IN THIS ISSUE:

-& An interview with BOB WILBER

Reviews of BIG BOOKS AND RECORDS to consider BAND

★ A VOCALIST JUMP QUIZ NEWSLETTER ☆ LETTERS TO THE EDITOR about 78's, BIX BEIDERBECKE, THE INTERNET & OTHERS

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

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VOLUME LXXVI BIGBAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2001

BOB WILBER INTERVIEW

The Background

Bob Wilber’s name is well-known to jazz aficionados through his clarinet and saxophone virtuosity, with perhaps his most visible exposure being his inclusion in the Bob Haggart-Yank Lawson led World’s Great­ est Jazz Band. He has led a Benny Goodman tribute band on several cruises, and most recently recorded some Fletcher Henderson arrangements made for the Goodman Orchestra, but never recorded by Goodman. He talks about that in the interview.

By the time Wilber was 19, he was good enough to share the spotlight with Sidney Bechet on a network radio broadcast with top jazz artists such as James P. Johnson ’spiano artistry, the trumpet ofWildBill Davison and Baby Dodds on drums. He’s been featured with top jazz players ever since, working for a time with Bobby Hackett’s sextet, with the WGJB and for six months in the late ’50s he toured with the Benny Bob Wilber today Goodman Orchestra.

We began our interview with a frequently asked ques­ BW: I think that I suddenly realized when I was about tion about family influence. 14 or maybe 13 how much I liked music. I wanted to get in the high school band—the main reason The Interview was because you wore beautiful uniforms and you had a chance to play every Friday afternoon in the half of the B B J : Was there any interest in music in your family? football game, and if the team had an away game, then —my gosh—you got out of class early and traveled on BW: When I was a kid my father played piano as a the bus. That sounded great. hobby all his life. He was a good natural musician, he had a ear. And so there was a lot of I went up to the band department and said, “Gee, I ’ d love music.... around the piano singing songs, singing around to play in the band.” The director said, “Well, what you the campfire, Christmas time... a lot of music in the like to play?” I said, “I think I’d like to play trumpet.” So family. My mother sang and my sister played cello. In he said, “Here, I’m gonna give you a trumpet. You take fact, my first real recording I ever made was when I this home over the weekend and try it out and see how was about 14. We all went down to Sherman’s Music it goes.” So I did, but nobody toldme that you had to spit Store in New York City, and they had a recording studio into a trumpet, so I was blowing into the trumpet (makes at the store there. blowing sound)—Fwhoo—Fwhoo—Fwhoo—and of course I got nothing out of it. So I took the trumpet back B B J : When did your personal interest in music begin on Monday and I said, “This just isn’t me—this instru­ to surface? ment. Let me try a clarinet.” So the next weekend he VOLUME LXXVI BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2001

gave me a clarinet to take home. Well, I started playing. playing here—and you’re doing this and that.” And I By Sunday afternoon, I could play ROW, ROW, ROW said, “No, it’s selective retirement.” I’m doing a lot of YOUR BOAT on the clarinet, and I said, “Fantastic, things that appeal to me. And I try to say no nicely to a this is my instrument.” And I never looked back. lot of things that really don’t. But, no, I don’t have any regular orchestra. BBJ: How old were you? BBJ: Tell us the story of the un-recorded Fletcher BW: Thirteen—and I started studying immediately Henderson arrangements. with a teacher at the high school—Willard Briggs at Scarsdale High School outside New York. Of BW: While Benny was still alive he left a bunch ofhis course he taught every instrument like all band directors arrangements to the New York Library music did, but he was a clarinetist himself—and a very good department. By then—I had known Benny since I one—so he got me started with a basic foundation and worked with his band in the fifties, and I got permission all the classical studies and the whole thing. At the to go up and examine these scores—and a lot of them same time I was getting really interested in jazz so I was were Fletcher Henderson’s. But there were maybe attempting to play jazz a little. When I was fourteen I only 80 or 90 arrangements. Then, after he died, I was starting to play jazz on the clarinet, too. understood that he had left the bulk of all his arrange­ ments to Yale Music School. I found out by studying BBJ: One of your bios said you knew of Benny some books that there were over 300 arrangements Goodman before you were aware of Sidney which Benny had commissioned which had never been Bechet. recorded.

BW: Oh, yes, very much so. I mean, I was very I said, “Well, man, this is amazing.” I counted out the aware of Benny Goodman in 193 7 when there number of Fletcher Henderson’s—there was more was already excitement about SING, SING, SING and Fletcher than anybody else. I think there was well over I was younger, but the teenage brothers and sisters of a hundred. And then there was a lot by Eddie Sauter that my friends were all excited about it, and it was a twelve hadn’t been recorded. And all the various arrangers inch 78—nobody had seen that before—and of course who had been involved with Benny in the ‘30s and it was such an unusual piece of music, and it was ‘40s—and even on into the ‘50s That’s when I got revolutionary, and the kids who were used to jitterbug- excited about this idea of doing the project—I called it ging to Benny, they just absolutely loved it. THE UNRECORDED BENNY GOODMAN.

