DOCSLIB.ORG

BIG B I\X D JUM P

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
BIG B I\X D JUM P BIG B i\X D JUMP An interview with current Glenn Miller singer Julia Rieh. An arranger profile of Larry Clinton The Chicago Aragon Ballroom story A review of a book about Stephane Grappelli BIG BAND JUMP NEWSLETTER VOLUME 119 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 2008 INTERVIEW-JULIA RICH The Background Julia Rich has been singing with the Glenn Miller Orchestra longer than any other singer, longer than Marion Hutton, longer than Ray Eberle. But then, the Miller Estate Orchestra had been in existence far longer than the original, playing to sell-out audiences. The Julia Rich involvement dates to 1985 when Dick Gerhart was leading the band. (The current leader, Larry O’Brien, was interviewed here in the March-April, 1996 issue.) Mentioned in the interview is Ms. Rich’s independent performances with a small group and her song writing. Even though the Miller Band is on the road 48 weeks a Julia Rich at work in serious mode year, she somehow finds time to occasionally sing as a solo act in Nashville or in Chattanooga. As a single, as my dad says, “It’s my first love.” she’s issued albums featuring her own work and classic standards. BBJ: You were a school teacher for a while. The Scene JR: I taught school for a little over ten years. I taught music and geography in Chattanooga When a singer (or any band member) is constantly on and I was a singing waitress at the Chattanooga Choo the bus or rushing to get ready for an appearance it’s not Choo. easy to find a few moments to talk to an interviewer. After some scheduling phone calls we were fortunate to BBJ: You’re centered in Nashville and Chattanooga. find Julia Rich in her hotel room between a matinee and JR: That’s right. Bom in Nashville. My mother’s an evening performance somewhere in the Central actually from Chattanooga, so when I taught it Time Zone. We didn’t think to ask the location, but no was in Chattanooga and you can imagine how surprised matter. She had a quiet place plus a few minutes to I was later to hook up with the Glenn Miller Orchestra answer questions and phoned the studio precisely when and sing CHATTANOOGA CHOO CHOO one more she said she would. The first question was the standard time. one for nearly all performers. BBJ: How did that association begin? BBJ: When did your interest in singing begin? JR: I was working in Chattanooga as a school JR: From the time I can remember. My mother said teacher but I was also singing in clubs work­ she knew I was a singer when I was three. Of ing with a bass player, Joey Smith, who got a job with course I was brought up in the church. My dad’s a the Glenn Miller Orchestra after we’d been working minister, so I’ve been singing since I can remember and together a year or two. He discovered as time went by VOLUME 119 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 2008 they needed to replace the girl singer so that was how I got the audition. BBJ: You also became road manager of the band. JR: Yes. First I was assistant road manager for about five years during my first time with the band between ’85 and ’92, and then road manager for about six years during my second time with the band from ’94 to the present. BBJ: Are you still managing the band? JR: (Emphatically.) No, no I’m not. My last little stint at road management ended in 2005. I enjoyed road management but as you know I have a little solo career also and I wanted to have time for that. Julia’s club appearance BBJ: Have the number of Miller Band appearances diminished a bit? (The following answer contains the word "on" to JR: No. I’m gonna’ go ahead and say no. Of the describe status as a band member. It may be twenty or so years altogether I’ve been with the questioned by English majors, but all musicians band I’ve been on the road as much as 51 weeks a year. refer to their Big Band involvement as being "on That’s a lot. Currently the schedule still runs about 48 the band". It is surprising for we as "civilians" to to 50 weeks a year so I’m gonna’ say no. The band see such terminology, but that word has been works as much as it ever has. an