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Arranger profile of Sammy Nestico

Review of new Jan Daley CD and yet another Sinatra book HUÍ IM.VW JV M > NEWSLETTER

VOLUME 131 JUMP NEWSLETTER NOVEMBER-DECEMBER, 2010

INTERVIEW - GARY TOLE

The Background

There was some question about putting two bandleaders in sequence in this newsletter, but the announcement of West Coast trombonist Gary Tole as the end of the year replacement for Miller conductor Larry O’Brien goes beyond the singular replacement story. To recap: After over a quarter century of leading the official Glenn Miller “ghost” band, Larry O'Brien announced he was leaving the band. He stressed he was not retiring, but felt he should leave the band at a high point. “It's time,” he said. Most musicians and critics agree the Miller band under O'Brien's direction has achieved a musical perfection beyond the representa­ tion of the familiar Miller arrangements. He is passing on a top organization to Gary Tole.

The larger story, though, is the fact that members of the Tole family now represent three of the top names from the Big Band Era. Younger brother Gary will lead the Glenn Miller Band, Bill Tole, also a trombonist, leads the Jimmy Dorsey Orchestra and the Tole’s sister, New Miller leader Gary Tole Nancy Knorr, is owner of the name and the current Tole will be in front of the Miller Band for January version of appearances in Florida, North Carolina and Georgia.

The Scene Gary Tole grew up in a musical family. He began playing professionally around Pittsburgh, Pennsylva­ Gary Tole is a busy guy. He’s one of the prime nia, his hometown, at age fifteen. We begin with the trombone players for studio work in the event that took him on the road and away from Pitts­ area, he leads his own band called “Legends of Swing” burgh permanently. and now he’s preparing to take over leadership of the official . It was as a sideman for GT: In 1975 I was at Duquesne University and the Miller Orchestra that took him away from Pitts­ working for a trumpet player named Benny burgh, his hometown. He’s been living in Los Angeles Benack at a place called “Seven Springs” just outside now for most of his adult life. Pittsburgh when my dad called to say he got a phone call from Jimmy Henderson (the Glenn Miller leader at His youngest son is eighteen and away at college so the time) who needed a trombone player. Benny Gary Tole is in a perfect position to go on the road. He Benack wouldn’t let me go until after the weekend has signed a three year contract to lead the Miller Band shows, but I wound up playing with the Miller Band the beginning the first of January, 2011, following the following Tuesday in Toronto, Canada. Four years tenure of Larry O’Brien. As this is written, Gary VOLUME 131 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER, 2010 later I was still on the band having a great time touring more pit work for Broadway Shows and working with Europe, Japan, South America and the U.S., of course. my own group and moving away from the recording I saw Capitol Records for the first time when I was industry. playing with that band. We did a recording session with the Glenn Miller Orchestra at Capitol and I just fell in BBJ: Tell us about your own orchestra. love with it. When I gave my notice in the fall of ’78, Los Angeles became my permanent residence. GT: The name of the band is “Legends of Swing” which came into existence in the year 2000. I BBJ: How did you make a living your first months in got a phone call to go over and play for the king of Los Angeles? Thailand, and so for the millennium I took 20 musi­ cians with me. That was the inception of the “Legends GT: It was very challenging. Fortunately I’d saved of Swing” and we had a successful run and the name a substantial amount of money when I was on has been fantastic. We do tributes to a lot of the great the road. My brother said if I wanted to get seen and Big Band artists of the past and also of the present and heard to go down to the local musicians union number we’ve been lucky enough to develop our own style and 47 and play with as many rehearsal bands you possibly our own following. In 2006 we recorded the band with can in a day’s time. Let people know who you are and a session at Capitol Records. We recorded it ‘live’ hear you play. My dad used to say, “It’s not what you with no pro tools; I wanted strictly musicians playing say as a person, it’s what you say at the end of the bell just the way it used to be back in the old days. Summit on your horn.” That was the fall of ’78. Records picked it up and put it on the market and it’s done fantastic ever since. In 2007 we were nominated A gentleman who was manager of the Orchestra, ‘Pee Wee’ Monte offered me a job playing first trombone with the James Band. I joined the band in January of ’79. Harry’s band was made up of top notch Los Angeles musicians so that kind of put me in that circle of quality. I left Harry’s band in the fall of ’79 and began free-lancing around. I got a phone call from Stumpy Brown, Les Brown’s brother who said they had an opening in the band. He asked, “You want to play with us?” I took that job beginning in January of 1980 and worked with Les’s band for four years, actually doing fill-ins as an alternate through ’86. We played with every great star you could think of includ­ ing the Bob Hope and Carol Burnett TV shows. Les Brown was one of my favorite bands of all time.

