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Larry O'Brien Interview

Book review about Sinatra Singing

Arranger profile of Don Costa •nmp NEWSLETTER

VOLUME 130 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER, 2010

INTERVIEW - LARRY O'BRIEN with that and when we called for this interview he had just finished walking for over an The Background hour. He wasn’t jogging, he explained, because he’dhad Larry O’Brien, director of the official a cataract removed the day Orchestra, announced he’s leaving the orchestra De­ before. cember 31,2010. He has directed the Miller Orchestra longer than anyone in the history of that organization, The Interview including Glenn Miller. His versionoftheMillerBand provides precision while not sacrificing swing. O’ Brien BBJ: How long have dug into the Miller archives to come up with arrange­ you been a profes­ ments not often heard as well as a few tunes never The posed O’Brien sional ? performed in public by Glenn Miller but not at the sacrifice of the familiar Miller sound and Miller stan­ LO: Since I was about twenty-two years old, so it’s dards. about fifty-five years. My first professional main band gig was with . (Editor’s note: The last time we saw Larry O’Brien was in June at He was first trombone with the New York High School Chattanooga, Tennessee at the All-Star Symphony at age fifteen.) Hotel where singer Julia Rich first performed with , and where she made her final appearance. As we BBJ: Not including Miller, how many leaders has pulled into the hotel parking lot on a steamy summer the Miller Orchestra had? afternoon, there was Larry O’Brien running around the perimeter of the hotel, perspiring profusely. A few LO: I think about nine. I can name most of them. hours later the same Larry O’Brien was cool and crisp Ray McKinley, of course. Buddy DeFranco, on stage to lead the band into a tribute not only to Julia Buddy Morrow, Jimmy Henderson, myself, Dick Rich but to the timelessness of Miller music in particu­ Gerhardt and myself again. lar and Big Bands in general. BBJ: Memorable experiences on the road? The Scene LO: People of that age get really emotional about Our first newsletter interview with Larry O ’Brien was the music. It recalls times when things were fourteen years ago in 1996 and with that time lapse and simpler, when things were better in some ways and this the impending O’Brien exit from leadership of the music evokes some fond and tender memories for a lot Miller Band, it seemed the time was right to catch up of them. Maybe some of them got their first kiss at a with his latest thoughts and his plans for the future. Glenn Miller dance, or maybe they were proposed to When we mentioned the word “retirement” in our pre­ while theband was playingMOONLIGHT SERENADE interview conversation, Larry stressed he’s NOT retir­ and all those things that trigger emotions when we start ing, simply changing the direction of his life. (More on playing. When we play the theme song sometimes his view on that change in the interview.) people will be sobbing out loud. I actually had a friend up in Long Island who had it played at his wake when He was 77 in August, but those who have known him all he died. He wanted played his life say he’s not changed since he was in his all the way through at his wake. He was a giant Glenn twenties. His exercise routine has a great deal to do Miller fan and his dream was to lead the band, but one V O LU M E 130 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER, 2010

he never realized, I’m sorry to say. certainly welcome that. If I can’t, BB.I: Your experience....being in one that’s OK too. I’ve place for a time. had enough music in my life and I can LO: I’d never done that in my career so far, but I was still enjoy listening with , Jr. and I was with the to it and I can still Orchestra and we were playing in the play for my own state of about six months out of the year. We amusement and were playing four months in Las Vegas, a month in pleasure. Tahoe, a month in Reno, so it just made sense to get an apartment in Las Vegas. I shared it with another BBJ: You men­ trombone player who worked with ’s tioned other places O’Brien at work band in his “Book End Review” and it just worked out coming with bag------—------when I was in town he was on the road and vice-versa. gage. Explain that. We seldom got in each other's hair; it was a satisfactory for both of us. LO: Yeah. For example, Colorado. We dearly love Colorado but it gets very cold there in the BBJ: You’ve been leader of the Miller Orchestra wintertime. That would comprise “baggage.” We love about twenty-five years. Can you tell us the the area, we just don’t like the winter there. reason you’re stopping? BBJ: You’re a physical fitness buff. How did that LO: It’s time....it’s time for me to go. You know begin? when it’s your time and this is mine. I don’t want to be like Willie Mays. Willie Mays was one of LO: I’ve been doing that for a long time....about the greatest baseball players that ever lived, but he thirty years now. I took a physical when I was stayed in the game a little bit too long. I don’t want to with Frank, Jr. in Lake Tahoe and the doctor told me I be an embarrassment musically or any other way to was in pretty good shape. “For a man my age,” were anyone, myself included, so I think I’d rather go out on his words. He said I needed to do some exercise, so I top. Right now I’m going to leave whoever succeeds stopped smoking, started exercising. I’ve always liked me with a great band, they’re gonna’ have a lot of fun to run; I ’ve always been a good runner so it was natural with that band, and hopefully they’ll make a huge to me to get into the running again and I try to work out success of it. I wish nothing but the best for the Miller with weights once or twice a week just to keep my Band. I hope it goes on for another twenty-five years. bones strong. That’s one of the ways you can increase the strength of your bones and ligaments and all the BBJ: What’s in the future for you? stuff that holds you all together. I want to be vital and I want to be active as long as I’m alive and as I say LO: My wife and I have purchased a beautiful sometimes kiddingly... .or not so kiddingly, “I want to home, her dream home and mine too, in Maui be able to chase Judy around the room and be able to and we’ll be going there at the end of the year and un­ catch her.” packing all the things we’re busy packing right now and making a home for ourselves there. We both hate the BBJ: Did vocalist Julia Rich quit because she thought cold weather. We looked at every place we could think it was time, or can you speak for her? of in the where we’d like to retire, and they all came with baggage. I think is the one LO: It’s very tough for a woman to be on the road place scott-free and when we found this house we just with a whole bunch of apes like us in the bus. fell in love with it because it had everything on our wish She handled it extremely well. She was the manager list. If I can be involved in some music there I’ll with the orchestra and she’s led our vocal group for a

