IN THIS ISSUE:

•& An interview with LES BROWN SENIOR & JUNIOR

ir Reviews of BIG BOOKS AND RECORDS to consider BAND

★ A BANDLEADER NICKNAMES JUMP TRIVIA QUIZ NEWSLETTER ★ LETTERS TO THE EDITOR about GUITAR PLAYERS, OLD THEATERS AND MORE

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

VOLUME LXX ______BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2000

Sr. told us he didn 't recall the address and didn 't know LES BROWN INTERVIEW anything about the plans to put up a plaque, but did (SENIOR & JUNIOR) confirm he was born in Reinerton.

The Background

It was nearly a decade ago when an interview with Les Brown first appeared in this newsletter, the issue of November-December, 1991. In that interview we learned that Les Brown came from a musical family; there was, in his words, "... music around the house all the time. My dad was a musician, and he led the town band. My brother Stumpy and my brother Warren and my sister all had something to do with music, so I got started around six or seven. I can’t even remember when. ” Les Brown directed the band at New York Military Academy, and for four years directed and arrangedfor the Duke University dance band, known for the last two years o f his tenure as “Les Brown and his Duke Blue Devils. ” The band we now know as the “Band o f Renown” was organized in 1938, and has been working ever since.

At the time o f that first interview, there were seven or eight Bob Hope television specials each year, provid­ ing a consistent source of employment for the band. Les Brown Senior & Junior Back then, Les and his wife had just moved into a new penthouse overlooking the Pacific Ocean, a few miles from the Pacific Palisades home they lived in for The Interview nearly forty years. LB, SR.: Well, that’s where I was bom, and it’s a In the 1991 interview, Les Brown, Sr. referred to Les, suburb of Tower City. Tower City is only Jr. having joined the band as a singer. Now, these 3,000people, so you can imagine how small Reinerton was. years later, Les, Jr. also fronts the band, sharing the band-leading with his Dad. He also shares answers in LB, JR.: I drove through Reinerton one day with the interview. We got them together in the studio where Grandpa Brown, and as we entered the they record their weekly two hour radio program, town he said, “This is the town your father was bom in.” heard on selected stations across the nation. I was looking around and he said, “Yeah, we just left it! ”

Before the interview began, we mentioned a newspa­ BBJ: (To Les, Sr.) Fill us in on your life these days. per article sent to us from a newsletter reader concern­ ing a campaign to put a plaque in thefrontyard of 1944 LB, SR.: I’m enjoying life more than I ever have. I East Grand Avenue in Reinerton, Pennsylvania where only work, oh, four days a month, and Les Brown was born on March 14th, 1912. Les Brown, sometimes we have as much as three or four weeks off, VOLUME LXX BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2000

then we’ll play five in a row or something like that, BBJ: Would a TV musical variety show, such as which I enjoy. Les, Junior’s mother passed away five the Dean Martin show, work today? years ago. (Editor’s note: That marriage lasted nearly 60 years.) A little over two years ago I re-married and LB, SR.: I think it would and why doesn ’ t somebody we’ve been on seven cruises since then. do it! My gosh, there’s so much talent around. More singers than ever, more groups even if BBJ: How do you decide who leads the Band of they’re contemporary. Renown? LB, JR.: I am also a television producer, besides LB, JR.: We kind of split it. Ifit’sadancejobDad working with the band, and when you go will come in and do the first few hours and back 20 or 25 years when everybody was doing variety then I’ll take over so he can go home early. On shows; Glen Campbell, Andy Williams, Dean Martin, concerts, generally he leads the band. It’s very rare I Perry Como, Dinah Shore....all the great variety do a concert on my own. A two hour concert is a little shows....that was as high as could get in terms of an easier, even though it’s a little more intense. I’d say he entertainer reaching a pinnacle. To have your own leads the band 80% of the time. television show was the best thing that could happen to you. Today, the way concerts are and the concert BBJ: Tell us about the new Les Brown Band CD schedules and the money generated by the concerts, that’s coming out. they can’t afford to do a weekly television show. They can’t possibly earn as much money as they can on the LES, JR.: I work in other areas with a manager road. whose name is John Hartman. One of the record companies he’s tied in with is called “DOC BBJ: Why not a variety show with a Big Band? HOLLYWOOD” made up of a group of doctors from Texas, actually. They’ve been making a lot of pop LB, JR .: The reality of it is that the band was not the albums, but the head of the record company said he’d focal point. They always shot the singers like to give them something the doctors can relate to, and the dancers behind them or something like that. and Les Brown and the Band of Renown would be There would be a problem with shooting a Big Band perfect. We put together a concept, and basically it’s because the singers have always been the point of a lot of the recordings Dad made in monaural early on, interest. When we did the Hollywood Palladium show and we decided to re-record them in stereo and sur­ a few years ago, SWING ALIVE that celebrated Dad’s round-sound, the kind of sound you hear in the movies. sixtieth year as a bandleader, one of the points of Lou Rawls is a guest vocalist on two of the tracks. research that I got into was looking at all the top ten records from 1938 until about 1945, and about eighty BBJ: This is for Les, Sr. Do you miss such past percent of the hit records were vocals. activities as doing the Bob Hope and Dean Martin television programs? BBJ: (To Les, Sr.) What is your opinion of music’s direction? LB, SR.: Yes and no. They were time-consuming, of course. The Martin show was done LB, SR.: I wish I knew where it was going. I think every week. It was great fun with both of them because it’s improved in the last five or six years, they were musical shows, we got to play a lot of music, even in the contemporary field. As far as jazz is and they were both comedians. Dean Martin used to concerned, I don’t know if I can take it any more. If I say, “I’m not a singer, I’m an entertainer.” He was as hear any more be-bop and a guy playing the same chord much a comedian as anybody I know because he made for about three minutes....I can’t take that. It doesn’t us all laugh. I miss him. I used to look forward to going swing as much; they just play a lot of notes. Every time to the Martin show because we had a lot of music and I see one of those current jazz guys I ask them, “Do you a lot of laughs, even at the rehearsal, but at my age I’m get paid by the note?” also happy not to have to work that hard anymore. 2 VOLUME LXX BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2000