BBJ: You were then an established player in Los Angeles?

GT: Got a lot of work at NBC and more recording sessions, plus work at the motion picture stu­ dios, MGM, Paramount and Universal. It was great. It was a fun time. When I was younger my biggest dream was to get into the recording studios, but once I got into the studios I didn’t particularly like it. I like the feedback of the audience, the spontaneity of perform­ Gary Tole at work ing before a live audience. About 1995 I was doing 2 VOLUME 131 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER, 2010 for three Grammys and in 2008 we won the Los Angles Glenn Miller’s Military Band and was a leader of the Inland Empire award for best jazz. ‘ghost’ band.

BBJ: How did the Glenn Miller leadership come Demonstrating his friendship and involvement with about? , Gary Tole raised money to place a Tex Beneke star on the Hollywood Walk o f Fame shortly GT: I was referred to them by a booking agency I ’ d before Tex died. previously worked with, and several other booking agencies recommended me and a couple of Next issue, the Tole family “ghost band dynasty” days later I got a phone call from Dave McKay, Jr. who continues to be explored in an interview with Gary's is the operator of Glenn Miller Productions. He said, sister, Nancy Knorr, who is lead singer and owner of “Larry O’Brien is leaving in December and would you the current Pied Pipers group. be interested?” Once the goose bumps settled, it took a couple of days to digest everything that had been LETTERS TO THE EDITOR discussed. I got more excited the more I thought about it and they flew me to New York for a meeting. I came Letters to BIG BAND JUMP or the BBJ NEWSLET­ back home and started working out a three year con­ TER may be sent to the address below or e-mailed to tract. [email protected]. When you e-mail, please give your name and address. All letters are an­ BBJ: How will you present the Miller standards? swered, but the volume of mail sometimes delays a timely response. GT: They are what made the band what the band is. I need to research my flexibility and see what BBJ NEWSLETTER I can and can’t do. Personally, I’ve been playing IN Box 52252 THE MOOD for a lot of years, and it can still be played Atlanta, GA 30355 with a lot of energy and excitement as it was first recorded. I’m an advocate of that to begin with. With one of my bands if we play LITTLE BROWN JUG or The published letters have been edited for space STRING OF PEARLS or . I tell my considerations, but the meaning has been preserved. guys, “Play it like it’s the first time you’ve ever seen G. Alan Sternbergh Wow! Winning the BBJ it.” You’ve got to sell the song. My goal is to go out Chambersburg, PA trivia contest was awesome. there and give the audience what it wants. The questions made you re­ ally think carefully BBJ: Do you anticipate being with the band beyond about the answers the contract term? Especially thought provoking were GT: I’m not looking at a short term by any means. questions number If all things work out and they like me and I like five and eight. I them and the band can stay busy who knows how long was able to nail the this could turn into. (Gary Tole paused here, then others right on. added a footnote.) One of the bands I played with when I was in Pittsburgh at fifteen years old was Tex Beneke Recently the Jim­ with “Music in the Miller Mood.” I worked with Tex my Dorsey Orches­ Beneke all the up until Tex’s passing. I had a great tra was in town at relationship with Tex and talked with him about his our Capitol The­ experiences with Glenn Miller’s Band and all those ater. Bill Tole led great stories. After working with Tex Beneke I did a it. He’s an excel­ The ‘40s David Rose (see letter) lot of work with Ray McKinley, who also played with lent trombonist. In

3 VOLUME 131 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER, 2010 addition to JD charts he did TD charts people like you and the BBJ staff who program it. At the moment, ARTISTRY IN PASTELS is playing. Answers to the complete quiz precede this issue’s quiz. Could you tell me what recording it came from? I Mr. Sternbergh referred to the question about which would like to buy a copy for my library. band had two o f the three top selling Big Band record­ ings of all time, it was Artie Shaw whose recordings of The ARTISTRY IN PASTELS Mr. Stimbert refers BEGIN THE BEGUINE and STARDUST have that to is a tribute version by former Kenton arranger honor. Question eight asked which radio program had Pete Rugolo. It was part of a BBJ program of David Rose as musical director. It was Red Skelton’s pretty music in the Big Band idiom and is on comedy half-hour on Tuesday night. Capitol CD number CDP 7-98451-2 titled “Kenton in Hi-Fi.” It contains not only the tribute selec­ Dora Duran I want to tell you how much I tions but re-recordings of Kenton standards in Riverside, CA enjoyed your program of later years when recording quality improved. We Harry James and Tommy checked with our local record store and they tell Dorsey. Harry James has always been one of my us the is still available, but has to be favorites. I wasn’t in my prime during all this music but ordered. 1 remember as a young child my brothers playing the radio all the time so I associate this music with them. Dana Carlson I would like to say Minneapolis-St Paul, MN that the show is fan­ Jesse Taylor Just wanted to tell you I miss tastic, but the an­ Oakhurst, CA the days when I played BBJ nouncer sounds like a drunken Walter Cronkite. In on KAAT. You have FOR­ other words, awful. EVER (his caps) made a difference in my love of the era. When I ’ m stressed, playing Big Band comforts me. Tom Anderson I look forward to your always Ponte Vedrà Beach, FL interesting and entertaining Mr. Taylor worked at the BBJ affiliate BIG BAND JUMP programs in Fresno. The station is still there under new ownership and new pro­ Paul Humphries Do you have gramming. The current owners can­ Richardson, TX any informa­ celled BBJ but Mr. Taylor is still em­ tion about the ployed there. female bandleader Ina Ray Hutton?