2 VOLUME 130 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER, 2010 number of years. She got into booking the band maybe BBJ: Are better now than in the Big Band a year ago and she’s ready to have that part of it take Era? over her earning capacity. She had a very tough year last year. She lost an older sister and then she lost her LO: I get that question a lot. 1 compare it to airline mother and then she lost her father, all in the space of pilots. The old pilots didn’t have all the about eight months. gadgets they have today. Today, pilots have so many Julia got out there things at their disposal to help them fly the airplane. I every night, she did don’t think one is better than the other. In the old days a sparkling perfor­ musicians learned by listening to other musicians, mance every night; emulating what they were doing and listening to bands I never had to worry like , playing the real stuff. 1 think about her. She was today musicians are better trained, but I don’t think great with the vo­ they’re any more talented. They just have more tools cal group. She was at their disposal to accomplish their goals. a terrific lady and I miss her. She was BBJ: Is the passion to make music present with somebody close to today’s musicians? my age I could talk Julia Rich applies lipstick to. LO: The problem is the stylistic nuances of this while on the road. music. Sometimes younger musicians have Kate Raffety is singing with us now. She’s learning all escaped that. They don’t hear it enough. It’s not the the girl tunes and the Serenader tunes and so far she’s music they play on their I-pods, it’s not the music they doing a great job with some style and class. play in their car or in their home. If they don’t hear it in the home they have very little chance to hear it BBJ: How about male singers? They’re pretty hard anyplace else. As you know, we’re almost non-exis­ to find. tent on the radio. Most of the country is awash in country/westem, rap, talk and sports. They dominate LO: Yeah, they are. We struck gold with Nick the airwaves. It’s very hard in Biloxi, Mississippi to Hilscher. We kept him for five years and I tune in the radio and hear Big Band. Unfortunately enjoyed that time so much. He was a class we’re not on television anymore, either. Johnny Carson individual....he was a great singer. He’d walk out on got off and we lost and his great band. stage and the There’s nothing on the TV that even comes close so it’s women would just hard for young people to hear this music. faint. That’s a big asset to have with Not too we played for a dance demonstration your group. Right in Rhode Island for two sets of swing dancers. I told now we’ve got a them we were going to play . It’s three young man we like minutes long....we’re not going to repeat it, so what­ very much. His ever you’ve got to do you’ve got three minutes to do it. name is Brian They got out there and were sensational. They had Hemstock from some great moves, had the spirit of the music down and Sparta, Wisconsin. afterwards I was talking to them. I told them they had He’s got a beauti­ a good handle on the style, the music and your reac­ ful voice and a tions to it. One kid turned to me and said, “Mr. sweet personality. O’Brien, that’s the first time we ever danced to a live Everybody who Handsome Nick Hilscher band. We couldn’t believe the energy we got from it.” hears him likes ------It’s funny, but it’s kinda’ sad, too. him.

3 V O LU M E 130 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER, 2010

BBJ: What is your personal music taste? (BBJ host Don Kennedy re­ LO: My wife and I listen to a lot of classical music. sponds) If your Mostly the impressionists. We listen to overall view is Rachmoninoff and Debussy and music like that to that we neglect relax. We have a broad musical taste. I have a huge black singers I 'm record collection of all the bands I enjoy. Mostly reminded of an in­ Tommy Dorsey and a lot of trombone players, of cident on a pro­ course. gram I was doing when a white lis­ Best to Larry O ’Brien, who has made the Glean tener phoned af­ Miller Orchestra the most musically solid “ghost” The great Mr. B ter I 'd played Nat hand on the road today. We suspect he’ll be Cole and Sarah playing his trombone somewhere in Maui for all Vaughan and wondered why I didn 7 play more time to come, for musicians never abandon per­ white singers. It could be a no-win situation. forming for long. Just finished recording a BBJ program which LETTERS TO THE EDITOR included , Nat Cole and Joe Williams. If your point is we discriminate against Letters to BIG BAND JUMP or the BBJ NEWSLET­ black artists, you re simply wrong. If you suggest TER may be sent to the address below or e-mailed to we ’ve neglected you may be right, [email protected]. When you e-mail, please but don 7 intimate any discrimination between give your name and address. All letters are an­ black and white artists. Talent is talent in any swered, but the volume of mail sometimes delays a color. timely response. I AM, however, strongly prejudiced. That preju­ BBJ NEWSLETTER dice is against those who judge performers (or Box 52252 anyone) by color as a group rather than by indi­ Atlanta, GA 30355 vidual ability, talent and attitude.

