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COBBLESTONE BALLROOM Storm Lake, Iowa

COBBLESTONE BALLROOM Storm Lake, Iowa

IN THIS ISSUE:

★ An interview with ★ LETTERS TO THE EDITOR about THE DORSEYS, HELEN FORREST, BOBBY ★ Sidelights about BYRNE, , FRANK & OTHERS SINATRA, & AL COHN ★ Reviews of BIG BOOKS AND RECORDS to consider B A X IP ★ A NICKNAME PHRASE TRIVIA QUIZ jim p ESSSSS® NEWSLETTER

BIG BAND JUMP NEWSLETTER FIRST-CLASS MAIL Box 52252 U S. POSTAGE PAID Atlanta, GA 30355 Atlanta, GA Permit No. 2022 1SIG ISAM) JUMP

VOLUME LXV______BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1999

HELEN FORREST INTERVIEW

THEBACKGROUND

There’s not much doubt about Helen Forrest’s rank as a vocalist. Most musicians and listeners place her as the number one and single vocalist of her time, a position confirmed in Metronome and Down­ beat polls of 1942, both ranking her as the top female vocalist of that year. Her work with Artie Shaw was notable, she was not featured a great deal during her tenure with and probably recorded her most memorable Big Band songs with . When Helen Forrest left the Big Bands to become a single performer, she recorded often with , with whom she also appeared on the radio in a long-running series of programs.

In 1982, the Helen Forrest autobiography was pub­ lished by Putnam, titled after the song with the same title she re­ corded in the early '40s with Harry James. The book is now out of print. Helen Forrest glamour shot from mid-forties

She continued to work until the early 1990s, when HF: Inradio. IstartedonWNEWinNewYorkCity. rheumatoid arthritis began to make singing difficult. I was doing all kinds of little commercial things, As mentioned in the last issue, we were making ar­ spot commercials. I was called Marlene, Helene ... rangements to interview Helen Forrest before she was anything that rhymed with Helene or Helen. I stayed on hospitalized on April 13th. In late July she died at age WNEW for about a year and then I was sent to CBS. 82. Through the kindness of author and broadcaster There were music pluggers in those days. Remember? Fred Hall, we’ve been given permission to re-print a BBJ: Sure. late ’70s interview he conducted with Helen Forrest. The interview is from his latest book, MORE DIA­ H F: And of course I got very close to all of them and LOGUES IN SWING, where it appears along with they told Mark Wamow about me. He is no Hall’s informative conversations with a host of other longer living. He had a program called the Blue Velvet musical greats. (The book was reviewed in the last Hour. I auditioned for him and he said “Yes, you would issue of this newsletter.) be great.” But what he did, he called them the Blue Velvet Musicians. The Blue Velvet Hour with Bonnie THE SCENE: Helen Forrest was appearing at a Blue. I was Bonnie Blue. concert when Fred Hall interviewed her. He wouldn’t let anybody know who I was. He said, BBJ: Before Artie Shaw, where were you? ‘You are going to be the mystery lady.” And I said, “But NOVEMBER-DECEMBER 1999 V O LU M E LXV BIG BAND JUMP NEWSLETTER

Mark, that is ridiculous.” So for one year I was Bonnie BBJ: It seems to me that your first record with the Blue and nobody knew who I was. He would make me Shaw band was something like YOU’RE A come in the back door and go out the back door. It was SWEET LITTLE HEADACHE. ridiculous, but it was a great show. Fantastic show. HF: Oh, no! You’re right! BBJ: How did you get involved with Shaw? BBJ: The first hit was DEEP IN A DREAM? HF: Well, from there I went to Washington, D C. My brother moved to Washington and the HF: Yes, you’re right. I haven’t thought of that in whole family went. There was a job open for a singer years. in a Spanish American restaurant which was THE place to eat for all the politicians, the congressmen. I BBJ: You don’t get requests for those things these went in for two weeks and I stayed for two years. days? While I was there Ziggy Elman told Artie and he told HF: No, in fact they don’t ask for anything with Benny about me. Well, Artie came in to hear me and Artie. offered me a job. But I didn’t go. I was going with the drummer, so I stayed. Benny came in to hear me and BBJ: Not even DEEP PURPLE? he said, “whoever said she could sing?” and turned around and walked out. That was just Benny’s way. HF: No. Once in a while. Then I know that’s a true But Artie told me, “When you’re ready to leave, send fan. me a wire and a demonstration record, that’s all.” He was working in Baltimore on a one-nighter, and I had BBJ: You were with Shaw a couple of years? just about had it after two years, so I sent him a telegram which said “I’m ready.” I sent him the record. He said, HF: Right. Two years. “Meet us in New York.” And that was it ... I joined him. BBJ: Did you leave at the time Artie retired and the BBJ: There was a period when you and Billie Holi­ band broke up? day were both singing with Artie Shaw. H F: The minute Artie broke up the band, I left and HF: Yes, Billie would sit on one side and I would I kind of pouted. I didn’t know which way I sit on the other and it was fantastic. Of course, wanted to go, and then I joined Benny Goodman. Billie would get very angry with Artie because he wouldn’t let her sing. He said he didn’t have any BBJ: I’ve always heard he can be a difficult man arrangements for her. I said, “Well, give her mine.” to work for.

