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Home , Gloria Wood, Harry Babbitt, Jingle Jangle Jingle, Jo Stafford, Kay Kyser, Mike Douglas

IN THIS ISSUE:

i f An interview with

Reviews of BOOKS AND BIG RECORDS to consider about GEORGE WEIN, CRAIG RAYMOND, BAND and others JUMP ★ A BIG BANDLEADERS’ PRIMARY INSTRUMENT TRIVIA QUIZ NEWSLETTER ★ LETTERS TO THE EDITOR about STUDIO ORCHESTRAS, , HERB JEFFRIES, and others

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VOLUME LXXXVII______BIG BAND JUMP NEWSLETTER JULY-AUGUST 2003

lems than most of us experience. Later in life she took PEGGY LEE INTERVIEW engagements while requiring respirator treatments four times a day during ten years of her life. She played sold- out clubs with dangerously-high temperatures when she had to be carried off the stage to a hospital. She underwent open-heart surgery and suffered failing eye­ sight and a serious fall but continued to perform sitting in a chair until a few years before her death on January 21,2002

The Scene

Veteran broadcaster and Big Band expert Fred Hall conducted the interview at Peggy Lee ’ s Bel Air home in the 1970s, at a time when she was still performing and still making records. The first question was about how her job with Goodman came about.

BBJ: Did you j oin the Goodman band directly from singing in clubs?

The cheerful Lee PL: Yes, I was singing in a club at that time I met him. Before that I had been singing on a radio The Background station in Fargo, North Dakota.

We’ve all heard the stories about Peggy Lee ascending BBJ: Home town for you? to national fame with her performance on the Goodman recording of WHY DON’T YOU DO RIGHT?, but PL: Well, it was one of my home towns. North seldom mentioned is her unhappy childhood when she Dakota as a whole is my home town. A very was abused by her stepmother. It was no wonder she dear man, Ken Kennedy, who was the program director left home early to make her own way singing in the (at the radio station) was reponsible for really starting clubs and on radio in her native North Dakota, eventu­ me out. And Ken, really.... well, for one thing, he gave ally to be “discovered” in one of those clubs and me my name. Ken put me on the air within an hour of become a vital part of the Goodman organization. our first conversation. And he said, “Well, we have to change your name. This won’t do at all.” So we changed After Goodman, Peggy Lee became not only a top it to Peggy Lee. (It was, as you know, Norma Egstrom.) recording artist, but a composer, a radio personality and appeared in a couple of movies. IT’S A GOOD All he said was, “You look like a Peggy. What goes with Peggy? Peggy Schwartz? No. Peggy Lee.” DAY, MANANA, I DIDN’T KNOW ENOUGH ABOUT YOU and the entire score for Disney’s “Lady And The Tramp” and others all came from the Peggy BBJ: In those days all singers wanted to sing with a Lee pen. band.

Despite her fresh, optimistic appearance when she was PL: Well, yes. I, of course, was a big fan of Benny performing, Peggy Lee suffered more physical prob­ Goodman and I spent money I didn’t have on VOLUME LXXXVII BIG BAND JUMP NEWSLETTER JULY-AUGUST 2003 the jukebox playing DON’T BE THAT WAY. Alice really something there. And later, when the record ban Goodman.... she was then Lady Duckworth.... brought came on, Benny released everything he had in the can. Benny in to hear me at the Ambassador in . My roommate then was Jane Feather, Leonard Feather’s BBJ: Mel said you had to stand on some soap boxes wife, and later she said, “Benny Goodman called and to record one sextet record. asked you’d like to sing with his orchestra.” And I thought someone was teasing me for sure. But they PL: I never quite figured out the reason for that, but weren’t. He was all set to hire me, which was a big anytime I could sing with playing surprise to me. I was with the band for two years. behind me, it was such a joy. But that was true. I had to crawl up there, and very quietly in my stocking feet, BBJ: Tell us about working with pianist, composer because you know the studio is extremely live, and that and arranger Mel Powell. (Powell wrote the was the one microphone for the whole thing, including arrangement for WHY DON’T YOU DO RIGHT?) the vocals. So I really had to do an acting job there and pretend I was someplace else, instead of on those boxes. PL: Oh, I j ust can ’ t say enough good things about him. When I first joined Benny, I didn’t have BBJ: Did you go immediately to any rehearsal and the things were not in my key.... two from the Goodman Band? things that make it very difficult to perform. And then, add the horror, the fright, the shyness, and I caught a PL: Well, actually I married and psychosomatic cold immediately because I was just intended to settle down for once and for all. I terrified. So some of those arrangements, if you was very happy being a housewife and being a mother. remember, were Eddie Sauter arrangements, and they And Dave Dexter called me up one day and asked me to were marvelous. However they had little things like a come down and sing for an album called “New Ameri­ seven-bar introduction to something, and a relative key can Jazz.” I thought, “Well, I think lean get a babysitter, to a relative, which later, everything worked out for the and I’ll just go down there and sing.” And that was good. Later I found that to be an invaluable way of sort successful, so they asked us to record more. Capitol of surprising the audience, to choose my key out of was barely beginning. The offices were up above Sy what seems to be.... Devore’s tailor shop on Sunset and Vine.