Wayne Patterson Perhaps you can help. I have The published letters have been edited for space Parker, Colorado been searching for a record­ considerations, but the meaning has been preserved. ing of YOU AND I by as performed by Glenn Miller. I have Andrew Smith I have been perplexed as to read that Glenn Miller recorded it in 1941 but I find no Savannah, Georgia why black male vocalists are mention of it in the Miller discography. Do you recall rarely featured on your pro­ a source? It was probably the same tune used as a theme gram. Billy Eckstine was, for instance, the first black in the early radio show “Baby Snooks” where Willson nationally popular male voice in the country, who was the music director. Thanks for any assist. played three instruments and performed with a Big Band. He, I understand, outsold Frank Sinatra at the We found Glenn Miller's YOU AND I with Ray Paramount after that icon performed there some years Eberle 's vocal in a Miller collection boxed set. It earlier. Sadly, Billy Eckstine is not given the recogni­ was recorded in RCA Victor’s studio on tion he deserves and has been completely overlooked as the 25th of June, 1941 in the same session that having been a forerunner to all black vocalists who produced the highly popular ADI OS. Amazon.com came after him. Perhaps, also, you would consider has the CD in a boxed set called “Glenn Miller — featuring other black vocalists who had to deal with The Ultimate Collection” which contains YOU prejudice in a profession that, it seems to me, is hard AND I. enough to be successful in without other influences. 4 V O LU M E 130 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER, 2010

Meredith Willson, top dollar for mu­ y o u ’ll recall, is sicians and ar­ best known for rangers, and re­ “ ” ferred to finan­ which was a cia l matters highly successful rather than musi­ Broadway show in cal matters. Mu­ the late fifties and sical comparison, one ofthe first ste­ on the other hand, reo sound movies is a highly per­ in the early six­ sonal matter sub­ ties. Two random ject to taste and observations: often to indi­ YOU AND I ’s lyr­ vidual record- ics consist of a i fl gs single long sen- Dorsey & Eleanor Powell in the movie “Ship Ahoy.” Meredith Willson fence. “The Mu------sic Man ” takes Tricia Braun Love your program. 1 listen place in River City, actually a fictitious name for Carthage, Missouri on KDMO in Carthage, Mis­ Willson 's birthplace, Mason City, . souri. 1 am trying to find some information on Phil Harris and a song he may or Alan Sternbergh I can’t recall a story may not have recorded. The tune is RUGGED BUT Chambersburg, Pennsylvania about Larry O'Brien, RIGHT and my brother thinks Phil Harris sang it. Can great trombonist and you help us? leader of the GM Orchestra. In his 70s and still plays a great horn. My wife and I befriended him when I Your brother is rugged but right! heard him play at our college. Kristian Glargaard I’m hearing your program. It Larry O Brien was the featured interview in the Denmark all started when I played a March-April, 1996 BBJ NEWSLETTER. Mr. computer game called Fall­ Sternbergh's suggestion is timely because during outs. It’s full of Big Band music and I wanted to listen preparation of this newsletter Larry O 'Brien an­ to more of this kind of fantastic music. This is where nounced the end of his leadership of the official you guys came in the picture. I looked for a radio as o f the end of 2010. It's station that plays it, and found it on the internet. I have incumbent upon us to interview Larry O’Brien listened for about two years now. I just wanted to send again and he ’s the lead article in this newsletter my regards all the way from Denmark. Keep up the edition. good work. Sorry for my bad English. I’m Danish and by the way my age is 30 years so you know you have Tom Adams On a recent BBJ pro- young fans too! Menlo Park, California gram the Tommy Dorsey band was re­ Bad English? A well composed note! What a ferred to as “The Cadillac of Big Bands.” How did you thrill to get (1) an e-mail from a listener in rate them versus Miller, Basie, Goodman, etc.? Denmark and (2) one who is a member of a I respect your opinion and enjoy your shows on KCSM younger generation. Maybe there’s hope yet to and KCEA. Appreciate your thoughts when you have reach youth with this timeless music. a chance. Neal Casey More writings or notes about The comment was a quote from the days of the Big Cupertino, California will be greatly Bands when the Tommy Dorsey orchestra paid appreciated. 5 VOLUME 130 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER, 2010

We received this note before the mailing of the of his theme for NEVER ON SUNDAY, the most July-August newsletter which opened with a Chris prominent of his work for the movies turned into Conner interview. The previous newsletter edi­ commercial recordings which also included his single tion had an arranger profde o f Pete Rugolo, who from THE UNFORGIVEN. Probably his best-known spent his early arranging career with Stan Kenton. work was with Frank Sinatra. When the singer formed he hired Costa to make the arrange­ Steven Belmont Thank you for everything you ments for the “Sinatra and Strings.” Provo, Utah do. We love BBJ, the news letter and your programs are a The album, released in the early sixties, became one of big part of our weekend enjoyment. the all-time most popular with versions of , STARDUST, NIGHT AND DAY Dennis Webster I just wanted to let you know and providing a fresh Jamestown, New York how much I appreciate your approach to those songs previously heard as Big Band work. I have listened to your . Costa also conducted and arranged for show over a period of years, most often these days on Sinatra’s Las Vegas appearances. the 1920s Radio Network. I have done my share of local radio announcing and respect the quality of your Success with Sinatra led to Don Costa being asked to presentation. It’s always right on. arrange music for , and , among others. His fame also led to ARRANGER PROFILE - DON COSTA work with MGM Records producing and arranging material for the Osmond Brothers, Sammy Davis, Jr. Don Costa and . He’s the one whose work helped is a later make a hit of the Davis recording of THE CANDY arranger, MAN and Clark’s . not di­ rectly as­ Today the Costa name is attached to , s o c ia te d whose singing career has resulted in fame on her own. with the Her career began in the eighties at age ten when her dad Big Band worked with her on a recording titled OUT HERE ON Era but in­ MY OWN. They were planning a follow-up to that volved in recording when Don Costa died of a heart attack in some of the 1983. Don Costa was just 58 when he died, ironically most ap­ fulfilling the promise of the title of the recording he and pealing re­ his young daughter made together. cordings of standards Next issue’s arranger profile will be of Sam my Nestico. as well as being re­ Don Costa sponsible , for notable part of BIG music for the movies. After he took part in playing his BAND Trivia guitar on ’s later forties hit, RIDERS Quiz on page IN THE SKY, he began experimenting with arranging 10. for Big Bands. It was then he met and Eydie Gorme who asked him to do some vocal arrange­ The photo is a ments for their recordings resulting in all three of them tease to encour­ associating with the then new label, ABC-Paramount. age you to take the quiz. Costa’s movie work resulted in a million-selling single