BBJ: Did you learn from her? HF: Yes. I stayed with Benny for two years. He was a great taskmaster. He was a perfectionist, HF: Oh, yes, she was a beautiful person. Abso­ that’s what made him the great clarinetist that he was. lutely fantastic! I didn’t really get into Billie’s He was truly very hard to get along with. The only two singing because that was not my style. Billie was more things that I did with Benny that I really liked were blues and I was strictly ballad in those days. MORE THAN YOU KNOW and THE MAN I LOVE.

BBJ: Who among the singers did you most admire? BBJ: Did you go directly from Benny to James? ? H F: No, I wouldn’t say directly. Maybe I was off a H F: Yes, you just hit it and of course the queen, Ella month or something. In those days you went Fitzgerald. I think Ella was my complete favorite. directly. If you didn’t have a job every week, everybody 2 V O LU M E LXV BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1999 dies. Well, I guess I took a month or so off and then I we heard on record the first time you did it? heard that Harry James was auditioning singers, and at that time Harry had Dick Haymes with him. He wanted HF: Well, the thing I loved about Harry.... he didn’t a “jump” singer, he didn’t want a ballad singer. When just get the song and then walk into the record­ I went to audition for him, he said, “I know your work, ing studio and do it. We would play it on the bandstand Helen, and it’s not because you’re not a great singer for at least a month, maybe two months and then we and I really think you are great, but I really want a would record it. singer.” He said, “Dick Haymes is doing all the ballads and I need a jazz singer.” I said, “O K. Just let me BBJ: You were with the James’ band in the picture audition.” SPRINGTIME IN THE ROCKIES.

He had strings then, so I said, “I’ll make a deal with HF: Right, with . That’s where they you. If the boys in the band vote me in, do I have the met. job?” He knew he was dead because I knew every boy, every musician in the whole group I’d already worked BBJ: You did some other pictures, too. with them. He had a brand new arrangement of BUT NOT FOR ME and I sang it. He cued me in and it was HF: Yes. We did TWO GIRLS AND A SAILOR. a gorgeous thing. Of course, the band applauded. They I did in that. all stood up and he said, “Well, it looks like you’re in.” He didn’t really fight too hard. BBJ: Did you make a lot of money in those days, working with the bands? Martha Tilton said, It BBJ: Do you get the most requests for I DON’T was mostly for kicks because we didn’t make that much. WANT TO WALK WITHOUT YOU? HF: Actually, I disagree. When you say “make a lot HF: That one, I get requests for that one and I HAD of money.” In those days, yes. THE CRAZIEST DREAM. They’re not too familiar with BUT NOT FOR ME. BBJ: Seventy-five dollars a week was a lot of money?

BBJ: Of the three bands, which was the most fun to HF: Exactly, because the work packages the way work with? they are today and everything, you could buy a Coke for a nickel. HF: No question, Harry! When I went with Harry, he said, “Helen, I can’t afford you. I can’t pay BBJ: You could have a meal for a dime. you. I know what you were making. You were making top money as a band vocalist when you left Benny.” I HF: Exactly. So actually when I left Harry I was said, “I don’t care what you pay. There’s only one thing making something between $400 and $500 a that I want. I want to start a chorus and I want to finish week which was a fortune. So I was the top paid vocalist it. Don’t start.... I don’t want the band chorus. .. don’t in the country. Now let’s face it, that was a lot of money. put me in the middle and then have me sit down.” And But in those days it came too easy.... we threw it away. that’s what he did. That’s why these songs became so famous. BBJ: How was it touring with all of those guys in the band.... on a bus all the time? BBJ: He tailored things for you. H F: Fantastic. I was never so protected in my life. HF: Right! He made them for the singer, instead of In fact they used to shoo them away. I’d say, all instrumental. “I’m only TALKING to the man.” I was so protected, they wouldn’t let anybody within twenty feet of me. I BBJ: Did I CRIED FOR YOU evolve or was it what was the baby, you couldn’t get near me.