employment reference used by musicians for years.) B B J: Have you seen the demographic makeup of the JR: When I was on the band in the ‘ 80s, back in the audience change? day when you could park a bus in front of the Paramount Hotel in New York, you would have our bus, JR: When this band was originally re-formed in the Thundering Herd, Buddy Rich, Tommy Dorsey, we 1966 they thought it would run for a couple of were all there. Little by little the bus tours slowed down years. There was an interest in the music because or stopped. Tommy Dorsey, Jimmy Dorsey, they’re not Jimmy Stewart did the movie, “The Glenn Miller Story” on the road all the time like we are. Tommy Dorsey was and so they got Ray McKinley as leader and brought a the surprising one because they were just like we were, lot of the guys back and they thought it would run a always out there. They still do a lot of shows. I think the couple of years and here we are, the same organization. Artie Shaw Band is still a bus band, but we just tour more As the World War Two crowd diminishes one would than anybody and I’m not sure what the reason is. think we’d be working less. Our audiences are prima­ rily the WWII crowd but we certainly get all ages. High BBJ: How much do you have to do the standards school band directors bring us in and maybe have their jazz groups play before we play, so we get all ages, before you can move to other musical areas? which is good. JR: If Judy Garland doesn't sing OVER THE BBJ: How do you account for the fact that, for RAINBOW, what are you gonna’ do? Larry’s example, the Tommy Dorsey Orchestra does very conscious of that and so you’ve got IN THE not have as full a schedule as the Miller Orchestra? MOOD and STRING OF PEARLS and TUXEDO JUNCTION. He believes that had Glenn Miller lived 2 VOLUME 119 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 2008 he would not have stood still, of course, because he was and said, “I’VE GOT IT BAD. That’s Duke Ellington. an innovator, so Larry doesn’t like to just play the old That’s the bible. Don’t mess with it. Sing a song hits and likes to pull out some obscure things that Glenn according to the melody a thousand times and then, if Miller did that were not hits. Larry’s been fabulous you’re Sarah Vaughan, mess with it.” Isn’t that great? about playing my original songs. Every night we play I have people all the time tell me it’s so nice to hear the one song that I wrote but he always pairs it with melody. It’s so nice not to be shouted at. There’satime something Marion Hutton sang. and a place for everything but in our style of music it’s about sticking to the melody. It’s not easy to do that. BBJ: Do things like TOO LITTLE TIME maintain You have to know how to phrase and know how to popularity? swing. It certainly took me a long time to learn how to do it right. It’s a fabulous thing. JR: Larry certainly has it in the line-up. It’s one of his solos. I don’t know if people recognize Julia Rich is a lady who has her head on straight. TOO LITTLE TIME even if they’ve seen the movie. In a post-interview chat the word ‘tasteful’ was They may not know that’s the theme song, but it’s one mentioned and that seemed to explain the Julia of the first things Henry Mancini did in the movies, so Rich approach. Larry always has stories to go along with the music making it more interesting and enjoyable. LETTERS TO THE EDITOR BBJ: How is your personal career progressing? Letters to BIG BAND JUMP or the BBJ NEWSLET­ TER may be sent to the address below or e-mailed to JR: It’s difficult to be in two places at the same [email protected]. When you e-mail, please time. I have found that out. When I get off the give your name and address. All letters are an­ band I’ll be a lot freer to do my own little show, called “An Evening With Julia Rich.” Julia presents songs swered, but the volume o f mail sometimes delays a timely response. from the ‘40s and stories from her travels with the Glenn Miller Orchestra, and I tell a few little things BBJ NEWSLETTER about what it was like to be a girl singer with the Big Box 52252 Band, but it’s difficult to do both. I always have fun, Atlanta, GA 30355 though, when I get to do my own gig.