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(Tape or Staple Here) CENTER PAGE OFFER - IADISC COLLECTION

There aren’t many of the V-Discs left even though thousands were made and sent to the troops overseas. They were 12 inch 78 rpm recordings made under the auspices of the U.S. War Department during WWII. Big Bands and singers donated their time and talent to make the V- Discs, not heard by civilians until years after the war. This two CD set is a collection of 47 of these unique recordings made by top musical artists of the time, some speaking words of encouragement to the soldiers before performing.

Unique is the word for V-Discs. Some performances were never issued to the public on commercial records, others are familiar tunes or songs but recorded especially for the military overseas. Here’s a list of the titles and artists:

T -9 CD ONE T - 9 CD TWO

1 - Frank Sinatra 1 Ride On - Stan Kenton / Christy 2 Paramount On Parade-Tommy Dorsey 2 These Are The Things I Love - Three Suns 3 I Get The When It Rains - 3 Coax Me A Little Bit - 4 September In The Rain - 5 A lw ays-K ay Kyser 4 Screamin’ Boogie - 6 I’ll Walk Alone - 5 I Can’t Give You Anything But Love - / Spivak 7 For Dancers Only-Jimm ie Lunceford 6 More Than You Know - Tommy & Orchestras 8 - / TD 7 Happiness Is Just A Thing Called Joe - / W'ayne 9 Don't Be That W'ay - Miller Military Band 10 - Jack Leonard / 8 Rose Room - Harry James 11 Wire Brush Stomp - Trio 9 Two Sleepy People - 12 I’ll Get By - 10 I’ll Never Smile Again - Frank Sinatra / TD / Pied Pipers 13 I Wonder What’s Become Of Sally - 11 After You’ve Gone- 14 Baby Won’t You Please Come H om e- 15 Eager Beaver-Stan Kenton 12 I’ll Always Be In Love With V'ou - 16 Got A Date W'ith An Angel - Skinnay Ennis 13 Apple Honey - Woody Herman 17 Woodchopper’s Ball - Woody Herman 14 Sleepy Time G al-Jack Leonard 18 I Understand - Sgt. 15 Route 66 - Trio 19 It Don’t Mean A Thing - 20 - Bea Wain 16 I Wish I Knew - Dinah Shore 21 That Drummer’s Band-Gene Krupa 17 Singin’ In The Rain - Hal McIntyre 22 The Thrill Is Gone - Dinah Shore 18 Ooh Hot Dawg - Gene Krupa / Anita O’Day 23 Victory Polka — Kay Kyser 19 -Charlie Spivak 24 Willie — Elliot Lawrence 25 Charlie Horse- Charlie Spivak 20 TD Chant (Hawaiian War Chant) - Tommy Dorsey 26 Candy - King Cole Trio 21 Pack Up Your Troubles - / Martha Tilton

The V-Disc two CD collection is available at the introductory price of $28.00 with FREE shipping and handling.

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I’m enclosing a check or money-order, or please charge to my VISA or MASTERCARD, as above. SECOND CENTER PAGE OFFER - SPOTLIGHT ON JAMES & DORSEY ^B ig Bond Era^j Release dates caught up with us resulting in two fresh, new to present in this newsletter. The V-DISC set was released shortly before the SPOTLIGHT ON JAMES rscotriqht i AND DORSEY two CD set over on the left. As you might expect, this two CD set presents one CD of Harry James and one CD of Tommy Dorsey, each containing not only the top hits but a few unexpected inclusions sometimes overlooked in collections of these two outstanding bandleaders. Horry Tommy The track listing is below to give you the contents of this new est release. The Tommy James Dorsey Dorsey CD contains at least two of those concert-length arrangements he was fond of issuing on twelve inch 78s, plus the early Edythe Wright treatment of Larry Clinton’s DIPSY DOODLE. The highly appealing FLATBLSH FLAN AGAN and 9:20 SPECIAL are numbers generally not included in single CD James sets, as well as the superb MY SILENT LOVE sung by with the soaring James accompaniment.

