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VOLUME 145 BIG BAND JUMP NEWSLETTER MARCH-APRIL, 2013

DIFFICULT MESSAGE This is a tough one. The subscription list for the BBJ NEWSLETTER has dwindled to the crossover point; not enough subscribers left to maintain the newsletter. This diminished readership has been expected, but our hope was enough younger readers would express interest to keep the numbers at a viable point. That hasn’t happened. The shrinking subscription list and the new postage rates have combined to make continued publication of the BBJ NEWSLETTER impractical, and this first issue of the 25th year of publication will be the final issue. You won’t be getting the issues remaining on your subscription, but we’ve prepared a special 80 minute memory CD for you with brief comments from key Big Band personality interviews through the years followed by one or two top recordings from each performer. If you wish to receive this specially produced CD, please return the center yellow sheet with your name and address, or phone 1-800-377-0022. For those of you who remained with us to this point, our deepest thanks on two levels: Your continued interest in the Great Music of America and your support for this publication reflecting the time in America when musical quality and public taste came together. In youth it was easy to dismiss the pronouncement of wise men who said, “Nothing is forever.” Unfortunately they were right. The BIG BAND JUMP radio program, however, will continue as always, both on radio and the internet.

INTERVIEW - GEORGIE AULD

T enor sax man Georgie Auld is one of those players who is better known by musicians than the general public, yet he appeared with top bands in his career, even leading his own bands along the way. He was with the musically interesting but financially challenged band in 1937 and 1938, then moved to the highly successful band in 1939. It was Georgie Auld who briefly inherited the Artie Shaw band that year when the ever peripatetic Shaw suddenly went to Mexico, soon returning to the Big Band business. After a stint with Auld returned to the Shaw band in 1942, then led his own band from 1943 to 1946. There were other Auld bands and small groups along the way, including a short tenure with the Basie octet in 1950.

Georgie Auld led some smaller groups after the Big Band Era, some in the bop idiom but he was always a colorful player and personality who often carried his love of overseas. His most public latter-day appear- VOLUME 145 BIG BAND JUMP NEWSLETTER MARCH-APRIL, 2013

ance was as a bandleader in the motion picture, “New Buddy, showed up with his wife and Jerry Lewis came York, New York” where he not only appeared on screen in from Las Vegas with his bride and I was sitting next but played Robert DeNiro’s tenor solos on the to Robert B lake and I knew Jerry when he was an usher, soundtrack. before he even went into show business and he came straggling in. He sat down on my right and he went “Hi The inspiration for this profile was a radio interview Artie” and I looked at him like ‘what’s wrong with conducted by Don Manning on station WBOO-FM in him?’ and went ‘Oh, I’m fine. How are you Dean?’ Portland, Oregon 1987, and published in the Septem­ And he went, “Georgie! I’m getting senile, I’m still ber, 2012 issue of the International Association of Jazz half-asleep, forgive me.” Record Collectors magazine. Some of the interview was reaction to recordings, as you would imagine, but Mel Torme was more or less host and idiotic Artie many of the Auld comments were fascinating insights Shaw showed up 20 minutes after everything was into not only his personality, but his views of some key moving. He had to make this tremendous entrance, people in the music business. We’ve taken the liberty y’know. He got up on the podium and lied a little bit. of editing for the purpose of shortening some of the But Frank was very cute and so was Johnny.. .Johnny questions and answers while taking care to maintain the said, “It’s great to be known as ‘one of the world’s overall “feel” of Auld’s comments. Where the ques­ greatest’ but wasn’t one of the world’s tions are noted as from BBJ, they’re often shortened greatest drummers, he WAS the world’s greatest drum­ versions of Don Manning’s highly perceptive original mer,” and he got off real quick. I could see where he questions, but in a printed-word style. was really chokin’ up and Frank was very cute in the In one of the many biographies of Artie Shaw, author chapel, too. He got up and said he had joined Tommy Tom Nolan directly quotes Artie Shaw’s comments Dorsey’s band and about two months later in came about Georgie Auld, made at the funeral of drummer Buddy and they were roommates... the odd couple ! He Buddy Rich, a friend of Auld’s and one-time drummer said the two of them were talking one night and Tommy in the Shaw band. Those comments from Shaw help to walked over and looked at Frank and said: “I guess I put the following Auld comments in focus. Shaw is thought I had one pain in the band and now I see I have quoted as having said: “George was disappointed he two. wasn’t called on to speak and was very angry. ‘You’re I miss him, y ’know. I met Buddy when I was 14 and he fulla’ s — ,’ that’s all he could say! Chagrin! What - was 16, which means we knew each other for 54 years. I dunno, he identified himself with me, and he never I got him in Bunny Berigan ’ s band and I got him in Artie could quite make it, as a star, you know, whatever it was. Shaw’s band and we never had a word out of the way Angered him. Infuriated him. When I quit the music, in those 54 years. He called me Blackie and I called him man I gave him the band; I gave him my book. He could Bood. I went up to the hospital about a week before he not make it work, he didn't have the quality it took." passed and he said, “Blackie, I don’t think I’m gonna’ The Auld comments about being at Buddy Rich’s make it this time.” I looked at him and said, ‘ Bood, the funeral are given deeper meaning when the above quote only thing that’ll kill you is a submarine on the free­ is made part of the story. way’ and he kinda’ got a big chuckle out of that and he said, “I’m hungry. I’d sure like some pasta.” So I went BBJ: You were at Buddy Rich’s funeral. out and got some linguine and brought it up there and we just partied for 4 or 5 hours...’n sure enough I was GA: Yes, I was. I came in from Palm Springs with shocked. I thought he was gonna make it. Sinatra and his man Jilly. Two things I hate in life, when you have to go to a hospital to visit somebody BBJ : You’ve been married more than once. or go to a funeral, but this was without a doubt the swingin’estlwaseverat. I mean it was swinging. They GA: Oh, I’m gonna keep doing it till I get it right. I had Buddy Rich’s drums set up front...Terry Gibbs and haven’t quite caught up with Charlie Barnet or his vibes were in the comer with A1 Viola guitar and a Artie Shaw. I think they’ve got two dozen between ‘em bass player; real pretty sounds and there were some real so I’ve got a ways to go but I don’t think I’m going to heavyweights there, really. Johnny Carson, he loved sign any more contracts in that department. VOLUME 145 BIG BAND JUMP NEWSLETTER MARCH-APRIL, 2013