BBJ: When did you start considering yourself a BB J : How did you assemble a band for the project? professional? BW: I can’t remember the first time I heard about BW: Well, it’s funny, because I think by the time I this band in Toulouse—The Tuxedo Band. And was fifteen I knew exactly what I wanted to I got a letter from the leader—Paul Cheron—who told do. I was bom in 1928, so it was during the war and me that they had a chance to do a concert—a tribute to many of the professional musicians had been drafted Benny Goodman—and they would like me to front the and there was quite a need for musicians for various band. kinds of gigs, so I started. I joined the White Plains union and I started gigging around almost immediately. It gave me the idea of being able to play this music of original, unrecorded arrangements by Fletcher BBJ: Do you have a full-time orchestra now? Henderson. And I figured the great thing was that jazz aficionados and Benny Goodman fans would not be able B W: I don ’ t have a regular orchestra together now, to say, “Well, Wilber is very good, but he’snot as good no. I’m theoretically, at least, retired. I as Benny’s old records, because Benny’s old records announced my retirement three years ago. But people don’t exist. say “You’re not retired, Wilber. I still hear you

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I have the feeling, I never talked to Benny about it, but maybe he felt that these arrangements by Fletcher were kind of old fashioned for that era. The interesting thing about Fletcher was that he had evolved his basic style of writing with his own band in the ‘20s, and then when he started writing for Benny in 193 5, his style was very polished and very set. And if you listen to the early arrangements from ’35 and then listen to these other arrangements from ’47, there is virtually no change at all.

B B J: Tell us about the physical Henderson arrange­ ments. What did they look like?

BW: That’s an interesting thing. When I first started seeing Fletcher ’ s original pencil- written scores at the Lincoln Center Library, I was struck with the fact that there seemed to be no erasure marks on the scores. And also he obviously was a very conservative man who watched his pennies. He had score paper that had both sides, and he used both sides of his score paper. It reminded me of the story about Mozart’s scores where there seemed to be no erasure marks whatsoever. In A young Bob Wilber shows his album to B.G. other words, it’s like he thought of the arrangement complete and just wrote it down and never changed BBJ: What do you see for the future of the Big anything. Bands? B B J : In your opinion, who was the all-time greatest B W : The big band was the product of an era when it modem clarinetist? was economically feasible. Technology has wiped out the necessity of having a big band playing in BW: Well, I suppose that’s a matter of opinion. I huge stadiums, ballrooms and so forth, because you can think that Goodman would certainly rank with take four guys with a couple of guitars and a bass and one of the world’s greatest clarinetists. And I’m not a drum and amplify it to the pain level. So there’s no saying just jazz. I’m saying in his ability to take his necessity for having 15or 16pieces. And economically instrument and make it sing and give it a marvelous it’s virtually out of sight. I mean, the whole thing with the personality all his own. I think, for instance, one of his big bands, they had various avenues of employment greatest recordings is of the Debussy RHAPSODY open in the ‘30s and ‘40s You had the ballroom circuit FOR CLARINET which for some inexplicable reason all over the country. Then you had the theaters where was recorded in the early ‘40s, came out on 78, and was they would have a movie, maybe a newsreel and then a never transferred to LP or CD. It just sits there. I big band, and maybe also a comedian and a few acts. happened to be able to get it. Somebody made a copy That circuit has disappeared. The major hotels in big from the original 78. It’s like, it’s Benny Goodman cities would have a ballroom where they would feature playing Debussy but you can tell it’s Benny. I think in big bands. Glenn Miller made the ballroom at the his later years when he gotmore into classical music, he Pennsylvania Hotel famous with his PENNSYLVA­ was, in a sense, kind of ashamed to be Benny Goodman NIA 6-5000. So, this whole circuit of employment when he played classical music. It was almost as doesn’t exist. though he would button up his vest and straighten up his tie and say, “Now I’ve got to be a good boy.” And it was There are rehearsal bands all over the country of ex-big good, but it wasn’t Benny. band sidemen and young guys wanting to play the music,

