. I Two CD set - Mr. Music MMCD 7001 & 7002 was enchanted by the music when Yet another Glenn Miller release, the product of his “....the table is prodigious recording on V-Disc for use by military bare” is accom­ personnel. The V-Disc program was operated by the panied by an al­ armed forces to produce 78’s that were distributed to most flattened camps in the U.S. and overseas along with a wind-up sound from the phonograph and a supply of steel needles. While com­ horns; it is an in­ mercial 78’s at the time were pressed on shellac, these credible arrange­ government-issue recordings were made from vinyl to ment. Plus the avoid breakage during shipment. Because of that use of trumpet cre­ superior material (the stuff of radio transcriptions; see scendo leading BBJ PROGRAM TITLES, January 4-5, 1997 this into “....the issue) the surface noise and audio quality of these Frances Wayne cabin’s gloomy, recordings were state-of-the-art for the time. and the table’s bare.” Gorgeous, and Frances Wayne was wonderful! If you’re looking for more , these CD’s aren’t for you. Even though you will find IN There's considerable satisfaction in receiving a letter THE MOOD on this collection, there’s greater variety such as this from a listener who appreciates the music than on most Miller sets. Be advised that there are and listens so carefully. The is by Ralph several repeats from the British made so-called “lost Burns who was responsiblefor Frances Wayne joining recordings” because the Miller military band played, as the Herman organization. It was recorded on Febru­ any band would, their most requested music and re­ ary 26, 1945. peated it for different recording sessions. The key cuts in this collection seldom found in other recordings are: ( books and records to consider) BUCKLE DOWN WINSOCKI, EL CAPITAN, ST. LOUIS BLUES MARCH, THE SQUADRON SONG, BUT BEAUTIFUL - A Book About Jazz G.I. JIVE, STEALIN’ APPLES, PEGGY THE PIN-UP Geoff Dyer GIRL, WANG WANG BLUES, I’VE GOT A HEART The people overseas appreciate the contribution U.S. FILLED WITH LOVE, SONGS MY MOTHER TAUGHT ME, IN THE GLOAMING, FELLOW ON musicians have made to music; sometimes it seems A FURLOUGH, I HEAR YOU SCREAMIN’, FARE­ they’re more dedicated to great American music than WELL BLUES and a melody by Miller himself titled we are. Geoff Dyer is an English music critic who has simply 7-0-5. also written novels, and much of the descriptive power inherent in that style is apparent in this book. He writes about nine legends of jazz: Lester Young, Thelonious The military Miller band versions of , LITTLE BROWN JUG, STARDUST and CHATTA­ Monk, Bud Powell, Charlie Mingus, Ben Webster, NOOGA CHOO CHOO (sung by Ray McKinley) are Chet Baker, Art Pepper, Duke Ellington and Harry Carney. also on this collection, but played by what most critics agree is the best Miller organization of his career. If Mr. Dyer’s descriptive abilities are prodigious, such you’re looking for , and the 5 VOLUME XLVII BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1996