BBJ: A modulation out of nowhere?

PL: Yes, I would count, and walk up to the mic and start singing. Benny couldn’t quite figure out what was happening.

BBJ: Was your first big record WHY DON’T YOU DO RIGHT?

PL: That wasn’t the first one. I had a hit on SOMEBODY ELSE IS TAKING MY PLACE, and then I think WHY DON’T YOU DO RIGHT? certainly overshadowed everything. I was a big fan of Lil Green, and I used to play that record constantly in my dressing room, and Benny heard me playing it. He couldn’t help but hear me play it, and he finally asked me if I’d like to sing it with the band and I said, “Oh, I’d love it.” So that’s how that was bom. And I expected them to stomp and cheer because I thought there was Peggy Lee & Dave Barbour 2 VOLUME LXXXVII BIG BAND JUMP NEWSLETTER JULY-AUGUST 2003

BBJ: Just above the m usic store that became easy. Why worry about all these things? I think we’re “Wallachs Music City.” Glen Wallachs, Buddy all running too fast, anyway. And I’m one of those DeSilvaandJohnnyMercerweretheownersofCapitol. runners. I think you could call me one of those workaholics. PL: And dear Glen was really.... I compare him in my mind a bit to . He had the same BBJ: How do you go about finding songs other than leadership quality. Such great character and enthusiasm. the standards?

BBJ: Your songwriting? PL: Well, I look carefully for the songs, and then I sort of mull it around in my mind. I like things PL: I was j ust beginning to write songs as a hobby that sort of tell a story or convey an emotion. I like that when I was taking care of my house, and one-to-one feeling with the audience. I look for those Johnny heard some of those things and liked them and qualities, and naturally the music has to be great, but the he gave me some good, helpful criticism, like “Try lyric has to be first, because it has to say a particular this” or "Try that.” I just never will forget him for all thing, of course. The ideal thing, of course, is when it’s the many things he did for me. And he was instrumental the proper marriage of lyric and music.... it’s just in my being a songwriter. Then when they talked me lovely. Say, THE SHADOW OF YOUR SMILE, for into recording, we didn’t have any material so Johnny example. That’s a beautiful thing. said, “Do those things I heard.... those are great.” So we did them and they were hits. BBJ: There aren’t many singers around today who choose such material. BBJ: The first session? PL: I think it’s like the play is the thing. You must PL: WHAT MORE CAN A WOMAN DO? and have the material or youhave nothing. But I something called YOU WAS RIGHT, BABY, spend quite a bit of time thinking about the interpreta­ which was a funny song title with a story to it. I was j ust tion, and that seems to be my forte, interpreting. For­ sitting in the Capitol office and I saw someone hit tunately, my voice has held up. In fact it.... someone’s car in the parking lot and the man stuck his head out the window and said, “You was right, baby!” BBJ: Better than ever. And I thought, “That’s a great song title.” So obviously another person had just said, “Somebody just hit your PL: I thought it was improving, but I thought I ___ »» car. didn’t want to get an ego attack. (Laughs.) But it does feel like it is. I know the range is better and there is BBJ: You did both words and music. more strength, more power, and it’s more tun to sing then.

PL: Well, yes. David and I wrote a lot together. Our thanks to the Fred Hall organization for Dave Barbour. their permission to use the above interview mate­ rial. The Fred Hall radio program, "Swing Thing ” BBJ: MANANA has been put down by the politi- is syndicated throughout the nation, continuing cally-correct group. to bring great music to the listening public. The Fred Hall web site is at: www.swing-thing.com. PL: I realize that, but it really didn’t mean that at Next issue wefeature parts o f a session with loquacious all. In fact, Dave Barbour had not been ex­ 93 year old , recorded in a panel at the pected to live at all, and then finally when it looked like International Association o f Jazz Educators meeting he had a good chance of surviving, we went to Mexico just a few months ago. Artie Shaw’s directness hasn't to rest. We went to Ensenada and were so impressed changed since he was first featured in this newsletter with the wonderful, relaxed way they had of living. nearly a decade and a half ago. It 'll be most informa­ That’s all it meant: the easy way. You know, to take it tive, and at times highly amusing! 3 VOLUME LXXXVII BIG BAND JUMP NEWSLETTER JULY-AUGUST 2003

