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GeneLee$GerE Lrc Ad,M Libitum (‘5-& JazzletterIarzletter PO Box 240,240, OjaiOiau CCA 93024-0240 Nownizer 2003' Vol. 23 Na 11

l2.12. Eventide with the Robert Famon Orchestra, 1979'1979. Ghosts of the Black Forest 13. A Capella III,1980.III, l980. Part One 14. Easy to Love,1982.Love, 1982. The set is still available for about $100, and the three a have been issued as a separate set, which you On a July day in 1967,1967 , aamagicmagic moment occurred in American capellacapellaalbumsalbums have been issued as a separate set, which you album' music. An idea passed between two men on the Michigan can get as an import. And there is a Christmas album. recorded in exactly one week, Avenue bridge over the Chicago River, just south of the point EichEach of the albums was recorded in exactly one week, four singers unrehearsed where the street passes between the Wrigley Building on your usually two tracks a day,day, with all four singers unrehearsed vocal charts' The left, looking like a tall white wedding cake, and the Chicago and sight-reading the extremely difficultdifficult vocal charts. The it is gone. In a way it should Tribune, an improbable Gothic tower on the right. groupg.orrp iurnotcannot be reconstituted: it is gone. In a way it should but for the The men were Don Shelton, a veteran saxophonist and never,.,r"i hur"have existed at all, and it wouldn'twouldn’t have but for the and the support of singer, and Len Dresslar, known to the public as the voice h0-fto- advances in recording technology and the support of ho-ho of the Jolly Green Giant but a man of far wider skills Brunner-Schwer. than that. And that conversation led to the formation of what recording tape in the late many people consider the most remarkable vocal group in the With the increasing use ofofmagneticmagnetic recording tape in the late possible, including history of the United States or any other country. The group, 1940s, all sorts of things became possible, including guitar work of Les when it came into being, numbered four singers, Bonnie overdubbing. An early example is the guitar work of Les overdubbing became fairly Herman at the top of the hannony,harmony, Len Dresslar at the bottom, Paul and Mary Ford. Vocal overdubbing became fairly llaltz' In Don Shelton, and Gene Puerling, the group’sgroup's arranger and common, giving us Patti Page’sPage's The Tennessee Waltz. In debut, using jazz musical director, in the middle. They would make fourteen 1959I959 the Double Six of Paris had their debut, using jazz leader and founder, Mimi albums for Hans Georg Brunner-Schwer’sBrunner-Schwer's MPS label, each of themes to which the group’sgroup's leader and founder, Mimi the six expanded to rvhichwhich stunned thethe jazzjazzworldworld when it was firstfirst issued, and did Perrin, added lyrics. By overdubbing, the six expanded to the hit group Don Elliott so again when they were reissuedinreissued in 1997 in a boxed set of twelve voices. And then there was the hit group Don Elliott all the voices overdubbed at slow seven CDs. had called the Chipmunks, all the voices overdubbed at slow the case ofthe Singers The albums were: tape speed and then speeded up. In the case of the Singers complex alrangements and l. In Tune, with the Oscar Peterson Trio,Trio,1971.I971. Unlimited, their extraordinarily complex arrangements and twenty-seven voices' 2. The Singers Unlimited: A Capella, also l97l.1971. overdubbing took them at times up to twenty-seven voices. learned to record string sections 3. The Four 0fUs,ofUs,1973.1973. Recording engineers soon leamed to record string sections the practice of 4.4.Invitation,Invitation, with the Art Van Damme Quintet, 1974. twice, to get a largerlarger sound. In due course, the practice of "sweetening" came into being. A jazzgroup or a singer with 5.5 . Feeling Free,Free, with the Patrick Williams orchestra, 1975. “sweetening” came into being. A jazz group or a singer with in multi-track, and afterwards 6. The Singers Unlimited: A Capella II,H, alsoalso 1975. rhythm section would record in multi-track, and afterwards be added on the open tracks, all of this 7.7 . A Special Blend, orchestral writing by Clare Fischer, an orchestra would be added on the open tracks, all of this Previn, perhaps in 1976. involving the use of headphones. Andr6André Previn, perhaps in called No Headphones'The 8. Sentimental Journey,Journey,withwith the Robert FamonFarnon orchestra, rebellion, once made an album called N0 Headphones. The and even 1976.t976. problem headphones present for many singers, and even Frank Sinatra hated 9. Friends, with Patrick Williams, 1977. instrumentalists, is one of intonation.intonation' Frank Sinatra hated use them. 10.10. Just in Time, with the Roger Kellaway Cello Quintet, headphones and wouldn'twouldn’t use them. field, the 1977.t977. But for singers who work in the advertising field, the a ll.11. The Singers Unlimited with Rob McConnell and the “jingles”'Jingles" business, headphones areare a way of life, a jingles singers are among Boss Brass,1979.Brass, I979. commonplace working tool. And jingles singers are among

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place of the J's with Jamie' Gene the best in the world. The good ones are demon sight-readers new group to take the place of the J’s with Jamie. Gene the last year just sort of with superb intonation. Over the years, in the studios of New Puerling had been in town for the last year just sort of going, we were so York, Chicago, and Los Angeles, I acquired the most freelancing, trying to get a group going, but we were so it didn't work and he had enormousenoffnous respect for them. heavily entrenched with the JJ's’s that it didn’t work and he had Gene' and then I A great many jjazzmusiciansazz musicians gravitated to the jingles field.field' gone back to California. I said, ‘I’ll'I'll call Gene, and then I available'' They too were in demand for their flexibilityflexibility and sight- have to call and see if Bonnie Herman might be available.’ he said, 'Boy, this is reading skills. One of the best was pianist and composer Dick I called her manager, Ralph Craig, and he said, ‘Boy, this is just with the Dick Marx, who became the king of that profession for the mid- your lucky day.’day.' Her contract had just expired with the Dick you hear from west. He had the house trio, with bassist and violinist John Noel Singers. And I said, ‘Do'Do nothing until you hear from and I will get back to you Frigo, at Mr. Kelly’s,Kelly's, an elegant night club in the Rush Street me. Put her on hold right now and I will get back to you area, and as such he accompanied a long list of singers, some within the hour.'hour.’ Chicago River at the of them great singers. Then he went into the jingles business, “Len"Len and I were crossing the Chicago River at the 'What would you think about where he became soaringly successful. Wrigley Building, and I said, ‘What would you think about a group in L.A' Dick wrote the music to Ken-L-Ration’sKen-L-Ration's My Dog Is Better The Singers Unlimited?’Unlimited?' There had been a group in L.A. loved. And I said, than Your Dog andand Aren’tAren't you glad you use Dial, among called The Singers Incorporated, which I loved. And I said, jingles.' many. All the members of The Singers Unlimited were ‘Unlimited'Unlimited — we have to be so many things doing jingles.’ - I called Gene. I said, veterans of the Chicago jingles business, whose appealappeal in part “And"And he said, ‘Sounds'sounds good to me.’me.' I called Gene. I said, Chicago. Can you come is the money it pays. Performers in that fieldfield not only get the ‘There'There has been a real shake-up in Chicago. Can you come flew back. I fee for the job, they receive residual payments when the back and talk to Bonnie, Len and me?’me?' So he flew back. I he said, 'Bonnie's available,' commercials are played on radio and television. Len Dresslar, called Ralph Craig back, and he said, ‘Bonnie’s available,’ who was the voice of Dig ’Em'Em the Bullfrog in the Sugar and I said ‘Good.'Good. Have her meet us at Len Dresslar’sDresslar's house go from there.' Smacks ad, and that of Snap in the Snap, Crackle and Pop trio tomorrow afternoon and we’llwe'll go from there.’ got on a hot, steamy July in the Rice Krispies commercials. Len once said his residuals “And"And that is how it all got started on a hot, steamy July commercials." put his two kids through college afternoon in 1967. Then we started doing commercials.” friends with a small But as well as being veterans the jingles business, The Len Dresslar said, “Gene"Gene had these friends with a small Francisco, and when we all got Singers Unlimited were also the product of the Hi Lo’s,Lo's, since advertising agency in San Francisco, and when we all got a hell a group!" their arranger and music director, Gene Puerling, held these together, it was a case of: This is a hell of a group!” or something." roles in that earlier quartet. Gene said, "We“We sang about one chorus or something.” Ies! , The personnel of the Hi-Los evolved into Puerling, Don Len said, “It"It was something like that, and then, Yes! Shelton, who also played the saxophones and still does, Clark That’sThat's what it was. You knew!”lcnewl" four voices Burroughs, who gave the group a distinctive sound with his Len said, “We"We learned how to utilize these four voices had multiple ability to sing extremely high passages, and Robert Morse. together at Audio Finishers, a little studio. We had multiple same track again just to The group made some exquisite records, includingincludingTheThe Hi Los tracks, and we would record the same track again just to The guy at and All That Jazz with the Marty Paich Dektette. Clare enhance the sound, and the advertisers loved it.it' The guy at 'You've Fischer was their pianist and instrumental arranger during the studio, Murray Allen, called Gene and he said, ‘You’ve how to use this damn much of the group’sgroup's life. They disbanded in 1964.1964- got to write something so we can leamlearn how to use this damn wrote Fool After the Hi-Los, Don Shelton and Len Dresslar became thing.’thirg.' It was an Ampex eight-track. And Gene wrote Fool and we'd finish maybe, part of a group called the JJ's’s with Jamie, who were among the on the Hill. We’dWe'd get over there, and we’d finish maybe, bestjingles singers in Chicago. “They"They were the darlings ofthe sixteen bars in a whole evening.”evening"' many tracks advertising community,”community," Don said. Joe Silvia headed the “It"It took thirty-six hours,"hours,” Len said. “How"How many tracks group, and his wife Jamie was one of its members. Don were on there? We must have done sixteen or twenty."twenty.” conunued:continued: Don Shelton said, “Ping-ponging"Ping-ponging it."it.” them on “One"One night in July of 1967, Joe and Jamie announced that Gene said, “Do"Do one and two, and then combine them on theytheywerewere moving totoNewNew York andandtheythey didn’tdidn't invite Len and track three. Then re-record on track one.”one." the has such a me to go. We were doing a Hamm’sHamm's Beer session at studio A Len said, "That“That is why Fool On the Hill has such a at Universal, and I ran up behind Len and stood on my tiptoes, massive, fat sound.”sound." we ever made." He said to because he is the Jolly Green Giant. Don said, “It"It was the firstfirst tunefune we ever made.” He said to for Joe and “I"I said, ‘Len!'Len! I have an idea! Meet me for breakfast!’breakfast!' I had Gene: "You“You played The Shadow of Your Smile for Joe and ' put it back to figure,figure, how are we going to do this? There’sThere's got to be a Jamie. And Joe thought it was ‘too'too modem.modern. ’ Gene put it back