Modemaires, this isn’t the collection to get; they’re all BACHELOR IN PARADISE available in other sets made up of commercial civilian Soundtrack music from M-G-M films Rhino R272464 releases. If, on the other hand, you’re searching for some fresh half-century old material, this just might be pleasing to you. There is some kind of trend toward “lounge” music or “cocktail” music that’s going on with record companies. We don’t know what it is unless the spate of martini Available in CD only from BBJ NEWSLETTER sales. lounges that’ve sprung up in major cities recently have (See yellow page center insert, please) encouraged the development of music to fit that atmo­ sphere. Whatever the reason, record companies have come up with some interesting music from the past. It’s THE SINGLES COLLECTION Capitol C2 7243 not all Big Band, but the music is non-rock, and for the most part, the style of music that could lead younger generations to become more serious about the great Since ’s 80th birthday last year, every record company he was ever connected with has re­ music of America. leased his recordings. Columbia released his very first Every' release of this so-called “lounge” music has recordings with , plus the records he made as a single vocal star after he left Tommy Dorsey and yielded some gems, and several albums have been put out by multiple record companies. One of the most before he joined Capitol. RCA Victor put out a boxed interesting is Rhino’s release of material taken from M- set of everything Frank Sinatra ever sang with Tommy Dorsey and added some broadcast airchecks, Reprise G-M soundtracks, most of it from the ’60s. As often has their Sinatra collection ... .every record company has mentioned here, some of the finest composing, arrang­ raided the vaults to come up with a collection. ing and performing musical talents worked for the various motion picture studios from the ’30s through the ’60s, then the tendency to use outside music instead of Now Capitol has put all the Sinatra singles, originally released on 45’s, on four CD’s. Some of these singles in-house musicians began to creep into the movie busi­ ness. The delights in this album include: BACHELOR wound up as part of an album and some have never been heard from again, for the singles were the “experimental IN PARADISE, HOW ABOUT YOU, LOVE IS SO lab” for Frank Sinatra, the medium he used to try new EASY and I’VE GOT YOU UNDER MY SKIN by the musical ideas. It’s impossible to list the 70 plus tracks M-G-M Orchestra and Chorus, OVER THE RAIN­ here, but they include such indelible titles as: LEAN BOW as presented instrumentally by Neal Hefti of BABY, YOUNG AT HEART, I’M WALKING BE­ Woody Herman and arranging fame, HIND YOU, THE CHRISTMAS WALTZ, LEARNIN’ Ferrante & Teicher playing I GOT RHYTHM, Roger THE BLUES, SAME OLD SATURDAY NIGHT. Williams with TEMPTATION plus Ann Margret, , WITCHCRAFT, HIGH HOPES, NICE Esquivel, Carmen McRae and Les Baxter with various ‘N’ EASY, FIVE MINUTES MORE and AMERICAN themes and songs. BEAUTY ROSE. Along with these more familiar songs are: YOU, MYLOVE, TWO HEARTS, TWO KISSES, An 18 page booklet containing pictures and background WEEP THEY WILL, YOU’LL GET YOURS, FIVE stories of prime interest to both movie and music fans HUNDRED GUYS, THEY CAME TO CORDURA comes with the CD. Again, this isn’t strictly Big Band, and SENTIMENTAL BABY. A well-written, attrac­ but the direction being taken by the record companies tive 70 page booklet comes with the set, filled with (and followed by younger record buyers) is another pictures of Sinatra with Dorothy Lamour, Sinatra with positive sign that “real” music is creeping into youthful J.F.K., Sinatra with the , and various full-color society. reproductions of album and sheet music covers. It’s a well-planned, well-executed collection. Available at most record stores in CD only.

Available in any good record store.

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(Tape or staple here) BBJ OFFERINGS FOR NOVEMBER-DECEMBER

JONATHAN AND DARLENE’S GREATEST HITS - Jonathan & Darlene Edwards

Please be careful in ordering this album. If you don’t know the story behind Jonathan and Darlene Edwards, you’d be advised not to even consider buying it Jo Stafford and Paul Weston are Jonathan and Darlene, having released their first “put-on” album in 1957 as a result of Paul’s satirical piano performances at parties, and Jo’s proclivity to make fun of songs she didn’t particularly like.

Together they lampoon songs they do like, creating a farce that caught on with the public, resulting in several similar albums This collection brings the best of their output together in one CD, including I LOVE PARIS, DIZZY FINGERS, TAKE THE A TRAIN, YOU’RE BLASE, ALABAMY BOUND, NOLA, DON’T GET AROUND MUCH ANYMORE, THE LAST TIME I SAW PARIS, HONEYSUCKLE ROSE, AUTUMN IN NEW YORK APRIL IN PARIS, BE MY LITTLE BABY BUMBLE BEE and others...a total of 14 selections to tickle and delight The talented hands of Jonathan Edwards CD $ 15.95 CASSETTE $ 9.95 (Plus $2.50 S&H)

GLENN MILLER ARMY AIR FORCE BAND V-DISC SESSIONS

rat Sentiment and history aside, the V-Discs made by the Glenn Miller Air Force Band over a two year period m .\\ «il i hi from 1943 to 1945 are probably the best technical quality recordings of that military band. Certainly most a m t lim n : critics agree the band itself was the best Miller group ever assembled, for Captain/Major Miller had his pick urn MHsmsiiiw of the finest musicians in the service Arranger came from Miller s civilian band, Pianist and arranger came from the Goodman band, drummer and singer Ray McKinley left his partnership with Will Bradley to join the military and wind up with Miller, wasa singer with , clarinetist was in the band.