LETTERS TO THE EDITOR Rich Roberts A suggested theme for one of Wilmington, CA your shows: South of the Bor- Letters to BIG BAND JUMP or the BBJ NEWS­ der.Maybe you have done it al­ LETTER may be sent to the address below, or e- ready, but there were some delightful tunes done.... mailed to: don@bigbandjump. com. When you e- Miller’s ADIOS, Kenton’s TAMPICO, Peggy Lee’s mail, please give your name and address. All MANANA, Artie Shaw’s BEGIN THE BEGUINE, letters are answered, but the volume of mail some­ Les Brown’s MEXICAN HAT DANCE, Sinatra’s times delays a timely response. COFFEE SONG, Etc. Maybe you could throw in some Xavier Cugat and Carmen Miranda. BBJ NEWSLETTER Box 52252 Good idea. We ’ve never done a South of the Atlanta, GA 30355 Border program and we ’ll work on it for the future. The published letters have been edited for space Jim Wood A number of years considerations, but the meaning has been preserved. Peterborough, CANADA ago I viewed a pro­ Bill Prince Many thanks for the program. gram on PublicTV Myrtle Beach, SC We get you on WEZV; we is which included vocals by a black gentleman intro­ me (59) and my son (36). We duced as “The Young Man with the Big Voice.” His have listened to BBJ for a number of years but don’t signature song was FLAMINGO and I believe his remember a show dedicated to “Broadcast Program name was Herb Jessup?? Orchestras.” These studio orchestras played familiar Herb Jeffries, of course. We are instantly re­ soap opera themes and music for radio minded of the old story stolen from dramas, as well as those groups that Steve Allen about the South were the regular bands for Arthur Godfrey, , Red Skelton, flamingos who got together and formed a night club act. Their theme . Give this some thought, song was "HERB JEFFRIES. ’’ (You but by all means keep the program had to be there.) coming. Vince Rowe The son's age reflects repeated YourBallroom series Laguna Hills, CA calls and letters from younger gen­ is excellent.... that erations who have discovered the is EXCELLENT delights of Great American Music. (Mr. Rowe’s caps.) It was at the Tune Town Ballroom in St. Louis where I saw Jim Grover Thanks for such a the great Chick Webb and his girl singer Conyers, GA great and memo­ when dear Ella was just rable show. How seventeen years old, and beautiful! ‘bout a program featuring the light Bill Sullivan I had to add to the and nonsensical such as, , MAIRZY Sun City, AZ letter in the last DOATS, FOUR LEAF CLOVER, newsletter concern­ PLAYMATES, DOGGIE IN THE ing Bing Crosby. As a former profes­ WINDOW, SPIKE JONES? Nutty Spike Jones sional singer and entertainer, it has been in a 1948 publicity shot my pleasure to conduct classes on music We did one of those silly song of all kinds for a group in Surprise, Ari­ programs years ago and we thank Mr. Grover for zona. Last year I researched and presented a four hour bringing it to mind again; maybe ju st an hour this class on Crosby, who was easily one of the foremost time, perhaps in the next couple of months. cultural influences of the 20th century. Imagine: He 4 VOLUME LXXXVII BIG BAND JUMP NEWSLETTER JULY-AUGUST 2003 was a leader in the use of the microphone, a favorite of magazine in reviewing the musical contributors all musicians he worked with, he learned to scat from of the 20th century gave Bing Crosby one sen­ Louis, sang it with the Mills Brothers, imitated Bix’s tence. trumpet solos with . He originated pop singing for the 20th century. Sinatra, Haymes, Buddy Robert Bradford (Letter directed to BBJ host Clark, et al. followed. San Francisco, CA Don Kennedy.) You sought a term for what Susannah McCorkle was doing when she spoke rather than sang the words to HIT THE ROAD TO DREAMLAND. How about “recitative? Webster defines it as when “the text is declaimed in the rhythm of natural speech with slight melodic variation.” Sounds like what she was doing to me. It’s a common technique on the stage, especially in opera. If I’m not insulting your intelli­ gence I’ll offer a pronunciation: re-ci-ta-TEEF, in the French manner.

Kennedy says “thanks ” and confesses ignorance both about the word and the pronunciation. Two other letters ALSO mentioned recitative, so an­ other question is put to rest.

