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Home , Billy May, Dick Jurgens, Larry Clinton, Marion Hutton, Ray Eberle, She Was Too Good to Me

BIG B i\X D JUMP

An interview with current singer Julia Rieh.

An arranger profile of Larry Clinton

The Chicago Aragon Ballroom story

A review of a book about Stephane Grappelli JUMP NEWSLETTER

VOLUME 119 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 2008

INTERVIEW-JULIA RICH

The Background

Julia Rich has been singing with the longer than any other singer, longer than , longer than . 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 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, , 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, , they’re not Jimmy Stewart did the movie, “” 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. 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 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 . 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 . 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 , 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 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.

BBJ: How difficult is it to find a male singer who The published letters have been edited for space considerations, but the meaning has been pre­ knows how to sing Big Band material? served. JR: Needle in a haystack! As you know this is a Paul & Lola Mitchell Whatever happened to specialized area. You have your theater sing­ Felton, DE Vaughn Monroe? We saw ers and your pop singers and your lounge singers and him in the mid-1960s and he it’s the same with the girls. To sing this kind of music looked pretty sickly. Thanks for any information! you have to sing it straight ahead. Sing the melody; you croon or you swing, and you do it old style and that is not what you can get away with in a club act. You probably saw Vaughn Monroe right before he retired in 1963 when he was appearing at clubs playing his trumpet and singing with a When I joined the Miller Band, Dick Gerhart hired me, it was my first year and we were in Japan and I was small group. In the forties and into the fifties he singing I’VE GOT IT BAD. I’d heard a recording of was one o f the top artists fo r RCA Victor Records selling millions of records during his career. He Lou Rawls singing I’VE GOT IT BAD, so I did my best Lou Rawls, nice and bluesy and I was telling everybody was voted "Most likely to succeed” by his Jeannette, PA High School Class o f1929. He not I was hip and Dick Gerhart came in my dressing room only appeared in clubs in later years, but also was

3 VOLUME 119 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 2008

Vaughn & Moon Maids a TV spokesman fo r RCA and owned “The Mead­ ows” restaurant in Boston. He spent his final years at home in Stuart, Florida where he died at age 61 in 1973 while undergoing stomach sur­ gery.

Bill Head Ralph Flanagan was an ar- Will Osborne on CBS in the 1930s Lincoln, ME ranger for the Big Bands, was he not? The last 1 heard of him style introduced on radio as “Listen to the glissin he settled in operating a record store. I never of the slide trombones, ” a sound created by four happened to hear you mention him so wondered if I had trombones playing into megaphones. A title re­ my wires crossed. called from that era was WOULDST COULD I BUT KISS THY HAND OH BABE and the some­ We ’re not aware of Ralph Flanagan operating a what blue for the era THERE’S A MAN WHO record store in California but suspect Mr. Head is COMES TO OUR HOUSE. There was an Osborne referring to whose band also fea­ more danceable band after that one. That band tured a Miller-like sound and who did have a appeared on the Abbott & Costello radio program record sales operation in Los Angeles. Ralph in the late AOs. After the Big Band Era in 1957 Flanagan arranged for , Hal Will Osborne became entertainment director of a McIntyre, and before Lake Tahoe casino. putting together his own band with a sound fre­ quently described as “more Miller than Miller. ” We found five songs titled CONNECTICUT, all written well after the AOs, some with rock lyrics. John Prokopec, Jr. In the late 1930s and early There is a University of Connecticut fight song Avon, CT ‘40s Will Osborne had a so- but that’s probably not the one Mr. Prokopec is called “novelty” band. Did he looking for. Any readers recall such a song? ever record this band? Also, I played saxophone in a band in 1947 which used a theme titled CONNECTI­ Paul W. Chandler, Jr. For the first time I CUT. Do any of your readers recall this song? Houston, TX stopped and read all of your commentar­ That band was on the Varsity label. Will Osborne ies. For what it’s worth, I agree with all of your was a drummer/singer who had a style very much positions. I will now listen AND read. like Rudy Vallee, but the band referred to had a 4 VOLUME 119 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 2006

Mr. Chandler refers to the commentaries by Don Kennedy attached to the bigbandjump.com web site. They have no relevance to music or the BBJ radio program but are simply random thoughts on a variety of subjects probably best placed somewhere else.

