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Home , Alec Wilder, Charlie Spivak, Gordon Jenkins, Herschel Evans, Marlene VerPlanck, Robert Davi

In person in te rv ie w with singer M a rle n e V e rP la n c k

A rra n g e r p ro file o f Gordon J e n k in s

Presidential photos with m u sician s

R ead er's letter about A rtie S h aw N EWSLETTER JUMP

VOLUME 138 BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY, 2012

INTERVIEW-MARLENE VER PLANCK strongly suggested we also interview The Background her and that was a good idea; hence The phrase, “a singer’s singer” comes to mind when this deeper look into referring to Marlene VerPlanck, so precise is her work. Marlene’scarcer. In Her career began as a very young singer with Charlie our previous con­ Spivak, and the last Dorsey Brothers Or­ versation we asked chestra. Without knowing it you’ve heard her on dozens how old Bucky of singing commercials as she crisply proclaims, for Pizzarelli was, and example, the goodness of Campbell’s Soup. (Mmm- her answer was typi­ mmm, good!) cal of her forward- moving personality. Her most important work, though, has been bringing to She said, “Enough life both old and new great lyrics, resulting in dozens of with the age!” And CDs and appearances across North America and much she was right. of Western Europe. Marlene VerPlanck was heard on ’s historic ‘70s National Public Radio se­ Artists such as ries, “American Popular Songs” and she’s appeared at Marlene VerPlanck, Carnegie Hall, the Rainbow Room and national TV regardless of age, shows including “Entertainment Tonight,” “The Today continue to promote Show” and the CBS program “Sunday Morning.” Her the most valuable CDs often feature the of her husband, music of America Billy VerPlanck, providing accompaniment with some and the world with their talent and dedication to quality. of the finest musicians in as well as a unique When we asked if she was still involved in commercial album with a French group. advertising jingles, she responded, “Have you heard the jingles lately?” The meaning of that statement was, of It is Marlene who’s heard with Julius LaRosa and Mel course, that she would not lend her considerable talent Torme on the Estate Band CD “In A to the kind of music permeating the airwaves of much Digital Mood,” the first Big Band CD to go gold. One of radio and television today. Our first question was of her CDs was the result of a composer’s request. about that very subject; the deterioration of music Richard Adler, who’s best known for the shows “Damn quality. Yankees” and “Pajama Game,” asked Marlene to record some of his songs. Marlene’s CD titled “You Gotta BBJ Today’s music? Have Heart” was the result of that request. She expands MVP Let’s start with rock n’ roll. I don’t understand on that in the interview. the words when they’re speaking, but every­ The Scene body who listens to those records seem to nod along with them. I guess I’m the only one who doesn’t We interviewed Marlene VerPlanck nearly a quarter- understand it. Then we go on to rap, which I find in a century ago when she was appearing in a concert of lot of cases a little too vulgar for my taste. I like the songs, but recently got back in touch which is so beautiful....so when looking for a contact number for Bucky Pizzarelli well crafted into music and words and sentiment. I like whose interview was featured in the last issue. She instrumental like Rachmaninoff and JANUARY-FEBRUARY, 2012 VOLUME 138 BIG BAND JUMP NEWSLETTER Tchaikovsky, Ravel and Debussy and all those guys. worked with just about everybody in the business as a back-up singer from Sinatra to KISS, and I ve done BBJ: You were a commercial jingle singer. How has every commercial. I had six cigarettes when they went that changed? off the air.

MVP: If you listen to the commercials today, the That part of the business is gone. The people they do commercial goes on for thirty seconds, some­ use now are mainly the producers and you can hear the times sixty seconds, whatever the length of time. You quality yourself; I don’t have to remind you about the listen to it and you don’t know what they’re selling. current quality of commercials. They don’t mention the product. That to me is a puzzle because when I was doing commercials....and I did literally thousands of commercials... .the first thing you talked about was the product, whether it was cigarettes or airlines or cars or whatever. You knew right away what we were talking about. Today you listen to the commercial, if you can understand it, and then you think, “What was that? What were they selling?”

BBJ: Is there a difference in music appreciation between those audiences overseas and audi­ ences here?