3 NOVEMBER-DECEMBER 1999 VO LU M E LXV BIG BAND JUMP NEWSLETTER

BBJ: After the war when singers took over from the singing. bands you were on the air every week with Dick Haymes and on the Autolite radio BBJ: Did you try retiring from the business at any show. time?

HF: No, never.... never. No, I stayed out for a few months to have my son and that was it. You know I thought about retiring and I’d think, “Oh, I can’t stop singing. That’s ridiculous.”

Interviewer Fred Hall talked again with Helen Forrest by phone in mid-summer, 1990. She had undergone serious surgery and had been inactive for months. At that time she was planning a couple o f trial engage­ ments to test her endurance and bookings had been made. Dick Haymes & Helen in late 70s Before her illness, she had been constantly on tour with stage presentations put together by her long-time HF: Three years.. .right, with Dick Haymes. Oh, manager, Joe Graydon. what a fabulous show that was. Gordy would write a new vignette and every week we had something Again, our deepest thanks to Fred Hall for the use o f brandnew. Fantastic, the greatest show. And of course, this interview material selected from his latest book, my first love is radio. Fm sorry, I love it. MORE DIALOGUES IN SWING. Information on this book is available from: Fred Hall - PO Box 612478 - BBJ: Which vocals with all three orchestras are your South Lake Tahoe, CA 96152. personal favorites, aside from their commer­ cial value? LETTERS TO THE EDITOR

HF: I can name them real fast. I HAD THE CRA­ All letters to the program or the newsletter are an­ ZIEST DREAM, I DON’T WANT TO WALK swered eventually, although only letters deemed o f WITHOUT YOU, I CRIED FOR YOU, BUT NOT most general interest are used in this newsletter; FORME, I’VE HEARD THAT SONG BEFORE, right please be patient, for the volume is greater than our down the line. I love every one of them; they all have ability to handle in a timely fashion. Questions and a message for me, that’s why. comments about either the BBJ NEWSLETTER or the BIG BAND JUMP radio program may be sent to: BBJ: From the time you left James did you work as BBJNEWSLETTER a single? Box 52252 HF: Oh, yes. Atlanta, GA 30355 The letters that follow have been edited for space BBJ: And you’re still doing that today. considerations, but the meaning has been preserved. HF: Still am. Charles Schrade I especially enjoyed the BBJ: Ever get tired of it? San Antonio, TX “salute” to the Class of ’47, having graduated in 1946 HF: I get tired of traveling and packing.... the four myself. On that program you stated that MAM’SELLE walls of the hotel, but I never get tired of dated from the World War I period. Maybe so, but 4 V O LU M E LXV BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1999

Robert Lissauer lists the song, words by Mack Gordon This question comes up often, but for the benefit o f new and music by , as having been writ­ subscribers, the answer is: Copyright laws prevent us ten in 1947 as a theme for THE RAZOR’S EDGE, to from making tapes o f the programs available. Listen­ which lyrics were added. I remember that the movie ers, o f course, can tape the programs o ff the air in their had elements of World War I in it.... perhaps that was own homes, and many do, as noted in the letter above. the cause of confusion. Gerhard Klussmeier I wrote the Bobby Byrne bio- No, the content o f the movie wasn’t the cause o f the Germany graphy in my series BANDS confusion; it was just a dumb error. We appreciate OF RENOWN for the Ger­ you bringing it to our attention. man Jazz-journal JAZZ PODIUM. He is living in Irvine, . Bob Kyler Enclosed is a photograph of a trib- Ashland, PA ute to . (See A letter with a question about Bobby Byrne's status photo below) is buried appeared in a previous issue. in a Shenandoah, Pennsylvania cemetary. The head­ stone is engraved with a clarinet and an alto saxophone. Bob Rosaler On page 5 of the Sept./Oct. issue is Santa Rosa, CA a letter excerpt from Mindy Car­ son. Is this the same lady who was a fairly prominent singer on the radio in the THE DORSEY BROTHERS ’40s? Please check. Trombonist (1905-56) & saxophonist Jimmy Dorsey (1904-57) We wondered ourselves if indeed the writer o f the were key figures of the “big band” era. Born within three miles of here, letter was the singer, and Mr. Rosaler wasn't the both grew up and began their musical only one who asked us about it, but we can't locate careers in Shenandoah. Until 1935 the brothers performed together. They the letter, and Ms. Carson isn't in our computer, led separate orchestras during the even though she mentioned the newsletter in her next 18 years before being reunited. was a featured singer letter. If, however, she reads this, maybe she ’ll let us with Tommy's orchestra. 1940-42. PENNSYLVANIA HISTORICAL AND MUSEUM COMMISSION know if she is THE Mindy Carson.