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prepared, we were all at the in his satchel and said, ‘Oh,'Oh, okay.’”okaY."' sessions in Chicago. So we were prepared, we were all at the Len said, “And"And it was incredible. We decided that we were same speed. just be flying' going to have a coming-out party. And here’shere's the old “We’d"We'd finishedfinished an album. The pages would just be flying. at the end of the week, Ambassador Hotel sitting up there, and they had the Guild We never memorized anything, so at the end of the week, you were reading fast'" Hall right across,across the street. Sam Cohen said, 'Don't‘Don’t worry you just felt exhilarated because you were reading fast.” people work. I used to about it. We’llWe'll take it over.’over.' So they took it over and started Gene said, “I’ll"I'll tell you how these people work. I used to months ahead in hopes off by sending a cardcard to every advertising person in Chicago. send them the vocal arangementsarrangements months ahead in hopes time to really lock it in' It had a tuning fork on it, and it said, ‘Can'Can you name this?’this?' that this would give them enough time to really lock it in. morning' So We got the most outrageous and wonderful answers to it'it. The next day, we start recording at eight in the morning. So to be fine' Another card said that we are having a partypatty and you’reyou're I figurefigure I’dI'd sent it to them and everything is going to be fine. It turned out invited. And I said, ‘Well,'Well, you'veyou’ve looked at it before.’before.' It tumed out at all." Don said, “A"A series of teasers went out for several weeks, that they’dthey'd never looked at those things at all.” all building up to this October day of ’67.'67. We rented two Herman, lead Voice of the Theater speakers.”speakers." Bonnie Herman was born in Chicago to Jules Herman, lead Lois Best, the first Len continued, “Well,"Well, the guys stood at the entrance to the trumpet player with Lawrence Welk, and Lois Best, the first in Guild Hall on either side of a lanky, lovely young lady in Champagne Lady with Welk. They married and settled in when Bonnie black tights and black top, wearing a black cap with a big red Chicago, then moved to St. Paul, Minnesota, when Bonnie during a musician's feather sticking up from it, holding a placard that said ‘The'The was five.five. Bonnie said, "Then“Then he decided, during a musician’s his own band, which was a Singers Unlimited.'Unlimited.’ It was out of sight! strike in thethe late-1940s,late-1940s, to start his own band, which was a He was a farm boy “We"We started out after having hors d'oeuvresd’oeuvres and cocktails brave thing to do with a couple ofbabies.of babies. He was a farm boy played way through college' on the stage in the Guild Hall, and watched the speakers play from North Dakota who played his way through college. of eighty- our demo tape for which Gene had written a lot of fictitiousfictitious He'sHe’s still going strong. Retired his band at the age of eighty- people growing up' commercials. After that, we sang for the music producers live, six. So I was the daughter of well-known people growing up. was Winnifred Bolle, in their offices,offices, just so they would hear there was going to be “I"I took classical piano. My teacher was Winnifred Bolle, was just the a group, not a vacuum. As soon as they knew that Joe and pianist with the Minneapolis Symphony. She was just the getting a really Jamie were leaving town, we had to fillfill that gap really pastor'spastor’s wife, to me I did not know that I was getting a really that loved quickly. We sang for Dick Marx, and people around town, good education that way. I was in a school district that loved And the school and they all breathed a sigh of relief. Dick Marx made the music. The superintendent was a musician. And the school and St. Olaf comment, ‘I'I was worried that you and Len were leaving town would get these people from Concordia College and St. Olaf our school was too!’too!' We assured him that we would have a group. College to teach. The biggest thing to be in our school was for singing alto' “That"That got us started in advertising. That was our thrust at in an a capella choir. So I had this training for singing alto. the beginning, I967,1967, I968.1968. Then, we decided to do a I never sang lead. At the same time I was in a three-girl vocal contest that Christmas album. We were going from studio to studio —- in group, the Debutantes. We won a Coca Cola contest that - home, I was just demand likellke crazy.Itcrazy. It was the most exhilarating time of my took us to New York. I was fourteen. I came home, I was just played in the band; and career. a normal kid. I was a cheerleader; played in the band; and “We"We would go from studio to studio, sometimes having to this choir.”choir." rush across town. We were so much in demand people would I asked: “What"What did you play in the band?”band?" actually wait for us. If we couldn’tcouldn't make a three o’clocko'cIock She laughed. “Snare"Snare drums. But don’tdon't tell my husband, joke." to the fine because we were booked from two to four, they’dthey'd say, ‘Okay,'Okay, because he thinks it’sit's a joke.” She is married to the fine come when you can.’can.' No way can that happen these days, not Chicago drummer Tom Radtke. musical even close. We were so blessed to have that kind of working “But"But that’sthat's another thing that added to my musical I had relationship with our music producers. It was fabulous.”fabulous." education. I was reading all these percussion parts. So I had the big- Len said, “We"We knew inherently that we had a really great this conglomeration of musical influences,influences, including the big- thing. It wasn’twasn't just the commercials. There was a hell of a band music at home with my family. There wasn’twasn't enough wasn't any in sound. The four of us created something that was unique.”unique." jazz in my background in Minnesota. There wasn’t any in guitar “We"We were like athletes in the studio,”studio," Bonnie said. “We"We my school. That was regrettable. There was this one guitar were singing all the time, sheet music in front of us every player who would come over andandplayplay Easy Street and teach up there, hour, someone else’selse's composition or whatever. It had a lot to me a few songs. Then I started to sing commercials up there, because as a freshman at the University of Minnesota, I was do with what we were thrown into —-- a lot of situations in 3 November 2005 r