MVP: I go to England every March; I work up and down the country, North, South, East and West, and I do a lot of jobs. I get to work every night and it’s an awful lot of fun. The thing they like the most is the fact 1 don’t do the well-known standards. I try to bring in forgotten songs, songs that haven’t been done for The relaxed Marlene years and years. I try to bring something new to the table and they seem to like that. The comment I get after BBJ: Tell us about your recording with Saxomania, almost every show, “I never heard so many songs I a French group. didn’t know but I like!” That to me is rewarding because I do a lot of research and try to bring something MVP: We did three with Saxomania. The first one fresh and new to the piece and that’s what it’s about. was “Marlene VerPlanck Meets Saxomania In Paris” which is one of my favorite albums. The second BBJ: Tell us about your Big Band experience. one was “What Are We Going To Do With All This Moonlight” which is just about my second favorite, and MVP: That’s where I met Billy. He was playing because of those two albums we got a call from the trombone and I was singing with the Charlie songwriter Richard Adler who wrote “Damn Yankees Spivak Band. We had a long and wonderful marriage and “Pajama Game” and he said I want you to do an until two years ago when he passed away. Then we album for me with that group. We finally did the album went on to the Band....Tommy and after about six months; he called about every week. Jimmy, I should say....and we stayed with that band We’ve done a couple of projects over in England as until it dissolved, the same year Jimmy died. Then we well. When I go over in March I’m going to start stayed in New York and Billy got busier and busier and another project with a group I’ve been working with so did I. We became studio musicians for many good now for a couple of years. years. It’s a wonderful part of the business because you never know what you’re going to do, whether you’re BBJ: The only other interview I’ve done with you going to do a commercial or a record background. I’ve was at a Johnny Mercer concert. 2 VOLUME 138 BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY, 2012

MVP: I did a Johnny Mercer album in 1978 for David Thompson I listen to BIG BAND JUMP Audiophile and it’s still one of the best-selling Belleville, TX on the internet. You’re cur­ albums on that label. How can you go wrong with rently playing a somewhat re­ Mercer? He just knew what to do with a song. He had cently recorded CD (sounds great) of the Big Band so many different subjects. He loved birds and he loved themes. Thank you. This reminds me how good music trains and he loved the blues and he knew how to write really was. Unfortunately I was born in 1947 and a love song. He will go down in history as one of the missed it all. Well, except for your program. very, very best. BBJ: What is the makeup of the audience when you Mr. Thompson was referring to the Henry Mancini do a club date or concert? “Big Band Montage” from a CD titled “Moon River. ” The CD notes say all the selections were MVP: I only do places where they sit and listen. It’s recorded before 1972. When we asked Henry a sit down concert for all my club dates. There’s Mancini about that medley he recalled growing no background conversation at the bar. up during the Big Band Era and his appreciation Our thanks to Marlene VerPlanck for her inter­ for the sound of the bands, expressed in this CD view and for continuing to develop appreciation with nostalgic-sounding Mancini arrangements for the Great American Songbook. of the themes of Tommy Dorsey, Woody Herman, , , Glenn Miller, Stan Kenton, Artie Shaw, Les Brown and Duke LETTERS TO THE EDITOR Ellington.

Letters to BIG BAND JUMP or the BBJ NEWSLET­ Elsie Spidle What a great newsletter. I was TER may be sent to the address below or e-mailed to Watsonville, CA sogladyouhadaphotoofBBJ [email protected]. When you e-mail, please host Don Kennedy. What a give your name and address. nice looking man. I have to tell you I keep in touch with Doris Day who lives in Carmel, California. Her birth­ BBJ NEWSLETTER day is April third and I send her a card and letters and her Box 52252 return letters are great and so is her singing. Thank you Atlanta GA 30355 so much for the newsletter. My best to all who contrib­ ute. The published letters have been edited for space. William T. Burke Your newsletter item on Irwin Ross Years ago you played Herbie Seattle, WA Claude Thornhill was of par­ Westbury, NY Fields in a segment of one of ticular interest. He was origi­ your programs at my request. nally from Terre Haute. I went to college at Indiana It was, and still is, one of the highlights of my life. I State located in Terre Haute and as a third year student wanted to share another highlight with you which has to I hired the Thornhill Band to play at our junior prom in do with Artie Shaw. It was a Saturday night in 1983 1948 for what was then the enormous sum of $ 1,500.00, when I took my wife Sandy to the Glen Island Casino in creating consternation in the school administration at New Rochelle, New York where WNEW sponsored the the prospect of losing money. Fat chance of that. He three nights of Artie’s music. (Thanks to you and the was a real lure and we easily sold out the event. My Big Band cruises on the S.S Norway, I got to know Dick recollection is that Fran Warren was the singer. Johnson a decade later.)

The main idea for getting this well-known orchestra Artie explained to the audience why he spent so much was that this would lead to a successful campaign for time and energy finding the musicians and putting the my being elected the senior class president. Claude band together under Dick Johnson’s leadership. Artie worked out fíne but the electorate was not impressed mentioned when he was leading his band in the ‘30s, and I lost the election. I enjoy BIG BAND JUMP ‘40s and early ‘50s he was too busy to listen and think regularly over KIXI. about the music. He described a typical day starting 3 VOLUME 138 BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY, 2012

ated. I enjoy your show and can appreciate the exhaus­ tive research you obviously put forth.

We don 7 know how the tune got its name, but it's probably a train time, or less likely the time it was first played on the air, similar to ONE O ’CLOCK JUMP, played first near that time according to 's recollection. It may be the product of the memory of a particular train as evidenced in the title of Artie Shaw’s BACK BAY SHUFFLE, named for the rush to get the last train to from Boston. Maybe a reader can help with the origin of the name. We do know it was written in 1941 by alto player Earl Warren (no relation to Justice Warren) when he was with the Basie sax section which included and Herschel Evans. One listing of all-time popu­ lar compositions lists NINE-TWENTY SPECIAL as number 597 in popularity, for whatever that means or whoever determines such things.