Dick Richards Regarding Helen Fogel vs Youngstown, OH Helen Forrest, the debate Dorsey Plaque in Pennsylvania goes on in your letters col­ umn. When Helen Fogel was sixteen years old, she Edwin Ball I would appreciate being ad- auditioned for a band that needed a singer for a one Bradenton, FL vised if there is any radio station in the Tampa to Sarasota area in week stay at the 500 Club on 5th Avenue in New Florida that airs the BIG BAND JUMP programs. I York City. She got the job. When the band had a 15 have many tapes of programs my daughter makes for minute air spot on a local radio station, she sang one me up in but would like to find an outlet song. Moments before she went on-air, a saxophone down here. player in the band whispered that he didn’t like her name because it sounded “too Jewish.” He sug­ Unfortunately, no. BBJ was on WGUL which serves gested a stage name. She replied, “OK, like what?” the Tampa/St. Petersburg areasome years ago, but He replied. “Forrest. Helen Forrest.” Helen asked, they no longer carry it, although we're currently “One or two “Rs?” “Two” he said. talking with them about re-instating the program.

Richard Conway I always like to hear your pro- As a sidelight, Patti Page got her stage name from a Roanoke, VA grams. Can we get tapes? dairy where she worked as a kid. The Page Dairy. 5 NOVEMBER-DECEMBER 1999 V O LU M E LXV BIG BAND JUMP NEWSLETTER

Peggy Skakal I thoroughly enjoyed the DARLIN’ is the one most asked about. We ’re told that Washington, DC ARTIE SHAW INTER­ selected portions ofthe series ofLPs as issued in the ’70s VIEW in the BBJ NEWS­ (from which the themes are taken) are now available on LETTER of July/August, 1999. I have been a long­ CD from TIME-LIFE. Please see review this issue. time fan of his. Do you have an address for him?

Mr. Shaw may be written in care o f his manager: Bill Curtis - CURTIS INTERNATIONAL-PO Box 920326 -Needham MA 02492.

The highly talented

COBBLESTONE BALLROOM Storm Lake, Iowa

The current Artie, looking benign These ballroom articles often concentrate on larger city dance halls; this issue, one o f the more unique o f Roger Logan Please tell us the names of the small city ballrooms. Birmingham, AL the themes used on your BIG BAND JUMP radioprogram. The Cobblestone Ballroom was so named because it was constructed of different colors of stones from the There’s an open, middle and end theme, and they 're all lake and the surrounding area. The long, low building from the TIME-LIFE recordings issued in the ’70s, with the rough exterior is still located on the northeast wherein reproduced the arrangements o f side of Storm Lake, Iowa in a community called Lakeside. famous bands by year. All three ofthe themes arefrom A fellow named Jake Figi built a bath house, concession the INTO THE ’50S album o f that series and all were stand, a water slide and a rowboat dock in 1928 to written and arranged by Neal Hefti for . accommodate the people who came to swim in the lake. Business was so good during the day it occurred to Jake THE KID FROM RED BANK is the opener, CUTE is that the same patrons might want to dance at night, and the mid-theme, andLFLDARLIN'is the closer. CUTE might want a place to eat more luxurious than the has, over the years, become a staple for dancers. L I’L concession stand. With the help of family members, 6 (Please fold on dotted line)

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(Tape or Staple Here) V O LU M E LXV BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1999

It wasn’t until the mid-eighties that the owners, descen- dents of the family of Jake Figi, decided to close the ballroom, decades after most dance pavilions had either been converted to flea markets or destroyed by the wrecking ball. On November 9, 1986 a four hour appreciation dance was held with the doors open to all without admission charge. Shortly after that, the build­ ing was boarded up, trapping within the walls sixty years of courtship, friendship, carefree nights and fond memories. As of this writing, the building still stands, its varicolored cobblestone walls gleaming in the morn­ ing mist coming off the lake, but it’s locked, leaky and empty, still housing the ghosts of dancing memories The Cobblestone Ballroom in the ’80s long past.