3 VOLUME LXXVI BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2001 and the quality is very good, but they can’t make a living during November, 2001. doing it and that’s the unfortunate part. But artistically, the music is a strictly American unique form of music— (The CD o f the "lost" Fletcher Henderson arrange­ the American big band—and fortunately we have re­ ments mentioned in this interview are available cordings which have preserved all the great music and from: ARBOR RECORDS - Suite 225 - 2189 Cleve­ we’ll have those through eternity. land Street - Clearwater, Florida 33765. Toll-free phone is 1-800-299-1930. They report the cost as BBJ: A recent local college dance featured a big being $17.00 including S&H.) band, and nobody over 22 was on the dance floor. They were all jitterbugging and having a wonder­ ful time. LETTERS TO THE EDITOR Letters to BIG BAND JUMP or the BBJ NEWS- B W : There ’ s some good signs that things are chang­ LETTER may be sent to the address below, or e- ing. Wynton Marsalis is a good friend of mine mailed to: [email protected]. All letters and I work with him on occasion. Wynton was telling me are answered, but the volume o f mail sometimes he did a tour that they set up a couple years ago—it was delays a timely response. nothing but dances all over the United States with the Lincoln Center Orchestra. He said, “The big band era BBJ NEWSLETTER is dead!?! We had sellout houses everywhere and we Box 52252 had audiences that had kids, middle-aged, older people, Atlanta, GA 30355 everybody out there having a great time together.” So maybe there is hope for the big bands. The published letters have been edited for space considerations, but the meaning has been pre­ BBJ: Are you going to continue to be selectively served. retired? Sam S. Hughes II In 1949 or 1950 I had a 78 B W: Oh, yeah, I did two hours of practicing today— Laingsburg, MI RPM record, don’t recall I practice every day. And you know, when you the label, but it had both sides play you either do one of two things—you either get of the same song titled IT’S GOTTA’ BE better or you get worse. So if you don’t practice you get THIS OR THAT. I know I heard Benny Goodman worse. You don’t stand still. I still have goals—musical speak a few words on it. The past year and also in 2001 goals that I’m reaching for. And you know, you reach I’ve heard this song by Sammy Kaye, played on a local one level and you say, “ Yeah, I ’ ve done that, but I’d like radio station. Can this song be found on CDs or to do this.” And there’s always somebody around who cassettes? can do it better than you can, so you say, “Oh, gee, I wish I could play that the way so-and-so does.” Anyway, it It was a Columbia record, but the latest SONY/ keeps you young. Columbia catalog does not list it. I f we recall The most frequent comment about Bob Wilber is how correctly, it had Benny Goodman singing (sort of) young he looks, so perhaps the practice to achieve on one side and pure Big Band instrumental plus additional musical goals does keep Bob Wilber Red Norvo's vibes on the other. "If it ain't black, young. Our thanks to him for taking time out to it’s white - I f it ain’t day, it’s night - I f it ain't wrong, provide these thoughts, some of which were used in it’s right - I t’s gotta ’ be this or that. ” Dave Riggs audio form in the first hour o f the BBJ program for has researched to find the original two sided 78 on the weekend o f July 7-8, 2001. Producer Dave a V-Disc which may be available from Collector’s Riggs contributed to the development o f this inter­ Choice at 800-923-1122. view and researched facts for the introduction. He also produced a musical biography of Bob Wilber, Cindy Clark I always learn a lot from your scheduled to be on BIG BAND JUMP sometime Davenport, IA program. My ears perk up at

4 VOLUME LXXVI BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2001

the mention of Bix Beiderbecke be­ cause # 1 I’m a Bix fan, and # 2 ,1 live in Bix’s hometown. If fact, last week­ end was the annual Bix Beiderbecke Memorial Jazz fest. There were 11 Bix in 1928 great bands here playing four venues for ------H four days. (The note, dated July 30th, refers to the weekend of July 21-22.)

Bix Beiderbecke wasn ’t around long, checking in on 10 March, 1903 in Davenport and checking out on August 6th, 1931, but during that time became a self-taught cornet legend, most notably with Paul Whiteman. Songwriter Hoagy Carmichael described his tone as resembling a chime struck by a mallet.

Silvio Pucci Recently you listed a number # AJA 5268 which might be available from Worlds St. Louis, MO of selections by Ted Heath; Records at 800-742-6663. one of them was MUSKRAT RAMBLE. Down through the years the question Kay Kyser’s PUSHIN’ SAND will be a part of a new returns as to the correct title. Do you have some album o f Big Bands to be called BIG BAND LEG­ reference material that verifies if it’s MUSKRAT or ENDS II, expected to be released and available from MUSCAT, referring to the rodent or to muscatel wine. BBJ Sales at 1-800-377-0022 the first quarter of next year. The vocal group was called the Campus One of the most searing critical letters received Kids, and the recording also featured Herbie at BIG BAND JUMP’S radio program over the Haymer’s sax. years had to do with announcing the tune as MUSKRAT instead of MUSCAT. It’s been listed Jim Alexander I am a 34 year old truck driver for over a half century on record labels as Lakewood, NJ and antique phonograph MUSKRAT, and a dixieland player we know collector. I’m also a new lis­ claimed the original MUSCAT did have to do tener to BBJ! I discovered your excellent with muscatel wine, or was perhaps a corruption show by accident while restoring my 1951 Ford truck of “Must scat. ” We can ’t find any definitive and listening to WOBM. I used to think Big Band music information, and suspect the origin is lost in time, was “old people music” but now I realize it’s just old but we’ll bet someone has a thought on it. “young people ’ s music.”

Fred Case Have been searching every In past years, a few younger listeners wrote once in Surprise, AZ CD and tape for a re-issue of a while, but it’s occurring more often now. Please Tommy Dorsey’s MAN­ see the two letters below. HATTAN SERENADE and Kay Kyser’s PUSHIN’ SAND. Interestingly, MANHATTAN SERENADE Donald Bly Thank you for making your by Tommy Dorsey was used in a sequence of the film Amesbury, MA programs available on the THE GODFATHER. PUSHIN’ SAND used a great internet. I confess to a big vocal group who I am unable to recall. enigma. While I admit to still enjoying the rock and roll of my youth, I really cut my teeth listening to my parents The Tommy Dorsey MANHA TTAN SERENADE is on play those old Reader’s Digest compilations on our HiFI a Reader's Digest three CD set number 007C, and back in the ’60s. Consequently the music of the Big also turned up on a British CD. I t’s ASVLiving Era Bands has always had a special place in my heart.