Charles Burriss Myrtle Beach, SC

I listen every Saturday night and besides the great music I always learn something. When Don retires I hope some­ Smilin’ Bing one will take over till the end of time. Artie Shaw called him “the first hip white man bom in Where was Russ the U.S.” In the '30s through the early '50s he was The steamy bom, how did always at the top of the sales charts; top-selling records he get started and how did he die? .... Sinatra, Elvis and the Beatles aren’t even close. And he re-invented the recording and radio industry by intro­ (1) Kennedy says he’s going to keep doing it as ducing tape to the U.S. in the late '40s. Even our long as physically or economically possible or generation has to be reminded what we owe him. Sorry until he crawls into the satin-lined box. (2) Russ I’m “long” but I think your readers would understand. Columbo was born Ruggiero Eugenio di Rudolpko Colombo January 14, 1908 in Camden, New Jer­ The above is reaction to a BBJ hour on the sey of Italian immigrant parents. He played weekend of May 24/25 recognizing the 100th violin in several hotel and theater orchestras. anniversary of Bing Crosby's birth. It’s strangely It's said he was introduced to the motion picture true that Bing Crosby has been largely forgotten business playing his violin during the shooting of in spite of his documented contributions to mu­ silent movies to help actors develop the proper sic, records, radio and motion pictures and his mood, and later played and sang with Gus extreme popularity at the time. A major music Arnheim’s Orchestra at the Coconut Grove. That

5 VOLUME LXXXVII BIG BAND JUMP NEWSLETTER JULY-AUGUST 2003 exposure led to his being hired by RCA Victor There isn’t. BBJ was on the only Adult Standard and NBC for recording and broadcasting, ex­ station in Seattle for years, but a new program panding his fame. He appeared in eleven movies director there canceled the program. Wish we between 1929 and 1934. He died September 2nd, could report otherwise. 1934 under uncertain circumstances from a gun­ shot wound while with his best friend, Lansing VINCE BIANCOMANO Very happy to have Brown. At the time he was dating Carole Lombard Schooley’s Mountain, NJ re-discovered BBJ and it was rumored they planned to marry. while cruising the AM dial at 1400 (WEST, Easton, PA). I was bom in the Richard Rosecrans late ’40s and so never saw the Park Ridge, NJ Big Band Era, but your program seems to capture the magic that Why do record companies existed during that time and cap­ often not have tapes of turing the magic is an art that’s their offerings? Ihave78RPM, long gone in radio for the most 45 RPM and cassette tape. part. Continued success. There are probably a lot of us that do not have CD in home or SIDEMAN PROFILE vehicle. - ZIGGY ELMAN CDs are more rugged than Ziggy Elman didn’t have the fame tape. CD players cost as of a Harry James or a Charlie little as $100.00, and open Spivak, but his trumpet artistry up an entirely new world enhanced many a recording, both for music lovers. Just as as a sideman and later for a brief 78s, 45s, eight track and time with his own orchestra. Per­ LPs have gone by the board, haps most recalled is his solo so are cassette tapes surely work on Benny Goodman ’ s AND headed for the same fate. THE ANGELS SING, a melody Ziggy poses written and recorded earlier in­ John F. Smith Last week I noticed that one of dependently by Ziggy Elman, but re-recorded by Atlanta, GA my tapes had three one word Goodman after words were added. ZAGGIN’ WITH titles on it. That stirred my ZIG is another of Elman’s compositions recorded with curiousity and so I ran a check on other tapes and CDs. Goodman, and his work on the Benny Goodman record­ I found a bunch of other such titles and thought that ing of ’s WRAPPIN’ IT UP and the this might be a good subject for one of your programs. folk song BEI MIR BIST DU SHON is particularly (He lists 28 single word titles.) memorable.

It's a thought we never had. (There are so many Elman was bom Harry Finkelman in in thoughts like that!) We’ve put your idea in the 1914, but grew up in New Jersey, where he displayed mix for September or October, 2003, and we talent with both brass and reed instruments. In the early thank you. ’ 30s he worked with Alex Bartha ’ s Orchestra. It was his performance on one of the Bartha recordings that caught Kenny Haystead I listen to Big Band Jump the attention of Benny Goodman, who hired him in 193 6 Colorado Springs, CO on KCMN in Colorado to become part of one of the most legendary trumpet Springs. I’m moving next sections in Big Band history, teamed with Harry James year to Tacoma, Washington. I hope there is a station and Chris Griffin. During the time with Goodman, that carries your program there. Elman was also in demand for small group recordings, notably those RCA Victor studio jam sessions orga- 6 (Please fold on dotted line)