BBJ: (To Les, Sr.) Are musicians better today BBJ NEWSLETTER than 50 years ago? Box 52252 Atlanta, GA 30355 LES, SR.: By far. I’ve said that many times. For example, at the University of Indiana, The letters that follow have been edited for space they’ve got five Big Bands, and I think six symphonies, considerations, but the meaning has been preserved. right in the school, and they’re great musicians. Same thing happens at Julliard, at North Texas State, wher­ ever, they have great musicians, but where are they going to play? They have to find a guitar player that can’t read music to make money!

BBJ: (To Les, Jr.) How long will you lead the band?

LES, JR.: As long as people want to listen, I’ll lead this band. I want to keep the music alive. I think there will always be listeners for it; I don’t think it’ll ever be huge again, but it’s certainly worth listen­ ing to, and I know in our dances and concerts today, the younger audience is definitely there. They are listen­ ing to it.

LES, SR.: I want to retire, but something always comes up to stop it, like a cruise we’re Linda Ronstadt stares going to do. Things like that come up and I don’t want to miss them. Bill Frenz Who is the guitar player on: YOU GO BBJ: In ten years, will you be looking for places Greenwich, CT TO MY HEAD by Linda Ronstadt - to play? The Fibber McGee & Molly Show with Billy Mills Orchestra - the Blondie radio show? LES, JR.: I will always look for places, and there will always be outlets such as civic the­ This note has been kicking around the officefora while aters and subscription theaters and colleges and uni­ now; it’s not an easy one, but we dug up some partial versities. I will always seek out places to play. information. The guitar man on the Ronstadt album is probably Tommy Tedesco. Try as we might, we can’t The new CD by the Les Brown Band of Renown is come up with the names ofthe other two guitar players. reviewed in this issue. John Widmann Your program featuring the Brick Twp, NJ two different Tommy Dorsey LETTERS TO THE EDITOR versions of I’M GETTIN’ SENTIMENTAL OVER YOU were both terrific, by All letters to the program or the newsletter are an­ far (his underlining) better than any other. The Artie swered eventually, although only letters deemed of Shaw BEGIN THE BEGUINE was also excellent, class most general interest are used in this newsletter; all the way. The Tonight Show Orchestra versions (of please be patient, for the volume is greater than our the same tunes) were nothing but noise, junk, horrible ability to handle in a timely fashion. Questions and sounds, all garbage. They point out how excellent T.D. comments about either the BBJ NEWSLETTER or the and A. Shaw’s orchestras were. What a difference from BIG BAND JUMP radio program may be sent to: the terrible noise by the Tonight Show Orchestra. 3 VOLUME LXIX BIG BAND JUMP NEWSLETTER JULY-AUGUST 2000

It was a program presenting several versions of the there any chance that the tape or CD of that can be same melody. purchased and if so do you know where? That program came from an ancient promotional LP Charles Highbarger Enjoy the articles on the old containing the sound o f a television program broad­ Hagerstown, MD ballrooms. How about an ar­ cast "live” on February 9th, 1960, featuring the bands ticle on the old theaters? Saw o f Guy Lombardo, Woody Herman, Bob Crosby, Gene Tommy Dorsey at the Hippodrome in Baltimore, Ted Krupa, Tex Beneke and guest appearances by Helen Lewis at the Stanley in Pittsburgh. O ’Connell and Bob Eberly. They were all there in Thank you for the suggestion! Our resident curmudg­ person on that "live TV program, broadcast before eon, Hagen Williams has prepared an article for this videotape. The LPfrom which the program was taken issue recalling the overall theater Big Band experience, was given to a music archive, but we ’re looking to see generally transferable to most big city theaters with if we can’t find the original master and permission to minor differences. issue this historic musical tribute on CD.