5 VOLUME LXXVI BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2001

Debra Terry I’m 46 and bom in the wrong era, but (IBOOKS & RECORDS TO CONSIDER^ Conrad, IA thanks to BIG BAND JUMP on my local station K.IFG in Iowa Falls I can THE SPITFIRE BAND’S 20TH pretend for a little while that I’m where I belong. ANNIVERSARY EDITION Alanna Records ACD 5589 Helen Ditommaso Been listening to your show Pittsburgh, PA for the past five years, and This is a single CD compilation of previously released used to get upset when I Spitfire Band recordings with the crispness and clarity missed a show, but now I can listen anytime I want that personifies the Spitfire presentations. By the very because you’re on the internet. I click on BBJ and for nature of this recording, there are repeats from other a change of pace listen to the five hour DON albums by the band, but it’s well worth it if you’re new KENNEDY SHOW. Can I get the five hour show on to the Spitfire sound. Each cut has been digitally re­ the air in our area? mastered by the Alanna Records engineer.

No. Unfortunately the five hour DK SHOW is only There are 17 cuts, including I’VE HEARD THAT heard in some thirty markets across the nation. It SONG BEFORE, TIME AFTER TIME, AT LAST, is an informal program, containing features, vo­ THE MORE I SEE YOU, a Jimmy Dorsey medley, cals and novelties as well as Big Band. It will LAURA, BRAZIL and other well-known Big Band continue to be heard on the internet. goodies. Of special interest is the Tailwinds vocal group, directed by trombone player Laurie Bower who brings Bill Shirley Have been taping us the classic sound of such groups as the Pied Pipers or St. Croix, US Virgin Islands your program on the Modemaires, but with the vibrancy of today’s tech­ WVQI, Sunny 99.5 niques. They perform on AT LAST, THEY CAN’T on St. Croix. I’ 11 be returning home to Houston, Texas TAKE THAT AWAY FROM ME, AMAPOLA and soon. Is there a station in that area that broadcasts your SATURDAY NIGHT IS THE LONELIEST NIGHT show? If not we’ve got some work to do! OF THE WEEK.

Alan Davis Please bring BBJ to Portland. One Spitfire enthusiast rates IT HAPPENED IN Portland, OR MONTEREY as one of the most thrilling arrangements by the band, and it’s also included on this compilation. There are some markets BBJ just hasn't succeeded in acquiring over the past fifteen years. Houston At record stores or may be ordered directly from: and Portland are two of them, despite continuing Alanna Records at 1-800-228-5558. efforts and numerous phone calls, letters and demo material. We’ll certainly keep trying, however. JAMES DARREN - BECAUSE OF YOU Concord Records CCD 4969-2 Izola Fix I listen to your show here in San Diego, CA San Diego every Sunday, but Patrick Williams directs the orchestra, complete with a it is hard as I cannot get the massive string section, and it’s the accompaniment and station in my home, although I can hear it in my innovative arrangements that make this CD one to hear. car. When I found your internet site I was ecstatic, and This is not to take away from James Darren, whose can archive the programs I missed. straight-forward vocal style let’s us understand each syllable without destroying the meaning, but to compli­ We hesitated putting this letter in, for it sounds like ment the arrangers who have given Darren an enviable it was written by a public relations person plugging musical tapestry. the internet! The internet site is at www.bigbandjump.com and we’re gratified to have The CD was produced by drummer Gregg Field, who an additional opportunity to promote it. also played on the session. His wife, Monica Mancini

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(Tape or Staple Here) THE CENTER PAGE OFFER - AVAILABLE BY PHONING 1-800-377-0022 If this was the corner record store on Main Street, this would be called a CASSETTE BLOW-OUT! We have thirty- five titles of superb cassettes as listed below. Because of space, we’re listing only the title and num ber of selections, but we can fill you in on the phone when you call 1-800-377-0022. Each of these close-out cassettes is priced for immediate sale at $5.50, with a minimum order of four, plus a flat $3.00 S&JH. No returns or exchanges, please. Here’s the cassette list, with the basic information. Please phone for track list and other details not presented here because of space. 1-800-377-0022.

ARTiST DESCRIPTION/ NO. OF ARTIST DESCRIPTION/ NO. OF COMMENT SELECTIONS COMMENT SELECTIONS

1 - Jan Garber Typical Garber, easy 23 21 - Ralph Sharon Trio George Gershwin 19 to listen & dance to. (All the above [17-21] by one o f th e nation’s fin e st piano s ty lists, 2 - Charlie Spivak His theme & dream 15 with bass & drums) tunes from transcription. 22 - Count Basie The earlier V ictor records. 16 3 - AI H irt The dixieland sound. 16 Swingin’ earlier Basie.

4 - Dukes of Dixieland Powerful dixie with 14 2 3 - Duke Ellington The earlier V ictor records. 15 familiar titles. Many Ellington hits.

