Claude Thornhill Arranger Profile Oldest Jazz Musician Cannonsburg, PA Recognizes Como, Vinton
Claude Thornhill Arranger Profile
Oldest Jazz Musician
Cannonsburg, PA Recognizes Como, Vinton BIG BAND NEWSLETTER
VOLUME 136 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER, 2011
INTERVIEW - CORKY HALE
The name Corky Hale isn’t as well known as, say, Harry James, Ray Anthony or Jerry Gray but she’s worked with all three and is the perfect person to give us an insight into the later years of the Big Band scene. She has performed with numerous top names in the music world, primarily as pianist and harpist as well as starring on her own as instrumentalist and singer. She’s been a theater producer, political activist and clothing store owner among other pursuits. Since 1970 she’s been married to Mike Stoller of the songwriting team of Leiber & Stoller.
Our interest was her interaction with personalities with whom she’s worked, in effect giving us a series of personality profiles. She responded most generously with comments about Frank Sinatra and Billie Holiday.
Corky Hale was on her way to a three week tour of Italy when we checked in with her. We first mentioned her very early musical ability. She answered in no uncer BBJ: Were you accepted by the guys? tain terms. CH: (She refers to a documentary about women in music.) That was part of the documentary. BBJ: You were kind of a child prodigy. Those women said it was very hard to be accepted by CH: I wasn’t kind of! I started the piano at three and the guys who didn’t want to play with women, but I at seven I was accepted at the Chicago Conser never, ever had any problems. I don’t understand it. Corky Corcoran and I were both on the band at the same vatory so they drove me in every week and I had a full classical piano background. I was a very, very spoiled time...and then there was Willie....was it Willie brat and at eight years old at the conservatory I saw a Smith?....Willie, I was like his daughter. I mean the guys were wonderful to me. When I traveled, I was the woman playing the harp and I said to my dad, “Oh, I want to play the harp.” So they got me a little harp and only woman with nine guys traveling with Liberace, and some guy would say, “Come up to my room and that’s what happened. have a drink on the weekend, honey.” I used to say, “When we get back to L.A. I’m busy on the weekend, BBJ: You were with Harry James for a while. I’m having lunch with your wife.” And they’d laugh and nobody bothered me. I was very lucky. Somehow CH: I think I was the first female piano player with the guys always treated me great. I don’t know. Harry James, I was the first female piano player with Ray Anthony, but when Jerry Gray who had taken BBJ: Please give us some personality profiles through over the Glenn Miller Band when Glenn was killed, your eyes. Give me a reaction to what you that’s how I met Billie Holiday but I guess I was the first think of Frank Sinatra. You worked a lot with him. female piano player with Jerry Gray’s band too. VOLUME 136 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER, 2011
CH: Well, I was mad about Gray heard me on the radio and he called him. Not only that but me and said, “I’d like you to go and play in I started dating him in ’56 but Vegas for a month and play piano and when we talk about dating, he sing.” Vegas in those days was so excit treated me like a daughter. He ing, the late ‘50s. People got all dressed was dating a lot ofblond showgirls, up, beautiful jewelry....oh, it was etcetera, etcetera, and I was this great....so I went to Vegas with the band sweet little harpist/piano player. and Jerry told me they’d done a last-minute You know, I had this little black booking. At that point in walked Billie. I dress and curls, so when he was had been working with Liberace and he invited to a really nice party or asked me to make my hair platinum be something he took me. Not only cause he said it caught the lights better on TV. So poor Billie walks in and looks over that but we could talk about music Corky & Frank and politics. I’m very heavily at the piano and she sees the teenage white involved in politics; I’m a very big Democrat. Anyway, blond and she says, “Who’s the piano player here?” It Frank was a great Democrat so we had a lot to talk was like a movie. So we did the rehearsal and she came about. When Kennedy was going to stay with Frank in over and put her arm around me and she said, “You’re Palm Springs, ’621 think, Kennedy’s people said, “No, my little girl.” And so we had a great time there. I don’t think you’d better do that.” You know, there were rumors about the Mafia, and that’s when Frank Billie’s life was very sad. She always wanted to have totally changed politics. I loved Frank. I had a big crush a baby and she never did and she had a little chihuahua on him. He was a terrific guy. I was Frank’s biggest fan dog she diapered and fed with a little doll’s bottle. If it and I am to this day. had been the drugs I wouldn’t have been around, but I did fix her drinks all day. She was drinking very BBJ: Current music? heavily. Then she said, “Honey, why don’t you come back and play Jazz City with me?” Which we did... .play CH: I went into Nordstroms to buy some makeup a Jazz City here in L.A. Then she said, “Honey, we’re few weeks ago and as I walked in the door and going to the Philippines.” She was married to husband I heard screeching rock and people screaming over rock number four. I can talk about him because he died in music and I thought, I really am old because I used to prison years later for murdering someone. I told her I go into a department store and they’d be playing Frank, couldn’t go to the Philippines. The main reason was I they’d be playing Ella or Carmen McRae. Now it’s was getting busy in the studios, but I never would have people screeching at the top of their lungs with the most traveled with her husband, so that was the end of Billie hideous lyrics, so maybe I’m getting old. and me.
People say, “Wait a minute. You BBJ: How was her timing when were with Billie Holiday? She you accompanied her? died in ’59. How old were you.” I say, “Seven! ” It always get a big CH: She was terrific. She was laugh. fine.
BBJ: Give us a profile of Billie B BJ: An assessment of Tony Holiday. Bennett?
