BIG BAND JUMP

NEWSLETTER

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

VOLUME XLII ______BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 1996

WILLARD ALEXANDER INTERVIEW

The Background

Who, you might ask, is Willard Alexander, and why is he being interviewed in a Big Band publication? As head of WILLARD ALEXANDER, INC., an artist’s management group, he probably had more to do with the booking of Big Bands than any single person in the history of the Band business.

We who listen to the Big Bands sometimes forget that it is a business, and to continue it must make money. To do that someone must assure the bandleaders consistent Willard Alexander & interviewer Richard Grudens bookings throughout the year. Payrolls must be met, arrangements must be paid for, transportation expenses, stand-fronts .... all expenses must be handled as the notably the Goodman ’38 concert background. We’re result of bookings .... bookings by such agencies as gratified to have even these few words from an icon of Willard Alexander. Big Band history.

The WILLARD ALEXANDER, INC. agency faded The Interview away after its leader died in the early 80’s, and those who worked for him went their own way, some still BBJ: What brings you here tonight? representing Big Bands as bookers, most still in the music business in one way or another. WA: I always like to attend, if possible, a band booking on the first night. (He booked the The Scene Miller Orchestra at the time.)

Interviewer Richard Grudens talked with Willard BBJ: How long have you been at this? Alexander in 1982, backstage at the Westbury Music Fair. Billy Eckstine was there, William B. Williams of WA: Well, I was an agent in business in Philadelphia WNEW fame, Margaret Whiting and Larry O’Brien, even when I was in college at the University of the leader ofthe current Glenn Miller Orchestra. Grudens Pennsylvania where I was a junior year student. I explained that the entire bunch wound up in the hallway majored in music, studied music, and followed musi­ just before showtime, and that was the first time he met cians. But then I joined MCA which was a growing Willard Alexander, who had been a Big Band booking agency in 1934, and of course it became the largest legend for years. “He was,” Grudens says, “a gentle­ agency in the business. I was there for six years then I man, although it was rumored that he was a tough resigned and founded the band department for the Wil­ cookie in the industry.” There were, Grudens points liam Morris Agency .... then I soon opened my own out, many interruptions during the few moments he was business which I still have today, which is the represen­ able to spend with Mr. Alexander, as friends passed by tation of many Big Bands, mostly. (The Alexander and groups of people filed in to see the show. For that Agency represented such bands as Goodman, Basie, and reason, only a couple of subjects were covered, most Ellington among many others.) VOLUME XLII BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 1996

BBJ: Do you see John Hammond as often as in the old selected the services of Sol Hurok, so I did the actual days? booking and Hurok the publicity .... you know, getting the word that modem jazz would be played at Carnegie WA: We get together occasionally, but he’s not Hall for the first time. It was the first jazz concert Hurok feeling too well these days. ever did, but his name carried weight in the field.

BBJ: Was he ever an agent for anyone? BBJ: Were you sure it would work?

WA: Oh, no. He just got the kicks out of it. He was WA: Yes! When you get as big and as hot and as a wealthy boy that just liked music, so he confident as Goodman was in those days, why supported it and was always bringing new faces he not? We felt we had a winner. Filling 2,800 seats was thought were good and promoted them. no great thing for a concert hall.... we were su re it would work. You know, it was a new approach. BBJ: Were you and he associated in any way back in the 30’s while you were an agent? BBJ: Would you say it was one of your great accomplishments? WA: Yes, we worked together with Benny Goodman. WA: Well, I had a lot to do with it, not all to do with BBJ: Wasn’t it Hammond who also discovered it, and Mr. Hurok had a lot to do with it. I Lionel Hampton? brought them together with Nathanson, but Benny was the key player because he could have done any concert WA: Gee, I really don’t know, but I don’t think so. When anywhere at the time and I’m sure it would have they formed a trio (Goodman, Krupa and Wilson) succeeded. We certainly couldn’t have done any better I know he wasn’t in the trio. But, I’m not sure, maybe he did. or been more successful. I guess I can say it was an important part of my career. Benny’s, too .... and BBJ: You represented Benny Goodman at the time of Hurok, and even Nathanson. the amazing 1938 Carnegie Hall Concert. The show began, bringing an abrupt end to the inter­ WA: Oh, sure! Believe it or not, it was very easy to view, an interview that could have extended to so many make bookings for the jazz bands at that time more subjects. Interviewer Grudens and Willard almost anywhere. They were becoming in great demand Alexander planned lunch to continue the interview, but at all the pavilions. Alexander died before arrangements were made.

