BIG BAND JUMP NEWSLETTER

VOLUME XXVII BIG BAND JUMP NEWSLETTER JULY-AUGUST 1993

DORIS DAY INTERVIEW The Background

She really wanted to be a dancer, and with her partner was one of the most accomplished dancers in Ohio when an automobile accident ended that possibility. As noted in our conversation, when she could no longer dance she chose singing. Her mother was her constant companion, and as is often the case, seemed to fulfill her own aspirations through her daughter.

In her frank autobiography of some years ago, 's real life was not quite as idyllic as some of her movie roles or her image as a vocalist. She experi­ enced a couple of marriages involving both physical and mental abuse, then married a man who attained absolute control of her income, proceeding to lose most of it. A young Doris Day.

Except for a recent documentary television appear­ out Doris Day was warm, friendly and responsive.... ance, Doris Day has not recorded or appeared on either seeming to ignore the written questions and willing to the small or large screen for years, seeming to be comment on whatever came up in the natural course content with her animal concerns and her home in of our conversation. Carmel, California. More on that in the interview. The Interview The Scene BBJ: Can you recall how you gravitated to singing It wasn't easy getting set up to do the Doris Day when your dancing career was over? interview. She is, of course, a star of considerable magnitude and as such gets scores of requests monthly DD: Well, I had to do something. I was so young for interviews. We got in touch with her through a and full of vim and vigor, having been a dancer. I listener who wrote to say he corresponds with her. adored dancing and took about five lessons a week, Here was the process: He wrote her in depth suggest­ so it was a void. The doctor said I had to do something, ing she consider an interview with us. Her secretary so they bought a ukulele for me, but that didn't mean phoned to say it was OK, but could she have a list of much. When I was dancing I also sang in a personality the questions. A list was faxed to the secretary who class. We would pick a song that we liked and sing passed it on to Doris for approval. Later, a day and a chorus and then we would make up a dance to time were established for the actual interview to take perform in front of the other kids. place. When I was not able to walk, my mother decided, I We' re not fond of submitting the questions in advance, guess, that it would be interesting for me to take for it takes some of the spontaneity away, but it turns singing lessons. We found a vocal coach who had VOLUME XXVII BIG BAND JUMP NEWSLETTER JULY-AUGUST 1993 been at WLW for years. She felt that I had great DD: Never. (Laughs.) No, I've been Day a long time. potential, and since we couldn't afford three lessons a week, she gave me three lessons for the price of one. BBJ: Then that phony name now feels natural to you. I couldn't even walk on crutches. My mother and a friend of ours would make a basket with their hands DD: Oh yeah. It does now. and drive me over there, and then I would scoot up the stairway sitting on my rear. BBJ: Les Brown mentioned that in a sense he was your advisor even though he's only a couple of years BBJ: Was your mother a stage-door mother? older than you. Did you feel he was looking after you, or was that a more subtle influence? DD: Not really. She wasn't, but she loved music and dancing and she would have loved dancing and singing DD: Oh, all the boys did. My mother would go to when she was young if she'd had the opportunity, and him and I would go to him, but all the boys in the band she knew I loved it, so she saw to it that I could do all looked after me and they were just darling. It was a that I wanted to do. great band to be with.

BBJ: Do you think your singing talent is genetic? BBJ: Wasn't it tough being the only girl, traveling on the bus and having to keep your dress pressed, and DD: I don't know. My father had a wonderful voice changing in the rest room.... that kind of thing? and he could sing all of the parts; he had perfect pitch. He taught piano, violin, theory, organ, and he had DD: Oh, the long hours were fierce but what was huge singing groups in Cincinnati. It's a German city interesting is that we had so much fun. It was a fun and the German people love to sing. Well he had these band. Everybody was good-humored and that's the wonderful chorales, as they called them. In one of the most important thing in life. Even though it was groups he had four hundred voices, and I used to go difficult and sometimes we would drive all night, I with him quite often when they would rehearse. It was could always have something pressed at the hotels, so incredibly beautiful. that wasn't so bad.

BBJ: It's an old story, but can we hear in your words BBJ: We read somewhere you predicted that SENTI­ how you became Doris Day from Kappelhoff? MENTAL JOURNEY would be a big hit before you recorded it. Is that right? DD: When Barney Rapp signed me he had a club with a sign in front that said BARNEY RAPP AND HIS DD: We were staying at the Pennsylvania Hotel, NEW ENGLANDERS WITH.... and he would put which is not called that anymore, and having a the names of the vocalists. He said he could hardly rehearsal after the job. When Les called for SENTI­ put Kappelhoff out there. I told him I knew my name MENTAL JOURNEY, no one had ever heard it. He wasn't right, but I didn't know what to do. The reason wrote that with Ben Homer. Ben was up there on the he signed me with the band was he heard me on an stand, and everybody loved the song. We all ap­ amateur radio hour in Cincinnati and I sang the song plauded after it was over. DAY AFTER DAY. That was the reason he changed my name to Day. BBJ: Who arranged it?