Ernest Pons The young, carefully posed Artie Marina, CA with a stage show in the morning and ending in the Blue I enjoy listening to Room of the Lincoln Hotel and how he barely had time your show every to eat. He said since his retirement he had time to listen week. I especially to his music and to think. He then reminded the enjoy tuning in on audience he was not prone to say silly things or engage my 1929 Victor RE in idle comments....this in preparation for his next 45 radio. It’smagi- comment. cal to hear Bi g Band music through the He said, “We made some records that were perfect, warm, vacuum-tube something that’s never been achieved in the history of sound of the Victor music.” I don’t know if Artie thought only the Shaw radio, which was band reached perfection but I don’t think so. I met Tex made the year RCA Beneke on the next BBJ Cruise and asked him about bought Victor. Artie’s comment. After some reflection he said he’d never thought about it before but Artie was right. Jim Hoare My wife Geraldine and I are enjoy- Thank you for all the pleasure and joys you have County Clare, ing your program enormously on the brought into my life. Ireland internet. Keep up the good work.

Phillip Burr I am trying to find any infor- BIG BAND JUMP and its sister program, the DON Cookeville, TN mation you may have or know KENNEDY SHOW, are now available on-demand about the song entitled 9:20 at bigbandjump.com whenever you click in. Each SPECIAL. I have found many recordings available on program is uploaded in its entirety each Wednesday line but I can’t find the history of the song or even who for the following week. wrote it. Any information would be greatly appreci­ 4 VOLUME 138 BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY, 2012

ARRANGER PROFILE - to the public except for faith in them GORDON J E N K IN S reflected in their recordings of GOODNIGHT IRENE and .

The story goes that little Gordy Jenkins could read by the time he was two and could play the piano shortly after, able to pick out tunes he heard on the radio. He was a popular kid in school, becoming president of the junior class and writing for the school newspaper, but then he surprised everyone and dropped out of school to play piano in a night club, a shock to his father who was a church organist. He then worked as an arranger for and went on to freelance in New York providing arrangements for Benny Goodman, , and . His arranging work led him to Hollywood in 193 8 where he wrote scores for and NBC, then became musical director for . During the height of the short career, he was the singer’s musical director on his regular radio show and on his highly popular records. The highly acclaimed TOWER musical vignette was born while he was at Decca in the later ‘40s and has been re- released numerous times.

The 1941 Gordon Jenkins in NBC publicity photo

If Gordon Jenkins was only remembered for his compo­ sitions GOODBYE, , P.S. I LOVE YOU and SAN FERNANDO VALLEY his career would be admirable, but he contributed so much more to the music of the Big Band Era. He arranged and conducted for such varied performers as , , , , Jenkins & Sinatra , Nat Cole, , The Sinatra, Nat Cole and Judy Garland connections and Dick Haymes among so many others. His first came as a result of Gordon Jenkins association with million-selling recording under his own name was the . He wound up having arranged and emotional MAYBE YOU’LL BE THERE, followed by conducted three Sinatra albums for Capitol as well as his version of MY FOOLISH HEART. It was his five later albums for the Sinatra-owned Reprise label. arranging skill that helped create hits for Dick Haymes His orchestrations for Nat Cole included STARDUST. singing LITTLE WHITE LIES and Patty Andrews’ I thought by many to be the definitive vocal version of CAN DREAM CAN’T I. It was his accompaniment the song. A classic Judy Garland album recorded in when Louis Armstrong rekindled his career in the late London was arranged and conducted by Jenkins. forties and early fifties with his recordings of BLUE­ BERRY HILL and WHEN IT’S SLEEPY TIME DOWN As the sixties came there was less and less demand for SOUTH. The Weavers would never have been known the lush string arrangements that characterized Gordon VOLUME 138 BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY, 2012

Jenkins’ work and although he worked sporadically for various artists, the business was rapidly changing not only for Gordon Jenkins but most instrumentalists. Three distinct tragedies marked the later years of Jenkins’ life. He was in a near fatal auto accident, his home in Malibu burned to the ground in one of the ubiquitous California fires and he suffered from ALS, Lou Gehrig’s disease, taking away his power and speech and eventually his life. During the last months of his life he communicated by writing observations on legal pads, never losing his sense of humor or emo­ tional contact with those around him. He died in 1984 at age 73.

PRESIDENT’S DAY & George W. Bush in intimate conversation

In honor of President’s Day this year we offer photos of four U.S. Presidents pictured with prominent musi­ cians. Over the years presidents have demonstrated varied interest in the Music of America and those who perform it, preserved in these pictures.