Norbert Pritzl There were a number of movies years Cato, WI ago that featured Big Band music. Would you please send me a list of the Gene Kelly dances - Tommy Dorsey plays films you know of? in “Du Barry Was A Lady"

“Best Foot Forward,” “Bathing Beauty” and “Springtime In The Rockies. ” The two now leg­ endary Glenn Miller movies were “” and “. ”

There are others, of course, even though the bands are incidental to the story except for “Or­ chestra Wives ” and the movies carrying leader’s names. made a series of movies star­ ring him as the "bumbling but always victorious small-town boy makes good" character. appeared with Barbara Stanwyck in “Ball A. Shaw & Lana Turner in “Dancing Co-ed” Of Fire. ” All the Big Band movies had only one or two full performances not interrupted by dia­ Back in the summer Turner Classic Movies did a logue advancing vacuous story lines. The mar­ series of Big Band movies each Wednesday. Most quee value of the band’s name was the primary such movies had perhaps one full number by the goal of movie executives; in their minds the mu­ bands inside a loosely plotted story and so are sic was secondary. not really worth seeing if the goal is to see the band perform. It’s much better to hear them on - CD where most if not all the numbers seen in the THE ARRANGERS movies are available. Rhino Records, for ex­ LARRY CLINTON ample, issued an album of full performances taken from sound tracks of key Big Band movies. The public knew him as a bandleader, but before he became a leader he was an arranger for Claude Hopkins, The main Big Band movies are, o f course: ‘‘The Isham Jones, and then for Jimmy Story, ” ‘‘The Fabulous Dorsey in 1935 after the now famous Dorsey Brothers Dorseys, ” “The Glenn Miller Story ” and the one breakup. The same year he was hired by the Casa featuring in “The Gene Krupa Story. ” Lomans and by 1937 was writing for ’s Artie Shaw’s orchestra had some reasonably new band, and then Tommy Dorsey. lengthy performances in “Dancing Co-ed. ” His two major composing and arranging successes Tommy Dorsey’s band appeared most notably in with Tommy Dorsey, SATAN TAKES A HOLIDAY “Broadway Rhythm, ” “Thrill Of A Romance, ” and D1PSY DOODLE, brought him to the attention of “Du Barry Was A Lady ” and “Ship Ahoy, ” while the brass at RCA Victor leading to the formation of a brother Jimmy Dorsey’s band was in “I Dood It ” band under his own name. It was a logical and a and “Four Jills And A Jeep. ” Major movies business decision, for Tommy Dorsey had been pro- letting us look at ’ orchestra were Larry Clinton played trumpet, trombone & clarinet Larry Clinton poster circa 1938 moting his name on the radio every time he played was discharged the band days were over. He made a few DIPSY DOODLE, so the public knew who he was. The recordings for the Cosmo label, briefly toured and in the business part of the decision was also Dorsey’s, for he mid-fifties re-recorded stereo versions ofhis most popu­ put up the money for the Clinton band. It proved to be lar numbers for RCA. He officially retired in 1961. a profitable move. Often musical talent and business acumen don’t go During the early days of the Larry Clinton orchestra he hand-in-hand, but Larry Clinton had both qualities. He was criticized for turning classical themes into popular had invested carefully and didn’t need to work. He and recordings as exemplified by OUR LOVE, adapted his wife Wanda settled first in Florida and then moved from Tchaikovsky and MY REVERIE based on a to Arizona where he spent the rest ofhis life. He was Debussy melody. He is most recalled for those num­ never fully retired, for he published some science bers and for MARTHA, HEART AND SOUL and fiction and humor stories, but his band days were over. DEEP PURPLE, all helped considerably with the lyr­ He died at age 75 in the spring of 1985. ics presented by Bea Wain. A Larry Clinton quote answered critics who felt he was “desecrating” the (BOOKS AND RECORDS TO CONSIDER ) classics: “Would you rather have your kids dance to Tchaikovsky or FLAT FOOT FLOOGIE?” There DANNY AIELLO-LIVE FROM ATLANTIC CITY wasn’t much swing in the Clinton band, for the me­ Dream Maker’s Music - DRM 61181 chanical precision of many of his arrangements seldom allowed improvisation, but they were lively and You gotta’ admire Danny Aiello. He’s been president danceable, appealing to the public. Some of his titles of a bus dri ver ’ s union, a movie and stage actor and most reflect an interest in the supernatural: MIDNIGHT IN recently a singer. He’s probably best-known as an actor THE MADHOUSE, SHADES OF HADES, STUDY for he’s had character parts (sometimes bad guys, IN BROWN and SATAN IN SATIN. sometimes good guys but always characters) in over seventy movies. He released his first album of tradi­ Larry Clinton’s band started late and ended early in the tional songs in 2004 and now this album full of the Big Band Era. In 1942 Clinton went into the service as excitement o f ‘live’ performance. a flight instructor in southeast Asia and by the time he Danny Aiello is not a singer in the mode of Sinatra or (Please fold on dotted line)