I thought Doris Day sounded so phony! He said he DD: Ben Homer did, with Les. They both had a hand thought it sounded just perfect, and my mother liked in that. We had two remotes that very night, and one it; I never really did. Isn't that funny? was a network feed, so we did SENTIMENTAL JOURNEY every time we were on the air.... and the BBJ: We were going to ask if you think of yourself mail started coming in. The people at the hotel would as Doris Kappelhoff after all this time? bring in the mail, and it was all about SENTIMEN­ TAL JOURNEY. We just couldn't get over it, and VOLUME XXVII BIG BAND JUMP NEWSLETTER JULY-AUGUST 1993

I said it was going to be the biggest hit of all time. DD: I have the DORIS DAY ANIMAL LEAGUE which is based in Washington, D.C. That is strictly BBJ: Have you a favorite recording by you with Les lobbying for legislation. That's a whole different Brown? thing than the DORIS DAY FOUNDATION which is based in L.A. DD: I really don't remember all the things I did, but I suppose SENTIMENTAL JOURNEY would be it. BBJ: In your book you talk about the verbal, physical and in some instances financial abuse from your BBJ: How about a favorite as a single? husbands. Has that changed your outlook toward men.... or toward life? DD: Isn't that funny? I don't have a favorite, and I don't remember all that I recorded as a single either DD: Oh, no! I love men. (Laughs.) I think they're because I don't play my own records. I hear them on great. I just had some strange experiences, and I the radio, and once in a while I'll stop and I'll think, suppose I picked the wrong men; a lot of ladies do that. "I really did it just the way I wanted to and I'm so glad I don't know why I did that. But, you see, I think all it turned out that way." I feel like that often, but then of those experiences were really good for me, and it sometimes I don't. builds character and makes you stronger. I don't let those things get me down. I don't dwell on any of that. BBJ: Some vocalists feel a greater freedom singing It's over and done with and I'm just fine. with a small group than with a band. Do you feel that way? BBJ: Have you ever thought about going back into the recording studio? DD: No, I like both. DD: Oh, we talk about it all the time. Terry has a BBJ: You recorded some neat small group vocals on great studio in his home. (, Doris' son.) transcription with Page Cavanaugh. He works with the Beach Boys, and they record there, and so it would be very easy and convenient and fun DD: Yeah. I just heard from him the other day. to do. In fact we were talking about doing something They're playing in a little club down in L.A. some­ soon, but I don't know why it is.... I've had a where. He sent a card to me and said, "If you're down hoarseness that I've had for some time and I can't here, please come!" And I would, too! seem to get rid of it... it's pretty silly. I don't know if it's the weather or if I have allergies. BBJ: That brings up the next question. Because you have such a recognizable face as a result of your BBJ: Have you been to the doctor? movies, it must be difficult for you to move around in public. How do you handle that? DD: There's nothing there; there's no soreness, it's just a hoarseness and it might come from sinus. DD: I go wherever I want to go and I don't even think about it. I do a lot of my own shopping here. Because BBJ: Some people's voices grow deeper or get of all my animals, I go quite often. It's really sweet heavier with age. How's that for being delicate? because everybody says, "Oh, hi there." They'll say, "Oh, I saw your movie last night," or "I heard you on DD: I don't think my voice is heavier.... it's just that the radio just as I was driving in." In the cat and dog I sense the hoarseness and I'm constantly clearing my section they 'll always ask questions about this product throat. Itmust be somethinglike fromadrip. (Laughs.) and that product, but I enjoy seeing the smiles on their faces... it's very sweet. BBJ: What is your biggest current joy?

BBJ: Tell us about your animal concerns. DD: I have so many things that make me joyful. Just

3 VOLUME XXVII BIG BAND JUMP NEWSLETTER JULY-AUGUST 1993 being alive, we'll start out with that one. I can do (f BOOKS & RECORDS TO CONSIDER ) whatever I want, which is great, but I also love working. It’s also fun not to work; I don't care. If I OVER HERE, OVER THERE work, I love it; if I don’t work, I love it. I'm very And The fortunate because I'm not walking around here fretting USO Stars In World War II that I'm not working. Many, many scripts are sent to Maxene Andrews and Bill Gilbert - 288 pages me, but I haven't really found one I'd just jump for joy to do, and so I'm not going to do something just to be The Andrews Sisters were in the thick of the effort to busy. I am very busy right here with all my animals entertain the military for the same reason hundreds of I love and adore, and I have this great home in the other entertainers were.... because they wanted to be. choice spot in Carmel. With the formation of the USO a half-century ago, actors, singers and dancers responded generously. BBJ: What was the old line about you from Oscar This is the story of that response as seen through the Levant? eyes of Maxene Andrews, one of the three Andrews Sisters, the most popular singing group of the forties. DD: Oh, that's so old and boring. He knew me before I was a virgin, or something stupid like that. I never Maxene Andrews vividly recalls not only USO tours understood it. He was a cute guy, though. He was by the Andrews Sisters, but recounts stories about funny. Marlene Dietrich, Bob Hope, Bing Crosby, Danny Kaye, June Allyson, Cary Grant, Kate Smith, Frank BBJ: What's in the future for you? Sinatra, Mickey Rooney, Judy Garland, Ann Miller, Jack Benny and as well as scores of DD: I don't know, do you? I don't even think about others. that. I live now. I don't live in the future, I don't live in the past, I live right now. Right now everything is There was a total of nearly 300,000 shows before a just lovely. combined audience of 161 million service men and women by the time the Second World War ended. BBJ: Thanks for talking with us. Maxene writes about Kathryn Grayson's courageous refusal to sing before audiences where black soldiers DD: I think it's nice that you're interested and I enjoy were not admitted, Ann Miller performing 48 shows sharing my thoughts. in one day at the Coral Gables Hotel in Florida, which had been converted into a hospital. Claudette Colbert successfully charging $ 1,000.00 a kiss for War Bonds, Doris Day ended the conversation with a few personal and selling six thousand dollars worth of kisses in a questions and the invitation to call her again. We may few minutes. just do that when and if she decides to record again, for any new recording she 'd make would create a solid The book captures the spirit of togetherness and can- basis fo r discussion. do spirit of America during the first half of the forties. There are sixteen pages of vintage photos. It's a brand (D.K.) new book, released in hard cover in June, 1993.