Greg Roth As an idea Terre Haute, IN for a fu­ ture trivia quiz, how about a list of Big Band personnel, and have us match them with the instru­ ments that they were known for?

We should have thought ofthat one on our own! What a won­ derful thought. That very idea will be used for the trivia quiz in the next issue, and we thank you.

Mary Lou Todd I would enjoy a commentary Elizabethtown, KY by Hagen Williams in every Bill Baker I have my own Big Band (amateur) BBJ NEWSLETTER issue. I Holland and it is great to play the Big Band think a large number of BBJ’s readers feel as if he were stuff. It is also nice to contact other a kindred spirit when he comments on Big Bands and Big Bands, especially from the U.S.A. Please, will you the Big band Era, both past and present. be so kind to announce my address in the newsletter. I hope there will be reactions from Big Band friends. Mr. Highbarger (letter above) has given Hagen My age is 54 and I think I was bom too late! something to do in this issue, in addition to his article about record scratch. He thanks you for the My band played for the second time at the Glenn sentiment. We put a felt hat on him to give him that Miller Festival in Clarinda, Iowa. ’40s reporter look for a picture with the scratch article....a rare shot of Hagen who hates to be Folks overseas are involved in American Big Band photographed (and hates most everything else, too). music. The BBJ NEWSLETTER has subscribers in several European countries. Bill ’s address is: Bill Volk One of the BIG BAND JUMP Hyde Park, NY broadcasts featured Ronald Reagan William Zweekhorst - Schoolstraat 18 - moderating a Big Band program. Is 2282 RD Rijswijk - HOLLAND 4 VOLUME LXX BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2000

Dennis Richards I was REALLY (his caps) San Francisco sorry to learn that you were dropped by KABL radio in San Francisco. I sent a real nasty e-mail to the station P.R. person to that end. While I know that I can listen to your program on the internet, somehow it’s not the same as listening on my old late ’30s Zenith console radio. The sound is just not the same as an old tube radio. The music is older than I am but I just get tired of listening to the same old clatter you can get any­ where. Sorry to see you go!

This is one of scores o f letters we ’ve received about the change in format at KABL. We 're told a consultant was hired to “youngify" the audience. We’re also told there have been newspaper articles andpetitions hop­ ing the station will resume their previous format. Our experience has been that such campaigns usually result in another station taking up the format.

Meantime, the one hour public broadcast version of BIG BAND JUMP will be heard each week on San Mateo’s KCSMat FM 91.1 each Sunday morningfrom 6 to 7 o ’clock, beginning on Sunday, the first o f Hagen Williams with ancient microphone, ancient October this year. hat and moderately ancient thought process