Cab Calloway & Pearl Bailey with Lyndon Johnson & Ladybird

Duke Ellington & Richard Nixon

BOOKS & RECORDS TO CONSIDER

BLUE ROSE CD - CLOONEY & ELLINGTON Columbia CK 65506

This summer the 1956 Clooney-Ellington collabora­ tion was re-released for the second or third time, and well it should. During the fifties when Columbia was Ray Charles & Ronald Reagan laughing a lot asking their artists to record highly commercial but questionable quality songs (Sinatra: MAMMA WILL 6 (Please fold on dotted Ine)

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(Tape or Staple Here) CENTER PAGE OFFER - THE SINGING GROUPS Two CD set

H d i a d L r . i The latest carefully selected collection of Big Band Era gems is a two CD set, highlighting both the independent groups and those who sang with the Big Bands. Singing You’ll thrill to the technical and artistic quality of this collection composed of the finest Groups —* groups of the time presenting the Great American Songbook. Please check out the song listing below. The two CD set totaling two and a half hours of ■ ■ delightful songs is $29.95 with FREE shipping and handling. Order by mail with check %t**i** iimmt ~ **« è - Ite f« * * e ' or Visa or MasterCard number on form below, or phone 1-800-377-0022. »*•««l%*> it*

T-17 THE SINGING GROUPS - CD ONE T-17 CD TWO TRACKS

1 Apple Blossom Time - Andrews Sisters 1 Maybe - Ink Spots 2 Rum And Coca-Cola - Andrews Sisters 2 We Three - Ink Spots 3 Muskrat Ramble - Andrews Sisters 3 1 Don't Want To Set The World On Fire - Ink Spots 4 I Can Dream, Can't I? - Andrews Sisters 4 Don’t Get Around Much Anymore - Ink Spots 5 I Wanna’ Be Loved - Andrews Sisters 5 To Each His Own - Ink Spots 6 Paper Doll - Mills Brothers 6 The Gypsy - Ink Spots 7 You Always Hurt The One You Love - Mills Brothers 7 Java Jive - Ink Spots 8 Across The Alley From The Alamo - Mills Brothers 8 Whatcha’ Know Joe? - Pied Pipers 9 Nevertheless - Mills Brothers 9 Winter Weather - Pied Pipers 10 It Don't Mean A Thing - Mills Brothers 10 Once In A While - Pied Pipers 11 April In Paris - Modemaires 11 Street Of Dreams - Pied Pipers 12 Goody Goody - Modemaires 12 Dream - Pied Pipers 13 East Of The Sun - Modemaires 13 My Happiness - Pied Pipers 14 Let’s Have Another Cup Of Coffee - Modemaires / Glenn Miller 14 For You-King Sisters 15 It Happened In Sun Valley - Modemaires / Six Hits & A Miss / Glenn Miller 15 Sophisticated Lady - King Sisters 16 Sunny Side Of The Street - Sentimentalists / Tommy Dorsey 16 The Man I Love - King Sisters 17 Heat Wave - Sentimentalists / Tommy Dorsey (‘Live’) 17 Zing Went The Strings - King Sisters 18 Atchison, Topeka & Santa Fe - Sentimentalists / Tommy Dorsey 18 If I Were A Bell - King Sisters (Live) 19 You’d Be So Nice To Come Home To - Six Hits & A Miss 19 There’s A Small Hotel - Snowflakes 20 Cornin’ In On A Wing & A Prayer - Song Spinners 20 Love On A Greyhound Bus - Campus Kids 21 Where Or When - Dinning Sisters 21 Managua Nicaragua - Campus Kids 22 Beg Your Pardon - Dinning Sisters 22 Guilty-Mel-Tones 2 3 1 Don’t Stand A Ghost Of A Chance - Dinning Sisters 23 What Is This Thing Called Love - Mel-Tones 24 People Like You And Me - Stardusters 24 Moments To Remember - Four Lads 25 Jingle, Jangle, Jingle - Merry Macs 25 Mr. Sandman - Chordettes 26 You And I - Ames Brothers 26 On Top Of Old Smoky - Weavers 27 Naughty Lady Of Shady Lane - Ames Brothers 28 Undecided - Ames Brothers T-17 The Singing Groups Two CD Set

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Please check the programs you want to order, fill in below with your Visa or MasterCard number or send a check. A return envelope is enclosed. Phone orders at 1-800-377-0022.

PROGRAM TITLES Any single program $ 1 9 .9 5 ( ) 523-H Benny Goodman Overseas Any two programs $ 3 0 .0 0 ( ) 583-H The Columbia Label Any three programs $ 5 6 .0 0 ( ) 687-H Big Band Top Ten Any four programs $ 7 2 .0 0 ( ) 684-H Disney’s Musical Magic Any five programs $ 5 6 .0 0 ( ) 682-H Classes of 1946-1949 All six programs $ 9 9 .0 0 ( ) 690-H Legendary

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(Tape or Staple Here) VOLUME 138 BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY, 2012