Load more

Recommended publications
  • Jazz Lines Publications Fall Catalog 2009
    Jazz lines PubLications faLL CataLog 2009 Vocal and Instrumental Big Band and Small Group Arrangements from Original Manuscripts & Accurate Transcriptions Jazz Lines Publications PO Box 1236 Saratoga Springs NY 12866 USA www.ejazzlines.com [email protected] 518-587-1102 518-587-2325 (Fax) KEY: I=Instrumental; FV=Female Vocal; MV=Male Vocal; FVQ=Female Vocal Quartet; FVT= Femal Vocal Trio PERFORMER / TITLE CAT # DESCRIPTION STYLE PRICE FORMAT ARRANGER Here is the extended version of I've Got a Gal in Kalamazoo, made famous by the Glenn Miller Orchestra in the film Orchestra Wives. This chart differs significantly from the studio recorded version, and has a full chorus band intro, an interlude leading to the vocals, an extra band bridge into a vocal reprise, plus an added 24 bar band section to close. At five and a half minutes long, it's a (I'VE GOT A GAL IN) VOCAL / SWING - LL-2100 showstopper. The arrangement is scored for male vocalist plus a backing group of 5 - ideally girl, 3 tenors and baritone, and in the GLENN MILLER $ 65.00 MV/FVQ DIFF KALAMAZOO Saxes Alto 2 and Tenor 1 both double Clarinets. The Tenor solo is written on the 2nd Tenor part and also cross-cued on the male vocal part. The vocal whistling in the interlude is cued on the piano part, and we have written out the opening Trumpet solo in full. Trumpets 1-4: Eb6, Bb5, Bb5, Bb5; Trombones 1-4: Bb4, Ab4, Ab4, F4; Male Vocal: Db3 - Db4 (8 steps): Vocal key: Db to Gb.
    [Show full text]
  • BIG BAND JUMP NEWSLETTER FIRST-CLASS MAIL Box 52252 U.S
    IN THIS ISSUE: ir An interview with KAY STARR, Pt. 2 ir Reviews of BOOKS AND RECORDS to consider BIG ☆ A new KEY RECORDINGS BAND SINGER BIG BAND TRIVIA QUIZ JUMP ★ LETTERS TO THE EDITOR about HARRY JAMES, ANITA O’DAY, MICHEL NEWSLETTER LEGRAND, PBS STATIONS and others BIG BAND JUMP NEWSLETTER FIRST-CLASS MAIL Box 52252 U.S. POSTAGE PAID A£hnta,GA 30355 Atlanta, GA Permit No. 2022 BIG BAND JUMP N EWSLETTER VOLUME 94 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2004 INTERVIEW WITH KAY STARR (Part Two) The Background In the last issue, we had Kay Starr’s comments about her early start in the singing business; her penchant for singing at age nine for the neighbors and her family. At first, Kay’s mother was hesitant, but her aunt had a business sense and saw that there was a future for Kay, insisting that she enter a number of amateur contests, leading to her performances at radio stations in Dallas and Memphis and finally being hired by famous violin­ ist and bandleader Joe Venuti whose guidance helped her achieve fame. She told us about her work with the Bob Crosby Band, her one week stint subbing for Marion Hutton with Glenn Miller at Glen Island Casino and her years with the Charlie Barnet Band, where she recalled pressing Kay Starr Capitol CD cover the band ’ s uniforms as well as being a featured vocalist. Jimmy Dorsey’s band. That why they didn’t have her. The Scene But they had every other girl singer. A girl singer they did not need.
    [Show full text]
  • TELEVISION Radio
    ■ l ; r name ot OoHiboro Rav ard Tick- I ▼HE PANFORD HERAT." DAYLIGHT SATING . store, and that wa intend ta EXTENDED register esld nsme with the ■j<ej,k t. Page 6 Thure. Mar. 17, 1955 h r e m u t a m M i of mo Circuit Court. Bemlnola THE OLD HOME TOWN By STANLEY NEW YORK CP) - Th* City County. Flor Ids. In aecoroance TELEVISION Council hit voted to extend day­ with the provielon of the Flctlt- 1 •. -re Statute, lo-wltt Pcctlun w d « o- t v o n l a v d o r o lO A T PJ light saving time here thi* yvar <•■*!**« tv lla in Wltbaul Si Dm i 11:00 Valiant Lady 14101 Florida Statutes OJl. Seminole Hi A- P. KinlRW i ’ ji i fb TH laillAT POL 11:11 Lots e f U fa to OeL 80 instead of emiirv it the By YVONNE CULLEN t it “Mr and Mrm.” 11.10 Starch far Tea last Sunday in September, as pre­ E. B. Smith Everyone wai clad to tee Mr. i l l Viewers Dltest 11:41 Guiding Light - - r 4 l» Rrcwlnr 'rouad with Etelas :0« Kitchen Show viously, ___________ Notice l» Htreby Given that I | tl Mcrrli back with ut. even If only t.tt Cartoon Corniest :M Welcome Traeslern an engaged In business at 1116 for a ihort while. He’i really been J '■* Film Feet A Fancy !:00 Rohsrt Cl la v ls Sanford. Fla. IUnder «! . I 19 Adventure with l.’rcv Wall 1:1* Houswearty mined by all of at around S.