THE SCRATCH FACTOR and minutely distorted through use, dull needles and particles of dust and dirt, the noise level Our resident curmudgeon, Hagen Williams, re­ became higher in relation to the music, perceived by cently talked with a friend who complained about the listener as scratch. Since some level of scratch hearing scratch on the CD version of a 62 year was always there, we expected it and got used to it. old recording. That conversation was the gen­ esis of this article. The advent of CDs and other digital methods of recording and reproducing have eliminated any per­ As the era of the CD grows older, the public’s ceptible noise, and as a result of this clean, crisp listening perception is changing, and there’s a good sound we’ve come to associate noise-free with CDs, reason for that. CD’s digital method of re-creating we think that anything on a CD must be noise-free. sound provides no perceptible background noise, That’s just not true with CD copies of Big Band Era allowing the quiet parts of a recording to be heard recordings, for they must be reproduced with a with no disturbing background sound. needle before they’re processed on to the digital medium, for all the master recordings of that time Not so with the 78s and the LPs, where the sound were on disk, since tape didn’t come into general use was created by a needle mechanically dragging in recording studios until about 1947. That creates through the spiral groove of a platter. Even new a dilemma for the engineers and producers who records had a level of surface noise or scratch, for bring us CD copies of those musically valuable fifty the needle had to ride on the bottom of the groove, or sixty years old moments in music. picking up some of that noise while it was busy interpreting the music. As the grooves became worn Do these engineers notch-out the frequencies of 5 VOLUME LXX BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2000 most of the scratch, thereby eliminating the music SIDELIGHTS at those same frequencies, or do they leave in the Anecdotes o f and about musicians. scratch and allow the listener to hear a maximum JIMMY DORSEY Of the two Dorsey Brothers, amount of the music put on the original record­ Jimmy was the one who took his ing? Most engineers opt for leaving as much time, while Tommy was music as possible, even if some scratch must be considered the pusher. But heard. That was carefully pointed out in the trumpeter Jimmy Maxwell latest CD reproduction of the musically historic tells of one night when 1938 Benny Goodman Carnegie Hall Concert. Jimmy was in a hurry. It We quote the CD booklet comment dealing with was 1935 and they were this dilemma: “The original lacquer masters cut driving overnight from Los that night have survived over the years, but now Angeles to Berkeley with contain pops, scratches and surface noise. Co- Jimmy behind the wheel and lumbia/Legacy and Sony Music Studios have Bob Eberly in the front seat; utilized every possible tool, method and tech­ Martha Tilton and Maxwell nology to ‘clean up’ these recordings. In reduc­ were in the back seat. Max­ well recalls Jimmy going ing the surface noise you also eliminate the room over those mountain roads sound and many musical nuances that these in­ at 60 to 75 miles an hour.... so Gentle Jimmy comparable musicians played. We admit to leav­ fast both Maxwell and ing the ‘noise’ in. However in so doing, we chose Martha Tilton slid onto the floor, thinking that was the not to eliminate the sound of the concert as heard safest place if the car flipped over on one of those at the moment of performance, and the many treacherous turns. magic moments of this historic event.” It all came out OK, though. When the sun came up they reached Tracy, Maxwell’s home town, and Maxwell’s The engineer’s decision has allowed us to hear mother fixed them all breakfast. For years after that, long parts of the concert not heard since it was origi­ after Maxwell left the band, Jimmy Dorsey would stop to nally performed. Surprisingly, some Big Band visit Mrs. Maxwell whenever he was in town. fans who have heard the CD are so bothered by the scratch they’d rather not have the CD in their STAN KENTON Trombone man Milt Bemhart library. Personal preference is difficult to as­ says he never got a chance to sess, for it IS so personal, so subjective. The eat at the same restaurant or sleep in the same bed twice upshot of this is that no accurately reproduced in a row unless you were playing a theater. He remem­ bers a week at the New York Paramount in 1946 when CD of Big Band Era recordings can be made the movie was Bing Crosby and Fred Astaire in BLUE without some noise. The fact is we’re now SKIES and the stage show was the Kenton Orchestra hearing music taken from those old master re­ and the King Cole Trio. One night there was a party cordings that even the finest equipment of that upstairs in the rehearsal room and everyone forgot about time could not have heard. The engineers have the show. When the elevator rose to stage level only performed miracles, but the difference between three people were there; StanKenton’sBand, andoneof our new audio perception and the reproduction the three who made it wasn’t Stan himself! of authentic Big Band Era sound will always be Nelson Riddle played trom­ there. We must glory in the fact that so much of TOMMY DORSEY bone and arranged for Tommy the era has been made available to us in any Dorsey in 1944, and after while he was arranging one form. tune every week in addition to his duties as a player. Because the Dorsey Orchestra had a string section at the H.W. time and Riddle was assigned mostly ballads, he would

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(Tape or Staple Here) THE CENTER PAGE OFFER - STAN KENTON’S MOST FAMOUS V OCALISTS

The two most famous, and perhaps the most important, singers with the Stan A nita Kenton Orchestra were undoubtedly Anita O’Day and June Christy. O V a y w»h SÏAN KU.VJON ** Now there is a two album compilation of the outstanding songs by each of these remarkable singers, displayed in both “live” performance and in studio recordings.

FIRST LADY o f swim Here’s the O’Day lineup: RIDE ON - BUILD IT UP - 1 LOST MY SUGAR IN SALT LAKE CITY - YOU BETCHA - IN A LITTLE SPANISH TOWN - MAD FOR A PAD - AND HERTE ARS FLOWED LIKE WINE - GOTTA BE GETTIN - STRAIGHTEN Anita's album with Stan Kenton UP AND FLY RIGHT -TABBY THE CAT - WISH YOU WERE WAITING FOR ME - THE LADY IN RED - ARE YOU LIVIN’, OLD MAN - SINGING THE BLUES - SPECIAL DELIVERY - I WANT A GROWN UP MAN - TRAVELIN’ MAN.

A total of 21 tracks with 17 delightful Anita O’Day vocal performances, some never heard before on record. There are alternate recordings of IN A LITTLE SPANISH TOWN - AND HER TEARS FLOW ED LIKE WINE - GOTTA BE GETTIN’ and TABBY THE CAT, displaying different approaches to the same melodies.

The June Christy CD with Stan Kenton includes: I’M GONNA LOVE THAT GUY - ARE YOU LIVIN’, OLD MAN - 1 DON’T WANT TO BE LOVED - JUST A-SITTIN’ AND A-ROCKIN’ - PUT THAT RING ON MY FINGER - IT AIN’T NECESSARILY SO - NO BABY, NOBODY BUT YOU - FINE, FINE DEAL - GOT A PENNY, JENNY? - HE’S FUNNY THAT WAY - RIKA JIKA JACK - AIN’T NO MISERY IN ME - I’D BE LOST WITHOUT YOU - WILLOW WEEP FOR ME -DON’T WANT THAT MAN AROUND - SEPTEMBER SONG - THE SPIDER AND THE FLY - PLEASE BE KIND - 1 GOT IT BAD - CURIOSITY - LONELY WOMAN - OVER THE RAINBOW - HOW HIGH THE MOON - LONESOME ROAD. June’s album with Stan Kenton

A total of 24 tracks of both well-known and seldom heard songs in the unique June Christy style.