BARK, Clooney: CLARK - The Autobiography of Clark Terry M A M B O University of California Press ITALIANO, Jo Stafford: SHRIMP The stories in this BOATS, Etc.) book are so highly Clooney recorded personal and told this gem separated without embellish­ from Duke Elling­ ment they draw you ton by 3,000 miles. into each moment. She was experienc­ At first it’s diffi­ ing a delicate preg­ cult to follow the nancy and so Billy events for they’re Strayhorn flew to described with Hollywood to work words used in the out the arrange­ poor black commu­ ments at Clooney’s home. The orchestra then recorded nity but the style in New York the end of January and Clooney added the gives the reader lyrics in Hollywood during two separate sessions in greater involve­ early February. The results can only be termed classic. ment. You’re there when a very young Clark Terry makes a trumpet out of Strayhorn re-wrote the oft-played arrangements to give a pipe, hose and funnel from a junkyard, then plays it them new zest and even gave Rosemary Clooney sug­ on a street comer while the ‘drummer’ pounds on a pan gestions on the emotional approach to take to some of and another friend dances with PET milk cans on his the lyrics. The superb technical quality was enhanced shoes. Even though it’s related in a matter-of-fact way, with a re-mastering in 1999, but they needn’t have you feel Clark’s devastation when he leaves home at bothered for the artistic quality trumps all. Those of us age 12 because his dad told him not to come back if he’s who aren’t musicians and don’t understand the finer spent his money on a bike. He never did go back. aspects of music find some of the Ellington work to be difficult to understand, let alone be entertaining, but Clark Terry’s story reflects his young ambition without this collection isn’t like that; it’s accessible by even the being boastful. He earned money with a paper route least of us. Even the non-words in the album’s title tune, and selling magazines. He eventually had a real trum­ BLUE ROSE, aren’t intrusive as so often happens. It’s pet, playing it whenever and wherever he could for a as if she’s dusting the furniture or doing the dishes as few dollars a week at first. He tells of being kicked out she vocalizes while listening to a record by Duke of high school a few weeks before graduation because Ellington. In truth, that’s what she was doing in this his girl friend was pregnant. It was a tragedy because overdub, minus the furniture dusting or dishpan suds. he was the class salutatorian, but he continued learning The expected Ellington tunes are in this collection, such throughout his life, carrying a dictionary with him to as SOPHISTICATED LADY, IT DON’T MEAN A learn new words. Each story reflects the difficulty of THING, I GOT IT BAD and MOOD INDIGO. They’re a musician making a steady living plus the added joined by some titles unfamiliar at the time, for they problems of being black in those times of strict segre­ hadn’t been often played: I’M CHECKIN’ OUT, gation. GOOMBYE, IF YOU WERE IN MY PLACE and GRIEVIN’. The original name for the album was After playing with local bands in his native St. Louis Intercontinental but the suits decided they didn’t want and with a Navy band during WWII, Clark Terry's to attract attention to the over-dubbed vocals suggested reputation led to becoming a sideman with Lionel by that title so they chose the less descriptive BLUE Hampton, Charlie Barnet, Count Basie and Duke ROSE. She’s anything but blue. Ellington. His highly personal stories give us an insight into each of the leaders as well as details of his Available on line or in record stores where they can order it. - D.K. 7 VOLUME 138 BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY, 2012 increasing income, his delight in being in nationally just about my return to singing, but is motivated by a famous bands and his personal travails including buy­ much deeper purpose. The Great American Songbook ing a house to provide some stability for his wife while is ‘America’s Shakespeare,’ the golden age of Ameri­ he was on the road. can music.” He tells of being the first black musician Big orchestra, big voice and an up-front presentation as to play in the now if he’s performing for an audience of thousands, but in famous Tonight a studio setting. He has, as so many current artists do, Show Orchestra, a selected the songs made famous by Frank Sinatra and job that left him free appropriated his name for the cover of the album. He in the daytime to didn’t need to do that, for his talent speaks for itself. play studio sessions. Davi, unlike some other actors who aspire to Mid-‘50s while in Duke’s band We’re given an in­ become singers, knows how to sing a song and does it sight into a successful musician’s life when he was first appealingly. call for the recording of commercial jingles, as part of studio bands and backing vocalists. His reputation for The song titles represent some of the most familiar of musical excellence and reliability resulted in him being the Sinatra book including DAY IN, DAY OUT - ALL so busy he often didn’t have time to go to his home in THE WAY - I’VE GOT THE WORLD ON A STRING Queens, but had to stay overnight in a hotel. Sometimes - WITCHCRAFT - there were so few hours left he tells of sleeping in the OF THE MORNING and TOO MARVELOUS FOR back row of a newsreel theater with his ear near his wrist WORDS. There are a total of twelve songs on the CD, watch alarm so he could make an early morning session. all with a romantic direction as exemplified in the sub­ title of the album, “...on the road to romance.” The book details his later life work in establishing music clinics to help young musicians, his own band and the The most thrilling part of this album is the approach of thrill of receiving a Lifetime Achievement Grammy in Robert Davi, not just musically but attitudinally. He 2010. It is an absorbing story told with blatant honesty says of the music, “It was romantic without being crude; and directness. 258 pages of text; 10 pages of the songs were poetic and if there was heartbreak it was acknowledgements; 53 pages of honors & awards, sung with a delicate tenderness, not a resentful anger discography and index. toward women.” Robert Davi says he “.. .wants to help reinvigorate the spirit of America, the spirit that makes About $35.00 at any good bookstore or on-line. - H.W. it the greatest country in the world.”