CH: Billie was one of the sad CH: Love him! One of the nicest dest people I ever met. I men I’ve ever worked with. I could cry when I think of her life. love his singing. I can say only nice things What a terrible life she had. Jerry about him.
2 VOLUME 136 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER, 2011
I’ve probably played for every major star in my fifty Egor Milukov I’m a big fan of your years of playing and there’s only one singer in the Ulaynovsk, Russia radio. I listen to you whole time whose name I never, ever mentioned, who ’ s via internet. I really like just miserable. I went on tour with him and this man your music. You can see how your team is good was so vile I asked him to give me a ticket back to New and harmonious working. I listen to you and York. He’s the only one I would never work with. He’s advise all my friends to listen. still alive although he’s well into his nineties. Ian Goddard Congratulations to Seriously, I’ve been very lucky. Everybody liked the Port Elizabeth, South Africa you for the "Phone way I played. That’s why it’s always been hard for me Frolic” program with the women’s rights thing, because I never had to broadcast over KEZW in Denver. I tune in each go through auditioning or tough times with guys or Sunday here in Port Elizabeth to listen to your BBJ anything. presentations. For me, this particular program surpassed your usual impressive and entertaining ....and after a few personal exchanges Corky standards. Hale was off to Italy as part of her busy life. During that post-interview conversation she men This is the first reaction to BBJ from Russia and tioned she was playing on the soundtrack of South Africa, and it points up the effectiveness of “Sponge Bob Square Pants. ” She is a busy musi the internet in spreading the Big Band sound cian who’s been in the music business through and/or the culture of the Great American vast changes but with talent that transcends vari Songbook. ances in style. Mary Frisco I just wanted to tell you what a de- LETTERS TO THE EDITOR Piedmont, CA light it is to listen to Don Kennedy and Big Band Jump on Sunday Letters to BIG BAND JUMP or the BBJNEWSLET mornings. He is a masterful, charming narrator. The TER may be sent to the address below or e-mailed to music choices are wonderful, clever, educational [email protected]. When you e-mail, please and enjoyable. Thanks for all you do! give your name and address. All letters are an swered, but the volume of mail sometimes delays a Derick Gamier I stumbled across the 1920s timely response. Oakland, CA Radio network and your BBJ show about six months ~ BBJ NEWSLETTER ago. Way too awesome for words. Although I was Box 52252 bom a few decades after the Big Band Era and the Atlanta, GA 30355 crooners, I read, listen to and watch everything I can about the era, and your show is the icing on the cake. The published letters have been edited for space A bit of page hopping sent me to bigbandjump.com considerations, but the meaning has been pre and I saw you had a newsletter which I’ll be ordering. served. And to think you did voices on Spaceghost and Aqua Teen Hunger Force. That is just so awesome. Keep Harvey Abrams Your reader, Luther True up the good work. You are an inspiration to the rest of Bardonia, NY of Rockwood, Tennessee us. asked if you knew of a Big Band arrangement of WILLOW WEEP FOR ME. Jason Cooper First off, let me gush. If (Letter in July-August, 2011 issue number 135.) Atlanta, GA you’ve heard this too much Benny Goodman and his orchestra recorded it on an you may want to skip this album entitled “Benny Goodman Today,” a two LP bit. 1 love your BIG BAND JUMP show and it makes album recorded in Stockholm, Sweden on phase4Stereo my Sunday mornings wonderful. 1 tell everyone about for London. it and even got my grandparents a satellite radio
3 VOLUME 136 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER, 2011
subscription so they could listen to it too. I recognize your voice on Aquateen Hunger Force and was even ARRANGER PROFILE -CLAUDE more impressed. I’m getting married in October and THORNHILL would like to end the reception with your closing theme on BIG BAND JUMP. Could you tell me the name of it, please? We 're humbled with such letters as those above. The young man who wrote the above letter and asked if we’ve heard too many compliments is remindful of a story about ABC news anchor Diane Sawyer. A fan at a party she attended commented, "You’re so beautiful, but I bet you're tired o f hearing that. ” Her answer was, "I have a very high tolerance for that sort of thing!” The young men who wrote about Don Kennedy’s voicing of characters on Cartoon Network refers to the network's occasional requests for Kennedy to do Character voice-overs when they want an old-fashioned announcer’s style. Kennedy says he also does some on-camera work for the network when they want an old guy who doesn ’t mind being silly on TV. The good part is such work doesn’t Claude in the late ‘40s conflict with the entirely different audience for the Big Band program, although increasing comments We think of Claude Thornhill as a bandleader, not as an from younger generations who have discovered arranger, but his early arrangements for his own or the entertainment value of Big Bands partially chestra created a new, highly polished sound. A few destroys that line of reasoning. recordings with the Thornhill name emerged on Vocalion and Brunswick in 1937, but the band he