Jake opened the Lakeside Inn in 1929, featuring fine ( b o o k s a n d r e c o r d s t o c o n s id e r ) dining and a dance floor. As the Big Band Era emerged and dancing became more popular, it became evident REMINISCING IN TEMPO that the inn’s dance floor wasn’t enough, and in 1935 A Portrait Of Duke Ellington the Cobblestone Ballroom opened its doors, welcom­ Stuart Nicholson - Northeastern University Press ing dancers to a 5,300 hundred square foot dance area. This is one of the many books issued on the centennial Most dance pavilions in major cities closed their doors of Duke Ellington’s birth. It is described as a biography, or changed their direction to catering and parties in the and comes from the British author who also wrote late ’40s or early ’50s as the Big Band business faded, acclaimed bios of and . but the Cobblestone endured, setting a house record What makes this book stand out is that it is told through twenty years after many other ballrooms were memo­ the words of Duke, his wife, son, longtime mistress, ries. It happened in 1964 when fellow musicians and friends. Arranged to tell his life appeared there with a six piece band. Those who were story with editorial additions to supply details or em­ there say he led the crowd in singing his recording hits, phasize special events, it seems as though we are sitting HELLO DOLLY, MACK THE KNIFE and BLUE­ in a quiet nightclub listening to Duke Ellington and BERRY HILL. associates reminisce on his long life and career.

Dancers recall the Cobblestone experience by de­ Some high points: Raised in a solid middle-class family scribing the physical layout of the building. The in Washington, DC by a classy dad and a musical mom, entrance foyer was a mere twenty feet, exposing the he dropped out of high school lacking only a credit to spacious maple dance floor just a few moments after play piano for a society band. He started writing music you entered from outside. If you wanted to savor the for Harlem nightspots, began an association with Irving Mills which would be enormously successful for them moment, you could look at the pictures of top both. His band was hired to play the prestigious Cotton performers covering the walls; performers who had Club which got them airtime on CBS Radio and started appeared at the Cobblestone over the years. They them on records, all by 1928. included such entertainers as , Henry Busse, Harry James, Lawrence Welk, Tommy In 1933 his orchestra set sail for their first European Dorsey, Frankie Carle and Duke Ellington. The tour, the first “Negro” band to do so. Back in the USA, tables were located across the dance floor; the his band toured in Pullman train cars, which circum­ bandstand was a three-tiered stage, and upstairs vented the Jim Crow accommodation laws. His orches­ overlooking the dance floor was the Circus Lounge tra toured Europe and America time and again, always and some smaller dining rooms for private groups. to great acclaim. 7 NOVEMBER-DECEMBER 1999 VO LU M E LXV BIG BAND JUMP NEWSLETTER

precision and crisp recording technique. If you tend to buy recordings by quantity, this album with its jam- packed contents is a can’t miss. If quality is your prime concern, this album with its excellent musicianship and flawless recording technique is for you. If you like only hearing music familiar to your ears, the bulk of this set is perfect, for at least 71 of the 85 cuts should be recognizable to you, for they represent the work of Gershwin, Berlin, Arlen, Porter, Kern.... all standards.

It’s not practical to list the entire contents of the four CDs, but just to give you an idea, here are some of them: I’VE GOT MY LOVE TO KEEP ME WARM, APRIL SHOWERS, MISTY, WOODCHOPPER’S BALL, OPUS ONE, A FINE ROMANCE, TUXEDO JUNC­ TION, LONESOME ROAD, CARAVAN, , HIGH SOCIETY, ANYTHING GOES, IN THE STILL OF THE NIGHT, BLUES IN THE NIGHT, APRIL IN PARIS, ADIOS, SPEAK LOW, STARDUST and SEPTEMBER SONG are just a few of the cuts. There is a sprinkling of Dixieland some reviewers don’t like as well as the full orchestra tracks, but overall this album will please Ted Heath fans, and perhaps acquaint non-fans with this precise orchestra.

Available from BBJ Sales.