V tlw lw o Now, for the first time, these V-Discs have been brought together on two carefully crafted CD’s Some of the numbers in other albums are repeated in tins V-Disc collection, and many are exclusive to it At the time the recordings were made by the federal government expressly for use by military personnel. The listing of music Front of one of two Miller on this pair of CD’s taken from the back of the well-written, informative booklets is listed here to give you the V-Disc session albums total contents of each album. Tins is an excellent set, digitally transferred with loving care by two of the best recording engineers in the nation. Each of the two books, one with each CD in the set, is highly informative with a scattering of photographs Volume One Volume Two 1. Stardust 11. Embraceable You To order, please 1. Everybody Loves My Baby 11. Chattanooga Choo 2. Buckle Down Winsocki 12. G.l. Jive (But My Baby Don't Love Choo 3. El Capitan 13. fill in below. Nobody But Me) 12. Bye Bye Blues 4. St. Louis Blues March 14. Stealin' Apples VISA and 2. Stompin' At The Savoy 13. Sun Valley Jump 5. Stormy Weather 15. Here We Go Again 3. Poinciana 14. Holiday For Strings 6. The Squadron Song 16. Peggy The Pin-Up Girl MasterCard (Song Of The Tree) 15. My Buddy 7. Tail End Charlie 17. Songs My Mother 4. In The Gloaming 16. Farewell Blues 8. Medley: Taught Me and 5. Deep Purple 17. Passage Interdit Goin' Home, 18. Wang Wang Blues Personal 6. Fellow On A Furlough 18. Symphony Honeysuckle Rose, 19. I Can't Give You Any- 7. Guns In The Sky 19. Why Dream? My Blue Heaven thing But Love, Baby Checks 8. Army Air Corps Song 20. 7-0-5 9. Don't Be That Way 20. I've Got A Heart Filled Accepted. 9. I Hear You Screamin' 21. In The Mood 10. With Love (For You Dear) 10. Little Brown Jug

CD’s ONLY: Two CD’s $ 29.95 (Plus $2.50 S&H)

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COMING UP IN FUTURE ISSUES OF THE BIG BAND JUMP NEWSLETTER

In-person interviews with outstanding Big Band music personalities.

Reviews of books, 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. (Please fold ondotted line)

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(Tape or staple here) VOLUME XLVII BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1996