BBJ: How did you know the public at large was ready for that kind of music to be performed in such EARLY BBJ NEWSLETTER INTERVIEWS a blue-blooded place as Carnegie Hall? We receive letters from more recent subscribers sug­ WA: Well, we thought Benny’s name was known gesting that we reprint earlier Big Band Era personal­ well enough to try it. It was a guy named Win ity interviews they’ve missed. We present these con­ Nathanson, a public relations man who was working densed commentsfrom previously published material. with Benny who recommended we do a concert in Carnegie Hall, believingthe world was ready for Benny’s THE CHARLIE BARNET CAPSULE kind of stuff. You know, in those days there were few concert halls .... there was no Avery Fisher Hall or In the sixteenth issue of the BBJ NEWSLETTER in Lincoln Center. late 1991 we published an interview with Charlie Barnet, one o f the most innovative o f the bandleaders; BBJ: How did you get together and work it out? certainly one o f the most fascinating from a person­ ality standpoint. We repeat key parts o f that inter­ WA: Well, we all had something to do with it. We view, conducted just a few months before his death. 2 VOLUME XLII BIG BAND JUMP NEWSLETTER JANUARV-FEBRUARY 1996

actually had the parts memorized.

BBJ: Would you say your big break came at the Famous Doorin ’39? Was that the beginning of the band we all recall?

CB: That’s the one, yeah. That would be the place, and as far as I was concerned that was going to be it or forget it. The good thing about the Famous Door was you didn’t have to play for danc­ ing; therefore there wasn’t any question of tempos or volume or anything. It was strictly a jazz joint, and we were on the air every night.

BBJ: Didn’t the audience at the Apollo Theater used to sing with your tenor solos?

CB: That audience is the greatest. You haven’t lived until you’ve played for that audience. They were wonderful, and we used to play the Apollo three and four times a year. It became a place to look forward to. We always had a great following there. While you A young Charlie Barnet worked hard, you enjoyed it because that audience was so great. BB J: A lot of girl vocalists became famous with your band. BBJ: Is there any truth to the story that Victor executives really didn’t want to release CB: I guess the most famous one was Lena Horne, CHEROKEE? then we had Kay Starr and my favorite, Fran Warren. CB: Not really. The A&R man on the date, Leonard Joy, asked me when my birthday was. I told BB J: Frances Wayne sang with you, too, didn’t she? him and he said, “Well, you can have the master.” But he was wrong. CB: Yeah, that’s right, although she only made one record with me. She went over to Woody BBJ: And there was the story that you didn’t have a Herman with Ralph Bums. She married Neal Hefti there. soprano sax to record POMPTON TURN­ Unfortunately she died some time ago. Nice lady, too. PIKE after Billy May wrote it for a recording session.

BBJ: There was that renowned 1939 Palomar fire. CB: Yeah, there were some hock shops on Eighth How did you operate after that without your Avenue and I got one right out of the window. music and instruments? B B J: There’s been some question whether your theme CB: Well, fortunately we got new instalments right was CHEROKEE or REDSKIN RHUMBA. away from the music store there in town, and as far as the arrangements were concerned, there hadn’t CB: REDSKIN RHUMBA. It says on the label it been any changes in personnel for a long, long time. was written by Dale Bennett. Between They never took the parts out anyway. We went all the bandleaders there wasn’t too great a camaraderie in way across the country, back to Boston I believe it was, those days. I had a feeling if I put my name on it, nobody without even a music stand in front of anybody. We else would play it. As it turns out it was the kind of tune