T-10 - SPOTLIGHT ON JAMES/DORSEY - CD ONE - JAMES T-10 - CD TWO - SPOTLIGHT ON JAM ES/DORSEY- TOMMY DORSEY 1 Trumpet Blues 2 - 1 I’ll Never Smile Again - Frank Sinatra / Pied Pipers 3 Back Beat Boogie 2 Boogie Woogie 4 I’ve Heard That Song Before - Helen Forrest 3 - Frank Sinatra / Pied Pipers 5 4 Hawaiian War Chant 6 I Don’t Want To Walk Without You - Helen Forrest 5 Polka Dots & Moonbeams-Frank Sinatra 7 Cherry 6 Opus One 8 - Helen Forrest 7 Marie - Jack Leonard / Band Members 9 Music Makers 8 Blue Skies - Frank Sinatra / Band Members 10 All Or Nothing At All - Frank Sinatra 9 Lonesome Road 11 You Made Me Love You 10 - Frank Sinatra 12 I’ll Get By - Dick Haymes 11 Moonlight On The Ganges 13 Two O’Clock Jump 12 Be Careful, It’s My Heart - Frank Sinatra 14 A Sinner Kissed An Angel - Dick Haymes 13 Chicago — / Sentimentalists 15 Melancholy Rhapsody 14 Song Of India 16 My Silent Love - Dick Haymes 15 Oh, Look At Me Now - F. Sinatra / C. Haines / Pied Pipers 17 Sleepy 16 For You - Jo Stafford 18 I’m Beginning To See The Light - 17 Sunny Side Of The Street - Sentimentalists 19 The Mole 18 Deep River 20 Sleepy Time Gal 19 Yes, Indeed - Sy Oliver / Jo Stafford 21 It’s Been A Long, Long Time - Kitty Kallen 20 East Of The Sun - Frank Sinatra / Band Members 22 9:20 Special 21 Dipsy Doodle - Edythe Wright 23 You’ll Never Know - 22 Delores - Frank Sinatra / Pied Pipers 24 Flatbush Flanagan 23 I’m Getting Sentimental Over You 25 I Can’t Begin To Tell You - Betty Grable

These fresh two CD sets are offered at the introductory price of $28.00 with FREE shipping and handling.

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BOOKS & RECORDS TO CONSIDER favorite musicians and even a copy of pages from a 1941 instruction book for singers with Sinatra’s name as co-author, telling aspiring vocalists, among other SINATRA SINGING things, how to hold their mouths to form specific Richard Grudens sounds! By our calculations this is Everybody gets into the act in this book. If you’re Richard Grudens' sixteenth expecting a Sinatra biography, this isn’t it, but if you’d book, six specifically de­ like to absorb random thoughts from others plus refer­ voted to singers. That’s a ence material about albums, radio programs, concerts, publishing record to be ad­ and recording for movies, this is your mired from at least two per­ book. It is an absolutely amazing collection of com­ spectives, the dedication he ments, facts and photos semi-related to the subject. has for the storied perform­ ers of American song and Available from the author at: his devotion to spreading the www.RichardGrudens.com - $29.95 plus shipping word. It was inevitable that Frank Sinatra be included in THE HISTORY OF HOLLYWOOD MUSICAL a Richard Grudens book. BIO PICS Two characteristics are common to all Richard Gruden Harvey Sheldon books. They have an introduction by a top personality This is a paperback book and offer scores of photographs. The forward in this from a prolific author who book is by singer Jerry Vale who recounts his close has written about nearly association with Frank Sinatra beginning when they every phase of entertain­ first met in the fifties through his final visit near the end ment. In this book he offers of Frank Sinatra’s life. We counted 326 photos, some details of a trend that began filling an entire page, others in a montage form, a few a decade and a half after representing sheet music or album covers. Also pic­ movies began to talk and tured are the wide range of people who were inter­ sing. The first biopic noted viewed by Grudens about Frank Sinatra. It is these is the 1942 movie, Yankee interviews that comprise much of the 421 pages. Doodle Dandy about Broadway’smusical impre­ Of particular interest to us sario George M. Cohan, star­ was the list of arrangers who ring . The Book cover worked with Frank Sinatra trend caught on, not only with the public but with from his first appearances movie makers as a way to give at least a thin thread of with Harry James in 1939 a story to go along with on-screen musical perfor­ through 1980, preceded by mances. in 1946 provided a reason detailed information. There for the real A1 Jolson to sing on the sountrack while are profiles of arrangers Larry Parks appeared on the screen. , , , The movie biographical technique proved to be par­ , Don Costa, Neal ticularly useful when the first wave of Big Band Hefti , Johnny Mandel, Frank & wife Barbara nostalgia occurred in the fifties. In 1954 The Glenn , Quincy from book Miller Story was a massive success, not only because Jones and Vinnie Falcone. of the music but because of the tearful story so well Arrangers aren’t the only ones profiled, though. Lists presented by June Allyson and Jimmy Stewart. With and references of singers then and now, Sinatra’s varying degrees of moviemaking taste and audience 7 V O LU M E 130 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER, 2010 acceptance, the story of Glenn Miller was followed by Quarter opened in Decem­ movies about Gene Krupa, Benny Goodman and Red ber of 1959, it became a des­ Nichols. was also in the mix, tination for top musical stars unique because the leads were played by the real from Nat Cole to Chubby Tommy and Jimmy Dorsey, surrounded however with Checker, Harry James to professional actors. . They all ap­ peared at the New Latin The advantage of such movies is not historical knowl­ Quarter, a luxurious club that edge for inevitably the producers and writers of bio­ became a gathering place for graphical movies will take great liberties with the facts. people from all over the world. Our good fortune is The most famous of this kind ofmotion picture, the one many of the performances were recorded, preserving about Glenn Miller, noted for example that LITTLE for all time the talents of American and European BROWN JUG was developed for the military band at musical icons in an informal international atmosphere. the end ofMiller’s life when itactually was recorded by the civilian band before WWII. This CD has fifteen tracks shining the spotlight on thirteen performers as West meets East. European A young Benny Goodman in singing star sings HOW DEEP IS the person of Steve Allen is THE OCEAN, responds to the shown on the roof of the audience’s repeated requests to do WHEN THE Goodman family Chicago SAINTS GO MARCHING IN, the Harry James Band apartment noodl ing the notes gets into their “new” TWO O’CLOCK JUMP for to GOODBYE. The tune nearly seven minutes and Sammy Davis, Jr. sings THE was written by Gordon LADY IS A TRAMP. Other performers featured are Jenkins years later. It was Keely Smith, Nancy Wilson, Julie London, Bobby all forthe sake of building an Troup and . All the artists were atthe emotionally appealing peak of their careers when they were captured on tape screen play, of course. in the sixties in this informal club setting.