in a campus production and a producer happened to walk by that environment.”environment." So you had lots of where I was singing. I did aaDairyDairy Queen commercial, and Don Shelton said, “No"No vibrato either. So you had lots of that was it. Then I started flyingflying into Chicago a couple of straight pure tones.”tones." and big months later. I remember going home and calling my dad and “Yes."Yes. And also my dad was a big one with that — and big you - do is be saying, 'Daddy,‘Daddy, this man wants me to sing for a commercial.’commercial'' on pitch. He always said to me, ‘The'The least you can do is be piano, He knew him. S-0So he suggested that he come over to the in tune.’tune.' And, ‘If'If you are ever going to practice piano, sorority house, where it was safe. And I auditioned. Two practice it right. Just play well.’well.' My parents were fantastic.’fantastic.' never even day’sday's later I did the commercial. It ran all over the country. I said, “That’s"That's another thing we have never even the “Then,"Then, I was heard by Ralph and Doris Craig,Ctaig, whom Don discussed in this past two days — the bossa nova singing, the - on it." mentioned earlier. They brought me to Chicago seven months straight tone. None of this would work with vibrato on it.” brightly later. I kept flyingflying back and forth to sing for various producers Len Dresslar said, “No,'No, it would not.”not." The others brightly you Now, Bonnie in Chicago. I never knew studio work existed. My parents did agreed with him. “It"It depends on who you are. Now, Bonnie not want me to be in the business. My mother kept asking me used it very discreetly."discreetly.” a terminal vibrato, A wouldn’twouldn't I like to be a nurse? They knew that for a woman, I said, “At"At the end of the tone, she did a terminal vibrato, -music would probably be ofofa a hard life.life' and very slight.”slight." “In"In eighth grade, while my dad had some hit records on the Don said, “To"To warm the phrase up at the end.”end." was long radio in Minneapolis, myrpy science project was 'How‘How to make This perhaps requires a little explanation. It was long in a record.’record.' I was always fascinated with the process. So he assumed that vibrato was necessary in popular music, and in took me down to the local studio, the Kay Bank Studios, classical music too for that matter, whether in instrumental the baroque where he recorded. They took me through and showed me the or vocal music. This was not always so. In the baroque whole thing. And they gave me all these acetates after period, a tenninalterminal vibrato was used. That is to say, the showing me how they did it. And the acetates were the JJ's’s violinist or other player would start a note with straight tone from with Jamie. A commercial for Northwest Orient Airlines. and then add vibrato as it progressed. This disappeared from jazz, “Don"Don wasn'twasn’t there in Chicago yet. You were a young music. As far as I know, Louis ArmstrongAnnstrong initiatedinitiateditinit in jazz, good, controlled whippersnapper. Who knew that in a matter of fivefive years we and in later years, at least with very good, very controlled would be together singing and that I would have a studio singers, it became not uncommon. It takes effort to develop more control career? But that’sthat's how far back my interest was. So on the a good vibrato and control it, but it takes even more control it. And if it is not very much in tune, it Dairy Queen production, it was fantastic: this little room, to sing without it. And if it is not very much in tune, it it became critical musicians, and a microphone. I never liked live performing. sounds hideous. In The Singers Unlimited, it became critical used, frequently But in a studio, it was calm. So that was my love. because oftheofthe nature of the harmonies Gene used, frequently “My"My folks are my biggest supporters. We are on the same involving close intervals. is when you wave-length, because we are all musicians. But it was really Len said, “One"One of the really perfect things is when you maintain purity. It because of what they saw women go through. Studio work have a lead horn that you can tune to, and maintain purity. It is that lead horn." was just an ideal situation for me.”me." makes it a hell of a lot easier. And Bonnie is that lead horn.” was a very I said, “Public"Public performing is hard.hard' Unless you become a Gene said, “Many"Many times I would say that it was a very 'Lets just do one more.' big star, and you’reyou're working at the upper level of it. You'reYou’re acceptable take, and she would say ‘Lets just do one more.’ wanted it to be going to have night club owners making passes at you, the She would do that a lot -— only because she wanted it to be money’smoney's lousy.”lousy." the best ever.”ever." the way we Bonnie said, “And"And the loneliness ofit.”of it." Len said “Just"Just right on the money. That was the way we that whole I said, “Jeri"Jeri SouthernSouthem hated the life, and quit, and began worked. I think all of us were geared into that — that whole you- can." teaching voice and piano.”piano." concept that you get as close to perfection as you can.” and Pro "I“I never would have pursued anything like that. I often Bonnie said, “Now-a-days,"Now-a-days, with the computer and Pro innocent. think, What would have happened? What would I have been Tools and everything, our records, to me, sound innocent. a well-known act, a doing had I not made this move? I transferredffansferred to NorthwesternNorthwestem Now, a friend of mine —- a producer for a well-known act, a - vocal or even University and immediately got busy in Chicago. Don and I singer —— said that maybe ninety times in one vocal or even - edit. came the same month, February, 1964. in between syllables, it is common to edit. you “Things"Things just happen. It was just meant to be. And then, I “And"And you just line it up, mathematically or however you in too think of all the training and the a capella.capella- Minnesota is a want to put it. If you’reyou're entry is too late, or you come in too just often hotbed of choral activity. That was very lucky for me to be in early, you don’tdon't do it again. You just fixfix it.it' So I often