Gene Gorski Yesterday ’ s program organized in 1939 is the most recalled. At one time that Toledo, OH brought up the story of band boasted two french horns, a tuba and seven Davey Tough. What a clarinets to take advantage of Thornhill’s sophisticated waste. It seems that those days of the late ‘20s and ‘30s arrangements, appealing to some of the public and so many good music men went by way of the booze. certainly musicians. His arrangements of HUNGAR Was he playing with Dorsey when they made the IAN DANCE NUMBER FIVE, TRAMEREI on the original BOOGIE WOOGIE back in the late ‘30s? If Okeh label and WHERE OR WHEN on Columbia not, who was? I’m a very strong attracted listeners to this new sound, but listener of your programs. As a his composition and arrangement of matter of fact I’m listening right SNOWFALL attracted early attention. now in Myrtle Beach. Through the years SNOWFALL has been The drummer on the September adopted in both its instrumental and vocal 16, 1938 session that produced form as a standard Christmas melody. B OOGIE- WOOGIE was Maurice It was the spring of 1941 when at the last Purtill. Interesting to also note minute singer Fran Warren, who was wait that Buddy Morrow, who was to ing on the band bus to begin a tour, was lead the Tommy Dorsey Orches tra longer than Tommy Dorsey, asked to come into the studio and fill another side with a song they’d been per was in the trombone section for that recording. forming for months on the road. Claude 4 VOLUME 136 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER, 2011 himself had arranged A SUNDAY KIND OF LOVE and to everyone ’ s surprise it became a hit record and the BOOKS AND RECORDS TO CONSIDERP) identifying song of Fran Warren. In the pop music vein it is probably the most recalled Thornhill Orchestra AN EVENING WITH DAVE GRUSIN recording of all time and possibly marks the public Heads Up - HUI 31995-02 peak of the Thornhill career as an orchestra leader. He You know Dave enlisted in the Navy in 1942 and led a service band in Grusin, for you’ve the South Pacific which included Jackie Cooper as heard his music drummer and Dennis Day as vocalist. countless times in the movie theater Even though most of the public never heard the name and on TV. His Thornhill before the late thirties, he had been active in compositions and the band business as arranger and piano man for years arrangements set before. Even while he was at the Cincinnati Conserva the scenes for The tory of Music at age sixteen he was playing with the Graduate, On Austin Wiley Orchestra along with a young clarinetist. Golden Pond, He and that clarinet player, Artie Shaw, went together Tootsie and The Firm on the big screen. It’s his music you’ve heard on to New York City in 1931 where he played and often The Bold Ones, It Takes A Thief, Baretta and St. arranged for such varied bands as Paul Whiteman, Ray Elsewhere. His experience, talent and imagination Noble and Benny Goodman. His most enduring ar come together in this CD recorded in Miami with the rangement with Goodman, LOCH LOMAND, was 75 piece Henry Mancini Institute Orchestra as they performed at the ’ 38 Carnegie Hall Jazz Concert. In the play some of his own compositions interspersed with late ‘30s he moved to the west coast to work on the Bob beloved standards. Hope radio program and worked with Judy Garland for the motion picture, “Babes In Arms.” The highlights of the CD from this reviewer’s stand point are the rich, full-bodied instrumentals performed The Claude Thornhill band never recovered the general by Grusin at the piano with the orchestra plus some popularity it enjoyed briefly before the war. He re guest artists. Particularly appealing is the opening formed the band in the spring of 1946 and went on the track titled FRATELLI’S CHASE, MEMPHIS STOMP road for a series of one-nighters. In the interim he was and PETER GUNN THEME with guest vibes player music director for Tony Bennett for a short time in the Gary Burton. Guests Monica Mancini and Jon Secada mid-‘50s. The post-war band added a bop sound with vocally respectively perform MOON RIVER and the help of arrangers Gil Evans and Gerry Mulligan and MARIA. Other guest performers include singer Patti players such as Red Rodney and Lee Konitz, but never Austin, trumpeter Arturo Sandoval, flute player Nestor Torres and drummer Greg Field. achieved the record ing or booking suc This is nearly classical material but carries with it a cess of the early ‘40s certain pop appeal. It’s the kind of music that becomes orchestra. He was better with each playing, especially for those of us not booked into the schooled in serious music. Getting all the guest artists Steel Pier in Atlan together and the technical part of recording the concert tic City, New Jersey both audibly and visually was a challenging job. Add when he had a heart coordination of booking the guest stars and you can see attack and died at this was a daunting undertaking. In this reviewer’s his Caldwell, New observance the concert would have had more texture Jersey home on July and solidity without some of the singers. Overall the young Claude_____ second in 1965. total of 14 tracks are most entertaining unless you’re
5 SEPTEMBER-OCTOBER, 2011 VOLUME 136 BIG BAND JUMP NEWSLETTER expecting a Big Band sound or serai-classical rendi WHAT A WONDERFUL WORLD: The Magic tions of pop standards. of Louis Armstrong’s Later Years Ricky Riccardi Available on line or at any full service record store.