Themovie formula was simi­ The atmosphere of the New Latin Quarter is preserved lar for each film, particu­ in these recordings; it’s as if you’re sitting at one of the larly for the Big Band bio­ 80 tables seeing the performer bathed in bright light as graphical stories. Poverty, then a rise to fame often he or she sings personally to you. As such, the sound followed by a tragic death or, failing that, a fall from is one we’re not used to in studio performers. It’s grace, then a comeback. No matter, the book is a sometimes a trifle off-mic but as such adds to the club fascinating overview of how the movies depict real life. atmosphere. Well worth a listen. Generally not so real but always entertaining. A total of forty-two biographical motion pictures are presented Available at any record store or on-line CD source. in this massive tome, complete with photos of movie posters, publicity shots of the stars and scenes from the PEN MAR COUNTY PARK various movies. Lottsa’ photos and background infor­ mation in this book of hard cover dictionary propor­ Occasionally we look into locations currently holding tions, but supplied in soft cover. regular dances. Not many ballrooms are left that do that, for most have been tom down or converted to 658 pages. $30.00 atAmazon.com or any large bookstore. other uses, but Pen Mar County Park continues to have dances every Sunday from 2 to 5 o’clock from June NEW LATIN QUARTER, JAZZ & BLUES VOLUME ONE through September with music by a ‘live’ orchestra. Whitehouse CD The park is at an altitude of 1,400 feet right at the Curious how the great music of the West has captured Mason-Dixon Line. The site was selected by an execu­ audiences in the East. When Tokyo’s New Latin tive of the Western Railroad in 1871 as the 8 V O LU M E 130 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER, 2010

it was the wrong one. The sailor was bewildered to be holding Wingy’s prosthetic arm. Wingy grabbed it back from the sailor and hit him over the head with it, ending the fight. *** Clarinetist was hired to play a jazz concert in with the proviso he wouldn't drink before the gig. Fazola lived up tohispromise. He didn’t drink before the concert, but he did arrive in Philadelphia early the day of the concert and stopped in at Horn and Hardart’s Automat Restaurant for a Pen-Mar Park Pavilion snack. About 7 o’clock the concert promoter received location for development of an amusement park. The a phone call from the restaurant manager saying Mr. park was opened to the public in 1877, eventually Fazola was stuck in his chair after eating 36 hamburg­ containing a roller coaster, observation tower, movie ers and could someone come and get him. theater, miniature train railway and a merry-go-round Two ambulance attendants, the manager and a busboy among other attractions. Those amusements were carefully lifted the chair with Fazola in it into the dismantled in 1943. ambulance, delivering Fazola and the chair to the The scenic lookout, picnic shelter, children’s play­ center of the bandstand. He played the first half of the ground and shelter were reconstructed on their original concert performing beautifully but took his solos sit­ sites for a re-opening of the park in 1977. A year later ting down. At intermission pianist Joe Sullivan and a group of citizens from Pennsylvania and Maryland two others pulled Irving Fazola free and he was able to formed the Pen-Mar Park Pavilion Committee to raise stand during the second half of the concert. Except for money, plan and build a multi-purpose pavilion on the Fazola being seated on the bandstand long before the site of the original. The resulting pavilion where the concert began, the audience never knew anything was dances are held was open to the public on August of wrong. 1980. Information from Washington County, Mary­ After the concert, Fazola said he’d like to get some­ land, operators of the park, is on the web at washco- thing to eat. He ordered multiple hamburgers! md.net or by phone at (240) 313-2700 LEGENDARY RECORDING SESSION SIDELIGHTS Humorous comments and stories about musicians. Alan Timpson of musicians locals 153 and 802 sent the contract sheet for the Glenn Miller session that pro­ , duced a classic Miller recording. The recording ses­ the one-armed sion was held in RCA Victor’s Hollywood studio on trumpet star, was the ninth of May, 1941 at the time the Miller Band was playing at the Café in town for the filming of , the Society in down­ first Miller movie. History was made at that session. town New York during WWII when One of the tunes the band recorded that day was a sailor got angry CHATTANOOGA CHOO CHOO, which also was because Wingy performed in the movie. One million two hundred didn’t play his re­ thousand copies of the recording were sold, a figure quest. A fight be­ unheard of in those days. In appreciation, the RCA Victor gan and the sailor people gave Miller a gold plated copy of the record, the grabbed one of first such “gold record” ever awarded. After the award Wingy’s hands, but was presented in February of 1942, Victor sold another one hundred thousand copies of the recording. 9 VOLUME 130 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER, 2010