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(Tape or Staple Here) VOLUME LXXXVII BIG BAND JUMP NEWSLETTER JULY-AUGUST 2003 nized and led by Lionel Hampton in the last years of the sible in each city and town. Economically feasible ’30s. development would take years, but the assignment of a third broadcast band for pure digital stations can and In 1940 Ziggy Elman went to work for a short time with should be done. It should be done to expand choices for jazz violinist and that same year joined the listeners. trumpet section, where he stayed until called for military service in 1943. His work can be Anyone recall how FM was considered a kind of joke heard on several of the Tommy Dorsey recordings of whe it was first introduced? A separate broadcast band that time, for Dorsey featured Elman and his forceful was assigned to FM (as would be necessary for pure, style on such recordings as SWING HIGH and direct digital stations) and special receivers had to be SWANEE RIVER. purchased by those hearty souls who wanted to listen. A few pioneering broadcasters created specialty pro­ After he was released from the military, in 1947 Elman gramming to encourage those few listeners to buy the formed his own band but for short stints between being receivers and tune in. By the late ’60s FM began to be a bandleader he again worked with Tommy Dorsey. As a factor and those AM broadcasters who had virtually happened so often in those post-war years, his band did ignored their added FM transmitters operated by auto­ not do well and he began working in film, radio and mation in the back room began to take notice. Now, of television studios toward the end of the ’40s. He course, FM is THE preferred method of broadcasting appeared, but did not play, in the 1955 film, “The with stations considered worthless forty years ago now Benny Goodman Story.” commanding millions of dollars. As a result, the FM bands are full. In 1956 illness forced him into semi-retirement. He performed only once in a while and died in The same development pattern could be true of pure in June of 1968. digital broadcasting, with small broadcasters using the available digital frequencies to present the eager audi­ RADIO’S POTENTIAL- A COMMENTARY ence with specialized programming... .programming not available today with the consolidation and resulting Every once in a while our resident curmudgeon, homoginization of content. There are still pioneer old time broadcaster Hagen Williams, feels com­ broadcasters, as there were with FM in its infancy, pelled to air his often dissenting views. This is willing to provide imaginative and varied programming one o f those times. to make a fresh, new digital system work.

A listener to a local station phoned the other day to The technology is there, just waiting to be developed complain about the reception: “Why can’t the station into a brand new method for transmitting radio sound, engineers just turn up the power?” The reasons have expanding the possibilities beyond even the internet, to do with allocations of frequencies on the AM band, where thousands of fresh, creative programs have but the point to be made here is that with today ’ s digital emerged. Think about it; cell phones can transmit technology it’s possible to have scores of clear, crisp photographs and audio transmission requires so much radio signals in every city and town with consistant, less digital information. easily heard signals day and night. Pure digital stations would allow small and large broadcasters alike to To do this would require the politically appointed present you, the audience, with a greater variety of commissioners of the Federal Communications Com­ programming to suit nearly every listener’s taste. mission to display leadership and knowledge of broad­ casting. It would also take immediate innovative ac­ We say “pure” digital because there is a current move tion, a quality not yet displayed. Current station owners to add digital to existing stations, doing nothing to would perhaps eventually be touched by the program­ expand the potential number of radio stations. Pure ming competition, but you.... the listener.... would digital would require allocation of a third frequency benefit in the meantime, and the FCC would then be band (in addition to AM and FM) and new receivers, operating as they were formed to do, in the public but would vastly expand the number of stations pos­ interest. VOLUME LXXXVII BIG BAND JUMP NEWSLETTER JULY-AUGUST 2003

(^BOOKS & RECORDS TO CONSIDER^) While a great deal of the book concentrates on personal biographical information, his background stories and MYSELF AMONG OTHERS - A Life In Music perceptions of name personalities make the book fun to George Wein with Nate Chinen read. The foreward is by .

George Wein is the man who organized a company Da Capo Press called “Festival Productions” with the goal of exposing 546 pages including index, discography and festival listings. Should be available at any large bookstore. H.W.

Wein with Hampton j azz to as many people as possible through just what the name implies, jazz festivals. The book recounts not only Wein’s association with various jazz artists over the years, but touches on numerous very personal parts ofhis life, such as growing up as ajew in predominately Irish and marrying a black woman when such marriages were not only considered out of the question, but were actually not legal in much of the U.S.