H.W. The author of yet another book about TONY BENNETT - BEST OF THE IMPROV Louis Armstrong is RECORDINGS by a thirty-some Concord CRE-32955 thing archivist for Tony Bennett had the Louis Arm strong Museum at successfully re corded for Colum Queens College in bia Records for a de Corona, New York cade and a half and his reason for when the new man writing the book is agement at that la to illuminate the of bel wanted him to ten overlooked sing rock. He de Armstrong contri cided to leave Co butions in the last lumbia, to experi years ofhis life. The ment and explore. book had its begin Book cover He cut a few sides nings when Ricky Tony in the '70s for the MGM label — Riccardi first discovered Louis Armstrong’s music at and then in the mid ‘70s put together is own record age fifteen when he heard it in the motion picture, “The company, Improv. This Concord CD is a collection of Glenn Miller Story.” This led to his studies at Rutgers Tony Bennett’s favorites from the now nearly forgot University resulting in a thesis about Louis Armstrong ten Improv sessions. and a master’s degree in jazz history and research. This thesis formed the basis of the book. These recordings reflect the new artistic freedom felt by Tony Bennett. He recorded reliably appealing titles The jazz community’s respect for Louis Armstrong with small groups made up of top musicians including seemed to diminish during the last twenty years of pianist Bill Evans and the Ruby Braff-George Barnes Armstrong’s life, the fifties and the sixties, when some Quartet with only a few tracks including a full orches thought he had become too commercial. Riccardi tra. The resulting recordings were as if a weight was points out that Louis Armstrong is “arguably the most lifted from Bennett’s shoulders. He gently swings on recognizable entertainer on the planet.” It is that very THIS CAN’T BE LOVE, THOU SWELL, THE LADY popularity that seemed to influence the view of some IS A TRAMP and gives a neat upbeat flavor to I LEFT jazz aficionados who embraced bop and more compli MY HEART IN SAN FRANCISCO before a ‘live’ cated harmonies in post war America. Riccardi tells of audience. the vast crowds he attracted around the globe, in Asia, The sixteen tracks also include: MAKE SOMEONE Africa, South America and in communist Russia. He HAPPY, ISN’T IT ROMANTIC, BLUE MOON, MY points to the time in 1949 when his plane had to delay ROMANCE and I COULD WRITE A BOOK. All the its landing in Stockholm because 40,000 fans jammed tracks reflect the musical taste of Bennett himself the landing strip; the crowds of 70,000 in Ghana, because at the time of this recording he was totally in 100,000 in Budapest; the cessation of fighting in the charge. The overall mood of this collection can be Belgian Congo so combatants could attend an Armstrong summed up in two descriptive phrases: light and airy concert at a soccer stadium. and free and easy. A satisfying musical experience. Not just the crowds, Riccardi points out, but the music Available on line or at any full service record store.
D.K. 6 (Please fold on dotted Ine)
(Please fold ondotted line)
BBJ NEWSLETTER Box 52252 Place Atlanta, GA 30355 Stamp Here
BBJ NEWSLETTER Box 52252 Atlanta, GA 30355
(Tape or Staple Here) C enter Page O ffer - Spotlight On Kenton - H erm an — The two Big Bands featured on this SPOTLIGHT collection have two qualities in common: innovation and endurance. Each band continued to entertain until their leaders died; each band continued to offer new music, to encourage young musicians and arrangers to offer fresh ideas. This two CD set presents the top recordings of each of these bands, the recordings most recalled from the Big Band Era, som e inexorably tied to their original sounds, others on the edge of experimentation. Included is the earliest and most requested of the Herman numbers as well as the early Kenton hits. We hear examples of the early “Herman Herd” and the expansion of the “Artistry” series from Kenton, then into samples of later innovation. The contents of this newest SPOTLIGHT album are listed below. The album is available for $29.95 with FREE shipping and handling. To order, fill in below with your Visa or MasterCard number or send a check. Phone orders at 1-800-377-0022 to reserve your copy of this outstanding collection. Here are the selections on the two CDs of this highly satisfying album. T-16 - CD ONE TRACK LIST - KENTON T-16 CD TWO TRACK LIST - HERMAN 1 Reed Rapture 1 Woodchopper’s Ball 2 Eager Beaver 2 Blue Flame (Theme) 3 Artistry In Rhythm 3 Golden Wedding 4 And Her Tears Flowed Like Wine - Anita O’Day 4 Blues In The Night - Woody Herman 5 Balboa Bash 5 Amen - Woody Herman & Band 6 Tampico - June Christy 6 Four Or Five Times - Woody Herman & Band 7 Southern Scandal 7 Basie’s Basement 8 Artistry Jumps 8 Who Dat Up Dere? - Woody Herman & Band 9 Painted Rhythm 9 Sabre Dance 10 Easy Street - June Christy 10 Milkman, Keep Those Bottles Quiet - Woody Herman & Band 11 On The Sunny Side Of The Street - June Christy 11 It Must Be Jelly - Woody Herman, Frances Wayne & Band 12 Tea For Two 12 Laura - Woody Herman 13 One Twenty 13 Apple Honey 14 Shoo Fly Pie - June Christy 14 Caldonia - Woody Herman 15 Intermission Riff 15 Happiness Is A Thing Called Joe - Frances Wayne 16 Artistry In Boogie 16 Goosey Gander 17 Safranski 17 Bijou 18 Scotch & Water 18 Your Father’s Mustache - Band 19 Willow Weep For Me - June Christy 19 Blowin’ Up A Storm 20 Opus In Pastels 20 Let It Snow, Let It Snow, Let It Snow - Woody Herman 21 Lover 21 Early Autumn 22 Concerto To End All Concertos 22 Four Brothers 23 Across The Alley From The Alamo - June Christy 23 Tenderly 24 Theme To The West 24 P.S. I Love You - Mary Ann McCall 25 Peanut Vendor T_16 SPOTLIGHT ON KENTON-HERMAN $29.95 with FREE S&H A c count Number Expiration Date
NAME ______
ADDRESS______
CITY ______STATE______ZIP
I’m enclosing a check or money-order, or please charge to my VISA or MASTERCARD, as above. The following list of stations which broadcast BIG BAND JUMP comes from affiliate stations' records. In some instances the times may change because of sports events or breaking news programming.