    [Show full text]
  • CATALOGUE WELCOME to NAXOS JAZZ LEGENDS and NAXOS NOSTALGIA, Twin Compendiums Presenting the Best in Vintage Popular Music
    NAXOS JAZZ LEGENDS/NOSTALGIA CATALOGUE WELCOME TO NAXOS JAZZ LEGENDS AND NAXOS NOSTALGIA, twin compendiums presenting the best in vintage popular music. Following in the footsteps of Naxos Historical, with its wealth of classical recordings from the golden age of the gramophone, these two upbeat labels put the stars of yesteryear back into the spotlight through glorious new restorations that capture their true essence as never before. NAXOS JAZZ LEGENDS documents the most vibrant period in the history of jazz, from the swinging ’20s to the innovative ’40s. Boasting a formidable roster of artists who forever changed the face of jazz, Naxos Jazz Legends focuses on the true giants of jazz, from the fathers of the early styles, to the queens of jazz vocalists and the great innovators of the 1940s and 1950s. NAXOS NOSTALGIA presents a similarly stunning line-up of all-time greats from the golden age of popular entertainment. Featuring the biggest stars of stage and screen performing some of the best- loved hits from the first half of the 20th century, this is a real treasure trove for fans to explore. RESTORING THE STARS OF THE PAST TO THEIR FORMER GLORY, by transforming old 78 rpm recordings into bright-sounding CDs, is an intricate task performed for Naxos by leading specialist producer-engineers using state-of-the-art-equipment. With vast personal collections at their disposal, as well as access to private and institutional libraries, they ensure that only the best available resources are used. The records are first cleaned using special equipment, carefully centred on a heavy-duty turntable, checked for the correct playing speed (often not 78 rpm), then played with the appropriate size of precision stylus.
    [Show full text]
  • Big Band Arrangers of the Swing Era Selected List
    Big Band Arrangers of the Swing Era Selected list Band leader Arrangers Tex Beneke Henry Mancini Jimmy Dorsey Tutti Camarata Sonny Burke Tommy Dorsey Paul Weston Sy Oliver Axel Stordahl Benny Goodman Eddie Sauter Buster Harding Fletcher Henderson Horace Heidt Frank DeVol Woody Herman Heil Hefti Ralph Burns Igor Stravinsky Harry James Leroy Holmes Dave Mathews Isham Jones Gordon Jenkins Hal Kemp John Scott Trotter Elliot Lawrence Gerry Mulligan Ray McKinley Eddie Sauter Red Norvo Eddie Sauter Artie Shaw Ray Conniff Johnny Mandel Buster Harding Charlie Spivak Nelson Riddle Claude Thornhill Gil Evans Leader/Arranger Arranger Count Basie Buster Smith Jimmy Mundy Andy Gibson Herschel Evans Cab Calloway Foots Thomas Harry White Duke Ellington Billy Strayhorn Earl Hines Jimmy Mundy Budd Johnson Stan Kenton Pete Rugolo Bill Holman Andy Kirk Mary Lou Williams Earl Thompson Glen Miller Bill Finegan Billy May Claude Thornhill Gil Evans Bill Borden Gerry Mulligan Chick Webb Edgar Sampson Charlie Dixon Andy Gibson Herschel Evans Leader/Arranger Les Brown Benny Carter Larry Clinton Will Hudson Elliot Lawrence Russ Morgan Ray Noble Boyd Raeburn Raymond Scott Musicians in Bands that were Important Arrangers Leader Arranger Instrument Bob Crosby Bob Haggart bass Matty Matlock saxophone Deane Kincaide saxophone Jimmy Dorsey Tutti Camarata trumpet Joe Lipman piano Woody Herman Heil Hefti trumpet Ralph Burns piano Hal Kemp John Scott Trotter piano Gene Krupa Gerry Mulligan saxophone Jimmy Lunceford Sy Oliver trumpet Glen Miller Henry Mancini piano Artie Shaw Ray Conniff trombone Johnny Mandel trombone Charlie Spivak Nelson Riddle trombone .