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along and he decided to wonder, if Hans Georg were still recording, would he have musician.’musician.' But the Depression came along and he decided to job Texas Power and Light' gone for the latest technology?technologY? stay with his $75-a-month job at Texas Power and Light. When he wouldplay his Gene said, “I"I don’tdon't think so.”so." That’sThat's whatwhathehe did, his entire career. When he would play his just and four years old he Bonnie concurred: “I"I don'tdon’t think so either.”either." weekend jobs — I was just three and four years old —- he - morning, he would- open Len said: “Hewas"He was too much of a purist.”purist." would come home and on Sunday morning, he would open his horn. I have it at home now in Pro Tools is a piece of equipment that makes it possible to up his alto case and clean his hom. I have it at home now in gold-plated a1to, in the case with fixfix an out-of-tune phrase, or even single notes. This baffledbaffled SantaSinta Monica, a Buescher gold-plated alto, in the case with now as when I was me at first,first, since I thought back to the era of recording tape green velvet lining. It smells the same now as when I was I am that tall again' Itjust when the only way you could raise the pitch was to run the threeth.". yearsy"uts old. I open the case and I am that tall again. It just great tape a little faster, which raised it even in the accompaniment.accompaniment' gives me a great feeling. - but they were both But recording is now digital, it is mathematical, and the pitch “My"My mother was not musical, but they were both early age he tried to get me on of even one or two notes can be altered without affecting the extremely supportive. At an early age he tried to get me on that I could possibly background. On the last Academy Awards broadcast, Itzhak clarinet because that’sthat's the only thing that I could possibly me. My arms were so short' Perlman played very out of tune. In the recording studio, his hold. Alto was ’way'way too big for me. My arms were so short. of the clarinet' So my father solos could be "fixed"“fixed” but not on live television. It is thus I couldn’tcouldn't play the bottom half of the clarinet. So my father you can.' So I kept listening to almost impossible to tell from records whether any of the new says, ‘Okay,'Okay, we’llwe'll wait until you can.’ So I kept listening to he put it together and young idols can sing or not. stuff and taking it in. And then one day he put it together and That was my Bonnie continued: “And"And people used to criticizectiticize us for voilal"voila!” Don sang a line. “I"I can play it! That was my punching in and correcting things. It makes us seem beginning. So it was clarinet and classical for years, contests Texas' absolutely primitive. It’sIt's there, and the imperfections are sort every year in New Mexico and Texas. Mexico. I kept practicing of endearing now — even the worst!"worst!” "Fifth“Fifth grade we moved to New Mexico. I kept practicing band school over at Texas Gene said, "I“I don’tdon't- hear any imperfections.”imperfections." clarinet and going to summer band school over at Texas That would be my real shot in “We"We tried so hard to end syllables together,"together,” Bonnie said.said' Tech College, every summer. That would be my real shot in music of Ein But, every now and again,again, it was difficultdifficult to come in on a the arm for culture. Getting to read manuscript music of Ein down from the rubato section — to kind of feel it, and come in.”in." Heldenleben. Dr. A. A. Harding would come down from the - University of Illinois for the last two weeks. I got to set up Philharmonic, who My conversations with four members ofofthethe group occurred in with the principal clarinetist of the Berlin Philharmonic, who the faculty band. So I February, 2005, when I did interviews with them for thetheJazzJazz was my teacher, and play with him in the faculty band. So I Oral History Practicum Project at Claremont McKenna would make great strides in the summer, and then go home, of America College in Claremont, Califomia.California. The talks continued over and all winter listen to the Cities Service Band ofAmerica ~- two days. The meeting amounted to a reunion: the four had and get so excited.”excited." radio carried a not seen each other in a long time. I hadn’thadn't seen them since a In the 1930s and ’40s,'40s, network radio carried a music each week, record date in Los Angeles in early AprilAptil 1977. considerable amount of live classical music each week, Firestone, the Bell Len Dresslar said, “Don,"Don, let'slet’s get to you next.”next." including such programs as the Voice of Firestone, the Bell Service was a Don responded: "Well,“Well, I wasn'twasn’t going to be a nurse.”nurse." Telephone Hour, and Cities Service. Cities Service was a Bonnie laughed, “Neither"Neither was I.”I." gasoline company, now vanished. career was just playing Gene said, nodding toward Don, “While"While we are doing this Don said, “All"All of my early career was just playing As said, my self-congratulating, I need to give kudos to this guy because clarinet, all the while chomping at the bit. As I said, my and Benny he has never been really recognized on our albums. He has father was playing Hany James, Artie Shaw, and Benny and all my classical had more to do — all of the instrumental solos and things - Goodman. I'mI’m playing Richard Strauss and all my classical - the were in addition to vocal- solos than any of us. He has really been things —~ that I was loving — and the two were - me. Then,- 1949 came along, and an important person in our grouP."group.” amalgamating, as it were, in me. Then, I949 came along, and weren't “Oh"Oh my, yes,”yes," Bonnie said. Gene Krupa came to town for the Lions Club. They weren’t were serving alcohol' Don smiled and resumed: “I"I was born in Texas. My father supposed to let minors in because they were serving alcohol. to hear was a musician — alto sax and clarinet player —— in East MyUy dadAaa said, 'oYou“You don'tdon’t understand. My son needs to hear - monitor him Texas. When he was- a young lad, he was playing records by this.”this." They said, ‘Okay,'Okay, but you must monitor him the first big band I had the likes of Harry James, from Beaumont, Texas. Next thing carefully.’carefully.' They let me in. That was the first big band I had Ray Triscari, Urbie you know, he was with Benny Goodman at CarnegieCamegie Hall. I ever seen. Great band: George Roberts, Ray Triscari, Urbie said, 'Wow,‘Wow, my dad should have been a professional Green, Boomie Richman. One ofofthethe trumpettrumpetplayersplayers turned