Set of Two CDs: $33.00 with FREE shipping & handling

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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.

News about the men and women keeping the Big Band sound alive in the United States and throughout the world.

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(Tape or Staple Here) VOLUME LXX BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2000 make lavish use of the strings in his arrangements. BOOKS AND RECORDS TO CONSIDER) Riddle said Dorsey came to him after a month or so and said, “I wish you wouldn’t make the strings such an ARRANGING THE SCORE - PORTRAITS OF important part of your arrangements because frankly THE GREAT ARRANGERS they’re only a tax dodge!” Gene Lees ARTIE SHAW Trumpeter Bemie Privin was We approached this book with some trepidation, thinking with the Shaw Band when it might be dry, tech- Artie suddenly left for Mexico, and tells a story illus­ nical, and perhaps trating the before and after difference when Artie left. filled with excerpts Before Shaw took off, Bemie asked the band manager of notes on staff pa­ for a $500.00 loan. He was given the money and told per illustrating ar­ to not worry about it. “Pay it back whenever you ranging techniques. want,” was the attitude. A few weeks after Artie’s We were absolutely unexpected Mexican vacation, Bemie was turned down wrong. ARRANG­ when he asked the same band manager for a fifty cent ING THE SCORE loan. Shortly after that the band broke up. is highly entertain­ HARRY JAMES Harry James would fire the ing, packed with anecdotes to illus­ great tenor man Corky trate the personality Corcoran regularly. Trombonist Lew McCreary says of each of the ar­ that Corky was the nicest guy you’d ever want to meet rangers, while not when he was sober, but when he was drinking he’d sacrificing informa­ become cantankerous, wouldn’t wash his clothes and tive content. wouldn’t take a bath. One time his room-mate took all Corky’s clothes to the laundry and had them washed, The thirteen page and Corky really got angry because included in the introduction is a The dust cover wash was a baseball hat given to him by Stan Musial. thoughtful overview He screamed at his room-mate, “You washed the of what arranging is, what it’s done for music, and why World Series dust out of my baseball hat! I’ll never some arrangers are able to infuse their charts with an forgive you!” element of swing. Thirteen arrangers, some well- known and others nearly unknown, are surveyed with taste and GENE KRUPA Trumpet player Graham humor, based on information gleaned from personal Young joined the Gene Krupa interviews, placed on a tapestry of Gene Lee’s extensive Band in 1941. He gives us an insight into the famous Roy knowledge ofhis subject. The book is not, in the author’s Eldridge/Krupa recording of ROCKIN’ CHAIR. One words, “an attempt at a survey of composers and arrang­ night at the Meadowbrook ers.” He points out that Duke Ellington, Paul Weston, Benny Carter sat in on sax Benny Carter and others of that stature are found in his other and trumpet, and brought books. This is a book letting us, who are not in the music along his arrangement of business, appreciate those men whose “tiny pencil markings ROCKIN’ CHAIR, leaving enriched so many of our lives.” itwiththeband. Later, when Roy Eldridge joined the Profiled are such arrangers as Kenny Wheeler, the popular talents of Percy Faith, the lavish orchestral sounds of band he played his own ver­ Robert Famon, the leadership of Les Brown, the songs of sion of the solo, and it be­ Johnny Mandel, the motion picture and television theme came one ofhis best-known breakthrough of Henry Mancini, the musical humor and recordings, but most people innovative music of Billy May, the genius of Mel Powell don’trealize it’s a Benny in both the popular and classical fields....plus Bill Challis, Carter arrangement. Gene Krupa at work Marion Evans, Roger Kellaway, Gerry Mulligan, and Gil

7 VOLUME LXIX BIG BAND JUMP NEWSLETTER JULY-AUGUST 2000

Evans. Some of these men share their Canadian roots They were smashes on record and on radio, but met with Gene Lees, lending yet another dimension to the with less success in movies because the studios didn’t view of their lives. Each man’s contributions to the seem to know what to do with them. They made plenty totality of the music we’ve heard and will be hearing for of great music with Bing Crosby and genuinely en­ years is made clear, and each emerges with a clearly joyed recording with him. The Andrews Sisters hold the distinction of charting more BILLBOARD hits defined personality to attach to the name and the music. than any other vocal group in history, including the In his forerward, Gene Lees tends toward highly de­ Beatles. One hundred thirteen of the trio’s Decca scriptive and less-often encountered words, making it recordings from 1938 to 1951 appeared in the top 30, seem at first a trifle weighty, but that view dissolves with 46 of them in the top 10. Eight of those recordings after a few pages because his words are so effectively reached number one. used to convey his precise meanings or bring addi­ Their personal struggles seemed to get more press than tional focus to a description. Here’s a man who combines writing skill with extensive knowledge of their astonishing musical achievements, which is too his subject, then adds a human approach. bad. After all, they sang together from 1931 to 1953, then from 1956 until LaVeme died of cancer in 1967. Anyone with an interest in the talents necessary to Patty and Maxene did a Broadway show together in compose, arrange and present enduring music that 1974. It’s obvious the author is a big fan of the requires more depth than guitar chords will enjoy this Andrews Sisters; it may be that you’ll become a fan book. Our bookstore had to order it for us, andifyourbook after reading this book. store doesn’t have it, we think it’s worth your trouble to have them get it. University Press of Kentucky - About $25.00 at any good book store, or they can order it. Cassell Press - New York & London 310 pages - About $35.00. (Review by Dave Kirby)