******************************* About $23.00. Zebra Books, 475 Park Avenue South, New York, NY 10016 Next issue, an interview with Maxene Andrews, one of the two remaining Andrews Sisters. Her book is BALLROOM ECHOES reviewed in this issue. Also in this issue, ten questions U.S. Big Band Ballrooms Past & Present for Pat Longo, one o f the relatively young bandleaders Lon A. Gault - 330 pages keeping the Big Band business alive, and doing it in a totally business-like way. This 1989 soft-cover book was sent to us by a listener/ 4 VOLUME XXVII BIG BAND reader as a reference book, and we checked with the author to see if it's still available. It is, and will certainly bring back fond memories to many who lived in the era of the great ballrooms; for those who didn't, it will explain the glory and fascination of those times.

Not only are such ballrooms as the TRIANON, ARAGON, MEADOWBROOK, STEEL PIER and PALLADIUM covered in this unique book, but ballrooms seldom heard about outside a specific region are also described. The author puts the ballrooms into categories such as: Amusement Park, Oceanside, Big City, Small City, Black, Country, All-But-Forgotten, New since 1950, Etc., making it easy to zero in on your favorite ballroom.

It's obvious that author Gault, a history professor, went to great lengths to insure accuracy, acquire photos and go behind the scenes by talking with operators, bandleaders, sidemen, local librarians.... A late 30's Artie Shaw. anyone who could fill in the details. Unlike a purely Tony Pastor and the instrumental work of Bernie factual history lesson, however, this chunk of history Privin, Johnny Best, Georgie Auld, Hank Freeman and carries with it a vital part of the lives of millions of Buddy Rich. Arrangements are by Artie Shaw, Jerry Americans. Gray and A1 Avola. This is HINDSIGHT'S second boxed set, coming on the heels of a 1992 award­ $11.95 including S&H. ANDREW CORBET PRESS winning Duke Ellington collection. - 1622 Wadham Court - Wheaton, IL 60187 Included in the deluxe 6x12 hard box is a 20 page ARTIE SHAW AND HIS ORCHESTRA booklet featuring full personnel information and re­ King Of The Clarinet cording dates, along with comments by Artie Shaw Hindsight HBCD-502 himself and track-by-track descriptions plus many rare photographs. The people at HINDSIGHT RECORDS were pio­ neers in discovering and restoring off-air recordings, As one critic put it, "It was an important period in the as well as finding radio transcriptions and putting genesis of his music and the Big Band Era.” Another them out on LP, cassette or CD. Now HINDSIGHT observer of the Big Band Scene suggested that Shaw's offers its second 3 CD Box Set containing a total of music didn't sound as current as Lunceford's or 63 tracks of Artie Shaw recorded during broadcasts Dorsey's of the same era as we listen with the from both THE BLUE ROOM of the Hotel Lincoln perspective of a half-century of mellowing. Whatever and THE CAFE ROUGE of the Pennsylvania Hotel your view, this is a valuable benchmark of the Big Band in Manhattan, as well as the SUMMER TERRACE Era's development, and should be in every Big Band on the roof of the Ritz-Carlton in Boston. enthusiast's library.

Eleven of the tracks are previously unreleased. In­ MOON RIVER cluded are such familiar titles as STARDUST, BACK Henry Mancini & His Orchestra BAY SHUFFLE, WHAT IS THIS THING CALLED RCA Victor 61513-2 LOVE, ST. LOUIS BLUES, NIGHTMARE, and a ton of others featuring vocals by Helen Forrest and This recent album arranged and conducted by Mancini, 5 VOLUME XXVII BIG BAND JUMP NEWSLETTER JULV-AUGUST 1993 consists of a series of medleys saluting various performers. There is a medley of Mancini's music from his motion pictures, a portrait of the Beatles, Simon and Garfunkel and music from Jesus Christ Superstar, and they are spectacular. The value to Big Band enthusiasts, however, is the Big Band montage with the themes of nine major bands performed in Mancini style, plus A Tribute to Victor Young medley with his most recalled compositions, and a strident March with Mancini medley consisting of marches from the sound tracks of motion pictures. Excellent technically and musically, particularly if you like concert arrangements.