5 - Kay Kyser Top hits as you recall. 16 2 4 - Ben ny Good man The earlier V ictor records 15 (w/Tilton, iNard, Krupa) 6 - Denny Goodman From Columbia days 15 with Peggy Lee. 25 - F ats Waller Classic Waller from Victor 14 The ones you’d expect. 7- Stan Kenton From radio transcriptions 13 with June Christy ’45-’47. 2 6 - Lionel Hampton Early Victor jam sessions 14 w/James, Forrest, Hodges, Etc. 3 - Stan Kenton Balboa Beach days of early 16 ’40s. Musical history. 27 - Jazz Vocalists Victor with Horne, Fitzgerald 14 Sinatra, Holiday, Eckstine, Etc. 9 - S pitfire Band VIRTUAL REALITY 14 2 3 - Goodman & Miller N ot THE Goodman concert, but 23 10 - Spitfire Sand TENTH ANNIVERSARY 13 a t Carnegie Hall - ’5 9 a fascinating line-up from both 11 - Spitfire Band B’WAY TO H WOOD 14 a t an ASCAP appearance.

12 - S pitfire Band WE CAME TO PLAY 12 2 9 - Don Lusher Tribute to Big Bands 1 12

13 - S pitfire Band BIGTIME 12 3 0 - Don Lusher Tribute to Big Bands II 11

14 - Miller M ilitary Band LOST RECORDINGS 3 6 31 - Don Lusher Tribute to Big Bands III 12 (Two ca sse tte set) 32 - Don Lusher Tribute to Big Bands IV 12 15 - Glenn Miller & Andrews Chesterfield B’casts 16 CAN the above f29-321 bv a British orchestra leader &trombon- Sisters - Airchecks ’39-’40 - Superb quality is t whose band plays with precision many of the easily recogniz- 16 - Miller Band led by Stereo versions o f Miller 3 0 able American Big Band hits.) Buddy DeFranco h its with Beneke, Eberly, 3 3 - Ray Anthony Swing BackToThe’40s 20 Etc. (Two ca sse tte set) Good stuff with top artists. 17 - Ralph Sharon Trio Jerome Kern 25 3 4 - Ray Anthony Boogie, Blues & Ballads 14 1Ö - Ralph Sharon Trio Cole Porter 29 A fun collection.

19 - Ralph Sharon Trio Irving Berlin 23 3 5 - A rtie Shaw The RCA V ictor classics 10

2 0 - Ralph Sharon Trio Richard Rodgers 23

Orders on a first come, first served basis. Lots of good cassettes with top artists and great m u s ic , b u t when they’re gone.. .. it’s over. There’ll be no more cassettes! Please phone 1-800-377-0022 right away, and leave y our name and phone number for us to call y o u back in the order you phone. COMING UP IN FUTURE ISSUES OF THE BIG BAND JUMP NEWSLETTER

In-person interviews with outstanding Big Band music personalities.

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

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

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

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(Tape or Staple Here) VOLUME LXXVI BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2001

member of the In­ ternational Glenn Miller Society with comments from former Miller Or­ chestra sidemen (before and after his death) John Best, Paul Tanner, Sal Libero, Gene Cipriano and Art Depew. As you Tex’s album cover would expect, the James Darren in contemplative mood Miller stand-bys ofboth the civilian and military groups are represented, performed in slightly different style by (daughter of Henry) provides harmony on CAN’T Beneke: IN THE MOOD, SUNRISE SERENADE, TAKE MY EYES OFF OF YOU, a song originally MY BUDDY, STRING OF PEARLS and ST. LOUIS made famous by the Lettermen. Other tracks include BLUES MARCH are there among some familiar titles. JUST ONE OF THOSE THINGS, MY KIND OF Most interesting, though, is the Milleresque treatment of GIRL, A NIGHTINGALE SANG IN BERKELEY some new tunes at the time: BEAUTIFUL BLOND SQUARE, BECAUSE OF YOU, I CAN’T GIVE FROM BASHFUL BEND, WOULD I LOVE YOU, YOU ANYTHING BUT LOVE and DREAM A A WONDERFUL GUY and I CAN DREAM, CAN’T LITTLE DREAM OF ME. There are a total of I for example. Tex Beneke’s vocal group, called the fourteen songs on the album. Moonlight Serenaders is joined by singers Glenn Dou­ glas, Mary Mayo and Shirley Wilson. Should be available at any good record store. Informative insert, excellent music, good technical work, TEX BENEKE AND HIS MUSIC a discography of the contents and nearly two hours of IN THE MILLER MOOD music. Available from SOUNDIES - 800-832-8388. Soundies SCD4130 DUKE ELLINGTON AND HIS WORLD - This two CD set contains 41 musical tracks recorded A Biography for a radio transcription service from 1949 through A.H. Lawrence 1952, plus the original Beneke voice tracks used by radio station announcers to make the programs seem An author trained in psychiatry presents yet another “live” instead of originating on turntables. It’s all book attempting to discover the background of the carefully re-recorded from the original Thesarus 16 genius of Duke Ellington. A.H. Lawrence is, as you inch vinyl discs with a minimum of digital editing and certainly know, one of scores of authors who have noise reduction so they retain the sonic ambience of the attempted to reach beyond Edward Kennedy Ellington ’ s originals. There are some Miller-like arrangements, but public persona, giving us details of his personal life.... a by the end of the forties Tex Beneke had severed his personal behavior Duke Ellington kept just that.... per­ relationship with the Miller Estate, touring on his own sonal. with arrangements reminiscent of the Miller sound but not precise copies of it. For that reason, this is an We learn that Duke Ellington was a highly emotional interesting collection, for it gives us an insight into Tex man who needed not only music (Music Is My Mistress Beneke’s musical thoughts and introduces melodies is the title of his 1973 autobiography) but very personal current for the time. attention as evidenced by the deep love he felt for his mother, his wife, two mistresses and numerous women The four page folded insert is well-done, written by a along the way. We know he was deeply VOLUME LXXVI BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2001