A young Duke clowning around SWINGTIME - Volume I & II Time-Life Records An equally interesting part of the book is the visual part, the reproductions of playbills advertising the This is a re-issue of the LP series of the seventies, when band at various points in Ellington’s career. What is Billy May copied the original arrangements of the most surprising are the copious excerpts from leading Big Bands, then recorded those arrangements Ellington’s FBI files. For close to four decades, Duke with top Hollywood studio musicians. When they were Ellington performed without pay to support groups originally issued on LP, magnificent books full of striving for social equality. anecdotes and historical information of the era as well as sideman lists accompanied the LPs. Those beauti­ About $30.00 at book stores fully produced, informative books are NOT included in (Dave Kirby ofWTBFin Troy, Alabama wrote most o f these two CD sets. this review, with the exception o f the last paragraph inserted by newsletter editors.) There are, as you would imagine, varying degrees of sentiment about reproducing the classic recordings of THE LOST TREASURES OF TED HEATH the past. Some enthusiasts want to hear only the Horatio Nelson Records - HNCD 4444 originals for their solo value and timeless musical historic value. Others, usually younger Big Band fans, This is a four CD set of eighty-five instrumentals like the clean recording techniques and the stereo effect recorded in the fifties with the renowned Ted Heath of current CDs. A third group of fens embraces both the 8 VO LU M E LXV BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1999 originals and the reproductions, each for their sepa­ NEXT rate.... and often not equal. .. values. DOOR BLUES Solos are, of course, the most glaring differences. and makes Goodman was Goodman, Berigan was Berigan, Shaw CRY ME A was Shaw and key sidemen and their solos were origi­ RIVER ap­ nals, never to be accurately copied. The studio musi­ propriate for cians used in this project, however, are superb players, a funeral and can be enjoyed for their own talents and tech­ procession. niques. This guy is a musical ge­ There are sixty tracks, a compilation of the contents of nius, both in the original series of LPs. There are nineteen bands arranging represented. There are, for example, ten Benny and piano Goodman reproductions, ten versions, playing. If, six of the classic Artie Shaw arrangements and five however, Tommy Dorsey presentations, as well as individual you want to gems such as Berigan’s I CAN’T GET STARTED, Harry in rock mode hear familiar sans vocal of course. Big Band sounds, this album isn’t for you. It’s good, even sensational in parts, but Connick pushes into new There are booklets accompanying the CDs, but they musical territory for most of us used to more comfort­ have some errors. It’s obvious that the same care hasn’t able approaches. All in all, this 13 track, one hour been taken in assembling this compilation as was taken collection is a delight, especially the instrumentals. in the original production of the recordings, but the music is the same and the technical quality of the NOWHERE WITH LOVE - COME BY ME - CHA­ recording is without peer. Given these restrictions.... RADE - CHANGE PARTNERS - EASY FOR YOU really minor overall.... this is a fun set to have, so long TO SAY - TIME AFTER TIME - NEXT DOOR as you don’t expect the originals. BLUES - EASY TO LOVE - THERE’S NO BUSI­ NESS LIKE SHOWBUSINESS - AMOMENTWITH CD R 700-01 and CD R 700-02 (Two 2 CD sets) ME - DANNY BOY - CRY ME A RIVER - LOVE FOR About $50.00 or so direct from TIME-LIFE. SALE.

HARRY CONNICK, JR. - COME BY ME Available at record stores. Columbia CSK 41954 MINI-BIOGRAPHY - MARSHALL ROYAL It’s been three years since Harry Connick, Jr. put out his last album containing Big Band style originals com­ There are a few alto sax men whose names stand out bined with familiar standards. This new album also through the years, either because of their solo work or consists of a mix of fresh material and recognizable their leadership or both. Marshall Royal is in the “both” melodies, played by a massive studio orchestra in often category, for he was the sparkplug of the Count Basie exotic arrangements. It’s a thrill to know Harry Connick, band in the ’50s and the ’60s. Not only did he play lead Jr. has returned to “real” music, at least for this album, alto with the Basie band, but was its music director. As for that’s the kind of music (such as in the movie such, much of the precise section work we hear on the WHEN HARRY MET SALLY) that first brought him Basie recordings of that period are the result of Marshall to general public attention. Royal’s discipline, and his insistence that regular re­ hearsals be held. Harry swings LOVE FOR SALE, gives CHARADE an upbeat flavor, imparts a current New Orleans sound to When Marshall Royal was a kid in Oklahoma, he

9 VO LU M E LXV BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1999

played not only reed instruments, but the violin and guitar, working as a professional as early as age thir­ teen. His history a sideman with well-known bands includes Les Hite in the ’30s, Lionel Hampton from 1942 until he entered military service to play in the Navy Band, Eddie Heywood in 1946, then some west coast studio work until he joined Basie in 1951. From 1970 until his death in the late ’90s, Royal worked as a studio man in , variously recording with Bill Berry’s Big Band and with the Capp-Pierce Juggernaut as well as a soloist with vari­ ous group. For a while in 1978 he was co-leader of a Marshall Royal with Ray Anthony in the early '90s band with trumpeter Snooky Young, then led his own group into the ’80s. niscent of Benny Carter’s; totally dedicated to swing The Marshall Royal alto tone and approach was remi- but with a sweet, soulful sound when needed.