Robert Bodoh In the early 1940s lyrics This letter keyed off the article on Appleton, WI were added to Strauss’s Ina Ray Hutton in this issue. EMPEROR WALTZ. Does anyone know the composer of those ARRANGER PROFILE- lyrics? SAMMY NESTICO Johnny Burke, who wrote several songs Sammy Nestico is not a new subject to for Bing Crosby. The 1948 movie, titled these pages or to radio. His comments "Emperor Waltz,” starred Crosby and and music were the subject of a BBJ Joan Fontaine and was set in pre-WWI radio program in the late nineties and Austria. his written biography was reviewed in Michael R. Stimbert Thanks so much this newsletter in the March-April is­ Phoenix, AZ for the great pro­ sue this year. In our series of arranger gram! Like a lot profiles, however, Sammy Nestico of people, I guess, I can enjoy the music needs to be recognized for he’s con­ Movie ad for Emperor Waltz and be grateful for the performances and tributed so much to the musical litera- 4 VOLUME 131 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER, 2010 ture of the world through his work accompanying orchestrator for Capitol Records, co-writing the equiva­ prominent vocalists and creating full for Count lent of 63 Capitol albums. He collaborated in song Basie and later with his own organization. Sammy writing with such top stars as , Steve Nestico began his professional career early in life. Allen, and Bobby Troupe as well as arranging or conducting recording sessions with Toni Tennille, Nancy Wilson, Barbra Streisand, Natalie Cole, , Bing Crosby and Pat Boone among others. His composing and conducting work extended to back­ ground themes for motion pictures produced by all the major studios.

Then there was television. As arranger, Sammy Nestico has written for specials starring Julie Andrews, Gene Kelly, George Burns, Merv Griffin and Mary Tyler Moor among others. He’s been the arranger for music for the Grammy Awards programs, The Tonight Show, Perry Como, Liza Minelli and Bob Hope. As Orches­ trator he’s worked on too many TV programs to list, but some key programs through the years include Mission Impossible, The Mary Tyler Moore Show, Hawaii Five-O, The Bob Newhart Show, Charlie’s Angels and M.A.S.H. There were others, too, well over fifty television show credits.

Sammy Nestico has received three hon­ orary doctorates from Duquesne “We may not be changing the world dramatically, University, his but we’re changing it one note at a time.” alma mater, as well as honors from By age seventeen in 1941, Sammy Nestico was staff North Texas State arranger for WCAE, the ABC affiliate in Pittsburgh, and Virginia’s Pennsylvania, his home town. He joined the United Shenandoah Uni­ States Air Force Band as staff arranger and eventually versity. On the became leader of the famous “Airmen of Note.” Fol­ other side of the lowing his fifteen years with the Air Force, he enlisted academic fence, The thoughtful Nestico with the United States Marine Band in Washington, he’s directed the D.C. as chief arranger and conductor of the White music programs at Westinghouse Memorial High House orchestra performing during the Kennedy and School in suburban Pittsburgh, Pierce College in Los Johnson administrations. That was just the beginning Angeles and the University of Georgia. of his career. As is so often the case, this arranger’s contributions far As a civilian he became composer/arranger for the outweigh his public fame. Since his teen years, Sammy Orchestra, creating ten Basie albums of Nestico has spent his life speaking to the public through original music, four of which won Grammy awards. his music. During that same time he worked as an arranger and 5 VOLUME 131 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER, 2010