BAXTER’S BEST A collection of Les Baxter studio recordings Capitol CDP 7243 Another bit of encouragement about the direction of music and a fun record to listen to is this release of the studio work of Les Baxter. When the Big Bands were no longer generally viable commercially as recording artists, some of the few instrumental hits had to come from studio organizations. Les Baxter captured the public’s imagination in 1951 with QUIET VILLAGE, performed in a style that can best be called “exotic.” QUIET VILLAGE was followed by BLUE TANGO, APRIL IN PORTUGAL and I LOVE PARIS. All the recording successes by Les Baxter noted above are included in this recording, as well as THE POOR PEOPLE OF PARIS, WAKE THE TOWN AND TELL THE PEOPLE, NEVER ON SUNDAY, THE HIGH AND THE MIGHTY, UNCHAINED DeMerle & Eisele on album cover MELODY, RUBY, CALCUTTA, BECAUSE OF YOU THE RITZ, ORANGE COLORED SKY, NICE ‘N’ and others. There are a total of 16 tracks with the EASY and others for a total of 21 cuts packing the CD technical quality that’s expected of Capitol and the to the 74 minute limit. An entertainment group of any musical quality of a studio orchestra led by a man who kind has to please a broad segment of the public these created instrumental hits in the ’50s and into the ’60s. days, and we were surprised how much rock ‘n’ roll was Available in record stores on CD and Cassette. included; there’s also a lot of shoutin’ goin’ on, but the band itself is well rehearsed and crisp. Les DeMerle’s HAVIN’ A BALL drumming leaves nothing to be desired, and he’s cer­ Drummer Les DeMerle’s Orchestra tainly versatile. The last three or four cuts include a Music Unlimited MUP 96001 Medley and a Rock tune, and about half the cuts Talk about a surprise! A friend dropped in as we were don’t neatly fit in these older ears, but the band is putting this issue together to let me listen to a new band. superb.. .and it’s another group helping keep the Big “Did you ever hear of Les DeMerle?” my friend asked. Bands alive. The coincidence is that just hours before we were re­ Available in either CD or Cassette directly from: playing and admiring the drum work on the 1976 Harry MUSIC UNLIMITED - Box 348 - James Sheffield Lab recording of CHEROKEE, featur­ Femandina Beach, FL 32035-0348. ing Les DeMerle. Les was with Harry James for a dozen ANSWERS TO QUICKIE QUIZ: years until 1986, and now has his own band performing 1-D 2-H 3-J 4-A 5-C 6-K 7-G 8-F 9-B 10-E at the Ritz-Carlton at Amelia Island, Florida, near This was a fairly easy test, and there's every possibility Jacksonville. His wife, Bonnie Eisele sings with the you wound up with ten correct. If so, you get our honorary band and together they’ve recorded a sort of supper club commission as a Big Band general. If you got 8 correct, that’s very, very good, and you may consider yourself a entertainment Big Band package replete with some of colonel in the war against rap and rock. Six correct ain’t the standard crowd-pleasers, but all with a swingin’ bad, and maybe a battlefield commission as major might sound presented by musicians who obviously not only be in order. Four right answers might be OK and you can know what they’re doing, but enjoy doing it. be a lieutenant, albiet a second lieutenant. Less than two correct, and you'll have to report every morning before the There’s IN THE MOOD, a MED­ sun comes up to wash the pots and pans in the mess hall. LEY, I CAN’T STOP LOVING YOU in Basie style, an Actually, we understand the mess halls are now operated ANTONIO CARLOS JOBIM MEDLEY, MISTY, by contract civilian food service organizations, so all you'll have to do is wash and wax the barracks floor. MACK THE KNIFE, KANSAS CITY, PUTTIN’ ON 7 VOLUME XLVII BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1996

BOB SNYDER - CLARINETIST WHO’S PLAYING THE GREAT MELODIES

Every once in a while a recording phenomenon occurs, when a relatively unknown artist comes up with a hit recording, capturing the imagination o f the public. Such a recording is AMAZING GRACE by clarinetist Bob Snyder. Inevitably such “overnight " national success is preceded by years o f work. We found Bob Snyder at the luxurious (and century old) Grand Hotel on Northern ’s Mackinaw Island, where he’s been music director for years. The interview form was selected so he could tell his story in his own Bob Snyder tootles with one hand words. It was was conducted on the lawn of the hotel at the edge of a wooded area. Bob had just finished an what’s my musical trade. I was featured on the Tommy afternoon concert for a thousand fans who gathered at Dorsey band when Sam Donohue ran it, I’ve played tables on the lawn to eat a buffet lunch and listen to his with Si Zentner, I played lead for Les Elgart, I even music. played with the Ted Weems band and Pee Wee Hunt. My roots are in Big Band although I like small groups BBJ: Has music always been profitable for you? better now. BS: No, nor for anyone. I put eight years in the military on active duty in the Marine Corps and BBJ: You have a favorite? the Air Force, and when I came out I spent some years BS: LET’S DANCE is one of my favorite songs to where I’d play and I’d not play. I also was an over-the- play; it’s on our first album. I don’tthink people road trucker; get my 18 wheeler and go out, that was my realize what a clarinet player Benny Goodman was or other trade. Then I ended up in the recording studios; what a sax player was. Benny did these everything’d take me back into music. I was a Memphis tunes in god-awful keys, and so did Jimmy Dorsey. All Horn at in Memphis, and then I was the of us in the music business know that the GREEN EYES lead sax player at the Motown Recording Orchestra in standard key is E-flat. Jimmy did it in D-concert. Sam . Did some songs like SITTIN’ ON THE DOCK Donohue used to go nuts with the key changes for OF THE BAY and SOUL MAN; started making a Jimmy’s arrangement. Benny was always playing in decent living as a recording musician, so there was a five flats concert which is D-flat; when you do that on turn-around. I did Country & Western shows for about a clarinet you’ve gotta’ use all your fingers, and here he three years, and in 1983 I was approached to come up is flying on these songs. You had to really be a musician here (Mackinaw Island in northern Michigan) which I to do these things. didn’t want to do. It’s taken a lot of years and a lot of music at the Grand Hotel to bring us to where we’re at BBJ: You mentioned that you have strong opinions now, and I hope you’ve been impressed. What we’re about some Big Bands. trying to do is present professional, live music as it used BS: I’ve always thought certain bands were only to be. what they were when they had certain musi­ BBJ: How do you tie-in with the Big Band Era? cians with them. Benny Goodman was Benny Goodman when Gene Krupa was playing drums, period.. .in my BS: From the Big Bands I’ve played on. I was opinion. I thought that Tommy Dorsey’s band was Tommy Newsom’s replacement on the Airmen Tommy Dorsey when was playing with Of Note, the Air Force dance band, and then I played him. with a lot of Big Bands. I’m a student of lead-alto players; I’m actually a lead-alto player, if you ask It was tough back then. There was a set of ethics and