DAVI SINGS SINATRA-On The Road To Romance He may just be the man to do that. - D.K. Fontana SLRCDSS001 ------

This album has a cu­ Big Band Jump Newsletter Staff rious story behind it. Robert Davi has been in well over a Editor Hagen Williams hundred movies and TV shows, generally Asst. Editor Ann Burrell cast as a villain, but Compositor Herb Gershon it develops his first love is singing, and Research Ethel Sadler he’s good at it. He says it best in his Production Robert Tennent own words: “Mak- Robert Davi album_____ ing this album is not 8 VOLUME 138 BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY, 2012

5 Woody Herman’s most famous bass player was BIG BAND JUMP TRIVIA QUIZ probably Chubby Jackson. His real first name was:

This quiz is based not on current BBJ programs but A - Edward B - Greig C - Harry D - Charles selected from the very first quiz to be published in 6 Duke Ellington’s MIDDLE name was: issue number one, March-April of 1989. As such it will reach most readers, for only a few score readers re­ A-Edward B-David C-Kennedy D-Anderson ceived the first issue and it occurred to us subsequent 7 He’ll always be known as Bix Beiderbecke, but his readers have missed these sometimes interesting ques­ real first name was: tions. To present a reasonable sampling of those first quizzes, we expand this quiz to twelve questions, eight A - Benjamin B - Lester C - Leon D - Bernard from the first issue, four more from the second issue. 8 Famous drummer Buddy Rich’s actual first name The attempt, as always, is to bring to the fore some was: interesting information that’s not too obscure but will A - Benjamin B - Lester C - Leon D - Bernard also be a challenge to quiz participants. The answers The surprise to us was the reader enthusiasm for are on page twelve and we continue to ask that you not look up the answers until you’ve put forth every effort the first quiz, encouraging us to produce another to finish the quiz. Should be fun to see how deep your quiz for the second issue, the May-June, 1989 newsletter. It had to do with professional names personal knowledge of the Era is. We’re betting you’ll be able to correctly answer at least eight of the twelve versus birth names for prominent performers. At the time we offered prizes for those who mailed in questions without too much difficulty. The first four the correct answers, something not practical to questions deal with Big Band themes. Pencils ready? do as the number of subscribers rapidly increased. Here we go: No prizes for this one, just the satisfaction of knowing the answers. 1 Jan Savitt’s theme was: A -Top Hat Shuffle B - 720 In The Books C-Quaker 9 Please select the birth name for . City D - Good Morning A-Calvin McBumey B-David Kaminski C-Alvin 2 Woody Herman’s longest running theme was: (Care­ Morris D - Alfredo Cocozza ful on this one.) 10 Want to try another one? The birth name for Tony A-BlueFlame B-Woodchopper’sBall C-Golden Martin, please. Wedding D - Sabre Dance A-Calvin McBurney B-David Kaminski C-Alvin 3 Ben Bernie’s theme was: Morris D - Alfredo Cocozza A - It’s A Lonesome Old Town B - All The Lads 11 In the interest of fairness, we cannot omit female C - Sweet Georgia Brown performers. Please select the birth name for . D - Marching Along Together A-Clara Ann Fowler B-Eleanor Fagan C-Frances 4 Kay Kyser’s theme was: Gumm D - Yvonne Jamais A - Friendship B - Pushin’ Sand C - Always 12 Singer Connie Haines was given that name by Harry C - Thinking Of You James. Her birth name? A-Clara Ann Fowler B-Eleanor Fagan C-Frances The next four questions have to do with musician's Gumm D - Y vonne Jamais real names, not their better-known nicknames. The quizzes appear to have been tougher then. In retrospect, some of those questions seem pretty The preceding and following four questions difficult, but it’ll be interesting to see how today’s were from a twenty question quiz in that first readers handle yesterday’s questions. issue in March of 1989. 9 VOLUME 138 BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY, 2012

Already reported is that the Fish & QUICKIE REPORTS Wildlife Service raided the Gibson Guitar factory in August to take Pete Rugolo, award winning arranger away their ebony and rosewood fin­ and composer who began his career gerboards. Illegally imported from with Stan Kenton, died 16 October, India, the Feds said. The company 2011 at a nursing facility in Sherman which imports the wood says it’s Oaks, California. He was 95. Readers perfectly legal. Government offi­ can review his life in the Pete Rugolo Pete Rugolo cials in India say it's OK. Turns out profile in the May-June, 2010 issue. the Gibson raid was based on a 1900 law to protect rare and exotic birds Jazz historian died at his whose feathers were used on Manhattan apartment September 22, woman’s fancy hats. The powers 2011. Driggs amassed a collection of that be discovered the tariff code over 100,000 photos of jazz person­ was off by one digit and the law alities, and was the go-to guy to sup­ doesn’t apply to finished rosewood and ebony anyway. ply pictures for books and articles Frank Driggs The Feds say they’re looking into it as the wheels of about musicians. He was 81. governmental logic, if such logic exists, grind slowly to a conclusion while guitar makers lose money.