expertise to details of the recording process. The result BOOKS AND RECORDS TO CONSIDEi displays carefully planned music calculated to fit the € lyrics of each song, sometimes with just piano to set the JAN DALEY - WHERE THERE’S HOPE mood, often then introducing a full band to elevate the Encore Music - EMP 1001 listener’s interest and add to the total effect. Certainly We’d never heard of worth a listen. Jan Daley until this al­ bum arrived. Turns out Available on line or any large CD store. she toured with Bob Hope in some of those FRANK: THE VOICE overseas trips to enter­ James Kaplan tain the service men, Yet another book and that’s the basis of about Frank this album: Songs con­ Sinatra, but this nected with Bob may be the defini­ Hope’s career. tive look. No ques­ tion that Frank For the most part the Sinatra was THE Jan Daley style is the musical icon of the one we’re used to for last century, re­ singing standards, and placing Bing she does it well. Her Crosby in the af­ background working in fections of most TV and movies over the young people of years comes through in confident, up-front perfor­ the forties and mances. We have to admit being originally put-off by eventually winding the aggressive attack of some of the lyrics but after up the best known hearing the songs a few times that style began to singer of not only normalize in our minds. the United States Book cover The album is book-ended with versions of Bob Hope’s but the world. Ac­ cording to the first part of Kaplan’s book that ascen­ familiar theme, THANKS FOR THE MEMORY, which he originally sang in the movie “Big Broadcast of dancy to the top rung of the entertainment ladder wasn ’ t 1938.” The album is full of familiar standards with happenstance; it wasn’t an accident. Frank Sinatra three originals written by Jan Daley woven into the planned it that way. mix, two as part of a medley and one as a single What tends to make this Sinatra biography so absorbing performance. The songs you’d know so well include such recognizable titles as IT’S DELOVELY, BUT is the copious source material and the direct, street-talk BEAUTIFUL, I CAN’T GET STARTED, THAT OLD approach woven into the story. Kaplan talked to BLACK MAGIC, YOU DO SOMETHING TO ME hundreds of Sinatra friends and associates, going back and others for a total of thirteen tracks. In medley form, to the earliest days. is quoted about Sinatra’s Jan Daley attaches her own composition WHAT IS IT eagerness and his ability to blend with the Pied Pipers ABOUT YOUR LIPS to the Burke-Van Heusen clas­ in ’s orchestra. Quotes from Peter sic MOONLIGHT BECOMES YOU plus her HOW Levinson’s books about Harry James and Tommy WILL IT EVER LAST following Harbach and Kern’s Dorsey (reviewed here in January-February, 2000 and November-December, 2004) along with new material SMOKE GETS IN YOUR EYES. gives us fresh insight into Sinatra’s “singing waiter” In her album notes, Jan Daley thanks Les Brown, Jr. days when he was ‘discovered’ by Harry James acting who encouraged her to make the album and offered his on a suggestion from James’ then wife, Louise Tobin. 6 (Please fold on dotted line)

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BBJ NEWSLETTER Box 52252 Atlanta, GA 30355

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(Tape or Staple Here) Center Page Offer The new SPOTLIGHT O N G O O D M A N / MILLER brings together the best of each band with some unique differences in the presentation. The G O O D M A N CD in this two CD set presents the historic Goodman sound in three sections: (1) The '30s orchestra with those time-tested favorites first bringing the Goodman Orchestra to public attention. (2) The fresh sound of the Goodman small groups with the first take of the trio and quarteton representative numbers, plus the renowned sextet. (3) The Goodman Band of the first half of the '40s offering a new sound on a new label.

The MILLER CD presents not only the all-time Miller favorites, but in some instances we hear those favorites in first-time performances as captured on soundtrack recordings before they were issued as commercial 78s. What a thrill to hear , KALAMAZOO and as they were FIRST heard and performed for the movies. The classic studio recordings of other all-time Miller classics are also there with excellent reproduction. A sampling of the Miller Military Band lets us hear singer Johnny Desmond again as he performed for the troops.

T-1 1 SPOTLIGHT ON GOODMAN / MILLER two CD set. Special for newsletter readers only: $28 .00 .