8 VOLUME XLVII BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1996 musical skills you had to attain for a bottom line. Today he’d ever run into. I’ve had great clarinet players who there is no bottom line. If you can afford a horn, you’re come to hear me play, which I considered to be an honor, in the music business. I always say there’s a lot of music and I’ve admired them so much, and they’d say to me, popular, old or new, because somebody was afraid to “You do everything wrong, and it comes out right!” say, “Gee, that stinks!” There’s great music being Nobody ever told me it was wrong. There’s nothing I written now. can’t play; I can express myself on the clarinet, I guess. When I play a ballad on clarinet, I play words. BBJ: Your small group here at the Grand Hotel is reminiscent of the Goodman small groups. BBJ: Are you a sentimental person? BS: Well, that’s my love. I’ve heard it said that the BS: About some things. Goodman Quartet was one of the top ten show- stoppers of all time. When you had , BBJ: Are you a tough business man? and Benny and Gene Krupa and , that ’ s all you needed. The rest of the guys could sit there and play BS: (Pauses for a while) Ahh, no. I’m tough in chess. some things and a soft heart in others. It depends on the situation. Have I done well in business? BBJ: Your favorite all-time Big Band recordings? Yes, that’s ‘cause of my wife. She takes care of the money. I snitch from her what I want for my spending BS: One of my favorite songs is NO NAME JIVE. money, and I just have to keep thinking that I’m a little ELK’S PARADE, that’s Bobby Sherwood, am smarter than she is....but she’s good with money. I right? The Casa Loma Band that never played at the Casa Loma How many times has someone said to you, “Come over Hotel ...did you and bring your records and we’ll have some fun.” I’ve know that? These had people come up to me and say, “Why don’t you were bands made bring your horn to our house party and you can play and up of...like... Sonny we’ll have fun.” Once I got to a position of assuming my Dunham and Pee music as a business, my life changed. I like people, and Wee Hunt were in I’m enjoying the business now more than I ever have. that band. The When people buy my CD or my tape, I take that guys told me that personally....! take that as a compliment, and when they the trombone come and buy the second one because they enjoyed the player that did first one, I take that as a compliment. SMOKE RINGS used to warm up BBJ: What’s happened with your record of AMAZ­ Casa Loma trombonist Biily for at least thirty ING GRACE? Rausch plays SMOKE RINGS. minutes before the BS: A St. Louis radio station called a record store job just to make sure that he played that 'bone solo and asked them to take to the studio the top ten correctly. (Billy Rausch, who died in the ’80s. See selling records; actual sales....forget what the maga­ picture. Ed.) zines say, forget what the charts say, that’s I thought that the last band had, that he contrived....what have you sold? The record store took didn’t conduct ...but the fellow with the beard....was AMAZING GRACE to the radio station and they one of the finest bands musically ever put together. (The played it, and they set a record for phone calls. I have bearded Welk Band director was George Cates. Ed.) a lot of reverence for it; I let my feelings come out with AMAZING GRACE. BBJ: How do you appraise yourself? BBJ: Are you going to play until you drop? BS: I am a sax player. I love the alto sax. I was saxophone soloist for the Air Force symphony BS: Probably. for a while, but clarinet is a natural instrument. Lionel The Bob Snyder CD or Cassette o f AMAZING GRACE Hampton told me I was the only natural clarinet player is available from 1-800-937-5908. 9 VOLUME XLVII BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1996