Herbie Hancock, winner of fourteen Radio director, writer, producer and Grammy Awards, has been appointed drama pioneer Norman Corwin died a UNESCO goodwill ambassador. in October at age 101. His radio dramas used entertainment to ap­ Herbie Hancock proach social issues in the thirties and George Wein, the 85 year old origina­ forties, earning him numerous tor of the Newport Jazz Festivals, says Norman Corwin awards and a place in the Radio he made them non-profit to shield .¡g ^ Hall of Fame. them from the vagaries of corporate funding in order to assure their con­ Starting in January pianist Jon We­ tinuance. ber will replace Marian McPartland George Wein on NPR’s radio program titled A Canadian study reported by the BBC suggests that “Piano Jazz.” McPartland is 93 and musicians retain their hearing into old age better than has been on the show since 1979. non-musicians. It found that a 70 year old musician's hearing was as good as a 50 year old In October Big Band drummer Butch who did not play. Musicians were B1BIC Miles was inducted into the West better at picking out speech against a Virginia Music Hall of Fame. noisy background. It was suggested He gave a great deal of credit to his this was because musicians use their HEALTH high school band director for instill­ auditory systems at a higher level on a ing a work ethic that’s been with regular basis. 'him throughout life. Butch Miles is The Oxford English Dictionary is get­ best known in the Big Band realm as being the drum­ ting rid of the term “Cassette Tape” in mer for the from 1975-79 and the latest edition. They point out it is again from ’97 to ’07. He’s played on recording still in their multi-volume complete sessions for and with such luminaries as Frank Sinatra, set. Cassette aficionados say that such Mel Torme, Dave Brubeck, Ella Fitzgerald, Tony tapes are still being manufactured, Bennett and Rosemary Clooney. Lately he’s been although in drastically reduced numbers. giving drum clinics and concerts worldwide. 10 VOLUME 138 BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY, 2012

fresh and appealing musical forms of both UPCOMING BBJ PROGRAM categories. Sometimes ‘fresh’ and ‘ap­ TITLES pealing’ don’t go together, but we’ll do our best combining the new material with (First two are repeats for new subscribers) the tried and true. 28-29 JANUARY, 2012 Once in a 31 DECEMBER, 2011 What an ideal PRETTY STUFF while some 1 JANUARY, 2012 time to have a o n e will NEW YEAR’S phone BBJ and ask why there are so many DANCE the first day of 2012. Whenever bouncy recordings being played. In an­ you hear this BBJ it’ll be devoted to music swer to those complaints this program is for dancing. Usually our focus is listening, devoted entirely to pretty melodies and but on this program we’ 11 attempt to dig out some music lush arrangements, both vocal and instrumental. You'll with a prominent beat, maybe even with a good melody hear some of the proven standards, of course, but also to go along with it. some gorgeous arrangements of lesser-known melo­ dies that have been hiding in our library, sometimes 7-8 JANUARY, 2012 Dedicated to group vocals, this keeping their secret sound on an LP. We’ll attempt to SINGING GROUPS I program presents both band leaven the experience with some background informa­ members contributing to tion to keep you alert. group vocals as well as the more traditional singing groups including the Modemaires, the Pied Pipers, the 4-5 FEBRUARY, 2012 So much more mate- Ink Spots and the Andrews Sisters plus lesser-known THE SAX PLAYERS rial has become avail­ groups such as Claude Thornhill’s Snowflakes and able since we first ’s Stardusters. There will be others as highlighted the sax players several years ago. This, the program unfolds. This is the first of two programs then, is a fresh look at the sax players who formed a vital highlighting the contributions of the singing groups to part of the sound of all the Big Bands; some of them the Big Band Era and beyond. were bandleaders. We will review the best-known saxophone talent, but also delve into some of the 14-15 JANUARY, 2012 We d id n ’t realize sidemen whose names may not be as familiar to you but SINGING GROUPS II when we attacked this whose sound certainly is. This is a musical adventure program how many we’re eager to share with our listeners. singing groups there were, all making considerable 11-12 FEBRUARY, 2012 It is natural contributions to the totality of the Big Band sound. We THE TROMBONE PLAYERS that we had fun assembling the groups into something resem­ would follow bling a cohesive list. The difference between this and the sax players program with the spotlight on another previous similar programs is the inclusion of the group key instrument, the trombone. Big Band fans will vocals by band members in glee club style. At this instantly think of Tommy Dorsey as the foremost writing we don’t know the actual contents of either of trombone player of the era, but as above we’ll also these two programs but they will include the groups check out the sidemen who distinguished themselves as mentioned to make the program complete. soloists with top bands as well as secondary outfits. The history of these players plus key samples of their 21-22 JANUARY, 2012 Sometimes the search performances should accomplish at least two goals: ROMANCE & BOOGIE for a different ap­ Remind you of sounds you may have temporarily proach to a program forgotten, and perhaps introduce you to solos you idea or a program title leads to some strange musical haven’t heard before. combinations. This is one of those times, but we found combining boogie-woogie and romantic melodies seems 18-19 FEBRUARY, 2012 Before the general to have an appeal to the public. We haven’t done such GUITAR LEGACY conception of guitars a program for a decade or so and we resurrect the idea, as an instrument used digging into the files to discover or re-discover both exclusively for rock, they were (and are) integral parts VOLUME 138 BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY, 2012 of Big Bands and small groups both yesterday and ANSWERS TO TRIVIA QUIZ - NEWSLETTER 138 today. We check out a bit of the earlier jazz guitar sound, then the acoustic guitar as a pure rhythm instru­ I -C - Since the Jan Savitt Orchestra began as a studio ment and electric guitars as solo instruments playing the band at WCAU in , it was logical that the shuffle rhythm original used as a theme be named melody. Guitars have enhanced singers and other QUAKER CITY JAZZ. Since 720 IN THE BOOKS was instrumentalists in roles sometimes overlooked. We his most popular recording, it’s sometimes mistakenly review some varied uses demonstrated in actual perfor­ thought of as his theme. mance. 2- A - Similar to the above, WOODCHOPPER’S BALL is often thought to be the Woody Herman theme since 25-26 FEBRUARY, 2012 Novelty, like beauty, it was perhaps the best-known of the Herman record­ NOVELTY SONGS is in the eye of the ings. The mysterious BLUE FLAME opened each appearance. beholder. What is a silly song to one listener may have real meaning to 3- A - Ben Bernie and “all the lads” used IT’S A LO NE­ another. This program is an attempt to determine SOME OLD TOWN as their theme. It was a surprise for us to learn that Oscar Levant was for a time Ben Bern ie ’s exactly what novelty means by presenting some of the piano player. performances on the very edge of novelty and others that unmistakably Fit that description. This is danger­ 4- C -TheKay Kysertheme, THINKING OF YOU, is one of those highly familiar melodies with a name that’s ous territory. Is JUKE BOX SATURDAY NIGHT frequently forgotten. novelty? Is BIG NOISE FROM WINNETKA novelty. Does anyone take Spike Jones seriously? We’ll work 5- B - Chubby Jackson was perhaps the leading spark­ plug of the Herman Herd, shouting encouragement and on those questions during this session. making a production out of playing his bass.