CD ONE GOODMAN TRACK LIST CD TWO MILLER TRACK LIST

1 Goody Goody - Helen Ward 1 2 Down South Camp Meeting 2 Chattanooga Choo Choo - Tex/Mods 3 Swing Time In The Rockies 3 In The Mood 4 Don’t Be That Way 4 Kalamazoo - Tex/Mods 5 Goodbye 5 6 Life Goes To A Party 6 Elmer's Tune - Ray/Mods 7 Sing, Sing, Sing 7 8 And The Angels Sing - Martha Tilton 8 Juke Box Saturday Night - Marion/Tex/Mods 9 After You’ve Gone - Trio 9 String Of Pearls 10 Body And Soul - Trio 10 - Pat/Ray/Mods 11 Moonglow - Quartet 11 Don't Sit Under The Apple Tree - Marion/Tex/Mods 12 Avalon - Quartet 12 Little Brown Jug 13 Air Mail Special - Sextet 13 - Ray/Mods 14 Memories Of You - Sextet 14 15 A Smooth One - Sextet 15 At Last - Pat/Ray 16 Darktown Strutter's Ball 16 St. Louis Blues March 17 Jersey Bounce 17 - Skip 18 Mission To Moscow 18 People Like You and Me - Tex/Ray/Marion/Mods 19 Six Flats Unfurnished 19 Pennsylvania 6-5000 20 String Of Pearls 20 Speak Low - Johnny 21 Why Don’t You Do Right? - Peggy Lee 21 Anvil Chorus 22 Gotta’ Be This Or That - 22 Moonlight Serenade 23 Blue Skies - Art Lund Vocals by: Tex Beneke/Modernaires// Pat Friday/Skip Nelson/Johnny Desmond

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(Tape or Staple Here) VOLUME 131 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER, 2010

We get the inside story of Tommy Dorsey’s job offer to orchestra Sinatra at a time when the Harry James Band could was the barely make payroll. We read about Sinatra’s admira­ draw with tion for Dorsey’s trombone style and its effect on his the quality interpretation of lyrics, the kids swooning in the front of the mu­ row of the theater and the consequent burst of publicity sic second­ eventually making Sinatra the top draw for the Dorsey ary. In­ organization. Beyond the depth of most Sinatra bios, deed, she there’s even a reference to Tommy Dorsey’s actual had a attitude about Sinatra leaving the Dorsey Band. While glamorous all was sweetness and light for the radio audience and figure and the fan magazines of the time, Dorsey’s private com­ used it to ment to Sinatra was, “I hope you fall on your ass.” advantage as she sug­ gestively gyrated with baton in hand. Most of the |na Ray with baton men in the audience probably only heard the music as an auditory background to their visual entertainment. Ina Ray herself was heard to say, “I'm selling the show as a music program, not on a sex appeal basis....but if curves attract an audience, so much the better.”

There ’ s no doubt novelty was in the minds of promoter Irving Mills and Ina Ray when they put together her first all-girl band in 1934. The band did make a few recordings but their main exposure was an appearance The ‘40s Frank in the movie “The Big Broadcast of 1936” plus some short subjects stressing the unusual all-female contin­ This may be the best biography ever about Frank gent. Apparently the novelty wore off because in 1940 Sinatra so far, not only because of the detail and Ina Ray Hutton put together another orchestra, this impeccable research that went into the book, but the time with all men. That band was the one most author’s style. Kaplan takes you on the journey in the recorded, with eight sides for Okeh plus some radio way absorbing fiction stories are written, one event transcriptions. She was especially active in the enter­ whetting the reader’s appetite for the next. The book is tainment of servicemen during WWII when her all-male about Sinatra’s voice, but it’s skillfully told in the band recorded some V-Discs for overseas distribution writing voice of James Kaplan. and appeared at military installations across the nation.

Due for release 2 November, 2010 - $35.00 retail - The visual appeal of the Hutton female band so evident Available on line at discounted prices. in the movie short subjects was reinforced during early television when she put together another all-girl band INA RAY HUTTON for Los Angeles television station KTLA. The televi­ sion success lasted well into the later ‘50s with recorded Mostly she wasn’t taken seriously by the public, think­ examples of her work. Even though economics pre­ ing the gimmick of a curvaceous lady leading an vented her from fronting a traditional size Big Band, 7 VOLUME 131 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER, 2010

motion picture. During its history this classic theater she continued to make personal appearances with a six has played host to the second longest-running radio piece group into the early ‘50s. program in history, the WWVA Jamboree, as well as being the original and present home of the Wheeling Of interest from a Symphony. personal standpoint was the fact that Ina Ray Hutton was the half-sister of highly accomplished singer June Hutton who for a time was the female member of the Pied Pipers. Ina Ray was married four times, most no- Trumpeter Randy Brooks tably for eight years during the early fifties to another bandleader, trumpeter Randy Brooks. Ina Ray Hutton remains simply a curiosity from the Big Band Era. Even though her Kennedy & O’Brien bands delivered competent performances, we recall not the music but the visual memory of the undulating Ina One of the money-raising events this summer at the Ray. Capitol was an appearance by the official Glenn Miller Orchestra directed by Larry O'Brien in a presentation emceed by BBJ host Don Kennedy. It was one of a series of events, including road companies of Broad­ way shows, being presented to raise a total of eight million dollars to fully restore the building including a ballroom as the central part of revitalizing the Wheel­ ing downtown entertainment district.