    [Show full text]
  • 100 Years: a Century of Song 1950S
    100 Years: A Century of Song 1950s Page 86 | 100 Years: A Century of song 1950 A Dream Is a Wish Choo’n Gum I Said my Pajamas Your Heart Makes / Teresa Brewer (and Put On My Pray’rs) Vals fra “Zampa” Tony Martin & Fran Warren Count Every Star Victor Silvester Ray Anthony I Wanna Be Loved Ain’t It Grand to Be Billy Eckstine Daddy’s Little Girl Bloomin’ Well Dead The Mills Brothers I’ll Never Be Free Lesley Sarony Kay Starr & Tennessee Daisy Bell Ernie Ford All My Love Katie Lawrence Percy Faith I’m Henery the Eighth, I Am Dear Hearts & Gentle People Any Old Iron Harry Champion Dinah Shore Harry Champion I’m Movin’ On Dearie Hank Snow Autumn Leaves Guy Lombardo (Les Feuilles Mortes) I’m Thinking Tonight Yves Montand Doing the Lambeth Walk of My Blue Eyes / Noel Gay Baldhead Chattanoogie John Byrd & His Don’t Dilly Dally on Shoe-Shine Boy Blues Jumpers the Way (My Old Man) Joe Loss (Professor Longhair) Marie Lloyd If I Knew You Were Comin’ Beloved, Be Faithful Down at the Old I’d Have Baked a Cake Russ Morgan Bull and Bush Eileen Barton Florrie Ford Beside the Seaside, If You were the Only Beside the Sea Enjoy Yourself (It’s Girl in the World Mark Sheridan Later Than You Think) George Robey Guy Lombardo Bewitched (bothered If You’ve Got the Money & bewildered) Foggy Mountain Breakdown (I’ve Got the Time) Doris Day Lester Flatt & Earl Scruggs Lefty Frizzell Bibbidi-Bobbidi-Boo Frosty the Snowman It Isn’t Fair Jo Stafford & Gene Autry Sammy Kaye Gordon MacRae Goodnight, Irene It’s a Long Way Boiled Beef and Carrots Frank Sinatra to Tipperary
    [Show full text]
  • Vocal Jazz in the Choral Classroom: a Pedagogical Study
    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 5-2019 Vocal Jazz in the Choral Classroom: A Pedagogical Study Lara Marie Moline Follow this and additional works at: https://digscholarship.unco.edu/dissertations Recommended Citation Moline, Lara Marie, "Vocal Jazz in the Choral Classroom: A Pedagogical Study" (2019). Dissertations. 576. https://digscholarship.unco.edu/dissertations/576 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2019 LARA MARIE MOLINE ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School VOCAL JAZZ IN THE CHORAL CLASSROOM: A PEDAGOGICAL STUDY A DIssertatIon SubMItted In PartIal FulfIllment Of the RequIrements for the Degree of Doctor of Arts Lara Marie MolIne College of Visual and Performing Arts School of Music May 2019 ThIs DIssertatIon by: Lara Marie MolIne EntItled: Vocal Jazz in the Choral Classroom: A Pedagogical Study has been approved as meetIng the requIrement for the Degree of Doctor of Arts in College of VIsual and Performing Arts In School of Music, Program of Choral ConductIng Accepted by the Doctoral CoMMIttee _________________________________________________ Galen Darrough D.M.A., ChaIr _________________________________________________ Jill Burgett D.A., CoMMIttee Member _________________________________________________ Michael Oravitz Ph.D., CoMMIttee Member _________________________________________________ Michael Welsh Ph.D., Faculty RepresentatIve Date of DIssertatIon Defense________________________________________ Accepted by the Graduate School ________________________________________________________ LInda L. Black, Ed.D. Associate Provost and Dean Graduate School and InternatIonal AdMIssions Research and Sponsored Projects ABSTRACT MolIne, Lara Marie.