6- C - This one might have been too easy. After all these 3-4 MARCH, 2012 Is it OK to do this? This pro- years the three Ellington names, Edward Kennedy HOST’S CHOICE gram is a sort of 82nd birthday Ellington, seem to smoothly go together. gift to host Don Kennedy. 7- C - Bix Beiderbecke’s middle name might have been We’re allowing him to play some of his favorite all-time a better question. It was Bismark. Considering he left recordings for the full two hours of the program. They’ll this mortal coil in 1931, his name has certainly remained include not only classic Big Band (his preference) but in front of music lovers all over the world. some material that’s affected him either artistically or 8- D - Buddy Rich might just have been the most emotionally through the quarter-century this program amazing drummer of all time, having started his on­ has been on the air, and the total of sixty-five years he’s stage career at a year and a half old as “Traps, the been earning his living on either radio or TV. There are Wonder Drummer.” sure to be recordings you ’ ve heard before plus a few that 9- A - Alvino Rey legally changed his name from Calvin may surprise you. McBurney, rather than just adopting Rey as a stage name. He named his theme BLUE REY to match his 10-11 MARCH, 2012 Every so often a pro- adopted name. ‘LIVE’ FROM NEW YORK gram fires the listen­ 10- C - Would Tony Martin have been as successful if er’s imagination, and he’d retained his birth name, Alvin Morris? Maybe Al Morris would have worked. this idea did when it was first presented years ago. We re-visit the concept as we listen to actual programs II -A - This was another one that might have just been originating in New York City during the later ‘30s into too easy. Because of her tremendous popularity nearly everyone knows Patti Page was originally Clara Ann the ‘50s featuring the greatest musical talents of all Fowler. She has sold over 100 million records. time... all of them performing ‘live’ fromaclub or hotel in Manhattan. This program deserves to be described as 12-D - Her full birth name was Yvonne Marie Antoinette Jamais. As a child act at age four she was known as a “window in time.” “Baby Yvonne Marie” but when she joined Harry James he suggested the name Connie Haines. BIG BAND JUMP Box 5 2252 Presorted Standard Atlanta, GA 30355-0252 U. S. Postage PAID Atlanta, GA Permit No. 3259 4 ?

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Peggy King sang with Les Brown, Harry James, Ralph Flanagan and others and was a cast member of the George Gobel TV show as well as being a movie and TV actress.