BBJ: Have you been in Japan lately? BBJ: Fill us in on the now classic story of you GA: I’ve been there 14 times and the burning all your Big Band charts. last trip I took two and a half years ago. I took Shorty Rogers and the All GA: It was a rough scene Stars with Shelly Manne, God rest his at the time. We had soul, and Pete Jolly, Monty Budwig, Bud just been out on tour with Lena Shank, Bob Cooper and his group and Les Horne, the Big Band with Howard Brown and his big band. Rose Clooney McGhee, Shadow Wilson and was on the thing. I don’t think she was too those guys, A1 Cohn. We got happy with it ‘cause they don’t understand through doing a ten week string of the words when you sing in English over theaters. I was with her two or there. She got out there and they weren’t three years in a row. The next too hip to her but she ’ s a marvelous person thing I know I was booked in Cin­ and a great singer. It was a ball trip. I’ve cinnati at Coney Island and the recorded 18 albums in Japan so I’m nothing guy that ran it came backstage and here but I’m very large in Japan. (Laughs.) said, “Without a doubt...I’ve played...... ” and he named about BBJ: Sometimes America doesn’t appreciate their eight bands, “.. .but this is without doubt the swingin’est musical artists. It’s remindful of the govern­ band I’ve ever booked here, but you’ll never work for ment’s treatment of who gave so me again. I said, T don’t understand. What are ya much for morale in WWII. talkin’ about? You just told me.. .and you’ll never book us again?’ And he says, “Yeah, you don’t bring any GA: I was in Denver and I got a call from a guy niggers in your band in my place.” I said, * How long are who lives four doors from Woody in Holly­ we booked in here for?’ He said four weeks and I said, wood and he says Woody’s going to be evicted in the ‘Well, we’re not coming back to work tomorrow night morning. He didn’t even know Woody but he went so you’d better get yourself another band.’ I got stuck down the street, knocked on his door and said, “Woody, for the four weeks and my payroll was close to 3,000 we don’t know each other but I’m a very close friend of bucks a week which was a lotta money in those days. I Georgie Auld’s and if I can be of any help I’ve got five paid all the guys and I took the library, all those black bedrooms in my house, my kids are married and gone. boxes of music and the music stands, the whole thing You’re more than welcome to stay with me and Woody right in front of the Forrest Hotel. I got about ten cans just kinda...well, Woody’s down to eighty pounds so of lighter fluid, sprayed it up real good and we had a that’ll give ya an idea what’s going on and finally circle of about 40 guys and bingo! Up she went in everybody came to the front and he wasn’t evicted but flames and that was the last of the library. (Laughs) Woody Herman’s in very poor health and it’s a shame that a man who discovered so many magnificent musi­ It wound up a pile of ashes and I gave the kid in the hotel cians and is really a legend in jazz to wind-up in the a twenty dollar bill to clean it up and that was the end of shape he’s in. that band!

BBJ: To have given so much. Our thanks to Don Manning and the International Association of Jazz Record Collectors for making GA: Golly, yeah. Uncle Sam’s on his back for a available this 1987 Georgie Auldinterview. Three million, six hundred thousand, but his manager years after this revealing conversation was con­ he had, Abe Turchen, I know’m, he just didn’t pay any of the taxes, the withholding taxes, state taxes. He just ducted Georgie Auld died in Palm Springs, Cali­ went to the racetrack and gambled it all away. Some fornia at age 71. managers have no heart whatsoever.