D.K. SESSION 55 - LES BROWN & HIS BAND OF RENOWN SWING IT! THE ANDREWS SISTERS STORY John Sforza Now, here’s an event. The band that’s in the Guiness They were the voices which defined a generation, and Book of World Records as influenced countless vocal groups which followed. “the longest organized group LaVeme, Patty and Maxene Andrews had terrific voices, in the history of popular mu­ Lou Rawls a great sense of timing and fun, and were versatile sic” has issued a CD. As if singers handling everything from swing to boogie ^ 6LJ »f ^ that’s not enough of a distinc­ woogie to country and western to ethnic music and Special Logo For CD tion, this fresh, new CD is the making it all popular. They had a sense of showman­ first Big Band recording in ship with their dancing, their crowd appeal, a unique Surround Sound, the kind of sound you hear in the style and massive worldwide exposure through the movies and on home systems. For most of us with just 1940s and ’50s, traveling all over America and Europe stereo equipment, that won’t make a difference, but it with the USO during the war, and fifty weeks a year adds to the singularity of this unique release. after the war. The band celebrated its sixty-fifth anniversary in The rest of the team contributed heavily to the Andrews Capitol’s Studio A, giving us a permanent remem­ Sisters success: Lou Levy as publisher, Vic Schoen and brance of some of their finest melodies. Included are: his orchestra who accompanied the sisters on 90% of FLOATIN’- I’M FOREVER BLOWING BUBBLES - their recordings, Jack and Dave Kapp of Decca Records AIN’T SHE SWEET - IF DREAMS COME TRUE - who believed in them and guided their career, and a pair of MOOD INDIGO - IT COULD HAPPEN TO YOU - supportiveparents....aGreekfatherandaNorwegianmother. BIZET HAS HIS DAY - STRING OF PEARLS -

8 VOLUME LXX BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2000

UNDECIDED - THAT OLD BLACK MAGIC - SATIN sometimes a one reel feature, most always a newsreel DOLL - TENDERLY and the familiar theme, LEAP in the wartime years, followed by the band’s perfor­ FROG, plus others for a total of 21 tracks. Two of the mance, either on stage or on a pit rising to stage level. cuts feature guest vocalist Lou Rawls, singing THEY The anticipation went something like this: The news­ CANT TAKE THAT AWAY FROM ME and I reel would end, and from the pit you heard the sound ONLY HAVE EYES FOR YOU. Les Brown’s band of the familiar theme of the band, timed to end just as might be performing in your living room, so crisp and the pit reached stage level. In some theaters, the band clean is the sound. was set up quietly behind the motion picture screen, and when the curtain closed on the newsreel credits, the Release date for SESSION 55 is September 22nd, theater band played the newsreel’s closing music as before the Grammys take place. There’s now a cat­ the movie screen was raised, timed so the on-stage egory for Big Band in the Grammys, and if this record­ featured band’s theme began just as the curtain parted ing doesn’t gamer a Grammy, it’ll be a surprise. to reveal the featured band. In either instance, it was an Should be available at record stores. About $17.98. electric moment as, for example, Vaughn Monroe intoned the words to RACING WITH THE MOON, or THE BIG BAND THEATER SCENE Gene Krupa’s drum beat led into STAR BURST.

People who lived in small towns during the Big Band The show itself nearly always included a dance team of Era had to be satisfied with the Big Band’s appearances some kind, a comedian or ventriloquist and at some in the movies, but those who near enough to visit point, a novelty song by the likes of Ziggy Talent or medium to large cities could experience the thrill of not Butch Stone or Ronnie Kemper; nearly every band had only seeing a feature motion picture, but seeing a name a sideman who performed an amusing lyric. Those band in person, “live” on stage. Big Band fans all over were confining, tiring appearances for the band, for the nation shared similar theater experiences. they had to be on stage for the first show at about 10 in the morning, and continue to perform at the end of each Pure listening pleasure was the basis for the theater film presentation through the 11 o’clock show at night appearances by the Big Bands during the mid ’30s with and hour and a half or so in between each of six through the ’40s. There was dancing in the aisles on or seven daily appearances. Real aficionados would get some occasions, but for the most part the band’s unique to the theater for the first show and often sit through arrangements and the thrill of actually seeing the four or five shows. The musicians, though, had to be at leaders, the vocalists and the sidemen you only heard the theater in time to play the 10 AM show, and then be on record was the basis for enjoyment. All theaters available every hour and a half or so all day into the presented the bands in essentially the same way, and night with the last stage appearance often ending at 11 the de­ scription which follow s could have h a p - pened in most any city.