QUICKIE QUIZ Woody Herman bass man Chubby Jackson, now retired and living in the San Diego area, says that trombonist Bill Harris looked very conservative with This is one of those dangerous quizzes, for there’s some his tall frame and dignified behavior, but he was in rare possiblity your personal recollection of THE re­ fact an inveterate practical joker. Harris got a life- cording of a melody might not fit the answers. With size dummy and dressed it in a band uniform, seating some abandon and a great deal of recklessness, here’s a it beside him in the trombone section, holding a list of compositions to fit with the organization which trombone. He’d argue with it during thejob, asking had the top recordings of each during the Big Band Era. it why it didn’t come in on time. It traveled in the front seat of Bill’s car. When he got tired of fooling Match the selections on the left with the Big Bands on the around with it, he faked a suicide by pushing the right which had the most popular recording of each. dummy out of a top floor hotel window. Answers elsewhere in this issue. 1 Sunny Side Of The Street A Chick Webb BIG BAND JUMP RADIO 2 You Made Me Love You B Les Brown 3 It’s A Wonderful World C Casa Loma TENTH ANNIVERSARY 4 A-Tisket, A-Tasket D Tommy Dorsey 5 Smoke Rings E Orrin Tucker Time does go quickly, for we just realized it’s been a full 6 Boo-Hoo F Benny Goodman decade since the BIG BAND JUMP radio program 7 Beat Me Daddy G Bradley-McKinley began syndication nationally in mid-October, 1986. 8 And The Angels Sing H Harry James There were just two or three radio stations taking the 9 Sentimental Journey J Jan Savitt program then, but soon the number grew to a dozen, and 10 Oh, Johnny K Guy Lombardo eventually nearly 200 radio stations in the U.S. and Canada were programming the two hour weekly BIG BAND JUMP, some of them running it twice weekly. In SIDELIGHTS addition, a one hour version of BBJ is heard on a few We read about the glories o f the Big Band Era, but public broadcast stations in the U.S. as well as twice a seldom hear about the boredom that was inevitable week on the English language service of the Swiss with the long bus rides between jobs. Musicians National Radio Network. attempted to enliven the boredom with various pranks. Many of these stories come from the delightfid Bill Coincidentally, the next issue of the BBJ NEWSLET­ Crow book titled JAZZ ANECDOTES, published by TER will mark the completion of eight years of publica­ Oxford University Press, New York. tion. Our thanks to all of you, for without you none of this would be possible. Lee Young, Lester’s drummer brother, was setting up to play a job in Aspen with pianist Oscar Peterson and THE FOLKS WHO PUT THIS NEWSLETTER TOGETHER: bassist Ray Brown when he discovered his snare drum Editorial decisions: Hagen Williams was missing. Oscar and Ray kidded him about it, telling Features and some random input: Don Kennedy him they couldn’t imagine a drummer mis-placing his Typesetting, layout and advice: Herb Gershon snare; they said he’d better get ready because thejob was Proofreading, research & mailing: Ethel May Sadler about to start. They opened with AIR MAIL SPECIAL Contributing writers and advisors: John Barbe, Arthur played about as fast as it could be played, with Lee Montgomery, Richard Grudens attempting to join in with just his bass drum. Subscriptions & renewals: Tommie Anne Crissman Printing: Royal Printing, Inc. Obviously Ray and Oscar were behind the scheme. ....and a bundle of readers who make this effort Suddenly a waiter appeared carrying a tray with Lee’s possible. Our thanks to all of you. snare drum neatly placed in the middle of it!