3 VOLUME XLII BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY1996 nobody else was going to play anyway. There wasn’t a can 't devote a fi ll program to your request, but we can discernible melody to it; it was something we could play do a couple o f segments as you suggest. Please see the for seven seconds or seven minutes, which made it ideal UPCOMING BBJ PROGRAM TITLES for the request for a theme song. program that ’ll contain the Buddy Rich/Tommy Dorsey- Artie Shaw cuts. BBJ: What do you think about rock today? Dave Van Sant I request that if you know of CB: I try not to. Port Charlotte, FL any sources for Buddy Clark records that you inform me of Charlie Barnet was living in comfortable retirement them. Even 78 RPM sides are okay because I have in Southern California when he died in September of access to a 78 turntable. I have often wondered why 1991. He was 77. He said he had plenty to do without Columbia never re-issued Buddy’s work on an LP or playing music, including a boat in San Diego, a swim­ CD because, in my opinion, he was a truly great talent. ming pool in his backyard and a box on the finish line at Delmar Race Track. There is a Buddy Clark SIXTEENMOST REQUESTED SONGS in the Columbia/SONY catalog. It is number (D.K.) 48976 under the LEGACY label. You ’ll have to ask your local record store to order itfor you, and perhaps LETTERS TO THE BBJ NEWSLETTER follow-up. Our information is that it’s available on cassette only at a suggested retail o f $9.95. All letters to the program or the newsletter are an­ swered eventually, although only letters deemed o f Charles L. Highbarger The article on page 7 most general interest are usedin this newsletter; please Hagerstown, MD of the Nov-Dec ’95 be patient, for the volume is greater than our ability to edition ofthe so-called handle in a timely fashion. Questions and comments top 10 Big Band instrumentals made no mention of Duke about either the BBJ NEWSLETTER or the BIG BAND Ellington although most of the bands listed had Ellington JUMP radio program may be sent to: compositions in the library of favorites. Most popular bands of that era had arrangements of TAKE THE A BBJ NEWSLETTER TRAIN, SATIN DOLL, Etc. Box 52252 Atlanta, GA 30355 We received hundreds o f votes for the single top instrumental in the opinion o f readers who submitted The letters that follow have been edited for space their ballot. From those we statistically compiled the considerations, but the meaning has been preserved. top twenty list, with number one receiving the most votes and so on. Please don’t kill the messenger! Bernard P. Kaut I am an addict of the 40’s Big Rochester, NY Band Era, in particular Skip van Osten Your list of living bandleaders Tommy Dorsey and Artie San Diego, CA left out Tex Beneke. Shaw. Having been a drummer for some 50 years, Buddy Rich would naturally have been my hero. Is there any possibility you might dedicate one night to the air We stirred up a controversy with this one. Our error checks of Tommy between 1940-1945 and Artie Shaw was in listing the active bandleaders in the same during 1939 when Buddy was playing with those two sentence with some others still living but not working. bands? I have only been aware of your show during the The active list included Ray Anthony, Les Brown, Si last three months and I could kill myself for not being Zentner, Larry Elgart, A lvino Rey andFrankie Carle... aware of it sooner. all o f whom work once in a while. Mr. Van Osten added Tex Beneke to the active list, and he ’s right.... but see Don’t do it! Don't do harm to yourself please. We below!

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Douglas Parker My research indicates that backing o f the Song Spinners providing a quasi-instru­ West Boylston, MA many other leaders remain, mental behind his vocal, for example. Frank Sinatra some of whom are still ac­ vocals were issued with simple vocal groups as accom­ tive. The more prominent names include: Van Alexander, paniment. We don’t know for certain what would have Blue Barron, Louis Bellson, Tex Beneke, Johnny occurred without the ban, but it ’s likely Big Bands and Bothwell, Bobby Byrne, Russ Carlyle, Benny Carter, vocalists would have enjoyed equal popularity had the Johnny Catron, Warren Covington, Johnny Dankworth, bands been able to continue recording, for airplay was Buddy DeFranco, MercerEllington, Maynard Ferguson, and is vital to an artist ’s popularity. James Petrillo Bill Fincgan, Ralph Flanagan, Claude Gordon, Lionel actually did his musicians a disservice, for the vocalists Hampton, Neal Hefti, Skitch Henderson, Henry Jerome, gained a foothold, and the Big Bands never again Ronnie Kemper, Ell iot Lawrence, Lester Lanin, Frankie enjoyed the popularity they did before the ban was Masters, Billy May, Jay McShann, Johnny Messner, imposed. Our thanks to George Simon for this informa­ Art Mooney, Buddy Morrow, Red Norvo, Teddy tion and insight about the record ban. Phillips, Teddy Powell, Buddy Rogers, Benny Strong, Orrin Tucker and Paul Weston.

Douglas Parker is a contributor to the BBJ NEWS­ LETTER, and his research is impeccable. Big Band Era leaders, however, are a somewhat more limited list, albeit longer than our limited reference to top bandleaders.

Robert A. Bieberman When and where did band- Socorro, NM leader Dick Jurgens die?

October, 1995 in Sacramento, CA

John Taylor You often refer to the ban on Westminster, MD recording during the second world war. Could you go into more detail about that event and give beginning date, ending date, why it was put into effect and what caused Ralph E. Peterson Among the great swinging it to end. Were any recordings made during this period? Alexandria, VA bands of long ago was one known as the “Biggest Little The dictatorial president o f the American Federation Band In the Land” led by a slap bassist named John o f Musicians in the 40’s, James Caesar Petrillo, Kirby. These arrangements were fast, flawless and ordered his musicians to stop recording on August 1, unique. The wizard of the violin, Stuff Smith, made a 1942. The ban continued until September, 1943 when few records everybody likes. I’d also like to hear any­ Decca agreed to pay royalties to the union for each thing he did. record made; Captiol signed an agreement with the union in October o f 1943. Victor and Columbia, the We have a bundle o f John Kirby and some Stuff Smith, companies with most of the Big Bands, didn ’t sign until both o f whom have been played in the past and will be 1944. Big Band records were released during the ban, played again on our request program in February. but they had been recorded before the ban went into Please see the UPCOMING BBJ PROGRAM TITLES. effect, and released slowly so Big Band enthusiasts wouldn’t be without records. The records that were James Gustafson I’m curious about yourclosing made during the banfeatured only singers, not affected Jamestown, NY theme.... I think you call it by the musician's union. Dick Haymes sang with the LI’L DARLIN’. I’ve also