BIG BAND JUMP AFFILIATE STATIONS
USA MARKET GALI FREO. DAYS TIME STATI MARKET CALL FREQ DAYS MK Anchorage KHAR AM580 ilW O B a w a p TIME Ml T»«»s Cifri w id s A t WAUD ¿ m m So ri SA m i m SteR IP Adtlsrr M ortgD m efy YM4Z AM950 9 m« 2P WABI M il 900 Sun iOA PTateweB Troy WISE AMflTn So« 2P WAKV m m > Site: ION u n Dccge Cerar Tray WISF F W 7 Su« 2P KSTA FMP.H3 SaFSütt ep.«p CA KSPA AM151D Sai 11A kv WHY FMB4 5 S e n 4P Ath error KCEA FM39 1 T u ftiS » tü te Fan* KLTE AM960 Sur? HP $ P ,W Mtltetepol* Lsoortstea'S U KFSD a m i ir a Sai 11A KU5S AM 1220 Surr IBA •San Matea KGSM FM31 1 Sài« ¡M5A Mutete KURS AM "230 Sun 7P SSsntaneg* KOM T AM1343 SaOBria IP WTlmar KWUMI AM 134C Sal TP tatae Tahoe K a rte . AM H9D SafaSùfi AP.ÌSP MO Ca-tl’age.Jagtn KQMO AM! 4S0 Sun u CO C tftM C Spnngí k o v n Af.11530 Sai 3P NC Coa-tena »VAVO AM1150 Sun 3P S h rrm t m m A M IÍ3 3 Sai Moon ©SteClä«! w m x AM14IÖ Sun 5 P CT V¥0«SC A M ' 300 S ite 4P Faireitevite W7AA AM 1490 Sal HA u n c e n VKMMW AM? 470 San AP NE Broker? Bnw KONI AMI2BU Bua HA Manato» A M fátD Sia? SP NM Los Atamos m $ M AMI 4M Site IP Títeángh)« WSNG AMÉ 10 Sun AP NV Poughkeepsie WHUC &M123a Site 11A W ateifcw y WVrCO A M '2 40 Son AP 'Watertown WTNY AMxaa S te 4P F t YYRZN AM720 Sa» ISA O l Colami»!« WMNI AMr<23 Sun TP G a te a s *» Van W *it WERT AM1223 S* SA GA M o n te WQUN a m ic h o Set t -SA PA RéOfwtì WAVC AM1S33 Sat ÌOA.W Amanta WRAS FMR85 SUA 11A le w stente WKVA AM92J S te SA (A C arrol < C M A M M ftfi So« S3»P Mestevtte WT4VL F w n o ir S»> •A Ceda? Raptes XMRY AM1459 S ite Noon SC Myrtle Baads » F M 1 0 5 5 S e t 7P Cl ,tervUavsnport KRQS r AM 1340 S i» : 3P Mjtete M WRMN F M 0 4 5 Sal TP FatrlitÉJ KMCO AM* 570 TN m SP Manir»?*# WAMB 4A112O0 Si»: 2SP ic - a Eä »CFG AMS 10 S*» 12 33P N««ii«le WAMB FM99.3 Sim TP KFC FM95 3 S i* 12 33P TX R tj Spring KBYQ AV.14CO M cr.E al 7P»'4P Kaohufc IÍQKK AM 5310 s * 9 A B*s Sonno KBYC m m a 7P.4P I t D ó m in e Y AMS8B v m %0¡S u n 1ÍMY13P D a ta s K A m MTTO Sun 9P MwrnauHv WAIK AMT ESO F rìiS ite 1ßA*«P T e n n * k p y k A M 1 5 7 0 SaWSun IBAllCP •í»t;*TWv|:
(Please fold on dotted line)
BBJ NEWSLETTER Box 52252 Place Atlanta, GA 30355 Stamp Here
BBJ NEWSLETTER Box 52252 Atlanta, GA 30355
(Tape or Staple Here) VOLUME 136 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER, 2011 of the latter years. He directs us to the 1954 LP of special events and a museum gift shop. The museum Armstrong playing W.C. Handy plus the albums in opening is planned for July 4th, 2012 with the expec tandem with Ella Fitzgerald, Duke Ellington, Oscar tation of attracting 25,000 to 45,000 visitors each year. Peterson and Dave Brubeck. The author stresses that Armstrong’s entertainment value did not diminish his The organizers have sent out a call for any Como/ jazz value, but quite the opposite, made his music Vinton memorabilia such as original 78s or45s, tickets available to a greater number of people. His single of from one of their performances, letters or recollec HELLO, DOLLY briefly eclipsed the Beatles on the tions. Such items are being collected now at the charts when that group was dominating music in the borough office. Potential donors are asked to phone early sixties. (724) 745-1800 for information.
This isn’t just a research job from Ricky Riccardi, not TWENTY-FIFTH BBJ ANNIVERSARY just a writing chore to be followed by books about others, but a heartfelt tribute to a relatively young fan. The first BIG BAND JUMP nationally syndicated program was heard September of 1986, the exact Pantheon- 369 pages - About $30.00 at any book store, date lost in time. The program had been on the air or they can order it. locally in Atlanta four years previously, since the Fall of 1982 as “One O’clock Jump,” but August of 1986 H.W. a Florida station signed to take the program under its current name to be followed by eleven more before the CANNONSBURG, PENNSYLVANIA year was over. It wasn’t long before the program began MUSEUM appearing regularly on key stations in major markets across the nation. The current affiliate station list is on the right center yellow page in this issue.
BIG BAND JUMP TRIVIA QUIZ
This trivia quiz is based on four BBJ programs, the three dealing with the later careers of Miller, Goodman and Tommy Dorsey alumni and the program dealing with the music heard by the classes of 1946 through Como & Vinton 1949, a time of changing music styles in America. Big Band Era aficionados will perhaps find this quiz an A volunteer citizen’s group has planned a museum to easy one. In any event the quiz will provide a review honor Cannonsburg natives Perry Como and Bobby of information about various musicians and singers Vinton as well as other singing stars who grew up in from that time. This quiz was fun to put together and that Western Pennsylvania city. It’s well-known that hopefully it’ll be entertaining for you. Perry Como began his career as a barber there before RCA Victor asked him to record for them. His early This relatively easy quiz prompts us to estimate that a hits were LONG AGO AND FAR AWAY released in score of eight correct answers should be the norm. Six 1944 and PRISONER OF LOVE in 1945. Now, seven would be good. As always, please take the quiz decades later plans are underway to open the museum without referring to the answers on page twelve. Pen in a 4,000 square foot space on the second floor of the cils ready? city’s borough building.