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with the his music stand at an angle so that I could follow the playing, I just kept doing them both, and rehearsing with the manuscript all night. I was going crazy. Bob Florence band. he did “After"After that, it was one big band after another coming to “Remember"Remember Lyle Ritz? The ukulele album that he did We did the town: Woody Herman, Tommy Dorsey. I was hooked totally Barney Kessel? It was called How About Uke? We did the playing flute and alto then. I didn’tdidn't give up classical but I just gathered in all of the song with Red Mitchell on bass. I was playing flute and alto first swing things that I could get.get' I still didn’tdidn't know alto flute,flute, and Lyle was playing ukulele. That was my first to death Capitol Records, saxophone until I graduated from high school in Hobbs, New recording session. I was scared to death — Capitol Records, And- as I said, Gene Mexico, near Lubbock, Texas. I went into the Navy School of studio B. Then I started singing more.more' And as I said, Gene taking on a Music, in Washington DC. The Korean War was on and my had called and said they were thinking about taking on a the time, was parents were afraid that I would get into the AnnyArmy and have replacement but they were not sure. At the time, I was all these to go to Korea and be in the infantry. The Navy band would auditioning for the Modemaires,Modernaires, the Skylarks -— all these had called and- said, 'Do come to town every year. We invited a couple of firstfirst chair vocal groups. And then Harry James had called and said, ‘Do players to our home for dinner. After dinner I played with you want to play third alto to Willie Smith on a tour to South was so excited' them in the living room. Then, we would go hear them play. America?’America?' My firstfirst big band offer. I was so excited. do the Swing Again, I would go absolutely berserk. They were so good. We “The"The Hi Lo’sLo's went on a tour to New York to do the Swing and Benny Goodman. I contacted those people, and they said, ‘Yes.'Yes. You should apply into Spring show, with Peggy Lee and Benny Goodman. I and said, 'We are ready to the Navy School of Music.’Music.' That led to the U.S. Navy for watched that show. They came back and said, ‘We are ready auditions. three years. to make a change.’change.' And they started making auditions. joined Hi “I"I wound up in Chicago at Great Lakes Naval Training “So"So they really changed everything when I joined the Hi then, our touring began to Center. We took a band down to the Howard Miller Show on Lo’s.Lo's. I still played and sang. But then, our touring began to Las Vegas's Chicago radio, WIND, one night, and there was Len Dresslar, take more time. When we were doing Las Vegas’s get a call from singing and wearing a yellow sweater. He was the boy singer Tropicana, during the summer of 1963,1963,II get a call from calling. They wanted to on the show, and I was in my Navy outfit.outfit. I did not know that Chicago, and it’sit's the JJ's’s with Jamie calling. They wanted to After years later, I would be singing with him, because all this time, know if I would be interested in coming to Chicago. After moved to San I was not singing — well, only in church choirs. much trepidation, I decided. Gene had moved to San like “After"After I graduated- from high school, I left the Navy and Francisco, and we weren’tweren't able to rehearse every day, like Beatles came on the scene. came back to Texas Tech where I had gone to summer band we always did before. And the Beatles came on the scene. was changing. school, and where I felt comfortable. Then, I transferred to Our bookings began to be a little bit thin. It was changing. 'You go back UCLA. That’sThat's when I met people in the music business —— All my mentors were telling me that ‘You need to go back - a chance.' So, I went back whose dads were in the business. There were vocal arrangers:alrangers: and give these new opportunities a chance.’ So, I went back Ian Freebairn-Smith, and Perry Botkin Jr. That’sThat's how we to Chicago in February I964.1964. There was Len.Len' They met me I moved Ieamedlearned to sing vocal charts, down in the practice rooms at at the airport. That started my Chicago experience. I moved years. 1988 I came back to UCLA. I was a big Four Freshmen fan. When I was back at back and stayed twenty-fivetwenty-five years. In 1988 I came back to Texas Tech, I heard a Monitor broadcast — remember Los Angeles, where I still do freelance playing and singing. - to do things Monitor Radio on NBC? — and the Hi Lo’sLo's were on. And I It’sIt's been a wonderful move, because I am able to do things went, ‘Whoa,'Whoa, what is that?’that?'- So I ran out and got that album. that I wasn’twasn't able to do in Chicago.”Chicago." And from then on, the Hi Lo’sLo's were front and center. One 1925 in St' year,year,II took my wife on a trip to be home for Christmas, and It was Len Dresslar’sDresslar's tum.turn. Len was bomborn in l925 in St. we were coming to Tucson, Arizona,Atizona, and the beautiful Francis, Kansas. “My"My dad was a superintendent of schools.schools' toured in the early Arizona sunset. What should be playing on the radiotadiobutbut The He got caught by the repertory shows that toured in the early Heather on the Hill,Hill,byby the Hi Lo’s.Lo's. And as we were driving twenties. the high school. And into the sunset, I said, ‘Joan,'Joan, if I could ever sing with a group “They"They would do the shows there at the high school. And lovely like that, wouldn’twouldn't that be something? I got home and my of course, in between, I was chosen —— plus another lovely - They had to roommate says, Gene Puerling called.’called.' And, I went, ‘What?’'What?' young lady —- to entertain between two acts. They had to - time. From then on, they had to Bonnie asked, “How"How did he know you?You? shove me on stage the firstfirst time. From then on, they had to “From"From singing groups. I was already singing in Los pull me off. My mom was a singer, and she bet that I would Angeles with Jud Conlon and doing motion pictures, and be a singer as well. I am really glad for that, because she love. God records, rock-and-roll dates, and then, the radio show with started me into a whole area of life that I really love. God knows what I would be doing now. So after the war, lI came Rusty Draper. My career suddenly began to go —- singing, 6 November 2005 v