The for- m u 1 a was a featu re m o v ie , VOLUME LXX BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2000

PM or later. If the leader was a particularly popular The truth is, we gave this personality, he couldn’t even leave the theater without specific test to several Big being besieged by fans, so for a week, except for going Band enthusiast friends, to a hotel to sleep, the theater dressing room was home, most of whom didn’t score often with food sent in. over fifty percent. Because it’s so difficult, Sidemen could wander out during that 90 minutes or so we’ve suspended the rap when the feature film was on the screen, but they on the knuckles with a couldn’t go far for they had to be back and in uniform, wooden ruler and kept the their instruments tuned and ready to go when the pit dunce cap in the closet. rose or the curtain parted. One fan recalls occasional Douglas Parker, who shows when a trumpet man, for example, was absent dreamed up this quiz, keeps for the theme and first number, sneaking into the abreast of these kinds of section later when the spotlight was on the singer. One musician recalls a fellow sideman who had been imbib­ facts, and we’re indebted ing arriving late and trying to climb onto the New York to him. City Paramount platform as it rose from the pit and As in previous quizzes, the never making it. Guy Lombardo playing process of elimination is The theater appearances were particularly grueling ______his baton __ the most helpful. Knock when, in addition to the shows at the theater, the band out the first couple, and the rest should fall into place had to be at a network radio studio to do a “live” with some logical reasoning. broadcast in the days before tape. Some of the most popular bands even had it worked out so they could Please match the bandleader’s name on the left with the appear at a famous hotel as the featured band for nickname on the right. dancing while the film was on at the theater, then be back in time for their between-feature-film stage show, 1 Guy Lombardo A) The Young Man Who Sings The thence back to the hotel ballroom and so forth for the Old Songs entire night. 2 Erskine Hawkins B) The King Of The Drums The Big Band theater experience was, of course, a phenomenon of the times, based on the musical taste of 3 EddyDuchin C) The King Of Jazz the public then. We can’t help but wonder if current music fans will, in years to come, cherish similar 4 Coleman Hawkins D) The 10 Magic Fingers Of Radio positive memories of rock concerts held in giant stadi­ ums or vast arenas. H.W. 5 Ralph Marterie E) America’s Goodwill Ambassador

F) The Man Who Plays The Sweetest BANDLEADER NICKNAME QUIZ 6 Paul Whiteman Trumpet In The World We’ve had these nickname quizzes before, but this one is a real toughie, especially if you didn’t live in the Big 7 Chick Webb G) Mr. New Year’s Eve Band Era. Even if you did, come to think of it, some of the appellations applied to bands and bandleaders may 8 Benny Strong H) The Twentieth Century Gabriel have escaped your cranium, as they have ours. Ralph Marterie’s band came a trifle after the era, a few of the 9 Louis Armstrong J) The Father Of The Tenor Sax leaders were well-known before the era, and at least one was better known as a soloist than a bandleader, but the 10 Charlie Spivak K) The Caruso Of The Trumpet quiz basis remains valid.

10 VOLUME LXX BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2000

UPCOMING BBJ PROGRAM TITLES left out Fran Warren’s favorite recording with Claude Thornhill a couple of months ago, we didn’t have time September 2-3, 2000 (Repeat listing for new sub- to play enough Lunceford in a program in early August. HARRY JAMES scribers.) Pee Wee Monte, Now’s the chance to catch up. BROADCASTS who managed the Harry 23-24, 2000 A particularly inter- James band for years, was September asked to select representative off-the-air THE MAILBAG esting letter from a recordings from the James broadcast ar­ listener with a long chives. This program displays some of list of recordings she’d like to hear those selections, recorded from live broad­ keyed off this subject. We didn’t realize casts for the first ten years of the band’s how long it’s been since we had a request history, from 1938 through 1948. You’ll program, and we get request letters regu­ hear many of the James’ vocalists, includ­ larly that have been stacking up. This is ing remote broadcasts of songs by Connie our chance to fill those requests, but more Haines, Frank Sinatra, Dick Haymes, than that, your chance to hear some varied Helen Forrest, Johnny McAfee, Helen Big Band moments in music. Ward, Kitty Kallen and Buddy DeVito. If you’re expecting sterile studio recordings, September 30/October 1, 2000 P a rts of the this program i sn ’ t for y ou. If you enj oy the THE CURRENT LES BROWN/ excitement of hearing the band and singers with audi­ RECENT RELEASES audio fr o m ence reaction, this is your radio moment. which the interview of Les Brown, Junior and Senior September 9-10, 2000 Perry Como, Frank Sinatra, was taken will be used as the basis for the first THE BOY SINGERS Dick Haymes, Bob Eberly, hour, along with selections from the latest Les Brown Johnny Desmond, Don Band recording, reviewed in this issue. Cornell, Jack Leonard, Bing Crosby, Johnny Mercer, The second hour will be devoted to some other remark­ Andy Russell; they all started their careers with the Big able new recordings, but by artists you may not have Bands. In this BBJ we hear some of them singing with heard of. Mary Stahl, a highly distinctive vocalist, will a major Big Band and hear their later recorded contri­ perform with solid Big Band backing, along with a butions as single performers in the later ’40s and ’50s. clarinet player we’ve never heard of performing some Perry Como with Ted Weems, Sinatra with James and delightful melodies, plus some freshly arrived CDs of Dorsey, Johnny Desmond with the Miller Military classic performances. We set aside an hour for review Band and Bing Crosby with Paul Whiteman will be of recent releases every couple of months so we don’t heard, among others. miss something fresh.