Wein is not just a promoter of jazz concerts, but he is a piano player who not only organized but performed in his first concerts in the later ’40s. The beauty of this kmd of book is the insight given to various known personalities with whom Wein worked. Miles Davis, The informal Buble Duke Ellington, Buddy Rich, Sarah Vaughan, Lionel Hampton, Ruby Braff, Wynton Marsalis, Benny Carter, MICHAEL RUBLE Joe Venuti, Earl ‘Fatha’ Hines, Bud Freeman, George 143 Records/Reprise 48376-2 Shearing, Muggsy Spanier, Lester Young, Bob Wilber, Louis Armstrong and Jo Jones are among those he talks Recordings of singers arrive weekly, often daily, for about. use on BIG BAND JUMP and/or the associated DON KENNEDY SHOW. Some are OK, others are not Beginning in 1950 with the opening of Storyville in worth airing, but this Michael Buble (pronounced Boston, Wein presented jazz in a setting respectful to boob-lay) CD was a pleasant surprise; a surprise be­ both musicians and the audience. Since 1954 when the cause of the style and quality of Buble’s voice and the Newport Jazz Festival was first presented, Wein has solid orchestral backing. We were enthused about him expanded the public’s appreciation of jazz perhaps because Buble, unlike so many current vocalists, is more than any other single personality with the possible able to present the feeling of a lyric without seeming to exception of Norman Granz. try. As so often stated, true art is achieved when it VOLUME LXXXVII BIG BAND JUMP NEWSLETTER JULY-AUGUST 2003 appears simple to do, as if you or I could do it. Band Era performances, eventually resulting in a smash concert with the two of them at the Mt. Gretna Play­ Buble is a Canadian kid who is in his late twenties, but house in . performs with an approach reminiscent of the great Big Band singers of the past. His selection of material I WANT TO BE HAPPY, the Jan Savitt standard, IT’S reflects his respect for a well-written lyric: FEVER, A WONDERFUL WORLD, Cole Porter’s I’VE GOT FOR ONCE IN MY LIFE, SUMMER WIND, PUT YOU UNDER MY SKIN, Mercer/Arlen’s COME YOUR HEAD ON MY SHOULDER, THE WAY RAIN OR COME SHINE are some of the gems on this YOU LOOK TONIGHT, COME FLY WITH ME and neatly assembled album. A total of twelve selections THAT’S ALL are among the thirteen selections on the also includes GIRL FROM IPANEMA, STREET OF album all presented with a sensitivity rare in today’s DREAMS, FOR ONCE IN MY LIFE, START OF recording landscape. SOMETHING BIG, THE SUMMER WIND and a swinging update of ’s IN THE MOOD. Because we all tend to cleave to the past, particularly when the past is so well represented by available If you’re a Big Band enthusiast and you like a fresh digitized originals, it is difficult to accept newer per­ approach, chances are you’ll find this album appealing formers, but once you hear this young man you’ll be for there is an equal helping of gentle sounds and bright enchanted. It’s been a while since we’ve been so interpretations. It’s also obvious that this band likes impressed with a new name on the recording horizon. playing together.

49 minutes total - 41 minutes total - crisp, clean sound. May be ordered excellent technical and production quality. directly from Alanna at: 1-800-228-5558 Available at any large record store H.W. KAY KYSER & HIS ORCHESTRA Jasmine JASCD 398 BIG BAND CONCERT & TRIBUTE - CRAIG RAYMOND Why hasn’t someone done this before....collected the Alanna Records ACD-5601 Kollege of Musical Knowledge Kay Kyser top hit performances in one CD package? It was done by the The Craig Raymond Band has, as they would say in the art and antique world, a provenance. Craig’s father A1 led a band and worked with all the name stars for his entire life, and now son Craig continues the tradition with a tight, well rehearsed organization playing inno­ vative arrangements. Even though it seems everyone in the record business has released a CD invoking the Sinatra name, this one has a special flair you may just find highly appealing. Of special note is the tenor sax solo by Larry McKenna, a long-time friend of the band who gives sumptuous emotional meaning to Walt Stuart’s arrangement ofPOLKA DOTS AND MOON­ BEAMS.

The vocals on this disc are by Lou Datolli whose appearance with the band began as a chance meeting at a college dance where the band and Lou were appear­ ing separately. Backstage Craig Raymond and Lou Datolli were talking about their respect for the Big 9 VOLUME LXXXVII BIG BAND JUMP NEWSLETTER JULY-AUGUST 2003