SIDEMAN PROFILE - JOHNNY HODGES

Everyone who was privileged to see Johnny Hodges in person said he showed no visible emotion while he was playing; all the deeply soulful meaning came from his horn. He was, of course, a staple of the Duke Ellington orchestra for years, but also recorded on his own and with various small groups along the way.

Johnny Hodges was bom Cornelius Hodge in Cam­ bridge, Massachusetts in 1907. He was a self taught alto sax man, but played only drums and piano until age fourteen, when he started with a soprano sax. Before his most visible association with Ellington which began in 1928, he worked with such bands as Chick Webb, and Willie “The Lion” Smith’s Quartet, working in the Harlem swing clubs of the 1920s. Duke Ellington In his world. There’s little question that Johnny Hodges was Duke depressed when his mother died in 1935, and nearly Ellington ’ s most valuable soloist, his tender and sweep­ inconsolable when his musical alter-ego Billy Strayhom ing style lending a deeply emotional sound to a compo­ departed this mortal coil in 1967. sition. He recorded with Ellington, of course, but in 1937 began to record with his own seven piece group Lawrence had for years been gathering oral histories for made up of members of the orchestra, performing titles a book on pre-war Harlem. That book was never written in conjunction with Ellington including JEEP ’ S written, but much of the material he gathered has added BLUES, HODGE PODGE and THE JEEP IS richness and background to this book. There are also JUMPIN’. He also worked some classic recording insights into the business dealings we never knew about: sessions with pick-up groups assembled by Lionel Ellington insisted on being the only black band on the Hampton and Teddy Wilson, as well as playing both alto RCA Victor label when that recording contract was and soprano saxophone at the now legendary Benny signed in 1940; in an underhanded profit-making move Goodman 1938 Carnegie Hall concert. Ellington’s manager Irving Mills and his lawyer replaced Ellington with Cab Calloway at the famed Cotton Club, In the spring of 1951, Hodges left the Ellington organi­ and we’re now told the reason was Mills and group zation after 23 years to perform with his own small owned 65% of Calloway’s orchestra. Mills as a man­ group including trombonist Lawrence Brown and drum­ ager guided Ellington to fame, but one of the prices was mer Sonny Greer. The group’s very first recording, Mills inclusion as co-author (and hence co-royalty col­ CASTLE ROCK, became their most renowned re­ lector) on many of Ellington’s compositions. cording, and even though the group stayed together until The details, some new and some in previous tomes, add 1955, they never never recorded a side to match yet another facet to the mystery of what qualities CASTLE ROCK’s popularity. It was 1955 when contributed to the Ellington musical genius. Hodges re-joined Duke Ellington. Execpt for brief periods, he was with Ellington for the rest of his life. Should be available in any book store, or they can order it. Because Johnny Hodges was mostly self-taught, he Routledge Press - nearly 500 pages with illustrations - never learned to read music well and it’s said that the About $35.00 other members of the sax section helped him with a new melody... .but once he had it he was able to weave it into a magical musical elixir. Most critics rate him with

8 VOLUME LXXVI BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2001

parents taking him to the Pavilion Royale on Long Island one night when Guy Lombardo was the featured or­ chestra. At about that same time, Dick Jacobs was trying to organize a youthful orchestra, but had trouble acquiring the stock arrangements which were distrib­ uted free at that time to all name bands by the publishers in the hopes of getting air play. Guy Lombardo, though, had his own arrangers and his own distinctive style and for that reason had no use for such stock arrangements. Jacob’s parents, his biggest boosters, convinced their young son he speak to Guy Lombardo and ask him if he had any contacts to help the young Jacobs get some of those free orchestrations. As Jacobs recalls, “Mr. Lombardo smiled at me and immediately sent someone to the band room; that person returned with enough stock orchestrations to fill the back of our car!”

Johnny Hodges emotes Dick Jacobs credits Guy Lombardo’s kindness and generosity with inspiring him and his group of young Willie Smith and Benny Carter as one of the most musicians to keep on playing. effective alto saxophone artists of the swing era. He died in 1970 a few months short of his 63rd birthday. SIDELIGHTS