10 VOLUME XLVII BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1996

certain times.. .and then a switch to another style in other UPCOMING BBJ PROGRAM TITLES programs. This program is a selection of melodies we’ve either not played or seldom played since they were first used (The first listing is a repeat from the previous issue to on the show in the past, unlocking sounds that need to be accomodate new listeners.) heard again. In some cases the original source of the music has been lost, preserved only on the BBJ program masters November 2-3,1996 We were surprised to from which some of this forgotten music has been gleaned. BIG BAND PROFILES VII learn that Tommy Dorsey’s recordings There’s the much overlooked older brother, Jimmy Dorsey, were not in demand by the taken from a dance band remote recording with both an public now, even though instrumental almost never heard, and a Helen O’Connell other bands of the era are rarity. Syd Lawrence has been neglected, the Wess-Edison asked for often. The Frank Basie-like orchestra is heard, a later Tommy Dorsey GETTIN’ Sinatra recordings with SENTIMENTAL features a vocal group, Charlie Christian Tommy Dorsey have appeal performs, a New Jersey regional band is re-discovered from with the general public, but a program of four years ago and a purely subjective favorite those wonderful instru­ by Elliot Lawrence surfaces again. mentals have seemingly been dismissed by many of the Big Band fans. In both hours of this profile program we lis­ ten to both the vocal and instrumental Tommy Dorsey, hearing not only the Sinatra/Dorsey couplings, but Haymes/ Dorsey and Leonard/Dorsey plus StafTord/Dorsey. Several of the key instrumentals will be highlighted, as well as some of those rollicking vocal , including YES, INDEED and SUNNY SIDE OF THE STREET. OPUS ONE, BOOGIE WOOGIE, WELL GIT IT, HAWAI­ IAN WAR CHANT and LONESOME ROAD are some of the memorable melodies that’11 be featured, along with the vocals that distinguished the Tommy Dorsey Big Band career.