FOR THE FIRST TIME The Count Basie Trio Pablo PACD 2310-712-2

Generally the Count Basie piano is heard with the full orchestra as punctuation, and even though he did Susannah McCorkle record with his renowned rhythm section, Cole, Page So many older musicians stress that we must support and Green, this recording from 1974 beautifully the younger performers in order to preserve "real" showcases the Basie piano style. Ray Brown plays American popular music and reach younger genera­ bass and Louie Bellson plays drums as Count Basie tions with its quality. The trick is to find youthful swings in his restrained and ever appealing way. performers who select their material with taste and then perform it with style. Style, of course, cannot be Included are BABY LAWRENCE, in remembrance defined, for its appeal is highly subjective. Susannah of a dancer Basie used to work with in vaudeville, McCorkle has style, and it's our guess she'll be a key I’LL ALWAYS BE IN LOVE WITH YOU, LADY figure in creating a bridge between generations. BE GOOD in two versions, AS LONG AS I LIVE, SONG OF THE ISLAND, ROYAL GARDEN Accompanied by an eight piece outfit, Susannah BLUES, (UN)EASY DOES IT and the Basie organ McCorkle sings such recognizable standards as AC- featured on BLUES IN THE CHURCH, plus others. CENT-TCHU-ATE THE POSITIVE, HOW DEEP IS THE OCEAN, THE LADY IS A TRAMP, HIT You get the idea that these three guys really liked THE ROAD TO DREAMLAND and YOU GO TO playing together. You get the idea they looked MY HEAD. She also, however, sings lyrics from forward to that May day in 1974 when the session was some of the newer or lesser-known compositions with scheduled. You get the idea they had fun doing two QUALITY TIME, STILL CRAZY AFTER ALL versions of LADY BE GOOD and launching into a THESE YEARS, ADEUS AMERICA and THAT very fast blues style in a Basie opus titled simply O.P. OLE DEVIL CALLED LOVE. There was a spectator at one of the Basie sessions who remarked that Basie's very presence in the studio The vocalist herself sums up the broad time frame of changed the quality of everyone's performance. His the songs in this album: "I dedicate this album to the influence seemed to do just that in this recording. great singers and songwriters of the past, present, and future, withthehopethattheirworkwillbecherished FROM BESSIE TO BRAZIL for as long as people have ears to listen with and hearts Susannah McCorkle to be moved." This is a literate lady who sings with Concord CCD-4547 style.

6 VOLUME XXVII BIG BAND JUMP NEWSLETTER JULY-AUGUST 1993

STRING. One dealer in Big Band records explained LETTERS TO THE BBJ NEWSLETTER that quite a few people ask fo r it, but he didn 't know if it was available. No used record company we asked Letters are edited but the meaning is preserved. We had it, either. That doesn't mean it's not available, but attempt to answer all mail to either the radio program just that we couldn 't find it. I f a reader has a copy, or the newsletter, but the volume received makes it we 'll put you in touch with Mr. Parker. difficult to handle individual letters. WritetotheBBJ NEWSLETTER at: A.T. DeNicoIa Some time ago your program Brick, NJ included a band whose pianist BBJ NEWSLETTER was named Gene Harris. His Box 52252 rendition of NIGHT MIST BLUES was terrific. Atlanta, GA 30355 Having lived with two pianists in the family (from Bach to Brubeck) I would appreciate any information R.H. Aldstadt Would request/appreciate cur- as to the availability of cassettes or LP's featuring Ocala, FL rent status or personal informa­ Gene Harris. tion on some of the leaders, soloists and sidemen of the era in each issue, such as One o f our favorites, tool Gene Harris is the piano­ Anita O’Day, Keely Smith, Sam Donahue, Butch playing leader o f a dynamic West Coast band Miles, Zoot Sims, etal. Still active? Retired? Passed sponsored by Phillip Morris in a worldwide tour in on? 1990. His music is available on the Concord label, and the CD (or cassette) o f NIGHT MIST BLUES is on One o f those excellent ideas. The first o f a series Concord CCD 4337, titled THE GENE HARRIS ALL- tracking the fates o f Big Band personalities will he in STAR BAND TRIBUTE TO COUNT BASIE. Harris the next issue. has such top musicians as Snooky Young, Conte Candoli, Bill Watrous, Marshal Royal, Bob Cooper, William Wert Can you tell me if Georg Brunis Plas Johnson and Ray Brown. Harrisburg, PA (New Orleans tailgate trombone) is still with us? TECHNICAL RECORDING NOTES