Columbia people years ago on a carefully annotated column. Because this seems to be such a lead-pipe two LP set, but this is the first time it ’ s been done on two cinch, we will award only those who achieve a score of CDs with an expanded group of selections. From the eight or more correct the official plaque. (Regular Kyser theme, THINKING OF YOU to the inane brushing might help!) We should mention that there IS , this collection offers fifty no official plaque, j ust the satisfaction ofknowing your selections from the time when Kay Kyser was not only Big Band lore without being a crushing bore. Pick up a top record seller but a star in movies and host of a radio your pencil and get ready to write, think extra hard and program heard by millions of listeners each Wednesday you’ll soon see the light. night. (Apologies to anyone who appreciates real poetry or All the well-known names are included: , serious thought.) , Sully Mason, Merwyn Bogue as Ish 1 Wayne King A. Violin Kabbible, Jack Martin, Julie Conway, , , , Georgia Carroll, Trudy 2 Will Bradley B. Drums Erwin and the Campus Kids. The Kyser hit instrumen­ tal, PUSHIN’ SAND, is included along with PRAISE 3 Eddy Duchin C. None THE LORD AND PASS THE AMMUNITION - JINGLE, JANGLE, JINGLE - WHO WOULDN’T 4 D. Trombone LOVE YOU - STRIP POLKA - VIC­ TORY POLKA - TWO SLEEPY PEOPLE - THE 5 Xavier Cugat E. Trumpet ANSWER IS LOVE - LOVE ON A GREYHOUND BUS - THERE GOES THAT SONG AGAIN - THE 6 Alvino Rey F. Alto Sax OLD LAMPLIGHTER and ON A SLOW BOAT TO CHINAplus others for 50 Kay Kyser recording memories. 7 Gene Krupa G. Tenor Sax Nearly 2 1/2 hours - Digitized from original record­ 8 Lawrence Welk H. Piano ings. Available from BBJ Sales at 1-800-377-0022 9 Kay Kyser J. Accordion BIG BAND TRIVIA QUIZ - BAND­ LEADER’S PRIMARY INSTRUMENTS 10 Larry Clinton K. Guitar

Years ago we presented a similar quiz on these pages, The answers as always are in a but contributor John Lizza has box somewhere in this issue. reactivated the idea of match­ Gracious but this was an easy ing bandleaders with their one! primary instruments. Some of these will be easy for you, Would you let us know how you depending on your age and did? One of the problems of this depth of involvement in the quiz is its one-way nature, keep­ Big Band Era, a few may pose ing those of us who fashion them a momentary mental lapse, from knowing how difficult it was. but the elimination process (You see, we know the answers should serve you well here. because we looked them up!) If you have a moment, let us know Match the bandleaders on the how tough this was at: Quiz - PO left with their PRIMARY in­ Box 52252 - Atlanta, GA 30355. struments noted in the right A broad hint if you know this leader! 10 VOLUME LXXXVII BIG BAND JUMP NEWSLETTER JULY-AUGUST 2003

UPCOMING BBJ PROGRAM TITLES July 26-27, 2003 With apologies to A LITTLE NIGHT MUSIC Stephen Sondheim, July 5-6, 2003 (Repeat listing for new sub- and our thanks to THE SAX PLAYERS scribers.) It’s been years since Ann, who keeps our office running smoothly, this we looked into the saxophone program will consist of melodies with some reference players on BBJ. This relatively new instrument (only a to night in the titles. Ann has researched diligently to century or so old) was easily adpated to the come up with such recordings by a varied swing band arrangements and has cer­ groupsof artists. MOONLIGHT IN VER­ tainly been distinguished by scores of play­ MONT, QUIET NIGHT OF QUIET ers over the years. We listen to memorable STARS, THE NIGHT WE CALLED IT sax performances with the Big Bands of A DAY, OLD DEVIL MOON, STAR Kenton, Herman, Miller, , DREAMS and SLEEPY TIME GAL, for Duke Ellington with Johnny Hodges, example. Some of the artists involved in Charlie Barnet, Harry James with Willie this tribute to the romance of the night Smith, Geòrgie Auld, Charlie Ventura will be , the Four Fresh­ and Pat Longo among others. You will men, Count Basie, Gene Krupa, Billy hear some historical background along the May and Tommy Dorsey. She’s discov­ way, as well as some stories about the ered enough titles to do this again some­ performances. time, but in this program we get to listen to about two dozen such titles. July 12-13, 2003 One of the complaints of Big PRETTY STUFF Band lovers is the lack of purely instrumental music on the radio. An oft-heard explanation from those who prefer lyrics with their music is that instrumentals are frequently loud and fast, while vocal music is often soft and pretty. To satisfy both groups (and that’s impos­ sible, as you know) this program consists of strictly pretty instrumentals, some of them hauntingly lovely, all of them performed with delicacy and feeling. Herman, Rugolo, Zentner, Miller, James, Ellington, Basie, Dorsey and others contribute to this gentle two hours.