November 9-10,1996 The mail keys off so many ideas THE MAILBAG for music we’ve overlooked in the past; there are so many dedi­ cated, knowledgeable Big Band fans out there who enrich the program with their suggestions. In this session we have Jimmy Dorsey on the bandstand requests for the military Miller, some of the less-played James, three or four kinds of boogie woogie, the delights of November 23-24, 1996 It’s not easy to find Fats Waller, ’ s music for da nci ng, D ick Jurgens, DORIS DAY SPEAKS/ these days, but through a friend Buddy Clark, Erroll Garner, Jan Garber, Bob Crosby, REQUESTS of a friend we made contact a Benny Goodman and . That’s a varied list while ago. She’s living comfort­ ranging from the totally commercial to the swingin’ sub­ ably in Carmel, California with her animals and devoting lime, but a direct reflection of the mail-in requests of most of her time to animal rights groups. Even though she listeners, resulting in a fun program. says “We talk about it all the time,” it’s doubtful she’ll ever November 16-17,1996 Now, 520 weeks into BIG record again, for those who are close to her say she’s perfectly happy staying out of the spotlight. We hear the FORGOTTEN CUTS BAND JUMP’S national syn­ dication, we look back to realize salient parts of that interview along with the music Doris Day has made famous, as well as some we don’t often hear. there were some gems played on previous programs that we’ve since completely overlooked. As in any endeavor, In the second hour, the ole’ Request list will be consulted. there are phases, resulting in the use of certain artists at 11 VOLUME XLVII BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1996 made up of suggestions from the many letters with phrases Rifflin’ through the records on the second hour might just such as, “Why don’t you ever play...... or “Enclosed is a list take us into some of the small groups. Art VanDainme’s of my favorite recordings.” It’s these letters that keep us on accordion from yestetyear, Nat Cole’s original trio with our toes (or at least on our feet) and help lend some nice spice non-vocal delights, John Pizzarelli’s seven string guitar to the program. sans singing and Stuff Smith’s swingin’ violin will be at least a part of this session. Because it’s rifflin’, we’rejust not Nov 30 - Dec 1, 1996 This is a program we recorded sure what might occur. JOHNNY MERCER some years ago as a SONGBOOK salute to the lyric magic of December 21-22, 1996 The trick at Christmas time is Johnny Mercer, and a number of BIG BAND CHRISTMAS to find enough well-performed listeners have asked us to repeat it. We hear Johnny himself holiday melodies recorded in commenting on his work, along with comments by his either Big Band or traditional style without leaning too friend and the daughter of one of his collaborators, Margaret much toward novelty. Add some remembrances of Christ­ Whiting, as well as comments from his wife Ginger, who mas and you come up with a program that’ll add even more has since gone on to join Johnny now probably singing with flavorto the season. This time of year is always a sentimental an angelic chorus. time, and this collection of and word- pictures of past holidays should add to that sentimentality. It’s not possible to hear all the Mercer songs, but some of the ones included in the program are: SKYLARK, BLUES IN December 28-29, 1996 It’s become tradition that we THE NIGHT, LAZYBONES, TOO MARVELOUS FOR NEW YEAR’S ’45/ present the BBJ program featu- WORDS, HOORAY FOR HOLLYWOOD, JEEPERS DANCE TIME ring a series of 1945 dance bands CREEPERS, AND THE ANGELS SING, ONE FOR MY on the weekend nearest New BABY, , GI JIVE, DREAM. Year’s Eve each year. Preserved from an Armed Forces STRIP POLKA, LAURA, COME RAIN OR COME SHINE Radio Service short wave broadcast to military personnel and several others, with a compressed medley at the end of around the world, we hear the bands “live” from the ball­ the program to include some of the songs not presented in rooms where they were playing that night. Each band was their entirety. asked to play one number, then throw the feed to the next band. Aside from the entertainment and nostalgia value, December 7-8, 1996 This program was the result of a we’re enlightened by the one selection picked by each BIG BAND TWINS listener suggestion, asking us to bandleader to represent his organization at the end of 1944. compare different bands' performances of the same melodies. As a result, you’ll hear In the second hour some of the best-loved music for dancing both the Kenton and Tommy Dorsey versions of SUNNY is presented with a minimum of talk and a maximum of SIDE OF THE STREET, three SENTIMENTAL JOUR­ music. Ray Anthony is represented, as is Tommy Dorsey, NEY styles, from its composer Les Brown, Jerry Murad’s , the Spitfire Band and Glenn Miller, all playing Harmonicats and the more recent Spitfire Band. There will music with terpsichorean intent. be three GETTIN’ SENTIMENTAL OVER YOU versions, January 4-5,1997 Got to admit it’s been a while two UP A LAZY RIVER performances and a couple of TRANSCRIPTION FILE since we’ve really dug into the interpretations. The transcription file. Without bor­ familiar Duke Ellington TAKE THE A TRAIN will be ing those of you who are regulars, please let us explain to played not only by Ellington, but sung by the King Sisters newcomers that transcriptions are 16 inch 33 1/3 recordings and played in a very different way by Glenn Miller. Simi­ that were made long before LP’s were invented, each pressed larly, Count Basie’s ONE O ’CLOCK JUMP has been on the best vinyl for exclusive use by radio stations. The recorded by nearly every group worth its salt. Other public had 78’s, but radio stations had the giant 33 1/3’s selections to get the “twin” treatment will be CHEROKEE from the ’30s into about the middle ‘50’s when LP’s made and a novelty song titled STUFF LIKE THAT THERE. transcriptions extraneous. Over the holidays we intend to Should be fun. Let us know what you think. take some time to see if we can discover some fresh Big Band December 14-15,1996 The Jo Stafford interview will cuts that’ve been sleeping all these years. We’ll get out the JO STAFFORD/ be used to form the first hour of old 1930’s transcription turntable and attempt to cull out the RIFFLIN’ this program, with samples of best for you to hear. Jo’s recordings both with Dotes wov vary for a few stations. Please phone your local Tommy Dorsey and the Pied Pipers, and as a single vocalist Adult Standard station to confirm the time and day for BIG later in her career. She’ll comment on different phases of BAND JUMP in your area. her life leading into the music. 12 IT’S RENEWAL TIME FOR FORTY-SECOND ISSUE SUBSCRIBERS TO THE BBJ NEWSLETTER

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