5 VOLUME XLII BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 1996

heard the same tune, a vocal by Bobby Darin. I think imitate some of the classic swing recordings of the past. that it is titled DON’T DREAM OF ANYONE BUT DRUM BOOGIE and LET ME OFF UPTOWN for ME. I’m reasonably sure that both melodies are the example, directly from the Krupa book. EARLY AU­ same but isn’t it unusual to have two titles for the same TUMN in the Woody Herman/Ralph Burns version, song? SUNNYSIDEOFTHESTREETintheTommy Dorsey arrangement, WHY DON’T YOU DO RIGHT as We confess ignorance o f the Bobby Darin record. Goodman played it from the chart of Eddie Sauter in the L I’L DARLIN’ was written by Neal Hefti for Count original Peggy Lee record. There are also excellent Basie in the 50's, and has become a standard. It is copies of the originals of SHORTY GEORGE, SOLO possible words were added and the title changed, for FLIGHT and SWINGIN’ THE BLUES among others. that does happen. Bob Haggart’s I ’M FREE comes Original arrangements include SMACK DAB IN THE to mind, the title changed to WHAT’S NEW when MIDDLE and I’VE GOT NEWS FOR YOU. Johnny Burke added the lyrics. This Big Band is good, and it’s a record you’ll enjoy Maybe some readers can clue us in on this one. And listening to for it’s beautifully performed with energy, who's this Bobby Darin the writer refers to? skill and enthusiasm. We do, though, wonder why a (Kiddingl) band of this considerable ability restricts themselves to imitating the bands of the past, for recordings by the Joseph P. Jiran Could you please inform me originals are still availably as a part of invaluable Scottsdale, AZ of the local stations in my area musical history. We can understand why such perfor­ (which program BIG BAND mance of key arrangements would be fascinating in a JUMP) so I can hear some of this great music. I see the “live” appearance, but wonderful as this recording is, it titles listed under BBJ programs. cannot replace the originals. We’re sure that wasn’t the goal of the Cunningham group. We just wish there had Sorry to report that there is no outlet for BBJ in the been more fresh, new arrangements on the recording. Phoenix area. It was on a station which changed ownership and format, eliminating BBJ. There is a Available direct from: Tom Cunningham - EAGLE station in Phoenix that’d be appropriate for BBJ, but RECORDS - 2513 North Quebec Street - Arlington, they’ve seen fit to program totally from a 24 hour VA 22207. $14.50 including S&H. satellite service operated by computer, thereby cutting cost o f programming operation. HARRY JAMES & HIS ORCHESTRA, FEATURING FRANK SINATRA LEGACY/COLUMBIA CK - 66377 (BOOKS & RECORDS TO CONSIDER) Every record company ever connected with Frank Sinatra ALL THE CATS JOIN IN - has issued album after album of Sinatra songs, some The Tom Cunningham Orchestra giant compilations of every cut ever made by Sinatra. EAGLE ER - 2 There’s a Victor/BMG boxed set of every cut ever recorded by Sinatra with Tommy Dorsey, there’s a Here’s aguy from the DC area (Arlington, VA) who has Columbia/SONY massive set of all the Sinatra songs a spectacular Big Band displaying both precision and recorded by Columbia. Capitol and Reprise also have discipline, but with the ability to swing. We’re told by sets. Nothing wrong with these releases, but this single musicians that’s not an easy combination to achieve, but album might be the most revealing historically. to our layman’s ears, Tom Cunningham has a group that accomplishes both goals. Beginning in 1939, the new boy singer with the equally newHarry James Orchestra was Frank Sinatra, and this The problem from our point of view is the material on the collection of twenty-one cuts chronicles the important record. The Cunningham Orchestra has chosen to recordings by Sinatra and James together including (Please fold on dotted line)

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(Tape or Staple I Iere) BALLOT - YOUR ALL-TIME FAVORITE VOCAL RECORDING

This is another survey that won’t be easy, because to select a single recording that’s a favorite is never a snap, but we’re asking you to strain your brain and come up with your single vocal favorite.

As mentioned elsewhere we’ll compile the results and come up with the top ten all-time favorite vocal recordings to be published in the March-April, 1996 BBJ NEW SLETTER issue.

Please send your ballot before February 5th, 1996 so we’ll have time to count them and get the results in the next issue before press time.

There seems to be a fascination with surveys in the U.S. today, and we’re certainly not going to be left out. The results will form the basis for a program sometime during March-April, 1996.

MY FAVORITE ALL-TIME VOCAL RECORDING (Please include both title and artist.)