3 VOLUME 145 BIG BAND JUMP NEWSLETTER MARCH-APRIL, 2013

LETTERS TO THE EDITOR Wallace E. Gorski Just finished listening to Toledo, OH your Christmas programs, both Letters to BIG BAND JUMP or the BBJ NEWSLET­ BBJ and DK. I take my hat off TER may be sent to the address below or e-mailed to to those who back you for week after week they put [email protected]. When you e-mail, please together great music and I just want to wish all of you give your name and address. All letters are an­ a very Merry Christmas & Happy New Year. The music swered, but the volume of mail sometimes delays a they play brings back great memories. I go back to timely response. WW2 and put in 8 years in the Navy and yes, each and every year I wished I were home. I just celebrated my BBJ NEWSLETTER 85th birthday so I am sure you know where I’m coming Box 52252 from. Please, please, please keep the memories coming. Atlanta GA 30355

The published letters have been edited for space considerations, but the meaning has been preserved. Brian Connelly Many, many thanks for England another great year of music Dan DeSantis I started listening to BBJ and information chat. A very Williamsburg, VA over 15 years ago, first in happy Christmas to Don and his colleagues in Atlanta New Jersey (just outside Phila­ and best wishes for 2013. I’m a happy UK listener. delphia) then in Williamsburg, Virginia since 2002. Keep up the good work. Unfortunately the only station that carries your program in this area is too far away for reception so I use the internet whenever I get the chance. I have also pur­ Richard Sullivan chased your CDs over the years. It’s regrettable that Big Virginia Beach, VA Band Era music is so scarce on the radio. All 1 ever listen to in the car is my CDs. Keep up the good work. Without You know more people like you the Big Band Era music would disap­ about music than I pear. ever will and I re­ ally like your show I was thinking you might consider doing a segment of on WHRO in Nor­ Christmas songs (1930s to 1960s) and the artists that folk, Virginia. made them a part of our lives. And of course, your specialty, a little background info on the music and the One minor point. artists. I realize it’s too late for 2012, but a really long On a recent show lead for 2013. highlighting 1944 you mentioned the “V-2 Buzz Bomb.” The Germans had two secret weapons late in the war - Mr. DeSantis listed all the highly familiar Christ­ theV-1 andV-2. The “Buzz Bomb” was the name only mas songs such as 's WHITE CHRIST­ given to the V-1. It was a small jet plane without a pilot. MAS, Jimmy Durante’s FROSTY THE SNOWMAN It had a strange jet engine with an utterly unique sound and Dean Martin 's BABY IT ’S COLD OUTSIDE. which was the reason for being called “Buzz Bomb.” We've perhaps been delinquent in recent years in On the other hand, the V-2 was a ballistic missile and was supersonic (over 3,000 MPH) so if you heard it, it our attempt to vary the content of the annual wasn’t going to kill you, because the first sound was Christmas program, for we played all the record­ from the explosion. ings Mr. DeSantis suggested in the early BBJ years. It might just be a good idea for us to return This has nothing to do with your music selection-It’s to the basics next Christmas. great. (His underlining.)

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Marty Moscard Many thanks for the Joseph Slife Thanks for playing Civisca Angels Camp, CA “ Profile” Asheville, NC and DeHues. I had not in the January/Febru- heard of either of these guys ary issue. My wife and I were faithful listeners to the before. Received albums by each for Christmas gifts. “Kollege of Musical Knowledge,” with , Civisca is fabulous! Probably could have been a major Sully Mason, Ishkabibble, , Trudy Erwin, recording star in the 1950s or 60s. Georgia Carroll, the King Sisters, among others and the “Old Professor” himself and his band. It was one of the (Please see review of Ryan DeHues album in this most entertaining shows of any kind from those great issue) old days of radio. 1 can hear andPRAISETHE LORD AND PASSTHE AMMUNI­ THE LAST MILLER CONCERT TION running through my mind as I write this. We can’t wait to get our hands on “America’s Forgotten Superstar,” the book about Kyser by Steven Beasley as mentioned in the article. Hey, great job, you BBJ guys. Keep it up!

Joseph Niesz I hope you continue with Kaukauna, WI your fine programming. I always have a hard time deciding which program to listen to first, BBJ or the DK Show.

This letter gives us the opportunity to call ______Last concert location______attention to the article about the DK SHOW An English four bedroom mansion called The Grange elsewhere in this issue. The article was written is recalled as the location for the last private perfor­ to both call attention to that program as well as mance of the Glenn Miller led military orchestra in clear up listener confusion about it. 1944 before Miller flew off into eternity a few days later from an airfield two miles from the home. The orchestra was entertaining U.S. Air Force officers who were billeted there during W WII. The large house is in a small village in Bedforshire and came to public attention a few months ago when it was up for sale.

The Grange owner at the time, Kathryn Watts, com­ mented: “Y ou can’t get away from the legacy of the war here. Only recently there was a fly-past of Second World War planes, including a Spitfire, on their way to the Cambridge air show. The Grange is a big White house on the top of a hill, so the pilots use it as a marker. One of the planes even looped the loop and made a heart in the sky when the pilot saw we were watching him.”