TRIVIA QUIZ

A raft of BBJ NEWSLETTER readers phoned and e- mailed to say their eyesight must have been failing because the answers to last issue’s BIG BAND TRIVIA QUIZ weren’t visible on page twelve where we said they should have been. It wasn’t failing reader’s eyesight, it was our editorial failure. Here, then, are the answers we should have put on page twelve, but did not. We’ve added some explanatory material at this There are classic theaters in nearly every major city and late date to recall the questions along with the answers: Wheeling, West Virginia is no exception. The historic 2,400 seat Capitol Theater, the largest in West Virginia, 1- B V-Discs were 12 inch 78s, originally shellac but is in the process of restoration after being purchased later vinyl. from its former owners. The Capitol opened on No­ 2- D The musician’s union struck commercial record vember 29,1928 to feature four shows that day consist­ companies, eventually giving rise to the V-Disc pro­ ing of ‘live’ on-stage entertainment plus a talking gram with unique performances contributed by musi-

8 VOLUME 131 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER, 2010 cal stars of the time. 4 Singer and TV ac- 3- C Kitty Kallen sang with Jack Teagarden before I to r Julie London Jimmy Dorsey & Harry James. was married to: 4- A Betty Grable was listed on the label as Ruth Haag. Haag was Harry James’ middle name, for the Haag A - Jack Webb Brothers Circus where his parents worked when he B-Bobby Troup was born. He was born in Albany, Georgia where the C - John Cameron circus was at the time. Swayze D - Walt Disney 5- A BOOGIE WOOGIE was Tommy Dorsey’s big- gest-selling hit recording due to multiple releases over 5 The Benny the years. Goodman Trio be­ 6- C Tex Beneke was first leader of a civilian Miller came a quartet with ‘ghost band.’ Ray McKinley led the Miller Military Julie London, part of BB Quiz the addition of: Band after Miller’s death, but Tex led the first civilian Miller Estate Band. (See interview this issue for the A-RedNorvo B - Charlie Christian C-GeneKrupa D - Lionei Hampton latest Miller Band leader.) 7- D EARLY AUTUMN was an extension of Ralph 6 The original Goodman small group idea was born a t a Burn’s ambitious SUMMER SEQUENCE. party a t the home of: 8- B Neal Hefti’s RAINBOW KISS was used as a closing theme by the James Band in later years in A - Mildred Bailey B - C - Teddy Wilson D conjunction with CIRIBIRIBIN. - Walt Disney 9- B Ralph Sharon, former pianist, accom­ 7 -Jimmy Dorsey’s largest-selling recording ofalltime was: panied . 10- C The Hefti composition and arrangement of LI’L A-TANGERINE DARLIN’ is the BB J closing theme, and the subject of B - AMAPOLA the most frequent question we receive. C-CONTRASTS D -S O RARE And now, finally, this issue’s quiz based on comments & George Duning, and information heard on BB J radio programs the past who wrote the few months. Good luck to you! theme for the movie “Picnic" had previ­ 1 Theonlyinstrumentaltoreachthechartsin 1949,amid ously worked fo r a bevy of singers and novelty songs was: which Big Band?

A - TWELFTH STREET RAG B - IVE GOT MY LOVE TO A - Blue Barron Jimmy Dorsey’s Helen O'Connell on TV B - Sammy Kaye KEEP ME WARM C - FOUR LEAF CLOVER D - MRS. MURPHYS CHOWDER C - Guy Lombardo D - Kay Kyser

2 The baritone sax player with Les Brown was also the 9 Who was the drummer on the original Gramercy Five novelty singer and one of the longest tenured members of recordings? the band. He was: A - Gene Krupa B - Lionel Hampton C - Nick Fatool D-Dave Tough A - Stumpy Brown B - Ronnie Kemper C -B utch Stone D - M arty Melcher 10 What was The Three Suns theme melody?

3 The Les Brown Band was known among musicians as: A - EVENING SERENADE B - SUNRISE SERENADE C - MOONLIGHT SERENADE D - TWILIGHT TIME

A-TheMilkshakeBand B - The LeapFrog Band C-The This time, as opposed to last issue, we promise to put the Sentimental Band D - The Malted Milk Band answers to the above quiz in its rightful place on page twelve.