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This is an introductory offer of a brand new two CD set of fifty-six of NELSON RIDDLE’S superb instrumental arrangements. BBJ NEWSLETTER reader’s price is $30.00 with FREE shipping and handling.

This two CD set includes: LISBON ANTIGUA - VOLARE - LET’S FACE THE MUSIC AND DANCE - PUT YOUR DREAMS AWAY - YOUNGER THAN SPRINGTIME - DARN THAT DREAM - AUTUMN LEAVES - I’LL WALK ALONE - SEPTEMBER IN THE RAIN - WITHOUTASONG and others for a total of 56 captivating tunes in Nelson Riddle’s unmistakable style.

In addition to well-known standards, this remarkable two CD set also includes many originals written by Nelson Riddle for motion pictures, mood pieces with the enchanting Riddle sound that made him the most respected arranger/conductor of the ‘50s.

In addition to the Riddle instrumental magic there are sophisticated arrangements with , , Al Martino, Andrews Sisters, Nat Cole, Dick Haymes and Patti Andrews.

ATOTALOF FIFTY-SIX (56) NELSON RIDDLE GEMS. THISTWOCDSET IS AVAILABLE TO BBJ NEWSLETTER READERS FOR $30.00 WITH free shipping AND HANDLING.

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plishes the same, pre- senting Stephane Grappelli not only as a legendary figure in music, but in a broader view as a passionate human being.

From the time he showed a propensity to perform in 1914 until he died on De­ Stephane Grappelli in 1996 cember first, 1997, Stephane Grappelli was an entertainer. Grappelli and guitarist Django Reinhardt as members of the “Hot Club of France” lived at the beginning of recorded sound and thus the work of Grappelli may be heard from his days as a young performer to his last perfor­ mances in 1996 at age 88. Through extensive inter­ Danny sings views with Grappelli himself and those most closely Damone or Lawrence, but his warmth and sincerity associated with him, this book lays out in detail his allow him to deliver renditions catching your attention. contributions to not only ‘live’ performances but most He transmits the feeling of a lyric. He’s backed by an important his part in the embryonic world of recording. eight piece band giving him solid support. Best, how­ ever, is the fact he selects songs such as ALL OF ME, Grappelli performed with such stellar greats as Duke PENNIES FROM HEAVEN, YOU MADE ME LOVE Ellington, Oscar Peterson, , YOU and ONE FOR MY BABY. At age seventy, he and Dizzy Gillespie. Some ofhis later CDs offered him recalls the time when meaningful lyrics and innovative in performance with Claude Bolling’s Orchestra, unique melody were combined to be heard on every radio and in the fact he was at the time at least three decades jukebox. senior to the leader and a half-century older than most of the players. Significant is the author’s comment This album is fun to hear and carries with it the affection about Grappelli’s views on some later musical forms: for music impelling Danny Aiello to perform at the “He understood bebop and ‘cool’ jazz, loved Miles Rainbow Room, the Apollo Theater, the Blue Note and Davis and Dizzy Gillespie, but he could no more turn other clubs between movie shoots. His name as an actor his back on his audience than speak ill ofhis mother.” gets the people into those famous music spots; his A Grappelli quote: “The music we play is simple; it’s performance keeps them coming back. the way we play it.”