Not necessary, but if you’d like to, please give us your name and comments. The reasons for your selection are often as interesting as the selection itself.

NAME ______

CITY ______

COMMENTS, IF ANY

THANK YOU FOR YOUR HELP! BIG BAND JUMP NEWSLETTER SUBSCRIPTION FORM

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

COMING UP IN FUTURE ISSUES OF THE BIG BAND JUMP NEWSLETTER

In-person interviews with outstanding Big Band music personalities.

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

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

News about the men and women keeping the Big Band sound alive in the United States and throughout the world. (Picase fold on dotted line)

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(Tape or Staple Here) VOLUME XLII BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 1996

deemed proper, but each of the Big Bands had a small group: The Grammercy Five, the Goodman Quartet, The Dorsey Clambake Seven, Herman’s Chips, Crosby’s Bobcats, Etc. In that light, we ask that you consider these excellent new recordings by the small group attached not to a Big Band of the past, but a singer of the present. Pianist Ralph Sharon has labored behind Tony Bennett for over a quarter-centuiy, selecting his songs and backing his vocals. These recordings were cut in England, where Ralph Sharon was bom. Sharon played with the BBC and the original Ted Heath band beginning in 1945, emigrating to the United States in 1953.

Drummer Jack Parnell, who also played in theTed Heath Band, forms a third of the trio, and even though Ralph Sharon hadn’t played with Parnell for 40 years, you’d think they had been working with each other for all that time. Frank Sinatra with Jack Benny & Nat Cole The piano of Ralph Sharon is a delight, giving new seven cuts previously unreleased, a couple of alternate meaning to each of the familiar melodies he plays. There takes not heard until now, and an alternate of ALL OR are 24 cuts of Porter, 18 of Gershwin and 21 of Berlin. NOTHING AT ALL, possibly the one we’ve heard the There are some albums which might appeal to one group most between the time it was recorded and the present. and not another; there are some albums directed only to modem Big Band enthusiasts; there are some collections FROM THE BOTTOM OF MY HEART, MELAN­ which might only please the sensibilities of traditional CHOLY MOOD, MY BUDDY, IT’S FUNNY TO music fans. These three albums should appeal to EVERYONE BUT ME, HERE COMES THENIGHT, everyone. Remarkable stuff. ALL ORNOTHING AT ALL, ON A LITTLE STREET IN SINGAPORE, WHO TOLD YOU I CARED?, Should be available at any record store, but you’ve got CIRIBIRIBIN, EVERY DAY OF MY LIFE, to ask. STARDUST, WISHING WILL MAKE IT SO, IF I DIDN’T CARE, THE LAMP IS LOW, MY LOVE THE KICKS BAND - Alive And Kickin’ FOR YOU, MOON LOVE and THIS IS NO DREAM SEABREEZE SB - 2068 comprise the album, along with the added alternates of some cuts. Not only for Sinatra fans, but for James fans, Maybe this is where the Big Band business is headed. this is a true Big Band album to have. This band uses an electronic bass and one of those thumpy bass drams, along with the staccato squeezin’ it Available in any good record store. out sound that sometimes identifies younger arrangers. This is not a negative, for the band swings and the Three albums - RALPH SHARON TRIO material they play has verve and originality and excite­ THE MAGIC OF: GEORGE GERSHWIN - ment. If, however, you’re grounded in the more tradi­ COLE PORTER - IRVING BERLIN tional sound of the 40’s, it’ll take some getting used to. HORATIO NELSON RECORDS SIV 1116 - SIV 1123 - SIV 1134 They play some standards, given a fresh approach. GEORGIA, GREENSLEEVES, IT’S ONLY A PA­ We’re supposed to be partial to Big Bands here, so to PER MOON, WHEN I TAKE MY SUGAR TO TEA, present a trio of piano, bass and drums probably isn’t I ONLY HAVE EYES FOR YOU, PUT ON A

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HAPPY FACE and BYE BYE BLACKBIRD, plus an loved. A teacher told him he would be expected to also original titled LICKED CLEAN and others. Techni­ play the clarinet, and the Herman we came to know cally, a superior recording. began to emerge.