We checked with our New Orleans contact who tells CDs us Georg Brunis left us in 1974, shortly after record­ ing an album with Smokey Stover fo r Jazzology For the years since the CD was introduced, some (number J-53) just before Christmas in 1973. Inter­ critics have complained that the music from a CD isn't esting to note that his name was actually spelled as warm or round or with as much depth as the same George Brunies, but he was interested in numerology music from an LP. Difficult to describe sound with and because o f some numerological reason dropped words but most of the small group of audiophile CD the last "E's" from both his names. critics claimed the music on CD's is "raspy" or "crisp" or "harsh" when compared to LP's. Engineers, being Mercer Parker BBJ recently featured some in- for the most part purely technical people, thought the Dallas, TX formation on Ted Heath. I have critics were out in left field, to say the least. three cassettes with Ted Heath and his music, but none have my favorite I'VE GOT Now SONY MUSIC is re-mastering some of their THE WORLD ON A STRING. Where can I get a CD's in a special series adding 20% more information cassette with this song on it? I thoroughly enjoy Big than available on the CD's you now have in your Band Jump on Saturday morning (9 to 11 AM) over library. For a time these special CD's will cost about 1310 KAAM in Dallas. Great job. Very nostalgic. twice as much as the ordinary CD, but SONY assures us that the new technology with the added auditory We checked every source we know and could not find information will be used to produce all their CD's as the Heath version o f I'VE GOT THE WORLD ON A soon as their remaining shelf-stock is sold. 7 VOLUME XXVII BIG BAND JUMP NEWSLETTER JULY-AUGUST 1993 The new technology CD's are plated with gold and TEN QUESTIONS FOR PAT LONGO placed in a sort of book, something between a boxed set and the standard packaging. The gold plating Every so often it'd be a good idea to highlight the men doesn't mean anything so far as sound is concerned, and women who are perhaps lesser-known but work­ it's just a way to delineate the so-called LEGACY ing to keep the Big Bands alive, either through MASTERSOUND series from the much less expen­ maintaining amateur bands in various cities, or lead­ sive regular silver-color CD's. ing professional regional bands.

TURNTABLES Pat Longo has managed to keep a highly professional band together in the Los Angeles area since the Radio station engineers tell us that no manufacturer is seventies, and has caught the attention of both musi­ making turntables anymore. Most medium and major cians and listeners all over the nation through a series market radio station studios either do not have turn­ of albums with exciting arrangements and precise tables, or they're hidden beneath the counter under a execution. He played for dancing at the Big Band hinged lid gathering dust. Some readers have asked Academy of America dinner at Studio City, Califor­ us how to acquire 78 RPM turntables to copy their 78 nia in March, where we cornered him: collections. Our suggestion is to check with your local radio station to either buy one from them (if they ONE How did the love of playing start for you? still have one available) or ask the station engineer for the name of a used equipment supplier. LONGO I started playing saxophone in high school in Lodi, New Jersey. From high STYLI school I went directly into the Marines stationed at Cherry Point where I joined the To our knowledge, only one company still makes styli Second Marine Air Wing Band for about (needles) which are the proper diameter for playback three and a half years. In '52 I came out to of the wider grooves on 78 rpm recordings and radio transcriptions. Shure Brothers at 222 Hartrey Av­ enue, Evanston, IL 60202 manufactures a 2Vi mil stylus to fit their N44 cartridge. The same cartridge may be used for microgroove (LP and 45’s) by the simple replacement of a 1 mil stylus.

SIDELIGHT

In the days before recordings when a piece of sheet music could sell a million copies, Irving Berlin's SMILE AND SHOW YOUR DIMPLE fetched just a thousand sales nationwide. It had a lilting melody, but the lyrics didn't seem to fire the imagination of the public.

When Mr. Berlin needed a song to commemorate Easter, he used that same melody, but wrote brand new lyrics. SMILE AND SHOW YOUR DIMPLE'S first words became "In your Easter bonnet, with all the frills upon it...... " and we now know it as EASTER PARADE. (H.M.) VOLUME XXVII BIG BAND JUMP NEWSLETTER JULV-AUGUST 1993

California to go to music school and I had TEARS and about '83 or '84 we did the to make a living so I got a job in a bank. I album FOR PRESIDENT stayed with that bank for eighteen years, featuring Frank Sinatra, Jr. We're moving. leaving as a vice-president. We're trying to keep the Big Bands alive, and we hope we're contributing something TWO How did that tie-in with music? to that.

LONGO I played my horn every weekend, and SIX How many nights a year do you work? in the early seventies I decided to go music full-time. I joined the Jimmy Dorsey Band LONGO With the Big Band.... maybe under the direction of Lee Castle in the twenty, twenty-five nights a year, which is early part of the seventies. a lot for a Big Band. My living is music, full-time. I also break the band down to THREE Didn't you play with Harry James? twelve or nine men, or if they want a combo, we do that too, but the economy being what LONGO In seventy-five I received a call it is we do everything. from Pee Wee Monte (Harry James' man­ ager). They were opening at Disneyland SEVEN The future of Big Bands? and their alto saxophone player was ill and I joined the band the night of December LONGO There are several of us trying to 27th, 1975 and after the first set I was keep them alive, and the younger people standing at the side and Harry came by and are amazed when they hear a big band, so if said, "Sounds good, kid!" The next thing I knew Pee Wee said that Harry asked if I'd like to join the band. Well, I've been waitin' for that since I was in my twenties! Here I am in my early forties and joined the Harry James Band.