Available at record stores. You have to be a devoted fan to want this book, but simply reading it might make you a fan of this musician H.W. who entertained audiences for nearly ninety years. If for no other reason, this book might be one to gain a STEPHANEGRAPPELLI-With And Without Django place in your library. Paul Balmer 374 pages plus extensive discography and index, plus Stephane Grappelli was thought of as a jazz player, and photos. Sanctuary Publishing, a British Publisher. Your that’s what he was, but he played jazz in the context of book store may have to order it for you. popular music, transcending what might be considered the narrow confines of pure jazz. This book accom­ H.W. 7 VOLUME 119 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 2008

JOHN PIZZARELLI - With A Song In My Heart and an emotionally effective solo guitar accompani­ Telarc CD 83676 ment by John’s dad Bucky on IT’S EASY TO REMEM­ BER. Tasteful instrumental solos pop up throughout the album.

The upbeat tracks appeal most to this reviewer simply because John Pizzarelli’s vocal style seems to fit better when a song is lively. THIS CAN’T BE LOVE, MOUNTAIN GREENERY and THE LADY IS A TRAMP as well as others display this kind of vocal brightness. There are a total of twelve Richard Rodger’s tunes on this album including the title song, WITH A SONG IN MY HEART plus I LIKE TO RECOGNIZE THE TUNE, JOHNNY ONE NOTE, I HAVE DREAMED, SHE WAS TOO GOOD TO ME and YOU’VE GOT TO BE CAREFULLY TAUGHT.

Available wherever CDs are sold.

H.W.

CHICAGO’S ARAGON BALLROOM

A reporter for the Chicago Tribune captured the excite­ ment ofthe Aragon’s opening on July 14,1926 when he wrote: “A glow of iridescent colored stars winking in the Mediterranean sky....” He was describing the sky- John Pizzarelli in a business mode. effect of tiny blinking lights and four concealed projec­ tors creating moving clouds on the ceiling sixty feet A record promoter we know who lives in Los Angeles above the dance floor. From the opening day into the makes his living being paid to acquaint people in radio early fifties, the Aragon was an artistic and commercial stations with new CDs and sometimes new artists. He’s success. been at it for a long time, and because he recalls the best of yesterday he can judge the best of today. He sent The luxury of the Aragon offered what was called “A alongthis John Pizzarelli album full of ’ veritable palace” and “Alhambra on the elevated.” work. We call your attention to it for two reasons: ( l ) Dancers ascended a grand divided stairway to the There are so few albums released by current artists second floor ballroom recreating the appearance of a including music written at a time when meaningful Spanish castle complete with tiled roofs, palm trees, tunes were written. (2) The quality of this album is terra-cotta arches and those twinkling stars. The physi­ superb, both technically and artistically. cal surroundings were matched by the quality of the Aragon’s promotion. John Pizzarelli has been true to classic popular songs The public relations department published a glossy with all his albums and as a relatively young performer paper titled “Aragon Dance Topics” handed out to (who’s been at it for a quarter-century, since he was a dancers. The publication contained reminders of com­ kid) attracts the attention of generations to whom this ing attractions, photos of the interior and stories about music is new. On some tracks his accompaniment the air conditioning system adding to patron’s comfort. stresses the horns, but there is solo piano on a bossa But the most effective promotion was the 10:05 to 11 nova version of HAPPY TALK from “” PM broadcast from the ballroom six nights a week on VOLUME 119 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 2008

original Aragon owners took place the weekend of February 7-9, 1964 with the music of Wayne King. The last Aragon dance band remote was heard that weekend. Now, under Hispanic ownership as the Aragon Entertainment Center, the building is the location for rock concerts, boxing matches and a variety of Spanish Language shows. BBJ TRIVIA QUIZ

As discussed here before, the difficulty of these quizzes is a constant concern. One knowledgeable Big Band historian wrote to say he sometimes answered every question correctly, but explained he’s devoted his life to Big Band research. He also reported that he i ften scored 7 or 8 out of ten. Those comments indicated the questions have perhaps reached the proper level; not too obscure, but not too easy.