May be ordered directly from: SEABREEZE The book points out that Woody was an excellent editor RECORDS - Box 11267 - Glendale, CA 91226-7267 of music and a perceptive talent scout, attested to by the Phone: 818-242-2093 fact that many of the greatest musicians of the Big Band Era and beyond passed through the Herman organiza­ BIX BEIDERBECKE - SINGIN’ THE BLUES tion. Also stressed in the book is the self-effacing Columbia/Legacy 45450 integrity that directed the public to his music rather than to himself. All who knew Woody Herman intimately say This is one of those albums the same thing: He was a down-to-earth human being, that might appeal only to unaffected by fame. those who are interested in the music, not in sonic ex­ All of the Herman books tell the Internal Revenue cellence. Bix Beiderbecke Service story .... how this confiscatory strong-arm of died before recordings our government stayed on Woody’s case until the end, achieved the full frequency finally seizing his home as he lay dying. He never response we’re now so used complained, however, working up until nearly the last to. Because these records minute. Would that the bastards who comprise the IRS were made so early, they’ll (or nearly any government agency) display such honest only appeal to those who labor and dedication. want to hear how this bril­ liant composer and comet player fashioned his music. About $30.00 in book stores. There were excesses cutting his life short, but we have these recordings to remember. 1995 GOLDEN AIRWAVES - Listing of Easy Listening Radio Stations Includes RIVERBOAT SHUFFLE, I’M COMIN’ VIR­ By Les Molnar GINIA, IN A MIST, CLARINET MARMALADE and SINGIN’ THE BLUES AMONG OTHERS. The GOLDEN AIRWAVES station listing is published each year by Mr. Molnar, noting both the FM and AM Available at any good record store, or they can order it. stations across the nation (and some in Canada) which program what might variously be described as Nostal­ LEADER OF THE BAND - gia, Big Band or Easy Listening. It is a valuable The Life Of Woody Herman reference, even though stations tend to change formats By Gene Lees - Oxford University Press often, thus rendering some of the listings inaccurate through no fault of the author. Not easy to believe that Woody Herman has been dead since 1987, nearly a decade ago. The books are still Handy. Every' person who longs to listen to “real” radio being written about this talented man who described should have one in the car or in his carry-on when himself as a coach more than a musician. He was, in traveling. fact, both. Single copy $4.95 Order directly from LM Enterprises In his Milwaukee birthplace he became a singer and - Box 8241 - South Bend, IN 46660 dancer at age 9 through the efforts of his showbiz-loving parents. He also tried his hand at playing the violin, (H.W) which he hated, but moved on to the alto sax, which he VOLUME XLII BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 1996

SIDELIGHTS TOP TEN VOCALS

Several issues ago we published some of the twists of In the previous issue of this newsletter we published the speech by Lawrence Welk that have circulated through­ results of a survey asking for your vote for the single Big out the music community for years, making him the Band instrumental that’s become your favorite over the Yogi Berra of music. Since that time some more have years. In this issue, we call your attention to a yellow come to us by way of a sound man on the Welk program survey sheet asking for your response to the question: who compiled Wclkisms over a thirty year period. What is your all-time favorite single vocal recording?

During an audience warm-up: “I just wrote a book, but Results of this survey will be published in the March- don’t go out and buy it, because I don’t think it’s finished April, 1996 issue (the next one) so if you’re inclined to yet.” send in your ballot, please do so in the next month so we’ll have time to compile the results before press time. Introducing a guest performer: “His act may start out slow, but it tapers off.” UPCOMING BBJ PROGRAM TITLES

Talking about his record sales: “My records are selling (The January 6-7, 1996 listing is repeated from the like wild cakes.” previous issue for convenience of new subscribers.)

Referring to rock music: “That’s not my cup of dish.” January 6-7, 1996 A continuation of the BIG BAND PROFILES VI PROFILE series fea­ To the band just before going on the air: “Boys, look like turing the bands of you’re having fun, but don’t have any.” Gene Krupa, Bunny Berigan and Charlie Barnet. Gene Krupa’s magnificent orchestra is often overlooked these To a band member: “I never realized that your hair was years later, and we recall so close to your head before.” the memorable instru­ mentals and vocal hits such Introducing the high potentate at a Shriner’s convention: as DRUM BOOGIE, LET “Ladies and Gentlemen, your high totem pole.” ME OFF UPTOWN, AF­ TER YOU’VE GONE, Stories about the eccentric Benny Goodman are legion. THAT'S WHAT YOU Our friend John Barbe recalled a couple of Goodman THINK, DARK EYES (the stories: Krupa Trio) and APURKSODY among oth­ We’re told Goodman looked at the back row of the band ers, bringing to the fore again one night and asked sax man Vido Musso, “Who’s the Anita O’Day, Roy new trumpet player?” Vido said, “Benny, that’s your Eldridge and Irene Daye. BBJ host Don Kennedy_ brother Irving!” Benny replied, “Oh. Well tell him to Bunny Berigan is recalled from his most famous solo stop chewing that gum.” for Tommy Dorsey as well as his own short-lived Big Band featuring his effortless trumpet solos so cherished Vibes man Terry Gibbs once asked Benny Goodman by trumpet players then as now. Combined with the which trumpet players on his band he’d liked the best pacesetting arrangements of Charlie Barnet’s organiza­ overtheyears. Benny said, “Oh, Chris Griffin and Doug tion, this promises to be a swingin’ session. Mettome, I guess.” Terry asked the logical question: “What about Harry James?” Benny had to think about January 13-14, 1996 The last in the series that a moment. “Harry?” Benny replied, “No, he was BIG BAND PROFILES VII of profiles, covering never in my band.” the many facets of