The middle section of The Grange, where Kathryn Watts lived with her family, was at the time on the The barely-known Civisca market for 975,000 pounds, about a million and a half VOLUME 145 BIG BAND JUMP NEWSLETTER MARCH-APRIL, 2013 dollars in recent exchange rates. The mansion-like Everywhere I went he was right there with me saying, home was built by Lieutenant Colonel Thomas ‘Don’t lean on that,’ or ‘Hey, man. That chair is kinda Sunderland who was then the High Sheriff of dirty.’ He couldn’t think of anything else all night but Bedforshire and a pioneering aviator and hot air bal­ that suit of his I was wearing. It was one of the most loonist. uncomfortable evenings I’ve ever had in my life.” ** During the Second World War the house was requisi­ When broke up his Big Band and started tioned for military use, part of which was the billeting working with a septet, he dressed his musicians in of U.S. Air Force officers. It also played host to uniforms that had seen considerable wear in the old interned Italians who lived in prefab huts on the grounds. band. When the septet members complained about their During that time lively parties were the order of the day, seedy appearance and asked for new clothes, Basie told according to local legend. Air crews returning from them: “Never mind about the uniforms. Just get out missions relieved the tension of such missions, con­ there and play good.” In Toronto, Clark Terry decided ducted from nearby air fields. it was time for drastic action. He took his uniforms and those of Warded Gray and Marshall Royal, slashed At the time Glenn Miller visited The Grange it was still them to ribbons and hung them on the doorknob of a single house. It’s now divided into three separate Basie’s hotel room. Then he set them on fire, knocked properties. One of these is owned by the controller of on the door and hid. When Basie opened the door he the BBC Radio 3, a quirk of fate that certainly would was definitely not pleased. have been noted by Miller whose 50 piece Air Force That night the musicians dressed sharply in their own Band performed often on the BBC. clothes, but they were expecting Basie’s wrath as he climbed on the bandstand to kick off the first set. He During the war the BBC had relocated to Bedford to looked them over and quietly said, “ You______’ s weren’t avoid Luftwaffe bombing. Performances on the BBC kidding, were you?” They got the new uniforms. then were introduced with the announcement: “This is the BBC calling from a ballroom somewhere in En­ gland.” The “...somewhere in England...” was the Bedford Com Exchange where his band shared the bill with such world-wide personalities as Bob Hope and Bing Crosby. There is a statue of Glenn Miller outside the Com Exchange and a Miller museum at the nearby Twinwood RAF base.

SIDELIGHTS______Humorous stories about music and musicians, often told by the musicians themselves. Here are three stories about clothing, the first two con­ cerning Count Basie and the third involving Woody Herman and Tommy Dorsey.

In the early days in Kansas City, Hot Lips Page was at the time the same size as Count Basie. Basie tells the story: “One night we were supposed to go out some­ where but I didn’t have anything to match up, so Hot Lips Page said, ‘Why don’t you borrow one of my suits?’ He had three real sharp outfits, but I didn’t know what I was getting myself into. I couldn’t get rid of him. The modern Woody in the 70s (Please fold on dotted Ine)

(Please fold on dotted line)

BBJ NEWSLETTER Box 52252 Place Atlanta, GA 30355 Stamp Here

BBJ NEWSLETTER Box 52252 Atlanta, GA 30355 LEFT HAND CENTER PAGE

Please phone if you’d like to have the eighty minute special CD summariz­ ing in audio form the newsletter interview subjects over the years, or use this page as a self-mailer and send it with your name and address .

Our thanks to you in written form is to the right of this note.

The special CD is, of course, our compensation to you for the copies re­ maining on your subscription.

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...or phone: 1-800-377-0022 and the special CD will be sent to you immedi­ ately. Just leave your name on the telephone answering device, mention the special newsletter CD and we’ll do the rest. RIGHT HAND CENTER PAGE

Letter to remaining subscribers from Don Kennedy, BBJ Host

Years ago one of my close business associates observed something that’s turned out to be absolutely true through the years. He said to me, "You don’t like finals.” He was at the time referring to the finalization of a contract of some importance then, but he was right about my outlook. I don’t like finals. When an effort or a business or any kind of extended project reaches its end the effect is nearly the same as mourning the death of a close friend. All the effort that’s gone into the project over the years becomes a thing of the past, soon forgotten. The enthusiasm and expectations experienced at the start of a project are a thing of the past. So it is with the BBJ NEWSLETTER.

The newsletter was born at a Big Band Jump program conference held the beginning of the year in 1989. BBJ had been in national syndication since the Fall of 1986, serving a series of smaller markets, but by 1989 we’d signed powerhouse stations in Pittsburgh, Detroit, Nashville, , Denver, Minneapolis, and Washington, DC among others and it seemed time to back up the program with a publication. The first newsletter was on ten one-sided typewritten pages with the addition of a photo page. The first interview was taken from a late seventies conversation with Count Basie. That first newsletter was run off on an ancient copying machine.

Subscriptions came in rapidly, though, and the second newsletter was the product of an early computer page-making program on a borrowed computer, filled with photos and professionally printed. Real professionalism came when a former radio announcer friend said he had one of those new-fangled computers at home and could set up the newsletter for us. Herb Gershon has been setting up the pages for us ever since and for the past decade the newsletters have been printed by Robert Tennent at Eagle-Empire in Atlanta. Ann Burrell proof-reads each issue.