FOUR How did your own band come into being?

LONGO I was with Harry for three years, then he helped me start my band. We did maybe a hundred sixty dates a year with Harry, and the rest of the time we were off. Ninety percent of the band was from Los Angeles so I used to call rehearsals and asked Harry for some charts and he was very gracious; he gave us some music to copy, and that's the way we got rolling.

FIVE When did you leave Harry and officially start your band?

LONGO I left Harry in May of '78 and started my band. We did our first re­ cording called CHAIN REACTION for Town Hall Records in 1979. Two years later we did an album called CROCODILE VOLUME XXVII BIG BAND JUMP NEWSLETTER JULY-AUGUST 1993

we can catch their ears...... we can't live in UPCOMING BBJ PROGRAM TITLES the forties. We can't go out and play a job and play and MOON­ July 3-4, 1993 She's as perky today LIGHT SERENADE that Miller did so DORIS DAY SPEAKS as she was when she great that you couldn't duplicate it. sang with Les Brown' s Orchestra in the forties. Parts of the interview in printed If you're gonna' play MOONLIGHT SER­ form in this issue of the BBJ NEWSLETTER are in audio ENADE, play it with another arranger, form in the first hour of this program, along with some another mood, but you can't be playing of Doris Day's most memorable recordings. We those old great tunes because then you have RIFFLE THROUGH THE RECORDS during the second no identity. That's the key. And we've got hour, checking out some radio transcriptions and jingles. to start playing some of the contemporary things.... things we can understand, with July 10-11, 1993 Forty million people KAY KYSER PROFILE tuned to NBC every lyrics. There are some beautiful things out. Wednesday night to hear the Kollege of Musical Knowledge with Kay Kyser, E IG H T How do you keep the money coming in? Ish Kabbible, Ginny Simms, Harry Babbitt and the gang as they clowned and played highly commercial music. LO N G O The way I survive is with As one of the most requested programs of the BBJ titles, corporate accounts. Fuji is one of my we offer this two hour session which features the voices accounts. I was in Las Vegas in February of Kay himself, his wife Georgia and daughter Kimberly, with the Big Band for Fuji. Here in Los all giving us remarkable insight into the Kay Kyser Angeles one of my accounts is the Los personality during and after his greatest fame. He was a Angeles Area Council of Boy Scouts of movie star, a recording star, a top radio personality and America. I'm their unauthorized musical leader of one of the most popular orchestras of its kind director. They put on about 25 fund-raisers in America, and couldn't play an instrument. a year, and more than half of those have music. Disneyland is one of mine.... and several other accounts.

NINE Do you still have friends in banking?

L O N G O All of my banking friends are either presidents or senior vice-presidents or big stock-holders. But I'm glad I left the banking industry; music is my first love and I'll stay with it. I have no regrets.

T E N What's your biggest kick?

L O N G O Standing in front of seventeen pieces is the most exciting thing in the world so far as I'm concerned. Work to me is when I'm sitting at my desk calling people and looking for different dates.... that's work. When I get on the bandstand, that's my Professor Kay Kyser vacation. I love it. We apologize for omitting the remainder of the title (H.W.) listings, but we were unable to get clearance by press time. 10 AVAILABLE BIG BAND PRODUCTS PAGE 1 ORDER FORM ENCLOSED

(FF) THE SPITFIRE BAND - Make Believe Ballroom

Available on CD or Cassette

A great band....not just good, but great! Toronto’s SPITFIRE BAND is one of those relatively unknown bands keeping the sound alive, and doing it extremely well. Until recently, the SPITFIRE BAND recordings were difficult to get in the U.S.

The very best bet is this extra-value album. It’s available as a single CD or Cassette, but each contains 35 selections, including eleven performed as medleys....a total of 24 dynamic cuts, played by a band that’s created a sensation in Canada, and has been in demand recently in the United States because of its crisp arrangements and smooth vocal group.

It’s as if you were hearing a band of the forties, but with the technical excellence of today. It’s our choice for the most listenable, tasteful band on the North American continent combining familiar music with fresh, new arrangements keeping the mood of the originals.

CD: $17.95 +$2.50 S&H Cassette: $ 11.95 + $ 2.50 S&H

Don’t miss this one. If you’re not thrilled, we’ll be totally surprised.