NICKNAME PHRASE TRIVIA QUIZ 1) Ben Bernie A) The Father Of Swing 2) Artie Shaw B) The Idol Of The Airlanes This was so much fun last issue we took advantage of 3) Count Basie C) The Sentimental Gentleman Of Swing contributor Dou­ 4) Duke Ellington D) The Waltz King glas Parker to 6) Xavier Cugat E) The OI’ Maestro dream up another 6) Joe Reichman F) The Ebony Maestro Of The Ivory Keys quiz matching 7) Jan Garber G) The Kid From Red Bank bandleader’s 8) Ben Pollack H) The Rhumba King names with the 9) Wayne King J) The Pagliacci Of The Piano phrases by which 10) Tommy Dorsey K) The King Of The Clarinet they became known. As before, SIDELIGHTS the phrases are sometimes highly Anecdotes about musicians and folks associated with descriptive, but of­ the Big Bands ten are simply the RAY ANTHONY It happened at a Ray Anthony result of a public dance date; the dancers relation person’s were having a particularly good time, and near the end imagination. Either of the evening one especially enthusiastic couple danced way, the phrases up to the bandstand to personally thank Ray for the Xavier Cugat —— were at times used wonderful time they were having. The husband, glow­ to describe each bandleader or his orchestra, and most ing with sincerity, capped off the compliment with the have become permanently attached to the bandleader’s comment: “I guess that’s why you’re called RAY ANTHONY AND THE BAND OF RENOWN!” name or his orchestra. FRANK SINATRA One musician recalls being in Please match the bandleader name on the left with the the orchestra at a hotel/casino descriptive phrase on the right. A logical elimination in Reno, Nevada in 1951 when Frank Sinatra was the process should help you. The answers are elsewhere in headliner. The band played for the opening acts and this issue, as always. then played Frank’s play-on music. Frank didn’t ap­ pear. They played the play-on music again, and still there was no Frank Sinatra. The bandleader began to 10 V O LU M E LXV BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1999 scramble the men to find a number out of the band’s November 13-14,1999 What happens when library to fill with when finally Frank rushed on stage HOST’S CHOICE/ Duke Ellington’s to sing. DUKE’S BIG BAND sound is presented with It seems on his way across the lobby to the showroom, SALUTE the best-known melodies Frank Sinatra had inserted a silver dollar into a slot (often the themes) of key machine, hit the jackpot and had to wait for one of the bands of the era? We find out during the second hour employees to confirm the win. Even Frank Sinatra as the Duke plays MINNIE THE MOOCHER from Cab wasn’t going to walk away from all that money. Calloway, FOR DANCER’S ONLY from Jimmie Lunceford, from Harry James, CHERO­ AL COHN Tenor sax man A1 Cohn was known KEE from Charlie Barnet.... you get the idea. This hour to put away a number of alcoholic is a way to hear what nearly proprietary melodies sound beverages during an evening of performance on the like when played by someone else. The first hour will bandstand. At one intermission, the bartender asked be devoted to choices by the host, selected from hun­ Al, “What’ll you have?” Al’s reply: “One too many.” dreds of his favorites. In Europe, Al was drinking at a bar with some friends who recommended a local beer called “Elephant Beer.” November 20-21, 1999 The most recogniz- “Have you tried it?” asked a friend. “No,” Al said. “I THEMES & STANDARDS able and sometimes drink to forget.” very popular melodies of the Big Bands were the themes, heard repeatedly as Al Cohn’s father, Dave Cohn, had been a jazz fan ever they introduced the band. It’s always a listener favorite since Al was one of ’s Four Brothers sax section. When Dave walked into a jazz concert, when we play these familiar themes, and to the themes guitarist Bucky Pizzarelli saw him and said to the guy we add the standards of each orchestra, resulting in a next to him, “Here comes one of the Four Fathers!” program filled with comforting sounds firmly ensconced in listener’s minds. Our thanks to Bill Crow, from whose book JAZZ ANECDOTES come many o f the SIDELIGHT stories. November 27-28, 1999 M ore them es and Thanks too, to Albie Berk for his west coast stories. THEMES & STANDARDS standards, but with UPCOMING BBJ PROGRAM TITLES orchestras vastly dif­ ferent from the previous week’s offerings. Kay Kyser’s November 6-7, 1999 (Repeat from previ- theme is heard, Krupa’s two themes used at different FRANKIE CARLE SPEAKS/ ous is- times, Charlie Spivak’s lovely theme and NEW RELEASES sue for a couple of Spivak’s gorgeous recordings, the ben­ Russ Morgan, Les Brown, Vaughn Mon­ efit of new subscribers.) It’s been a while roe, Louis Armstrong, Charlie Barnet, since we visited with Frankie Carle, who Frankie Carle, Benny Goodman and was late into the Big Band leadership Jimmie Lunceford are all represented. business, but made a considerable mark in the mid’40s with his band, featuring his December 4-5, 1999 Combine facile piano and vocals by his daughter, KING COLE PROFILE/ extreme mu­ Marjorie Hughes. His record successes RARE FORTIES CUTS sical talent will be heard again, along with com­ with an outgo­ ments from this durable musician, who ing yet humble personality and you get is well into his nineties. Nat Cole, who thought of himself as a jazz The second hour will be devoted to new releases, in piano player first, even though his vocal talents won the Big Band idiom, of course. In a program of this him the largest audience. We talk about Nat Cole’s type, we tend to ignore what’s going on today, and background, listen to both his piano and his voice, and that’s a mistake, for there are some spectacular glory in the treasures he left us. The second hour is bands out there that need to be heard by the public. made up of either totally unfamiliar or barely