As at least partial compensation for your loss of the issues remaining on your subscription, we’re offering a special eighty minute program presenting brief excerpts from some of the key interview subjects over the years followed by one or two top recordings of each. It’ll be a unique one-of-a-kind personal hour and twenty minute CD recalling in audio form some of the interview subjects covered in printed form in the newsletter over the years.

Details are over there at the left of this yellow center insert. The CD is free, of course, to remaining subscribers of this newsletter. It’s by way of thanks to you for your long-term support. The BIG BAND JUMP radio program will continue as always.

Don Kennedy (Please fold on dotted Ine)

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BBJ NEWSLETTER Box 52252 Place Atlanta, GA 30355 Stamp Here

BBJ NEWSLETTER Box 52252 Atlanta, GA 30355

(Tape or Staple Here) VOLUME 145 BIG BAND JUMP NEWSLETTER MARCH-APRIL, 2013

When the armed services began to deplete the Big It was no accident Ryan DeHues became a singer. Both Bands and young replacements arrived with modem his parents performed with Fred Waring’s choral group musical ideas, Woody Herman welcomed them with in the seventies and Ryan recalls growing up listening open arms. He let his musicians recommend arrangers to records by Rosemary Clooney and Robert Goulet who wrote a modern book for him. Tommy Dorsey was and his own father’s booming baritone voice. Add that more conservative. He wanted no bebop in his arrange­ background, some genetic vocal components and this ments, and he said so for the record on several occa­ kid’s energy and bright demeanor and he should expe­ sions. In response, Woody went to a San Francisco rience a thrilling future. men’s store and bought the squarest jacket he could find. It was a loud plaid with a belt in the back. He sent Other notable titles on the album include THE WAY it to Dorsey with a card that read: “If you want to play YOU LOOK TONIGHT, IN THE WEE SMALL that way, why not dress that way?” HOURS OF THE MORNING, JUSTONE OF THOSE THINGS and IN THE STILL OF THE NIGHT. These inside stories come from Bill Crow's hook, “Jazz Anecdotes. ” Available at record shops or on-line.

( BOOKS & RECORDS TO CONSIDER TOM WOPAT - I’VE GOT YOUR NUMBER LML CD-273

RYAN DeHUES - MY DREAM COME TRUE W e’ve probably Gold Label CD 21002 mentioned this be­ fore, but most of The title of Ryan the current non­ DeHues' album has rock vocalists are a highly personal V women, and there meaning to him. aren’t many of His “dream come those who are able true” refers to a na­ nfv dream come tru^ to perform with tionwide contest in both tasteful re­ the year 2000 held straint and emo­ by singer Pat tional force. When Boone’s record la­ an album by a male singer comes in, we’re eager to bel looking for appraise it. We want it to offer songs from the Great “Am erica’s Next American Songbook presented in an appealing way. Great Crooner.” The hands-down winner was a sixteen Tom Wopat does that for most of the tracks on this year old kid from a small town in Michigan. This album album. demonstrates his singing skill. You’ll recall Tom Wopat as the actor who first found Ryan DeHues visited our BBJstudio, exhibiting youth­ fame in the TV series, “The Dukes of Hazzard” in the ful enthusiasm and humility despite his musical achieve­ early eighties. Since then he’s been on the Broadway ments. Almost as an offhand gesture, he left his album stage and released eight albums, some of them rock n’ of standards, checking off three he thought would be roll, a few with a country flavor. This album is his especially appropriate for airing on BBJ, telling us he second filled with classic pop standards, including grew up listening to BBJ. The three he suggested we THE GOOD LIFE, THE FOLKS WHO LIVE ON THE pay most attention to were: NIGHT AND DAY, I’VE HILL and I WON’T DANCE along with lesser-known GOT THE WORLD ON A STRING and a medley of songs from Paul Simon, Judy Collins and Bruce three songs with the word ‘day’ in the titles. All twelve Springsteen, but all delivered with a sincere, warm standards on the album are highly listenable with a solid style. Big Band backing and deftly crafted lyrics.