as they can go. So, when they try to do out of the Navy and wentwent.toto the Conservatory in Kansas City.City' That is about as low as they can go. So, when they try to do got to take an alternate' I met my wife there. Gene’sGene's charts, Whoops! You’veYou've got to take an alternate. or at least take the fifth above “I"I studied there and found this incredible teacher. A guy Either sing it an octave higher, or at least take the fifth above root. Len was the root of the whole who was kind of a young LauritzLaviaMelchior.Melchior. We became good that. And it’sit's not the root. Len was the root of the whole friends. And, after Nicki and I were married, we spent the thing. I thought it was wonderful.”wonderful." Len said, "Well, thank you so summer with one of those rep shows before we went into New Obviously astounded, Len said, “Well, thank you so York. We and wound up working with a class act. There was much! My God!”God!" go? a five-manfive-man singing group called the White Guards. During I asked him, "How“How low can Youyou go? good day, I can pull a low C'" that time we continued to audition, and finally,finally, we got into a “Generally,"Generally, on a good day, I can pull a low C.” understand how he did it'" South PacificPacific production. We did that for two and a half Bonnie said, “We"We could never understand how he did it.” was an F, maybe an E-flat'" years. Then we went back to Chicago where this teacher was.was' I said, “Sinatra’s"sinatra's bottom note was an F, maybe an E-flat.” six notes below that'" I thought, I’mI'm tired of this,this,II need a real job. Because we had Don said, “Len’s"Len's got another six notes below that.” a baby daughter. "I was born in Milwaukee, “When"When we were withwith South PacificPacific we had aapartyparty at this It was now Gene’sGene's tum.turn. He said, “I was bom in Milwaukee, big nightclub in South Chicago. I sang, and the owner said, ‘If'If Wisconsin.”Wisconsin." "Along with Woody Herman and Hildegarde'" you ever want a job, come see me.'me.’ So I went back, and I got I said, “Along with Woody Herman and Hildegarde.” said, "Yes. Hildegarde and I used to go together'" a job. I was a production singer. A scout from CBS happened Gene said, “Yes. Hildegarde and I used to go together.” joke: the flamboyant cabaret to come in and hear me. And the next thing I knew, I got this That’sThat's aaveryvery inside Milwaukee joke: the flamboyant cabaret Liberace doted and modeled himself, was offer from CBS to do a nightly television show. After fivefive and singer, on whom Liberace doted and modeled himself, was She died in 2005 at ninety-nine. a half years, CBS went from their fifteen-minutefifteen-minute music shows a lifelong lesbian. She died in 2005 at ninety-nine. laughed' He resumed: to all-network talk. At that point, I did my firstfirst commercial. So when Gene said that, everybody laughed. He resumed: with I got more out of that one Holsom Bread spot —— they “I"I was always interested in the vocal groups singing with - junior I had proper vocal circulated all over the country with all of their subsidiaries.subsidiaries' I harmonies. In junior high and high school I had proper vocal junior had choirs, various think the firstfirst check was like $2,800. I thought, 'My‘My god, I groups. When I was in junior high I had choirs, various a popcorn truck in front of the haven’thaven't had that much money in three months.’months'' I just walked groupsg.orpt for singing. I even had a popcorn truck in front of the Delius, Bartok, into the commercial business. From there it just migrated theater on Wisconsin Avenue in Milwaukee. Delius, Bartok, and I still do' I had a along with different groups and pickups. Until this JJ's’s with and Stravinsky I liked very much, and I still do. I had a Daters. It was my first mixed group, Jamie thing happened. When they moved to New York, it was group called the Double Daters. It was my first mixed group, just lovely, and they wore sweaters with the chance of a lifetime. I thought, ‘Wow,'Wow, we have to do this!'this!’ two girls who were just lovely, and they wore sweaters with They couldn't sing, And that'sthat’s when Don started saying we have to get Gene in ‘DD’'DDi on them in the appropriate places. They couldn’t sing, and two women' We here and we have to get a girl singer. And of course Bonnie but it was a lot of fun. Two men and two women. We Theater"' was it. All of the pieces fell together. I did a few concerts auditioned for Major Bowes, at the Milwaukee Theater.” an "amateur" afterwards. Once I got with these guys, The Singers In the 1930s, Major Edward E. Bowes had an “amateur” Sinatra was heard on Unlimited, that was the pinnacle of my career.”career." show heard on network radio. Frank Sinatra was heard on encountered anyone who Don Shelton interjected: that show in a vocal group. I never encountered anyone who "l“l have to give Len all the recognition, all he could had a good word to say for Major Bowes. possibly use. My youngest daughter, Jennifer, who is very Bonnie asked, “Did"Did Youyou make it?”it?" weeks. He was just much into vocal jazzjazz-— she teaches and arranges and sings — “Yes."Yes. And, we were there for two weeks. He was just - cheap. After a week he came to me one day, in a very serious moment, and said, terrible to work for. He was really cheap. After a week he Journal' So he 'Dad,‘Dad, when all is said and done’done' — as much as she loves this firedfired us. He got bad reviews thethe Milwaukee Journal. So he - got so bored with the group — ‘it’s all about Len.’Len.' And it is, it’sit's all about Len.”Len." hired us back in the second week. We got so bored with the furniture outside into the Startled,-'it's Len said, “Holy"Holy heaven.”heaven." whole thing that we used to throw furniture outside into the Don said, “When"When you listen to those records, I don’tdon't care river and watch it go by.bY. group later on, called the Honey Bees, three as great as Bonnie is in that whole thing — it comes down “I"I got another group later on, called the Honey Bees, three - foray into really -like this: what people hear is this ‘Wahhhhh!’'Wahhhhh!' — this thing guys and two women. That was the firstfirst foray into really - local nightclub' I down on the bottom. On which, like a pyramid, We’rewe're all thickerihick.. harmonies. We were singing at a local nightclub. I guess I worked at Music resting. It’sIt's just incredible. And the reason my daughter said forget about what was after that. I guess I worked at Music that is because, at the college level and even less at high City in California”California" "What brought you to school, you don’tdon't have a bass. You got a bass at ‘Bahhhh.’'Bahhhh'' Don and Bonnie asked in unison, “What brought you to