Includes: SING, SING, SING LET’S DANCE I CAN’T GET STARTED ST. LOUIS BLUES BASIN STREET BLUES YOU MADE ME LOVE YOU STARS FELL ON ALABAMA I’LL NEVER SMILE AGAIN GEORGIA FOR ALL WE KNOW CHEROKEE AFTER YOU’VE GONE AC-CENT-TCHU-ATE THE MARIE POSITIVE ATCHISON, TOPEKA & GREEN EYES SANTA FE AMAPOLA G.l. JIVE TANGERINE PENNSYLVANIA 6-5000 OLD SHANTY TOWN SENTIMENTAL JOURNEY BUGLE CALL RAG LEAP FROG STOMPIN’ AT THE SAVOY KALAMAZOO MAKE BELIEVE BALLROOM NO MORE DANCIN'

Well over an hour of excellent listening, joining nostalgia and a fresh, new approach. If you haven’t heard the SPITFIRE BAND, you're missing a thrill.

CD: $ 17.95 + $2.50 S&H Total $20.45 Cassette: $ 11.95 + $2.50 S&H Total $14.45

MORE PRODUCT DESCRIPTIONS ANDAN ORDER FORM ON FOLLOWING PAGES AVAILABLE BIG BAND PRODUCTS PAGE 2 ORDER FORM ENCLOSED

(W) GEORGE SIMON’S BOOK - THE BIG BANDS

The finest book ever written to capture the atmosphere, the anecdotes and the stories behind the Big Band Era. Former METRONOME MAGAZINE editor George Simon writes with feeling and warmth about all the major Big Bands and many of the regional and lesser-known leaders with hundreds of behind-the-scenes photographs.

There’s a chapter on the Big Band Vocalists, the influence of radio and movies on the development of the Era, plus individual in-depth background of each of of the key names in the history of the Big Bands.

If any Big Band buff was limited to one book to chronicle the Big Band Era, including the personalities, the music, the business and the history....this would be the one.

Acclaimed by those who have it as an invaluable addition to their Big Band libraries.

THE BIG BANDS - George Simon 600 pages-300 photographs-Profiles of hundreds of Big Bands and their leaders. Soft cover.

$ 23.00 plus $3.50 S&H $26.50

(AA) THEMES OF THE BIG BANDS 3 Cassettes or 2 CD's

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

Includes twenty-one themes of the sweet bands and twenty-one themes of the swing bands, bringing back the sounds so familiar to you....the most recognizable music of all the tunes played.

Includes:

BIG BAND THEME BIG BAND THEME Benny Goodman Let's Dance Henry Busse Hot Lips Glenn Miller 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 Phil Harris Rose Room Count Basie One O'Clock Jump Ted Lewis When My Baby Smiles At Me Andy Kirk Until The Real Thing Comes Along Wayne King The Waltz You Saved For Me Bob Crosby Summertime Hal Kemp How I Miss You Jimmie Lunceford Jazznocracy Eddy Duchin Twilight Dream Tommy Dorsey Gettin' Sentimental Over You Clyde McCoy Sugar Blues Jimmy Dorsey Contrasts Art Kassel Hell's Bells Charlie Barnet Cherokee Russ Morgan Does Your Heart Beat For Me Claude Thornhill Snowfall Orrin Tucker Drifting And Dreaming Jan Savitt Quaker City Jazz Shep Fields Rippling Rhythm Stan Kenton Artistry In Rhythm Henry King A Blues Serenade Duke Ellington Take The A Train Skinnay Ennis Got A Date With An Angel Artie Shaw Nightmare Guy Lombardo Auld Lang Syne Lionel Hampton Flying Home Xavier Cugat My Shawl Gene Krupa Apurksody Kay Kyser Thinking Of You Les Brown Leap Frog Vincent Lopez Nola

One of the most popular collections we've ever offered! Our supplier tells us there's a limited number still available.

THREE CASSETTES: $ 16.95 plus $2.50 S&H $19.45 TWO CD'S: $ 21.95 plus $2.50 S&H $ 24.45 AVAILABLE BIG BAND PRODUCTS PAGE 3 ORDER FORM ENCLOSED

(E) BIG BANDS OF THE WAR YEARS ^IG BANDS of the Cassette Only Total Cuts: 21 °WAR YEARS’I

Twenty-one selections by eight great bands, with narration by BIG BAND JUMP host Don Kennedy recalling the events, the voices, the mood and the feeling of WWII, a unique time in history. If you're looking for just music or all familiar melodies, this cassette is not for you. It’s in answerto the hundreds of listeners who have asked for copies of BBJ programs. Since that’s not possible because of copyright restrictions, the BBJ producers have prepared this special program containing the most important narration and both familiar and unfamiliar music of the era.

Selections include: Day By Day / I’ve Got My Love To Keep Me Warm / Frim Fram Sauce - Les Brown — Snowfall - Claude Thornhill — Stardreams / He Wears A Pair Of Silver Wings / - — All Or Nothing At All / Two O'clock Jump - Harry James — Something Sentimental - Vaughn Monroe — Redskin Rhumba / Phylisse - Charlie Barnet - 1 Got Nothin’ But The Blues - Duke Ellington.... 21 selections total, 70 minutes of music and narration.