7 VOLUME 145 BIG BAND JUMP NEWSLETTER MARCH-APRIL, 2013

At least two factors Backing varies from small groups to big studio orches­ caused the DK tra. Certainly worth a listen to see if Wopat’s highly SHOW to come professional song presentation matches your taste. about. Fourteen tracks.Available at record shops or on- line. Years ago a musi­ LOVE SONGS - BOB STEWART cian friend of mine named Randy Jones We can’t figure out wrote and recorded why Bob Stewart a theme jingle with isn’t more popular words introducing than he is. He’s a the “Don Kennedy New York guy Show, “ using an who’s been around original melody he a while, having sung The casual D.K. derived from in his youth and for CUTE, the middle the past two decades theme of BBJ. It was a surprise, for I had no idea he was or so re-kindling his going to create such a jingle and at the time the only career. He sings syndicated program I was doing was BBJ, using an well, and with feeling. Some critics say Bob Stewart already well established set of themes. At that same sings with too much feeling, but that’s a matter of time I was on the air in Atlanta doing a morning individual taste. Age hasn’t seemed to diminish his program from 6 to 10 AM five days a week. The . singing abilities which are considerable. morning show leaned heavily toward Big Band, but also contained singers of yesterday and today, all Bob Stewart has several albums on the market and this performing Great American Songbook standards. As one serves to sum up his sensitive style, for it’s filled most morning shows, the presentation was informal and with standards you might personally choose; tried and certainly off-the-cuff as you would expect for a ‘live’ true songs we ’ ve heard for years, but presented in a way program broadcast for twenty hours each week. that’ll reach out to you. A few years later a major station carrying BBJ phoned COME RAIN OR COME SHINE is the lead track, to ask if there was some way they could have two more followed by THIS IS A LOVELY WAY TO SPEND hours of BBJ each week. It seemed their weekend AN EVENING, I HADN’T ANYONE TILL YOU, IN audience reaction was positive to BBJ and they’d had THE STILL OF THE NIGHT and THE MORE I SEE requests for more such programming. Since BBJ is YOU. He even makes the semi-humorous ONE NOTE often researched and scripted, there was no way we SAMBA sound as if it’s a plea to a lost romance. In could supply two more such hours each week, but an contrast, MEDITATION, MY FOOLISH HEART and informal program with a slightly different musical GIRL FROM IPANEMA get back to the title mood. approach would be practical. We combined the infor­ Maybe, just maybe, Bob Stewart will find a new audi­ mality of a ‘live’ program with the introductory jingle, ence. Certainly he’s been making a valiant effort, and and the DK SHOW was bom. this album sums up his abilities to make a love song sound like a personal moment of intimacy. He does it well. As one listener noted “The DK SHOW just sounds different.” Another lis­ Available at www.cdbaby.com/cd/bobstewart tener wondered why we don’t do BBJ with the same informality as the DK EXPLAINING THE DON KENNEDY SHOW SHOW. The key word is “informal­ ity.” BBJ is often carefully scripted (Kennedy wrote this to answer questions about why and assembled withproduction values in mind to there are two programs, and the difference between be worthy of being heard on over one hundred them.) 8 VOLUME 145 BIG BAND JUMP NEWSLETTER MARCH-APRIL, 2013

stations. Our hope is to provide the kind of program Even though direct music computer downloads are the local stations simply don’t have the time to research, way many customers purchase mu­ write and produce. The approach to the DK SHOW is sic, the CD is still the most popular as if we were doing a ‘live’ show, purely ad-lib and format for music buying. Consum­ with a broader selection of music (never rock, how­ ers bought 193 million CDs in 2012 ever) while still paying tribute to the Big Band Era. versus 118 million digitally down­ The less formal approach allows us to play whatever loaded albums, according to Nielsen comes to mind, sometimes teetering on the edge of SoundScan. The survey group says there were only two musical acceptance but having fun doing it. Perhaps markets, Hawaii and San Francisco where people bought the DK SHOW could be described as a personality fewer CDs than digital downloads. program, while BBJ is more frequently presented purely to impart information along with the music. Patty Andrews, the remaining member of the famed Andrews Sis­ The addendum to this story is the station originally ters, died January 30th at her home requesting two additional hours each weekend has in Northridge, California. She was been sold and the format drastically changed from 94. She was the lead singer of the music to the ubiquitous news/talk. The DK SHOW most popular singing group during continues, however, even though it’s heard on just the Big Band Era. They entertained seven stations as opposed to the more established BBJ throughout the world for WWII troops and their record­ providing weekend entertainment for fourteen times as ings sustained the civilian population with such hit many radio stations as the newer DK SHOW. songs as BOOGIE WOOGIE BUGLE BOY and RUM Both programs may be heard on-demand at & COCA-COLA as well as post-war successes. Patty www.bigbandjump.com simply by clicking. The Andrews soloed on the highly successful I CAN weekly programs are there waiting for you and begin whenever you wish. DREAM, CAN’T I in the later ‘40s The war’s ending was announced by Patty Andrews, QUICKIE REPORTS performing for 5,000 troops in Italy when word came about cessation of hostilities. A note about the war’s Patti Page died on New Year’s Day end was passed to the sisters during their performance, in Encinitas, California. She was and there was total silence when the announcement was 85. Patti Page had 111 recordings made. “It’s really true,” she said, and started to cry. on the charts making her the top­ Suddenly there was a roar from the soldiers who real­ selling female vocal artist of the ized they were going home rather than be transferred to 1950s. Her early multi-track vocal the Pacific Theater. recordings were unique at the time, a technique usee From 1938 to 1951 had 19 gold successfully on WITH MY EYES WIDE OPEN and records, dozens of top singles and total record sales of OLD CAPE COD among others. Her biggest hit, nearly 100 million. They appeared as themselves in TENNESSEE WALTZ eventually sold over ten mil­ over a dozen movies, as well as contributing their talent lion copies. She was to receive a lifetime achievement to war bond rallies and entertaining the troops overseas. award from the Recording Academy in February.