We’ve tried (but not always succeeded) to avoid vague questions. “What date did Les Brown graduate from col­ lege?” has no direct relevance to his music, but “Name the university where Les Brown led a dance orchestra” does.

The following questions are derived from the BIG BAND JUMP radio programs titled: W-X-Y-Z FILE, GOODMAN ALUMNI and the first program of REQUESTS PLUS a few A ragon in the '80s months back. Listeners who heard those programs have a leg station WGN. Listeners not only heard the music but up on the answers to this multiple-choice quiz. May you have the announcer’s description of the luxurious surround­ fun with this! ings and happy crowds. 1 Trombonist Si Zentner worked in the studios and, as we all know, led There were visits from all the top bands in the nation, his own band in the sixties and then later in his life. He was, however, but the basis for continued Aragon success was their out of the music business for a while as an executive in: sweet music policy. Dick Jurgens, Wayne King and A - Las Vegas B - Hollywood C - Keokuck Freddy Martin appeared so often they could be consid­ D - New York City ered house bands. When the band wasn’t playing, the 2 Margaret Whiting’s recording of MY IDEAL headlined not her name on giant Wurlitzer provided intermission music for danc­ the label but the bandleader’s name, Who was he? ing. The house attendance record was set in April of 1944 when 10,500 dancers crowded the dance floor to A - Paul Weston B - Frank DeVol C - Billy Butterfield listen to the music of Harry D -O rrin Tucker James. 3 SATIN DOLL began its life as a pure instrumental written by:

By the mid-fifties the A -D u ke Ellington B-Tom m y Dorsey C - Mitchell Parish D - crowds thinned out; the Orrin Tucker

neighborhood around the 4 Singer Fran Warren was paid how much when she recorded A ballroom was in decay and SUNDAY KIND OF LOVE with Claude Thornhill? television replaced a night out as prime entertainment. A - $150.00 B - Nothing C - $50.00 D - Five percent of gross record sales The final dance under the

9 VOLUME 119 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 2008

5 The first by musicians who don’t normally work together. This sideman to leave is another edition of that idea, looking into the fund of Benny Goodman to material that’s become available in the years since the start his own band first “Jam Session” was offered. The classic Metro­ after the 1938 Carnegie Hall Con­ nome All-Stars will be part of the program, but so will cert was: Count Basie playing outside his band and the opportu­ nities from V-Discs where contractual obligations were A-HarryJames B set aside. There will also be a sampling of the Lionel - Lionel Hampton C -Z ig g y Elman Hampton Victor jam sessions. D - Gene Krupa November 8-9, 2008 A n o th e r d o u b le - 6 Which now clas­ NOVELTY/ROMANCE header on this BBJ sic song was writ­ ten from a Lionel session combines two Hampton rehearsal unlikely subjects. It’s been much too long since a riff? BIG BAND JUMP program offered tunes from the novelty category. Novelties, of course, include the cute A-FLYING HOME B - MIDNIGHT or funny recordings out of the mainstream. Examples SUN C - TEN­ would be Spike Jones or a legitimate orchestra clown­ DERLY D-JIVIN’ ing around with novel lyrics, such as Glenn Miller with WITH JARVIS .JUKE BOX SATURDAY NIGHT or Butch Stone

7 DOODLE- singing A GOOD MAN IS HARD TO FIND with Les TOWN FIFERS Brown. was based on what song? To counteract the effect of the first hour, we offer a

A-OLD FOLKS AT second hour filled with nothingbut romantic music. All HOME B - the June, moon, spoon tunes we can find wi 11 be put into CAMPTOWN this soothing, emotion-filled hour with announcements Fran Warren, a part of this quiz RACES to fit the mood if it’s possible. C - CHICKEN REEL D - MRS. MURPHY’S CHOWDER