A GUY LOMBARDO STORY ERROLL GARNER Years ago pianist Erroll Gar­ ner appeared at St. Mary’s Dick Jacobs is a record producer most associated with College, across the street from Notre Dame, and opened the Coral label in the ’50s, having worked with such the performance with LOVE FOR SALE! When Erroll vocal stars as Dorothy Collins, The McGuire Sisters, was asked how he came up with that composition as an Steve & Eydie and Teresa Brewer, for example, as well opener he said, “I don’t know. It just popped into my as releases featuring his own orchestra and chorus. head and I played it.” The rest of the trio expected the Dick Jacobs' roots, concert to be cancelled immediately by the scores of however, were in nuns in the audience, but apparently nobody caught the Big Bands. on.... or maybe they just dug Cole Porter. Right after the war he worked as an ar­ ROY ELDRIDGE TrumpeterEldridgealsoplayed ranger for the lat­ ter-day Tommy & drums, and when he was with Count Basie in 1966 he would sometimes fill in at Jimmy Dorsey part­ nership band for a the drum chair if Sonny Payne was late. But an time, but his aspira­ experience one night convinced Roy to never play tions to become a drums again. He was appearing a policeman’s ball and bandleader began doubled on drums, but recalls the appearance as running long before that, two hours over, and he was so drunk he didn ’ t know how and thus the basis to take the drum set apart. Two of the waiters lugged for this remem­ it out, still set up, into Roy ’ s station wagon. Roy recalls, brance. “When I got up and was sober, and remembered how to break ‘ em down, I put ‘ em away and they ain ’ t been out Jacobs at work in Coral studio Jacobs recalls his since.”

9 VOLUME LXXVI BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2001

THE VOCALIST QUIZ (C om e to th in k o f it, w ho cares how her nam e is spelled?) Good luck! So many listeners over the years have phoned to ask who sang with whom, it occurred to us 1 - Harry Prime A - Freddy Martin to make that the basis of a quiz, but with liberal (apologies to the DNC) hints to help 2 - Eydie Gorme B - Les Brown determine the direction of the answers, for 3 - Merv Griffin C - Tex Beneke most vocalists sang with more than one band. 4 - Rosemary Clooney D - Glenn Miller

5 - Ray Eberle E - Benny Goodman

6 - Doris Day F - Gene Krupa

7 - Bob Eberly G - Ralph Flanagan

8 - Peggy Lee H - Count Basie

9 - Jimmy Rushing J - Jimmy Dorsey

10 - Anita O'Day (first major band) K - Tony Pastor

Because there seems to be so much general knowledge about singers, the scoring incre­ ments on this one will be tough. If you ’re able to correctly answer only six, you may have to do some additional singing in the shower along with a water-proof Big Band book. Young, skinny Merv Seven or eight correct, and you’ll be able to stand close to the bandstand; nine or ten Here’s whatcha’ do: Match the singer’s name correct and you’ll be invited to actually sing on the left with the band on the right with with the band. which he or she is most often associated. As you well know, most vocalists worked with at least two and often multiple Big Bands, but Check us out on the Internet! each one was inevitably associated most closely with one major musical organization. The problem with this kind of quiz is some BIG BAND JIM P listeners may have different associations, but we’ve attempted to narrow down the candi­ dates to the most obvious connections. Some Z b // /C f/rn ty S fo tr are embarrassingly easy, others may be a bit more obscure. are repeated after broadcast each week at

Answers, as always, are in a neat box in this www.bigbandjump.com issue, but you’re exhorted not to look at them or you will surely be cursed with having to E-Mail questions and comments: listen to Chaka Kahn (is that the way you spell her name?) screaming the ruination of a [email protected] legitimate songwriter’s meaningful lyrics.

10 VOLUME LXXVI BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2001

UPCOMING BBJ PROGRAM TITLES September 22-23, 2001 Every so often we lis- TODAY’S BANDS/ ten to the current September 1-2, 2001 (Repeat for new subscribers.) YESTERDAY’S SOUND bands, the ones work TRUMPET PLAYERS Certain trumpet players ing today, for if we do distinguished themselves in not expose the work of these organizations Big Bandom the Big Band Era, and this program is made up of will certainly fade away. This is certainly not to say that recordings by some of the most famous of we should abandon the originals from the them. Bunny Berigan, of course. Harry Big Band Era, and so on this program we ’ 11 James, without doubt. Ziggy Elman, natu­ listen to both the current organizations and rally. Charlie Spivak’s sweettone couldn’t music from five or six decades ago, side by be left out. Louis Prima’s style was rough side. Should make for an interesting but unique. A1 Hirt carved a niche, Roy comparison. This kind of program some­ Eldridge rose above others and Billy times either satisfies no one or reaches out Butterfield’s smooth notes made several to all. recordings special. There will even be some seldom-heard trumpet players on the September 29-30, 2001 Dean Hud- list, and a surprising contribution from DEAN HUDSON/ so n ’s band Dizzy Gillespie. SECONDARY BANDS w as o ften considered September 8-9, 2001 One of the listeners the “farm team” for the Tommy Dorsey Orchestra WARTIME JUKEBOX submitted a list of re­ because so many of the Hudson musicians wound cordings envisioned up with Dorsey. In the first hour we hear some of the as being on a composite wartime jukebox. precisely executed Dean Hudson ’40s radio transcrip­ The list includes Benny Goodman’s STRING OF tions, along with some Hudson voice tracks recorded PEARLS, a couple by the King Cole Trio, some just a year before his death. Tommy Dorsey that’s not heard as much anymore, plus Harry James, Jimmie Lunceford, Les Brown and Gene On the second hour, some other secondary bands, the Krupa, among others. Just for fun, at the end of the bands which often had innovative arrangements but just program, we hear the sound of a nickel being dropped never achieved the status of the Dorseys or Miller or into an actual jukebox vintage 1940s, the whirring of the Goodman or James. Boyd Raebum will be heard again, machinery and the needle making contact with the 78 along with Ray McKinley, Randy Brooks, Bob Chester RPM recording. and some others now lost in time.