July 19-20, 2003 Every month now, we’re THE ‘H’ FILE - Part One moving musically through the alphabet, a different letter each month. This is ‘H’ month with a roster of ‘Hs’ so large we’ll have to provide two programs to even begin to do justice to every artist. This program will spotlight the vocal stars in the file August 2-3, 2003 On the first hour we such as , Eddy Howard, Dick Haymes, JO STAFFORD PROFILE/ catch up with Jo Lena Home, Connie Haines and a new recording RED NICHOLS Stafford, whose crys­ vocalist, NickHilscher. Nick is the very talented “boy” tal-clear voice and singer who recently released his own CD with the precise diction gave added meaning to the songs of a current directed by Larry couple of generations of radio listeners. We hear some O’Brien. We’ll hear all of the above, plus some comments from Jo Stafford plus the music that made comments from Nick Hilscher on this first foray into her famous, both from the Tommy Dorsey days and the ‘H’ file. 11 VOLUME LXXXVII BIG BAND JUMP NEWSLETTER JULY-AUGUST 2003 then as a single performer. We also take this opportu­ promises a great deal if it’s handled with care. Let’s nity to hear again the a-tonal presentation of Jonathan hope it comes out that way. & Darlene Edwards as they destroy TAKE THE A TRAIN. August 30-31,2003 O ver the THE GENTLEMEN SING - Part One months On the second hour a tribute to an often overlooked we’ve major influence on music, Red Nichols, whose bands done programs based on “The Ladies Sing” and “The included all the top names of Big Bandom including the Groups Sing” so the logical progression is to have a Dorseys, Glenn Miller and Benny Goodman among program for the gentlemen, actually the “boy” singers others. Alas, the fame of Red Nichols was not fated to of the Big Band Era and into the later ’40s and early be as great as those who worked for him, but we review ’50s. Featured will be Frank Sinatra with Tommy his contributions on this hour along with some of the Dorsey and then on his own, with the stories behind the music. Pied Pipers, Bob Eberly with Jimmy Dorsey, Billy August 9-10, 2003 The Jimmie Lunceford Eckstine during the time he led his own orchestra, JIMMIE LUNCEFORD/ Band is one of those that, former drummer turned singer Andy Russell, Skip KAY KYSER is relatively unsung these Nelson with Glenn Miller, Vaughn Monroe, Frankie days but contributed so Laine and novelty vocals by famed composer Hoagy very much to the total sound of those who came after. Carmichael and Les Brown’s vocal clown, Butch Stone. They were a young and eager group of college kids led by by their teacher, creating a legacy of sound often September 6-7, 2003 Inquiries often ask forgotten. In strict contrast, the second hour will OTHER BAND’S HUTS such questions as, feature Kay Kyser, whose band was entirely different “Who recorded (a and reached a vast audience through radio and now particular title)?” The fact is, of course, that most difficult to find recordings. melodies from the Big Band Era were recorded by numerous bands or singers, but nearly always one August 16-17, 2003 Many of the selec- version was dominant. This program will concentrate WHOSE BAND IS THAT? tions recorded by fa­ on the tunes most associated with a certain band but mous Big Bands dur­ played by another. BEGIN THE BEGUINE by Artie ing their time in the spotlight were not as well-known Shaw is most frequently played, but you’ll hear the as their top recordings. On this program we listen to Gene Krupa arrangement. Duke Ellington owns DON’T some of those lesser-known recordings by famous GET AROUND MUCH ANYMORE, but our version orchestras and ask you if you know the name of the will be by Gene Harris. Twenty-five selections will be band. No prizes for this exercise, just the fun of seeing presented, all by top orchestras playing melodies made if you can identify the band simply from the sound and popular by another. name of the recording. After each selection the band is identi fied for you, and one of that bands ’ s more popular Sports or news events sometimes alter BBJ pro­ recordings is presented. gram times or subjects, so please check with your local Adult Standard station for exact day, time August 23-24, 2003 So rich in musical tal- and subject o f BIG BAND JUMP in your area. THE ‘H’ FILE - Part Two ent is the ‘H’ file we split it into two seg­ BANDLEADER PRIMARY INSTRUMENT ments, the first during July highlighting the singers, this QUIZ ANSWERS one concentrating on the instrumentalists such as , Johnny Hodges, A1 Hirt, , Eddie F - 1, D - 2, H - 3, G - 4, A -5, K - 6, Heywood, Ted Heath, Lionel Hampton, , B - 7, J - 8, C - 9, E -10 Erskine Hawkinsand some others, too. We’ll only have time for one or two performances from each of the listed The orchestra leader pictured with his tenor artists but we’ll do our best to select something repre­ sax is Wayne King, as you probably guessed. sentative from each. This is one of those programs that

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