Lesser-known Cannonsburg musical artists will also be 1 Pianist Mel Powell was a key performer with the Miller Military Band. Immediately before his induc honored but the main thrust of the museum will be Como and Vinton with a small theater for clips of their tion into the service, he played with which name band? performances, a stage for today’s entertainers and
7 VOLUME 136 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER, 2011
A Lawrence Welk B Benny Goodman 9 Female singer with the Modemaires was: C Alvino Rey D Tommy Dorsey A Marion Hutton B Pat Friday C Lorraine 2 The first leader of the official post-war Miller Elliott D Paula Kelly Band, the one approved by Helen Miller and the Miller Estate, was: 10 The wry lyrics to the song PERSONALITY were written by: A Ray McKinley B Buddy DeFranco C Ray Eberle D Tex Beneke A Johnny Mercer B Johnny Burke C Hoagy Carmichael D Bing Crosby 3 Billy May played trumpet with the Miller civilian band and in the fifties had a successful band of his WORLD'S OLDEST PLAYER own. Another trumpet player who played along side Billy May also led a long tenured band, his with a Not so long ago a maj or newspaper published an article Millerish sound. He is: about Danish violinist Svend Asmussen, saying he was “...probably the oldest currently active major jazz A Doc Severinsen B Ray Anthony C Ziggy musician in the world.” The key words here might be Elman D Bobby Hackett “major” or “jazz” but 4 The dynamic trumpet section of the Benny Lionel Goodman Orchestra, made famous in his 1938 Ferbos who Carnegie Hall Concert consisted of Harry James, plays his Chris Griffin and: trumpet and sings every A Doc Severinsen B Ray Anthony C Ziggy night at a Elman D Bobby Hackett New Orleans club was 100 5 The same singer replaced Frank Sinatra with both years old on the James & Tommy Dorsey Band, and also sang the seven with Goodman. He is: teenth of July this year. In A Dick Haymes B Art Lund C Jack Leonard relation to D Mel Torme jazz, Ferbos himself says 6 The first female singer with Benny Goodman was: he doesn’t im p ro v is e A Martha Tilton B Peggy Lee C Helen Ward much, mostly D Helen Forrest reading the notes as they’re written. A fellow musician describes 7 The Pied Pipers achieved fame with: his style as ragtime, the kind of music being played during Ferbo’s youth. A Tommy Dorsey B Glenn Miller C Harry James D Jimmy Dorsey Aside from the oxygen tank behind the bandstand which Ferbos says he seldom uses and the large hand 8 Under their real names, both Darlene & Jonathan written scores making it easier for him to read in the Edwards at one time worked for which Big Band? dim Palm Court Café light, he plays as if he were a much younger man. He is certainly a reliable, dedi A Tommy Dorsey B Glenn Miller C Harry cated musician, for he practices at home at least a half James D Jimmy Dorsey VOLUME 136 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER, 2011 hour daily, arrives at the club thirty minutes before show time and has been fronting the Palm Court house NAT COLE REMEMBERED - band for the last twenty years. Fellow musicians say he A PERSONAL VIEW can read most anything put in front of him. Don Kennedy
In the early years Ferbos played lead trumpet with society bands and during the depression played with a WPA band, but it wasn’t enough to support his wife and two children, so he went into the sheet metal business, the same business his father operated. When he was fifty, Lars Edegran, who led a New Orleans Ragtime group, asked Lionel to join the group not only to play trumpet, but to sing. The Edegran band toured the states and Europe, also appearing at the Newport Jazz Festival, and the sheet metal business was a thing of the past.
Ferbos earns SI25.00 a night at the Palm Court Café, with no indication of his ever retiring. He says he’ll play as long as he has teeth. “You can’t play trumpet if you don’t have teeth,” he says. As quoted in USA Today: “What will I do if I stop playing? It’s my life.”