Bob Jones, the last regular host of “Milkman’s Mati­ nee” at New York City’s WNEW Big Band Jump Newsletter Staff has died at age 70. He had a reputa­ Editor Hagen Williams tion for enlivening his programs Asst. Editor Ann Burrell with details about the artists. Compositor Herb Gershon WNEW died in 1992 when it ceased Research Ethel Sadler being a bastion of the Great Ameri­ Production Robert Tennent can Songbook. It was sold to Thanks for a good long read! Bloomberg who switched its format to business info. 9 VOLUME 145 BIG BAND JUMP NEWSLETTER MARCH-APRIL, 2013

2 - Which song spent ten weeks on top the 1941 Hit BIG BAND TRIVIA QUIZ Parade, a first at the time. A - I HEAR A RHAPSODY B - ELMER’S TUNE For this quiz we’ve C - PERFIDIA D - FRENESI turned to the Big Band library of 3 - In 1942 a second song matched the 1941 winner for books, stacking vari- most time as number one. ous books about The song which remained number one for ten weeks various subjects on in 1942 was: the desk and then A - 1 DON’T WANT TO WALK WITHOUT YOU going through them B - DON’T SIT UNDER THE APPLE TREE to extract some C-WHITE CHRISTMAS D-REMEMBER PEARL meaty questions. HARBOR The effort is not to go too far out in the 4 - Another record-setting number one for ten weeks in trivia realm. Forex- 1944 was: ample, no one cares A-MY IDEAL B -I’LL BE SEEING YOU C -I’LL what color eyes Joe WALK ALONE D - IT HAD TO BE YOU Bandleader had or 5 - Judged by the time the song stayed at the top of the what his mother’s Hit Parade, what was the number one song of 1945. name was. We at­ A - TILL THE END OF TIME B - LAURA tempt to stick to C - DREAM D - DON’T FENCE ME IN questions leading to facts about the Big 6 — Arranger, , bandleader Billy May scored Band Era and the music or the people involved. Our hope a number of TV shows, most notably which of the is that some of the facts might be either interesting or following: informative, or both. A - Batman B - Dragnet C - The Price Is Right D - Como Show Our first five questions were inspired by a book of Hit Parade favorites, yielding some surprising top record­ 7 - Electric guitarist Alvino Rey was most closely ings, often recordings which have been nearly forgotten connected with which singing group? over the years compared to secondary recordings then A - Pied Pipers B - Jordonaires C - Song Spinners which sometimes became permanent representations of D - King Sisters the time. The criteria for selecting the top tune of each of the years is the number of weeks the title stayed at the 8 - Bandleader Chick Webb of Savoy Ballroom fame top of the weekly Hit Parade. The last five questions will played: be centered on five different personalities, using facts A-Trumpet B-Trombone C-Drums D-Baritone taken from various publications about the music busi­ Saxophone ness during the Big Band Era, plus facts gleaned from BBJ interviews with various bandleaders, arrangers or 9 - Who was the singer on the NBC radio program, singers who contributed to the sound of that unique time. “The Chamber Music Society of Lower Basin Street?” A - Bea Wain B - C - Lena Home We start with the Hit Parade top tunes of 1938 and then D - Kitty Kallen pose four questions based on various years of the forties. 10 - The AND THE ANGELS SING vocalist with 1 - Can you name the song staying longest at the top of Benny Goodman was: radio’s Hit Parade in 1938? A-THE DIPS Y DOODLE B - THANKS FOR THE A- B-Helen Forrest C - Mildred Bailey MEMORY C - HEIGH HO D - MY REVERIE D - Martha Tilton

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Band Era personalities. In this session we UPCOMING BIG BAND review two of those personalities as the JUMP PROGRAM TITLES first in a series of such BBJ programs. The first hour arranger/composer/conductor March 2-3, 2013 This is the Billy May gives us his views of the music HOST’S CHOICE annual Don business from the standpoint of being on Kennedy birth­ the road as both a sideman and a leader, day program when he’s allowed to play and then as a studio arranger and conduc­ anything he wants. Generally these pro­ tor. The second hour will concentrate on grams wind up being somewhat upbeat but a classic interview with Doris Day, along once in a while the sentimental side of with her memorable recordings. This pro­ Kennedy breaks through. The fact is we gram came about with the realization that have no idea what he’s going to play for neither does he most listeners have missed the comments of some of the until he sits down at the microphone, throws the switch personalities featured in the past. We re-visit them in and launches into the theme. Even then the titles will this first program in monthly series, each of which will come spontaneously as a story or artist experience highlight voices from people who were key performers reminds Kennedy of another recording. Don’t go into in the Golden Age of Music. The next such program is the studio while Kennedy is doing this program, for scheduled for April 20th and is described below. he’s gyrating, singing (badly) and sometimes dancing (kinda’). March 23-24, 2013 Once in a while we find a RAIN SONGS word that’s used in the title of some of America’s greatest songs, and the word ‘rain’ is one of those ubiquitous words. How better to encompass COME RAIN OR COME SHINE or SEPTEMBER IN THE RAIN or APRIL SHOWERS in a single program? The variety of performers for this program include Ted Heath, Billie Holiday, Ink Spots, Judy Garland, Doris Day and even B.J. Thomas.. .all mentioning rain either in the lyrics or the title of the melodies they perform.