9 VOLUME XLII BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 1996

Tommy Dorsey, for his band contributed so much to the February 3-4, 1996 In later years, Harry total literature of Big Band music, both sentimental and FORGOTTEN JAMES/ James played more of swing. We hear the early Dorsey record successes such SALUTES BY HEATH the kind of music fea­ as MARIE and SONG OF INDIA, ONCE IN A WHILE tured when he began and DEED I DO, and then launch into HAWAIIAN his career as a sideman, the instrumentals with a kick, WAR CHANT, LONESOME ROAD, I’LL NEVER and his distinctive trumpet style. Some of the later SMILE AGAIN, YES, INDEED, THIS LOVE OF James’ recordings were compositions and arrangements MINE, WELL, GIT IT!, THE SONG IS YOU, DAY­ by Neal Hefti, others were earlier instrumentals re­ BREAK, SUNNY SIDE OF THE STREET, OPUS recorded to update the style; all are excellent listening, ONE and others. The Dorsey arrangers and sidemen revealing a Harry James forgotten by some listeners constitute a who’s who of the music world, and his during his more commercial days in the 40’s. recordings reflected that massive collection of talent over the years. In the second hour we hear Ted Heath saluting the Big Bands of the United States with familiar melodies of January 20-21, 1996 There were certain melodies Count Basie, Duke Ellington, Billy May, Benny FORTIES that caught the imagination Goodman, Woody Herman, Les Brown, Stan Kenton, MILLION SELLERS of the public in the days of Glenn Miller and Buddy Morrow .... all given the Heath the Big Bands, some with the treatment in those crisp, up-front recordings. verve and excitement of a forceful instrumental, some with distinctive sounding vocals, others with a message February 10-11, 1996 During the Big Band to impart. This collection of 40’s hits attempts to take SPOTLIGHT BANDS Era and beyond, the into consideration both the financial success and the Coca-Cola Company musical quality of the recordings. Duke Ellington’s sponsored a program called SPOTLIGHT BANDS FLAMINGO as sung by Herb Jeffries, Woody Herman’s with “live” performances by leading national and re­ GOLDEN WEDDING, SUMMIT RIDGE DRIVE by gional bands across the nation, often from a military the Shaw small group, plus hits by Harry James, Stan base, a VA hospital or a defense plant. It’s our good Kenton, Johnny Long, David Rose, the Ink Spots, fortune that some of these broadcasts have been pre­ Freddy Martin and Louis Jordan, among others. Some served. It’ll be a suspension in time as we hear Charlie of these you haven’t heard for a while, others will be the Spivak, Jimmy Joy, Jimmie Lunccford, Bobby Sherwood, ones we hear often. All will be fascinating to listen to. Louis Prima and Charlie Barnet precisely as they were heard a half century ago in these remarkable preserva­ January 27-28, 1996 A listener in Iowa tions of on-air performances. ROMANTIC RECORDS wrote to say she wanted to hear a pro­ February 17-18, 1996 The letters have been stacking gram of romance, featuring the songs and instrumentals THE MAILBAG up for a while now, and we by the Big Bands that brought out warm, deep feelings take this opportunity to an­ of love. This program does that. There’s not a jumpy swer the requests, including a segment or two of Buddy melody in the lot as we select all the gentle lyrics of the Rich plus John Kirby and Stuff Smith (see LETTERS Era. There are a couple of instrumentals, notably YOU section). Listeners come up with some wonderful ideas MADE ME LOVE YOU, SATIN DOLL, SUNRISE for artists to explore and records to re-discover, and this SERENADE and I’M GETTING SENTIMENTAL is our opportunity to do that. OVER YOU, but all evoke romance. This program might just be an antidote for FLAGWAVERS, sched­ uled for February. If you’re allergic to upbeat February 24-25, 1996 Not for the faint of heart, this instrumentals, please absorb this program and keep the FLAGWAVERS two hour session brings to memory of it in your frontal lobe, for it’s a diametric light the often loud and always opposite of FLAGWAVERS. thrilling tunes used by the Big Bands to catch the