QUICKIE REPORTS
Pianist Alan Broadbent, 64, who played with Woody Herman and has since been an important factor in composition and recording on Nat Cole’s familiar pose the west coast has announced he’s moving from Los Angeles to New There was some considerable editorial question York. He says, “People are making about publishing this kind of personal remem more out of this than they need to. brance on the theory that its content is too sub The bulk of my work is as a touring jective to be generally entertaining. On the other musician, and I can do that from hand, Don Kennedy has met and interviewed anywhere.” scores of music personalities over the years, many of these interviews dating back to the late Sax man Frank Foster of the “Two forties. The interviews themselves have been lost Franks” version of the Count Basie in time, but perhaps the remembrance o f those Band and composer of SHINY moments these decades later might hold a glim STOCKINGS died on 26 July, 2011. He would have been 83 in Septem mer o f value. - Hagen Williams ber. "^1C year was '949 when the Capitol Recording local U.S authorities have blocked the ■ sales representative in Pittsburgh, eager to promote the account of Ahmad Jamal, famous • y f|, new record label, responded to a phone call from me piano man who was to appear 16 ■ requesting an interview with Nat King Cole. I'd read July in St. Moriz, Switzerland. His that the King Cole Trio was going to appear at Bill Muslim name seems to be the rea - ” ■: Green's nightclub in Pittsburgh, and we set up a time on son, and his payment for the ap Ahmad Jamal Thursday night, my day off. The details of the phone pearance was held up. 9 VOLUME 136 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER, 2011
call, the trip to Pittsburgh, the setting up of the clunky full of lush strings and smooth, sensuous arrange tape recorder in the basement of the club in the wee hours ments, Nat Cole would perform jazz piano under an of the morning and even the contents of the interview assumed name. He always considered himself a piano have been dimmed in time. What does remain is the player first, a singer second. immediate impression of Nat Cole’s personality. Those early years were difficult for a black artist who He was an unaffected, ‘regular’ guy. During a break the could not stay in the hotel where he was a star per other two members of the trio took off to have a cigarette former, even a star of Nat Cole’s magnitude. Nat Cole while Nat Cole came over to introduce himself to me. most likely harbored a hidden rancor, but it did not The opening subject of conversation was something surface according to newspaper reports. He just wanted about a baseball player who had been hit in the head to play his music. He just wanted to entertain. There’s during a recent game, and then we rolled the tape and got a wonderful story about the Cole Family moving into into the actual interview. The strange fact is, I can’t an exclusive Los Angeles area neighborhood after his recall any of his comments about music or even which of recordings made him a wealthy man. A white lawyer, his recordings we discussed; just his comment about a a resident of the neighborhood was apparently as ball player. Nat diminished the event. “He was just signed to visit the Coles. He told Nat Cole the neigh beaned,” he said. Impressions are all that’s left. borhood didn’t want any “undesirables moving in.” Nat calmly commented. “If I see any undesirables I’ll The immediate impression was that Nat was just a let you know.” Years later that same lawyer was one regular guy, apparently unimpressed with his recently of the first to offer condolences when Nat died. acquired fame and his keyboard talent. We know now that his piano style has been important to a generation of Memory of the interview in the middle of the night has players. Even Oscar Peterson, Art Tatum and George dimmed, but not the overall impression. Nat Cole was Shearing have been influenced by the Nat Cole piano a ‘regular’ guy. style. Current artist Diana Krall credits the musical influence of Nat Cole as contributing to her piano UPCOMING BBJ PROGRAM TITLES abilities and certainly a major portion of her acquired sound. 27-28 AUGUST, 2011 Two of the longest- SPOTLIGHT ON KENTON- tenured Big Bands The interview session back then, over six decades ago, HERMAN of the Era are fea had to do with the trio and Nat Cole’s personal piano tured on this pro ability. NATURE BOY had been released, but MONA gram. Both Stan Kenton and Woody Herman tire LISA was yet to come and I considered these vocal lessly toured and promoted their music until their final recordings to be an intrusion on the purity of the trio days. Stan Kenton was a one-man public relations sound, a sound I was able to fully enjoy through a series department for not only his band but also the develop of all instrumental King Cole Trio radio transcriptions ment of new music. Woody Herman’s group was not then available to the public. We know now the Cole transformed from “The Band That Played The Blues” voice was the most important commercial product, sell to the dynamic “Herman Herd” and continued to ing scores of albums and hundreds of thousands of provide new sounds. We hear both of them in this singles in those days of recording dominance. We know program consisting of the most generally accepted now that the free and easy piano demonstrated by the trio .recordings of each with a few anecdotes along the way. recordings is not only under appreciated, but mostly unknown by the public in light of the onslaught of songs. 3-4 SEPTEMBER, 2011 This is a continuation of This is not to disparage King Cole’s vocal ability, for his MUSIC BY CATEGORY the program basis intro vocal interpretations are superb; it’s simply to regret that duced in the BBJ heard his piano skills have been often overlooked. The trio was the weekend of 13-14 August. As in the previous disbanded in 1951. program, three different categories of music will be offered but the three types of music in this second Even during his peak earning years making vocal albums program will be: Small Groups - Boy Singers - Girl 10 VOLUME 136 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER, 2011