A -1 6 inches B - 12 inches C - 10 inches D - 7 inches

2 The V-Disc program was instituted in part because of: A - The expense of commercial recordings B - Artists refusing to record free C - Lack of commercial recording equipment D - A musician’s strike

3 In reverse order, Kitty Kallen sang with Harry James, Jimmy Dorsey and______. A - Blue Barron B - C - D -

4 When Betty Grable sang with Harry James, her name on the label was: A - Ruth Haag B - Ruth Etting C - Ruth James D - Betty

5 Which Tommy Dorsey recording has outsold all other TD records? ESFaSEfr - - * ; _ — A-BOOGIE-WOOGIE B - I’LL NEVER SMILE Union contract for historic recording session AGAIN C - I’M GETTING SENTIMENT A L OVER YOU D - MARIE Musicians in that Miller Band who would go on to lead their own orchestras in later years included Billy May, 6 The first Miller “ghost” band leader was: Ray Anthony, Hal McIntyre and . With overtime, each musician in the four hour session re­ A - Ray McKinley B - Buddy DeFranco ceived $40.00, about a week’s pay for the average C -T e x Beneke D - worker a the time. Miller was paid $80.00 fora total of $720.00 for the entire effort but, of course, his royalties 7 What Woody Herman single was an expansion of ran into hundreds of thousands. A recording moment part of a long suite? frozen in time. A - GOOSEY GANDER B - CALDONIA C - BIG BAND JUMP TRIVIA QUIZ TENDERLY D - EARLY AUTUMN 8 What’s the name of the Neal Hefti end theme used in No prizes this time, just the satisfaction of being able to later years by Harry James? come up with as many answers as possible without checking a reference. The entrants who won in last A - B - RAINBOW KISS C - issue’s quiz are noted at the end of this one. This quiz is CHERRY D -B -19 based on BBJ programs heard during July and the beginning of August. Hope you have a good time taking 9 What is the name of the former pianist the quiz, the answers to which are not so well hidden on who worked for Tony Bennett? page twelve, as usual. The whole idea is to have fun taking the quiz and maybe pick up a few interesting A - Roderick Roberts B - Ralph Sharon informational tidbits. For best results, try not to peek at C - Syd Lotterby D - Cal Cornwall the answers before you take the quiz. (Sounds like instructions for taking a pill!) 10 What is the name of the BBJ end theme? 1 V-Discs were recordings made and distributed to A - GOLDEN SUNSET B - HEART TO HEART troops overseas by the U.S. Department of War during C - LI’L DARTIN' D - MOONGLOW WWII. What size were the discs? , „ V O L U M E 130 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER, 2010

LAST ISSUE'S QUIZ 11-12 SEPTEMBER, 2010 A gold record is, as THE GOLD RECORDS you well know, a re­ What a dilemma we encountered with the prize quiz in cording sel ling over a the July-August, 2010 issue! We checked and re­ million copies. Such a recording was unique in the Big checked the scores of entries, even having one person Band Era and for some years after before platinum read the answers to a second person to be sure no errors became the standard but we go back to the forties and were made, but we could find no totally correct entries. fifties when a gold record had meaning and listen to We checked again and then a third time, carefully some that found both commercial and artistic favor reading each entry, for we wanted to find someone to with the public. There is, of course, repetition in such receive the prizes. After the process was over, we a program simply because popular recordings are by decided to send the prizes to the two persons who had their very nature heard often. We attempt, however, to the MOST correct answers. They are G. Alan mix in some recordings you may not expect. The Stembergh of Chambersburg, Pennsylvania and Rob­ program will present gold recordings from the later ert Comyns of Petaluma, California in that order. thirties into the fifties. Here are the answers to last issue’s quiz. Some of the questions were a bit hazy, but all were based on 18-19 SEPTEMBER, 2010 It’s always fun to comments made on previous BBJ programs. THE ‘F’ FILE check out the record 1-C - 2-D - 3-B - 4-A - 5-C - 6-A - 7-D - 8-D files from an alpha­ - 9-B - 10-C. betical standpoint, B illy May arranged the mysterious opening for Miller’s for the names of , Artie Shaw had two of the artists do not deter­ three best-selling Big Band recordings of all time mine their style, (STARDUST & ) and in 1941 achieving variety. Sy Oliver gave Tommy Dorsey his arrangement of This file is an ex­ YES, INDEED which was earlier turned down by ample for it con­ Jimmie Lunceford. David Rose was music director for tains Ralph the Red Skelton radio program and I’LL GET BY, Flanagan, Ella recorded in 1941 by Dick Haymes with Harry James, Fitzgerald, Pete was a hit in 1944 after Haymes became a singing movie Fountain and Percy star. Faith, all of whom offer a different from ‘F’ File UPCOMING BBJ PROGRAM TITLES musical approach. Also to be heard in this session will be Arthur Fiedler, (First two listings are repeats for new subscribers) Ferrante & Teicher and even in his excel­ lent drumming performance with three different groups. 4-5 SEPTEMBER, 2010 The very nature of TODAY’S SINGERS BBJ often restricts 25-26 SEPTEMBER, 2010 There may be a way music selection to the THE ‘D’ FILE to have more fun and all-time popular recordings. Nothing wrong with that, make new discover­ of course, but often such programming overlooks cur­ ies than taking chances with the alphabet, but this rent singers in favor of well-established . We search diligently in order to discover quality and approach comes close. For example we not only re­ feeling in today’s singers. Screaming vocals will not visit Tommy Dorsey, certainly one of the prominent be heard. Those who crowd the microphone will also “Ds” in our time frame, but also check out Lenny Dee, be ignored. This kind of a program is a challenge to , Dinning Sisters, Milton DeLugg and select singers with small groups and Big Bands using Frank DeVol among others. Oh, and the Dukes of arrangements that will appeal to a maximum number of fall into the “D” category, too, as well as listeners but still reach out to introduce new sounds. Danny Davis and the Nashville Brass, nearly forgotten You’ll hear familiar names but also some performers these days. you may not know. 11 V O LU M E 130 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER, 2010

