Upcoming Bbj Program Titles

VOLUME XXVIII BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 1993

UPCOMING BBJ PROGRAM TITLES didn’t know it at the time, when we conducted this inter­ view, Charlie Barnet was suffering from some memory SOUND TRACK M USIC So much of the excellent loss. As so often occurs, though, he recalled vividly events Sept. 4-5, 1993 music composed in Am­ of decades earlier. We benefit from those memories, and erica is written for mo­ listen to the pace-setting music. tion pictures featuring the stars in the Band firmament. We lift some of that sound track music, both vocal and instru­ ROMANTIC RECORDS We used to call these ballads mental, spanning movies from the early forties through the October 2-3,1993 “ slush” in the earlier days of late eighties. Bob W ilber’s remarkable copies of the late radio, but they’re all familiar 20’s Duke Ellington is heard from THE COTTON CLUB, melodies that’ll bring forth memories of some of your Jimmy Dorsey’s Orchestra is featured, Dick Haymes is romantic moments. If you haven’t had any romantic heard singing the first song he ever performed in the movies moments lately, maybe you’ll be helped along by Duke and we even hear former vaudeville star Cliff Edwards Ellington’s SOPHISTICATED LADY and SATIN DOLL, direct from the PINOCCHIO sound track, plus Dick Powell, Harry James’ YOU’VE CHANGED or YOU MADE Crosby & Armstrong, A1 Jolson and Crosby & Hope. ME LOVE YOU, the Miller Band with MOONLIGHT COCKTAIL and MOONLIGHT BECOMES YOU, DIXIELAND/JAM M IN’ The most frequent re- Tommy Dorsey’s GETTIN’ SENTIMENTAL and Sept. 11-12,1993 quests in listener let­ THERE ARE SUCH THINGS, and even Vaughn ters are for Dixieland, Monroe’s theme song. Add the most romantic music of and we answer some of those requests with the Dukes of Claude Thornhill, Jimmy Dorsey with Helen O’Connell Dixieland, A1 Hirt, Sammy Duncan’s All-Stars, the Alliance and Bob Eberly, Ray Anthony and even the Goodman Hall Band and Wild Bill Davison. In the second hour we do Sextet, andyou should be melting into a puddle on the floor some Jammin’ with Count Basie’s Small Group, Buck by the radio. It may be “slush”, but it’s good “slush!” Clayton, Scott Hamilton’s tenor sax and Harry Connick, Jr. Please remember, the first hour is Dixieland ...the second THE MAILBAG We learn a lot from our listeners hour is Jammin’, two different kinds of music. October 9-10,1993 and readers who send scores of letters and cards each week, THE IN-BOX These are the programs de- some with program suggestions and some with single Sept. 18-19, 1993 pendent upon some of the requests. As we dip into the Mailbag, we discover some varied recordings received requests for old standards such as SHANTY by Johnny regularly at BBJ. They come on cassette and CD, and Long, DEEP RIVER by Tommy Dorsey, LOVE TO sometimes on reel tape or an old acetate one-of-a-kind KEEP ME WARM by Les Brown, STEALIN’ APPLES recording, but they’re all interesting. In this session we in the Goodman tradition with a story to go with it, sample the later Elliot Lawrence’s Orchestra style, WOODCHOPPER’S BALL by Woody Herman from the some early Les Brown, Lew Anderson’s fun band, some original Decca recording, Jan Savitt’s 720 IN THE Goodman, Armstrong & Ellington together, Mel Tonne BOOKS, NIGHT TRAIN by Buddy Morrow with a twin- and the Basie Band under the direction of Frank Wess name surprise, and some other less predictable requests. and Harry Edison, Marian McPartland’s Trio, Terry So often we assume (not correctly) that every listener Gibbs Dream Band of the fifties, and a rare Bobby hears every program and thus hears the above standards Sherwood. It’s total variety, and total fun as we scrape regularly but that’s just not true; hence the mailbag off the overloaded table of incoming records, clippings, program to repeat the great old favorites, plus some others books and tape we call the In-box. not so often heard.

CHARLIE BARNET Charlie Barnet had a great deal HAMPTON ALL- Lionel Hampton not only Sept. 25-26,1993 to do with the development of STARS/DISCOVERY sparked the Goodman Quartet swing music in this nation, pos­ October 16-17, 1993 and trio, but during the time he sibly more than we give him credit for. In an interview with was with Goodman, was asked Charlie Barnet six months before his death, we learn that by Victor recording executives to lead some extemporane­ he also gave at least three now well-known female vocal­ ous jazz sessions in the studio. We hear the result of many ists their first opportunity in the national limelight. This is of those late thirties sessions with then little-known per­ a rare moment in musical enjoyment, for even though we formers who became stars later in the forties. During the 9