11 NOVEMBER-DECEMBER 1999 VO LU M E LXV BIG BAND JUMP NEWSLETTER familiar recorded moments from the ’40s; those record­ Janaury 1-2, 2000 Dancing seems to be tied with ings that didn’t come close to making the hit parade but DANCE PARTY New Year’s celebrations, so it’s logical that we present should have. two hours of danceable music to help usher in the New December 11-12, 1999 Every alert advertiser took Year. Glen Gray’s most memorable melodies will help SPOTLIGHT BANDS advantage of the extreme you both bounce (however gently) and romance, Charlie popularity of the Big Bands Spivak’s sweet trumpet will entertain you, there’ll be a to get their message across to the public. Coca-Cola segment of Lester Lanin and Guy Lombardo.... just for was no exception, and because of their sponsorship of this New Year’s ... and some would say New Century, the Spotlight Bands program, we’re left with some celebration. Jimmie Lunceford will be included, and so “live” recorded gems we may not have heard on record. will Russ Morgan, Ray Anthony, Tommy Dorsey, In this program we hear the announcements, the crowd ’ s Artie Shaw and others. Varied, danceable, entertaining reaction, the atmosphere of the moment from these music. preserved segments of time past.

December 18-19, 1999 There are hundreds of LPs in Check us out on the Internet THE LP FILE the back room. Many ofthose BIG BAND JUMP LPs haven’t been touched for years, but we’re gonna’ touch them on this program. and the companion program We have absolutely no idea what the LP file will yield, The Don Kennedy Show for passing time has made it a mystery to us. Except for those times when we ferret out a recording to fit a are repeated after broadcast particular program, the LP file has been totally each week at neglected. Now, we make it the focus of an entire two WWW.BROADCAST.COM/ hours, and even though there’s very little marquee value in reference to a style of recording, we have a RADIO/CLASSICS/ suspicion this will turn out to be an interesting program. We’re also available on E-Mail: December 25-26, 1999 Both the Big Bands D on@bigbandj ump .com. BIG BAND CHRISTMAS ofthe era and the cur­ rent bands are com­ bined in an amalgam of Christmas melodies, along with holiday memories of times past, when life NICKNAME PHRASE TRIVA QUIZ ANSWERS was simpler and joys were more deeply experienced. Glenn Miller’s Christmas season broadcast is heard 1-E 2-K 3-G 4-F 5-H 6-J 7-B 8-A 9-D 10-C again with announcer Paul Douglas, Ray Eberle, and the Modemaires as they perform some If you got five or fewer correct matches, you music ofthe season never issued on commercial record­ must read George Simon’s THE BIG BANDS ings. Later, we hear the current Miller organization book cover-to-cover within the next three days with an example of today’s musical holiday cheer. The and report to your Big Band parole officer. If you isn’t the only one to be heard. don’t do this, you’ll be followed by a car with a The files yield some nearly forgotten seasonal treats stereo system playing rap at 110 decibels with from the Three Suns, Ira Ironstrings, Perry Como, Ray full bass response that’ll pull up beside you at Anthony, Ella Fitzgerald, , Nat Cole, Dinah Washington, Vaughn Monroe, Mel Torme and every redlight anywhere you go. Henry Mancini, among others. 12 BIG BAND JUMP IS NOW ON THE INTERNET - Hear BIG BAND JUMP and its companion program THE DON KENNEDY SHOW repeated each week after the regular broadcasts at www.broadcast.com/radio/classics/ - We’re also available on E-Mail - send your questions and comments to: [email protected].

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