8 The words to MY GUY’S COME BACK were written by which November 15-16, 2008 It's our good fortune bandleader? TODAY’S SINGERS there are still singers out there reflecting the A - Benny Goodman B - Tommy Dorsey taste and quality characterizing the classic popular C - Ray McKinley D - Glenn Miller music of America. In this session we listen to singers 9 The first record hit for Vaughn Monroe in 1940/41 was: who are working today, still turning out CDs and making personal appearances to sell-out crowds, pre­ A - THERE I GO B - THERE, I’VE SAID IT AGAIN C - BALLERINA D - RACING WITH THE MOON serving the sound, emotion and solidity personifying well-written songs. Often these performers are not only 10 The all-time best-selling recording by Jimmy Dorsey was: singers but also play an instrument; in today’s music A-GREEN EYES B-THE BREEZE AND I C-AMAPOLA environment when it is necessary to sing in order to D - attract public attention, so many excellent musicians stress voice rather their instrumental abilities. Our UPCOMING PROGRAM TITLES good fortune is they’re keeping the standards in front of the public. November 1-2, 2008 (Repeat for new sub- ALL-STAR JAM SESSION scribers.) Years ago November 22-23, 2008 Some writing teams a friend suggested the BURKE VAN HEUSEN/ just seem to click. idea for this kind of program, consisting of recordings AUDITION HOUR The partner who

10 VOLUME 119 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 2008 writes the music happens to offer rhythms fitting the Trio. No less innovative but lyricist’s word ideas; sometimes the other way around. more spirited is the full That productive association was experienced by Johnny Goodman band, Earl Hines’ Burke and Jimmy Van Heusen and we review some of piano and Stephane their most memorable output on the first hour. Grappelli’s violin with Claude Bolling’s dynamic On the second hour we delve into some of the CDs orchestra. Those aren’t all we’ve seldom if ever played in an on-air audition. the artists you’ll hear, but Some are brand new CDs recently arrived, others have that’ll give you an idea of been around for years but never played. What an what’s in store. adventure this could become as we open new musical vistas including some new artists or tried and true names producing fresh material. December 20-21, 2008 Well,it’snotentirely BIG BAND CHRISTMAS Big Band forthere are November 29-30, 2008 W hat fun vocal groups and SINGING INSTRUMENTALS this is; dis­ some small groups, too, but the style is there. Those co v e r i n g wonderful carols you all recall are mixed with some tunes originally purely instrumental with words added more modern offerings, but all in the timeless spirit of later. The Mills Brothers, , Rosemary the warmest hoi iday of the year, no matter the tempera­ Clooney, the later Modemaires, , the ture outside. It’s traditional to hear the Glenn Miller Four Freshmen and Neal Hefti all demonstrate how Christmas tunes captured from the radio, but other lyrics can be added to a tune previously without words. bands will take part, too. The singers won’t be left out, TAKE THE A TRAIN, JERSEY BOUNCE, HOT nor will some of the comments helping to create the TODDY, and SONG OF INDIA are mood of the season. some the titles you’ll hear. December 27-28, 2008 R adio’s “Your Hit December 6-7, 2008 We’ve done a BBJ NEW YEAR’S HITS Parade” was one of PROFILE about Billy May con­ the most listened to centrating on his musical programs from its beginnings in 1930 to the comments; this program is more about Billy May the late fifties and into the early sixties when TV captured arranger as we spotlight his prolific output. The Billy the radio audience. During this two hour session we May accompaniment of top stars such as sample what was on “Your Hit Parade” on the first and Nat Cole as well as purely instrumental examples week of January in various selected years. What a of his work will be heard along with stories of how this surprise to discover enduring songs introduced in those musical genius turned out such an impressive volume early years. YOU DO SOMETHING TO ME was of quality sound. As almost always happens in these among the top ten the first week of 1930, for example. programs, we’re surprised to discover recordings we EMBRACEABLE YOU was number one as 1931 didn’t previously know came from the imagination of began. It’ll be a program of revelation and discovery. Billy May. January 3-4, 2009 By the time the 1950s December 13-14, 2008 The title of this BBJ FIFTIES INSTRUMENTALS arrived most of the UNRESTRAINED SWING might be frightening radio listening and to listeners who re­ record buying population had forgotten how enamored vere the gentle, predictable beat of a highly stylized they might have been with JERSEY BOUNCE, MEXI­ sound of a band, but don’t be put off for this program proves swing can be gentle, appealing and captivating. CAN HAT DANCE or STRING OF PEARLS, as most recordings featured singers. There were, however, a The gentle part is demonstrated by Lionel Hampton’s few scattered Big Band and small group instrumentals All-Stars, the Goodman Sextet and the Count Basie