$ 9. 95 for Cassette + 2.50S&H Features: Doris Day Rosemary Clooney with Tony Pastor's Orchestra Dick Haymes with Harry James Lena Horne with Charlie Barnet June Hutton with Chariie Spivak Vaughn Monroe and the Moon Maids The voices of Franklin Roosevelt, General Eisenhower and others.

(DD) BIG BAND PERSONALITY INTERVIEW COLLECTION

Book $9.95 + $ 2.00 S & H.

We’ve collected the Big Band personality interviews from early BBJ NEWSLETTERS PERSONALITY into a single bound publication with a dozen revealing, personal, up-close interviews with photographs of those personalities. Includes in-depth interviews with COUNT BASIE, INTERVIEWS ARTIE SHAW, FRANKIE CARLE, HELEN O'CONNELL, MEL TORME, , ERSKINE HAWKINS, CHARLIE BARNET, STAN KENTON, YANK BIG LAWSON, BOBBY HAGGART and RAY McKINLEY. BAND The best way to learn about the Big Band Era is from the people who lived it. The JUMP dozen Big Band personalities give valuable insights into the era, reaching beyond the surface and lending richness and meaning to each anecdote and experience.

$11.95 Total

MORE PRODUCT DESCRIPTIONS ANDAN ORDER FORM ON FOLLOWING PAGES AVAILABLE BIG BAND PRODUCTS PAGE 4 ORDER FORM ENCLOSED

(G) TOMMY DORSEY ORCHESTRA - 1942 War Bond Radio Programs

Available on CD Total cuts: 16 Total selections: 20 TOMMY DORSO ARO HIS ORCHESTRA 1943 »AS BOND BROADCAST Mocáis Sy TRANK SÌNATHA DICK -‘ASMES / JD SÎAffORD PIED RIPE SS

A suspension in time recording, with Dick Haymes (who never recorded commercially with Tommy Dorsey) singing some of the songs identified with Frank Sinatra, and an earlier broadcast with Sinatra.

JUST AS THOUGH YOU WERE HERE, WHO, SOMEBODY LOVES ME, SWING HIGH, I'VE FOUND A NEW BABY, IT STARTED ALL OVER AGAIN, EXACTLY LIKE YOU and others. All except BLUES IN THE NIGHT excellent quality.

Recorded in Chicago and Hollywood. Features:

Ziggy Elman Buddy Rich Dick Haymes Frank Sinatra Jo Stafford Pied Pipers $13.95 for CD + $2.50 S&H

One of the favorites with good reason. Thrilling, transporting sound and emotion.

(P) FRANKIE CARLE & HIS ORCHESTRA - Radio remotes

NOW available in both Cassette & CD Total cuts: 1 9

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

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

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

(M) GLENN MILLER ARMY AIR FORCE BAND - Live 1943-44 GLENN MILLER ARMY AIR TORCE BAND Available on CD Total cuts: 27

Twenty-three selections plus theme songs. Outstanding quality from restoration of original off-air performances by what some consider to be the best of the Miller bands, when he had his pick of all the musicians in the service.

Includes JEEP JOCKEY JUMP, SONG OF THE VOLGA BOATMAN, WITH MY HEAD IN THE CLOUDS, JUKE BOX SATURDAY NIGHT, LADY BE GOOD, ANVIL CHORUS with Ray McKinley's drums, A LOVELY WAY TO SPEND AN EVENING, ANNIE LAURIE, HOT TIME IN THE TOWN OF BERLIN and many others. Features: Featuring . Ray McKinley, Gloria Brent and the Crew Chiefs Johnny Desmond The Crew Chiefs Ray McKinley Gloria Brent $15.95 + $2.50 S&H Five WWII Miller Orchestra photos in CD booklet.

ORDER FORM ON NEXT PAGE ORDER FORM - JULY-AUGUST, 1993

Please send the following: (Check selections, please.)

(FF) THE SPITFIRE BAND ( ) (W) GEORGE SIMON'S BIG BANDS ( ) (CD $ 20.45 Total - Cassette $ 14.45 Total) (Book - $ 26.50 Total) (Specify CD [ ] or Cassette [ ]) (E) BIG BANDS OF THE WAR YEARS ( ) (AA) THEMES OF THE BIG BANDS ( ) (Cassette only - $ 12.45 Total) (CD $ 24.45 Total - Cassette $ 19.45 Total) (Specify CD [ ] or Cassette [ ]) (DD) PERSONALITY INTERVIEWS ( ) (Book - $ 11.95 Total) (G) TOMMY DORSEY BOND SHOWS ( ) (CD only-$ 16.45 Total) (P) FRANKIE CARLE REMOTES ( ) (CD $ 16.45 Total - Cassette $ 12.45 Total) (M) GLENN MILLER AAF BAND ( ) (Specify CD [ ] or Cassette [ ]) (CD only - $ 18.45 Total)

Georgia residents please add 6% sales tax to purchase price. Items and prices noted on these sheets good through August 31, 1993.

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

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 27 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.

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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

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* In-person interviews with outstanding Big Band music personalities.

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

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

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