9 VOLUME 131 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER, 2010

though his smooth trombone was heard on countless SIDELIGHTS recordings as a sideman and leader. He was bom Muni Humorous stories from and about musicians. Zudekoff on February 8th, 1919 in New Haven, Con­ necticut. The stories about Benny Goodman are legion. Fletcher Henderson played piano after Jess Stacy left Goodman, to be eventually replaced by Johnny Guarnieri. He said, “When I first joined Benny, he called me ‘Fletcher’ for Engineer Bill Sa­ three months before he could remember my name. He vory recorded hun­ told me I was the worst piano player he’d had since dreds of jazz per­ Frankie Froeba. He didn’t like my so-called ‘imitating’ formances by top other pianists. Both Lionel Hampton and Charlie Chris­ name artists be­ tian would tell me, ‘Don’t let Benny scare you, you’re tween 1936 and a piano player Johnny, and you can swing! ’ As a matter 1940, a time of of fact, Lionel and Charlie were the only two guys in the thrilling music de­ band who would talk to me when I joined. All the other velopment. Now guys were ‘big shots’ and I wasn’t.” the recently discovered collection of over one thou­ sand sixteen inch discs has been acquired by the Jerry Jerome, who took Bud Freeman’s place when Bud National Jazz Museum for restoration. Depending on left Benny is quoted as saying, “He invited Arthur each disc's condition, that’s a potential of up to 500 Rollini and myself and Hymie Schertzer to dinner at the hours of never before heard jazz sessions by such Russian Bear in . When we were just about names as Count Basie, Benny Goodman and Fats finished and eating dessert, he said, ‘Oh, my god. I Waller. Loren Schoenberg (above) is executive direc­ forgot to put a reed on my clarinet. Schertz, you take tor of the museum. care of it and I’ll catch you later on.’ And that was the end of it, of course. Schertzer paid for the meal and never heard another word from Benny.

“Benny never bought a cigarette. He wouldn’t even ask. A recent study indicates digital recordings are more at He'd make a scissor motion with his fingers, looking risk of being lost than analog recordings on disc. The around for someone to put a cigarette in there.” Library of Congress reports some historical record­ ings have already been lost to corruption of digital files. The problem seems to be the need for digital files QUICKIE REPORTS to be constantly backed up as technology changes. The study observed that no university currently offers a Buddy Morrow, degree in audio preservation. long-time leader of the Tommy Dorsey “ghost” band, played a gig Saturday night, the 25th of Septem­ A recent Bridge Survey reported 62% of radio listen­ ber. He was back at ers typically listened to internet radio during a typical his home in Florida week. They reported that satisfaction among AM/FM when he died in his streaming stations (terrestrial stations which simul­ sleep Monday, 27 cast their content on the internet) has gone down September, 2010. considerably with listeners preferring pure internet He was 91. He is stations catering to their specific listening prefer­ perhaps best known ences. for his recording of NIGHT TRAIN, al- Buddy Morrow, late ‘40s 10 VOLUME 131 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER, 2010

UPCOMING BBJ PROGRAM TITLES ging out a ‘new’ recording. It may be such a program is like chasing too many rabbits; you never catch 6-7 NOVEMBER, 2010 The second “S” file any....or maybe it’ll appeal to both listening groups. THE "S" FILE II leads us to again check out the short­ 27-28 NOVEMBER, 2010 This might be a pro- lived Spitfire Band, so popular for five years or so and TRAVELING MUSIC gramming challenge, then forgotten. Jo Stafford is included in this “S” for the premise is to venture both as a single star and earlier as she appeared offer titles referring in some way to travel. We suspect with Tommy Dorsey in a solo performance. George there may be some loose interpretation of what consti­ Shearing’s innovations never fail to entertain and in tutes a travel song, but the approach should create a this program we sample Shearing in Dixieland as well varied program. The nice thing about such a program as the more familiar Shearing style. Not easy to believe is the fact so many tunes use the name of a city or a we ran across organist Ethel Smith hiding in the file, country in the title. Whatever we play, it’ll have and she’ll perform as she did in so many lavish something to do with travel. Technicolor musicals. and add to the list. 4-5 DECEMBER, 2010 As indicated in the TODAY’S MILLER SOUND last issue, the so- 13-14 NOVEMBER, 2010 As noted in our pre- called “ghost” band SPOTLIGHT ON vious program spot- of Glenn Miller has been under the direction of Larry GOODMAN / MILLER lighting Harry James O’Brien for the past quarter century, and other leaders and Tommy Dorsey, before that. During the long tenure of the official certain bands rose to the top during the Big Band Era, Miller Band, several CDs have been produced, provid­ either because of superior musical performance, copi­ ing us a modern record of that band’s contribution to ous exposure or a campaign of advertising. Generally preservation of the Miller sound. In this program we it was a combination of all three. No question that check out the history of the band as well as listen to Benny Goodman’s band rose to prominence because recent recordings resulting from a Glenn Miller Band he offered swing to an young audience eager to em­ without Glenn Miller. brace a more exciting sound. Glenn Miller presented a sound easily identifiable and then solidified his 11-12 DECEMBER, 2010 Fact is, many of the public persona by quitting at the top of his fame to join RE-BORN HITS most popular record­ the army. The hits of those two bands will be sampled ings of the past were on this program, along with a few lesser-known but re-makes of tunes that had been written years earlier. equally engaging numbers by each band. Some of those re-born hits were virtually ignored by the public the first time around; others had two success­ 20-21 NOVEMBER, 2010 Mixed reviews on ful lives. I CRIED FOR YOU, the Harry James hit FAMILIAR & OBSCURE this one. First time recording of the forties had been written back in 1923, we did a program for example. JA-DA from 1918 was given new life by with this title combining a highly familiar recording by Count Basie and . Two dozen such a prominent performer with one perhaps not so well- examples of old tunes made new again make up this known a critical friend suggested we not do that again. BBJ with some stories to go along with the music. The intimation was he wanted to hear the recordings he’d heard before by certain artists, not plough new 18-19 DECEMBER, 2010 It might be fun to territory. Others responded with just the opposite RELATIVE UNKNOWNS check out some of the reaction, saying they were pleased to be acquainted fresh new names in with top artist’s recordings which for whatever reason “real” music circles as well as some performers who remained relatively unknown. You are the judge, of have been around a while but haven’t become well- course, as we venture again into the practice of re­ known to the general public. Lots of exceptional talent introducing a familiar performer’s tune and then dig­ out there sometimes ignored because we tend to con­ centrate on familiar names and recognizable arrange- 11 VOLUME 131 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER, 2010 merits. We may wind up meeting a few new folks in this session as we background the artists and play their music. BIG BAND TRIVIA QUIZ ANSWERS