2-3 OCTOBER, 2010 Unlike today’s rock Boswell, and Helen O’Connell OTHER BAND’S HITS and rap artists, Big will be joined by others in this pause in the movement Bands recorded tunes of time. Complete with audience reaction, introduc­ that were made famous by others, and that’s the basis tory banter and even a commercial or two, we sample for this program. For example, BEGIN THE BEGUINE the sound of radio during its golden years as an impor­ will always belong to Artie Shaw but we offer the Gene tant form of entertainment and information as well as Krupa version. SWEET LORRAINE immediately background anecdotes to set the scene. brings to mind Nat Cole, but in this program we present the song by Eddy Howard. The entire program is made 30-31 OCTOBER, 2010 When we began dig- up of prominent hits nearly always identified with a THE ‘S’ FILE I ging into the files by specific band or singer, but in this program performed alphabet, it became by someone else. In the process we discover some apparent that we had more musical artist’s names musical delights hidden in of the spotlight beginning with the letter “S” than any other so we split shining on another band. the file into two programs. This one checks into the Sauter-Finegan phenomenon, re-visits Sandler & Young 9-10 OCTOBER, 2010 When we scheduled and and thrills to the voice of Dinah Shore. SINATRA BY OTHERS the previous program Raymond Scott makes an appearance as does one of our it occurred to us that favorite piano players, Ralph Sharon. There are others, not only Big Bands had particular recording attributed of course, leading into the next program continuing in to them, but similarly, Frank Sinatra has claimed own­ the same file. ership of several songs. This program has resulted from that reasoning. Some examples of what you’ll hear 6-7 NOVEMBER, 2010 The second “S” file include singing THE LADY IS A THE ‘S’ FILE II leads us to again TRAMP, the Luboff Choir with GIRL FROM check out the short­ IPANEMA, Dick Haymes singing ALL OR NOTH­ lived Spitfire Band, so popular for five years or so and ING AT ALL and Nelson Riddle with an then forgotten. Jo Stafford is included in this “S” version ofYOU MAKE ME FEEL SO YOUNG. There venture both as a single star and earlier as she appeared are two dozen examples of Sinatra favorites done in with Tommy Dorsey in a solo performance. George either instrumental or vocal form by another musical Shearing’s innovations never fail to entertain and in artist. Another program of discovery. this program we sample Shearing in Dixieland as well as the more familiar Shearing style. Not easy to believe 16-17 OCTOBER, 2010 What a surprise to we ran across organist Ethel Smith hiding in the file, THE ‘B’ FILE uncork so many out­ and she’ll perform as she did in so many lavish standing perfor­ Technicolor musicals. and Charlie Spivak mances by such varied artists whose names begin with add to the list. the letter “B.” Basie, of course, but also Pearl Bailey, Tony Bennett, the Baja Marimba Band, 13-14 NOVEMBER, 2010 As noted in our pre- and . (Where has the Baja Marimba SPOTLIGHTON GOODMAN/ vious program spot- Band been hiding!) Les Baxter falls into the “B” slot as MILLER lighting Harry James well as Will Bradley and a delightful young singer and Tommy Dorsey, named Terry Blaine. Some varied input from Bunny certain bands rose to the top during the Big Band Era, Berigan and an appearance by Michael Buble are either because of superior musical performance, copi­ included plus some folks from the file whose names ous exposure or a campaign of advertising. Generally may not be on front covers but whose talents should be. it was a combination of all three. No question that Benny Goodman’s band rose to prominence because he 23-24 OCTOBER, 2010 T here w as a tim e offered swing to an young audience eager to embrace a BING AND FRIENDS when more exciting sound. Glenn Miller offered a sound was the most famous easily identifiable and then solidified his public per­ entertainer in America. He was in movies, on records sona by quitting at the top of his fame to join the army. and on the radio. Our good fortune is that many of his The hits of those two bands will be sampled on this radio broadcasts have been preserved allowing us to program, along with a few lesser-known but equally hear not only Bing but his guest stars at the height of engaging numbers by each band. their popularity. Rosemary Clooney, Nat Cole, Connee 12

BIG BAND JUMP Presorted Standard B o x 5 2 2 5 2 U. S. Postage Atlanta, GA 30355-0252 PAID Atlanta, GA Permit No. 3259

Our back page pretty singer this issue is Sarah Vaughan, who often gives familiar lyrics new meaning.