11 VOLUME 119 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 2008 emerging into the fifties and we look into some of them, 4 - C Fran Warren said she had no idea of the while at the same time recalling their origins with a look effect a top recording would have on her career back at earlier times. DRAGNET, MELANCHOLY when she recorded A SUNDAY KIND OF LOVE. SERENADE, MISTY, RUBY and the theme from She was, she said, thinking only of the $50.00 she PICNIC will be among the ‘50s musical creations you’ll got for the record. hear. 5 - D Gene Krupa was the first of Goodman’s January 10-11, 2009 A few years stars to form his own band after three years ANITA O’DAY REMEMBRANCE/ before she playing for Goodman. LATER GENE KRUPA permanently left the vocal 6 - B MIDNIGHT SUN began as a riff Lionel microphone we talked to Anita O’Day who at the Hampton used to warm up. Composer Sonny time was living in a retirement facility in Hollywood. Burke heard Hampton playing that riff on the set She talked about her days with Krupa and Kenton, her of 1948 ’ s “A Song Is Bom” and expanded it into adopted name and the place she was living. As she a full piece. When added words comments about various recording sessions we slip into it became another part of the American songbook. some of her songs with both Krupa and Kenton. Unique and independent are the words perfectly describing the 7 - B DOODLETOWN FIFERS became the late Anita O’Day Sauter-Finegan theme when it achieved surpris­ On the second hour we concentrate on the Krupa ing popularity in the early fifties at a time when recordings from the second half of the forties, including most recordings were vocals. The notes of some radio transcriptions showing off the Krupa band. Steven Foster’s CAMPTOWN RACES were the basis for the melody. ANSWERS TO BBJ TRIVIA QUIZ 8 - C MY GUY’S COME BACK began its life 1 - D After working in the studios recording on as a the theme for the “Uptown Hall Gang,” a such top recordings as Frankie Laine’s THAT’S small group formed from the Miller Military MY DESIRE, leading his own band and then Band entertaining on British radio. Pianist Mel becoming a staff trombonist for MGM, Si Zentner Powell wrote the music and drummer Ray worked as an executive in a Las Vegas lounge. He McKinley wrote the series of couplets with the said he missed performing and re-formed the help of a rhyming dictionary. orchestra he led for the rest of his life. 9 - A THERE, I’VE SAID IT AGAIN was 2 - C The idea at Capitol was to feature Billy Vaughn Monroe’s turnaround songin early 1945 Butterfield’s trumpet, made so famous on such but THERE I GO was the first of several respect­ recordings as WHAT’S NEW with able commercial successes between 1941 and and STARDUST with Artie Shaw. Teen-age 1945. singer Margaret Whiting appealed to the public and was moved to a starring position on the label. 10- D For years the rumors flew about Jimmy Dorsey not playing the alto sax solo on SO 3 - A The story goes that Johnny Mercer heard RARE, his biggest-selling recording of all time. Duke Ellington’s SATIN DOLL on his car radio He was very ill when he recorded SO RARE on one night and phoned the radio station to play it November 11, 1956. The rumors came when again. He asked composer Ellington if he could saxophonist Dick Stabile played on some tunes write lyrics to the then purely instrumental tune, written to create an album.after the success of SO turning into a classic song. RARE.

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

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The pretty singer for this issue is , a key 20,h Century performer.