    [Show full text]
  • Miller Discography [J D Uv in Peris, Conf
    D O W N BEAT February 24. 1954 February PERSPECTIVES Feather Tells Woes Of Lunch, Too? New York — Apollo Theater _________ ________________ By Ralph J- Gleason ■nd all points north! Jazz Club U.S.A. Tour Stag« show» huvr disappear«^) Is the band business coming back? Well, I don’t think any­ By Leonard Feather ♦------------------------------------------------ irons the Broadway scene, and one can legitimately claim to know the answer to that one, shows, (2) Gene Wright and Bobby the Apollo in Harlem is flow The but there are some indications which point to a resurgence Oslo, Norway — If you’ve1 White, Buddy DeFraneo’ii bassist about the only theater to fea­ | of interest in the big units. ever told yourself what a ball1 and drummer, had to work on bor­ ture name bands. And many New t rowed equipment because their in­ Yorkers will learn this when Gh To begin with, the days of the it must be to tour Europe with Lionel Hampton applies his pro­ single acts, the vocalists, and struments were snowbound in New a jazz unit, you ought to be; York, (3) Billie Holiday, after a motional mallet* to the problem. Miller the featured instrumentalists, are along on the “Jazz Club U.S. A.” bound, by the nature of the beast, ( long series of hassels about who Hamp goes into the Apollo jaunt, now engaged in a 28-day should accompany her, had nc time for a week starting Feb. 12, and Tradi Biography to be numbered. Most of the real tussle with customs officials in nine draws in the vocal field have priced ' to rehears« with Carl Drinkard, for that period he'll station his had a r countries.
    [Show full text]
  • The Dorsey Brothers Orchestra I'm Gettin' Sentimental Over You / by Heck Mp3, Flac, Wma
    The Dorsey Brothers Orchestra I'm Gettin' Sentimental Over You / By Heck mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Pop Album: I'm Gettin' Sentimental Over You / By Heck Country: US Released: 1941 MP3 version RAR size: 1623 mb FLAC version RAR size: 1235 mb WMA version RAR size: 1848 mb Rating: 4.7 Votes: 869 Other Formats: VOC AUD ASF AA VQF MP1 AC3 Tracklist A I'm Gettin' Sentimental Over You B By Heck Related Music albums to I'm Gettin' Sentimental Over You / By Heck by The Dorsey Brothers Orchestra Tommy Dorsey And His Orchestra - I'm Gettin' Sentimental Over You / I've Got A Note Tommy Dorsey And His Orchestra - Winter Weather / How About You? Tommy Dorsey And His Orchestra - Tommy Dorsey's Greatest Band Glenn Miller, The Dorsey Brothers - Glenn Miller Meets The Dorsey Brothers Nelson Riddle And His Orchestra - I'm Gettin' Sentimental Over You / The Girl Most Likely The Mills Brothers And Tommy Dorsey And His Sentimentalists - You Know You Belong To Somebody Else / Please Don't talk About Me When I'm Gone Tommy Dorsey And His Orchestra - Rollin' Home / Humoresque Tommy Dorsey And His Orchestra - Getting Sentimental With Tommy Dorsey Tommy Dorsey And His Orchestra, Jimmy Dorsey, Bill Raymond - Brothers ! Tommy Dorsey And His Orchestra Featuring Jimmy Dorsey - The Fabulous Dorseys In Hi-Fi Bing Crosby ,with The Dorsey Brothers Orchestra - Two For Tonight / Without A Word Of Warning Benny Goodman And His Orchestra / Tommy Dorsey And His Orchestra - Bugle Call Rag / After You've Gone.