25-26 DECEMBER, 2010 The mood of the sea- 1- B I’VE GOT MY LOVE TO KEEP ME BIG BAND CHRISTMAS son is enhanced with WARM was not only the solitary the delightful music instrumental on the charts that year, but composed over the years. We not only offer the music Les Brown’s last big hit recording. but remembrances of Christmases past when families gather to trim the tree, tromp through the snow to find 2- C Novelty singer and baritone sax player the exact gifts for each family member and then steep Butch Stone performed with the Les Brown themselves in the warmth that is Christmas. It’s a time band under the direction of Les Brown, Jr. of not only celebration but renewal of the emotional until a few days before his death in the ties that bind us together. Through music and word spring of 2009. pictures we reaffirm the magic that is Christmas. 3-D is reputed to have said 1-2 JANUARY, 2011 It’s become a while most bands make it on pot, the NEW YEAR’S DANCE PARTY BBJ tradition Les Brown Band makes it on malted to offer Big milk. Band danceable rhythms for this moment when the promise of a New Year is offered to all of us. As in a 4- B Bobby Troup who also wrote ROUTE book, we celebrate a fresh chapter representing a new 66 and DADDY. beginning full of hope and plans forthe coming months. The music provides either a background to your cel­ 5- D Hampton’s story is so well-known this ebration or active dance accompaniment. was a sort of throwaway question.

8-9 JANUARY, 2011 In the days before 6-A Pianist Teddy Wilson and Benny REAGAN BIG BANDS Ronald Reagan was Goodman were just fooling around at the president, he hosted a Mildred Bailey party when someone TV program featuring the Big Band Era with ‘live1 suggested they record. Krupa was not at the performers. We hear the audio of that historic broad­ party. cast along with the narration of Mr. Reagan. You’ll hear not only the Big Band standards but the voices of 7- D SO RARE was Jimmy Dorsey’s last the leaders and singers who were still with us at that recording, made with a studio group time. It will be history and music combined. Later, a under his name on the label. guest appearance from BBC presenter Sheila Tracy, helping to keep ‘real’ music alive in Britain. 8- D George Duning gave more musical value to Kay Kyser’s band than many folks perceive. You can listen to 3\G BAND JUMP on demand by going to the web site: 9- C Nick Fatool also played drums with www.bigbandjump.com. Benny Goodman’s small groups.

10- D TWILIGHT TIME was recorded by A t the top of the home page, simply click on Les Brown to become a Big Band the blue sentence: Click Here to listen now! recording.

12 BIG BAND JUM P Presorted Standard Box 52252 U. S. Postage Atlanta, GA 30355-0252 PAID Atlanta, GA Permit No. 3259

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While singing with a Big Band has been our criteria, the beauty of movie singer Gloria DeHaven attracted our attention.