September 15-16, 2001 One young person we October 6-7, 2001 There was so much NOVELTIES know asked “What BIG BAND CLASSICS II positive reaction from do you mean when an earlier version of you refer to novelty tunes?” We suppose that in this program, it seemed logical to schedule another one, some borderline cases novelties are defined by the presenting so many of the Big Band numbers we’ve listener, but this program will be made up of such heard often, but putting them all together in one pro­ recordings as THREE LITTLE FISHIES, CHICKERY gram. You’ll hear, among others, Tommy Dorsey’s CHICK, OPEN THE DOOR RICHARD and SAM, BOOGIE WOOGIE and I’LL NEVER SMILE AGAIN, YOU MADE THE PANTS TOO LONG.... all dis­ Artie Shaw’s haunting MOONGLOW and his oft- tinctly novelty recordings. The source of these record­ repeated BEGIN THE BEGUINE, Glenn Miller’s ings will be both Big Bands and the singing groups, but JUKEBOX SATURDAY NIGHT and TUXEDO all in a light-hearted mood characterizing the category. JUNCTION, Woody Herman’s WOODCHOPPER’S On hand will be Tex Beneke, Count Basie, Phil Harris BALL and Ella Mae Morse singing COW COW and Spike Jones. Please approach with no serious BOOGIE. There will be a total of over 20 selections in musical expectations. this second of the programs featuring the melodies we

11 VOLUME LXXVI BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2001

all recall. Oth­ many of which were recorded. Producer Dave Riggs ers will be has assembled a collection of those Palladium dance Benny band remotes, capturing the mood and the music of Goodman’s those on-air moments, along with some fascinating AND THE background information. The program promises to be ANGELS a suspension in time. SING and LET’S October 27-28, 2001 This musical quiz DANCE, WHOSE BAND IS THAT? style program came Jimmy about by accident one Dorsey’s day when we were attempting to come up with a new TANGER­ programming approach. It worked so well, we ’re going INE with to do it again.... and here’s how it works: We play a O’Connell and recording without telling you the name of the band, and Eberly and ask you to guess which band it is. There are no prizes Ted W eem’s for this contest, and you get the answer after the memorable selection is played. It is a self-test so you can determine novelty, COW COW BOOGIE'S your ear’s abilities, and in some cases we’ll tie-in the HEART­ Ella Mae Morse less familiar “mystery band” recording with one you ACHES. know well. Should be fun. Nothing surprising in this session, but all with a high degree of recognizability and pleasure. November 3-4, 2001 Many of the Big THE SMALL GROUPS Bands had a “band October 13-14, 2001 Anita O’Day was a gutsy within a band” pre­ ANITA O’DAY/ singer who wore a band uni- senting small group sounds. There was the LATER KRUPA form instead of a gown when Benny Goodman trio, quartet and sextet, the Artie they were on the road, and Shaw Grammercy Five, Woody Herman and the Chips, explains that and other facts as she comments during the the Tommy Dorsey Clambake Seven and Bob Crosby’s first part of the program. We will, of course, hear her Bobcats, among others. Some small groups were songs with the Gene Krupa Orchestra, Stan Kenton and stand-alone little bands, such as John Kirby’s or Louie as a single performer. Later the program will concen­ Jordan’s Tympany Five. We’ll hear all those, plus some trate on the 1946-’47 Krupa organization, when the others in this celebration of what might be considered band re-invented itself with a sound that included the popular chamber music. As always, facts about the now classic Gene Krupa Jazz Trio featuring tenor sax groups will be dropped in along the way. artist Charlie Ventura and full orchestra arrangements by such innovative arrangers as Eddie Finckel. The new (Stations sometimes change their schedules fornews or sound of the Krupa Orchestra plus the comments and sports events, so please check with your local Adult songs of Anita O’Day combine to make this an Standard station for the exact day and time.) interesting musical excursion. THE VOCALIST QUIZ ANSWERS October 20-21, 2001 When it opened in ‘LIVE’ FROM HOLLY- 1940, the Hollywood 1-G 2-C 3 -A 4-K 5-D WOOD PALLADIUM Palladium was a state- 6-B 7-J 8-E 9-H 10-F of-the-art ballroom, You’ll find a weekly Big Band Trivia Quiz on the attracting dancers and listeners alike. (See article in the internet at www.bigbandjump.com complete with May-June, 2001 issue.) Because it was located in the a weekly prize for the correct answer pulled from film entertainment capítol, it was also the origination a box of correct answers. point for broadcasts of the top Big Bands of the time,

12 BIG BAND JU MP IS NOW ON THIE INTIERNET -Hear BIG BANC) JUMPand its compainoripi ogramTHE DOIMKEfsINEDY SHOW repeated each week after the regu lar broadcasts at www.bigba ndju np.com - We’re also available on E-Mail - send your quesltions and comments to; n n m uvuyufui y u a n urliti ju imn i i p . t V/llf.

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