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like Clare Fischer and California?"California?” them, and worked with various people like Clare Fischer and up north'" Gene said, “It"It was l»950.1.950. The Four Freshmen were in Billy May. Then I think that’sthat's when I went up north.” "Yes. 1963 you moved to San CalifomiaCalifornia a lot. I really like the Freshmen. I told them that I Don Shelton said, “Yes. In 1963 you moved to San might move out to Califomia.California. I decided, on January l,1, when Francisco.”Francisco." "And I went and tried Chicago. I started I bought a Chevrolet Bel Air, to leave. It was colder than hell.hell' Gene said, “And then I went and tried Chicago. I started with the I drove for fivefive days. It got warmer and wannerwarmer until you hit another group, but it was in direct competition with the I was the Colorado River. Got to Los Angeles and met Clark people who would later form The Singers Unlimited. I was so talented.' In '67 Burroughs in the firstfirst couple of days. The high tenor voice, thinking, ‘They’re'They're tough, because they’rethey're so talented.’ In ’67 just and my that stuff, and I guess doing some productions for the I said this was enough. We just sang commercials, and my We drove back' movies."movies.” wife and I missed Marin County very much. We drove back. telling me what Bonnie said, “No"No kidding!"kidding!” Two weeks later,later,II got this call from Don telling me what 'Could you'come here?' “So,"So, I decided to start the Hi Lo’s.Lo's. I called my old friend, was happening in Chicago. He said, ‘Could youlcome here?’ day." from South [Divisional ?] High school, Bob Strassen.Strassen' He was So I left the next day.” back in Milwaukee, just out of the service. I asked Bob if he Bonnie said, “That’s"That's amazing!”amazingt" got together'" wanted to come out to Los Angeles and do something. So it Don said, “So,"So, that’sthat's how we all got together.” was Clark Burroughs, Bob, myself and Bob Morse. We The Fool on the rehearsed a lot together. I think we Ieamedlearned about thirty Then came their experimental recording of The Fool on the lives. arrangements, rehearsing three hours every day. We lived Hill thatthatwouldwould change all their lives. have as many voices as together in an apartment. Through overdubbing, they could have as many voices as group with the four of Bonnie said, “Were"Were all of these your arrangements?”arangements?" they wanted, in effect aalargelarge choral group with the four of whole thing lent a special Gene said, “Yeah."Yeah. There’sThere's a couple we recorded that were them singing multiple parts, the whole thing lent a special of the harmony and Len not mine, by Bill Thompson — aaveryvery good arranger.arranger' The firstfirst sound by Bonnie Herman on the top ofthe harmony and Len produced a thing we recorded was They -DidnDidn't ’t Believe Me. He had some Dresslar singing a very distinctive bottom. They produced a from beautiful simple of these vocal ideas that we incorporated into the Hi Lo’s.Lo's. He huge sound,sotnd, with textures ranging from beautiful simple minor would do theatrics with punctuation marks like a trumpet or unisons to dense harmonies, including seconds or even minor for it. These trombone might be, making Clark go way up. I may have seconds when one of the lines Gene wrote called for it. These called "grinders", been working at Music City record store at the time. Billy are the tones that the late Hugo Friedhofer called “grinders”, May would come through. Every day I would meet and they add spice to the harmony. What was amazing is that performers because the publishing houses were near there. I they could sing them uncannily in tune. got to know these people. So we went to sing for them first.first. Enter Audrey Morris. Then we went to sing for Jerry Fielding. He called Trend Audrey, an icon of the Chicago music scene, is a superb Records and he recorded four selections. The stuff went quiet singer who leaves a song pure and undecorated with it, immediately. It was playing in every radio station. It was a although she certainly has the chops to do otherwise with it, good time for harmony and jazz recordings.recordings. We got a since she is an excellent pianist. Oscar Peterson told me he her. He is one of her close recording contract for a little company called Starlite Records. copped some voicings from her. He is one of her close her We brought Frank Comstock in as the arranger.affanger. It was in friends, and often would stay at her house with her and her Goldstar Studios, three-track recording. I arranged everything late husband, bassist Stu Genovese. of ours. In turn, for the Hi-Lo’s,Hi-Lo's, did a lot of albums for them. Then, we went Gene Puerling said, “She’s"She's a dear friend of ours. In tum, at their house to Columbia Records. We did some things there, and had my she is a dear friend of Oscar’sOscar's who stayed at their house bed on the second usual arguments with Mitch Miller.”Miller." when he was in town, sleeping in the bed on the second Miller, the head of A&R at Columbia, was famous for floor.floor. Audrey gave himhimTheThe Fool on the Hill.HilL He called Hans pushing bad material at good singers, including most Georg Brunner-Schwer and said, “I’d"I'd like to do the next good And he infamously Mama Will Bark on Frank Sinatra. Miller was album with The Singers Unlimited. It’sIt's good stuff.”stuff." And he guess." interested only in sales, and I have always considered that he got the okay ——- right away, I guess.” was one of the most insidious influencesinfluences in putting American T0To be continued popular music on its long downward slide. yeat at Ojai, Gene continued, “He’d"He'd say, ‘I'I want you to do this.’this.' I said, Thethe JazzletterJazzletter is published 12 times a year at Ojai, Gene ‘No'No way.’way.' We had about six LPs on Columbia Records. Then California, 93024-0240.93024-0240. Copyright ©@ 2005 by Gene we went to Reprise Records; we had about three records with Lees. 8 November 2005