Singers. In the realization that not every 1-2 OCTOBER, 2011 Thispro- listener hears every program this catego TWO DECADES AGO g ram p r o rization will allow listeners to hear melo vides a sam dies they missed before or re-assess fa pling of the records and subjects we were miliar recordings. Careful attention will offering twenty years ago this month. be paid to offering the most definitive Much is the same, of course, because the examples of each category, not always the Big Band Era was the same then, but some most popular but often the most interest newer versions of the Big Band sound ing. were being presented on this program when it had been in national syndication 10-11 SEPTEMBER, 2011 No surprise just five years. The way we’ve assembled THE TOP TEN to readers the contents of this program is to dig out of this newsletter, the cue sheets from the year 1991 and cherry-pick from but certainly of general interest, we reveal the top ten comments and music that year. This could be a Big Bands as determined from survey results as an surprising experience for we haven’t ever looked back nounced last issue and offer representative recordings that far....or heard what we were doing then. of each. Comments from readers will be interspersed plus an attempt will be made to present both the most 8-9 OCTOBER, 2011 The comments of Tex popular and perhaps some not often heard examples of REMEMBERING TEX Beneke combined with each of the ten top bands as determined by readers. In BENEKE/RIFFLIN’ his Glenn Miller perfor the mode of hit parade programs, it’ll be a reverse mances and his own post countdown. war orchestra make up the first hour. The second hour will be devoted to rifflin’ through the CDs playing 17-18 SEPTEMBER, 2011 The random applica- some music we ’ve not heard before; generally familiar U-V-W FILE tion of alphabetical compositions but often by unfamiliar performers or programming has led presented in a unique way. The Tex Beneke hour will us to the U-V-W File, containing such artists as Sarah consist of the expected Tex vocals on highly popular Vaughan, Chick Webb, Paul Weston and Andy Will Miller recordings but we’ll also listen to the Beneke iams among so many others. When we do these Orchestra in a remote broadcast from the Hollywood alphabetically based forays into the file we select some Palladium. The random nature of the second hour of the all-time favorites requested by listeners over the prevents us from predicting its contents, of course. years as well as surprise selections we’ve overlooked in the past. The result creates a variety of styles for the 15-16 OCTOBER, 2011 There’s a wealth of alphabet is no respecter of musical personality. LEGENDARY NEAL HEFTI music to select from for a Neal Hefti pro 24-25 SEPTEMBER, 2011 As last week, we randomly gram for he arranged for so many top orchestras as THE ‘R’ FILE access the files by letter, well as recording with his own highly appealing groups. this week concentrating on He’s perhaps best-known for his Woody Herman and Lynn Roberts, Nelson Riddle, Linda Ronstadt and Count Basie contributions, but he’s created fresh David Rose as we access some music we’d forgotten. compositions and arrangements for Harry James, Also included in this program is a new ‘old’ group Buddy Rich, Billy Butterfield and Geòrgie Auld among called Reunion, made up of the same singers who others as well as writing for television and movies. formed the original Letterman so long ago. In retire We’ll hear examples of much of the Hefti output; it’s ment they’ve re-created some of the harmonies origi not possible to check it all out but we’ll sample as nally making them famous. Former Kenton arranger much as we can with an ear to variety. Pete Rugolo arranged a pop concert style tribute to his old boss that’s part of the mix and Lou Rawls will also 22-23 OCTOBER, 2011 During the peak of be heard. THE COLUMBIA LABEL the Big Band years Columbia was one of
11 VOLUME 136 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER, 2011 the foremost labels promoting the bands, having signed to if he was at home in the den. We do know there’ll be Kyser, James, Herman, Brown, Krupa and later some Harry James and chances are good Vic Damone Goodman and Carle, as well as some appealing sing will fill a vocal slot. Curious selections might find their ers. We check into some of the history of the formation way into the programming, the kind of recordings of that label as we listen to top recordings by the bands played once and then forgotten, or new performances noted above, plus a few singers along the way. Our that may make a permanent slot for themselves in this musical Columbia history even includes a recording by and future programs. It may turn out OK, but in any the Mitch Miller men’s chorus and the emergence of event we hope it’s entertaining. the Elgart Brothers. A little history with a lot of music.
29-30 OCTOBER, 2011 With the big two recording ANSWERS TO BIG BAND JUMP TRIVIA QUIZ THE DECCA LABEL companies being Victor and Columbia in earlier 1- B Mel Powell was the one who arranged WHY years, the Decca label had an uphill battle when they DON’T YOU DO RIGHT? and other top recordings started. They didn’t concentrate on the swing bands as of the Goodman early ‘40s band before he was others did, but seemed to gravitate to the star singers inducted into service. and singing groups. At the start their greatest record sales came from a band decidedly not involved in swing 2- D Tex Beneke was personally selected by Helen plus a hip sounding singer. Guy Lombardo and Bing Miller to carry on the Miller Band after WWII. He Crosby were the major stars for years at Decca, joined eventually carried on under his own name. by the Mills Brothers, the Ink Spots and the Andrews Sisters. There were the Bob Crosby and Jimmie 3- B Ray Anthony, of course, with one of the longest Lunceford bands to satisfy the purist swing fans, but running post war bands. generally Decca tended toward highly commercial music product. W e hear all of the above 4- C Ziggy Elman and later additions to the Decca roster as well as a modicum of record history on this program. 5- A Dick Haymes replaced Sinatra with James and then with Dorsey. He also sang briefly for Benny 5-6 NOVEMBER, 2011 Witty and urbane Goodman. COLE PORTER SONGBOOK are the words most used to describe the 6- C Helen Ward dropped out of college to sing with lyrics of Cole Porter, but there was more than that. Goodman. There was the music he also composed to create a perfect place for those lyrics to reside, emphasizing a 7- A Jo Stafford and the Pied Pipers were key point here and there, sublimating a mildly naughty elements in the Tommy Dorsey Band. phrase for a word of affection. T op artists perform such familiar titles as: LET’S DO IT, LOVE FOR SALE, 8- A Jo Stafford and Paul Weston were known as NIGHT AND DAY, I GET A KICK OUT OF YOU, Jonathan & Darlene Edwards when they released a BEGIN THE BEGUINE and I’VE GOT YOU UNDER series of off-key sardonic songs. MY SKIN. A total of twenty Cole Porter songs are featured in this BBJ along with a little bit of Porter 9- D Paula Kelly, Jr. still leads the current version of biographical background. the Modemaires.
12-13 NOVEMBER, 2011 We don’t know specifi- 10-B Burke & Van Heusen wrote PERSONALITY HOST’S CHOICE cally what’s to be for Bing Crosby to sing in the movies but since heard on this program Johnny Mercer had a successful recording of it and for it will be assembled as it’s being done on the spur the lyrics are remindful of Mercer’s style, he’s of the moment. That way the spontaneity will lend sometimes thought to be the writer of the song, itself to the host’s honest choices, the artists he’d listen 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
sv
Eydie Gorme sang with the Tex Beneke Orchestra, then appeared on Steve Allen’s “Tonight Show” to gain fame as a solo singing star.