10 VOLUME XLII BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 1996 attention of the audience. Bobby Sherwood’s ELK’S including IS IT TRUE WHAT THEY SAY ABOUT PARADE is an example, Stan Kenton’s INTERMIS­ DIXIE?. He claimed it was too passe; that nobody was SION RIFF is featured, Woody Herman with a couple interested in folks who keep eating possum till they can’t of his magnificent, attention-getting records, Harry eatnomore. Finally, a compromise was reached. The James' TRUMPET BLUES and FLASH are two of four letter would have a P.S., suggesting to Jolson that flagwavers by his orchestra. We even select an atten­ DIXIE might be a tune he would have some fun with, tion-getting recording by Alvino Rey, the King Sisters singing it at Hollywood parties. singing TIGER RAG, the only vocal in the program. Benny Goodman’s LIFE GOES TO A PARTY is A few days later Marks received a wire from Jolson, featured, as is NONSTOP FLIGHT by Artie Shaw. telling him to tune in the following Thursday to Jolson’s There are a total of 25 flagwavers in this program, all popular radio program. He did, but the rooster wasn’t up-front arrangements calculated to get your attention. crowin’. Instead, he heard the strains of IS IT TRUE This one may be too intense, but it’ll certainly tend to WHAT THEY SAY ABOUT DIXIE?. Marks was so perk you up! disappointed he shut the radio off and went to bed. The next morning when he arrived at his office, Marks found March 2-3,1996 In the Big Band Era, six singers, clamoring for copies of the song Jolson had ALL-STAR JAM SESSION featured musicians introduced on his radio show. The rest, as they say in were generally under Cliche City, is history. DIXIE had hit recordings by contract to a specific record company and could not Jolson and Rudy Vallee. In 1943 Iris Adrian and Robin perform with others who were contracted to competing Raymond sang it in a movie, HIS BROTHER’S BUT­ labels. Once in a while, though, sidemen who didn’t LER, which starred Deanna Durbin and Franchot Tone. usually work together were able to jam, and that’s the basis of this program. Basie, Goodman and Christian, IT’S ALL IN THE GAME for example, are heard on AD-LIB BLUES and HOLY CATS, Lionel Hampton put together Dizzy Gillespie Political history buffs will probably be interested to and Coleman Hawkins, as well as a young Nat Cole on learn this tune evolved from a melody with the less-than- several cuts. From the Goodman ’38 Carnegie Hall original title of MELODY composed in 1912 by a man concert, Johnny Hodges is heard with the Goodman who later served as vice-president of the United States. band, and three of the Metronome All-Star sessions Charlie G. Dawes held that post during the Calvin allow us to hear a varied group playing together in a one­ Coolidge administration (1925-1929). He also served time effort. It is, indeed, an All-Star Jam Session. his country as Comptroller of the Currency and Ambas­ sador to the Court of St. James. During the First World Was he was a Brigadier General in the U.S. Army. TIMELESS TUNES: THEIR STORIES A banker by profession, Dawes was initially apprehen­ IS IT TRUE WHAT THEY SAY ABOUT DIXIE? sive at the thought of his music becoming public. He was quoted as saying, “My business is that of a banker and A trait common to almost all songwriters is the belief few bankers have won renown as composers of music. their latest effort is just about the greatest thing to ever I know I will be the target of punster friends. They will happen to the music business. This sentiment was never say that if the notes in my bank are as bad as my musical stronger than during the 1930’s when Gerald Marks notes, they are not worth the paper they are written on.” music was wedded to lyrics by Irving Caesar and It wasn’t until 1951 that lyrics, the work of Carl Sigman Sammy Lemer in an opus called THE ROOSTER’S (MY HEART CRIES FOR YOU, ENJOY YOUR­ CROWIN’ (Coo-Coo Coodee Coo). The trio was so SELF, CELERY STALKS AT MIDNIGHT) were impressed with their work they decided to send a copy added to Mr. Dawes MELODY. to A1 Jolson. Lemer also wanted to include a copy of a tune they had written a few years earlier but which Ken Smith contributes these fascinating stories, and never caught on. Marks was vehemently opposed to we ’re indebted to him.

11 VOLUME XLII BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 1996

THE BIG BAND CRUISE

The cruise on the S/S Norway the week of November 25th, 1995 was possibly the most satisfying we’ve had, with Ray Anthony and Larry Elgart in person, plus the Artie Shaw Orchestra led by Dick Johnson and a Bob Wilber salute to Benny Goodman. Hank O’Neal sup­ plied us with this unusual rehearsal picture of Larry Elgart playing behind a stand with Ray Anthony’s name on it! No matter, the music was outstanding and the camaraderie was, as always, satisfying.

The next Norway Big Band cruise is set for the week of November 23rd, 1996, but we won’t have firm contracts for the bands until the first part of Febru­ ary. They’ll be announced in the next issue. To reserve your 1996 space for the Big Band Jump Norway Cruise or to get a brochure, please phone Jan Rodgers at 1-800-666-4988. Larry Elgart who isn't Ray Anthony 12 IT’S RENEWAL TIME FOR THIRTY-SEVENTH ISSUE SUBSCRIBERS TO THE BBJ NEWSLETTER

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