September 16-17, 2000 The surprise is that there October 7-8,2000 Who was more popular than DIXIELAND/ isn’t more Dixieland on THE LADIES SING the girl vocalists of the Big LEFTOVERS the radio. It’s happy Bands, sometimes better music, with the musicians known than the bandleaders themselves. These two making it up as they go along, taking solos in turn based hours are devoted to those ladies who had to appear on an established melody, but with their personal fresh and lovely after traveling on the band bus or in the variations. The Dukes Of Dixeland, Sammy Duncan, car most of the night, grabbing a couple of hours sleep, A1 Hirt and the Dutch Swing College Band are among and often dressing for the job in the lady’s rest room. the ones who entertain us during the first hour with this Despite all that, they performed well and looked well. classic music form. We hear from Helen Forrest, Kitty Kallen, Ella Fitzgerald, Helen O’Connell, Jo Stafford, Connie Our chance to make good some omissions on previous Haines, Peggy Lee, June Hutton, Fran Warren and programs is the basis for this hour. For example, we Rosemary Clooney....all veterans of the Big Bands. 11 VOLUME LXX BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2000

October 14-15, 2000 Listeners keep phon- October 28-29, 2000 The first hour will be BOOGIE AND ROMANCE ing wondering when LATER TOMMY DORSEY/ made up of the we’re going to put HITS OF OCTOBER, 1940 Tommy Dorsey together another program of boogie woogie band of the early ’50s, combined with romance, an unlikely combination that played directly from radio transcriptions along with caught the imagination of the public when we first Dorsey voice tracks introducing some of the music in programmed the two forms together years ago. There the mode of that time. These are, for the most part, will be the requisite sad or hopeful love songs by both melodies never reaching the commercial recording male and female singers, but in between boogie woogie market which was taken over by single vocalists and will lift the spirit beyond such mundane thoughts to vocal groups then. Many would have been hits had higher levels of pure rhythmic enjoyment. Difficult to they been issued during the Big Band Era. understand why the two types of Big Band music fit so well together, but each time we do such a program On the second hour, we imagine that it’s precisely 60 requests pour in for more. years ago, and present some of the actual records you October 21-22, 2000 In an effort to create variety, would have heard on the radio then. The hits of STANDARDS we often overlook the well- October, 1940 will include such melodies as FERRY­ worn but durable standard re­ BOAT SERENADE, DARN THAT DREAM, cordings of the Big Bands. Not so in this session, as we MAYBE, ONLY FOREVER, I’LL NEVER SMILE present the titles that immediately come to mind for a AGAIN and BODY & SOUL. This could be a fun hour. variety of bands and at least one instrumental solo performer. There will be no surprises as we hear the November 4-5, 2000 Four years have gone by since most popular recordings of both Tommy and Jimmy HOST’S CHOICE a BBJ program was presented Dorsey, Harry James, Glenn Miller, Les Brown, Glen made up of some of the host’s Gray, Woody Herman, Count Basie and Benny favorite Big Band recordings, plus a few that aren’t Goodman, among others. strictly in the Big Band category. It might be more fun to withhold the contents of such a program, but we can Check us out on the Internet tell you that Woody Herman will be a major part of it, as will Stan Kenton, Si Zentner, Ted Heath and some BIG BAND JUMP of the more obscure bandleaders and instrumental or and the companion program vocal performers. Music taste is subjective, of course, but we promise there’ll be something for you person­ The Don Kennedy Show ally in this eclectic session. are repeated after broadcast each week at BANDLEADER NICKNAME QUIZ ANSWERS WWW.BROADCAST.COM/ 1-G 6-C RADIO/CLASSICS/ 2-H 7-B 3-D We’re also available on E-Mail: 8-A 4-J 9-E [email protected] 5-K 10-F (Both programs are available 24 hours a day, starting for you when you click in.) JJJ JJJ JJJ>

12 BIG I3AND JU MP IS NOW 0 NTHE INTERNET -Hear Bl0 BAt4 0 . iu MPand Its ccimparliori prograni t HE DONIKE NNEDY SbIOVVrepeat(;de at week after the regular bfoatdeastt5_at_ww\N. brsics/ - e also available Pn E-Mail - send your questions and cpmrnents to; don@bigbandjump c o m .

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