March 30-31, 2013 Singing groups made A FAMILY AFFAIR up of sisters or broth­ Ann Hampton Callaway one of today's ladles in the studio ers, singers working with a relative leading the band, father and son making March 9-10 2013 The end of January this a recording together and husband and wife making TODAY’S LADIES II year we searched out music together are all heard in this program. some of the singers work­ sings with husband Paul Weston, Peggy Lee with ing today and put them together along with a few more husband Dave Barbour, Jimmy and Tommy Dorsey classic vocalists. In the preparation of that program we perform together and the Clooney Sisters are heard unearthed enough top current ladies to make up another again. Not only musically interesting, but surprising in such program; hence this second program with the same some instances. title. You may or may not know the female singers scheduled for this effort, but they include Lynn Rob­ April 6-7, 2013 On M arch 9-10 we erts, Corky Hale, Terry Blaine and Queen Latifah, all YESTERDAY’S LADIES welcomed some of selected for their credible performances from the Great the current singers to American Songbook. They’re all entertaining. BBJ. Now we concentrate on classic singers and their March 16-17, 2013 Over the years we've had all-time top tunes along with some less popular songs BILLY MAY / DORIS the opportunity to inter- you may not have heard before. These were the ladies DAY VOICE CAPSULES view a num ber o f Big who developed the singing technique associated with

11 VOLUME 145 BIG BAND JUMP NEWSLETTER MARCH-APRIL, 2013 lyrics the likes of which are rare in today’s musical a career in movie musicals and on the radio, Doris Day firmament. The names of these singers are familiar to became an individual star and Perry Como became a fans of the Great American Songbook; the perfor­ star on early television. We hear all of them from their mances are memorable. earlier work and then into the fifties as they helped to form a new kind of musical sound in America. April 13-14, 2013 Maybe romance is what’s ROMANCE missing in music and the world today. Certainly ro­ mance was a frequent ingredient in the songs of the Big ANSWERS TO BIG BAND TRIVIA QUIZ Band Era...and even lasting in some form into the fifties. This entire session will be devoted to romance 1 -D MY REVERIE was the defining recording in both non-verbal and lyric form. Both men and for singer Bea Wain, whose performance met the women will sing of romance, and Big Bands will reach approval of the composer’s family. out to us through their sensitive interpretations of musical love affairs.Gentle and emotional are words 2- A I HEAR A RHAPSODY is one of those which might accurately describe this program. songs that’s nearly faded into oblivion.

April 20-21, 2013 Very different musi- 3- C WHITE CHRISTMAS was introduced by / JOHNNY cal personalities talk Bing Crosby on the radio Christmas Day in 1941. MERCER VOICE CAPSULES abouttheircraftinthis The recording of it topped the charts in 1942. look at two men who The Guinness Book of World Records credits Bing had a great deal to do with the sound of the Big Band Crosby’s WHITE CHRISTMAS with selling 50 Era, one pioneering a fresh musical sound, the other million copies over the years since it was introduced. creating timeless lyrics. During this session we’ll see how progressive Stan Kenton was, tiring of playing the 4- B I’LL BE SEEING YOU popularity was a part same tunes over and over. We’ll also see the creative of WWII nostalgia. genius of Johnny Mercer who crafted lyrics that sounded as if anyone could write them, but as in all great work, 5- B DON’T FENCE ME IN spent eight weeks at deceptively simple. the top of the Hit Parade, its tenure beginning the end of 1944 and extending into 1945. April 27-28, 2012 During the Golden CLASSIC RADIO GUESTS Age o f Radio, p ro ­ 6- A The BATMAN THEME was just one of grams often hosted Billy May’s TV and movie music contributions. He guest performers. Even comedy programs sometimes also created the theme music for TV’s “Green had guest singers, for example. Certainly musical Hornet” and “Naked City” among others. programs frequently welcomed both instrumental and vocal guests. We dig into the aircheck archives on this 7- D King Sisters. Luise King (her spelling) one to hear well-established network programs of the married Alvino Rey. ‘30s and ‘40s as they presented well-known guest performers of the time, an approach yielding surprising 8- C Chick Webb taught himself to be a drummer variety and often astonishing presentations; one-time and during his tenure became the unofficial “mayor” offerings in many instances, never to be heard again. of Harlem.

May 4-5, 2013 The fifties was a time when 9- B Dinah Shore FIFTIES VOCALISTS the Big Bands lost favor with the public, replaced by solo 10-D Martha Tilton singers, many of who had previously worked in the bands. Sinatra was on his own, Haymes was carving out

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Sue Raney, who recorded for Capitol at age 17, and has been the singer with Ray Anthony’s Band.