    [Show full text]
  • King Sister Yvonne Burch Dies at 89
    King Sister Yvonne Burch dies at 89 (AP) – 4 hours ago SACRAMENTO, Calif. — Yvonne King Burch, who gained early fame as one of the singing King Sisters during the big band era before launching her entire extended musical clan into show business as the King Family, has died. She was 89. Burch died in a Santa Barbara hospital Sunday, where she was taken for injuries she suffered in a fall last week, said her daughter, Tina Cole. Burch was the matriarch of the King Family, a popular and enduring show business dynasty. She spent three decades singing and recording with the King Sisters, one of the most popular vocal groups of the 1930s and 1940s. A Grammy nomination for their Capitol Records album "Imagination" capped the group's career in 1959. In 1963, Burch conceived and produced a benefit concert with her sisters and three dozen relatives including brothers, husbands, wives, aunts, uncles and children that marked the debut of the King Family. The King Family appeared on "The Hollywood Palace" before headlining their own TV special. Strong fan response led to two variety series and 17 specials during the 1960s and 1970s. The family appeared on "The Ed Sullivan Show" and performed with entertainment legends, including Bing Crosby and Dean Martin. Besides landing a national concert tour, the clan recorded five albums for Warner Brothers. The family showcased its multigenerational talent with performances by the King Cousins and the King Kiddies. The King Sisters performed and toured with big bands led by Horace Heidt and Artie Shaw before starting their own orchestra with Luise King's husband, Alvino Rey.
    [Show full text]
  • The Victor Black Label Discography
    The Victor Black Label Discography Victor 25000, 26000, 27000 Series John R. Bolig ISBN 978-1-7351787-3-8 ii The Victor Black Label Discography Victor 25000, 26000, 27000 Series John R. Bolig American Discography Project UC Santa Barbara Library © 2017 John R. Bolig. All rights reserved. ii The Victor Discography Series By John R. Bolig The advent of this online discography is a continuation of record descriptions that were compiled by me and published in book form by Allan Sutton, the publisher and owner of Mainspring Press. When undertaking our work, Allan and I were aware of the work started by Ted Fa- gan and Bill Moran, in which they intended to account for every recording made by the Victor Talking Machine Company. We decided to take on what we believed was a more practical approach, one that best met the needs of record collectors. Simply stat- ed, Fagan and Moran were describing recordings that were not necessarily published; I believed record collectors were interested in records that were actually available. We decided to account for records found in Victor catalogs, ones that were purchased and found in homes after 1901 as 78rpm discs, many of which have become highly sought- after collector’s items. The following Victor discographies by John R. Bolig have been published by Main- spring Press: Caruso Records ‐ A History and Discography GEMS – The Victor Light Opera Company Discography The Victor Black Label Discography – 16000 and 17000 Series The Victor Black Label Discography – 18000 and 19000 Series The Victor Black
    [Show full text]
  • ATTENTION All Planets of the Solar Federationii'
    i~~30 . .~,.~.* ~~~ Welcome to the latest issue of 'Spirit'. From this issue we are reverting to quarterly publication, hopefully next year we will go back to bi-monthly, once the band are active again. Please join me in welcoming Stewart Gilray aboard as assistant editor. Good luck to Neil Elliott with the Dream Theater fan­ zine he is currently producing, Neil's address can be found in the perman ant trades section if you are interested. Alex will be appearing at this years Kumbaya Festival in Toronto on the 2nd September, as .... with previous years this Aids benefit show will feature the cream of Canadian talent, Vol 8 No 1 giving their all for a good cause. Ray our North American corespondent will be attending Published quarterly by:- the show (lucky bastard) he will be fileing a full report (with pictures) for the next issue, won't you Ray? Mick Burnett, Alex should have his solo album (see interview 23, Garden Close, beginning page 3) in the shops by October. Chinbrook Road, If all goes well the album should be released Grove Park, in Europe at the same time as North America. London. Next issue of 'Spirit' should have an exclus­ S-E-12 9-T-G ive interview with Alex telling us all about England. the album. Editor: Mick Burnett The band should be getting back together to Asst Editor: Stewart Gilray begin work writing the new album in September. Typist: Janet Balmer Recording to commence Jan/Feb of next year Printers: C.J.L. with Peter Collins once more at the helm.
    [Show full text]